Yida Zhou - MArch Part II Academic portfolio by Yida Zhou

A C A D E M I C

P O R T F O L I O

Master of Architecture 2016-2018 Y I D A

Z H O U

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

Course on Current Page

DESIGN STUDIO G

AMPL

DESIGN STUDIO C

DESIGN REPORT

DESIGN STUDIO G

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ARCHITECTURAL TECHNOLOGY RESEARCH [ATR]

Navigation and General Criteria Mapping

DESIGN STUDIO B

ARCHITECTURAL MANAGEMENT, PRACTICE AND LAW

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STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

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Page Number Project Category and Title

ARB General Criteria

GC 2

MARCH 1 / SEMESTER 1 / DESIGN STUDIO C / TITLE

Graduate Attributes

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CONTENTS

M A R C H 1

MARCH 2

SEMESTER 1

DESIGN STUDIO C Tokyo: Accident & Oder credit: 40

ARCHITECTURAL TECHNOLOGY RESEARCH

ARCHITECTURAL MANAGEMENT, PRACTICE AND LAW

DESIGN STUDIO G

T H E TA TE MODERN EXTENSION [ATR] Part 2: Building Regulations: General Accessibility

YIDA ZHOU YIHUAI ZHANG

Hotel Paris

[AMPL]

credit: 40

credit: 20

2.2 Public Ramp and Sloping floor Access

credit: 20

INTRODUCTION

2.2.1 GROUND FLOOR RAMP ACCESS DESIGN

This part of the Regulatory Drawings demonstrated the design of the staircase access and ramps of the Tate Modern Extension, and discussed how the design has met the statutory requirements but also how the compromises between building regulations and design have been made in some cases. Drawings show the giant tapered staircase on the Level 0 of the Tate Modern 2, The rise of the stairs and the handrail design on the sides are generally comply with the building regulation Approved Document Park K and Part M (ADK & ADM). However as one of the major interior design features, some of the compromises have been made between building control and the design. The second section demonstrate the design of the ramps and sloping floor in the extension, particularlly the

The existing difference between the floor of the Oil Tanks (-2430mm) and the Tyrban Hall (-1330mm) has challenged the design of the public access route on the Level 0. The gradient of the slope from the Oil Tanks to the Turbine Hall is set up to 1:20.5. As a result, in accordance with the Building Regulation (Approved Document Part M) the slope is not classed as a 'Ramp' (which has a gradient of less than 1:20), therefore no handrails and landings are required to be designed together with the slope.

2.1 Public Spiral Tapered Staircase Acess

Figure 2.7 Section of the Level 0 showing the sloped floor

Figure 2.3 Original Design of the Stair

Figure 2.4 Red Shaded Area Shows the Statutory Requirements in Building Regulations

Tread Depth and Going

Building Regulations

Drawing shows the as built plan of the spiral staircase has a width of 140mm at the inner end and more than 500mm at the outter edge.

Red shaded area in the Figure 2.4 shows the requirements set out by ADK 1.25, rise and the going is to comply with the paragraph Oil Tanks 1.2 and 1.3, with 150mm and 400mm which is Figure 2.8 Section of As built Ramp at the Level 0 clearly smaller than the as built staircase.

10000

Tokyo: Accident & Oder credit: 40

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

1100 1100

29660

9660

10000

Turbine Hall

10000

Turbine Hall

29660 9660

Figure 2.3 and figure 2.4 demonstrated the maximum design of a public access tapered staircase is significantly smaller than the proposed staircase. In this case, the whole staircase is suggested by the architects to be designed as two individual flights (forming one large spiral staircase) with handrails to seperate in between. The architects stated that the ‘prefered walking area is along both side of the middle handrails’, making the outer edge of the staircase ‘a perfect seating and viewing Figure 2.9 Section shows If the slope is designed as a Ramp area.

Landing

1100

Landing

Oil Tanks

DESIGN STUDIO D

Figure 2.10 Ramped Bridge on Level 4 - Axonometric

1100

2.1.1 TREAD DEPTH AND GOING OF THE PUBLIC SPIRAL STAIRCASE

Turbine Hall

29660

2.12°

10000

2.12°

SEMESTER 2

Turbine Hall

Oil Tanks

DESIGN STUDIO B 29660

Hotel Paris

Figure shows the section if the slope is designed as a ramp. In accordance with the Building Regulation Approved Document Part K, the whole slope should be divided into three parts, with two ramps (maximum going of the flight at 10m) at a gradient of 1:20 and a landing to match the width of the ramp. Handrails to be added to both side of the ramp.

credit: 40

[SCAT]

credit: 40

DESIGN REPORT

Figure 2.11 Ramped Bridge on Level 4 - Section

2.2.2 RAMPED BRIDGE ACCESS DESIGN credit:

The Boiler House and the Switch House are connected with a specifictly designed ramped bridge across the Turbine Hall located just under the roof structure. The new bridge sits directly above the new Turbine Hall window in the Switch House. The 850mm difference in floor heights between the Boiler House and the Switch House (RL +26.13 TO +25.28 respectively) is dealt with through the sloping of the bridge. The 23m long bridge is in three parts: two sloped sections, at a gradient of less than 1:20, with a central landing of 6.2m matching the clear width of the bridge in accordance with the Building Regulation Approved Document Part K.

Figure 2.1 The Public Spiral Staircase on the Ground Level - Axonometric

2.2.2 Ramped Bridge Access Design

Figure 2.5 Original Handrail Design of the Stair

Figure 2.6 Balusters as required in Building Regulations shown

2.1.2 HANDRAIL DESIGN AND BALLUSTRADE

LEVEL 5

The handrails in the Tate Modern Extension are generally designed to meet the building regulation requirement, where necessary, of Approved Document Part M (ADM). However, on the wide curved stairs from Level 01 to 05, three handrails were designed. Inner handrail is designed in accordance with ADM paragraph 1.37 and 3.55 and aligned at no more than 20 degrees to the step nosing. Centre handrail is suggested to be designed for use on both side. However according to Building Regulations Approved Document Part M, the design of the central handrail is partially fail to comply with the ballustrade design, which suggested to have ballusters aligned in a maximum distance of 100mm to protect users from falling (as shown in figure 2.6).

LEVEL 4 LEVEL 3

LEVEL 2

LEVEL 1

LEVEL 0 Figure 2.2 The Public Spiral Staircase on the Ground Level - Plan

2.2.1 Ground Floor Ramp Access Design Figure 2.12 Section across the Tate Mordern existing building and the Extension

DESIGN STUDIO C

TOKYO: ACCIDENT & ODER TOKYO MA: RESTRUCTURING OJIMA THROUGH THE VOIDS TYPOLOGIES Studio Leaders: Liam Ross and Sebastian Aedo Completed in collaboration with Kekai Ren and Ruochen Liu

OVERVIEW

LEANRING OUTCOMES

Tokyo is a city subject to a high degree of pyro-seismic risk, lying on the confluence of three tectonic plate boundaries. Over the course of its history, it has been almost completely destroyed by fire on three occasions; during the Great Fire of Meiriki in 1657, following the Great Canto Earthquake in 1923, and through the fire-bombing of World War II. Its urban fabric and architecture have therefore been marked by the destructive force of earthquake and fire, but also the disaster prevention measures that city planners and regulators have applied in their wake. A city renowned for its chaotic lack of structure, these seismic and fire-safety legislation are perhaps important ordering devices in the history of the city, leading to the re-adjustment of land-ownership on many occasions, and defining its ‘hard-shell, Soft-Yolk’ morphology.

LO1 - The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

Yet these urban initiatives have had limited impact on the ground, being resisted by the existing built fabric. In the main, Tokyo remains much as it would have been in the 17th C, a village of dense, cheap, low-rise timber construction. In fact, due to rapidly fragmenting land ownership, the density of these low-rise timber buildings is increasing exponentially, as is the seismic and fire-risk that they pose. Tokyo remains, according to the global reinsurance company Swiss RE, the most risky place to own property in the world. This studio explores the relation between Order and Accident, then, through an analysis of the relationship between Tokyo’s Urban Disaster Prevention regulation and its built fabric. It is concerned, on the one hand, to understand the ways in which disaster prevention thinking can offer a platform for future urban and architectural ordering projects. On the other, it is concerned with the ways in which the city’s existing urban and architectural design practices create obstacles for, or offer a critique to, existing forms of legislation.

M A R C H 1 / S E M E S T E R 1 / D E S I G N S T U D I O C / TO K YO M A : RESTRUCTURING OJIMA THROUGH THE VOIDS T YPOLOGIES 4

LO2 - The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. LO3 - A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work.

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DESIGN STUDIO D

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DESIGN REPORT

間 TOKYO MA: RESTRUCTURING OJIMA THROUGH THE VOIDS TYPOLOGIES

OVERVIEW This project begins with an investigation to the Edo Castle’s defensive and domestic diagrams and patterns which afterwards sets the initial parameters of later developments. Under the Toyko’s ever changing urban fabric and voids in the mode of Metabolism, this project questioned how a series of architectural investigations may tackle the existing fire issues in Ojima, the chosen site where densely developed residential blocks form the core with partially reinforced fire safe edge. As three identified voids in Ojima’s urban fabric, Gaps, vacant land and public parks have been taken into the foundations of the designs. Gapsite development approached the existing from restructuring the core of chosen site blocks with designated fire safe evacuation routes and residential developments, explored a transformational fire safe strategy; Vacant lands were predominantly developed to fire safe courtyards and site indications reflecting Matsugata’s defensive patterns in Edo castle; Gaps of the edges of Ojima have been reinforced with suspended housing complex featuring the hierarchy and leveling of the castle, and regenerates parks for the overdeveloped urban contexts.

Edo Castle - A Defensive Diagram

MARCH 1 / SEMESTER 1 / DESIGN STUDIO C / TOKYO MA: R E S T R U C T U R I N G OJ I M A T H RO U G H T H E V O I D S T Y P O LO G I E S 5

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I. MATSUGATA The investigations unfolded with a study to a common defense device that existed in Japanese history of premodern combat weapons era. The Matsugata can be seen as a courtyard typology that applied in the wholistic design of Japanese traditional castles. The repeatedness of the courtyards has successfully developed a sophisticated defense mechanism that protects the palaces and its owners in the castle. The mechanism is simple, enemies are forced to make a left or right turn when they entered the courtyard, and within the perimeter of the architecture, walls and gate are preventing further access whilst defending troops are enabled with great advantages. Matsugatas are repeately placed along a designated routes to the Tenshudai (the main tower of the palace) therefore enemies have only little chance to reach their final destination.

Axonometric - A Defensive Device

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II. KATSURA PALACE The Katsura Palace is one of the most classical Japanese palaces that has profoundly reflected the essence of Japanese traditional architecture. Interestingly, the Palace has been designed in a similar way to the Matsugata, in which a designated route is embeded. Katsura Palace shows the space and depth of view that the owner decided to show and it is possible to change it's internal spatial arrangements through modifying the existing diagrams of room separation. The more open the diagram gets, the more the visitors can see. Katsura Palace has defined a way-finding domestic defensive strategy that may have influenced the design of the whole castle.

Axonometric - A Way-finding Strategy

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III. EDO CASTLE The castle is the ultimate labyrinth that consolidated the ideas of Matsugata and the Katsura Palace. Matsugata as a basic defense device are place around each boundary line. The palace itself has reflected the way-finding strategy that defined by the Katsura Palace. The entire castle are segregated into three defensive structures that fundamentally defined by the contours of the castle. The main palace that the emperor holds clutches the highest points of the castle, with views to every corners of the strongholds. The castle has defined a defensing mechanism that work as a whole.

Axonometric - A Defensive Mechanism

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MATSUGATA

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KATSURA PALACE

DESIGN REPORT

EDO CASTLE

The spatial qualities of three elements reimagined

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The Legacy of the Castle

The Urban Voids of Ojima

DESIGN STUDIO C

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DESIGN REPORT

I. GAPS IN CITY The initial survey starts with a deep look into the voids in Ojima. Gaps are everywhere, ranges from few metres to few centimetres. The reason of having gaps in Japanese housing is that a deep cultural identity has been embeded in Japanese architecture spirit throughout the history, which is the obsession of newness. The Grand Shinto Shrine is to be demolished and rebuilt in every 20 years, which reflects a religious idea of life goes in circle. Disasters have taught Japanese people that building is not something they can take for granted. Japanese people like to emphasize their ownership of the plot and the building, which brought the issue of having gaps between buildings. A gap site is considerably vulneralbe in terms of fire and earthquake. Gaps are generating problems and lowering the quality of life in a certain area.

- Mixture of Varieties of Gaps

- Negative Space: MA( é&#x2013;&#x201C; )

Street Elevation: Gaps between buildings in Ojima and the Negative Space - A Medium dense residential block

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1st GENERATION

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The first generation of houses in Ojima has been found to be dense in the first place. After the WWII the local government started a rapid reconstruction with a massive and dense residential blocks which made of cheap materials due to the thrust of construction speed. These houses are proved to be vulnerable in terms of disaster resistance and needed a consistant maintanance. The gaps started.

The burst of Japanese economy after WWII brought the great opportunity to its property industry. By the time the 1st generation house has fufilled their destiny, the replacement star ted. Due to the average life span of Japanese houses, in order to retain the value of the house, a vertical subdivision starts to take place. Houses are getting taller and the space between are shrinking remarkably.

The newest generation combined a range of new technologies such as rapid prefabrication. Again, houses are still growing vertically, and some of the plots are combined for the opportunity of medium size apartment buildings. The variety of houses are blooming. Although new technics are bringing higher standard of disaster resistance to houses but the gaps between buildings are getting inaccessible and even more dangerous.

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The Regulations and Disaster resistance The current civil law in Japan states that if a gap exists between two individual buildings then a metre distance should the houses keep in order to provide easy access of facade maintanance, good ventilation and prevent fire to spread. The construction law in Japan states that the gaps are allowed to be joined up if a fire proof structure is provided between two individual buildings. As in real Ojima few houses are actually following either of laws mentioned above. Narrow gaps are remarkably danger in terms of disasters, fire can spread faster without party walls in between and buildings are likely to hit each other in an earthquake situation.

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II. VACANT LAND It is an ease to find vacant land in Ojima dense residential area. Vacant land exists for many reasons or not a reason at all. The vacant land is a byproduct of Japanese special property industry, especially due to the constant demolish and reconstruction. The vacant land in Ojima is usually found to be existed for two forms. Car parks and new house plot. The survey shows the vacant land on site is constant changing its place but the total number remains the same. It is similar to other issues such as Japanese governments retain a certain number of unemployed people who are ready to be employed. There are opportunities lie in vacant land but yet clearly defined.

- The Vacant Possibility

- Negative Space: MA

Site Plan: The common forms of vacant lands in Ojima

Elevation: The common forms of vacant lands in Ojima

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Axonometric: The Vacant Opportunities

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Time Line: Vacant Land recorded in 1963 - 7.6%

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Vacant Land recorded in 2005 - 7.7%

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DESIGN REPORT

Vacant Land recorded in 2015 - 8.1%

An Overlay of Times - darkest shade is the most recent

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III. PARKS EXISTING VOIDS

When focusing on voids, parks are a peculiar spatial element in Tokyo, often close to being an urban nothingness. Planning law assures a minimum amount of parks, partially as relief space in case of earthquakes. For every square kilometer, a minimum of one medium sized park and four small parks is demanded, and one large park for every four square kilometers. Nevertheless, many of these parks are unused, deteriorated, defensible spaces or the archetype of Mark Augé’s non-place. Study even showed that only 24 of 146 parks met the proper municipal standard. Contrary to the examples in the book that show activation of urban voids, parks – interestingly not considered voids – are often passive spaces that do not invite people to interact with them. Ironically, it is these planned spaces that often function less than the unintended voids.

EXISTING VOIDS

- The footprint of parks

- Negative Space: MA VOIDS RECONFIGURED

RECONFIGURED VOIDS

Axonometric: The Evacuation Sites Axonometric: Public Parks and Carpark

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EXISTING VOIDS

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Ojima Site: The conventional way of improving site safety

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Axonometric: The Castle of Ojima

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IV. GAP SITE STRATEGY The scheme takes the idea of vertical metabolism on site which could be found in previous gap site survey that the houses are growing vertically throughout the time but the gaps are getting narrower. The idea of building the housing on a gap site is aimed to a slow but effective ways of altering the performance of disaster resistance in a certain area by relocation of houses which fufilled its lifespan. By freeing land of the inner yolk of the site creates a safe courtyard. Buildings arround the edge are encouraged to be renovated throughout the time and forms a hard boundary which provides a layer of disaster resistance in the future.

- Mixture of Housing Units The relocated houses are shrinking its size to follow the principal of the Metabolism on site. Units can be individually fabricated and installed.

The final draft scheme reflects the idea of masugata which proved to be a extraodinary defensive mechanism for the Edo Castle. The housing structures are aimed to achieve freeing the inner space of a danger rated gap site, to form a urban masugata with safe courtyard in the middle with hard edges arround the boundary. Each units forms into a disaster defensive mechanism to reflect the idea of the Edo Castle, that the repeating masugata creates a route to defend every single layers.

- The infrastructure in gap site The super structure holds houses and provides a good circulation space. The Wall has been setup as a fire break according to the regulation in Japan, and it will be removed after the house below has been relocated onto the structure. The appereance of the entrance circulation tower is following the planning hight restriction.

Axonometric: A housing development throughout the time

Plans: A housing development throughout the time

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Site Axonometric View: A complete strategy of gaps

Site Plan

Site Section: Edo Castle

Axonometric: Verticalised Housing in gap site Site Plan

Site Section: Modern context

Site Section: Edo Castle

Site Sections: A spatial hierarchy

On the Section, the scheme takes the idea from the Edo Castle where the spatial hierarchy is an important factor in a wholistic design. The Edo Castle defines its three clear seperated layers with walls and masuagtas but the urban context is failed to achieve the same result. By construction the scheme inside the superblock brings a layering strategy to the whole site which would potentially work like the masugata and the walls to close disasters in a layer to protect the outer edge absolutely safe.

Site Section: Modern context

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ARCHITECTURAL TECHNOLOGY RESEARCH [ATR] Generic Study & Contextual Study

OVERVIEW

LEANRING OUTCOMES

“The ambition and scale of most projects at the level of MArch is such that the technical issues are complex and not usually appropriate to standard or routine technique. The growing complexity of the construction process and changing technology suggest that the architect becomes a practitioner–researcher. There is growing need for a deeper relationship between practice and academia, particularly regarding research and its application in practice. The complexity of projects demands that research becomes an important aspect of the design process. Methods of building are continually changing. New materials; new processes; and new design tools create an environment where traditional paradigms may have less validity. Architectural programmes take place in a particular location, creating a new context. This sets up complex relationships situated in the links between methods of building, both contemporary and vernacular; materials; topography; climate; transportation; and industry. This course is intended to accumulate various sets of information that are both contextual and responsive to contemporary technological issues. Students will be involved in the research, collation, presentation and dissemination of a series of technical and environmental topics that are appropriate to the scale of complex design projects.”

LO1: An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, eg sustainable design.

Aims: 1. To develop approaches for research in technology and environment, and reflect on its role in the design process. 2. To help create an ongoing interest in the acquisition and synthesis of knowledge regarding the construction and performance of built form. 3. To create a wide-ranging and current technology resource available to the students through MArch1 and into MArch2.

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LO2: An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment). LO3: An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups. LO4: An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context.

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BAMBOO IN CONTEMPORARY ARCHITECTURE: How Can Bamboo Address Modern Architecture Industry as Building Material? 1. INTRODUCTION Bamboo has been introduced to building industries ever since the beginning of the human civilization. This amazing plant has been an ancient tradition and an important role in many cultures where it grows abundantly such as China, south America, south Asian countries and Africa. As one of the oldest building materials, bamboo has a high strength to weight ratio which rivals steel and prosperous environmental advantages which has gained engineers and architects’ interest increasingly due to the massively developing and rapid changing architecture industry. The aim of this study is to address the bamboo as a building material, and its place in contemporary architecture. 2. METHODOLOGY The study is to gather current available information of bamboo, its physical properties, usage in building history, legislation and standardisation, treatment of bamboo and its cultural acceptance. Two case studies have been investigated to gain further understanding of bamboo as a construction material in practice. The Wind and Water Bar by Vo Trong Nghia Architects demonstrated conventional methods of bamboo construction and its environmental properties while the German – Chinese Pavillion for Shanghai Expo 2010 addresses contemporar y ways of bamboo application. Natural bamboo is very likely to be attacked by insects and fungi due to its lack of natural toxicity. From the beginning of use of bamboo as a building material people have various ways of treatment just in order to extend its lifespan. Generally, the main objective of treating natural bamboo is to remove carbohydrates

MARCH 1 / SEMESTER 1 / ATR / BAMBOO IN CONTEMPORARY A R C H I T E C T U R E A S A B U I L D I N G M AT E R I A L 21

which attract insects and replace it by ar tificial chemicals into the culm to increase the lifespan of the bamboo up to 50 years without losing any physical properties. There are various ways of treatment such as smoking, lime washing and chemical treatment. The most efficient traditional treatment known to be chemical treatment by using water as a solvent by carrying boric acid or copper sulphates into the bamboo culm. After the evaporation of water the chemicals are left inside of the bamboo and making the lifespan remarkably longer than untreated. The production of bamboo in China used bamboo’s whole culm, with diferrent sections of culm to suit various applications. Although the use of culm is relatively efficient however when manufacturing bamboo within individual processes the efficiency of the use of material drops considerably. As a result, early process of lamination of bamboo was first used in China’s building industry in the early 1970’s in order to increase the efficiency. Nowadays, laminated bamboo can be seen as a primary structural element in some contemporar y architecture and its marketplace is continuously increasing. When compare wood products with bamboo, the mechanical properties of wood are less than bamboo in compression and shear, but comparable in bending and tension. Research shows that the laminated bamboo are comparable to laminated timber in bending and stiffness, but remarkably stronger in compression and tension. Therefore laminated bamboo products rival structural timber, but efficiency of the material is significantly better than timber.

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Bamboo is woody and fast growing plant which grows naturally throughout the world’s tropical and sub-tropical regions of every major continent apart from Europe, and it is the largest member of grass family. There are over 1000 species of bamboo across the world. The bamboo plant has an extensive underground network, of which the singular feature is the rhizome. Bamboo is a versatile, strong, renewable and environmentally friendly material. it is the fastest growing woody plant producing a mature fibre for use within three years (Vaghela, 2010). Bamboo is an extremely strong fiber with twice the compres¬sive strength of concrete, and roughly the same strength to weight ratio of steel in tension. The structural advan¬tages of bamboo are its strength and light weight whereby properly constructed bamboo buildings are inherently resis¬tant to wind and earthquakes Bamboo is the fastest growing plant on earth. It grows approximately 7.5 to 40cm a day, with the highest record of 1.2m in one day achieved by a Japanese bamboo species. Bamboo usually mature in five years time, Bamboo is also very productive in biomass, managing more than 40 tons per hectare annually (Yu, 2007). It accounts for around one-quarter of biomass produced in tropical regions and one-fifth in subtropical regions. Legislation and Standardisation The development of bamboo in modern architecture has been driven by the massively increasing demands of sustainable building materials however, the lack of standardisation is one of the major barrier to promote bamboo in to a further field in contemporary architecture.

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being a major construction material is the growth area and the transportation costs, and also the traditional sense of the material is not stronger than any other rivals such as steel.

DESIGN STUDIO B

Contents

2. MeThODOlOgy

1. Introduction

The study is to gather current available i n f o r m a t i o n of b a m b o o , i t s p h y s i c a l proper ties, usage in building histor y, legislation and standardisation, treatment of bamboo and its cultural acceptance. Two case studies have been investigated to gain further understanding of bamboo as a construction material in practice. The Wind and Water Bar by Vo Trong Nghia Architects demonstrated conventional methods of bamboo construction and its environmental proper ties while the German – Chinese Pavillion for Shanghai Expo 2010 addresses

2. Methodology 3. What is Bamboo? 3.1 Physical properties 3.2 Treatment of Bamboo (Conventional) 3.3 Treatment of Bamboo (Modern) 3.4 Legislation and Standardisation

Conclusion

4. Case Studies 4.1 Wind and Water bar by Vo Trong Nghia 4.2 Bamboo Pavilion for the Expo Shanghai

From the current information of natural properties of bamboo shows that there is a strong evidence that bamboo has a great potential to be used as one of the major structural elements in contemporary architectural design with a high strength to weight ratio which rivals steel and a low environmental impact and co2 footprint. It is fast and dense growing, renewable and cheap. crop region which ranges all over the tropical and subtropical region of all continents apart from Europe provides a worldwide supply potential however currently restrained by rising transportation costs. There are however considerable numbers of factors that limits bamboo to be used widely in architecture industry. Bamboo is very easily to be attacked by fungi and insects and as a result its durability is poor. Study towards treatments of bamboo has proved that in both traditional and modern methods of treating bamboo have been successful to increase its lifespan out of expectancy. Especially with laminated bamboo, a material that has comparable properties to laminated timber in bending and stiffness, but remarkably stronger in compression and tension. Two case studies demonstrate bamboo can be used properly in both structural and aesthetic aspects of the design. The Wind and Water Bar by Vo Trong Nghia Architects shows the traditional methods of bamboo construction can be potentially used in modern buildings to achieve a better environmental performance. The German- Chinese house for Shanghai Expo 2010 demonstrates various way of modifying bamboo to suit future structural application such as steel reinforcement and laminated bamboo. To summarise, the research has found that bamboo as a building material has a great potential in modern architecture especially with its super properties and environmental factors. However, the standardisation and legislation of bamboo in building industries are the major barrier of stopping bamboo to become one of major building materials in the world. The case studies have seen to successfully address bamboo in the area where vernacular bamboo architecture is a tradition. Also, research shows more and more modern architectures to use bamboo as a feature in where vernacular bamboo architecture doesn’t exist such as Europe.

contemporary ways of bamboo application. figure01 . The traditional bamboo venacular architecture in Bali.

5. Conclusion

B A MB O O

Bamboo has been introduced to building industries ever since the beginning of the human civilization (Jassen, 2000). This amazing plant has been an ancient tradition and an important role in many cultures where it grows abundantly such as China, south America, south Asian countries and Africa. As one of the oldest building materials, bamboo has a high strength to weight ratio which rivals steel and prosperous environmental advantages which has gained engineers and architects’ interest increasingly due to the massively developing and rapid changing architecture industry. The aim of this study is to address the bamboo as a building material, and its place in contemporary architecture.

