Z11P6

NEUES STÄDTISCH ORCHESTER WIEN Cultural Assemblages Semester 2 Portfolio

Dan Hill 140304318

With special thanks to tutors, Elizabeth Baldwin Gray and Assia Stefanova.

Also many thanks to guest tutors; Leon Walsh and Tara Alisandratos, and guest reviewers; Claire Harper, Ed Wainwright, Daria Zolotareva and Ashley Mason.

Contents: PART ONE - SITE ANALYSIS Urban Study Historic Research

1 2 6

PART TWO - DESIGN THESIS Precedent Study Research Narrative

8 10 14

PART THREE - DESIGN DEVELOPMENT Sonic Agency Building Programme Diagram Refinement

18 20 24 28

PART FOUR - DESIGN PROPOSAL Site Strategy Scale and Public Realm Economic Programme Building Layout Individual Spaces: Outdoor Performance Space and Workshop Indoor Performance Space Self-Recording Pod Function/Event Space Storage Crane Detailed Facade Strategy

32 34 36 40 42

Critical Reflection

71

Bibliography

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Indicates unseen, new or revisited work since Final Review.

Indicates work seen in Semester 1 Portfolio.

50 52 54 58 60 62

SITE ANALYSIS Part One

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Urban Study Following on from the urban intervention based project of Semester 1, this semester’s project is

this site along its path (see previous page). The route connected sites of significance to composers

located on the Ringstrasse in Vienna.

from either side of the ‘art’ vs. ‘entertainment’ divide that emerged in classical music towards the end of the nineteenth century.

The festival route I planned during the course of the previous project included

Map of central Vienna in relation to the Ringstrasse. (Right)

(Previous page) Map showing Vienna and planned Festival Route from Semester 1.

2 Neues Städtisch Orchester Wien

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Stadtpark Palais Coburg Singerstrasse pavilion site (Schubert frequented a bar here) Ringstrasse

3 Site Analysis

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This map shows in greater detail the relationship between the site and its immediate context.

Key considerations for intervention are the site’s proximity to: the busy carriageway encircling central Vienna, 4 Neues Städtisch Orchester Wien

the Ringstrasse; the welcome green relief of the Stadtpark; and several significant former and current civic buildings, including the grand Palais Coburg located immediately to the west.

Key 1.

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Stadtpark (nearest entrance) Palais Coburg Singerstrasse pavilion site (Schubert frequented a bar here) Ringstrasse

Map showing the immediate site; in particular the courtyard grain of the adjacent urban topography.

Aerial perspective showing the scale and mass of the built fabric surrounding the site.

The above aerial perspective shows the scale of the buildings adjacent to the site.

blocks are comprised of many smaller buildings, breaking the scale down considerably.

Although the surrounding blocks are of similar scale to the existing building occupying the proposed site, each of those

The existing building however is homogeneous and occupies a huge area for a single structure.

5 Site Analysis

Historic Research As part of my Semester 1 research, I examined the forking in classical music styles in the late nineteenth

through the medium of sheet music.

century in Vienna.

amongst the general population in more upbeat music for dancing to, whilst the gentry distanced itself from the new, raucous style.

With the industrialisation of sheet music production and the introduction of capitalism came increased accessibility to music for the proletariat.

Musicians were no longer solely concerned with composing music via commission and began to compose for general sale

There rose a popularity

Arising from this were the terms ‘low-art’ and ‘high art’, the former describing the new more upbeat style, and the latter describing the more traditional ‘music-for-listening’ style.

‘Kultur Gabel’ (Culture Fork) collage, illustrating the divide in critical opinion of Viennese music during the Popular Music Revolution. A tuning fork rises from the twin headed eagle crest of the Austro-Hungarian Empire, with composers on either side.

6 Neues Städtisch Orchester Wien

7 Site Analysis

Design Thesis Part Two

Precedent Study

(Previous page) Rendered view of the ASAI. 10 Neues Städtisch Orchester Wien

Isometric drawing of the Institute of Contemporary Art, Boston, designed by architects Diller Scofidio and Renfro.

Of particular interest to me was the interconnection between the internal performance space and the external stair/terrace, which wraps around the west and north elevations.

using a generous cantilever balancing over the water’s edge to protect and enliven the public space created below.

