Erya ZHU (Shirley) Portfolio

DESIGN PORTFOLIO ARC 8052 SEMESTER 2 ZHU ERYA STUDENT NO. 160010745

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Content

Introduction

Introduction [2] Project Preview [3-8] Experiment on Formalists’ Production of Space [9-11] Bringing back the Historical, Political and Social [12-28] The technical integration [29-35] The use of section [36-56]

The ‘real architecture’ only exists in the drawings. The ‘real building’ exists outside the drawings. (Eisenmen, 2013) Perhaps to the Neo-Avant-Garde, architecture is only the demonstrated in those nicely framed architectural representation, the representation that can be put on a gallery wall straight away. This notion of ‘pure’ & ‘perfected’ is something that is deeply taught and embed in the mind of architectural students and the profession. However, when architecture is reduced down to its purest form, to become autonomous, form, content and structure is neglected and separated. When the Neo-AvantGarde ‘couldn’t care less’ about the experience of the people or the inhabitation, then what more could architecture become than being a life size sculpture that is a dead object standing in the air? Perhaps the pessimistic mood was induced by the failed promise on Utopia by modern architecture in the 20th century, resulting the retreats of the architects, no longer interested in ‘Avant’; happy living in the fallen world that consumed by the industry, to produce spaces for the rich. A remapping of the Neo-Avant-Garde is urged.

This project deals directly to the heart of the problem with the Neo-Avant-Garde, the 'form'. What is beyond formal became the central thesis of this project, to explore the tension between the formal and the mess, which is to say the rational and the irrational, the people, the inhabitation. It also reflects on my architectural modes of production, which tilts very heavily on the formal basis that was derived from my architectural degree and year practice, how do I remap my ways of architecture and find the right balance of formal and its inner life is crucial to this project. The exploration of a city block and its dynamicity has allowed me to possibly bring my architecture closer to the people through the exploration of Everydayness in hopes to break free from the formal practice.

ARB Criteria [57] Self-Reflection [58] References [59-60]

SEMESTR 1

ORIGINAL

AMENDED

SEMESTR 2

AMENDED

NEW

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Project Preview

San Filippo Neri

Lungotevere dei Tebaldi

Ponte Giuseppe Mazzini

River Tiber

Piazza Tevere

Via Giulia

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Via dei Banchi Vecchi

Corso Vittorio Emanuele II

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Chiesa Nuova

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Experiment on Formalists’ Production of Space

This chapter shows the initial works that was done before mid-term review in Semester 1, mainly composed of the 9 Square Grid study that we have done as a studio exercise.

GC1 GC2 GC3 GC4 GC5

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9 Square Grid Exploration

At the very beginning of semester 1, the 9 square grid exercise were done exploring the formal modes of production, which I have used the language by the Neo-Avant-Garde, the grid, plane and volume to construct the model. Later these three languages were translated onto my site Via Giulia and helped me to find my form of my building.

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Bringing back the Historical, Political and Social

The site Via Giulia is demolished by a political act, how then should the site be reconstructed is explored in this chapter.

Through understanding its history and its context might we find the way to reinhabit the site.

GC1 GC2 GC3 GC4 GC5 GC6 GC7 GC8 GC9 GC10 GC11

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Historical Timeline Medieval Period

Mussolini's Plan of Delimolision

(Before Mussolini's Plan of Delimolision)

1939

Post Delimolision

(Before the Construction of the Carpark)

2010 - Comtempory

Fig. 6

Fig. 4 Perspective View of Site in 2002(Top) (Photo References: Google Earth Pro)

Fig. 2

Fig. 5 Excavations in 2010 (Bottom) (Photo References: Architecture & Urban Planning in Italy)

Fig. 1 1889 Via Giulia fontana del Mascherone a (Photo Reference: https://www.flickr.com/photos/dealvariis/3851887738/in/ album-72157622127367024/)

