Research Centre & Institute | “Ritual Factory” for Worshipful Company of Stationers Wapping, London UK 2015-2016 | Design Portfolio De He | Unit 17 Tutors: Melissa Clinch Harry Bucknall
Project Description
SITE
Client
The Stationers’ Company is City of London Livery Company for the Communications and Content Industries. The company’s service including paper, print, publishing, packaging, office products, newspapers, broadcasting and online media.
Stationers Hall Court
St. Paul’s Cathedral
There are 90% of their members work in, or supply, in these industry sectors. With 600 years of history that the Company remains determined to continue to adapt to the ever-increasing pace of change in the media industry. Master
Livery Companies were first created by groups of medieval tradesmen who joined together to promote, protect and regulate their trades There are 110 livery companies in London, each representing a discrete profession or trade. Their donation activities are focused on education that connects young people with their industries. 600 years ago most craftsmen in London were itinerant. But the manuscript writers and illuminators made decision to concentrate on their efforts and to set up stalls or ‘stations’ around St Paul’s Cathedral. The guild was established in 1403. (“The Stationers’ Company”)
Liverymen
Freeman
Wardens
Apprentices
Assistants
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Religious Festivals with Ceremonies
London’s ancient and modern trade associations and guilds
Close ties with the Church in Rome
Networking opportunities
The Worshipful Co Of Stationers & Newspaper Makers
Site N Site has chosen to be at wapping where the old news international print building was. The whole site has been designed and organised to accommodate the main building design complex with three main garden landscapes and reservoirs. Each Garden and Reservoir will serve one main theme which was created along the building programme and its particular function. The building complex designed and placed on the axis that was decided from the beginning point of the St. George in the east Church towards ICC International maritime Bureau next to the Thames River. Along the axis, appropriate design features such as ritualistic events will take place. Landscape (Genius loci) is mainly driven from the inspirations of configurations of geometries that described as a certain ritual event.
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Mountain of Zion Ritual Pavilion Central Tranquil Spiritual Stream Lake of Galilee Garden of Dining Sanctuary Hall (Dining Hall) Stationers’ Library & Archive Stationers’ Chapel Garden of Performance Stationers’ Institute& Auditorium Garden of Prayer
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Charitablegiving
Project Description
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Site Location
The Site is located at north of RiverThames, which is inside of the administration boundary of London Borough of Tower Hamlets with neighbours St Katharine Docks and Tower Bridge. Grade 1 Listed Tobacco Dock Warehouse is located immediately to the east of the Site with a canal and Shadwell Basin further to the south.
A- Saint Patrick’s Catholic Church Wapping
B- Strangers Rest Mission Evangelical Church
The Stationers Hall
St. Paul’s Cathedral
C- Wilton’s Music Hall
D- St Peter’s London Docks
E- St George In The East Church
Church,
Quay 430, a large gated residential development built in 90s located closely to the south boundary of the Site. The Highway, a main road built in Roman times runs parallel along the north of the Site which provides an essential links to city of London.
St Pauls Shadwell
Shadwell Basin
Ornamental Canal
Tobacco Dock
Quay 430
The Highway
Thomas More Square
Roman Catholic Church of the English Martyrs
St Katharine Docks
Tower Bridge
Tower of London
River Thames
St. Paul’s Cathedral
The Stationers Hall
St George In The East Church sits at northeast of the site and proposed building is lying along the axis from St George Church towards ICC International maritime Bureau next to the Thames River.
