ARC3001 ACADEMIC PORTFOLIO CONTEMPORARY CONTINUITY 02 ORDINARY RESILIENCE RORY DURNIN
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CONTENTS
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REFLECTIVE CHARRETTE SUMMARY
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CITY SCALES
CITY LANGUAGE
PRIMER
STAGING
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THINKING THROUGH MAKING
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COLOGNE & BERLIN NEUES MUSEUM CASE STUDY
CITY FRAGMENT
CITY THRESHOLD
FIELD TRIP
REALISATION SYNTHESIS
120 ILLUSTRATED CULTURA BIBLIOGRAPHY
REFLECTIVE SUMMARY NEW SCHOOL OF ARCHITECTURE FOR NEWCASTLE UNIVERSITY
ST. THOMAS’ STREET
Reflecting on this academic year and the progress of the project, I am reminded of how much I have learned and improved upon, and the enjoyable experience of being able to develop one project during the course of the year, allowing for a more thorough analysis and development. In looking at the work I have produced this year, I feel my attention to historical precedents and local character of the area is one of the strongest parts of my project, the pre-cast window elements in particular being one of the most developed and strongest aspects. This project has changed and evolved over time as I have refined and rethought concepts and ideas, and learned through both the study of precedents and my own investigations using trial and error. The project has undergone more thorough testing than I have done in previous years, leading to a more thoughtful and fully realised proposal. Each city has its own rich history and character, reflected in the built environment. Buildings can tell us a lot about an areas past and present, giving meaning, personality,
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and a sense of authenticity to a place. As areas and their demographics are often changing, preserving this character provide clues to the past. Much like Paolozzi, I am very interested in the relationship between the past and the present, and the way in which the past informs the present and indeed the future, particularly in (but not limited to) Architecture and the built environment. Paolozzi was fascinated by machines and their component parts. This prompted me to think of a building as a form of machine, with its many component design features all performing their functions to ensure the building, or machine, functions well as a whole. The practice of studying the themes and working methods of Paolozzi has been very valuable as it promoted me to think about architecture differently, while simultaneously allowing me to gain techniques like casting and printing to then be used in development and representation of the current and future projects.
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ARC2013 TECHNOLOGY
ARC3015 THEORY INTO PRACTICE
My structural and technical understanding this year has improved, assisted no doubt by meetings with structural and services engineers during the course of this project, and I possess a much better understanding of technological systems and the structural properties of materials than I did this time last year.
Theory into practice encouraged me to think more about what exactly I am trying to communicate in my drawings, and how selecting the correct type of drawing is vital to best representing your ideas and concepts. It also led me to place greater value on my development work, whereas previously I may have considered it to be “not as important” as polished final images, whereas in reality, they can be some of the most valuable drawings and diagrams, showcasing organic development and initial ideas.
The columns not only act as a constant to tie the building together and but also provide vertical structural support. The angled window reveals fit into the character of the rest of the façade and create an interesting detail, as well as performing a technological function, filtering out light from the south and allowing north light, ideal for studio and galley spaces, to enter.
ARC3014 PROFESSIONAL PRACTICE Professional practice allowed me to gain valuable understanding in the duties expected of all those involved in the design and construction processes, This knowledge will make the transition to practice easier as I have an idea of what to expect and how things are done. Factors such as the value of time, and keeping to budget have directly informed my project, an example being the pre-cast windows, which can be easily and quickly lifted into place and slotted into the façade.
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WIDER PROFESSION In terms of the wider context of the architectural profession, I feel my project addresses important issues in the areas of historical narrative and preservation. This project places value on historical and local context, focusing on preserving the character of the area, taking cues from surrounding buildings in term of proportion and materiality. I feel that mindfulness of preserving the unique character of an area or building is vital when undertaking an architectural project, to ensure that as we move forward, progress and regeneration in the built environment is done in such a way that the area retains its sense of place and unique character and feel.
