Z1P5

port folio

Academic Portfolio - Architecture Ne wcastle University Denisa-Iuliana Calomfirescu 170039400

“To restore a building is not to maintain it, repair it or remake it: it is to re-establish it in a complete state which may never have existed at any given moment.�

E-E.Viollet-le-Duc

reflective report Recreating a historical square through my building design, which is meant to re-organise the social dynamic between tourists and locals right in the heart of Paris, was the objective I have set for the new National Centre for Heritage and Preservation of France. This implies the occupation and delimitation of the renown Parvis de Notre Dame (frontal square of the Cathedral), which was enlarged through building demolitions during Baron Haussmann’s 19th century urban reorganisation of Paris. Moreover, this programmatic goal should be enriched by its take on experimental preservation, and set an example for future buildings designed in historical environments.

The research that we had conducted on European squares during primer, together with our field trip explorations and acknowledgement of the site problems in terms of touristic overpopulation and residents’ exodus were the factors that contributed to establishing this concept. Although occupying a considerable amount of space in front of a landmark like Notre Dame could nowadays be considered as a heretical approach, its benefits of framing the Cathedral, restoring the perception of the historical Parvis, as well as generating an opportunity for the two segregated groups of people to gather outgrows those doubts.

These benefits were also the aspects that influenced each other in the design, in the light of my approach on experimental preservation: exposing historical elements that may have stayed hidden or may have been unpopular up to that point, for instance the crypt, exposing them in an unorthodox manner, by designing around it and integrating the remains which had to be removed in the building materials, as well as preserving the perception of a certain historical typology, rather than just recreating its form in a literal way.

Viollet-le-Duc was the patron of experimental preservation and encouraged any sort of changes to a building, as long as its new state is superior to the previous one. What I have also learned about him is that his design method was a modern and innovative one, emphasizing the importance of a rationale in design as structure, as well as of a programmatic logic. Under no circumstance should the physical appearance impact negatively the quality of the interior spaces and make them inappropriate for use, advocating for a balanced design method between these two. Oddly enough, although this ideology was familiar to me, even though I was not aware that Viollet-le-Duc was its author, I did find

myself in situations where either the programme and the interior took over the design and made in inappropriate for its context, or where the building envelope impacted the quality of interior spaces negatively.

Working on this design project I had set a personal aim to inspect and to learn about designing well contextualized buildings. On my learning journey, I have found a considerable number of buildings that do not relate in any way to their surroundings: they are neither in an opposition nor in an accordance to that. Most of the time, any sort of site analysis would be discarded, and the designers’ subjectivity would fully take over. Finding the right balance between objectivity and subjectivity in design is not always easy, but I chose this as my principal learning objective this year. Through the readings by Viollet le Duc and commentary on his theory, I have found it much easier to establish a balance between the two aspects. Even though he was a rationalist, he stressed the importance of ornamentation and beautification of the spaces, however, this should come from elements that play a functional/structural role, or from elements which decorate these.

I have dedicated a considerable amount of time to study Viollet-le-Duc’s theory, and also testing it through some successful, other less successful attempts, in order to build my personal position and to decide whether my design speaks for or against it. I had found out that, for example, and working around a structure grid in combination with programme diagrams rationalizes the structural system, thus making the project feasible. Once I verified his theories through parts of my work, I had decided to look for other design-related answers in his theories, if the need surfaced.

In the beginning, I was not aware of how much theoretical and precedent-related study our studio involved, neither was I aware of the paramount significance that our site, Ile de la Cite and the Cathedral of Notre Dame have. But once I became aware of these, I was pushed to transform my intimidation into a constructive drive, and to work with this valuable setting. I could say that this change of mentality was a critical point in my design journey. What I have learned from this experience is to patiently work upon a solution and solve all the difficulties that may surface, instead of finding an alternative that may be fulfilling at a first glimpse, but lacks a solid foundation of development .

Another critical step for me consisted of learning how to represent my ideas. I had found myself stuck in a place where, due to lack of practice, I would not be able to produce good quality hand drawings in a short time, and where my digital representation skills were not polished either. This project has pushed me to improve on these, as a medium to use in my future career, but also make sure I do not lose my traditional representation skills. Drawing a series of axonometric spaces towards the end of this year was such a case.

If, hypothetically, my proposal would be built, it would reform the way that people design in cities with a rich architectural history, such as Paris, for it negates the necessity of large, empty squares in front of monuments – an idea so beloved in the late 19th, early 20th century, but also for being bold when designing around landmarks. After realisation reviews, I feared that my building may be too competing with the Cathedral and was about to simplify it radically, almost to the point it would have ended up as a glass box. However, I managed to detach myself from this idea, and figured out a method to relate the building to its surroundings by various parameters, turning it into a true fragment of Paris.

con tents

p. 4 Reflective Report

primer

p. 10 Studio specific analysis

p. 36 Process

grand tour+ staging

p. 42 Exhibition

Notre Dame Historical mapping Output Eugene-Emmanuel Viollet-le-Duc Modelmaking Initial massing Experimental Preservation Exhibition design Personal Reflection

p. 52 Field trip

France Italy Audit of resources

p. 76 Case study

Fondazione Prada Overview Key strategies

realisation + synthesis

p. 84 Staging

Reflection Incipient concept Site Programme

p. 101 Reflection

p. 136 p. 118 p. 126 p. 116 p. 106 p. 108 p. 114 Final TechnoFraming Interior Realisation Staging Programme logical radaradaradarada radaradaradarada building building testing Notre Dame Spaces Drawings Integration+ parameters parameters TTMW p. 146 p. 146 p. 142 p. 162 p. 172 Charrette Appendix 1.

Cultural Appendix 2. Appendix 3.

