Z1P2

ACADEMIC PORTFOLIO YEW ZHI XUAN

160732629

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ARCHITECTURE STAGE III

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NEWCASTLE UNIVERSITY

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BUILDING UPON BUILDING

BUILDING UPON BUILDING NEWCASTLE UNIVERSITY SCHOOL OF ARCHITECTURE PLANNING AND LANDSCAPE STAGE 3 GRADUATION PROJECT 2019 \\ 2020

REFELECTIVE REPORT

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Reflective Report.

Throughout the course of Stage 3, I have asked myself what does architecture mean to me, and how will my understanding of architecture affect the choices I make moving forward. My understanding and approach towards architecture have changed greatly over the past few years. This year, which focuses heavily on the aspect of preservation, made me realise the true extent of the impact each project has on its surroundings. I was once under the impression that our work as an architect is over once the project is completed, but now I understand that that is merely the beginning, and the true test of our skill lies in how the project performs throughout its lifetime.

Reflecting on my design choices over the year, it was also made clear to me that Japanese architecture has significant influence in my design. This can be seen in my choice of precedents which are mostly Japanese projects, or projects involving Japanese architects. I value simplicity and practicality in my design, while some design choices might sometimes lead me astray, these two aspects have always been what I try to achieve.

During the summer break prior to Stage 3, I have spent a significant amount of time volunteering at a local organization that aims to preserve the culture and heritage in old parts of my hometown. I spent much of my summer attending meetings and workshops, brainstorming idea on restoring and preserving parts of my hometown which have become derelict due to neglect and lack of use. Unbeknownst to me, that will be one of the main reasons that influences my choice in my current studio.

Our primer project was mainly focused on researching the work of French architect Eugène Emmanuel Viollet-le-Duc. The objective was to understand his approach towards experimental preservation, which was the main design theme for our studio. We collated maps and

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REFELECTIVE REPORT

plans from different periods in historical Paris, and pieced together a historical timeline that illustrates the many changes that have happened to the Notre Dame cathedral leading up to the fire in 2019. The extensive documentation of the history of the cathedral made me realise how certain buildings holds such importance as they are built to last for centuries.

Initially, my project serves as an immediate response to the brief, without accounting for the wider context encompassing the events of the fire. As it developed throughout the year, the initial masterplan ended up involving changes at a much larger scale, as the project aims to tackle issues regarding awareness towards heritage amongst Parisians and tourists. My project, while containing a building as the main subject, involves a significant amount of landscaping, a field which I was very much unfamiliar with. This has caused many delays during the design phase as I am not used to heavily integrating a project with its surrounding landscape, especially one as sensitive as the surroundings of an importance historical building. Planning the landscape for the project was quite the challenge, as I had to take into account pre-existing circulation routes, and integrated them into the design.

I struggled quite a bit with finalizing the form factor for my design. I was told by my tutors that I often place unnecessary restrains on my approaches, which eventually end up undermining my initial concept. As I approach the final stages of realization and synthesis, and my project finally taking form, I began to understand the importance behind representing a concept or idea properly. The lack of perspectives and atmosphere drawings during my design phases ultimately became a crutch that held back my project, as my ideas are oftentimes badly conveyed to my tutors and peers.

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larger, more parties are introduced into the project team as more bases need to be covered. I believe that this is one of the most crucial lessons I have learnt this year, as learning the inner workings of an architect firm is indispensable skill when it comes to seeking employment in the future.

ARC3015, Theory Into Practice introduced new representation skills to me, and made me further grasp the range of my current abilities in illustrating my designs. By acknowledging skills that I already have as well as skills that I lack, it pushes me to branch out and learn new methods of architectural design and representation. This has been very fruitful as I have identified that throughout the past 3 years, I have been much more comfortable with utilizing traditional hand-drawn techniques when it comes to design and illustration. It also made me realise that there was some form of disconnect when I attempt to convert my drawings into digital form. That is why I have been learning a variety of programs during this year in order to make myself more fluent in digital representation. For my dissertation in my ARC3060 module, I have chosen a topic that somewhat relates to my studio theme. My research paper was on the topic of weathering in architecture. Coincidence or not, this allowed me to understand indepth the life of buildings beyond their completion. Which eventually contributed to my design project.

While certain circumstances have resulted in unprecedented events during this year, I believe that there is much that I have learned, and I hope that moving forward I will be able to further develop and refine my skills in the field of design.

The other non-design modules also provided crucial insights regarding different aspects of architecture. ARC3013, Architectural Technology 3 gave me a range of possible solutions to tackle the large scale of my project. It also challenged the limits of my knowledge on building structure as I attempt to design structural solutions needed for the large spans of my building. ARC3014, Professional Practice and Management allowed me to further my understanding on the process of running and managing a project from the viewpoint of architect’s firm. It allowed me to comprehend that as the scale of a project becomes

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TABLE OF CONTENTS

Table of Contents.

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01

Primer.

02

Staging.

03

Realisation & Synthesis.

04

Charrette Week.

05

Cultural Bibliography.

06

Appendix.

07

Bibliography.

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CHAPTER 01 \\ PRIMER

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Eugène Emmanuel Viollet-le-Duc THE IDEA BEHIND THE CONCEPT OF EXPERIMENTAL PRESERVATION. Eugène Emmanuel Viollet-leDuc was a French architect and author famous for his work on preservation of historic buildings. His definition of ‘restoration‘ in the Dictionnaire raisonné de l’architecture française has been topic subject to constant discussion and debate.

The project aims to understand the idea behind his works, as well as designing an interpretation or response towards his ideals of restoration and preservation of heritage.

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CHAPTER 01 \\ PRIMER

The Roof That Burned.