Comtempory Situation

New Proposals

Fig. 6

Fig. 14 Fig. 8

Fig. 9 Via Bravaria

Fig. 14 Perspective View of Site in 2020 (Photo References: Google Earth) Lungotevere dei Tebaldi

© 2021 Google

Fig. 15 8

2020

, Google

During the Fascist Demolition, a wide avenue is ordered to be constructed between Ponte Mazzini, the bridge that leads onto my site and the Chiesa Nuova, a 15-century church. This has led to demolition of the entire neighbourhood that surrounds the proposed avenue, the project was stopped due to the beginning of World War II, after which the site was left empty and was never built.

The contemporary site now has an underground carpark with a rooftop terrace that was left unfinished, the site urge a remapping, to reinhabit this open wound of Rome.

Fig. 6-7 Proposal of Restructuring the Via Giulia by Diener & Diener Architects (Photo References: http://www. dienerdiener.ch/en/project/restructuringthe-via-giulia)

Fig. 3 Fig. 2-3 Plan for the demolitions of 1939 (Image References: Journal Il Covile)

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Fig. 5 The appearance of the façade in 1993 (Photo References: Romafelix.com)

Fig. 8-9 Landscape Proposal of Restructuring the Via Giulia by VOGT (Photo References: http://https://www. vogt-la.com/en/project/giulia-rome-0)

Fig. 16

© 2021 Google

,

Fig. 15 Entrance of Parking Via Giulia (Photo References: Google Earth)

© 2021

Google

Fig. 16 Perspective View looking at Parking Via Giulia (Photo References: Google Earth)

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2020

© 2021 Google

Fig. 10

Fig. 11

Fig. 12

Fig. 13

Fig. 17

Fig. 18

Fig. 10-11 Proposal by Kennedy COLLINS, Anne M. MARTINEZ-MONTAVON, Yue WU - You ZHOU (Photo References: Journal Il Covile) Fig. 12-13 Program of 'Redevelopment of an archaeological urban void in Rome in "Via Giulia".'

(Photo References: http://ytaa.miesbcn.com/work/232)

Fig. 17 Parking Via Giulia (Photo References: http://www.parkingviagiulia. it/)

Fig. 18 San Filippo Neri (Photo References: https://www. tesoridiroma.net/chiese_settecento/san_ filippo_neri.html)

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piazza San Simeone

Fontana di piazza San Simeone

14 Via dei Cartari

Contemporary Situation of Site

239

·

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2020

© 2021 Google

, Google

a Romana

a Roman

122 Via del Pellegrino 5

2018

© 2021 Google

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2020

© 2021 Google

, Google

SAN FILIPPO NERI

PARKING VIA GIULIA 2021/1/2

2021/1/2

141 Via Giulia - Google 地图

155 Via di Monserrato - Google 地图

155 Via di Monserrato

141 Via Giulia

, Google

,

Fig. 19 Series of Street View (Photo References: Google Map) Fig. 20 Map of Site (Map References: Digimap)

Fig. 21 Map of Site (Map References: Digimap) 8

2020

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© 2021 Google

2020

500m Radius

© 2021 Google

, Google

Google

https://www.google.co.uk/maps/@41.896651,12.4677814,3a,75y,335.38h,97.87t/data=!3m6!1e1!3m4!1s-9tE_Tw-YRjqrdspjYhHhw!2e0!7i16384!8i8192?hl=zh-CN

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1/2

https://www.google.co.uk/maps/@41.8972244,12.4681585,3a,75y,319.58h,94.51t/data=!3m6!1e1!3m4!1s6cskSZEEOOD_dU75ZIennQ!2e0!7i16384!8i8192?hl=zh-CN

Piazza Capo di Ferro;Fontana Palazzo Ossoli

1/2

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Piazza Capo di Ferro;Fontana Palazzo Ossoli

Site Change in History

Fig. 22 Site in 1750 (Traced Image based on: Old Maps Online)

Fig. 23 Site in 1910

Fig. 24 Site in 1950

(Traced Image based on: Old Maps Online)

(Traced Image based on: Old Maps Online)

Fig. 25 Site in 2020 (Traced Image based on: Digimap)

After overlapping the plan of the historical transformation on the site, the circled area (where parking via Giulia is located) shows significance changes throughout the history, even before the Fascist Demolition, therefore after colliding the different layer of time together gives a very interesting volume that has different height and shapes.

