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Manifesto Re-Reading Maison a Bordeaux

Michael Palmisciano


MAISON A BORDEAUX > KRISTIN HARRIS

ALICANTE, 29/10/2012

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FROM ALICANTE TO OTTAWA TO KNOW ONE OF THE MOST BEAUTIFUL HOUSES OF BORDEAUX It's been a long journey, with some obstacles and difficulties but mostly, a rewarding experience.

It all began with the study of

"Stories of Houses" houses of the 20th century with which we were immersed in the architecture as well as the culture and lives of those who designed and lived in these splendid and unique homes. In doing so, we have become acquainted with their hidden souls that only few have had the privilege of knowing. We, the privileged, have had the courage to challenge them and drag them into the twenty-first century.

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INDEX

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- Introduction to “STORIES OF HOUSES”

pag. 1-2

- The choice of the House

pag. 3

- Maison a Bordeaux

pag. 4-6

- Voyeurism and Empowerment of the human condition

pag. 7-10

- The cultural evolution of the request

pag. 11-14

- The Group 4

pag. 15-18

- The Cultural Concept

pag. 19-24

- ECA

pag. 25-28

- Photomontages

pag. 29-32

- Drawing of the action

pag. 35-40

- Drawings of the Group 4

pag. 41-48

- Technical detail

pag. 49-58

- Technical detail /second idea

pag. 59-62

- Reflection on the teamwork

Pag. 63-64

- Bibliography

pag. 65-66


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STORIES OF HOUSES 1


STORIES OF HOUSES feature examples o f dwellings from which we can all learn both the clients during

their contemplation about building

a house, and the architects to understand and evaluate the life of the clients.

Contemporary houses From

Laugier's

hut, which illustrates

primitive architecture, to the

houses by such architects as Ă balos and Herreros which are based on the idea behind the Swatch watches, through to the House of the Future, a project by the couple Alison and Peter Smithson, the study of housing has been linked to the time in which it was built. Beyond styles or fashions, Stories of Houses deals with

feelings and pas-

sions which help to establish an analysis detached from the time to which it belongs.

They are examples of architecture

which will always be

up-to-date,

bearing in mind that they are concerned with personal feelings with which we all identify. The elaboration of the program for the dwelling, which is articulated by the clients, is a process that is later reversed when the house moulds the life of its inhabitants. The furniture, memories, Inherited objects and collections are all symbols of what we are and what we want to be. One could argue that if the facades of the houses are the interior of the city, then the interior of the houses are the exterior of their inhabitants. Thus, the history of the dwelling derives from the plurality of society in which it is built, from the architect's education and imagination and the life of the user. In short, the articles are concerned with recovering an intense connection between the client and the architect.

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THE HOUSE CHOSEN > MAISON A BORDEAUX ~Michael Palmisciano One of the most interesting houses is certainly Rem Koolhaas ‘s ‘Maison a Bordeaux’. That is the one that can best describe the characteristics and needs of it’s owner and better represents a true refuge for him. The architect, in addition to satisfying the customer’s requirements, succeeds in surprising him and exceeds expectations which I find to be extraordinary. After the incident that forced the owner to a wheelchair, his life was changed deeply and for this reason his home becomes the only place where he can find comfort and release. Among the most interesting architectural elements of this house clearly, the platform is the most essential for this customer. What is surprising is the way in which it was designed. The architect was successful in not allowing it to represent this man’s burden as a simple lift or a metal ramp would have. This platform disappears into the three levels, becoming a complement rather than a symbol of burden. It completes the design of the house and it’s owner’s life. Another extraordinary element is the instability that the architect resolves to create through similarities between the building and the life of the owner himself. In fact, as the balance of the house is guaranteed through a metallic wire, the same happens for the owner. Therefore, the connection is very strong and this is the true basis of architecture. The same idea is applied to the middle floor which is surrounded by glass walls. All that instills a great sense of freedom to a man who has unfortunately lost this to a tragic accident.