And The Forest That Died On April 15th 2019, a fire occured at the Notre Dame de Paris, burning down most of the roof of the cathedral as well as causing the spire to collapse. The building, which held a significant role as a historic icon in Paris, was mourned worldwide for the

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losses caused by the fire.

The framework that served as the structure supporting the roof of the cathedral — which was known as ’the forest’, has been permanently lost.

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Rebuild, and Revive.

Currently, the Notre Dame cathedral is undergoing a phase or restoration and rebuild.

Donations of up to one billion euros have been pledged in order to recover the damage caused by the fire.

Whilst visiting the site, extensive scaffolding and netting covered all the areas affected by the blaze in order to protect the interior from external elements.

The events of the fire, while tragic, serves as a grim reminder that many of our historical monuments are at constant risk of facing decay or destruction.

Some of which can be entirely unpredictable, therefore we must be prepared to deal with the aftermath in the case that such events were to happen.

National Centre of Heritage and Preservation of France. the building will be seen as a response in the attempts of the experimental preservation of the Notre Dame cathedral.

By viewing the events of the fire as the ‘death‘ of a heritage, we can suppose that act of restoration would be viewed as a form of ‘rebirth‘ and ‘revival‘. I believe that reconstructing the cathderal as it was would simply be repaeting the past. Instead, we should grasp this opportunity to introduce a new approach in experimental preservation. Rather than holding onto the old, we should view past events as lessons, and start anew, in attmept of building a better future.

Our brief requires us to design a building to house the

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CHAPTER 01 \\ PRIMER

A Brief History of Paris.

Prior to our field trip to Paris to carry out the site survey, our studio did an extensive study on the history of Paris, detailing out significant events that have occured in the past.

This was done as part of our Primer output, alongisde an exhibition that showcases a variety of collages made using images from historical events, as well as a site model that features the Notre Dame cathedral and its surroundings.

With help from each member of the studio, I managed to put together a video that summarises these historic events into a more concise form. The video illustrates key events that involve the use of the cathedral, as well as changes made upon the the structure throughout history.

Giving us a full timeline of the cathedral since it was initally built.

The research allowed us to further understand the role of the cathedral in the history of Paris, thus granting us the ability to come up with an appropriate response and design for our projects.

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The Exhibition Our studio’s Primer exhibition consists of three main parts - a 1:2500 site model of the Île de la Cité, a series of collages in the form of a triumphal arch depicting significant historical events in Paris, as well as a video summarising the historical timeline of the cathedral.

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Primer Set Up. Our exhibition is set up in the way that when you weave through each individual piece of collage up the stairs, you essentially progress chronologically through the historical timeline. This leads to the top the of the stairs, where the form of the triumphal arc can be seen.

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CHAPTER 01 \\ PRIMER

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Each member of the studio is assigned a certain period within the timeline to work with, producing an individual collage piece which is then collated to be part of the triumphal arc displayed in the exhibition.

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Initial Massing.

At the end of Primer, each member of the studio is required to develop an initial response towards the events of the fire, be it a quick massing proposal or a concept of a building.

My initial idea was to introduce a ‘forest of light‘ onto the site, as a direct response towards the burnt down roof of the cathedral. In contrast to the devastating fire that occured, light would be a form of hope towards the future of the building.

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The Grand Tour.

PARIS / MILAN / ROME / VERONA / VENICE ACADEMIC PORTFOLIO 2019 \\ 2020

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SainteChapelle

The Sainte-Chapelle is a great example of rayonnant gothic architecture due to its emphasis on verticality and having a sense of weightlessness.

The famous stained-glass windows of this building served as one of my initial inspirations for my design, due to its amazing use of glass and light.

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Museum of the Ara Pacis

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The museum of the Ara Pacis is located in Rome, serving as a building to house the Ara Pacis of Augustus for the sake of preservation.

The building was designed by architect Richard Meier, whilst receiving mixed opinions from the public, the extensive use of glass in the museum gave me the idea of introducing light wells in certain parts of my design to provide natural lighting.

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Castelvecchio Museum

The Castelvecchio museum is a prime example of restoration done well by architect Carlo Scarpa. The attention to detailing in many parts of the buildings as well as the complexity involved when approaching preservation has served as inspiration for many future architects.

The approach of revealing the history of the building through careful balance of the old and new has now become a common approach towards restoration in architecture.

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Punta Della Dogana A CASE STUDY

The Punta Della Dogana was once used as a dock and customs area in the past, before being recently refurbished into an art museum by architect Tadao Ando.

Ando uses a similar approach to Scarpa, by adding new elements to the buildings whilst retaining much of the old, the contrast between the old a new provides a interesting dialogue between the two aspects of the building.

This building has been chosen by our group to conduct a case study on, which will be included in full in the appendix.

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CHAPTER 02 \\ STAGING

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CHAPTER 02 \\ STAGING

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The City The Forest & The Park

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CHAPTER 02 \\ STAGING

Site Analysis

Through a site survey performed while visiting the city of Paris, it was revealed that much of the Île de la Cité has been occupied by government buildings. Other than residents than live on the island, Parisians rarely visit the island due to the oversaturation of tourists in the area surrounding the Notre Dame cathedral.

Aside from the square in front of the cathedral, much of the public space on the island is rarely used, therefore the initial concepts and ideas I had for my design aims to rectify this issue.

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An Urban Park Around the Notre Dame.

The first proposal that I had was to perform a complete redesign of the public spaces surrounding the cathedral, converting the area into an urban park.

The main building will be spread across areas in the park and hidden in between the trees.

Key spaces that are identified around the park will remain as open squares, often with a statue or monument as the centrepiece.

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Trees in Paris.

Empress tree

Mimosa tree

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Horse chestnut tree

Linden tree

London plane tree

Trees in Paris.

A brief study on the species of tress present on the island has also been conducted, with five main species being identified.

