Architectural Portfolio Stage 3 - Vibrant Visions

Cleo Kyriacou 110265731 Architecture Stage 3 Newcastle University

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Year Design Report

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Imaginative ideas were summoned, squeezed, stretched and resized to bring together this Academic Portfolio that concludes the final year of my undergraduate degree in Architecture.

While my aim was to reflect as best my work and process, it proved to be harder than I thought; because, how could I reflect experiences? In the last three years I have realised that Architecture is really an experience. Becoming an architect is actually a state of mind and a lifestyle. It is not only about thinking but mostly about being the idea, the design, the building.

Sometimes, in order to achieve that, I had to overcome myself and what I had set up as my strength limits and abilities. However, soon I discovered that our self is the only one stopping us from achieving more and it is the fear of the unknown that prevents us from crossing the boundaries we have built around our imagination. Breaking my limits would often make me drown into the vast ocean of the unknown and when chasing time without knowing the stress builds up ready to swallow you.

Many were the times when I nearly lost faith into my capability of achieving what I had set out for. Who was I struggling for? But then I realised, it was for me. All my hard work was for me. For finding a position for myself in the world of Architecture and deciding who I want and can be as a designer. Looking back now, I am glad that I chose to experiment with my abilities, because I managed to re-discover

so far. Conceptual experiments and theoretical research about experience and space were new and exciting to me. This was the first time I had pushed my urge for exploration to the maximum and I had applied my imagination on the design more than my rational thinking.

The result impressed and surprised me. I was satisfied because it was something that expresses and reflects me. The technical details were my Achilles' heel, but since the design was complicated, more research and time were essential to be able to improve them.

Model-making was the most enjoyable part and I managed to experiment with new techniques.

The Can Ricart Project was interesting and the fact that there was a real client and a site abroad made it even more exciting.

Dealing with an existing structure was new to me and the several available responses impressed me. However, being respectful to the existing building narrowed down my courage for creativity resulting to an honest but modest design that was not advanced to its full potential. Back then, I could not realise it, however reviewing it later, I decided to alter and improve the design slightly in order to reveal and emphasise more the main concept.

The result can be observed flicking through the pages of this portfolio.

Finally, the Charrette week was once more joyful and pleasant, since I had the chance to meet and work with students of all stages Co-operation was easier this year because the

myself. Architecture can be a passion only if I chase it.

The Graduation Project Show/Store proved to be the most challenging and thrilling project I have accomplished during my studies,

main aim was clear, communal and set from the very beginning. Casting plaster bricks was not only enjoyable, but also it proved to be useful knowledge for future reference on model-making. Casting had been something I was

scared of, but through this project I found out that it was easier than I thought.

The last task of this year was to assemble this academic portfolio. Bringing together all the work I have done awoke some melancholic sentiments for the completion of my undergraduate degree. It has been a long and adventurous journey that I could have never predict. Concerning my feedback, it was taken into account and some of the consideration I gave to it, is reflected on the re-edited work presented in the portfolio. The rest will be saved as future advise.

This is my final chapter, so I hope it reflects me, the way I am and have been through the course. This year has been hard and stressful.

But it has also been full of new experiences and unexpected discoveries. Both hard and good times taught me how to appreciate the course of Architecture. New challenges are welcome, now that I am strong and ready to accept them.

Hopefully, a little bit wiser as well. My aim for the future is to stop compromising. The lessons I have learnt will be my sheild for any new struggles that I will face. I am ready for disappointments. But I am not ready to supress my imagination. All my ideas are anticipating for the right opportunity. I chose to study Architecture to be able to create experiences.

Space is a vibrant experience.It can only be designed by people with vibrant visions.

