bas · 2017. 4. 23. · at final workshop and roundtable on teaching methods in archip and bas the...

Entrance from Vítkova

Entrance from Jirsíkova

Entrance from Křižíkova

Open SpaceCommercial

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Institutional EducationalActivating Kasarna’s Courtyard

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Network of open air corridor and nodes of communal space Installation of prefabricated flats

Vertical StructureSlabLateral StructurePrefabricated Units6 m X 6 m Grid

ARCHITECTURAL DESIGN 6 – INSIDE/OUTSIDE – NASABIL + FESSELER STUDIO – SUMMER TERM 2015/2016 CONSTANCE CHUNG

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ARCHIP _BAS

The three encounters that took place within the frame of a collaborative project of ARCHIP and BAS enhanced the cooperation of the two European innovative schools of architecture. Both academic institutions that were re-visited in a series of events by teachers and students in mutual exchange clearly benefitted from the confrontation and comparison of their approaches to education. The different urban and cultural environments in which both successfully operate on international scale were studied in field research exercises. The attributes of both schools as platforms for architecture education today have been investigated for their possible mutual interference.

BAS in ARCHIP Education Exchange

ConceptRegina Loukotová

PhotosDominik Kučera, Rostislav Zapletal, ARCHIP archive

DesignFilip Blažek – Designiq

Edited byARCHIP

Financed by the Norway grants under the bilateral cooperation project “Exchange of Experiences in Sustainable Urban Development”, 2016

EXCHANGE OF EXPERIENCES IN SUSTAINABLE URBAN DEVELOPMENTMAY – SEPTEMBER 2016

Dessau International Architecture School

ENCOUNTER 1BAS in ARCHIP teachers re-visitingThe intensive three days presence of BAS teachers in the work-in-progress of a semester focused on the historical context of former Army Barrecks / Kasárna in Prague 8 district in Karlín helped to review the teaching methods applied and initiated a discourse that was further developed in subsequent encounters – the one based on comparison of the semester structure, content of the briefs and roles of studio teachers at both schools. At final workshop and roundtable on teaching methods in ARCHIP and BAS the approaches in complementing urban planning, urban design and architectural design were compared and discussed.

ENCOUNTER 2ARCHIP in BAS teachers re-visitingOn the occasion of the following ARCHIP teachers’ two days stay at BAS the comparative debate on methods of education took place within a week of students exhibition of work as developed in various seminars and studios. A complexity of individual student’s itinerary in one semester and different dynamic and length of semesters at BAS and ARCHIP cases helped formulating the different benefits of both models. Field trips enhanced the awareness of the urban context in which BAS school operates.

ENCOUNTER 3BAS in ARCHIP student co-workshopThe series of encounters culminated in two teaching sessions, each of a week long exercises and field research in Prague urban context with BAS students taking part in education process at ARCHIP. ARCHIP mentor Pavel Nasadil and BAS mentor Thomas Wiesner set frames for their subsequent complementary exercises to acquire knowledge on Prague’s urbanity and gain applicable architectural skills. Though first exercise students explored urban typologies of the city from centre to the edges in a series of localities. The final exercise was aimed at practicing analytical architectural sketching along Vltava river band. The debate among students and teachers of ARCHIP and BAS culminated at final guest lecture by Thomas Wiesner on teaching methods applied at BAS.

I had the opportunity to tutor the second week of activities for

the BAS students in Praha. During that period, we would practice analytical architectural sketching along the Vltava central river bend in Praha.

It was clear that the BAS students had had thorough general introductions to the city, the particular waterfront theme, and more focused knowledge from the first week of tutoring and collaborations with both tutors and students from ARCHIP.

The students works benefitted greatly from theses encounters, and they referred to the various activities conducted by ARCHIP with satisfaction.

It was privilege to be able to give a lecture at ARCHIP on thursday 29th, in which study approaches and works result from a previous 3rd year course at BAS also could be presented.

We all enjoyed the following Q/As and feedback on showing the ongoing analytical architectural sketches by the BAS students to faculty and students at ARCHIP.

I was impressed by the facilities at ARCHIP and the dedication to the work by the faculty and staff that I had the opportunity to meet. The exchange hopefully might be intensified in the near future.”

