BATHO.H_180119824_ARC3001AcademicPortfolio_20210815-1

Ne wc a s t l e Un ive rs it y School of Architecture Planning and Landscape

Arc 3001

Academic Por tfolio.

2020/2021

Stuido no.6

.Building Upon Building.

Hannah Batho| 180119824

Acknowledgments I would like to thank ever yone who helped and suppor ted me throughout my studies this academic year.

I would like to acknowledge the effor ts of our studio leaders Pep and Tom, for their support and commitment to helping us achieve our best collectively as a studio despite challenges faced this year.

And finally to my f riends and family who have provided encouragement and unquestionable support throughout the past few years of this course.

Contents.

I l l u s t r a t e d R e f l e c t i v e D i a r y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Project Framing..............................................................................................9 P r o j e c t Te s t i n g . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1 Thinking Through Making..............................................................................53 Project Synthesis...........................................................................................59 C u l t u r a l B i b l i o g r a p h y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 2 T h e m a t i c C a s e S t u d y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 5 List of Figures...............................................................................................98 B i b l i o g r a p h y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 9

“

Wilderness

areas are the unconscious of modern society ; places we go to keep our dreams undisturbed

”

-Timothy Morton | The Ecological Thought

Studio Brief.

This studio focuses on preser vation, ‘building upon’ existing buildings to produce an enhanced outcome that brings new life. Designing in this way encourages a deeper understanding of a buildings context and cultural links. Fur thermore this draws on a wider socio-political context which adds a conceptual element to design. What buildings mean goes deeper than their physical str ucture.

Using B erthold Lubetkin famed Penguin Pool, located in London Z oo, as a case study, this year provides a potential for a scaled down yet perhaps more sensitive design. Designed in a strictly modernist style, this stripped back yet elegant design was a staple of its time, re-imagining the animal enclosure of previous design. S culptural yet simple in form and symmetr y, this building abstracted an Antarctic environment yet remade this for the man made world. Interestingly this was designed for both human and animal experience as seen in the propor tions within and the exterior.

Themes of the man-made, nature and their juxtaposition are stark when examining this case study.

Moving for ward with the project, the brief for this design studio is to with research, propose an informed experimental preser vation of the Pond and expand this creating an expansion of a new research centre. This should have a direct connection with the pond and enhance the experience of this in some way. Additionally a laborator y and space and space for the inhabitation of animals must be included. A landscape approach should be considered linking the pond to its surroundings.

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I l l u s t r a t e d R e f l e c t i v e D i a r y.

C ontemporar y Penguin Pool

This holistic approach would lead to my later master plan, blurring the boundaries between park life building and zoo. The idea of creating a space for animals to migrate to rather than be intentionally enclosed, I felt was of particular biophilic ideal. This in itself challenges the notion of the zoo and presents a statement about how we view these spaces. Creating healthier, natural spaces, not only benefits ecolog y and human welfare, this has adverse effects on our cities encouraging biodiversity and diminishing pollutants. This proposed preser vation, I felt was a direct response to our current climate crisis.

Fo r m a t i v e I d e a s Embarking on my third year, I was excited by the prospect of choosing a studio based on personal interest. I chose the studio Building Upon Building drawn in by the idea of experimental preser vation. Different to previous design projects I had under taken, this studio presented a unique opportunity to design not simply for human use but also for ecological life. With both these narratives I saw a unique opportunity to explore my own personal interests within architecture.

Representation Delving into the theor y of our studio we f irst explored what constitutes an experimental preser vation. Not simply preser ving the existing str ucture as is, experimental preser vation aims to restore the project to notability, perhaps by creating a new narrative. An example of this is the preser vation of an insignif icant painting ‘Elías García Mar tínez’s c1930 Ecce Homo’ by C ecilia Giménez. Although many may view the ‘preser vation’ a failure due to its vandalism of the original paining, this restoration attracted more prominence for this reason than the original painting. This early example inspired me throughout my project to not simply enhance the existing structure but to shift the narrative to align new signif icance to the site.

Preser vation of our built environments, was not only a theme I explored in design. During my disser tation module, I relayed on my own experiences to explore the preser vation of our high streets and how the commodification and globalization of space has caused many of our historically relevant spaces to fall into insignificance.

With this, I explored the narrative that spaces are more than their physicality, they hold information of human experience and memor y. This led to the discover y of the text ‘ The Ecological Thought’ by Timothy Mor ton. Introduced to theories of ecolog y and the interconnection of beings, I felt this was a signif icant topic to carr y for th into my narrative of experimental preser vation.

Throughout I used hand drawing as a way to convey my ideas. This I felt was an organic way of translation my ideas to realization. Through iterative sketching, I was able to use this process to create my final mass within the early stages. This helped communicate my initial ideas to others; yet as I moved for ward using more precise methods of representation such as CAD I felt was more helpful to me to realise details of my project.

Throughout synthesis, due to previous advice, I was focused on representing the natural landscape of my scheme. This involved conveying the qualities of texture and materiality. I felt this represented the wilderness I wanted to convey within this design. Due to this, a majority of my time was spent producing such detailed imager y. The resulting pieces, show elements of light, atmosphere and inhabitation and I feel are successful in conveying my project. Representation was something I wanted to improve upon from previous years.

Elías García Martínez’s c1930 Ecce Homo

Master Plan C oncept

C ovid 19 has made this year significantly ore challenging, yet brought about new ways of working. Ref lecting on the year, although at points it has proved difficult, I have learned invaluable knowledge in the mentioned topics of which I will carr y onto my future architectural career.

Realization of Project

Figure 1

Figure 2

Moving for ward, as a studio we worked to develop a deep understanding of our given site in historical, social, environmental and analytical terms. Pooling this knowledge we were able to understand the ethos of the original project and how best to proceed with preser vation. This would be informed by signif icant qualities and themes rooted in its original conception. Analysing form macro, to micro scale (Regents Park, The Z oo, The Penguin Pool and Lubetkin) proved a useful research method. This is a technique I carried for ward with the formation of my design.

Alongside the development of my massing proposal, a particularly inf luential piece of work proved to be the theor y into practice essay. Following theories of ecolog y, it is f rom this research I learned about biophilic design and its possible relation to my project. The idea of designing with nature and ecolog y at the forefront not an after thought, I felt was a prominent idea in todays world of increasing urbanization and climate crisis. Regents Park, shared ideologies of this creating green space and habitats in a man made environment. Located on the edge of the zoo, I felt this was an opportunity to connect these two environments and create a scheme to preser ve and enhance our natural ecolog y. Thus came the narrative of my design as a biophilic reser ve.

Part Ground Floor- Focus on Environment

Biophilic C oncept 6.

Part S ection B-B - Showing Materiality and Texture 7.

Semester 1

Project Framing.

Site Analysis and C oncept Formation.

