Architecture Portfolio 2019-21

Selected Works

1

Unpacking Homeless-ness

2

Form Gestalt

3

‘Thoughts of an Architecture Student’ Self- Published Book

4

A Meditation Space

5

Artworks

Mirco Azzopardi

6

‘Verticalization Vs. The People’

Constantly observing and documenting the built environment. Any other time you’ll find me on a basketball court.

7

Hal Mula

For reference to academic achievements, employment history, exhibitions and other activities, please consult the CV.

8

Sculpture One

University Architecture Project

University Form Research

University Architecture Project

Individual Documentation

Individual Research and Documentation

Urban Regeneration Project

University Fine Arts Sculpture

All works shown (academic and personal) are individual projects and are in no part group work.

1

Unpacking Homelessness

Programme Allocation

Year 3, Sem. 1

Through using a small corner plot, the design brief called for a structure to house individuals from various backgrounds whom which are eligible for rehabilitation programmes in relation to homelessness. Emphasis was put on having a structure complementing the programme, allowing for gathering spaces, self- reflection, interaction, privacy etc, as to create a sense of community. All this was to be encapsulated within a building envelope that was to balance the inhabitants privacy with the neighbours, yet not hiding the fact that this was a rehabilitation centre, in the hopes to raise any forms of stigmatization on individuals residing in the building.

Function Breakdown

Area Breakdown

Stacking

Stacking of Programmes Form informed through the rehabilitation programme.

Physical translation of spaces following and complimenting the programme.

The stacking of rooms allowed for more storage and service space, while mimicking the programmes intent for ‘lifting up from poverty/ homelessness’.

Stacking allows for the building to be conceived progressively, due financial pressures of the charity.

Nakagin Capsule Tower - a reference

Rooms seen as plugins (allowing for residential rooms, talks, consultation sessions).

Technicalities Staged Construction

Sketches Structural Members Prefabricated CLT Panels Structural Waffle Slab

Services/ Cores Modular Rooms Support Services

Draining Structure Water Drainage System Load Paths

Interior Rooms and Common Spaces

Massing

0.5

1

2m

0.5 1 2 3m Technical Drawings 2

4

1

2

1

2

0.2

0.2

Elevations

1:40 1:60 1:200

8

3

3

4m

12m

1:100

6m

1:120 1:20

0.4

0.6

1.0m

0.4

0.6

1.0m

1:20

South Elevation

North Elevation

Section A- A’

Sections

Section B- B’

Plans

N B’

A

B’

A

A’

B

First Floor

B’

A

A’

B

Second Floor

A’

B

Third Floor

Year 3, Sem. 2

2

Form Gestalt

The complexities within Form Finding reveal themselves as one attempts to embody solution through form, a crucial process in architecture. Form Gestalt, similarly, allows for experimentation through such form, whereby through conscious decisions external forces between forms are created, as one tries to balance and compose such forces. Emerging from this, further developments in slight variations in proportions, materiality, external colour tones, textures etc, effect such forces, however un/ favourable, and such conscious decisions must be met with skilfulness and discipline as to carry out the delicate tasks as to attain a balanced overall form, interacting cohesively with its constraints (base), treated the same as one would a choreographical piece or musical composition.

textured wax surface

cooling of poured wax

Final Form

Plaster

Wax

Final Wax Form

The four pieces making up the final form derive from manipulating the geometry of a simple cuboid and specific studied dimensions, Through mimicking two simple divides in the cuboid, it releases four pieces, two of which are identical and the other two mirrored. This gives rise to several permutations of how to place such pieces.

3

Thoughts of an Architecture Student Independent Publication

Documented throughout the three- year B.Sc course, this publication encapsulates thoughts and observations recorded in a random manner, compiled in a 200- page booklet, and distributed throughout university in a limited amount. This booklet satisfied an innate need and urge to constantly document and question the built environment, education system, political systems etc, as I became more aware of architectures farreaching branches and impacts, on a daily basis.

ARCHITECTURE IS SELFISH

ARCHITECTS ARE SELFISH

Art is no more necessary than

“out beyond the ideas of wrong doing and right doing, there is a field. I will meet you there”.

religion

End of third year- small designs have a huge impact on the future… at a crossroads with diverging paths, at the beginning, going back/ turning around isn’t very impactful, but as time passes, turning around/ cutting the path to the next becomes longer and more difficult, as the diverging distance has become much larger.

(Y- shape of letter represents divergent paths).

‘’Creativity (as being ‘easy to attain’ in past years) has become almost a means to an end… to get attention’’

4

A Meditation Space

Year 2, Sem. 2

Diving Space

The brief called for introducing a meditation space in a particular area at the University of Malta.

The space was divided as to incorporate the meditation space on the ‘dead space’ area, while enhancing movement patterns through a lifted pedestrian walkway.

