The lift shaft is not central, because it is imposing on functional learning spaces already and making it central would be pushing the limits.
The axonometric here shows all the design principles at play.
This was the final presentation board.
Week 15. Overall arrangement/Presentation
The following images show the spatial arrangement with the structure in place. The columns are placed so that they do not interrupt the placement of the furniture or the movement through the spaces.
The lift shaft is not central, because it is imposing on functional learning spaces already and making it central would be pushing the limits.
The axonometric here shows all the design principles at play.
This was the final presentation board.
The lift shaft is not central, because it is imposing on functional learning spaces already and making it central would be pushing the limits.
The axonometric here shows all the design principles at play.
This was the final presentation board.
Week 14 - Building Resolution
The rooftop shows the partitions of informal space. These are timber stud walls that simply have an external render that depicts a concrete appearance - reminiscent of the Bunkers (Heritage of the site) Once again - this is going back to the Tabula Rasa concept of discovery.
The spaces are envisioned to be interactive/creative spaces, so the walls are quite functional and can have installations such as flat screen TVs and other interactive installations. This is a place where people can connect their technology, with wifi or simply keep it smple & old fashioned and reflect, by writing/drawing etc. The partitions help create subgroups, so people can divide themselves into groups or designate the use of the spaces.
The openings allow for entry and once again help articulate the site. The external edge of the roof is enclosed by a glass balustrade which allows the users to view the city/cliff etc.
The formal area above shows the high set windows, which are used to create a monumental architecture in the design (The opposite of human scale) & it means that views are not direct and it is a process of discovery.
The informal area (below) still has the high set windows which is operable for ventilation and lighting purposes, however there is additional glazing by the river edge which creates a connection with the river, without reverting to the panoramic program. So you basically only see a section of the site and this is a unique perception in itself.
The flooring is supported by exposed (Through the transparency) Universal Columns and beams which span.
The image below shows the resolution of the site intervention area. Essentially the suers are directed to this strip of land and it is therefore dramatic, as stated earlier. The Bridges are cantilevered to allow for a free movement through the cluttered area.
The overall understanding of the site in terms of perception, is that from a distance it does not read much. The rooftop does not appear unique, the building appears to just be placed by the rivers edge. It is only upon visiting the site that the connections and materiality become apparent
Week 13 - Spatial Connectivity/Accessibility & Symbolism
Here I looked at the connection between the formal (Instructional Spaces) & the Informal (Creative spaces) & how the polarity could be used to fuel movement.
In the roof of the design I wanted to create partitions for the informal areas, so the same was more intimate. The internal surface of the partition was going to be a response to the walls of the Bunkers - the idea was that Tabula Rasa...means you don't notice these surfaces until you engage with the space within.
These partitions would not be fully enclosed so they would also serve as a means to frame the city and once again create an association with the architecture and the site.
The 2nd & 3rd level of the building will be fully accessible with the use of an elevator (Shown above) & the external stairs which I mentioned earlier. The entrance to the building with the lift will be accessible with the use of a ramp (Which is shown above) The stairs will lead towards an informal reflection zone.
To get from one building to another. One can use the bridge (Which I showed in the past reflection) or use the external stairs.
The way, the building is designed. Is that the elevators will be in areas of functional spaces rather than in a lobby. So this idea of working within a dialogue environment, working within view of others and working together to form ideas is enforced.
Week 12 - Structural Exploration
The Diagram above shows the placement of Universal Columns. The lift Shaft would also act as a Load bearing structure.
The external walls are aluminum curtain walls that will be braced to prevent racking forces.
The Bridges will be upheld by Masonry columns & Trusses Underneath which span into the interior of the building. In the interior of the building - they will be upheld by Universal Columns
The Bridges are Cantilevered at their ends to allow for the space to be freed below (Which will help flow of movement and emergency services to move through the site without being obstructued)
The cantilever is supported in the interior with Universal Columns and the Universal beam is a continuous span with an increased depth for structural loads.
Week 11 - External Movement (Stairs/Paths)
This week I looked at using the stairs/external paths to increase the magnitude of the site.
Given an area of 500sqm footprint to work with & a narrow strip of land - to create movement through the site with less of a chaotic composition. I decided to use winding stairs.
