Sarah Al Hasan Portfolio

A SPACE OF APPEARANCE DESIGN PORTFOLIO 2020/21 SARAH ALHASAN || 170406602

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CONTENT

Amendments/additions to work has been made since the final review, these changes have been highlighted by the convention below, as well as above (top of the pages):

ARB CRITERIA

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THESIS DECLARATION

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SITE CHOSEN

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LOCATING THE CITY

DRAWING TO MODEL POINTS OF TENSIONS

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DEVELOPING SOUNDSCAPE

Amended

PLAN TO PROJECTION

KEY PRECEDENTS

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PROJECTION TO PLAN PROGRAMME EMMERGENCE

STRUCTURAL EXPLORATIONS EXPLORING STRUCTURE INTEGRITY

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EXPLORING SOUND PROPAGATION WITHIN SPACE

FINAL PROPOSAL

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1:100 PLAN AND SECTION 1:100 MODEL AXO SHOWING MATERIAL BUILDUP SOUND PROPAGATION WITH PAVILION 1:20 DETAIL VIRTUAL SOUND EXPERIENCE

CRITICAL REFLECTION BIBLIOGRAPHY

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Newcastle University Architecture and Urban Planning 2

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ARB CRITERIA Each spread within this portfolio has been referenced with the relevant ARB criteria. This has permitted me to gain an understanding of the knowledge and skills expected from the ARB, which allowed me to depict which criteria i have met and the criteria that i need to focus upon next semester.

GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process.

GC7 Understanding of the methods of investigation and preparation of the brief for a design project.

1. Prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; 2. Understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; 3. Develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

1. Theories of urban design and the planning of communities; 2. The influence of the design and development of cities, past and present on the contemporary built environment; 3. Current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

1. The need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; 2. The need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; 3. The contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

1. The needs and aspirations of building users; 2. The impact of buildings on the environment, and the precepts of sustainable design; 3. The way in which buildings fit in to their local context.

1. The cultural, social and intellectual histories, theories and technologies that influence the design of buildings; 2. The influence of history and theory on the spatial, social, and technological aspects of architecture; 3. The application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

GC3 Knowledge of the fine arts as an influence on the quality of architectural design.

1. How the theories, practices and technologies of the arts influence architectural design; 2. The creative application of the fine arts and their relevance and impact on architecture; 3. The creative application of such work to studio design projects, interms of their conceptualisation and representation.

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GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

1. The nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society 2. The role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; 3. The potential impact of building projects on existing and proposed communities.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design.

1. The investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; 2. Strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; 3. The physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

1. Critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 2. Understand the cost control mechanisms which operate during the development of a project; 3. Prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

1. The fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs,including land law, development control, building regulations and health and safety legislation; 2. The professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; 3. The basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

1. principles associated with designing optimum visual, thermal and acoustic environments; 2. systems for environmental comfort realised within relevant precepts of sustainable design; 3. strategies for building services, and ability to integrate these in a design project.

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THESIS DECLARED The urban intervention thesis revolves around developing new

This condition established has allowed for careful

dehumanized city can find a new means of continuity, exchange

the design has started to develop with the acoustic vision

centres and spaces by which the fragmented, alienated and

and dialogue. The project is carried out with great sensitivity to the geometry of the existing site as well as trying to reconceive past conditions with present conditions.

The project mainly focuses on an acoustic condition that

consideration of acoustic performances in spaces, Thus in mind. Exploration of sound ray tracing and materials

that allow for sound absorption has allowed for my project

to develop in a rich way. As well as consideration of how the public interacts with the intervention.

transpired through analysis of previous and present use of the

In consideration to the environmental response, the design

of the existing fabric with an extensive care on geometry and

with parts of the design allowing for disassembly and reuse

site, A space of appearance was formulated through studies

translation of studies into a real life projection. The site has

been used in the past as a route of celebration with carnivals,

was thought through with readaptation and reuse in mind, to allow for reuse and extending the materials life cycle.

parades and protests taking place, this analysis has fueled

Key influential works that influenced my design was a

the acoustic aspect of these activities and trying to reconceive

and the key text “Infront of lines that leave nothing Behind”

an interest in creating a space of celebration, that amplifies elements of that onto the existing site.

