NICOLA KOLAS | 10374607

COMN 201 REPORT

BA ARCHITECTURE [STAGE 2] ]

CONTENTS
INTRODUCTION MAPPING + CONTEXT CONCEPTUAL PROCESS 1 CONCEPTUAL PROCESS 2 DESIGN DEVELOPMENT 1 DESIGN DEVELOPMENT 2 DESIGN DEVELOPMENT 3 FINAL DESIGN PRODUCTION CONCLUSION

INTRODUCTION
APPROACHES TO DESIGN
The act of designing architecture is a complex process, dif cult to outline and put into words. Frequently, the designer reasons decisions/actions as being based upon 'feeling' or 'intuition'. The approach within my own design doesnt follow the same trajectory for each project, but instead is modi ed to suit the situation at hand. However, a there is still a pattern or logical order present each time. I rst begin with site analysis, looking at the site in detail as well as considering its immediate and wider context. The beginnings of a narrative can then be formed and researched through precedent studies and theor relevant theory. In terms of the building proposition, I need to gain an understanding of the spatial requirements and atmospheres working with a series of conceptual perspective drawings. These are produced by hand and manipulated using Photoshop to make use of exaggerated light and shadow patters; focusing upon atmospheric qualities as opposed to form or interior layout. For me, an emphasis is placed upon the c user and the experiential qualities of spaces created.
Every touching experience of architecture is multi-sensory; qualities of space, matter and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle. Architecture strengthens the existential experience, ones sense of being in the world, and this is essentially a strengthened experience of self. 1

These spaces can then form a 'journey', working closely with the narrative, and are explored further using sections and sectional perspectives. Re nement of ideas takes place at this stage, also working with oor plans and sketch models. Personally, I nd it easier to work with three-dimensional space as opposed to a top-down view, so I tend to use plans during the latter design phase. The nal proposal is then th communicated through models and presentation sheets.
[1] Pallasmaa, J. The Eyes of the Skin; Architecture and the Senses. (West
Sussex: John Wiley & Sons Ltd, 2012) p. 45

Kimball Art Center | Utah BIG | Bjarke Ingels Group The project has been presented through a variety of different mediums, and when used in collaboration, these communicate key aspects of the design proposal. Conceptual diagrams convey ideas from the initial stages of design; examining context, topography and building envelope. Models give the viewer / client a clearer overview of the building, in terms of its scale, form and exterior properties. The use of renderings and perspective views allow us to visualise spatial qualities and materiality. These re ect the architects desired atmospheres and help to bring the project into realit reality.

MAPPING +CONTEXT
JOURNEY THROUGH CAMPUS
This page maps the path I would follow on a jour ney through the campus; from the reservoir at the norther n end to the Roland Levinsky building in the south. W ith regard to this, a series of elements helped me to transition between the two points - paths, edges, districts, nodes, and landmarks 2 . Layers of detail have been added to a condensed campus map, showing how I have navigated between the two destinations (path). During the jour ney, numerous reference points (landmarks) enable me to determine my current location; from which the remainder of the route is determined and can be [re]mapped.
Maps are a of-the-moment, beckoned into being through practices; they are always mapping... maps are eeting, contingent, relational and context-dependent. 3

[PART A]

W ith the primary focus upon public spaces, I have highlighted areas along the route that are most populated (nodes). These are either public gathering spaces or form major thoroughfares or access points. The photo-montage illustrates what I perceived as the most densely populated node along the route. This area forms the intersection between major buildings on campus, and falls upon one of the most heavily traversed paths within the University.

[2] Lynch, K. The Image of the City . (Cambridge: MIT Press, 1960) pp.46-8 [3] Kitchin, R. Dodge, M. Rethinking Maps. In: Progress in Human Geography 31(3) 2007. p13

CONCEPTUAL

[PART A]

PROCESS 1
HYBRID COLLAGE + MAPPING
Linking back to the previous task, this page focuses in on a location that was identi ed as one of the most populated nodes along the journey. Cutting through a major public space within campus, the simple section overlaid upon a plan gives a sense of scale. This open space is enveloped between the Library and Student Union. In addition to the elevating topography, these elements direct and channel movement through the transitory space.
"A space exists when one takes into consideration vectors of direction, velocities, and time variables. Thus space is composed of intersections of mobile elements." 6

These spaces, therefore, are created through the experience of place by an intersection of moving bodies 7 over time. This sense of movement has been illustrated within the perspective collage, and contextual plan (indicating vehicular movement). Other factors integral to the success of this public space have also been integrated, such as nodes and axes.

[6] De Certeau, M. The Practice of Everyday Life . trans. Steven Rendall (Berkeley: University of Califor nia Press, 1984) p.117 [7] De Certeau, M. The Practice of Everyday Life .

CONCEPTUAL

[PART B]

PROCESS 1
HYBRID COLLAGE | SITE RELATIONSHIP
Here, the relationship between design proposition and site has been communicated. Implementing the skills gained from the previous task, I have chosen to focus upon the sites primary access point - Great Western Road. In comparison to the coastal path, this is the most utilised passageway, serving both pedestrians and vehicles. The perspective collage is a representation of this - depicting a corridor between two distinct boundaries.
Each border becomes a space with the events that it contains, with the movements that transgress it. 8

Residential Axis

Ve
an stri Axis

hic

ula

rA xis

The main (public) entry threshold for my design proposition has become oriented against this road, forming a greater connection between site and pedestrian axis. Movement and activity can then be transferred inside to the buildings main gallery/exhibition space, as shown through the hybrid sectional perspective.

