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Sarah E. Lionetti Welsh School of Architecture

Design Portfolio


Contents 4

16

Reparation

Conditions on the Edge

26

The Welsh Knot Competition Entry

32

The ‘Artbox’ International Design Workshop


Rep ` a ` ra ` tion: repairing urban landsape and humanitarian issues Individual Work

Site Location: Redcliffe, Bristol, UK Design Brief: Urban Design of the Redcliffe area of Bristol, including the design of a Slavery Museum


BLACK AND MINORITIES ETHNIC RESIDENTS

BME (Black and Minority Ethnic Residents) as % of total population Bristol average = 8.2%



0-5% 5 - 10 % 10 - 20 % 20 - 51 %

“relatively young population, of which 25 000 students, with a percentage of highly qualified workers above average”


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Recliffe Fragments

Reparation The urban stategy for the regeneration of Redcliffe has been developed with the understanding of reparation as localized site approach, and secondly reparation as the world wide modern movement to acknowledge and make ammend for the role of Western counties in the Transatlantic Slave Trade.





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Manifesto The strategy taken in conceptually devleoping the project start with the undestanding of the historical relevance of Recliffe to slavery. This has influenced the development of a site appropriate reparation of the lost urban grain, tanglible through historical studies. the construction od new urban landscapes also allowed for the insertion of new types of uses in the heart of the city of Bristol.. Modern role of multiculturality has also been part of the conceptual development as slavery can be stated to be the largest forced migration in history. However, in modern times, migration and cultural differences are added values in communites and are even sought after. Therefore, the reparation of redcliffe is not only to take place on a physical level, but the introduction of a Refugee Welcome centre, and other related uses, is going to allow for a reparation of the society. The intergration of refugees, and in general integration between different cultures, is mostly achieved through mutual udestanding. To achieve this, education plays a crucial role in bringing people together in a harmonious society. Education is therefore the underlying theme relating the uses introduced on site, to both integrate in the UK community those who have newly arrived, as well as addressing more localised needs of the Redcliffe community.

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Masterplan Generation


Urban Masterplan - Finalized Design Key: 12345-

Archaelogical dock Workshop ‘Village’ Slavery Museum Public Library Refugee Welcome Centre 6 - Educational Centre

78910 11 -

Market Square Offices Cafe Short Term Housing Raised Concourse

Long Site Section

11 5 3

8

10 9

1

6 2 7 4 St. Mary Redcliffe

Urban Regeneration - Masterplan


Raised Concourse

Wharf Public Promenade Chatterrton House Square

Refugee Welcome Centre

Chatterton House Square


Museum Design - from the macro scale to the micro scale

Exhisting Topography

Raised Pedestrian Route

Sunken Burial Ground

Slavery Exhibition Museum siting - diagrammatic Strategy


Exhibition Design The viewrs is drawn towards the central space but isolation and tension are created as a barrier is in place. The movement of the visitor becomes a narrative through which themes and content are exposed.

The guggenheim offers the unique experience of art by combining the experience with the movement of the visitor. The eye is drawn towards the middle of the smape, engaging the visitor more than the art itself.

Sequence

Scale

Direction


A

B

B’

Underground Plan A’

Slavery Museum - finalized design & visualizations

Ground Floor Plan

Exhibition Floor Plan


Perspective views


Slavery Museum - relationship to context

Section AA’

Section BB’


Interior Perspective Technical Detail

Detailing


Conditions on the Edge: Regenerating Coastal Towns Individual Work

Site Location: South Beach, Tenby, Wales Design Brief: Design of a Boat Building centre for traditional Welsh Luggers, while interacting with the rest of the town and addressing any other regeneration issue


Tenby, Pembrokshire The regeneration project allowed to freely investigate the site and the wider area around as well as being able to be inspired by everything we could find or any other idea we could apply to regenerate Tenby. The first exercise I put myself to when starting the project was to map out different things at different scales. Starting from the morphology and zoning of the town, having a

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Existing Accesses to Site

look as well to the wider area of the Pembrokeshire National Park, the ideas started formulating. The Urban Condition studies I led priorto the design also came into play very early on, on what approach to take. For example the fact that so much for the development in the area was focused inland rather than on the coast was a real catcher to me and brought me to choose the Tenby Lugger boat building project as I believed it was what the town really needed.


