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CONTENTS page Introduction 2 1 Understanding Richter 3-19 2 Spatial typologies I 20-31 3 Unit trip 32-49 4 Understanding Berlin 50-69 5 The site 70-77 6 Spatial typologies II 78-87

Unit7 Process Book

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Page 1: Unit7 Process Book

CONTENTS

page Introduction 2

1 Understanding Richter 3-19

2 Spatial typologies I 20-31

3 Unit trip 32-49

4 Understanding Berlin 50-69

5 The site 70-77

6 Spatial typologies II 78-87

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INTRODUCTION

This book illustrates the work accomplished in unit 7 for semester A at London Metropolitan University. It demonstrates the process, analysis, strategies and execution of each of the projects during the first half of the year. In theory it prepares students for the main project in semester B that in this case consists of designing a museum for Gerhard Richter in Berlin. We began by studying the ‘client’ Gerhard Richter and his oeuvre including his atlas collection. One then takes a specific criteria and studies it in depth to learn from it and possibly use it for later in the year when the museum is being design. This organ-ised and critical approach then leads to the study of spatial typologies which looks at spaces for what they are. Conceptually it becomes an interesting ex-ercise where program is not included; spatial quali-ties must be taken into account whilst modelling and drawing these typologies.

The unit trip to Berlin will allow a site to be chosen and explore all the contextual, political, social and economical qualities of the city at present and in the past. A number of tours each day enable clear observations of the city’s urban form, aesthetics, methods of construction and more. As one gets back to London strategies will emerge from the studies and observations taken in Berlin; this will be achieve smoothly through the study of the brief ‘spatial ty-pologies II’; a more rigorous exercise than the previ-ous one, that focuses on urban typologies. Through these studies the proposal will start to emerge with urban strategies and slowly moving towards the main project which will develop on the semester B book that looks at the museum development.

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1

. . . . . Understanding Ritcher . . . .

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Richter began to see art as something separated from art history, as he expresses: “Painting should focus on image rather than reference-visual rather than statement”. In the early 70’s he starts to do a series of grey abstracts and landscapes which show his emotions during that period when he separates from his wife. His most suc-cessful abstracts were from 1978-1988, mostly coloured abstracts using squeegee, scratch and other materials. In the 90’s abstracts were not longer based on photographs of paint stroke. Paintings reflected joy and renewed con-fidence after the grey series (1970s). In the 21st century Richter carries on with his diversity in technique and sub-ject matter; his work is exhibited all around the world and is recognize and one of the best and most influential artists of all time.

GERHARD RICHTER

Gerhard Richter was born to Horst and Hildegard Richter in Dresden on February 9, 1932. They were, in many respects, an average middle-class fam-ily. Gerhard’s own memories of his early years are a combination of fondness and frustration, sadness and excitement. In 1951 he enrols at Dresden Arts Academy and graduates five years later. He remains there teaching for three years. In 1961 he Stays in Düsseldorf after travelling to the Soviet Union and not been able to go back to Dresden. A year later he starts making photo-paintings, then introduces colour charts in 1967.

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The brief underlines the manner in which Gerhard Richter documents his work ‘oeuvre’ in catalogues such as Atlas and Catalogue Raisonne. In order to develop to promote and develop an understanding of Richter’s methods and outputs, a comprehensive survey of his paintings must be made, with a rigorous selection of his work and pre-sented in a precisely order and layout. The exercise be-gins by looking at the diversity of criteria to explore and study in depth.

Brainstorm of the different possible criteria’s study. The conclusion emerging to explore technical diversity of paintings from Richter.

Selection of paintings within the scope of ‘painting technique’.

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Mao-photo (1968): Beyond it’s blurri-ness, the obscure background enables face features and emotions to stand out.

Hitler (1962): Painted like an icon.

Pedestrian (1963): Blur highlights move-ment on person on the left. Interesting contrast between the two.

Hands (1963): Shows certain degree of vulnerability lack of clarity due to the media used.

Family at the sea (1964): Seem like a perfect picture with a lot of detail on faces. The blurred waves and blank sky enables viewer to focus on family.

Oswald (1964): Oswald (right) holding a document which is graphically inter-preted.

192 colours (1966): Introduction of col-our to his work.

Gallery (1967): Perspective drawing with lack of clarity due to pencil smudging.

Forest piece (1969): A frightening mass of elements in different shades of gray that becomes complex in the centre.

BEGGINING CRITERIA

With the concept emerging from the brainstorm and study of paintings, a selection of paintings was gen-erated looking at painting technique, media used and subject. These are just a few samples selected that will be narrowed down to produce the right ar-ray and rigorous study required.

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Vintage (1968): A painting with a lot of depth and hard use of brush.

On the platform (1968): Diversity of technique enables viewer to engage and understand meaning of painting.

Cloud (1969): A collage of a cloud with the sea which is also reflected at the top of the piece of work.

Pillow picture (1970): Lack of defined edge and smudge represents the soft-ness of pillow.

Cloud study (1970): Rigorous use of brush and colour create a wonderfully executed painting with a high definition.

Gillbert and George (1975): A piece that has a number of layers that represent the portraits and profiles of both.

Park piece (1971): Is a large painting composed of five canvases. It provides a near 1:1 experience to the viewer.

Construction (1976): A powerful abstract with a combination of elements that add up to create a near-perspective.

Betty (1977): Daughter of Richter. The position of the head and intensity cre-ates a beautiful painting.

128 Photographs (1978): An interesting layout of a variety of frames that form a photograph.

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ARRAY - BASED ON AREA OF PAINTINGS

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The production of ideas was clearly helping the process of ordering the paintings. The conceptual idea of ordering images by area of paintings did not work, allowing other ideas to emerge, one of them consists of presenting the paintings on a chart to be well arrayed and organised. The X-axis orders paintings chronologically against the Y-axis that looks at the painting techniques.

Blur

Drip painting

Dry brush

Grisaille

Impasto

1962 65 68 80 91 08

Finger-painted

71

Inpainting

Overpainting

Painterliness

Powder painting

Reverse mirror painting

9686

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EXPLORING PRESENTATIONS

As the final criteria is selected, it led to the next stage of presenting them in a rigorous way. The sketches below show the sliding method that enables the description of technique to emerge once the hidden page is pulled out. The interesting concept though proved to be rather com-plex which led to presenting the paintings on a simple format chart, which will have description, painting name, year executed and length of time for which it was imple-mented.

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BLUR (Ferrari) - Is produced when a soft brush is passed over a painting, blend-ing the paint on the canvas. In many cases is severe enough to disrupt the image. Blur was the first technique applied by Richter, he expresses: “I blur things so that they do not look artistic or craftsman like but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information”.

DRIP PAINTING (Abstract painting) - Richter dripped and spattered paint onto a hard wooden surface. He then smeared the paint by using a large squeegee tool across the surface of the panel, repeating the process several times using different colours. The result is a sense of space that is flat but suggests depth.

DRY BRUSH (Woman with child) - Richter drags a dry brush across the surface of the canvas ‘to make everything equally important and equally unimportant’, empha-sizing the materiality of paint or evoking the way a photograph is captured, in this case distortion on the faces of the woman and child.