Thomas Wiesner, Bergen Architecture School, Encouter 3 – BAS in ARCHIP student co-workshop

0.1 ENCOUNTERS


1_STARTInternational students of Dessau Institute of Architecture have followed up the Karlín Barracks as their spring 2016 semestral project led by professor Ivan Kucina.

2_MODELSThe final results (in physical models) of ARCHIP students semestral project INSIDE/OUTSIDE (living in the city) – residential development in the courtyard of Karlín Barracks.

3_PROCESSMoments from the working process of ARCHIP and BAS students.

4_MA PROJECTSThe examples of final submission of ARCHIP Master’s programme semestral project INSIDE/OUTSIDE (living in the city) – residential development in the courtyard of Karlín Barracks and the building of barracks itself.

5_BA PROJECTSThe examples of final submission of ARCHIP Bachelor’s programme semestral project INSIDE/OUTSIDE (living in the city) – residential development in the courtyard of Karlín Barracks.

6_CONTEXTBAS students’ 2 weeks workshop analyzing Karlín Barracks and various similar urban typologies in Prague in wider context and with different approach.

The students were spontaneous and naturally commited to

exploration of a city that they have visited for the first time. They have immediately seemed to adjust to the local context and seemed to be able to analyse their data fairly quickly which in their natural curiosity turned to spontaneous ideas for change. I see this amazing adaptability as a result of good schooling."

Pavel Nasadil, ARCHIP, Encouter 3 – BAS in ARCHIP student co-workshop

0.2 CONTENTS


Karlín Barracks1.1 START


Student: Charlotte Qian Yi ChooTutors: Ivan Kucina, Regina Bittner

1.2 START


Student: Karla BurlamaquiTutors: Ivan Kucina, Regina Bittner

1.3 START


Student: Charlotte Qian Yi ChooTutors: Ivan Kucina, Regina Bittner

2.1 MODELS

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The Karlín Barracks is a big UNESCO cultural heritage complex that served the military for over 160 years. It was built in 1845 for the Austro-Hungarian Empire and it was originally named Ferdinand Barracks - name that then changed to Jan Zizka after the collapse of the empire in 1920. “At the time these barracks were among the largest if not the largest ever military barracks in the Czech lands. It could hold up to two thousand troops,” says military historian Jaroslav Láník . The reason why the barracks were so big, well protected and located in Karlín, was to defend Prague - which back then was still surrounded by the old city walls.

The complex consists of three parts: 1. The main three-winged building (Karlínská Kasárna) with five floors and a basement; 2. An inner courtyard with an area of about one hectare; 3. An additional multipurpose building that was used as a rehabilitation center, car wash, garage, among others things. Today the Barracks are only partially used by the Czech police, which is a problem not only for the state - that has to bear with its expensive maintenance costs - but also for Karlín, that doesn’t benefit from a potential common space. For that reason, the Barracks are being offered for sale by the state.

Even though the Karlínská Kasárna is such a big building, with a significant visual and historical presence in Karlín, it seems to go unnoticed or even avoided by the locals. That may be due to its military history and because of the fact that it is occupied by the police. Regardless of the reason, the fact is that the com-plex needs to be integrated to the area and used by the people.

2 . KARLÍN BARRACKS

Facade view from the Krizikova street / Inner courtyard

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Barracks’ access blocked by the smaller mul-tipurpose building / Side entrances closed

by gates / Main entrance door

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Due to its original function, the floor plans of the barracks are rigidly com-posed by a series of cells for lodging soldiers. Even though the repetition may seem somewhat boring, it becomes quite interesting from the structural per-spective. Another special feature of the building are the beautiful arches on the ceiling of the rooms and common areas.

Common hallway / One of the rooms / Main entrance door Original floor plan and sections /

Archway in the circulation

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The case study in Leipzig was very important to start the design process in Prague. Researching about the Gleiserei and the surroundings of the Eisenbahn-straße was crucial to understand the Commons vision, how they are managed and have an idea of how Karlín could too benefit from Commons regenerating its urban gaps.

The first design attempt for the Gleiserei was also important for understanding better the role of the architect when designing for Commons. First because the uses of the Commons are so plural and dynamic that it’s important for the design to be flexible rather than having a fixed program. Second because of the fact that the commoners do all the renovation work by themselves and count on a limited budget, which leads to a scenario where the architect should not just think about their present needs, but also about future interventions that they might want to do. In that sense, the architect should set design parame-ters for them to do their own design instead of designing for them.

