Academic Portfolio_Stage 3_2020 2021_B. Osta.pdf

ACADEMIC PORTFOLIO - STAGE 3
ARCHITECTURE
2020 - 2021
180404753
Benjamin Osta

Reflective Report
City Ruins
Ruin Lust
Homework
City Grain
City Building
City Threshold
Appendix
Cultural Bibliography
Thinking Throug Making
Thematic Case Studies
Sketchbook Work
Bibliography & List of Figures
CONTENTS ACKNOWLEDGEMENTS
I would like to thank my tutors, Harriet Sutcliffe and Jack Mutton for the help they provided
me during this difficult year. They inspired me to push my boundaries into this project making
it the best learning experience so far.
I would also like to mention my parents who supported me throughout these past three years,
as well as my girlfriend Ines.
6
8
16
26
30
48
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112
114
124
130
164
170
New or amender work
Group work

REFLECTIVE REPORT
Considering the current pandemic and the level required, this third year of university has been
incredibly stressful and hard, but very rewarding in retrospective. I believe the studio I was in
was the perfect match for what I want to do in the future. And what I most enjoyed was that it
was a very realistic and grounded approach to a project. It taught me how to explore ruins, grab
their essences and apply them in a design idea. I believe this skill will be essential in the future
to understand and respect the surroundings and atmosphere of any project whilst exploring
my own style.
Nature takes over architecture by hiding it or exposing it. The first way I explored this idea was
through the sculptural piece from the Ruin Lust brief, and it is what imbedded that idea into my
design.
What caught my eye on the Albion Row site was the existing buildings bordered by nature as
well as the atmosphere surrounding them. Said atmosphere is due to Ouseburn, a gentrifying,
fashionable, and industrial neighbourhood in Newcastle. I am particularly keen on preserving
existing ruins, but I am not afraid to completely modify said ruin’s appearances to create or
celebrate a new active location in the city.
Later in the project, and mainly due to the Technology essay, I got really interested into
materiality and sustainability through the use of Cross-Laminated Timber (thereafter ‘CLT’).
It was crucial for me to understand how to use it and integrate it into my building. Ouseburn is
very green and ecology-oriented, so I felt it was mandatory to create a relatively green build-
ing. Using a sustainable structure like CLT also allowed some more freedom when choosing the
other materials used on the project like Corten Steel. Another sustainable material used on
most of the project is re-used railway sleepers; the cladding of most buildings will be covered
with this timber, which is also a good sustainable replacement of concrete and gives a similar
style.
Visiting Ouseburn multiple times this year, whether going for a photography walk and looking
at the many murals or for food and drinks with friends, I really fell in love with the neighbour-
hood. I enjoy its architecture styles merging together, and its different artistic, historical, and
social activities. Indeed, I had to find a way to link my idea of connecting nature to architecture
with the industrial look of my site.
Thus, to integrate nature into my design, I created a meshed timber cladding resembling vines
growing onto the façade. As Ouseburn is quite an artistic area, in addition to the aesthetic
problematic, I wanted to create an artistic activity space for the residents and the inhabitants
of Ouseburn to use. Moreover, Ouseburn is a very “healthy lifestyle” oriented neighbourhood,
so I thought that adding a gym was also essential for the wellbeing of residents. The use of
Corten steel for the cladding of the art building celebrates the past of the building as it was a
metal factory. It also created a very visible structure on the hill side site of Albion Row.
I was born in the south of France and had the chance to visit multiple times Rudy Ricciotti’s
MUCEM in Marseille, which is one of my favourite buildings ever. I really enjoy its concrete mesh
surrounding most of the building and really wanted to implement something similar onto my
residential building. Ricciotti’s ability to incorporate natural elements to architecture does not
stop there, indeed, the Jean Cocteau Museum in Menton, France also has algae-like windows
and openings all around the building.
After the final review I realized that I needed to connect my buildings to give the opportunity to
residents to navigate between them as if they were one. Therefore, I connected my residential
building with the existing building with a footbridge. This was also inspired by the MuCEM which
has a bridge connecting the historic sea front and castle to the terrace of the building.
My design has thus been inspired by Rudy Ricciotti, Jean Nouvel, Stefano Boeri and Tadao Ando.
Respectively I have tried to merge their artistic styles, use of nature in architecture and bru-
talist style into my design. Working closely with the work of these artists and borrowing ideas
from their projects was challenging but most of all really inspiring.

CITY RUINS
This studio engages with ideas concerning context, historical narrative and materials. The
work is created through a process of researching and attention rather than invention. It is
about the attention to details about a chosen site and its surroundings. The architecture
created along the brief is timeless, or rather “contemporary yet not isolated in time.”
This year revolved around ruins, their meaning, their representation, and their celebration.
It was about celebrating ruins through the creation of a more sustainable and re-used
oriented design project. There was still a large amount of freedom surrounding this project
because we could focus on different aspects of ruins and how we chose to represent
them; whether by preserving or celebrating them through a visual representation in our
respective designs.
I personally chose to depict the inter-relationship between nature and ruins. Nature
tends to take over any sort of structure when there is no human activity or care. Through
artistic exploration I chose to incorporate nature into my design by representing this idea
of duality where nature covers and exposes architecture simultaneously.
City ruins is all about discovering the meaning of ruins in the city through a personal
exploration. I therefore packed my camera and walked around my neighbourhood and city
to discover these ruins with a more curious and critical eye than I did before.
(framing)

10 11
Ruin Photography
This first set of photographs was taken
in the St. Andrews cemetery, in Jesmond,
Newcastle. It was, for me, the first
most logical place to visit to find ruins,
especially since this cemetery has tomb
stones dating before the First World
War. I thought that the message given
by the photographs of the tombs, the
statue of the Mary, and the broken-down
chapel created an interesting composition
depicting a particular sort or ruin. Said
ruin show a more negative or sad image,
indeed, representing death and oblivion.
Fig. 1 Photographs of a chapel in St. Andrews Cemetery, Jesmond, Newcastle.
Fig.2 Map showing the different areas of Newcastle explored tp find ruins
Fig. 2
Fig. 3 Fig. 4
Fig. 5
Fig. 3 Photgraph of graves in St. Andrews Cemetery
Fig. 4 Photograph of statue on a grave in St. Andrews Cemetary
Fig. 5 Photgraph of abandoned chapel in St. Andrews Cemetery

12 13
Doors and windows of derelict buildings
are interesting parts of ruins. These
three photographs show the different
degrees of ruin which give off interesting
atmospheres,fromfrighteningtomystical.
Indeed, the scary side of a door in ruins
is that it is sometimes hard to tell if the
building is abandoned or not; it gives a
forbidden feeling to ruins. However, when
a door is almost completely covered in
vines and well hidden, it gives off a sort
of magical or mystical feeling to what is
behind it.
The Jesmond Dene has lots of ruins
scattered in different parts of the park.
Some of them are on the public paths,
others are completely invisible and
secret and can only be found by venturing
and walking through the forest. The
ruins which I found in the Dene and their
inter-relationship with nature really
inspired my later work in the Ruin Lust
pieces and in my design project.
Fig. 6 Fig. 7
Fig. 8
Fig. 9
Fig. 10
Fig. 6 Photograph of a door from an abandoned house in Jesmond, Newcastle
Fig. 7 Photograph of a ruined door in Jesmond Dene, Newcastle
Fig. 8 Photograph of a window from an abandoned house in Jesmond
Fig. 9 Photograph of a ruin in Jesmond Dene
Fig. 10 Photograph of the ruined water wheel in Jesmond Dene

14 15
On these two photographs as well as
the one on page 8, one can observe
nature invading architecture. It indeed
camouflages and breaks down the ruin
into different details, which forces the
eye to take a better look at the visible
parts of said architecture. I then thought
it would be a good idea to use these
details to my advantage. Nature or my own
representation of it could help conceal or
hide some part of my design.
Fig. 11
Fig. 12
Fig. 13
Fig. 11 Photograph of a brick structure in Jesmond Dene
Fig. 12 Photgraph of a stone tunnel in Jesmond Dene
Fig. 13 Photograph of the window of an abandoned chapel in St. Andrews Ceme-
tery

RUIN LUST
This part of the brief was all about representing the observations we made during city
walks. We had to work with the photographs made during the City Ruin part of the brief
and create 2D and 3D artistic pieces representing what we learned and remembered from
this activity.
I personally tried to demonstrate how nature can hide or put forward architecture. To do
so I chose to use stamping for the 2D piece and casting for the 3D one. I did not really focus
on materiality for this part of the project but rather focused on creating something that
would represent my idea of ruins.
I believe this part of the brief was the first approach of creating a complete A to Z brief:
from an abstract idea to the process and realisation, and to finally presenting it. This was
the foundation of our design project and development.
(framing)