FINGER-PAINT (Finger marks) - Painted with Richter’s fingers on white synthetic paper using oil paint. It was a series of paintings in the same year, each with indi-vidual and unique character.

GRISAILLE (48 portraits) - Is a term for painting executed entirely in monochrome usually in shades of grey. A grisaille may be produced for its own sake, as un-derpainting for an oil painting or a model for a painting. Each separated image is based on portraits of celebrated makers of modern culture, as photographed from an encyclopedia.

IMPASTO (Townscape Paris) - Richter puts paint on the entire canvas very thickly, usually thick enough that the brush strokes are visible. When dry, impasto provides texture and appears to be coming out of the canvas. The impasto and garish grey represent the destruction of war-recalling nostalgic memories.

INPAINTING (Grid streaks) - This technique originated in a series of paintings of landscapes and other natural phenomena in which the branches of trees and foli-age appeared and were painted in such a way that the thick impasto used to deline-ate them began to merge together and to obscure the image beneath.

OVERPAINTING (untitled 23.3.86) - Richter drags paint abstractly over photo-graphs (overpainted photographs), which are analyzed in terms of understanding the medium used. He works meticulously layer by layer and is in a state of con-stant reevaluation as the process is engaged; he has said of his paintings that they “never come into being in a single mood.”

PAINTERLINESS (Grey beams) - It’s a technique based on the application of the paint. Richter applies paint strongly on the canvas enabling it to escape on either side of the brush and generate texture. The texture stimulates two different senses; sight and touch. This painting has a series of beams running across the canvas to create a focal point in the middle.

FINAL CRITERIA

PAINTING TECHNIQUE (name of painting) - Description

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POWDER PAINTING (Sinbad) - Also known as ‘enamel’ is a material made by fus-ing powdered glass to a substrate by firing, usually between 750 and 850 °C. The powder melts, flows, and then hardens to a smooth, durable vitreous coating on glass. It is categorized as a painting technique.

REVERSE MIRROR PAINTING (Mirror) - Painted on a sheet of glass, Richter renders a transparent surface opaque that provides a unique effect. He describes grey as the only way to paint concentration camps and sad memories: “It is impossible to paint the misery of life, except maybe in grey, to cover it.”

ROUGH BRUSH STROKE (Alps II) - Richter uses an aggressively anger but insistent brush strokes on this painting - dark grey paint at the compositional centre of the canvas is devastating. In addition the rough brushwork obscures mountain views to emphasize a year when the world was in Turmoil.

SCRAPING (Abstract painting) - Richter uses scraping to get rid of layers and col-ours depending on how he feels. He described colour abstracts as: “The welcome and only possible equivalent of indifference, non-commitment, absence of opinion, absence of shape.”

SINGLE PASS (Untitled 26.10.96) - Is a single pass across paper with a squeegee meaning that the result is governed by the mixture of paint used and by the speed and pressure with which is applied. The paint is deposited on the paper in different thicknesses, so that broad pastose zones alternate with broken ones. Richter used this technique to produce a number of works in the 90’s.

SOLVENT (Table) - Richter recognizes this as his first painting, which is partially obscure with solvent. ‘Representational and abstract, revealing and concealing’. One can discern through Table the beginning of Richter’s artistic struggle with Ger-many’s World War II history.

SQUEEGEE (Abstract painting) - Richter uses a tool in which he controls the flow of paint on his canvas. Abstracts were not longer based on photographs of paint stroke. These paintings reflected joy and renewed confidence after the grey series of the 70’s.

WASH (Motor boat) - A wash is a painting technique in which a very wet paintbrush with solvent holds a small paint load applied to a wet or dry support such as raw canvas. The result is a smooth and uniform area that ideally lacks the appearance of brush strokes and is semi-transparent.

WET ON WET (Family at the sea) - Is a painting technique in which layers of wet paint are applied to previous layers of wet paint. It requires a fast way of working, as the artwork has to be finished before the first layers have dried. It shows the artist’s first wife as a little girl, together with her mother and father and another sibling, against a backdrop of Spume Sea.

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Table (1962)

SELECTED PAINTINGS

Family at the sea (1964)

Ferrari (1964)Motor boat (1965)

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Woman with child (1965)

Alps II (1968)

Grey beams (1968) Grid sreaks (1968)

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Townscape Paris (1968) Finger marks (1970)

Abstract painting (1980)

48 portraits (1972)

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Abstract painting (1991)Untitled 23.3.86 (1986)

Mirror (1981)

Abstract painting (1981)

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Untitled 26.10.96 (1996)

Sinbad (2008)

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FINAL PIECE

1962 1965 1968 1980 1991 2008 1970 19961986

Blur - Is produced when a soft brush is passed over a painting, blend-ing the paint on the canvas. In many cases is severe enough to disrupt the image. Is one of Richter’s favourite techniques as he expresses: “I blur things so that they do not look artistic or craftsman like but technological, smooth and perfect. Perhaps I also blur out the excess of unimportant information”.

Drip painting - Richter dripped and spattered paint onto a hard wooden surface. He then smeared the paint by using a large squee-gee tool across the surface of the panel, repeating the process several times using different colours. The result is a sense of space that is flat but suggests great depth.

Dry brush - Richter drags a dry brush across the surface of the canvas ‘to make everything equally important and equally unimportant’, em-phasizing the materiality of paint or evoking the way a photograph is captured, in this case distortion on the faces of the woman and child.

Finger-paint - Painted with Richter’s fingers on white synthetic paper using oil paint. It was a unique series of paintings each with individu-al and unique character.

Grisaille - Is a term for painting executed entirely in monochrome usually in shades of grey. A grisaille may be produced for its own sake, as underpainting for an oil painting or a model for a painting. Each separated image is based on portraits of celebrated makers of modern culture, as photographed from an encyclopedia.

Impasto - Richter puts paint on the entire canvas very thickly, usually thick enough that the brush strokes are visible. When dry, impasto provides texture and appears to be coming out of the canvas. The impasto and garish grey represent the destruction of war-recalling nostalgic memories.

Inpainting - This technique originated in a series of paintings of land-scapes and other natural phenomena in which the branches of trees and foliage appeared and were painted in such a way that the thick im-pasto used to delineate them began to merge together and to obscure the image beneath.

Overpainting - Richter drags paint abstractly over photographs (over-painted photographs), which are analyzed in terms of understanding the medium used. He works meticulously layer by layer and is in a state of constant reevaluation as the process is engaged; he has said of his paintings that they “never come into being in a single mood.”

Painterliness - It’s a technique based on the application of the paint. Richter applies paint strongly on the canvas enabling it to escape on either side of the brush and generate texture. The texture stimulates two different senses; sight and touch. This painting has a series of beams running across the canvas to create a focal point in the middle.

Powder painting - Also known as ‘enabel’ is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850 °C. The powder melts, flows, and then hardens to a smooth, durable vitreous coating on glass. It is categorized as a painting technique.

Reverse mirror painting - Painted on a sheet of glass, Richter renders a transparent surface opaque that provides a unique effect. He de-scribes grey as the only way to paint concentration camps: “It is im-possible to paint the misery of life, except maybe in grey, to cover it.”

Rough brush stroke - As the name describes it, is the application of rough brushwork. Richter uses an aggressively anger but insistent brush strokes on this painting - dark grey paint at the compositional centre of the canvas is devastating. In addition the rough brushwork obscures mountain views to emphasize a year when the world was in Turmoil.