When it comes to Karlín, the concept is to create groups of Commons that will occupy the Barracks, do the renovations inside the building and also provide common spaces for the community by making interventions in the courtyard.These interventions will play an important role on a process of de-gentrifica-tion and appropriation of the area by the community. In that sense, the inter-ventions intend to encourage participatory design by the community and for the community. The design proposal will be guided by five principles:

3 . DESIGN PROPOSAL

1. Make the barrier a destination

Due to its history the Barracks have been a barrier against people in Karlín. The concept of “barracks” needs to be reinvented and their spaces used in an inclu-sive way. The building needs to open its door for the community and provide alternative living, working and leisure possibilities.

2. Make the most of the Barracks

The Barracks have very solid structure and beautiful arches that should be pre-served as much as possible. Apart from that, it’s also important to keep the renovation costs to a minimum, once the commoners work on a limited budget and do most of the work themselves.

3. Provide common spaces for permanent and temporary uses

The common spaces are important for local development, as people will have the opportunity to gather as a community, meet their neighbor and work on strategies for a better future for Karlín. Permanent uses such as library, meeting rooms or workshops, can provide that kind of opportunity for the area. In the mean time, the temporary uses such as markets, food fairs or seasonal activi-ties can also change people’s view on Karlín and bring long-term benefits to it.

4. Encourage a collaborative work environment

When it comes to living as a community and making changes for the commu-nity it’s important to not only provide living and working spaces, but also tools for spontaneously creating other kinds of spaces that fits their agenda. In that sense designing something that can be executed by the people themselves is an important aspect of the design.

5. Create a smart construction system

In order to help the community build itself, it’s necessary to set parameters for all the future interventions that will happen in and outside the Barracks. That means working with a parametric thinking and creating modular designs that will work as guidelines for any kind of use that they might wanna have.

PRINCIPLES

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In order to destroy the barrier between the Barracks and Karlín and integrate it physically and visually to the area, it is necessary to open the building to the street. First by opening the side and front entrances - which today are close by gates - and second by demolishing the back multipurpose building - which becomes a big wall closing up a dead end street and covering the beautiful internal facade of the Barracks. Without those barriers the people who walk by will have a glimpse of the building and feel invited to walk inside and explore the not-so-enclosed courtyard.

STARTING POINT

View of the internal facade after demol-ishing the multipurpose building

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The interventions will happen inside the Barracks and outside, in the courtyard and on the neighboring windowless facades. The program for those interven-tions will be suggestions of multiple uses that should be spontaneously decid-ed, developed and executed by the commoners.

INTERVENTIONS

BARRACKS

COURTYARD

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The Barracks have a series of cells that were previously used to lodge soldiers. The concept for those cells is to imagine how they could be used in alterna-tive ways, either for living, working, socializing or all of those uses mixed and/or combined. The current vacant spaces would have a completely different meaning as people move in and live as a community. The architecture of the Barracks - with its long hallways - would also work in favor of the commoners, as they will be bale to constantly interact and visit each other. The architecture also provides the possibility of combining the cells in different ways as needed, creating different kinds of lofts for the previously mentioned uses.

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(CO-) HOUSING SOCIALIZING (CO-) WORKING

INTERVENTIONS >> BARRACKS

INTERNAL CELLS

CELLS GRADUAL OCCUPATION

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The courtyard will host the common activities by making use of pop-up mod-ular structures that can be combined among each other and that can always be changed according to the need. Those modules will sit on a grid that’s ex-tended from the inside of the building and that will serve as guidelines for any future interventions. The result will be a dynamic space where people can interact, exchange ideas and be a community. The U-shaped courtyard plays an important role on those activities, as it makes it easier for the commoners to have not only physical, but visual interaction at all times. So even though one might in one end of the building, he/she can decide if it’s worth going to the other end by checking what’s going on outside the window.