Not only does this retain the below social space, but gives the unused space a characteristic and allows for better access to areas inaccessible by all.

Embezzling Meditation Space

Spatial Breakdown

Modular Meditation

Dilapidated Outdoor Area

Social Space

Having the meditation space below ground helped in detaching from the ‘outer’ environment, through various separating layers and hidden entrances, each utilizing different light, materials and views.

Elevations

Plan N FADE WITH TREES AND CLOUDS

Road Elevation

1

2

3

4

6

7

1.150

Social Space Elevation

5

Key Section A-A’

1 Social Space

5 Faculty for the Built Environment

2 Retained Social Space

6 Ramp Entry

3 Entrance

7 Meditation Space

4 Framed Staircase

5

Paintings/ Ways of Thinking Independent Piece

This piece attempts to consciously map out a series of decisions that have led me to take an unconventional approach locally and further my studies abroad. The central tilted ‘Y’ acknowledges that ‘we’ all started from a centre point, and through a series of small decisions end up at extremities, whereby the further one voyages along a branch, the less likely/ longer it becomes to turn back, as feelings of doubt, certainty, happiness etc (mapped on the painting) inform these decisions.

Dimensions- 60x80cm Materials- Acrylic and wall paint, sewing thread, needles.

6

Verticalization vs.

The People Independent Project

Why

Spread awareness on cheap irregular development, spreading throughout the environment to a numbed public

What

Intervene and raise awareness through effective, engaging data collection and an eventual physical artistic intervention.

How- Step Breakdown Step 1- Gather Data introduce public to work

Step 2- Analyse Data

tweek final intervention around data

Step 3- Physical Intervention

create shock and awareness through an artistic architectural intervention

Step 1 Gather Data Interactive Board

Showcased at a local gallery this interactive board provides a framework that allowed various people to answer vague questions. Patterns were drawn from these from analysing the different coloured string ‘clusters’. More-so, this allowed for people to reflect on often overlooked issues the built environment faces today. In addition, the piece allows for individuals to ‘make’ the artwork, rather than view a ready-made board, and are hence part of the exhibition.

clustering of string

Interaction

Artistic Physical Intervention The final part of the project consists of a physical intervention. This intervention will consist of a contrasting, narrow tower, an ode to today’s construction. Placing the intervention in a predominant location will spark up dialogue, curiosity (frustration?) and interest. Those who approach the structure will experience architecture through an artistic lens, as walls made up of fabric rise up to frame the sky and allow for windows and a door to be placed for familiarization to ‘dwellings’ to the public, acting also as an experiment in architectural materiality.

T- O U Te al LAN CU 1:200 P power at a small sc Fight the

‘Parasitic’ Extension Intervention

A Tragedy, loss of identity.

Verticalization vs. The People, a Workshop ‘SACES’ workshop, Group Leader

Conception

The first iteration of the artistic intervention took form in a 6m tower, broken down in levels and stacked with cardboard boxes. Boxes where used due to them being lightweight, tangible and allowing each student to personalize and document each box at respective levels, as illustrated below.

Purpose

Be it that the structure was only viewed for a few hours on the last day of the workshop by students, it was directly aimed at students, and its process was part of its end goal. Through allowing such personalization of boxes, what is more important than the actual sculpture was allowing students to self- reflect on their enrolment in the course, their aspirations, expectations and to generate dialogue with each other between students of varying age groups and architects present at the workshop. This attempts in ‘bridging’ the gap between student and architect, university work and profession work (expectation vs reality), and why these differ and if they can be challenged, attempting to stray away from professional work engulfed in using architecture as an economic machine.

Straight Line Thinking-

Framework for interaction-

Urban Regeneration Ħaż-Żebbuġ, Malta Year 3, Sem. 2 The urban regeneration brief around Hal Mula was very vague, and stemmed from a political will to intensively green the area. The approach therefore drew from observational needs of the site. Be it that the site is situated between a historic village core and a lake with dilapidated hiking paths and fields outside of development zones, an effort was made to connect the present ‘cut-off’ social housing area of Hal Mula. Carrying out anthropological research in the area, it was noted that any interventions should respect and better enhance existing social patterns between residents, yet also cater for a larger influx of people. However, due to the nature of the buildings, many inhabitants occupy space in somewhat unhealthy manners, through boarding up ground floor levels and privatising outdoor space for garage/ parking use. Hence an need to provide a framework for flexibility was derived. This growing influx of ‘outsiders’ was observed from the various construction of apartments happening adjacent to the site.

Hence, an approach was taken to design a process, rather than a product as to ensure progressive, respectful development. This notion was also taken further as to implement interventions outside of the site, through pedestrianizing existing connections to the village core and existing green infrastructure, establishing desire lines for a continuity of connections. .

ĦażŻebbuġ

Wied Qird a

Design Breakdown

1.

2.

3.

