MA Interior Architecture and Design Thesis by domariawilkinson

The Terraced House Hotel: Served: Servant Spaces: Exploring thresholds through Third Space. Master of Arts in Interior Architecture and Design INT9005M-2 WILKINSON Lincoln School of Design UNIVERSITY OF LINCOLN

Acknowledgements: Thanks goes to the team at Studio Ceramics, Newark for going to great lengths to assist me in sourcing the tiles for the sample board. I would like to thank Lorna Cameron and Anna Catalani for their contributions to the development of this thesis and my professional growth. Special thanks must go to my supervisor, Raymund Konigk, who has been a source of inspiration, a wonderful mentor and a bit of home in a foreign country. My deepest gratitude goes to my parents for their provision and encouragement towards my education over the years that prepared me for this level of study. I would also like to express thanks to Nicky; I would not have managed this year without you and your prayers. My husband, Francis, I cannot articulate how grateful and blessed I am for your unwavering support and provision to allow me to undertake this course. Thank you for your critique, enthusiasm for my work, and for loving me whole-heartedly. Lastly, God, thank you.

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The Terraced House Hotel: Served: Servant Spaces: Exploring thresholds through Third Space. WILKINSON, Domaria (18689474) Submitted in fulfillment of a part of the requirements for the degree Master of Arts in Interior Architecture and Design Lincoln School of Design UNIVERSITY OF LINCOLN Supervisor: Module:

Dr. Raymund Konigk Thesis Project INT9005M-2 December 2019

Abstract

In die afgelope vyftig jaar, ondanks die feit dat hul ‘n ooglopende deel van die Britse bou-erfenis is, is Victoriaanse skakelhuise verwaarloos, verlaat en gesloop. Die (bou) omgewing lewer bewys van ‘n duidelike menslike strewe en die samelewing skryf die betekenis van hierdie historiese omgewing as deel van hul kulturele en natuurlike erfenis toe. As gevolg van globalisering het dit al hoe moeiliker geword om die plekwaarde of kenmerkendheid in binne-ruimtes uit te beeld. Dit kan lei tot die verswakking en verlies van ontasbare kulturele erfenis (wat betrekking het op die gebruike, voorbeelde, manifestasies, kundigheid en kulturele ruimtes wat met individue en gemeenskappe verband hou). In die na-oorlogse Brittanje is die oorvleuelende teorieë tussen die ontwerp- en kreatiewe industrieë gebruik om die persepsie van praktisyns en die publiek in ontwerpte binne-ruimtes te bevraagteken. Dit kan lei tot ‘n nuwe benadering. Daar word geglo dat dit ‘n presedent vorm vir die samehang en status van die binnedissipline asook die rol daarvan in die wêreld. Die skakelhuise te Westgate 43-59, Lincoln, is ‘n voorbeeld van die bedreiging van plekwaarde wat tydens hierdie wêreldwye verskuiwing plaasgevind het. Die nabyheid en status van die kulturele erfenis van die kasteel en katedraal is ‘n faktor wat dit noodsaak om die ontasbare erfenis van hierdie geboutipologie te beskerm. ‘n Ontwerp-strategie word ontwikkel met die hulp van twee binne-diskoerse: inwoning en die liggaam; en innerlikheid. Daar word aangevoer dat voordat binne-ontwerpers die ervaring en persepsie van inwoners kan uitbrei, daar in hul basiese behoeftes voorsien moet word (die gebruik van gevestigde argetipes soos patrone, binne-tipes en simboliese motiewe word bespreek). Sodra daar aan hierdie behoeftes voldoen is, kan die binne-ontwerper die gebruiker se ruimtebegrip uitdaag. Hierdie studie plaas die klem op idees van drempelwaarde en die verkenning van die Derde Ruimte (Loveday, 2008). Dit word saam met die Drie Natuur model (Hunt, 2000) deur Jacqueline Power (2010) teoretiseer. Die begrip van bedien: bediende ruimte word toegepas as strategie vir ruimtelike organisasie. Die binne-buite drumpel speel ‘n belangrike rol in die daarstelling van die binne-ruim. Dit bied ‘n belangrike vraagstuk, waar begin en eindig die binne-ruim? ‘n Praktiese oplossing word vir die projekterrein voorgestel wat die doelwit van die projek weerspieël: om die historiese bou-tipologie van Victoriaanse skakelhuis te bewoon, te heroorweeg, te ïntegreer en relevant te maak binne ‘n breër stadskonteks in die 21ste eeu. Deur gebruikers toe te laat om tussen verskeie drumpels te kies, word ‘n nuwe ervaring en tipologie geskep. Hierdie drumpelervaring beïnvloed uiteindelik die inwoners se persepsie van die gebou. Die bestaande siening word uitgedaag en ‘n nuwe laag van betekenis word in Victoriaanse skakelhuise toegevoeg. Dit versterk plekwaarde en plekgehegtheid. Uit die aard van die studie, berus dit op die ontleding van sekondêre bronne. Daar word dus aanbeveel dat verdere direkte navorsing gedoen word op inwoners van geboue wat volgens hierdie strategie ontwerp is. Daarbenewens kan die skema ontwikkel en uitgebrei word om ander boutipologieë in te sluit en om die definisie en toepassing van die konsepte van Derde Ruimte en Drie Natuur binne die binne-dissipline te ontwikkel. Sleutelwoorde: Binne-ontwerp, Bedien: Bediende ruimte, Derde Ruimte, Drie Natuur, Argetipe, Tipologie

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In the past fifty years, Victorian terraced houses have been neglected, abandoned and demolished at a vast rate, despite being a distinct part of British history. Our (built) environment is evidence of distinct human endeavour and society ascribes significance to this historic environment as part of their cultural and natural heritage. Due to globalisation, it has become increasingly difficult to express sense of place or distinctiveness in interior spaces, and could lead to the weakening and loss of intangible cultural heritage; which concerns the customs, exemplifications, manifestations, expertise, and cultural spaces connected to individuals and communities. In post-war Britain, overlapping theory between the design and creative industries were used to question and transform the perception of practitioners and the public in designed interiors; which formed a new approach. It is believed that this sets a precedent for the coherency and standing of the interior design discipline and its place in this world. The terraced houses of 43-59 Westgate, Lincoln, are a representation of the endangered sense of place identified in this global shift. Its proximity to the cultural heritage giants of the Lincoln Castle and Cathedral, factor into the necessity to protect the intangible heritage of this building typology. A strategy is devised using two discourses within interior design theory; inhabitation and the body, and interiority. It is argued that before interior designers can extend the experience and perception of inhabitants, their basic needs should be catered for. This falls under the inhabitation and the body stream of thought; which deliberates the use of well-established archetypes such as patterns, Intypes, and symbolic motifs. In this study, the interiority discourse focuses on ideas of threshold and the exploration of Third Space (Loveday, 2008). This is coupled with John Dixon Hunt’s Three Natures model (2000), according to the relationship theorised by Jacqueline Power (2010), which is extended using the concept of served: servant spaces as a method for spatial organisation. Furthermore, the exterior-interior threshold is considered to play an important role in defining interiority, and presents a significant question of where the interior ends and the exterior begins. A practical solution is proposed to the site reflecting the aim of the project; to reconsider the idea of inhabiting the historical building typology of Victorian terraced houses, and how they can be integrated and made relevant within a broader city context of the 21st century. By allowing users to choose their transition into the space, a novel experience and typology is created. This threshold experience ultimately influences the inhabitants’ perception of the building. The existing view is challenged and adds a new layer of meaning to Victorian terraced houses which strengthens their sense of place and people’s attachment to place. Due to the nature of the study, the analysis of the resultant proposal relies heavily on secondary sources to determine its success. Thus, it is recommended that further research be done regarding the observation and analysis of inhabitants of buildings designed using this strategy. Additionally, the scheme can be developed and expanded on to include other building typologies, and to further develop the definition and application of the coupled concepts of Third Space and Three Natures within the interior design discipline. Keywords: Interior Design, Served: Servant Space, Third Space, Three Natures, Archetype, Typology