References and Fondazione Process work Bibliography List of Figures Prada Case study p. 102 The Crypy

p. 104 The Square

in full

primer

personal reflection

primer

P e r s o n a l

Reflection

From my first explorations on the Cathedral, it turned out that ithe drastic change of its surroundings which occurred two centuries ago distroyed the medieval framing of the cathedral which was created by the archaic, chaotic, but in a way intimate and mysterious urban arrangement of Paris.

A muted necessity of reframing Notre-Dame

Due to current day conditions, that cannot recreate various elements of the Cathedral that were destroyed during the fire, it should be rebuilt as close to what it looked like prior to the fire, as that was, in Violletle-Duc’s eyes, the ideal version of what the Cathedral shoul look like.

However, that leaves more room for exploring possibilities around the Cathedral and opening the gate of possibility towards a building that can frame and reinduce a more mysterious and grand perception of the Cathedral.

Due to the fact that contemporary techniques may not be able to replicate historical architecture, the primer explorations have led me in the direction of recreating experience and perception withing my project.

primer

Notre-Dame Catherdral

NotreDame

During primer, our main task was to decode and represent the history of the Notre Dame Catehdral; how it has changed, how it has influenced its surroundings and also how exterior factors have influenced it.

The Cathedral of Notre-Dame, as many other iconic buildings that have stood the test of time, has passed through countless changes in the past eight centuries.

Political and religious interest have shaped this building, making it an amalgam of pieces coming from different epochs, all layed up on an originally gothic edifice.

A contemporary standstill of the dyanmic and ever-changing French Gothic magnum opus.

The Cathedral has been used as an a place for prayer, an object of propaganda, or nowadays even as a postcard image or selfie backdrop. Each of these different ways of regarding it has also left traces on its architecture.

The nineteenth century brought two radical changes for the cathedral; the first one, generally seen as positive (though some regard it otherwise), consisted of its restoration under Eugene-Emmanuel Viollet-le-Duc and Jean-Baptiste Lassus. The Cathedral was meant to regain its appearance from before the French Revolution, which tarnished parts of it sculptural decorations and the iconic spire of the Cathedral, and enhance its gothic character. The second change, although not physically affecting the Cathedral, altered the way in which it was perceived. Baron Haussmann demolished the two buildings that faced the cathedral, together with those builds that flanked the riverbank by the Cathedral, leaving an immense square in front. This was a part of his novel strategy of how monuments should stand inside a modern city.

The reason why we are addressing this site is the fire which took place on 15 April 2019 at the Cathedral of Notre Dame, in the middle of restauration work taking place, destroying the 800-year old roof, together with the iconic spire that was restored by Viollet-le-Duc in the 19th century. The new centre for Heritage and Preservation of France should be designed, to contribute to the restoration of the Cathedral and to future development of experimental preservation.

12

13

primer

Notre-Dame Catherdral

Notre-Dame Catherdral

16

primer

primer

Notre-Dame Catherdral

Notre-Dame Catherdral

20

primer

Notre-Dame Catherdral

23

Notre-Dame Catherdral

24

Header 1

primer

Notre-Dame Catherdral

Notre-Dame Catherdral

28

primer

primer

Notre-Dame Catherdral

31

Notre-Dame Catherdral

32

primer

primer

Eugène-Emmanuel Viollet-le-Duc

Eugène-Emmanuel

Viollet-le-Duc Preservationist, architect, perfectionist?

Although coming from a highly-ranked family in the French society, Viollet-le-Duc opposed traditional architectural education and refused ot attend the Ecole des Beaux-Arts, to study for becoming an architect. Instead, he decided to work and earn sufficient money to embark on an 18 months journey, through France and Italy, that would allow him to study buildings through his own eyes.

He was still regarded as a heretic once he arrived in France, but his connections facilitated him to work in architectural practice. His skills improved further, confering confidence to his clients and building up a solid reputation in the French society.

Working together with Prosper Merimee for the commision of monunments built up his portfolio of restorations on medieval buildings, such as Vezelay, SainteChapelle, Chateau de Pierrefonds, Notre Dame and others. However, his work is highly controversial due to so-called arbitrary changes that he made to these historical buildings.

Viollet-le-Duc was the figure who defined what we nowadays know as restoration, and his definition motivates the validity of these arbitrary changes. He said:

To restore a building is not to maintain it, repair it or remake it: it is to re-establish it in a complete state which may never have existed at any given moment.“ However, these ammendments should be based on scientifical evidence, structural and functional reasoning (which are the only conditions that allow a change in the orginila appearance of the building) and an outward, innovative thinking.

Experimental preservation

Experimental Preser vation Pushing the threshold of convention in preservation

primer

What is experimental preservation?

There is no exact definition of this term, aside from the fact that it does not involve restoration as we nowadays know it, where elements ought to be repaired to the exact shape that they originally had.

However, broadly speaking, experimental preservation is a method of restoring, displaying or highlighting elements that would normally not be preserved or in a a manner that would not normally be employed for an object which would like to be preserved.

Although Viollet-le-Duc provides a method for carrying out such a project, it still leaves room for interpretation, and current day examples of experimental preservation are usually highly controversial for this exact reason.

They face public backslash, because the public is used to the formal way of restoring. However, that is not what Viollet-le-Duc had defined 200 years ago.

It is an active battle for the survival of this species of projects because it lies in the grey zone between formal restoration and total annihilation of historical architecture. However,it represents a viable solution for sustainable development of cities in future, as it makes use of the already existing building fabric.