The building actively engages with its site by 11 Design Thesis

A sectional model shows more clearly the link between the internal and external spaces.

The structure grows outwards from a central spine (indicated by the raised roof access mass on top of the model). The 12 Neues Städtisch Orchester Wien

cantilever is made possible through a pair of huge floor-to-ceiling trusses spanning the entire length of the top floor.

Scale 1:200 sectional model of the Institute of Contemporary Art, Boston. (Group model, credit: Author, Malgorzata Szarnecka, Harashadeep Kaur.)

Scale 1:25 model of the ICA gallery skylight diffuser system with overlay of drawn detail and diagrammatic explanation.

To engage with the building at a closer scale, I chose to examine an architectural detail of the skylight diffuser system used in the top floor gallery of the building.

was able to more fully draw and subsequently build a working model of the system at 1:25 scale, shown above.

From photographs and found partial drawings, I 13 Design Thesis

Research Narrative

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Using similar methods of design process and implementation to that explored in last semester’s

I made use of my findings in designing a musical instrument (Acoustic Sequencing Automatic

urban design project, I planned to design a scheme with a similar level of interactivity and character as the pavilions along the festival route.

Idiophone) by thinking about how a building could be born from the same amalgamation of art and entertainment.

PROS: EASIER CONSTRUCTION TRIED AND TESTED MORE 'PERFORMATIVE' SCALE Elevation and section views of the ASAI. CONS:

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STRIKE POINT POTENTIAL FAILURE TALL DIFFICULT TO ADJUST NOTES WITHOUT REMOVING BELT

The above drawings show the ASAI in elevation and section. The belt of the instrument took influence from the concept of sequencing, widely used in digital music production to map out a melody or rhythm on a virtual instrument, whilst the

hammer and metal bar arrangement is reminiscent of a more traditional idiophone instrument such as a glockenspiel.

The aim of designing this instrument was to unite the often isolated worlds of digital and acoustic music.

15 Design Thesis

The details above show the hammer activation mechanism more closely.

In a similar manner to a music box, the rearrangeable wedges strike the lever of a spring-loaded hammer, pulling it back enough for each wedge 16 Neues Städtisch Orchester Wien

to pass beneath and then releasing, causing the spring to contract and hence cause the hammer to strike the tuned sounding bar.

Sketch details of the ASAI hammer mechanism.

A functioning simplified, singlenote prototype of the full octave thirteen-note ASAI design.

In engaging with design at this level of detail, I uncovered an interest in engaging and playful musical contraptions.

which I believe further connects the proposal with my central project narrative across both semesters.

I have incorporated and designed for the inclusion of similar interventions into my final project proposal, 17 Design Thesis

Design Development Part Three

Sonic Agency The pavilions designed as part of last semester’s project acted as agents, managing or enhancing

moderated to the musicians and their instruments in an orchestra.

a local sound through architectural intervention.

To continue this theme, I began experimenting with the concept of creating a building which would serve to collect artists, curate and nurture their work, and finally project that work out into the city. The building, like the pavilions, would provide a sonic agency.

The project’s title Neues Städtisch Orchester Wien (translation: New Urban Orchestra Vienna) or NSOW for short, is in reference to this agency, likening the interventions and the sounds they

(Previous page) Scale 1:200 sketch model.

20 Neues Städtisch Orchester Wien

Early sketch showing the concept of collection/projection diagrammatically.

The building began as a diagram, focussed on a central collector and projector.

enriching the eventual output projected back into the urban soundscape.

Floating circulation would feed the projector, and provide opportunities for artists to converse and challenge one another, 21 Design Development

The original programme for the proposal included basic accommodation for the artists in residence, as well as practice spaces and of course the central performance space at the base of the projector.

22 Neues Städtisch Orchester Wien

There are also sketches of the accommodation, designed as duplex mezzanine units due to the constraints enforced by the footprint of the site and the mixture and volume of programme.

Sketch diagrams showing the basic arrangement of spaces.

Sketch perspective showing a view from inside the performance space at the base of the projector.

