DSA 4 IN BIRNBECK DOCUMENT · spaces for people to relax and interact with aside from traveling. Within the Birnbeck Pier project, the programme is more diverse so this might not

DSA_4 MEANWHILE IN BIRNBECK SUPPORTING DOCUMENT

Nicholas Paley09005269

1607_DSA_BIRNBECK PIER MEDIA

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Above Left: Location map of the ZKM institute.ZKM | (no date) Available at: https://www.google.co.uk/maps/place/(Accessed: 12 January 2017).Above Right: Projected facace. OMA intended the building to become a screen for extending film and media into the wider public context. Additionally the facade was made to be semi-transparent allowing the silhouettes of people moving through the interior spaces to be visible on the outside.

‘Architecture needs to convert optimism into danger and to make that danger speak’Rem Koolhaas

ZKM CENTRE FOR ART AND MEDIA

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Architect: OMALocation: Karlsruhe, GermanyClient: City of KarlsruheYear of Completion: 1989Program:Museum / Gallery - 24,000 m²Library - 3,600m²Theatre - 2,000m²Office - 1,400m²

“(The building) is composed of discontinuous and differentiated plans. Inside the rather cubic building, plans punctuated with the vertical struts of six-meter-deep Vierendeel trusses alternate with column-free plans to produce a stack of spaces that, like an architectural montage, evoke a series of radically different architectural types, or the architectural equivalent of time travel.” - Preston Scott Cohen, Successive Architecture

The ZKM centre for Art and Media, Rem Koolhaas and OMA was founded on three axes:1. Connection to the city.2. Circulation within the building.3. A vertical axis to deliver the pleasures of experiencing a baroque city such as Karlsruhe.The building was imagined on a ‘Big’ scale. Each floor is made up of enormous truss structures that either allow floors to be

consumed in supports or be free of them.

The theatre space can be modified for a ‘whole spectrum of between classical theatre and completely simulated theatre’, The space was designed so that all walls are available as projection surfaces so that the entire space may be manipulated to cover real decors as well as ‘electronic decors’ and actual projections.

Zentrum fur Kunst und Medientechnologie (1980) Available at: http://oma.eu/projects/zentrum-fur-kunst-und-medientechnologie (Accessed: 12 January 2017).


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Lower Left: Plan of the Museum of Contemporary Art in the ZKM.Do highrises dream of Technicolor floors? (2015 Available at: http://www.sj-ho.com/2015/01/do-highrises-dream-of-technicolor-floors.html (Accessed: 12 January 2017).Top Row / Middle Right: Images / Drawings / Model of ZKM showing projections and atmosphere.Zentrum fur Kunst und Medientechnologie (1980) Available at: http://oma.eu/projects/zentrum-fur-kunst-und-medientechnologie (Accessed: 12 January 2017).Lower Middle: SMLXL ZKM Theatre Plan p.708-709Office, M.A., Koolhaas, R., Mau, B., Photogr, Werlemann, H., Architecture, O. for M. and Sigler, J. (1995) Small, medium, large, extra-large: S, M, L, XL. Rotterdam: 010 Publ. [u.a.].

The scheme uses OMA’s signature palette of cheaper synthetic available materials used on mass: aluminium, steel, polycarbonate curtains and perforated screens.

The building pushes its access and circulation spaces to the outside of the structure including a large multi-storey entrance hall including ramps for access to the laboratory floors and theatre spaces. The floors themselves

Koolhaas, R. (1996) Rem Koolhaas: Conversations with students. 2nd edn. Houston, TX: Rice Univ., School of Architecture [u.a.].

Office, M.A., Koolhaas, R., Mau, B., Photogr, Werlemann, H., Architecture, O. for M. and Sigler, J. (1995) Small, medium, large, extra-large: S, M, L, XL. Rotterdam: 010 Publ. [u.a.].

Klingmann, A. (2005) ‘The Meaningless Popularity of Rem Koolhaas’, Thresholds MIT, 29, pp. 74–80.

are also often perforated with large apertures to allow visual connections between different levels and programmes.

The building was intended to form a part of a node network, connected by the high speed rail system that Rem Koolhaas endorsed. The height of the building was intended to give the structure a connection to the surrounding stations.


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Above Left: Floorplan analysis of the Värtaterminalen ferry port. Of

particular interest is the disconnection that the enclosed program has from

the external structure. This allows circulation space to take precedence

over the private spaces.Hand Traced Plans in InkAbove Right: Plans of the

VärtaterminalenAvailable at: http://www.cfmoller.com/p/-en/vartaterminalen-new-

ferry-terminal stockholm-i2705.html (Accessed: 10 February2017).

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4VÄRTATERMINALEN

Architect: C.f. Møller ArchitectsLocation: Stockholm, SwedenClient: Stockholms Hamnar ABYear of Completion: 2016Area 17100.0 m2Program: Ferry Terminal

The värtaterminalen provides an interesting case study for this project being both a good example of maintaining a public/private divide, and also its structural language. The building is stepped to allow visitors to traverse the top of the structure, making the ferry port more personal. The architecture guides visitors to the ferries where it is not possible for public access due to busy vehicular traffic. Steel walkways connect one giant to another, ferry to terminal. The language is not dissimilar to Neil

Denari’s graphic architectures.As in many of OMA’s projects, the ZKM institute being one, the material palette is that of mass production. The detailing is sleek and at the same time rough; this is also the case within the choice of materials, concrete (rough) and aluminum (sleek).The concealed/private programme is well defined for being withdrawn from the edge of the building. The success of this is that the importance

is passed over to circulation space, again focusing on the user.I feel that what this building lacks is a set of unique and personable spaces for people to relax and interact with aside from traveling. Within the Birnbeck Pier project, the programme is more diverse so this might not be as great an issue. Potentially the timeline for the ferry port at Birnbeck could include some opportunity spaces within the transition between the boats and the media centre.

