Exposure by Keti Cota

E X P O S U R E

E X P O S U R E

Keti Cota Studio : X Y Zoom

= the revelation of something secret, something once hidden now coming to light

Birmingham City University BA (Hons) Architecture | Year 3 ARC6011 2

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X Y ZOOM

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The site

[ The site + mapping ] 12-13.

14-21.

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24-27.

28-31.

32-35.

36-37.

Junkspace Urban site maps My site Site collages Urban element Element research Early mapping

39-43. Mapping studies 44-55. Motion mapping 57-65. Chronocycle graph testing

CONTENTS

[ Exposure in motion ] 68-73. Exposing the hidden 74-77. Field diagramming

[ Conceptual form-finding ] 80.

Form finding 81.

Site with field diagram 82-83. The rules 84-86. Application of rules 87-94. Layering 95.

Final diagram 1:200 96-97. Exploring form 98-99. Conceptual precedents 100-107. Form finding 108-109. Final form 4

110-111. Visuals of final form 112. Site plan with form 113. Elevation and perspective 114. References 115. Final drawing

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STUDIO X Y ZOOM “This Unit will be exploring a suggestive inquiry into the operations of linearity in architectural theory and practice; investigating the line as both a conceptual and literal force in architecture. The studio will engage this discussion by considering maps, architectural plans, the laws of geometry, systems of architectural Knowledge, and mythologies of architectural origin in work by Le Corbusier, Vitruvius, Alberti, Tafuri, Derrida, Levi-Strauss, Shakespeare, Lacan, Deleuze, Rilke, and Stendhal.

Entering the current and complex debates about the relation between theory and practice in architecture, and moving beyond architecture and its literal structures to the notion of epistemological structure that architecture as a discipline and practice upholds and promotes.”

The design project starts with the construct, de-construct and re-construct of the site.

[1] Construct - The exploration begins with the articulation of photography, which is vital to our understanding, particularly through photo-montage and their inventive juxtaposition of forms, aiding our ability to explain the urban realm.

[2] deConstruct - The exploration through collage and assemblage as representational techniques. These media enable a non-linear narrative through the juxtaposition of urban fragments and its ability to frame and ‘edit’ the urban conditions - resulting in a disconnect of image from reality, the urban event/element.

[3] reConstruct – In order to interpret our project as a device that is open, evolutionary, and tactical, the Design Process will be developed through mapping. By developing processes that utilize graphic, physical, and time-based registers, as a method of investigation and design speculation

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ALCESTER ROAD

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Located in Moseley, Birmingham B12, Alcester Road is a high-street known to be the home of culture and history. Alcester Road is an arterial route that leads south from the city centre. It provides a cross-section of the variety of Birmingham life, running from the inner city of Balsall Heath to prosperous Moseley and beyond. The high street is home to over 100 predominantly terraced houses, a primary school, as well as a church that has been present for more than 600 years, with many more fine Edwardian villas built during the 20th century. The high street has developed a vibrant day and night life, a regular artisan food and craft markets and a summer festival, taking place at Moseley Park.

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[ THE SITE + MAPPING] 10

Conditional Context | Mapping - Construct Exploring the site in order to investigate a chosen urban element.

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‘JUNK SPACE’ The term junkscape is used here to mean space that is literally being wasted: space within the urbanscape that is no longer functional, or has never been productively used. Implicit in this idea is potential: spaces that now lie dormant can and should be seen as awaiting reactivation through some new creative reuse.

Abandoned =

Deserted building that is no longer in use. May also be disused and ditched. Left behind and uninhabited.

Temporary =

An area or space where there is a sense of coming and going.

They may not be in constant use throughout the year but has potential for seasonal use.

It can be described as semi-permanent’ or have the ability to include a ‘semi-permanent’ construct too. This includes green spaces, car parks, open spaces, and playgrounds.

Obsolete =

‘Out of date’ but not necessarily out of use. Not adaptive to today’s need and development.

Derelict =

A building or construct that has elements of decay and has a neglected condition.

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Urban network links URBAN NETWORK - Having identified the ‘junkspaces’ in and around our site context, it can be useful to highlight the network route that connects all these areas. These routes are utilised by pedestrians, cars and buses. By identifying these access routes it can also be easier to see the urban blocks formed, which fundamentally affects the movement in and around the site.

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Detached buildings URBAN FABRIC - As I could distinguish the network routes from the urban block, the connectivity of the buildings themselves interested me; the detached buildings in particular. What drew me to these specifically is the free flow of movement and access to the perimeter of the buildings, as the buildings are independent.