Framing, a group collaboration, greatly contributed to my project by informing my knowledge of both site and the design of Lubetkin’s Penguin Pond as a whole. As we had an exceptionally large site, we wanted to take a holistic approach to the massing of our design proposals, so it was important to understand not simply the immediate site, but the wider site of Regents Park as a whole. This is a particularly historical part of London which encompasses various landmarks which were impor tant considerations when designing. As a group we approached our analysis by dividing our site into the macro and micro. The 4 sub-groups we chose were: Regents Park, London Z oo, The Penguin Pool itself and finally we wanted to further explore the design ethos of Lubetkin. Analysing historical, design approaches, circulation, and technical elements of each site element allowed for a deeper and whole understanding of our site and how to approach our massing with an informed approach,

Figure 3

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1901

Lubetkin is born in Tbilisi, Russia

Bethold Lubetkin.

1922 1917

Mo d e r n i s t I n n o v a t o r Bethold Lubetkin, born 1901, was perhaps one of the most impactful figures of the modernist movement. Moving to London in 1931 and subsequently founding the famed Tecton practice, Lubetkin went on to design iconic examples of early modernist architecture. The Penguin Pond, London zoo, among his first assignments, incorporated elements of be haviourism and sculptural geometry along with classic features seen in the international style. This essentially proposed a new direction for British modernism. His ideals centred around the idea of a ‘New Utopia’, a simplistic and socially motivated approach to design.

His design of the Penguin Pool is a testment to this design belief. Now a relic of a previous ideal, its conceptual nature leds to a preservation of political ideal. Learning from Lubetkin’s bold architectual statement, moving forward in this project my aim was to design a preservation with a progressive ideal as motivation.

1931

Figure 4

Lubetkin leaves for Berlin and Paris in a search for Utopia

October Bolshevik Revolution

Art Historian Wilhelm Worringer

Immigration to London & Tecton Architects

Auguste Perret

1939

Penguin pool 1934

High point apartments

High point apartment II caryatids

“…an achievment of the highest rank.”

Le Corbusier

The War

“After the war Tecton became a ghost of its former self”

“architecture cried out for a new world [...]

Nothing is too good for ordinary people”

-Lubetkin Masterplan for Peterlee

-Le Corbusier

-Lubetkin

Finsbury medical center

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Spectacle Spiraling R amps Strong Geometric Forms

Site Visit

Connection t o Na t u r e

Form Details Inspiration for the shape of the pond stemmed from the natural form of a penguin egg, and the concrete double helix inspired by warship propellers; This represents the intermingling of both natural and man-made form. The starkly modernist and simplified form was aimed at being a stark juxtaposition of the penguins var ying natural habitat. The pond prioritised function over form with the design focusing on how the penguins used and circulated through the enclosure, rather than if the pond emulated an authentic environment.

B u i l d i n g A r o u n d Na t u r e

L u b e t k i n’s P e n g u i n P o o l .

Minimalist Masterpiece Engineering of Concrete

Designed by Lubetkin and Tecton in the 1930s, The Penguin Pond at London Z oo combined both early modernism and behaviourism to provide an optimum habitat for its penguin inhabitants. The behaviourist element focused on the idea that animals behaviour was inf luenced by their external environment; in this respect Lubetkin was also inf luenced by biologist R aoul.H. France. Lubetkin’s vision was to connect this project to ‘utopian socialism’. Creating a connection between nature and the pond by designing it around the existing trees, Lubetkin fur ther emphasised the contrast between geometric from and nature with ref lection of these forms within the architecture corresponding to this theme. Perhaps this is a link to the wider Regents Park and its picturesque ethos with this juxtaposition acting as a sublime element.

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London Z oo.

London Z oo, a centre for the expansion of knowledge and preser vation of animals, architecturally also houses iconic architecture, a relic of a modernist era. Within its boundaries, London Z oo houses two Grade II Listed structures, The Penguin Pond and the Gorilla House. Modernist design and nature go hand in hand to reimagine and improve upon natural habitats within this zoo. This highlights the unique experimental ethos seen within London Z oo of providing ef fective environments to meet the needs of the natural world in a man made context.

Historical Context Z oos began their conception as ‘royal menageries’ providing the spectacle of exotic animals for the rich and aff luent. The focus was on human entertainment, with animals used for fighting and hunting purposes. As scientific interest of these animals started to gain popularity, zoo’s took on a different purpose of being research driven. London Z oo was primarily founded on such scientific interest. The Victorian era brought about a greater public interest in zoos, with the concept shifting to one of education. Z oo architecture ref lected this public interest, with cages re-imagined with ‘temple’ like qualities to ref lect the power and beauty of nature. However many of these enclosures were unsuitable for the needs of their inhabitants. The modernist movement and ideas of behaviourism changed the design of zoo’s radically with enclosures aiming to mimic or abstract from natural habitats. Lubetkin’s Penguin Pond is a ref lection of these changing ideals.

Increased commercialism however, perhaps like in the previous conceptions of zoos, puts a focus on spectacle and performance. However in a modern era such design is unsuitable for animal inhabitation with the previous penguins being moved to a more ‘natural’ enclosure.

Elephant and Rhino House

Appro a ch of Penguin Pool

1828 S p e c t a c l e o f N a t u r a l Wo r l d 1954 Open Enclosures

Lion Enclosure

Figure 6

Figure 7

Progression of Zoo Site Plan Snowdon Aivary

C l o c k To w e r o f llama and Camel Enclosure

Site Visit Surrounding Site Landmarks Penguin B each 14.

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A r i e l Vi e w Circulation and Massing

Evolution Of Park

C o n n e c t i o n t o C i t y a n d Pa r k s

Since its conception, Regents park has constantly evolved since Nash’s original vision. Changes to circulation and the building on and population of various parts of the park have changed the parks image over time. Most notably in contemporary times, the introduction of vehicular traffic into the outer circle both connects Regents Park to wider London and divides It from its natural setting of the inner park. This has also fragmented some of the original picturesque views into the park, designed by John Nash. Furthermore, the introduction of the metro in 1863 greatly affected access to park and therefore its infrastructure. The maps pictured highlight changes within the park over time.

Sprawl of London O ver Time 1

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Tube Stations

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Entrance Gates

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Primary Circulation Secondary Circulation Landmark Connection

Regent’s Park 1:20000

1794

Figure 8

1862

1914

1980

Regents Park.

Lu n g s o f T h e C i t y The macro site of Regents Park presents an impor tant space within london providing green space and leisure to an inundated city. Developing upon previously unused, ‘dis-parked’ land , in 1811 architect Josh Nash planned radical redevelopment scheme connecting a proposed park to wider London. Open space, free air and the scener y of nature fundamental to the hear t of the scheme. This originally challenged tested the formula of traditional squares and terraces. Aesthetic qualities were prioritised within the design with the inner park and surrounding buildings connected through framed views.