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Table of Contents

01 Introduction Background Problem Research Question Aim Research Objectives Delimitations Importance of the study to the discipline Research Methods & Paradigm Definitions Abbreviations

2 2 2 2 2 3 3 3 4 4

02 Content Analysis 2.1 Introduction 2.2 Interiority 2.2.1 Served and Servant Spaces 2.2.2 Third Space 2.2.3 Threshold 2.2.4 Urban or Public Interior 2.3 Inhabitation and the Body 2.3.1 Sense of Place 2.3.2 Symbolic Motifs, Patterns and Intypes 2.4 Conclusion

7 8 8 10 11 12 14 14 15 16

03 Context Study 3.1 Introduction 3.1.1 Interventionist Approach 3.1.2 Managing Alteration 3.1.3 Context Study 3.2 Alteration Strategy 3.2.1 Stripping Back 3.2.2 Making Good 3.2.3 Enabling Works 3.2.4 New Works 3.3 Historical Development & Cultural Significance 3.3.1 Origins of the Victorian Terraced House 3.3.2 The Urban and Interior Threshold 3.3.3 Typlogy and Archetypes 3.3.4 Victorian Terraces as heritage at risk 3.3.5 The Hotels of Lincoln 3.4 Choice of Site 3.5 Building and Location Analysis 3.5.1 Location 3.5.2 Building Analysis 3.6 Visitor profiling 3.7 Statement of Significance 3.7.1 Evidential Value 3.7.2 Historic Value 3.7.3 Aesthetic Value

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18 18 18 18 19 19 19 19 19 21 21 23 23 29 30 32 34 34 38 40 42 42 42 43

3.7.4 Communal Value 3.8 Restrictions 3.9 Typological Analysis 3.10 Elements of Significance 3.11 Conclusion

44 46 48 49 50

04 Precedent Studies 4.1 Introduction 4.2 The Etch House 4.2.1 Introduction 4.2.2 Analysis and Comparison 4.2.3 Evaluation 4.2.4 Application 4.3 Parkhurst Shops 4.3.1 Introduction 4.3.2 Analysis and Comparison 4.3.3 Evaluation 4.3.4 Application 4.4 PARAMOUNT HOUSE HOTEL 4.4.1 Introduction 4.4.2 Analysis and Comparison 4.4.3 Evaluation 4.4.4 Application 4.5 Whitworth Manchester 4.5.1 Introduction 4.5.2 Analysis and Comparison 4.5.3 Evaluation 4.5.4 Application 4.6 OLIVETTI SHOWROOM 4.6.1 Introduction 4.6.2 Analysis and Comparison 4.6.3 Evaluation 4.6.4 Application 4.7 Precedent Study Conclusion

51 52 52 52 53 53 54 54 54 54 54 56 56 56 57 57 58 58 58 58 59 60 60 60 61 61 62

05 Design Proposal 5.1 Introduction 5.2 Mode of Production & Degrees of Alteration 5.3 Change of Use 5.4 Spatial Strategy 5.4.1 Enabling Works 5.4.2 New Works 5.5 Model Inhabitant 5.6 Inside versus Outside 5.7 In-between (Third) Space 5.8 Material Strategy 5.8.1 Heritage 5.8.2 Third Space Interpretation 5.9 Project scheme 5.9.1 Broader response 5.9.2 Hotel Experience Threshold 5.9.3 Gallery as Threshold

64 64 64 66 66 67 68 69 70 72 72 74 80 80 92 102

5.9.4 Haven/Den 5.9.4.1 Staircase as Third & Servant Space 5.9.4.2 Haven/Den Look & Feel 5.9.4.3 Bathroom as Servant Space 5.8.4.4 Haven/Den Wall Panelling 5.8.4.5 Haven/Den Living Area 5.8.4.6 Haven/Den Kitchen Extension 5.8.4.7 Sample board 5.8.4.8 Five Aspects Analysis 5.10 Conclusion

106 112 118 122 130 132 134 136 136 142 144

06 Conclusion Overview Limitations Contributions Recommendations

146 146 147 147

07 Bibliography A Addendum Olafur Eliasson Case Studies Threshold as Object Threshold as Association Threshold as Event Threshold as Immersive Space Conclusion

B Addendum Drawings

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List of Figures

Figure 1.1: Terraced houses in Leeds, England, 1954 (Riboud, 1954).

Figure 2.1: Diagram indicating the served and servant space concept.

Figure 2.2: Diagram indicating the served and servant spaces in the project site.

Figure 2.3: Diagram indicating the two conceptual notions of Three Natures by Dixon Hunt and Third Space by Tom Loveday within the existing site of the project.

Figure 2.4: Various approaches to thresholds as proposed by Dincer et al (2019).

Figure 2.5: Diagram illustrating the bracketed extension of the concept.

Figure 3.1: Back-to-back terraces in Manchester in the early 19th Century.

Figure 3.2: Layout of terraced houses in the late 19th Century as a result of the 1875 Act.

Figure 3.3: Development of the two up two down terraced house (not to scale). Adapted from The English Terraced House by S. Muthesius.

Figure 3.4: Variation of entrances and staircase layouts.

Figure 3.5: Degress of publicness and intimacy gradient of the staircase in the two up two down terraced house.

Figure 3.6: Archetypes that are identified in the analysis of the various artefacts.

Figure 3.7: Theoretical analysis of Egerton, Workers Houses, c1830s.

Figure 3.8: Theoretical analysis of Terraced houses with shared entrance c1820s-1840s.

Figure 3.9: Theoretical analysis of Salfaire, c1850s with larger, thicker walls.

Figure 3.10: Theoretical analysis of terraced houses in Norwich, early 19th C, originally one room deep with small extension for scullery across whole width of the house.

Figure 3.11: Theoretical analysis of Manchester terraced house, late 19th C, with no back scullery extension.

Figure 3.12: Theoretical analysis of Preston terraced house, late 19th C, with third bedroom for every other house. Economic solution by providing every other house with its own back yard.

Figure 3.13: Theoretical analysis of Norwich terraced house, late 19th C, with extension into back yard.

Figure 3.14: Theoretical analysis of Liverpool ÂŁ100 house, c1900.

Figure 3.15: Map indicating the hotels of Lincoln.

Figure 3.16: North elevation of the project site @ scale 1:200.

Figure 3.17-3.18: Initial sketches indicating the perception of the connectivity of the Bailgate area.

Figure 3.19: Site Plan @ 1:1250 showing the project site of 43-59 Westgate, Lincoln, LN1 3BG in its

Figure 3.20-3.22: Elevations of the project site facing onto Westgate street.

Figure 3.23: Elevation of the project site facing onto the Castle wall

Figure 3.24: Diagram indicating the key location of the site. It has the potential to play a supporting

Figure 3.25-3.28: Photographs indicating the parking lots adjacent to the project site

context adjacent to the Lincoln Castle grounds and transit nodes.

role to the Lincoln Castle, and thus to enhance tourism.

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Figure 3.29: Site plan @ 1:400.

Figure 3.30: Theoretical analysis of project site.

Figure 3.31: Five aspects of the project site according to Fred Scott.

Figure 3.32: Graph illustrating the types of holiday tourists go on.

Figure 3.33: Graph illustrating the reasons for visiting Lincolnshire.

Figure 3.34: Graph showing the family types and time frame they last visited Lincolnshire.