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D
Project Description
Precedent Studies & Inspirations
Architectural Ritualistic Spaces have been the principle design drivers for Stationer’s Headquarter through buildings to landscape. The diagrams on the right page exemplifies the relationship within a city and its ritualistic representation through axis, threshold and connection form outside to inside. Sanctuary Hall is like a “Temple”, it is monumental to the Stationers’ Headquarter, it introduces the light and dark to the history and heritage of this 600 years old Guild in a modern day. The Gardens for the building complex is inspired from the fundamental relationship of those ritualistic cities’ access, linear threshold, symmetrical geometries and focal points. Louis Kahn’s design transfered the human relationship into the building spaces and connect them through a ritualistic approach, but achieved through a modern building material. Such Space stresses “the role of inspiration, an animation of a participant’s soul or spirit, which would motivate the formation of both institutions relevant to modern life and their architectural settings.” (Peter Kohane, 2001) LOUIS KAHN’S THEORY OF ‘INSPIRED RITUAL’ AND ARCHITECTURAL SPACE
Salk Institute California
“building has become an emblem of tranquility in architecture” and “a quality enhanced by the carefully planned symmetrical vistas overlooking the Pacific Ocean. Built in 1962 and declared a national historic landmark in 1991, Kahn designed the complex to express an underlying sense of spiritualism, fusing influences from both the International Style and Brutalism anchored by a gently flowing river through the center of the design. “ (Finn MacLeod, 2015)
Exeter Library
“Exeter Academy. Here, the student traverses an extensive path. He or she enters the building through the external arcade, passes up stairs to the Pantheon-like, top-lit central hall, where the surrounding books are displayed as an invitation to read. Stairs give access to the dark zone of the stacks, from which the reader selects a book and moves towards the light.” (Peter Kohane, 2001)
Forbidden City | Beijing
Temple of Heaven | Beijing
Holy City | Shrirangam
Palmanova | Veneto
Project Description
Worshipful Co of Stationers’ Election Ritual Diagram (Annual Dinner/ Feast followed by election )
Worshipful Company of Stationers’ Election Ritual Diagram (Annueal Dinner / Feast followed by Election )
Design Concept
Ritual Activity 2D Diagram
Plan Cut Showing Negative Volume
Stationers’ Company as Livery Companies which were first created by groups of medieval tradesmen who joined together to promote, protect and regulate their trades. “600 years ago most craftsmen in London were itinerant. However the manuscript writers and illuminators decided to concentrate their efforts and set up stalls or ‘stations’ around St Paul’s Cathedral. Because of this they were given the nickname ‘Stationers’ and this was the obvious choice of name for the guild they established in 1403.” Stationers had regular rituals such as Annual Election followed by a formal dinner and members of the guild will witness, celebrate, and perform together at Stationer’s Hall throughout the centuries.
“chambers”
1st
First Floor
As one of the proposal for Stationers’ Company’s Headquarter, Sanctuary Hall is proposed as Dining Hall for their regular ritual activities. The Building Design (Sanctuary Hall) is fundamentally driven by Stationers’ ritual, and its geometry is reflection of the activities that the member’s participation and circulation movement spatially.
“Four stewards to represent the printers”
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Ground Floor
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Basement
Jean-Jacques Lequeu The “Temple consacré à l’Egalité” is composed of a globe emerging from a circular portico. In the huge empty interior, on the base, there is only a much smaller globe topped by a statue, a small sculptural composition in contrast to the immense void. This design was devised in the year II of the Revolution to glorify a revolutionary ideal. The precedent above addresses the design research and theory for geometry and volume exploration The Public Sphere and the Emergence of Copyright: Areopagitica, the Stationers’ Company, and the Statute of Anne The essay which detailed described the ritual event held by Stationers: “Joseph Moxon in his seventeenth century handbook for printing known as Moxon’s Mechanick Exercises. Held on the occasion of the annual election of four stewards to represent the printers, the feast began with a formal procession from Stationers’ Hall to church led by four attendants with white staves in their hands and red and blue ribbons hung across their shoulders. After the church, the group returned to the hall for a formal meal accompanied by music. Then the ceremony of election began with the four current stewards withdrawing from the hall to a chamber from which they returned led by the company beadle. Marching in order Diagram on the right illustrate the of seniority, each steward now wore a fresh Worshipful Company of Stationers’ garland of leaves and carried a long white Election Ritual in order to transform wand. Each was preceded by an attendant the Design Theory to Building Design who carried a bowl of sugared white wine in his right hand and his staff of office in the left. Three times the procession circled the hall; then the most senior steward took his attendant’s bowl, selected his successor from the assembled company, and crowning him with his garland of leaves, drank to him as ’master steward elect’. According to Moxon, there would be a great clapping of hands and drumming of feet to applaud the choice, after which the entire party would walk another round about the hall together with the newly elected steward, a ritual that was repeated three times until all four printers’ stewards for the year had been elected.” (Deazley, R., Kretschmer, M., & Bently, L. 2010)
Sanctuary Hall
Stationers’ Chapel
Sanctuary Hall
Stationers’ Chapel Conceptual Form Research from 2D geometry to 3D volume
Ritual Activity 2D Diagram
The modelling research was based on the ritual diagram and reinterpretation of the architectural language from theory to spatial.
Section Cut Showing Negative Volume Via Arched Direction with Circular Elements
Diagonal Section Cut Showing Intersectional and Booleaned Volumes
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Project Description
Vertical Circulation to the 1st Floor Chapel Entrance / Access Four “Stewards”
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3 A - Hall Horizontal Circulation B - Centre of Hall for Dining C - Oval Entrance Aura D - Vertical Circulation to the Basement E - Chapel Centre for Worship F - Vertical Circulation to the 1st Floor G - Chapel Entrance / Access H - Four “Stewards”
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Sanctuary Hall Roof Plan View
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Stationers’ Meditation Room
-1 Worshipful Co of Stationers’ Election Ritual Diagram
Programme and Organization
(Annual Dinner/ Feast followed by election )
“an outward and visual guarantee of the moral propriety of proceedings” “It was through the maintenance of public displays of decorum and probity that the Stationers’ Company confirmed their authority and the authority of their printed productions.”