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The Influence of 'Insulae' -- the Early City Block Central Courtyard

gathering space, light well center of the structure

Uppermost floors

Apartments the Smallest, the Cheapest, Safety issues, Extra flights of stairs

Bottom floors

Apartments the Largest, the most Expensive

Ground level floors

The idea of the making a city block was actually derived from looking at the history of the site being a residential area with high up flats apartments. The life that goes inside a city block is wonderous, same person here has different identity at different time period, could be the residence at night, seller in the morning and visitor in the afternoon (off-market). With the shops and public utilities on the ground and residential on top, I could already imagine how vibrant and lively of the everydayness that happened inside the block could be.

Commercial Function individual shops, business

"Insulae" (island) Building, Ancient Rome [High-rise building] Minimal expense, poor construction Timber + mud brick + Roman concrete Prone to fire and collapse

'Insulae' is one typology of architecture in ancient Rome. it integrates dwellings, shops and gathering space together, which is to say an ancient city block.

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Translation of Form in Physical Model

Combining the stacking of the historical massing and the 9 square grid language, a mode of production is developed through model, which starts to populate the site with the volume (historical massing), plane (ramps and bridges that connects the massing) and grid (local streets and alleyway that cut up the volumes) The translation of this method of production take place as the fragments starts to loosen up and spilled over to the site surroundings.

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Alleyway Exploration

Through the physical model, photo could be taken at various angle, and one thing that interest me how immediately the perspective is change once the camera is place at a human level looking through the tiny alleyway, instead of overlooking the model as an object.

The alleyway also became a point of interest throughout the project, which was derived from my own experience when I visited Rome previously, hence the cognitive perspective that I have done on the right-hand side along with the mural of my city block later on in the project.

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Initial Section

A

B

Section A-A

A B

Section B-B The random pattem of the routes inspire me to make these sections, i would like to creat a space where randomness happened everywhere. The question then is exploring the clash between the irrational people and the formal building, and how their activities may enlive the space to become an energertic place.

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C

Detail Section C-C

C

San Filippo Neri

Lungotevere dei Tebaldi

Ponte Giuseppe Mazzini

River Tiber

Piazza Tevere

Via Giulia

Via dei Banchi Vecchi

Corso Vittorio Emanuele II

I think through exploring the section might we seek the vibrant city block.

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Chiesa Nuova

The technical integration

The idea of a city block may suggest a vibrant place where formal could be remap, how then is the city block construct tectonically became the core objectives of this chapter

GC1 GC2 GC3 GC4 GC5 GC6 GC7 GC8

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The Intergration of Existing and New

Moving on from the final section from Semester 1, at the beginning of semester 2 the apparent issue with the site is the contemporary car park, which takes up almost half of the size of the site. So integrating with the existing structure became both design and technical quest for the semester.

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The limits of physical model

At the beginning of the semester also seeks the final iteration of my physical model on exploring the form of the architecture. As I think the physical model has already done its duty and reach its limits on exploring the tectonic, which is time for me to move on to the section.

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At the beginning of the semester also seeks the final iteration of my physical model on exploring the form of the architecture. As I think the physical model has already done its duty and reach its limits on exploring the tectonic, which is time for me to move on to the section.

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The use of sections

Plan and model is only good up to a certain degree, helping on formulating the design, however the inhabitation and tectonic take place through the section, and this chapter explores a series of sectional iterations before arriving at the 'enchanted' section.