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Residential and commerce buildings URBAN CONTEXT - Our site, Alcester road is recognised as a high street in Kings Heath, Birmingham. With this knowledge, identifying the residential buildings vs the commerce/retail related buildings on site can tell us a lot about the demographic, as well as predicting the most congested areas of movement within the site.

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Having assessed the site at a two-dimensional and analogous point of view, I found it helpful to start to ‘deconstruct’ the site by the solid urban block separate from the urban network routes.

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Another way that helped me deconstruct the site was with a word cloud. This aided me to explore key terms that described by chosen site and thus key elements that interested me the most and essentially lead to my urban element.

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MY SITE Through the influence of the ‘junkspace’ and the urban context, fabric and network, I chose the site that identifies as both derelict and abandoned.

The building on this site boundary exists as the ‘Office Range’, a disused office block in front of a former tram depot (which now serves as a Creation Climbing Centre). It was listed as a Grade II building in 1999.

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- deConstruct To understand my site at a greater level, I collected information and collection of data in order to create a site collage that represented how I perceived the site on my visit. My inspiration of style comes from landscape architect Marthur da Cunha, where she uses strips of landscape photographs to represent the terrain and water movement.

In my site collage, I recorded my experience walking the perimeter of the site, pin-pointing every corner I turned and change of direction. By splitting this recording up, I was able to map the time and sound-waves whilst on site; pairing with the distance recorded through a digital site visit.

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From exploring the site, I was initially interested in the gaps that I found, from the detachment of the continuous thresholds and the opening formed. This then led me to my plausible urban threshold element of doors.

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URBAN ELEMENT:

DOORS

Following my initial investigation of the site and exploration of the urban context, my investigation will question the urban element of the door : how does the function and perception differ for each user?

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CONTEMPORARY DOORWAYS “ Throughout the ages, architects have explored the symbolic and aesthetic values of thresholds, doors and entrances. In the past architects, such as Philippe Starck and Norman Foster, have experimented with the door to create innovative interpretations of how we move from one space to another, or from exterior to interior. ” - Done through handle designs.

RESEARCH DOORWAYS:

To gain a better understanding of the significance behind my chosen urban element, I researched and read different authors perspectives and interpretations. Doing so, I found that there are many ways to perceive meanings of a doorway, especially changing overtime. What I found most interesting were the readings that expressed the symbolism of this threshold that provides a transition between spaces.

THE ARCHITECTURE OF THRESHOLD The text discusses formal, pragmatic, visual and social functions of the door, describing it as a “bearer of information of the building” and “marker sign of entry”. He speculates on the similarities and variations of the treatment of the entrance threshold in architecture. Christopher Pizzi explores meanings and symbolism through the categories of ‘Types’, ‘Configurations’, ‘ Patterns of Ornaments’, ‘Figures’, ‘Keystones’, ‘Leaves’, ‘Furniture/hardware’, ‘Detail’, and ‘Generative Elements’.

“The most common type of type of doorway is a Punched Opening...

Store-front doors are made up of components of commercial store-fronts, of glass with metal framing.”

Punched Opening diagram

Drawings

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ADDITIONAL RESEARCH A few additional readings that influences my design process and thinking.

DIAGRAMS OF ARCHITECTURE MARK GARCIA Many examples of mapping and diagrammatical explorations by different types of practitioners. One in particular that seemed interesting is the motion study 1917 by the Gilbreths.

NARRATIVE ARCHITECTURE NIGEL COATES Architecture has been described as a narrative throughout time. The text explores narrative and the city consciousness combining different interpretations through the years and practices. What interested me is the discussion of ‘Architecture of the event’ - including the example of Bernard Tschumi Manhattan Transcripts 1976-81.

DRAWING ARCHITECTURE NEIL SPILLER The magazine styled paper that explores different styles of drawings, including hybrid drawings, produced by contributors such as Byran Cantley, Lebbeus Woods, Perry Kulper, Nancy Wolf, and many more.

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MAPPING FUNCTION - reConstruct Following on from my research, I began my investigation of this element by identifying the functions of doors ranging from entrances, exits, transitional duality. I initially attempted to identify some key features of doors in and around my site by drawing them in a similar way to the illustrations I found useful within my research ( doorways by Christopher Pizzi). Minimalist line drawings help to depict and clarify particular features and elements. Despite it being useful, it wasn’t an efficient investigative way to narrow down my specific element.