The whole building complex design is based on ritualistic spatial qualities. 2
The building complex consists three main functional domains.
Sanctuary Hall
Stationers’ Chapel
“An outward and visual guarantee of the moral propriety of proceedings”
Chapel for worship with Garden of Prayer. Institute for workshop, library and auditorium with Garden of Performance.
“It was through the maintenance of public displays of decorum and probity that the Stationers’ Company confirmed their authority and the authority of their printed productions.”
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Sanctuary Hall, for Dinning and kitchen facilities. Sanctuary Hall B- Gallery for Stationers’ Private Collection- Paintings, Prints, Sculptures, Books G- Dining Hall for Stationers, Concourse, Kitchen
“Then the ceremony of election began with the four current stewards withdrawing from the hall to a chamber from which they returned led by the company beadle. Marching in order of seniority, each steward now wore a fresh garland of leaves and carried a long white wand. Each was preceded by G an attendant who carried a bowl of sugared white wine in his right hand and his staff of office in the left. Three times the procession circled the hall; then the most senior steward took his attendant’s bowl, selected his successor from the assembled company, and crowning him with his garland of leaves, drank to him as ’master steward elect’. ”
Platform from Individual Chambers
1st- Individual Chambers for Stationers 2nd-Access to the Internal Platform from Individual Chambers 3rd-Meditation Room for Stationers
1st -1
1 Sanctuary Hall
“Then the ceremony of election began with the four current stewards withdrawing from the hall to a chamber from which they returned led by the company beadle. Marching in order of seniority, each steward now wore a fresh garland of leaves and carried a long white wand. Each was preceded by an attendant who carried a bowl of sugared white wine in his right hand and his staff of office in the left. Three times the procession circled the hall; then the most senior steward took his attendant’s bowl, selected his successor from the assembled company, and crowning him with his garland of leaves, drank to him as ’master steward elect’. ”
Stationers’ Chapel
Deazley, R., Kretschmer, M., & Bently, L. 2010. Privilege and Property: Essays on the History of Copyright. Open Book Publishers. Retrieved from http://books.openedition.org/obp/1046
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Sanctuary Hall
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“According to Moxon, there would be a great clapping of hands and 3 drumming of feet 2to applaud the choice, after which the entire party would walk another round about the hall together with the newly elected steward, a ritual that was repeated three times until all four printers’ stewards for the year had been elected.”
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1 Chapel Centre for Worship 2 Sanctuary Hall Kitchen & Lounge 3 Sanctuary Hall Vertical Circulation 4 Sanctuary Hall Ground Floor Entry Point Stationers’ Chapel 5 Sanctuary Hall Centre of Dining 6 View via Garden of Dining
1 Chapel Centre for Worship 2 Sanctuary Hall Kitchen & Lounge 3 Sanctuary Hall Vertical Circulation 4 Sanctuary Hall Ground Floor Entry 5 Point Sanctuary Hall Centre of Dining 6 View via Garden of Dining
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Sanctuary Hall
Stationers’ Chapel
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G “After the church, the group returned to the hall for a formal meal accompanied by music.”
Sanctuary Hall Ground Level with Site Context
A. Institute(Library) B. Kitchen C. Dinning Hall space D. Chapel E. Institute(Auditorium )
-1 -1 Stationers’ Gallery
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“the feast began with a formal procession from Stationers’ Hall to church led by four attendants with white staves in their hands and red and blue ribbons hung across their shoulders.”
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Project Description J 2nd
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Key Drawings Sanctuary Hall Plans Axonometric View Southwest Elevation in Perspective Basement Floor Plan 1:200 Ground Floor Plan 1:200 1
Stationers’ Gallery
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Dining Hall
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Stationer’s Kitchen
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Stationers’ Individual Chambers
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Platform from Individual Chambers
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Stationers’ Meditation Room
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Mezzanine space
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Glass lift
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Protected Fire Escape Core
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10 Internal Bridge Circulation A
Stationers’ Gallery
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B-Unisex Disable Toilet
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Dining Hall
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G-Unisex Disable Toilet
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Stationer’s Kitchen
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Stationers’ Chapel
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Stationer’s Library
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Garden of Dining
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Garden of Prayer
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Lake of Galilee
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Project Description
Roof
Roof
30m
30m
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Key Drawings
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20m
3rd
20m
2nd
10m
Section AA 1:200 9
Section BB 1:200
2nd
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Stationers’ Gallery
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Dining Hall
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Stationer’s Kitchen
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Stationers’ Individual Chambers
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Platform from Individual Chambers
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Stationers’ Meditation Room
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Mezzanine space
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Glass lift
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Protected Fire Escape Core
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10m
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Section AA 1:200
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Section BB 1:200
Sanctuary Hall (Dining Hall)
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Stationers’ Institute& Auditorium
Stationers’ Library & Archive
Stationers’ Chapel
10 Internal Bridge Circulation
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Building Context
Existing Land Uses Immediate surrounding existing buildings 8
The Site is surrounded by predominantly residential buildings, especially to the south. The large office development Thomas More Square is located across Vaughan Way to the west of the Site and consists several shops and retail buildings from the ground level
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Several educational facilities such as St Paul’s C. of E. and Shapla Primary Schools. Which are located to the north of the Site across The Highway.