GC1 GC2 GC3 GC4 GC5 GC6 GC7 GC8 GC9

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Model translation onto drawings

After the physical model, I start overlaying the blocks back to 2D plan and uses different colour to represent possible functions. However, as i proceed to the section, i wasn't quite satisfy with it as it looks a bit chunky and not much integration is going on between the space.

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'Messy' section?

I started to slice and shuffle the blocks in order to create a more irrational or 'messier' section, which was quite hard for me to visualise the space, so I made a small physical model to see how those blocks could the arranged.

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Material Study

Cold, Hard

Plaster

Metal Glass

Masonary

Plaster

Metal

Palazzo Cisterna, 1575

Plaster

Metal

Masonary

Palazzo del Gonfalone, 1825

Timber

Plaster

Masonary

Metal

Glass

Metal

Camerin Farnesiani & Arco Farnese, 1603

Palazzo Varese, 1617

Plaster Masonary

Masonary

Plaster

Metal

Palazzo del Collegio Spagnolo, 1862

Masonary

Bricks

PalazzoFalconieri, 1649

Plaster Timber

Consulate of the French 1924

Metal Glass Masonary

Palazzo Baldoca Muccioli Built in 1546, restored in 1928

Masonary

Warm, Soft

Alongside the formal study, I have also start looking at how might the material found nearby the site in its surrounding neighbourhood could inform the material of the city block.

Metal

Which I found out a pattern being that the warm and soft plaster and timber is always joint ot colder metal and glass with masonry or bricks in-between.

Carceri Nuove, 1652

Metal

Masonary

Glass

Bricks

Plaster

This later has informed my deign, building on the language developed from Semester 1, the ramps and bridges that connects the volumes might be masonry and bricks, whereas the actual city block could be constructed out of plaster or glass

Plaster Masonary Timber Metal

Statale Virgilio, 1936

Timber

Fig. 26 Series of Surrounding Buildings' Elevation (Photo References: Google Map)

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Scemetics of design

Building on the 'messy' section, I start colouring the possible functions in relations to its material and also finally integrate the carpark into the section.

New Structure / Function Car park slots

To integrate the car park, the new city block would be slowly eating away the existing space of the car park and started merging into it.

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Market, Shops

Walkways

Restaurant, Cafe

Theatre, Cinema

Residential

Car park

The actual activities would be shuffled up and spread throughout the whole structure as well.

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Market, Shops

Lift

Restaurant, Cafe

Theatre, Cinema

Residential

Car park

Remapping the Sechematic

However, much of the exercise feel far too schematic which does not break through the rationality and formal. And the diagrams are purely flat drawings that does not show the 'inner life' of the city block.

Therefore, I start turning the section into perspective with montaging the material in it trying to bring the soul out of the drawing.

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Tectonic integration

Bringing in the tectonics integration will also re-maps the Neo-Avant-Garde that resist to build.

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Tectonic integration

This section showing some of the joints on the material combination. Also trying to visualise how the space is constructed. Timber column is used and build on-top of the existing concrete column of the car park to support the new structure, the steel beam would joint to the column whenever there is the needs of cantilever space.

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Inhabitation section

This drawing tried to showcase the inhabitation inside the city block, which I would argue is still too formal despite the different activities that start to take over the drawing.

By the end of this drawing, its already late in the project, what works could be done in order to re-map the formal? Perhaps referring back to the irrational, the cognitive mapping that I always failed to understand before the start of our project, may I find a way to remap the formal.

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Cognitive Map of Rome

Rome as I remembered, is a place where lots of people gathering in the piazza, they wears colourful clothing and doing different things. It is chaotic and yet harmony. The piazza is connected by narrow alleyways that restrurant's table and chair would take over the narrow streets, people could be there to have a coffee and chat about their life. It is poetic and nothing really is formal.