Furthermore, educating architects in this direction enables them to design extensions or buildings that would have a long life, thus saving incredible amounts of embodied building energy and also reenabling the life cycle of buildings that may otherwise have collapsed or dissappeared.

experiencing volumetry-modelmaking

primer

Experiencing

Vo l u m e t r y Building the model of ĂŽle-de-la-CitĂŠ

Our primer exhibition mainly consisted of groupwork, and I was assigned to work on the model of Ile de la Cite.

Employing the technicque of casting plaster which we had just learned at a thinking through making workshop, we had casted all buildings in the eastern half of Ile de la Cite .

Working on this model helped me familiarize myself with the site, building heights and volume ratios more than I would have, just by analysing 3D imagery online.

It also eased my worked on site during the field trip and helped me orient myself better around.

39

primer

experiencing volumetry-modelmaking

n

egatives of the buildings needed to be made, in order to cast plaster. This is how we became knowledgeable of all building dimensions.

The highlight of the model was of course the Notre Dame Cathedral, which was done by a different group of colleauges.

primer

Exhibition

D e s i g n Curating history, atmosphere, perception

o

ur exhibition took the form of a historical timeline which illustrated both rigorous information related to the changes that have happened with the Cathedral in the past, as well as collages illustrating the atmosphere of the time. All of these were curated on the old staircase of the Newcastle University Architecture building.

The collages altogether meant to form a triumphal arch, which is a recurring motif in architecture and history, for legitimizing victory.

exhibition design

Header 1

primer

P r i m e r

Exhibition Timeline of metamorphosis

personal exploration

primer

P r i m e r

Exhibition Personal exploration

m

y first massing explorations were dissembled reinterpretation of the Hausmannian buildings around Ile de la Cite.

However, the issue with these was the lack of connection and relation with the urban realm. Even though they were enclosing the space one way or another, they still looked like isolated objects placed in the centre of the site.

46

primer

personal exploration

t

he individual part of our Primer exhibition consisted of us attempting to form an initial massing for the site, before we have had direct contact with Paris or Ile de la Cite.

To do so, I had drawn a detailed sketch of the island, first, then developed a mass that was influenced by the Frnch roofs used everywhere around the island. As I had identified that the frontal square of Notre Dame was the problematic spot, I had placed my building from the very beginning right there.

primer

presentation video

presentation video

primer

P r i m e r

Exhibition Presentation video

The first scenes present the cathedral as the fire took place

Eugene-Emmanuel Viollet-le-Duc is introduced

Photograph of the Parvis Crypt from the time it was uncoverd.

Viollet-le-Duc and Lassus, the original duo of restorers of Notre Dame, are introduced

A representation of the cathedral surrounded by buildings before the Haussmannian changes took place

A visual summary of changes to the cathedral.

Setting the scene for explaining preservation as it was defined

by Viollet-le-Duc

An exaggerated proposal of restoring Notre Dame after the fire.

Introducing Viollet-le-Duc’s Dictionnaire Raisonee [...]

Viollet-le-Duc’s definition on restoration.

Presenting the site model.

grand tour+ staging

grand tour

staging

grand

tour Paris Rome Milan Verona Venice

Aside from the evident oportunity of a physical site analysis which this field trip has offered us, the experience has contributed significantly to shaping a proposal which is well contextualized and establishes a correct relationship with its surroundings.

While the two-day excursion in Paris helped familiarise ourselves not only with the physical features of the site, but also with the sociopolitical context, the weeklong travels through Italy were a great oportunity for our studio to observe precedents of experimental preservation and to learn from these.

The positive examples of experimental preservation that we have visited displayed harmony on all levels of composition, sometimes even confusing the visitor about the age or provenience of modern/contemporary additions.

From the vast range of preserved/adapted buildings, I was also able to gather new information for writing my dissertation, which complemented my perspective on conversions of industrial buildings in Europe.

grand tour

staging

grand tour

paris

bears the mark of Barron Haussman’s ideal of city and boulevard. The bare and unfocused eye can only spot pristine boulevards, with neat lines and arrangements.

However, every now and then, glimpses of the medieval organization of the city surfce, with dead end streets, snarrow alleys, small courtyards, exposing the real facture and nature of the city.

ĂŽle-de-la-CitĂŠ

felt mainly as a deserted place, where Parisians only pass in order to run errands and leave as soon as possible, where the only people descending from the metro were tourists, and where the bridges are flooded with people taking pictures of themselves and the cathedral in the background.

However, it is evident that Notre Dame played the role of the crown jewel on the Island. In the picture on the left, that is the first view towards the Cathedral once descending from the Metro.

notre-Dame

, currently locked up all around due to ongoing work, is indeed the highlight on Ile de la Cite. Even if tourists cannot reach in its proximity, they are still coming as close as possible, creating an unpleasant sense of congestion in some points, which contrasts significantly the sense of desertness from other points of the island.

staging

grand tour

staging

rome

was a very good example for us to see how architecture from three different millenia can come together and still work harmoniously in combination.

What I could best observe in Rome, which I have worked into my design later, were the features of buildings that relate to each other in the wider urban context, such as cornices.

Also, the way of how ruins were incorporated alongside contemporary builds was also helful in the integration of the crypt later in my design

grand tour

milan

‘s highlight for me was the Prada foundation, as not only it was an excellent precedent of experimental preservation, but also of adaptive re-use of industrial heritage, which was my dissertation topic.

It was revelational for me to see such vast range of materials working together and I wish to explore more in this direction in future.

staging

staging

verona

was a half day trip for us focusing on Castelvecchio, Carlo Scarpa’s restoration of a medieval castle that had also undergone several changes with the passing of time and various architectural currents.