This was done as the initial idea involves hiding structures amongst the trees, therefore a basic understanding of the density of leaves, as well has how the tree acts throughout all four seasons is required.

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A Green Île de la Cité.

The idea of introducing a park into the area was partially inspired by the river parks in Osaka and Kyoto, Japan (as shown on the right). During my visit to Japan in 2018, I noticed that the green belt surrounding the

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rivers that separate it from the urban environment has been well utilised by the locals for a variety of activities.

I sought to recreated that environment in Paris, seeing that the urban geographic circumstances are quite similar.

Whilst redesigning the park, I expanded the concept to encompass the entirety of the Île de la Cité, converting the island into a large park. The removal of vehicular roads also allows the entire island to be pedestrian only space.

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The Forest on the Île de la Cité.

The new masterplan for the Île de la Cité involves the introduction of new parks, the opening of new pathways into internal courtyards, as well as a multitude of new public spaces that are better designed.

A large number of trees will be planted thoughout the island, essentially converting the entire island into a ‘forest‘. This is done as a literal and figurative sense of celebrating the island’s rebirth, by bringing life back into the island.

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Initial Massing Concept.

The initial massing of the building is focused on the area in front of the cathedral. A few sketches were made while deciding the placement of the trees and the structures as there are exisiting elements on the site such as the crypt underneath the square in front of the cathedral.

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Public Spaces Around Cathedrals.

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A brief study on the spaces surrounding different cathedrals in Europe was also done in attempts of understanding the distribution of public spaces around cathderals.

Factors such as the distance between the surounding buildings and the cathedral were also taken into account as not to compete with the cathedral in terms of importance.

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Precedents

KAIT Workshop.

Grace Farms.

by Junya Ishigami

by SANAA

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Hiroshi Senju Museum.

Rolex Learning Centre.

by Ryue Nishizawa

by SANAA

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CHAPTER 03 \\ REALISATION & SYNTHESIS

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CHAPTER 03 \\ REALISATION & SYNTHESIS

First Iteration of Proposed Plan.

Figures from top to bottom 1. 1:1000 ground floor plan 2. Resized 1:1000 basement floor plan 3. Resized 1:1000 first floor plan 4. Resized 1:1000 second floor plan

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The first iteration of the final design of the building is heavily based on the form of the surrounding landscape.

In order to break free from the traditional straight and symmetrical boulevards of Paris, organic forms were drawn around key circulation routes on the site. Each form is then either combined or refined to form the final shapes that dictate the form of the building.

The proposed building consists of five main sections on the ground floor, with a basement underneath to house the archives which contain more atmospheric sensitive content.

The first floor links the five main areas together, with another floor

above to house more private areas of the building.

The form of the buildings weaves around the landscape, blending amongst the canopies of the trees.

A number of internal courtyards are introduced in the wider areas of the buildings, allowing sunlight to penetrated into even the deepest parts of the building. The inner courtyards will also be populated by trees, further blending the boundaries between interior and exterior space.

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Building Programme.

The building can be mainly separated into two areas, public and private. Most spaces on the ground floor are open to the public, allowing those who are interested in culture and heritage to access information and sources, promoting the importance of such subjects amongst the public.

More private facilities such as the private libraries, archives and research centre are located on the second floor. Whilst not normally accessible to the public, special access can be granted for certain people with academic and research purposes.

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Final Iteration of Proposed Plan.

The final iteration of the design utilises a more linear form. The height of the building has also been significantly reduced to only two floors, in order to not compete with the gothic characteristics of the cathedral. The external envelope of the building will be made using glass, allowing it to blend well with its surroundings through the use of reflections.

The core structure utilises a grid system that supports a waffle roof, allowing much of the interior spaces to remain open plan.

Figures from top to bottom 1. 1:1000 ground floor plan 2. Resized 1:1000 basement floor plan 3. Resized 1:1000 first floor plan 4. Resized 1:1000 second floor plan

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1.

1:1000 elevation of first design iteration

2.

1:1000 section of final design iteration

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CHAPTER 03 \\ REALISATION & SYNTHESIS

1:20 detail section ACADEMIC PORTFOLIO 2019 \\ 2020

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Charrette Week 2019 This year, I have been tasked with documenting the events of Charrette Week, these are photos taken of interesting or key moments throughout the week.

CULTURAL BIBLIOGRAPHY.

Collage Workshop with Franz Samsa

Volunteering & Interning in Summer 2019.

During the summer of 2019, I volunteered in a local organisation that aims to preserve the local culture and heritage in an older part of my hometown. During that time, I also interned under a local architecure firm - Atelier Alan Teh Architects to study more about the approach towards preservation in the area.

I was given the task of researching and design possible facades that are more suitable for the area as much of the buildings have been plagued by large LED commercial boards due to commercialisation.

NUPHS Committee.

Iwas also the treasurerof Newcastle University’s Photography Society for year 2019/2020.

The composition skills and understanding of light from photography also play a key role in my design approach.

APPENDIX.

ARCHITECTS / DESIGNERS

Born in 1941, Japanese architect Tadao Ando started his architectural practise in 1969.

Ando hopes his buildings can help people reflect on their inner selves instead of focus on the outward visual which the Japanese Zen philosophy is involved. In the diagrams it can show how he manage the use of space and emphasis on physical experience of architecture.

Charlie Wong

PUNTA DELLA DOGANA

ARCHITECTS/DESIGNERS. / Tadao Ando.

Pulitzer Arts Foundation St. Louis, US 2001

Hyogo Prefectural Museum of Art Hyogo Prefecture, Japan 2002

Palazzo Grassi Venice, Italy 2001

Punta Della Dogana Venice, Italy 2009

Wrightwood 659 Chicago, US 2018

The Bourse de Commerce Paris, France 2020

PUNTA DELLA DOGANA In 2008-09 Tadao Ando was commissioned to convert one of Venice’s old customs houses into a modern art museum. The building had been abandoned for decades, with various failed attempts at rejuvenation.