Site Analysis Addressing changes in level at town scale

Addressing changes in level at a personal scale

Concept Diagrams - Generating connection by addressing level changes


Mapping movement : Conceptual start

Construction of Routes

Definition of Geometry

Access to Site Incribed Built form

Differentiation of Spaces

Access from Site

D e v e l o p m e n t S e q u e n c e B u i l t F o r m


Tectonics: hidden village on the hill Tenby is a town that has to rediscover the importance that the sea has had on its history, while conceiving a ground-breaking sustainable activity to feed its in-need economy. The honouring of history can bring inspiration for finding such solution, especially within a Natural Park. The connection the city has to the sea, both physically and historically, can lead to a spark of regeneration, both economically and socially, that at this point in time is essential to the town and its people. The reinforcement of this connection through thoughtful design can generate this spark, within Tenby and within the National Park. Therefore it is our duty as architect to embrace this clear need of the city and exploit it to be able to offer the highest level of facilities and changes to the community, while attracting visitors from father away areas, which are going to sustain the economy of this coast further. We need to take up this challenge to prove to these adverse times that sustainable regeneration developments can be achieved and be integrated in a demanding community to change the current situation for the coming generations. These generations can be taught through this very development how in history humanity has found answer in sustainable development and how much something that has closely been taken for granted, the sea, can impact the whole community and create a fertile environment for them to further affect it without migrating elsewhere.


Firgure Ground The Production of Space - Henry Lefevbre

M a p p i n g L a n d s c a p e s

Built form

‘The Production of Space’ is Lefebre’s articulation on the cencept and true definition of space itself. In this serch for absolute space, he despises any ‘model’ used to describe the world, which implementation, Lefevbre believes, is a mere simplification of the complexity of reality. To Lefevbre, social space is a combination of three different realities: the perceived space, the physical occurrences of objects and places, the conceived space, how the space and materials are understoodby one or a group, and the lived space, which are the emotional reactions of an induvidual to reality. From the strating point of preserving and creating new connective tissue between tehe town of Tenby and South Beach, a first layer of geometry has been distilled by continuing existing pedestrian routes aon the site and by adding selected one to fir with the program as well. This geometry is the one to eb conceived by a person arriving on teh site and wondering around. However, this geometry is in reality juxstaposing a rectuangular geometry of the buildings, for econommic and programmatic reasons, which allows such advantages while not losing the advange of guiding people throug channeled and hangled routes.The perceived non rectangular geometries also helps creating separation between the different levels, as it become thoughout the site not built form but simply non-acccessible slopes mediating between the passageways and the built forms

Sloped and geometries: Subdivision

Built form & Public circulation

Accessible ramp and staircase - Slightly out of sight from the

Built form, Public circulation & Slopes

main circulation at the lower level, two types of change in levela re provided, a widening staircase and a narrowing ramp which cover the 2m level change andact as the perceived geometry and costraints from the inhabitants

Sloping Ground - Non accessible sloped ground (gravel orearth) which acts as boundary betweenteh two geometries of the circulation and of the built spaces. This separation also acts to enhance the view of the buildings as separately standing pavillions and mediate the conceived circulation to the perceived built environment


Access from Site

Structure Exploration of load bearing concrete walls system The project aesthetics are based on simple forms and their relation to the site. the tectonics of the project called for the buildings to be grown out of the earth, which was translated in the sue of concrete for both the buildings as well as the plinth on which they sit (landscape). Moreover, this also called for an absolute structural and aesthetic unity of the built form. All buildings are based on a system of load bearing concrete walls, spanning all the reduced distances easily. However, the boat building workshop does extend for a over 15 meters in width, with the need of a large unencumbered space, and the structural strategy was therefore adjusted. The roof has been designed to have ribbed beams, cast in place, to be able to span the overall width of the workshop. This choice also brings interesting aesthetics as the rhythm which paces the visitors on the way into the workshop, and it can also be related to the rhythm of the hull of the Tenby lugger. (see perspectives)

Access from Site

Access from Site

Access from Site


Long Section

Ground Floor Plan


Finalized Design - Orthographics

First Floor Plan

Underground Floor Plan


Eisteddfod 2012 Design Competition Group Entry

Design Brief: Design an exhibition and flexible space Pavillion for a traditional Welsh Festival


WELSH CELTIC KNOT EISTEDDFOD ARCHITECTURE PAVILION 2012

1.