Compared to the Prada Foundation, this example of experimental preservation was more subtle, but equally interesting, if not even more intriguing than the first one.

grand tour

grand tour

staging

venice

houses other porjects of Carlo Scarpa’s, like the Olivetti showroom and the Querini Stampaglia foundation, and similarly to Rome, displays the same puzzle of buildings coming from different periods of time, but none of which breaking the general harmony of the urban environment.

grand tour

staging

castelvecchio in Verona

traced plans and sections by me, in an attempt to discover different styles of openings and transitions between spaces.

grand tour

staging

grand tour

staging

contrasting materials

one of the key characteristics that I have observed in the examples of experimental preservation that we had visited was the obvious contrast between the materials which already existed there and the new materials.

I came to realize that the boldness of this juxtaposition actually makes the new elements look natural, as if they had already existed there .

grand tour

disruption in design

similar to the constrasting materials, the disruption in design elements have the same impact on the user.

Such unexpected choices,like the exposed wall painting in Castelvecchio, look to bold to even be questioned by the user.

staging

grand tour

staging

grand tour

staging

unexpectedly, once you have sat down, your gaze is pointed toards a monument which seems of classical facture.

creating views

Inside the Castelvecchio museum, Carlo Scarpa designed spots that invite the visitor to come and sit down.

grand tour

reuse and simplification

Shapes and motifs that were used in the old building are reinterpeed and reworked into the extension, however, in a simplified manner, as seen in the Prada Foundation.

staging

grand tour

staging

grand tour

axis of views and

circulation

What I have noticed in Italy particularly are the axis of views and circulation, that were kept intact regardless of the additions to the built fabric.

As shown in the sketch from the left which was made of Milan is Leonardo da Vinci’s statue at the end of the Galleria Vittorio Emmanuele, which only gives the impression of orthogonality from afar, but actually diverts the visitor into the direction of the statue.

cornice allignment

This is a characteristic that I have observed in most of the places that we visited, but predominantly in the Haussmann designed areas and in Rome.

Even though heights may differ between neighboring buildings, there are corice elements which connect and help the buildings relate to each other.

staging

referential architects

staging

referential architects

Carlo Scarpa

staging

Enric Miralles

Rem Koolhas

referential architects

Three of the architects that our studio are looking into are Rem Koolhas of OMA, Carlo Scarpa and Enric Miralles.

They are known for their work in the field of experimental preservation and represented a reference point for me to look into everytime I was unsure of making a particular design decision.

Fondazione Prada case study analysis Part E - Concept and Design Development Part K - Materiality

case study - Fondazione Prada

staging

case study - Fondazione Prada

staging

case

study Fondazione Prada General Concept

Preservation and architecture play interdependent and inseparableroles in this project.

OMA’s concept consisted of converting this ex-‘production machine’, the gin distillery dating from 1910, into an exhibition machine, that offers spaces with an outstanding variety of chaacteristics and adaptable building components. This way, the barrier between art and architecture would be broken, in a way that architecture would elevate the quality of the artwork and put it in the best light.

The site is strongly contextualized. All the original buildings on the site margins were retained, together with the single entrance on the Eastern side of the complex. This consolidates the industrial image of the site and keeps it rooted within its surroundings.

Seven of the 20th century buildings still exist. Overall, facades of the existing buildings were cleaned and their structures reinforced on the exterior. The block that previously hosted the factory offices was covered in gold leaf. A square-shaped building situated in the middle of the site was demolished, and three additional volumes were built: the Podium, the Cinema and the Torre. “The Fondazione is not a preservation project and not a new architecture. Two conditions that are usually kept separate here confront each other in a state of permanent interaction – offering an ensemble of fragments that will not congeal into a single image, or allow any part to dominate the others. New, old, horizontal, vertical, wide, narrow, white, black, open, enclosed – all these contrasts establish the range of oppositions that define the new Fondazione.”

Figure 1: Site configuration from 1910

Figure 3: Additions made to original buildings (gold leaf on the Haunted House and steel reinforcements on the exterior for all original buildings except for the Haunted House and Cisterna; here seen in orange on Sud and Deposito)

Figure 2: Site after demolition of central building

Figure 4: OMA’s new constructions: the Bigletteria, the Podium, the Cinema and the Torre

From outside the complex, it looks like OMA’s additions are the retrieved missing pieces of an incomplete puzzle. The way that the two volumes visible from the exterior stand by the original buildings is as natural as if they should have always existed in this way.

While staying grounded within the context, OMA wanted to affirm the Prada Foundation as a timeless landmark of Milan. This position is legitimized by the harmonious architectural composition, the choice of materials and its functional importance.

Figure 5: Model of the Prada Foundation

by OMA

Figure 6: Model of the Prada Foundation

by OMA

case study - Fondazione Prada

staging

haunted house

is where factory offices used to be and is the tallest of the old constructions. It now hosts the permanent collection of the Prada Foundation and plays the part of the most exclusive building of the complex. The hours and visitor numbers are limited, higlighting its exclusivity.

To mark this, it was covered in gold leaf, after undergoing special surface treatment. The building was insulated on the interior of the walls, making the spaces within reasonably tight. Stairs and wall openings are narrow, contrasting the large-sized windows specific to industrial constructions.

Visitors are not allowed to take photographs nor videos inside either. All these containments and restrictions give rise to a feeling of tension and suspans. Even the name this construction bears is surrounded by mistery.

podium

is the first of the new buildings that a visitor encounters in the Prada Foundation. It hosts temporary exhibitions and displays a spectacular aluminium foam cladding both on the interior and exterior.

It offers high partitioning and set-up freedom as there are no walls or loadbearing elements inside the space. The Podium building has a strong connection to the Haunted House. Podium, from latin, means pedestal.