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ARTS LEISURE SEASONAL ACTIVITIES

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GASTRONOMY SPORTS EVENTS SOCIALIZING

INTERVENTIONS >> COURTYARD

COURTYARD GRID

MODULAR INTERVENTIONS

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2.2 MODELS 3.1 PROCESS

3.2 PROCESS 4.1 MA_Karlín Barracks

Student: Yasaman GhanaeimiyandoabTutors: Jan Schindler

4.2 MA_Karlín Barracks

Student: Petra IlijevicTutors: Jan Schindler

study

sleeping pods

lounge kithcen

wardrobe

KARLIN BARRACKS / TYPICAL UNIT

4.3 MA_Karlín Barracks

Student: Shepol BarzanTutors: Jan Schindler

5.1 BA_Karlín Barracks

Student: Anastasia LavrovaTutors: Pavel Nasadil, Elan Fessler

SITE PLAN 1:500


Student: Constance ChungTutors: Pavel Nasadil, Elan Fessler

A

A’

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LAV. 1

RETAIL STORE PHARMACY

RETAIL STORE

COMMUNALHALL

LAV. STORAGE

STORAGE

STORAGE

STORAGE

UP 19R

UP

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UP

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UP 19R

Ground Plan 1:500

Site Plan 1:1000






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Student: Iman AljoakiTutors: Pavel Nasadil, Elan Fessler


Student: Nawar Al TalliTutors: Jaroslav Wertig, Paul DeLave


Student: Petr FrankTutors: Jaroslav Wertig, Paul DeLave

BACHELOR PROJECT (AD 6) — INSIDE / OUTSIDE, LIVING IN THE CITY — WERTIG + PAUL STUDIO — SUMMER TERM 2015/2016 — SHEET 1 1/2 PETR FRANK

FRAMEFrame is element creating boundaries, centre of view or just quietly take care about image.

BACHELOR PROJECT (AD 6) — INSIDE / OUTSIDE, LIVING IN THE CITY — WERTIG + PAUL STUDIO — SUMMER TERM 2015/2016 — SHEET 2 PETR FRANK

1:1000

Ground level plan

1:500

West perspective view

Street perspective view

Site plan with context


Student: Dave OrlandTutors: Michal Palaščák, Petra Fialová

KASUNATHE STYLE OF ARCHITECTURE IS MODERN

MINIMALIST AS IT USES THE BASIC FORM OF A

RECTANGLE TO FOLLOW THE CONTEXT OF KASARNA.

TOGETHER WITH THE BASIC COLOURS OF THE MATERIALS

CONVEY THE FEELING OF EMPTINESS, YET STILL PRESENTS

ITSELF A COMFORTABLE AND PLEASANT MANNER THAT WILL

APPEAL APPEAL TO THE OCCUPANTS TO THE POINT THAT

THEY WILL CALL IT HOME FOR A VERY LONG TIME.


Student: Simon SkogstadTutors: Pavel Nasadil, Elan Fessler


Student: Tarek Mamhoud BderTutors: Jaroslav Wertig, Paul DeLave

PRAGUE CASTLE

Emma, Lotte, Christina, Frida and Hillevi. Bergen School of Architecture

A map showing communication and human movement (both in red) in the castle area. There are three main entrences. The tempo of the communication is high due to the large area and a lot of visitors.

Bubenska 1, Prague, Czech Republic

A map showing communication and human movement (both in red) in the city and in relation to the cas-tle area.There are two main bridges that leads to the castle from the city center.

Prague Castle

Bubenská 1

6.1 CONTEXT_centrality

Students: Christian Helliksen Schiøtz, Marte Berge FjeldsbøTutors: Thomas Wiesner, Winnie Westerlund, Pavel Nasadil,

Cristian Stefanescu, Magnus Waage

Liechtenstein Palace

pictures 2 and 3 showing the retained baroque column ironic orders at the entrance of the building

pictures 4 showing the coat of arm of the prince moulded into the arch at the main entrance

picture 5 showing the the recent neo- renaissance appearance of the building aft er its renovation

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pictures 10 and 11 showing the other approaches to the palace with the palace looking same in size and style with other structures

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Picure 8 showing the Eastern facade going out into the river

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pictures 6 showing the North-Eastern facade and 7 showing the Norh-Western facade of the Liechtestein palace both in its present state

A - A

A - A

A - A

A - A

SECTION A - A

THE PLAN.We tried to get into the building at several occations but no one wanted to talk to us because of the high security profi le of the building. We got a small glims of the court yard trough the door at one time, other than that we have used google earth to try to fi nd out how the building looks like around the court yard. Th is is the plan and section as we imagine it to be.