7. Reference 8. Bibliography

YIDA ZHOU

Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

3.1 WhAT IS BAMBOO? -ancient Chinese poem

YU, X. (2007) Bamboo: Structure and Culture: Utilizing bamboo in the industrial context with reference to its structural and cultural dimensions. Universität Duisburg-Essen, Germany Vaghela , K, Acharya m, Jethwa p. (2010) Bamboo Construction Source Book, Hunnarshala Foundation for Building Technology and innovations, India

Natural bamboo is very likely to be attacked by insects and fungi due to its lack of natural toxicity. From the beginning of use of bamboo as a building material people have various ways of treatment just in order to extend its lifespan (Vaghela, 2010). Generally, the main objective of treating natural bamboo is to remove carbohydrates which attract insects and replace it by artificial chemicals into the culm to increase the lifespan of the bamboo up to 50 years without losing any physical

regions and one-fifth in subtropical regions.

MAP

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Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

page 05

Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

3.3 Treatment of the Bamboo (Modern) Laminated Bamboo Products v

properties. There are various ways of treatment such as smoking, lime washing and chemical treatment. The most efficient traditional treatment known to be chemical treatment by using water as a solvent by carrying boric acid or copper sulphates into the bamboo culm. After the evaporation of water the chemicals are left inside of the bamboo and making the lifespan remarkably longer than untreated.

The production of bamboo in China used b a m b o o’s w h o l e c u l m , w i t h d i f e r re n t sections of culm to suit various applications. Although the use of culm is relatively efficient however when manufacturing bamboo within individual processes the efficiency of the use of material drops considerably. As a result, early process of lamination of bamboo was first used in China’s building industry in the early 1970’s in order to increase the efficiency. Nowadays, laminated bamboo can be seen as a primary structural element in some contemporary architecture and its marketplace is continuously increasing. When compare wood products with bamboo, the mechanical properties of wood are less than bamboo in compression and shear, but comparable in bending and tension. Research shows that the laminated bamboo

figure03 . The scientific drawing of bamboo plant

are comparable to laminated timber in bending and stiffness, but remarkably stronger in compression and tension. Therefore laminated bamboo products rival structural timber, but efficiency of the material is significantly better than timber (Sharma, 2014).

figure08 . Laminated bamboo as main structure in a design

figure09 . Making of laminated bamboo

figure04 . Physical properties of common building material comparison figure06 . Above; Lime washing the bamboo figure07 . Right; Chemical treatment of bamboo

Figure05. The Distribution of Bamboo in the World Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

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Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

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Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

3.4 legislation and Standardisation

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Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

figure10 . Process of manufacturing engineered bamboo products Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

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figure11 . Comperison between engineered bamboo and structural timber Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

4.1 Case Study 1 Wind and Water Bar by Vo Trong Nghia Architects

The development of bamboo in modern architecture has been driven by the massively increasing demands of sustainable building materials however, the lack of standardisation is one of the major barrier to promote bamboo in to a further field in contemporary architecture (Mulligan, 2014).

Location: Binh Duong province, Vietnam. Architectural design: Vo Trong Nghia Wind and Water Bar has been designed with purely bamboo in mind. It located in a middle of an artificial lake which provides a natural barrier of heat gain, using the natural wind energy together with the cool water from the lake to make the natural air-ventilation instead of having mechanical ventilation or air conditioning inside of the building. The dome is acting as a big ventilator which enables hot air to flow up out from it and encourage cool air from the lake to replace.

figure12 . Recent projects in different countries featured bamboo in design -Bamboo Courtyard Teahouse by HWCD Associates, Yangzhou, 2012; -Residences adjacent to the Great Wall of China, Beijing, 2002; -Laminated Bamboo House, Kunming, 2011; -Bamboo Blossom Gate, Xiangyiang, 2016 -West Kowloon Bamboo Theatre, Hongkong, 2013 -German-China house for Shanghai Expo, 2010 -Crosswaters Ecolodge, Huizhou, 2009 -Bamboo Pavilion, Lishui, 2015

-Mason Lane Farm Operations Facility, Goshen, Kentucky 2009 -Modular Solar Home made of Bamboo, Santa Clara 2013

-Boathouse, Domaine de Boisbuchet, France 2001 -Carabanchel Housing, Madrid, Spain 2008 -Bamboo-Clad House, Belgium 2013V

-International Flori Show, Sikkim, India

ChINA

USA

eUROPe

INDIA

PeRU

eCUADOR

COlUMBIA

ISO

JG/T 199: Testing method for physical andmechanical properties of bamboo used in building(PRC MoC, 2007)

A S T M D 5 4 5 6 : S t a n d a rd s p e c i f i c a t i o n forevaluation of structural composite lumber

NO STANDARDS OR CODES FOUND

National Building Code of India, section 3 Timber andbamboo: 3B (BIS, 2010)

Reglamento Nacional de Edificaciones, Section III. CodeE100 – Disen ̃ o y Construccio ́ n con Bamboo (ICG 2012)

Norma Ecuatoriana de la Construccio ́n– chapter 17Utilizacio ́ n de la Guadua Angustifolia Kunth en laConstruccio ́ n (Use ofGuadua angustifoliaKunth inconstruction) (INEN, 2011)

Reglamento Colombiano de Construccio ́ n Sismoresistente– chapter G12 Estructuras de Guadua (Guadua structures)(ICONTEC, 2010

ISO 22156: Bamboo – structural design ( I S O, 2 0 0 4 a ) I S O 2 2 1 5 7 - 1 B a m b o o – determination of physicaland mechanical properties – part 1: requirements(ISO, 2004b) ISO 22157-2: Bamboo – determination of physicaland mechanical proper ties – par t 2: laborator ymanual (ISO, 2004c)

figure13. Standards and codes for bamboo found in countries

IS 6874: Method of tests for round bamboos (BIS,2008)

products(ASTM, 2013)

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Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

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Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

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Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

5. Conclusion

4.2 Case Study 2 Bamboo Pavilion for the Expo Shanghai

towards treatments of bamboo has proved that in both traditional and modern methods of treating bamboo have been successful to increase its lifespan out of expectancy. Especially with laminated bamboo, a material that has comparable properties to laminated timber in bending and stiffness, but remarkably stronger in compression and tension. The lack of standardisation and codes is the major barrier of promoting bamboo into a greater future in architectural industr y. Architects and engineers are more than interested in its naturally rich properties but won’t be using bamboo correctly because of lack of regulations in place. Two case studies demonstrate bamboo can be used properly in both structural

and aesthetic aspects of the design. The Wind and Water Bar by Vo Trong Nghia Architects shows the traditional methods of bamboo construction can be potentially used in modern buildings to achieve a better environmental performance. The GermanChinese house for Shanghai Expo 2010 demonstrates various way of modifying bamboo to suit future structural application such as steel reinforcement and laminated bamboo.

Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

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Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

6. Appendix - Precedents studies Kontum Indochine Café

Bamboo Forest

Location: Vieman Architect: Vo Trong Nghia Architects

Location: Tokyo, Japan Architect: Vo Trong Nghia Architects In this precedent, bamboo has been used as a main structure for a garden pavillion, with traditional bond and tie strategies, to achieve a concept of city garden with environmental friendly material.

to become one of major building materials in the world. The case studies have seen to successfully address bamboo in the area where vernacular bamboo architecture is a tradition. Also, research shows more and more modern architectures to use bamboo as a feature in where vernacular bamboo architecture doesn’t exist such as Europe.

To summarise, the research has found that bamboo as a building material has a great potential in modern architecture especially with its super properties and environmental factors. However, the standardisation and legislation of bamboo in building industries are the major barrier of stopping bamboo

Location: Shanghai, China Architect: Markus Heinsdorff The German-Chinese pavilion has been erected for the Expo 2010 Shanghai in order to address the link between western technologies and ancient eastern material. The bamboo which used in this case are giant stems up to 23 cm in diameter with stainless-steel connections fixing concreted into the end of the bamboo canes. The spatial enclosure is formed by a screen supported by a bamboo-veneered steel SHS structure, while the internal platform is borne by specially developed beams in laminated bamboo. All these elements demonstrate the versatility of this renewable raw material and its great potential. Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

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The main structure is erected by using bamboo with steel reinforcement. The building is surrounded by an artificial lake and the whole cafe is open to the outside because the architects believed that with bamboo the temperature inside cafe will be naturally controlled in a desirable section with no aid of mechanical ventilation of air-con.

Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

6. Appendix - Structure Study A Study of Bamboo Scaffolding in Hongkong

Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

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Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

7. Reference

It was first introduced into the building industr y in Hong Kong immediately after colonization in the 1800s. It was widely used in the building of houses and multi-story buildings (up to four stories high) prior to the development of metal scaffolding. It was also useful for short-term construction projects, such as framework for temporary sheds for Cantonese Opera performances.

1. JANSSEN, JJA. (2000) Design and Building with Bamboo. International Network for Bamboo and Rattan. Beijing, China, Technical report 20. 2. YU, X. (2007) Bamboo: Structure and Culture: Utilizing bamboo in the industrial context with reference to its structural and cultural dimensions. Universität Duisburg-Essen, Germany 3. VAGHELA, K, ACHARYA M, JETHWA P. (2010) Bamboo Construction Source Book, Hunnarshala Foundation for Building Technology and innovations, India 4. SHARMA B, BOCK M, GATOO A, MULLIGAN H, RAMAGE M. (2014) Engineered bamboo: state of the art. ICE Publishing 5. GATOO,A., SHARMA,B., BOCK,M., MULLIGAN,H. And RAMAGE, H. (2014) Sustainable structures: bamboo standards and building codes, ICE proceedings.

How it works

SHARMA B, BOCK M, GATOO A, MULLIGAN H, RAMAGE M. (2014) Engineered bamboo: state of the art. ICE Publishing GATOO,A., SHARMA,B., BOCK,M., MULLIGAN,H. And RAMAGE, H. (2014) Sustainable structures: bamboo standards and building codes, ICE proceedings.

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3.2 Treatment of the Bamboo(Conventional) Traditional Treatments

‘Bamboo is the biggest dream of grass’

Selected Bibliography: JANSSEN, JJA. (2000) Design and Building with Bamboo. International Network for Bamboo and Rattan. Beijing, China, Technical report 20.

figure02 . Bamboo harvesting in south Asia

1. INTRODUCTION

6. Appendix

IN CONTEMPORARY ARCHITECTURE AS A BU ILDING M AT ERIAL

DESIGN REPORT

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Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

8. Bibliography Websites

8. Bibliography Books and Articles

https://www.researchgate.net/publication/284345386_Sustainable_structures_Bamboo_standards_and_building_codes http://www.chinascenic.com/magazine/the-world-of-bamboo-212.html http://www.dezeen.com/2012/09/03/wind-and-water-bar-by-vo-trong-nghia/ http://www.detail-online.com/inspiration/bamboo-pavilion-for-the-expo-shanghai-103526.html http://www.archdaily.com/58871/the-%25e2%2580%259cgerman-chinese-house%25e2%2580%259d-at-the-shanghai-world-expo-2010 http://votrongnghia.com/projects/wnw-bar/ http://bamboobuildings.weebly.com/building-codes.html http://www.worldbamboo.net/wbcx/Sessions/Theme%20Architecture%20Engineering%20Social%20Housing/Manjunath,%20Neelam.pdf http://www.bma.arch.unige.it/pdf/CONSTRUCTION_HISTORY_2009/VOL3/Rodriguez-Camillon-Humberto_Paper-revised-4_layouted.pdf https://vietbamboobike.com/pages/why-bamboo http://www.carltd.com/sites/carwebsite/files/Engineered%20bamboo-%20state%20of%20the%20art,%20Proceedings%20of%20the%20 Institution%20of%20Civil%20Engineers.pdf http://ascelibrary.org/doi/abs/10.1061/(ASCE)ST.1943-541X.0000807 http://lambooincorporated.blogspot.co.uk/2012_08_01_archive.html http://openbuildings.com/buildings/great-bamboo-wall-profile-42061 http://www.dezeen.com/2014/07/19/dezeen-top-10-bamboo-architecture-projects/ http://www.archdaily.com/643476/bamboo-pavilion-dna_design-and-architecture http://www.archdaily.com/1580/caranbachel-housing-foreign-office-architects http://inhabitat.com/sun-powered-bambu-house-sprouts-at-solar-decathlon-europe/ http://inhabitat.com/integer-bamboo-house-the-world%E2%80%99s-first-multi-story-laminated-bamboo-house/ http://inhabitat.com/ast-77%C2%B4s-bamboo-clad-house-is-a-minimal-elegant-and-efficient-home-in-the-belgian-woodlands/

Books

Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

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VAGHELA, K, ACHARYA M, JETHWA P. (2010) Bamboo Construction Source Book, Hunnarshala Foundation for Building Technology and innovations, India JANSSEN, JJA. (2000) Design and Building with Bamboo. International Network for Bamboo and Rattan. Beijing, China, Technical report 20. YU, X. (2007) Bamboo: Structure and Culture: Utilizing bamboo in the industrial context with reference to its structural and cultural dimensions. Universität Duisburg-Essen, Germany

Articles

Bamboo in Contemporary Architecture as a Building Material -YIDA ZHOU-

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Introduction - Methodology - WHAT IS BAMBOO - Case Study - Conclusion - Appendix - Reference - Bibliography

DESIGN STUDIO C

ATR [CONTEXTUAL STUDY]

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

1. INTRODUCTION

Prefabrication is a term used to describe the construction of building or building components at a location remote from the building site. The manufactured building or building parts are then delivered to the site and assembled in their final position. Prefabrication may prove to be a more efficient alternative to more traditional site-based construction methods in terms of accuracy, quality, environmental impact, safety and other important considerations. Studio Context

Tokyo studio aims to explore and analysis the relationship between Tokyo’s disaster prevention regulation and its built fabric and urban morphology. Since Tokyo is a city subject to a high degree of proseismic risk and has been almost completely destroyed on three occasions over the course of its history, prefabrication buildings play a significant role in post-disaster resettlement and its faster urban metabolism due to its construction efficiency and earthquake resistant. METHODOLOGY

PREFABRICATED HOUSE IN JAPAN: How Can Timber and Steel Prefabricated Technologies address Housing Issues in Japan?

Abstract Japanese takes no grant for their homes. Around every 26 years a house in japan would end its lifespan and restart the life in a brand new form. With the house lifespan in other developed economies streches over 50-100 year, japan is fighting it's way out to address the housing issues with some particular technologies such as prefabrication, which takes approximately 16% of all houses construction in Japan anually. This report provides a brief to discover the issues associated with housing lifespans and comparing the different materials particularly timber and steel, and different methods used today in Japanese prefabrication industry.

M A R C H 1 / S E M E S T E R 1 / A T R / P R E FA B R I C AT E D H O U S E I N J A PA N 23

The contextual study is structured to analyse the social, historical and cultural aspects of Prefabricated Housing in Japan together with relevant disaster resistance appraisal. The report is put together with both primary data collected during the field trip to Japan and secondary data based on literary research, books and articles. Comparable disaster resistance testing of wood and steel structured modeling is also applied in order to gain a comprehensive understanding of prefabrication technology. Two case studies investigated provide a wider knowledge of how can contemporary prefabrication change the way of living. 11 Boxes by Keijisawa demonstrates the extremely simple way of prefabricated modular steel construction. Onjuku house by Bakoka has addressed the issed of the limit that modern timber technologies can reach. A seismic analysis was conducted to gain further understanding of the prefabrication in terms of disaster resistance. At the end of the study, conclusion will be drawn demonstrating both understanding and retrofit of prefabrication technology. Selected Excerpt: Manufacturing & Energy Efficiency In Japan, today's buildings are demolished even though they could last. The real victim is the environment: replacing the entire housing stock within a generation means a whole lot of construction waste.

DESIGN STUDIO B

DESIGN REPORT

Even after implementing the 2000 Construction Material Recycling Law (which called not only for the recycling of construction wastes but an expected 95 percent recycling rate by 2010), statistics from the World Business Council for Sustainable Development show that Japan generates 77 million metric tons of construction and demolition waste each year. Of that, close to 80 percent of it is recycled. Even so, recycling requires more energy and results in “less valuable materials than the ones being discarded.” Prefab houses could be the potential solution to this situation. Construction of prefabricated houses are less wasteful because ever ything’s factor y-built, there’s less waste in the form of construction materials. Also, companies are more likely to reuse waste. The waste that is generated at the factories is often recycled and reused. For instance, many prefab log home manufacturers grind the unused logs and wood into wood chips or pulp to be sold or reused onsite. Prefab houses have the potential in terms of improvement of design flexibility. In regards to building life cycle, Sekisui House gives 20 years of support warranty in their product lines, assuming that the building’s life cycle is meant to last a minimum of 20 years. This number is taken based on the fact that the current residential development system demands more flexibility upon restructuring the city. Houses no longer need to last forever, since people are becoming more mobile and the need of new housing is shifting in a faster pace. With this in mind, a knockdown system is introduced to be able to dismantle the whole building when it is ready to be refurbished and disassemble for further use. Prefabricated buildings will compliment most environmental strategies as over 80% of the structure can be recycled at the end of a very long-life. Prefab Buildings are also being used very successfully to house recycling programmes and help business reach 0% landfill status. Less waste may be generated and in a factory setting it may be easier to recycle it back into the manufacturing process Selected Excerpt: Earchquake Resistance Modelling and Testing In order to briefly test the performance of earthquake resistance of two selected materials, Autodesk Robot Structural Analysis has been used as the primary tool to aquire the seismic test results. In this case, we chose the Muji Vertical House as the

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primary tool to aquire the seismic test results. In this case, we chose the Muji Vertical House as the prototype of test, which is originally erected by prefabricated timber structure. We remodelled the timber structure and we also created a steel version of vertical house in order to test its earthquake performance in a same siezed building.

DESIGN STUDIO B

1. introduction

contents 1. 2. 3. 4.

Prefabricated House in JaPan:

6. 7. 8.

How Can Timber and Steel Prefabricated Technologies address Housing in Japan?

DESIGN REPORT

introduction 1.1 Background 1.2 The Property Market in Japan History & development 2.1. History of Prefabrication in Japan 2.2. The Changing Prefabrication Technologies research Methodology researching: 4.1. Market features 4.3. Structural Detailing of Prefabrication for Disaster Resistance 4.4. Disaster Records 4.4.1. Kumamoto Earthquake House Damage Records 4.5. Case studies 4.5.1. 11 Boxes 4.5.2. Onjuku House tests of disaster resistance 5.1. Seismic Modelling and Testing 5.2. Fire Modelling and Testing conclusion references bibliography

On-site assembly of the prefabricated units

Studio Context Tokyo studio aims to explore and analysis the relationship between Tokyo’s disaster prevention regulation and its built fabric and urban morphology. Since Tokyo is a city subject to a high degree of pro-seismic risk and has been almost completely destroyed on three occasions over the course of its history, prefabrication buildings play a significant role in post-disaster resettlement and its faster urban metabolism due to its construction efficiency and earthquake resistant.

figure .Window house by Muji

2. MetHodology The contextual study is structured to analyse the social, historical and cultural aspects of Prefabricated Housing in Japan together with relevant disaster resistance appraisal. The report is put together with both primary data collected during the field trip to Japan and secondary data based on literary research, books and articles. Comparable disaster resistance testing of wood and steel structured modeling is also applied in order to gain a comprehensive understanding of prefabrication technology. Two case studies investigated provide a wider knowledge of how can contemporary prefabrication change the way of living. 11 Boxes by Keijisawa demonstrates the extremely simple way of prefabricated modular steel construction. Onjuku house by Bakoka has addressed the issed of the limit that modern timber technologies can reach. A seismic analysis was conducted to gain further understanding of the prefabrication in terms of disaster resistance. At the end of the study,

The aftermath of the Great Tokyo Air Raid

conclusion will be drawn demonstrating both understanding and retrofit of prefabrication technology.

Ruochen Liu & Yida Zhou - Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

- Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

History of Prefabrication in Japan

Market features

Housing longevity

before industrial transformation (before 1867)

national Prosperity (1960s-1970s)

It is estimated that since 1945 the average lifespan of Japanese detached houses has risen from around 20 years to 40 years – with replacement on average occurring every 26 years. It has therefore been argued the Japanese housing market is “characterised by active housing construction sustained mainly by the demolition of existing houses, leading to a ‘scrap and rebuild’ spiral”.

Major governmental and religious buildings were prefabricated using standardized and industrialized construction methods. A number of historical Japanese cities experienced dramatic changes by natural disasters. Also with the introduction of a new emperor: cities relocation requiring strong and effective systems of measurements and sophisticated prefabrication approaches.

After the reconstruction in the 1950s, Japan prospered in the 1960s and 1970s.The new trend became a new type of home for the salaried man and his family – a detached house with gateway, gable, and garden. This development was also politically supported by the United States, which was convinced that individual home ownership was a strong weapon against communism.

the characteristics of the House-building Market in Japan

Housing longevity, Property Market & Culture Influence YEARS

Housing replacement: international comparison

DIFFERENCE OF LIFETIME

1963 -2014 about 9 million prefabricated houses have been constructed in Japan.Prefabricated house manufacturers who produce detached houses and low-rise apartment houses play an important role Japanese detached house

Property Market Depreciation is the mantra of housing appraisers. After 15 years, a home typically loses all value and is demolished on average just 30 years after being built. Yet, there’s no material reason why, if properly maintained or improved, these homes couldn’t provide shelter in perpetuity, like in the West, where reselling and moving homes several times throughout one’s lifetime is commonplace.

Housing completion in Japan and the uK since 1945 Historical comparison: New housing completions

Culture Influence Japan fetishizes newness. The frequent severity of earthquakes has taught its people not to take buildings for granted. And impermanence is an enshrined cultural and religious value. Houses in Japan rapidly depreciate like consumer durable goods. And so, despite a shrinking population, house building remains steady. 87% of Japan’s home sales are new homes (compared with only 11-34% in Western countries).

Equevelant Lateral Force Method - Timber Framed Model Code : ASCE 7-10 / IBC 2012 Analysis type: Static - Seismic

Fundamental period: Approximated method T = 0.239 (s) Other structures Ct = 0.02 (0.0488) x = 0.75 Structure range: Top story Story 3 Bottom story Story 1 Effective height Hn = 8.30(m) Base shear k = 1.000 Cs = 0.133 Cs max = 0.223 Cs min = 0.010 Effective seismic weight W = 48731.83(kG) Shear force V = 63.72(kN)

Fundamental period: Approximated method T = 0.239 (s) Other structures Ct = 0.02 (0.0488) x = 0.75 Structure range: Top story Story 1 Bottom story Story 1 Effective height Hn = 8.30(m) Base shear k = 1.000 Cs = 0.133 Cs max = 0.223 Cs min = 0.010 Effective seismic weight W = 59897.18(kG) Shear force V = 78.32(kN)

Vertical distribution of seismic forces Story Height (m) Weight (kG) F(kN) M(kN*m) Story 8.30 48731.83 63.72 0.00

Vertical distribution of seismic forces Story Height (m) Weight (kG) F(kN) M(kN*m) Story 8.30 59897.18 78.32 0.00

Ise-Grand-Shrine

At the end of the Second World War, when almost 30% of Japan’s housing had been destroyed. Owing to the dramatic housing shortage, immediate and rapid deployment of shelter was again required – mostly prefabricated and, at the beginning, characterized by poor quality.

JPA started the system for certifying qualifications of PC construction management engineers. Some prefab housing companies started overseas projects, such as in China, southeast Asia, Australia and the US. Prefab housing companies have focused on high performance-resistance against earthquakes, energy-efficiency, design for elderly residents, and durability.

Post-War Prefabricated Housing

- Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

4.3 records of House damages in disaster Kumamoto Earthquake House Damage Records TIMBER

Midget House by Daiwa House industry, 1959 "Midget house" consists of two 60 × 30 × 2.3 mm light grooves Make the shape steel back and make it a pillar (1.2 mm thin plate is da Buru, special light weight H as shown in the right of Figure 2.8 There are also things that you did) drop the panel into the groove, It is an idea to make it a structure, but this is a panel It becomes a prototype of a frame system and a combination system of axes and panels. This construction method is extremely simple, and it is easy to use as well.

- Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

4.3 records of House damages in disaster Kumamoto Earthquake House Damage Records STEEL FRAMED

figure . Damaged or brocken joineries after earthquake

With the economy boom after the Second World War, there was the need for a great quantity of housing for every country involved in the war. Mass production housing (prefabricated housing) was achieved, tested and commercialized.

Shaft combination / panel combination system As another way of thinking, exterior materials on the steel frame, Insulation material, make finished panel with interior base covered, this In order to reduce the on-site process by assembling it. However, in order to join the closed panels to each other, Connectors to the lower foundation and joining and upper part are needed.

Japanese multigenerational homes

Panel between panel panels of steel frame panels is prevented in some way It must be treated with water. Originally due to iron plate etc. Although the mold cover type was mainstream, the thickness of the outer wall material gradually becomes thicker Crouching will also trigger and ceiling will be used It becomes nervous. The sealing is also dry from the initial wet

With the economy boom after the Second World War, there was the need for a great quantity of housing for every countr y involved in the war. M a s s p ro d u c t i o n h o u s i n g (prefabricated housing) was achieved, tested and commercialized.

Daiwa House as well as the above Sekisui House respectively. There are advantages and disadvantages, the outline silhouette is stuck in this system. Although it is bundled, the interior space is adjusted by the movement of partitions A s i t c a n b e c o m p l e t e d , i t i s l a rg e l y unchanged as a completed residence

recent annual construction (prefab and non-prefab)

The high percentage of the market is due to the short life-span of houses; if there are 50 million houses in existence now and 1.2 million of them are rebuilt every year, a simple calculation can show that eventually after forty-two years all houses will be rebuilt, thus creating an extraordi-nary dense market of four new houses in each square kilometer every year.

- Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

The Changing Technologies of Prefabrication in Japan STEEL FRAMED PREFAB HOUSES

The first uniqueness in the Japanese house-building market lies in its size and density. (Fig. 1 ) The total investment of building in 2002 was 29,173 billion yen and the house-building invest-ment occupied 64.1% of it, which means 3.7% of GDP. Allocating the building market function-wise, there is no doubt that the house-building market is the largest.

Recently around 150,000 prefabricated houses are constructed annually in Japan.

comtemporary (2000s- )

After the demand was covered, the people gradually started to increase their standards by asking for safe and durable high-quality houses. Again, one of the answers was prefabrication and the industry managed to transform itself from delivering prefabricated homes with poor quality to a premium class strategy of delivering individual, earthquake-resistant, and service-accompanied homes.