The design above shows the numerous bridges and dead-end paths (Which I intended to use to create views/informal meeting areas)
The Stair below is a new resolution which shows the four flights of stairs. Using Four Flights of stairs by the cliff edge - creates a dramatic connection with the edge and allows the user to move through the stairs with an undulating view. Going back to my original point (I was expressing that The views/paths are one element of design and the Tabula Rasa concept is the process of discovery)
People will be able to come through Malt Street (New Farm) down from the cliff and into the development.
They might choose to move through the buildings through other set of winding stairs (This time - Spiral stairs)
There are three buildings that wrap around the building. These create a connection between the envelope of the building & the site and directs views towards the river/Cliff & Strip of land.
The idea behind these stairs, bridges that wrap around the site - is to deviate from the generic program of a river edge - which focuses on site placement - rather than a specific interaction with the site.
So the various bridges, views, partitions & stairs create an architecture that is to be discovered much the same way as a city. Rather than just a placement on the site with a promenade, axis, channeled path etc.
The sketch & Diagram above show the generic program of the river edge which features a riverwalk, promenades and open spaces directed towards the river
The image below shows how the bridges would wrap around the building. Because the buildings have varying functions - one of the bridges would help tie the buildings together.
Given an area of 500sqm footprint to work with & a narrow strip of land - to create movement through the site with less of a chaotic composition. I decided to use winding stairs.
The design above shows the numerous bridges and dead-end paths (Which I intended to use to create views/informal meeting areas)
The Stair below is a new resolution which shows the four flights of stairs. Using Four Flights of stairs by the cliff edge - creates a dramatic connection with the edge and allows the user to move through the stairs with an undulating view. Going back to my original point (I was expressing that The views/paths are one element of design and the Tabula Rasa concept is the process of discovery)
People will be able to come through Malt Street (New Farm) down from the cliff and into the development.
They might choose to move through the buildings through other set of winding stairs (This time - Spiral stairs)
There are three buildings that wrap around the building. These create a connection between the envelope of the building & the site and directs views towards the river/Cliff & Strip of land.
The idea behind these stairs, bridges that wrap around the site - is to deviate from the generic program of a river edge - which focuses on site placement - rather than a specific interaction with the site.
So the various bridges, views, partitions & stairs create an architecture that is to be discovered much the same way as a city. Rather than just a placement on the site with a promenade, axis, channeled path etc.
The sketch & Diagram above show the generic program of the river edge which features a riverwalk, promenades and open spaces directed towards the river
The image below shows how the bridges would wrap around the building. Because the buildings have varying functions - one of the bridges would help tie the buildings together.
Week 10 - Form Exploration
I thought about the context of the site, as a flood zone and I opted to raise the building above the ground plain. This decision also incorporates the flow/movement outside of the building in the architecture. Rather than have an isolated building anchored to the cliff, people move through the building & there can be a series of these forms
I spoke with Nuno and he argued that I should retain my original form, rather than deviate into this new resolution. However I was planning on retaining the concept of glass/steel in the design. The Steel would be universal columns that uphold the structure and the glass would be for the balustrades and windows. The walls would not be load bearing, they would simply be internal partitions and external curtain walls which are protected from lateral forces by aluminum braces.
Nuno made it clear that he wanted a site intervention area where the building reveals the street level, the river & the cliff edge.
My Original Design had a path extending over the Building, which did not lead to the ground level, as such there was no connection between the river/walk the/cliff & the Street edge. There was visually but not physically.
So the design development....meant that I was going to shift the smaller building from its original location - by the river. This creates a direct connection with the river and directs the users to move through the corridors of both building into a strip that shows the cliff, the river & Street level and there is a direct connection with stairs.
Week 9 - Enforced Architecture
This week following on from the last submission, I explored the idea that people would engage with the site/environment and become accustomed to their environment - by combining the connection with the site & their placement within the site. So they have to negotiate their movement
The reason why the building is stepped - is because it allows for seating around the edges & paths/circulation in the core of the building. So the external surface of the building has a connection to the site (Through glass stairs - which act as a conflict point) Between views, natural sunlight/seating etc. The conflict was intended to create a Tabula Rasa - because they end up determining how to use the space.
So the picture below shows the Hemisphere - which will be placed by the edge of the cliff. Providing a direct/physical connection to the cliff's edge & providing a visual connection to the river.
The Hemisphere is bisected by a formal space - square in shape to provide the building with more functionality.