It is the supporting rock for a highly precious object, which, in this case is the Haunted House. The silver-gold reference established by the facade materials confirms the relationship between the two building parts. However, it is the podium that hold the golden tower up.

case study - Fondazione Prada

staging

cinema

The architects and the clients agreed a cinema was needed, and none of the existing buildings had a suitable configuration, nor could be adapted. For this reason, the central building was demolished, and the Cinema was built: a combination between reflective, mirror-like aluminium cladding and beige stucco that looks just like the original one, to puzzle the visitor once again if it is a fully new or just a preserved buidling.

The Cinema wall facing the Podium is made of bi-fold doors that can be opened to create a semi-outdoor exhibition space, while the cinema seats can be stowed down to a flat surface. On that same side, the ground can transform into pedestal-like cuboids, reiterating the exhibition-machine concept

Figure 12: Siteplan before demolitions

Figure 11: Podium and Haunted House

Figure 13: Siteplan after deolitions and new builds Figure 7: the Haunted House before; itdesplays the same beige-coloured stucco as all the other buildings on site. [Google Maps 2007]

Figure 8: the only free facade of the Haunted House

Figure 14: mapping adjustable parts of Cinema and Podium

Figure 9: Haunted House ground floor (in context)

Figure 10: Haunted House first floor (in context)

case study - Fondazione Prada

staging

case study - Fondazione Prada

torre

staging

development and construction

Torre is the culmination piece of the OMA intervention. It contains the utmost form of variety in terms of architectural features. Room heights increase progressivley with every floor, staring at 2.7m and culminating with 8m on the top floor.

Construction work lasted from 2008 until 2018, when Torre was finished. It comprised of two phases: first one, which included the preservation of existing buildings and the construction of Podium and Cinema, and the second one which was the construction of Torre.

The floor shapes change from trapezoidal to rectangular, giving this concrete tower a scultptural look, like a carved cuboid.

The most important aspect of the Torre the relationship it establishes with the urban context and the rest of the Prada Foundation buildings. Its windows face different directions on every floor, depending on what layer of the skyline the architect wanted to frame, such as the Duomo from the ninth floor, the rich architectural fabric from the sixth floor, abandoned factories from the fourth floor and the rail tracks from the second.

The most famous of the architectural media used for this design is a model which is also exhibited in the Fondazione bookshop.

Figure 17: Site Model by OMA

That transforms Torre from the culminating piece of the exhibition machine into a look-out tower that can be noticed from any high spot in Milan it establishes a visual relationship with. This element beacons the presence of the Foundation and its importance as a local landmark.

Figure 16: varying floor plan sequence to whole tower

Figure 15: varying heights and views diagram

Figure 18: Construction work on Podium and Nord

Figure 19: Scaffolding on Torre

Figure 20: Finished consolidation of an old precinct

Figure 21: Torre sectional model

case study - Fondazione Prada

staging

case study - Fondazione Prada

staging Figure 7 - Fragments collage

Cobble stone

materiality -

Pavement

Haunted House x Podium

The gold leaf that covers the Haunted House acts like a magnet attracting visitors towards it: seeing it, visiting it, touching it. The paradox is that, even though gold makes it more desirable, it also makes it less accessible to people: touching the golden surfaces is prohibited, in order to avoid damage.

Reflective glass

Figure 1: Podium - Haunted House collage White concrete

The process of aplying gold on the surfaces was laborious: red reinforced stucco was first applied onto the walls, then marmorino plaster, and finally, the 24K gold leaf “squares”.

materiality -

The relationship it establishes with the metallic surfaces of the new builds, especially the Podium, is special; not only the podium frames the golden tower and submits itself in front of its splendour and exclusivity, but they also reflet the light in a highlight-like manner on the original buildings of the complex.

Cinema x Cisterna xDeposito Sud x Torre Figure 2: Collage representing the view from Torre towards Haunted House and Podium

Torre Exposed

Torre is the building that contains most contrasts of all from the Prada Foundation. The emphasisis on placing mainstream, low-cost materials, next to precious and rare ones. This is how chipboard sits next to marble and pink onyx, for instance. The masterpiece is that they lookutterly natural next to each other; one may even not notice the odd material combination unless they inspect more.

Figure 5: Podium detail

Figure 6: Haunted House detail

Figure 8 - exposing materials used inside Podium

As you walk further from the entrance, you reach a corner with a heavier and rougher materiality, which takes you back to the industrial image. It is a bold contrast to the metallic, exquisite buildings from the entrance, however, maintaining a similar elegance and versatility material and proportional wise. Again, the desired combination of old and new materials looks very natural; it is hard for one to tell which of the components is new and which one is old.

Figure 3: Reflective materials highlighting beige stucco

Figure 4: Gold leaf applied on red stucco

Stucco and orange steel

Podium Exposed

While the exterior aluminium foam cladding reflects clear light towards the stucco facades, the one on the amplifies the effect of the bold colours used (orange, deep red, emerald green), creating a theatrical effect. The precious travertine floor appearsto melt with the ‘podiums’ inside the podium, creating a fluid, maze-like ambiance.

Île de la Cité - site predicaments

staging

Île de la

Cité

site predicaments line of inquiry

Upon our visit in Paris and on Île de la Cité, which is the central part of the city where Notre Dame Cathedral is located, I was convienced of the negative impact that tourism had on the island, for driving away its locals and transforming it into a place of passage only for most of the Parisians.

Toursim, however, is itself a consequence of globalization and develops aggresively where architecture and urban planning allows. This idea has conducted my investigation into how Haussmann’s urban reorganization in the second half of the 19th century has had negative implications for local citizens, on the long run.

Previously to his adaptions, the island remained a combination of residential and institutional, with an urban development that followed medieval patterns. This balance was disturbed once Haussmann moved major institutions to the island and demolished considerable parts of the residential areas. All of this came about in order to create ideal boulevards and large squares in front of the most important monuments.

