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P O R T F O L I O STAGE 3 BUILDING UPON BUILDING STUDIO IULIA STEFANCU 170479178 2019-2020

C O N T E N T S

01. REFLECTION 5-7

04. STAGING 29-41

07. THINKING THROUGH MAKING 75-81

02. CHARRETTE 9-13

03. PRIMER 17-27

05. FIELTRIP + CASE STUDY 43-55

06. REALISATION 57-73

08. SYNTHESIS 83-113

09. ILLUSTRATED CULTURAL BIBLIO. 115-121

+ 10. BIBLIOGRAPHY AND REFERENCES + 11. APPENDIX

R E F LECT I O N

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Illustrated reflective report

Illustrated reflective report

Third stage allowed me to be experimental.

From an experimental preservation design studio, to an experimental biosynthetic dissertation project and to an experimental teaching experience during the second semester, I can wholeheartedly agree that stage 3 was a challenge. I enjoyed learning and adapting to new circumstances and finding ways to improve.

This year, my approach focused of developing new skills, perfecting old skills and learning how to communicate my ideas better. I have tried to dip into the digital realm in terms of renders and to create some digital site models in order to substitute the card and glue ones that were hard to craft given the stay at home regime. I tried to draw some of my sketches by hand, in detailed line style, as it is something that defines my overall approach and that helps me communicate my interests. I learned to show my process work, a habit that was hard to break in as I believed only the ‘pretty work’ deserves a spotlight. By adapting to the new alternative ways of online teaching, I understood the importance of diversifying your representation methods and exploring new ways of showcasing the work.

Without a doubt, there is a sense of abstracted reality caused by the lack of face to face teaching and design studio experience, and prevalent digital interaction.

In terms of my project, Palais de la Lutece is a project that evolved from the desire to create a strong relation between the rich heritage of Ile de la Cite and its users and future visitors. This project developed through a series of studies that emerged as chapters in this portfolio, each focusing on varied aspects of the building and its contextual integration. Same way as Viollet-le-Duc was going through a learning journey in order to teach himself about architecture and history, I have tried to apply the same to me and my brief. Primer was about taking a journey through time and researching the origins of Notre Dame. Staging brought the historical information in front of contemporary lenses, helping me understand how the past dwells in the future. I treated the Fieldtrip + Case study the same way Viollet-le-Duc approached his Grand Tour through Italy. Realisation allowed me to explore the grand scheme of my proposal and to define my interests. I used Thinking Through Making week as an opportunity to attend a stained glass workshop that would be provided by Compagnons du Devoir in my own building proposal. Synthesis chartered a broader exploration of my design proposal and brings to life my own attempt at experimental preservation. Everything that helped me explore and understand my project can be found in the illustrative cultural bibliography.

I attempted to put in these portfolio pages my journey through experimentation and research.

In terms of non-design and extracurricular work, I pushed myself to attend workshops and lectures that challenged me. I have tried to constantly improve and correct my thinking and critical approach. I find myself in a position where I can evaluate objectively my performance throughout the year and I can say I found myself more involved, more immersed in the subjects and more active in the design process.

As next steps concerning Palais de la Lutece, I will try to improve my model making skills and I will go back over this project and try to curate it from a ‘no pressure/no time constraint’ approach, in order to better understand some decisions taken and to challenge my own compromises.

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CHARRETTE

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Charrette

Charrette

The charrette theme was ‘SOFT STUDIO’. This meant we have tried to explore ways to create soft furniture that would be suitable for an architecture studio.

We have tried to create a range of furniture and ‘pret-a-porter’ cushions that are soft to touch and utilise. All the products were hand made and designed by us.

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Charrette

Charrette

‘sof twea r ’

In order to learn how to create soft furniture, we had to go through a process of learning how to sew, how to tailor fabric to fit the human figure, how to test prototypes and how to curate our works in an exhibition. I can say that this charrette helped me better understand how to set a workflow and how to prioritize functionality over aestethic.

I co-designed ‘Softwear’, a plush backpack that provides soft seating wherever you go.

