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MR. SHEA GIBSON HELLO, I AM SHEA GIBSON AND THIS IS MY PROJECT!


THE AMAZING

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URBANISM SYMBIOTIC URBAN ARCHITECTURE UNIFYING AND PRESERVING PERE IV’S HISTORY


WHAT IS IT? SYMURBANISM is about togetherness. it IS AN additive architecture of preservation, framing, unification AND THE embracEMENT OF THE INDUSTRIAL CHARACTER of the district while also celebrating ITS FUTURE. The project completes these goals through the implementation of several prosthetic, or symbiotic parasitic,architectural interventions built Around the heritage buildings along Pere IV. parti diagram for intervention system


NARRATIVE DIRECTION TO OBSERVE

TO COLLECT

TO INTERFERE

TO DEFINE

MY EARLY INTERESTS PLACED ME WITHIN THE “HERITAGE GROUP” AND THIS THEME WAS A PREVAILING GUIDE THROUGHOUT THE STUDIO


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Our specific intervention site is located in the eastern portion of the Poblenou neighbouhood and has a focus on the development around the bisecting road of Pere IV and the adjacent blocks.

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Pere IV street is a unique road which breaks with the homogeneous road grid of the Cerda Plan. It is filled with old factories, contemporary structures,parks, and exhibition spaces. The street is old and has an eclectic feel to it with its factory complexes and other remnants of an agricultural past still scattered along the road mixed with small work-shops, housing blocks, industrial units and warehouses now turned into recreational premises.


THE PROJECT BEGAN IN EARNEST WITH SOME HISTORICAL AND CONTEMPORARY READING AND RESEARCH ABOUT THE SITE,

ALONG WITH A VISIT TO THE SITE WITH THE DUAL PURPOSE OF DISCOVERY AND DOCUMENTATION.

WE LOOKED FOR POTENTIAL INTERVENTION MOMENTS OR ANY POINTS OF INTEREST TO BASE OUR STUDIO ON.

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The initial basis of the investigations were empirical observations and analysis of Pere IV Street, the intervention site, toward a design problem That addresses an architectural and urban problem beyond the scale of a singular architecture. The goal was to create an architecture of contingency towards an atlas of interventions for the street. My investigations were focused towards the notion of heritage and the historical context of the Poblenou neighbourhood.


EARLY VISUAL ESSAY

THERE WAS ALWAYS A DESIRE TO DESCRIBE THE RELATIONSHIPS BETWEEN MATERIALS AND their CHANGE OVER TIME.

My Initial interests were focused around mixed facade typologies combining materials, tectonics, history, and usages.

“I am interested in tectonic and materiality imbued identity including ideas such as: experience, variability, purpose, practicality, history, decay, palette, character, ideology, and transition.”

HMMM... I THINK THE SYMBIOTIC RELATIONSHIP BETWEEN DIFFERENT MATERIALS MAY BE AN IMPORTANT CONSIDERATION TO PONDER...

The project trajectory then pushed towards mapping these interests on a detailed site map. CONTINUED ON THE NEXT SLIDE


THE VISUAL ESSAY WAS A photographic analysis of the site according to MY PREVIOUS INTERESTS AROUND mixed facade typologies combining materials, tectonics, history, and usages. I WANTED TO FIND EXAMPLES OF COMPLEX MATERIAL INTERMINGLING SHOWING VARIABLE MATERIAL AND TECTONIC COMPOSITES. I was looking to see if their were any symbiotic relationships that existed at the tectonic level. Were there materials along the street that required the existence of other materials?


STONE

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THESE diagramming exercises attempted to illustrate the complexity and yet simple homogeneous nature of the facade typologies, show what exists at the site, and potential points for new materiality intervention coinciding with new programming implementations. Pursuing my ideas towards the historical structures themselves, I saw an opportunity to use a materially unique and seamless tectonic approach to frame the character of Pere IV’s older structures while also achieving new and complementary forms.