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Conservation Context
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The Site itself does not locate within a conservation area,But with several in close proximity. St George in the East Conservation Area is located to the north east and encompasses the Grade I Listed St George inthe East Church and its grounds.
4 Residential Mix-use Place of worship Community facilities Shops/Commercial Local landmark Office Schools and Nurseries
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The Wilton’s Music Hall Conservation Area is situated to the north west and includes several Listed buildings of different grades. To the west of the Site is The Tower Conservation Area, a significantly larger area containing the Grade I Listed Tower of London and Tower Bridge.
1 7 Grade I Listed Grade II* Listed Grade II Listed Conservation Areas
Key Buildings & Community facilities
The Grade I Listed Tobacco Dock, which is currently being used as a multi-functional venue, locates immediately to the east of the Site. The only Listed structure within the Site boundary is Pennington Street Warehouse, which has Grade II Listed status.
1. St George in the East Church 2. Tobacco Dock Warehouse Churchyard Gardens 3. Wiltons Music Hall 4. Thomas More Square 5. Tobacco Dock Hotel site 6. Quay 430
Immediate Surrounding Green Space
1. The Tower 2. Wiltons Music Hall 3. St George in the East 4. Wapping Pierhead 5. Myrdle Street 6. Albert Gardens 7. Wapping Wall 8. Commercial Road 9. St Pauls Church
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Wapping
Shadwell
5 minute walk (400m)
St George in the East Garden’s are one of Tower Hamlets’ least known historic public Gardens. It is located on the Highway with entrances from Cable Street. The former churchyard grounds were surrounded by the Nicholas Hawksmoor designed Church of St George-in-the-East. They were opened to the public in 1875. The Gardens are 1.19 hectares in size.
Tower Gateway
Tower Hill
There are several public green spaces to the north of the Site across the Highway. Swedenborg Gardens is segregate from The Highway by a fence with tress serving the residential blocks.
Fenchurch Street
Wapping Woods is a key local green space linking Tobacco Dock to Shadwell Basin.
10 minute walk (800m)
Because the Site’s relationship to the City of London, there is limited public green space to the west. The majority of green areas around St Katharine Docks are communal gardens serving residential developments.
Other key green spaces in the area include Wapping Gardens and Wapping Rose Gardens are also design drivers for the Urban Ritual in the next chapter.
Transport and Movement 2 3 The Site Diagram demonstrated the local movement network including key roads, public transport routes, cycle facilities and pedestrian crossings. The Highway is a significant barrier to pedestrian movement within the local area. A Busy road, it has four lane roads with few safe pedestrian crossing points. The road provides essential east-west links between the City and the Docklands and beyond.
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There are no bus routes passing the Site from The Highway. Bus route 100 passes the western boundary of the Site along Vaughan Way providing connections to the City, and the route D3 go through Tobacco Dock and provides a link to the Docklands and Canary Wharf. Shadwell, Wapping, Tower Gateway and Tower Hill stations are all approximately a 10-15 minute walk away, it provids rail links over 4 London Underground and Overground lines. The Site is also served by the TfL cycle hire scheme, it has docking stations on both Pennington Street and Vaughan Way. The Site provides very good cycling facilities with the Cycle Superhighway 3 (CS3), which runs from Barking to Tower Gateway, along Cable Street, north of the Site. It is linked to the Site via Dock Street and Vaughan Way. The Site currently addressed a significant barrier for movement in the area. Redevelopment of the Site gives an opportunity to improve east to west, and north to south connectivity.
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5 Key Green Space
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1. Wapping Woods 2. St George in the East Churchyard Gardens 3. Swedenborg Gardens 4. Wapping Gardens 5. Wapping Rose Gardens 6. Waterside Gardens 7. St John’s Churchyard 8. Hermitage Riverside Memorial Garden
National Rail station London Underground station Cycle docking station Cycle ‘Superhighway Bus routes National Rail line 5/10 minute walking zones Pedestrian crossings
Religious Context St George in the East Church The diagrams on this page illustrated the significant architectural figures, façade, height and its scale towards the site context and its skyline.