In order to narrow down my elements detail, I decided that a way a user may determine the functional purpose behind the door is the direction of swing. The way we physically manoeuvre a door can impact how inviting the building is. With this in mind, I analogously pinpointed the inward and outward swinging doors.

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MOTION MAPPING STUDIES In order to investigate my interest of door motion, I want to map the motion of a store-front door openings down the site of Alcester road. To do so in an efficient way, I researched precedent studies that I found in my early additional reading, that best related to my investigation intentions and relevant to how I want to represent my findings.

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Motion Study

Frank. B. Gilbreth + L. M. Gilbreth [1913-1917] Both the Gilbreths worked investigated and analysed the productivity of the labour process. By recording data using film cameras, they conducted motion studies in aim to identify the repetitive and unnecessary motions by the operators by having each job broken down into motions to thoroughly interrogate; in order to emphasise areas for improvement.

These were broken down into categories ‘therbligs’ - 18 kinds of elemental motions in the workplace.

Chronocycle graph A cycle graph records the path of movements, usually with a continuous light source captured with photography. The way it works is through attaching a small light bulb to the hand/finger/body part of the operator; a photograph of the movement is then taken from a still camera, resulting in a “ cycle graph”.

There are some limitations as there isn’t an indication of speed or direction.

A ‘chronocyle graph’ on the other hand adapts this idea with the light source being interrupted suitably. The path will appear as pear-shaped dots which therefore indicate direction and speed through the spacing of the ‘dots’.

The images above demonstrate and illustrate how the motion study investigation was carried out with the movement of workers and the light traces.

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The Manhattan Transcripts Bernard Tschumi [1976-1981]

‘Architecture is not simply about space and form, but also about event, action, and what happens in space.”

- (Bernard Tschumi Architects, 2021)

photographed event

plan/ top view

event/movement notation

Bernard tschumi, an architect, writer, and educator and actively encouraged the movement of ‘deconstructivism’. Deconstructivism is the “postmodern architectural style characterised by the idea of fragmentation and the manipulation of a structure’s surface” which is useful to keep in mind when analysing his working design process.

Tschumi devised these ‘transcripts’ in which proposed to transcribe an architectural interpretation of reality. Their explicit purpose was to transcribe things normally removed from conventional architectural representation, namely the complex relationship between spaces and their use, between the set and the script, between “type” and “program,” between objects and events. (Bernard Tschumi Architects, 2021) “The Transcripts aimed to offer a different reading of architecture in which space, movement and events are independent, yet stand in a new relation to one another, so that the conventional components of architecture are broken down and rebuilt along different axes.” “ He drew parallels between a sequence of events in space and the physical conditions of the city... These relations were subject to degrees of manipulation introduced by the architect. “ (Coates, 2012)

The Manhattan Transcripts annotated to understand the sequence of transcription, following the order of the illustrated event, translated to the plan view, and the notation of movement.

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MAPPING Having researched methods of mapping, similar to the 18 categories ‘therbligs’ , I decided to map 18 motions of openings down Alcester road, being the ‘essential’ store-fronts that were in active use. These recordings of motion will be represented in a format inspired by the Manhattan Transcripts. As I am interested in the variations of motion, I will break down each motion in 6 frames, where I will then be able to analysis the top view movement and result in a final degree of motion. This way I can interpret the space, event and movement as independent elements.

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[F]

[ TV ]

[ EOD ]

Frame ( F) Top view (TV) Element of degree (EOD) [F]

[ TV ]

[ EOD ]

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MOTION

ARRAY As a combination of ideologies from Bernard and Gilbreths, I wanted to represent my motion mapping in a way where the ‘conventional components of architecture are broken down’ as well using photography to identify underlying information that can support my investigation.

As mentioned, the motion study by the Gilbreths utilised chronocycle graph technique in order to record efficiency within the workplace. Using the same principles for my own investigation, I decided to devise my own mock up a device which could produce a light trace and ultimately represent my motion investigation.

I combined the EOD from A-R, and anchored them at a uniform central point and applied an axis in order to identify points of origin which ranged from 0, 90, 180 and 270. Doing so would allow a wheel to be rotated from a central point and a light trace for A-R to be produced from the same device. The source of light would be produced from a red flash light attached to the manually rotating wheel.