The muslin fabric has been tailored to follow the back curvature and to fold as a beanbag when is sat on.

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Palais de la Lutece

Project description - Palais de la Lutece - Portfolio navigation keys

P alais de la L utece is a project that evolved from the desire to create a strong relation between the

rich heritage of Ile de la Cite and its users and future visitors. This project developed through a series of studies that emerged as chapters in this portfolio, each focusing on varied aspects of the building and its contextual integration. Same way as Viollet-le-Duc was going through a learning journey in order to teach himself about architecture and history, I would like to invite you to follow my learning process through these chapters. As a preface, allow me to briefly explain the key notes of each chapter:

P rimer was about taking a journey through time and researching the origins of Notre Dame.

My specific interest was guided towards the very beginning of the cathedral, immersing in the development hierarchy and how Notre Dame impacted its context through its construction.

S taging brought the historical information in front of contemporary lenses, helping me understand

how the past dwells in the future. Through this method of analysing the island and the cathedral, I understood what my approach needs to be and how my building can take shape between the monuments.

I treated the F ieldtrip + C ase study the same way Viollet-le-Duc approached his Grand Tour through Italy. Following his footsteps through Paris, Rome, Milan and Venice, I have tried to document my journey in a photographic and illustrative way, studying the architecture that influenced his style.

R ealisation allowed me to explore the grand scheme of my proposal. I am introducing a direct

dialogue between both Notre Dame and the surrounding heritage buildings. Through my scheme and programme, I take a stand regarding Notre Dame’s restoration after the fire, and what functions need to find a space on the island for a better understanding of the heritage in present contextuality.

I used T hinking T hrough M aking week as an opportunity to attend a stained glass workshop that would be provided by Compagnons du Devoir in my own building proposal.

I created a stained glass cathedral using four (hand painted or dyed) ‘glass’ panels made from glass, transparent clay and bacterial cellulose that I researched and created for my dissertation. For the exhibition, I wanted to reverse the concept of the gothic cathedral and allow light to shine from the inside towards the outside, creating coloured reflections.

S ynthesis chartered a broader exploration of my design proposal and brings to

life my own experimental preservation attempt. Through this chapter I am defining the spaces, the hierarchy and the atmosphere of the building. I have tried to utilise various representation methods, from Viollet-le-Duc’s own illustration style adapted to my building to collages in the manner of Franz Samsa, digital renders and my own illustrative approach.

Everything that helped me explore and understand my project can be found in the illustrative cultural bibliography . From books – to videos – to movies – to people – to workshops; all can be found in an illustrated manner in this chapter.

* all new or amended work will be marked with a small red Palais de la Lutece on the page.

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PR I M E R

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Primer - historical mapping

Primer - fire damage

0-1163

1163-1250

1250-1345

1600-1756

1789-1799

1804-1814

Primer was an opportunity to historically research the very beginning of the Cathedral Notre Dame and to understand how it evolved and how it was affected through the passing of time. As a studio we approached this project through four methods: historical mapping, historical collage, video and model making. In terms of historical mapping, we have put together an assortment of sections and plans that follow the evolution of the cathedral from 1160 to 2019 when the fire happened. We follow it along its changes, functions and restorations.

1844

1852-1870 18

1914-1942 19

Primer

Primer - exhibition

The collages were exhibited alongside the mapping and they were curated to form a triumphal arch. We chose to exhibit our primer on the architecture school staircase in order to create a procession from the beginning of the cathedral (base of the stairs), to the model of the island and the cathedral in its state after the fire (at the top of the stairs).

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Primer - exhibition set up

Primer - group site model

Some special features in our exhibition that are worth mentioning: Creating a stained glass abstract portrait of Viollet-le-Duc. A 3d arch in the style of Franz Samsa of our collages as seen from the top of the stairs.

The video showcases our whole research and celebrates the history of the Cathedral and aknowledges the devastating fire. We talk about what we wish to explore through our designs and what we found interesting about the subject.