18 19
Artistic Influences
Rachel Witeread
Rachel Whiteread is an English artist who
primarily produces casted sculptures. She
was the first woman to win the Tumer
Prize in 1993. I particularly enjoy her ability
to reproduce an object or element and
represent it through a sculpture. She can
successfully represent what is invisible
by casting actual negative spaces. For
example, the cast of the space between
bookshelves really resonates with the
idea of nature camouflaging architecture,
sometimes making it invisible.
Mike Nelson
Mike Nelson is a British contemporary
installation artist. I absolutely love his
representation of ruins and dereliction,
especially the destroyed room called
‘Re-examined Territories’ he presented
at the British pavilion in Venice. It creates
a parallel about destruction with my idea
of ruins. Indeed, by creating destruction
the observer can forget he is in a
simple white room, and said destruction
creates interesting details. He gave me
the idea of using expanding foam in my
three-dimensional piece. His sculpture
made from constructional steel rods for
reinforced concrete created another
parallel with my own idea of what a ruin
is. One can indeed see the overall shape
created by those steel rods but can
only see specs of the concrete that is
supposed to be casted over. I can also
be representing the effect of time on a
structure, as if water eroded the concrete
and only left the metallic structure. I
really enjoy those kinds of parallels with
what nature does to an abandoned struc-
ture and Mike Nelson’s installations.
Fig. 15
Fig. 16
Fig. 17
Fig. 18
Fig. 14 Photograph of the Ruin Lust sculpture piece
Fig. 15 Photograph of the sculpture Ghost of the Past by R. Witeread
Fig. 16 Photograph of the sculpture Untitled (Book Corridors) by R. Witeread
Fig. 17 Photograph of the installation Re-examined Territories by M. Nelson
Fig. 18 Photograph of an installation by M. Nelson

20 21
Christo
Christo and Jeanne Claude are one of
the most famous installation artists in
the world. They are indeed famous for
wrapping structures or nature on a very
large scale. Their art has for goal to cover
architectural structures or to expose
natural elements by covering others.
The covering of the Reichstag in Berlin
which exposes some of the details poking
through the foliage really relates do what
nature would do if it “swallowed” an entire
building. Their project of the floating
piers on lake Iseo also valorises nature by
creating a highlight stroke around a small
island on the lake. I personally enjoy the
duality of exposing or covering their proj-
ects in similar ways that nature does with
abandoned structures.
Fig. 19
Fig. 20
Fig. 21 Abstract charcoal drawing of the relation between architecture and ruin
Fig. 19 Photograph of the covered Reich by Chisto
Fig. 20 Photograph of Walk on Water by Christo

22 23
Stamping
My idea behind the stamping process was
to do a one dip into the paint and stamp
multiple times on a white piece of paper.
The goal of processing like that was to
show the sort of gradient effect nature
has on camouflaging a brick wall. I chose
the brick pattern because it is a universal
shape that can be recognized anywhere. It
also has a lot of straight horizontal and
vertical lines which would be broken down
by a vine growing on it.
For my final stamp piece, I chose to invert
thebricksonthestampforamoreimpactful
aesthetic. This emphasized the structural
aspect and added more contrast to the
effect of camouflaging.
Fig. 22
Fig. 23
Fig. 24
Fig. 25
Fig. 22 First attempt of stamping, representing nature hiding architecture
Fig. 23 Photograph of the stamp made out of foamboard and cardboard
Fig. 24 Photograph of the final stamp piece
Fig. 25 Photograph of the stamp used for the final piece

24 25
Sculpting
These drawings are the abstract of what I
wantedtoachieveinmysculpture.Thegoal
is to represent the erosion of any natural
elements on the geometrical structure.
This erosion represents the void that a
thick vine growing on a building’s façade
would create.
The realisation of this project was
relatively simple but a little dangerous
due to the use of extremely flammable
and toxic expanding foam. Having used
it before, I was not as concerned as my
tutors were.
The result was surprisingly successful, so
I decided to make another one by adding a
lot more expanding foam in it to emphasize
the effect.
Fig. 27
Fig. 28
Fig. 29
Fig. 30 Fig. 31
Fig. 32
Fig. 27 Charcoal and colour pencil drawing behind the ruin lust piece
Fig. 28 Abstract drawing behing the ruin lust sculpture piece
Fig. 29 Photograph of the mold with expanding foam
Fig. 30, 31 & 32 Photographs of the ruin lust sculpture pieces representing na-
ture taking over architecture

28 29
Fig. 34
Fig. 35
Fig. 36
Fig. 33 Personnal mood board for the Homework precedent analysis
Fig. 34, 35 & 36 Pieces and section for the Homework group presentation

CITY GRAIN
Following the artistic research done in the first part of the brief, City Grain was our
first real interaction with a site and its surroundings. It is all about the understanding
of a wider urban strategy and its integration in the city. A thorough site analysis was
therefore needed for us to ensure that our comprehension of the site and surroundings
we had to work on was as clear as possible. A good site analysis warrants a design project
with a good integration within the city around it.
(framing)

32 33
Site
I chose the Albion Row site. It is a
semi-active site with an abandoned metal
factory. The site extends on over 100
meters from East to West. It is located
between Ouseburn and Byker on a hillside,
offering a great view of Ouseburn valley
and the rest of Newcastle.
Fig. 38
Fig. 37 Photograph of the fixed crane in Ouseburn, Newcastle
Fig. 38 Plan locating the Albion Row in Ouseburn and Newcastle

34 35
History
The Ballast Hills Burial Site
It is the most important non-conformist graveyard
of Newcastle dating from 1609, formerly known as
Plaguey Fields or Grannies Park. The name comes from
the mounds of ballast which were deposited in the
area. The path close to the Ouseburn school, however,
was created in 1930 using 200 headstones from the
burial ground and was laid out as a play area.
The most probable history of this site is that it was
where the earliest Scottish emigrants buried their
dead. The site used to be much larger for houses and
glasshouses have been built over the graves which
were outside the present enclosed ground. It contained
around 621 gravestones in May 1917 and must now
exceed 700. No funeral services were ever read as the
ground was never attached to any church.
‘More bodies are interred in this burying-ground than
in all the church yards in the city’. Therefore, the site
was inadequate to accommodate the occupants without
disturbing the remains of the dead and instil distress
to the living.
Fig. 39 Fig. 40
Fig. 41
Fig. 39 Photograph of a tombstone from the Ballast Hill burial ground in Ouse-
burn
Fig. 40 Photograph of a path of the Ballast Hill burial ground in Ouseburn
Fig. 41 Map from the 19th century showing Ouseburn

36 37
GATESHEAD
NEWCASTLE
UPON TYNE
OUSEBURN
BIKER
SOUTH HEATON
JESMOND
CITY CENTRE
WALKERGATE
SHIELDFIELD
QUAYSIDE
RIVER TYNE
GATESHEAD
NEWCASTLE
UPON TYNE
OUSEBURN
BIKER
SOUTH HEATON
JESMOND
CITY CENTRE
WALKERGATE
SHIELDFIELD
QUAYSIDE
RIVER TYNE
Context
Ouseburn is a small valley between the
centre of Newcastle, Byker, Heaton
and Jesmond. It is a very industrial yet
gentrified neighbourhood of Newcastle
with a lot of inhabitations, activity and
commercialspaces.Theoverallatmosphere
is very trendy, and ecology-orientated.
NEWCASTLE
UPON TYNE
Fig. 42
Fig. 43 Fig. 44
Fig. 45 Fig. 46
Fig. 42 Map of the United Kingdom locating Newcastle upon Tyne
Fig. 43 Diagram showing the different neighbourhoods arround the Albion Row
site
Fig. 44 Diagram showing the different greenspaces and activity spaces (bars,
museums, shops...) in Ouseburn
Fig. 45 Satelite view of Ouseburn
Fig. 46 Photograph of the toffee factory and the river Ouse in Ouseburn

38 39
Ouseburn is a very social meeting point
for people in Newcastle. It is connected
to three different neighbourhoods and
directly connected to Newcastle through
the quayside which makes it a very popular
placetobein.ThevalleyofOuseburnhosts
the river Ouse, a little river that flows all
the way to the Tyne. The neighbourhood
also has a lot of street art graffities and
murals all over. There are also many art
studios, galleries and shops.
Fig. 49
Fig. 50 Fig. 51
Fig. 52 Fig. 53
Fig. 49 Photograph of stairs leading toward the Albion Row site, Ouseburn
Fig. 50 Photograph of the many graffiti and river Ouse, Ouseburn
Fig. 51 Photograph of gafitti and residential complex in Ouseburn
Fig. 52 Photograph of the Tyne Bar, Ouseburn
Fig. 53 Photograph of the river Ouse, and a residential building