Study sketches

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MAISON A BORDEAUX> REM KOOLHAAS A

wealthy

married couple with

three children lived in a very old and beautiful

house in Bordeaux in France. For many building a new

home, planning how

years this family was thinking it

could be and

about

wondering who

the

architect would be. Suddenly, the husband had a car accident and almost lost his life. Now

he needs

a wheelchair. The old

beautiful

house and the medieval

city of Bordeaux had now become a prison for him. The family started to think about their new house again but this time in a very different way. ~Circulation in the new house. The married couple bought a hill

with a panoramic view over the city and ap-

proached the Dutch architect Rem Koolhaas in 1994. The husband explained to him: "Contrary to what you might expect, I do not want a simple house. I want a complicated house because it will determine my world." Instead of designing a house on one floor which would ease the movements of the wheelchair, the architect surprised them with an idea of a house on three levels, one on top of each other. The ground floor, half-carved into the hill, accommodates the kitchen and television room, and leads to a courtyard. The bedrooms of the family are on the top floor, built as a dark concrete box. In the middle of these two levels is the living room made of glass where one contemplates the valley of the river Garonne and Bordeaux's clear outline.

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The wheelchair has access to these levels by an elevator platform that is the size of a room, and is actually a wellequipped office. Because of its vertical movements, the platform becomes part of the kitchen when it is on the ground floor; links with the aluminum floor on the middle level and creates a relaxed working space in the master bedroom on the top floor. In the same way that the wheelchair can be interpreted as an extension of the body, the elevator platform, created by the architect, is an indispensable part of the handicapped client. This offers him more possibilities of mobility than to any other member of the family- only he has access to spaces like the wine cellar or the bookshelves made of polycarbonate which span from the ground floor to the top of the house, and thus respond to the movement of the platform.

Experiencing the house Koolhaas designed a complex house in itself and surpassed the conventional, in every detail. For example, the top floor rests on three legs. One of these legs, a cylinder that includes the circular staircase of the house, is located off-centre. Although this displacement brings an instability to the house, it gains equilibrium by placing a steel beam over the

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which pulls a cable in tension. The first question that the visitor asks is: what happens if the cord is cut? Koolhaas has created a structure which, equal to the life of the client, depends on a cable. This arrangement provides the middle level with an uninterrupted view over the surrounding landscape, and an effect that is intensified with the highly polished finish of the stainless steel cylinder which incorporates the stairs, and makes it disappear into the landscape. The middle level is a balcony where the top floor floats above. It is a glazed space which allows the wheelchair to confuse the nature outside with the interior of the house. In contrast, the same landscape receives another treatment from the top floor. The view appears restricted and predetermined, framed by circular windows placed according to whether one stands, sits or lays down. Inside the house the family experiences Koolhaas's interpretations of life's instability and dualities. In regards to the husband, he has experienced this instability and is now part of his own self. In the same way that the umbilical cord belongs both to the mother and the baby, and gives it nutrition; the elevator platform connects the husband to the house and offers him a liberation.

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VOYEURISM AND EMPOWERMENT OF THE HUMAN CONDITION


THE THREE LIVELS AND THE CONCEPT OF ACCESSIBILITY

>First photomontage This photomontage describes the key elements of Maison Bordeaux. It shows how the house is divided between three levels: the ground floor being dedicated to the owner's social life with family and friends, the first floor is totally transparent allowing a 360째 panoramic view with which to view the "world" from home, giving those who live in this house a sense of freedom, and then, the second and last floor, is closed with small windows with which is possible to see the landscape at different angles, and therefore, dedicated to the owner's private life. The image also focuses on the platform that enables the connection between all three levels.

~First photomontage


~Study sketch


THE CULTURAL EVOLUTION OF THE REQUEST


DESIRES, MEANS AND GOAL >Second photomontage This is a house that was born from the need and the desire on the part of the customer to find freedom, in his own home, who lost in a tragic accident. The Rem Koolhaas's brain is able to fulfill this wish and create an architectural project leads to freedom. Also in this case the image is divided into three levels by invoking the structure of the house. In the first level there is Rem Koolhaas immersed in desires and needs of the customer, in the second one the platform that communicates with the three levels and thus leads to the third level to Freedom.