Scraping - Richter uses scraping to get rid of layers and colours de-pending on how he feels. He described colour abstracts as: “The wel-come and only possible equivalent of indifference, non-commitment, absence of opinion, absence of shape.”

Single pass - Is a single pass across paper with a squeegee meaning that the result is governed by the mixture of paint used and by the speed and pressure with which is applied. The paint is deposited on the paper in different thicknesses, so that broad pastose zones alter-nate with broken ones. Richter used this technique to produce a num-ber of works in the 90’s.

Solvent - Richter recognizes this as his first painting, which is partial-ly obscure with solvent. ‘Representational and abstract, revealing and concealing’. One can discern through Table the beginning of Richter’s artistic struggle with Germany’s World War II history.

Squeegee - Richter uses a tool in which he controls the flow of paint on his canvas. Abstracts were not longer based on photographs of paint stroke. These paintings reflected joy and renewed confidence after the grey series of the 70’s.

Wash - A wash is a painting technique in which a very wet paintbrush with solvent holds a small paint load applied to a wet or dry support such as raw canvas. The result is a smooth and uniform area that ide-ally lacks the appearance of brush strokes and is semi-transparent.

Wet on wet - Is a painting technique in which layers of wet paint are applied to previous layers of wet paint. It requires a fast way of work-ing, as the artwork has to be finished before the first layers have dried. It shows the artist’s first wife as a little girl, together with her mother and father and another sibling, against a backdrop of spume sea.

1964 1972 1981

Gerhard Richter - Painting Techniques

Gerhard Richter was born in Dresden in 1932 and is highly known around the globe as one of the most influential and important artists of the 20th century. Throughout his career he dealt with the political, social and economical issues of Germany, yet he was consistent with his work, producing pieces from the late 1950’s to date. He was known for his diversity of techniques and this study focuses specifically on the techniques used for his paintings. Painting techniques and descriptions are placed vertically on the left, with year the year that he used it running horizontally. The gradient next to the paintings show the length in time, in which Richter used that specific technique. Paint-ings are scaled at 1:50 to underline the relationship between size and technique.

Ferrari

Woman with child

Finger marks

48 portraits

Townscape Paris

Grid streaks

Grey beams

Alps II

Table

Motor boat

Family at the sea

Abstract painting

Abstract painting

Mirror

Untitled 23.3.86

Abstract painting

Sinbad

Untitled 26.10.9

18

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1962 1965 1968 1980 1991 2008 1970 19961986

Blur - Is produced when a soft brush is passed over a painting, blend-ing the paint on the canvas. In many cases is severe enough to disrupt the image. Is one of Richter’s favourite techniques as he expresses: “I blur things so that they do not look artistic or craftsman like but technological, smooth and perfect. Perhaps I also blur out the excess of unimportant information”.

Drip painting - Richter dripped and spattered paint onto a hard wooden surface. He then smeared the paint by using a large squee-gee tool across the surface of the panel, repeating the process several times using different colours. The result is a sense of space that is flat but suggests great depth.

Dry brush - Richter drags a dry brush across the surface of the canvas ‘to make everything equally important and equally unimportant’, em-phasizing the materiality of paint or evoking the way a photograph is captured, in this case distortion on the faces of the woman and child.

Finger-paint - Painted with Richter’s fingers on white synthetic paper using oil paint. It was a unique series of paintings each with individu-al and unique character.

Grisaille - Is a term for painting executed entirely in monochrome usually in shades of grey. A grisaille may be produced for its own sake, as underpainting for an oil painting or a model for a painting. Each separated image is based on portraits of celebrated makers of modern culture, as photographed from an encyclopedia.

Impasto - Richter puts paint on the entire canvas very thickly, usually thick enough that the brush strokes are visible. When dry, impasto provides texture and appears to be coming out of the canvas. The impasto and garish grey represent the destruction of war-recalling nostalgic memories.

Inpainting - This technique originated in a series of paintings of land-scapes and other natural phenomena in which the branches of trees and foliage appeared and were painted in such a way that the thick im-pasto used to delineate them began to merge together and to obscure the image beneath.

Overpainting - Richter drags paint abstractly over photographs (over-painted photographs), which are analyzed in terms of understanding the medium used. He works meticulously layer by layer and is in a state of constant reevaluation as the process is engaged; he has said of his paintings that they “never come into being in a single mood.”

Painterliness - It’s a technique based on the application of the paint. Richter applies paint strongly on the canvas enabling it to escape on either side of the brush and generate texture. The texture stimulates two different senses; sight and touch. This painting has a series of beams running across the canvas to create a focal point in the middle.

Powder painting - Also known as ‘enabel’ is a material made by fusing powdered glass to a substrate by firing, usually between 750 and 850 °C. The powder melts, flows, and then hardens to a smooth, durable vitreous coating on glass. It is categorized as a painting technique.

Reverse mirror painting - Painted on a sheet of glass, Richter renders a transparent surface opaque that provides a unique effect. He de-scribes grey as the only way to paint concentration camps: “It is im-possible to paint the misery of life, except maybe in grey, to cover it.”

Rough brush stroke - As the name describes it, is the application of rough brushwork. Richter uses an aggressively anger but insistent brush strokes on this painting - dark grey paint at the compositional centre of the canvas is devastating. In addition the rough brushwork obscures mountain views to emphasize a year when the world was in Turmoil.

Scraping - Richter uses scraping to get rid of layers and colours de-pending on how he feels. He described colour abstracts as: “The wel-come and only possible equivalent of indifference, non-commitment, absence of opinion, absence of shape.”

Single pass - Is a single pass across paper with a squeegee meaning that the result is governed by the mixture of paint used and by the speed and pressure with which is applied. The paint is deposited on the paper in different thicknesses, so that broad pastose zones alter-nate with broken ones. Richter used this technique to produce a num-ber of works in the 90’s.

Solvent - Richter recognizes this as his first painting, which is partial-ly obscure with solvent. ‘Representational and abstract, revealing and concealing’. One can discern through Table the beginning of Richter’s artistic struggle with Germany’s World War II history.

Squeegee - Richter uses a tool in which he controls the flow of paint on his canvas. Abstracts were not longer based on photographs of paint stroke. These paintings reflected joy and renewed confidence after the grey series of the 70’s.

Wash - A wash is a painting technique in which a very wet paintbrush with solvent holds a small paint load applied to a wet or dry support such as raw canvas. The result is a smooth and uniform area that ide-ally lacks the appearance of brush strokes and is semi-transparent.

Wet on wet - Is a painting technique in which layers of wet paint are applied to previous layers of wet paint. It requires a fast way of work-ing, as the artwork has to be finished before the first layers have dried. It shows the artist’s first wife as a little girl, together with her mother and father and another sibling, against a backdrop of spume sea.

1964 1972 1981

Gerhard Richter - Painting Techniques

Gerhard Richter was born in Dresden in 1932 and is highly known around the globe as one of the most influential and important artists of the 20th century. Throughout his career he dealt with the political, social and economical issues of Germany, yet he was consistent with his work, producing pieces from the late 1950’s to date. He was known for his diversity of techniques and this study focuses specifically on the techniques used for his paintings. Painting techniques and descriptions are placed vertically on the left, with year the year that he used it running horizontally. The gradient next to the paintings show the length in time, in which Richter used that specific technique. Paint-ings are scaled at 1:50 to underline the relationship between size and technique.