40 41
The river Ouse is quite polluted and
unattractive but works in harmony with
the atmosphere surrounding Ouseburn.
There are a lot of abandoned buildings
which are, for three of them, the available
sites for our design project. There are
also many trees and green spaces and
parks scattered around Ouseburn which
contrast a lot with the industrial style of
the buildings.
These two charcoal drawings are from
the site I chose and depict very well
the industrial part of Ouseburn. These
rough industrial buildings surrounded by
barbwire and pile of metals in the depot
contrast well next to the photographs
of the river, the parks and the art. The
photograph on page 44 really shows the
roughness of the materiality that is used
into those industrial buildings.
Fig. 54
Fig. 55
Fig. 56
Fig. 57
Fig. 54 Photograph of the Ouse pourring out into the Tyne
Fig. 55 Photograph of the abandoned Scrap Metal Works factory, some ware-
housed and the park, Ouseburn
Fig. 56 & 57 Charcoal drawing showing the scrap metal tip and the buildings on
the Albion Row site

42 43
The materiality of Ouseburn is quite rough
but works in harmony with the overall
atmosphere. Most of the buildings are
made of bricks or stone. Almost all of
them use different types and colours of
bricks. Some, however, got their colour
because of their degradation through
time, some longer than others, which
gives each building a unique colour that
contrasts perfectly with the large amount
of greenery.
Fig. 58
Fig. 59
Fig. 60
Fig. 58 Photograph showing the rough industial materiality of the Albion Row
Site
Fig. 59 Photograph of the Art Boat in the river Ouse, also showing the stone
materiality of Ouseburn
Fig. 60 Photograph of the Hotel du Vin & Bistro showing a beautiful brick laying
and facade in Ouseburn

44 45
Site Model
The site model shows the density of
Ouseburn, and the aerial photographs
show the many green spaces scattered
around the site. I had to re-make most
of the site model as the first we made as
a group had a lot of inconsistencies with
the dimensions in between the buildings
and the roads. It is important to have a
relatively precise site model in order to
have a proper idea of what the design
project will look like in its original context,
with the other existing buildings.
Fig. 61
Fig. 62
Fig. 63
Fig. 64
Fig. 61 Site model and context
Fig. 62 Satellite view of the residential area and Albion Row site in Ouseburn
Fig. 64 Satellite view of the residential area and Albion Row site in Ouseburn

46 47
Diagrams
The site model shows the density of
Ouseburn, and the aerial photographs
show the many green spaces scattered
around the site. I had to re-make most
of the site model as the first we made as
a group had a lot of inconsistencies with
the dimensions in between the buildings
and the roads. It is important to have a
relatively precise site model in order to
have a proper idea of what the design
project will look like in its original context,
with the other existing buildings.
Fig. 65
Fig. 66
Fig. 65 Map of Ouseburn
Fig. 66 Diagrams showing the different elements constituing Ouseburn

CITY BUILDING
City Building includes all the process work and the application of all the previous activities
done before. It was the hardest part of the project for me because I had applied all the
theoretical and artistic ideas into a design project. Thus, it took quite some time before I
could find a design that reacted and integrated to the site properly. However, I was set on
the materiality from the start with the use of Corten steel and railway sleepers.
This aspect of the project is where I really learned the most this year, if not since the be-
ginning of the course. Indeed, it did not start exactly like I wanted it to as I had to change
the design entirely multiple times, until I finally came up with a building idea that felt like
it was part of the site. This was mainly made possible thanks to the honesty of my tutors
and peers.
In the end, I believe that I found a design which I am proud of, and I learned that the process
towards such a goal consists of lots of ups and downs that I had to overcome.
(testing)

50 51
Rudy Ricciotti was born in 1952 in Alger. Growing up
and still living in the South of France, he developed
his work and agency there. For him, ‘architecture is a
combat sport’ (2013) and actually represents who he
is: an engineer, an architect, and even a philosopher.
He breaks the codes of architecture and has been
immensely recognized for it by winning several prices:
the National Award of the Architecture in 2006 and
the Gold Medal of the Academy of the Architecture
in 2013. He is a pioneer in the use of concrete. Being
mostly interested in the social dimension of building
and in projects requiring large amounts of labour, as it
is the only credible economic and political perspective
in his opinion, the products he uses are always local.
This sustainable side of his work leads him to use a
lot of concrete as it can only be produced globally. ‘He
is a defender of the made in France, at the edge of
economic patriotism’ (Chagnaud, 2015).
“Musée des Civilisations de l’Europe et de la
Méditerrannée”
The products used for this building, locally called
MuCEM, all come from a 50-kilometer radius. The
mesh concrete part of this building reflects to the
Mediterranean life and surrounding, the sea and
nature.
Rudy Ricciotti Jean Nouvel
As a French architect, Jen Nouvel breaks down the
aesthetics of modernism to create his own stylistic
language. His most important goal is to create a
harmony between its buildings and their surroundings;
to integrate them as much as possible. He is all about
visual and technical complexities and is defined by
critics as a conceptual architect. He won the famous
Pritzker Architecture Prize in 2008.
“Louvre Abou Dabi”
The intent of this building is to create a welcoming
world which associates the serenity of light and
shadows, the reflections and the calmness. The light
filters through the dome; it is like a beach umbrella
creating a ‘rain of light’. This tribute to nature was
inspired by the palm trees of the city.
Fig. 68
Fig. 69 Fig. 70
Fig. 71
Fig. 71
Fig. 67 Design project in context
Fig. 68 Portrait Rudy Ricciotti
Fig. 69 Photograph of the meshed concrete of the MuCEM, Marseille, France
Fig. 70 Photograph of the MuCEM, Marseille, France Fig. 71 Portrait of Jean Nouvel and the interior of the new Louvre in Abu Dabi

52 53
Stefano Boeri Tadao Ando
This Italian architect from Milan founded his studio in
2008 which is specialized in sustainability, development
and research. He seeks to develop inventive solutions
for different territorial and socio-economic contexts.
“Smart Forest City Cancun”
This proposal for the city of Mexico entwines nature
and urban fabric. The goal of this project would be
to give back occupied areas to nature and to be food
and energy self-efficient. It is based on traditional
heritage and its relationship with the nature and
sacred worlds, all of this within a contemporary city.
Born in 1941 in Osaka, Japan, Tadao Ando was raised by
his grandmother as rigorous, rational and independent
man. Brought up in the typical shitamachi of Osaka,
he used to frequent the workshop of a carpenter
after school. Through this experience, he developed a
sensitivity to materials, and even nowadays he always
goes back to 0, to the basics when he starts a new
project.
“Église de la lumière”
In this project, nature is stylized as it is limited to the
light which seems to purify the brutalist architectural
space. Most of the materials used are in their raw form.
This choice was made by Ando because he criticizes
a lot the trend to remove materiality and mainly use
artificial materials, without character. The intend
of this building was to put in contact the believers
coming to the church with nature as this one offers
simultaneously a contact with the representation of
nature – the rays of light coming in - and an abstract
nature - the natural materials left in the shadows.
“Temple Komyo-ji”
This project was based on a temple in ruins. Ando did
not have any constraints apart from the fact that it
had to look welcoming to the community. For Ando, it
is more than structural expressionism, therefore, the
structure of the temple symbolizes the reunion of the
faithful. From the inside, during the day, natural light
is filtered by the beams and from the outside, at night,
the light from the inside is filtered by the beams and
reflected on the water basin. Through this project,
Ando accepted the memory of the site, its context and
the surrounding climate.
Fig. 72
Fig. 73
Fig. 74
Fig. 75 Fig. 76
Fig. 72 Portrait of Stefano Boeri
Fig. 73 Smart Forest City concept, Cancun, Stefano Boeri
Fig. 74 Portrait of Tadao Ando
Fig. 75 Temple Komyo-ji by Tadao Ando
Fig. 76 Church of Light by Tadao Ando