Continuity of Connections

N 10

20

1:800

40m

Key5

Primary Paths leading into Spaces

1:500

10

Primary Paths

20m

Secondary Paths Main Residential Paths Secondary Residential Paths

5

10

5 10

20

1:1500

1

1

2

2

2

0.2

1

3m

1:40 1:60 1:200

8

3

3

0.4

1:50

2m

1

1

2 Residential Paths

2m

2 4Park 3 Pedestrianized Linear

1

Prominent Linkage Nodes

1

60m

0.5

0.5

2

40m

20

0.5

1 Urban Farming

1:1000

4m

2

12m

1:100

6m

1:120 1:20

0.6

1.0m

Node 4 Staircase as a Linkage 0.2 0.4 0.6

1.0m

1:20

3 4

Distinctive Frontage Why Bioswales

Section A- A’ Bioswales cater for placing trees at intervals, which not only enhances the existing distinct frontage, but creates privacy for the exposed apartment blocks, especially at ground floor level. The abundance of vegetation and path widths attempts to differ semi- public from public spaces, encouraging activity at ground floor, coupled through the provision of lighting, while acting as a traffic calming measure. Bioswales were also placed between garages, as to respect private property, yet stunt further introduction of garages, resulting in a deadfrontage and poor interaction at ground floor.

+

+

+

+

Flexibility

Apart from the listed benefits, the widened pavement may also cater for amenities, utilizing the bioswales form..

=

+

Bicycle Rack

In/formal Seating

N

10

1:800

20

5

40m

1:500

10

Private 5

10

5 10

Paths into Hal Mula 1:1000

20

40m

Bioswale Barrier

Dual Carriageway

Garage Entry

A’

Private

1:1500

20

60m

0.5

1

0.5

0.5

A

20m

2m

1

2

2

4

1

2

1:50

2m

1

10

3m

1:40

4m

40m

1:500

5

10

20m

10

20

40m

1:60 1:200

8

3

1:800

20

12m

1:100

5

Bioswale

Bioswales

5 10

20

1:1000

1:1500

60m

Rubbish Points

10

20

40m

0.5

‘Home Zone’ Area

Details

Entering Hal Mula

Bioswale Detail

5

10

1:500

20m

Section B-B’

5

10

5 10

2

3

4

20

5

60m

1

1

2m

N

0.5

2

4

1

2

N

1

2

1

Bioswale Barrier

1

4

2

0.2

1:40

Shared 1:60 Access Road

2

3m

2

3

Public

SemiPublic

3

4m

1:100 7

6m

1.0m

5 Thick Mulch Layer 7 DPC Layer

2 DPC Layer

6 Porous Soil Mix 0.2

0.4

12m

4m

1:100

6m

1:120

The home- zone space gives priority to pedestrians through a shared dual carriageway. This is achieved through bends in the narrow road, while having changes in paving materials. Columnar trees define the area and frame the pedestrianized space at the end of the road. Bioswales are present due to surface runoff which may be present due to the asphalt surface, despite an abundance of porous paving materials, while also creating semi- public transitional spaces with the apartment blocks.

8 Drainage Pipe 0.6

Tree Grate Detail

1.0m

Expanding Tree Grate 0.2

0.4

1:20

0.6

1.0m

1

2

3

8

4

10

20

B

9

5

1:800

10

6

40m

7 5

10

1:500

20m

B’

1 Tree Grate Cover

4 Root Barrier

2 Pavement Haunching 5 Soil Backfill 5

5 10

10

20

20

1:1000

40m

1:1500

60m

3 DPC Layer

7 Tree Guides 10 Drainage Pipe 8 Root- ball

6 Prepared Subgrade 9 Planting Soil

1:20

1.0m

1:20

0.6

1:120 1:20

0.6

1 Sloped Paving 3 Bioswale Inlet 4 Overflow Pipe Relief

1:60

12m

3

0.4

1:40

8

1:200

8

3

0.4

3m

8 1

2m

SemiPublic

2

2

6

1:50

1

Private

2m

1

0.2 0.5

2m

40m

1:1500

0.5

1

1:1000

20

0.5

0.5

N

1

8

Sculpture One

Year 2, Sem. 2

Dimensions- 60x60x60cm Materials- Two- way mirrored faces, coloured perspex, light source

Sculpture One was the finalised submission for the elective ‘Understanding Disciplines in Fine Arts’ within the second year of studies at the university. The sculpture embodies a whole process from conceptual to conception stages. Its design very simply allows for dynamic changes and experiences for the viewer, as colour tones, light and reflections interact with each other through two- way mirrors, coloured perspex strips and a controlled light source. Hence, it may be argued that the viewer is the sculpture, as without the viewer, there is no sculpture, and no means for perception of such layered aspects within the piece and the viewer.

Final Wax Form

Final Wax Form

Final Wax Form