Regents Park was primarily reser ved for the ‘wealthy and good’ with views to be enjoyed from carriage rides of the outer circle. S een as the ‘boast and pride of the metropolis’. Originally access to park restricted to paying key holders, with the wealthy encouraged to establish themselves within the park. This essentially was a physical manifestation of the divide between the bourgeoise and the lower classes with the park and almost impenetrable outer circle seen as a physical barrier. Now open to all, Regents park is inhabited by both ecolog y and humans creating an impor tance coexistence.

John Nash’s Original Design

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1890

1910

1950

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Regents Park and The Picturesque One overarching design principle of Regents Park was the use of the picturesque. This focused on the irregularities of the natural world and seeing landscape as a subject of art such as a painting. C ontemporar y ar tists Claude Lorrain and Gaspard Poussin, captured these qualities in their depictions of L andscape. Typical qualities of the picturesque include roughness, sudden variation and irregularity. Within landscape architecture, this was an attempt to frame, control and orchestrate nature; designing like a painting gave an element of grandeur. Potentially this encouraged perhaps for natural and vernacular approach to design. Using this a design motive, Nash’s Regents Park presents a varied and visually stimulation environment of which can be enjoyed by f ramed views of the picturesque.

“

That p e c u li ar w hi ch is ag re e able i n a pi c ture

Figure 10

Figure 11

Figure 12

Figure 13

Figure 14

Smooth, Flowing

P i c t u r e s q u e R o u t e o f R e g e n t s Pa r k , R e g e n t s S t r e e t a n d S t Ja m e s Pa r k

k i nd of b e aut y

Figure 9

‘ The B eautiful’

C o n n e c t i o n t o C i t y. ”

‘ The Picturesque’

‘ The Sublime’

Variation, Irregularit y

Wild, Frightening

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Framing of Views

The Picturesque Contemporar y Regent Park.

Exploring the modern day park, despite changes, John Nash’s Vison of a Picturesque L andscape is clear The landscape presents a journey within, with multiple points of discover y of views. This internal journey creates a feeling of distance from the city, allowing a user to revel in the designed landscape providing an sense of escapism. Vistas, create multiple environments creating a varied landscape. A connection to nature in such a landscape is also an important principle. This design principle of creating a journey through a space, I wanted to carr y for ward into my project as well as the technique of unfolding space as seen in Nash’s Masterplan.

Theories of the Picturesque greatly inform these design techniques.

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Initial Concept Sketches.

To experiment with ideas, I initially produced a series of sketches overlaying tracing paper with the original site plans.

I found a natural cour tyard was created by abstracting the Pool’s cur ved form outward to produce another structure. Inspired by the sculptural forms of the pool’s ramps, I wanted to simulate this in my own design yet reverse this for human experience rather than animal. Within these sketches I experimented with var ying heights of overlapping ramps and thin structural columns, mimicking the modernist style of Lubetkin. These ramps would form a building which would divide both public and zoo space. Extending outwards, this new building would provide a new park entrance, with the Penguin Pool being a highlighted opening feature to this space. I experimented with the idea of combing animal and human space with ramps allowing somewhat access to the enclosure. With this, I liked the idea of blurring the boundaries between nature and the artificial.

Design Principles.

Figure 15

Figure 16

Biophilic Design Geometric Form

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Upon our site analysis of the Lubetkins Penguin Pond, what I found an interesting design concept, was Lubetkin’s consideration for nature

Alongside this, I was inspired by Lubetkin’s pioneering spiralling ramps and his elegant use of geometr y

Taking this as my inspiration for preser vation, I designed my building concept with the idea of designing with nature as a fundamental principle.

With my preser vation of the pond and extension of the zoo, I wanted to create a sympathetic nod to these forms, abstracting the ideas of ramps to a larger scale.

As with Lubetkin’s design and its site of Regents Park, I wanted to incor porate elements of the picturesque and green space within the city perhaps expanding and creating a connection with the park.

Within the Penguin Pond, I wanted to celebrate it as an architectural sculpture yet re-imagine its use for human scale.

Researching these initial concepts, I came across ideas of ecolog y in which I wanted to ground my design.

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Exploring Through Iterative Sketching Inspired by the preliminar y sketches of Frank Gehr y, I adopted a similar f luid and imprecise style of sketching, using f ine liner and paper to draw my ideas in an un-precious fashion. Gehr y known for his rejection of regulated form, used this same technique of sketching to achieve f reedom over form. I feel this method allows a direct translation of thought to realisation, allowing design to occur without much hesitation. From this, the process of design iteration can ref ine these unrestrained ideas.

Experimentations of free sketching as practiced by Frank Gherey

Figure 17

Enclosure Concept.

Developing ideas about biophilic design and with my massing aiming to create a connection to Regents Park, I wanted my research building and enclosure to be centred around local ecolog y and projects. With biophilic design being a discipline in which local environment is a principle design consideration, I wanted to produce a scheme in which attention and education could be drawn to the preser vation of our immediate environments.

Figure 18

Figure 19

Figure 20

Hedgehog and Local Wildlife Preservation

Green Fingers In The Park

Developing Massing

Another existing project in Regents Park, is an initiative to foster a connection between young children and their local environments. ‘Green Fingers in the Park’ invites children and local community groups to join gardeners and learn about nature actively participating in the upkeep of their surrounding ecolog y. Planting activities benefits the environment as well as inspiring a care for the environment at a young age. Within my building I wanted to include educational spaces to foster and expand this scheme.

Through iterative sketching I produced a simple design of mirrored sloping forms framing the pool as a cour tyard. Using the geometr y of the pool to inform this design I felt created a design sympathetic to the existing str ucture. These sloping structures would be a walkable roofscape, creating a route around the design. This elevated route would provide prospects for the zoo, penguin pool and beyond into regents park.

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Hedgehog numbers have been in steady decline for the last 30 years in Britain. Our cities increasingly, urbanised do not provide optimal environments for Britain’s native ecolog y. Regents Park is the last remaining site in London which houses hedgehogs. An existing Preser vation Programme under taken

by Royal Parks and The Z oological S ociety of London, aims to sur vey this population in order to aid conser vation efforts. Small animals as such are important to the biodiversity of our environments. Within my building and enclosure, I would like to design a facility to house this conser vation ef for t of Regents Park and create an environment in which this ecolog y can thrive.

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Initial Concept.

Developing this idea, I wanted to look at this massing from a macro perspective of how it fit in with its surrounding park and zoo. Creating a site plan, I designed the zoo to move fur ther into Regents Park, past its original boundaries. From this I created an entrance park as an extension to the wider park. I felt that this would potentially activate this area of the park which is not par ticularly in use due to the boundaries of the zoo. I also created larger foot paths and circulation space connecting this new inter vention to the rest of the zoo. To do this I added more green space and simplified the plan in this portion of the zoo. I also felt it was useful to explore this design in section as it gave an idea of the connection between each building, the pond and the animal enclosure.