54 55
Design Process
My way of working is quite simple, I must find a shape first, and test that
shape onto the site. I feel like its integration to the city is important
but I still leave a bit of freedom especially concerning the materiality.
The first designs I made were not successful, the overall forms of the
massing were way too complex and made the entire project confusing.
Therefore, I had to re-start and simplify my ideas to make them more
understandable and striking.
I am a big concrete lover, but unfortunately, it is not good for the en-
vironment, and definitely does not fit in a neighbourhood like Ouseburn
where the atmosphere is engaged for ecology and health. I had to find an
alternative. So, I remembered a precedent analysis project from stage
2 which used railway sleepers as cladding. I thought I would try it onto
my facades and it worked perfectly: it gave it this sort of green bru-
talism that I love so much. Also, the Corten steel is one of my favourite
materials simply for aesthetic purposes. I had to set my design into the
landscape as well by giving it something flashy and recognisable: large
Corten steel boxed windows. In addition to being quite practical for the
user as they can be used for storage, sitting or decoration purpos-
es, they are striking from both the inside and the outside. Finally, the
meshed cladding; I started by wanting to use fibered concrete, which,
again, is not very environmentally-friendly, and did not really relate to
this idea of nature ‘taking back’ and ‘climbing’ onto the façade.
I then went on to design the studio apartments for which I tried to cre-
ate spacious and luminous spaces. After collating a few apartments to-
gether and adding the cladding and the façade with the boxed windows,
I started to feel quite pleased with the design I was developing for this
project. However, the last issue concerning the residential building was
the cores. At first, they were bulky and angular, so I thought to round
them up so that the building could also relate to the river Ouse; I wanted
to create a sort of parallel between both. It also gave it a more natural
flow and aesthetic integrating it better into the landscape and context.
Moreover, I always wanted to work with glass bricks, but never had the
chance to in any of my previous designs. I think they are wonderful be-
cause the inhabitant can only see a small amount of details through them.
They almost act as a cliff-hanger for the large and individual boxed win-
dows inside the studio apartments.
Finally, the activity spaces. As I decided to fully re-use the existing
building but change their layout on the inside and the cladding on the
outside, I wanted to go all out. Especially for the main building, I came up
with a community art centre with a large workshop, many studios, class-
rooms, and a gallery with a viewing box on the top floor. Additionally, the
office and gym use the same timber than the residential building because
they need to be more discrete. I really wanted the art centre to be a
landmark into its context, hence the use of Corten steel for its cladding,
making it unique in the area.
I regret not doing the watercolours before the final review simply be-
cause they are quite easy and efficient to make, and also because they
depict a good representation of the overall colour scheme and materi-
ality. I therefore used them to really display how the materials interact
and contrast with each other.
Fig. 77
Fig. 78
Fig. 80
Fig. 81
Fig. 77 Drawing and space analysis of the Albion Row site Ouseburn
Fig. 78 Design iterations on site
Fig. 79 Programmatic study diagram (on page 58)
Fig. 80 Iterations for the patern on the meshed cladding for the north facing
facade
Fig. 81 Iterations for the boxed widows, and first use of Corten steel in the
project

56 57
Fig. 82 Fig. 83
Fig. 84
Fig. 85
Fig. 86 Fig. 87
Fig. 88
Fig. 89 Fig. 90
Fig. 82 & 83 First sketchup massing
Fig. 84 & 85 New layout massing of the residential buildings
Fig. 86 & 87 First concrete meshed cladding for the north facing facade
Fig. 88 Design of the studio apartments, the 2 bedroom apartments came later
in the project
Fig. 89 & 90 Skethup iteration with the organisation for the activity spaces

58 59
Fig. 91
Fig. 92 Fig. 93
Fig. 94 Fig. 95
Fig. 97
Fig. 98
Fig. 99
Fig. 91 Diagram shwoing the change of shape for the cores of the residential
building
Fig. 92 & 93 Final sketchup model of the design
Fig. 94 & 95 Sketchup model of the Art building, Offices, and Gym
Fig. 97 Materiality exploration diagram
Fig. 98 Watercolour from the coridor in the residential building
Fig. 99 Watercolour looking at the contrast between the corten steel from the
art building and the timber cladding of the residential building
Fig. 79
Circulation
Studio Apartments
Cores
Gallery / Cafe /
Rentable Art
Art Workshop
Offices Gym

60 61
Fig. 100 Watercoulour of the Art building and the north facade cladding covered
in Clematis and Whisteria

62 63
Floor Plans
Ground Floor -1

66 67
Fig. 101
Fig. 102
Fig. 101 and 102 Sketchup model showing the overall building and the activity
complex
First Floor

68 69
Fig. 103
Fig. 104
Fig.103 and 104 North facing facade and detail
Second Floor

70 71
Fig. 105
Fig. 106
Fig. 105 & 106 Sketchup model showing the footbridge connecting the art build-
ing and the residential building
Third Floor

72 73
Inhabitations
Fig. 107
Fig. 108
Fig. 107 & 108 Renders of the 40 m2 studio apartment
Second Floor inhabited residential building

74 75
Fig. 109
Fig. 110
Fig. 109 & 110 Renders of the footbridge between the residential building and the
art building
Bridge between the third floor and the art gallery

76 77
Fig. 111
Fig. 112
Fig. 113
Fig. 111 Render of the light well on the roof of the office building
Fig. 112 Render of the gym in the renovated warehouse
Fig. 113 Render of the workshop on the ground floor of the art building
Detailed Ground floor -1

78 79
Horse Chesnut
Oak
Hawthorn
Silver Birch
Common Lime
Whisteria
Ivy
Clematis
Fig. 114 Planting plan for the park and the north facing facade

80 81
Winter Solstice
11.52°
Summer Solstice
58.2°
Equinox
35.02°

Fig. 115
Fig. 116
Fig. 115 Diagram showing the advantages of boxed windows at different times of
the year
Fig. 116 Sunpath diagram and solar panels

82 83
UV cleaning system
Water Tank
Water
Pump

Fig. 117
Fig. 118
Fig. 119
Fig. 120
Fig. 122
Fig. 117 118 Water re-use diagrams Fig. 119, 120 122 Circulation diagrams

84 85
Fig. 123
Fig. 124
Fig. 125
Fig. 126
Fig. 123 Hierarchy diagram
Fig. 124 Geometry diagram
Fig. 125 Parti Plan diagram
Fig. 126 Parti Section diagram

86 87
1.a 1.b 1.c 1.d 1.e 1.f 1.g 1.h 1.i 1.j 1.k 1.l 1.m
1.n
1.o
1.p
1.q
2.a
2.b
2.c
2.d
2.e
2.f
2.m
2.g
2.h
2.i
2.j
2.k
2.l
2.n
2.o
3.a 3.b 3.c 3.d 3.e 3.f 3.g
4.a
4.b
4.c
4.d
4.e
4.f
4.g
5.a
5.b
1. Roof
1.a 50mm Bitumen mat
1.b 25mm plywood sheet
1.c 75mm hard sound insulation
1.d 5mm waterproof layer
1.e 140mm CLT panel
1.f 50 x 50mm Glulam beams
1.g 30mm battens
1.h 200mm Wool insulation
1.i 50 x 300mm Timber battens
1.j 100mm Hard insulation
1.k 2 13mm Plaster boards
1.l 100 x 100mm Timber supports
1.m Seal joint
1.n Metal bracket
1.o Waterproof membrane
1.p Metal gutter
1.q Solar Panel
2. Wall
2.a Double glazed window
2.b Aluminium window frame
2.c 100mm CLT panel
2.d 2.5mm Corten steel
2.e 100mm Wool insulation
2.f Vapour control layer and wind proofing
layer
2.g 50mm Railway sleepers cladding
2.h 20mm Pine boards interior cladding
2.i 340mm Vertical timber frame for cladding
2.j 45mm Hard insulation
2.k 450 x 450mm timber support beams
2.l 200mm Wool Insulation
2.m 100mm CLT wall panel
2.n Seal joint
2.o Metal bracket
3. Floor
3.a 30mm Wood parquet
3.b 2 13mm sound insulation and support mat
3.c 22mm Plywood sheet
3.d 130mm CLT floor panel
3.f Plater coating
3.g Timber and steel curtain pole
4. Foundations
4.a Waterproof membrane
4.b Metal bracket
4.c 500 x 250mm Timber support
4.d 130mm PVC drain
4.e Reinforced concrete
4.f Support gravel
5. Crawlspace
5.a Electrical sheath
5.b Drainpipes
Section Keys:
TECHNICAL SECTION AND ELEVATION STUDY
Benjamin Osta
180404753
30th April 2021
Fig. 127 1:20 Technical section and materiality study elevation

88 89
Fig. 128 South Facing elevation and integration into Ouseburn

90 91
Integration into the City
Fig. 129 City and project section

CITY THRESHOLD2.a
2.b
2.c
2.d
2.e
2.f
2.m
2.g
2.h
2.i
2.j
2.k
2.l
2.n
2.o
3.a 3.b 3.c 3.d 3.e 3.f 3.g
4.a
4.b
4.c
5.a
This final part of the project was all about showcasing, almost selling our project through
curated renders. It was personally the most enjoyable part of the project because it was
all about celebrating what I had done. The final review was also extremely insightful. Be-
cause of COVID-19, interacting with other students was quite hard, but the final review
really permitted us to interact, criticise, and appreciate each other’s work. It was very
useful to update and create more work after said review. It is after this feedback from the
tutors and my peers that I produced, I believe, my most successful and celebratory pieces.
(synthesis)