The following sketch below shows a representation of the hierarchy. The reasoning behind the internal pathways as opposed to the external pathways that I had in project 2, was to make the form more refined externally. Bisecting all the various spaces in the building with these corridors that can be used as informal learning aisles - creates a forced connection between formal learning outcomes and informal learning outcomes.
The glass stage depicted in the sketch is the largest informal space. The reasoning behind the use of glass in this flooring and in other locations - is to allow natural daylight to permeate through the building.
The other benefit of using an hemisphere in as the form of the building is that it wraps around the site and there is movement/sight. Rather than an axis which is a directed movement. Basically I am thinking of Tabula Rasa as a method of discovery.
The reason why the building is stepped - is because it allows for seating around the edges & paths/circulation in the core of the building. So the external surface of the building has a connection to the site (Through glass stairs - which act as a conflict point) Between views, natural sunlight/seating etc. The conflict was intended to create a Tabula Rasa - because they end up determining how to use the space.
So the picture below shows the Hemisphere - which will be placed by the edge of the cliff. Providing a direct/physical connection to the cliff's edge & providing a visual connection to the river.
The Hemisphere is bisected by a formal space - square in shape to provide the building with more functionality.
The following sketch below shows a representation of the hierarchy. The reasoning behind the internal pathways as opposed to the external pathways that I had in project 2, was to make the form more refined externally. Bisecting all the various spaces in the building with these corridors that can be used as informal learning aisles - creates a forced connection between formal learning outcomes and informal learning outcomes.
The glass stage depicted in the sketch is the largest informal space. The reasoning behind the use of glass in this flooring and in other locations - is to allow natural daylight to permeate through the building.
The other benefit of using an hemisphere in as the form of the building is that it wraps around the site and there is movement/sight. Rather than an axis which is a directed movement. Basically I am thinking of Tabula Rasa as a method of discovery.
Week 8 Design Resolution
The concave openings allow for sound distribution in the interior and the high openings permit natural day light
The external paths were not axial - they were vessels to get people to interact and create connectivity - they were not a formal tool to try and force people people to an element. By separating them and making them into bridges I was not isolating them - because they were unavoidable but they had to be distinct.
What I was trying to achieve with this form was to extend the sculpture from the ground plane to other planes so that it was continuous and the framing was seen as something that commenced with the path. The path and the views are the same idea. I did not want to fixate on any particular point. So I specifically did not try to make any part of it stand out more than the others - I wanted to give people some freedom, rather than dictate to them in the informal areas - but the space is quite dynamic with the shadows and different ways to approach it
Completed Design.
I think what I failed to do was make some of the concepts stand out more and I think the envelope is overpowering some of the elements.Sunlight is going to be a crucial and challenging aspect, because it restricts what the form I can achieve. In this design I have put the paths at the first and second floors and the informal zones at the highest level - changing the form....means resolving other issues about light penetration etc
Week 8 Spatial Expression
I wanted the form to dictate the spatial experience. And I wanted the formal areas of the building to have a minimal direct connection with the exterior in terms of what is seen. There are large openings in the design but they are high up - these flood the space with daylight, direct sunlight however will not be able to reach these formal spaces without the use of skylights, lightshelves or other creative means.
But with that said the formal areas would still have one face or wall where there would be a connection with the exterior.
Christopher Alexander Pattern Language - writes that a successful space should have more than one source of light - I believe he was speaking about the effects of direct light in the space, but the light distribution in the room will still be pleasant and uniform because no one section of the room will receive direct sunlight (possibly) causing glare and discomfort. I wanted to create a conflict and influence the user in terms of the sensory experience. So try to create a scene where they would opt for a direct articulation of the site or conform to the rooms suggested layout.
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Here the focal point is marked 'X' and in this instance people are not conforming to the focal point but facing themselves and the area that is open to the site. Maybe giving this option to people, they will develop a natural process of understanding the site as a crucial element in their spatial understanding. They are not simply looking at the site but filtering the site through the building.
But with that said the formal areas would still have one face or wall where there would be a connection with the exterior.
Christopher Alexander Pattern Language - writes that a successful space should have more than one source of light - I believe he was speaking about the effects of direct light in the space, but the light distribution in the room will still be pleasant and uniform because no one section of the room will receive direct sunlight (possibly) causing glare and discomfort. I wanted to create a conflict and influence the user in terms of the sensory experience. So try to create a scene where they would opt for a direct articulation of the site or conform to the rooms suggested layout.