The Enclosure Within this design, one of the key spaces is the enclosure as this perpetuates the idea and practice of ecological preser vation, of which is the buildings aim. To give focus to this and to play with ideas of nature and man intermingling, I designed this building to be able to experience the enclosure from 3 different levels: From the roofscape, from the building through glazing and from within the enclosure, underground though glazing. This glazed ‘walkway’ would give a non-intrusive experience of the animals enclosure allowing us to encounter and interact with their habitat.

The Park Entrance The New Z oo Entrance, I designed to blend into its natural settings. However I wanted the Animal enclosure to be somewhat visible, separated by a landscaped setting. This blurs the boundaries between park and zoo. Carr ying on themes of shadow and ref lection I wanted to include ornamental water to mirror the nature of the park. Additionally this could be used as a natural separating barrier between building and nature. Similarly emulating Lubetkin’s pool design, this entrance I designed to have a plain feature white wall to act as a canvas for shadows of the nature surrounding it.

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Concept Massing.

Deciding hand sketching was successful to my creative output I decided to fur ther develop my original ideas. Building upon advice f rom my early tutorials, I wanted to focus of scaling my design whilst relating further to the Pool by abstracting its geometr y. S etting these buildings back further accentuated the Pool as a feature, creating ease of circulation. Furthermore I explored how the walk-able ramps would be accessible; my initial concept would be to create shallow steps allowing for steeper gradient than a ramp.

Initial Site Section Sketching in section helps to understand the relation of each element of this design. This section highlights the geometr y and special qualities created internally by the sloping roofscape. Developed I felt this could create interesting and dramatized spaces. Furthermore within the section the connection between pool, building and landscape is evident.

Building to Landscape Mirroring this, I designed an additional building that would act as a separation between zoo and park and frame the animal enclosure. Creating a walk-able roof scape links to the picturesque connecting views of park, zoo and pond. This has links to Nash’s outer circle and his framing of views. In my design concept this is an impor tant principle linking building to landscape. To relate to the original ethos of Lubetkin’s Penguin Pond, I created an ornamental water feature around the pond to exemplif y ref lections of surrounding nature.

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Semester 2

P r o j e c t Te s t i n g .

P r o j e c t D e v e l o p m e n t a n d It e r a t i o n Moving for ward from framing and into testing I felt I had a clear massing proposal yet wanted to work on refining my ideas into a solid concept. Upon feedback my aim was to translate how my massing could be translated into habitable space.

For this I wanted to create programme which gave clear function to each building fitting with my narrative of biophilic design and local conser vation. With this I wanted to explore how my proposal would function perhaps challenging the traditional concept of a captive enclosure for ecolog y. This narrative I wanted to explore how I could further the connection with the park and how creating an entrance from this alters the site plan. Within my development of Framing, I used precedents to inform elements of my design; I found this particularly inf luential is shaping the narrative of my building. Within the portion of design, I adopted a micro and macro approach focussing first on the building plan and function and then to the wider master plan.

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Previous Concept Images Process of Sketching Exploring concept through sketch I found to be an effective design tool to develop my project. This method is f luid and presents an organic way of designing.

Sketching I felt allowed for enhanced creativity ; working with an organically inspired design I felt the practice of this should match the theor y.

P i c t u re s q u e Vi e w s

Biophilic Landscape

Extension of Parkland Prospect into Animal Enclosure Wa l k a b l e G r e e n R o o f

Concept Development.

‘Nature within the city’ Adapting my massing to incorporate more elements of my initial concept, by idea was to build up the surrounding environment creating a parkland within my scheme. I wanted the extensions and the landscape to be as one, creating a varied environment. Creating this green space within the city I felt was important as such spaces provide of multitude of benef its for all aspects of ecolog y and our urban environments.

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Figure 21

Biophilic Precedent.

Shanghai Natural Histor y Museum Perk ins + Wi l l

Penguin Pool Redevelopment

Sunken Deck

Shanghai’s Natural Histor y Museum, its purpose being one of ecolog y, takes inspiration from the natural forms it houses. Its forms, emulating those found in fossil, create a cohesive landscape of multiple layers in which can be used by both human and nature.

Opening up par ts of the pond and creating a sunken garden, I wanted the pond to be an extension of the parkland, creating a quiet space of ref lection and to a place to be connected to nature. The juxtaposition of the clean geometric lines and natural forms, I feel highlight the Pond’s architecture this providing a preser vation.

Within my design, I wanted to take inspiration of aspects of this design; I felt the walk able green roof and natural sweeping forms were effective in this design as well as the manipulation of light; another biophilic concept.

Realised Penguin Pool Plan Refelection Garden /Public seating

Figure 22 34.

Figure 23 35.

F i r s t F l o or

G rou n d F l o or

B a s e m e nt A

Initial Plans.

Phase 1 Developing f rom my concept sketches, the next phase was to realise my plans. Designing using CAD I f ind useful as it allows for precise drawings. With my initial plans I separated the building by function with the two main interconnected buildings separated into exhibition space, a look out into the animal enclosure and laborator y space.

The third building was designed to be primarily education space. Impor tant within this design was preser ving the route through f rom Regents Park to the Penguin Pond.

Fur thermore within these plans I designed how my concept for the Penguin Pool Would work in relation to plan.

A

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S c a le 1/200

Figure 24

Phase 1 Drawing an initial precise elevation and section in CAD, helped me visualize the form of my design. Within the elevation a clear design intention was forming with the roofscape a defining feature. S eemingly emerging for the ground the design of this was inspired by biophilic inf luences creating a connection from landscape to building. This is a concept I wanted to explore further. Within my section I experimented with raising the topography around the Pool to achieve this and create a more natural environment surrounding this feature.

Initial Elevation

Form Precedent.

Tr e e A r t M u s e u m Daipu Architects Sharing elements of design from my initial sketches, The Tree Art Museum, presents organic forms, creating an ambient and explorable environment. From this I enjoyed the transparenc y from inside to outside through glazing and the design of the scheme as a cohesive landscape emerging from the ground. Such concepts could potentially share ideas with biophilia.

C h a n g e i n To p o g r a p h y

Initial Section A-A

Central Court yard

Pict uresque View Point Route Through Enclosure

Figure 25 38.

Figure 26 39.

Figure 27

Master Plan Concept

Master Plan Precedent.

As my massing was developing, I felt that I wanted to delve deeper into my overarching concept and produce a masterplan that expanded further

Grace Farms

than the function of my building. Instead of focusing on a singular enclosure, I wanted to challenge the concept of this and instead create an open landscape to encourage ecology to migrate to and flourish. Pushing fur-

SANNA

ther out into Regents Park, the idea was to create an experiential biophilic route, including ecological habitats, of which would lead the public to my

The proposed mater plan used inspiration from Grace Farms,

building on the border of the zoo. Replacing the existing path, this would

by the Japanese firm SANNA. The public center for arts, faith

create a longer and meandering path, the idea to allow users to revel in

and justice, creates a varying landscape in which its multi

nature. This would act as an extension to Nash’s picturesque route.

functional building blends into this landscape creating a route through. Its described as a gift of open space with one of its main aims being to experience nature.