4. researching

This system which separated the floor and increased the flexibility, Nibersal Frame System ", called Showa 48 (1973) received the Invention Encouragement Prize. The outline of the construction method is as a connector is needed at corners Nevertheless, the panel and panel, as well as the connection between the panel and the foundation and torso difference.

Price of land went up rapidly.Consequently, the traditional multigenerational home was considered as efficient, space saving, and cost-friendly and began to regain popularity. New types of prefabricated houses had been developed, modular structures and “infills “were introduced to the homes, allowing for flexibility and adaptability to meet the changing demands of the various generation living together over time.

after the Post-war era (1950s)

- Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

Equevelant Lateral Force Method - Steel Framed Model Code : ASCE 7-10 / IBC 2012 Analysis type: Static - Seismic

The Asset Price Bubble (1980-1990s)

Post WW ii construction (1945-1950)

constructed units(1963-2014) total 9,097 thousand

S t ee l- b a s e d p ref a b r ic a t e d houses are mostly two-storied systems, However, a 3-stor y (rarely 4-story) system opens It was issued. Three-stor y cis in axes and panel frames Although Tem is an extension of a two-stor y system, the structure There is a limit to it, in order to enable a wider range A ramen type construction method was developed.

figure . Numbers of Timber Prefab Houses built before 2000 recorded status in Kumamoto

figure . Distroyed Prefab - Timber Framed House

figure . Numbers of Steel Prefab Houses recorded status in Kumamoto Earthquake

figure . Damaged or brocken joineries after earthquake

figure . A timeline shows the changes of the Prefabrication technologies figure . Damaged Modular steel house - Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

- Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

4.1 structural detailing and disaster resistance Timber Prefab Structure

figure . Numbers of Timber Prefab Houses built after 2000 recorded status in Kumamoto

4.1 structural detailing and disaster resistance Steel Prefab Structure

Panelized Prefab Timber Construction

Pre-cut Timber Framed Construction

Panelized construction is a conventional prefabrication technology. A house will be seperated into major pieces in a panelized design and those panels will be manufactured in the factory. Panels will be quickly assembled on site with large facilities such as cranes.

Pre-cut timber component is one of the latest prefabrication technology used in contemporary architecture industry. Every single timber component is going to be manufactured in the factor y and then delivered to the site which would allow rapib assembly and construction. Varieties of Earthquake resistant design has been used in precut timber houses.

4.1 case study 1 11 Boxes Location: Saitama, Japan Architectural design: Keiji Ashizawa Design In order to maximize space on site, a simple construction method is chosen. 11 steel frame boxes are formed using steel angles and used as the main structure while external wall panels are attached on without the need of any additional structure. The size of the steel boxes needed to be considered carefully as it has to fit on a truck to be transported to site. These boxes are then joined together with high tension bolts on site. Though the central span holds the main structural strength of the building, the circulation stair is intentionally positioned there to operate as an earthquake-proof element as well as to rationalize the plan of the house.

Selected Bibliography:

Span of the stair is 1.75m, wet area is 2.2m, bedrooms and living area are 2.55m and a varied unit is made fully utilize the limited depth available on site.n order to maximize space on site, a simple construction method is chosen. 11 steel frame boxes are formed using steel angles and used as the main structure while external wall panels are attached on without the need of any additional structure. The size of the steel boxes needed to be considered carefully as it has to fit on a truck to be transported to site. These boxes are then joined together with high tension bolts on site. Though the central span holds the main structural strength of the building, the circulation stair is intentionally positioned there to operate as an earthquake-proof element as well as to rationalize the plan of the house. Span of the stair is 1.75m, wet area is 2.2m, bedrooms and living area are 2.55m and a varied unit is made fully utilize the limited depth available on site.

Modular Construction Steel modular construction is one of the major methods of prefabrication. The house has a light steel structure with sandwich panels or other panels for the walls and roof. The wall/roof panel can be of polystyrene, polyurethane, rock wool, fiber glass sandwich panels. The steel frame is inside the wall, the structure is connected by bolts and the walls are fixed with rivets. The steel structure parts and panels are light and easy to pack and transport. The prefab house can be broken-down and reassembled couple of times. - Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

Ana G, Sustainable structures: Bamboo standards and building codes. Available at: https://www.researchgate.net/ publication/284345386_Sustainable_structures_Bamboo_standards_and_building_codes

- Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

figure . Non-damaged Timber Prefab Houses

- Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

5. testing

Earchquake Resistance Modelling and Testing In order to briefly test the performance of earthquake resistance of two selected materials, Autodesk Robot Structural Analysis has been used as the primary tool to aquire the seismic test results. In this case, we chose the Muji Vertical House as the prototype of test, which is originally erected by prefabricated timber structure. We remodelled the timber structure and we also created a steel version of vertical house in order to test its earthquake performance in a same siezed building.

The Vertical House by MUJI

4.2 case study 2 ONJUKU SURF SHACK

It all starts at the factory, where the architectural drawings are turned into shop drawings that the computers can read. From here, the raw wood goes through a series of mills and routers, labeled, and finally packaged for shipping off to the site. Once the wood pieces arrive at the construction site, the collection of milled beams and columns can be read and assembled like a puzzle. Mortises and tenons fit together perfectly which allows joints to be fully exposed and embraced in the architectural aesthetic of the building. Furthermore, this method preserves the age-old tradition of detailing and construction with wood for future generations to appreciate.

Location: Onjuku, Japan Architect: Bakoko Architects The home's concealed entrance is served by a Japanese genkan, a porch separating the home proper from a built-in shed for stashing surfboards and bicycles. This tunnel-like outer porch connects the gated rear entryway and the wooden deck which incorporates a built-in seat and planter. Timber shutters slide across the entire southern eave, securely locking-down the home to protect it from the seasonal typhoons.

- Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

MARCH 1 / SEMESTER 1 / ATR / BAMBOO IN CONTEMPORARY ARCHITECTURE AS A BUILDING MATERIAL 24

equevelant lateral force Method - steel framed Model Code : ASCE 7-10 / IBC 2012 Analysis type: Static - Seismic

equevelant lateral force Method - timber framed Model Code : ASCE 7-10 / IBC 2012 Analysis type: Static - Seismic

Vertical distribution of seismic forces Story Height (m) Weight (kG) Story 8.30 48731.83

- Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

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F(kN) 63.72

Vertical distribution of seismic forces Story Height (m) Weight (kG) Story 8.30 59897.18

M(kN*m) 0.00

F(kN) 78.32

M(kN*m) 0.00

- Prefabrication in Japan: How can Timber and Steel Prefabrication Technologies address Housing in Japan? -

vvvv

DESIGN STUDIO D

TOKYO: ACCIDENT & ODER Restructuring Ojima Through Gapsite Typologies Studio Leaders: Liam Ross and Sebastian Aedo

OVERVIEW

LEANRING OUTCOMES

LO4 - A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (eg. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

This studio explores the relation between Order and Accident, then, through an analysis of the relationship between Tokyo’s Urban Disaster Prevention regulation and its built fabric. It is concerned, on the one hand, to understand the ways in which disaster prevention thinking can offer a platform for future urban and architectural ordering projects. On the other, it is concerned with the ways in which the city’s existing urban and architectural design practices create obstacles for, or offer a critique to, existing forms of legislation.

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 25

LO2 - The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. LO3 - The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project.

PROJECT OVERVIEW The project is aimed to tackle the fire safty issue in existing sites in Ojima, Tokyo. Based on the conceptual framwork that developed in the first semester's rok.Through the start of the first scheme to the fifth site block, the design has evolved from the initial linear structure to the eventual fortified village, and the design procedures can be understood as a series of attempts of exploring fire safty designs with minimal impact to the existing sites whilst response to Tokyo's ever changing void metabolism.

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SITE BLOCK 1 - THE PROTOTYPE THE BEGINNING OF THE DESIGN

The design of the first scheme - the prototype starts with the reconfiguration to the existing residential block which has a rectangular shape streches in length and short in width. The residential block can be seen as a little version of the "superblock" which formed the Tokyo's urban fabric. Houses arround the edge have better chance to be renovated and reconstructed. Therefore the fire safe rating for houses on the edge are higher than the house inside the block. The fire strategy for the Houses that located inside of the block still relies on bucket of water. Vehicular access is absence inside of block. Thus there is no more reason to keep these houses and they are afterwards demolished to make way to the new structure. The scheme takes the idea from the previous studies to the Katsura Imperial Palace which was designed with the classical Japanese defering and way finding strategies. Followed the shape of the exisitng block, the new structure is designed to a linear shape streches from west to east. In considering to the structure stability, a concrete lift shaft has been provided to the centre to reinforce the whole structure. In order to access the structure, 4 entrances fortified with concrete that situated in the gaps and adjacent to neighboring buildings have been designed. All the circulation is hanging on the north of the structure and housing units to the south. Housing units comprise four different appartment types ranging from studio flat to 3 bedroom family flat designated to the younger generation of the city. Vehicular access has been designed to the east wing of the building and double lift parking space are alocated to the bottom of the structure. Concrete walls form a fortified courtyard to the west wing and can be used as children play area. Considering the seismic situation of Tokyo, The level between the ground and the housing units has been designated to a seismic level with seismic damping device in between to support the whole building.

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 27

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1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

大島江東区東京 SITE BLOCK 1 - “THE PROTOTYPE” OJIMA KOTO TOKYO

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

HOUSING UNITS

BUILDING

CIRCULATION

STRUCTURE

CONTEXT

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 29

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

Entrance 4 Existing Residential Block

Existing Residential Block

1000

DN 1000

4214

Double Lift Car Park

4214

Entrance 5

Courtyard

Vehicular Access UP

REF.

4214

3597

Children's Playground

1000

Entrance 3

Courtyard 13953 1000

4200

2565

1211

Firewall

Central Lift

1000

4200

Existing Residential Block

HOUSING LEVEL 1 PLAN Entrance 2

Entrance 1

SITE PLAN

HOUSING LEVEL 2 PLAN 1 Bed Unit

3 Bed Unit

Studio Unit

City Viewing Platform

PLATFORM LEVEL

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 30

HOUSING LEVEL 3 PLAN

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 31

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN REPORT

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

West Housing Section

AMPL

East Housing Section

DESIGN STUDIO B

DESIGN REPORT

305x146x89 I SECTION BEAMS bolted on SHS Columns

200 x200mm SQUARE HOLLOW SECTION COLUMNS ON 1000 x1000mm Concrete Footings bolted with steel end plated Central Lift

Studio Unit

Studio

Ensuite

West Housing Section

East Housing Section

2 Bedroom Unit

305x146x89 I SECTION BEAMS bolted on SHS Columns

Kitchen & Family room

Bedroom

1 Bedroom Unit

Kitchen & Dining

Bedroom

200 x200mm SQUARE HOLLOW SECTION COLUMNS ON 1000 x1000mm Concrete Footings bolted with steel end plated Central Lift

Studio

Housing Level 5 Roof Terrace

3 Bedroom Unit

Studio Unit Ensuite

Public Pathway

Japanese Room Balcony

2 Bedroom Unit

Viewing Platform

Kitchen & Family room

Bedroom

Balcony

Family Room

1 Bedroom Unit

Kitchen & Dining

Bedroom

Housing Level 5

Housing Level 2

Firewall Housing Level 4

3 Bedroom Unit

Firewall constructed through gap site

Public Stairway

Japanese Room Balcony

Housing Level 3

Kitchen & Dining

Roof Terrace

Public Pathway

Housing Level 4

Housing Level 1

Bedroom

Balcony

Viewing Platform

Family Room

Housing Level 3

Kitchen & Dining

Seismic Damping Diagnal Bracing

Housing Level 2

Firewall

Public Walkway

Public Stairway Housing Level 1

Entrance stairway Seismic Damping Diagnal Bracing

Courtyard

Children's Playground

Double Lift Parking Space

Firewall

Public Walkway

Courtyard

Children's Playground

Double Lift Parking Space

Firewall

BLOCK 1 SECTIOINAL PERSPECTIVE VIEW Central Lift

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OHousing J ILevel M3A T H R O U G H G A P S I T E T Y P O L O G I E S Central Lift

ブブブブ1断断断断断

Central Lift

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2Housing . 2 Level 3 3 . 2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

3.3

Central Lift

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

SITE BLOCK 2 - THE PINWHEEL TRANSFORMATIONAL PROCEDURE

The second scheme, which situated adjacent to the site block 1, has been developed base on the previous development of the prototype. The disadvantage of the site 1 can be summarised as following: Structure weakness; overing structuring; Lack of housing units; Inefficiency of circulation. Into the site 2, a block with a square shape which has barely vehicular access similar to the site 1, the houses inside has been respectively demolished depending on their construction quality. The design was inspired by the classical Japanese pattern - the pinweel as seen in Japanese tatami. The circulation of the east wing is designed inside of the pinweel, as the staircases form a whirl inside. Every staircase serves the block which perpendicular to it. Due to lack of space in the west wing, circulation has been put on the corner of the pinwheel. Two roads have been designed through the site to provide vehicular access and connect parking spaces. Site 2 can be seen as a further development to the site 1 and also a transformation process of the superstructure to fit different sites.

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 33

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

大島江東区東京 S I T E B LO C K 2 - “ T H E P I N W H E E L ” OJ I M A KOTO TO K YO

DESIGN STUDIO C

ATR

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 35

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN REPORT

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

Block 2 Ground Floor Site Plan ブブブブ2地地地地て計計

1:500

UP DN DN

Block 2 Platform level Plan ブブブブ2ププブプププププププププ計計

1:500 Block 2 Ground Floor Site Plan ブブブブ2地地地地て計計

1:500

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES DN

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

REF.

REF. REF.

REF.

REF. REF. REF. REF. REF.

REF.

REF. REF.

REF.

Housing Level 3 Plan 住住プププ3計計

1:500

Housing Level 1 Plan 住住プププ1計計

1:500

REF. REF.

REF.

DN REF.

REF.

DN REF.

REF.

Housing Level 2 Plan

Roof Plan

住住プププ2計計

屋屋計計

1:500

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 37

1:500

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 38

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN REPORT

Roof Terrace

3 Bedroom Unit

Housing Level 4

Japanese Room

DESIGN STUDIO C

ATR

DESIGN STUDIO D

Public Pathway

SCAT

DESIGN STUDIO G

Viewing Platform

Balcony

AMPL

Balcony

DESIGN STUDIO B

Bedroom Family Room

DESIGN REPORT

Housing Level 3

Kitchen & Dining

Housing Level 2

Firewall Firewall constructed through gap site

Public Stairway Housing Level 1 Seismic Damping Diagnal Bracing

Public Walkway Entrance stairway

Courtyard

Children's Playground

Double Lift Parking Space

Firewall

BLOCK 1 SECTIOINAL PERSPECTIVE VIEW

ブブブブ1断断断断断

Central Lift

Housing Level 3

Housing Level 2

Housing Level 1

Firewall constructed through gap site

Public Stairway

Entrance stairway

Courtyard

Double Lift Parking Space

BLOCK 2 SECTIOINAL PERSPECTIVE VIEW

ブブブブ2断断断断断

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 39

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

SITE BLOCK 3 - THE BRIDGE EVACUATION ROUTES AND COLLABORATION IN URBAN SCALE

Site 3 is ajdacent to the site 2 and has a similar shape. The only difference is that this site sits close to the officially designated Ojima Evacuation Site. The design of this site is trying to bring the whole site context into consideration and starting with the urban scale evacuation strategies. The whole structure has been designed similar to a function of a bridge, which allows residents from the other side of the block to use the bridge as a safe evacuation route to the designated park instead of running through gap sites and narrow pathways. The final destination is designed into the park and was attempted to improve the usage of the existing park. Vehicular access has been again brought in and the whole structure height has been constraint in order to allow the bridge to take over loaded residents in a disaster senario.

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 40

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

大島江東区東京 S I T E B LO C K 3 - “ T H E B R I D G E ” OJ I M A KOTO TO K YO

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

HOUSING UNITS

BUILDING

CIRCULATION

CONTEXT

STRUCTURE

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 42

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 43

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 44

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN REPORT

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

SITE BLOCK 4 - THE COURTYARD POST DISASTER STRATEGIES

Site 4 was inspired by the matsugata in the edo castle which has been used as defensive courtyard. The site is located by the site 1 & 2 and sits close to an big and old timber structured shrine that surrounded by many wooden houses. The structure forms a U shape courtyard against the existing shrine and is fortified with concrete fire walls. Temporary shelters has been added to the structure. The site 4 brought the consideration of post disaster issues and briefly explored the the strategies of using the courtyard as a fire safe evacuation site and a temporary shelter in post disaster senario.

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 45

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

大島江東区東京 S I T E B L O C K 4 - “ T H E C O U RT YA R D ” O J I M A KOTO TO K Y O

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

HOUSING UNITS

BUILDING

CIRCULATION

CONTEXT

STRUCTURE

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 47

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 48

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 49

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN REPORT

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

SITE BLOCK 5 - THE ARK THE SUMMARY TO THE PREVIOUS DESIGNS

Eventually site 5 has been designed in order to summarise the previous discoveries. Considering the close relatioship to an existing hospital and a nursery, site 5 is the direct response to all of the previous issues. It can be seen that all of the previous design strategies have been applied to this final design such as the pinwheel elements, courtyard and the idea of the bridge. all elements have been put together into a village which fortified by 4 concrete blocks that carry housing units. All 4 blocks are connected to the central block which provides the function of commercial centre and a integrated CHP unit. The first level of the whole structure is designed to carry temporary shelters - porta-cabin units with basic living standard. Two fortified bridges are connecting the structure with the existing hospital and the nursery to provide extra security in a disaster situation.

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 50

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

大島江東区東京 S I T E B LO C K 5 - “ T H E A R K ” OJ I M A KOTO TO K YO

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

CIRCULATION

DESIGN STUDIO B

DESIGN REPORT

STRUCTURE

HOUSING UNITS

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES

AMPL

BUILDING

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

REF.

5835

5435

13835 13435

REF.

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 53

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

MARCH 1 / SEMESTER 2 / DESIGN STUDIO D / RESTRUCTURING OJIMA THROUGH GAPSITE T YPOLOGIES 54

SCAT

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN REPORT

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY [SCAT] Reading Diary and Essay OVERVIEW

LEANRING OUTCOMES

Contemporary architectural theory scrutinises the interaction between design and the cultural, political, economic, social, intellectual and contexts in which it emerges. It takes various modes, ranging from reflection on the consequences of architectural practice, to enabling, guiding and facilitating – as well as critiquing – design processes. Crucially, it interacts in dynamic and complex ways with broader areas of cultural interpretation, criticism, and speculation (philosophy, political theory, cultural studies, anthropology, science and technology studies, media studies, semiotics, visual theory, literary theory, etc.), and this is reflected in the organisation of the S[R]CAT course.

LO1 – A capacity to research a given theme, comprehend the key texts that constitute the significant positions and debates within it, and contextualise it within a wider historical, cultural, social, urban, intellectual and/or theoretical frame.

The course is comprised of an array of options, of which students take one. While the choice available shifts from year to year, the overall constellation of options maintains a productive relation to the urban directed concerns of the ESALA M.Arch and MScAUD programmes. Thus options will address topics such as, for example, urban development and contest over the city in an era of neo-‐liberalism; the semiotics of architectural and urban surfaces; practices of representations of the architecture of the city – projective and/or descriptive – examined via a series of symptomatic case-‐studies. Throughout, great value is placed on the active participation of students, who will have the opportunity to discuss and debate in detail the ideas raised in the seminar sessions and supporting readings. Taken as a whole, the S[R]CAT course deepens and diversifies the study of theory in ESALA, equipping students with a close knowledge of areas of particular interest and concern to them. The course aims to: 1. Develop and expand your understanding of what theory is, and how it relates to architecture, design and the city. 2. Enhance your skills in critical reading and analysing the ideas presented in texts. 3. Refine your ability to write and communicate a focused critique of, and response to, texts.

M A R C H 1 / S E M E S T E R 2 / S C AT

LO2 – An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilized through different textual, visual and other media, and to explore their consequences for architecture. LO3 – An ability to coherently and creatively communicate the research, comprehension and contextualisation of a given theoretical theme in relation to architecture using textual and visual media.

DESIGN STUDIO C

ATR

DESIGN STUDIO D

Week 1 Introduction Week 2 Eisenman on Terragni: The Formal Basis of Modern Architecture Week 3 Early Houses: Dummy Text_Diagram Diaries Week 4 House of Cards: Critical Essays by Peter Eisenman, Rosalind Krauss. and Manfredo Tafuri Week 5 Post-Functionalism: ‘‘Post-Functionalism’’ Oppositions Week 6 Eisenman on Aldo Rosi: Aldo Rossi in America: 1976-1979 Week 7 Excavation: Fin D Ou T Hou S Week 8 Excavation: Cities of Artificial Excavation Week 9 Deconstruction: Chora L Works

DESIGN STUDIO G

SCAT[READINGS]

Form, and Formalism “Colin Rowe taught me how to see what was not presented in a building. Rowe did not want me to describe what I can actually see. Rather wanted me to see what ideas were implied by what was physically present.” — Peter Eisenman Eisenman’s critical formal theory was largely influenced by his mentor Colin Rowe in his early time that he spent in university of Cambridge. From 1960s, the interests in linguistic theories has become attractive to many fields including art and architecture. According to Eisenman, architecture as a language is based on the primacy of form (Eisenman 2006). In Eisenman’s point of views, nineteen-sixty’s architectural theories have mostly pointed to the importance of history and iconography. Followed by the trend of linguistics and semiotics investigations in architecture, it is not surprised that Eisenman’s words were to take these issues in considerations. Eisenman’s argument in his dissertation is constructed in a critical way but not historical. He suggested that the formal basis of architecture can be provided by a logical and objective considerations. Eisenman’s attitude towards modernism formal theories is clear, that in comparison to isolation of architectural elements to free it from its accultured meanings, he is more attracted to the language of applying geometrical solids as reference to architectural forms. The Casa Del Fascio by Giuseppe Terragni, who has been mostly referenced by Eisenman in his early works has been analysed as a mass-sur-

AMPL

DESIGN STUDIO B

as a sectional cut of a solid, or in a way that series of planes have being put together. Different to the concept of mass-surface by Corbusier, in which operates the surface or mass on an initially established strong gridding methodology, Terragni plays with two operations in order to achieve a mostly desired transparency. If conventional architecture can be seen as a sequence of parallel elements, the Casa del Fascio represented a series of subsequently readable fragments which criticised the relationship between object and subject (Corbo, 2016). In Eisenman’s analysis, he suggests that the elevation of the Casa del Fascio is the procedure of cross axis which consists of “Symmetry and Asymme- try”, “Stasis and Rotation” and

DESIGN REPORT

“Grid and Solid”. Eisenman argues that the movement of the elevations of Casa del Fascio revealed the development of the ontology of architecture. Eisenman claimed that the works of Ter- ragni which marked the relationship between “Deep structure” and “surface structure” is highly related to the revelation of the syntactic of the architectural language through the techniques of axonometric diagrams which in contrast to the central projection in Renaissance humanism to disclose the transformational methods. At the end, Eisenman’s formal basis of modern architecture can be understood as a method of reading architecture in a form and volume system and it became the real value of his dissertation.

M A R C H 1 / S E M E S T E R 2 / S C AT / R E A D I N G S

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

DESIGN STUDIO G

SCAT[READINGS]

AMPL

DESIGN STUDIO B

DESIGN REPORT

House of Cards

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Somol’s Dummy text, or the diagrammatic basis of contemporary architecture in preface has suggested the shift in 1950s onward from drawing to diagram has made the diagram “actualized”. It is clear to see that the contemporary diagrammatic basis was formed by the support of two possible axes, which defined by Colin Rowe as the “Paradigm” (the embrace of a prior ideals) and the “Program” (the empirical solicitation of facts). However, Rowe ultimately endorsed the “paradigm” side because of his preference to the Renaissance humanism whose drawings have overcame the possibility of diagrammatic basis (Eisenman and Somol, 2001). Eisenman’s early dissertation of the Formal basis of modern architecture, was a critical response to both Colin Rowe and Christopher Alexander, he argues that their diagrams are “accurate examples and models” which only attempted to define a static status of the reality (Eisenman, 2006). In Eisenman’s House of Cards, what he actually needs is a way of operation which originated from an initial concept or form. His core thought of using the cube is to use the diagram as an operation to destruct the value and meaning in which classical humanism believed. Diagram is an identical sign of Eisenman’s architectural design and it has become a very important methodology in Eisenman’s discovery in architectural forms. The collage of two modernism diagrams which include the Domino (Structure) by Corbusier and the axonometrics (space) by van Doesburg raised the problem of the nine-squares, in which somol saw as “a discipline of modern architecture” and an explicit argument to the conventions in which architecture understood as an addition to the constructional system and programmatic requirements.

1. Eisenman, P. and Somol, R. (2001). Diagram diaries. 1st ed. London: Thames and Hudson. 2. Eisenman, P. (2006). The formal basis of modern architecture. 1st ed. Baden, Switzerland: Lars Muller.

“Colin Rowe taught me how to see what was not presented in a building. Rowe did not want me to describe what I can actually see. Rather wanted me to see what ideas were implied by what was physically present.” — Peter Eisenman

03 — House of Cards

02 — Diagrammatic Procedure

Diagram diaries, published in 1999, can be understood as a summary to Eisenman’s critical theories and designs in the last 40 years. In 1960s, Colin Rowe had already developed the terms for the formalist interpretation towards modern architecture. Under his teaching, who emphasised the importance of pursuit of the essence of the architecture and the spirit of criticality, Eisenman succeeded the methodologies from modernist avant-garde whilst promoted his own critical ways of thinking. Diagram diaries clearly reflected the procedure of the continued development of Eisenman’s way of architectural thinking. Eisenman’s criticism, can be seen as the turning point of Colin Rowe’s formalism, which overthrown the value that defined by transparency and opticality. Eisenman’s theories are ambiguous in a way that he put the architecture discourse into the theories which were circulated in other fields, however is very helpful because he was constantly seeking the relationship between architecture and others to strengthen the architecture’s independent position. It seeks the possibilities which suppressed by these terms to defend the autonomy of the form and, ultimately, the autonomy of architecture. Finally, the keywords to understand Eisenman’s diagram diaries can be summarised to following aspects: Diagrams, the methodologies originated from Eisenman’s development of his house of cards, have been seen as a logic procedure of discovering formal language of architecture; Criticality, which in Eisenman’s mind situated in the historical context, is the way he criticises the historical value of architecture; Interiority and Anteriority, is his attitude towards the autonomous architecture.