Immediate Surrounding Religious Archietcture and other figures St George in the East Church was designed by Nicholas Hawksmoor who had reinterpreted Rome’s Baroque Architecture and had designed many any significant churches in London and it demonstrated a series of unique British Baroque Architecture. The proposal of Stationer’s Headquarter which its design drive started form geometries to ritualistic representation. It is like Borromini who utilised the configuration of geometries rather like Bernini who used the proportion of the human body to design buildings. The religious context, especially the St George in the East Church is key figure to the Stationers’ Dinning Hall, the masterplan of the headquarter sits on the axis beginning from St George towards ICC International maritime Bureau next to the Thames River which defines the urban ritual proposal in the next chapter.
Wilton’s Music Hall
Wilton’s Music Hall “Wilton’s is a place of artistic distinction and diversity; a hive of activity anchored by an historic building with soul and a heart - a place to experience and interact with.” Its Architectural setting and current functional use is another significant urban ritual proposal influence.
Saint Dunstan in the East Church
Saint Patrick’s Catholic Church Wapping
Strangers Rest Evangelical Church
Mission
Roman Catholic Church of the English Martyrs
Tower Bridge
St Peter’s Church, London Docks
St Pauls Shadwell
Phase 02
Urban Design Proposal
Urban Ritual Morphology Analysis and Landscape Strategy Phase 01 | Garden Rituals
Phase 02
Garden Rituals are a series of geometric and sacral landscape design through creating public spaces for the local communities who are religious or with no religion. Its purpose is coherent with Pavilions Rituals as well as providing an unique experience for the public. By introducing Garden Rituals, its setting acted as a sacral movement and it became monumental towards the other gardens in the region. Again it is designed to re-connect the story and history of Wapping through symbols, geometries, threshold and water. Its function not only provide the general visual pleasure but also allowing meditation, worship, performance, even ceremonial events in the open public space which to attract wider anticipation through Wapping to the rest of London. Phase 02 | Pavilions Rituals By applying digital fabrication to generate selected details from historical architecture such as St George in the East and Wilton’s Music Hall’s Façade, then use it as interpretation of the language of the classical architecture. Installation is designed and inspired from its geometry, form and material.
Phase 01
Pavilions Rituals are installations which both exhibit and store the historical memories of the architectures in Wapping, its purpose become scenarios which trace the origin of architectural spaces in connection to rituals. Through technology and fabrication to recreate the form and story of the ancient architecture to celebrate the meaning of the buildings. To also explore the human values as well as emphasising its sacral functions and settings.
PHASE 01
Urban Rituals
Garden Rituals
PHASE 02
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Pavilions Rituals
Phase 01
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Residential
A Swedenborg Gardens B St. George’s Gardens C Wapping Woods D Wapping Gardens E Wapping Rose Gardens F St John’s Churchyard G Hermitage Riverside Memorial Garden
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Mix-use
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A Swedenborg Gardens Office B St. George’s Gardens Shops | Commercial C Wapping Woods D Wapping Gardens Religious E Wapping Rose Gardens Local Landmark s Churchyard F St John’ G Hermitage Riverside Memorial Garden Education
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Urban Design Proposal
Urban Ritual Concept A -Location for outdoor ritual activities such as Full Moon Annual Dinner and Summer Charitable afternoon tea B -Indoor ritual space especially designed for members of Worshipful Company of Stationers and Makers which also hold meetings, conferences and prizing giving ceremonies. C -The location has chosen to be at St George’s Church Yard where to provide the particular programme for theatrical performance regarding to the biblical stories as well as worshipping. D -Place for worship and appreciation of the God’s work which focus on the production of print works, prayers for Members’ relationship with God and society. -Sunday Holy Communions. -Sacred space for meditation and solitude. E -Private education facilities for young stationers and members. -Institution focus on innovative printing technique research, which also provide exclusive invited talks from Masters across London from livery companies. -Workshop provided for printing experiments which assisting and supporting the current research from the institute. F -Christian Ritual for memory of “Wapping Dispute”. -Pavilion designed for ritual activities to remember the people who have been suffered, hurt or lost their lives during the historical event almost 30 years ago taken place at News International Plant.
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Platform B and C cantilever above Ornamental Canal overlooking east and west side of Wapping
Urban Design Proposal (Site Analysis) C
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“Platform A” as beginning of the axis from St George’s Church in the East looking linearly through axis across the whole site and proposed routes
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Platform D as the end point of the axis to overlooking ThamesRiver cross Wapping and London
Ritualistic Response-View
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Viewing platforms along the proposed axis through site overlooking Wapping and London
Ritualistic Response-Access Entry points via axis to the proposed building site
Access Ritualistic Response-Axis Proposed Axis through site intersecting with main roads in Wapping
Ritualistic Response-Traffic Proposed urban platform as theend of the journey of the axis overlooking Thames River and London
Axis
Proposed Urban Road insertion at St George’s Site
Proposed Building site as Central point on the axis across the site
Traffic
Proposed urban platform as the end of the journey of the axis overlooking Thames River and London
Urban Ritual Masterplan
B X. 535489 Y. 180546
A Proposed Ritual Gardens connecting Stationers’ Complex, shared semi-public gardens for local use, enhance local culture, aesthetic leisure, and personal faith and meditation areas.
