conditioning movement

LUMA ZIAD IFRAMs0908186

ESALA. ANY PLACE. SEMESTER 2- 2010-11

CONDITIONING MOVEMENT: An Urban Intervention Uncovering and Transforming a Landscape

DANCE CENTRE: Performance and Performativity Placa de les Camarelles, Barcelona

PARTI - INTERMINABLE TRAJECTORIES BETWEEN OUTSIDE AND INSIDE

DANCE CENTRE- AN URBAN INTERVENTION. UNCOVERING AND DISCOVERING A LANDSCAPE

EXPLORING PLACA DE LES CAMARELLES / BARCELONA

READING SEMINAR- LONDON ORBITAL / IAIN SINCLAIR

CONDITIONING MOVEMENT- AN INTRODUCTION

STUDIO- MATERIALS CONDITIONING MOVEMENT AND DEFINING SPACES

Luma Ziad IframStudent Number: S0908186

Architectural Design PortfolioANY PLACE

CONDITIONING MOVEMENT

DANCE CENTRE: Performance & Performativity

THE UNIVERSITY OF EDINBURGHSchool of Architectural DesignESALA. YEAR 2. SEMESTER 2. 2010-2011

LUMA ZIAD IFRAM

READING SEMINAR London Orbital- Iain Sinclair

WALTHAM ABBEY –SHENLEY - ABBOTS LANGLEY – STAINES – EPSOM- WESTERHAM – DARTFORD - CARFAX - WALTHAM ABBEY

A WALK AROUND THE M25 The walk“One day when I was out walking up the River Lea to the point where it hit the M25 at Waltham Abbey, I thought this is it. This is the future England. London itself, by being completely enclosed in a motorway, has become a kind of concrete island. The obvious space to explore is this, with this pilgrim journey.”

“Walking is virtue”

“It is a pilgrimage”

“A walk through time as well as territory”

“Find out where the M25 leads….. soothe his seething. Like extinguishing a small blaze in a frying pan by dowsing it with kerosene. The M25 is seething incarnate.”

The discoveries“The motorway is perceived as a rude beast (germs from the east, asylum seekers, infected meat, rogue cargo.”

“A city of zones and freak shows separated from the rest of England.”

Movement“They shouldn’t just place something that is simply site-spe-cific to the person commissioning the building. They should be made to go into the landscape to the site and then move outwards from it for a considerable distance and then to come in on it.”

M25?“Asteroid belt for London’s rubble”Reason for staying at home”“A security collar fixed to the neck of a convicted criminal”“Negated space”“Failed bypass”“Nightmare, purgatory, hell”

What is immediately stated and understood is the importance of land, ground topography that Sinclair speaks of. The discoveries he makes are due to his decision to walk and thus explore and allow things to be unrevealed. The relationship between the body and the built and more importantly the way in which the body reacts to a particular site and what is built on it is intensely significant and revealing. This concept of walking and moving through land to experience and discover is exciting.

“On the M25, fixed in their lanes, trying to make sense of flashing overhead signs and warnings, smoking, finger-drumming, jumping radio bands, jabbering into cellphones, the motorists are out of time, out of place…Tensed travel-ers, sweating in their metal pods, discover the insides of the outside. Nerves are stretched. Memories of the miles they’ve driven, to arrive at this compulsory stasis, melt into exhaust fumes.”

ESALA: ANY PLACE. SEMESTER 2

In this scheme, there is an emphasis on landscape and modifying the ground to see how it can condition movement and behaviour. An exploration of the floorscape and landscape and what they imply to suggest ways of navigating through the site takes place.

The nature of the site is savoured- the idea of the public square being a place for socializing and gathering is emphasized by giving importance to external areas and creating social areas within.

Dance is movement, freeing the body, connecting, being imitless. Therefore, dance isn’t limited to the studios but starts from the very beginning. People ‘dance’ their way into the studios- and along the way socialize, gather, meet, move and perform. To give importance to these spaces and create a vibrant atmosphere level changes will create opportunities for social interaction as well as guide the dancers into the studios. A promenade of circulation ramps takes the dancer from the exterior into the interior by establishing an interminable trajectory between the outside and inside. The journey is a procession of gathering people from two entrances to the heart of the building through circulation ramps which then descend down to an underground studio and ascend up to an aboveground studio. The external and internal ramps create opportunity not just to navigate through the ste but to meet, gather, dance and perform. The ramps become the landscape, they become the ground the dancers dance on. The notion of walking and moving to discover and experience is explored.