The exterior of the building was preserved, the brick stuccoed facade is the only part of the original structure remaining. The interior was stripped out with new concrete interventions placed inbetween the remaining internal walls of the building.

3-5 6-8 9-11 12-14 15-17 18-20 21-23 24-27 28-29 30-33 34-36 37-39 40

ARCHITECTS / DESIGNERS

INTRODUCTON

3

Architects/Designers Typology Site Programme Concept and Design Development Studio Relevance Spatial Sequence Structural Strategy Environmental Strategy Atmosphere Materiality Threshold Bibliography

Villa Savoye is one of the wellknown examples for the bauhaus architecture. The reinforced concrete piles which created a sense of the ground floor being recessed to be resulted as a definitive form to the structure.

This has reminded me of how Ando introduced his concrete into the buildings so as to emphasize the form of them.

Charlie Wong Architects, Spatial Sequence Harry Goacher Programme, Threshold

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Charlie Wong

Oliver Gabe Structure, Studio Relevance

Yew Zhi Xuan Atmosphere, Materiality

From looking at these precedents, these three are some historical building which ando had later then restored them into galleries spaces. One of his defining characteristics is the use of concrete as these smooth and bare walls allow him to bring focus to the form of the building in order to carry out emtional impact to the architecture.

On the next page, it includes an architectural eras that affected Tadao Ando’s approach to architecture.

Andrew Chan Typology, Site

Yanchao Sun Concept & Design, Environmental Strategy

ARCHITECTS/DESIGNERS. / Architectural style.

4

The conventions of interior and exterior spaces in Neuendorf House which introduce the opposition of the raw nature and the formality of architecture seems to be closely related to how Ando managed the contradiction between concrete and brick walls.

Palazzo Grassi Venice, Italy 2001

Punta Della Dogana Venice, Italy 2009

Wrightwood 659 Chicago, US 2018

TYPOLOGY

5

7

TYPOLOGY

TYPOLOGY. ____________ Approach Towards Preservation and Demolition.

The Punta della Dogana was designed in a way to emphasise and bring out elements of the old building through the use of modern interventions. The walls in the building were stripped of any finishings and additions to bring out the age of the material.

The use of concrete blocks in areas of the building creates a contrast between old and new materials in the building.

The Castelvecchio Museum, designed by Carlo Scarpa is good example of adding modern elements to an old building to improve it.

Refined details such as leaving gaps between the new floor and the old wall increases the tension between the old and new. This draws the attention of users to further appreciate certain aspects of the building as intended by the architect.

The Ara Pacis Museum is a building designed to frame and preserved an old structure. Modern materials and construction were used to create an enclosure around an old altar, the use of new materials was intended by the architect to provide an ideal viewing space for the altar.

TYPOLOGY

Yew Zhi Xuan

ARCHITECTS / DESIGNERS Charlie Wong

ARCHITECTS/DESIGNERS. / Timeline of architectural eras.

Contrast Between Old and New Materials.

TYPOLOGY. ______________________ Exhibition Spaces.

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PUNTA DELLA DOGANA

CASTELVECCHIO MUSEUM

MUSEO DELL’ARA PACIS

A key decision was made to demolish the separating floors of the exhibition halls in the Punta della Dogana. This was because the architect wanted to strip the walls of any trace of additions beyond the initial construction of the building. The brick walls lining the halls were then restored, to convert the space into a double-height exhibition hall.

The architect chose to demolish a staircase attached to the communal wall which was once built by Napoleon, and proceeded to excavate the ancient moat underneath the stairs. The staircase is the only part of the building that was demolished, any new additions to the buildings was intended to further enhance the old aspects and details of the building.

The approach to this building is entirely different compared to the two others as it is a site of preservation, and the purpose of the building was to preserve the existing structure on site.

Therefore, the altar was kept untouched, instead the new building was built around it.

Upper right : CASTELVECCHIO MUSEUM The exhibition spaces within the Castelvecchio museum are meticulously designed by the architect, to the point that spaces and circulation strategies are based off the placement of certain exhibition pieces. This can be done as the exhibition within the building is mostly permanent, hence certain spaces can be designed to accommodate these displays better.

Yew Zhi Xuan

Yew Zhi Xuan

Upper left : PUNTA DELLA DOGANA The exhibition spaces in the building were designed to be open and versatile. As most exhibitions displayed within the building are temporary. Therefore, the spaces are required to be open and adaptable to a variety of different exhibitions.

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Bottom left : MUSEO DELL’ARA PACIS The building is designed mainly to protect the ancient altar of Ara Pacis. Most areas around the centerpiece of the museum is left open for users to walk around the structure and appreciate the altar up close from all directions. However, up to 700 square meters of space is also provided to house temporary exhibits.

SITE

SITE

/ Urban and Access.

Chiesa del Santissimo Redentore

Fondazione Giorgio Cini

Chiesa di San Giorgio Maggiore

Chiesa della Pietà

Chiesa della Pietà - Santa Maria della

Palazzo Ducale

Basilica di San Marco

Piazza San Marco

Venice is a historic city with different style of buildings in the city center. Punta Della Dogana located at the southern side of the historic town center, St Marco Square. Although it is close to it, it difficult to arrive through walking.

Waterbus and Servizio Gondola provide a better to the gallery, but it seems hard to be a part of plan by the visitors.

SITE. / View.

Chiesa di Santa Maria della Presentazione

SITE.

Andrew Chan 10

Photo of Servizio Gondola Station.

Photo of Waterbus Station.

Andrew Chan

Photo of Ponte dell’Accademia.