This is the history behind why Notre Dame’s Parvis (frontal square) was massively incresed in size. This space nowadays serves as a gathering spot for thounsands of tourists, whose activities and baggage affected Parisian’s life considerably. From a place of introspection and prayer, the Cathedral has transformed into a touristic checkpoint. Furthermore, all leisure venues on the island are touristic and priced accordingly, aggravating the situation.

Following the analysis of socio-political problems, the new Centre for Heritage and Preservation of France shall serve as a point where the two worlds, of tourists and locals, can collide and cooperate.

staging

Île de la Cité through the eye of the beholder

exploring Île de la Cité - characteristics and material influences

currently,

Ile de la Cite is transforming into a deserted island, where only tourists and people working in the institutions spend time. For Parisians, on the other hand, it is just a transitory space where they would not like to stop.

Businesses cater for tourists only, which reflects in their prices. Haussmann made boulevards accentuate the feeling of hollowness, and the urban public space does not present any quality that attracts people.

The heavy materiality of Lutetian limestone is omnipresent. For that reasons, the design should incorporate a similar material that respects this aspect.

staging

staging

Site analysis - The island and the Parvis

throughout

network of streets

history, the island in the middle of Paris was considered the centre of power.

The Cathedral was the place where coronations and royal funerals took place. It was densley inhabited, and commerce of valuable goods took place on the bridges that connected the island to the left and right bank.

The current status of the island is boldly different.

Haussman’s interventions from the 19th century relocated various institutions on the island. The bridge stores were taken down, and new boulevards emerged.

The two map fragments, from 1860 (down) and 1863(right) show how the area in front of the cathedral was previously occupied by buildings, which in the latter drawing no longer appear.

The surroundingbuilt environment generated a sentiment of monumentality before the intervention.

Once apedestrian approached the cathedral, they were overwhelmed by its surprising grandeur.

natural elements (sun, river Seine, parks)

Haussman demolished the buildings, and the sensation of monumentality is not as powerful as before.

site and built environment of Ile de la Cite

staging 18th century

post-Haussmann 19th century

proposal

Re-enclosing the Parvis

Re-enclosing the Parvis Starting off from the ground figures of the 18th century constructions demolished by Haussman, I developed a massing to populate and bring life (different than tourist ‘‘life’’) back to the square.

staging

programme design

As

the Centre Nationale du Patrimoine et de la Preservation (National Center for Heritage and Preservation) is a new building typology, there are no precedents from the same category to refer to, when it comes to functional requirements. The centre needs to have a welcoming space,a public lecture hall , an exhibition space with temporary cells and a permanent core, for the public to access.There are special areas for employees and members only: the offices, the special auditorium, the research laboratories and architectural study area.

staging

massing

: following the pattern of the previously existing building fabric, that created a pathway to the cathedral. The Centre frames the cathedral minimizez the empty square in front. The initial mass (below) was rather isolated from the urban context, which is why I developed it more, towards the river bank.

process of framing views

staging

i

I mainly used sketches throughout the develoment of the design, focusing on what views I wished to frame and on the intersections with pedestrian trajectories/entries to buildings.

Pedestrians are encouraged to look through the large openings and see what is happening inside the centre, or they can also peek an eye at what is happening on the other side of the squre.

The building that faces the cathedral uses pitched French roofs, howeer, the closer to the river, the more contemporary the shapes become.

process of framing views

staging

realisation + synthesis insert quote by V iollet-le-D uc here

realisation + synthesis

shaping the Centre for Heritage and Preservation

shaping the Centre for Heritage and Preservation

realisation + synthesis

shaping the

Centre for Heritage and Preser vation concept summary

I had started off this design stage by finalizing my position on Viollet-le-Duc’s theory, as well as what approach I would like to adopt in relation to experimental preservation. This pushed me to start working around the highlights of the site and incorporating them within the design.

These highlights were the crypt and the square, and the way they have been incorporated within the design has changed substantially from the beginning until the end, mainly because now they are combined.

This is one of the elements that the National Centre of Heritage and Preservation in France will pioneer. Others include a large scale operation of material re-use in response to the climate crisis, with remains collected from the discarded parts of the crypt, as well as from building scrapyards around the country.

Last, but not least, the centre acts as a plinth and as a frame for the cathedral, stepping into the role of the demolished buildings of the Parvis. This was the method to recreate and preserve the perception of the square, adding a twist to it, through the Crypt.

Collecting parameters from around the built environment was a necessity for me to finalize the design, and was my personal method of insuring that the design relates to its context correctly.

realisation + synthesis

the Crypt

includes Roman ruins that were discovered underneath the Parvis, just as many other areas of the island do have. However, it is nowadays fully enclosed adn unpopular for visittors.

Opening it up and incorporating it into the square is was one of the experimental preservartion facets that are meant to solve the issue of depopulation.

The Crypt

The Square Typology

The process of massing itterations summed up and relationship to the square

the Square Typology square just slightly emphasized

square extended, riverbank is integrated

square dimension is equal, different element that creates visual contrast was added

square remains the same, French roof buildings are given up on for simpler shapes

going back to the previous square configuration, increasing the building height

square dimension is equal, more elements added to connect the building to its surroundings

new building added to extend the delimitation of the square

final massing that embraces the square

was among my focal points since realisation, which is shown in the process collages on this page.