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[ DEVICE IN THE MAKING ]

Chronocyclegraph device The device works by positioning the wheel where the red flash light is at the point of origin, to then rotating the wheel to an EOD. I recorded this motion using my canon camera, with a slowed down shutter speed. Using a slower shutter speed extends the exposure, and therefore highlights the only element that I was interested in, being the light motion.

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RESULTS

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As a result of utilising a mock-chronocyle device, I was able to develop and produce manipulated representations of motion from my initial mapping data which act as an array of information, showing both the speed and direction of movement that each set went through. The final light paths shown are representative of the 6 frames of movement initially analysed, where the gaps between the 6 key frames appear wider where there was a faster pace of movement.

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[ EXPOSURE IN MOTION ] 66

Operative Context | Field Diagram Developing my motion mapping findings to develop my concept and utilising it produce a field diagram.

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EXPOSURE Exposing the hidden The concept of views and perceptions are highly relevance in the topic of exposure. In order to maximise the exposed, the ‘disclosed’ data missing within the larger gaps are highlighted.

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O The summary of the highlights of the ‘disclosed’ information, is the production of eighteen triangular depictions that essentially support my form finding process to incorporate the concept of exposure.

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FIELD DIAGRAMMING To gravitate my mapping information back to site in order to create a field diagram, I utilised the EOD as well as the stages of movement of my early mapping. This is in accordance to [ template 1] ‘outside in’. [ This template will assume the site as a multi-layered urban platform, connection of material and informational flows, integrating a range of uses and scales. This intercalated circuit or network extends to the integration of horizontal, vertical, and diagonal movement at a range of speeds and densities. ]

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LOCATION - pinpointing the positions where the mapping took place

OVERLAY - layering the movement vector axes in the correct orientation of the shop-fronts

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EXTENSION - taking the vector axes and elongating them to cover the context of the site

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SIMPLIFY - simplifying the axes by keeping only the final Element of Degree ( final position of movement)

CONCEPTUAL FORM - FINDING 78

Formative Context | System Using my final field diagram to produce a conceptual threedimension form which is informed from my design process and represents my overall concept.

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THE SITE 1:500

FORM FINDING In order to maintain relationship to my concept and data that I collected, I decided to develop my field diagramming in order to find form. In proceeding to do so, through observation I noticed that my field diagram axes didn’t intersect my chosen site.

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THE RULES To have the lines achieve intersection, I devised rules that manipulated and developed my field diagram in a relevant way to find lines and points of intersection which I would then be able to use to find form.

THE RULES : to continue my frame breakup from the beginning of my early mapping of rule of 6, and the frame axes, each line will individually all undergo a rational clockwise rotation of 45, 90, 135, 180, 225, and 270 degrees.

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RULES APPLIED With the lines that have gone through the application of my rules, I combined and layered them on a 6 x 6 grid, where the bottom of each line produced would intersect the corresponding letter, as doing so rotating around the 6 x 6 grid that formed greater layers and crossovers and therefore a unique layout. This is done for each of the 6 rules, and resulting in 6 different field layouts.

WHAT’S NEXT? The next step is to individually apply these layouts to my site. To do this, the site context would be removed (keeping the site boundary), replaced with the uniform 6 x 6 grid, and then layering each layout individually.

Once having done so, all the layouts would be layered in order to maximise intersection across the site boundary. Those lines that intersect the site boundary will be highlighted, simplified and restricted with in the boundary.

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Removing site context

Applying 6x6 grid

Removing the contextual site whilst keeping the original field diagrams

With the context removed, the 6 x 6 grid used in the application of the rules is then applied

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Layering rules on gridded site boundary diagram

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Combination of layers

A layering of all the rules combined

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Simplifying to intersecting lines

This highlights the lines that cross and intersect through my site boundary

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THE SITE 1:500

1:200

Simplifying the layout of axes by keeping the intersecting lines and envisioning on 1:500 scaled site boundary.

At a larger scale, it is clearer to simplify the axes by restricting them to just inside the boundary - which can then be transformed into a three dimensional form.

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EXPLORING FORM Having the essential points and lines to manipulate into a physical 3D form, I devised 6 steps that would help me find form within my diagrams - exploring these steps and discovering which produces a form that best satisfies my concept of exposure and most appropriate to form on my site. The book of ‘Folding Architecture’ by Sophia Vyzoviti and building precedents aid me in the process of finding form.