The built environment is today faced with the issue of accelerated commercially focused development, pushed by developers concerned with quick profit above all else, often putting built heritage at risk. The generic, placeless shopping centre found throughout the world just one example of this phenomenon. This phenomenon is one also investigated in my dissertation, focusing on the “development at any cost” attitude in Belfast that encouraged almost any form of new development, resulting in the erosion of some of the city’s own rich character, in the case of the construction of Castle Court shopping centre, at the expense of some of the city’s finest historic architecture.
PAOLOZZI Much like Paolozzi’s tendency to draw inspiration from existing objects in his work, the project draws on existing features of the city, interpreting them in a new way to create something that is a work in itself, yet also a reflection of the buildings and concepts which inspired it. The façade takes cues from the adjacent Georgian architecture of St. Thomas Street and t. Thomas’ Crescent, Grade II Listed streets integral to the historic character of the area.
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The use of red brick on the façade is informed by local historical context, almost ubiquitous throughout the area. With reference to the grain of the area and the linear flow of movement along Percy Street, the bricks of the façade are all laid facing in the same direction (north), which results in the regular stretcher bond on the East and West façades, while on the North and South, the brick headers face outwards, and STUDIO SPECIFIC With more specific reference to my studio, I feel analogue working methods, in particular physical model making, have allowed me to more effectively envisage and test spaces, exploring light conditions and atmosphere. Models were invaluable during tutorials and reviews particularly as they allowed me to explain and discuss my designs more clearly, and in turn have more informed discussions with tutors and peers, allowing my project to advance further. In particular, my model of the double height ground floor gallery allowed me to gain and understanding of the light conditions and atmosphere that would be experienced within the space.
When preparing my own concrete mix, I learned first hand the components and how the quantities of aggregate and affect the strength and qualities of the concrete, as well as how metal rods can be used to provide strength. WINDOW The Window reveals are one of the key features of the façade, again taking cues from the surrounding Georgian windows, aspects such as the sandstone window sill and lintel are re-imagined as concrete sills and lintels, as are the proportion and spacing of the windows, allowing the building to blend with the surrounding architecture and existing character of the area. The window reveals are recessed to better control solar gain, with the south side recessed at a 90° angle to block some of the strongest light from the south, while the north side of the reveal is angled using th3e same “stepped back” arrangement of bricks seen on the façade, in order to allow north light into the space, as Gallery and studio spaces traditionally favour north light for optimum conditions.
STAIRCASE / ATRIUM Shelley McNamara, partner at Grafton Architects emphasises the role of the staircase as a “Social artery”, highlighting the value of “The process of moving up the stairs, the creation of a landing, being able to stop, have a conversation, and then continue on; that thing of accidental meeting”. The jagged, irregular forms of the staircases, intersecting the atrium at various angles, create interesting and unique light conditions inside the buildings primary circulation route, giving a unique character. The central atrium acts as the heart of the building, a central core providing circulation and social space, Windows at strategic points and moments (at the top of the ground floor stairs along the façade, as you move [east] out of the first floor gallery walkway into the corridor, frame vistas of the city.
Exploring the processes of making and working with clay bricks, and casting concrete, allowed me to get a feel for the materials, their textures and capabilities.
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CHARRETTE Some key photographs capturing some of the energy and feel of collaboratve creativity present during Charrette week,.
Images Courtesy of Yew Zhi Xuan
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CITY SCALES
PRIMER
PRIMER CITY SCALES
CITY SCALES
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PRIMER CITY SCALES
Primer involved examining and interpreting the city at various scales, using a variety of media and processes to represent our observations. Studying the work of Eduardo Paolozzi, in particular his woodcut prints, Inspired by the work and ideas of Paolozzi, I developed my own interpretations of the city, utilising printmaking, casting and sketching processes.This resulted in a greater understanding of the rhythms and character of the city and encouraging me to think in different ways. Paolozzi found inspiration for his work everywhere, buildings, nature, machines and many other things. Through observing the city, I was able to draw out many sources of inspiration for my project, one example being the patterns of movement and citculation observed.
