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Portfolio110119179B.A. Architectural StudiesStage 3Session 2013/14

Daniel Bainbridge

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ARC3001_graduation projectARC3001_can ricart

ARC3013_architectural technologyARC3014_professional practice & managementARC3015_principles & theories of architectureARC3060_dissertation in architectural studies

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eport_year design report_year design report_year design report_year deI feel that my third year studying Architecture has been my most successful in terms of the progression of the quality of my work, with a range of new forms of design and representation in both main design projects and the exhibition pieces in the Principles and Theories of Architecture module. I have realised the importance of quality representation, and how that can have an effect on the understanding of a project, not only for my critics, but also for myself, helping me drive the design concepts throughout the whole project. I feel that I have become much more aware of the importance of the context of a project, not only physically but also culturally, and how these concepts can help form a project into a more comprehensive outcome. The work produced in second year, in terms of my understanding of designing with the client at the forefront of all thinking, not only helped me form my dissertation topic, but also helped in my progression of work throughout the design projects this year. I feel that my main weaknesses throughout the entire course have been my abilities in technical programmes such as autoCAD, sketchup and revit etc. In this third year I have made a concerted effort to progress my skills in autoCAD, Photoshop and sketchup in particular, predominantly in my Graduation project, with positive results, improving my overall understanding of the design process. I do however believe that it is important that I attempt to progress my skills in more advanced programmes such as revit, preferably in my own time over the summer before starting a part one placement in an architectural practice.

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This first design project of the year provided us with our first instance of designing in accordance with an existing structure – an abandoned textile factory in Barcelona. Through integration with the technology module, my understanding of the different forms of alteration and preservation of historical buildings was enhanced; an awareness that I believe will help my progression in the field of architecture, allowing me to expand my work in architectural practices, many of which work on a wide variety of projects encompassing preservation and historical alterations. The Can Ricart project offered the strongest opportunity so far in the course to explore the importance of how a project must connect to and be affected by the wider city context, a notion that I made sure to drive my project going forward, and also to help form my Graduation project. My representational work took a new form within this project, however because of this, it would need to be worked on and improved within future projects in order to fully and effectively convey my designs and the process throughout. Aspects of the design were perhaps not as resolved as I would have liked, and therefore helped me realise the importance of a complete design.GRaduation PRojeCt

The main design project in the third year, for me was the most complete project throughout the three years of the course. The Thin Spaces project provided us with the opportunity for a comprehensive set of different forms of design and representation. In the early parts of the project I was exposed to a new way of mapping spaces that were to be affected by the design intervention. The use of film and notational drawing opened my eyes to different ways of producing initial design concepts, with these early moves driving my project forward and being maintained throughout the whole process. My progression of representational skills, following on from the Can Ricart project, was accelerated within this project, with Film Noir elements dictating not only the representation of my work, but also the project as a whole. The brief asked for an intervention within a thin space in the city that would also link to the wider city context. Following on from my explorations in the first design project, my understanding of this notion was greatly improved, with new ways of connection implemented into the design. Thin Spaces pushed my technical abilities within digital programmes, and was arguably the main instance in the year of my progression of this element of work. In terms of weaknesses, my progression of representation possibly overshadowed the details of the project; however I have strived to improve this since the final crit, looking to show the comprehensive design work this project pushed me to achieve. This project helped my understanding of the importance of the many different forms of representation and design processes available to us as architects, and has presented me with an alternative progression of a project for work produced in the future.

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This technology module, linked to the Can Ricart design project, acted as the most immersive technical element of the entire course. It was important to explore a comprehensive design that merged old and new in an effective way, whilst implementing knowledge from second year technology modules and third year lectures, for specific details and junctions. An increased understanding of a range of construction techniques, specifically steel construction, helped me create a much more complete design in the Can Ricart project. Despite a sense of a link between old and new, I believe that structurally, my design could have been stronger in this sense.PRofessional PRaCtiCe & ManaGeMent

This module introduced us to the many different elements of an architectural practice, and the different forms and stages of developing a project. In my coursework I looked at in particular the RIBA Plan of Work, implementing it to my Graduation project. Through this I have a much greater understanding of the process of designing a project, something that will hold me in good stead in my future in architecture.PRinCiPles & theoRies of aRChiteCtuRe