When sketching the building diagram as a physical structure, it became clear that the performance space at the bottom of the void should have a connection to the public space outside and the Stadtpark.

This was done by creating a glazed slice through the practice spaces which housed the vertical circulation and revealed the park beyond.

23 Design Development

Building Programme

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The programme and ultimate function of the proposal began to take shape. I found it useful

By using the artist in residence studio as a typology, I was able to more clearly decide

to think of the building’s programme being similar to that of a conventional artist in residence studio facility, but for sound rather than the visual arts.

on a full programme for the building and its responsibilities to its users.

resident subscription

ticket sales

bar/cafe

function hire

one-time session

n s ow workshop

staff

storage

shuttle

Financial balance diagram relating to the programme of the proposal.

equipment

I found it helpful to visualise a financial incoming and expenditure diagram relating to the programme.

The simple diagram above highlights the main incoming capital in black, and expenditures in red.

25 Design Development

Once the programme of the proposal had been decided upon, it became far easier to generate a more functional diagram for the building.

During this stage in the project, I worked mostly in section, as I found the 26 Neues Städtisch Orchester Wien

programme could be more easily divided vertically than horizontally.

The diagram on the right best illustrates a culmination of all of my work on the building’s program.

(Above) Sketch section showing the arrangement of programme within the proposal.

(Right) Isometric diagram, section and plans highlighting the proposed programme for the scheme.

27 Design Development

Diagram Refinement Following the midterm review, I began transforming the diagram I had into a physical

largely unchanged in the final proposal. Having such a clear brief and programme at this stage

structure.

was essential to the refinement process.

Through study models, elevation studies and sketches, I made design decisions which remain

28 Neues Städtisch Orchester Wien

Scale 1:200 sketch model exploring the relationship between the void above the performance space and the practice spaces surrounding it.

In order to investigate the spatial qualities of the projector, I modelled the space at 1:200, using boxes of varying width, length and height.

These represented the practice spaces surrounding the void,

varying in size to accommodate varying styles of music and numbers of participants.

In this model, the circulation was inverted to the centre of the void, providing partial screening between practice spaces.

29 Design Development

In a major decision following the midterm review, I decided to explore the possibility of moving the performance space to the facade of the building.

This allowed for a more inviting public facing elevation, and was more 30 Neues Städtisch Orchester Wien

in line with the most appealing feature for me of the ICA Boston precedent, the interaction between performance space and public realm.

(Above) Sketches showing the relocation of the circular performance space to the exterior elevation of the building.

(Right) Scale 1:200 elevational study model focussing on the public space at the foot of the elevation.

31 Design Development

Design Proposal Part Four

Site Strategy The site serves as a key entry point into the city from the Stadtpark. The main topographical feature

building, which would also benefit the festival route designed in Semester 1.

constraining the site however, is the Ringstrasse.

The proposed design uses only the south east corner of the site for the main building, leaving much of the site for public realm, shielded from the noise of the Ringstrasse.

The main road can be difficult to cross in places, and the nearest crossing point lies to the south of the adjacent block immediately south west of the proposed site.

As part of the site strategy, I have incorporated a crossing connecting the Stadtpark and the proposed

The open-sided courtyard responds well to the courtyard typologies of the surrounding structures, as well as providing a welcome green space in the city centre.

(Right) Site Plan showing the proposed building and landscaped public realm in context.

(Previous page) Scale 1:200 structural model.

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Scale and Public Realm The proposed structure is a six storey building, far more in keeping with the older six and seven storey

a more sustainable, biodiverse mix of grasses and flowers, in contrast to the 19th century lawn typology

buildings surrounding the site than the existing fourteen storey tower.

often found in key civic landscape environments elsewhere in the city.

The public realm shown in the image to the right shows a permanent musical sculpture installation; an adaptation of the ASAI instrument I designed in Semester 1. The giant twooctave idiophone serves as an activator for the public space by encouraging interaction with music in an easily accessible form.

In order to preserve tranquillity in the courtyard space, I have decided to omit parking from the brief. In visiting Vienna, I noticed the abundance of road traffic and the inconvenience of having to cross major roads in the city centre.