Figure 28

Figure 29 40.

41.

Circulation and Experience Upon analysis there were three designed routes into my building scheme. Each approach I wanted to create an experience with the Penguin Pool as the focal point. Each entrance I wanted to design an experience of unfolding space, with each route opening up from a narrower/smaller space to a vast space. The framing of the Pool with the surrounding proposed buildings creates this enclosed yet open feeling of space.

Initial Master Plan.

Biophilic Nature Reser ve As my massing was developing, I felt that I wanted to delve deeper into my overarching concept and produce a masterplan that expanded further than the

Sun Path Analysis

function of my building. Instead of focusing on a singular enclosure, I wanted

As the orientation of my building

to challenge the concept of this and instead create an open landscape to en-

was majority north facing, within my

courage ecology to migrate to and flourish. Pushing further out into Regents

plans I wanted to explore capturing

Park, the idea was to create an experiential biophilic route, including ecological

this natural light, whilst preserving

habitats, of which would lead the public to my building on the border of the

shade within the interiors of the parts

zoo. Replacing the existing path, this would create a longer and meandering

of my building which are southern

path, the idea to allow users to revel in nature. This would act as an extension

facing. This balance of light is import-

to Nash’s picturesque route.

ant to regulate the temperature of the buildings as well as providing naturally lit interiors.

Scale 1/1000 42.

43.

Programming.

C i rc u l at i on t o Us e

Refining the programme of my building, I focused on creating a clear

Ad d it i v e a n d Su bt r a c t i v e

Pause and Clark Diagrams

division of function. Ground levels would be used primarily as entrance and circulation space with the lower levels providing the majority of the buildings activity. This would be to guide users through the building to experience each element.

Building upon my developed programme, I produced a series of Pause and Clark diagrams to simplistically communicate the layout and geometric forms of how my proposal functions.

P l a n t o S e c t i on

44.

Hi e r a rc hy

B a l a n c e a n d Sy m m e t r y

45.

G rou n d F l o or

F i r s t F l o or

B a s e m e nt

A

14 9

12

8

13

10

B 11

Developed Plans.

Phase 2 4

3

With phase two of my plans, the focus was on starting to consider primar y structure and how this would be realized. Glulam columns provide the main structure and are prominent throughout the building. Other alterations were consideration of bringing natural sunlight to lower f loors, this is achieved through opening in the f loor and the interr upted curtain wall. Biophilic elements are also present in this phase with the use of cur ved and varied forms and an extension of the obser vation deck making a connection to the nature reser ve.

5 2

3

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7 1

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B

GROUND

FIRST FLOOR 1. CAFE

2.STAFF LOCKER ROOM

3.CAFE STORAGE

4.CIRCULATION CORE

A N FLOOR

N

1. ENTRANCE CANOPY

2.ENTRANCE/RECEPTION

3.OBSERVATORY

7. CIRCULATION CORE

8.ENTRANCE AND COMMUNAL DINING SPACE

4.CIRCULATION CORE 9.CIRCULATION CORE

5.LAB COMMON ROOM

6.LABORATORY

BASEMENT 1. OBSERVATORY

2.SMALL EXHIBITION SPACE

8.RESAERCHER’S RESIDENCE

46.

N

3.PLANT ROOM

9.CIRCULATION CORE

4.OBSERVATION DECK

10. LECTURE THEATRE

5. EXHIBITION SPACE

11.STORAGE

6.CLASSROOM 7.LABORATORY

12.EXHIBITION SPACE 13. PLANT ROOM

14.CIRCULATION CORE

47.

S c a le 1/200

S c a le 1/200

S e c t i on A- A .

Developed

Glulam Primar y Structure

Section B-B.

P r e s e r v a t i o n o f Tr e e s

Developed

Corresponding Geometr y

Gr een Roof u si ng L oc a l Fau na

With Peng uin Pool

Biophilic Garden

Obser vation Deck

Double Hieght Spaces

48.

49.

Concept Realization.

Pi c tu re s qu e Appro a ch Producing a rendered image of the approach of my design demonstrates the material and atmospheric qualities of the park and building. This designed landscape aims to frame the views leading up to my building with this element adding to the picturesque vison. The choice of larch cladding, adds to the aesthetic on natural materials, and with weathering would increasingly blend into the landscape.

We a t h e r e d L a r c h C l a d d i n g

Figure 30

Semester 2

Thinking Through Making.

Designing decorative elements with nature Thinking through making required creating a project relating to my design proposal and its inspirations. This had to be a small piece of 1:1 to 1:10 scale. With this micro scale, I wanted to focus on smaller details of my building of which I could include biophilic elements. I was particularly interested in themes of contrast of manmade a nature and how these elements can work together to produce something interconnected. Due to C ovid 19 I had access to limited resource meaning my design was something achievable in a space outside of a workshop.

52.

53.

Thinking Through Sketching

Precedents and Influences.

The concept for my thinking through making piece was to explore small elements of my building of which I could apply a biophilic approach. After research I became interested in decorative elements within buildings and how these have carried a stor y historically. Widely popularized in the 18th and 19th centuries, decorative plaster cast details became a way to convey classical art with our built environments. Often depicting a classical scene in human histor y/folklore these elements use walls as a canvas to display human histor y. Now a rare element within building I wanted to explore how I could potentially include this within my building in a biophilic way. I wanted to use this as an educational element to include local ecolog y within the walls of my design.

By including elements of the local ecolog y within my design, I felt this was a way to convey my buildings pur pose and narrative. Taking this idea of plaster cast, I thought it would be an interesting concept to combine something natural such as local fauna with a manmade material to produce an imprint of the natural. Within my building I felt this could be a decorative wall. For my model, I decided to cast a por tion of a cur ved wall using local fauna found within my local area. Unlike the precises classical casting I wanted to produce something r ustic in its aesthetic.

Exploring these precedents through sketching helped me understand the intricacies of their design. These traditionally used complex forms, In my piece I wanted to use a more minimalistic approach.

P l a t e r C a s t I n Mo u l d

For this piece, I would first create a negative mould using terracotta clay (for a rustic appearance), imprint the natural fauna, then finally fill the mould with plaster of paris.

Upon casting this piece could be refined to aesthetic preference. Hand moulding the clay, produces a natural appearance and further emphasises the use of human inter vention with natural material. Sketching my ideas before realisation, I explored the qualities and process of the design.

Figure 31

Figure 32

Figure 33

Rosemar y Bluebell

Hy d r a n g e a

E x a m p l e s o f L o c a l Fa u n a 54.

55.

Plaster Cast Process.