I think the congnitive map really helps me to re-evaluate my project, bringing the 'subjective' me out of the 'objective' that has always dominate my mode of thinking and production. I was also quite pessimestic on my drawing as I am not really a good 'drawer', and its reallt difficult for me to loosen up my drawing as I have always try to draw things 'perfectly'.

However as soon as I start drawing, I think something is ignited or awaken deep inside me which is much more emotional and irrational, the thing that I have always wanted to achieve.

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This is the last drawing of my city block, which I think it's beginning to remap the 'formal' that has always dominated this project. Compare to the last section iteration, as soon as I draw it out, it means much more than simply a computer extrusion which always lacks that 'soul' in it.

I think this city block is starting to feel much more vibrant and energetic to me, and if I had more time, I would definitely want to explore this new mode of production.

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ARB Criteria

Self-Reflection

GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

GC3 Knowledge of the fine arts as an influence on the quality of architectural design.

GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process.

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

GC7 Understanding of the methods of investigation and preparation of the brief for a design project.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design.

GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

This semester is much more meaningful to me compare to the last one, since at the end I was finally able to loosen myself over to the 'non-formal' whereas the exercise that I have done in semester 1 was heavily formal.

I think the project struggles a lot on finding the right balance between the schematic and the irrational side of things. And my reluctant on drawing is part of the reason why the project struggles to break free from the formal.

One of the biggest challenges of this project was to merge the formalised section with the inhabitation of the people, which up until the last section nearly all the drawings lack some kind of 'soul' inside them.

By breaking free my own constraint, I finally realised that it is not about choosing the right function and activities to determine my architecture, but rather the architecture comes from the iterative and sometimes non-formal exercise, these modes of production really make the space feels a lot different and full of wonders compare to the ones that I have made using computer software.

I am much looking forward to keep re-mapping my very own architecture that goes beyond the formal practice and being closer to the people rather than autonomy.

GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

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References

References

Fig. 1 1889 Via Giulia fontana del Mascherone a: Flickr. 2021. 1889 2006 Via Giulia fontana del Mascherone a. [online] Available at: <https://www. flickr.com/photos/dealvariis/3851887738/in/album-72157622127367024/> [Accessed 28 May 2021].

Fig. 18 San Filippo Neri: Truglio, M., 2021. Chiesa di San Filippo Neri a via Giulia a Roma: foto e storia. [online] Tesoridiroma.net. Available at: <https:// www.tesoridiroma.net/chiese_settecento/san_filippo_neri.html> [Accessed 28 May 2021].

Fig. 2-3 Plan for the demolitions of 1939 (Image References: MARCONI, P., MAZZOLA, E., PAGLIARDINI, P., SALÌNGAROS, N. and SERAFINI, S., 2011.

SULL'IPOTESI DI RICOSTRUZIONE DEGLI ISOLATI DI PALAZZO RUGGIA, PALAZZO LAIS E SAN FILIPPINO IN VIA GIULIA ROMA. Il Covile, 11, pp.1-28.

Fig. 19 Series of Street View: Google Map. 2021. Google Map. [online] Available at: <https://www.google.co.uk/maps/@41.8963124,12.46637 98,3a,75y,57.26h,91.91t/data=!3m7!1e1!3m5!1s0Rc1hj2ec8r1-x3-wFvjaw!2e0!6s%2F%2Fgeo1.ggpht.com%2Fcbk%3Fpanoid%3D0Rc1hj2ec8r1-x3wFvjaw%26output%3Dthumbnail%26cb_client%3Dmaps_sv.tactile.gps%26thumb%3D2%26w%3D203%26h%3D100%26yaw%3D217.63092%26pitch%3D0 %26thumbfov%3D100!7i16384!8i8192?hl=zh-CN>

Fig. 5 The appearance of the façade in 1993: Romafelix.com. 2021. The Hidden Churches of Rome. [online] Available at: <http://romafelix.com/> [Accessed 28 May 2021].