The raised planters in the foreground of the image provide a soft relief to the vastly hard landscape of central Vienna. The planters will be filled with

36 Neues Städtisch Orchester Wien

Instead, the proposal will provide a rent-able shuttle service, where a vehicle can pick up a musician and their equipment, which can then be stored in one of the storage crates, or shuttled back.

Perspective showing the northwest elevation of the proposal, associated public realm and landscaping.

37 Design Proposal

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(Above Right) Passive ventilation strategy sketch.

(Left) Isometric diagram highlighting key programme.

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The key parts of the NSOW’s programme are spread across the building vertically, with the large, public facing spaces at the bottom and more intimate practice spaces higher up.

south east elevation. This void acts as a method of passive stack ventilation, with the air in the void being heated and rising, encouraging fresh cooler air from the courtyard in to fill its place.

The key section above shows the void filling the 39 Design Proposal

Economic Programme Once the programme was finalised, I decided to illustrate my financial balance diagram on top of

similar way to an artist in residence studio facility, where artists would be asked to pay a weekly or

a programmatic isometric drawing.

monthly subscription for a length of time, entitling them to various benefits the facility has to offer.

The drawing shows the key spaces in colour and their associated expenditure or asset as annotation.

For me, it was important to visualise the building’s programme as a business in order to decide on the best programme for the brief.

As mentioned earlier, the NSOW would operate in a

Other financial incomings would include the cafe/bar on the ground floor, ticket sales for performances, hourly rental of practice and recording spaces from non-residents, and hire of the top floor function space.

Isometric drawing showing financial balance according to programme.

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+€

resident subscription +€

+€ function hire

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41 Design Proposal

Building Layout The public realm created to the north west of the building is shielded by the building’s mass from the Ringstrasse, creating a quiet courtyard pocket.

The entire plan grows outwards from the centre of an informal outdoor performance space, the base for the sonic ‘projector’ referenced earlier.

To the north west of the plan lies a small workshop

for members of the NSOW to design, build and repair musical instruments and apparatus.

The indoor performance space feeds directly out to its outdoor counterpart, taking reference from the ICA Boston.

To the south east of the plan, there is located a cafe/bar for use both during a performance and in down time.

Annotated Ground Floor Plan

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Key Section

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Key 1. Main entrance 2. Welcome desk 3. Office 4. Cafe/Bar 5. Cafe/Bar back of house 6. Indoor performance space 7. Seating terrace 8. Performance space store 9. Main stair 10. South west fire stair 11. North east fire stair 12. Lift 13. Plant/service 14. Library 15. Workshop 16. Workshop store 17. Outdoor performance space 18. WC 19. Cycle Parking 20. Idiophone Sculpture

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Sound engineer deck Main stair South west fire stair North east fire stair Lift Workshop green roof

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The first floor is largely a mezzanine for the double height performance space, with its only key function to provide accessible seating at the rear of the performance space.

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The second floor is the first of the more private floors of the structure.

Annotated Second Floor Plan

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The practice and recording spaces look out onto the courtyard to the north, whilst the void to the south east elevation of the building begins to open.

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Practice room Recording suite Common breakout space Storage crane system Main stair South west fire stair North east fire stair Lift WC

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The main stair can be seen snaking up in a procession through the structural y-shaped columns.

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Practice room Recording suite Common breakout space Storage crane system Main stair South west fire stair North east fire stair Lift WC

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Function space Bar WC Outdoor terrace Storage crane system Main stair South west fire stair North east fire stair Lift

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The top floor of the NSOW houses a hire-able function space and bar, well suited for post-performance celebrations and exhibitions. The top floor offers views to the north over the courtyard and city beyond, and to the south the Stadtpark.

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Roof deck Roof light Lift overrun Outdoor terrace (open above)

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49 Design Proposal

Outdoor Performance Space and Workshop The view to the right best shows the scheme in context with its closest existing neighbour.

whilst also remaining an integral part of the new development in its radial planning.

From this view the building’s restrained, civic facade proportions are seen in conversation with its neighbours.

The workshop offers an interesting counterpoint to this dynamic by asserting itself as a more free architectural form,

The outdoor performance space is intended for use mainly as a public amenity, with casual performances taking place there for free and for anyone to enjoy. It serves as a welcoming and active space, both servant to and served by the new building.