Various analysis of the existing fabric at different scales has

allowed for the enrichment of the projects projection in relation to tackling the site directly and understanding the boundaries

and complexities that started to emerge, the spatial relation of the intervention started to develop in connection to the existing

routes on site. The Via Flaminia extending to Via Del Corso

is established as the main path on site, used as a pedestrian route. In the past it has been used to facilitate commemoration,

careful reading and analysis of Libeskind’s ChamberWorks

by Robin Evans, that helped develop an understanding of the importance of drawing out the design and exploring how drawings help project a richer understanding of

creative concepts and certain translations that transpire

from them. As well as looking at Frank Gehry’s work and the Serpentine pavilions paved way for key understanding of the tectonics of a temporary building and the evocative potential that transpires through them.

The urban intervention seeks to reconcieve past conditions

carnivals, and fascist meetings, in present times, the site is used

of the city, with present conditions of the city. Factoring in

moments of protests. Thus, this understanding of the existing

meet and further develop a subconsious understanding of

as a gathering point, facilitating moments of celebrations and

site has paved way for a space of celebration to emerge, facilitating these moments of happiness and moments of grief

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creating a space that allows the citizen and the tourist to what it means to live in a city for the collective.

within the site and amplifying the voices of the locals and the citizens of the city.

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LOCATING THE CITY

Italy within Europe

Rome within Italy

Site map showing main features

PIAZZA DEL POPOLO The piazza is located within the northern gate of the Aurelian Walls, known initially as Porta Flaminia of ancient Rome, and now called the Porta del Popolo.

The layout of the piazza today was designed in the neoclassical style by architect Giuseppe Valadier, Valadier’s genuis lies in connecting the piazza with the heights of the Pincio Hill and Wfurther help the Sixtus V manifesto of connecting the piazza with distinct monuments and churches in the city, forming a trident.

Piazza Del Popolo within Rome

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images from: https://www.google.co.uk/maps

GC4, GC5

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PERSPECTIVE MAPPING Locating the vision and perspective of the conditions within the square is integral to examine. As the piazza was designed with focal points meeting in mind.

Furthermore, These points are intended to reflect an aligned view within the piazza of the trident created at the end of it and at the pincio and the endless road that leads towards the tiber river. All these elements were in mind when the piazza was designed by Giuseppe Valadier

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images from: https://www.google.co.uk/maps

GC4, GC5 11

recognizing the sacred geometry within my site,the visca piscis formed by the intersection of two circles, intersecting in a way that allows the center of each element to lie within the perimeter of the other

FINDING THE CRACKS. Sixtus V aimed to connect various parts of the city, inorder for the progression of rome to continue, and for pilgrims to use the gate as a portal; a point of departure or entry.

KEY main railway route secondary railway route main bus route bus route through site main railway stations

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However, after acknowledging past initiatives and investigating present conditions. The Gate appears to have its primary use terminated due to the installation of the Rome Termini (railyway) ,which causes a disconnect between a local citizen and a tourist navigating through the square.

GC2, GC4, GC5 13

Piazza Flaminio

Pincio Promenade

The Gate

Prati

Tiber River

Piazza del Popolo

Mausoleo du Augusto Scalinata di Trinita dei Monti

The Trident Road

Highlighting main regions on site.

abstract map of rome showing distinction between the regions, the gate is a primary fragment in the organization of the site

THE PORTAL: ENTRY // DEPART The gate was first part of the Aurelian Wall in the 3rd Century, then further reworked to give its current appearance

by Bernini for Pope Alexander VII in the 16th Century, to welcome Queen Christina of Sweden to Rome following her conversion to Roman Catholicism.

It has facilitated as a place of entry and departure for pilgrims arriving in Rome from the North.

However, overtime it has lost its primary purpose and now facilitates as a fragmented point, thats neglected due to present conditions of the site.

14 images from: https://www.google.co.uk/maps

the obelisk standing within the twin churches in the peripheral vision, before entering the gate.

Thomas Ashby and S. Rowland Pierce, “The Piazza Del Popolo: Rome. Its History and Development.”, Town Planning Review, 11.2 (1924), 75 - 96 .

GC2, GC4, GC5, GC7 15

AXONOMETRIC COMPOSITION: DEPICTING RELATIONSHIP OF INTERVENTION TO THE EXISTING FABRIC

Composition Within Site Plan 16

From Plan to Axonometric Depiction GC1, GC3, GC4, GC5, GC7 17

URBAN DEVELOPMENT: FROM DRAWING TO MODEL

Marking Points Of Tension 18

GC2, GC4, GC5, GC7 19

Points of Tension

POINTS OF TENSION ESTABLISHED From creating the model, points of tension started to be defined and thus this drawing was created to signify these points of tension within the context.