A section of the situation from west to east across the river Vltava A section showing the situation from south to north along the river Vltava

6.2 CONTEXT_complexity

Students: Success Chijioke Okeke, Tim UelandTutors: Thomas Wiesner, Winnie Westerlund, Pavel Nasadil,


Municipal House (1912)

Prague Conservatory

Rudolfinum (1885)Museum of Decorative Arts, 1899

Old Jewish Cemetery

Straka Academy, 1896

Academy of Arts, 1885

National Theatre, 1881

The New Stage, 1983

N1:1000

Macro

Exploration

Exhibition hall

Openings

Rudolfinum explorationby Håvard Fadnes and Linda Victoria Figueiredo

Music auditorium and art gallery

Neo-renaissance style on Jan Palach Square

Opened in 1885

Designed by architect Josef Zítek and his student Josef Schulz

One of the oldest concert halls in Europe (Dvořák Hall)

Cross section vest/east

Water edge National Theatre The New Stage

Rudolfinum

Space between Rudolfinum and Academy of Arts

Space between Rudolfinum and Prague Conservatory

Space between Rudolfinum and Academy of Arts

Space between Rudolfinum and Prague Conservatory

Public space

Exhibition hall

Rudolfinum6.3 CONTEXT_history

Students: Håvard Fadnes, Linda FigureidoTutors: Thomas Wiesner, Winnie Westerlund, Pavel Nasadil,


Invalidovna6.4 CONTEXT_neighbourhood

Students: Karoline Haukjem, Åsmund Knapstad HårklauTutors: Thomas Wiesner, Winnie Westerlund, Pavel Nasadil,


Národní technické muzem Národní zemědělské muzeum

Žižkov TowerD e s i g n e d b y M i l a n B a b u s k a , t h e s e t w o m u s e u m b u i l d i n g s w e r e c o n s t r u c t e d b e t w e e n 1 9 3 7a n d 1 9 4 2 . O r i g i n a l l y , t h e a g r i c u l t u r a l m u s e u m a n d t h e t e c h i c a l m u s e u m w o u l d s h a r e s e v -e r a l f u n c t i o n s i n o n e b i g b u i l d i n g . H o w e v e r , l a n d u s e p l a n s a n d d i s a g r e e m e n t s b e t w e e nt h e t w o c a u s e d t h e p r o j e c t t o b e d i v i d e d i n t w o s t r u c t u r e s , s h a r i n g o n l y e x t e r i o r r e s e m -b l a n c e . D u r i n g t h e g e r m a n o c c u p a t i o n , t h e u n f i n i s h e d t e c h n i c a l m u s e u m w a s c o m p l e t e db y t h e n a z i s a n d u s e d f o r b u r e a u c r a t i c f u n c t i o n s . T h e t e c h n i c a l m u s e u m s h a r e d p r e m i s e sw i t h v a r i o u s o f f i c i a l i n s t i t u t i o n s u n t i l 1 9 9 0 . T h e t e c h n i c a l m u s e u m w a s r e c e n t l y r e s t o r e d a c c o r d i n g t o t h e o r i g i n a l d r a w i n g s . T h e s a m e w o r k w i l l s o o n s t a r t o n t h e a g r i c u l t u r a l m u s e u m .

We s t - e a s t s e c t i o n ( A - A )

Conclusion

How the tower present in different ways

"around the corner" framed under dominating in the front

the horison - in the three sone

LOOKING out from the TV tower

6.5 CONTEXT_horizontal

versus vertical

Students: Ragnhild Thirst Våge, Axel HögbergTutors: Thomas Wiesner, Winnie Westerlund, Pavel Nasadil,


Prague institute of planning and development

6.6 CONTEXT_greenery

Students: Tilla Bårdsdotter Bønes, Stian Tomin Nærøy, Daniel RydlandTutors: Thomas Wiesner, Winnie Westerlund, Pavel Nasadil, Cristian Stefanescu,

Magnus Waage

Swimming Stadium Podolí6.7 CONTEXT_monumentality

Student: Helena-Maria Konttinen NerhusTutors: Thomas Wiesner, Winnie Westerlund, Pavel Nasadil,


Main Train Station6.8 CONTEXT_topography

Students: Julie Barfod, Inga Skjulhaug, Veronika Sløk TvedtTutors: Thomas Wiesner, Winnie Westerlund, Pavel Nasadil, Cristian Stefanescu,

Magnus Waage

www.archip.eu

bas · 2017. 4. 23. · at final workshop and roundtable on teaching methods in archip and bas the...

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