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Primer - own contribution

Primer - massing proposal

Iulia Stefancu 170479178

My specific interest was guided towards the very beginning of the cathedral, trying to understand how it all came to be. As part of the group work, it was very important to trace the very first point where the construction started and how the cathedral evolved and who influenced it, in order to be able to generate a clear map and section for the three main parts that constitute the construction of the Notre Dame Cathedral. The collages shown above represent my first interpretation of the visual research, that then evolved into the collages presented in the exhibition that fit a more colourful aesthethic.

My first massing proposal searched for a strong and undeniable connection between the cathedral and the building. A facing facade that mirrors Notre Dame’s towers, a nave that is the same height as Prefecture de la Police, and a facing position towards ND on the same axis, all of these were my first attempts at reading how a heritage centre for France should look. In retrospective, this literal approach lacks a sensible substance but defined the major funcions and orientation of the final design proposal.

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Primer - process work

Primer - process work

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STAG I N G

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Staging

Staging

While for primer we researched as a group the historical side of Ile de la Cite, during staging I focused on the concurrent side of the island. I found myself interested in the balance of tourists and locals, and I got intrigued by the obvious rupture between how Notre Dame is seen by these two categories. The fact that the island is facing a severe tourist invasion that is not well received by locals made me realize that through my design I should create a dialogue and a coexistence that tampers the animosity and mends the relationship between users. My site analysis is focused on the monuments and Notre Dame, evaluating how the proposal should interact with the surroundings and what kind of programme could help with my intention of creating an architectural conversation.

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Staging - site analysis

Staging - site analysis

By looking at the monuments on the island, it is obvious that any kind of intervention must be made with a sensible approach. I would like to utilise the empty space in front of Notre Dame, the Parvis de Notre Dame, as it seemes to facilitate the exploration of a dialogue that I am looking after through my design.

Through a photographed documentation of the close context of the site, I studied the details, texture, atmosphere and play of shadows. I realized that I would like my building to reflect these details but not copy them.

I would also like to offer a space in my proposal for old craftsmanship like glass workshops or artisan teaching classes.

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Staging - on site analysis

Staging - massing proposals prototypes

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Staging - Viollet le Duc and Notre Dame

Staging - The Fire and Aftermath

The authorities decision to restore the cathedral as it was and put a timestamp of 5 years for the restoration process has made me question their approach. Its previous restorer, the architect Eugene-Emmanuel Viollet-Le-Duc envisioned the cathedral in an ideal state in his initial drawings. His vision on restoration stated: ‘In restorations there is an essential condition which must always be kept in mind. It is, that every portion removed should be replaced with better materials, and in a stronger and more perfect way.’ Therefore I wondered if such a damage should be hidden under a carbon copy restoration of the cathedral.

What I would like to question though my proposal would be the time allocated for the restoration. The roof that burned (forest as it was called) and the structural iisues that appeared after the ceiling collapsed would require a lot of knowledge and time to delicately be restored to a similar state previous the fire.

Is the phrase ‘restored as it was’ fully sincere? Considering the age of the materials that perished during the fire, is it possible to obtain the same result by using new shorter wood bays and salvaged and new stone for the vaulted ceiling? I would like to incorporate in my proposal a function that teaches people about what the restoration process is like and how long it takes and a function that celebrates Viollet-le-Duc’s works and restoration process.

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Staging - Ile de la Cite texture

Staging - Modelling the urban fabric

‘What is the texture of Ile de la Cite? What could be reflected in a new addition to the island?’

- a study

I have tried to experience the island’s texture through a digital render (Conciergerie), a model (Prefecture de Police) and a sketch (Hotel Dieu) .

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Process work

Process work

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F I E LDT R I P + CA SE STU DY 43

Fieldtrip - Paris

Fieldtrip - Paris

Even though Notre Dame was closed, we found plenty of beautiful ceilings and stained glass to visit during our Grand Tour.