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CITY OBSERVATIONS
PRIMER CITY SCALES
I began looking at the roofscape of the city, as seen from the Tyne bridge, as this unique view allowed me to view the city in a less conventional and everyday way, enabling me to think about the city in a different way. At this height I could make out the routes of some streets and almost see part of the city in plan view, while still being able to observe details and rhythms found in the buildings and their arrangement. The patchwork of the city appears at first random, buildings from different periods of time all crammed together, however, on closer inspection, grains and patterns can be identified.
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PRIMER CITY SCALES
ARTIST REFERENCE
EDUARDO PAOLOZZI Paolozzi completed a series of 6 woodcuts for Charles Rennie MacKintosh in 1975. Linear elements, grains and meandering routes can be identified among the seemingly abstract composition. The prints were inspired by a piece from a book called “Kosmos c. 1920” which showed an artist’s impression of organ music. Paolozzis woodcuts are generally considered to represent music, and in my opinion elements of these pieces also appear somewhat similar to the plan view of a city. The meandering, flowing lines, appear like rivers, while the uniform, orthogonal blocks invoke feelings of city blocks, or rows of houses. The composition is also reminiscent of the patchwork like nature of a city, the rectilinear elements corresponding to each other like a planned development, while the overall composition appears improvised and organic, much like the fabric of a city. The white negative space between the printed elements could also represent roads and pathways between the built environment.
For The Four, 1975 Eduardo Paolozzi
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CITY DRAWING
PRIMER CITY SCALES
My first drawing focused on the rooftops, looking for patterns and grains amongst the seemingly random patchwork of building roofs. I then drew the same scene, this time more conceptually, attempting to capture some of Paolozzis key ideas and themes.
I wanted my work to correspond to Paolozzis aesthetically, hopefully allowing his influence in my work to appear evident to the viewer, however i was primarily concerned with the communication of ideas over pure aesthetics.
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LARGE
PRIMER CITY SCALES
My first print was a representation of the roofscape I had sketched previously, and I attempted to use elements of Paolozzis style seen in his woodcut prints. This print was a good start to the process but focused more on aesthetics than communication of ideas, and as I studied Paolozzis prints further, I had the idea to interpret the plan of the city in a print.
By my third print I had developed my ideas into a composition in which Paolozzis influence was evident, while retaining my own style. I separated areas of the city with different architectural styles into blocks, representing them in a minimal simple way. Main roads and the river Tyne can be clearly seen, while the grain and pattern of the housing on the periphery of the city centre is a key element.
Print 1
I looked at a plan of Newcastle and sketched it roughly onto the lino, and then cut it out, adding abstract elements and trying to give it a loose, flowing feel. I identified patterns in the arrangement of the buildings and emphasised these elements, while eliminating elements of the plan that I did not feel added to the composition.
I also learned not to draw directly onto the lino, as my print came out backwards, a mistake which was corrected for my final print.
Print 2 (textured brown paper)
Lino Plate (Print 3)
Print 3
Print 2
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LARGE
PRIMER CITY SCALES
For the final print, I made the interpretation of the city plan looser and more conceptual, as I did not want my representation to be too literal. I wanted the city plan to be evident, but not obvious. I feel that this print was quite successful both in identifying the grains of the city and major elements, and in recapturing the style and ideas of Paolozzi. The black printed parts are actually the negative space in the city, while the white pieces are the physical elements. This approach allows us to see the city in a slightly different way, and encourages us to think about the importance and potential of negative space in a city.
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PRIMER CITY SCALES
MEDIUM The first preperatory cast completed was quite simple, allowed me to get to grips with the casting process (which i had not done for some time) and the material properties of plaster. This cast represents explores how recessed elemts control and regualte the penetration of light.
I have always found transitional spaces like steps and doorways quite interesting, in particular the versatility of these spaces and the way people use them, often in ways other than their supposed purpose. Steps can be used to sit on, eat lunch, have a chat and many other activities. The doorway serves as the first point of contact with a building, and its importance is often underestimated in building design, in my opinion. I began sketches for my next cast, where I wanted to represent these spaces at a variety of scales and orientations. Paolozzis elephant cast, pictured right, was a reference point, its smooth surfaces and right angled composition evoking an idea of organisation and order.