Figure 3.35: Graph showing what visitors are doing in Lincolnshire.

Figure 3.36: Graph indicating the family types and the type of holiday they went on in Lincolnshire.

Figure 3.37: Victorian House Axonometric (original by Marshall & Willox, 1986, 39) indicating movement of kitchen towards the back and WC into the extension of the house.

Figure 3.38: 1888 map @ 1:2500 indicating Westgate Implement works located where the car park stands today and other industrial buildings on the site adjacent to the castle walls (Ordinance Survey Landmark Information Group Ltd and Crown, 2019).

Figure 3.39: Image of the box window and the brick motif located on the facade of the terraces at Westgate.

Figure 3.40: Rhythmn of the windows and doors on the facade of the project site.

Figure 3.41: Privacy gradient of the project site.

Figure 3.42: Painting depicting aesthetic value of terraced houses as seen through the eyes of an artist (Thomas, 2019).

Figure 3.43: Map indicating the City Council Conservation Area No.1 - Cathedral & City Centre.

Figure 3.44: Axonometric of the proposed building site.

Figure 3.45: Map @ scale 1:2500 indicating the protected Lincoln Roman colonia (Lindum) monument (Historic England, 2008).

Figure 3.46: Diagrams illustrating the key characteristics of a Victorian two up two down terraced house.

Figure 3.47: Castle wall varying stone patterns.

Figure 3.48: Unusual bay window detailing.

Figure 3.49: Original services.

Figure 3.50: Joints at the kitchen extensions.

Figure 3.51: Decaying brick exterior.

Figure 3.52: Unit numbers layered over time.

Figure 4.1: The Etch House (Fraher & Findlay, 2019).

Figure 4.2: The Etch House Ground, First and Second Floor Plans indicating archetypes.

Figure 4.3: Orignal layout of stairs.

Figure 4.4: Changes in floor levels.

Figure 4.5: Visual indication of floor level changes (Fraher & Findlay, 2019).

Figure 4.6: Hexagonal ironmongery (Fraher & Findlay, 2019).

Figure 4.7: Simple, clean and crisps details using neutral tones and textures with feature colours to emphasise specific areas (Fraher & Findlay, 2019).

Figure 4.8: Vertical circulation blending harmoniously into the overall design proposal. This is the archetype 132: Staircase as a stage (Alexander, 1977), Showcase staircase (Jennings, 2007) and Servant Space (Connally, 1977)(Fraher & Findlay, 2019).

Figure 4.9: Parkhurst Shops (Kate Otten Architects, 2019).

Figure 4.10: Interiority and Inhabitation & the Body are discourses at play in the Parkhurst Shops.

Figure 4.11: Image of the roofscape of the Parkhurst Shops (Architecture List, 2019).

Figure 4.12: Diagram showing urban and interior edge threshold.

Figure 4.13: Diagram illustrating spatial demarcation according to John Lovedayâ&#x20AC;&#x2122;s Third Space and Dixon Huntâ&#x20AC;&#x2122;s Three Nature theories.

Figure 4.14: Image of the Paramount House Hotel reception (Breathe Architecture, 2019).

Figure 4.15: Image of the Paramount House Hotel reception (Breathe Architecture, 2019).

Figure 4.16: Image of the Paramount House Hotel reception seating (Breathe Architecture, 2019).

Figure 4.17: Image of the Paramount House Hotel exterior copper cladding (Breathe Architecture, 2019).

Figure 4.18: Image of the Paramount House Hotel copper cladding as a screen (Breathe Architecture, 2019).

Figure 4.19: Interiority and Inhabitation & the Body are discourses at play in the Paramount House Hotel.

Figure 4.20: Visitors/guests/tourists and locals/residents are the user groups identified in the Paramount House Hotel. These are the same as the ones in my project.

Figure 4.21: Lighting used to enhance the experience of an inhabitant (Breathe Architecture, 2019).

Figure 4.22: Materials and textures as a tool to marry the old and the new.

Figure 4.23: Form/morphology used in conjuction with materials to make a cohesive new design.

Figure 4.24: Bar area in the Whitworth Locke (Grzywinski+Pons 2019).

Figure 4.25: Restaurant area in the Whitworth Locke (Grzywinski+Pons 2019).

Figure 4.26: Diagram illustrating the threshold of the Whitworth Locke.

Figure 4.27: Axo of the bar area in the Whitworth Locke (Grzywinski+Pons 2019).

Figure 4.28: Section through the Whitworth Locke (original by Grzywinski+Pons 2019, my emphasis).

Figure 4.29: Diagrams illustrating connect between three existing buildings which comprised the site for the Whitworth Locke.

Figure 4.30: Image showing the column treatment (Vial, 2019).

Figure 4.31: Interior of Whitworth Locke indicating the haven/den archetype (Vial, 2019).

Figure 4.32: Interior of Whitworth Locke (Vial, 2019).

Figure 4.33: Details of interior of Whitworth Locke (Vial, 2019).

Figure 4.34: Material palette of Whitworth Locke restaurant area (Vial, 2019).

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Figure 4.35: Olivetti Showroom wall (Fracalossi, 2011).Figure 4.36: Glimpses of details through openings (Mark English Architects, 2018).

Figure 4.37: Fushion of materials (Mark English Architects, 2018).

Figure 4.38: Material stratification.

Figure 4.39: Spatial stratification.

Figure 4.40: Strategies for various material joints.

Figure 4.41: Interior view of the Olivetti Showroom (Marshall, 2016).

Figure 4.42: Sketch of the staircase in Olivetti Showroom.

Figure 4.43: Alignment of steps.

Figure 4.44: Axis analysis of the stairs in Olivetti Showroom.

Figure 4.45: The planes that make up a space in its simplest form.

Figure 4.46: Sketch of the material detail on one of the walls in the Olivetti Showroom.

Figure 4.47: Superposed perception .

Figure 5.1: Change of use diagram.

Figure 5.2: Diagram illustrating design decisions and informants.

Figure 5.3: Demolition of back kitchen extensions.

Figure 5.4: Demolition of internal walls.

Figure 5.5: Diagrammatic section indicating the new works as defined by Scott (2008, 108).

Figure 5.6: Sectional diagram illustrating the model inhabitant of the project and how they are catered for in the project proposal. Furthermore, the inside-outside relationship is also indicated.

Figure 5.7: Inside/outside space idea (DesignBoom, 2017).

Figure 5.8: Nested interior (Design Hunter, n.d).

Figure 5.9: Street interaction (Dezeen, 2010).

Figure 5.10: Current inside-outside relationship.

Figure 5.11: Development of nested interior with inside/outside public space.

Figure 5.12: Further development of nested interior by breaking up of volumes.

Figure 5.13: Building edge treatment.

Figure 5.14: Revealing third space at slab edge.

Figure 5.15: Ghost-like Architecture by Shingo Masuda and Katsuhisa Otsubo Architects. Materials play on transparency to blur the boundary between inside and outside (Dezeen, 2010).

Figure 5.16: HA’s vietnamese ‘less house’. The slabs are pulled back from the outer barrier (DesignBoom, 2017).

Figure 5.17: House W by KC Design Studio. The mesh boundary layer has openings linking inside and outside (Estilopropio, 2017).

Figure 5.18: HA’s vietnamese ‘less house’. The outer layer merges street, house, garden and neighbours (DesignBoom, 2017).

Figure 5.19: Light Walls House by mA-style Architects. Third space is revealed by allowing visual accessibility of the roof structure and outside connections (Archdaily, 2013).

Figure 5.20: House in Takamatsu by Yasunari Tsukada Design. Layering of volumes, and openings start to reveal in-between spaces, creating a layering of interiors (HomeDesign, 2013).