The tip in front of Punta Della Dogana can view a 360-degree view of the estuary of Venice. It provides another option from Gondola to view St Marco Square from the other side. However, there is no sign to direct the tourist to this tip to show the view of Venice. Tourist need to explore the way themselves which limited the potential of this places.

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SITE. / Historic Factors.

Punta Della Dogana is located between the Grand and Giudecca Canals.

It is a custom house called Dogana da Mar before rebuilding as a gallery.

The location achieve itself as a watch tower to protect the important transportation path in Venice. In addition, the St Marco Square was the entrance for the waterway. This location become significantly important to surveillance it.

PROGRAMME

SITE

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Top : Servizio Gondola to the site (1:15000) Mid : Waterbus path to the site (1:15000) Bottom : Walking to site through Ponte dell’Accademia(1:15000)

Harry Goacher

Andrew Chan

Collage shows the main visit attraction in Venice.

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PROGRAMME.

Exhibition Space Cafe Lockers & Toilets

Entrance Hall Book Shop

CONCEPT AND DESIGN DEVELOPMENT

PROGRAMME

CONCEPT AND DESIGN DEVELOPMENT. Tadao Ando's design retains the original structure of the Dogana del Mar building, and today Punta della Dogana is a museum converted from a historic customs building.

It is located on a triangular land at the intersection of the Grand Canal in Venice and the Giudecca Canal. It is a long and short 17th-century building with a low tower on top, with decorative green and gold weather vanes representing wealth.

Ando's solution combines complete respect for existing buildings with minimalism that he is most familiar with. First, he removed centuries of additions, largely restoring the original structure. At the heart of the building's deep plane, a volume of pure concrete hints at the architect who restored the building and organizes the surrounding space. At the same time, Ando emphasized the triangular shape of the entire building and its structural features.

From the very beginning, the layout was intended to afford visitors glimpses – rather than full views – of, first, the empty spaces of the old warehouses, then (only at the very last moment) of the reinforced concrete enclosure; access to each space was filtered by the presence of gratings that functioned as a sort of diaphragm.

Harry Goacher

Circulation.

Punta della Dogana has only one entrance from the square in front of the Basilica di Santa Maria della Salute. This creates an essential loop for the public to see and expreience each collated room of art work before the exit through the same doors in which they entered.

The Punta della Dogana promotes a large surface area of exhibition space along with an entrance hall and ticket office, lockers and toilets,

a cafe and a bookshop. Each area has been colour coded and represented appropriately.

Following on from the programme areas, the circulation is shown across a two page spread, also highlighting primary images taken at the Punta della Dogana from the fieldtrip.

Photographs have been placed in their respected areas within the plan of each floor.

Yanchao Sun

PROGRAMME. /

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PROGRAMME. / Circulation.

The exhibition space is formed by a primary brick structure that has glances of concrete where larger openings occure. Along with the use of glass for both external windows and interal barriers for viewing points.

CONCEPT AND DESIGN DEVELOPMENT

PROGRAMME

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On the ground floor the larger windows running from the floor to the ceiling allow for extra light in the exhibition space. As well as the first floor having both rectangular windows running across the floor with semicircular windows positioned above. This also allows for extra sunlight but restricts areas due to the shape of the windows, potentially creating an intense light level for the displayed artworks.

Tadao Ando removed the central part of the structural wall and installed two brick columns to emphasize the large square space in the center of the building, which has a great potential for its restoration, both functionally and symbolically.

Tadao Ando's concept consists in fact to redefine this central space by inserting a new wall of exposed concrete, therewith inserting a contemporary accent at the core of the building and thus revealing the harmony between old and new in a stimulating dialogue.

All original structural elements, i.e. the long brick walls and the wooden truss beams of the roof, shall be restored in keeping the repairs and surface treatments minimal; they shall remain exposed to the largest possible extent, in removing the architectural finishes which actually recover them in many areas. The original character of the building will thus be accentuated, therewith giving the visitors a better understanding of its history.

Harry Goacher

Yanchao Sun

Some areas are also opened up to a double-height exhibition space. This emphasised the scale of the building and also allows for larger peices of work to be sufficiently displayed.

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Now, the approach to the very heart of the project was shortened by one bay. This logic of glimpses rather than immediate disclosure meant that the number of openings between spaces was increased, in order to deny visitors full sight what might be in the next room.

And as for the enclosure, one now came upon it more abruptly, and had to walk round it to find the point of access.

STUDIO RELEVANCE

CONCEPT AND DESIGN DEVELOPMENT

The large central exhibition space is punctuated by establishing a new layer at the sides as circulation path. This adds to the richness of space both vertically and horizontally. In the similar volume of the big warehouse on Lazzarretto Nuovo, the space can be subdivided into different layers, corresponding to different functions.

The building was abandoned, neglected and falling down prior to Ando’s intervention, with the rejuvenation acting as preservation to the existing fabric of the building, giving it a new purpose and allowing it to be ‘culturally significant’ once more. The interventions act as ‘formless aesthetics’ which remain secondary to the existing building while allowing the building to maintain a purpose in the 21st century. The concrete additions not only allow the building to be used as a functional gallery space, but also allow access and circulation around the otherwise relatively inaccessible interior spaces.

Oliver Gabe

Yanchao Sun

Therefore, Ando’s interventions act to reframe the Punta Della Dogana to a contemporary setting, giving it a new use while preserving the original identity of the building as a landmark.

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STUDIO RELEVANCE.

STUDIO RELEVANCE

STUDIO RELEVANCE

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Tadao Ando took a sensitive approach in his intervention of the Punta Della Dogana to ensure the preservation of the existing building. The building has had many different interventions over its lifetime, leading to a patchwork of damage and additions to the fabric of the building.