Ferrari

Woman with child

Finger marks

48 portraits

Townscape Paris

Grid streaks

Grey beams

Alps II

Table

Motor boat

Family at the sea

Abstract painting

Abstract painting

Mirror

Untitled 23.3.86

Abstract painting

Sinbad

Untitled 26.10.9

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2

. . . . . Spatial typologies I . . . .

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

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This exercise looks at an understanding of spatial ty-pologies concerned with an emphasis on how space is configured through an iterative, rigorous and imaginative discipline. The aim is to explore a variety of spatial types to enable a specific study to emerge and possibly use later on when the museum starts to develop.As the beginning, it was decided to develop a brainstorm based on volumes that are being intersected by routes from different angles. The volumes change in form de-pending on scale and position of the route.

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These set of spatial drawings focus on the juxtaposition of rooms and thresholds linking them. Although it drifted away slightly from the first concept, it was important to draw spatial drawings and be aware of the consequenc-es light, objects and other elements may have within a space.

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COMPLEX STAGE

At this stage there were a variety of ideas on interpret-ing shapes as spaces and having the interstitial space still within the scope of the concept. Although each idea had an interesting attribute to it, they were incoherent studies and instead of being typologies, they were just a series of different ideas.

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FIRST TYPOLOGICAL STUDY

After the ineffective previous studies and more thought paid into the brief, one clearly saw that the exercise was about iterative studies with a rigorous meaning looking to improve it at all times. These iterative studies focus on three volumes including an interstitial space. Some of the qualities involved are rhythm, elements to define boundaries and thresholds that could potentially define circulation.

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Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

FINAL SET OF TYPOLOGIES

28

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Page 29: Unit7 Process Book

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

29

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

Spatial typologies

This is a rigorous piece of typologies that evolve from the previous case of typologies. It isbased on two spaces and an interstitial space in-between. With certain elements creatingalignments and misalignments for thresholds. The Chosen typologies are at scale 1:500 todifferentiate from the rest.Scale 1:500

A

B

C

D

Misalignment of wallsand thresholds

Vertically shifted walls Variation of wall lengths Rhythm of shifted walland thresholds

Interstitial space definedby position of walls

Spaces less defined byposition of walls

Introduction of angularwalls to define the spaces

Angular walls generatingstrong views within spaces

30 degree angled walls Horizontal walls breakingdirect connection

Division of spacessymmetrically

Division of spacesasymmetrically

Columns defining spaces Variation of columns andwalls to define spaces

Columns and wallswith small thresholds

Misalignment of walls andcolumns dividing spaces

Regular grid of columnsdefining spaces

Space within a space Shifted elementscreating small spaces

Possible movement definedby 'L' shaped elements

Creation of light wells Spaces merging throughsmall thresholds

Juxtaposition of spacesthrough angular paths

Single thresholdconnecting spaces

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Spatial Typologies - Model studies

This final set of typologies is based on the four previous selected cases. All the pictures have been taking from four different angles, the same for each typology to see the consequences and quali-ties of each typology. The study from the first column looks at the misalignment of adjacent elements between spaces and thresholds. The second looks at a space within a space and alignment between elements dic-tating thresholds; interestingly creating darker spaces. The third looks at misalignment of ele-ments within interstitial space, generating voids to illuminate spaces and breaking articulation points within. The fourth is an open space where interstitial space is dictated by a number of col-umns and elements that enable free articulation within the space.

A B C DCHOSEN TYPOLOGIES

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Spatial Typologies - Model studies

This final set of typologies is based on the four previous selected cases. All the pictures have been taking from four different angles, the same for each typology to see the consequences and quali-ties of each typology. The study from the first column looks at the misalignment of adjacent elements between spaces and thresholds. The second looks at a space within a space and alignment between elements dic-tating thresholds; interestingly creating darker spaces. The third looks at misalignment of ele-ments within interstitial space, generating voids to illuminate spaces and breaking articulation points within. The fourth is an open space where interstitial space is dictated by a number of col-umns and elements that enable free articulation within the space.

A B C D

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3. . . . . Unit trip . . . .

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BERLIN

The city has been through a diversity of layers in his-tory, politics and economy, which shapes what we see of Berlin at present. From 1701-1918 it was the capital of the kingdom of Prussia. It develop through the govern-ments of German Empier (1871-1918), Weinar Republic (1919-1933), Third Reich also known as the Nazy Germa-ny (1933-1945), lastly is the reunited Germany after the demolition of the wall since 1989 up to date.

The city has a humid continental climate, in summer the average high is 22.25 degrees, and low is 12-14 degrees. In winter high is 4 degrees, low -2 to 0 degrees. The an-nual rainfall is 570 mm (22 inches). Many of the remain-ing buildings after the World War II were demolished between 1950’s and 1960’s to rebuild new residential blocks, business quarters and main roads.East Berlin has large building structures with prefabri-cated concrete slabs known as (plattenbauten), typically used for housing and tower blocks.It also forms part of the ambitions to create residential areas with fix shops, kinder gardens and schools to the number of inhabitants.

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Site 1B: View from Chausseestrasse towards the chimney and industrial abandoned building behind it.

Site 1A: View towards the south street of Zinnowitzer strasse.

SITE 1

The trip began with a visit to site 1A and 1B along Chaus-seestrabe. It consisted of two plots connected by a mid-dle space occupied by small abandoned buildings includ-ing a chimney and clothes factory which potentially will be a performing Arts School.Surrounded by a vast number of large concrete buildings, it provides an urban challenge which is strengthen by the relationship of two plots that combine to form a large site.

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Site 1A: View towards south.

1A

1B

2

Site 1A and 1B are the same site with an opportunity of using the interstitial spaces for proposal.

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SITE 2

The second site is along the same street which leads south to Friedrichstrasse, one of ther arteries of the city. It is the biggest site and includes a beautiful facade of an abandoned building which provides an opportunity of refurbishment or demolition depending on the strategic intentions. Opposite to the plot there is the new CIA Ber-lin going under construction, including buildings of up to nine Storey’s height.

View from Chausseestrasse of abandoned building.

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SITE 3

Is at the edge of East and West Berlin. Next to it there is the memorial wall along with residential buildings with a unique identity defined by direct sunlight in the after-noon. The context and history creates a complex site to work with however it is a very exciting location that in-volves Berlin’s historical layers in the past century.

3

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SITE 4

Is located near the city centre in a quite compact plot. It is situated between a church and a large building that defines the boundaries of the site. Currently it is used as a parking area for the church and is one of the few gaps within the urban infrastructure around the area.

View towards the site with church (left) and parking lot.

4

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Interior of church.

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SITE 5

Nearer to the centre of the city, is surrounded by some important buildings in Berlin; they include the Berlin ca-thedral and the Altes Museum. It is located near Mu-seum Island and so it provides a quite challenging site to compete along the best of Berlin’s monuments.

Temporary building (left) in contrast to Altes museum (front) and Berlin Cathedral (right).