Nevern Cross in Pembrokeshire

CONCEPT

Wales is famed for its Celtic heritage. Alongside the language, art is one of the defining symbols of Celtic culture. This art is no more immediately recognisable than in the Celtic knots which adorn churches across the country. Our initial concept was inspired while considering a 9th century Celtic cross in the grounds of Nevern Church, Pembrokeshire. At the centre of this cross was a very simple knot of two interlocking ellipsoids. We extrapolated this further seeking to create a spatial experience. The form of our design is a contemporary celebration of Welsh Celtic art, just as the Eisteddfod is a celebration of Welshness and modern Welsh culture.

Hand-drawn diagrams of Welsh Celtic Knots

The exact symbolism of these knots is little known. It is commonly accepted that the closed knots represent the everlasting, whereas the interlacing served as protection from evil spirits.

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Plan 1:100

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We then subdivided the surface into structural components that could be constructed easily. This process resulted in a structure of 30 ellipsoidal rings (the rings are perfectly flat, and do not contain 3-d curves). We decided to explore the idea that these rings could be fabricated and delivered on site in smaller subdivisions for assembly.

Plan view with bracing at 1:100

Rings and bracing lines

Elevation with bracing at 1:100

Exhibition

Plan at 1m 1:100 - Exhibition Elevation 1:100

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We took the simplest of Welsh Celtic knots, made a 3-dimensional surface out of it and explored the spatial qualities of the resulting geometry.

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We then began to explore the spatial articulation of knots, and how they can be given a tectonic expression.

Geometry construction lines

Plan at 1m 1:100 - Exhibition

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DESIGN PROCESS

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2.

Spatial articulation of knot geometry

Plan 1:100

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Sitt

Plan at 1m 1:100 - Talk or Lesson

Sitting area

Se Wo Exhibition Screens

Further bracing elements were then designed to connect the rings at their key points (the rings are subdivided in 12 components each).

Elevation 1:100

Plan at 1m 1:100 - Talk or Lesson


3. CONSTRUCTION

Seating for Workshop

SEQUENCE & BUDGET

To test the proposed construction sequence, a 1:25 model was built. 30 rings were laser cut and assembled following the same steps proposed for the assembly of the pavilion components. Each ring was notched in order to interlock with the other rings. Further bracing is added to provide stiffness to the structure.

1. 30 Laser cut rings with notches

2. Assembling the first rings

3. Bracing is added

4. The process is repeated with further rings and bracing

5. Close-up view of connections through notches

6. View of finished structure

In line with this method, the proposed construction is through laser cut plywood. The design team made consultations with laser cutting contractors for plywood to make sure the components can be manufactured within the given budget. It is expected that most of the available funds will be invested in fabrication of components. The design team propose to assemble the pavilion with a team of voluntary students from schools of architecture.


'Artbox' International Design Workshop Group Work in collaboration with Tianjin University, China

Site Location: Tianjin Countryside, Quarry site Design Brief: Masterplan modern 'art gallery village', and develop a specific Art Gallery design


Conceptual Images

Final Elevation


Site Plan

The Art Box Gallery Design A collaborative project with students from Tianjin University, which started by mastrplanning a rural site into a modern version of the traditional art villages. The conceptual stating was to some extent set out, which was for our group timber annual rings. The project revolved around this inspiration, while trying to interact with the landscape to articulate the spaces. The other emphasis of the project and the interaction of the two universities is to do with research on sustainability. For how small scale this project was it was very interesting to keep it very sustainable and therefore becoming such an integral part of the design.

Environmental Experimentations


Sarah Erica Lionetti Welsh School of Architecture Email sarah.erica.lionetti@gmail.com Add. Plueschowstrasse 17, 40474 Duesseldorf,Germany Tel. 0176 38673824

Contact Information

Architecture Portfolio 2013  

Design Portfolio June 2013

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