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B Proposed Ritual Bridge linking Stationers’ Complex through ornamental canal towards south west of Wapping and connecting to Sampson street.
D Proposed Ritual Platform giving views towards east and west of Wapping
E Proposed Axis as new road from St George in the east Church to ICC International Maritime Bureau and integrating existing roads from Proposed Stationers’ Complex through Ornamental Canal to Vaughan way, Sampson Street, eventually intersecting with Wapping High street for providing enhanced linear connection and direct access to Stationers’ complex. The New axis created opportunities for strong connections between public gardens and proposed ritual gardens for public uses In Wapping area.
6 9 1. Stationers’ Headquarter “Complex” 2. St George in the east Church 3. St. George’s Gardens 4. The High Way 5. Swedenborg Gardens 6. Tobacco Dock 7. St Pauls Shadwell 8. Shadwell Basin 9. Wapping Woods 10. Wapping Gardens 11. Wapping Rose Gardens 12. St John’s Churchyard 13. Wapping High Street 14. Vaughan Way 15. Sampson Street 16. Saint Patrick’s Catholic Church Wapping
Proposed Ritual Pavilions representing sculptural outdoor space which was inspired from British Baroque architecture and reflecting St George in the east Church’s design by Nicolas Hawksmoor. The pavilions are designed through architectural installations and exhibits in the public gardens which merged and integrated into Ritual Gardens. It should encourage local residents to anticipate with its aesthetic X. 535336 function and recall memories. Y. 180999
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Proposed Axis as new road from St George in the east Church to ICC International Maritime Bureau and integrating existing roads from Proposed Stationers’ Complex through Ornamental Canal to Vaughan way, Sampson Street, eventually intersecting with Wapping High street for providing enhanced linear connection and direct access to Stationers’ complex. The New axis created opportunities for strong connections between public gardens and proposed ritual gardens for public uses In Wapping area.
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F Destination Ritual Platform, the end of the proposed axis providing a horizontal landmark which coherent with the beginning of the proposed axis started from St George in the east Church, intersecting with The High Way and Pennington Street, providing the direct connection to great list buildings such as Tobacco Dock. D1
D2
X. 534854 Y. 179955
X. 534379 Y. 180027
X. 533915 Y. 180039
Building Construction
In-situ and Precast Concrete Construction (External) 14
Sanctuary Hall is a ritualistic dining space which has been the core spatial focus within the whole institute complex. The design for the dining hall has applied a lot of geometrical volumes to express heavy, raw and mysterious atmosphere as a spatial quality. But at the same time to give a minimal and contemporary approach in architecture construction.
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To achieve such a geometrical relationship as a building fabric and construction, concrete construction has been selected for one of the main constructions method. The design concept via external constructional method divided into Insitu and Precast Concrete construction. The design was also inspired by architect Felix Candela who utilised Insitu Concrete construction to achieve large curved wall system with such height and scale. Phase 01-In-situ Concrete Construction Pile Foundation System Basement Wall System Ground Floor Slab Ground Level Arched Wall System Concourse Columns and Kitchen Chimney Systems Basement + Ground Level Concrete Dining Platform with Inward curved wall feature
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Phase 02- Precast Concrete Construction Geometrical Prefabricated Reinforced Concrete Arch Columns
Precast Concrete and Timber Frame Construction (Internal)
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The internal design approach is to create a ritualistic space for the client who has religious members to come to the Sanctuary Hall for formal dinner and other ritual events throughout the time. The external construction has a raw, hard and minimal finish, but the transition into the interior will be intricate, delicate and light. More sophisticated precast concrete will be the “core” of the internal building constructions which is secondary construction.
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The timber frame is also primary construction which is “sitting” on the top of In-situ concrete wall systems. It is supporting roof structure and precast rain screen concrete cladding externally.
1. Geometrical Prefabricated Reinforced Concrete Arch Columns 5
Timber beam truss system was inspired by the Hammerbeam roof construction. But in this design approach, the timber beam construction was altered and re-designed to accommodate the intricate internal curved spatial design quality. Because of timber’s flexibility, the timber truss will be prefabricated into the shape and form that compromise the design requirements and deliver to the site at Phase 04.