To Eisenman, the theories in Noam Chomsky’s book “Aspects of the Theory of Syntax” is more than important. Chomsky pointed out that the theory of transforming the linguistic theory to cognitive science should be undertaken in a rational method but not through experimentalism (Bédard and Balfour, 1994). Eisenman’s later on works have proofed that his architectural formalism is manifest to Chomsky’s linguistic theories. Eisenman suggests that architecture apart from its perception of artistic subject should be understood in the conception of formal relationship. Transparency has provided Eisenman a good reference. The transparency of phenomenon indicates the relationship of the properties of architecture and painting, and the possibilities of a manifestation to the visual art and literature. Through the changing of meanings and recombination of structures, the transparency which originated from the linguistics indicated the meaning of the deep structure. Surface structure can be discovered in its projection, deepness and edge. However, deep structure is the hidden system of the syntax, which explains the relationship between the formal elements. Eisenman’s house of cards is a pursuit to the architecture in theory which in a way sacrificed

the house’s initial functions and meanings as he set himself against the conventional concept of shelter and comfort. Nevertheless, it is still clear that Eisenman put these additions of the architecture into consideration and eventually became a part of his critical theories. Thus, Eisenman’s unique ways of constructing architecture is not a form which lost the consideration of function. His anti-functionism is based on the principle of overturning the form generated by functions which limited the development of itself. In comparison to modernists’ architecture which gradually destructed the function of walls, the structural complex hold the dominant position in Eisenman’s theories, in which walls, beams and columns find their own place to situate into his autonomous architecture (Eisenman, Krauss and Tafuri, 1987). In his House I which can be understood as the first step that Eisenman put his critical anti-modernism theories into practice, the relationship between the surface image and the symbolic meanings are in a way ambiguous. However, the “deep structure” has been defined as a series of formal logic through the methods such as compressing and rotating. In the development of House II, in order to express his way of operations of syntax, all of the images have been removed. House II is developed through two volumes which has been moved in the diagonal axis to form the gridding system. Eisenman developed two geometrical system based on the gridding system and the parallel walls. Through his method of operating syntax, diagram is an essential part of the whole design which can be used to proof the relationships between deep structures. Eisenman’s early attempts to break away the conventional cornerstone of architecture has been proofed partially unsuccessful especially in his operations of using lower-dimensional topology to replace the traditional Euclidean geometry in order to overturn the tradition on which architecture is based. In his later mode of working particularly in the deconstruction period, he realized that the method of using one geometry to replace the other is not deconstructing the meaning of geometry itself. Eisenman’s attempts in his early houses can be understood as the metaphysics of architecture which established on the basis of form.

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1. Eisenman, P. (2006). The formal basis of modern architecture. 1st ed. Baden, Switzerland: Lars Muller. 2. Corbo, S. (2016). From formalism to weak form. 1st ed. London: Routledge. Giuseppe Terragni: Transformations, Decompositions, Critiques – 25 Jul 2003

READING - Peter Eisenman

House of Cards

01 — Form, and Formalism

Eisenman’s critical formal theory was largely influenced by his mentor Colin Rowe in his early time that he spent in university of Cambridge. From 1960s, the interests in linguistic theories has become attractive to many fields including art and architecture. According to Eisenman, architecture as a language is based on the primacy of form (Eisenman 2006). In Eisenman’s point of views, nineteen-sixty’s architectural theories have mostly pointed to the importance of history and iconography. Followed by the trend of linguistics and semiotics investigations in architecture, it is not surprised that Eisenman’s words were to take these issues in considerations. Eisenman’s argument in his dissertation is constructed in a critical way but not historical. He suggested that the formal basis of architecture can be provided by a logical and objective considerations. Eisenman’s attitude towards modernism formal theories is clear, that in comparison to isolation of architectural elements to free it from its accultured meanings, he is more attracted to the language of applying geometrical solids as reference to architectural forms. The Casa Del Fascio by Giuseppe Terragni, who has been mostly referenced by Eisenman in his early works has been analysed as a mass-sur-

1. Chomsky, N. (2015). Syntactic structures. 1st ed. Mansfield Centre, Conn.: Martino. 2. Eisenman, P., Krauss, R. and Tafuri, M. (1987). Houses of cards. 1st ed. New York: Oxford Univ. Press.

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transformational process, to reach something that cannot be predicted from the beginning, something that allows architecture to move outside of its traditional metaphysic, remains today as a motive of the work.” However, he added “the original goal of autonomy, once the source of the transformational design strategies, is no longer considered tenable.” At the end, Eisenman describes his attempts to the early houses is the pursuit of “open ended dislocation” which in a way cadenzas. His early houses demonstrated a certain “technical and improvisational virtuosity”, but in a way the overall perspective of concerto is ultimately lacked in these attempts.

READING - Peter Eisenman

Aldo Rossi – The city and Architecture

In his essay of “The End of the Classical, The End of the Beginning, The End of the End”, based on his previous development and discoveries in his critical formalism, he continued to seek the architecture which break away the conventional and traditional limitations and achieve the architecture built by his diagrams of procedures. Eisenman firstly suggested that there are three fictions exist in the metaphysics of architecture in the past five hundred years:

Eisenman’s early works can be understood as the developing methodologies of isolating and elaborating architectural elements in the design to dislocate them from their accultured meanings therefore to pursue the achievement of autonomy in architecture. As one of his turning point of the transformation from formalism to deconstructivism, the Eisenma’s first real grounded project, Cannaregio, used the gridding method of Le Corbusier’s unreal-

1.Hays, K. (2010). Architecture’s desire. 1st ed. Cambridge, MA: MIT Press. 2.Anderson, R. (2013). Analogue Architecture: Between Imagination and Memory. Available at: https://www.researchgate.net/publication/279945634 [accessed 02 April. 2017].

representation, reason and history. In his point of views, “representation was to embody the idea of meaning; reason was to codify the idea of truth; history was to recover the idea of timeless from the idea of change” (Eisenman, 1984), in another word, these three fictions simulated respectively meaning, truth and timeless. Eisenman inspired by the concept of simile and metaphor in literature and he believed that the “Truth was no longer thought to reside in repre-

-sentation but was believed to exist outside it, in the processes of history” (Eisenman, 1984). According to his theory, the movement under the modernists has announced that the modern architecture pursues to free itself from the past representations and to introduce its own function, in which case modernists called abstraction. Nevertheless, he argued that the abstraction was only an attempt to represent reality which manifest to the simulation in the Renaissance representation. Secondly, reason – the simulation of truth. Based on the fact that the reason “was a simulation of the meaning of truth through the message of science” (Eisenman, 1984). Eisenman discussed both the concept of origin and end, in which case he argued that the development of origin changed through the development of the history which eventually and continually developed through to modernism. Finally, Eisenman suggested that the fiction of the history is the simulation of timeless. He pointed out that the classics cannot be repre-

sented or simulated according to its divinity and nature. He states that “In seeing itself as superseding the values of the preceding architecture, the Modern Movement sustained a universal idea of history, analysis of program for analysis of history” (Eisenman, 1984). He discussed two concept at the end of the article: dissimulation and simulation, in which he treated as a method of operation. Eisenman suggests that the attempt of the reconstruction of timeless is through the fiction which based on the value of its own fictionality, that is to say, the timeless reality should not be simulated. Eisenman’s essay can be understood as an origin point for his later on architecture project and theories which would then develop within its own rationality, as he describes the “not-classical” architecture is a text of procedures, not an end object. Eisenman, P. (1984). The End of the Classical: The End of the Beginning, the End of the End. Perspecta, 21, p.154. MAIN Prjkt. (2017). series || 11 weeks || Eisenman, 1984.. [online] Available at: http://mainprjkt.com/mainprojekt/series11-weeks-eisenman-1984 [Accessed 24 Apr. 2017].

Eisenman, P., Krauss, R. and Tafuri, M. (1987). Houses of cards. 1st ed. New York: Oxford Univ. Press.

01 — Spring 05 Aldo Rossi in Paris - City and Architecture 03 — Party just like in California 02 — Suvretta house St. Moritz 04 — Oh, New York

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-ized Venice Hospital to operate as an absence. Corbusier’s hospital grid has been scaled and reduced to a certain geometry which later on traced onto the site. Eisenman’s methodologies and strategies therefore is, according to Canarregio, in a symbolic way. Through Eisenman’s point of view, Rossi’s architecture and its theories is a series of attempt to certify the autonomy of the subject [designer] to the object [city], and the analogous city as an attempt to destabilize the city in reality (Hays, 2010). Eisenman discussed Aldo Rossi’s concept of Locus which determined by space, time, event, topography and form. He argues that Rossi’s theories towards the history which he sees as a form that demonstrates its own functions is insufficient as the form is decisive but history became memory. At the end, Eisenman criticised Aldo Rossi’s theories towards architecture in two aspects, firstly Rossi’s ideal of the relationship of city and architect is set to against modernism in which Eisenman agreed; Secondly although Rossi argues that individuals are weak to the development of history he still observes the city as a man-made achievement.

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04 — Dislocation

Peter Eisenman, 1993

In his article “Misreading”, Eisenman firstly talked about the conventional metaphysics of architecture, in which he believed the term “shelter” is the first principle and basic part. [ref] He argues that the history of architecture can be understood as a series of rereading and misreading, which successfully dislocated the meaning of the traditions as it reconstituted the architectural metaphysics (Eisenman, Krauss and Tafuri, 1987). In the examples, he demonstrated the way which include many fields that have fell into the interest of the theory of autonomous object. According to Eisenman, the precedented history of pursuing an autonomous object is not quite completed. In his attempts to the pursuit of autonomous architecture, Eisenman developed a series of methodologies through the diagrammatic procedures of his early houses from house I to IV. He argues that the modern architecture is “too tended” to the achievement of an autonomous object in which the tradition of the ornamentalism and historicism has been ultimately rejected in the pursuit of the essence of architecture. He suggested that “a house today still must shelter, it does not need to symbolize or romanticize its sheltering function, to the con-

“When Tafuri wrote ‘The Meditations of Icarus’ in Houses of Cards, he meant that Peter Eisenman was Icarus, and to be Icarus meant that you wanted to fly and to look into the sun, as Icarus did. And to look into the sun meant that you were totally out of touch with the reality of the earth and the ground. Icarus, of course, gets too close to the sun, his wings of wax melt and he falls to earth… It was an interesting mythology, which had to do with the ground, digging into the ground and making marks on the ground.” Peter Eisenman, 2013

— Peter Eisenman, 2012

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“If one says to oneself, as an architect, ‘what does one do?’ or ‘why does one do it?’, most architects would answer that we accommodate function and symbolic meaning…. My attitude has always been that this is not the case.”

The End of the Beginning, The End of the End.

“I’m saying just go to this book. I don’t teach the artefacts of Aldo Rossi, and that’s not sentimental. I think, the book has critical value today and it had critical value in the 1960s when it came out with something, you know, a shot across the bow, it was absolutely brilliant.”

Architectural discourse has a well precedented history and in 1970s significantly developed the model of structuralism. Aldo Rossi introduced the concept of the “analogous city” which later on led his architecture into the field of imaginary. Rossi saw architecture types as entities, analogues of the social itself. In Rossi’s Architecture of the City, he pointed out the way that “material of the past” can be introduced to a new architecture as a conditioning element meanwhile retain its cultural and historical value through the way of isolating the object from its cultural context (Anderson, 2013). As Eisenman’s words suggested: Rossi’s analogue “involves the suspension of time and the transposition of space” (Anderson, 2013). Eisenman, who wrote the introduction to Rossi’s Architect of the City, pointed out that Rossi’s architectural theories of city can be understood as architect is the subject and the city therefore the object. Rossi set himself against the notion of modernism which separates the subject and the object by referring to a humanism conception. However, Eisenman criticised on Rossi’s view of the subject and object as he saw the city as a “man-made object” separated from man but not the object separated from subject.

READING - Peter Eisenman

06 — The End of the Beginning, The End of the End

-trary such symbols are today meaning less and merely nostalgic” (Eisenman, Krauss and Tafuri, 1987). In his house I and II, a similar and subsequently developed methodology has been used to distil or to free the architecture from its accultured meanings as he played with the signs in the architectural elements. His design in house I has eliminated the conventionally accultured meaning of structural elements which supposed to provide support to other architectural elements with a barely self-supporting beams and columns complex; The house II is done in an opposite way to announce the redundancy of structures. The transformational method employed in the house IV can be seen as an explicit selfreferential construction. Through Eisenman’s analysis towards the attitude of autonomy, his methodologies can be summarised into followings: Removal of signs; Removal of designer; Non-specificity and scale. Thus, Eisenman detailed his critical architectural theories with the desire of overturning the traditionally accultured architecture. Eisenman moved from the idea of conventional “shelter” and “comfort” to design houses with his unique discourse. He suggested that “the intention of a

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READING - Peter Eisenman

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READING - Peter Eisenman

Excavation

READING - Peter Eisenman

Eisenman & Derrida: Towards the Deconstructivism

The cornerstone of the Chora L Works is formed by three parts: Bernard Tchumi’s text on the previous architectural design project in which Eisenman involved; Jacques Derrida’s text towards the deep and obscured investigation of Plato; Eisenman’s text and response to Derrida.

From 1970s, the emerge of the Post-structuralism which set against structuralism has profoundly impacted many subjects including architecture. Jacques Derrida’s leading position in the deconstructivism amongst post-structuralists is out of question. His critical theories and explicit (or ambiguous) text has drawn a remarkable number of theorists from different fields which including the architect Peter Eisenman whose works were later on tremendously influenced by Derrida’s critical theories. Chora L works is the first close and unprecedented collaboration between Jacques Derrida and Peter Eisenman through the invitation from Bernard Tchumi to design a garden for the project of Parc de la Villette in Paris, 1985. The collaboration The reason that Tchumi decided to invite Derrida to collaborate with Eisenman is because in a sense that Derrida’s critical theories which labelled as anti-structure and anti-form has felt in the interest of architects. Meanwhile Eisenman’s works can be somehow understood as the reflection of some Derrida’s ideals in the field of architecture. Eisenman describes the collaboration with Derrida as a “double parasitic laziness”, in a sense that from their quite different methodologies towards Chora (or phillosophy) they played each other with a closely bonded relationship (Derrida et al., 1997). As the fact that Derrida’s critical deconstructive theories failed to alter Eisenman’s early mode of working and Eisenman’s practice unsuccessfully express his ideal of architecture to be solid and grounded, the final design of the garden was announced failure in a practical level due to its overgrowing budget that ultimately six times over. Despite the architecture (in Eisenman’s word “build-

The “city of artificial excavation” discovered Eisenman’s concept towards the “site” which has been criticised as a notion of “origin” through his early works towards his attitude of conventional architectural metaphysics, and sequentially revealed the importance of architectural drawings and models in the position of developing his critical architectural theories. Through the drawings and text of Eisenman in this exhibition, it is clear that he has been developing a method, or a strategy to the investigation of the concept of “site”, which later on tremendously influenced the discipline in his architectural theories and career (Bédard and Balfour, 1994). In the project of Romeo and Juliet in Verona can be understood as Eisenman’s turning point of this early formalism mode of working. The major methodology he employed in this case is the “scaling”. His concept of “scal-

His concept of “scaling”, which differentiate from the conventional cognition that as a method of measure to the reality, can be seen as a transportation of certain properties of an isolated object from its original context to the selected new environment in juxtaposition with potentially a transferred scale. The Romeo and Juliet project in a way broke away the limitations in the architecture sense by applying a different scale to an existing object and introducing, or simulating fiction in to the reality. The basis of the anthropocentrism is set on the questions of presence and origin which can be destabilized with three proposed elements: discontinuity (memory and immanence), recursivity and self-similarity, in which confront respectively origin [site], representation [programme]and aesthetic object [representation]. The ambiguity of the story of Romeo and Juliet

which was inspired by the reality of Montecchio but was set into the scenario of the city of Verona has in a way proofed the “site” is otherwise a fiction which have being referring two sites in reality. Three superpositions have been operated in this project. The first superposition which involved the walls, the castles and the church revealed the concept of division, and the aspects of the textural narrative. The second superposition is based on the concept of “trace”, in which revealed the idea of “union”. The third superposition conveyed the idea of dialectical relationship between division and union. In the Internationale Bauausstellung in Berlin and Eisenman’s contribution to the haus au Checkpoint Charlie, the concept of the “City of Artificial Excavation” takes up and reinterprets the type of the “artificial ruin” to signify the historic and political situation of the place:

“an interpretation ... to excavate all its cultural meanings”. The building incorporates with two grid systems: The first grid takes up the orientation of the orthogonal structure of the Friedrichstadt, and thus fits into the existing streetscape. The second grid system refers to the global Merkator network, which symbolically evokes a relationship between Berlin and the rest of the world. As a walkable monument, these connections are also to be made visible to the visitor in a promenade architectural through the superstructural structures. From his methodologies and strategies, and of course the theories behind it, it is not hard to say that Eisenman’s intension for this project which similar to Cannaregio and others, is clear as he describes it “inscribed in the ground” of Berlin’s unwalkable ground.

Bédard, J. and Balfour, A. (1994). Cities of artificial excavation. 1st ed. Montréal: Centre Canadien d’Architecture/Canadian Centre for Architecture.

08 — Eisenman, Derrida, Towards Deconstruction

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Bibliography

-ing”) failure, the Chora can be seen as exist in a space of possibilities which generated by the collaboration between architectural text (Eisenman) and philosophical text (Derrida). The Book The book itself has been constructed in an unusual method which in a degree in a deliberately incomplete level. Wholes which according to the plan of the garden have been punched through the book from the cover to the middle. Followed by other ten wholes from the middle to the end which reflected the pattern of the design in a slightly different angle. This unprecedented method demonstrates the intermingle of philosophical and architectural text whose ambiguity was achieved by two architectural diagrams dragging the text into the abyss. Thus, the essential goal of this collaboration lies not in a practical architectural level but exist between Derrida and Eisenman’s text as an absence of itself. Under the impact of Jacques Derrida, Eisenman abandoned his early mode of working and transforming from the pure formalism of architecture to the structuralism, and eventually towards a deconstructive way of thinking. In Eisenman’s point of view, deconstructivism is the “only way of architecture”. Through his period of deconstruction, the methodologies and the operations which have been employed in his critical designs clearly reflected Jacques Derrida’s deconstructive point of view: “Under Erasure”.

Bibliography

References

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Architectural Review. (2017). Interview: Peter Eisenman. [online] Available at: https://www. architectural-review.com/rethink/interview-peter-eisenman/8646893.article [Accessed 24 Apr. 2017].

1. Casa Del Fascio https://s-media-cache-ak0.pinimg.com/originals/c6/59/0f/c6590fa67cefbed12d481931bb035fc5.jpg 2. Diagrams of House II by Peter Eisenman. http://68.media.tumblr.com/eb8bce89b3a179dc81efdfbd464661d5/tumblr_okg0kkrqnO1twhq1io2_1280.jpg 3. House II by Peter Eisenman https://s-media-cache-ak0.pinimg.com/736x/26/4f/ac/264fac5144bbc69c023bac96c 4d64040.jpg 4.1 & 4.2 House VI by Peter Eisenman http://images.adsttc.com/media/images/5037/e0e8/28ba/0d59/9b00/018f/medium_ jpg/stringio.jpg?1414230706 5. Aldo Rossi: The city and the architecture http://images.adsttc.com/media/images/5237/cc9f/e8e4/4eee/a100/018a/newsletter/ The_Cannaregio_project_(1978).jpg?1379388568 6. Wexner Centre for Arts http://c1038.r38.cf3.rackcdn.com/group1/building3126/media/4ca24dfa7b65e6.94898690. jpg 7. Conceptual plan of Cannaregio Town Square by Peter Eisenman http://68.media.tumblr.com/944ea4e4807f1619c652abce21d75b7b/tumblr_okg0kkrqnO1twhq1io7_1280.jpg 8.1 IBA, Checkpoint Charlie, Berlin, Peter Eisenman https://s-media-cache-ak0.pinimg.com/originals/f9/4d/4c/f94d4cf0d268a08161f21d861e60fef6.jpg 8.2 Romeo & Juliet Project by Peter Eisenman https://static1.squarespace.com/static/5126a8e4e4b08376dc007217/55450807e4b0ebaf8f a6d8a8/55450974e4b03262af8d361d/1430587765200/Eisenman_arrows_8.jpg 9. Chora L Works, Jacques Derrida & Peter Eisenman. http://www.penelopejcorfield.com/wp-content/uploads/2017/02/2017-02-No2-Model-ofChoral-Works.jpg

Bédard, J. and Balfour, A. (1994). Cities of artificial excavation. 1st ed. Montréal: Centre Canadien d’Architecture/Canadian Centre for Architecture. CANNIFFE, E., CANNIFFE, E. and profile, V. (2017). Aldo Rossi: The Architecture of the City (1966). [online] Architectureandurbanism.blogspot.co.uk. Available at: http://architectureandurbanism.blogspot.co.uk/2014/11/aldo-rossi-architecture-of-city-1966.html [Accessed 24 Apr. 2017]. Chomsky, N. (2015). Syntactic structures. 1st ed. Mansfield Centre, Conn.: Martino. Corbo, S. (2016). From formalism to weak form. 1st ed. London: Routledge. Derrida, J. (1987). The truth in painting. 1st ed. Chicago: University of Chicago Press. Derrida, J., Eisenman, P., Kipnis, J. and Leeser, T. (1997). Chora L works. 1st ed. New York: The Monacelli Press. Eisenman, P. (1979). Five architects. 1st ed. New York: Oxford Univ. Press. Eisenman, P. (1984). The End of the Classical: The End of the Beginning, the End of the End. Perspecta, 21, p.154. Eisenman, P. (2006). The formal basis of modern architecture. 1st ed. Baden, Switzerland: Lars Muller. Eisenman, P. and Somol, R. (2001). Diagram diaries. 1st ed. London: Thames and Hudson. Eisenman, P., Krauss, R. and Tafuri, M. (1987). Houses of cards. 1st ed. New York: Oxford Univ. Press. Hays, K. (2010). Architecture’s desire. 1st ed. Cambridge, MA: MIT Press. Jstor.org. (2017). There Are No Corners After Derrida on JSTOR. [online] Available at: https:// www.jstor.org/stable/41765266?seq=3#page_scan_tab_contents [Accessed 24 Apr. 2017]. MAIN Prjkt. (2017). series || 11 weeks || Eisenman, 1984.. [online] Available at: http://mainprjkt. com/mainprojekt/series-11-weeks-eisenman-1984 [Accessed 24 Apr. 2017].

Derrida, J., Eisenman, P., Kipnis, J. and Leeser, T. (1997). Chora L works. 1st ed. New York: The Monacelli Press.

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07 — Excavation

Image 8.1

— Peter Eisenman

-face dialectic. Casa del Fascio, the masterpiece which tributes the leaders of Fascism included the Terragni’s ideal of “Fascism is a glass house that everyone can access”, which reflects the demand of transparency in architecture from politics. Casa del Fascio can be seen as a sectional cut of a solid, or in a way that series of planes have being put together. Different to the concept of mass-surface by Corbusier, in which operates the surface or mass on an initially established strong gridding methodology, Terragni plays with two operations in order to achieve a mostly desired transparency. If conventional architecture can be seen as a sequence of parallel elements, the Casa del Fascio represented a series of subsequently readable fragments which criticised the relationship between object and subject (Corbo, 2016). In Eisenman’s analysis, he suggests that the elevation of the Casa del Fascio is the procedure of cross axis which consists of “Symmetry and Asymmetry”, “Stasis and Rotation” and “Grid and Solid”. Eisenman argues that the movement of the elevations of Casa del Fascio revealed the development of the ontology of architecture. Eisenman claimed that the works of Terragni which marked the relationship between “Deep structure” and “surface structure” is highly related to the revelation of the syntactic of the architectural language through the techniques of axonometric diagrams which in contrast to the central projection in Renaissance humanism to disclose the transformational methods. At the end, Eisenman’s formal basis of modern architecture can be understood as a method of reading architecture in a form and volume system and it became the real value of his dissertation.

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READING - Peter Eisenman

Diagrammatic Procedure

Form, and Formalism

Eisenman’s early attempts to break away the conventional cornerstone of architecture has been proofed partially unsuccessful especially in his operations of using lower-dimensional topology to replace the traditional Euclidean geometry in order to overturn the tradition on which architecture is based. In his later mode of working particularly in the deconstruction period, he realized that the method of using one geometry to replace the other is not deconstructing the meaning of geometry itself. Eisenman’s attempts in his early houses can be understood as the metaphysics of architecture which established on the basis of form.

READING - Peter Eisenman

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Eisenman’s house of cards is a pursuit to the architecture in theory which in a way sacrificed the house’s initial functions and meanings as he set himself against the conventional concept of shelter and comfort. Nevertheless, it is still clear that Eisen- man put these additions of the architecture into consideration and eventually became a part of his critical theories. Thus, Eisenman’s unique ways of constructing architecture is not a form which lost the consideration of function. His anti-functionism is based on the principle of overturning the form generated by functions which limited the development of itself. In comparison to modern

ists’ architecture which gradually destructed the function of walls, the structural complex hold the dominant position in Eisenman’s theories, in which walls, beams and columns find their own place to situate into his autonomous architecture (Eisenman, Krauss and Ta- furi, 1987). In his House I which can be understood as the first step that Eisenman put his critical anti-modernism theories into practice, the relationship between the surface image and the symbolic meanings are in a way ambiguous. However, the “deep structure” has been defined as a series of formal logic through the methods such as compressing and rotating. In the development of House II, in order to express his way of operations of syntax, all of the images have been removed. House II is developed through two volumes which has been moved in the diagonal axis to form the gridding system. Eisenman developed two geometrical system based on the gridding system and the parallel walls. Through his method of operating syntax, diagram is an essential part of the whole design which can be used to proof the relationships between deep structures.

To Eisenman, the theories in Noam Chomsky’s book “Aspects of the Theory of Syntax” is more than important. Chomsky pointed out that the theory of transforming the linguistic theory to cognitive science should be undertaken in a rational method but not through experimentalism (Bédard and Balfour, 1994). Eisenman’s later on works have proofed that his architectural formalism is manifest to Chomsky’s linguistic theories. Eisenman suggests that architecture apart from its perception of artistic subject should be understood in the conception of formal relationship. Transparency has provided Eisenman a good reference. The transparency of phenomenon indicates the relationship of the properties of architecture and painting, and the possibilities of a manifestation to the visual art and literature. Through the changing of meanings and recombination of structures, the transparency which originated from the linguistics indicated the meaning of the deep structure. Surface structure can be discovered in its projection, deepness and edge. However, deep structure is the hidden system of the syntax, which explains the relationship between the formal elements.