Figure 5.21: HA’s vietnamese ‘less house’. The slabs are pulled back from the outer barrier. Furthermore, transparency is key in communicating this concept (DesignBoom, 2017).

Figure 5.22: House N by Sou Fujimoto Architects. Another example of a layering of volumes which communicate the blurring of inside and outside (Archdaily, 2011).

Figure 5.23: Leeds, England in 1954 (Riboud, 1954).

Figure 5.24: Material palette inspired by the project site brickwork and typical Victorian elements such as the geometric tiling patterns, and firepaces tiles.

Figure 5.25 & 5.26: Fioranese I Cocci collection (Fioranese, 2019).

Figure 5.27: Material look and feel overlaid onto a concept graph, illustrating ‘overcoding’, ‘frames’, and ‘bracketed extensions’.

Figure 5.28: Project scheme axonometric indicating the main features visible on the exterior.

Figure 5.29: (Plant Care Today, 2019).

Figure 5.30: (Miller, 2019).

Figure 5.31: (Garland Nursary, 2019).

Figure 5.32: Hotel extension considered as an experience threshold, organised using the intimacy/privacy gradient, Third space and Served vs Servant spaces.

Figure 5.33: Three point privacy/intimacy gradient.

Figure 5.34: Viewpoint A as seen from the main entrance into the hotel.

Figure 5.35: Viewpoint B showing the reception desk, waiting area and gallery into the haven/den suits.

Figure 5.36: Axonometric of the gallery serving as a hotel passage and threshold.

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Figure 5.37: Circulation as a journey.

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Figure 5.38: Haven/den emphasised entrance transition.

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Figure 5.39: Insertion of the Haven/den unit.

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Figure 5.40: Services as Third space and Servant space revealed within Haven/den.

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Figure 5.41: Archetypical analysis of Haven/den.

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Figure 5.42: Etch House ballustrade details designed by Fraher & Findlay (2019).

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Figure 5.43: Haven/den Type 1 bedroom axonometric.

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Figure 5.44: Haven/den selected materials & taste goods.

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Figure 5.45: Viewpoint C showing Haven/den Type 1.

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Figure 5.46: Viewpoint D showing Haven/den Type 1.

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Figure 5.46: Haven/den type 4 bedroom axonometric.

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Figure 5.47: Typical wall panelling & clock details.

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Figure 5.48: Haven/den type 1 living room axonometric.

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Figure 5.49: Typical Haven living room selected materials & taste goods

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Figure 5.50: Haven/den type 1 kitchen axonometric.

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Figure 5.51: Typical Haven kitchen selected materials & taste goods.

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Figure 5.52: Sample board put together illustrating materials chosen for the Haven/Den.

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Figure 5.53: Leeds, England in 1954 (Riboud, 1954).

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Figure 5.54: Brick facade of project site.

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Figure 5.55: Victorian tiles and shapes (DirectTileWarehouse, 2019).

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Figure 5.56: Plan diagram showing both internal and external alterations.

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Figure 5.57: Section diagram illustrating indicating new additions to the existing building fabric.

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Figure 5.58: Street elevation indicating the glazed Third Space interpretation.

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Figure 5.59: Outline of the building profile.

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Figure A & B: Fensterkaleidoskop (Schink, 1998).

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Figure C & D: Dream House (Birgfeld & PhotoTECTONICS, 2007).

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Figure E & F: Your Circumspection Disclosed (Pellion, 1999).

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Figure G & H: Inside the Horison (Iwan Baan, 2014).

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Figure I & J: Seeing yourself Sensing (Eliasson, 2001).

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Figure K & L: The Body as Brain (Zug, 2005).

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Figure M & N: The Drop Factory (Wamhof, 2000).

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Figure O & P: The Blind Pavilion (Berg, 2003).

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01 Introduction

Figure 1.1: Terraced houses in Leeds, England, 1954 (Riboud, 1954).

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Problem: (Reflection on the micro scale)

Mitchel et al, (2018) identifies a gap in Historic England (2008) where in the process of observing a building, very little is said about human encounter with the building. Furthermore, in the Burra Charter (2013), there is reference to human encounter, but a lack of vocabulary and the tools to go about the process, is recognised. Practitioners are challenged to reduce reliability on disciplinary assumptions and instead perceive buildings, “how they are, have been, or will be inhabited” (Mitchel et. al, 2018, 53).

The project site, located at the terraced houses of 43-59 Westgate, Lincoln, and its associated context embodies the identified macro scale issues; there is currently limited information available on the building’s history and development, which reduces the publics’ place attachment and appreciation of it, placing it as heritage at risk. It is an archetypal Victorian terraced house, representative of most terraced houses within Britain. It is also an interesting site due to its location adjacent to the Lincoln Castle; a well valued and protected historical monument. It stands between two car parks like an island, wedged in at the back by the castle boundary wall, stuck in time due to restrictions on heritage protection and suboptimal use of land.

Our environment is a testament of the unique and lively human endeavour which is at risk of being lost (Historic England, 2008, 19). Victorian terraces and are being neglected, abandoned and demolished at a vast rate, despite having been a marked fragment of British history. Approximately six million Victorian terraced houses were constructed (Marshall & Willox, 1986, 7), however, in merely a decade in the mid-20th century, approximately half a million houses considered inadequate were demolished (Ravetz & Turkington, 2013, 71). As of 2015, terraced housing comprised 28% of the proportion of housing in England (London Government, 2015). As an urban building type, the relationship between the terraced house and the street is an important component of particular interest. The architectural uniformity of the terrace included the treatment of boundaries when private space originated (Historic England, 2017, 12). It is vital to locate the project within the broader context to stitch it together with the existing urban fabric. The urban and interior threshold plays an important role in defining spatial demarcation and the greater system of the built environment. This raises an important question of where the interior stops and the exterior begins. To architecture, differentiation between exterior and interior is considered critical, and is a defining attribute of interiority (Power, 2010, 291). To a large extent this differentiation manifests in architectural planes. Contemporary theory varies from the urge to develop beyond said differentiation, and to the desire for its return. However, predominantly emphases is placed on the global morphology of architectural design, in intangible conceptual geometric components. This study will draw on the notions of Third Space in architectural application as posited by philosopher Tom Loveday; Three Natures, as deliberated by landscape theorist John Dixon Hunt; and their relationship as argued by Jacqueline Power, to inform the theoretical position taken to demonstrate an alternative interpretation of spatial demarcation, permitting a shift in scale from which to theoretically approach interiority (Power, 2010, 291-301).

Research Question How can interior designers alter Victorian terraced houses so that they can be integrated and made relevant within a broader city context of the 21st century, as a response to heritage at risk identification such as redundancy and deterioration? Aim The project aims to interrogate the notion of inhabiting the historical building typology of Victorian terraced houses, and how they can be integrated and made relevant within a broader city context of the 21st century. Furthermore, the study aims to uncover what the implications may be on the experience of the inhabitants of a space and using this experience to generate a sense of place within a hospitality interior, which demonstrates that hospitality interiors should go beyond economic gain. Research Objectives 1.To define, investigate and evaluate how Third Space and Three Natures is used in the built environment. 2.To consider the relationship between inhabitants and their surroundings, by examining how their experience is impacted by moving through space. This is done by carrying out a literature review to identify criteria for the analysis of precedents, and the development of the design proposal. 3. To develop a strategy for the application of Third Space and Three Natures as a threshold within space and time when designing a hospitality interior. 4. To strip back an existing building to reveal its significance, and integrate a new design to generate a new ontology and experience.