3. Ground Level Arched Wall System 6
4. Concourse Columns and Kitchen Chimney Systems 8
5. Basement + Ground Level Concrete Dining Platform 6. Ground Floor Slab 7. Basement Wall System
Phase 03 Internal Precast Concrete Construction
8. Precast Curved Internal Wall
Core -Precast Curved Concrete Wall (Basement to First Floor) Precast Curved Internal Wall Precast Concrete Stairs
9. Core -Precast Curved Concrete Wall (Basement to First Floor) 10. Precast Concrete Stairs
Phase 04 Internal Timber Truss and Roof Construction Timber Frame Dome Structure Timber Beam Truss System (Roof Structure) Timber Frame Floor Finish Timber Internal Panel Finish
2. Ground Level Arched Wall System
11. Timber Frame Dome Structure 7
12. Timber Frame Floor Finish 13. Timber Internal Panel Finish 14. Timber Beam Truss System (Roof Structure)
Building Construction
Internal Precast Concrete Panel Finish
Exterior and Interior Patterning Techniques
Prefabricated Concrete Stairs
External Prefabricated Concrete Panels
Pre Fabricated Concrete Cladding System and Building Material Precedents Concrete as building material has many possibilities from primary construction to cladding system, from traditional to Innovative technology. As a ritualistic dining space which its interior quality required such pure form in terms of the finish and construction methods. In this design approach, using technologies that concrete can bring today for the facade construction and internal finish. Phase 05 Concrete Rain Screen Cladding Panel Diagram
External Prefabricated Concrete Panels Exterior and Interior Patterning Techniques Internal Precast Concrete Panel Finish Prefabricated Concrete Stairs
Origami Cast Architectural Concrete Tile
Plan
Side Elevation: Profile
Morphosis’ Museum of Nature & Science Facade: Gate Precast
Side Elevation: Width
Iso View
MOSTYN Dominic Williams Wales
The diagram illustrate the concept of a single component for concrete rain screen cladding panel
Building Construction
Construction Sequence
1-Excavation for pile foundation, water features and landscape preparation 2- In-situ concrete pile foundation Installation 3- Precast curved concrete internal walls form basement to second floor level 4- In-situ concrete casting on site fire escape core (walls, stairs and landings) 5- Secondary precast internal concrete walls and circular bridges 6- External In-situ concrete walls casting on site
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7- Precast diagonal concrete supporting “column” installation on site 8- Third floor level prefabricated timber truss and frame system installation 9- External concrete rain screen panels (cladding) finish installation 10- Landscape construction (gardens and “lakes”)
Internal CNC timber prefabrication timber “dome” installation
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Envelope Strategy and Key Details
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Skylight, Roof and Louvre Detail (Ventilation Strategy)
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The detail addressed the roof opening, skylight for natural ventilation strategy.
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The air can go through the openable and double glazed roof window and also penetrate through the adjustable louvres. It is also acted as “insulation” when it is closed
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The ambition for the detail of the louvres was to create the same language as the intricate internal features.
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External Wall Detail and Internal Finish Detail 5
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1:20 The details illustrated the connection from timber truss to in situconcrete external wall with concrete rain screen panel finishes Opening with double glass skylight feature
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Skylight, Roof and Louvre Detail
External Wall Detail and Internal Finish Detail
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1 38x145 mm Swan larch shiplap boarding with acrylic-late paint finish over 27-50mm
1 Width 200mm x Height150mm x Length1500mm precast rainscreen concrete panel
2 Stepped double glazing: 10 mm toughened glass + 15 mm cavity + 18 mm lam. safety glass
2 Damp proof membrane
3 Prefabricated aluminum louvres
3 350 mm thick reinforced In-situ cavity curved concrete wall (Ground Level)
4 180 degree Adjustable timber louvres
4 89 mm x 406 mm VERSALAM Beam
5 Double glazed openable roof light
5 Vapour barrier: bituminous sealing layer laid in hot bitumen
6 Width 200mm x Height150mm x Length1500mm precast rainscreen concrete panel
6 200mm thermal wool insulation
7 800 mm x 150 mm CNC Internal oak finish
7 38 mm x 50 mm Jewson’s Hardwood batten
8 Damp proof membrane
8 Internal finish
9 Vapour barrier: bituminous sealing layer laid in hot bitumen
9 Stepped double glazing: 10 mm toughened glass + 15 mm cavity + 18 mm lam. safety glass
10 200mm thermal wool insulation
Section A-A Detail (Plan) 1:20
Envelope Strategy and Key Details
External Roof Section Detail and Internal Finish Detail 1:20 The Details demonstrated the timber prefabricated design ambition from Timer Truss to Internal timber CNC fabricated panels finish (Internal Cladding), the design intention was to create “Dome” like interior finish for the meditation room but with lightweight structure and intricate details.