The issue was finding a unitary aspect for the square, (which was later solved, when the volume simplified), as well as bringing life to the square, which was also solved once I had decided to integrate the crypt.

realisation + synthesis

realisation + synthesis

realisation: building

parameters testing methods of rooting design within its context The first attempt at working with this method involved setting out qualities of internal spaces that would then impact directly the building envelope, as seen in the model below and the sketches aside. However, this approach did not create a unitary aspect for the building, resulting in many uncoherent relationships between various design elements.

realisation: building parameters

This is the method where I had set my parameters from inside out, wihtout considering the exterior and the way those relate to the surrounding context. When I realised that this method would not work, I have decided to reflect back on the exterior parameters, as analysed in the grand tour examples.

realisation + synthesis

synthesis: building

parameters relating to the urban context directly The axis of views helped me create circulation coherence around and to the site, as well as keeping it within the already existing urban pattern.

synthesis: building parameters

Axis

synthesis: building parameters

case study

Courtyards The courtyards are omnipresent in Paris and are the element that generate curiosity, luring the pedestrians in. This is why designing the square in resemblance to Parisian courtyards and repeating surrounding rhythms was a conscious choice.

realisation + synthesis

synthesis: bulding parameters

Windows Rhythm

synthesis: building parameters

realisation + synthesis

Framing views

A variety of views can be observed from different angles of the building.

While the windows hat face the cathedral have a close-up element towards it, the windows located on the higher floors of the northern block have a view of other parisian landmarks, such as the Louvre or Centre Pompidou

Windows in Paris follow somewhat a vertical mathematical rhythm, increasing or decreasing in height or in the number of elements, which is what I have integrated in the oriel design.

synthesis: bulding parameters

realisation + synthesis

Relating to building heights

synthesis: building parameters

Cornice- Plinth

As presented in the grand tour chapter, I had identified the cornices as a unifying element between neighbouring buildings, regardless of the period they were built in.

Each building block relates in height to a surrounding building from the Notre Dame Parvis, as shown in the drawings on this page.

realisation + synthesis

To bring it into contemporary times, the cornice height has taken the form of a plinth which creates the visual effect that the upper floors are supported on such a plinth.

hotel-dieu

112

testing programme typologies

realisation + synthesis

testing

programme typologies detached programme vs. conjunct programme The first programme I had designed (right) was a detached programme, where there was no intermix between the groups of tourists and locals, due to distributing the functions horizontally only. The finalized programme which is the one above, has a combination of vertical and horizontal distribution of spaces, facilitating the two groups of people to mix.

114

realisation + synthesis

framing Notre Dame and the Crypt

framing Notre Dame and the Crypt

Framing Notre Dame above the square turned into an open crypt was experimental because of bringing architectural objects from different periods of time together, even though they had already existed before, but were never visually adjacent.

framing

Notre Dame and the Crypt

realisation + synthesis

realisation + syntehsis

preserving the perception: interiors

preserving the perception: interiros

Roman space the square Galic space rudimental

realisation + synthesis

realisation + syntehsis

preserving the perception: interiors

preserving the perception: interiros

medieval space

the story of God drawn on the ceiling

Gothic space

stone and light

realisation + synthesis

realisation + syntehsis

preserving the perception: interiors

preserving the perception: interiros

Baroque space cabinet of curiosities

Renaissance admiring the classical

realisation + synthesis

realisation + syntehsis

preserving the perception: interiors

preserving the perception: interiros

Haussmann forced shapes

French revolution let them have cake

realisation + synthesis

realisation + syntehsis

technological integration

technological integration

Climate crisis material strategy

technological

Integration, TTMW material re-use experiments The thinking through making week made me consider the implications for using concrete in design. In order to make it more sustainable, I have decided on using recollected building rubble and integrating it within the concrete.

However, as I was testing out this material, I came to realize that building rests with more slippery surfaces, such as plastics and glass, are more suitable for thin, decorative elements such as pavements, cladding elements, shading elements or urban furniture.

As mentioned previously, this site requires a heavy materialisty from the new design. The same lutetian limestone that was used in the rest of Parisian buildings can no longer be employed, as those quarries have been closed. This means that other heavy materials,such as concrete, will need to be employed, with a high carbon footprint. However, using derivates of concrete that include recollected building rubble is an environmentally friendly alternative which will be used.

Also, for the remaining needed aggregates, those can be sourced locally, as there are several sources of sand and rubble around Paris, as seen in the geological constitution drawing below.

realisation + synthesis

realisation + syntehsis

technological integration

technological integration

Climate crisis material strategy The Fraunhofer Institute has tested out making various building components out of the recollected building rubble. The percentage of rubble differs from each component, in order to maintain a high standard.

The lowest content of rubble belongs to the aerated concrete bricks, with 30-60% of the product composition.

The accoustic panels have a content of 60% building rubble.

Planters and planting substrates include 70-80% rubble.

The highest concentration of rubble goes into binding substances that the Institute developed, which makes up 90% of the formula.

From my experiment, the Fraunhofer Institute study, as well as other studies related to the use of construction waste in creating concrete, I have concluded that recollected building rubble is most suitable for non-structural elements.

For elements with a high functional importance, the use of concrete/brick/lime rubble is preferred.

Non-structural elements that play a decorative part can inlcude more atypical construction waste (ceramics, glass, mirror, ), such as urban furniture.

1:20 Sectional Detail

realisation + synthesis

technological integration

realisation + syntehsis

technological integration

realisation + synthesis

N

W Riverbank wing has a lower height in order to not obstruct views and to cast as little shadow as possible over the opposite wing in winter

Structural Design section

Full glazed facades to South are attributed to the office space which can benefit most of light.

Same openings stimulate air-flow coming from the River seine and the South-Western prevailing winds.

te Si Plant room on basement floor houses both a river connected heat pump and a water turbine generator for hydropower.

S Longest facades face South to increase solar gain and radiaton and boosting thermal mass performance

E

Environmental Design Studies Winter Day 21 December Altitude: 16.80ยบ Azimuth: 167.34ยบ

Considering the building lifespan of this design, it is parmount to choose materials whihc are highly resistant in time and perform well in terms of maintainance, rather than materials which are sustainble on short term.