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MEDIUM
PRIMER CITY SCALES
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PRIMER CITY SCALES
MEDIUM My second cast at room scale features a variety of recesses and indentations, representing steps, doorways and other threshold elements. I represented these at a variety of scales and at different orientations on different faces.The concept of negative space is a key idea here, the casting process itself having an influence in this, as the cast is essentially a physical representation of the negative space inside the casting mould. The steps, represented at different scales, lie on opposite faces, it is difficult to view both at the same time. The reason for this was to show how these elements, seemingly unaware of each other, are both part of the same model, much like elements in a city which may not be visible to each other or related, but in reality, they influence each other and the fabric of the city. The fragmented/ broken parts provide a contrast with the clean, smooth and angular forms of the cast, and are reminiscent of stone in their texture. This contrast highlights the versatility of plaster as a material.
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PRIMER CITY SCALES
SMALL The small scale primer focused on indentations, relief and recessed elements which are often found at detail level, for example on window reveals, door frames or I also explored the idea of the negative impression made by using a patterned or textured object in the casting mould, such as brick.
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STAGING
STAGING CITY LANGUAGE
CITY LANGUAGE
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STAGING CITY LANGUAGE
Observing the landscape character and forms of the surrounding buildings, which included quadrangles, large rectangular blocks and sweeping, curved streets, these features were used to influence the proportion and geometry of my massing proposal and ground floor urban grain plan. Careful thought was applied to the transitions between my masterplan and the wider area, as well as creating “stopping points� and a social central courtyard. Correctly identifying and adhering to the grains, patterns and character of the area are essential in presderving the historical value and sense of place.
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SITE
STAGING
ST. THOMAS ST.
CITY LANGUAGE
This site has the opportunity to act as a bridge between the old University campus, based around the Quad and Students Union, with the newer University area rapidly developing near Westgate Road, where the Business School and Helix are situated, as well as a number of Student accommodations.
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SITE ANALYSIS
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HISTORY
STAGING CITY LANGUAGE
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SITE ANALYSIS
SITE ANALYSIS
There are a wide rang of businesses on site, from hair and nail salons to Eldon Square, one of the North East’s most important shopping complexes, to Haymarket, the main bus interchange in the city centre and one of the main metro stations in the city centre.
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There are few planned developments in the area and so this allows us to design quite freely without having to worry about other projects ongoing the area.
Preserving existing Green spaces as well as providing new ones is important, as the immediate site, although close to Leazes park ,does not contain that much greenery.
STAGING CITY LANGUAGE
One of the defining features of the site are the Georgian houses along St. Thomas Street, Grade II Listed they are of importance both architecturally and in terms of the heritage of the city. Ensuring the new University building is respectful to these buildings and corresponds well to them is essential.
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SITE ANALYSIS
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STAGING CITY LANGUAGE
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URBAN GRAIN
URBAN GRAIN AT CITY SCALE
URBAN GRAIN
SITE
URBAN GRAIN
STAGING CITY LANGUAGE
I began by identifying the orientation of buildings surrounding the site, then using these angles to construct a series of grids reflecting the rhythm and grain of the site. Particularly interesting were the curved forms created by the bend in St. Thomas’ Crescent as well as the circular form of Eldon Square car park.
The techniques from my primer work proved valuable here, particularly my lino-prints inspired by Eduardo Paolozzi, as I was already versed in identifying urban grains and observing flowing, natural type forms throughout the city, and interpreting these as elements of the built environment.
ROADS
Continuing to explore the themes of my city scale primer prints, I identified the grain of the buildings in the area around the site and aimed to represent the rhythm of the buildings, in order to establish a basis for my buildings urban footprint, one which would fit seamlessly into the city.
PRIMER PRINT EXPLORING URBAN GRAIN AT CITY SCALE
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INITIAL CONCEPT SKETCH FOR THE CURVED FORM
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URBAN GRAIN
URBAN GRAIN
BUILDING FORM AS DERIVED FROM SITE
BUILDING FORM AS DERIVED FROM SITE
STAGING CITY LANGUAGE
A further change was made on deeper exploration of the routes through the site, looking at the pedestrian density concentrated on Percy Street, in particular around the crossing beside Eldon Square bus centre entrance and the Haymarket Bus station. I decided to provide an additional opening through the site to aid circulation in this area and reduce congestion around my proposed complex.