~Study sketches

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~Study sketches

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~Second montage

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THE GROUP 4


PRESENTATION>GROUP 4 During the course were created groups of working among Spanish and Canadian students. Due to the great distance that exists between the two countries, with small presentations on facebook we had the chance to get to know and talk a little about ourselves. Here are our presentations:

Michael Palmisciano - Hola chicos, I'm Michael and I am an Italian student in Erasmus in the University of Alicante. I come from Sicily, but I study architecture in Naples. I follow sports, above all the football even though I played basketball for nine years in the team of my city but I had to stop for architecture. I like to watch a lot of movies and even listen to music. I have a dog and three cats in Italy and here in Alicante I found two more in the house that I rented, they haunt me! Christopher Wilson - Hi, I'm Chris Wilson. I am 26 and have a strong interest in music,

surfing, snowboarding, football and traveling. I used to love drinking coffee but now I have to have decaf because I overdid the caffeine. I had two cats, one died, now I have one. I lived in New Zealand for nearly 2 years and am intending to move back out there permanently when I have finished this course. I like buildings, some big, some small, mostly single houses, modern style ones. Thanks for listening. Fabrizio Vizzi - Hola! I'm Fabrizio Vizzi, an Italian student in Erasmus at Alicante.

I like listen music ( all Kind of music) architecture and tecnology. I come in erasmus to learn an other language, know a different culture, and to live an amazing experience. I have try a lot of sports, my favorite is football, I was goalkeeper for like 7 years, but 3 years ago I stopped to play. I love to travel, know people from other country and see different kind of life. Jaclyn N. - Hola, I'm Jaclyn..or you can call me jackie. I play the piano but I've stopped

since architecture. I really like to travel, I've been around Asia and Europe and all around North America. Some of my favorite cities so far include Rome, London, Barcelona, New York, and Hong Kong. I also i love dance and yoga.

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Neus Giménez - Hello everybody! My name is Neus and I'm catalan. I teach ballet to girls with special needing in my spare time. I also love reading, travelling and scuba diving. But above all, movies are a must for me ;) I have no cats, but have 24 years old turtle - older than some of you.

José Manuel Rodríguez Cañizares - About myself. My name is Jose and I’m from Almoradí, a town near Alicante. I plays trumpet in the Symphonic Band of Almoradí since i was a child. Also I plays in a rock band called El Kamion de la Basura (something like "garbage truck" ) . All my life has been connected to the music, maybe that’s the reason i love Architecture (is like frozen music). I´m 26 and I finished the career of Technical Architecture (Building Engineer) in 2010.

Colleen McKeracher - Hey Group 4, I'm Colleen McKeracher, I like playing music in my spare time, I play bass guitar in a rock band called Sweet Alps and I work for the Army Reserves as a Bagpiper. My favorite sport is ice hockey and I actually play a game tonight, I am the goalkeeper. I'm a vegetarian. I am into comic book and I currently collect Animal Man, Batman, Flash, Wonder Woman, Spiderman, Avengers Vs. X -Men, Daredevil, The Incredible Hulk, and Walking Dead (Just to name a few!).

Dudley Jones - To introduce myself. My name is Dudley and I am twenty-one years old. I am studying here in Spain on ERASMUS for the year and I am English. I really enjoy sports, such as Rugby, Cycling and Formula one. My main interests apart from Architecture include teaching myself to play the piano, art and spending time with friends. I decided to come to Spain for the experience of living and studying abroad and to learn another language and culture.

Giuseppe Massacci - Hello my name is Giuseppe, I'm 21 years old, I come from Teramo, Italy. I study architecture in Pescara and I'm a Erasmus student to Alicante. My passions are art and architecture and also i really enjoy sport,. My hobbies are snowboarding, motocross, cycling, listening to good music and reading books and poetry, my favorite band is the “Bandabardò”. I also like to spend time with friends.

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THE GROUP 4


THE CULTURAL CONCEPT


THE CONCEPT OF ACCESSIBILITY INTERESTING CONVERSATIONS BETWEEN THE MEMBERS OF THE TEAM

> An e-mail sent by the professor Javier Sanchez Merina> The important fact is to deal with the evolution of the Cultural Fact. You are arguing that nowadays the notion of handicap has evolved. From being mainly physical up to the 20th century, it has become luck of accessibility of knowledge. It could be very interesting to deal with the access to information for EVERYBODY in the family, not only the owner. In that sense, the story could be more about how the widow feels the need of modernize her house. The old platform of the husband is not enough nowadays. You need more than to go up and down along his books, being able to see the exterior through little peepholes. You can see that there are many possible stories. The aim of this exercise is to analyze an existing cultural fact that generated the architecture of the house, and to update it. Therefore, I would encourage you to continue working with the evolution of the notion of accessibility and its transformation form being mainly a physical problem to how ACCESS and SELECT the knowledge.