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The Deconstructionists: Peter Eisenman Under the

from the deconstructionism is the method of operation. The way that Jacques Derrida deconstruct a text normally starts from the insignificant edges or details which have been later on used in the introspection of the text, and state how the edges or details deconstruct the initial hypothesis. In the Truth of Painting, through the discussion and interpretation towards Van Gogh’s A Pair of Old Shoes, Derrida argues that the “desire for belonging is the desire for plagiarism” (Derrida, 1987). Through the questions that Derrida raised against the painting and the investigation towards the motivation and meaning, he eventually destructed accultured and embodied meaning of the painting itself. Vernon Hyde Minor in his “Art History’s History” once used the similar methodology that Derrida Abstract has employed in this Truth of Painting to question Les Demoiselles d’Avignon by Picasso. Those questions reflected Derrida’s criticism which never intended towards any result. Derrida’s method on Peter Eisenman’s unique architecture and his critical theories are often labelled as formalism, late the painting has raised a question: Why there are only such limited questions that have been asked avant-garde, deconstructivist and as such. In Eisenman’s early works, he demonstrated his attempts towards the art and aesthetics? (Minor, 1994) towards a formal and structural architectural language and the pursuit of self-sufficiency, self-referential autonomous architecture. Eisenman’s architectural writings has been situated within a range of In history, such as structuralism against humanism, modernism against classicism, the replacement related theories which were discussed in the other fields such as philosophy, linguistics and art. He of ideologies is based on the repudiation and opposition of the older model. Nevertheless, deconused them as his unique approach and support to his architectural theories. His later architectural structionists argue that the way of repudiation and opposition is confined in the traditional binary works are mostly filled with the forms of fragmentations and abstractions has been identified as a opposition and it is only “halfway through”. Therefore, the way that deconstructionist used is not sign of a group of some famous architects who were labelled or self-labelled as deconstructivists, to set the opposition but to “deconstruct”. In 1984, Eisenman published The End of the Classical: which initially highly inspired by Jacques Derrida with his deconstructive theories. French philosopher The End of the Beginning. The End of the End. In this article, Peter Eisenman firstly began to use Jaques Derrida initiated the Deconstructivism which deeply influenced modern literature, art and the same methodology as appeared in Derrida’s works which aimed to critique “thoroughly” as its many other fields, and especially Architecture was most extensively and profoundly impacted. In the objective in the theory. He criticises everything which has been identified as the model of a generformalism, Eisenman moved from the ideal of finding an autonomous, rational and analytically criti- al acknowledgement under the conventional cognition, and these are the centre, base, rationality cal approach for the architecture form, whilst critique as the main position of its theory and practice. and structure of the conventions, in which represents, the metaphysics, binary opposition, hierarchy However, in the Deconstructive mode, in addition to the ambition of finding a basis for overturning and powerfulness (Eisenman, 1984). His work in this architectural practice is to identify these mathe architecture form thoroughly, the most important method that Eisenman acquired from the de- terials and use the methodologies of the deconstructionist to deconstruct, or to neutralise them. constructivism is the method of operations. This essay takes examples of Eisenman’s works including Three fictions which appeared in the cognition of the classic architecture have been summarised Cannaregio Town Square in Venice, Wexner Centre for the Arts project and the co-orperation of by Eisenman: Representation, Reason and History which respectively simulated the meaning, Truth Chora L Works with Derrida, to briefly explore the Eisenman’s transition from formalism, structuralism and timeless (Eisenman, 1984). First of all, Eisenman thinks that Representation is the representative to the deconstructivism, and the close relationship between Eisenman and Jacques Derrida, and the image of the simulation of meaning which caused the over loading of implications that architecture has to bear. Inspired by the Simile and Metaphor in the literature, Eisenman applied the comparable impact of Derrida’s deconstructionist philosophy to Eisenman’s later works. methodology to deconstruct the fiction of Representation. For the fiction of Reason - the simulation of the Truth, Eisenman used Martin Heidegger’s ideology of giving value to the mistake. Heidegger Selected Excerpt: pointed out that a mistake has the parallel track to the Truth, therefore a deliberate mistake is the way to deconstruct the simulation of the Reason (Eisenman, 1984). Thirdly, History – the simulation The revelation that formalism acquired from the linguistics which Ferdinand de Saussure developed of the timeless. Eisenman argues the way of deconstruct this fiction can be done in a way of finding is that there is no correspondence between the Signifier (the form of the sign) and Signified (the another fiction if architecture is inevitably fictional, which is not sustained by the presence or comcontent of the sign). Language, a symbolic system according to Saussure is a structure, can be un- mon value, and not aimed to represent these values. Eisenman afterwards raised a series of specific derstood only for the various components that are built on the system as a whole. Structuralism operations. The first concept is named dissimulation which based on the conception of simulation. aimed to prove that a series ways of thinking and discourse we have been accepting are actually In the End of Classical, the attempt of the simulation is to remove the difference between the reality problematic, and Many of the historical and artistic conditions that we take for granted are lurking in and the image. However, the dissimulation is the representation of the difference between reality and subtleties, Whilst the latter one can reveal the reality of human culture and architecture in a depth. delusion. Eisenman believes that the progress of dissimulation is the procedure of “show & deny”. Nevertheless, Structuralism is promoted from philosophies and it is inevitably impacted by Meta- In Derrida’s opposition to the Logocentrism, the strategy that he used is to put the language “under physics. Its failure was however proved by the history because it cannot reach the idea of providing erasure”, which related to the concept of “trace” whose presence or absence is never confirmed. The objective and scientific knowledge. The poststructuralism, as in opposition to the Structuralism has second is the “Twoness/Betweeness”. Through the concept of “supplement” which put out by Derbeen afterwards raised and eventually evolved into the deconstructionism which profoundly im- rida, Eisenman acquired the concept of “formless” whose presence solved the problems brought by pacted by Jacques Derrida and his critical works. Theories brought by the deconstructionist can be the presence of the “form”. briefly summarised the following aspects: As generally accepted, the start of an architectural design begins with a certain reference. However, Text (Literature, Art and Architecture) has no precise meanings; Languages and Art cannot express according to Eisenman’s deconstruction theories, there is no more start, or origin in the architectural nether the idea from the inside (Author), nor make the idea from inside to be understandable; Lan- design including traditional, natural or functional factors. He suggests the arbitrary, or the self-conguage and art both non-realistic; The speaker cannot express the very precise meaning in a perfect tinuality. If the classical architecture originated from the order brought by divinity and nature, Eisenand undisturbable way that he wants to convey; The author cannot convey his own idea to the au- man’s deconstructionism architecture provides only the beginning with no extra values except the diences. methodology itself. This arbitrary is certainly not divine, or natural but artificial which freed architecIn the formalism, Eisenman moved from the ideal of finding an autonomous, rational and analyti- ture from the conventional swamp. Together with the concept of the End of the beginning, Eisenman cally critical approach for the architecture form, whilst critique as the main position of its theory and raised the following theory of the “End of the End”, in which he suggested that the causality should practice. However, in the deconstructive mode, in addition to the ambition of finding a basis for no longer exist in the architectural design which leads to an undialectical, omnidirectional and oboverturning the architecture form thoroughly, the most important method that Eisenman acquired jectless origin.

Impact of Jacques Derrida

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Image Above: A Pair of Old Shoes by Vincent Van Gogh Image on right: Picasso’s Les Demoiselles d’Avignon

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Image: The Cannaregio project by Peter Eisenman, 1978

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Image: The Parc de la Villette by Peter Eisenman and Jacques Derrida, 1987

three different scales. Cannaregio project is the example of Eisenman put Derrida’s critical deconstructionism into practice and it successfully reproduced the The project of Cannaregio in Venice, 1978, as Eisenman describes “the project operation of Derrida’s “Under Erasure” as Eisenman put his architecture under in ground for the first time”, “The turning point in my work” (Ansari, 2013) is the erasure. very model of his not-classical architecture. Eisenman’s early projects fell into an exclusive concern of isolating and elaborating the elements in architectural de- CHORA L WORKS & WEXNER CENTRE FOR ARTS signs and especially in operations which would provide certainty to the self-reflexivity and autonomy of the elements. In his house VI, Eisenman used lower The strategy of the “scaling” is furthermore developed through Eisenman and dimensional topology to displace the Euclidean geometry which appeared in Derrida’s Chora L Works, the contribution of an unrealized garden to Bernard his early examples of House of Cards. However, in a deconstructive mode of Tchumi’s Parc de la Villette in 1987. Derrida firstly introduced his theory towards working, Eisenman started to notice that the method of using another geome- his investigation to Plato’s Timaeus which raised the concept of “chora”. Eisentry to displace the previous one would have not achieved eliminating the value man and Derrida’s first attempt is to bring the concept in to the design of the of geometry itself (Eisenman, 1984). He afterwards started with the operation garden. However, it was unsuccessful as Derrida pointed out that the concept of “Graft”, in which case he referred to the unbuilt model of Venice Hospital of chora manifest to the notion of absence and therefore it cannot be presentby Le Corbusier in the notion of “trace” as he suggested that the idea of using ed (Eisenman & Derrida, 1997). Then the collaboration between Eisenman and “trace” as a key and a beginning of a project. In order to avoid referring to the Derrida falls onto the mission of achieving the impossibility. Three texts formed image of Corbusier’s project, Eisenman started to look into the grid and clean the cornerstone of the project. Tchumi’s text can be seen as the text of “mine up the linguistic values of the design. This model of reference is proposed to be for Venice” [Eisenman’s Cannaregio Town Square project], Eisenman’s text is a random fiction of the precedence which needs to be dissimulated by follow- on Derrida’s, and then Derrida’s text in towards Plato’s Timaeus (Eisenman & ing operations. He successfully avoided all of the existing architectural symbols Derrida, 1997). Eisenman’s strategy of “scaling” is superposed onto Derrida’s in Corbusier’s design, and made reference to his own design of House XIa at

THE CANNAREGIO TOWN SQUARE

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Image: The Conceptual diagram of Wexner Centre for Arts by Peter Eisenman. 1983-1989

Image: Wexner Centre for Arts by Peter Eisenman 1983-1989

deconstructivism. The collaboration between the two has led the project in an unexpected way. Derrida’s deconstructive theories failed to alter Eisenman’s pre-existing style, and Eisenman’s practice unsuccessfully expressed his notion of grounded architecture (Wocke, 2014). Finally, the park which six times over the initial budget, found its way to exist in the book of Chora L Works, as it has been proofed by Derrida’s notion of absence.

Cannaregio Town Square represents that Eisenman used a similar approach in this architectural design as appeared in Derrida’s works. Based on his method of employing gridding system, he introduced the concept of “graft”, which successfully started a “deconstructed” origin for this project, and very much reflected Derrida’s concept of “under erasure”. In Chora L Works Eisenman continued to develop his previous methodologies but under Derrida’s notion of deconstruction. The fact that Derrida’s deconstruction theories have in a sense failed to alter Eisenman’s pre-existing style and Eisenman’s failure of to achieve a grounded architecture has resulted in that the park was ultimately presented in the book as Derrida’s notion of absence. Wexner Centre of Arts can be seen as Eisenman’s direct response to Derrida’s deconstructivism. Eisenman continued to use his gridding methods to invoke the pasts and traces. Wexner Centre for the arts can be understood as the edge that situated between two buildings which reflected the concept in the Chora L Works, as the building is nothing but only an edge. To conclude, Jacques Derrida’s notion of deconstruction has largely and profoundly impacted Eisenman’s later works. From his turning point of Cannaregio project, Eisenman’s methodologies that are employed in his pursuit to a deconstructive architecture has responded to Derrida’s deconstructivism. As Eisenman once pointed out that his architecture is grounded on the critical theories of deconstruction which Derrida has put a deep mark on.

SUMMARY Peter Eisenman’s early works can be viewed as a series of attempts towards a formal and structural architectural language and a self-referential and self-reflexive autonomy. He situated his architectural discourse in the theories which has been distributed to other fields such as linguistics and art whilst he constantly seeks to defend architecture’s independent positions. Eisenman’s transformation from formalism, structuralism to the later deconstructivism has been profoundly influenced by Jacques Derrida’s critical theories. Derrida’s deconstructivism is presented in two aspects: It criticises the metaphysics of history and started a brand-new methodology towards the text. Derrida’s theories have largely fell into Eisenman’s interests. Eisenman firstly started to use Derrida’s deconstructive methodologies in his “End of the classical” and attempted to achieve a thorough critique. In Eisenman’s first grounded project, the

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REFERENCE

The Deconstructionists:

INTRODUCTION

Culler, J. (2003). Deconstruction: Critical Concepts in Literary and Cultural Studies, Volume 3. London: Routledge. Eisenman, P. (1984). The End of the Classical: The End of the Beginning, the End of the End. Perspecta, 21, p.154.

ESSAY - Deconstructionists: Peter Eisenman Under the Impact of Jacques Derrida

Derrida, J., Eisenman, P., Kipnis, J. and Leeser, T. (1997). Chora L works. 1st ed. New York: The Monacelli Press.

ABSTRACT Peter Eisenman’s unique architecture and his critical theories are often labelled as formalism, late avant-garde, deconstructivist and as such. In Eisenman’s early works, he demonstrated his attempts towards a formal and structural architectural language and the pursuit of self-sufficiency, self-referential autonomous architecture. Eisenman’s architectural writings has been situated within a range of related theories which were discussed in the other fields such as philosophy, linguistics and art. He used them as his unique approach and support to his architectural theories. His later architectural works are mostly filled with the forms of fragmentations and abstractions has been identified as a sign of a group of some famous architects who were labelled or self-labelled as deconstructivists, which initially highly inspired by Jacques Derrida with his deconstructive theories. French philosopher Jaques Derrida initiated the Deconstructivism which deeply influenced modern literature, art and many other fields, and especially Architecture was most extensively and profoundly impacted. In the formalism, Eisenman moved from the ideal of finding an autonomous, rational and analytically critical approach for the architecture form, whilst critique as the main position of its theory and practice. However, in the Deconstructive mode, in addition to the ambition of finding a basis for overturning the architecture form thoroughly, the most important method that Eisenman acquired from the deconstructivism is the method of operations. This essay takes examples of Eisenman’s works including Cannaregio Town Square in Venice, Wexner Centre for the Arts project and the co-orperation of Chora L Works with Derrida, to briefly explore the Eisenman’s transition from formalism, structuralism to the deconstructivism, and the close relationship between Eisenman and Jacques Derrida, and the impact of Derrida’s deconstructionist philosophy to Eisenman’s later works.

From the 1970s, the emerge of the post-structuralism which refers to a critical perspective has uncrowned the structuralism in linguistics and literature theories. Deconstructionist theories which subjected to the linguistic vision of post-structuralism therefore led by Jacques Derrida whose leading place in the deconstructionist criticism is indubitable. With his profound, explicit and obscure works, his philosophical theories and methodologies have deeply impacted many fields including literature and art, and directly influenced the modern architecture and design in a practical level. Peter Eisenman’s architectural theories often refer to the related theoretical issues that circulated in the fields of semiology and linguistics, more than that, also Derrida’s deconstructionist theories. Eisenman’s early works are often related to his architectural theories towards formalism and structuralism. The close relationship between the architect and the philosopher and their mutual interests and admiration to each other is unusual in history. Eisenman once pointed out that “the only way of architecture” is to dive deeply into the theories of the Deconstructivism. It is clear that the relationship between Derrida’s deconstructivism and the deconstructive architecture which similar to the fact that post-modernism architecture was once the interpreter of the image of the post-modernism theories, reflected the fact that the philosophical rule is embodied in the architectural practices. The academic significance of Jacques Derrida’s theoretical deconstructivism is represented in two major aspects. It criticises the metaphysical history with its hierarchies and dichotomies, and started a playable attitude towards the text. Derrida’s core theory is the deconstruction which was pointed against all the certainties. He argues that all the established limitations, conceptions, categories and hierarchies which was to be overthrown. Whilst as indicated by some titles of his works, Derrida expressed these unique discoveries and theoretical issues through the way of exploring a series of Bipolar phenomenon and the issues of binary

Image: The Fin’ Dou T Hou S by Peter Eisenman, 1983

opposition which beyond the conventional opposition of signifier/signified.

ESSAY - Deconstructionists: Peter Eisenman Under the Impact of Jacques Derrida

Peter Eisenman Under the Impact of Jacques Derrida

In comparison to the structuralism, deconstructionism emphasises the grammaticalization of the meaning. Derrida contends that the pursuit of pure meaning is a stubborn disease of the conventional metaphysics. Therefore, he denies the end meaning and the stable structure of text. Many obscured conceptions such as difference, supplement, intertextuality and trace have been used by Derrida in order to express the instability and the multiplicity of meaning. Especially through Derrida’s overturning criticism towards the conventional structuralism in linguistics, the final deny to western conventions has been putout eventually. His critical methodologies which started from a deep investigation to the linguistics disintegrated the dominant and authoritative position of the binary opposition, whilst are the most attractive and consultative aspects to the architects led

by Peter Eisenman. The revelation that formalism acquired from the linguistics which Ferdinand de Saussure developed is that there is no correspondence between the Signifier (the form of the sign) and Signified (the content of the sign). Language, a symbolic system according to Saussure is a structure, can be understood only for the various components that are built on the system as a whole. Structuralism aimed to prove that a series ways of thinking and discourse we have been accepting are actually problematic, and Many of the historical and artistic conditions that we take for granted are lurking in subtleties, Whilst the latter one can reveal the reality of human culture and architecture in a depth. Nevertheless, Structuralism is promoted from philosophies and it is inevitably impacted by Metaphysics. Its failure was however proved by the history because it cannot reach the idea of providing objective and scientific knowledge. The poststructuralism, as in opposition to the Structuralism has been afterwards raised and eventually evolved into the deconstructionism which profoundly impacted by Jacques Derrida and his critical works. Theories brought by the deconstructionist can be briefly summarised the following aspects: Text (Literature, Art and Architecture) has no precise meanings; Languages and Art cannot express nether the idea from the inside (Author), nor make the idea from inside to be understandable; Language and art both non-realistic; The speaker cannot express the very precise meaning in a perfect and undisturbable way that he wants to convey; The author cannot convey his own idea to the audiences. In the formalism, Eisenman moved from the ideal of finding an autonomous, rational and analytically critical approach for the architecture form, whilst critique as the main position of its theory and practice. However, in the deconstructive mode, in addition to the ambition of finding a basis for overturning the architecture form thoroughly, the most important method that Eisenman acquired from the deconstructionism is the method of operation. The way that Jacques Derrida deconstruct a text normally starts from the insignificant edges or details which have been later on used in the intro-

spection of the text, and state how the edges or details deconstruct the initial hypothesis. In the Truth of Painting, through the discussion and interpretation towards Van Gogh’s A Pair of Old Shoes, Derrida argues that the “desire for belonging is the desire for plagiarism” (Derrida, 1987). Through the questions that Derrida raised against the painting and the investigation towards the motivation and meaning, he eventually destructed accultured and embodied meaning of the painting itself. Vernon Hyde Minor in his “Art History’s History” once used the similar methodology that Derrida has employed in this Truth of Painting to question Les Demoiselles d’Avignon by Picasso. Those questions reflected Derrida’s criticism which never intended towards any result. Derrida’s method on the painting has raised a question: Why there are only such limited questions that have been asked towards the art and aesthetics? (Minor, 1994)

Image Above: A Pair of Old Shoes by Vincent Van Gogh Image on right: Picasso’s Les Demoiselles d’Avignon

Image: The House II by Peter Eisenman, 1969-1970

In history, such as structuralism against humanism, modernism against classicism, the replacement of ideologies is based on the repudiation and opposition of the older model. Nevertheless, deconstructionists argue that the way of repudiation and opposition is confined in the traditional binary opposition and it is only “halfway through”. Therefore, the way that deconstructionist used is not to set the opposition but to “deconstruct”. In 1984, Eisenman published The End of the Classical: The End of the Beginning. The End of the End. In this article, Peter Eisenman firstly began to use the same methodology as appeared in Derrida’s works which aimed to critique “thoroughly” as its objective in the theory. He criticises everything which has been identified as the model of a general acknowledgement under the conventional cognition, and these are the centre, base, rationality and structure of the conventions, in which represents, the metaphysics, binary opposition, hierarchy and powerfulness (Eisenman, 1984). His work in this architectural practice is to identify these materials and use the methodologies of the deconstructionist to deconstruct, or to neutralise them. Three fictions which appeared in the cognition of the classic architecture have been summarised by Eisenman: Representation, Reason and History which respectively simulated the meaning, Truth and timeless (Eisenman, 1984). First of all, Eisenman thinks that Representation is the representative image of the simulation of meaning which caused the over loading of implications that architecture has to bear. Inspired by the Simile and Metaphor in the literature, Eisenman applied the comparable methodology to deconstruct the fiction of Representation. For the fiction of Reason - the simulation of the Truth, Eisenman used Mar-

tin Heidegger’s ideology of giving value to the mistake. Heidegger pointed out that a mistake has the parallel track to the Truth, therefore a deliberate mistake is the way to deconstruct the simulation of the Reason (Eisenman, 1984). Thirdly, History – the simulation of the timeless. Eisenman argues the way of deconstruct this fiction can be done in a way of finding another fiction if architecture is inevitably fictional, which is not sustained by the presence or common value, and not aimed to represent these values. Eisenman afterwards raised a series of specific operations. The first concept is named dissimulation which based on the conception of simulation. In the End of Classical, the attempt of the simulation is to remove the difference between the reality and the image. However, the dissimulation is the representation of the difference between reality and delusion. Eisenman believes that the progress of dissimulation is the procedure of “show & deny”. In Derrida’s opposition to the Logocentrism, the strategy that he used is to put the language “under erasure”, which related to the concept of “trace” whose presence or absence is never confirmed. The second is the “Twoness/Betweeness”. Through the concept of “supplement” which put out by Derrida, Eisenman acquired the concept of “formless” whose presence solved the problems brought by the presence of the “form”. As generally accepted, the start of an architectural design begins with a certain reference. However, according to Eisenman’s deconstruction theories, there is no more start, or origin in the architectural design including traditional, natural or functional factors. He suggests the arbitrary, or the self-continuality. If the classical architecture originated from the order brought by divinity and nature, Eisenman’s deconstructionism architecture provides only the beginning with no extra values except the methodology itself. This arbitrary is certainly not divine, or natural but artificial which freed architecture from the conventional swamp. Together with the concept of the End of the beginning, Eisenman raised the following theory of the “End of the End”, in which he suggested that the causality should no longer exist in the architectural design which leads to an undialectical, omnidirectional and objectless origin.

Wocke, B. (2014). Derrida at Villette: (An)aesthetic of Space. University of Toronto Quarterly, 83(3), pp.739-755. Gutting, G. (2001). French Philosophy in the Twentieth Century. Cambridge: The Cambridge University Press.

CHORA L WORKS & WEXNER CENTRE FOR ARTS

Image: The Cannaregio project by Peter Eisenman, 1978

ESSAY - Deconstructionists: Peter Eisenman Under the Impact of Jacques Derrida

THE CANNAREGIO TOWN SQUARE

M A R C H 1 / S E M E S T E R 2 / S C AT / E S S AY

The project of Cannaregio in Venice, 1978, as Eisenman describes “the project in ground for the first time”, “The turning point in my work” (Ansari, 2013) is the very model of his not-classical architecture. Eisenman’s early projects fell into an exclusive concern of isolating and elaborating the elements in architectural designs and especially in operations which would provide certainty to the self-reflexivity and autonomy of the elements. In his house VI, Eisenman used lower dimensional topology to displace the Euclidean geometry which appeared in his early examples of House of Cards. However, in a deconstructive mode of working, Eisenman started to notice that the method of using another geometry to displace the previous one would have not achieved eliminating the value of geometry itself (Eisenman, 1984). He afterwards started with the operation of “Graft”, in which case he referred to the unbuilt model of Venice Hospital by Le Corbusier in the notion of “trace” as he suggested that the idea of using “trace” as a key and a beginning of a project. In order to avoid referring to the image of Corbusier’s project, Eisenman started to look into the grid and clean up the linguistic values of the design. This model of reference is proposed to be a random fiction of the precedence which needs to be dissimulated by following operations. He successfully avoided all of the existing architectural symbols in Corbusier’s design, and made reference to his own design of House XIa at three different scales. Cannaregio project is the example of Eisenman put Derrida’s critical deconstructionism into practice and it successfully reproduced the operation of Derrida’s “Under Erasure” as Eisenman put his architecture under erasure.

The strategy of the “scaling” is furthermore developed through Eisenman and Derrida’s Chora L Works, the contribution of an unrealized garden to Bernard Tchumi’s Parc de la Villette in 1987. Derrida firstly introduced his theory towards his investigation to Plato’s Timaeus which raised the concept of “chora”. Eisenman and Derrida’s first attempt is to bring the concept in to the design of the garden. However, it was unsuccessful as Derrida pointed out that the concept of chora manifest to the notion of absence and therefore it cannot be presented (Eisenman & Derrida, 1997). Then the collaboration between Eisenman and Derrida falls onto the mission of achieving the impossibility. Three texts formed the cornerstone of the project. Tchumi’s text can be seen as the text of “mine for Venice” [Eisenman’s Cannaregio Town Square project], Eisenman’s text is on Derrida’s, and then Derrida’s text in towards Plato’s Timaeus (Eisenman & Derrida, 1997). Eisenman’s strategy of “scaling” is superposed onto Derrida’s deconstructivism. The collaboration between the two has led the project in an unexpected way. Derrida’s deconstructive theories failed to alter Eisenman’s pre-existing style, and Eisenman’s practice unsuccessfully expressed his notion of grounded architecture (Wocke, 2014). Finally, the park which six times over the initial budget, found its way to exist in the book of Chora L Works, as it has been proofed by Derrida’s notion of absence.