Rendered view of the outdoor performance space in context.

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51 Design Proposal

Indoor Performance Space The indoor performance space serves as the key performance space for the building.

Performances taking place here would remain in a somewhat casual tone, but would likely be organised in advance and ticketed. The public space surrounding the outdoor performance area forms the backdrop

for the indoor performance space.

The remainder of the circulation space in the building is homogeneous with this space through the void to the south east of the building. The processional stair can be seen climbing up through the structure to the floor plates above.

Rendered view of the indoor performance space from the mezzanine level.

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53 Design Proposal

Self-Recording Pod The recording pods which permeate the north west elevation of the building are acoustically isolated

preventing the spread of vibration from other parts of the building.

elements, completely separate from the main structure of the building.

The interior walls of the pod are equipped with Helmholtz resonator perforations. These help to trap reverberated sound to create an acoustically ‘dry’ environment.

The pods sit on top of the floor plates on a rubberised acoustic isolation layer,

Rendered internal view of one of the recording pods.

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55 Design Proposal

One problem for starting musicians who want to record is the initial outlay of expense in being able to do so.

Going to a recording studio is an expensive task, one of the key expenses being the pay of 56 Neues Städtisch Orchester Wien

the technician observing the recording. With the digital production of music becoming increasingly more accessible, I decided to take this a step further by designing a facility in which musicians would be able to more easily manage their own recordings.

Sketch of manoeuvrable recording apparatus equipped in each pod.

Sketch isometric showing the structural box truss system used to facilitate the cantilevered elevation.

Each pod would be assembled on the ground or perhaps off site, and lifted into place as each floor plate cured.

the north west elevation, in reference to the structural strategy employed for the much larger cantilever of the ICA.

The box trusses concealed within the walls help to support the cantilevered appearance of the pods on 57 Design Proposal

Function/Event Space The function space at the top of the building has its own bar and is well-suited for after-show events.

views over the Stadtpark.

This space would also be ideal for visual art exhibits or open day events for

The radial elevation offers an interesting perspective out to the city to the north west, and the elevation to the south east offers

musical artists resident in the building to meet professionals interested in their work, or other musicians interested in joining.

Rendered view of the top floor function space.

58 Neues Städtisch Orchester Wien

59 Design Proposal

Storage Crane The storage crane comes from one of the key selling points of Pirate Studios, a global chain of music

system using as little space as possible, utilising a crane similar to ones designed by Assimakis SA for industrial

practice and recording facilities.

storage.

Pirate Studios also offer storage for artists’ equipment, which I saw as being a fundamental benefit to anyone who uses their service.

As this project is confined by a tight urban site where space is luxury, I designed a storage and distribution

Resident artists would be given a storage crate to use for the duration of their membership. The crane removes the crate from the wall and deposits it at the required floor, saving artists the effort of hauling heavy equipment around the building, or to and from vehicles failing any storage at all.

Rendered view of the storage crane system in operation.

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61 Design Proposal

Detailed Facade Strategy The facade of the proposal plays an important role in situating the building within the theory that

By creating an ordered and rational facade, I feel I was able to respond to the local physical and

surrounds it.

cultural context of the site and city as a whole, and by introducing radial geometry and more expressive structural concepts, I was able to create an interesting architectural environment for contemporary music production.

The proportions and material treatment had to remain restrained and civic in order to relate to the context of the surrounding formal architecture of Vienna, whilst also expressing a modern music facility suitable for the needs of modern musicians.

Full strip section from roof to foundations through the north west elevation.

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63 Design Proposal

Key 1. 102.5mm facing brick (5o profile) 2. Damp proof membrane 3. 85mm rigid insulation 4. In-situ concrete edge beam (to S.E. specification) 5. Aluminium coping 6. Roofing membrane lapped with DPM 7. Roofing membrane 8. 85mm rigid insulation 9. 300mm in-situ concrete roof slab (to S.E. specification) 10. Steel ceiling truss (aids support of slab above and suspended ceiling below) 11. Steel angle (supports truss) 12. Steel profile (supports steel angle 13.)