Strategic approach to complete research aims

Gap in the interior design discipline: Victorian Terraces as heritage at risk: Urban & interior threshold: 2

Background: (Identified shifts of the macro scale)

The aim is explored through:

- Inhabitation and the Body Understanding what the implications may be on the experience of the inhabitants of a space through exploring the tangible and intangible layers of an interior, along with the attachments, connotations, connections, heritage and cultural significance. Since people give meaning to artefacts (Gottdeiner, 1985, 986), their needs must be catered for in order to overcome unintentional and avoidable negative experiences, which is a major threat to generating a sense of place (Ghani, et al, 2016,7) and instead using this experience to generate a sense of place. - Interiority To explore the notion of moving between the public and private realms whereby interiority is immaterial and design is the vehicle through which it is expressed (McCarthy, 2005, 122). Interiority is, therefore, not a fixed state that relies on a limited architectural delineation (McCarthy, 2005, 112), but rather it is influenced by many factors, and it is both physiological and psychological (Konigk, 2015, 269; Hillier & Hanson, 1984, 1445; Taylor & Preston, 2006).

Delimitations: - The study is limited to the United Kingdom, however, precedents outside of this may be used as examples and comparisons. The literature review is limited to the Anglosphere. -

The study will focus on matters of ontology and relationships between individuals and the built environment.

The study will do a thorough context study (temporal and geographical) of the site, and interpret information related to the site when it is not clear. However, historical facts and proponents will form the basis of the argument.

The study will consider events and personalities of the 19th, 20th and 21st centuries only, except where it is fundamental in understanding a specific artefact or concept.

The proposal will provide for certain services such as daily housekeeping, luggage storage, and on-site coffee shop, however, laundry services will be sent off site due to space constraints. The focus of the study is not on the design of these service areas, but rather on the spaces that the inhabitants will occupy within the existing building.

Importance of the study to the discipline:

Research Methods & Paradigm:

Kitnick, (2016, 698-719) reveals that the artist, Paolozzi, (and others like him), tried to answer design questions of Post-war Britain, and through this endeavour, played a critical role in the design of interiors. Hidden and New Orders manifested in the design world as a result of this. The crossover between design and artistic industries is a powerful tool, and can be used to question and change the way practitioners and the public view, respond and experience designed interiors; a new system that one could both imagine visually and live physically (Kitnick, 2016, 714). Kitnick unpacks the crucial relationship and role all designers have played in post-war Britain to address design problems and questions. It is believed that this sets a precedent for the connectedness and importance of our industry and its place in this world, and, it partially answers the question, what is interior design? Furthermore, it challenges practitioners to rely less on disciplinary assumptions and rather observe buildings, “how they are, have been, or will be inhabited” (Mitchel et. al, 2018, 53). The project responds to the current issue where in the process of observing a building, very little is said about human encounter with the building (Mitchel et. al, 2018, 53) in heritage guidelines such as Historic England and the Burra Charter. Furthermore, it aims to establish an approach for designers to go about challenging the public’s perception of built heritage in domestic architecture in the United Kingdom. In addition, by contemplating the intangible qualities and physical characteristics of the Victorian terraced house, the project allows for the reflection on the underpinnings from which the interior is built in order to consider more broadly as to what defines interiority (Power, 2010, 300).

In the Western world the pursuit for knowledge has been delimited by positivist empirical science, which considerably disregarded the human experience (Sela-Smith, 2002, 82). This investigation does not aim to observe the interaction between individuals and the built environment and it will not engage with individuals through the use of surveys, experiments, etc. The gathering of information will be carried out using a literature review, and direct methods such as artefactual analysis, material culture, and cultural research. This will enable the study to challenge the gap identified by Mitchel et al, (2018, 53). Additionally, the project site will be observed, and others like it, to ensure physical engagement with the building to better understand its layering of history, an understanding and interpretation of this history, and how this can be showcased to others through the intervention. The interior treatise will follow an anti-positivist and interpretivist approach, which assumes that humans are transcendental beings capable of controlling their behaviour, and that an individual’s interpretations of reality is the initiation of human behaviour (Glassford, 1987, 295). Therefore, both the instinctive and the empirical factors will be regarded in the investigation because “even in phenomenological observation, the observer cannot be removed” (Konigk & Bakker, 2012, 111). By employing this epistemology, an argument for the justification of subjectivity is made.

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Definitions: Interiority Interiority is theorised as the philosophical notion that the ‘inner self’ is seen as separate from its environment and is employed in interior design through the deliberation of ‘enclosure’ and the distinction of the theoretical duo ‘self’ and ‘Other’ (Konigk, 2015, 269; McCarthy, 2005, 111-125). In other words, interiority is immaterial and design is the vehicle through which it is expressed (McCarthy, 2005, 122). Third Space and Three Natures An architectural construct which is the space that the building construction itself occupies. “Three natures provide a framework to understand types of landscapes and levels of human intervention, whilst Third Space clarifies building spaces prior to their becoming architectural” (Power, 2010, 291). Served: Servant Space A concept devised by Louis Kahn. ‘Served spaces’ are defined as the spaces in a building for which it is built, whereas the ‘servant spaces’ are the zones which contain the actions or tools required to sustain the served spaces (Connally, 1977, 35).

Threshold Comparable to the skin of a body, the threshold interacts with elements on either side of it, connecting both interior and exterior realms in the act of separating them (Dincer et al, 2019, 59; Kingwell, 2003, 1). Inhabitation and the Body Particular spaces articulate and construct the ‘capacities and desires’ of a particular body when it is contextualised in space (Taylor & Preston, 2006, 10-11 in Konigk, 2015, 269). Place ‘Place is a particular space which is covered with meanings and values by the users’ (Najafi & Shariff, 2011, 1054). Heriatge at Risk Across the globe, there are numerous monuments and heritage sites that are threatened whether on the World Heritage List or not. Often these losses are vast and as a result of both man and natural disasters. According to the ICOMOS 2004/2005 Heritage at Risk report, other than the common risks to heritage from tangible deterioration of buildings and natural disasters, our heritage is threaten by particular trends in human activity. These include but are not limited to development, redundancy, tourism and war (ICOMOS, 2005, 12).

Abbreviations: UK – United Kingdom

The project proposal acknowledges and responds to the heritage at risk identification of Victorian two-up two-down terraced houses, and can be regarded a method to address this risk. By uncovering the Third Space and Second Nature of the building fabric to the user, their experience of the building fabric may be extended and challenged. Since the threshold plays a key role in the built environment, the inhabitants’ experience of it will impact their perception of the building. Thus, their existing understanding is challenged and adds a new layer of meaning to Victorian two-up two-down terraced houses. This layering of meaning enhances the spirit of place and contributes to the tourism industry of Lincoln by strengthening its place attachment.