Ando, stripped off the plaster from the masonry walls, exposing the rich tapestry of interventions for the public. He wanted the building to appear almost like a ruin, with the new concrete interventions reframing the damage, allowing visitors to understand the history of the building. This way, the history of the Punta Della Dogana becomes as relevant to the building as the artwork displayed inside. The building is seen as a whole, with the new interventions seen as just one of the many modifications made to the building over the course of its lifetime.

Tadao Ando has been committed to expressing the most basic natural elements in his works-the perfect blend of light and architectural space, and even to create a dramatic effect. His most prominent design technique is to use pure concrete materials and geometry.

The combined space creates a large area of light and dark contrast and dynamic changes in light and shadow, especially the use of darkness to contrast the charm of light and the meaning of the place. In this building, it is no exception as well.

Relevance to Experimental Preservation.

“Architecture is saved from obsolescence and appears contemporary as it is framed and reframed by preservation as culturally significant.”

Existing Masonry Interior Walls

“Preservation’s mode of creativity is not based on the production of new forms but rather on the installation of formless aesthetics to mediate between the viewer and the building.”

New In-Situ Concrete Walls

“Preservation could only supplement architecture by slowly installing an “unnatural interface” between the visitor and the building.”

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“The best thing to do is to try to put oneself in the place of the original architect and try to imagine what he would do if he returned to earth and was handed the same kind of programs as have been given to us.”

ABOVE The new, in-situ concrete walls stand out strongly against the rough existing brick walls.

They are lit independently and clearly separate themselves from the existing structure.

“It is not a question of making art, but only of submitting to the art of an era which is no more.”

RIGHT The new concrete box acts simultaneously as a centralised gallery space and a vertical circulation core. Visitors must pass around the core for access to the second level, ensuring movement through the building while experiencing both old and new aspects of the gallery.

Oliver Gabe

Oliver Gabe

“To restore an edifice means neither to maintain it, nor to repair it, not to rebuilt it; it means to reestablish it in a finished state, which may in fact have never actually existed at any given time.”

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ABOVE The concrete box is placed carefully within the building so as to not damage the existing fabric. It is not connected to the roof or wall structure to stand out clearly as a modern intervention.

LEFT Fragments of previous interventions are left on display within the gallery. This way the building is seen as a patchwork of the many changes that have taken place before.

SPACIAL SEQUENCE

SPACIAL SEQUENCE

SPATIAL SEQUENCE. / Circulation summary.

SPATIAL SEQUENCE. / Gallery circulation.

From the very beginning, the layout was intended to afford visitors glimpses. The empty spaces of old warehouses, then the reinforced concrete enclosure - access to each space was filtered by the presence of gratings that functioned as a sort of diaphragm.

These two floors have two massive exhibition spaces mainly connected with two central staircase between the concrete and the brick walls. This ciculation allows people feel free to choose which direction to go on each floor. However, this also comes upon it more abruptly, and has to walk round it to find the point of access.

Now, the logic of glimpses changed rather than immediate disclosure.

This reveals the number of openings between spaces was increased in order to deny visitors full sight what might be in the next room.

Gallery Space Central Staircases Cafeteria Lavatory Mechanical Room

Having passed beyond the ticket office and the cloakroom, visitors would proceed towardsthe tower at the eastern apex, along a route that runs on the inside of the wall overlooking the Grand Canal while to the right would be the series of rooms formed by the old warehouses.

Primary route

Secondary route

Charlie Wong 23

SPATIAL SEQUENCE. / Staircase.

STRUCTURE

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SPACIAL SEQUENCE

Charlie Wong

Ground floor plan with circulation

First floor plan with circulation

STRUCTURE. / Exploded Axonometric.

New Wooden Roof Structure Moving through the space forces visitors to engage with the two contrasting materials of the building. At this threshold monent, the two eras of construction wrap into and define a single space,intersifying the experience for the guest.

New Concrete Flooring Key circulation plan

This is Ando’s concept to redefine this central space by inserting a new wall of exposed concrete, therewith inserting a contemporary accent at the core of the building and thus revealing the harmony between old and new in a narrow space.

Existing Interior Masonry Walls

New In-Situ Concrete Interior Walls Existing Masonry Walls

Bricks

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Threshold

Oliver Gabe

Charlie Wong

Concrete

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The existing stuccoed-brick exterior walls of the Punta Della Dogana are the primary structure of the building. During the renovations the building was entirely gutted, leaving only the horizontal brick interior walls spanning between the exterior walls and the added columns in the first two bays. These load-bearing walls were largely left untouched, with the interventions over the last 200 years being left exposed.

Ando’s major intervention was the addition of a large concrete core spanning two bays in the middle of the building, plus the concrete first floor which extends over half the building. All of the concrete was cast in-situ, with the support holes of the concrete being re-used to provide a grid for hanging the artwork inside the gallery.

Ando wanted a clear differentiation between the added and existing elements, therefore the concrete walls are not structural and are clearly set back from the masonry structure so as not to intervene in the fabric of the building.

The roof structure was kept the same, but the timber was replaced due to damage of the existing structure compromising its load-bearing quality. The roof is clad in brick and ceramic tiles to match with the immediate context of Venice.

In the 19th century, the walls of the first bay were removed and brick columns were added to support the failing structure.

Ando, retained these columns, but rebuilt the walls from in-situ concrete to match with the interventions in the interior of the tower and the concrete core.

STRUCTURE

STRUCTURE

Existing Masonry Walls PRIMARY

Timber Roof Structure.

Interior Masonry Walls SECONDARY New Concrete Walls New Concrete Flooring

First Floor Plan.

STRUCTURE

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Oliver Gabe

Ground Floor Plan.