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Fieldtrip - Paris

Fieldtrip - Paris

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Case study

Case study

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Case study

Case study

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Fieldtrip - Rome

Fieldtrip - Rome

Sketching

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San

Carlo

alle

Quattro

Fontane

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and

visiting

it

while

in

Rome.

Fieldtrip - Milan

Fieldtrip - Verona and Venice

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R E A LI SAT I O N

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Realisation - Programme

Realisation - Location

1:1250 and 1:500 plans highligting the new built location on Parvis de Notre Dame

The programme is consisted of teaching and learning spaces, auditoriums, workshops provided by Compagnons du Devoir which are artisans that teach people how to work with materials in a classical way (for my building specifically I have chosen stained glass workshops in order to send reference to Notre Dame and Viollet-le-Duc’s interest in fine stained glass craftsmanship), infopoint, cafes, restaurant, library and the crypte with an added acoustic gallery that serves as my own take towards experimental preservation, all of them connected through an atrium. I decided to also utilise Batiment du Personnel and the Sacristy, without altering the buildings and just giving them another function as follows: Batiment du Personnel becomes a Viollet-le-Duc Museum of restoration and the Sacristy becomes a practical teaching centre for Notre Dame’s restoration.

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Realisation - Form Finding

Form

finding

iteration

Realisation - Shape iteration

influenced

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by

the

programme

requirements

Form construction that informs the details and hierarchy of spaces whithin the building.

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Realisation - Materiality

Double By all le

skin

structural

Realisation - Sustainability

glass

facade

on

a

steel

frame.

opting for a glass and steel materiality I intended to reflect at viewing points the monuments and keep a reference of Viollet Duc’s experimentation with steel in his preservation projects.

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Reusing 2 buildings, joining the island’s waste and energy green supply, using the river Seine for heating and cooling alongside the double skin facade plus a minimal surface of solar panels constitute the sustainability scheme of Palais de la Lutece.

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Realisation - Structure

Realisation - Structural details

1:20

detailed

structural

section

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65

with

zoomed

in

details

Realisation - Contextual integration

Realisation - Relation with Notre Dame

The most obvious relation between Palais de la Lutece and Notre Dame, Prefecture de Police and Hotel Dieu is the relation of the heights. Delving deeper, both the design proposal and ND are situated on the same E-W axis, and the orientation of the two surrounding monuments dictate the footprint of the proposal.

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Realisation - Relation with the historical context

The but

building is not trying to copy is reflecting through its glass

the architecture of the monuments, facade the remnants of the past.

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Realisation - Relation with the actual context

The small footprint is essential for the building to coherently and sincerely integrate in the context. Palais de la Lutece is not invading other monuments and through its tallness it is paying hommage to gothic architecture and its wish to ascend to the sky as high as possible.

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Process work

Process work

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Process work

Process work

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THINKING THROUGH MAKING

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Thinking through making week - exhibition

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Thinking through making week - exhibition

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Thinking through making week - glass panels

Thinking through making week - glass panels

Learning how to play with colours, glass and glass alternatives at a workshop provided

by Compagnons du Devoir.

Understanding the process of painting, the process of baking and the process of growing.

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Thinking through making week - process work

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Thinking through making week - process work

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SYN T H E SI S

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Site plan

Form declaration

1:1250 site plan

Project name: Palais de la Lutece Location: Ile de la Cite, Paris Footprint area: 2160sqm Tallest height: 65m (21st floor)

1:500 undergound plan

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1:100 Underground plan

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1:500 Underground axo

Underground - Atmospheric collage

Alongside the extension and restoration of the Crypte, an acoustic gallery is added with an opening towards the river Seine, in order to allow the sound of paris to echo through the pillars and create a connection between the past and the present, right under Parvis de Notre Dame.

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1:100 Ground Floor Plan

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Ground floor illustrations

Ground Floor Plan

atrium illustration done in Viollet-leDuc’s style Circulation to use diagram Site model

An open ground floor that facilitates the movement from the busy street inside the building and then outside facing Notre Dame. The glass structure creates a sense of transparecy that allows the user to navigate freely and experinece the exterior through the interior of the building.