Moving forward from this scale to a working scale. The point of tension chosen was the moment in between the Piazza’s Gate and the Via flaminia, as this point has defined itself as crucial to the site, as it is a point of intersection between the moment before and after its passing into the piazza del popolo.

GC1, GC3, GC4, GC7

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historical use of site

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USE OF SITE IN THE LAST DECADE

GC2, GC4, GC5, GC7 23

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DEVELOPING THE SOUNDSCAPE The site was used in the past as a route for parades, commemorations, horse racing and fascist squad meetings, The present use of the site has established itself as a site of meeting, protesting and celebrating.

Through this analysis it became clear that a theme of sound is important to explore and amplify, as most of these activities are sound related, in a way where one end is composing and the other is listening. Therefore, developing a soundscape programme, that would be explored thoroughly through designing and drawing.

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GC1, GC2, GC4, GC6, GC5, GC8 25

UNDERSTANDING EXISTING FABRIC Through drawing out the existing paths, infrastructure and buildings. A more coherent reading of the site started to emerge, with certain implications about what the intervention could start to look like and how it responds directly to the existing context and establishes itself within it.

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1:1000 Iteration - extending existing site boundaries

Plan Iteration

1:500 Iteration - defining existing site boundaries

Plan Iteration

Site pathaways with the geometry of the masterplan

Plan Iteration

Initial ideas and plans starting to form

Plan Iteration - new boundaries starting to emerge

Axo of initial idea, with the route extending through the gate GC1, GC3, GC4, GC5 27

EXPLORATIONS AT 1:500

DEVELOPING SOUNDSCAPE WITHIN THE PIAZZA Translating the iterative drawings and understanding how the intervention is facilitated within the piazza was crucial, the intervention interacts with the piazza in a sensitive manner, aware of its historic importance.

Designing a soundscape that helps distribute sound evenly within the vesica piscis created from the existing fabric.

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GC1, GC3, GC4, GC5

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Frank Gehry, Serpentine Pavilion

One of the 28 drawings for ChamberWorks, by Daniel Libeskind.

Philip Pavilion, Le Corbusier

One of the 28 drawings for ChamberWorks, by Daniel Libeskind.

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Images from: Libeskind, Daniel, Chamberworks (2021), <https://libeskind. com/work/chamber-works/> [Accessed 28 May 2021]

CHAMBERWORKS LIBESKIND

KEY PRECEDENTS

The study of Libeskind’s work, ChamberWorks, was crucial to this project, as it has highlighted the importance of drawing out the design by continously iterating and generating a thought process thats based predominantly on the drawing process and what the lines in these drawings mean.

Exploring the Serpentine Pavilions works has helped me understand the construction of temporary structures.

The Philip Pavilion has aided in understanding how sound designs spaces, as Le Corbusier worked closely with a music composer and thus designed the pavilion coincidely with him.

The project seeks to expand on that and find a way to translate these imaginary drawings into a real life built projection, understanding the implications that these drawings make and emit.

Top Images from: The Guardian, Gehry’s Pavilion (2008), Available at: <https://www.theguardian.com/culture/gallery/2008/jul/10/serpentine> (Accessed 21 May 2021). Bottom Images from: Lomholt, Isabelle, Adrian Welch, David McManus, and Adrian Welch, Le Corbusier Architect: Corb Architecture E-Architect (2021), <https://www.e-architect.com/architects/le-corbusier> (Accessed 25 May 2021).

GC1, GC2, GC3, GC5, GC 6, GC7 31

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Extracts from “Architecture Theory since 1968”, Edited by Michael Hays

Extracts from “Architecture Theory since 1968”, Edited by Michael Hays

KEY INFLUENTIAL TEXTS

GEHRY HOUSE, FRANK GEHRY

Key texts from “Architecture Theory since 1978” were thoroughly explored and read to understand key themes and aspects of design that i wanted to achieve.

Gehry’s works throughout the project were a clear influence, His style of constructing angular roofs and designing unusal structures and geometry has influenced my design thought process.

Understanding the drawings capabilities in architecture were key influence into how i designed the pavilion and how the process of designing it came about.