MASONRY COLUMN

CERAMIC ROOF TILES

NEW TIMBER BEAMS

STEEL WOOD TIES

EXISTING MASONRY WALL

Contains layers of wood between some bricks to allow for the expansion and contraction of the column with the fluctuating water levels in Venice

Similar to those used around Venice, they therefore match with the existing buildings to maintain the historical impression

The timber used was new, however careful attention was payed to ensure that it was close to the original timber to reduce the intrusiveness of a brand new replacement

Ando designed a nonintrusive system tying the beams together to minimise the structural damage of other forms of joinery

The previous damage to the walls was left exposed where possible, the timber beams were able to be attached to the walls with little risk of damage to the existing structure

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The concrete lintels above the doorways are removable and can be lifted out of the way to allow for large or heavy artworks to be moved easily around the gallery by allowing forklifts and machinery to fit through the openings.

ROOF CLADDING TERTIARY STRUCTURE

ENVIRONMENTAL STRATEGY

Oliver Gabe

Existing Venice Foundations

ENVIRONMENTAL STRATEGY. Tadao Ando is a master of light and concrete use. Through the windows on the roof and walls, sunlight can easily enter the interior through the glass, creating a very interesting light and shadow effect. At the same time, this provides ample light for the interior of the building. At the same time, it can be seen from the figure that the spotlights on the roof on both sides of the wall are well hidden behind the wooden bearing beams, so they are not easy to find. At the same time, the artificial light sources provided by these spotlights It alleviates the problem of insufficient indoor lighting and creates a light and shadow effect different from pure natural light. The design of the entire building fully reflects Tadao Ando's design ideas, he perfectly integrated the building with nature.

CONCRETE FLOORING TERTIARY STRUCTURE

ROOF TIMBER STRUCTURE SECONDARY STRUCTURE

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EXTERIOR MASONRY WALLS PRIMARY STRUCTURE

Yanchao Sun

Oliver Gabe

INTERIOR MASONRY WALLS PRIMARY STRUCTURE

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NATURAL LIGHT ARTIFICIALAL LIGHT

of Tadao Ando, a large number of windows are used, which virtually enhances the indoor air circulation, making the building more energyefficient and more efficient in controlling the internal environmental humidity and air.

ATMOSPHERE

ENVIRONMENTAL STRATEGY

In order to transform this seriously damaged building into a museum that can display contemporary art, in addition to the image processing, Tadao Ando has given this historic building a variety of modern facilities. He added a waterproof layer in the ground floor. To prevent seawater from invading the building.

ATMOSPHERE. ___________________ Main Exhibition Halls.

The atmosphere of the spaces within the Punta della Dogana is mainly established through a dialogue of old and new between the old building and elements of new intervention designed by Tadao Ando. The two main spaces the user experience after passing through the entrance are large double-storey height exhibition halls. Ando made a choice to demolish the pre-existing floors that were used to separate the hall into two floors, this decision was made in order to emphasise the initial purpose of the space – which was being used as a warehouse.

Due to the existence of groundwater, some parts of the wall-based brick structure inevitably become humid and emit moisture into the room. Therefore, a humidity control and air conditioning system was added to the design.

At the same time, due to the design concept

COOL AIR HOT AIR

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ATMOSPHERE. ______________________ Approaching the Building.

ATMOSPHERE

ATMOSPHERE

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Yew Zhi Xuan

Yanchao Sun

The modern materials used in the staircase and the flooring on the space creates a contrast between the old worn-down walls of the building and the smooth finish of the concrete floor.

ATMOSPHERE. _____________ Key Spaces in the Museum.

The Punta della Dogana is located on the eastern tip of the island in Dorsoduro.

Initially built as a warehouse to store merchandise, the area was also primarily used as an area for docking ships and customs. The main entrance to the museum faces north west, which is the only side of the triangular building that is directed towards land.

Yew Zhi Xuan

Yew Zhi Xuan

The two other sides of the building are surrounded by water, as it is located at the intersection between the Grand Canal and the Giudecca Canal of Venice. A walkway approximately four to five metres wide allows users to go around the exterior of the building next to the river banks.

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The entrance to the buildings – consisting of the reception area, the cloakroom and the lavatories, show almost no sign the older parts of the building. Ando did not hesitate to use plaster finishings to create a modern atmosphere.

A concrete casted cube was placed within the core of the buildings. This was the main and largest aspect of the intervention done by Ando as several walls were required to be demolished for this addition to be made.

The remaining areas in the museum are sectioned into multiple smaller exhibition spaces. Each of these have very different atmospheric qualities, the more notable ones being the room in the tower and the room with the restored columns.

MATERIALITY

ATMOSPHERE

MATERIALITY. / Exhibition Space.

1.

2.

ATMOSPHERE. ______________________

3.

Day / Night Lighting Conditions.

Yew Zhi Xuan

However, areas such as the two main exhibition halls and the concrete cube in the core of the building tend to have more change in lighting conditions due to the presence of windows and lightwells. Areas nearer to the ground usually have lighting that remains even despite night or day. However, the details of the timber rafters of the roof are usually too dark to be observed during night time.

Every exhibition spaces are all communicate with old and new. Concrete, glass and steel like the intervention of the area. The strong symbolic simplified design marks the boundary of new encouragement. The old parts of the building are bricks and timber frame roof. From the colour and the texture of the timber and brick give out a strong contrast with the smooth and perfect pure concrete.

6.

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MATERIALITY. / Context.

MATERIALITY

MATERIALITY

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Andrew Chan

Due to the depth of the building, most spaces within the building do not change much under different lighting conditions. The atmospheres tend to remain the same, which helps as some exhibitions require very specific types of lighting conditions.

5.

4.

MATERIALITY. / Old and New.

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1:2000 site map with ceiling color

Punta Della Dogana used the white plaster and re ceiling to reflect to the whole context. In addition, a part of the wall was exposed the brick structure of the building in order to communicate the interior materiality, but also shows the original materials of the building before Tadao Ando restored it. The glass door and windows also covered with black metal fence which renewed by Tadao Ando and represent the original form of the building.

