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[Social]catalyst

Architectural Design 2: Any Place

Portfolio 10/11 Sigurd Strom Norsterud s0953249 | ESALA


[In]folio

Table of contents: Bolero - a social catalyst

[2]

Architectural Design 2: Any Place


Bolero - a tradittional form of slow-tempo Spanish and latin music and associated dance and song. Boléro - an orchestral piece for ballet by Maurice Ravel, 1928. Baïlèro - folk songs from the Auvergne region of France.

Site Index [ 4 ] [Promenade] .............................................................................................................................................................................. Reading [ 8 ]

[Crossing and steps] ....................................................................................................................................................................... Parti [12]

[Interaction] ................................................................................................................................................................................. Design [16]

[Gesture] ...................................................................................................................................................................................... Studio [24]

Sigurd Strom Norsterud | s0953249

[3]


[Survey]place

Site index: Group work Dan Pyyze Da z rr Kn K ap app, pp, p Sig i ur urd d No Nors rsste t ru ud, d Leo oni n e Ne Neuw uw weg ger e , Ke ersti rrsstitn Plai a n, ai n Jeesss Reees, s Hea eath ther e Munro uunnro ro, o JJu usttin inee Ra R ma m ge ge,, Em mmeelil a Po P tttts, s Gran Gr ant nt Ri Rich c arrds dson onn, Ki Kirs rsstitie rsti tie Re R yn ynol oldss, An ol olds Anna nnnaa Ray aymo mo onnd d, Ji J a Li Li.

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Barcelona Can Cerda

[Poblenou] Mediterranean Sea

Parc del Guinardó Torre Agbar

La Sagrada Familia

[Site visit report] The site for the proposed dance centre is part of the Poblenou area of Barcelona, the capital city of Catalonia and second largest city in Spain. Located on the Mediterranean coast it has a climate characterized by hot summers and mild winters. Poblenou used to be the city’s main factory district, but the subsequent decline has left its marks of derelict warehouses, sheds and former workers’ quarters. Recently demolished buildings on the site formed part of a community of squatting artists - some enlivening (or vandalising) their vicinity with graffiti. Currently, a major redevelopment named 22@ is gradually transforming the whole area into a high-tech and innovative commercial district, crammed with high-rise or otherwise extravagant landmarks by several starchitects. This leaves an interesting coexistence on the boundary between old and new buildings. Cerda’s characterstic grid is superimposed by older agricultural divisions and water routes, providing a rich urban fabric around the site. A listed chimney is located on its corner as evidence of its industrial history. These chimneys are subject to various approaches of incorporation into the design of both new and old buildings.

Site context plan at scale 1:2000

22@ location plan at scale 1:5000 Old buildings New developments Vacant sites Dance Centre Site

Sigurd Strom Norsterud | s0953249

[5]


Site index: Pair work

[Urban]rooms

In collaboration with Leonie Neuweger.

[6]

Architectural Design 2: Any Place


[Urban rooms] The intersection of Cerda’s city grid creates a series of urban spaces characteristic for the city of Barcelona. Each block of the grid has chamfered corners, thereby allowing easier turning for vehicles, ample public spaces and communal service areas. The chamfered corners were not always conformed to as Cerda initially intended thereby creating a variety of urban rooms defined by how its surrounding buildings respect, ignore or reject the corner. The area of our site is in an interesting period due to the 22@ developments and contrasting derelict industiral buildings. The model explores these urban rooms through both casts of its void and panoramic views of the surrounding building facades.

[Traffic permeability] The chamfered corners also allowed easy turning of vehicles and even anticipated the coming of tram lines. Today the urban corners are unusable as public spaces due to increased motorized traffic, and its chamfers taken over by car parking or waste containers. This diagram explores the one-way system of part of the grid around the site, and the routes of public transportation (orange) and dedicated bicycle lanes (green).

[22@ scheme] Cerda’s planning also regulated the height of buildings and provided wide streets to ensure adequate ventilation and access to sunlight for its inhabitants. Many of these have been left derelict or in disrepair as the economy of the area failed. The scheme for the 22@ development is infusing the area with both commercial business (orange) and residential housing (blue), as well as providing more public spaces (green). Our site is included in the area set apart for development.

Sigurd Strom Norsterud | s0953249

[7]


Reading: Non-Places by Marc AugĂŠ, 1995

[Non]places

In collaboration with Leonie Neuweger.