This module took the form of two exhibition pieces, the first to visualise the concepts explored in my dissertation, the second to encompass the concepts that drove the design of my Graduation project. The pieces helped my understanding of the importance of representation, and strengthened the notions set out in the pieces they were alongside. I feel the pieces themselves were able to comprise these notions well; however I do believe that in terms of situating the pieces in historical and theoretical contexts, my work could have been stronger, and this has helped my realisation of the importance of contextualising work.disseRtation in aRChiteCtuRal studies

My dissertation, inspired by the moves I made in my work in second year, looked at the importance of participative architecture, designing with society rather than for them. Exploring the theories of Gilles Deleuze and Felix Guattari, I took an in depth look at these concepts, and how they could improve the architectural profession. My understanding of the importance of the user and society as a whole in relation to architecture was enhanced, and I believe it is something that will stick with me throughout my career. The piece was possibly too theory based however, and the importance of grounding work, to deal with physical architecture shone through.

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Graduation Project

The most common condition of building locations in cities such as Newcastle is the limitations in the base plan, in turn propelling expansion in height, creating a series of chares, alleyways and thin spaces throughout the city. Many of these ‘urban voids’ have been left into disuse, and it is the job of this project to push the existing morphology of the city to the extreme and develop architectural proposals for such spaces. Through the architectural proposals we were required to re-define the relation between the inside and outside spaces, and explore the possibility of working in-between the two. In my project specifically I am looking at how the thin spaces in the city are perceived, and how by interacting with them, unique events and viewpoints of the city can be experienced, allowing for a greater understanding and appreciation of the spaces. Photographic and cinematic elements of the space and city greatly influenced the concept and design of the project, providing a building that is focussed on these events throughout the space.

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Thin Spaces - NewcastleARC3001

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phase 01cinematic construct

Through an immersion in the possibilities of the use of film and cinematic techniques, Thin Spaces helped push the boundaries of our understanding of the thin, unused spaces within the city, allowing us to begin to construct a brief that would respond to the studio’s context. An initial cinematic construct allowed for a new way of exploring concepts that would lead to forming the project moving forward. Acknowledging the perceptions of people in the city of the thin spaces we were documenting, the new form of representation allowed for a greater understanding of what the intervention would have to respond to and provide, transforming the space from a one that was seen as a negative and thus completely unused, to one that was seen as positive and beneficial to the user.

Through the cinematic construct, certain notions surfaced in terms of how the intervention could be focussed on heightening the positive experiences that were already present throughout the space. The thin space provided unique viewpoints within the city, along with experiences that are exclusive to the space itself.

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phase 02notational drawings

The cinematic studies led onto notational drawings, picking up on specific cinematic elements and reinterpreting them in a different form. The notions of experiencing the city in a new way emerged as the strongest elements of the construct, the thin spaces in the city providing the subject with heightened experiences of and a greater understanding of the city itself. The notational drawings themselves, inspired by Bernard Tschumi’s Manhattan Transcripts, were created to play on this idea of experiencing the city in a new way.

In his Manhattan Projects, Tschumi describes an area through three steps - Space, Movement, Event - one piece in particular describing the space by following a murder. Through the explorations

of the Manhattan Transcripts, Film Noir connotations emerged, helping situate the project not only notationally, but also representationally, conceptually and in terms of physical form and building program.

left - notational dRawinG

above - Manhattan tRansCRiPts, beRnaRd tsChuMi

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Initial mapping of thin space using elements of notational drawing (space, movement, event), exploring specific views to be brought into space via intervention.

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phase 03concept design & architectural proposalThe cinematic construct and the film noir elements of the notational drawings informed a decision to progress with a photography and videography centre for professional and amateur photographers and filmmakers alike. The centre is a natural progression from the concepts explored previously, providing a space that incorporates a range of different forms of viewing and experiencing the city, in order to heighten the already unique experiences the thin space provides. Elements of photography and film composed by local artists together build up the urban environment in a new way, a concept inspired by Urban Exquis in First Park, New York. The proposal also intended to maintain the movement through the space as explored in the initial studies, with the interventions enhancing the existing experiences throughout the spacial movement.

The form of the buildings, taking inspiration from Diller and Scofidio’s Slow House set out to provide a journey towards framing a unique view or experience within the thin space. The form of the intervention is informed and dictated by the thin spaces and built environment, and thus in turn the existing built environment is affected by the intervention in the form of almost a positive parasite - the physical form of the building reflecting this.

fRaMes on Main buildinG sPlittinG uP sPaCe in MoveMent sPaCes foR video viewinG/seatinG aReas.