13. Steel angle (supports concealed soffit angle 15.)

14. Weep hole 15. Concealed soffit angle 16. Brick slip soffit 17. Timber batten support 18. Triple glazed floor to ceiling window

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I wanted the building’s elevation to have a certain weight and depth, which I believe is best achieved through the use of real brick. The slight imperfections in the mortar joints on incredibly close examination reveal an authenticity which I believe 64 Neues Städtisch Orchester Wien

is sometimes lost in brick slip clad buildings.

Sectional detail of the adjoining of the roof and external wall.

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Key 1. Triple glazed floor to ceiling window 2. Aluminium sill 3. Lead flashing 4. Aluminium clip-on cladding system 5. Damp proof membrane 6. 85mm rigid insulation 7. In-situ concrete edge beam (to S.E. specification) 8. Weep hole 9. 50mm polished fine mix concrete floor finish 10. 440mm in-situ concrete floor slab (to S.E. specification) 11. Rubberised acoustic isolation layer 12. Facing aluminium cladding 13. 110mm soft acoustic and thermal insulation 14. Steel C-section framing system 15. Internal aluminium finish 16. Embedded LED rim light

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Sectional detail of the adjoining of the fifth floor slab and external wall.

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The external wall type oscillates between brick and aluminium every other storey.

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Key 1. 102.5mm facing brick (5o profile) 2. Damp proof membrane 3. 85mm rigid insulation 4. In-situ concrete edge beam (to S.E. specification) 5. Timber floor finish 6. 110mm rigid acoustic and thermal insulation 7. Steel C-section framing system 8. Facing aluminium cladding 9. Rubberised acoustic isolation layer 10. 440mm in-situ concrete floor slab (to S.E. specification) 11. Rubberised acoustic isolation layer 12. Steel profile (supports steel angle 13.)

13. Steel angle (supports concealed soffit angle 14.)

14. Concealed soffit angle 15. Weep hole 16. Embedded LED rim light

PRODUCED BY AN AUTODESK STUDENT VERSION

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This detail best shows the depth of the cantilevered pods extruded from the face of the building.

As is evident, the pods are completely isolated from the main concrete structure, sitting in between the floor slabs.

66 Neues Städtisch Orchester Wien

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Key 1. Aluminium clip-on cladding system 2. Damp proof membrane 3. 85mm rigid insulation 4. In-situ concrete edge beam (to S.E. specification) 5. Weep hole 6. Aluminium clip-on soffit 7. Timber floor finish 8. 110mm rigid acoustic and thermal insulation 9. Steel C-section framing system 10. Facing aluminium cladding 11. Rubberised acoustic isolation layer 12. 440mm in-situ concrete floor slab (to S.E. specification) 13. Timber batten support 14. Triple glazed floor to ceiling window 15. Embedded LED rim light

PRODUCED BY AN AUTODESK STUDENT VERSION

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Sectional detail of the adjoining of the third floor slab and external wall.

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The underside of each pod should be smooth and homogeneous with the rest of the aluminium cladding, as the boxes will most often be viewed from the public space below.

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Key 1. Triple glazed floor to ceiling window 2. Aluminium sill 3. Damp proof membrane 4. 102.5mm facing brick (5o profile) 5. Damp proof membrane 6. 85mm rigid insulation 7. In-situ concrete edge beam (to S.E. specification) 8. 50mm polished fine mix concrete floor finish 9. 440mm in-situ concrete floor slab (to S.E. specification) 10. Steel profile (supports steel angle 11.)

11. Steel angle (supports concealed soffit angle 13.)

12. Weep hole 13. Concealed soffit angle 14. Brick slip soffit 15. Timber batten support 16. Triple glazed floor to ceiling window 17. Suspended acoustic lighting (diffuses sound, partially conceals servicing)

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This detail highlights the acoustic deflection treatment of the indoor performance space.

Serving as both lights and acoustic deflectors, the hung elements create radial rhythm within the open plan ground floor space, 68 Neues Städtisch Orchester Wien

and also serve to hide any servicing that would likely run along the ceiling of the space.