> Michael Palmisciano/Dudley Jones Michael> Good morning guys! I hope that now, we all understand what we have to do. I'm looking for some information about the concept of Accessibility and I'm sure you are doing the same. Dudley> I think the cultural fact is disability, explained by how the change to disability is perceived- accessibility is not cultural, it is a function of how it has changed. For example: 20 years ago, disabled people were seen as a lesser person, now they are not...the cultural concept has changed. Accessibility and equality or factors of this change but not a culture itself.

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Michael> I disagree with you, I think that the concept of accessibility is a cultural concept. Think of it in these terms, years ago the accessibility that disabled people have today was non-existent. Accessibility includes technology and internet for instance is cultural. Therefore, cultural changes that allow access to things that were not accessible in the past. Thanks to man's evolution in mechanics and technology, we can now "access" many things, or almost anything, at our finger tips and of course, the same goes for people with disabilities. Dudley> Well you need to define accessibility in context. It needs to be depicted as a change over time. As in over the last 20 years societies view of accessibility has changed to accommodate the needs of the disabled. My meaning is that the cultural fact is change through accessibility for the disabled- accessibility is a very generic term, it needs context. I am happy to look at the cultural concept of house accessibility has changed for the disabled over the last 20 years, I'm not too fussed on the concept as long as it is correct. So we should now start composing based on accessibility based on research evidence and then construct a story from it. then construct a story from it. Michael> Start from a survey on how the concept of accessibility reported first in general and then reported to the disabled has changed over time ... after that we have a variety of information begin to fix our story.

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CULTURAL CONCEPT>THE STORY OF THE GROUP 4 To begin the story we start from a cultural concept much discussed in these last years all over Europe, that of ACCESSIBILITY. The accessibility is a concept that covers everything that goes around. For example, thanks to the Internet we have the possibility to access to millions of information from around the world, the ability to communicate with people from anywhere in the world, then is the degree to which a product, device, service, or the environment is available to as many people as possible. Can be viewed as the "ability to access" and benefit from some system or some means. The term is often used to focus on people with disabilities or special needs and this fact is precisely the case. The disability is therefore a branch of accessibility and we have to understand the evolution of that last over the years. It is very important to understand the cultural fact that over the last two decades, the view of accessibility has evolved greatly to accommodate the needs of the handicapped. This is partly due to how society views the disabled as well as laws and regulations that have been put in place to provide equality and so increase the level of accessibility. The cultural fact is that accessibility has changed from low, twenty years ago, to high now in order to accommodate the needs of the less able because of the change in cultural perception and understanding. The history of accessibility has evolved greatly over the last 15 years. It has gone from creating places for disabled, valid for a single user, to create inclusive settings, for all users regardless of their status. In Bordeaux we should apply that concept to make the home more accessible in its entirety, eliminating not only physical barriers but also project barriers, which are provided spaces for the disabled and spaces for the rest family. We have to understand the house as a fully accessible space now in the 21st century.

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An important tool to achieve this purpose is Universal Design, included in the fundamental basis of a European philosophy for accessibility: The fundamental basis of a European philosophy for accessibility is the recognition, acceptance and fostering at all levels in society - of the rights of all human beings, including people with activity limitations; in an ensured context of high human health, safety, comfort and environmental protection. Accessibility is an essential attribute of a "personcentered", sustainable built environment.

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EUROPEAN CONCEPT FOR ACCESSIBILITY (ECA)


THE STEPS OF THE EUROPEAN CONCEPT FOR ACCESSIBILITY >May 1985: on demand of the E.C. Bureau for Action in Favor of Disabled People, the Dutch Council of the Disabled carries out a study about the accessibility legislation and practice in the Member States. >October 1987: The Dutch CCPT launches the development of a European Manual with harmonized and standardized accessibility criteria, financed by the European Commission and supervised by a steering group of experts from different European countries. >November 1990: Publication of the European Manual, but it seems to contain too many details for which there is no common European ground. >1996: A new draft with far less pages and details is presented. The title is European Concept for Accessibility. Though it is not a standard, the European Concept for Accessibility is translated into many languages and is used in several countries to renew national approaches and guidelines. The European Commission uses the Concept in the promotion of accessibility. >1999: Transfer of the co-ordination task from the Dutch CCPT to the Luxembourg organization Info-Handicap. Marketing activity in order to increase the recognition of the European Concept for Accessibility and presentation on the World Wide Web. >2002: Decision to update the ECA >November 2003: Presentation of the updated ECA in Luxembourg. The European Concept for Accessibility is an architectural and design guideline which was first written as a result of a request from the European Commission, made in 1987. The Concept was based on the universal design principles. These principles apply to the design of buildings, infrastructure, building and consumer products. 1. The objective is the provision of environments which are convenient, safe and enjoyable to use by everyone, including people with disabilities. 2. The universal design principles reject the division of the human population into able -bodied and disabled people. 3. Universal design includes supplementary provisions where appropriate.

