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paulina kowalska

project4.0 Camera Obscura

tutor: Grieff Evans

group 10

MSA year 2

PORTFOLIO

MADF Event 15 Kinetic Cosmos


Site Analysis

location of Manchester

The project is based in the city centre where the urban fabric influences the site. The surroundings are historic and constantly used by a range of inhabitants, thus the design must respond to existing conditions. The project includes three places: the Gothic Memorial Hall, probably the most mysterious street in Manchester- Lloyds street and left, sunken Peace Garden. In all of them an unique character can be found and appreciated, and the ghosts of history are sometimes floating , sometimes hiding between the corners. While the task is to capture the emotions in the architectural Camera Obscuranew public gallery and Urban Futures Observatory.

Albert’s Square monuments

car ‘roundabout’

Peace Garden memorials

tram rails

Not only is the area under conservation, but also there are many monuments, plaques commemorate a variety of people and moments in history. There is a big distinction between the scale and form of them between the Albert’s Square and Peace Garden, with the subsequent presenting rather blantly.

location of site within the urban fabric scales of buildings differ greatly

figure ground drawing through the ages scales of buildings has changed

light and shadow around the site throughout the year

1850

1950

cycling path

2010

wide range of users in the area

collision of two street grids

pedestrian routs and their use

conservation area and the ages of buildings 1820-30

1860-70

1900

1930-40

1970-80

1990-

public use buildings

office buildings

commercial buildings


Streetscape Analysis

paulina kowalska

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buildings with stone cladding

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the end of walk- noisy Market street

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6 brick buildings deep retreat of the building forms dark dump spot

rounded, glazed corners of buildings on the crossing reflected the light around

A walk along the Clarence Street about 1 pm has revealed interesting, tactile experiences formed by the sunlight and shadows, the quietness of narrow, empty streets with majestic buildings and rumble of the Market Street.

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The Lloyds Street has its own character- detailed walls, over hanged corridors, sunken basements, iron street lamps. The photomontage shows the impressions. Still the pavement of cracked concrete somehow does not fit to the place.

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Memorial Hall Analysis

paulina kowalska

The grade II* listed building of Memorial Hall was built in year 1866 from money left after the Albert’s Memorial, built to commemorate the 1662 Act of Uniformity- known as a birth of Nonconformity. While the Venetian Gothic exterior is well preserved, the interior is in poor condition. The roof is not original as was changed after the 2nd World War.

RELIGION

aluminium roofing with timber rafters, changed after war as EARLIER ROOF WAS BOMBED balcony with original ballustrade

MEMORY

PAST

damaged wall surfaces

temporary wall

MONUMENT The UNCONSCIOUS TACTILE INGREDIENT IN VISION is particularly important and strongly present in historical architecture. Pallasmaa, J., The eyes of the skin

geometry of space is difficult

external skin of the building, the interior is badly damaged, does not require saving

can be seen as a rectangle with additions

formal stair lead through the whole building

but only on the internal wall


Concept

paulina kowalska

‘Images are converted into ENDLESS COMMODITIES MANUFACTURED TO POSTPONE BOREDOM; humans in turn are commodified, consuming themselves nonchalantly without having the courage or even the POSSIBILITY OF CONFRONTING THEIR VERY ESSENTIAL REALITY’ Pallasmaa, J., The eyes of the skin

flow of people through the Memorial Hall The three sites are seen as a journey of a bomb from the top- ‘roof’ of the Memorial Hall to the sunken garden. It was inspired by the section of the route showing a variety of levels along the way. The journey is supposed to expose a person to the surroundings, think about them more conscientiously, through tactile experiencing of height and material, triggering the visual perception.

Visitors to the gallery are perceived as a temporary guests or even intruders inside the monument that is designated to the past. People are seen more like a flow than individuals and contrasting with the solidity of place. journey through the sites inspired by the bombed roof

the cross section of the Lloyds street also reveals changes of levels Instead of reinforcing the EROSION OF EXISTENTIAL MEANING, we must reflect on the multitude of secret ways in which THE ART OF ARCHITECTURE IS TIED TO THE CULTURAL AND MENTAL REALITY OF THIS TIME’ Pallasmaa, J., The eyes of the skin