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Images from: Hays, K.M. (1998) Architecture theory since 1968. Cambridge, Mass.: MIT Press.

Crucial works analyzed were Gehry House, Serpentine Pavilion and Biomuseo as their roof structures were intriguing and worth analyzing for the creation of my soundscape pavilion Images from: Hays, K.M. (1998) Architecture theory since 1968. Cambridge, Mass.: MIT Press.

GC1, GC2, GC3, GC5, GC 6, GC7 33

Initial Overall Site Plan 1:500 34

Initial Site Axo 1:500 GC1, GC3, GC4, GC5 35

Site Plan 1:500

PLAN TO PROJECTION Tranlating the plan iterations and drawing it as a projection helped me understand the spatial qualities of the space being design, it also aided the design of the project within the heart of the context, understanding the impositions that the surrounding site gives, along side crafting a design that responds to the external conditions of the existing site.

Site Axo 1:500 36

GC1, GC5, GC7 37

Site Axo 1:500 38

Site Axo 1:500 GC1, GC5, GC7 39

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DESIGN FOCUS The design needed a point of focus to be chosen in order to faciliate the main activity and the main route that it interacts with - Via Del Corso, thus choosing the point of intersection that starts on the Via Flaminia. This allowed for further detail and investigation to be made at a more detailed scale, 1:200 and 1:100, to understand how the pavilion would faciliate the sound programme and how it would interact with the public and the context.

Main Focus

Site Axo 1:500 40

Site Model 1:200 GC1, GC6, GC7, GC8 41

A FORM ESTABLISHED A Form started to be established through various iterations, the multiple inclined planes indicate reflective surfaces in which sound can bounce off and be absorbed to, as well as understanding how the pavilion sits within the context and the other buildings proposed.

This idea was composed through thourough analysis of sound reflective qualities as well as understanding the different qualities that each space was required to have.

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Site Axo 1:500 GC1, GC5, GC7 43

PROJECTION TO PLAN Through the axo iteration, a form was established. The design had to be investigated in more detail at 1:200 scale. Translating the projections drawn into context plans and understanding the spatial implications that they emit.

This approach has formulated a thought process that began with imagining what these spaces could be and how the spatial relationships of these buildings reveal themselves.

Starting to define what these spaces facilitate and their organization of space within the programme defined.

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GC1, GC5, GC7 45

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1:200 DRAWING EXPLORATION Further 1:200 iterations were made, revealing qualities of space and starting to form a hierarchy of programme and spaces established Pavilion starting to appear and have a clearer language, with angled roofs to amplify sound reflection within that space.

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GC1, GC5, GC7 47

PROGRAMME EMERGENCE

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EXPLORING 1:20 DETAIL 1

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INITIAL FOUNDATION DETAIL

Initial 1:20 Drawing 50

A sketch of potential tectonic language of the structure was explored, with the initial idea of having a screw pile system as it allows for rapid constructure and reduces impact to the site, as well as looking at the potential of using cabling to hold up the steel truss roof.

The system is based off a set of screw pile to allow rapid construction and reduce the impact to the site 1 2 3 4 5 6 7 8 9 10 11

Timber Cladding Panel with Acoustic Foam Lining Steel Column Column Base Plate Precast plate flooring Beam Stiffener Universal Beam Decking Frame Fin-Plate Connector Mineral Wool infill Steam Stiffener Pile Cap Screw Pile GC8, GC9 51

1:100 Exploratory Section

STRUCTURAL EXPLORATION Understanding how the design requirements were going to be achieved in a tectonic was crucial, Initially starting with iterations of what the structure would look like and what materials would be needed to achieve design integrity.

Developing an exo-skeleton structure, with steel trusses aiding in achieving an angular roof that can be adjusted into different angles and positions as well as having the ability to withhold panels that would be bolted and welded into the truss to be hanged and achieve acoustic absorption in space.

A Model was made to test structural lateral stability and to test what the working drawings would look like in a three dimensional view and in human scale

Axo of structural component 52

1:100 Part Model Of Pavilion GC1, GC7, GC8, GC9 53

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EXPLORING SOUND PROPAGATION ONTO SPACE

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Research into behaviour of sound within various geometries was made, thus aiding in understanding how sound travels through space.

Exploratory drawings were made to analyze the angles at which sound is contained and amplified within the pavilion best.