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02 Content Analysis 2.1 INTRODUCTION

This study can be seen as the bracketed extension of the concept that is being formulated and informed through content and artefact analysis. The bracketed extensionÂš can be considered as the extensions of the meanings expressed in the interior (Eco, 1979, 17). The interior designer may anticipate these bracketed extensions in the process of designing the interior space and ought to integrate them in a proactive manner. As a result, a deeper meaning will be generated in the text (artefact) (Konigk, 2015, 258). Mitchel et al, (2018, 53) identifies a gap in Historic England (2008) where in the process of observing a building, very little is said about human encounter with the building. Furthermore, in the Burra Charter (2013), there is reference to human encounter, but a lack of vocabulary and the tools to go about the process, is recognised. They challenge practitioners to step out of the comfort of disciplinary assumptions and rather observe buildings, â&#x20AC;&#x153;how they are, have been, or will be inhabitedâ&#x20AC;? (Mitchel et. al, 2018, 53). As an urban building type, the relationship between the terraced house and the street is an important element of particular interest. The architectural uniformity of the terrace included the treatment of boundaries when private space originated (Historic England, 2017, 12). This urban and interior threshold plays an important role in defining spatial demarcation and the greater system of the built environment. The layout of a building indicates to us how inhabitants gain access from one space to another within a dwelling. Furthermore, we can observe the transition into the private domain of the dwelling from the public domain of the street (Daunton, 1988, 295). There is a direct transition from public to private with a welldefined threshold in terraced houses at the end of the 19th century. Earlier terraced houses of the same millennium were clustered surrounding a courtyard with communal services including washhouses and privies, which acted as an equivocal intermediate space linking private and public (Daunton, 1988, 295). Although most of the courtyards were outlawed due to the 1875 Public Health Act, we could learn something about collective shared spaces that has almost disappeared from our urban fabric. These spaces offer opportunity for shared experiences and encounters that are vital in place making (McCarthy, 2005, 112; Perolini, 2011, 167). The two discourses of interiority and inhabitation & the Body could be considered fitting to explore the notion of moving between public and private realms, as well as understanding what the implications may be on the experience of the inhabitants of the space and using this experience to generate a sense of place.

1.)

Upon identifying codes within the artefact, the inhabitant makes meaningful links to external properties and recognise them. These are associations and connotations. Correlations are made in the psyche of the inhabitant between the interior and the broader cultural realm; which establish circumstantial selections. The placement of the interior within the broader world creates connections to expansive and world arrangements. These correlations signify extensions of the meaning embodied in the interior (Konigk, 2015, 258).

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2.2 INTERIORITY

Interiority is theorised as the philosophical notion that the ‘inner self’ is seen as separate from its environment and is employed in interior design through the deliberation of ‘enclosure’ and the distinction of the theoretical duo ‘self’ and ‘Other’ (Konigk, 2015, 269; McCarthy, 2005, 111-125). In other words, interiority is immaterial and design is the vehicle through which it is expressed (McCarthy, 2005, 122). Interiority is, therefore, not a fixed state that relies on a limited architectural delineation (McCarthy, 2005, 112), but rather it is influenced by many factors, and it is both physiological and psychological. It is crucial to note that the motifs that determine this unstable relationship are the boundary and the uncanny, due to the common comparison of a safe and comfortable interior and the fearful infiltration of a foreign presence (Vidler, 1999, 3). Interiority ascertains the interior as an isolated domain and progressing into it is an undertaking from the social realm to a space which can convey the utterance of the characteristics of ontology (Hillier & Hanson, 1984, 144-5 in Konigk, 2015, 269). Furthermore, interiority is the theoretical idea which scrutinises the first layer of an interior as a position for emotion and eminence whereby the interior setting is lived through the human body as a ‘culturally lived organism’ (Taylor & Preston, 2006, 11 in Konigk, 2015, 269). This theory can be demonstrated in the way a child feels protected and isolated from the rest of the world in the enclosure of a fort built by himor herself. 2.2.1 Served and Servant Spaces Louis Kahn coined the term ‘Served and Servant spaces’ to explain the spatial arrangement of some of his projects. ‘Served spaces’ are defined as the spaces in a building for which it is built, whereas the ‘servant spaces’ are the zones which contain the actions or tools required to sustain the served spaces (Connally, 1977, 35). Kahn has been criticised as being infatuated with ducts due to the fact that he stresses the significance of an authentic manifestation of mechanical equipment in his design (Heyer, 1966, 391 in Connally, 1977, 35). This calls for the grouping, not hiding of mechanical systems, which makes the Third Space of the building visible².

Servant space

Figure 2.1: Diagram indicating the served and servant space concept.

2. )

See Section 2.2.2 on page 10.

Served space

Kahnâ&#x20AC;&#x2122;s treatment of ventilation in the Kimbell Art Museum is in line with his normative position which posits that the servant spaces are discernible and honestly expressed, and fulfills the practical requirements without encroaching on the simplicity of the building structure (Connally, 1977, 120). The servant spaces made for the services in the galleries, the served spaces, disguises the equipment in such a manner that few people realise what they are looking at. One could argue that it is no longer honest expression and makes the third space less visible, but it is vital to mention that they are not hidden from view, but are integrated so successfully that they become

design elements. Since hospitality design necessitates the integration of servant spaces, this proves to be a useful method for spatial organisation. Spatial hierarchy is naturally formed in this concept according to the function and purpose of spaces, with served spaces at the top, and servant spaces at bottom (Connally, 1977, 35). The hospitality design proposal for the terraced houses on Westgate will aim to implement this strategy, while simultaneously revealing the third space to its inhabitants, in order to extend their experience and understanding of the space.

Second floor

First floor

Ground floor

Servant spaces Served spaces

Figure 2.2: Diagram indicating the served and servant spaces in the project site.

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Served and servant spaces can be seen as layers within a building. Brand (1994), proposes that etched within seven layers of an edifice are the remnants of time. Warakanyaka & Yatmo (2018, 69) argue that five of the layers are directly related to the tangible transformation of the interior; 1. Layers of skin (surface); 2. Services; 3. Space plan; 4. Stuff 5. Soul.

Least adaptable

Most adaptable

They order the layers from least to most adaptable. However, I believe it is the opposite of this, the soul is least adaptable and the surfaces the most adaptable. In the role as a layer that constructs the interior environment, the skin (or surface) presents a certain amount of adaptability in facilitating transformation. Its colour, qualities, and designs may be modified, nonetheless its tangible morphology and structural elements are not typically altered (Warakanyaka & Yatmo, 2018, 69). This can be linked to the notion of Third Space (Loveday, 2008, 2), as well as the theory that the interior consists of several layers (Caan, 2011, 40). 2.2.2 Third Space It can be said that there are three spaces in a building (Loveday, 2008, 2): 1. Inside – first space; 2. Outside – second space; and 3. Construction – third space. Additionally, landscape types can be classified by the Three natures theory (Hunt, 2000, 35-36): 1. Wilderness – first nature; 2. Landscape that has been cultivated – second nature; and 3. Gardens – third nature.

First Nature/Second Space

Second Nature/Third Space

Third Nature/First Space

Figure 2.3: Diagram indicating the two conceptual notions of Three Natures by Dixon Hunt and Third Space by Tom Loveday within the existing site of the project.

To architecture, distinction between exterior and interior is considered vital, and is a defining attribute of interiority (Power, 2010, 291). To a large extent this differentiation manifests in architectural planes (Brooker & Stone, 2004, 146-151; Power, 2010, 291). Contemporary theory varies from the urge to develop beyond this distinction, and to the desire for its return. However, predominantly importance is placed on the global morphology of architectural design, in intangible conceptual geometric components. Power (2010, 291-301) discusses how linking the two conceptual notions of Three Natures by Dixon Hunt and Third Space by Tom Loveday, we can have a holistic understanding of spatial demarcation by utilising it within interior design theory. Furthermore, “[t]hree natures provide a framework to understand types of landscapes and levels of human intervention, whilst Third Space clarifies building spaces prior to their becoming architectural” (Power, 2010, 291). The tripartite model of Three Natures offers a representational sorting to understand how a territory can be perceived with regards to the way it is or is not treated in time and space (Hunt, 2000, 35-36). Whereas Third Space is relevant to architecture because it has to do with the nature of “power relations in space” (Loveday, 2008, 2). Loveday derived the idiom Third Space from social philosopher Edward Soja, who developed the phrase from Henri Lefebvre’s ‘thirdspace’, which