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1. Site area highlighted as one block. From here I can identify routes through the site and identify circulation at ground level, subtracting these routes, leaving behind dark areas to inspire building form.
2. Identified orientation of surrounding buildings and create lines along their grain.
3. Identified the curved forms of both St. Thomas St. and the Eldon Square car park on Percy St. and incorporated these into my form to better fit the rhythm and grain of the site.
4. Central route walkway carved out, the massing on the right hand side also emulates the scale and form of the buildings along Percy St.
5. Grid lines established based on the orientation of surrounding buildings, courtyards established to correlate with the urban grain.
6. Corner of Percy St. building rounded to provide better pedestran and vehicular access while mirroring the grain of the Eldon Square car park.
7. Natural route from lane leading off Leazes lane continued through the site, creating another entry point.
8. Outline of courtyard mirrored in the central circulation and social area in the middle of the proposed complex.
My final urban grain proposal is one I feel is very closely linked with and in touch with the site and surrounding buildings, and also incorporates a sunken courtyard element and underground parking facilities.
COURTYARD CORRELATION DIAGRAM
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URBAN GRAIN
URBAN GRAIN
MASSING
Initial foam massing models based on my concept. From these I was able to get a feel for the volumetric qualities of the buildings and their interrelation with each other.
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PROPOSAL
STAGING CITY LANGUAGE
following on from the ideas explored in mt primer work, my urban grain study examined the grain of roofscapes in the site and surrounding area, and allowed me to create a draft roofscape for my own roposal which fits into the rhythm and grain of the area.
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STAGING CITY LANGUAGE
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PRECEDENT STUDIES
URBAN GRAIN STRATEGY
SUNKEN COURTYARD
STAGING CITY LANGUAGE
The idea of a central sunken courtyard, with planters and seating, acting as a social artery in the centre of the masterplan was essential to the process of converting this dead end car park into a vibrant, The planted sections
FINISH
Upon further testing, it was decided that the additional cost and time it would take to excavate and create the sunken courtyard outweighed the potential benefit that a specifically sunken courtyard would provide, and the concept developed into a similar seated and planted courtyard at ground level.
Utilising curved brick faรงades and designed with close attention to context, particularly buildings of historical significance in close proximity, the Bruce C. Boiling building by Mecanoo is an excellent precedent for me to draw inspiration from.
This building helped me to come to terms with designing and effective building programme inside a building with irregular form, particularly curved corners.
The Levi Strauss College in Lille has also been a useful precedent, in terms of materiality and typology. Its clever and effective use of brick faรงades, challenging the usual perception of brick as a material limited to square forms are a techniques I am keen to replicate in my own design. Also a University building, it was useful to study the programme and hierarchy of spaces, and courtyard elements.
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SKETCHES
SKETCHES
STAGING CITY LANGUAGE
Sketch sections experimenting with the idea of a sunken, partially underground lecture theatre, allowing for a high ceiling and open atmosphere without impacting on the floor above. The second sketch shows the courtyard concept on the two upper floors, as well as an underground parking concept, which, upon later reflection, was not necessary or
environmentally
sensible
and
was
subsequently removed.
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STAGING CITY LANGUAGE
THINKING THROUGH MAKING
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PROCESS The process began by making a mould to form the bricks, which were made by first pushing clay into the mould, the mould was then turned over and tapped against the ground so the bricks fell out, they were then left to dry. Once dry, the bricks were arranged in formation. The plan was to use mortar to join them together to get a feel for that process, however the short time-frame of a week, coupled with the fact that the bricks took longer than expected to dry, meant that glue was used.