Andrew Chan

Andrew Chan

The hold city cover with the same color tones and similar material for their buildings. In this side of the island, white Istrian stone, plaster and red ceiling seem to be the common language of the city. In the collage of the elevation in this island. Red, grey are often appear on the exterior of the buildings. It shows the same language of the whole area.

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This is one of the staircases in Punta Della Dogana.

Tadao Ando was carefully place a visual gap between the new concrete block and original bricks walls. This gap marks the difference of old and new, remain that the intervention is an intervention of the building, but also represent the characteristic of the architect with using the iconic concrete texture into this historic building. The other necessary part like the handrail, it keeps the simplest form to reduce the damage of overall bricks feelings.

Tadao Ando opened some threshold to fit the circulation of the new art gallery inside the custom house. For the outer layer of the threshold was built with steel with same color as the concrete floor. It combined with the floor remind visitor the openings were construct by Tadao Ando but not the original structure of the building. It is a symbolic structure that significantly divided the two material languages inside the building.

The middle space was originally a double-height area in the past, but Tadao Ando was only keep the spatial quality and remove the brick walls in this area. Refining with concrete wall. The contrast of the smooth colorless concrete wall emphasizes the two columns in the middle of the space. Timber beams passed through the hole of the concrete walls. This out of place design attracted visitor the order of the construction. From the 17th century structure to the concrete intervention.

THRESHOLD

THRESHOLD

THRESHOLD.

Internal windows and viewpoints promote the connection between glass, concrete walls and aluminium finishes.

THRESHOLD. The huge concrete cube in the center presents four view-points from the first floor to look down on the collated exhibition space below.

As shown in adjacent photographs, all four of the ‘windows’ to the cube can have their lintels removed so that larger pieces of art can be lifted in and out of the area if need be for different exhibitions.

Surrounding materials conflict the dense polished concrete walls and floor to the brital glass barrier and flush aluminium fittings.

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The following photographs show the different ways of experiencing a threshold in the Punta della Dogana. Thresholds such as the doors, windows and the staircases are all ways of moving and connecting different areas of the building together by one form or another.

ArchDaily. (2011) Ara Pacis Museum / Richard Meier & Partners. Available at: https://www.archdaily.com/104187/ara-pacis-museum-richard-meierpartners (Accessed 12 December 2019).

Scarpa, C. (n.d.) Restoration of Castelvecchio Museum. Available at: http:// www.atlantearchitetture.beniculturali.it/en/restauro-e-allestimento-delmuseo-di-castelvecchio/ (Accessed 12 December 2019).

Arcspace. (2012) Punta Della Dogana. Available at: https://arcspace.com/ feature/punta-della-dogana/ (Accessed 15 November 2019).

Theodorakakis, T. (2017) MUSEO di CASTELVECCHIO. Available at: https:// issuu.com/tasostheodorakakis/docs/scarpa_comp (Accessed 12 December 2019).

Jodidio, P. (2014). Tadao Ando. Complete Works 1975 - 2014. Koln: TASHEN. pp, 543 - 549.

Koolhaas, R., Otero-Pailos, J. and Carver, J. (2016) ‘Preservation Is Overtaking Us’, Architecture and the City. New York: Columbia Books.

LaBlog. (2018) Atlas Of Interiors. Available at: http://www.atlasofinteriors. polimi.it/2018/11/22/tadao-ando-punta-della-dogana-venice-italy-2009/ (Accessed 12 December 2019).

Le-Duc, V. and Berdoll, B. (1996) ‘The Foundaions of Architecture’, Dictionnaire Raisonne. New York: George Braziller Inc. Murphy, R. & Scarpa, C. (2017) Carlo Scarpa and Castelvecchio revisited.

Available at: http://www.breakfastmissionpublishing.com/ (Accessed 12 December 2019).

Museo dell’Ara Pacis. (2017) The Meier project. Available at: http://www. arapacis.it/en/sede/il_progetto_meier (Accessed 12 December 2019).

PALAZZO GRASSI S.P.A (n.d.) PUNTA DELLA DOGANA. Available at: https://www.palazzograssi.it/en/about/sites/punta-della-dogana/ (Accessed 12 December 2019).

Harry Goacher 38

(Accessed 12 December 2019).

Ando, T. and Dal Co, F. (1995). Tadao Ando. London: Phaidon. pp, 283 291.

STAIRS.

A variety of materials coherently connect at these intervals and there was no attempt by Ando to disguise the polished concrete cube structre that sits in the center of the triangular floor plan extruding through the first floor to the roof of the building. The concrete floors throughout the building seamlessly connect the cube to both the ground floor and the first floor.

BIBLIOGRAPHY

Arcspace. (2012) Punta Della Dogana. Available at: https://www. palazzograssi.it/en/about/sites/punta-della-dogana/ (Accessed 12 December 2019).

WINDOWS.

THRESHOLD.

DOORS.

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BIBLIOGRAPHY

Harry Goacher

The stair cases linking both floors and materials together connect the internal barebrick facade, concrete walls and floors, glass panneling and wooden structural crossbeams.

THRESHOLD

Harry Goacher

Galvanised steel grids cover the large double height windows around the entire ground floor which is surrounded by a combination of brick and bigger concrete blocks neighboring these windows.

Richard Meier & Partners Architects LLP. (2006). Ara Pacis Museum.

Available at: https://www.richardmeier.com/?projects=ara-pacis-museum-2

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Bibliography.

List of Precedents KAIT Workshop by Junya Ishigami Grace Farms by SANAA Hiroshi Senju Museum by Ryue Nishizawa Rolex Learning Centre by SANAA