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Conceal

Push

Score

Cut

Rotate

Reveal

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CONCEPTUAL PRECEDENTS

JEWISH MUSEUM

BY DANIEL.LIBESKIND

The interior of the Jewish museum extension is made of reinforced concrete, that emphasizes the moments when just a sliver of light reaches the void of empty spaces and dead ends. It is Libeskind’s symbolic gesture for tourists to experience what the Jewish people felt during WWII, so that a little trace of light restores hope even in the darkest moments when you feel like you can never escape.

His design process is influential and relevant as Libeskind, like Tschumi, followed the architectural style of Deconstructivism.

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QINGDAO CRUISE TERMINAL

BY Jing Studio

“The inspiration for this project came from the architectural form of the sail, which is famous in Qingdao, the city of sailing, as well as the rows of pitched roofs from the historical architecture of Qingdao,” the architects said. The roof’s folded shapes move to the supporting struts of a steel facade that is left exposed to highlight the engineering’s raw form.

In relation to my form finding process, this building demonstrates exposure of structure and lighting using a folding technique, which is revealed through the slits where light is able to penetrate.

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FORM 1

My initial attempts at finding form involved cutting, scoring folding different areas of geometries that I found within the line diagram restricted by my site boundary. This resulted in interesting openings that when expanded and folded created great shadows as well as openings for light - which is ideal for my concept. However, I wanted to find a more logistic form through process by simplifying and elimination; that represented exposure and openness more.

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FORM 2

This alternative method is inspired by the idea of exposed structure, as well as the window and roof frame design at the Jewish Museum. This can be utilised in development by allowing light through form, and a unique experience in different areas.

Creating a greater open surface area by specifically choosing and eliminating geometries within the field of restricted lines.

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FORM 3

Site boundary with field lines as a base.

Transforming the lines to wider lines/ rectangles.

Exploring the form by physical models.

Highlighting the intersecting lines.

Identifying 3 right angled triangles.

Applying the form finding rules, cutting, pushing, conceal, and rotation to result in 3 solid fragmented triangles standing at a 45 degree rotation.

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I chose to also digitally explore this conceptual form to allow freedom of rotation and angles that can become restricted when physically modelling.

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FORM 4

As a part of taking my form exploration further and greater a better relation and relevancy to my concept of exposure, the ‘exposed hidden’ areas that I mapped in my mapping results as an ideal incorporation.

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Using the developed concept of the hidden information in my conclusive mapping stages, I decided to combine the triangular shapes together as an addition to my form, this way the relevance and connection to the exposure of the hidden areas on site in maintained.

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FORM 4

Hybrid formation The combination of different forms relates to the

Every third triangle, indicated in red, is lifted at a 45 degree angle. In order to form a enclosed yet exposed space, the grey triangles are lifted from the centre point at a 45 degree angle.

A hybrid conceptual form of the form 2 and 3. The frame of form 2 creates a physical connection between the 3 independent solids that make up form 3.

An alternative combination involves form 3 and 4. Due to the positioning of form 3, form 4 creates a sense of centring as the triangles are rotated from a central origin.

Here I decided to explore digitally as it gave me greater freedom in experimenting with different rotation points and planes.

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This hybrid of form 2 and 4 explores the dynamic of the triangles going through the gaps of the frame which gives interesting symbolism of exposure and direction.

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FINAL

FORM

The final form is a combination of form 2, 3 and 4. Concealed by a duplication and rotation of form 2, in order to maintain connectivity between all the forms. Different orientations of the forms create different perceptions of exposure when looking at from different viewpoints. It is also important note the transparency through the form; that when applied to site, the grade 2 listed building ( previous tram depot ) is exposed through the structure this highlighting the significant history of the site.

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Visuals of final form

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FORM TO SITE

WEST ELEVATION 1:500

SITE PLAN 1:500 112

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REFERENCES • Slessor, C., 2002. Contemporary Doorways. London: Michell Beazley.

• Pizzi, C., 2016. Doorways: The Architecture Of Threshold.

• Spiller, N., 2013. Drawing Architecture. London: John Wiley & Sons.

• García, M., 2012. The Diagrams Of Architecture. London: Wiley.

• Coates, N., 2012. Narrative Architecture. London: Wiley-Academy.

• Tschumi.com. 2021. Bernard Tschumi Architects. [online] Available at: <http:// www.tschumi.com/projects/18/#> [Accessed 3 January 2021].

• Designingbuildings.co.uk. 2021. Deconstructivism. [online] Available at: <https://www.designingbuildings.co.uk/wiki/Deconstructivism> [Accessed 3 January 2021].

• Vyzotivi, S., 2003. Folding Architecture. Amsterdam: BIS.

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