The clay bricks after drying
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Final model
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FIELD TRIP COLOGNE & BERLIN
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FIELD TRIP
COLOGNE & BERLIN
COLOGNE
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FIELD TRIP
COLOGNE & BERLIN
BERLIN
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REALISATION CITY FRAGMENT
REALISATION
CITY FRAGMENT
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REALISATION CITY FRAGMENT
The realisation stage saw a fragment of my masterplan (one building of the four) developed to accommodate a new School of Architecture. Reflecting on the lessons learned during Primer and staging concerning grains, patterns and flows of movement allowed me to think in more detail about circulation and the importance that it has. This stage also saw the division and allocation of spaces inside the building, informed by the requirements of the schedule of accommodation. The careful, funtional planning of the building programe is essential to a fuctional and successful building. I used the knowledge i have learned about the successes and shortfalls of the current architecture building as a form of guideline, helping me to address what was needed, and to avoid leaving anything out.
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REALISATION CITY FRAGMENT
MASSING SCHEDULE OF ACCOMMODATION
I began the process of designing the building plan by first reviewing the schedule of accommodation and spaces required in the studio Brief, with the intentions of “zoning” the building, placing similar spaces near each other.
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REALISATION CITY FRAGMENT
PLANS Following on from Staging, the first iteration of a ground floor masterplan was drawn up, drawing on circulation routes, site geometry and the rhythms and patterns observed during staging were applied to the interior of the buildings. The interrelationship between the component buildings was carefully considered, as were the lines of sight existing through the pathways between buildings.
URBAN GRAIN Geometry in the immediate context was identified, and together with natural circulation diagrams a ground floor urban grain plan began to take form.
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REALISATION CITY FRAGMENT
SKETCH MODELLING
PLAN DEVELOPMENT
I began to explore the 3D spatial implications of my plans through an initial 1.500 sketch model. This allowed me to more successfully begin to resolve vertical circulation and to get a real feel for the dimensions and qualities of internal volumes and spaces.
After identifying geometry within the urban grain, I zoomed in to the building scale, and referring to the patterns of Paolozzi, began to develop a ground floor plan, variations of which began to form upper floor plans.
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REALISATION CITY FRAGMENT
PLAN DEVELOPMENT Further refinement and rationalisation of the hierarchy and organisation of spaces, including rationalisation of awkward corners and wasted space, as well as further subdivision of larger spaces to form smaller rooms suitable for office and storage spaces.
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REALISATION CITY FRAGMENT
SCHEDULE OF ACCOMMODATION Comparing the plans thus far to the schedule of accommodation ensured that the building was properly zoned and that similar spaces could be near each other.
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REALISATION CITY FRAGMENT
Varying materials and textures in the flooring of each space reflects the varying grains and patterns of the work of Paolozzi, and helps to give the spaces a subtle difference in character, a cue to their difference in function, while the concrete walls appearing throughout provide a sense of continuity.
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REALISATION CITY FRAGMENT
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REALISATION CITY FRAGMENT
ROOF A series of models and diagrams were used to test various roof configurations, which were either similar to those in the local area, or drawn out as an expression of the plans and section, or a combination of both. A variety of vernacular materials were tested.
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REALISATION CITY FRAGMENT
DEVELOPMENT IN SECTION
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I was keen to create a more interesting section, looking in more detail at floor and ceiling heights, and incorporating subtle changes in level. Much like Paolozzi’s different grains and textures, could a different veiling height and shape in various spaces give these rooms different qualities and atmospheres?
TOP FLOOR STUDIO Quite early on I decided that an open plan studio space would be an important space, promoting collaborative working methods as well as creating a bright, airy, and versatile studio space.
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REALISATION CITY FRAGMENT
FACADE DEVELOPMENT The Facade for developed from a combination of influences, including the nearby Georgian architecture of St. Thomas Street, the assemblage concepts and pattern based approach of Paolozzi, as well as consideration to technological components, for example solar gain and ventilation.
A very early stage facade concept, beginning to respond to the character of the area and surrounding buildings.
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REALISATION CITY FRAGMENT
ROOF IN CONTEXT
REALISATION REVIEW A photograph of a building model presented at the review, as well as the pin up.
A diagram showing the roof in context, and 3D massing diagram showing the building in context.