[8]

Architectural Design 2: Any Place


[Supermodernity] An era argued by Marc Augé to characterize our current world of anonymity, presentism, and virtual reality. The society of supermodernity is represented by three figures of excess: 1. An overabundance of events Recent past is quickly recognised as history, almost as soon as it has been lived. The individual in today’s society has a broader awareness of events anywhere in the world, and can imagine a connection between his own history and the History. 2. Spatial overabundance We can observe a contradiction between the world shrinking and at the same time becoming more open to us with various technologies. We see ourselves as part of a much bigger universe, but at the same time we are physically able to go much further and have broadened knowledge. 3. Individualisation of references The figure of the ego has taken lead in today’s society, particularly the Western. The individual interprets information by and for himself, yet the individual production of meaning is affected by the collective History around us more than ever before.

[Anthropological place] To define non-places, we must first consider what constitute a place itself – what Auge calls an anthropological place. This place is characterised by having, or people wanting it to have, an identity, a relation and history.

[Non-places] If a space is lacking any one of the criteria identity, relation or history, it is not a place – but what Auge coins as a non-place. Today’s world generates places of transit. A non-place often creates a shared identity and anonymity of its passengers or consumers. The institution, like an airport, gives instructions of how to “keep in line” while taking a position of the sideline. It creates neither singular identities nor relations. Examples of non-places are traffic interchanges, airports, supermarkets, leisure parks, resort hotels etc. These places are not place specific, as one could anywhere in the world with a similar experience. The traveller’s space is an archetype of a non-place. Contemplative faces advertise how you should feel or behave, thereby creating an image of yourself at a place only identified by its name.

[In context of Barcelona and the site] Any city may be considered a place, but this definition is always subjective so what one may consider a place, another one sees as a non-place. Barcelona has become one of the poles of tourism, commerce and economy in the network of our world. Through the use of star architects’ iconic buildings, Barcelona has made itself a place within the world of imagery the Torre Agbar creating its iconic emblem. On our site, a rich sense of identity is rooted in its industrial heritage, with chimneys forming part of the city’s skyline. The 22@ development brings new activity to the area, but may also generate non-places of transit to and from work leaving the district dead at night.

Sigurd Strom Norsterud | s0953249

[9]


[10]

Architectural Design 2: Any Place


[Dance]Centre

Introduction: Project brief Design a Dance Centre on a specified urban site that responds to the patterns of movements and environmental phenomena that cut across it, and to the dynamic character of the programme it accomodates. Resolve the detailed design of the principle studio, exploring the tectonic and spatial qualities in further detail. Consider the relation to its environmental context and satisfy requirements for a dance studio.

Sigurd Strom Norsterud | s0953249

[11]


[Re]generate

Parti: Bolero - a social catalyst

[12]

Architectural Design 2: Any Place


[Promenade] cultural catalyst Repossession of the street as a public space to stay Pedistrianising adjoining street with little impact on traffic flow A point of reference to navigate the urban grid Catalyst for cultural and social developments in 22@ area

A pedistrian promenade with opportunity for cultural redevelopment

Project for Place De La République by TVK, 2011

[Crossing and steps] between new and old Studios for traditional bolero and contemporary ballet Contrast of materiality: brick/glass, solid/void Public access to roofgarden on path over and across the building Intersecting volumes of increasing height

Folded section of routes through intersecting volumes

Kodály Centre by Építész Stúdió, 2010

[Interaction] social in-between spaces Planning for the unexpected Loaded with energy for accidental events The bridge, the void, the around & the common An incomplete and adaptable place for appropriation by users

Investigation of social space in-between intersecting volumes

Dance City by Malcolm Fraser Architects, 2005

[Gesture] reveal and choreograph movement Revealing motion of dancers and public interacting Juxtapose the anticipation of visitors and dance performers. Displaying the daily performance of the urban theatre Encourage and emphasize movement on existing and new paths

Early sketches of urban ambitions for the site

Plinthos pavillion by mab architecture, 2010

Sigurd Strom Norsterud | s0953249

[13]


[Design]process

Parti: Development

[14]

Architectural Design 2: Any Place


[Design ambitions and constraints] The early designs developed from considerations for the ambitions and constraint of the site: A diagonal public path, respecting boundaries, reaching up towards the chimney, and orientating towards a pedistrian street.

[Maquette development] A maquette served as a tool to develop the designs form and landscape ambitions, and was concluded by a conceptual circulation model of the final proposal.

[Internal planning] The internal arrangement of programme within the two-story dance centre went through several iterations to remove corridor circulation and create dynamic spaces through shift of orientaition.

[Material, scale and landscape] Extreme variation of scale and intimacy informed the choice of materal and visual impact of the dance centre. Final site plan at scale 1:1000.