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With the high openings and concave walls, the corners of the room will be darker and the central part of the room will be brighter. Here the seating arrangement is focusing on these corners.
The next point I was investigating and I think the most critical aspect of this study in the design progression is creating this condition in the formal areas and then linking it with the spatial perception in the informal areas.
I guess for me what really makes this Tabula Rasa is that I aimed for my project to be an isolated context, it wasn't devoid of the site - it engages with the site but at the same time it filters it.
When people have the type of overwhelming feeling they get in the formal areas - I term it has 'Concentration'
The red section (Informal) is an area where the user releases ideas that they have been dictated or revealed to in the formal areas (yellow).
I think an aspect I will consider is some form of inspiring art that helps guide this process in the informal areas
Unknown Artist
Week 7 Form Development
The form of the building was going to be derived from the spatial necessities. So I created a convex shape so that sound could be dispersed around better and hence giving the layout more freedom.
So within the concave shape you can have rows of formal seating arrangement where people either conform as in the second diagram by facing the intended direction or they change their behavioral pattern and try to adapt to the inflexible setting
By creating arrangements where people had to interact differently they would also explore other senses and this for me was going into the Tabula Rasa of a sensory experience. Engaging with the building with tactile and visual impressions.
People will possibly move around more often in the formal setting - prompting a different spatial understanding
Week 7 Tabula Rasa Concept revisited
With the concept of Tabula Rasa I looked at the form of the building being contrasted to the form that most people would be accustomed to, so they would have a novel experience.
So I completed some sketches showing how people relate to the site and beyond and thought of ways to create something distinct that is connected to the site, but 'clean' of past experiences.
This shows how a learning environment can be created that segments various parts of the city.
These sketches show a more open structure with framing and undulating shapes that lend the viewer a position to connect with the site from various vantages
The last two diagrams show an informal path that begins from the ground and continues unto the vertical plane...so there is a continuous movement of the shape and this continuity is a suggestive cue, hinting that the paths can exist on various levels.
So I completed some sketches showing how people relate to the site and beyond and thought of ways to create something distinct that is connected to the site, but 'clean' of past experiences.
This shows how a learning environment can be created that segments various parts of the city.
Here the curve of the river is followed with the informal/external path which leads to several pods that each face the city and the cliff side. These are attached to the cliff.
These sketches show a more open structure with framing and undulating shapes that lend the viewer a position to connect with the site from various vantages
Week 6 Subtractive - Additive (External & Internal)
External Additive and Informal paths were used to bridge the restrictive formal areas
They are external because they are open, airy and are not limited by visual obstructions. This is important to give a sense of freedom and can be useful for the learning experience. A place where people can interact and communicate freely.
In these earlier sketches, the path is negative space but it shows the process of how spatial hierarchy can create focal points.
By creating the hierarchy, there is a clear and defined use of space
Week 6 Subtractive - Additive
Initially I thought about simply elevation and voids of the formal and informal, added and subtracted areas, but then I thought that this concept (below) should be strengthened beyond the concept of positive and negative
So, I explored the concept of subtractive and additive forms and then came across a website which stated that these concepts can express a lot about the character of the site.
I thought about the historical context of the site and how the cliff edge had been stripped down due to industrial purposes and how structures had been built to serve the transport/economic/defensive purposes. And how the materials of these were all different serving various purposes.
So I thought the additive paths that rise above the structure should be expressed with a different appearance than the subtractive envelopesa as an historical reference.
So, I explored the concept of subtractive and additive forms and then came across a website which stated that these concepts can express a lot about the character of the site.
I thought about the historical context of the site and how the cliff edge had been stripped down due to industrial purposes and how structures had been built to serve the transport/economic/defensive purposes. And how the materials of these were all different serving various purposes.
So I thought the additive paths that rise above the structure should be expressed with a different appearance than the subtractive envelopesa as an historical reference.
I thought about the historical context of the site and how the cliff edge had been stripped down due to industrial purposes and how structures had been built to serve the transport/economic/defensive purposes. And how the materials of these were all different serving various purposes.
So I thought the additive paths that rise above the structure should be expressed with a different appearance than the subtractive envelopesa as an historical reference.
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