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REALISATION CITY FRAGMENT
STAIRCASE The centralised staircase will act as a circulation core, providing not just circulation but also social space. The angular formation reinforces the narrative of the “journey� as it takes the user on a meandering zig-zag route through the heart of the structure.
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SYNTHESIS
CITY THRESHOLD
SYNTHESIS CITY THRESHOLD
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SYNTHESIS
CITY THRESHOLD
Small details make or break architecture. Subtle nods to the building or area history, understated elegance rather than grand gestures, these are the features which define successful restrained and resilient built works. The synthesis stage involved the application of these principles to resolve the façade, with more detailed studies undertaken. Carefully considering the relationship between the external and internal space, in particular the threshold spaces, where the transition between the internal and the façade takes place. The Red brick of the façade feels connected and part of the locality and wider city, allowing the area to retain its sense of place. Window spacing and proportions are informed by the immediately adjacent buildings, marking a dialogue and relationship with the surrounding area, while historical narrative is evident in the Georgian derived features of the façade. In a way, the façade could be considered something of an assemblage, the windows, red brick and other properties of surrounding buildings acting as the “found” material, my Façade is the assembly of many of these elements to create something new, similar in a way to Paolozzi’s Aluminium sculptures, also sharing his fascination with the interrelationship between the past and the present,
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SYNTHESIS
CITY THRESHOLD
DOUBLE HEIGHT GALLERY The building’s most striking key space, the double height ground floor gallery, complete with suspended walkway serves as a large versatile exhibition space. From public exhibitions to talks, installations to student degree shows, this space inspires contemplation and discourse, while still maintaining an air of simplicity and subtlety, allowing the work displayed within to shine.
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SYNTHESIS
CITY THRESHOLD
WALKWAY The suspended walkway in the double height Gallery serves as one of the building’s most atmospheric spaces, its jagged, angular route cutting through the vast space of the gallery. The walkway is inspired by Peter Zumthor’s Kolumba, visited during the field trip. The Walkway, (pictured right) possessed a striking and memorable atmosphere, and gave the space a monumental quality. The meandering route builds further on the “Journey” narrative throughout the gallery spaces, guiding the user through the gallery and providing an alternate view to the items on display below.
PRECEDENT Peter Zumthor’s Kolumba, Cologne.
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SYNTHESIS
CITY THRESHOLD
HAND RAIL DETAIL Continuing the theme of “warm� materials being applied to surfaces which the user touches, curved timber hand rails provide a warm contrast with the concrete stairs, as well as providing a sense of delicacy and attention to fine detail, against the backdrop of the heavy, rugged concrete. This concept was inspired by buildings visited on the field trip, for example, Kolumba in Cologne and the Staatsbibliothek in Berlin (Both pictured above).
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1:5 model
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SYNTHESIS
CITY THRESHOLD
SECTION 1. Double Height Gallery 3. Reception 4. WC 5. Staff Room 8. Studio 18. Open Plan Studio 24. Social Area
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SYNTHESIS
CITY THRESHOLD
THIRD FLOOR STUDIO The third floor open plan studio is centred around the idea of collaborative learning and a social workspace; the space aims to support the “studio culture� in the best way possible. Ample storage, a problem for many architecture students, is provided by fixed shelving that runs along the perimeter, while the skylights allow for plenty of natural light to enter.
STORAGE As mentioned, providing ample storage space and shelving in the studios is very important, for the storing of models, materials etc., as it can often be difficult to find available storage space in the studio, especially towards the end of the academic year.
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SYNTHESIS
CITY THRESHOLD
MATERIALITY / TEXTURES
MATERIALITY
The warm, earthy tones of the pavings provide a contrast with the greys of the concrete, while careful attention is paid to the sensation of touch; Elements we interact with and touch, hand rails, flooring, and the columns, are brought to life in timber or painted concrete, to give these elements a subtle contrast and focus.
Switch Rooms and the Tanks at the Tate Modern Blavatnik Building
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Ground floor lobby / atrium
UCC Student Hub, Cork O’Donnell + Tuomey
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SYNTHESIS
CITY THRESHOLD
Plan
BRICKWORK
Exploring the concept of the “hit and miss” brickwork, and the refinement of the brick grain idea wherein all bricks face the same direction throughout all parts of the facade.