Design development- Memorial Hall

paulina kowalska working with stairs and staircases

emphasising simple geometry

working with heights

scaffolding stairs, as if they were just temporary, expose to the height, should bring physical discomfort, focus the visitor on the reality and what is going around him or her

interior type- installed and space usage

working with interiors

cutting through the levels to open the space upwards, emphasising the envelope, but also solidity of the form

beginning of opening the space upwards- leg type stairs


Design development- Peace Garden

paulina kowalska

Peace Garden as a place of ‘storing’ memorial plaques,-building from stacked containers street edge- a wall protecting the garden height of a tram- forming a corridor working on the form and materials

scale of building compared to the surroundings

open towards the garden and reflecting it through the glazing and gaps in the wall precedent Galician Museum of Art, Alvaro Siza

interiordecision point gallery or the cafe urban elements and landscaping

change of scale from garden to the building, exterior and the interior cafe


paulina kowalska

Roof plan

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site plan 1:500


Floor plans- Memorial Hall

paulina kowalska

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11 1

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13 6 ground floor 7 1 Mezzanine gallery 2 Installed ‘scaffolding’ stairs 3

3 Main gallery 4 Back stairs 8b 5 Lift 6 Front stairs

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7 Reception area

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8 Temporary exhibition gallery 8a Exhibition entrance 8b Exit

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9 Staff room

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10 Storage 8a

11 Toilets 12 Cloak room

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13 Cleaning room 2nd Mezzanine floor

2nd floor

1st floor

14 Entrance to the main gallery for the disabled


Floor plans- Memorial Hall

paulina kowalska

I 1:10 front stair details

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1 60/34mm handrail 2 50mm magnesite screed 120 mm reinforced concrete 3 steel I- beam 300mm deep 4 2x13 mm plaster board 5 60/27 mm steel U-section 6 22 mm ash riser 7 22 mm ash tread, 6 mm steel sheet 8 accoustic plaster on 25 mm sheeting 2 x 13 mm plaster board 9 10,5 mm composite ash boarding 45 mm mineral wool 55 mm cavity 10 mm steel sheet 20 mm trapezoidal section steel 2x 13 mm plaster board 10 100/ 250/10 mm hollow sheet-steel beam

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II 1:10 scaffolding stair details

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1:100 longitudal section

1:200 cross section with surroundings

1 225/ 750/55 mm galvanised tread 75/750/55 mm nosing bolted to an angle 2 steel balustrade beam open grid infill panel bolted to the U-profile


paulina kowalska A brise-soleil, prevents direct sunlight

roof- natural lighting and thermal insulation

circulation scheme

B double glazed skin with UV film C computer monitorised aluminium louvres A C

D loft thermal buffer zone

B G

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E laminated glass ceiling for maintenance access of louvres and lights

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F perforated metal panels with diffusing paper

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G flat insulated roof with access on the glazed roof

2nd mezzanine floor security and access

A B security- member of staff checking tickets

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2nd floor 1st floor reception area with cloak room staff areas with coded entrance

D PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

ground floor with restaurant

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

journey down

ground floor

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

journey up

1st floor PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

lift to the first and second floor

thermal control

A bricks provide thermal mass separate entrance to the restaurant fire escape

B window shading controls sunlight and is a thermal membrane C double volume of room provides natural air movement and stabilises temperature D external cooling tower controlling temperature


paulina kowalska

Interior

2nd mezzanine floor

2nd floor permanent exposition gallery

impression on the scaffolding platform, looking temporary rises questions about the place of the visitor in the gallery


paulina paulina kowalska kowalska

N 1:100 upper floor plan

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PARALLEL REALITIES,

URBAN FUTURES GALLERY IN PEACE GARDEN

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projecting rooms with temporary programmes about possible future of the world parallel rooms alternating with glazed corridors showing the street exit on the busy, noisy street from the dark interior intensifies the perception of the reality building provides a wall for adding value to the forgotten memorials located in the Peace Garden

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1 reception area 2 projection rooms 3 glazed rooms 4 cafe 5 toilets 6 bar storage 7 exit 8 staff stairs to the lower floor 9 storage 10 memorial wall with important plaques


paulina kowalska

general drawings

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1 roof plants growing medium 200 mm 300 mm gravel around sides drainage pipe filter fleece waterproofing membrane reinforced concrete roof 150 mm suspended ceiling 3000/300 mm plasterboard efficient spotlights 2 overhead roofing urethane waterproofing calcium board 5 mm bonderized steel plate, bent steel hollow profile 100/100/6 mm U-profiles