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WHY A CONCEPT?>DEFINITIONS ECA (2003) We form concepts so as to order and give shape to our thoughts, analyzing the information we receive and comparing it with what we already know in the search for a coherent statement that will lead us towards real knowledge. The European Concept for Accessibility is the tool we should use to order and give shape to our environment, so that it becomes suitable for each and every one of its users. In order to do so, we have to analyse existing information and compare it with the real needs of the population, always remembering that the common feature of this population is precisely its diversity. Thus, the European Concept for Accessibility (ECA) has to be a basic guideline to everyday working to all those people and bodies who are involved in building our environment - like politicians, construction firms, designers, employers. As it has already been pointed out, this does not imply standardization or cultural uniformity. Working with this concept means respecting the functional requirements of accessibility, maintaining the distinguishing characteristics of each culture and the customs of different population groups. Therefore, the ECA is not a series of tables of measures and materials, but rather a guide to the features which imply quality of life. In summary: Environments created under the European Concept for Accessibility have to respect a country's identity and the customs of its people, but they also have to respond to social and technological progress. In other words, they have to take into account the diversity of the population and progressive advances in quality standards.

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WHY ACCESSIBILITY?>DEFINITIONS ECA (2003) Built environments should enable all individuals to develop as persons. Thus, their design has to take into account the diversity of the population and the need which we all have to be independent. Therefore, built environments, including each of their elements and components, should be designed in a way that they enable everybody to access the different opportunities available: i.e. culture, space, buildings, communications, services, economy, participation, etc. Thus, an accessible environment has to be: 1. Respectful> it should respect the diversity of users. Nobody should feel marginalized and everybody should be able to get to it. 2. Safe> it should be free of risks to all users. Therefore, all those elements which form part of an environment have to be designed with safety in mind (slippery floors, parts jutting out, dimensions, etc.). 3. Healthy> it should not constitute a health risk or cause problems to those who suffer from certain illnesses or allergies. Even more, it should promote the healthy use of spaces and products. 4. Functional> it should be designed in such a way that it can carry out the function for which it was intended without any problems or difficulties. For example, it would be absurd to design a medical centre without bearing in mind that the width of the corridors should allow two stretchers to pass each other and that the doors have to be wide enough for a stretcher to pass through them. 5. Comprehensible> all users should be able to orient themselves without difficulty within a given space, and therefore the following is essential: a. Clear information: use of icons that are common to different countries, avoiding the use of words or abbreviations from the local language which may lead to confusion; for example, using the letter C on taps, which suggests Cold in English but Caliente (meaning hot - exactly the opposite) in Spanish. b. Spatial distribution: this should be coherent and functional, avoiding disorientation and confusion. 6. Aesthetic> the result should be aesthetically pleasing, as this will make it more likely to be accepted by everybody.

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PHOTO


MONTAGES


MONTAGES OF THE GROUP 4>CONCLUSION OF THE CULTURAL CONCEPT

~All individual photomontages Jaclyn Ng In today's society, being physically handicapped no longer distinguishes one from society. Building codes and community awareness has provided comfort to those in wheelchairs. Nowadays, those in wheelchairs do not have to be constantly reminded of their condition; fitting through all doors, easily accessing ramps and elevators, etc.

Fabrizio Vizzi The montage is meant to describe the difficulties that people with disabilities have unfortunately and therefore their need to have a guaranteed total accessibility. Accessibility in the sense understood today in te contemporary sense. All this especially at home, where everything has to be within their reach.

Dudley Jones My Montage represents, the changes and ongoing change of perception of the disabled. To look at what new technologies and ideas koolhaus may introduce today. He would have greater technologies available to him to create a world without limit for the man in a wheelchair.

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Michael Palmisciano This is a house that was born from the need and the desire on the part of the customer to find freedom, in his own home, who lost in a tragic accident. The Rem Koolhaas's brain is able to fulfill this wish and create an architectural project that leads to freedom.