RiGht - uRban exquis, ny - videos buildinG uP uRban enviRonMent

below - slow house, dilleR & sCofidio

The physical form of the photography and videography centre is designed to provide a journey towards framing a view, with specific viewpoints and objects in the landscape of the city acting as bases for the experiences of people moving through the space to be manipulated, much like Slow House. The built environment of the thin spaces dictated the form of the building - the two ‘arms’ open up from a narrow start, slowly expanding through and on top of the original building, elements of the space interact-ing with the existing staircase and upper floors, in turn affecting the existing. The arms leading up to the final viewpoint - the orientation of which is ulti-mately dictated by the aforementioned objects in the landscape (the Tyne Bridge, High Level Bridge, Vermont Hotel, Church spire).

The main building located within the plaza area of the original built environ-ment acts as a transition space from the elevated walkway which leads up through the space, bringing people through and down to the plaza which provides an entrance into the professional spaces and the outdoor cinema and workshop space.

# City Plan 1:2500 showinG views/objeCts in landsCaPe foR inteRvention to foCus on

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Inspired by the Reframe installation, the building is formed by a sequence of polycarbonate frames that gradually expand to the final viewpoint of the arms. It was important that the frames were central to all aspects of the design, splitting up and dictating the space whilst also acting as a series of projection spaces for the different forms of experience manipulation i.e.. videography, photography and film noir transformations. The spaces such as the work spaces and reception in the ‘1st arm’ are created by the frames maintaining the walk-able width of the entrance through 2/3 of the space, and with the form of the building expanding to the viewpoint,gradually habitable areas are made. The polycarbonate sheets contain led lighting on the exterior, lighting up the space, whilst also puncturing through the external facade, bringing in light through the day.

The frames continue to the main building, again splitting up the space internally, but also affecting the external movement throughout the thin space and into the plaza area. The frames provide a space for the staircase to carry people down from the original walkway to the outdoor cinema, whilst at the same time acting as a projection space for the film to be played. The series of frames on the main building also protrude into the thin space adjacent, providing small seating spaces for singular people to view and experience the videos portraying the wider context of the city in different ways, that are playing as the user moves up towards the Tyne Bridge.

staRtinG toP left - anti-CloCkwise

RefRaMe - atelieR kit

‘1st aRM’ Plan 1:200 showinG line of fRaMes CReatinG sPaCes

fRaMes PunCtuRinG faCade and bRinGinG in liGht

fRaMes CReatinG outdooR CineMa sPaCe

fRaMes sPlittinG uP MoveMent sPaCe foR video viewinG/seatinG

fRaMes aCtinG as PRojeCtion sPaCes inside ‘aRMs’

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The Film Noir connotations picked up early in the project carried on throughout, not only representationally, but also within the actual design of the project. Alfred Hitchcock’s Rear Window encapsulates the genre of Film Noir, by viewing events or spaces in new and different ways. The many elements of projection and video throughout the space look to explore this concept, by manipulating what is already there, helping the user to experience and understand the thin spaces and the city in a different way. The intervention protrudes into the existing staircase and upper floors, where projection spaces and 4 camera obscurae are situated. Rear Window looks at the notion of viewing a space or event without being seen, and this is precisely what the camera obscurae intend to provide for the user. The unique ways of experiencing the city is what drives the project as a whole.

toP - filM noiR iMaGes

left (toP) - PeRsPeCtive of CaMeRa obsCuRa

left (bottoM) - PeRsPeCtive of video / PRojeCtion sPaCe in existinG staiRCase

The initial studies of the thin space brought an understanding of the benefit of passing through the space as a short-cut to the Tyne Bridge. It was important for the intervention to not break this movement, but still find a way to enhance it through the inclusion of videography and film noir elements, in order to reinterpret the experience of the thin space and its connections to the wider city context.

# site Plan showinG views of MoveMent thRouGh sPaCe, staRtinG with bRinGinG PeoPle into the sPaCe, and uP thRouGh ReinteRPRetation of sPaCe, uP towaRds tyne bRidGe

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The project is centred around seeing and experiencing the city in a range of different and new ways, much like the thin space itself provides, with the form of the building tailored completely in order for this notion to be carried out. This exhibition piece brings together all aspects of the project, beginning with the objects within the city the building focusses on, incorporating the various forms of viewing, projection and experience manipulation. The detail in the plan shows where these elements of the outside and wider city context are brought into the thin space and intervention, heightening the unique experiences a person would come across within the existing thin space.