To find Eisenman’s deconstructive construction under Derrida’s notion elsewhere, the Wexner Centre for the Arts portended the validation of the Deconstructivism and its critical theory, and it is also a direct response from Eisenman to Jacques Derrida’s critical deconstructive theories. It is the most important and influential work of Peter Eisenman and reflected his deconstructive architectural theoretical science which distilled from the conventional architecture forms. Eisenman used the allusion of the foundation of the armoury found onsite which had been accidentally cleared to make room to the art centre to shape the core of his design. This mediaeval-style red brick disrupted armoury structure confronted with the modern looking scaffolding structure. The “excavation” of the fictional armoury announced the deficiency of a milestone in the history of Ohio University, and deconstructed the traditional code. Eisenman argued that the deconstruction of the armoury is the fracture of professional theories of historians. In Wexner, apart from “anti-memorial” and “Figuration”, Eisenman also raised the concept of dissimulation. As in many other works of Eisenman, he invokes the past and traces by applying his powerful gridding methodologies which dominate the formal language of the architecture. Two slightly off-kilter grids of city of Columbus and the University overlap with each other. Inside of the building, lighting grid on the ceiling and the natural light form the background of the gallery left with no designated wall space and downlight to emphasize the dominant position of artworks. Wexner Centre of Arts itself is a wedge between two separate buildings, Mershon Auditorium and Weigel Hall. Actually, it reflects not only one edge but many others: wedges with and without create an open structure that is nothing but an edge. When read it this way, Wexner Centre for the Arts prefigures the Chora L Works (Culler, 2003). This is the deconstruction of the concept of conventional gallery. It has dethroned the orthodox position of the artwork and redefined the relationship between the art and architecture.

Image Above: The Conceptual diagram of Wexner Centre for Arts by Peter Eisenman. 1983-1989 Image below: Wexner Centre for Arts by Peter Eisenman 1983-1989

Image: The Parc de la Villette by Peter Eisenman and Jacques Derrida, 1987

SUMMARY

ESSAY - Deconstructionists: Peter Eisenman Under the Impact of Jacques Derrida

Architectural Review. (2017). Interview: Peter Eisenman. [online] Available at: https://www.architectural-review.com/rethink/interview-peter-eisenman/8646893.article [Accessed 15 Apr. 2017].

Peter Eisenman’s early works can be viewed as a series of attempts towards a formal and structural architectural language and a selfreferential and self-reflexive autonomy. He situated his architectural discourse in the theories which has been distributed to other fields such as linguistics and art whilst he constantly seeks to defend architecture’s independent positions. Eisenman’s transformation from formalism, structuralism to the later deconstructivism has been profoundly influenced by Jacques Derrida’s critical theories. Derrida’s deconstructivism is presented in two aspects: It criticises the metaphysics of history and started a brand-new methodology towards the text. Derrida’s theories have largely fell into Eisenman’s interests. Eisenman firstly started to use Derrida’s deconstructive methodologies in his “End of the classical” and attempted to achieve a thorough critique. In Eisenman’s first grounded project, the Cannaregio Town Square represents that Eisenman used a similar approach in this architectural design as appeared in Derrida’s works. Based on his method of employing gridding system, he introduced the concept of “graft”, which successfully started a “deconstructed” origin for this project, and very much reflected Derrida’s concept of “under erasure”. In Chora L Works Eisenman continued to develop his previous methodologies but under Derrida’s notion of deconstruction. The fact that Derrida’s deconstruction theories have in a sense failed to alter Eisenman’s pre-existing style and Eisenman’s failure of to achieve a grounded architecture has resulted in that the park was ultimately presented in the book as Derrida’s notion of absence. Wexner Centre of Arts can be seen as Eisenman’s direct response to Derrida’s deconstructivism. Eisenman continued to use his gridding methods to invoke the pasts and traces. Wexner Centre for the arts can be understood as the edge that situated between two buildings which reflected the concept in the Chora L Works, as the building is nothing but only an edge. To conclude, Jacques Derrida’s notion of deconstruction has largely and profoundly impacted Eisenman’s later works. From his turning point of Cannaregio project, Eisenman’s meth-

odologies that are employed in his pursuit to a deconstructive architecture has responded to Derrida’s deconstructivism. As Eisenman once pointed out that his architecture is grounded on the critical theories of deconstruction which Derrida has put a deep mark on.

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Derrida, J. (1987). The truth in painting. 1st ed. Chicago: University of Chicago Press. Minor, V. (2009). Art history’s history. 1st ed. Upper Saddle River, N.J.: Prentice Hall. Bédard, J. and Balfour, A. (1994). Cities of artificial excavation. 1st ed. Montréal: Centre Canadien d’Architecture/Canadian Centre for Architecture. Eisenman, P. (2006). The formal basis of modern architecture. 1st ed. Baden, Switzerland: Lars Muller. Derrida, J., Eisenman, P., Kipnis, J. and Leeser, T. (1997). Chora L works. 1st ed. New York: The Monacelli Press. Culler, J. (2003). Deconstruction: Critical Concepts in Literary and Cultural Studies, Volume 3. London: Routledge. Eisenman, P. (1984). The End of the Classical: The End of the Beginning, the End of the End. Perspecta, 21, p.154. Wocke, B. (2014). Derrida at Villette: (An)aesthetic of Space. University of Toronto Quarterly, 83(3), pp.739-755. Gutting, G. (2001). French Philosophy in the Twentieth Century. Cambridge: The Cambridge University Press. Architectural Review. (2017). Interview: Peter Eisenman. [online] Available at: https://www.architectural-review.com/rethink/interview-peter-eisenman/8646893.article [Accessed 15 Apr. 2017].

DESIGN STUDIO G Hotel Paris

Project I. Restructuring Passy Reservoirs – A Live-work Tech Station Studio Leaders: Giorgio Ponzo and Sophia Banou

OVERVIEW

LEANRING OUTCOMES

Hotel Paris aims to develop a series of housing projects in relation to buildings used for knowledge work: Parisian libraries and museums will be parasited by a housing project. Starting with the study of a series of institutional buildings used for knowledge work, the students will make them inhabitable through a series of moves that aim at developing projects where the boundary between living and working is critically questioned and made productive: the existing building and the new one will have to establish material and programmatic relationships, attempting to generate a new composite in the urban fabric.

LO1 The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues.

In these operations and in the final architectural resolution, the very definition of both “housing” and “work” will be addressed and elaborated.

LO3 The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project.

The reference to the hotel typology calls for projects that transgress the traditional understanding of the design of housing complexes. An initial set of themes have to be taken into account and - intertwined with one another - oﬀer the possibility to work on many levels towards original (architectural) definitions of inhabitation.

LO4 A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, computer and workshop techniques), especially in relation to individual and group work.

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LO2 The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns.

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I. 'The Amphitheatre of Books' -Bibliothèque Nationale by Étienne-

Bibliothèque Nationale by Étienne-Louis Boullée, 1785

The project opens with a deep observation to one of the national library project in Paris which was delivered by Étienne-Louis Boullée in 1785. The building was classical: Enlightenment architectural language throughout the wholistic design. However, one thing is extremely strong in comparison to other classical library buildings, that, is the central reading space as describe by Boullée as the ‘Amphitheatre of Books’. In his original sketches, he dreamed a wonderful open plan with no modern obstacles within such as desk and chairs, bringing the ancient Greek paintings back to life: Philosophers and scholars talk, share and pass on the knowledge, with a background of millions of books that once represented the highest achievement of knowledge by human beings. Vaulted ceiling created a large void which is connected to the sky through the giant roof opening. Boullée’s library is understood in a way that knowledge production is heavily relied on sharing, and therefore compressing other programs to make way for the central platform. Series of diagrams are presented to illustrate the Part 1.

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Space Layering, Scale, Function and Structure

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II. 'The Gatehouse' -The Courtyard of books

Amphitheatre of Books - The Reference

Courtyard of Books - The Gatehouse

In the previous precendents studies two libraries were seen in details: Étienne-Louis Boullée's National library project and Henri Labrouste’s Bibliothèque Nationale de France at Rue de Richelieu. Both projects used similar strategies in terms of massing, lighting and circulation, in which qualities embeded the design of the gatehouse. Two libraries started with a courtyard typology which served as a communal space and the gather point of the circulations. In Boullée’s project, the courtyard can be seen as a form of the grand reading room in which he believes the knowledge development is based on sharing and communication. The giant rooflight above the reading area brought the idea of the relationship between human and the cosmic, and also created a magnificent lighting depth horizontally in the library. Similarly, Labrouste’s reading room used nine large rooflights above the reading room to lit up the big void, and with the aid of north facing high level windows to maximize the natural light in the main reading area. Narrow entrance again with side lights to create a visual depth and transparency.

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Spatial Qualities - Two Libraries

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Axonometrics - Gatehouse

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Sectional Perspective, Plans - Gatehouse

''In the gatehouse design, courtyard and lighting are the two most important elements. The gatehouse features a central large indoor courtyard with no designated functions. Bookshelves can be found around the courtyard. Large skylight as seen in both libraries is used. With the idea of isolating the courtyard from the outside environment, all windows are placed in purpose to avoid direct visual contact to the outside and only little light is allowed from the walls. Visual depth strategies are also applied at the entrance and the back study room in the design. Circulation is hidden in a narrow space and with very narrow access. The design of the Gatehouse can be understood as a combination of architectural qualities which identified in the precedent studies, and also provides future insights and starting point to the later projects.''

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Screenshots from the video - A Time-lapse at BnF Richelieu

III. 'Contextualising' -A Time-lapse at BnF Richelieu The Bibliothèque Nationale de France is experienced in a time-lapse format. The scale of the large facade expanding along with the Rue de Richelieu is in a high contrast with the narrow main entrance. The courtyard of the building is used as a communal space for the readers. People come to the courtyard to communicate with others to share their experience of the library or just their daily life. The image reflects the blue print of Etienne Louis-Boulee’s library proposal, that the reading room is intended to be a courtyard where the knowledge sharing can happen instead of chairs and desks. In terms of the internal space, a similar lighting strategy has been used in both library, a visual depth displayed from the main entrance to the inner reading space. Larges skylight are applied in the reading room to maximize the natural light in the environment.

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IV. 'Hotel Paris' -A Live and Work Tech Station Having been inspired by Boullée’s national library project, the Part 4 is aimed to materialize the idea of a knowledge sharing platform. The background is set to the Post-Brexit age, when London is gradually losing its leading place as one of Europe’s largest knowledge production capital. The project, looked into one of the possible effect of Brexit that Paris is maturing into an impressive startup ecosystem in the field of Technologies, attracting foreign talent and fundings and getting closer to toppling London as Europe’s Tech hub.

The Site at Passy Reservoirs, Paris

The site, the Passy Reservoirs owned by Eau de Paris is located west of the Arc de Triomphe and Champs-Élysées, north of Tour de Eiffel, providing easy access to the city centre, metro station at Place Victor Hugo and the public park, overlooking the La Defense, where the most tech companies in Paris are based. The Reservoir consists of 4 individual tanking structures that form one of the most interesting urban fabric in the dense 16th arrondissement of Paris. The structures extend at an altitude of 10 metres above the street level making them invisible to public eyes. The burrstones form solid walls to shape this giant castle of water, which initially intended for non-potable water storage, including the Villejust basin and Bel-air basin located at the corner of Rue Lauriston and Rue Paul-Valéry, and the fire reserve basin. The Villejust basin contains two stacked reservoirs covered with grass. The fire reserve, a single water basin, has been abandoned and no longer useful. The Copernic reservoir tacked at the back of the site is still in use for water storage purpose.

The views from the top of Reservoirs.

Site location of Reservoir de Passy

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The Existing Reservoir Section

The Existing Structural Columns in the Tank.

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DESIGN STUDIO C

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DESIGN STUDIO G

The Amphitheatre, The Tank

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DESIGN STUDIO B

DESIGN REPORT

Conceptual sketches

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DESIGN REPORT

OVERVIEW 'The Tanks of Knowledge The project is aimed to design a knowledge sharing platform for Parisian Tech Workers and Tech business starters. Provide both short term and long-term membership to companies and individual freelancers. The whole building also attracts public to experience technologies and attend the 'village life' on the existing rooftop level. The entire project is arranged to three different levels. The ground level, the existing tanking structures is used as the ‘Tank of Work’, followed by the Living level above, which occupies the existing roof top and the first level of Villejust tank, presenting the ‘village’ to the inhabitants. A giant roof structure is proposed to cover the entire site apart from the still-in-use Copernic tank. EFTE lightweight roof is shown to create a column free sheltered village on the existing rooftop. Urban farming façade is designed to enclose the boundary of the roof structure, as well as providing supplement to the ‘villagers’. Fish farm and market is designed on the existing water of Copernic tank to attract inhabitants and publics to experience through the entire building.

The Proposed Site Plan

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DESIGN STUDIO C

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DESIGN STUDIO D

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AMPL

DESIGN STUDIO G

DESIGN STUDIO B

DESIGN REPORT

The Proposed Ground Floor Axonometric

THE WORK 'The Tanks of Knowledge The ground floor, as inspired by Étienne-Louis Boullée’s open plan library, central columns are omitted to make way for the proposed knowledge sharing platform. As the nature of tech start-up ecosystem, large exhibition area is in need to occupy the centre of the building. A cross shaped public space is arranged through out two existing tanks, one forms the exhibition space and other creates a public hallway and space such as auditorium. The second tier of columns form the semi-public co-working environment, with separated meeting rooms, conference rooms and flexible layout of shared office space. Café that occupies four squares of grid can be found on the corner of second tier. The last tier of structure forms the semi-private working space and private living space, and also staff office, public toilets, equipment roof and workshop.

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Sectional Axonometric Showing in working hours

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DESIGN REPORT

The Proposed First floor Axonometric

THE LIVE 'The VILLAGE' Sectional Axonometric Showing in Living hours

The First-floor shifts from the working layout on the ground, creating different street patterns with a village centre in the middle where circulation come across. Communal Kitchen, shop, café, Turkish bath, laundry and Tech lab are designed to fit in the north tank. Market, pub, food deli and Open-air concert stage is proposed to the south. Urban farming façade is accessible through stairs provided on corners of two tanks. Gym and Swimming pool is designed to occupy the existing fire reserve. Public stairway is provided in the centre of the building to access the fishing farm and market proposed on the Copernic tank.

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DESIGN STUDIO C

Open-air stage

ATR

Pub

On the south corner of the Bel-air tank due A small pub is proposed facing the open-air to the need of general office and toilet space stage on the first floor to provide entertainment on the ground floor, thus an open-air concert space for villagers. stage is proposed providing large standing and seating space, with changing room and equipment room to the corner and public toilets adjacent.

DESIGN STUDIO D

AMPL

DESIGN STUDIO G

DESIGN STUDIO B

DESIGN REPORT

Food Deli

Market

CAFÉ

COMMUNAL KITCHEN

Turkish Bath

Gym and Swimming pool

A structure for a street style food deli is proposed on the centre of Bel-air tank, offers easy-getting lunch for the workers and a outside relaxing space with greenery.

The market stalls are dedicated to the food harvested from the building’s urban farming facades. Similar to the fishing market, same architectural language is used here to provide an interesting spatial quality. Market sets on the street patterns that copied from Villejust tank to stand out from environment and to create a village market feeling.

The café is designed on the roof top with large outside seating area. The layout generally follows the street patterns and connected with every main route. A complex of lighting and glu-lam beam is designed to add extra features and identification to the café and making it mostly recognisable on the roof.

The fact that small units have no decent kitchen space and also the idea of encouraging dwellers to be more engaged in a sharing sort of life, a communal kitchen is designed to the centre of the Villejust tank, facing all of the small units on the side, with open cooking space and offers stools on the other side of the counters. Seating area is also provided following the street pattern.

As an unusual feature on the living level, a Turkish bath offers a special experience to the ‘villagers’ who would potentially suffer from physical pressures under overloaded works. The bath uses part of existing vault structures on the first floor on Villejust Tank, and sets to the corner of the ‘village’, also providing roof top relaxing space which can be accessed by spiral staircase in the cooling room.

As the fact that most tech workers work on screens dominantly, a gym becomes very essential to them. The existing fire reservoir provides generous pool space and possible new layout of gym on the newly proposed structure in the tank.

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DESIGN STUDIO C

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DESIGN STUDIO D

SCAT

AMPL

DESIGN STUDIO G

DESIGN STUDIO B

DESIGN REPORT

Green Facade To utilise the volume created on the boundary of the existing tanks, as well as providing villagers additional food supply, the green façade is proposed. Covered with EFTE material, the concrete supporting structure holds the vertical planting beds, which can be accessed through the existing walkways on the top of the stone structures. Gardening sheds, accessing stairs and equipment room are located at the corners of the tanks. Harvested vegetable and fruits would be brought to the Market at the village centre and provided to residents.

List of Figures: 1. Copernic Tank 2. Restaurant 3. Fish Market 4. Fishing Cages 5. Urban Farming Facade Accessing stair 6. Gardening and Equipment Room

The Proposed Building situated in Site

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

Small Studio

Medium Studio

Large Studio

The idea of sharing knowledge is essential in this project. A small working unit is a container of live and work that provides every essential need of a tech worker, with the working space on the ground floor and living space on the first. Minimum living and working space in a way encourages resident to step out to seek other spatial experience and also engage into a mode of sharing in both work and live. The unit is operated as a lift provides easy access to both floors which enables the shift between live and work extremely easy.

This range provides decent living space with double bedroom on the first floor and a single workspace with bathroom and little kitchen on the ground. The private living space is well tacked in the solid structure whilst the working space is more transparent and accessible, making co-working on the work level possible.

This type of dwelling is intended for longer stay residents, for weeks and months. Similar to the medium studio type, it offers decent space in terms of both living and working. Ground floor consists of a double working space, a decent normal kitchen and a bathroom. The landing on the first floor forms the living space, which set back from the front of the unit and allows natural light to penetrate the whole space.

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AMPL

DESIGN STUDIO G

DESIGN STUDIO B

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DESIGN REPORT

DESIGN STUDIO C

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DESIGN STUDIO D

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DESIGN STUDIO G

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DESIGN REPORT

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

Sectional Perspective

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AMPL

DESIGN STUDIO G

DESIGN STUDIO B

DESIGN REPORT

Sectional Perspective

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

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AMPL

DESIGN STUDIO G

DESIGN STUDIO B

DESIGN REPORT

Proposed Sections

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

AMPL

DESIGN STUDIO G

DESIGN STUDIO B

Exhibition Area View - The Knowledge sharing platform

Exhibition Area View - Flexible layout of Usage

View from North corner of Villejust Tank, overlooking Lab and Urban Farming Facade

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DESIGN REPORT

View from South corner of Villejust Tank, featuring Communal kitchen and the Shop

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ARCHITECTURAL MANAGEMENT, PRACTICE AND L AW [APML]

OVERVIEW

LEANRING OUTCOMES

“Architectural Management, Practice and Law is a lecture and workshop based course aimed at developing student’s knowledge and understanding of the management of Architectural practice. It is delivered through a series of lectures presented by Architects and related professionals involved in the creation of the built environment. The lectures are intended to present the student with a range of knowledge which can then be built on and developed by further reading. The workshop vehicle which will be used to assess learning outcome 2 of the course is a web-based ‘contract simulation game,’ which will provide participating students with a considerable depth of knowledge in relation to the administration of a standard form of building contract. Students will work in small groups over the course of the two day event.”

LO1: An understanding of practice management and codes of professional conduct in the context of the construction industry.

Aims: 1. Acquire understanding of the issues and constituencies which influence the processes and delivery of design and theoretical aspects of project and practice management. 2. Understand the concept of professional responsibility and the legal, statutory, and ethical implications of the title of architect. 3. Introduce students to the roles and responsibilities of the architect in relation to the organisation, administration and management of an architectural project. 4. Develop an awareness and understanding of the financial matters bearing upon the creation and construction of built forms. 5. Develop an awareness of the changing nature of the construction industry, interrelationships between individuals and organisations involved in building modern day building procurement.

MARCH 2 / SEMESTER 1 / AMPL

LO2: An understanding of the roles and responsibilities of individuals and organisations within architectural project procurement and contract administration,including knowledge of how cost control mechanisms operate within an architectural project. LO3: An understanding of the influence of statutory, legal and professional responsibilities as relevant to architectural design projects.

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL[CONTRACT GAME]

DESIGN STUDIO B

DESIGN REPORT

2011 Edition Team 9 Architectural Partnership LLP 2 The Streets Tweedie Dew Double Felix Construction Ltd Clawmark Row Purton

SBC/Q/Scot (2011 Edition)

8th April 2014 Dear Havana BORDER COLLEGE VETERINARY SCHOOL, BORWICK This letter is in response to your fax dated 8th April 2014 regarding the requirement to fit the attenuation tank under the East terrace. As the Contract Administrator, we inform you that in relation to Clause 3.18.3; “no addition shall be made to the Contract Sum and no extension of time shall be given”.

Standard Building Contract With Quantities for use in Scotland

Please find attached an AI regarding this issue. Regards Sandy Sandy Lamb

CC: The Border College Trust, Chianti Leaverer Consulting Engineers, Bootsnard Hatton, Kerr Ching

CONTRACT GAME OVERVIEW The Contract game, which was undertaken on 26th & 27th of October by our group is a simulated exercise required the team to engage with thirty-six scenarios which related to the construction of a veterinary extension. The game has challenged the efficiency of the teamwork and the practical management by given limited time to resolve any issue raised from the contract. The team played the role of the Project Architect 'Sany Lamb' in the scenario to answer a range of different questions which emerged in various stages during the design and construction processes. 2011 JCT standard building contract has been mostly used to generate solutions. The report is constructed to summarize and analyse the teamwork for the two-day experience which is included in the first section of Team dynamics and cost control, and to re-assess the delivery of the project using alternative procurement route in the second section of Alternative Procurement Route.

MARCH 2 / SEMESTER 1 / AMPL / CONTRACT GAME

Contract Reference PP1880274R - Generated for University of Edinburgh. FOR EDUCATION PURPOSES ONLY. Contract generated on 1/18/2013

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL[CONTRACT GAME]

DESIGN STUDIO B

DESIGN REPORT

Section 1 Team Dynamics and Cost Control Selected Excerpt: Roles and Responsibilities.

Section 1

Team Dynamics and Cost Control

As a brand-new team of five, we haven’t had any co-working experience with anyone in the group before which brought up various of challenges over the team’s structure. At the very start, through a brief assessment of individual personalities, Jake Warrington and Jack Sneddon were assigned the roles of email correspondence and filling out relative documents, Steven Wootton acted as the communicator between the controller and the group, he also helps us to navigate through contract. Me and Yihuai Zhang mainly to navigate through the contract and sourcing relative information online to provide correct supporting clauses and sections for the scenario [figure 1]. However, in the later on cases we started to notice this clearly defined structure is somehow limiting our group performance and slowing us down in some scenarios, so on the Day 2 we had a chance to review our initially defined team structure and decided to shift towards a multi-roles and cross-responsibilities mode of team working [figure 2].

Figure 1. Initially Defined Roles/Responsibilities "Teamwork is the ability to work together toward a common vision, the ability to direct individual accomplishments toward organizational objectives. It is the fuel that allows common people to attain uncommon results." -- Andrew Carnegie

1.1. Introduction The Contract game, which was undertaken on 26th & 27th of October by our group is a simulated exercise required the team to engage with thirtysix scenarios which related to the construction of a veterinary extension. The game has challenged the efficiency of the teamwork and the practical management by given limited time to resolve any issue raised from the contract.

Selected Excerpt:Team Dynamics/Strengths and Weaknesses On the day 1, as a newly formed team with very limited knowledge to the Traditional contract, we have experienced a very slow start and later on a number of unexpected communication breakdowns and conflict between roles and responsibilities when trying to complete the scenarios. In my case especially as the nature of not being a native English speaker, I found quite difficult to follow the reading pace of other group members, which has greatly impacted on our team structure and resulted slowing down the performance of the whole team. After coping with initial few scenarios successfully, I was able to gradually getting quicker to navigate through the contract and our team’s performance started to improve. There are moments of stress especially when the question is hidden somewhere in the email and we are stuck for an answer. Day 1’s experience offered a great chance to review both our individual performance and team work structure [figure 3].

The team played the role of the Project Architect 'Sany Lamb' in the scenario to answer a range of different questions which emerged in various stages during the design and construction processes. 2011 JCT standard building contract has been mostly used to generate solutions.

Day 1 Team Structure Layout

The report is constructed to summarize and analyse the teamwork for the two-day experience which is included in the first section of Team dynamics and cost control, and to re-assess the delivery of the project using alternative procurement route in the second section of Alternative Procurement Route.

Day 2 Team Structure Layout

On the day 2, after a brief summary of the day 1’s performance, I proposed to work in a slightly different structure which more likely to focus on individual personalities. We agreed when the new scenario is released, all of group members is to read through the text and to write up keywords on a paper at the centre of the table, and to briefly summarise the scenario and raise up potential contract sections which related to the answer [figure 4]. We found much easier to located the questions and to excavate answers in the contract, and to prepare the related document depend on who is the quickest to draft. Scenario 14 which was completed in around 15mins worked through with our newly agreed approach, which enabled us to provide response relatively more efficiently and accurately. Jack and Jake wrote a part of the responding email each in a co-working mode whilst me and Steven could quickly draft the relevant Architect’s Instruction. Yihuai went through the contract with provided keywords and handed out the correct clauses we needed to refer to. By the end of the Day 2, our team managed to complete 32 scenarios out of 36 and we achieved the most scenarios in our studio [Figure 5].

Email Correspondence

MARCH 2 / SEMESTER 1 / AMPL / CONTRACT GAME

1.2. Roles and Responsibilities. As a brand-new team of five, we haven’t had any co-working experience with anyone in the group before which brought up various of challenges over the team’s structure. At the very start, through a brief assessment of individual personalities, Jake Warrington and Jack Sneddon were assigned the roles of email correspondence and filling out relative documents, Steven Wootton acted as the communicator between the controller and the group, he also helps us to navigate through contract. Me and Yihuai Zhang mainly to navigate through the contract and sourcing relative information online to provide correct supporting clauses and sections for the scenario [figure 1]. However, in the later on cases we started to notice this clearly defined structure is somehow limiting our group performance and slowing us down in some scenarios, so on the Day 2 we had a chance to review our initially defined team structure and decided to shift towards a multi-roles and cross-responsibilities mode of team working [figure 2]. 05

AMPL - Contract Game Individual Report

Navigating Contract Drafting docs Communicator

Navigating Contract Drafting docs Email correspondence Communicator

KEY TERMS/SECTIONS

Document Drafting

Navigating Contract Drafting docs

Navigating Contract Navigating Contract Drafting docs Email correspondence

Navigating Contract Drafting Docs

Navigating Contract

Figure 3. Day 1 Team Structure Layout

Figure 4. Day 2 Team Structure Layout

Figure 5. Team Performance by Time Consumed each Scenario

1.3. Team Dynamics/Strengths and Weaknesses On the day 1, as a newly formed team with very limited knowledge to the Traditional contract, we have experienced a very slow start and later on a number of unexpected communication breakdowns and conflict between roles and responsibilities when trying to complete the scenarios. In my case especially as the nature of not being a native English speaker, I found quite difficult to follow the reading pace of other group members, which has greatly impacted on our team structure and resulted slowing down the performance of the whole team. After coping with initial few scenarios successfully, I was able to gradually getting quicker to navigate through the contract and our team’s performance started to improve. There are moments of stress especially when the question is hidden somewhere in the email and we are stuck for an answer. Day 1’s experience offered a great chance to review both our individual performance and team work structure [figure 3].