Starting from a flat panel into a more tilted and reflected variety, inorder to achieve best sound absorption co-efficient as well as to make sure sound travels smoothly throughout the pavilion

Fig. 9: Diagram of typical behaviors of sounds regarding various geometries

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GC1, GC7, GC8, GC9 55

A CLOSER LOOK 1:100 SCALE After several 1:200 iteration and understanding the spatial arrangement that started to emerge from the drawings, i felt it was necessary to move towards a closer scale, to understand how these spaces can be curated in more detail, understanding entrances, closures and the relationship that occurs between the private/public and performance/practice spaces.

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GC1, GC5, GC7 57

PLAN ITERATION

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GC1, GC5, GC7 59

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PLAN AND PROGRAMME As the plans emerged, a programme started to be curated and spaces started to become more defined, Clear seperation of spaces of practice and spaces of performance were made, Due to the scale of the proposed plan, some parts are defined more than others, Giving real focus and importance on the design of the pavilion and the spaces in which the performers/speakers practice their craft.

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GC1, GC5, GC6, GC7, GC10 61

FINAL PROPOSED PLANS AND SECTION

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Defining the programme and understanding the contextual context it falls in has helped refine the design to its current stage, with the focus on the main stage pavilion space.

A space of appearance was created, from various studies done at different scales, the structure mimics an instrument, coursing through the site and revealing itself within its context.

The pavilion structure has revealed itself to be different from the surrounding buildings, helping it stand out on site as well as facilitating a space that evokes the sense of stopping, admiring and thus forcing a response out of the interactor.

Various activities are envisioned to take place within the pavilion, especially as its an intermediate space that cuts through the main path - Via Flaminia extending to Via Del Corse, it serves the locals and the tourist, further breaking away the barriers between them in Rome, as well as giving way for more interactions and understanding to be facilitated under this mode of celebration.

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1:100 Plan Of Pavilion

1:100 Section Of Pavilion 62

GC1, GC5, GC7 63

MODEL

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GC1, GC3, GC5, GC7, GC8 65

MODEL

1:100 MODEL Model showcasing external qualities and attributes of proposal, with the main pavilion standing out as the focal point of design and the rest of the building harmonizing with the function of the pavilion, this structure emerges from various studies and research about the existing site, as well as translating various drawings into real life built projections that proceed from within the drawings.

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GC1, GC3, GC5, GC7, GC8 67

AXO SHOWING MATERIAL BUILDUP

Steel Column

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Timber panels

Steel Glulam roof Trusses for panels roof structure

Exposed White Steel Support hangers

Base Timber Grid Studs

1x1M Structural Steel Column

Panelite Acoustic Translucent Honeycomb Panel

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Timber panels

GC1, GC3, GC4, GC5, GC7 69

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AA

SOUND PROPAGATION WITHIN PAVILION Demonstrating how the sound would be propogated in the space was crucial to designing it, as the sound element was explored throughout the project.

1:100 Section AA 0

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The Shell- Like angled structure allows for sound to bounce off the central stage efficiently, as well as containing and absorbing the sound waves the surface hits.

GC7, GC8, GC9

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1:20 DETAIL 1 5 2

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Reinforced bars Footing 1M Helical Screw Pile Multi Helix HSS Aluminium Beam 1x1M Haunch Connection Cut, cut from the same steel section profile as beam Web Stiffeners Stiffener plate 10 mm thick HEB Steel 400 mm Profile Steel Roof Truss with Gusset Plates Timber Studs 300x300 mm Thickness Steel Connectors Panelite Acoustic Translucent Honeycomb Panel HEB Steel 400 mm Profile Splice plate Shear Plate welded to girder web

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splice plate bolted to top flanges of girder and beam plates welded to girder web and bolted to beam web

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HEB steel bolted onto main structure Stiffener Plate 10 mm thick

Haunch support reinforcement 0

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SCAN ME FOR THE VIRTUAL ACOUSTIC E X P E R I E N C E O F WA L K I N G T H R O U G H T H E PAV I L I O N D U R I N G GROUP CHANTS for best experience please use headphones

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Original audio: https://www.youtube.com/watch?v=FncIPsJLm6g (Accessed 23 May 2021) The audio created above is heavely edited.

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SELF REFLECTION Key concerns I would like to consider next year/Areas to develop further?