Experimentation with variations in brick bonds, exploring hit-andmiss or parametric techniques to create angled and curved corners. The brick arrangement creates a unique character to the building and a contemporary feel, while still very much in the spirit of the area and it’s history.
Tate Modern Blavatnik Building, London Facade
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SYNTHESIS
CITY THRESHOLD
PRECEDENT ST. BRIDES CHURCH, EAST KILBRIDE GILLESPIE, KIDD & COIA
Model testing stepped back window reveal concept and resulting shadows.
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SYNTHESIS
CITY THRESHOLD
WINDOW The window reveals are recessed for better control over solar gain, and the angled stepping back of the bricks on one side continues the theme used throughout the facade of extruded bricks facing the same direction being set back to create angles greater than 90°. Each window is installed as one prefabricated element, the glazing and frame are set into a concrete sill and lintel, with the bricks attached to the concrete lintel by screws.
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FACADE The final facade iteration draws on Georgian proportions and features from the nearby St. Thomas Street houses, for example the window spacing, elements such as the stone sill and sandstone lintel separating the ground and first floor are interpreted in my facade using concrete.
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SYNTHESIS
CITY THRESHOLD
FACADE IN CONTEXT A watercolour perspective of the facade , viewed from Percy Street, with the context in view. This particular view was selected as it shows the stepped back windows and “hit and miss” brickwork on the north facade, as well the front entrance, an important transitional threshold space.
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ILLUSTRATED CULTURAL BIBLIOGRAPHY In the last 12 months, I have been involved in a wide array of experiences and opportunities to improve my knowledge of architecture and also the wider world and other fields. It is important for Architects to understand and draw influence from a large number of fields in order to produce quality projects. During the summer, I visited Valencia, and photographed some of the architecture of Calatrava. Despite some durability issues with this particular project, it is very striking and unique, and the concrete elements which bear similarirites to human bones possess a certian delicacy. I also attended a number of the“small talks”held in the University on Wednesdays, one which i found particularly interesting being Andy Grourke’s talk on the 4th of March, in which spent time discussing the Hill House Box project, which was a creative solution to allow the house to be protected during restoration, yet also providing something new, with the walkway offering new views and perspectives not available before.
I also had the opportunity this past summer to make an overdue visit to Mies van der Rohe’s reconstructed German Pavilion during a visit to Barcelona. Although having seen the building and its accompanying furniture countless times in books, magazines, online and of course in lectures, I nonetheless found myself taking photographs of every material and angle. The proportions, use of light and material selection particularly impressed me, and inspired me to think outside the box a little when it comes to selecting material finishes in my own work. I signed up and attended thinking through making workshop which was led by a Stage 5 student, who had developed a symbol language for describing site features and typology. The aim of the language was to reduce the number of characters needed to explain a site in simple terms. Characters represented trees, bodies of water, terrain, whether the area was urban or rural, and many more. It was a useful exercise and reminded me the importance of simplicity and to be wary of over-complication; the best projects explain clearly the information necessary, and without unnecessary additional material that is only likely to confuse. I have also attended a number of RIBA talks and networking events, I found the experience of speaking to practicing architects and parters of firms very engaging and insightful, particularly concerning what qualities they look for in a potential employee, and advice on how to find a practice that is a good fit for me personally.
Photographs taken at Cuidad da las Artes, Valencia, June 2019
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BIBLIOGRAPHY BibliographyEdwards, Brian, University Architecture, (Abingdon,Taylor and Francis, 2014) Collins, Judith, Eduardo , (Surrey, Lund Humphries, 2014) Leoni, Giovanni, David Chipperfield, (Italy, Padua, 2005) Pearson, Fiona, Paolozzi, (National Galleries of Scotland, Edinburgh,1999) www.odonnell-tuomey.ie www.graftonarchitects.ie www.tate.org.uk/artists www.herzogdemeuron.com www.carmodygroarke.com
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