4 raft foundation reinforced concrete 200 mm waterproof membrane insulation 150 mm underfloor heating timber panels 22 mm raised floor on timber 5 rain screen sandstone cladding, stanton moor buff, 300/900/45 mm screwed in place; vertical battens, horizontal; air gap; metal flashing; batt insulation 200 mm; damp proof membrane; concrete 200 mm gypsum board painted

1:200 cross section

3 curtain walling mullions double glazing

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1 stairs 2 security office 3 corridor 4 staff meeting room 5 digital laboratory

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6 storage 7 water management system 8 management of projections 9 storage room 10 toilets 6

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1:50 cross section

1:100 lower floor plan

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paulina kowalska

surroundings

street view

1:200 elevation towards Town Hall

park view

memorial wall view at night


lighting and water management

paulina kowalska

lighting scheme during projections in the gallery

when there is a projection going on no one should walk inside the closed gallery zone, once the projection is finished the room is changed, new people can come in

rainwater harvesting scheme

daytime occupancy

during the day both the cafe and the gallery are open changed surface of Lloyd Street and added lights to add mystery and underground level

evening occupancy

the cafe can be rented for parties or meetings and be open after the gallery closure due to its internal doors

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building closed B

once the building is closed the park can still be used

permeable paving enables water harvesting

A grated panels above lowered pavement spotlights installed to expose depth B block paving on laying course drainage layers impermeable membrane drainage pipe

location of the water storage tank connected to the Lloyd Street piping and the green roof stores water for flushing toilets


GROUP 15: KINETIC COSMOS

paulina kowalska

MITOSIS

COSMOCONICS- analysis and interpretation of text to form a kinetic model

3 words from the text

working on the 3D forms to interpret the text

interpretation through collages

SUBJECTIVE

inside vs outside

REPEATED multiplication growth closed circle morphing creating

IMPULSIVE

explosive

reactive

flexible

‘you start out saying you are objective and then with one thing or another you end up being subjective’

circles, spirals of the cycle, rest and tension phases

p. 210

‘whereas if there is an agile and impulsive organism were you can’t make all these distinctions it is unicellular organism’

p. 214

‘each of the chromosomes was repeated in a second chromosome’

p. 217

the repetition of line getting denser and leading to the release of tension, just to get back to the rest and start the process again

the text has concentrated on the enclosed form of the unicellular organism that is BROKE FREE BY THE ACT OF REPETITION- ‘expression of itself’, whether really caused by the cell or caused by the outside forces, is a SUBJECTIVE OPINION. Collages accompanied the process of understanding the thoughts related to the text and became more informative along the way. Formed by drawings, models and photographs they try to capture TENSION REQUIRED FOR A CHANGE, emotions of fullness perceived as love that enables the CYCLE to continue.


paulina kowalska

SKETCH MODELS

as the author has never before worked with the kinetic models first a variety

building up a form from repeated elements

of them was checked online and one was reproduced and developed further

rigid form influencing movement of the surrounding elements strongly

in order to develop an understanding of the tension working in it. As the sick is moved forward and backwards in the circular manner, the foamboard sticks bend one after another, because of being tied to the stick

working with kinetics- tensile model

flexible form passing the force to other elements the model is made of repetitive element reacts to a force applied by a person playing with it and is supposed to spring back to the original position sketch model has shown the weaknesses of the materials used rods need to be incorporated with the joints and of wire so as not to fall apart and flexible to spring back

flexible form passing the force to other elements

shots from the short development video model was built up through experiments and checking how the joints will work and what shape will result from that

elasticity of the rods does not work in the model as they are not firmly attached to the base


paulina kowalska FINAL MODEL ‘the nervousness of an individual who knows there are all those lines, he is all those lines, but also there’s something that cannot be represented with those lines, a void (...) Or rather the tension towards the outside, the elsewhere, the otherwhere, which is what is then called A STATE OF DESIRE’

p. 215

‘from a state of satisfaction one passes to a state of mounting satisfaction and then immediately thereafter to a STATE OF DISSATISFYING SATISFACTION, namely, of desire’

p. 215

‘the state of lack is experienced always in contrast with a previous state of satisfaction’

p. 215

‘This movement of desire remains basically a DESIRE FOR MOVEMENT, as usually happens WHENYOU CAN’T MOVE TOWARDS SOME PLACE because the world doesn’t exist or you don’t know it exists, and in these cases desire moves you to do, to do something, or rather to do anything’

p. 216

portfolio 4.0, year 2  

submission of the second term, second year portfolio

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