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Key 1. Triple glazed double doors 2. Steel door threshold 3. Threshold perimeter insulation 4. Insulated cavity closer 5. Concrete U-profile drain, laid to minimum 1:60 fall 6. External paving 7. Sand blinding 8. 75mm polished fine mix concrete floor finish 9. Damp proof membrane 10. 150mm rigid insulation 11. In-situ concrete ground-bearing floor slab 12. 102.5mm facing brick (5o profile) 13. Damp proof membrane 14. 85mm rigid insulation 15. Weak-mix concrete cavity fill (sloped to prevent water ingress) 16. In-situ concrete pile cap (to S.E. specification) 17. In-situ concrete pile (to S.E. specification)

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Sectional detail of the adjoining of the ground floor slab and external wall.

The indoor performance space makes use of bifolding doors along its perimeter, to allow seamless connection with the outdoor space when required.

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Critical Reflection Thesis I feel I have set up a very cohesive brief and answered it with a realistic and stimulating proposal. I have tried to continue my research undertaken in Semester 1 to bolster

rendered images convey the desired atmosphere. Context is shown in as many drawings and images as possible. It would have been beneficial to have time to think about the façades of the adjacent new buildings on the site occupying the

my arguments and I think this has definitely worked to my advantage.

remainder of the masterplan.

Design Development I think my resulting design development and outcome are again quite strong, and I attribute this to my experience of working in practice. In contrast to my hesitance to design intervention on an urban scale last semester, I feel I am competent in designing architectural spaces which are interesting and achievable.

Studio-specific Criterion I have really enjoyed engaging with external wall detail design as part of our studio-specific criterion this semester.

Detail at this scale is something I had not yet encountered at university, only in practice, and I found it incredibly rewarding to try and make my proposal ‘build-able’.

* * * Context I think my proposal responds well to the physical and cultural context of the site and Vienna as a whole. However, this project would definitely have benefitted from a thorough investigation and analysis of facade typologies around the site so I could illustrate how I arrived at my design decisions.

Criticality The in-depth study of the ICA in Boston has helped hugely towards my understanding of the role of civic buildings in the urban fabric. I have implemented many techniques interpreted from the ICA in my proposal.

Representation Generally, I am happy with my methods of representation. I

Personal Reflection Although I found this project to be challenging and stimulating, I definitely feel I have expanded upon my design skill-set from last semester.

I think my verbal presentation skills have also improved, and enforced by the Covid-19 pandemic, I actually found participating in reviews over video-chat slightly less intimidating than in person.

There is no doubt that the pandemic has prevented through inconvenience much exploration through modelling and drawing by hand, but it has also encouraged my to improve my digital representation skills which I am thankful for.

think drawings and sketches are clear and informative, and

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Bibliography As much of the research for this project took place and was referenced in my Semester 1 Portfolio, I have included a complete list of sources for both portfolios and the technology report below.

Allen, S. (2012). Points + lines. New York: Princeton Architectural Press.

Assimakis SA. (N.D.) Automated Storage Systems. Accessed 24.04.2020. Available at: http:// www.assimakis.gr/products/automated-storage-systems/ Cage, J. (1976). Branches. [EP] Peters Edition.

Dickerman, L. and Doherty, B. (2005). Dada. Washington: National Gallery of Art. Diller Scofidio + Renfro (N.D.) Institute of Contemporary Art. Accessed 02.02.2020. Available at: https://dsrny.com/project/institute-of-contemporary-art Eckermann, J. and Fuller, M. (1839). Conversations with Goethe in the Last Years of his Life.

Boston: Hilliard, Gray and Company.

Fox, M. and Kemp, M. (2009). Interactive architecture. New York, NY: Princeton Architectural Press, p.153.

Hill, D. (2020) Microamplify: Macroactivate. Newcastle, Newcastle University.

Lefebvre, H. (2015). Rhythmanalysis. London: Bloomsbury Academic.

Pallasmaa, J. (2012). The Eyes of the Skin. 3rd ed. Chichester: Wiley, p.28.

Pirate Studios (N.D.) Pirate Studios Homepage. Accessed 13.05.2020. Available at: https:// pirate.com/en/ Scott, D. (2012). Sounds of the Metropolis. New York: Oxford University Press, p.87.

Smithson, A. and Smithson, P. (2005). The Charged Void: Urbanism. New York: Monacelli Press.

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