Phase 1

Thinking Through Photography Photographing the f inal project, I felt that the resulting piece represented the intricate forms in nature in a manmade way. Within my building this detail would provide a narrative of how we can allow nature to inform our design and combine aspects with our manmade practices. Experimenting with dif ferent light and angles within photography, shows the effect of sunlight and designed light in an exhibition.

Plant S election Venturing into my local environment, I selected a range of prominent fauna which I felt told a stor y of the ecolog y of the area. These I also selected for aesthetic reasons; I selected plants that would work well with the plaster to show the intricacies of their form.

Clay Negative Using terracotta clay for its ear th like appearance, I worked this material to create a smooth surface of approximately 30 x 30 cm.

Arranging the fauna in an ar tistic way, I then created an imprint into the clay. To achieve a maximum f inish, I worked the clay by hand creating finishing touches

Clay Mould To turn this negative into a mould, I hand moulded barriers. These I wanted to create a rustic, uneven f inishing to give the appearance of a natural design.

Phase 2

Plaster Casting Once I had the mould, I mixed the plaster and applied this to my design. This I felt I perhaps did not achieve the desired consistenc y however overall this added to the non-polished appearance.

Unveiling After the plaster had set, I the proceeded to remove the clay. The resulting plaster cast in its raw form showed the details and intricacies of the plant forms.

Finishing To produce a final product, I trimmed the edges and cleaned up the plaster cast by removing the residual clay. Terracotta, used for its visual aesthetics provided an ear thy quality to the plaster cast of which I liked the ap-

56.

57.

Indicator of new work after review

Semester 2

Project Synthesis.

Realisation and comunication of proposed project Upon the framing stage of my project I was beginning to delve deeper into the narrative of my building as a biophilic landscape and was focused on the conceptual element of my proposal. My research into both the picturesque and ecolog y I felt at this stage was manifesting into aspects of my design of which was the overarching narrative. My massing, conveyed a connection to Regents Park, The Penguin Pool, and the zoo respectively and provided a journey through linking these landscapes together, however moving for ward I felt I could explore this idea further. Upon feedback, it was advised that I consider the connection between building and landscape and whether I could meld theses elements together designing the topography. Manipulating this would create a natural var ying landscape as well as allowing natural light and ventilation to lower levels of which was missing in previous plans. Furthermore, pushing ideas of the picturesque, I wanted to focus on the greater master plan of the reser ve and route through, thinking and representing how this could be interacted with as my proposal expands further than building. Within this I wanted to explore in realisation of my project, tectonic and environmental details showing the actuality of the construction of my building. Looking into these details made me reconsider my design with factors such as accessibility and providing an experience for all altering the final shape and plan of my design. C onsidering all of this furthered the depth of my project and created a more cohesive design which embodied ideas of biophilia of which was my pergogative.

58.

59.

Figure 34

Figure 35

Precedent Sanna, Grace Farms, These undulating forms and connection to nature I experimented with within my master plan. I also took inspiration from the multipurpose use of this space with each zone a different activity.

Bird Hide

B i op h i l i c P l ay g rou n d

Wo o d e d Wa l k He d g e row s

Master Plan.

Developing my master plan, I wanted to explore how human activity and nature can be combined and cohabit. Expanding upon previous concept diagrams, I altered my plan to extend the wetlands and waterscape to create a greater habitat for native species of birds, mammals, fish and fauna. The route towards my building is designed as an elevated walkway, in which users could experience and revel their local environment. Within this route I designed a biophilic inspired playground as well as a picnic area, bird hide and wooden pavilions as markers of each area. Changes to the orientation of the north building and changing the roofscape to a cohesive ramp, I feel creates a mare natural landscape with its forms an extension of the walkway. Importantly this provides accessibility to views important within my scheme.

R o bi n

We s t e n He d g e h o g

The Hedgerows.

An important animal to the ecology of Regents Park is hedgehogs. Within the borders of the park and the Zoo there remains two groups of this western hedgehog which are believed to be the last known population within London. Within the UK numbers of hedgehogs have dropped 30% since 2002. As cities expand we are increasingly losing local ecology which is something I wanted to foster within my master plan. Furthermore within my design I wanted to expand and provide facilities for the pre-existing hedgehog preservation program by Royal Parks. Around the border of the zoo I proposed to add to the dense hedgerows and provide nesting boxes to encourage migration to these areas and population growth. This would allow for easy observation undertaken by researches using the proposed research centre. Furthermore there are educational opportunities about this animal being included within this route.

Local Wildlife Within Habitat - Robins and tits and small birds - Western Hedgehog

63.

Fa c i l it y f or ‘G re e n F i n g e r s i n t h e Pa r k’

The Playground.

Within my masterplan, I wanted to create an educational opportunity for people to learn about and potentially add to their local ecology. I wanted to blend manmade elements with nature to bridge this gap within design. Along the route I designed a playground for children, which was biophilic inspired. This is designed as a natural varying landscape with elements of play intertwined. Playgrounds are often soley manmade with surfaces of plastic and tarmac. I wanted to create an environment in which play and nature were connected to create a connection to nature from a young age.

Laerning about care for the enviroment at this stage is proven to carry on to later life. Furthermore I wanted to create an area in which educational trips could use this space as a classroom learning about the local environment and add to it by participating in is upkeep. An existing programme is ‘Green Fingers in the Park’; this invites school children to learn about ecology and participate in planting Regents Park. This habitat would provide a facility for this scheme.

Benefits of Habitat - Allows a space for children to experience nature - Provides an educational experience

65.

B r it i s h Fox

G re y S qu i r re l

T h e Wa l k w a y Linking each activity zone and connecting Regents Park to my design, is the elevated walkway. I wanted this to be an experience of varying environments and sights. Encompassing wooden pavilions as rest stops and indicators of each zone, the idea was of prospect and refuge. The curved design, inspired by the forms of Grace Farms, provide a meandering path allowing users to take time to enjoy their surroundings. Preserving and adding to the thick foliage surrounding the border of the park, provides the illusion of seclusion, away from the city. Prospect and refuge is experienced through the sheltered paths opening up into larger landscapes. Alongside the paths, natural woodland provides an environment for natural fauna and local animals to flourish.

Local Wildlife Within Habitat - Grey Squirells - Sopran Pipstrelle Bat -Fox -Wood Mouse

67.

Ke s t re l

G re e n Wo o dp e c k e r

The Birdhide Designing a bird hide within the route, allows for observation of wildlife without disruption or interference of the landscape. Continuing the theme of prospect and refuge, the wooden structure allows for rest and shelter whilst framing the view of the reserve and the research center. This relates to John Nash’s principles of creating picturesque routes around regents view creating viewpoints to frame the landscape. Expanding the wetlands, enables a greater diversity of wildlife and encourages migration to this area increasing the wilderness of the city. Bird observation has been a fundamental activity within Regents Park since the 19th Century and the park boasts over 200 species. This element to my design would provide a facility to carry on this tradition.