Architecture here becomes part of a narative. Different materials condition different movement and behaviour and thus form the defining elements of spaces.

The brick element - external and internal ramps- suggests place for circulation, gathering, and meeting.

The concrete element- external and internal walls- suggests perceptions of enclosed versus open spaces.

The above elements feature externally as well as internally to estalblish a continuous trajectory into the studios.

The timber element- internal detailing of studios- suggests an intimate and sensual rapport between the dancer and the studio.

The above element only features internally to establish a sense of surprise and emphasize the fragility of dance.

CONDITIONING MOVEMENT An Urban Intervention.

CIRCULATE / GATHER / MEET

ENCLOSURE / OPEN

INTIMATE

HOW DOES A SPACE MAKES US FEEL? WHAT KIND OF MOVEMENT DO WE BRING TO A PLACE? DO WE MOVE A CERTAIN WAY ACCORDING TO WHAT A BUILDING TELLS US?

LUMA ZIAD IFRAM

SITE Exploring Placa de les Camarelles, Barcelona

Placa de les Camarelles/Ciutat VellaBARCELONA

SITE/A public square in the dense historic context of the Barri Gotico

Situated in the medieval Cuitat Vella or old town of barcelona, placa de les camarelles is a residential square, a quick retreat from the busy city streets. mainly frequented by locals, people sit around the square relaxing and reading where children play in the playground. It is also the roof to a carpark below, the only sign of this being a small pedestrian entrance from the square.


SITE PANORAMAS

PLACA DE LES CAMARELLES

LUMA ZIAD IFRAM

OUR JOURNEY THROUGH THE THREE SQUARES

CCCB (CENTRE DE CULTURA CONTEMPORANEA DE BARCELONA)

MACBA (MUSEU D’ART CONTEMPORANI DE BARCELONA)



THE CCCB SQUARE IS A QUIETCOURTYARD ON THE OTHER SIDE OF THEMACBA SQUARE. HOUSING THE CENTREFOR CONTEMPORARY CULTURE, THESQUARE IS FIRMLY ROUTED IN THECULTURAL DISTRICT. LIKE THE PLACADE LES CAMARELLES, TEH SQUAREHAS A DUAL PURPOSE AS A FLOOR ANDROOF: UNDERNEATH IS THE CCCB, THEENTRANCE IS BELOW GROUND.

THE MACBA SQUARE IS A VIBRANTAND BUSY SQUARE SITUATED INFRONT OF THE MACBA BUILDING, THECONTEMPORARY MUSEUM OF ART INBARCELONA. MUCH BIGGER THAN THEPLACA DE LES CAMARELLES, TRAFFICFLOWS IN FROM THE MAIN ROADS ANDUNIVERSITY, SKATEBOARDERS USE IT ASA SKATEPARK AND TOURSITS FLOW INTOTHE MUSEUM.

PUBLIC SQUARE IN THE DENSEHISTORIC CONTEXT OF THE BARRIGOTICO. CLOSE TO THE MACBACULTURAL DISTRICT.STRUCTURAL RELATION WITHCAR PARK BELOW.

CCCB (CENTRE DE CULTURA CONTEMPORANEA DE BARCELONA)

MACBA (MUSEU D’ART CONTEMPORANI DE BARCELONA)


JOURNEY SECTION

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LUMA ZIAD IFRAM

THRESHOLD STUDY

This study examines enclosure by super-imposing a rectangleover the journey through placa de les camarelles. The frame is proportionally scaled to the length of open space perpendicular to the direction travelled. in this way, the survey reveals something of the enclosing nature of public spaces near our site.


On the journey across the three sites, the perception of threshold becomes prominent. A threshold- something that marks a boundary- a transitional space- changes the way we move through that space. From this walk around the sites, the question of how a space makes us feel is addressed. Also, the concept of threshold further suggests the notions of boundary and enclosure. What kind of movement do we bring to a place? Do we move a certain way according to what a building/ floor level/ threshold tells us? How does landscape condition our movement and behaviour? During the journey walk our movement and sensation in a particular space differed greatly from feeling rushed in a narrow space to feeling limitless in an open space to feeling panic in a dark space.