5

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SITE 6

On the north west of the city is site 6 next to a turbine building; it becomes another challenging site for its context especially as it is next to the building designed by Peter Burns. The size of the site is compact though one could decide to extend it through empty pockets existing within the urban fabric.

6

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CITY WALK

A short walk across the centre of the city led to a further understanding of the city of Berlin. The experience of walking through the city led to interesting observations such as the central courtyards that exist within a number of city blocks of the city. The navigation within the inte-rior of the block is a unique identity of the city where one could see the relationship between old and new build-ings, gaps from the war demolitions, party walls, and green areas within and outside the block.

Green areas within courtyards. Juxtaposition between old and new buildings within courtyards.

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Site 2: Abandoned build-ing potential idea to be use.

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MUSEUM VISITS

1: Bode museum2: Pergamon museum3: James Simon Gallery 4: Neues museum5: Alte Nationalgalerie6: Altes museum

Berlin plan der museumsinsel, James Simon Galerie

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NEUES MUSEUM

Is located in the museum Island and was built between 1843-1855 by Friedrick August Stuler. It was damaged during the World War II and was rebuilt by David Chip-perfield. The exhibits include Egyptian and pre-historic collections. After the consolidation of foundations and walls, the museum was re-opened in 2009 and is now known for its purity with juxtaposing the old with the new. The entrance in the middle leads to a large stair-case that accesses the other floors; on either side of the staircases are two different courtyards that define the exhibition spaces around it. Each exhibition room is de-signed with a different purpose enabling different collec-tions and artefacts to be shown.

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THE ALTE NATIONALGALERIE

Built from 1867-1876, it exhibits a collection of classical, romantic, biedermeier, impressionist and early modernist artwork. One of the museums main features is the stair-case for its width and natural light forms provided by the large windows. The interior is the opposite to the Neues museum with smooth and shiny surfaces giving an ele-gant feature to the spaces. Small uniform rooms dictated the movement within the exhibition spaces which leads back to the staircase on every floor.

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THE PERGAMON MUSEUM

Was built from 1910-1930 and designed by Alfred Mes-sel and Ludwig Hoffman. Its the most visited museum of Germany and has antiquity collections, Islamic art mu-seum and Middle East museum.At the entrance of the museum the public receives a brief indication of the large spaces within due to the first room of the exhibition being 15 meters height. This is partly to accommodate the large columns and fragment from the antiquity collection. The transition between exhibition spaces does alternate; in some cases there are ramps and handrails to access the spaces, in others there are long large thresholds or corridors. The generosity of cir-culation areas does show the amount of visitors the mu-seum can hold, a lot more than others from the Museum Island.

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THE ALTES MUSEUM

The museum was built from 1823-1830 and designed by architect Karl Friedrich Schinkel; it was refurbished in 1966. It is the smallest from the Museum Island although it has an incredible collection of antiques throughout the two floors. The spaces are defined by the core at the cen-tre of the building, consisting of an atrium with a roof light that illuminates the circular exhibition space.

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WALKING TRHOUGH THE CITY

Site 1A: View towards south.

Berliner Philharmonie by Hans Scharoun (top right) and context (top left). The Neue Nationalgalerie by Mies van Der Rohe (bottom right and left).

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4

. . . . . Understanding Berlin . . . .

Chausseestrabe checkpoint

Checkpoint Charlie

Leipziger Strasse

Zimmerstrasse

Unter den Linden

Torstrasse

Invalidenstrasse

Chausseestrabe

Friedrichstrabe

N

Scale 1:5000

Chausseestrasse - FriedrichstrasseContemporary, 2011

Site

The Berlin wall (1961-1989) is highlighted very delicately to showthe East and West boundaries within the drawing. Interesting twowall checkpoints cross the drawing on the two different streets.Chausseestrasse checkpoint was opened only for Germans; whereas Checkpoint Charlie in Friedrichstrasse was opened for Germansand non-Germans to cross with the right documents andpermissions.

Friedrichstrasse recovered its commercial and cultural status aswell as the dense urban fabric that once was a few decades ago.Restaurants, hotels, shops, cafes, theatres and sourvenir shops areall part of the glitter of the street that made it Berlin's traditionaland entertainment centre.

Chausseestrasse has been developing rapidly although only in thepast decade. Up to now there are a lot of construction worksongoing and gaps still to be fulfilled. There are interestingrelationships emerging when the new structures meet some of theold industrial buildings/fragments including chimneys.

Around the site there is a mixture of old and new with residentialand commercial buildings that are slowly making Chausseestrassean important street within the city like Friedrichstrasse andothers main arteries highlighted on the drawing, including Unterden Linden and Leipziger Strasse.

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BERLIN

Having learned a general understanding and analysis of the city during the unit trip. It was time to choose a rigor-ous study where one can interpret the knowledge and qualities of the city through a series of drawings. The strategic understanding of the city begins with a look at the city its self to create an analysis of what was ob-served and learned in order to proceed with the study. Here is a map of the general information of Berlin ob-tained from Berlin’s official website.

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Population Density 2010

BERLIN ANALYSIS - POPULATION

Berlin’s population has change dramatically in the past century. During war, population was spread through the city mainly to the suburban areas. As the city was bombed, large sums of the population disappeared how-ever recently areas have regained their status as shown on this map.

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CLIMATE

In a city as dense as Berlin, climate is higher than rural areas due to the dense urban fabric, public, traffic and others.

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This image shows its condition of the city, with a spree that intersects the city and some large green areas and empty spaces from the war damage. At this scale the urban fabric can be appreciated with the arteries that ran across the city from various angles. The sector highlighted is chosen section which covers two of the main arteries of the city, along with the site and major development that potentially identifies an strategic understanding of the city.

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HISTORY OF BERLIN - WAR ENCOUNTERS

To achieve an understanding of the city, it is important to analyse its history from its struggles to its successes throughout the years. A major setback was the World War II and cold war, which damaged big part of the city from 1943 to the early 1950’s. All the bombed areas have left gaps within the city that unfortunately due to its eco-nomical circumstances; it is taking a long time to recover with construction works still ongoing. It was only after the 1960’s that the city started its recovery although this was mainly around the centre along streets like Fridrichstrasse; on the 1990’s works spread out and constructions were oc-curring all around the city, including suburban areas. Even though the development has progressed slowly, it adds to the identity of the city and one could clearly see the stages of development throughout the years.

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Damage along Friedrichstrasse station. Society going back to their routines in a disastrous environment.

Berlin was mainly bombed during the war world II from 1943-1945, it received more attacks from the cold war between the USSR and USA in the late 1940’s. The im-age on the left shows the large gaps in Friedrichstrasse in 1951 showing the condition of the area after it was bombed. At the bottom is the Damage done along Chaussestrasse near the site. Most of the damaged was caused on the central zones of the city.

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DIVISION OF CITY

Is one of the key historical contexts of the city that influ-enced it politically, economically and socially. The wall separated the East from the West of Berlin from 1961 to 1989. The emergence of the wall came from the Com-munal east side to prevent its population from leaving to the west in order to start a better life with better oppor-tunities. The wall passes through two key areas near the site that were also known as checkpoints. These enable society to cross from either side but only with the right documentation and permission. The site is near chaus-seestrasse Checkpoint and further down to the south is Checkpoint Charlie, one of the main two checkpoints of the city, for foreigners to cross. Studying these historical contexts aids to the understanding of Berlin which will be represented through a number of drawings.