96 97
Fig. 132
Fig. 131 South facing elevation
Fig. 132 North side Art building render

98 99
Fig. 133
Fig. 133 North side Art building render and residential building

100 101
Fig. 134
Fig. 134 North facing cladding with ivy climbing the facade

102 103
SECTION AA
AA
BB
Fig. 135
Fig. 135 AA section

104 105
SECTION AA
AA
BB
Fig. 136
Fig. 136 BB section

106 107
Fig. 137 Materiality study of the Art building elevation

108 109
Fig. 138 Materiality study of the South facing cladding of the residential building

110 111
Fig. 139 Celebratory render of the connection between the art building and the
residential building

115
CULTURAL BIBLIOGRAPHY
My main hobby is photography, and it influences almost every artistic piece that I have and
will produce. Indeed, I put a lot of attention to any sort of visual representation because
as my grandfather would say ‘a sketch is worth a hundred words, a photograph is worth a
thousand sketches’. I mainly like artistic, architectural, and animal photography in compar-
ison to portraits because I find more captivating to capture these subjects than people. In
terms of architectural photography, I have a preference for ruins and historical buildings
especially when they contrast with a more modern context. I find modern buildings more
successful when they complement and support historical structures.
I am passionate about animal and nature photography because I was able to travel around
the world to many exotic countries, and photography was the only way to ever remember
every little detail of these journeys. The current world situation and growing population
leads us to need more and more inhabitations, hence using nature’s space and sometimes
destroying it. Preserving this nature is essential and I believe that as an architect stu-
dent and individual I have a duty to participate in this protection. A good way of helping
this cause is to create eco-friendly designs, use green materials, re-use buildings, add
nature into designs and plant trees.

116 117
La Bastidone, France, 2020
Carriere des lumiere, Beaux de Provence, France, 2019

122 123
I am not an avid reader, but I definitely
need some sort of visual and philosophical
inspiration for me to create and reflect on
my work. My favourite inspirational book
is In Praise of Shadows by J. Tanizaki. It
is a book about Japanese culture and the
appreciation of darkness and contrast,
from everyday objects, like cutlery, to the
shades of shadows needed in a traditional
Japanese house. It also describes the im-
portance of materials and what they rep-
resent in the Japanese culture compared
the European culture. The entire piece is
written in a very poetic way:
“The size of a comfortable little tea-
room, and the alcove pillars and ceil-
ing glow with a faint smoky luster, dark
even in the light of the candlestand, as
I gazed at the trays and bowls standing
in the shadows cast by that flickering
point of flame, I discovered in the gloss
of this lacquerware a depth and richness
like that of a still, dark pond, a beauty I
had not before seen.” (J. Tanizaki, 1933,
p.22)

THINKING THROUGH MAKING
This part of the project was all about making something. It is only after the final review
that I realised I did not use the workshop at all this year (mostly because of the sanitary
restrictions), but more importantly that I had never used a laser cutter before. I decided I
had to go into the university and learn how to use it to make the cladding that covers the
north facing façade of my residential building.
The result of the cut out was more successful and actually looked even better than on
the Sketchup models I had made previously. In a theoretical making of this façade, and with
150 to 250 millimetre timber, the manufacturer would probably use an industrial size CNC
cutter rather than a laser or plasma cutter due to the thickness and dimensions of the
material. The façade would also be divided into sections to ease the transport and later on
be assembled on site. On a model scale, the use of the laser cutter gave it a more weath-
ered look, as if it was on an exterior facade.

THEMATIC CASE STUDIES
Terrassenhaus
Brandlhuber+ Edme, Burlon and Muck Petzet Architekten
Berlin
2018

SITE AND CONTEXT
Terrassenhaus Berlin is located in North-
western Berlin, Wedding. The district is one
of the pooerst areas of Berlin and the foreign
population accounts for 30 percent. The
inexpensive rent amounts for houses and
studios attract many artists to settle down.
The building’s multi-use space form came from a
regulation from 1958. It allowed the construction
of commerical buildings only, however, the
areas should remain a residential zone as to
a granfather clause. Terrassenhaus Berline
was designed as a combination of commercial
and residential building in this context.
Q1: How does the case study relate to the Studio Specific Criteria .01?
- Contributing to an ongoing dialogue with the surrounding city Jiyeon Ryu

SITE HISTORY
The site was a scrapyard in the past
but completely to be a lively place by
providing public spaces for occupants to
encourage communication with each other.
Indeed, Brandlhuber+ Edme, Burlon and Muck
Petzet Architekten designed the building
against Berline’s high-priced propoerty and
construction costs. The architects believed
that these conditions may result in tiny, less
social spaces. To avoid inappropriate pressure,
the architects considered the project as an
exchange of economic benefits for the common
space. The variety of space contribution such as
a gallery, co-working spaces, offices, studios
and residences maximise the use of the building.
- Contributing to an ongoing dialogue with the surrounding city
RELATIONSHIP WITH SURROUNDINGS
Considering the adjacent buildings, which are 1900’s
dwellings and a climbing hall, the project arouses
their typological renewal. The architects wanted the
building to contrast to the remnant area of Berlin.
Unlike the typical rectangular form of neighbouring
buildings, Terrassenhaus Berlin was created in a
zigurant-like shape. Its unique shape naturally forms
wide communal terraces on each floor. The appearance
is clearly differenciated from others around it.
Jiyeon Ryu

LOCATION
On the south side of the building, there is a
suburban railway track. The roof terraces and
the semi-public space on the ground floor
are facing onto the railway track. Due to the
windows across the whole width without walls,
the benefits of the direction provide a wide
view to the occupants. The south facing facade
also allows more sun in the roof gardens.
The sunlight could contribute to growing
plants, gathering people for social activities
or giving additional work spaces to artists.
MATERIALITY AND FORM
The Terrassenhaus has a simplistic heavy form with the
use of an external staircase to connect each floor together
and facilitate the journey between the shared ground floor
garden and roof terrace. The main focus of the design of
the building was to maximise external space and make
the building accessible to users and the neighbourhood.
4 Main Material Components:
Reinforced Concrete
Cluster Pine Laminated Timber Panels
Triple Glazing
Polyethylene Curtains
When analysing the buildings materiality, the Terrassenhaus
uses a simple combination of volumetric and neutral coloured
materials. The buildings envelope is built out of mainly reinforced
concrete and plywood, only including central cores with elevators
and bathrooms. The simplistic design allows for customisation
of studio and exhibition uses within the building, complimented
by the restrain design gesture of the loft-like spaces.
- Detailed resolution and communication of tectonic language Bethany Rungay

ANALYSING MATERIALS
1 - Roof Construction
400 mm smoothed waterproof concrete to falls 2%
240 mm mineral foam panel thermal insulation
5 mm spacking
2 - Floor Construction, Studio
65 mm heating screed
PE foil vapour barrier
20 mm rigid impact sound insulation panel
35 mm thermal insulation
300 mm reinforced concrete
3 - Wall Construction
260 mm reinforced concrete
160 mm mineral foam thermal insulation panel
20/60 mm wood framing
22 mm cluster pine laminated timber panel
4 - Fixed Glazing
Triple glazing in aluminium frame
- Detailed resolution and communication of tectonic language
Bethany Rungay
STAGGERED BUILDING LEVELS
Sincethemainfocusoftheclientwasonminimisinginternalspace,
thearchitectsreferredtoazoningplanfrom1958,whichallowedthe
maximumconstructionofafive-storystructureforcommercialuse.
The design updates the typology of the terrace house as a
contemporary and site-specific form, replicating the ground five
times in the form of stepped terraces. The platforms are created
by setbacks, defined by the length of the exterior staricases,
following the German trend ratio of 19:26 cm. The stepped
terraces on the building’s rear facade therefore produce a
negative form on the street side, creating a covered public space.
Thesketchdrawnbelowhighlightsthesocialdesignaspectofthis
building. The stepped terraces allow for communication between
eachfloor.Thedrawingsuggeststhatthedesignofthebuildigcreates
a more welcoming facade from a street perspective. This, in turn,
willinfluencethosewalkingpasttoexplorethebuildingwithease.
Bethany Rungay