THRESHOLDS THROUGH THE THREE SQUARES

ABOVE GROUND

UNDERGROUND

THRESHOLDS THROUGH THE THREE SQUARES

ABOVE GROUND

UNDERGROUND

ABOVEGROUND

THRESHOLD

UNDERGROUND

LUMA ZIAD IFRAM

LEVEL CHANGES STUDY

Level changes suggesting movement and spaces of different qualities. Steps, ramps, ground level changes propose movement and transition between spaces. The journey through the sites emphasizes the act of walking and the liveliness of circulating through spaces. Walking becomes dynamic and level changes imply a transition to a place of different qualities or a change in the walking we adhere to. Level changes also propose a sense of excitement and anticipation but at the same time suggest a different spatial quality in this change as well. Thus the idea that steps and ramps are not only means to mediate through spaces but that they themselves become important and unique places. Circulation spaces become spaces for meeting and interacting and not just spaces for connections. Circulation spaces become places for gathering and socializing and thus they transform into unique public spaces within the city.

LUMA ZIAD IFRAM

MATERIAL STUDY

Materials tell us something about a space and how we can relate to it in terms of our use of it and what it makes us sense. The materials of the ground is particularly important because the ground of the site is actually not the ‘ground’, but is actually a roof to the car park below. Ground dictates the use of a space, with different materials being suitable for different uses. Harder surfaces are found in most dominance and so make the suitable spaces for walking, skateboarding, biking etc. Where there are softscape materials such as the sand like soil found in the boxes immediately on the site children play here and tree’s have been placed. In other spaces, such as the large public square adjacent to MACBA building skateboarding is a predominant activity. This is due to the flat smooth surface of ground, a kind of polished quartz or limestone, along with the sharp level changes and objects to interact with.


SITE FLOOR TEXTURES

CHARCOAL RUBBINGS OF TEXTURES ON SITE

LUMA ZIAD IFRAM

PARTI Interminable trajectories between outside and inside

Exploring ways to merge programme, circulation and social spaces (interior and exterior) into a coherent and unified design. Circulation paths take people from two entrances to the hearth of the building where the studios sit on either side.

Exploring the transition between exterior and interior circulation. A continuous promenade will start at the entrances, navigate the site and lead the dancer into the studio.

Exploring the idea of the landscape wrapping around the studios and the interior circulation paths to form a spiral like walk into the studios.

Entrance 1

Ent

ranc

e 2

LUMA ZIAD IFRAM

The emphasis on circulation creating a seamless promenade externally as well as internally is particularly important. These maquettes explore the continuation of the ramp from exterior into the interior and then how they form an enclosure around the studio, emphasizing its importance. The ramps that spiral down into the underground studio and spiral up in the above ground studio become places were dancers can assemble and warm up.


Exploring ways to create a landscape that is engaging and explores boundaries, thresholds and level changes as means to navigate people through a space and suggest means for its use. Exploring the integration of walls (walls of changing height, pierced walls) to reinforce the sense of being guided or taken somewhere. A wall that increases in height may suggest a place of meeting and gathering whereas a wall that decreases in height may on the contrary suggest accelerated movement. Further exploration of how level changes in the ground can relate to and reinforce the above.

LUMA ZIAD IFRAM

Integration of programme:

Principal studio:underground, black box, indoor theatre, dark.

Secondary studio:above ground, informal dance space, bright.

Modifications to site:

Excavation for underground studio

Alteration of the brick floor by means of level changes and the addition of walls.

EXTERNAL LANDSCAPED AREAS CREATING CIRCULATION PATHS AND SPACE TO SOCIALISE, GATHER, DANCE AND PERFORM

ENCLOSED AREAS: PRINCIPAL AND SECONDARY STUDIOS AND RECEPTION/CAFE. CIRCULATION PATHS ASCEND AND DESCEND INTO STUDIOS

DANCE CENTRE An urban intervention. Uncovering and discovering a landscape.


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Land Formation One (1999) Zaha Hadid“The suggested structure does not sit in the landscape as an isolated object, but emerges from the fluid geometry of the surrounding network of paths”. Paths entagling to make the buildings.