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1:100 5th floor plan

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5th floor plan

5th floor atmospheric illustrations

auditorium

library

Going towards a semi-private configuration, the plan evolves and develops double height floors for auditoriums and workshops and open workspaces for research, teaching and learning spaces.

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Compagnons du Devoir glass workshop

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1:100 15th Floor plan

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15th floor plan

15th floor atmospheric illustrations

heritage centre inhabited render and research space sketch

Moving private,

higher above the such as research

ground the and heritage

100

spaces centre

become exclusively of France offices.

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1:100 plan to section

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1:50 Section

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Sacristy

The Sacristy will be a space where visitors can practically learn how and why restorations take place, with a great attention towards Notre Dame.

Through this building I am taking a stand in Notre Dame’s restoration by pointing out that it is a lenghty and full of detail project that can not be completed in 5 years and that does not need to be rushed.

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Batiment du Personnel

Batiment du Personnel will celebrate its oen architect and retrofit into a museum of Viollet-le-Duc and his restorations.

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Views

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Framing

Framing

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I LLU ST R AT E D CU LTU R A L B I B LI O G R A PH Y 115

Rem Koolhaas, (2014), ‘Preservation is overtaking us’

Raphael Moneo, Juan Antonio Cortes, (1976) ‘Comentarios sobre dibujos de 20 arquitectos actuales’

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University

workshops

for

clay,

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concrete,

CAD,

etc

Movies : Before Sunset (2004) The hunchback of Notre Dame (1939)(1996)

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Design innovation conference

Franz Samsa collage workshop

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Books that influenced my design approach

Biodesign research on bacterial cellulose both at home and in laboratory

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References: Eugene-Emmanuel Viollet-le-Duc, (1854-1868), ‘Restoration’, Dictionnaire raisonne de l’architecture francaise du Xie au XVIe siecle, p 9-17 Eugene-Emmanuel Viollet-le-Duc, (1854-1868), ‘Restoration’, Dictionnaire raisonne de l’architecture francaise du Xie au XVIe siecle, p 28

Bibliography:

Anthony Sutcliffe, (1993), ‘Paris, An Architectural History’, Yale University press, New haven and London David Ross Scheer, (2014), ‘The death of drawing. Architecture in the ages of simulation’, Routledge Taylor & Francis Group Eugene-Emmanuel Viollet-le-duc, (1854-1868), ‘Restoration’, Dictionnaire raisonne de l’architecture francaise du Xie au XVIe siecle.

Jean-Pierre Babelon, (1977), ‘Demeurs Parisiennes sous Henri IV et Louis XIII’, Le temps, Paris John Stevens, Peter Le Huray, (1989), ‘Music and Ceremony at Notre Dame of Paris, 500-1550’, Cambridge studies in music Juhani Pallasmaa, (1994), ‘Six themes for the next millenium’, The architectural review, July 1 Raphael Moneo, Juan Antonio Cortes, (1976), ‘Comentarios sobre dibujos de 20 arquitectos actuales’ Steen Eiler Rasmussen ,(1959), ‘Experiencing Architecture’, MIT press Steven Holl, Juhani Pallasmaa, Alverto Perez-Gomez, (1994), ‘Questions of perception, phenomenology of architecture’, Architecture and Urbanism, July Special issue Tod Williams, Billie Tsien, (1999), ‘On slowness’, 2G

List of Figures:

All primer images are group work. page 37: photograph from inside of Notre Dame post fire by: PATRICK ZACHMANN/MAGNUM PHOTOS All the photographs used for collages are from: http://gallica.fr and http://lionel. mesnard.free.fr/le%20site/3-3-paris-bas-m-age-2.html Renders inspired by: http://www.missioniledelacite.paris/

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APPENDIX - CASE STUDY WHOLE DOCUMENT

APPENDIX - CASE STUDY WHOLE DOCUMENT

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APPENDIX - CASE STUDY WHOLE DOCUMENT

APPENDIX - CASE STUDY WHOLE DOCUMENT

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