Conclusion To conclude, the two days contract game experience is an extremely beneficial practice which enabled us as team to explore real issues that would likely to emerge in construction processes and gave us a great chance to know the architects’ rights, responsibilities and obligations in the contract throughout the traditional procurement route. It helped to understand as a newly formed team which would be the best potential structure to work with by assessing individual personalities and provided the opportunity to communicate within the team to achieve best possible management results.

AMPL - Contract Game Individual Report

Figure 2. Altered Team Structure

Team Performance by Time Consumed each Scenario AMPL - Contract Game Individual Report

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1.4. Cost Control Measures

1.5. Conclusion

Through our gradually grounding minds when dealing with different scenarios, we have become more alert and reluctant to any request especially cost variations or extension of times. The Traditional procurement route, which the project is based, enabled us, as architects the rights of taking client as our major priority and responsibility, to avoid any construction defects and likely increasing cost and time by adopting correct clauses in the contract. Scenario 25 involved a series of issues raised by the contractor against the clause in regards to the relevant events in the contract, we could correctly refer to the criteria and calculate the numbers of days to be granted. After a series of practices, we have successfully achieved in most scenarios to help client reducing any unnecessary additional cost and potential delay of completion.

To conclude, the two days contract game experience is an extremely beneficial practice which enabled us as team to explore real issues that would likely to emerge in construction processes and gave us a great chance to know the architects’ rights, responsibilities and obligations in the contract throughout the traditional procurement route. It helped to understand as a newly formed team which would be the best potential structure to work with by assessing individual personalities and provided the opportunity to communicate within the team to achieve best possible management results.

AMPL - Contract Game Individual Report

DESIGN STUDIO C

ATR

Section 2 Alternative Procurement Route

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL[CONTRACT GAME]

DESIGN STUDIO B

DESIGN REPORT

be time-consuming. Design and Build procurement route offers an opportunity to reduce the complicated relationship between parties which could potentially prioritise the time in the contract.

Introduction The second part of the report aimed to analyse the potential benefits and disadvantages of an alternative procurement route other than the Traditional contract which the project scenarios are currently based on. The other two forms of procurement route favourable by most publicly funded projects include Design and Build (D&B) and Construction Management. With every project the three most important priorities to the clients are cost, time and quality. This report looked into the potential impact of Design and Build might have done to chosen scenarios as an alternative procurement route, and putting three priorities of the project and the changes of the responsibilities and roles into wider considerations.

Selected Excerpt: Procurement Routes Under the traditional contract, the client retains the design consultants during the construction phases and architects would normally be appointed as contract administrator to review any design changes [figure 9], cost variations and extension of time submitted by contractor and to inspect construction works and insure the building quality for the clients’ interests.

Section 2

The RIBA Plan of Work 2013 organises the process of briefing, designing, constructing, maintaining, operating and using building projects into a number of key stages. The content of stages may vary or overlap to suit specific project requirements. The RIBA Plan of Work 2013 should be used solely as guidance for the preparation of detailed professional services contracts and building contracts.

Alternative Procurement Route

Stages

Design and Build procurement route offers the client a clear single point of responsibility for delivering the whole project, and architects in this case will not be engaged simultaneously by the contractor and the client. Contractor can employ or use their on-board design consultants to help them with the design of the project and use their wider market knowledge and relationships to have a greater impact on the construction quality delivered. The client can have their own design consultant through the initial design stages to help them prepare employer’s requirements.

Risk allocation of various procurement routes

2.1. Introduction The second part of the report aimed to analyse the potential benefits and disadvantages of an alternative procurement route other than the Traditional contract which the project scenarios are currently based on. The other two forms of procurement route favourable by most publicly funded projects include Design and Build (D&B) and Construction Management. With every project the three most important priorities to the clients are cost, time and quality. This report looked into the potential impact of Design and Build might have done to chosen scenarios as an alternative procurement route, and putting three priorities of the project and the changes of the responsibilities and roles into wider considerations.

Design and Build Procurement under RIBA Plan of Works 2013 stages

Strategic Definition

Preparation and Brief

Concept Design

Developed Design

Technical Design

Core Objectives

Identify client’s Business Case and Strategic Brief and other core project requirements.

Develop Project Objectives, including Quality Objectives and Project Outcomes, Sustainability Aspirations, Project Budget, other parameters or constraints and develop Initial Project Brief. Undertake Feasibility Studies and review of Site Information.

Prepare Concept Design, including outline proposals for structural design, building services systems, outline specifications and preliminary Cost Information along with relevant Project Strategies in accordance with Design Programme. Agree alterations to brief and issue Final Project Brief.

Prepare Developed Design, including coordinated and updated proposals for structural design, building services systems, outline specifications, Cost Information and Project Strategies in accordance with Design Programme.

Prepare Technical Design in accordance with Design Responsibility Matrix and Project Strategies to include all architectural, structural and building services information, specialist subcontractor design and specifications, in accordance with Design Programme.

Procurement

Initial considerations for assembling the project team.

Prepare Project Roles Table and Contractual Tree and continue assembling the project team.

Tasks

*Variable task bar

Programme

Establish Project Programme. Review Project Programme.

(Town) Planning

Pre-application discussions.

Review Feedback from previous projects.

Prepare Handover Strategy and Risk Assessments. Agree Schedule of Services, Design Responsibility Matrix and Information Exchanges and prepare Project Execution Plan including Technology and Communication Strategies and consideration of Common Standards to be used.

Offsite manufacturing and Handover of building and onsite Construction in conclusion of Building accordance with Construction Contract. Programme and resolution of Design Queries from site as they arise.

7 In Use Undertake In Use services in accordance with Schedule of Services.

Conclude administration of Building Contract.

The procurement route may dictate the Project Programme and may result in certain stages overlapping or being undertaken concurrently. A bespoke RIBA Plan of Work 2013 will clarify the stage overlaps. The Project Programme will set out the specific stage dates and detailed programme durations.

Prepare Sustainability Strategy, Maintenance and Operational Strategy and review Handover Strategy and Risk Assessments.

Review and update Sustainability, Maintenance and Operational and Handover Strategies and Risk Assessments.

Undertake third party consultations as required and any Research and Development aspects.

Undertake third party consultations as required and conclude Research and Development aspects.

Prepare and submit Building Regulations submission and any other third party submissions requiring consent.

Review and update Project Execution Plan.

Review and update Project Execution Plan, including Change Control Procedures.

Review and update Project Execution Plan.

Consider Construction Strategy, including offsite Review and update fabrication, and develop Health Construction and Health and and Safety Strategy. Safety Strategies.

Review Construction Strategy, including sequencing, and update Health and Safety Strategy.

Review and update Sustainability Strategy and implement Handover Strategy, including agreement of information required for commissioning, training, handover, asset management, future monitoring and maintenance and ongoing compilation of ‘Asconstructed’ Information.

Carry out activities listed in Handover Strategy including Feedback for use during the future life of the building or on future projects. Updating of Project Information as required.

Update Construction and Health and Safety Strategies.

Conclude activities listed in Handover Strategy including Post-occupancy Evaluation, review of Project Performance, Project Outcomes and Research and Development aspects. Updating of Project Information, as required, in response to ongoing client Feedback until the end of the building’s life.

Sustainability Checkpoints

Sustainability Checkpoint — 0

Sustainability Checkpoint — 1

Sustainability Checkpoint — 2

Sustainability Checkpoint — 3

Sustainability Checkpoint — 4

Sustainability Checkpoint — 5

Sustainability Checkpoint — 6

Sustainability Checkpoint — 7

Information Exchanges

Strategic Brief.

Initial Project Brief.

Concept Design including outline structural and building services design, associated Project Strategies, preliminary Cost Information and Final Project Brief.

Developed Design, including the coordinated architectural, structural and building services design and updated Cost Information.

Completed Technical Design of the project.

‘As-constructed’ Information.

Updated ‘As-constructed’ Information.

‘As-constructed’ Information updated in response to ongoing client Feedback and maintenance or operational developments.

Not required.

Required.

Not required.

Required.

As required.

(at stage completion)

UK Government Information Exchanges

Figure 7. Design and Build Procurement Route

Construction

Handover and Close Out

Planning applications are typically made using the Stage 3 output. A bespoke RIBA Plan of Work 2013 will identify when the planning application is to be made.

*Variable task bar

Suggested Key Support Tasks

Administration of Building Contract, including regular site inspections and review of progress.

The procurement strategy does not fundamentally alter the progression of the design or the level of detail prepared at a given stage. However, Information Exchanges will vary depending on the selected procurement route and Building Contract. A bespoke RIBA Plan of Work 2013 will set out the specific tendering and procurement activities that will occur at each stage in relation to the chosen procurement route. Review Project Programme.

*Variable task bar

www.ribaplanofwork.com

Figure 10. Design and Build Procurement under RIBA Plan of Works 2013 stages © RIBA

*Variable task bar – in creating a bespoke project or practice specific RIBA Plan of Work 2013 via www.ribaplanofwork.com a specific bar is selected from a number of options.

Figure 8. RIBA Plan of Works 2013

From the client point of views, the design and build procurement route reduces the linear responsibilities that exist in the traditional procurement route, which enables the client to resolve any design defects or other issues directly through the contractor instead having architects or contract administrators to communicate with the contractor. The design and build procurement route however does not provide advantages to every single stages and scenarios. Under the increased contractor’s control over the design and construction phases [figure 10] and the client’s lack of direct relationships to the consultants which would potentially enables contractor to choose cheaper alternatives within the statutory requirements set out by the client and eventually the project is out of the client’s control.

Under the traditional contract, the client retains the design consultants during the construction phases and architects would normally be appointed as contract administrator to review any design changes [figure 9], cost variations and extension of time submitted by contractor and to inspect construction works and insure the building quality for the clients’ interests. Design and Build procurement route offers the client a clear single point of responsibility for delivering the whole project, and architects in this case will not be engaged simultaneously by the contractor and the client. Contractor can employ or use their on-board design consultants to help them with the design of the project and use their wider market knowledge and relationships to have a greater impact on the construction quality delivered [figure 7]. The client can have their own design consultant through the initial design stages to help them prepare employer’s requirements. From the client point of views, the design and build procurement route reduces the linear responsibilities that exist in the traditional procurement route, which enables the client to resolve any design defects or other issues directly through the contractor instead having architects or contract administrators to communicate with the contractor. The design and build procurement route however does not provide advantages to every single stages and scenarios. Under the increased contractor’s control over the design and construction phases [figure 10] and the client’s lack of direct relationships to the consultants which would potentially enables contractor to choose cheaper alternatives within the statutory requirements set out by the client and eventually the project is out of the client’s control.

Figure 6. Traditional Procurement Route 08

AMPL - Contract Game Individual Report

Please find attached an AI regarding this issue.

The project simulation in the Contract Game adopted the Traditional Procurement route which in this case had a great beneficial impact over the entire project where quality is the priority. Under the traditional contract form, the presence of design consultants over the construction stage have largely help client to ensure the final quality of the building delivered. Design and Build procurement shifts the design control over to contractor who held the right to reject any design variations during the construction. By contrast, Traditional procurement enables client the power of consenting any alterations to the contract sum and extension of time when a design variation is needed, and Architect holds the responsibilities to ensure non-discriminatory variations could be delivered.

Regards Sandy Sandy Lamb

CC: The Border College Trust, Chianti Leaverer Consulting Engineers, Bootsnard Hatton, Kerr Ching

Figure 12. Risk allocation of various procurement routes

Figure 11. Scenario 8 Email correspondence

2.3.3. Case study 3 Scenario 15 provides an example of cost variations and extension of time. Under the traditional procurement route, as client has requested Schedule part 2 variation quotations to add a barrel-shaped St. Bernard’s Café on the ground floor, contractor has submitted the alteration to the contract sum which was calculated and proved by QS and requested an extension of time. As the architect’s responsibility to review any variations and extension of time submitted in accordance with the clause 3.18.3, the client only has to give instructions to architect his consent on the variations. By contrast, if the project is structured under the Design and Build procurement route, the situation in the scenario would be treated as a ‘Change’ to the construction work according to clause 3.91, and the client ‘cannot modifies the design of the Works without contractor’s consent, as stated in clause 3.10 (Clamp, 2007).

2.3.2. Case study 2 Scenario 8 provides a perfect example of comparing cost would potentially occur in the construction process in two different procurement routes. A number of issues were raised up related to wrongly installed pipes from the previous scenarios and the contractor has requested for extension of time and alterations to the contract sum due to installing attenuation tank which was caused by contractor’s fail to install correct specification of pipes. Under the traditional contract, architects have the right to review any variation cost and extension of time during the construction, in this case in accordance to clause 3.18.3 the likely cost and time were avoided and the quality of the project delivered is ensured. By contrast in Design and Build procurement route, where contractor controls the construction the project would more likely be delivered in a more expensive method.

AMPL - Contract Game Individual Report

Double Felix Construction Ltd Clawmark Row Purton

As the Contract Administrator, we inform you that in relation to Clause 3.18.3; “no addition shall be made to the Contract Sum and no extension of time shall be given”.

MARCH 2 / SEMESTER 1 / AMPL / CONTRACT GAME

Figure 9. Traditional Procurement under RIBA Plan of Works 2013 stages

Team 9 Architectural Partnership LLP 2 The Streets Tweedie Dew

Conclusion

To conclude, the selection of procurement routes when structuring a project tremendously related to balancing three priorities: time, cost and quality. Traditional procurement route provides an advantage of treating quality as the main priority, whilst in some case could

2.3.1. Case study 1 Scenario 3 provides an example of comparing the extension of time being given in the project. Under the traditional procurement route, the architect is responsible of reviewing and request of received from contractor and allocating extension of time in accordance with the contract. As stated in the clause 2.29 only the matters that classed as a relevant event is eligible for issuing an extension of time. In the design and build procurement strategy, the client is directly responsible for allocating any extension of time in the project, however client still has the choice of employing consultants to review any of the request which would likely to increase the total expenditure in the project. In this case, the architect has much wider consideration and as being professionals, all the unnecessary extension of time is likely to be avoided. Thus, the design and build route would potentially have impacted on the delivery of the project.

2.2. Procurement Routes

AMPL - Contract Game Individual Report

2.4. Conclusion The project simulation in the Contract Game adopted the Traditional Procurement route which in this case had a great beneficial impact over the entire project where quality is the priority. Under the traditional contract form, the presence of design consultants over the construction stage have largely help client to ensure the final quality of the building delivered. Design and Build procurement shifts the design control over to contractor who held the right to reject any design variations during the construction. By contrast, Traditional procurement enables client the power of consenting any alterations to the contract sum and extension of time when a design variation is needed, and Architect holds the responsibilities to ensure non-discriminatory variations could be delivered. To conclude, the selection of procurement routes when structuring a project tremendously related to balancing three priorities: time, cost and quality. Traditional procurement route provides an advantage of treating quality as the main priority, whilst in some case could be timeconsuming. Design and Build procurement route offers an opportunity to reduce the complicated relationship between parties which could potentially prioritise the time in the contract.

AMPL - Contract Game Individual Report

List of Illustrations Figure 1. Figure by author Figure 2. Figure by author Figure 3. Figure by author Figure 4. Figure by author Figure 5. Figure by author Figure 6. Figure adopted by author. Clamp, H. (2012). Figure 7. Figure adopted by author. Clamp, H. (2012). Figure 8. RIBA. (2013). RIBA Plan of Work 2013. RIBA Publishing, London Figure 9. Figure adopted by author from procurement lectue presentation. Figure 10. Figure adopted by author from procurement lectue presentation. Figure 11. Contract Game scenario email response Figure 12. Figure adopted by author from procurement lectue presentation. Bibliography Clamp, H. (2012). Which Contract?. RIBA Publishing, London. Joint Contracts Tribunal. (2011). Design and Build Contract 2011. London, Sweet and Maxweel. Joint Contracts Tribunal.(2011). Standard Building Contract with Quantities. London, Sweet and Maxweel. RIBA. (2013). RIBA Plan of Work (2013). RIBA Publishing, London. RIBA. (2013). RIBA Hankbook of Practice Management. RIBA Publishing, London

AMPL - Contract Game Individual Report

Traditional Procurement under RIBA Plan of Works 2013 stages

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

T H E TAT E M O D E R N E X T E N S I O N

DESIGN STUDIO G

AMPL[REGULATORY DRAWINGS]

DESIGN STUDIO B

DESIGN REPORT

YIDA ZHOU YIHUAI ZHANG

Part 1: CDM: Faรงade Cleaning and Maintenance INTRODUCTION

In consideration of the convenient access of the maintence, a metal framed window systems is proposed throughout to maintain slim profiles.

At planning stage, details of the Faรงade Cleaning and Maintenance was required by Southwark council. According to the Health and Safety at Work etc. Act 1974 (HSW Act) and CDM regulations 2015, both the principal designer and employers have the duties to ensure the health, safety and welfare of their employees and to ensure that those affected by their activities are not exposed to risk. Health and safety law also applies to self-employed window cleaners if their work exposes others to risk. Therefore, the Faรงade Cleaning and Maintenance was carefully designed at pre-construction stage to meet the requirements above.

The facade access for cleaning and maintenance is divided into three conditions:

1.1 LV02-LV06 Brick Reveal

From LV02-LV06 the clear slot glazing can be accessed externally via cherry picker. Both the internal and external method of cleaning can be provided to the building. Compared with vertical faรงade, the slant facade of the Tate Modern Extension has limited the use of common access equipment like portable ladder. The specialist access equipment for window access includes rope access, travelling ladders and gantries on the premises exterior or suspended access equipment (SAE) can be taken into consideration. However, the slant bricks faรงade makes it difficult and dangerous for the rope and suspended equipment to be installed from the top of the building, which may cause the damage and falling off of the bricks. Therefore, the use of the cherry picker at lower levels can make the access from outside safer and more flexible. However, the method has limits of the number of cleaners, which may lead to the low efficiency of the work.

Lintel

Window System

Figure 2. Level 02-06 &Claeaning Access Figure 1.2Maintenance Level 02-06 Maintenance &Claeaning Access

1.2. ABOVE LV06 Above LV06 all glazing will need to be accessed from the inside via opening glazing.In consideration of the height of the cleaning work, the use of appropriate fall arrest equipment is required. Cleaning personnel will need to attach to man safe systems which are integrated into the perimeter beam and edge beam.

CDM: Access and Maintence TheFigure facade access for cleaning and &Claeaning mainte- Access 2. Level 02-06 Maintenance nance is divided into three conditions: 1. From LV02-LV06 the clear slot glazing can be accessed externally via cherry picker. 750mm 2. Above LV06 all glazing will need to be accessed from the inside via opening glazing.

750mm

Figure 1.4 Above L06 Brickwork screened glazing Cleaning & Maintenance Access

Figure 1. Section of Tate Modern extension showing Cleaning & Maintenance Access

CDM: Access and Maintence

1.3.BRICKWORK SCREENED GLAZING

Brickwork screened glazing has to be able to access from the inside at all levels. The clear slot The facade access for cleaning and mainteCDM: and Maintence glazing above LV06 has been designed as fixed elements which doAccess not exceed 1518mm in width and are flanked by an operable element on either side to allow for a maximum cleaning reach of to upbe accesnance is divided into three conditions: 3.Brickwork screened glazing has to 750mm. All glazing with internal access requirement has tosible open inward to access external from the inside at allthe levels. Access 1. From LV02-LV06 the face. clear slot glazing All brickwork screened glazing is preferably bottom hung for ease access. is not possible and through theofbrickwork When the perimeter structure depth (above 600mm openingshould height)beis taken exceeded by the opening into the design considercan be accessed externally via height,cherry in order topicker. avoid clashes with cleaning platform equipment, elements need to open ation. CDM: Access and Maintence upwards or sideways. The design has ensured the safety of both the passerby under The workers clear slotand glazing above LV06 has been 2. Above LV06 all glazing will need to be the building. designed has such to thatbe fixed elements do not 3.Brickwork screened glazing acces1518mm in width and are flanked by accessed from the inside via opening glazing.sible from the inside atexceed all levels. Access

an operable element on either side to allow

Figure 1.1 Section of Tate Modern extension showing Cleaning & Maintenance Access

Figure 1.3 Above L06 Cleaning & Maintenance Access

Figure 3. Above Level 06 Maintenance &Claeaning Access

Figure 1. Section of Tate Modern extension showing Cleaning & Maintenance Access

M A R C H 2 / S E M E S T E R 1 / A M P L / R E G U L ATO R Y D R A W I N G S

through the brickwork for is not possible and reach of up to a maximum cleaning 750mm. should be taken into the design consideration. The clear slot glazing above LV06 has been designed such that fixed elements do not exceed 1518mm in width and are flanked by an operable element on either side to allow for a maximum cleaning reach of up to 750mm.

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Figure 3. Above Level 06 Maintenance &Claeaning Access

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

T H E TAT E M O D E R N E X T E N S I O N

DESIGN STUDIO G

AMPL[REGULATORY DRAWINGS]

DESIGN STUDIO B

DESIGN REPORT

YIDA ZHOU YIHUAI ZHANG

Part 2: Building Regulations: General Accessibility

2.2 Public Ramp and Sloping floor Access

INTRODUCTION 2.2.1 GROUND FLOOR RAMP ACCESS DESIGN

2.1 Public Spiral Tapered Staircase Acess

Figure 2.7 Section of the Level 0 showing the sloped floor

Figure 2.3 Original Design of the Stair

Figure 2.4 Red Shaded Area Shows the Statutory Requirements in Building Regulations

Tread Depth and Going

Building Regulations

Drawing shows the as built plan of the spiral staircase has a width of 140mm at the inner end and more than 500mm at the outter edge.

Turbine Hall

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Turbine Hall

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Oil Tanks

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Figure 2.10 Ramped Bridge on Level 4 - Axonometric 2.12°

2.1.1 TREAD DEPTH AND GOING OF THE PUBLIC SPIRAL STAIRCASE

2.12°

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Turbine Hall

Oil Tanks

Oil Tanks Figure 2.3 and figure 2.4 demonstrated the maximum design of a public access tapered staircase is significantly smaller than the proposed staircase. In this case, the whole staircase is suggested by the architects to be designed as two individual flights (forming one large spiral staircase) with handrails to seperate in between. The architects stated that the ‘prefered walking area is along both side of the middle handrails’, making the outer edge of the staircase ‘a perfect seating and viewing Figure 2.9 Section shows If the slope is designed as a Ramp area.

1100

Landing

Figure 2.11 Ramped Bridge on Level 4 - Section

29660

2.2.2 RAMPED BRIDGE ACCESS DESIGN

Figure 2.1 The Public Spiral Staircase on the Ground Level - Axonometric

2.2.2 Ramped Bridge Access Design

Figure 2.5 Original Handrail Design of the Stair

Figure 2.6 Balusters as required in Building Regulations shown

2.1.2 HANDRAIL DESIGN AND BALLUSTRADE

LEVEL 5

LEVEL 4 LEVEL 3

LEVEL 2

LEVEL 1

LEVEL 0 Figure 2.2 The Public Spiral Staircase on the Ground Level - Plan

2.2.1 Ground Floor Ramp Access Design Figure 2.12 Section across the Tate Mordern existing building and the Extension

M A R C H 2 / S E M E S T E R 1 / A M P L / R E G U L ATO R Y D R A W I N G S

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DESIGN STUDIO C

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DESIGN STUDIO G

DESIGN REPORT

QUESTION 1 Appointment

QUESTION 2 Office Management

We have just received a proposed, appointment document from the lawyers acting for the Woodland Trust. It is full of legal jargon but they want us to sign it by return. One of the items asks us to ensure that we will successfully obtain planning permission for the development, despite the fact that they now want us to revise the scheme to include the demolition of the existing listed mill building on the site? The project is to be covered by a collateral warranty. What can we compare this proposed appointment with to see whether it seems fair and reasonable and what else should we do before signing?The appointment also asks some questions about our professional indemnity insurance policy, which we put in place last week. The premiums are really low which is great! Much cheaper than the RIAS or the RIBA! I have checked the indemnity policy and can confirm that our policy has an aggregate limit of £250,000.00. The providers have confirmed there is no need for an ‘Innocent Non- Disclosure Clause. I also asked them about the proposed collateral warranty but they said the policy would not cover specific third party agreements.

As this is our first project and we will shortly incur all of the set up costs for the practice, we really need to ensure that this job is a profitable one. Can you please write a brief memo to summarise the office management procedures we can set-up to analyse the profitability of the project as it progresses? Can you please refer to the RIBA Plan of Work (Small Project Version for simplicity) to prepare a simple bar chart programme for the pre-construction stages of the project using the attached pro-forma? Can you indicate on the chart the estimated number of resources (hours for each staff member) for each of the job stages and therefore how much of our £170,000 fee we should charge for each stage? As discussed at our recent meeting construction work is scheduled to start in January 2019; we will not employ anyone else at present; we expect to expend 70% of our time on the project during the pre-construction phases; the cost to the office for each of us is £50/ hour; and our target profit on the project is £10,000. Keep in mind that all three of us can’t work full-time on the project at any stage and we expect the Planning/ Listed Building Consent and Building Warrant applications will take up to four months each for the Council to process.

Selected Excerpt

As described in your email, our client has asked us to ensure the success of a planning application despite the fact that they want us to revise the scheme to include the demolition of a listed mil building on site, which seemed extremely risky and unfair to us. In regards to this issue, I have discovered a number of aspects in the following terms and suggestions provided by professional bodies. As suggested in the handbook of practice management, if the client wishes to bespoke the appointment form, there are few things we need to be aware of. In general terms, the architect should seek to enter appointments that leave them in no worse position than they would have been under common law in the absence of an appointment document. There are number of aspects that regularly appear in bespoke appointments that would extend the architects responsibility beyond where they would be under common law and these should be resolved wherever possible: - The standard of care to be used in the performance of the service. - The provision of guarantees or indemnities - The inclusion of services that are not the architect’s responsibility or whose performance is not fully within their gift.