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1. outdooR CineMa / woRkshoP sPaCe

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3. w/C4. daRk RooM

5. PRofessional video editinG sPaCe

6. ReCePtion

7. CoMMunity video/Photo editinG sPaCe

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phase 04building programme

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sketch section 1:100 showing how arms of intervention relate to each other and the views of the space users experience as they move through the arms. Dark areas show relationship to existing and how original built environment dictates form of intervention, along with how intervention affects the existing.

building plan showing where section cuts are.

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phase 05technical study

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Stainless steel panels allow for a curved facade, whilst maintaining dark film noir and photography aesthetic.

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final modelsthin spaces - videography and photography centre

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final crit wall pin-up

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3.2 Can RicartLa Machine, Poblenou, BarcelonaARC3001

The project is set in a run down area of textile factories in the Poblenou district of Barcelona. The brief asks for a macro scale consideration of the site and wider city context, providing a regeneration strategy, whilst also developing a small specific portion of the textile buildings through either restoration, preservation or alteration. The theatre company La Machine were to act as the basis of design, the converted space to act as headquarters for the group who design and build unusual objects and props, before putting on urban performances. The regeneration strategy of the area also acts as a parade route for the annual procession of the objects through the city. Barcelona historically is set out in a rigid grid formation, there are however aspects of the city that cut through the grid and these spaces, such as La Rambla are the most cultural spaces in the city. The cultural concepts of La Machine mirror this notion, and the project had to find a way through design to heighten this sense.

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phase 01concept designThe city’s rigid formation of urban blocks is continued into the Poblenou district, and more specifically the textile factory block, and even the building itself, the form following the axis of the city. The rigid formation is not restricted only to the physical form of the complex, but also to the textile history - its past occupancy suggesting a very rigid structure of process. This process is in complete contrast to the cultural process of La Machine, and it is important that the form of the project reflects this notion - the influence of the theatre company cutting through the physical and historical form of the space. Therefore an approach looking at alteration seemed to be the most appropriate, altering the past of the site, relating to the cultural aspects of the city.left - CultuRal Route of la RaMbla ConneCtinG MaRina to Catalunya squaRe

below - site in City Context

Axis of existing passes by tower

Filling in of gap re-structures axis making the tower the centre

The parade and cultural route cuts through space but tower acts as a block

Pulling away existing building fabric from tower and each other, creating open space centred around tower allows for cut through of parade, and pathways for axial movement of people

Cutting away of base of tower creates a hub of activity at centre of axial movement through space and where this movement and the route of the parade intersect

Steel beam supports allow for movement of people etc. below tower, with elements of activity happening inside

Staircase for building shapes open space, interacting with the tower and allowing for activities to occur within the tower itself

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The axis of the site is mirrored in the axial movement of people through the new intervention, with pathways dissecting the existing, extending through the built environment and linking the site to the wider city context. The axial pathways converge at the base of the tower and at the hub of activity within the space. The cultural route of the parade passes through the existing at an angle much like the form of La Rambla, converging with the axial movement again at the base of the tower. By pulling away the existing from the tower, not only a hub of activity is created, but it also provides enough space for the larger elements of the parade to pass through and into the wider city.

above - MoveMent thRouGh sPaCe and ConneCtions to wideR City Context

RiGht - site Plan 1:500 showinG axial MoveMent and Route of PaRade

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People are brought into the space and the axial movement through the space via corten steel ‘pods’, determining how people pass through the space under normal circumstances. The space opens up and a route is created through the workshop and is not dictated by the axial pathways when La Machine’s parade is happening, strengthening the notion that the work of La Machine culturally cuts through the rigid past of the space and area.

south elevation showinG ‘Pod’ bRinGinG PeoPle into axial MoveMent

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the second floor of the building, unlike the lower floors, is not dictated by the form of the existing. The spaces in the ground and first floors follow the existing, with the second floor becoming a more freer form, an idea that conceptually hints at the notion of La Machine and the building breaking from the rigid past and creating a much more cultural space and use of the built environment. The form of the cafe is created by 2 elements facing and mirroring the movement through the space of the parade of La Machine.

The elements of intervention are clad with corten steel panelling, a material that recognises the industrial elements of the new occupancy of La Machine.

phase 02building programme

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RiGht - atMosPheRiC PieCe showinG the PaRade PassinG thRouGh the sPaCe

below - seCtion not to sCale (oRiGinally at 1:50) showinG Relation of old to new, axial MoveMent CoMPaRed to Route of PaRade, and ConneCtion between uPPeR flooR and loweR flooRs

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final modelsla machine workshop

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phase 03technical studies

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ARC3013 Architectural TechnologyCan Ricart

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