is defined as the space in which an ‘other’ or outsider dwells in (Power, 2010, 292). There are two manners in which Third Space is revealed; through “cultural power exchanges” and as a “metaphysical effect” (Loveday, 2008, 2 in Power, 2010, 293). Since interiority is the primary reason for erecting buildings, First Space is associated with interior. Second Space or outside is generated by the First Space, and the space of construction which provides surfaces simultaneously to the inside (First Space) and outside (Second Space) is known as the Third Space (Loveday, 2008, 3 in Power, 2010, 293). First Nature and Second Space are linked together as the wilderness or outside. However, this can only be determined by the Third Space or Second Nature as the middle or intermediate mode. This also helps establish a genius loci or spirit of place required by Third Nature to give it a spatial demarcation (Power, 2010, 296-7). Finally, Third Nature and First Space can be seen as the dichotomy of private and public; which is culturally charged and characteristic in defining interiority. This means that space becomes place, and consequently genius loci is essential for this to occur. The interior designer’s obligation is to identify this spirit of place or genius loci and to employ the prospects and qualities it presents (Coles & House, 2007, 16). By contemplating the underpinning of interior, which concerns its tangible characteristics and intangible features, it allows interiority to be considered more broadly, which in turn redefines the interior’s scope and boundary beyond the domestic scale, expanding the application of inside/outside in a symbolic and metaphoric way (Power, 2010, 300). Loveday, Hunt and Power make valid arguments, and there is consensus that the notions of Third Space and Three Natures are architectural constructs. However, I believe it would be more compelling if they discussed how Third Space and Three Natures can be addressed in order to change the status quo. Perhaps the space the building occupies should be more accessible and transparent. Furthermore, I wonder whether this would make inhabitants more aware of Third Space, or whether it would challenge their understanding and perception of a spatial experience. Although Second Nature is largely present in the world; places where people have created environments for the purposes of inhabitation and being, leaving traces of these activities visible to see, these theories do not address the inhabitants’ relationship with the spaces within architecture to an extent suitable to address an alteration of an existing building. Therefore, in the design proposal, the intention is to address the user-building interface by implementing strategies related to the discourse of Inhabitation and the Body³. 2.2.3 Threshold The interior is demarcated by three ‘working parts’, namely; interior, exterior, and (most valuable but least observed) the threshold establishing the two in space (Kingwell, 2003, 1). Comparable to the skin of a body, the threshold interacts with elements on either side of it, connecting both realms in the act of separating them (Dincer et al, 2019, 59; Kingwell, 2003, 1). However, the experience of the interior does not begin at the boundary providing access from the exterior, but rather the built environment is a lens through which people experience the world (Caan, 2001, 48). Therefore, design can be considered as the intermediary area between our skin and the rest of the world, forming a second skin. And as its function as a second skin, it is an indispensable expansion of our identity (Caan,

3.)

Threshold as object

Threshold as event

Threshold as association

Threshold as immersion

Figure 2.4: Various approaches to thresholds as proposed by Dincer et al (2019).

See Section 2.3 on page 14.

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2001, 40). The approach of Icelandic installation artist Olafur Eliasson offers a different method in expressing the threshold. His framework views the threshold as a dynamic liminal space as opposed to a fixed border between interior and exterior (Dincer et al, 2019, 43). The threshold is frequently perceived as a tangible boundary between interior and exterior in architecture, however, it is argued that by examining the works of Eliasson, the innate capacity of a threshold which embraces an active interchange linking interior and exterior, whereby one defines the other, is revealed (Dincer et al, 2019, 59)⁴. Eliasson creates thresholds in various manners through which he examines and challenges the three-dimensional connotations between interior and exterior. In his work, inside and outside remain as separate entities, however, they simultaneously co-exist as intentional fragments, juxtaposed, interrelated or mystified. Several of his designs are examined and categorised into threshold design approaches as: 1. 2. 3. 4.

An object; An association; An event; An immersive space.

The threshold as an object is intended to be observed from inside to change the awareness of outside, while the threshold as an association permits the user to view the interrelated inside-outside imagery. The threshold as an event is distinguished by actively generating the event, comparable to a catalyst in a chemical reaction, the event creates a novel interior-exterior setting within the existing space. Lastly, the threshold as an immersive space, shifts the interior-exterior which is experienced equally from inside or outside the space (Dincer et al, 2019, 60). Interiority can, therefore, be characterised by inhabitation, and is the manifestation of the ontology, idiosyncratic experience and subjective responses of the inhabitants. Altogether these characteristics of human inhabitation are frequently demonstrated in the features entrenched in the tangible materiality of the space (Atmodiwirjo & Yatmo, 2018, 2). A specific point in time can also be considered as an intangible threshold. The present is the boundary separating what has happened in the past and what will happen in the future. Buildings can symbolise this threshold in a tangible way when they contain fragments from the past, present and make predictions for the future (Brooker & Stone, 2004, 9-10; Scott, 2008, 152-161). 2.2.4 Urban or Public Interior It is imperative to locate the project within the broader context to stitch it together with the existing urban fabric. The urban and interior threshold plays an important role in defining spatial demarcation and the greater system of the built environment. This raises an important question of where the interior stops and the exterior begins. Pimlott (2018, 5-20), discusses the conditions of the interior whereby he compares two orders of interiority. First, the condition we are familiar with, which concerns the individual’s inner being, which is associated with ideas of refuge from the public and private spaces. The second condition of interior is unbound by walls, but rather form urban or public interiors. This is a place where people can assemble, it encourages freedom of movement, association

4.)

See Addendum A on page 154.

and action, and an awareness of the self and others (Pimlott, 2018, 8). Attiwill et al (2015, 2-11) call for the combination of the ideas of ‘urban’ and ‘interior’ to address how one goes about inhabiting the cities of the 21st century. The interior and urban realms have changed due to notions such as private and public, spatial and temporal relations which have resulted from digital technologies, globalisation, industrial development and migration (Attiwill et al, 2015, 2). Furthermore, challenging questions come about when restructuring the city and its contents, such as how to re-address the values and meaning associated with the existing built fabric (Brooker & Stone, 2004, 11). Public spaces can be divided into two broad categories: primary public spaces (such as streets, market places, squares); and secondary public spaces (such as arcades, passages, courtyards, and collective outdoor areas that provide shelters) (Poot et al, 2015, 44; Di Prete et al, 2015, 15). The latter are also referred to as semi-public or “collective spaces”, termed by the architect Manuel de Sola-Morales. These spaces provide urban, architectural, civic and morphological depth to cities, and do not fall strictly into the private or public realms, but rather overlap both simultaneously. Thus, public interiors can be considered as thresholds that blur the distinction between the private and public realms (Poot et al, 2015, 49; Power, 2010, 294). Christopher Alexander’s A Pattern Language can be helpful to contemplate a macro-to-micro approach. The entrance transition and intimacy gradient patterns are significant when deliberating the relation of various public or semi-public spaces. When determining the transition from the exterior realm to the private (or semi-public or -private) interior areas, entrances become essential components. Furthermore, “even the experience of entering a building influences the way you feel inside the building” (Alexander et al, 1977, 549 in Poot et al, 2015, 50). When an entrance arrangement is not made clear enough or there is no link between the entrance of a public interior and the existing pedestrian route, the perception of public is lost in an interior. The entrance has a filtering effect which evokes a sense of openness by not only providing accessibility but also welcomes people. The intimacy gradient pattern, therefore, emphasises the relationship between private and public zones of a space by signifying entrances, public and shared areas as well as more intimate ones (Poot et al, 2015, 50). The architect and theorist John N. Habraken proposes a similar type of gradient termed the territorial depth which is “measured by the number of boundary crossings needed to move from the outer space to the innermost territory.” (Habraken, 1998, 215 in Poot et al, 2015, 50). Lois Weinthal (2011) posits eight spatial layers of interiority which extends from small to large scale that can be used to analyse the interior space: 1. 2. 3. 4. 5. 6. 7. 8.