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Chausseestrasse Checkpoint: Open only to German’s, is the nearest checkpoint to the site and had a very low profile, particularly to East Berliners.

Checkpoint Charlie: Possibly the most known and recognized now. It was the most secured as it was also used by non-Germans to cross.

Chausseestrasse Checkpoint: Open only to German’s, is the nearest checkpoint to the site and had a very low profile, particularly to East Berliners.Friedrichstrasse station was not a checkpoint although it was surrounded by them meaning that a lot of the action was hap-pening around there. Highly active and quite important for the site, was highly damaged during cold war from 1945.

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THE CITY IN THE 21ST CENTURY

As most of the struggles are over, the city’s main focus is on the re-development to gain its status back along Europe’s elite cities. Beyond all of the modern buildings, investments, political control and economical raise; there are elements still existing that define the city’s historical context. Some of these include:

Plain party walls adjacent to buildings bombed during war. The majority located away from the city centre where large gaps are still existent along with old abandoned structures.

Party walls painted or with graffiti on them, surrounded by dense urban fabric and car parks.

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In many cases there are passages along the streets to enter courtyards within a city block, these are dark and lead to a hidden space that can only be seen when entered. In other circumstances there are construction works ongoing where relationships between old and new emerge.

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STRATEGIC UNDERSTANDING OF BERLIN

Even with all the analysis achieved of the city, there is an important de-cision to make based on the under-standing of the city. From the areas explored previously, an idea emerged on creating a drawing of the street along the site (Chausseestrasse) and one of the most important streets of Berlin (Friedrichstrasse), that de-scribes the conditions and contexts of the city in four different periods. In many ways Friedrichstrasse is like Berlin, they have both been through several layers of history and inci-dents but have managed to develop and re-gain their important statuses.These couple of sketches highlight the idea of the two arteries defining the drawing for their importance and location along the site as well as a key factor of two of the checkpoints, crossing both arteries.

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First drawing being critically analysed, both graphically and conceptualy. Scale 1:20000

DEVELOPMENT

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Key samples showing progress of drawings. Exploring graphical qualities such as: scale, line thickness, tex-tures, tones and other elements that are needed to rep-resent it in the right manner.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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Exploration of solid tones to represent spree and buildings.

Using gray tones to highlight plots and streets. Textures to represent surviving buildings after war. Textures exploring buildings conditions.

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Unter den Linden

Leipziger Strasse

Zimmerstrasse

Torstrasse

Invalidenstrasse

N

Scale 1:5000

Chausseestrasse - FriedrichstrassePre-war, 1943

Chausseestrabe

Friedrichstrabe

This drawing shows the density of the urban fabric as it wasbefore war. The uniform street grid is along Friedrichstrasse, oneof the main arteries of the city. Friedrichstrasse is the commercialcentre of the city also known for its culture and economy status.The uniform street pattern breaks further north reachingChausseestrasse as more gaps start to appear within the cityblocks. On this part of the city most buildings are residential withsome commercial sectors mainly on the first floor.

Site

Scale 1:20000

FINAL DRAWINGS

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Zimmerstrasse

Leipziger Strasse

Unter den Linden

Torstrasse

Invalidenstrasse

N

Scale 1:5000

Chausseestrasse - FriedrichstrassePost-war, 1953

Chausseestrabe

Friedrichstrabe

Site

The damage caused by bombs from Cold war and World War IIhas clearly left a mark, as shown on the drawing. The center wasthe most harmed, where most of the main buildings alongFriedrichstrasse have disappeared or were heavily damaged.Chausseestrasse in contrast had less areas destructed, however asit is a less important street, there was a struggle to gather foundsfor redevelopment, where as Friedrichstrasse started constructionworks for re-development later in 1953.

Scale 1:20000

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Chausseestrabe checkpoint

Checkpoint Charlie

Leipziger Strasse

Zimmerstrasse

Unter den Linden

Torstrasse

Invalidenstrasse

Chausseestrabe

Friedrichstrabe

N

Scale 1:5000

Chausseestrasse - FriedrichstrasseWall division, 1984

Site

The division between East and West Berlin was one of manyhistorical events that highlight the city's struggle to develop. Themap shows the slow recovery of Berlin since war in the 1940's.Most of the construction development occurs in the central area ofFriedrichstrasse although clearly there are a lot of gaps, noticeableat the ends of both streets in north and south.

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Chausseestrabe checkpoint

Checkpoint Charlie

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Chausseestrasse - FriedrichstrasseContemporary, 2011

Site

The Berlin wall (1961-1989) is highlighted very delicately to showthe East and West boundaries within the drawing. Interesting twowall checkpoints cross the drawing on the two different streets.Chausseestrasse checkpoint was opened only for Germans; whereas Checkpoint Charlie in Friedrichstrasse was opened for Germansand non-Germans to cross with the right documents andpermissions.

Friedrichstrasse recovered its commercial and cultural status aswell as the dense urban fabric that once was a few decades ago.Restaurants, hotels, shops, cafes, theatres and sourvenir shops areall part of the glitter of the street that made it Berlin's traditionaland entertainment centre.

Chausseestrasse has been developing rapidly although only in thepast decade. Up to now there are a lot of construction worksongoing and gaps still to be fulfilled. There are interestingrelationships emerging when the new structures meet some of theold industrial buildings/fragments including chimneys.

Around the site there is a mixture of old and new with residentialand commercial buildings that are slowly making Chausseestrassean important street within the city like Friedrichstrasse andothers main arteries highlighted on the drawing, including Unterden Linden and Leipziger Strasse.

Scale 1:20000

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CHAUSSEESTRASSE-FRIEDRICHSTRASSE 1943

This drawing shows the density of the urban fabric as it was before war. The uniform street grid is along Friedrichstrasse, one of the main arteries of the city. Friedrichstrasse is the commercial centre of the city also known for its culture and economy status. The uniform street pat-tern breaks further north reaching Chausseestrasse as more gaps start to appear within the city blocks. On this part of the city most buildings are residential with some commercial sectors mainly on the first floor.

CHAUSSEESTRASSE-FRIEDRICHSTRASSE 1953

The damage caused by bombs from Cold war and World War II has clearly left a mark, as shown on the drawing. The center was the most harmed, where most of the main buildings along Friedrichstrasse have disappeared or were heavily damaged. Chausseestrasse in contrast had less areas destructed, however as it is a less important street, there was a struggle to gather founds for redevelopment, where as Friedrichstrasse started construction works for re-development later in 1953.

CHAUSSEESTRASSE-FRIEDRICHSTRASSE 1984

The division between East and West Berlin was one of many histori-cal events that highlight the city’s struggle to develop. The map shows the slow recovery of Berlin since war in the 1940’s. Most of the con-struction development occurs in the central area of Friedrichstrasse although clearly there are a lot of gaps, noticeable at the ends of both streets in north and south.