LIGHT ANALYSIS
The front facade of the Terrassenhaus is south facing enabling
light to enter throughout the building at all times during the
day. With windows only on the south and north sides of the
buildings, this directs the light smoothly throughout the building.
Since there are no west and east facing windows, the floor to ceiling
windows south facing facade creates maximum access for light to
effectively fill the interior space. This creates a much more inviting
and pleasant environment to be in when visiting the building.
Alongside this, the polyethylene curtain dresses the building
creates a reflective material for the light to bounce off. This not
only will filtrate light from being too harsh on the south side but
will also reflect the light in order for it to reach spaces within
the building that would not have had much access to light prior.
Bethany Rungay Q3: How does the case study relate to its environmental / climate crisis context?
INTERIOR AND EXTERIOR SPACES
The interior and exterior of Terrassenhaus are durable
due to its mono-materiality of concrete. The use of
concrete for the main material of the building has a
negative effect on the environment and climate change.
Cement, used in concrete, is one of the main produces
of carbon dioxide which is a potent greenhouse gas;
this causing damage to a layer of the earth. Concrete
also can cause soil erosion, water pollution and
flooding and in turn is an extremely damaging material
to use for the environment. Concrete has a negative
impact on the environment and therefore is seens as
being damaging towards the future of climate change.
The use of one material however for the building does
mean that the separation of interior and exterior as
well as public and private spaces are ‘erased’, enabling
flexibility with regards to the use of the building. The
integrationofthebuildingintothelocationcantherefore
also be seen as positive as it introduces a design
that contributed to a contemporary urban context.
Malaika Javed

WATER DRAINAGE
The building’s surfaces are all inclined slightly enabling
the drainage of water into the garden area, meaning
an extra drainage system is not required for either
the roofs or patios. This inclination of water similar
to the appearance of a ‘cascade’ allowed the water to
seep into the vegetation that is present in the garden
below, in turn encouraging the growth of the plants of
the grounds level and the terraces to go together, to
form into a large garden as part of the building; this
highlights the incorporation of the environment on site.
The accumulation of rainwater is then drained into the
ground with the use of a gutter, seeping into the property.
Däung Multipor, an ecological-mineral composed of raw
materilas sand, lime, cement and water, and is used
as a natural insulation board for flat roofs. This is a
sustainable option as the minerals included are non-
flammable meaning that in the event of a fire, toxic fumes
and smoke are eliminated. In conjuction with this, during
the process of instillation and usage period the minerals
are harmless both to the building biology and health
and is free from harmful subsances like formaldehyde.
Overall, the impact of the drainage system and
Däung Multipor have a positive effect on the
environment and climate change cintext as they
highlight sustainable aspects of the building.
Q3: How does the case study relate to its environmental / climate crisis context? Malaika Javed
Q3: How does the case study relate to its environmental / climate crisis context?
TEMPERATURE REGULATION
Thebuildingfeaturesexternalsunprotectioncurtains
which are made of semitransparent, shimmering
polyethylene sheets. Polyethylene is produced from
renewable resources, it is mostly acquired from
petroleum or natural gas, which therefore is seen as
beingbadfortheenvironment.Theuseofpolyethylene
can also cause waste problems if it not recycled as
it is not biodegradable and could in turn accumulate
in landfills. Despite this, polyethylene sheets are
durable and regulate temperature well, meaning an
increase in thermal efficiency for the building. In
turn, this is a positive aspect of the curtins as they
do not contribute to global warming however there
is a chance if the sheets are not recycled correctly it
could play a part in the problem with plastic waste.
For the generation of heat energy within the
building, the integration of locally available
energies are used, this being a geothermal system
with geothermal probes with a depth of around
0 are needed on site. This type of heat energy
contrasts to other renewable energy sources for
example water, wind or sun as geothermal energy
is continuously available despite ‘the weather, time
of day or season.’ The building uses energy that is
generated entirely without using fossil fuels and it
does not use ‘any new mobility flows’. This highlights
that the site positively responds to the climate
change crisis as no additional energy is used.
Malaika Javed

Q3: How does the case study relate to its environmental / climate crisis context?
THE GARDEN
A vertical garden was included in the building in order
to preserve as much plantable area as possible on
site, which has been highlighted with the creation
of several terraces and roof gardens. The architects
were challenged with a brief of creating a “brutalist
hanging garden of Babylon” which responded to the
surrounding environment. However the inclusion
of greenery on site was not purely for decorative
reasons but to follow the idea of urban agriculture
relating to the buildings neighbouring climate.
There were many motives behind the purpose of the
gardenanditscontent.Onebeingforurbanagricultural
reasons through vegetable cultivation, fruit trees,
chicken and beekeeping for food production in the city.
It also could be used as a means of socialisation for
the community as it was open to the neighbourhood
and its residents including children. The garden also
encouraged the idea of garening and up-cycling
within the community as well as organic food
produce within the region, in turn having a positive
impact on the environment towards climate change.
Malaika Javed Q4: How does the case study relate to the architects’ theoretical position / how does it explore their ideas / preoccupations?
OPTIMISED FUNCTIONALITY
Brandlhuber+ Edme, Burlon and Muck Petzet Architects
designed the building with optimal functionality as a guiding
aspect. In fact, every design decision seems to be based on
optimal application of building law (D). Further, the simplicity
of the concrete shell allows for unobstructed space ready for
maximum occupation. The circulation is places on the outside
to save space inside (A). The mixed-use program also fits into
this design intention, effectively maximising building use.
The lower levels were shifted back to achieve maximum
building density while also providing public space (A).
Neither the terraces or roof have extra drainage. The terraces
are simply slightly inclined for the water to flow down the
building in waterfalls (E). This avoids all unnecessary elements.
Taddeo Toffanin

Q4: How does the case study relate to the architects’ theoretical position / how does it explore their ideas / preoccupations?
REDEFINING SOCIAL INTERACTION
The staggered terraces are semi-public spaces and yet are
also the means of access to the units. The users therefore
constantlyinteractwiththepublicjustoutsidetheirwindows.
“Its a challenge when you’re at your kitchen
window and total strangers can appear on your
terrace at any time. You must get used to this.” (E)
The main circulation stairs, on the exterior of the
building, become a key trigger of complex social
interaction used by both the residents and the public (A).
The connection between the public terraces and the interior
is amplified by the continuous materiality of raw concrete.
Theseamlesslinkcanbehighlightedwhentheresidentsopen
their full heigh glass doors on a full wall of glass onto the
publicterraces.(B)Thedesign“provokesaclosenessthatone
either wants or has to learn” (D) and blurs the line between
livingandworkingaswellaspublicandprivate.Althoughthe
silver curtains can be drawn for visual privacy, the proximity
and sound scape are a permanent part of Terrassenhaus life.
Taddeo Toffanin Q4: How does the case study relate to the architects’ theoretical position / how does it explore their ideas / preoccupations?
PUBLIC SPACE
The architects, by giving the district much-needed public
space, contribute seemingly positively to its livability (A).
Yet the scheme, through its unusual design, attracts many
creatives and polarises the area (E). This caused controversy
and even protests in the surrounding community, as the building
was percieved as the first step towards gentrification (E).
According to the architects, Berlin’s rising propoerty prices and
constructioncostshaveledarchitectstodesignsmallerlesssocial
spacestomaximisefinancialprofit(C).Terrassenhausrespondsto
this trend, “exchanging economic benefit for collective space” (C).
The terraces create interconnected and complex public space.
Connected both visually and by the exterior staircase, the
public space could become a community hub for the district.
By shifting back the lower levels, a 7.5 meter semi-
public plaza is created in front of the ground floor
exhibition space (B), which contributes to the sense
of place and street scape of the neighbourhood.
Taddeo Toffanin

Q4: How does the case study relate to the architects’ theoretical position / how does it explore their ideas / preoccupations?
FLEXIBILITY
Through mixed-use, Terrassenhaus provides a lively and ev-
er-evolving environment. The open spaces can be configured into
anything from an apartment to an office, to an expansive exhi-
bition space using Allep pine panel partition walls (A). Similarly,
the terraces can host a huge selevtion of events from a convivial
yoga clas to a much larger event. The staggered terraces provide
connections between levels, providing and unusual but dynamic
space for large events. The building is ready to evolve with its
surroundings.
Mixed-use is also a great way to ensure the scheme’s success.
Not only can the different uses compliment eachother and ren-
der the scheme more attractive, its success no longer relies on a
single use; if one use fails, the building can rely on its other uses.
The mixed-use aspect of the scheme reflects the complex het-
erogeneity of surrounding Wedding, described as “a bit undefined
and rough” (E). It seems like a charmingly random agglomeration
of urban fabric.
Taddeo Toffanin Q5: How does the case study relate to other buildings of its type?
MULTI-USE
The Terrassenhaus Berlin can be considered
as a multi-use project. The regulation of the
site only allows a commercial building hence
the atelier and gallery, but another clause also
says that it should remain a residential zone.
“In this context, the special status allows for a
new building to be constructed, which serves
as a commerical building but could become
a residential site in the future.” (ArchDaily)
It is quite rare to have a building that has a
possibility to transform into a residence.
But, one of the common point with the Unite
d’Habitation by Le Corbusier in Marseille is the
gallery and atelier added on top of the roof.
Indeed, on the photographs on the left-hand
side, and delimited in black is an art school,
gallery, and workshop for artists living in
the building. Le Corbusier pushed the multi-
use inside Unite d’Habitation to its limit by
adding a commercial centre, a school, some
doctors office, a dentist, a small clinic etc.
WhatmakesTerrassenhausBerlinsointeresting
is a possibility to evolve, change, and modify
itself to accommodate Berlin-Wedding.
Benjamin Scott Osta