For this reason I have chosen a reinforced concrete structure using a 5x5m structural grid, with double spanning beams.

Although the carbon footprint of concrete is relatively high, its low maintainance in time and the fact that it can be left exposed and unffinished , thus decreasing the general carbon footprint even more.

Summer Day 21 June Altitude: 55.79ยบ Azimuth: 127.44ยบ

cultural bibliography

thinking through making workshops

heritage & preservation summer school

cultural bibliography

thinking through making

Collage workshop with Franz Samsa

heritage and preservation summer school in

Rosia Montana

cultural bibliography

dissertation

field research Industrial Heritage Adaptive Reuse “Cotton� Industry Mill in Bucharest, Romania

dissertation field research

painting and sketching

cultural bibliography

painting+ sketching

charrette

Charrette The Charrette I was allocated was no.14, and although I was unable to attend, I was knowledgeable of their activity involving the “recording� of the city, which took place in Gateshead.

The group output consisted of sound collages representing how the built environment and inhabitation collide.

summary

thank you!

case study

Appendix 2

process work

process work

Appendix 2

Appendix 2

process work

process work

Appendix 2

Appendix 2

process work

process work

Appendix 2

Appendix 2

process work

process work

Appendix 2

Appendix 2

process work

process work

Appendix 2

Appendix 3

Bibliography and list of figures

Bibliography 1.

Alberti, L. and Spencer, J. (1956). On painting. London: Routledge & Kegan Paul.

2.

ANDERSEN, K. (2016). GEOMETRY OF AN ART. [Place of publication not identified]: SPRINGER, p.3.

3.

Braunstein, F., Pepin, J-F. 1991. Guide for general knowledge, Bucharest: Orizonturi 4.

Cantacuzino, S. and Reid, M. (1975). Architectural conservation in Europe. New York, NY: Watson-Guptill.

5.

Carullo, V., Di Lieto, A. and Marini, P., 2016. Carlo Scarpa, Castelvecchio, Verona. Fellbach: Edition Axel Menges GmbH. 6.

Choay, F., (1996). The invention of the historic monument (Alegoria patrimoniului). Bucharest: Simetria 7.

Curl, J. and Wilson, S. (2016). A dictionary of architecture. Oxford: Oxford University Press 8.

Curtis, W., Miralles Moya, E., Pinós, C., Miralles Moya, E., Miralles Moya, E., Pinós, C. and Pinós, C. (1994). Enric Miralles, Carme Pinós. Madrid: El Croquis Editorial.

9.

Dal Co, F., Mazzariol, G. and Scarpa, C., 1987. Carlo Scarpa. Milano: Electa.

10. Denison, E., Bench, N. (2019). How to read skyscrapers. London: Ivy Press 11. Evans, R. (2011). Translations from drawing to buildings and other essays. London: AA Publications, pp.153-188.

12. Hausladen, G. and Tichelmann, K. (2010). Interiors Construction Manual. Munich: Birkhauser.

13. Hearn, M. (1990). The architectural theory of Viollet-Le-Duc. Cambridge, MA: MIT Press.

14. JOKILEHTO, Jukka. 1999. A History of Architectural Conservation. Oxford: Butterworld-Heinemann 15. Koolhaas, R., Otero-Pailos, J. and Carver, J. (2016). Preservation is overtaking us. New York: ColumbiaBooks on Architecture and the City.

16. LOON, H. and LOON, G., 1972. The Story Of Mankind. (With Additional Chapters By Gerard Willem Van Loon.).

London: Tandem.

17. MONEO, Rafael. 1992. Comentarios sobre dibujos de 20 arquitectos actuales. Barcelona: ETSAB 18. Osorio-Robin, S. (2007). Construire à Lutèce. Paris: Paris Musées.

19. Otero-Pailos, J. (2016). Experimental Preservation. Places Journal, (2016).

20. Sitte, C. (1979). The art of building cities. Westport, Conn.: Hyperion Press, pp.466-477.

21. Spurr, D. (2012). Architecture and modern literature. Ann Arbor: University of Michigan Press, pp.142-161.

22. Viollet-Le-Duc, E. (1902). Lettres inédites de Viollet le Duc: [6 mai 1844-2 septembre 1879] / recueillies et annotées par son fils [Eugène-Louis Viollet le Duc]. Librairies-imprimeries réunies (Paris).

23. Viollet-Le-Duc, E. (2010). Histoire d’un dessinateur, comment on apprend dessiner. [Place of publication not identified]: Nabu Press.

24. VIOLLET-LE-DUC, Eugène-Emmanuel. 1854-1868. Dictionnaire de l’architecture française du XIe au XVIe siècle.

Paris: A. Morel Editeur 25. VIOLLET-LE-DUC, Eugène-Emmanuel. 1854-1868. Dictionnaire raisonnée de l’architecture française du XIe au XVIe siècles, ‘Restauration’, Vol 8, . Paris: A. Morel Editeur. p.14

List of figures

pp 13 – drawing of Viollet-le-Duc pp 35 – caricature by Eugene Giraud pp 42, 46, 47 – photographs taken by Yew Zhi Xuan as part of primer groupwork pp 76, 77 – the original photograhps used for collages / edits – Carlo Scarpa: https://frieze.com/article/lesson-carlo-scarpa Enric Miralles: El Croquis Rem Koolhas: Time Magazine pp 106 – fig. 1 https://www.france-voyage.com/travel-photos/archaeological-crypt-notre-dame-parvis-4457.htm fig.2 http://wikimapia.org/7735485/The-Archeological-Crypt-of-the-Parvis-of-Notre-Dame pp 150 - photograph taken by Latifa Al Nawar