Jose Rodriguez Maybe the idea of an "special house" wouldn’t like to another handicapped

person. Probably

this house were always reminding

him

Maybe

that he is disabled.

the

way to

equality

is not a "different" house for a "different" person.

Chris Wilson Maison à Bordeaux “Fear, Acceptance, Vision, Vanquish”.

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Neus GimĂŠnez Architecture should provide an environment in which the disabled are not reminded of their disability. The universal house should allow all able and disabled persons the same freedoms and sense of equal access.

Giuseppe Massacci The

montage

want to express the evolution of the accessibility since the house was designed to our time.

Our group’s take on the contemporary view of accessibility is a comfortable integration between those who are physically handicapped and

society.

Architecture should provide an environment in which they are not reminded

of their disability and others in society do not take notice

as

well. The universal house should allow all able and disabled persons the same freedoms and sense of equal access. This can be done through the use of architectural technology, the application of the building code requirements, and the optimization of space. Successful architectural design should subtly cater to all participants of the spaces, without an obvious divide in facilities.

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Final photomontage of the Group 4

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DRAWING OF THE ACTION


INTERESTING CONVERSATIONS BETWEEN THE MEMBERS OF THE TEAM>DRAWING THE ACTION ~Discussing the work Jose> Maybe we need to clarify some points. For the next assignment, what is expected of us? a) A drawing about an exempt activity, which we will add to the house after? b) or a drawing of an activity wich does an intervention in the house? Neus> To my mind, what we are meant to do for next friday is to re-do/improve/ change our drawings, but now having clear the following things: -It's a drawing about an activity (action), it could be represented by an endless variety of factors as temperature, paths, noises, sound, spaces interrelations... it doesn't matter, but ever being an activity drawing. -The activity has to be strongly related and coherent with our CURRENT social fact and story. -This activity will be the seed of our re-designing of the house (new skin/dress/ shape/etc). Michael> I think that we can work on heach floor and on the gap leaved by the platform, creating something to make the book and reading more accessible...is better that all of us focus on one direction and then doing drawings for tomorrow in the same way. Jaclyn> After talking to Halldora yesterday, we all agreed that the heart of the house and action of the house is the bookshelf. So i think all of our drawings should be focused around the reading and accessing of the books. I am not quite sure if we are to have design proposal ideas yet, but i think a sculptural staircase should fill the void. This staircase could have midpoints (landings) that can give the users a place to read, talk, and play. What are some other ideas you guys have?

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DRAWING THE ACTION>MY PROPOSAL ~The rotating library After much discussion within the group about the action that should have been the basis for our proposal, i.e., "then take the book", "sit and read", etc., my idea is to create a circular shaped library which revolves around guides. The fact that it is circular and revolving make it accessible to all. In this way any person, adult, child, someone in a wheelchair, can access books simply by turning the levels of the library. The history of the house, which is rewritten during the course, speaks of the owner being a woman who lost her husband. The widow is now able to quench her infinite sadness and sense of emptiness just by reading books and being surrounded by them. Sometimes she prefers to read alone and secluded, while others prefer to read in the company of a friend or a family member.

Sketches

This in fact, is another point that has been discussed amongst members of the group, to ensure that the library and finally the book could encircle, wrap around the reader and somehow protect it. This also includes the idea of having two forms of reading: one private and one public.

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~Drawing of the action

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~References

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DRAWINGS OF THE GROUP 4


DRAWINGS OF THE GROUP 4>DRAWING OF THE ACTION >All individual drawings/Ideas

GIUSEPPE MASSACCI

DUDLEY JONES

FABRIZIO VIZZI

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COLLEEN MCKERACHER

JACLYN Ng

JOSE MANUEL RODRIGUEZ

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CHRIS WILSON

NEUS GIMENEZ

MICHAEL PALMISCIANO

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DRAWINGS OF THE GROUP 4>DRAWING OF THE ACTION Picking up the book and sitting down to read <First Version

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~Final version The final assembly is a combination of all of the group's ideas. It shows all of the actions studied, i.e., sitting down to read, picking up the book, etc., with the base concept being "accessibility". It was by beginning from these ideas that we were able to develop and create concrete technical projects.