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B H U EI RI L D TA I N GG ES

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HERITAGE DESIGNATED BUILDINGS ALONG PERE IV


VICENTE ILLA S.A, CA L’ILLA

B H U EI RI L D TA I N GG ES

FABRICA DE MATERIAL QUIRÚRGIC VALLS, TEIXIDOR I JORDANA

ACABADOS, TINTES Y ESTAMPADOS S.A. FABRICA LA ESCOCESA

MAGATZEM DEL BANCO HISPANO AMERICANO

SEMILLAS FITO PLACETA I ESGLESIA DEL SAGRAT COR

The historical buildings feature some of the most striking facades in the neighbourhood. Most most have ADJACENT buildings that can be integrated into a comprehensive design, open space for expansion, and histories that DEMAND considerationS toward THEIR treatment regarding any renovations and additions.

TALLERS OLIVA ARTES

FABRICA DE JOAN LUCENA

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C E PR

I sought precedents that created architectural relationships between the old and new, tradition and innovation. I further explored ideas around framing, renovation, preservation, additions (indoor & outdoor), and the exploration of new material usage and experiences. Looking for successful and different additive architectures and programming. comparative analysis of the plan drawings for the most successful precedents. What makes them work?

Michael Lee-Chin Crystal

Centre for Contemporary Culture

Małopolska Garden of Arts

Frac nord


tasked with developing a collage that encapsulates my ideas and explorations regarding mixing facade materials of both heritage buildings and architectural additions...

HMMMMM... I WANT TO DO SOMETHING LIKE THIS.

THE FIRST GO


THE SECOND GO

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ge s a t i lan her p ing d l i bu

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Integrating the site, historical building plans and THE architectural intervention.

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VICENTE ILLA S.A, CA L’ILLA

FABRICA DE MATERIAL QUIRÚRGIC VALLS, TEIXIDOR I JORDANA

ACABADOS, TINTES Y ESTAMPADOS S.A. FABRICA LA ESCOCESA

MAGATZEM DEL BANCO HISPANO AMERICANO

SEMILLAS FITO PLACETA I ESGLESIA DEL SAGRAT COR

TALLERS OLIVA ARTES

FABRICA DE JOAN LUCENA

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THE COLLAGE ATTACHES THE EXPANSION PLAN VIEWS OF THE CCCB, REM, AND THE MGA INTO THE EXISTING HERITAGE BUILDINGS. THE STRATEGY WAS TO FILL IN WHAT I SAW OBJECTIVELY AS “MISSING SPACES AND PROVIDE SOLUTIONS WITH THESE PLANS SUCH AS NEW ENTRANCES.


SITE PLAN COLLAGE


parti diagram for intervention system the parti diagram expresses the nature fabric has with a solid object. enveloping, and wrapping around its host (summarizing my intentions). its shape is defined by what it interacts with, or in the absence of another object, itself.

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model making ingredients

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MEANWHILE... DURING THE MODELING PROCESS

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the model was an exercise in developing the idea of a symbiotic architecture. further, playing with varying forms that build and rely on the “box� below.

the results!!


What is the character of the interventions? How is this character shown at each node? How can I keep in mind the scale that my interventions are working on? Response...

future

HISTORY future future

future

future

future HISTORY

future

future future

HISTORY

HISTORY

HISTORY

Generate a new arm for a body versus the generation of an entirely new body.


Generating and understanding how forms can be made to rely on the existence of another shape. It cannot exist on its own and achieve the same success.

“CAPTURING” AND FRAMING RUINS

PORTION OF REPLICATED ADJACENT FORM

GEOMETRIC ADJACENT SPACES \ SPATIAL EXTENSIONS

BUILDING OFF OF RUINS

FACADE MURALS

TRANSLUCENT GLASS ENTRANCES

ENTIRELY COVERED TRANSPARENT FACADE

POLE PORTICO

FRAMING FACADE FORMS THROUGH MATERIAL AND COLOUR LIGHT ENHANCED OPENINGS

THROUGH A SERIES OF SKETCHING AND BRAINSTORMING exercises I ATTEMPTED TO UNDERSTAND HOW THESE “PROSTHETICS” CAN BE IMPLEMENTED INTO EXISTING FORMS, KEEPING THE NATURE OF THE HERITAGE CHARACTER, BUT INCORPORATING NEW FRAMING SYSTEMS, AND ADDITIONS TO UNIFY THE STREET AND ITS HISTORY TOGETHER THROUGH A VISUAL EXPERIENCE.