CHAUSSEESTRASSE-FRIEDRICHSTRASSE 1984

The Berlin wall (1961-1989) is highlighted very delicately to show the East and West boundaries within the drawing. Interesting two wall checkpoints cross the drawing on the two different streets. Chaus-seestrasse checkpoint was opened only for Germans; where as Check-point Charlie in Friedrichstrasse was opened for Germans and non-Ger-mans to cross with the right documents and permissions.Friedrichstrasse recovered its commercial and cultural status as well as the dense urban fabric that once was a few decades ago. Restaurants, hotels, shops, cafes, theatres and sourvenir shops are all part of the glitter of the street that made it Berlin’s traditional and entertainment centre.Chausseestrasse has been developing rapidly although only in the past decade. Up to now there are a lot of construction works ongoing and gaps still to be fulfilled. There are interesting relationships emerging when the new structures meet some of the old industrial buildings/fragments including chimneys.Around the site there is a mixture of old and new with residential and commercial buildings that are slowly making Chausseestrasse an important street within the city like Friedrichstrasse and others main arteries highlighted on the drawing, including Unter den Linden and Leipziger Strasse.

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. . . . . The site . . . .

The site

The site is located in the north of Berlin in the area of Mitte. The boundaries are defined by asensitive survey exploring the conditions of the area which include: distance of adjacentbuildings, position of windows and buildings that could be demolish. The possible area forconstruction covers 12000 m2 to 14000 m2 on ground level; the opportunity of reusing thechimney and the workshop becomes part of the strategy, consisting of building within the cityblock to create a hidden world and a relationship with existing building and urban context.Scale 1:1000

Existing buildings within site at scale 1:500Site context at scale 1:1000

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Site Commercial Educational Government ResidentialCommercial and residential

The site - Spatial qualities

The site is located along Chausseestrasse covering around 12000 m2 that intersect the city block ending along Zinnowit-zer strasse. There are a number of pavilions within the block, some that survived the war catastrophes from the 1940’s; these include a chimenee and another two small buildings; Another small building is located at the far end built post-war.These spatial drawings show the relationship between the pavilions and the buildings defining the site.

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. . . . . The site . . . .

THE SITE

The site is located along Chausseestrasse next the U-bahn train station of Naturkundemuseum. This part of Berlin used to be a relatively industrial and residential sector with chimneys and other fragments still exist-ing after war during the 1940’s. After the bombing, the redevelopment of the city enabled the area to increase its commercial status particularly for its location, not far from the city centre.The site consists of two lands with a series of abandoned buildings in-between, these survived the war catastro-phes. The location offers an opportunity for working with these existing fragments, whilst creating a modern struc-ture that fits within its context and environment.

Chausseestrabe checkpoint

Checkpoint Charlie

Leipziger Strasse

Zimmerstrasse

Unter den Linden

Torstrasse

Invalidenstrasse

Chausseestrabe

Friedrichstrabe

N

Scale 1:5000

Chausseestrasse - FriedrichstrasseContemporary, 2011

Site

The Berlin wall (1961-1989) is highlighted very delicately to showthe East and West boundaries within the drawing. Interesting twowall checkpoints cross the drawing on the two different streets.Chausseestrasse checkpoint was opened only for Germans; whereas Checkpoint Charlie in Friedrichstrasse was opened for Germansand non-Germans to cross with the right documents andpermissions.

Friedrichstrasse recovered its commercial and cultural status aswell as the dense urban fabric that once was a few decades ago.Restaurants, hotels, shops, cafes, theatres and sourvenir shops areall part of the glitter of the street that made it Berlin's traditionaland entertainment centre.

Chausseestrasse has been developing rapidly although only in thepast decade. Up to now there are a lot of construction worksongoing and gaps still to be fulfilled. There are interestingrelationships emerging when the new structures meet some of theold industrial buildings/fragments including chimneys.

Around the site there is a mixture of old and new with residentialand commercial buildings that are slowly making Chausseestrassean important street within the city like Friedrichstrasse andothers main arteries highlighted on the drawing, including Unterden Linden and Leipziger Strasse.

Scale 1:500071

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ELEVATIONS AND SITE SURVEY

During the trip in Berlin there were a few surveys done in detail in order to understand the site. By dividing the area of the site into sectors, we have managed to survey the sector in detail.Most of the buildings consist of commercial use on the ground floor with residential spaces from first floor up-wards. There is a lot of work under construction including Berlin’s CIA just a few meter off the site along Chaus-seestrasse. Balconies and large openings are predomi-nant, as well as repetitive concrete facades. A few party walls and gaps define the damages that war once done to the city.

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1. Elevation along Chausseestrasse.

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2. Elevation of Habersaathstrasse

CIA under construction

3. Elevation of Schwartzkopffstrasse

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The site - Spatial qualities

The site is located along Chausseestrasse covering around 12000 m2 that intersect the city block ending along Zinnowit-zer strasse. There are a number of pavilions within the block, some that survived the war catastrophes from the 1940’s; these include a chimenee and another two small buildings; Another small building is located at the far end built post-war.These spatial drawings show the relationship between the pavilions and the buildings defining the site.

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SITE SPATIAL QUALITIES

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Survey of existing pavilions on site including the abandoned indus-trial building and chimney which is planned to be part of the museum proposal.

Site 1A has a few trees that could be interesting to keep. There are pos-sibilities to keep them and create a green area that leads towards the museum or simply provides a land-scape to the sector. These are typi-cal in Berlin and are well spread out along the urban fabric.

SITE SURVEY

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. . . . . Spatial typologies II . . . .

Spatial typologies II

These set of typologies fills the gaps/plots on opposite corners to define the block of the cityand enable a low building in the middle to emerge. It links the two areas which couldbecome public spaces or buildings. As the typologies develop, a interesting relationshipemerges between between context and building.

Scale 1:2500

Building defining edge of block ingray which could be programmedfor offices. Long thin buildingintersecting block, generating arhythm of courtyards from locationof existing fragments.

Piece intersecting interior of block,broken into sections to provideaccess from one side of the site tothe other.

Building in the middle covering asmuch area as possible withoutbreaking the boundary.

Long courtyard which could providenatural ventilation and sun light,with a juxtaposed building (gray) todefine the edge of the block.

Thinner piece coming from thelayout of the existing building. Athin building could offer a directjourney for the user.

Long thin building juxtaposed bytwo buildings on either end. Thestrategy behind it is to define all theedges of the city block.

Piece intersecting interior of block,broken into sections to provideaccess from one side of the site tothe other.

Building in the middle covering asmuch area as possible withoutbreaking the boundary.

Long courtyard which could providenatural ventilation and sun light,with a juxtaposed building (gray) todefine the edge of the block.

Thinner piece coming from thelayout of the existing building. Athin building could offer a directjourney for the user.

Compact building defining Streetwith opportunity for many floors andviews to emerge.

Individual buildings on either end todefine a civic space within theblock.

Area added to lower the buildings inorder to have a greater heightrelationship with context.

Located along zinnowitzer strasseto enable a large civic space alongChausseestrasse to become themain entrance.

Building covering all the areallowed by the site boundary.Rhythm of courtyardscounterbalance the mass of thebuilding.