I really enjoyed this project and the range of experimentation that I have done through it. In addition the flexible nature of the brief allowed for a range of experimentation and exploration at various scales, from 1:10000 to 1:20, it further allowed an extensive response to be formed, a response tailored around studies and analysis made in the first semester and throughout the year. The design thesis allowed me to focus particularly on the external conditions and how they emerge from past and present conditions that are formulated through the context.

One area of this design I’m keen to explore in the next year would be focusing on an internal condition, an investigation of internal spatial spaces and how they are integrated within the context of the whole site investigation. In addition, I’d love to continue exploring ideas through the screen of modelling, as I feel it has really been a helpful tool in projecting a drawing into reality, as that was one of the main themes of my project throughout the year.

What are the strongest aspects of your project and what parts could be improved?

I believe the strongest aspects of my project lie within the range of exploration carried on during the project, especially within the translation of the plans into the axonometric projections, it felt like a back-andforth exploratory journey that helped me make the big decisions in the project. In addition, creating various models throughout the exploration has really helped me translate and project the drawings into a real life building, slowly crafting its elements through various scales and various models. The integration of a tectonic condition has also helped me shape my design, and in that way allowing the design and technical integration to evolve together.

What areas do you feel you need to focus on next semester?

I feel there are various aspects that I am keen to improve and/or carrying on investigating in the next year, I’d really like to focus on designing an internal spatial condition, perhaps designing at a much smaller scale and exploring the elements that are revealed within that journey. As in this semester there was a certain desire to respond to the external condition, given the scale of the chosen site and the complexity that it revealed.

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BIBLIOGRAPHY Allen, Edward, and Patrick Rand. Architectural Detailing Function, Constructibility, Aesthetics ,(New Jersey: Wiley, 2016).

Leach, Neil, Rethinking Architecture (London, New York: Routledge, 1997)

Ashby, Thomas, and S. Rowland Pierce, “The Piazza Del Popolo: Its History and Development”, Town Planning Review, 11 (1924), 75 - 96 <http://www.jstor.org/stable/40101443> [Accessed 13 January 2021]

Lefebvre, Henri, “From The Production Of Space” in K. M. Hays, Architecture Theory Since 1968, (Cambridge, MA: MIT Press, 1974), pp. 174 - 188.

Buxton, Pamela. Metric Handbook : Planning and Design Data, (2018).

Coleman, Nathanial, Lefebvre For Architects, 1st edn (Routledge, 2014) Coleman, Nathanial, Utopias And Architecture, 1st edn (Routledge, 2005) Coleman, Nathaniel, Materials And Meaning In Architecture, 1st edn (London: Bloomsbury Visual Arts, 2019), pp. 62 - 88 Ching, Francis D. K. Building Construction Illustrated, 4th ed, (Hoboken, N.J.: John Wiley & Sons, 2008).

Evans, Robin. ‘Translations from Drawing to Building’ (1986). In Translations from Drawing to Building and Other Essays, 152–93.

London: Architectural Association, 1997.

Eco, Umberto, and Alastair McEwen, Five Moral Pieces (London: Vintage, 2002) Eco, Umberto. ‘Ur-Fascism’. New York Review of Books, June 22, 1995 Issue. Available at: https://www.nybooks.com/ articles/1995/06/22/ur-fascism/ Evans, Robin, “Infront Of Lines That Leave Nothing Behind”, in K. M. Hays, Architecture Theory Since 1968, (Cambridge, MA: MIT Press, 1984), pp. 480 – 489.

Evans, Robin, “Architectural Projection” In Architecture And Its Image, ed. by Eve Blau and Edward Kaufman (Montréal: Canadian Centre for Architecture, 1989).

Evans, Robin, “Translations from Drawings to Buildings.” In R. Evans, Translations from Drawings to Buildings and Other Essays, (London: Architectural Association Publications, 1997) Fiolet, Sebastiaan, “Vesica Piscis: A Lot Of Knowledge In Two Circles”, Sacred Creation, 2018 <https://www.sacredgeometryshop. com/sacred-geometry/vesica-piscis-sacred-geometry> [Accessed 8 January 2021] Hays, K. Michael, Architecture Theory Since 1968 (MIT Press, 1998).

Libeskind, Daniel, (1983). “Chamber Works” in K. M. Hays, Architecture Theory Since 1968, (Cambridge, MA: MIT Press, 1983), pp. 476 - 479.

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