Local Wildlife Within Habitat - Green Woodpecker - Kestrel -Tawny Owl -Redwig -Mistle Thrush

69.

2

6

0

4

10 8

20

Plan Evolution

A

Scale 1/200

G r o u n d F l o o r.

Building upon my pervious floor plans from the testing phase, I felt there were elements I wanted to change to be cohesive to my masterplan. I felt I had designed with biophilic intent on the outside however wanted to transfer this to the interior. To work with the designed ramp as the roof scape, I changed the massing of the north building to create a natural continuation of the ramp. Looking back at previous plans I wanted to improve on geometry, working with curved structures, I wanted to ensure the buildings responded directly to the geometry of the penguin pond. Furthermore, in my previous plans there was a lack of division between public and private spaces as well as issues with lack of sunlight and ventilation to the lower levels. Between phases 1 and 2 of my plans I felt there was an increasing connection to the surrounding landscape however moving forward I wanted to focus on this.

Building One

Building Three

Public Exhibition/Education Space

Research Centre

1-Public Entrance/ Reception

7-Public Entrance/ Reception

2-Photographic Exhibition

8-Research Exhibition

(Regents Park, Penguin Pond) 3-Toilets

(conservation of local wildlife)

7

9-Employee Entrance/Stair Core

4-Plant Room 5-Stair Core/ Fire Escape 8 9

6-Biophilic Refelection Garden

B 6

Phase 1

F i r s t F l o or

G rou n d F l o or

B a s m e nt A

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GROUNDNFLOOR

FIRST FLOOR 1. CAFE

2.STAFF LOCKER ROOM

3.CAFE STORAGE

4.CIRCULATION CORE

The geometry of the buildings frame the penguin pond in a central courtyard, making it the central point of design. Prospects from the ground floor frame this view. The Penguin Pool functioning as a public seating and garden area, provides a space of relaxation and meditation away from the city. This biophilic reimagining makes the pool accesible to both humans and ecology.

N

BASEMENT

1. ENTRANCE CANOPY

2.ENTRANCE/RECEPTION

3.OBSERVATORY

7. CIRCULATION CORE

8.ENTRANCE AND COMMUNAL DINING SPACE

4.CIRCULATION CORE 9.CIRCULATION CORE

5.LAB COMMON ROOM

6.LABORATORY

1. OBSERVATORY

2.SMALL EXHIBITION SPACE

8.RESAERCHER’S RESIDENCE

3.PLANT ROOM

9.CIRCULATION CORE

4.OBSERVATION DECK

10. LECTURE THEATRE

5. EXHIBITION SPACE

11.STORAGE

6.CLASSROOM 7.LABORATORY

12.EXHIBITION SPACE 13. PLANT ROOM

Incorporating themes from my master plan into my floor plans, I wanted there to be a natural route within the circulation of my buildings aided by the use of curved surfaces. This route would give natural progression within the buildings and provide an experience of unfolding space. Creating a connection to nature within the interiors, plants and greenspace are integrated throughout. This creates a continuation of the parkland. Changing the programme In order to separate the functions of each building and public/private space, Building one and two function as public space, (Observatory/Exhibition/Educational Space) and Building three functions as a private research centre with elements of public exhibition.

14.CIRCULATION CORE

70.

71.

2 0

6 4

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0

Scale 1/200

Building One

Building Three

Public Exhibition/Education Space

Research Centre

1-Interior Garden

7-Cafeteria/Common Area

2-Exhibition

8-Kitchen

(Environmental Conservation

9-Toilets

/biophilia)

10-Staff Break Room

3-Seating/Common Area

11-Research Conservation

4-Stair Core

Laboratory (Public Viewing)

8

20

B a s e m e n t - 2 F l o o r.

7

9

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12-Refrigerated Storage Observatory

4

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Scale 1/200

B a s e m e n t - 1 F l o o r.

B u i l d i n g Tw o

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13-Storage

11

14-Stair Core

14

5-Reserve Observatory

Building One

Building Three

Public Exhibition/Education Space

Research Centre (Private to Staff)

1-Lecture Theatre

16-Stair Core

2-Storage/

17-Plant Room

Lecture Theatre services

18-Researcher Accommodation

3-Stair Core

19- Staff Common Area

4-Services

20-Conservation Laboratory

5-Ehibition

(Private)

(Work Produced by Students)

21-Staff Storage

6- Classroom

22-Storage

7-Toilets

23-Refrigerated Storage

8-Cafe

24-Outdoor Space

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20 23 22

18 21

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6-Toilets

10-Storage 13

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B u i l d i n g Tw o Observatory

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11-Observation Deck 12-Photographic Exhibition (Reserve) 13-Toilets 14-Storage/Services 15-Observation Deck 1 14

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As the majority of my design is underground, the surrounding topography has been designed to allow light and ventilation into these lower levels. Use of double height spaces in all buildings, allows for a feeling of connection throughout the levels and allows the showcase of the buildings sloping roof scape.

Building One encompasses public interior garden, providing a communal space within the city, and provides educational exhibitions on the conservation of local wildlife of which is the focus of the adjacent research centre. Building two, provides prospect into the nature reserve, functioning as an observatory. Building three comprises of semi-public community and laboratory space.

To provide an educational experience to the public on conserving and nurturing our locally ecology as well as its importance in our cities, this space would be periodically open to the public to ob-

1

Designing underground space, I used the modified topography to create light and darker spaces. Programming the building so that light was accessible by the function of the room I felt was a design tool that could create atmospheric spaces. Within building one I included windows in the educational spaces to create a comfortable environment, with spaces such as exhibition space purposely darker for use of directed light. The café are would be lit by openings in the floor bringing light throughout the building. Building three functions as a private space for researchers. Although underground I wanted to create a comfortable living space, providing natural light and accessibility to out door space.

serve the work produced.

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4 3

Ground Floor Plan

2

5

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Primary Structure Connection Exproration

7 10 6

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9 12

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1 / 2 0 Te c h n i c a l S e c t i o n 1.

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Plywood upstand cap Waterproof membrane Mineral wool insulation Rigid metal air/vapour barrier Larchwood cladding Timper studs 50mm Plywood 15mm Insulation 100mm Cavity 15mm Insulation 50mm Support stud 50mm CLT 4 leaf 180mm Insulation 100mm Aluminium sheet cladding

2.

Parapet inspection chamber Gravel

19

Vegetation Engineered soil Growing medium substrate Filter membrane Water reservoir and drainage layer Protection layer/root barrier Waterproof membrane Rigid insulation 70mm Acoustic insulation 50mm Vapour barrier CLT structural roof panel 200mm

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4.

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Extruded stainless steel handrail diameter 50mm Structural toughened glass Setting block Base Clamp Continuous bolt clamping system

5.