Cleo Kyriacou

Contents ARC3001: Architectural Design

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Show/Store: Violin Collection Sound Through Solid p.5 Plaรงa Can Ricart: "La Machine" de Barcelona p.37 Simulacrum Charrette Newcastle: City Casting p.59 Mark for New Work (*) Mark for Improved Work (*) Separate Documents: ARC3013: Architectural Technology Can Ricart: Macro, Meso, Micro Approach ARC3014: Professional Practice and Management PEDR Sheet and written report ARC3015: Principles and Theories of Architecture Exhibition Piece 1: Seing Beyond (collage) Exhibition Piece 2: Sectional Model ARCH3060: Dissertation in Architectural Studies Tracing Inhabitation

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The Collection What is it that makes a violin so valuabale, that collectors would spend millions to own?

A violin's strained wooden skin with the secret mixture of adhesive and the delicately carved scroll reveal the craftsmanship skills of the luthier. And then there are all

Fine Tuners

F-holes

Peg

Scroll

those fragile pieces; the pegs, the fine tuners, the bridge and strings that produce a melancholic melody under a single stroke of the bow. It is that precise touch, the vibration of strings, and the reverberation of the wood through the f-holes that create the magic. Those intangible things. And the violin collection is about those intangible little things that you can sense and hear and touch but you cannot see. Those intangible things that you can experience through Architecture.

Movement 6

Bridge

Fingerboard

Pegbox

Scroll- The most delicate part

Vibration

Enclosure

Motion

Journey

Circulation

Violin-Human-Space First Conceptual Model 7

Incubator The idea for the Incubator was derived after abstracting the violin form, in order to highlight its key qualities.

Situated in the acoustically excellent Central Arcade, there are three ways of approaching, which create an architectural promenade. The violin music is what guides the visitor. Plain panels of rational geometry surround an organic form which hosts a violinist. The visitor can only see glimpses of the violinist and cannot access him. The destination is a violin case which announces an invitation to the main building for storing and exhibiting violins.

Inhabited Incubator

Guided by the Music*

Promenade 8

Inner/Outer Skin

Imprint

Mystery

Shelter

Destination

The Three Approaching Routes*

Incubator Set on Site 9

Experimenting with Picasso

Rowe and Slutzky states that any Cubist canvas could serve to illustrate the presence of the two orders or levels of transparency, that is literal and phenomenal (Rowe & Slutzky, 1982).

Taking inspiration from Picasso's "Violin and Grapes" a three dimensional model was used to explore the relationshiip between volumes, the movement and the phenomenal transparency: "a quality inherent in the spatial or volumetric oraganization" (Rowe & Slutzky, 1982). A short film was made to capture the experiment and reveal the importance of the "in-between space" in spatial organizations.

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"Deconstructing Picasso" Watch film at: http://bit.ly/1tJAPje

The in-between space Translating the Volumes into Space

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Sound Through Solid The proposal "Sound through Solid" suggests a design for exhibiting and storing a violin collection, situated on the site next to the High Level Bridge, Newcastle. The fundamental concept was the creation of a building that follows the principles of a violin case: an

Site Plan 12

outer hard skin with an inner soft core.

Hence, an organic form accommodates protectively the fragile and delicate violin collection, while the rest of services "wrap around" it, following a more rational form.

The "in-between" space of the violin case was the most intriguing.

Thus, an architectural promenade through the collection guided by the violin sound coming from the performance area, was created.

This was achieved by manipulating the geometry of the structure in order to direct the direction of circulation.

North Elevation 13

Site Strategy

Sunlight*

Sound*

Views*

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1:1000 Site Model Slope, City-Quayside connection

Access*

The significant level change of the site was highlighted by doubleheighted spaces. The connection of the existing and new structure was made through glass panels.

The new building respects the importance of the High Level Bridge and emphasises their connection.

Building Set on SIte

Building Elements 15

Development Through Models

Early Spatial Studies

1:100 Final Model on Site

Developed Study Models 16

Main Entrance, Final Model 17

Proposal

Aerial View showing relationship with the High Level Bridge 18

Exploded Axonometric View

Performance Area Following the principles of the Incubator, the main route through the Exhibition is guided by violin music coming from an invisible source at the end of the journey.

The organic shape of the walls directs the motion of the visitor.