‘The terminal recalls the shape of a moving vessel and the architecture - with large cranes and warehouses - that previously characterized the ports.’C.F. MØLLER ARCHITECTS

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Withdrawn Programme Traversable Building

Photos, sketch, and plan of the Värtaterminalen taken from the

websites:https://divisare.com/projects/331124-c-f-moller-architects-adam-mork-

vartaterminalenhttp://www.archdaily.com/800396/vartaterminalen-cf-moller-architects/583cb682e58eced17f0000a1-vartaterminalen-cf-moller-architects-

site-planElements of the design that are particulrly relevent to my project have

been highlighted.


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INTER FLON RAILWAY AND BUS STATION

Architect: Bernard Tschumi ArchitectsLocation: Lausanne, SwitzerlandClient: City of LausanneYear of Completion: 2001Function: Bridge, Train Stration, Bus TerminalProgram:85,000 sqm above ground3,500 sqm below ground

‘... where streets appear as if suspended, buildings seem either buried in the ground or like vertical passageways, and bridges serve as multi-story crossings.’‘It is architecture as pure infrastructure’Bernard Tschumi

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LE FRESNOY NATIONAL STUDIO FOR THE CONTEMPORARY ARTS

Architect: Bernard Tschumi ArchitectsLocation: Tourcoing, FranceClient: Ministry of Culture with the Hauts-de-France Regional Council and Tourcoing Town CouncilYear of Completion: 1997Function: Center for Multimedia Art Cross-over

‘To achieve architecture without resorting to design is an ambition often in the minds of those who go through unbelievable effort of putting together buildings’Bernard Tschumi

Ground Floor

Level +7.43m

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NEIL DENARI

Ace Gallery presents the second exhibition in partnership with UCLA Architecture and Urban Design exploring the drawings of Neil Denari – a leading figure in design innovation – curated by Sylvia Lavin with Hi-C, a collaborative group of UCLA doctoral and design students focusing on scholarly research and critical approaches to contemporary design.The Artless Drawing focuses on the graphic work of Neil Denari produced between 1982 and 1996, just before digital design became ubiquitous.

Although painstakingly made by hand, the perfectly rendered drawings appear to have been generated by a machine rather than by an architect seeking artistic expression. The exhibition showcases the extraordinary range of manual techniques Denari used to create what is now his signature style and reveals that Denari made these drawings less in the manner of an artist or draughtsman than in that of a human computer.Neil Denari is principal of Neil M. Denari a Los Angeles based practice, with a

satellite office in New York, dedicated to exploring the worlds of architecture, design, urbanism, and global cultural phenomenon. “At NMDA, the world is… expansive, ergonomic, communicative, deep, full yet economic, unique, and about life and beauty.” NMDA considers architecture to be capable of many things, not only for satisfying existing demands, but also for inspiring new desires. Since 1988, NMDA has worked across many continents at all scales. Their research is focused on the proximities and relationships between

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All Images from:RNDRD (no date) Available at: http://rndrd.com/?s=367 (Accessed: 12 January 2017).

the body and the eye and the designed world.Former Director of SCI-Arc from 1997–2001, recipient of the United States Artists Fellowship in 2009, and the Ralph Recchia Award and the Samuel F. B. Morse Medal for architecture in 2002 from the National Academy of Design in New York for distinguished work in the field, Neil Denari is a UCLA Architecture and Urban Design Professor. His work has been included in the exhibitions “Glamour” at The San Francisco

Museum of Modern Art in 2004 and “Skin and Bones”, at The Museum of Contemporary Art Los Angeles in 2006, among others. Current projects include WME Entertainment Offices and Theater, Beverly Hills; High Line 23, New York; NeuCity Housing, Nashville; and a series of branches for Mitsubishi Bank of Tokyo, among others. He lectures worldwide and is the author of Interrupted Projections (TOTO), Gyroscopic Horizons (Princeton), and Speculations On (AADCU) forthcoming in 2010.

Sylvia Lavin is Professor and Director of Critical Studies and M.A./PhD programs at UCLA Architecture and Urban Design. Lavin is a widely published historian and critic, curator and internationally invited speaker and educator. Lavin is Director of Hi-C, a program in which UCLA doctoral and design students collaborate on exhibitions, symposia and publications that establish a forum for wide discussion of experimental work in architecture. Lavin’s forthcoming books The Flash in the Pan and Other Forms

of Architectural Contemporaneity (MIT Press) and Kissing Architecture (Princeton University Press) will be released in 2010.The UCLA students involved in this exhibition include: Anas Alomaim, Kaveh Arbab, Vuki Backonja, Tim Callan, Rebecca Choi, Sergio Miguel Figueiredo, Sarah Hearne, Mira Henry, Daniel Hesketh, Jamie Hughins, Francis Ireifej, Bruno Juricic, Esra Kahveci, Scott Kepford, Dina Krunic, Magdalena Stolarczyk, Zheng Tan, Ian Christopher Thomas, and Claudia Ziegler.

Wording taken from:

The artless drawing (no date) Available at: http://www.suckerpunchdaily.com/2010/06/07/the-artless-drawing/ (Accessed: 12 January 2017).


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The following questionnaires were undertaken in order to collect past narratives from Birnbeck Pier. They provide only a fleeting snapshot into the wealth of stories that can unearthed about the place. I chose to focus particularly on one.Q

uestionnaires


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Documents

DSA 4 IN BIRNBECK DOCUMENT · spaces for people to relax and interact with aside from traveling. Within the Birnbeck Pier project, the programme is more diverse so this might not