Timber floor finishing Waterproof membrane Rigid insulation 70mm Acoustic insulation 50mm Vapour barrier CLT structural roof panel 200mm

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Larchwood cladding 30mm Timber studs 50mm Waterproof membrane Rigid insulation 100mm CLT structual wall panel 200mm Service cavity 60mm

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Steel glulam connections Wooden finish board Rigid insulation Glulam beam 200x350mm

8.

Glulam structural tapered beam 400x400m

9.

Glulam structural column 300x300mm

10.

Steel footed knife plate glulam connections Steel connecting bolts 40mm diameter

11.

Polished screed floor finish Underfloor heating pipes 20 mm diameter Service cavity 70mm Plywood 15mm Rigid Insulation CLT structural floor panel 200mm Service cavity 40mm Plywood finishing board 15mm

12.

Extruded stainless steel handrail diameter 50mm Structural toughened glass Stainless steel mullions Setting block Base Clamp Continuous bolt clamping system

14.

Waterproof membrane 50mm rigid insulation 500mm window support Window sill Timber flashing

15.

Waterproof membrane Re-enforced concrete slab 300mm Rigid insulation 100mm Plywood 15mm Service cavity 70mm Underfloor heating pipes 20mm diameter

16.

Concrete pile foundation Concrete pile sealant Concrete pile cap

17.

Timber Posts 300x300mm Concrete pad foundations

18.

Glulam structual column 300x300mm

19.

Steel footed knife plate glulam connections

20.

Larchwood decking 40mm Timber joists 50x50mm Continuous span, load bearing timber 150x50

13.

Double glazed curtain wall Wooden frame and mullions 50mm

1/20Part Elevation

L ong S e c t i on A- A .

C elebration Piece My long section communicates my design in its entirety and shows the scheme in relation to interior spaces and surrounding environment. I aimed to demonstrate the key principles for my design, showing the influences of biophilia designing with the landscape and in consideration of the surrounding environment. Highlighted is the walkable roof-scape which provides a natural continuation of walkable parkland. Views from the roof frame the landscape and the geometry of the pool, linking each together into a cohesive landscape. The overarching design of the landscape aims to provide a natural environment in man made way. The background shows the design’s isolation from the city; framing the design by foliage creates a refugee within the city.

76.

Scale 1/100 0

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5 10

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77.

Building One Section B-B C elebration Piece This section represents the multifunctional nature of Building One. This I felt was an important section as it encompasses the most public circulation and shows the tectonic details and overarching shape of my design, showcasing the roofscape. This section demonstrates the varying levels of this building, maximising room height and creating dramatic spaces. This also allows light to penetrate the building. Within this design, the primary structure of glulam beams, is emphasized as a design feature.

0

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79.

Interior Perspective.

C elebration Piece

I created an interior perspective of the biophilic garden, as I felt it encompasses the essence of the interior spaces and their biophilic design. Using curved forms to create a sensory seating area, this space uses an abundance of local fauna and green walls to create exterior landscape indoors. Lightwells provides light to the floor underneath continuing natural sunlight through the building.

This perspective showcases the materiality of the building contrasting manmade and natural materials. Plywood Is used throughout the building providing a minimalistic surface which has a natural appearance; this provides a continuity and links all building together through aesthetic qualities. Paired with the exposed structure, the thematic of wood throughout the buildings showcases the manmade construction of natural materials.

80.

81.

Cultural Bibliography .

Regent’s Park, Outer Circle View

Visual Connection of Zoo, Park and City from Primrose Hill

Figure 38 -Frank Gherey

Figure 40- An example of Frank Geherey Sketches

London Zoo/ Regents Park Visist

Sketching Process

Wanting to experience the site In person, I planned a visit to London Z oo, separate to my studies to experience the atmosphere and qualities that cannot be perceived form online analysis. Walking Nash’s route around Regents Park helped me appreciate his design intentions and helped me further my master plan.

In person experience helped me visualise my design in a different way. A trip to the adjacent Park Primrose Hill, helped to understand the Z oo and Park’s C onnection to the City and the function of such parks.

Researching how different architects used sketch as a method conceptualizing design I felt aided my design process this year. Focusing on Frank Gherey and applying his technique, took me out of my comfort zone and allowed me to translate my ideas in a more f luid way.

RIBA Mentorship

Climate Criss (Earthrise Studio)

I previously par ticipated in the RIBA mentorship scheme in which I was paired with the medium size practice Napper Architects. O ver the course of 4 sessions, I learned invaluable knowledge of how a practice is run and the professional process of a project. Applying this knowledge to my project this year, I was able to look deeper into the proposal and begin to think about how this project would be realized if built. Furthermore a site visit to an in process building, Teesside University student Accommodation, greatly helped my understanding of construction process. S eeing working details translated form paper to real life aided my comprehension; this experience proved useful with the drawing of my 1/20 S ection.

For many years, I have followed on social media, the collective ‘E arthrise Studio’. A group formed of architects, documentarians and photographers, this studio aims to educate and promote solutions to the environmental crisis, which are primarily design based. This being a fundamental problem in today’s society, through design we have the power to change how we live our lives. E arthrise has provided information throughout the year which helped to inspire and inform my design, based on ecological preser vation.

Figure 36 -Napper Architects Projects

F i g u r e 3 7 -Te e s i d e U n i v e r s i t y, Student Accommodation

Figure 39 -Earth Rise Studio The Breakdown Project 82.

Figure 41- Earth Rise Studio Mother Nature Interview 83.

Figure 42

The Hill House.

Figure 43

Figure 44

Case Study Authors Sam Fard . Eleanor Mettham . Michelle Mok . Catherine McConnachie . Hannah Batho and Reece Minnot 84.

85.

The Hill House B ox.

-New and Old

By Michelle Mok

86.

87.

Reflection of Berthold Lubetkin and The Penguin Pond.

-Part 1

By Catherine McChonnachie

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89.

Reflection of Berthold Lubetkin and The Penguin Pond.

-Part 2

By Hannah Batho

90.

91.

Environmental and Climatic Context

By Sam Fard

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93.

Exploring Theoretics.

By Elanor Mettham

94.

95.

Relating to Other Buildings.

By Reece Minnot

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97.

List of Figures .

Figure 1

Elías García Martínez’s c1930 Ecce Homo, B efore [image] https://www.nytimes.com/2012/08/24/world/europe/ botched-restoration-of-ecce-homo-fresco-shocks-spain.html

Figure 2

Elías García Martínez’s c1930 Ecce Homo, After[image] https://www.nytimes.com/2012/08/24/world/europe/botchedrestoration-of-ecce-homo-fresco-shocks-spain.html

F i g u r e 3 Ramp Sculpture [image] https://worldarchitecture.org/article-links/epvhc/berthold_lubetkins_poetic_pen-guin_pool_may_be_ F i g u r e 4 Berthold Lubetkin Portrait [image] http://architectuul.com/architect/berthold-lubetkin

Bibliography .

Figure 21

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