Timber Batten System to support the CNC panels
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CNC Prefabricated Oak Panel Finish
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External Roof Section Detail and Internal Finish Detail 1:20
1 Width 1300mm x Height200mm x Length 860mm precast rainscreen concrete panel 2 Damp proof membrane 3 Air distribution 4 133 mm x 406 mm VERSALAM Beam Truss 5 Vapour barrier: bituminous sealing layer laid in hot bitumen 6 200mm thermal wool insulation 150 mm
7 38 mm x 50 mm Jewson’s Hardwood batten 8 800 mm x 150 mm CNC Internal oak finish 9 Electrical distribution 800 mm
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Church of the Concilio Sancta Maria Mater Ecclesiae Roma, Italy. 1965 Luigi Moretti A. B. C. D. E.
“There are many works of Roman Baroque scuplture from the time of Bernini and his apprentices and of Borromini that are, in particular areas, resolved in purely formal terms. They are so far from any direct reference to objetive reality that it seems justified to recognize them as belonging to a formal, abstract world. These particular areas of plasticity correspond with figural pretext such as drapery, wings, rocky landscapes, cliffs, tufts of greenery, rays of light, and clouds. They are not of casual or secondary importance with respect to the work to which they belong; they often cover almost the entire surface of the work and constitute the fundamentals terms of its image.”
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Individual Wall and Column Component Temple “Dome” Component Pavilion “Dome” Component Dinning “Ritual” Roof and Internal Wall System Archive “Ritual” External Shell and Circulation Wall System
-Luigi Moretti
Abstract Forms in Baroque Sculpture -Luigi Moretti
Moretti’s “Eclecticism and Unity of Language”
“Speakers in our talks with an architecture all the facts and we would say all the metaphysical characters, institutions, which constitute it; each reciting his word, or light or weight or measure or matter or of empty space, now calling others now repeating itself now disappearing, with an ever-changing expression concatenation, such as light and men, but with a congruence final, immutable destiny, which is the created order of their relationships and structure . “
A. A model of the spaces within Michelangelo’s San Giovanni dei Fiorentini in Rome B. Project for the church of St. Philip Blacks in Casale Monferrato. planimetric element.
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C. Volumes of the Church of St. Philip Blacks spaces
Luigi Moretti
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D. Lyod Frank Wright, House McCord, Performance of the internal volume of the ground floor.
Ritual “Factory” From Geometric 2D Plans to 3D Components
Boolean Sequence and Generated Negative Volumes inspired from Luigi’s Methods
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A. Ritual “Factory”The Spatial Complex which investigates the ritual activities taken place through geometrical thresholds, vertical and horizontal circulation, domes that had been created by negative volumes via Boolean. 1. Thresholds within Walls 2. Performance “Ritual” 3. Dining “Ritual” 4. Achieve “Ritual”
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B. Concrete Column Walls forming threshold C. Performance Stage D. Ritual Walkaway & Bridge E. Ritual Pavilion For Prayer F. Outdoor Dining Pavilion G. Dining Table and Chairs H. Geometrical Sculpture I. Reading Pavilion J. Archive
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Mable shelves Oval Shell Aluminium Oval Dome Concrete Observatory Tower Oak spiral sculpture Concrete “column” Archive Basin Internal concrete “columns” Ritual Concrete wall with circular timber and gold spikes Floating concrete island Stationer’s Ship 1st Point Circular Worship stage Stationers’ Quay Lake of Galilee Sacrificial Altar Mountain of Zion Concrete passage Archive Flying bridge with worship stage Ritual Garden for Stationers Stationers’ temple for worship and outdoor dining 2nd Point Circular Worship stage
Ritual “Factory” Section Perspective | Conceptual Axonometric
Stationers’ Ritual Archive Conceptual Diagram From 2D Geometries to 3D Volumes
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Ritual Performance Centre Ritual Dining Hall Ritual Archive Ritual Walls - Threshold and Passage Stationers’ Ship Stationers’ Quay Stationers’ Temple for worship and outdoor dining Sacrificial Altar Mountain of Zion
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Ritual “Factory” Ritual Archive Section AA
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Ritual “Factory” East Cross Section BB
Ritual “Factory” Section Perspective | Archive
Ritual “Factory” Section Perspective | Ritual Dining
Ritual “Factory” Section Perspective | Archive
Ritual “Factory” Section Perspective
Appendix
Design Developments Ground Floor Plan 1:500 1st and 2nd Floor Plan 1:500
2nd Floor Plan
Ground Floor Plan
1st Floor Plan
Appendix
Design Developments Future Representation 1:100 section model via Rihno 3D modelling | Lasercut | 3D Printing Stationers’ Chapel
Appendix II Design Developments