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TYPOLOGIES - DEVELOPMENT

This brief has a strong relationship to the design of the museum for Gerhard Richter. It begins with a wide re-search on typologies where one slowly incorporates the contextual analysis achieve in Berlin, along with knowl-edge and strategic ambitions for the project.This exercise begins to define the parameters of the site and the possible urban typologies that could be accom-modated in order to ask questions and develop a strate-gy. Here are a series of typologies looking at the existing fragments on site, which are to be used. In certain cases it provides courtyards (top right), in others it connects the two sites (1A and 1B) through a long building. In another scenario the existing walls from the pavilions become part of the building that could hold Richter’s collection.

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Using gray tones to high-light plots and streets.

On these typologies the condition of adjacent buildings start to dictate a rhythm or particular style for museum. In certain cases the open spaces become public spaces that could be garden/park/landscape. In others it be-comes a building that defines the city block, this could be a separate program such as offices or even part of the museum.

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So far the typologies are not focusing on a specific sub-ject to explore alternative options and strategies. In most the existing walls are kept and create a grid that could possibly organise the layout within the building. Pas-sages, connections and interstitial spaces.

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SPATIAL TYPOLOGIES - PLAN

Spatial typologies II

These set of typologies fills the gaps/plots on opposite corners to define the block of the cityand enable a low building in the middle to emerge. It links the two areas which couldbecome public spaces or buildings. As the typologies develop, a interesting relationshipemerges between between context and building.

Scale 1:2500

Building defining edge of block ingray which could be programmedfor offices. Long thin buildingintersecting block, generating arhythm of courtyards from locationof existing fragments.

Piece intersecting interior of block,broken into sections to provideaccess from one side of the site tothe other.

Building in the middle covering asmuch area as possible withoutbreaking the boundary.

Long courtyard which could providenatural ventilation and sun light,with a juxtaposed building (gray) todefine the edge of the block.

Thinner piece coming from thelayout of the existing building. Athin building could offer a directjourney for the user.

Long thin building juxtaposed bytwo buildings on either end. Thestrategy behind it is to define all theedges of the city block.

Piece intersecting interior of block,broken into sections to provideaccess from one side of the site tothe other.

Building in the middle covering asmuch area as possible withoutbreaking the boundary.

Long courtyard which could providenatural ventilation and sun light,with a juxtaposed building (gray) todefine the edge of the block.

Thinner piece coming from thelayout of the existing building. Athin building could offer a directjourney for the user.

Compact building defining Streetwith opportunity for many floors andviews to emerge.

Individual buildings on either end todefine a civic space within theblock.

Area added to lower the buildings inorder to have a greater heightrelationship with context.

Located along zinnowitzer strasseto enable a large civic space alongChausseestrasse to become themain entrance.

Building covering all the areallowed by the site boundary.Rhythm of courtyardscounterbalance the mass of thebuilding.

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Scale 1:500083

Spatial typologies II

These set of typologies fills the gaps/plots on opposite corners to define the block of the cityand enable a low building in the middle to emerge. It links the two areas which couldbecome public spaces or buildings. As the typologies develop, a interesting relationshipemerges between between context and building.

Scale 1:2500

Building defining edge of block ingray which could be programmedfor offices. Long thin buildingintersecting block, generating arhythm of courtyards from locationof existing fragments.

Piece intersecting interior of block,broken into sections to provideaccess from one side of the site tothe other.

Building in the middle covering asmuch area as possible withoutbreaking the boundary.

Long courtyard which could providenatural ventilation and sun light,with a juxtaposed building (gray) todefine the edge of the block.

Thinner piece coming from thelayout of the existing building. Athin building could offer a directjourney for the user.

Long thin building juxtaposed bytwo buildings on either end. Thestrategy behind it is to define all theedges of the city block.

Piece intersecting interior of block,broken into sections to provideaccess from one side of the site tothe other.

Building in the middle covering asmuch area as possible withoutbreaking the boundary.

Long courtyard which could providenatural ventilation and sun light,with a juxtaposed building (gray) todefine the edge of the block.

Thinner piece coming from thelayout of the existing building. Athin building could offer a directjourney for the user.

Compact building defining Streetwith opportunity for many floors andviews to emerge.

Individual buildings on either end todefine a civic space within theblock.

Area added to lower the buildings inorder to have a greater heightrelationship with context.

Located along zinnowitzer strasseto enable a large civic space alongChausseestrasse to become themain entrance.

Building covering all the areallowed by the site boundary.Rhythm of courtyardscounterbalance the mass of thebuilding.

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Spatial typologies II

Scale 1:2000

A B

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Spine or corridor with offset roomsdictated by regular shapes.

Offset rooms dictated by regularshapes with large volume at the farend for a possibility of an entrance.

Consistent route through buildingenabling courtyards to open up.

Courtyards and rooms on re sidewith circulation spine on other side..

Angular walls emerging from a 45degree angled, offering anintriguing route within the building.

Inversed walls from previous study,these method is more convenientfor sun light protection.

Regular rectangular shaped roomsat an angle without interfering withmiddle spine as circulation area.

Repetitive thin 'L' Shaped buildingsat an angle that come together toopen up a series of courtyards.

Small squares within a griddictating circulation within building.

Two long volumes defining buildingwith opportunity of contrastingspaces on either side.

Building defined by courtyardswithin and rooms offset corridors.

Broken mass into two volumes fordifferent uses, connected by smallspaces.

Long building with courtyard offsetthe corridor rather than rooms.

long mass with courtyards withindefining circulation area.

Building defined by misalignedrooms with courtyards within them.

Angular courtyards within thebuilding.

SPATIAL TYPOLOGIES - AXONOMETRIC

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Spatial typologies II

Scale 1:2000

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Spine or corridor with offset roomsdictated by regular shapes.

Offset rooms dictated by regularshapes with large volume at the farend for a possibility of an entrance.

Consistent route through buildingenabling courtyards to open up.

Courtyards and rooms on re sidewith circulation spine on other side..

Angular walls emerging from a 45degree angled, offering anintriguing route within the building.

Inversed walls from previous study,these method is more convenientfor sun light protection.

Regular rectangular shaped roomsat an angle without interfering withmiddle spine as circulation area.

Repetitive thin 'L' Shaped buildingsat an angle that come together toopen up a series of courtyards.

Small squares within a griddictating circulation within building.

Two long volumes defining buildingwith opportunity of contrastingspaces on either side.

Building defined by courtyardswithin and rooms offset corridors.

Broken mass into two volumes fordifferent uses, connected by smallspaces.

Long building with courtyard offsetthe corridor rather than rooms.

long mass with courtyards withindefining circulation area.

Building defined by misalignedrooms with courtyards within them.

Angular courtyards within thebuilding.

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Spatial Typologies II - Model studies

These four variations are explored at different times of the day with the aim of analysing the consequences of having a low building surrounded by the heights of the site context. The typologies consist of the building intersecting the city block and been defined by the spine as a corridor, with rooms offset on either side with a specific rhythm dictated by the location of the existing chimney. The same method generates gaps, which become courtyards and create a spa-tial and visual relationship between the spaces within the building.

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CHOSEN TRYPOLOGIES

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Spatial Typologies II - Model studies

These four variations are explored at different times of the day with the aim of analysing the consequences of having a low building surrounded by the heights of the site context. The typologies consist of the building intersecting the city block and been defined by the spine as a corridor, with rooms offset on either side with a specific rhythm dictated by the location of the existing chimney. The same method generates gaps, which become courtyards and create a spa-tial and visual relationship between the spaces within the building.

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