Fig. 4 Perspective View of Site in 2002: Earth.google.com. 2021. Google Earth. [online] Available at: <https://earth.google.com/web/@41.89647772,1 2.46622202,30.73794528a,240.91719243d,35y,20.06833822h,62.83416839t,0r> [Accessed 28 May 2021].

Fig. 5 Excavations in 2010: Studium Urbis. 2021. Via Giulia Threatened. [online] Available at: <http://www.studiumurbis.org/via-giulia-threatened/> [Accessed 28 May 2021].

Fig. 6-7 Proposal of Restructuring the Via Giulia by Diener & Diener Architects:Dienerdiener.ch. n.d. Restructuring The Via Giulia -Diener & Diener Architekten. [online] Available at: <http://www.dienerdiener.ch/en/project/restructuring-the-via-giulia> Fig. 8-9 Landscape Proposal of Restructuring the Via Giulia by VOGT: Vogt. 2021. Via Giulia, Rome. [online] Available at: <https://www.vogt-la.com/ via_giulia_rome_fr> [Accessed 28 May 2021].

Fig. 20-21 Map of Site: Digimap.edina.ac.uk. 2021. [online] Available at: <https://digimap.edina.ac.uk/roam/map/global> Fig. 22-25: Old Maps of Site: (https://www.klokantech.com/), K., 2021. Recentis Romae Ichnographia Et Hypsographia Sive Planta Et Facies Ad Magnificentiam Qva Svb Alexandro VII P. M. Vrbs Ipsa Directa Excvlta Et Decorata Est. [online] Oldmapsonline.org. Available at: <https://www. oldmapsonline.org/map/ulb/Sp_Rom1675> Fig. 26 Series of Surrounding Buildings' Elevation: Google Map. 2021. Google Map. [online] Available at: <https://www.google. co.uk/maps/@41.8963124,12.4663798,3a,75y,57.26h,91.91t/data=!3m7!1e1!3m5!1s0Rc1hj2ec8r1-x3-wFvjaw!2e0!6s%2F%2Fgeo1.ggpht. com%2Fcbk%3Fpanoid%3D0Rc1hj2ec8r1-x3-wFvjaw%26output%3Dthumbnail%26cb_client%3Dmaps_sv.tactile.gps%26thumb%3D2%26w%3D203%26h %3D100%26yaw%3D217.63092%26pitch%3D0%26thumbfov%3D100!7i16384!8i8192?hl=zh-CN>

Fig. 10-11 Proposal by Kennedy COLLINS, Anne M. MARTINEZ-MONTAVON, Yue WU - You ZHOUs: MARCONI, P., MAZZOLA, E., PAGLIARDINI, P., SALÌNGAROS, N. and SERAFINI, S., 2011. SULL'IPOTESI DI RICOSTRUZIONE DEGLI ISOLATI DI PALAZZO RUGGIA, PALAZZO LAIS E SAN FILIPPINO IN VIA GIULIA ROMA. Il Covile, 11, pp.1-28.

Fig. 12-13 Program of 'Redevelopment of an archaeological urban void in Rome in "Via Giulia".': Ytaa.miesbcn.com. 2021. YTAA. [online] Available at: <http://ytaa.miesbcn.com/work/232> [Accessed 28 May 2021].

Fig. 14-16 Perspective View of Parking Via Giulia: Earth.google.com. 2021. Google Earth. [online] Available at: <https://earth.google.com/web/@41.

89647772,12.46622202,30.73794528a,240.91719243d,35y,20.06833822h,62.83416839t,0r> [Accessed 28 May 2021].

Fig. 17 Parking Via Giulia: Parkingviagiulia.it. 2021. Parking Via Giulia a Roma | Parcheggio multilivello al centro storico di Roma - CAM Edilizia. [online] Available at: <http://www.parkingviagiulia.it/> [Accessed 28 May 2021].

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