Box Office

Main Exhibition Area

Violin History Corridor (under the bridge)

Viewing Platform to the Workshop Temporary Exhibition

Main Exhibition Route* 19

1. Reception 2. Education Activity Room 3. Visiting Scholar's Room 4. Staff Room/ Kitchen 5. Toilets 6. Plant Room 7. Desinger's Offices 8. Balcony

9 7 10 A

1. Temporary Exhibition 2. Workshop 3. Violin History Corridor 4. Permanent Collection 5. Box Office 6. Performance Area 7. Viewing Platform

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First Floor Plan

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1

C' 2 2

D

7

1 5

3

6 4

3

C

B' 8

D' 4 5

A'

6 B

Ground Floor Plan 20

1. Coffee Shop 2. Seating Area 3. Outdoor Terrace 4. Library 5. Violin Storage Room 6. Violin Making Area 7, Shop 8. Toilets

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5 6

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1 2

3

Basement Floor Plan 21

Longitudinal Section B-B' 22

Longitudinal Section C-C' 23

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Cross-Section A-A 25

'

The violin exhibition begins with the Temporary Exhibition room, a doubleheighted space that hosts violins for a limited time only. The violins are stored in especially manipulated cases imprinted on a conrete wall. It is where the visitor finds out all about the different pieces of a violin and how it is constructed. Spiral staircases lead to a platform that ovelooks into the workshop where the making and preserving of violins can be observed.

Temporary Exhibition 26

Conceptual model

Imprinted Case

Aerial View

Through the skylight 27

Coming from the corridor that passes under the bridge, the vibrations of the railway emphasise the fact that the visitor approaches the Main Exhibition Area, as a metaphor for the string vibrations. The key feature of the space are the curvy surfaced walls that create "pockets" especially for positioning the violins.

The whole building becomes a protective case that wraps around the collection. The organic shaped roof contributes to this sensation and the skylights add on the mysterious atmosphere intended.

Main Exhibition Area 28

Timber Panels

Steel Frame

Detail Section*

1:50 Sectional Model 29

The exhibition route ends at the Performance Area where violin concerts are held occcasionally, by violinists who might use the exhibited instruments. The area is small and only for a few people, in order to provoke intimacy.

A custom-made seating area surrounds the violinist, who becomes the central point of the space.

Performance Area* 30

Tunnel Section D-D' 31

Interior View of the Cafe showing relationship with the Bridge and the Quayside 32

In spaces such as the cafĂŠ custom made furniture were used, inspired by the shape of the walls in the Main Exhibition Area.

The building shape responds to the needs of the inhabitants.

Similarly, imprints and projections of the walls create seating areas, desks and storage areas in the offices, too. (see sections p.24-25)

Side View of Final Model 33

South Elevation 34

Alternative Entrance/South Elevation 35

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Can Ricart, Poblenou

Barcelona, Spain Can Riacrt is situated in the old industrial area of Barcelona, Spain.

The area which was once busy and full of life had been abandoned after factories closed down and is now trying to be re-integrated in the city. Barcelona's town planning is intruiging because of the contraticting old and new parts of the city. The old Barcelona was built without urban planning, while the newer part was built according to a grid.

Renovating an old, abandoned factory in that area is challenging because of the emotional connection of the people and the historic importance of the building that need to be taken into account.

Site Location and connection to the city 38

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New Barcelona

Barcelona Grid and the Existing Buildings Old Barcelona

The Site- old industrial area The Site 39

The Client: La Machine La Machine is a street theatre company that was founded in 1999. It came into being through the collaboration of stage artists, technicians and designers working together to build atypical performance o b j e c t s . T h e i r projects include both performances in the realm of urban planning but also street shows.

Through each of these living architectures, the cities of tomorrow are dreamed of, changing the way cities of today are perceived.

In the same way Can Ricart could be linked to Barcelona city.

Adjusting Can Ricart for La Machine needs was of primary importance.