[8] Tschumi, B. The Manhattan Transcripts . ((London: Academy Editions, 1994)) p.8

Section [through entry threshold]

To the north of Great Western Road, the residential axis acts as a border against the city - leading to the site becoming disconnected and overlooked.

Ped

Working with a smaller element of my current design proposition, I wanted to model and test the design of an intimate, meditative pod. These spaces protrude past the sites boundary wall, reaching out to sea while offering a means of psychological escape for the rough sleeper. Long, thin openings envelope the pods, removing the barrier between site and sea, and offering a place to reect on the past / look to the future. The inhabitants movement through the pod is guided by a large opening at the far end; framing views out to the sea. As well as this, the slits offer glimpses of the surrounding area and allow light to permeate the space.
These were spaces you would enter and begin to feel you could stay there - that you were not just passing through. Id be standing there, and might just stay a while, but then something would be drawing me round the corner - it was the way the light falls, over here, over there: and so I saunter on 10

Because of this, an emphasis is placed on the passing of time. I wanted to use the three-dimensional model to to represent the ephemerality of light within the space. The images have been manipulated to emphasise this, by using a high contrast black and white effect. Along with the exclusion of details and materiality, this draws attention to the changing light pate paterns throughout the day, which become more emphasised as a result.

[9] Zumthor, P. "Atmospheres: Architectural Environments - Surrounding Objects." 5th Edition. (Basel: Birkhauser Architecture, 2006).

Continuing with the analysis of the Portland Square Building, movement throughout the building has been examined. Numerous entry points connect to a central passageway, passing through each of the buildings three modules. Emerging from this passageway, a perspective has been integrated to give a greater feel for its spatial qualities at a particular point. In addition to this, a sense of scale is created through its inhabitation. The sectional perspective allows for a more dynamic spatial representation. We are able to see into the space, illustrating the threshold between interior and exterior. Finall Finally, key details have been modelled to give an insight into the buildings structural fabric and material assemblage. Using all of these representational elements together helps to create a coherent, three-dimensional visualisation of the space. If I were to repeat the processes on this page, I would consider adding more context to the model and sectional perspective to gain a greater understanding of the buildings integration into the University Campus. A greater appreciation of scale would also be created in doing so.

This exercise concentrates upon a previously analysed element within Portland Square. This time, the element is examined in closer detail; using one staircase from the series of three. The rendered model remains monochrome in appearance - a decision I have taken to focus upon the form and silhouette of the staircase. A viewpoint has been selected to create a more dynamic perspective, in which the viewer is visually led up the stairs. A material palette has been created on the right-hand side of the composition to give a greater understanding of the staircases composition and tactile qualities. Looking at a singular detail, a stair tread detail has been modelled and 3D printed. I wanted to model this as a punctuated, mesh-like element, allowing light to permeate the space below the staircase.

A DEFENSIVE ARCHITECTURE
NICHOLAS SZCZEPANIAK
This thesis is intended to expose unexpected readings of the built environment in the future if we dont take more drastic steps to deal with climate change. Set in the Blackwater Estuary in Essex, the project envisages a set of militarised coastal defence towers that perform multiple functions: 1. The principle role of the towers is to act as an environmental warning device. The architecture is alive, dramatizing shifts in environmental conditions; breathing, creaking, groaning, sweating and crying when stressed. Air-bags on the face of the towers expand and contract, while hundreds of tensile trunks are sporadically activated, casting water on to the heated facades to produce steam. An empty watchtower at the top of each tower gives them the impression that the fragile landscape below is constantly being imp surveyed. 2. Across the estuary, a bed of salt marshes provides a natural form of ood defence and habitats for wildlife. Due to rising water levels and adverse weather conditions, the salt marshes are quickly deteriorating. The proposal suggests how megastructures can be integrated and used to encourage the growth of natural defence mechanisms against ooding in order to protect the erosion of fragile coastline areas and our most important cities. Over time, sand is collected at the base of each tower to form a spit across the mouth of the estuary, absorbing energy from the waves. 3. Internally, the towers serve as a vast repository for mankinds most valuable asset; knowledge. The architecture is a knowledge ark, which protects books from culminative and catastrophic deterioration.

CONCLUSION
The software aids the imagination of the architect by easily providing the projection which would otherwise have had to be mentally visualised. 13 Th Throughout the completion of each workshop, I believe that I have greatly built upon my communications skills. Having only worked with hand drawings previously, the module has introduced me to programs such as Photoshop, Illustrator, SketchUp and Revit, which I can now use condently as a result. This page shows the tasks I believe I have gained the most from in terms of learning new software and overall graphic technique. As well as this, I believe that my overall communication and compositional skills have improved greatly as more attention could be paid to graphic communication. This has already had a large inuence upon the visual qualities of my design work, especially this term and during the last project [3a]. Applying the in-session tasks to my own design work was fairly helpful, forcing me to take a more methodological approach and explore my work further. Through doing so, I was able to add an extra layer of visual understanding that I may not have otherwise been achieved - taking into consideration how others would view my work. If I were to change anything about this report, I would hope to be more ambitious in my work, using a wider range of graphic techniques. I would also consider pushing the in-session tasks further to add my own interpretation / style to the work produced. Skills learnt from compiling this report will no doubt be useful to me in future, both in my own design work and when working with others.

[13] Altrk, E. Architectural Representation As A Medium of Critical

Agencies, The Journal of Architecture, 13 (2) (2008) p.136