Lilium Tower (under construction) Zaha Hadid Improving the existing public space.

Pedra Tosca Park RCR Arquitectes(2004)

“The morphological and tactile ruggedness of the spot captures the eye. The project attempts to foreground the singularity of this landscape and to stimulate the surprise factor in its discovery.”

Igualada Cemetery (1994) Enric Miralles and Carme Pinos “The cemetery is a site-specific sculpture embedded in the hilly landscape of Catalonia. The dynamic shape of walls, ramps and landscape are used as an expression of life’s fugacity”.

Earthwork that transforms the surrounding landscape

A surprising landscape of discovery

Themes of uncovering and discovering

Reveal and use the existing ground

LUMA ZIAD IFRAM

Kodaly centre by Epitesz Studio (2010) “The building elements: stone and wood. Hard and soft. Cold and warm. Age of myriads and centuries. Enduring and intimate. The ancientwhite stonesnail slowly embraces the concert hall lined with pure wood. As if we were listening to music inside a gigantic wooden shape or instrument.”

Osla Opera House by Snohetta (2007)

Stone for the ‘carpet’.

Timber for the ‘wave wall’.

Metal for the ‘factory’.

Brick flooring used in external and internal ramps: hard material to indicate use for circulation.

Concrete walls and roof: hard material to indicate a sense of enclosure and boundary.

Timber for the detailing of the studio: Soft material to indicate an intimate space and relationship between the dancer and the built.

MATERIALITY FORMING THE DEFINING ELEMENTS OF SPACES


B R I C K

C O N C R E T E

T I M B E R

external and internal

external and internal

internal

ROOF PLAN0m 5m


+ 1 LEVEL FOOR PLAN 1:200

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Vestibule

Secondary Studio

Storage

FIRST ENTRY LEVEL FLOOR PLAN 1:200

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External landscaped social space

Reception/Cafe

Office

Kitchen

Informal performance space

Changing rooms

CIRCULATION

ESALA: ANY PLACE. SEMESTER 2 ESALA: ANY PLACE. SEMESTER 2

-1 LEVEL FLOOR PLAN 1:200

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Vestibule

Principal Studio

Storage

LUMA ZIAD IFRAM

UNDULATING ROOF WITH SKYLIGHTS TO ALLOW LIGHT INTO THE DANCE STUDIOS CONCRETE ROOF AND WALLS SUGGEST A SCULPTURE EMERGING FROM THE GROUND BELOW

EXTERIOR RAMPS CREATING CIRCULATION PATHS INTO THE STUDIOS AND PLACE FOR SOCIAL GATHERING

LUMA ZIAD IFRAM

in

External ramp

Changing rooms

External ramp Internal ramp Changing rooms

Internal ramp

Vestibule Studio


in

Internal ramp

Vestibule Studio

Studio

External landscaped paths and areas Reception/ cafe

UNFOLDED ELEVATION DIAGRAM ILLUSTRATING EXTERNAL AND INTERNAL PATHS

LUMA ZIAD IFRAM

SECTION A-A 1:200

URBAN INTERVENTION TRANSFORMING A LANDSCAPE


SECTION B-B 1:200

TRAJECTORY INTO UNDERGROUND STUDIO

LUMA ZIAD IFRAM

SECTION C-C 1:200 RELATIONSHIP BETWEEN UNDERGROUND AND ABOVE GROUND STUDIOS


Underground studio: dark dancing space. Relation to carpark. Use as a black box, filming performances.

Aboveground studio: Lighter dancing space. Relation to square on site. Use as an informal performance space.

BOUNDARY- EXTERNAL CONCRETE WALLS EMERGING FROM THE GROUND

EXISTING SITE GROUND LEVEL

ROUTE- EXTERNAL RAMPS= MODIFIED LEVEL CHANGES

UNDULATING CONCRETE STUDIO ROOF

ROUTE- INTERNAL RAMPS DESCENDING INTO PRINCIPAL UNDERGROUND STUDIO

BOUNDARY- INTERNAL CONCRETE WALLS DESCENDING INTO PRINCIPAL UNDERGROUND STUDIO

TACTILITY- TIMBER SPRUNG STUDIO FLOOR + TIMBER DETAILING IN STUDIO

EXTERNAL CONCRETE STUDIO WALLS

-1 CARPARK LEVEL

EXTERNAL INTERNAL

BRICK LAYER- LEVEL CHANGES SUGGESTING PLACE FOR CIRCULATION, GATHERING AND PERFORMING

CONCRETE LAYER- WALLS CREATING A SENSE OF ENCLOSURE AND BOUNDARY. CLOSING WALLS SUGGESTNG ACCELERATED MOVEMENT. OPENING WALLS SUGGESTING PLACE TO REST AND MEET.