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TECHNICAL DETAIL


TECHNICAL DETAIL> THE ROTATING LIBRARY ~Description of the project As previously described, the idea is to design a library that consists of rotating circular shaped shelves. The revolving of the library makes books accessible to all persons. This system is a â&#x20AC;&#x153;moduleâ&#x20AC;? which can be doubled or enlarged according to the individual's needs, and in any case, the books will always return back and be accessible again. The library is composed of a wooden structure fixed to the wall with four moving wheels, two for each side, which are also divided into wooden shelves that revolve around metal rails placed on the inside of the library. The height of these shelves can vary according to the size of the books and the wheels will differ in height to prevent books from falling off. Ergonomic pillows will be placed within it for reading comfort. Openings on the bottom surface of the library were designed to allow for the passage of electric wires and light sources. The idea is to create three libraries, one for each floor and consequently proportion the house structure on the three levels according to the dimensions which are needed for positioning these libraries. A substantial transformation would be to create transitions between the libraries and the platform, in this way it would be possible get to them from anywhere in the house as well as easily get around them. For this reason the platform has smaller dimensions than originally planned. In addition, the contours of the space in which it passes the platform will be surrounded by metal and glass parapets with different openings to the floors. One of these will be positioned in front of the library. One library will be located near the kitchen to hold cookbooks, and the other two libraries on the first and second floors, to hold various types of books.

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TECHNICAL DETAIL>A SECTION OF A DETAIL >The evolution of the rotating library/first idea ~Elevation and horizontal section

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~vertical section

detail

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~vertical section> section of the details> actions

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MAISON A BORDEAUX> Original plants of the house

ground floor library

first floor library

second floor library


>Transformation of the ground floor

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>Transformations of the first and the second floor

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> Transversal section B-Bâ&#x20AC;&#x2122;

~sketch

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SECOND IDEA FOR THE ROTATING LIBRARY >the wheel with books that disappear and make the library more This second idea is very similar to the first. The desire to make the library even more accessible at the same time ensuring convenience and reading comfort, has led to some changes: in this new project the seats are more ergonomic and more accessible, this new plan allows for a table that can be lowered or pulled out according to need, it is also possible to go through the library without having to turn around it. All of this is possible because of a wheel, revolving around the guides, which disappears into the floor therefore, allowing passage within. As the platform has allowed the house to become accessible to a person in a wheelchair, disappearing within each floor, so does this library

project,

disappearing too,

make the book accessible to all.

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accessible


SECOND IDEA FOR THE ROTATING LIBRARY> technical detail ~Elevation

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SECOND IDEA FOR THE ROTATING LIBRARY> technical detail ~transversal section with detail

detail

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SECOND IDEA FOR THE ROTATING LIBRARY> technical detail ~horizontal section details of the table that disappears

~details of the table that disappears

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Dear group 4, Our group can be considered unique within the class because it 's made up of students who come from different parts of the world; Chris and Dudley are from rainy England, Jaclyn and Colleen from landscaped Canada, Jose and Neus from caliente Spain, and Giuseppe, Fabrizio and Michael from sunny Italy. It 's clear that these four countries are very different, they have different cultures and traditions, different climates, food and certainly different ways of envisioning and interpreting Architecture. How did we all agree and come to decisions ? How did we manage to communicate our ideas to each other? Well, I don't know how we did it, what I know is that after many problems, and difficulties in understanding each other and agreeing on what to do and how to do it (with a few tense moments), we united our ideas on the project and came to a conclusion. Having worked with this group in Spain and the other in Canada has been challenging and there have been some obstacles but, we've been very productive and it has been interesting as well as rewarding. All the best, Michael

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Bibliography: -Texts from “STORIES OF HOUSES” -Texts from the Presentation of the updated ECA in Luxembourg (2003) Images taken from: -whimsicalwatusi.wordpress.com -www.tumblr.com -www.kris-arch1201.blogspot.com -www.obsidienn.fr -www.openbuildings.com


Newsroom contact: ACTAR Roca i Battle 2 E-08023 Barcelona www.actar.es


Choosing the architecture, for me, it was like a commitment to the outside world, a kind of refusal to be confined to the universe of the trial. The most positive contribution to architecture was the allowing me to develop a wide range of fields in my clothes as a writer. This ultimately is my one true interest, recognize or be able to imagine myself in another world.

Rem Koolhaas

Manifesto of Re-reading Michael Palmisciano  

Maison a Bordeaux

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