GARDEN PORTICO ABSTRACT PUBLIC SCULPTURES

UNIFIED SIMPLE PUBLIC AMENITIES

DIAGRAMMING

AN EVOLUTION IN UNDERSTANDING INTERVENTION FORMS AND PURPOSE


INTERVENTION NODES AT THE HERITAGE SITES.

INTERVENTION DIMENSIONALITY 1D

2D

The concepts enable any intervention to be implemented ant a variety of scales and dimensions.

The architectural interventions became different beings at each of the nodes or heritage buildings, each embracing the unique nature of its “host” and enhancing an element found there. These interventions took various different forms. They enhance elements found at the buildings or bring some new experiential moment or space to the table. None of the interventions are elaborate in their nature, but rather are more humble in their expressions, not meaning to draw more focus away from it’s host. The differentiating forms but consistent materiality are meant to unify the buildings so they read as one element, unified in their identity as industrial heritage monuments of the neighbourhood. The bright colour and sometimes stark forms are meant to act as small beacons bringing visitors closer, with the hope that they are drawn to see and experience the larger structure and what it offers to the public or visitors inside.

3D


N A L P SITE

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N A L P SITE

detailed site plan providing a comprehensive overview of Pere IV and the intervention sites.


PLACETA I ESGLESIA DEL SAGRAT COR THE THE NEW NEW “PROSTHETICS” “PROSTHETICS” ADDED ADDED TO TO THE HERITAGE BUILDINGS THE HERITAGE BUILDINGS TIED TIED TOGETHER TOGETHER THROUGH THROUGH OPEN OPEN PUBLIC PUBLIC SPACE SPACE AND AND FEATURE FEATURE ADDITIONAL ADDITIONAL BUILDING BUILDING PROPOSALS PROPOSALS THAT THAT CAN BE INCORPORATED CAN BE INCORPORATED INTO INTO THE THE PLAN. PLAN.

FABRICA DE JOAN LUCENA

FABRICA LA ESCOCESA


VICENTE ILLA S.A, CA L’ILLA

SEMILLAS FITO

FABRICA DE MATERIAL QUIRÚRGIC VALLS, TEIXIDOR I JORDANA


PERSPECTIVE VIEWS

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PERSPECTIVE OF VICENTE ILLA S.A, CA L’ILLA HIGHLIGHTING THE PROSTHETIC ADDITIONS MADE INTO THE “EMPTY SPACES” OF THE FORMER FACTORY.


PERSPECTIVE VIEWS

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PERSPECTIVE VIEWS

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VICENTE ILLA S.A, CA L’ILLA

I N TE R V EN E

FABRICA DE MATERIAL QUIRÚRGIC VALLS, TEIXIDOR I JORDANA

ACABADOS, TINTES Y ESTAMPADOS S.A. FABRICA LA ESCOCESA

MAGATZEM DEL BANCO HISPANO AMERICANO

SEMILLAS FITO PLACETA I ESGLESIA DEL SAGRAT COR

TALLERS OLIVA ARTES

FABRICA DE JOAN LUCENA

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AXONOMETRIC VIEW OF PERE IV FEATURING ALL OF THE INTERVENTION POINTS ALONG THE STREET. HISTORY IS TIED INTO THE URBAN FABRIC, AND IS CELEBRATED THROUGH THE ARCHITECTURAL ADDITIONS. THE CHARACTER OF THE NEIGHBOURHOOD REMAINS BUT IT HAS ALSO BROUGHT IN NEW DESIGN TO EXCITE AND BRING IN PEOPLE.

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this was SHEA GIBSON AND his super cool PROJECT!

to be continued...


THANK YOU


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