Sigurd Strom Norsterud | s0953249

[15]


[Dis]connect

Design: Programme

[16]

Architectural Design 2: Any Place


The proposal for a dance centre can be considered as two distinct parts, a sunken public and an elevated private, connected by a strip of circulation forming a loop within the building. This allows for a separation of programme and circulation.

[Studios] One studio has a theatre for performance, but both will be used for daytime practice. The two studios are connected by a long ramp, which provides backstage access for dancers during performance nights.

[Private/services] Changing rooms and toilets are on the sunken level within the private part of the centre, while the office have a strategic position overlooking the circulation. At the other end, a separate entrance for deliveries provides access to storage facilities.

[Public/social] At the core of the dance centre is a social atrium for the dancers and a public cafe. A reception entrance on street level also provides ticket office by the chimney, while the public may enter for performances under the overhanging ramp.

[Landscape] The stepped landscape creates a path diagonally across the site as a momentary relieve and place to stop for a cup of coffee or lunch. The contour lines artriculate the shifts in the buildings orientation, creating a public theatre to watch the activity of the dance centre.

Programmatic axonometric at scale 1:500

Diagram section of circulation strip at scale 1:200

Sigurd Strom Norsterud | s0953249

[17]


[Public]theatre

Design: Sunken level

[18]

Architectural Design 2: Any Place

[Theatre floor plan] at scale 1:200 The planning of the dance centre can be descibed through its concept of bolero movements. The public visitor approach the dance centre from the promenade of the proposed pedistrian steet and across the steps of the landscape, then enters the social interaction of the lobby before getting seated in the theatre for the final gesture.

[Theatre and cafe section] at scale 1:100 The public part of the dance centre is sunken into the landscape and use traditional construction of bricks, thereby aquiring an intimate scale reminiscent of the nearby houses of the alley. The stepped landscape with differing finishes extends into the public lobby and cafe, thereby creating spaces of increasing height that opens up to the performance studio, and allow controlled lighting to provide a black box if required.


Sigurd Strom Norsterud | s0953249

[19]


[Social]studio

Design: Raised level

[20]

Architectural Design 2: Any Place

[Studio floor plan] at scale 1:200 Likewise, a dancer prepares for movement in the changing room and warm-up before practicing the dance steps in the studio. The bridge over the social atrium and ramp descending to the theatre, reveals movement and emotions to the public before performing the dance to the audience.

[Studio and atrium section] at scale 1:100 In contrast to its counterpart, the private dance centre steps up towards the chimney and has a contemporary expression of a steel frame construction with dark fibre cement cladding. A double height space provide daylight into the social atrium, yet retaining privacy for it adjoining changing rooms and warm-up studio. Above a bridge provides access to a concealed roofgarden and the practice studio facing the chimney.


Sigurd Strom Norsterud | s0953249

[21]


[In]

context

Design: Street elevations

[22]

Architectural Design 2: Any Place


|Northwest elevation] at scale 1:200 The facade facing Carrer de Pallers is fronted by the reception and ticket office next to the chimney. Then the dance centre orientates towards the proposed pedistrian street and invites the public to a landscaped square leading to its lobby entrance.

[Southwest elevation] at scale 1:200 The restrained facade along Carrer de Ciutat de la Granada respects the chamfered corner of the urban room, but does not interact with it except for two high strip windows.

Sigurd Strom Norsterud | s0953249

[23]


[Reflect]light

Studio: Detailed design

[24]

Architectural Design 2: Any Place


[Exploded perspective]

The studio ceiling replicates the outside light baffle to provide artificial lighting during evenings and at nighttime. It also accommodates services for natural ventilation to provide required air exchange.

Steel roof trusses span the width of the studio and are visible through the diffused glass in the ceiling, while suspending tilted panels to reflect the light.

Natural light from the north sky and reflected sunlight falls onto the dancer in front of a full width mirror with double barres running along each side.

The studio is lined with white walls and pine floorboards for an airy and relaxed quality of space. The sprung floor sits upon steel beams and the loadbearing masonry of the changing rooms.

Sigurd Strom Norsterud | s0953249

[25]


Studio: Lighting study

[26]

Architectural Design 2: Any Place


[Daytime section] at scale 1:50 Southlight is reflected off a light baffle with an optimised angle for the suns altitude, and provide light on the dancer in front of the mirror.

[Nighttime section] at scale 1:200 Artificial light is diffused by angled panels in the ceiling, providing even lighting throughout the studio. A spotlight may light up the chimney to announce performances that night.

Sigurd Strom Norsterud | s0953249

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