La Machine spectacles and creations 40

Plaรงa Can Ricart: "La Machine de Barcelona" The proposal for Can Ricart was inspired by the existing condition of the buildings on site. The lack of roofs gave birth to the idea of inserting a steel frame construction that "lands" inside the existing walls and creates the feeling of a temporary alteration.

1:200 Final Modelproposal on site

Building 2 is reused with floors that are supported by the frame, while building 3 is used only as a shell.

The new building lands in the shell at an angle to the existing shape, in order to emphasise its presence. The main aim of the deisgn was to allow old and new to cohexist without interrupting each other's nature and at the same time without degrading their character.

At the points where old and new meet there was the intention to create elegant connections.

Early site models and design responses

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2 3

Developing the masterplan, there was the attempt to reconnect Can Ricart with Barcelona, while keeping in mind its historic and emotional importance. The design proposes the demolition of one of the buildings which was not part of the factory and the creation of a pond tracing the building's plan, reusing its brickwork. Then, the main design is developed within building 2, while the new insertion happens in the shell of building 3.

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Site Response*

Parade Route Visitors Access Main Exhibition Route

Site Plan*

Studio

Exhibition

Workshop

Bistro Theatre (Suggestion)

Main Elevation* 43

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Aerial View of the whole site*

Exploded Axonometric*

View of the Pond and Outdoor Activities 45

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1

3

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1. Photographic Exhibition 2. Modeling Studio 3. Viewing Platform 4. Exhibition Bridge 5. Exhibition Area 6. Viewing Platform 7, Souvenir Shop 8. Coffee Shop 9. Toilets 10. Museum Can Ricart

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First Floor Plan*

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Mezzanine Floor Plan

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1. Entrance 2. Main Exhibition Area 3. Photographic Exhibition 4. Drawing Studio 5. Toilets 6. Workshop 7, Toilets 8. Information Centre 9. Canteen 10. Kitchen 11. Bistro 12. Toilets 13. Interior Courtyrd 14. Box Office 15. Outdoor Seating Area 16. Smoking Area

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Ground Floor Plan* 47

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*Key Cross-Section Between Old and New 49

1:200 Final Model 50

Existing Longitudinal Section*

Longitudinal Section showing proposed interior activity* 51

The attitude towards the existing fabric of the buildings was to preserve it as much as possible while creating a contrast with the newly built.

Zinc cladding was used partially to emphasise the new entrance in building 2 and totally in the new addition in building 3.

1:50 Model of Main Exhibition Area 52

Universal

Steel

Columns are used to support the trusses and the new building.

A smaller sized steel panel is bolted on to the bottom end of the column to provide with the effect of delicate touch on the ground. The top part of the column is connected to a head made by four metal panels. The head has interior space for adding light bulbs that would light the trusses through the columns.

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* The steel framework consists of Universal I shaped columns, which form portal frames that support trusses. The trusses are welded off site and their shape allows space for a window to be added facing the North. The first floor is supported by the framework. The overground bridge is partially supported by the steel columns and partially hunged by metal cables on the beams of the portal frames.

The steel framework reinforces the idea of a temporary insertion.

1:100 Model of 54

New Building and

key connection

Crossing the bridge to the New Building 55

Some of the existing openings in building 3 are re-used as windows.

Instead of adding a new window frame, a glass panel is inserted as a cover for the opening.

The connection to the wall is done using elegant stainless steel brackets that are screwed on the four corners of the glass panel. In case the glass is removed there will be minimum marks left that will become part of Can Ricart's history.

1:20 Detail Model 56

View to the Interior Courtyard* 57

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City Casting The principle idea of Simulacrum Charrette was to constract a wall using casted bricks wtih imprints from all around Newcastle.

Students from all stages of Architecture were split into groups that travelled in different areas of Newcastle, including the city centre, the castle area, the suburbs and the Tynemouth seaside to collect characteristic imprints on clay. The clay imprints were used as mold to cast plaster bricks. At the end of the week the bricks were assembled into a wall that revealed a story of Newcastle.

Process 60

1:1 Final Installation 61

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