Q5: How does the case study relate to other buildings of its type?
MULTI-USE
Some other examples of multi-use buildings are
the Lingotto Car Factory in Turin as well as The
Barbican in London.
The Lingotto building was renovated and trans-
formed by the famous architect Renzo Piano. I
originally was the biggest car factory in Europe
with the particularity of having a testing track on
its roof. R. Piano renovated it by creating a com-
mercial center with hundreds of shops, a cinema,
a gallery, a pavillion, a hospital with helipad ac-
cess. He also added light by re-designing the metal
structure to accommodate a glass ceiling on some
parts of the building.
The Barbican is a residential complex with a
strong community and multi-use aspects. Indeed,
it posseses a theatre, an opera house, a cinema, a
church and many other amenities for the locals.
Terrassenhaus Berlin has yet to set the amenities
it offers, but its advantage over other multi-use
is that is has a choice to change and transform to
accommodate the inhabitants of Berlin Wedding.
Benjamin Scott Osta Q5: How does the case study relate to other buildings of its type?
MASSING
The unique massing of the Terrassenhaus
building is very similar in shape and style
to The Alexandra Road estate in London. It
is a brutalist building built in the 1970s near
some railway tracks. It is possible to spot
the difference between the two buildings in
these sections. Indeed the counter lever is
more important on the Terrassenhaus build-
ing than The Alexandra Road Estate, due to
the age of the buildings.
The Terrassenhaus is a modern building
from 2018. The exterior flights of stairs on
the Terrassenhaus also pushes the design to
a more modern aspect in terms of structur-
al engineering. The Alexandra Road estate
needed reinforcements on the side of the
tracks for the counter lever whereas Ter-
rassenhaus does not.
But the main quality that the building in
Berlin has over the one in London is the fact
that there are glass panes on both sides of
the building, which make the interior much
more luminous and adapted for an art stu-
dio as well as a housing project.
Benjamin Scott Osta

Q5: How does the case study relate to other buildings of its type?
TERRACES
The building on the left is the Rokko housing project
in Japan, designed by Tadao Ando. It shows a brutalist
approach to terraced housing. On the right is a plan
view diagram of the terraces in Terrassenhaus. As we
can see the two main differences are the overall shapes
of the terraces. Indeed the Rokko housing project, the
terraces are smaller but individual to each apartment.
In the Terrassenhaus building, the terraces are formed
from the entire width of the building. The downside to
this kind of terrace is privacy, but then the space for
families and children to interact is greater. Terraces
also offer a private or semi-private safe space for an
apartment or a house.
Both buildings have a similar design except the Rokko
housing development is against a hill instead of using
a counter lever feature. It also has a common feature
which is a central staircase and elevator, except that
in the Terrassenhaus project it has unique stair access
from the outside of the building.
Benjamin Scott Osta

158 159
IMPORTANCE AND VALUE OF EXISTING
“Never demolish, never remove or replace, always add, transform,
and reuse!”
Lacton and Vassal has incredible architectual approach to the impor-
tance and value of the existing buildings, as they believe that place
has beauties if we are attentive enough to see them. Throughout
their creation they prove that every restriction can be positively turned
around by reusing, transforming and reinventing what already exists.
Each project requires focusing on accuracy, amiability and attention: to
people, to uses, to structures and everything that already exists which
allows appreciation of the values which already there. In the architects’
oppinion this is the great opportunity for the sustainable development
of the cities.
Therefore, they believed that Halle AP2’s interior needed to be saved
because it still had potential. Filling the building wasn’t just senseless,
but as Lacaton and Vassal argued: it was unnecessary. So they decided
to propose that new structure, ‘‘twin building’’, of the same volume
and shape be erected beside the AP2, one specifically designed to the
house the required galleries, cinema, offices, educational spaces, and
art storage.
Futhermore, the Halle AP2 makes the FRAC not simply a museum or
an archive, but a fully-functional complex the architects identified as a
“unique and symbolical object”. The building is not only a visual magnet
in the post-industrial landscape of the port area but a presenvation of
its raw and industrial atmosphere of the area.
Lacton and Vassal’s aim to design an architecture that is not standard-
ized but creative, that challenges conventional answers to free the
uses
of buildings from artificial constraints. They believe that architecture
is
the freedom to use a space, to innovate a space, to get beyond mere
functionality and provide a kind of liberty in the spaces we create that
allows many types of functionality.
The halle AP2 therefore is completely available space to be ‘‘free in
use’’ for creativit, which can work either with the FRAC, in extension of
its activities, (exceptional temporary exhibitions, creation of large scale
works, particular handlings) or independently to welcome public events
(concert, fairs, shows, circus, sport, art exhibitions) and which allows
work at several scales of regional but also european and international
resonance, which consolidates the redevelopment of the port of Dunker-
que.
Urban housing and studios, Vienna
Sergison Bates architects
LIGHTING
The building has a large number of openings, including doors,
windows, and others, using a lot of glass, It is roughly estimat-
ed
that the external openings account for 30% of the four facades
of the building, which makes the entire building use the
maximum natural light and reduces the lighting power consump-
tion of the building. It greatly reduces the power consumption.
Pressure, and reduce the carbon emissions of the entire build-
ing.
That project really caught my eye for
its layering of materiality and control
of lighting to create an interesting and
unique exhibition space.
It also inpired me into creating an imposing
and visible strcuture making it a landmark
for Art.
I particularly enjoy the colour scheme of
this project as well as its simplicity and
integration in the city. Whilst still being
quite subtle and low profile, it still has in-
teresting accents and details that make it
stand out from “normal” residential build-
ings.

160 161
Again, the layering of materials is what
interested me. Indeed, it creates a sort of
mental and physical distancing from the
outside city.
How does Apartment Building Along a Party Wall contribute to
an ongoing dialogue with the surrounding city?
TWO LAYERS
The façade consists of slender wooden and steel poles. These
give depth and an element of permeability to the front of the
building, as one can physically walk through and stand in the
façade before entering the building proper (Figures 9 and 10).
This spatial element of the façade was a key principle in Herzog
de Meuron’s design and as such is relevant to other aspects
of the building, such as its structure and relation to the envi-
ronment. The depth of the façade creates two layers to the
building: the building proper, which follows the same footprint
as the structure it replaced; and the façade, which protrudes
beyond the face of the adjacent stone building. This creates the
impression of there being two structures that have been built
before the party wall, not just one. Figure 11 demonstrates this
where the party wall and two layers of building have been sep-
arated to distinguish them from each other.
Once at the bottom of the hill there are two ways of
accessing the site. Vehicular entrances are off Overhill
Road. Pedestrians can also access across the natural
space that extends along the north hillside. These two
different approaches are connected to the different ways
the buildings unfold and relate to their immediate context.
Along the other side of Overhill Road rows of typical
detached, semi-detached and terrace houses look how
the building opposite grows.
Dawson’s Heights consists of two blocks of flats; Bredinghurst
to the south and Ladlands to the north. There is also a small
nature reserve to the north of the buildings, managed by the
Dawson’s Hill Trust. It has a modernist style, reminiscent of
a ziggurat. The intent of this design was to ensure that two-
thirds of the flats had views in both directions, including to-
wards centre London. English Heritage described the property
as having “a striking and original massing that possesses evoc-
ative associations with ancient cities and Italian hill towns”.
Despite its unique and imposing architectural style within the
East Dulwich area and a strong recommendation from English
Heritage, it was turned down for a listing by the Secretary of
state in 2012.
I particularly like the layout of this res-
idential building and the way it reacts to
its site. I also enjoy the way it imposes it-
self in the city around it. I hope to achieve
a similar feeling and impression with my
design.