TIMBER LAYER- FLOOR AND DETAILING ESTABLISHING AN INTIMACY AND SENSITIVITY BETWEEN THE DANCER AND THE BUILT.

EXTERNAL AND INTERNAL: BRICK AND CONCRETE LAYER- ESTABLISHING A INTERMINABLE TRAJECTORY BETWEEN OUTSIDE AND INSIDE.

INTERNAL: TIMBER LAYER- SOFT AND SUBLTE- ELEMENT OF SURPRISE FOR THE DANCER.

UNDERGROUND

ABOVEGROUND

CARPARK- NON PLACEBRINGING A NARRATIVE TO IT.RAMPS DESCENDING INTO UNDERGROUND STUDIO REVEALING AND UNCOVERING THE GROUND BELOW.

ON GRID WITH CARPARK COLUMN SYSTEM

PUBLIC SQUARE- RAMPS ASCENDING INTO STUDIO ALLOW VIEWS TO THE SQUARE.

OFF GRID WITH CARPARK COUMN SYSTEM

EXTERNAL LANDSCAPING

CREATING A PUBLIC SPACE

EXPLODED AXONOMETRIC OF SCHEME

INTERNAL

VIEW TO CARPARK

VIEW TO SITE

LUMA ZIAD IFRAM

NARROWING PATH SUGGESTING MOVEMENT

METAMORPHOSIS OF THE FLOORSCAPE INTO A LANDSCAPE OF CIRCULATION, MOVEMENT, DANCE, AND DISCOVERY.

Placa de les camarelles/ Barcelona

Placa de les camarelles/ Barcelona

WIDENING PATH SUGGESTING PLACE OF REST


MACBA SQUARE / BARCELONALEVEL CHANGES ARE OCCUPIED AS PUBLIC SPACES

LUMA ZIAD IFRAM

LANDSCAPE EXPLORATION STUDIES


Light studies exploring the effect of rooflights on the internal ambience of the studio and ramps. The roof allows light to penetrate into the building through gaps of glazing in the structure. The underground studio features less glazing to emphasize its use as a blackbox and darker dancing space. In contrast, the above ground studio is a brighter, more informal dance space and therefore glazing in the roof structure is more prominent.

LIGHTING EXPLORATION STUDIES

LUMA ZIAD IFRAM

LUMA ZIAD IFRAM

STUDIO Materials conditioning movement and defining spaces

B R I C K - ROUTE

C O N C R E T E - BOUNDARY

T I M B E R - TACTILITY


DETAILED SECTION STUDIES THROUGH PRINCIPAL STUDIO EXPLORING THE TRAJECTORY FROM THE EXTERNAL TO THE INTERNAL.

MATERIALS FORMING THE DEFINING ELEMENTS OF SPACES.

LUMA ZIAD IFRAM

INTERIOR VIEWS OF PRINCIPAL STUDIO


PUBLIC STEPS IN MACBA SQUARE/ BARCELONASITE SURVEY

EXTERNAL LANDSCAPING/DANCE CENTRE

RAMPS DESCENDING/ASCENDING INTO STUDIOS

INTERNAL LEVEL CHANGES/STUDIO VESTIBULE

LEVEL CHANGES ESTABLISHING A CONTINOUS PROMENADE FROM THE EXTERNAL TO INTERNAL

LUMA ZIAD IFRAM

ROOF EXPLORATIONS OF PRINCIPAL STUDIO

CONDITIONING MOVEMENT:AN URBAN INTERVENTION TRANSFORMING A LANDSCAPE

conditioning movement

Documents

waltham abbeya walk

luma ziad iframs0908186

performance performativity

performativity placa

landscapedance centre

urban intervention

concept of walking

particular site