To briefly summarise the office management procedures to ensure the project is profitable, there are three most important aspects need to be ensured: - The job produces the anticipated income - Additional works are needed to be recored into the invoices - The original budget is not overspent without being acknowledged

As stated in RIBA document “guidelines” and ARB, ‘No architect can guarantee that planning permission and/or Building Regulations approval will be granted because these decisions rest with the local authority. When engaged to submit an application, the architect should ensure that it meets the local authority’s guidelines and statutory requirements so it has the best chance of success.’ In our case the Client has asked us to ensure the success of planning permission is unfair to us and may potentially put us in a difficult position especially under the term that ‘the existing listed mill building to be demolished’. In conclusion, the term that set out by the client in the appointment has fall out of architect’s general responsibilities, and later on can be the largest disadvantage for us in the whole project. It is strongly recommended that we should re-negotiate with our client and perhaps suggest standard forms of appointment before we sign and return the document to the Woodland Trust. In regards to the PII policy that we have put in place last week, there are few points and issues that in relation to it which is very important. First of all as you checked the insurance policy which states the claim has an aggregate limit of £250,000.00, which in this case is not suggested by professional bodies. As recommended by ARB, the minimum of indemnity provided by PII should be £250,000.00 for each and every claim. Any limit that differ from suggested figure should only results a minor saving to the annual premium. Secondly, in regards to the Innocent non-disclosure clause, as suggested by RIBAIA, all members should make sure that their insurance policies incorporate with Innocent non-disclosure clause, which would potentially give architects some freedom and scope in the notification of claim. Insurers cannot penalise an insured for innocent late notification unless there is intent to defraud, or if the late notification of a claim or circumstance is seen to prejudice insurers position in which case they would look to adjust the claim settlement to reflect such prejudice. Regarding to the Third party agreements, the architect’s professional Indemnity Insurance policies protect the architect, not a third party who suffered from loss as a result of the architect’s negligence. The third party has no rights under the policy, which is personal to the architect, and this is the case even if the third party has a contract with the architect under which the architect is required to maintain insurance. So as a result, if our insurance provider cannot comfirm that the third party agreement is included in the policy, we are likely to be exposed to the risks that can be brought up potentially by any third parties who have no direct contractual relashionship to us.

MARCH 2 / SEMESTER 1 / AMPL / EXAM

DESIGN STUDIO B

AMPL[EXAM]

Invoicing needs to be regularly set out as suggested at least monthly. Payment is always ideal to be collected in advance rather than after a series of works have been carried out by the practice. Alternatively, fees and other monies can be deposited in a client account for withdrawal as agreed. Job costs and disbursements should be charged at regular intervals along with fees. Paying out money for items in advance asmost always has a higher cost than the stated face value Getting invoices paid promptly is one of the most important aspect that a practice should be regularly focus on to ensure the smoothly running finance. File invoices separately from the rest of the project paperwork and keep the records so that we are aware immediately if invoices become overdue. A practice’s financial management system needs a number of components: - A Long-term pan setting out ambitions and targets. - Annual business plan Monthly forecasting and monitoring Our practice should review its predicted invoicing and costs on a monthly basis by way of a monthly forcasting and monitoring. This is of particular important to spot trends and to predict hiatuses or shortfalls in workload, and hence resorce and other needs-planning, in advance of them occurring. Monthly management account The practice should produce a monthly management account to show how it has actually performed against the annual budget and previous month’s forecast in terms of income, cost and profit. Cash collection Understanding what the practice have done, particularly those invoices that have not been settled within the practice’s normal terms of business, is critical. A full report should be prepared every month setting out details of each invoice and when it is due for payment. Bank reconciliation A monthly bank reconciliation setting money in against money out and the balance accruing is needed in order to confirm the practice’s actual cash position. Weekly monitoring The weekly submission and aggregation of timesheets is important in order to monitor the project’s performance in both cost and time terms. Daily monitoring The practice should keep daily records of fee invoices paid, supplier’s invoices settled, invoices raised, invoices received from suppliers and petty cash utilised.

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DESIGN STUDIO B Hotel Paris

Project II. Inhabiting the Edge – The Gare de Masséna Artists’ Residences Studio Leaders: Giorgio Ponzo and Cristina Nan

OVERVIEW

LEANRING OUTCOMES

Hotel Paris works on the definition of a building typology that combines a multiplicity of programmes into one complex, aiming to propose, at an architectural scale, a spatial experience that is not based on the compartmentalization of functions in different areas of the city or in different segregated buildings. The reading of the traditional typology of the hotel as ‘containers that, in the expansion and completeness of their facilities, make almost all other buildings redundant’ opens up the possibility to look at the hotel as a type that aims to reproduce, at the scale of a building, the diversity of spaces and programmes usually experienced in the urban scale: ‘[hotels] are the closest we have to urban existence, 21st-century style’.

LO1 A sophisticated approach to the programmatic organization, arrangement and structuring of a complex architectural assemblage in a loaded contextual situation (e.g. the built, social, historical, technological, urban and environmental contexts).

In Semester 1 (studio C/G), the investigation into the hotel typology focused on the design of architectural prototypes for living and working. In semester 2 the project must keep on developing these themes and, at the same time, increase the level of technical resolution with regard to structural and environmental solutions. Therefore, in studio B, the design must advance in two parallel directions. On a conceptual level, it will have to refine its contextual, cultural, and architectural position, answering a series of questions that were raised at the end of the first semester. On a technical level, the projects must be refined up to a level of professional resolution, also taking advantage of the contribution that will be delivered by technical experts.

LO3 An understanding of the issues relating to the question of sustainability, and its concomitant architectural, technological, environmental and urban strategies.

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 88

LO2 A knowledge of how to develop the structural, constructional, material, environmental and legislative aspects of a complex building to a high degree of resolution, with reference to discussions with a team of specialised consultants.

LO4 A critical understanding of, and ability to present complex design proposals through appropriate forms of representation (eg. verbal, drawing, modelling, photography, film, computer, installation, performance and workshop techniques).

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

I. 'Redefining the Hotel' -The Urban Context The semester 1 project, Restructuring the Passy Reservoirs, opened with a deep observation into one of the national library projects in Paris which was delivered by ÉtienneLouis Boullée in late 18 centuries. The project has carried some of the architectural qualities that were identified in the precedent studies and can be eventually summarised as a 'Knowledge sharing platform', a live and work tech station. The semester 2 project is set to redefine the architectural qualities that was previously examed and the term of 'Hotel' by continue with the same idea of centralised working spaces surrounded by living programmes, and to look deeply into the urban context that the project based on and its historical background, together with a much detailed level of structural and environmental strategies and resolutions. The project, Inhabiting the Edge - The Gare de Massena Artists' Residences, is located at the verge of the City of Paris in 13th Arrondissement, surrounded by residential blocks, public amenities and infrastructures. The History of the district was flourishing throughout from the industrial age to the modern era. However, many of the urban built-ups which include the Gare de Massena passenger building have been left behind development due to the fast changing environment.

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 89

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11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

Th e 13 th A rro nd i s s e m e n t of Pa r i s

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 90

DESIGN REPORT

DESIGN STUDIO B

T h e G a re d e M a s s é n a Pa s s e n g e r Bu i l d i n g

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11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

L A

P E T I T E

AMPL

DESIGN REPORT

DESIGN STUDIO B

C E I N T U R E

L A P E T I T E C E

PA R I S

I N T U R E

Paris Rive Gauche Gobelins - École de l'image

LISAA – L’Institut Supérieur des Arts BnF - The François-Mitterrand Library

Les Frigos

The Neighbourhood and the Urban Context La Petite Ceinture (Small Belt) Railways, built in mid-19th century, has significantly defined the boundary line of today’s City of Paris and remained significantly abandoned since last passenger service in 1934. Gare de Massena is one of the passenger buildings that served the railway system and witnessed the development of the 13th arrondissement. The district is renowed by its prosperous creative industry and innovative architecture and urban designs due to the Paris Rive Gauche development. The Neighbouring context includes New BnF Library, Paris Dedirot University and Les Frigos (one of Paris most famous artist’s ‘colonies’). Art schools and creative companies widely spread out through the district. Gare de Massena is located on an edge between a newly defined public realm and a massive residential area.

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 91

Paris Diderot University L A

P E T I T E

B O I S

1 3

C E I N T U R E

T H

D E

V I N C E N N E S

A R R

Itinerrance Art Gallery

Gare de Masséna

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

The Gare de Massena Passenger building is located on the east side of the Boulevard du Général d’Armée Jean Simon road bridge. With public highway including tram station to the south, residential tower blocks to the North. Due to the raised infrastructure, there is a 10m height difference between both side of the passenger building. The Slope that seperates two areas remain inaccessible and creates a long barrier in its urban context. The Project is set to redefine the existing site and reconnect two areas by inserting a large public stairway and ramps.

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 92

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

The Circulation Public Staircase, Journeys and Views

The Existing Site

The Concept

Gare de Massena and the surroundings

Public access and Artificial Ground

Circulation, Programmes,

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 93

1.1

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11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

Public/Private Balconies

6M 3M

Living Volume

Working Volume

Housing Type 3

Housing Type 2

Housing Type 7

Housing Type 8

The Housing Diagrams The Housing are designed through a series of diagrams that based on a basic living cube of 3x3m. Working space are doubled vertically to suits artist’s special requirements. Working spaces are arrange to one side and living spaces to the other. On the elevation there are six sections of housing units which comprise a mixture of housing types and public and private balcony spaces (shown in yellow). Public staircases are inserted into the sections and carved out voids on the facade.

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 94

1.1

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11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

Housing Diagram: Arrangements and Types

Type 1

Type 2

Type 3

Student Accomodation

Small Artists’ Studio- Small Artists’ Studio - Small Researcher’s Lower Working Area Upper Working Area Residence

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 95

Type 4

Type 5

Type 6

Type 7

Type 8

Large Artist’s Studio - Large Artist’s Studio - Artist’s Studio - Loft Lower Working Area Upper Working Area

Large Researcher’s Residence

1.1

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

Primary Structural System

Secondary Structural System

The primary structures of the building consist of a series of large scale steel beams and columns which break up the building’s large span into five structural sections. The artificial ground that forms the exhibition space is carried by a truss structure which attached to the main structural columns. Two large braced steel columns and beams complex which form the circulation towers are to carry the housing and other programs together with four other major columns and slanted column supporting structures. All structural elements are landed on concrete piling structures.

The secondary structural system mainly consists of a complex of different types of columns, beams (including cellular beams) and bracing structures. The housing programmes are slightly cantilevered out from the main structure, and is supported by a series of cantilever beams and bracings. Floor plates are cross braced with concrete slab layed on top.

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 96

DESIGN REPORT

DESIGN STUDIO B

1.1

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

SHS Column 600x600mm

CHS 56.1x4 Diagonal bracing

DESIGN STUDIO G

UB - 325x165x40 Cantilevel beams at 3000mm ccs.

UC - 400x400mm

UB - 325x165x40 floor beams

Steel Column 600x1000mm

AMPL

Steel Plate 150x15 floor cross bracing

UC - 400x400mm

DESIGN REPORT

DESIGN STUDIO B

SHS Column 600x600mm

Cellular Beams

UB-225X76X13 Bracing

Steel Column 1000x600mm

UB-225X76X13 Bracing

SHS 165x165mm Corner Post

UB 1000x1000mm Universal beams

SHS Truss structure 600x600mm CHS 101.6x4 cross bracing between floor beams

UB-Universal beams 457x191x98 at 4800 ccs.

UB-Universal beams 1000x1000mm

UC - 1000x600mm

UB-Universal beams 1000x1000mm

SHS 180x180mm Mezzanine structural support

UB 1000x1000mm Universal beams

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 97

1.1

2.1

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

Concrete screed 65mm Cellular Beams 325x165 Kingspan Kooltherm Floor Board 100mm

Sliding Foldiing Shutters Floor Finish Concrete Screed 65mm

Services Ducts and pipeworks

Rusty Steel Cladding Panels Insulated Blocks

Cellular Beam 325x165

Precast Concrete slabs 200mm UB 325x165 Kingspan Kooltherm Floor Board 100mm

Wall Insulation 100mm

Steel Beam 1000x600

Constructing the Hotel - The Typical Details

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 98

1.1

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

Service Flowing Direction

Service Ducts and Pipeworks

Environmental Strategies - Prevailing wind

Environmental Strategies - MEP Model

Two levels of public green space in the building also act as an urban air filter and barrier layer which contribute to a wider urban environment in its context. Prevailing wind which carries pollutions from the railway tracks and public highways is filtered when going through the building.

The MEP design forms a significant part of the wholistic building design. The Energy centre is located at the west corner of the ground floor thus all the pipes and ductworks are connected to it. On West and East facade of the main tower structure, two large chrome pipe are dominating the appearance of the building. All pipes are installed below each floor level to carry all the necessary service works.

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 99

Energy Centre (Approx. 5% of Total floor area)

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

Environmental Strategies - Sliding Folding Shutter System (open)

AMPL

DESIGN REPORT

DESIGN STUDIO B

Environmental Strategies - Sliding Folding Shutter System (close)

A Sliding folding shutter system is applied on the facade to shield the building from direct sunlight. The shutter system can be electrically operated indoors to get favoured opening angle. Electric roller shutters are installed on the large windows to reduce direct sunlight.

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 100

1.1

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

Reading/Study

Lounge

Kitchen Reading/Study

Kitchen

Bedroom Bedroom

En-suite

Working/Studio

Type 1 : Student Accommodation

Type 2 : Small Artists’ Studio- Lower Working Area

The Student’s housing features from a separated double bedroom and a large en-suite. Kitchen and studying area are occupying the other half of the dwelling.

This type of the artist’s studio features a double height working and studio space to meet artist’s special requirements. Followed by the Kitchen and lounge in the middle, and double bedroom with en-suite next to it.

Lounge

Reading/Study

Lounge Reading/Study

Kitchen

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 101

1.1

2.1

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9Kitchen .1

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

Working/Studio

Lounge Lounge Dining

Kitchen

Study/Bedroom Kitchen

Bedroom En-suite

Bathroom

Bedroom

Working/Studio

102

Type 4 : Small Researcher’s Residence

Type 3 : Small Artists’ Studio - Upper Working Area

The researcher’s residence provides temporary residency for university workers and exchange scholars, featuring large living area with dining space. A small study room which can be doubled up as a single bedroom is presented inLounge this type to suit university workers family needs. A family bathroom is shown.

Working/Studio

Similar to the Lower working area configuration, this type of the artist’s studio features large working area with double height elements to allow things like large paintings to be hung up. The living half of the dwelling is the same as the previous type.

Dining

Lounge Kitchen

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 102

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Kitchen

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

Working/Studio Working/Studio

Studying Reading/Study

Lounge Lounge Kitchen

Kitchen

Bedroom

Bedroom En-suite

Type 5 : Large Artist’s Studio - Lower Working Area

Working/Studio

En-suite

Type 6 : Large Artist’s Studio - Upper Working Area

Working/Studio

Similar to the previous type and the Type 3, This type of studio has an open plan on the ground floor where live and work mixed together. A separated upper working space is presented Working/Studio with attic style staircase.

Large studio and working space is presented in this type. Similar to Type 2 the living space has the same spatial arrangement. Working area is mixing into the living area, and a extra reading/studying space is added.

M A R C H 2 / S E M E S T E R 2 / D E S Reading/Study IGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 103

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Working/Studio

10.1 Studying

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

Kitchen

320

Kitchen

Bathroom

Working/Studio Dining

Working/Studying

320

Bathroom

Working/Studio

Storage

Dining

Storage

Lounge Dining

Kitchen Bedroom

Bedroom

Bathroom Bedroom

Dressing

Dressing Kitchen

Different from all other types, the Artist’s studio - loft features a unique double height working and studio space. Storage/Working room, bathroom, kitchen and studio are presented on the ground Working/Studio floor. Bedroom and dressing room are located Bathroom on the upper floor level.

Dining

Storage

Type 8 : Large Researcher’s Residence

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 104

Similar to the Type 4, this large researchers’ residence features an independent working and studying area, with a bookshelf wall and double Working/Studying pocket door. One double bedroom with en-suite and one single bedroom are designed to meet university workers’ family needs.

320

Type 7 : Artist’s Studio - Loft

1.1 120

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5.1

6.1 Lounge

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2.2

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120

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Dining

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 105

3 2

Plans, Sections and Elevations - Proposed Ground Floor Plan

DESIGN REPORT

DESIGN STUDIO B

1. Malting Room (Brewery factory) 2. Brewery room 3. Storage room 4. Brewery factory gallery room 5. Office 6. Public ramps 7. Energy centre

1. Toilets 2. Kitchen 3. Bar and wine tasting gallery 4. Wine tasting gallery 5. Sitting area

Plans, Sections and Elevations - Proposed Passenger building level 2

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

3 2

2 1

1. Public Gardens 2. Skylight 3. Enclosed Gardens

1. Relaxing area 2. Art studios 3. Event room/Large studio 4. Public sitting area 5. Art studios

2 3

1. Entrance lobby 2. Semi-private/Semi-public balconies 3. Circulation 4. Public access staircase Plans, Sections and Elevations - Proposed Typical Plans

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 106

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9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

Plans, Sections and Elevations - Sections

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 107

AMPL

DESIGN REPORT

DESIGN STUDIO B

Plans, Sections and Elevations - Sections

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

Plans, Sections and Elevations - South Elevation

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 108

AMPL

DESIGN REPORT

DESIGN STUDIO B

Plans, Sections and Elevations - West and East Elevations

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

Plans, Sections and Elevations - Sectional Perspective 1 v

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 109

AMPL

DESIGN REPORT

DESIGN STUDIO B

Plans, Sections and Elevations - Sectional Perspective 2

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

The Ground The existing ground floor at the Rue Regnault is surrounded by high rise residential buildings and a steep slope separating the lower level and the Boulevard du General d’Armee Jean Simon with a green belt. The existing station building sits at the end of the green belt and connecting two levels with a small public stairway. The main intention for the ground floor, is to open up the slope with a large public stairway together with ramps to establish the connection and relationship between the residential area north to the site and the public amenities and spaces across the bridge. The existing building is now to house a brewery factory and the bottom level, a wine tasting gallery at the first level and the main entrance to the building on the second floor (on the level of Boulevard du d’Armee Jean Simon). The energy centre of the building is designed at the other end of the public stairway.

AXONOMETRICS - Context

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 110

AXONOMETRICS - Ground and Artificial

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

The Exhibition, Co-working and Galleries The idea of an artificial ground covering the existing site can be seen at the level of the Exhibition and Co-working level. Through the public entrance at the ground level, the café and restaurant is designed to occupy the east end of the bridge structure. Followed by a series of art workshops and studios, the centre is occupied by the large exhibition space to display local artist’s works. Two large amphitheatre kind of stair is designed to both sides of the exhibition space to provide connection to workshops and also sitting/working area for residents/visitors. Galleries are located at the west end of the structure to provide temporary and permanent display of artists’ works.

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 111

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

The Rooftop Bar and Restaurant The rooftop bar and restarurant is located at the top level of the building and is the destination of two public stairways. Indoor sitting area is located at the centre and outdoor sitting areas are on both sides. This bar provides service to the residents and also general publics.

AXONOMETRICS - Rooftop Bar and Restaurant

AXONOMETRICS - Housing

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 112

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

DESIGN STUDIO G

AMPL

Housing

The design of the circulation takes the idea of a continuous journey from the public ground level to the rooftop level whilst capture the views from both side of the building. General access corridors are placed at the centre of the building for the housing units. Two structural towers are used as circulation with stairwells and lifts. External staircases can be used as fire escape route due to its open-air nature to shorten the distance of fire escape.

The Residences are designed through a series of diagrams which are based on a basic 3x3m living cube. Housing on one facade is separated to six sections and a void is carved out by the public staircases. Between residences there are occasionally created semi-private and semi-public balconies. Timber sliding folding shutter system is a major component of the facade design.

DESIGN REPORT

DESIGN STUDIO B

Circulations

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 113

SCAT

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

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DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

LIFE IN HOTEL - Public stairways and Entrance Lobby

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 115

DESIGN REPORT

DESIGN STUDIO B

LIFE IN HOTEL - Exhibition, Co-working and Public Green Space

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

LIFE IN HOTEL - Type 6: Large Artist's Studio

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 117

AMPL

DESIGN REPORT

DESIGN STUDIO B

LIFE IN HOTEL - Type 7: Loft Artist's Studio

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

LIFE IN HOTEL - Boulevard du Général d'Armée Jean Simon

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 119

AMPL

DESIGN REPORT

DESIGN STUDIO B

LIFE IN HOTEL - Rooftop Restaurant and Bars

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

MARCH 2 / SEMESTER 2 / DESIGN STUDIO B / INHABITING THE EDGE – THE GARE DE MASSÉNA ARTISTS’ RESIDENCES 120

SCAT

DESIGN STUDIO G

AMPL

DESIGN REPORT

DESIGN STUDIO B

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN REPORT Hotel Paris

OVERVIEW

LEANRING OUTCOMES

This core module, taken in the second semester of the MArch Year 2, requires the student to produce a comprehensive design report that documents in detail one of the projects that the student has completed during the Programme. The Design Report sets out the research and design development undertaken, incorporating images including the key representations of the project itself. The design report should allow the reader to follow the student’s study process, allowing an understanding of the material examined, decisions taken, etc. While the report is an academic document that must be fully referenced and observe all relevant protocols as set out in the briefing materials issued to students, is also itself a designed object.

LO1 – The ability to communicate, critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report.

Aims: 1. Critically appraise and argue the rationale of a design proposal using text and image in the context of a printed report. 2. Demonstrate ability to analytically and logically synthesise documentation which encompasses a range of architectural issues, research and design processes undertaken in the development of a major architectural thesis and to reflect upon aspects of personal practice. 3. Develop skills in the communication of architectural design proposals, through sophisticated visual and textual synthesis

MARCH 2 / SEMESTER 2 / DESIGN REPORT

121

LO2 – Demonstration, through architectural design, of the integration of knowledge in architectural theory, technological and environmental strategies, and an understanding of architecture's professional and economic context. LO3 – The development of transferable design skills and techniques through the preparation of a sophisticated graphic document.

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

OVERVIEW The Design Report: Communities at Work, has recorded March 2 studio project - Hotel Paris in details. The report is separated into two sections: the first section records the first semester project, restructuring Passy Reservoirs, which has started the conceptual framework of the entire project. Then followed by the Gare de Massena Artists' Residence in the second section to document the project in details, which technical and environmental aspects are brought to a highly resolved level.

MARCH 2 / SEMESTER 2 / DESIGN REPORT

122

1.1

2.1

3.1

4.1

5.1

6.1

7.1

8.1

9.1

10.1

11.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

11.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

11.3

DESIGN STUDIO C

ATR

DESIGN STUDIO D

SCAT

DESIGN STUDIO G

AMPL

DESIGN STUDIO B

DESIGN REPORT

The structural details and the environmental issues are considered in a significant detail in the project. All the structural and environmental elements in the building are carefully placed in their positions with the advice from professional engineers. The Building contains a primary structure which comprises of large steel structural elements and concretes, and a secondary structural system which contributes to the individual floor levels and other small details. In terms of the environmental design, the concept is based on a wider contribution to the existing environment and neighbourhoods, enabling the building with accessible green space and practical energy solutions.

Hotel Paris: C O M M U N I T I E S AT W O R K - Project II: Inhabiting the Edge, The Gare de Masséna Artists' Residences

PART II

'Constructing the Hotel' -The Structural and Environmental

Hotel Paris: C O M M U N I T I E S AT W O R K - Project II: Inhabiting the Edge, The Gare de Masséna Artists' Residences

Environmental Strategies - Sliding Folding Shutter System (open) 71

Environmental Strategies - Sliding Folding Shutter System (close) 81

Kitchen

Constructing the Hotel - The Typical Structural Plans

UC - 400x400mm

UB - 325x165x40 floor beams

Steel Column 600x1000mm

Steel Plate 150x15 floor cross bracing

UC - 400x400mm

SHS Column 600x600mm

Cellular Beams

UB-225X76X13 Bracing

Steel Column 1000x600mm

Hotel Paris: C O M M U N I T I E S AT W O R K - Project II: Inhabiting the Edge, The Gare de Masséna Artists' Residences

UB - 325x165x40 Cantilevel beams at 3000mm ccs.

UB-225X76X13 Bracing

SHS 165x165mm Corner Post

UB 1000x1000mm Universal beams

SHS Truss structure 600x600mm CHS 101.6x4 cross bracing between floor beams

UB-Universal beams 457x191x98 at 4800 ccs.

UB-Universal beams 1000x1000mm

UC - 1000x600mm

UB-Universal beams 1000x1000mm

SHS 180x180mm Mezzanine structural support

UB 1000x1000mm Universal beams

Dining

Storage

Dining

Storage

Dining

Kitchen Bedroom

Bedroom

Dressing

Different from all other types, the Artist’s studio - loft features a unique double height working and studio space. Storage/ Working room, bathroom, kitchen and studio are presented on the ground floor. Bedroom and dressing room are located on the upper floor level.

Bathroom

Type 8 : Large Researcher’s Residence

Type 7 : Artist’s Studio - Loft

Lounge

Bedroom

Similar to the Type 4, this large researchers’ residence features an independent working and studying area, with a bookshelf wall and double pocket door. One double bedroom with en-suite and one single bedroom are designed to meet university workers’ family needs.

Dressing

Hotel Paris: C O M M U N I T I E S AT W O R K - Project II: Inhabiting the Edge, The Gare de Masséna Artists' Residences

CHS 56.1x4 Diagonal bracing

Bathroom

Working/Studio

Working/Studying

320

Bathroom

Working/Studio

SHS Column 600x600mm

320

Kitchen

MARCH 2 / SEMESTER 2 / DESIGN REPORT

123

1.1

2.1

3.1

4.1 Dining

320

Working/Studying Bathroom

Working/Studio

5.1

6.1

Storage

7.1 120

8.1

9.1

10.1

1.2

2.2

3.2

4.2

5.2

6.2

7.2

8.2

9.2

10.2

1.3

2.3

3.3

4.3

5.3

6.3

7.3

8.3

9.3

10.3

120

11.1 Lounge

11.2 11.3

Bedroom

Dining

Kitchen