162 163
Lighting is arguably one of the most important features as it
can be tailored to create a spiritual atmosphere. The chapels in
seminaries. like churches. place a lot ot emphasis on lighting and
it is introduced into the space. Windows Lye limited and if pres-
ent are often semitranslucent as they are intended to admit
light bot does not serve the purpose of a view. often featuring
stained glass windows. Subtle or controlled fight is common as
it creates a more atmospheric experience Similarly. the plans
whilst varying in geometry are intended to place emphasis on
the apse. or the head of the church. This is often achieved. with
the use of varying heights ot the hoor and/or ceiling, and light-
ing.
This building feels like it is protected by
the nature that surrounds it. I hope to
replicate a similar feeling of safety by
creating a natural haven around my de-
sign. The light well inside the building is
quite like the large, boxed widows I am us-
ing in the design as well as the light well in
the office building.

170 171
Bibliography List of Figures
Fig. 1 Photographs of a chapel in St. Andrews Cemetery, Jes-
mond, Newcastle.
Fig. 2 Map showing the different areas of Newcastle explored
to find ruins
Fig. 3 Photograph of graves in St. Andrews Cemetery
Fig. 4 Photograph of a statue on a grave in St. Andrews
Cemetery
Fig. 5 Photograph of an abandoned chapel in St. Andrews
Cemetery
Fig. 6 Photograph of an abandoned house door in Jesmond,
Newcastle
Fig. 7 Photograph of a ruined door in Jesmond Dene, Newcas-
tle
Fig. 8 Photograph of an abandoned house window in Jesmond
Fig. 9 Photograph of a ruin in Jesmond Dene
Fig. 10 Photograph of the water wheel in ruin in Jesmond Dene
Fig. 11 Photograph of a brick structure in Jesmond Dene
Fig. 12 Photograph of a stone tunnel in Jesmond Dene
Fig. 13 Photograph of an abandoned chapel window in St. An-
drews Cemetery
Fig. 14 Photograph of the Ruin Lust sculpture piece
Fig. 15 Photograph of the sculpture ‘Ghost of the Past’ by R.
Witeread
Fig. 16 Photograph of the sculpture ‘Untitled’ (Book Corridors)
by R. Witeread
Fig. 17 Photograph of the installation ‘Re-examined Territo-
ries’ by M. Nelson
Fig. 18 Photograph of an installation by M. Nelson
Fig. 19 Photograph of the covered Reich by Chisto
Fig. 20 Photograph of ‘Walk on Water’ by Christo
Fig. 21 Abstract charcoal drawing of the relation between
architecture and ruin
Fig. 22 First attempt of stamping, representing nature hiding
architecture
Fig. 23 Photograph of the stamp made out of foamboard and
cardboard
Fig. 24 Photograph of the final stamp piece
Fig. 25 Photograph of the stamp used for the final piece
Fig. 27 Charcoal and colour pencil drawing behind the ruin lust
piece
Fig. 28 Abstract drawing behind the Ruin Lust sculpture piece
Fig. 29 Photograph of the mold with expanding foam
Fig. 30, 31 32 Photographs of the Ruin Lust sculpture pieces
representing nature taking over architecture
Fig. 33 Personal mood board for the Homework precedent
analysis
Fig. 34, 35 36 Pieces and section for the Homework group
presentation
Fig. 37 Photograph of the fixed crane in Ouseburn, Newcastle
Fig. 38 Plan locating Albion Row in Ouseburn and Newcastle
Fig. 39 Photograph of a tombstone from the Ballast Hill burial
ground in Ouseburn
Fig. 40 Photograph of the Ballast Hill burial ground path in
Ouseburn
Fig. 41 Map from the 19th century showing Ouseburn
Fig. 42 Map of the United Kingdom locating Newcastle upon
Tyne
Fig. 43 Diagram showing the different neighbourhoods around
the Albion Row site
Fig. 44 Diagram showing the different greenspaces and activ-
ity spaces (bars, museums, shops...) in Ouseburn
Fig. 45 Satellite view of Ouseburn
Fig. 46 Photograph of the Toffee Factory and the river Ouse
in Ouseburn
Fig. 49 Photograph of stairs leading to the Albion Row site,
Ouseburn
Fig. 50 Photograph of the many graffiti and river Ouse, Ouse-
burn
Fig. 51 Photograph of graffiti and residential complex in Ouse-
burn
Fig. 52 Photograph of the Tyne Bar, Ouseburn
Fig. 53 Photograph of the river Ouse, and a residential building
Fig. 54 Photograph of the Ouse pouring out into the Tyne
Fig. 55 Photograph of the abandoned Scrap Metal Works fac-
tory, some warehouses and the park, Ouseburn
Fig. 56 57 Charcoal drawing showing the scrap metal tip and
the buildings on the Albion Row site
Fig. 58 Photograph showing the rough industrial materiality of
the Albion Row Site
Fig. 59 Photograph of the Art Boat in the river Ouse, also
showing the stone materiality of Ouseburn
Fig. 60 Photograph of the Hotel du Vin Bistro showing a
beautiful brick laying and facade in Ouseburn
Fig. 62 Satellite view of the residential area and Albion Row
site in Ouseburn
Fig. 64 Satellite view of the residential area and Albion Row
site in Ouseburn
Fig. 65 Map of Ouseburn
Fig. 66 Diagrams showing the different elements constituting
Ouseburn
Fig. 67 Design project in context
Fig. 68 Portrait of Rudy Ricciotti
Fig. 69 Photograph of the meshed concrete of the MuCEM,
Marseille, France
Fig. 70 Photograph of the MuCEM, Marseille, France
Fig. 71 Portrait of Jean Nouvel and the interior of the new
Louvre in Abu Dabi
Fig. 72 Portrait of Stefano Boeri
Fig. 73 Smart Forest City concept, Cancun, Stefano Boeri
Fig. 74 Portrait of Tadao Ando
Fig. 75 Temple Komyo-ji by Tadao Ando
Fig. 76 Church of Light by Tadao Ando
Fig. 77 Drawing and space analysis of the Albion Row site
Ouseburn
Fig. 78 Design iterations on site
Fig. 79 Programmatic study diagram (on page 58)
Fig. 80 Iterations for the pattern on the meshed cladding for
the north facing facade
Fig. 81 Iterations for the boxed widows, and first use of
Corten steel in the project
Fig. 82 83 First SketchUp massing
Fig. 84 85 New layout massing of the residential buildings
Fig. 86 87 First concrete meshed cladding for the north
facing facade
Fig. 88 Design of the studio apartments, the 2 bedroom apart-
ments came later in the project
Fig. 89 90 SketchUp iteration with the organisation for the
activity spaces
Fig. 91 Diagram showing the change of shape for the cores of
the residential building
Fig. 92 93 Final SketchUp model of the design
Fig. 94 95 Sketchup model of the Art building, Offices, and
Gym
Fig. 97 Materiality exploration diagram
Fig. 98 Watercolour from the corridor in the residential build-
ing
Fig. 99 Watercolour looking at the contrast between the
Corten steel from the art building and the timber cladding of
the residential building
Fig. 100 Watercolour of the Art building and the north facade
cladding covered in Clematis and Wisteria
Fig. 101 and 102 Sketchup model showing the overall building
and the activity complex
Fig.103 and 104 North facing facade and detail
Fig. 105 106 Sketchup model showing the footbridge con-
necting the art building and the residential building
Fig. 107 108 Renders of the 40 m2 studio apartment
Fig. 109 110 Renders of the footbridge between the residen-
tial building and the art building
Fig. 111 Render of the light well on the roof of the office
building
Fig. 112 Render of the gym in the renovated warehouse
Fig. 113 Render of the workshop on the ground floor of the art
building
Fig. 114 Planting plan for the park and the north facing façade
Fig. 115 Diagram showing the advantages of boxed windows at
different times of the year
Fig. 116 Sunpath diagram and solar panels
Fig. 117 118 Water re-use diagrams
Fig. 119, 120 122 Circulation diagrams
Fig. 123 Hierarchy diagram
Fig. 124 Geometry diagram
Fig. 125 Parti Plan diagram
Fig. 126 Parti Section diagram
Fig. 127 1:20 Technical section and materiality study elevation
Fig. 128 South Facing elevation and integration into Ouseburn
Fig. 129 City and project section
Fig. 130 Master Plan
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172
Fig. 131 South facing elevation
Fig. 132 North side Art building render
Fig. 133 North side Art building render and residential building
Fig. 134 North facing cladding with ivy climbing the façade
Fig. 135 AA section
Fig. 136 BB section
Fig. 137 Materiality study of the Art building elevation
Fig. 138 Materiality study of the South facing cladding of the
residential building
Fig. 139 Celebratory render of the connection between the art
building and the residential building

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