Body and perception; Clothing and identity; Furniture and objects; Surfaces and colour; Mapping the interior; Private chambers; Public performance; and Bridging interior and exterior.

According to Poot et al (2015, 51), the last two layers delve into the private and public spheres. The idiom â&#x20AC;&#x2DC;performanceâ&#x20AC;&#x2122; symbolises the spectacle of people, which can be expanded to a deeper level where the human body is displayed and the interior is perceived as a theatrical stage. This layer, for example, can represent the act of viewing or being scrutinised. When reasoning for an extended contemplation of the interior, the uniting of the exterior and interior in the eighth layer is most challenging. Viewing the public interior as a layered environment gives it a different dimension, where the intangible theoretical layers of private and public can be made palpable through communal interactions (Poot et al, 2015, 51; Caan, 2011, 38).

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2.3 INHABITATION AND THE BODY The endeavour to understand the relationship between an individual and their environment can be supported by contemplating the notion of Inhabitation and the Body. This states that particular spaces articulate and construct the ‘capacities and desires’ of a particular body when it is contextualised in space (Taylor & Preston, 2006, 10-11 in Konigk, 2015, 269). This is in agreement with the concept that an individual “chooses to consume a specific interior as an expression of their self-identity” and that interiors facilitate anthropological qualities and reveal behavioural dynamics, for example, obtaining ownership when taking control of space (Konigk, 2015, 269; Brooker, 2016, 9). In order to design for these advanced states of being, it is necessary to perceive human beings as representations of psychological beings, instead of embodied, tangible entities, (Hewlett in Perolini, 2011, 169; Caan, 2011, 37; Ganoe, 1991, 1; Giunta, 2015, 5).

2.3.1 Sense of Place Place theorists frequently explain the idioms ‘‘being-in the world’’ and ‘‘dwelling’’ as used by Heidegger, the motivator of phenomenology (Phuong, 2010, 2), to conceptualise ‘place’ and ‘sense of place’ (Heidegger, 1996). For instance, the architectural philosopher Norberg-Schulz, uses the phenomenological terms as a key for clarifying the notion ‘genius loci’ or ‘spirit of place’ and ‘dwelling’ in architecture (Norberg-Schulz, 1980 in Phuong, 2010, 2).

Our perception of reality is influenced by our senses (temperature, light, smells, and noise) which is constantly changing. They help us to understand the complexity of the shaping of experience (Caan, 2001, 53).

Caan (2011, 60-61) calls for the need to design for basic human needs, which she organises into three categories: 1. Innate physiological & psychological requirements for safety and security (prospect and refuge); 2. Culturally specific needs which vary according to geography, over time and through history (comfort); and 3. Specific to individual for privacy (sense of belonging, trust, pride).

These can be likened to similar models such as Maslow’s hierarchy of needs. Since people give meaning to artefacts (Gottdeiner, 1985, 986), these needs must be catered for in order to overcome unintentional and avoidable negative experiences, which is a major threat to generating a sense of place (Ghani et al, 2016, 7).

Campelo et al (2013, 156) argue that the interaction between societal fabrications and tangible settings make up a sense of place. Though topographical position and material settings are tangible, the connotations they embody are intangible. Both are equally important with regards to individual and shared encounters, social exchanges, and emotional experiences (Campelo et al, 2013, 156).

Due to globalisation it has become increasingly difficult to express ‘sense of place’ or uniqueness in interior spaces, despite it allowing for prospects aimed at cultural interchange. If differences in cultural expressions are not deliberated this could endanger cultural multiplicity (UNESCO, 2005, 2). Furthermore, globalisation could lead to the risk of “deterioration, disappearance and destruction of the intangible cultural heritage” (UNESCO, 2003, 1). As a result of this, the Interiors Declaration (IFI) has professed that it is essential that interior designers play a role in fostering cultural diversity (IFI, 2011).

It is essential to be aware that sense of place is highly subjective and unique, perceived through lenses that are derived from memories and experiences of a person’s background (Power & WirfsBrock, 2019, 1; Ghani et al, 2016, 7).

2.3.2 Symbolic Motifs, Patterns and Intypes Symbolic meaning in the human environment abounds and there are many artefacts and archetypes that manifest in the social order (Tan, 2011, 47). The archetypes that make up a typology promotes a comprehension of design principles and offers a foundation for the grasping of meaning by way of presenting palpable and/or graphic examples of intangible notions (Jennings, 2007, 49). It can be beneficial to interior designers to have insight into the symbolic meaning active in the interior realm, as it will help them better comprehend the psychological needs of their users (Tan, 2011, 47). The symbolic meaning that manifests in interiors through the careful arrangements of ensembles, constellations and symbolic motifs of archetypes and technical components generates meaning by employing proximal assemblies (Konigk, 2015, 172).

Park and Newman (2017, 359) argue that building arrangement, edge spaces and streets for pedestrian design are influential archetypes with regards to place-making. Patterns such as arcades, building complex and wings of light address issues of activation of outdoor areas by fostering pedestrian movement and incorporating public and private transition spaces to do so.

Tan (2011, 46-47) identifies the following symbolic motifs which are distinct and well supported within the human environment; 1. Den, a place of refuge/ protection (or haven) with a strong sense of place attachment and belonging; 2. Edge/boundary as a division between places; 3. Mystery, often associated with fear; 4. Journey, or transition from one kind of place to another; and 5. Threshold, located at the edge of a place.

The patterns set out by Alexander, et al (1977, xvii) was aimed at capturing the nature of the human environment and form part of the fundamental aspects of any rational social pattern etymology. Therefore, they can be regarded as the archetypical basis of all potential pattern idioms which allow individuals to feel alive and human (Alexander et al, 1977, xvii).

The patterns are, however, at risk of losing their meaning when taken out of their context (Dawes & Ostwald, 2017, 2). Furthermore, Alexanderâ&#x20AC;&#x2122;s theory has been criticised for failing to recognise how the significance of cognitive interrelation, vibrancy and gradual development in the making of a lively built environment are crucial to his utopian ideas (Kohn, 2002; Bhatt, 2010 in Dawes & Ostwald, 2017, 2).

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The edges of buildings are more than facades, but rather act as spaces for altercation and interaction in which shared experiences within the urban fabric can occur (Gehl, 2013 in Park & Newman, 2017, 359).

The rhythm created by windows, doors and alcoves provide opportunities for activity and interaction (Gehl et al, 2006). The culture of a city may be impoverished if this interface is lost. Humanorientated edge treatments are vital because pedestrian activities are directly linked to the success of public spaces.

An alternative approach to capturing symbolic meaning is the InTypes Project which establishes interior specific archetypes. These stem from the existing interior design notions which are a result of reiterations of earlier archetypes (Jennings, 2007, 48). The archetypes are signified in a visual manner, consequently allowing them to be perceived as palpable forms of meaning. These are considered to span across time, culture and geography, unlike Alexanderâ&#x20AC;&#x2122;s patterns.

To provide a complex and critical lens to analyse the physical layers of intangible meaning, a combined approach will be used by identifying a variation of symbolic motifs, archetypes and patterns (see Figure 2.21). These will be employed to analyse precedents and inform the design. These can be used in conjunction with Fred Scottâ&#x20AC;&#x2122;s five aspects of a building (Scott, 2008, 150).

2.4 CONCLUSION

As a result of the content analysis carried out, it was decided that the terraced houses will serve as private dwellings for inhabitation in the hospitality interior, which will celebrate and create an experience of living in a two up two down terraced house by revealing its third space. Furthermore, the back kitchen extensions will be demolished to make way for a new edifice that serves as a public interior which comprises of semi-public and public spaces that can be inhabited by both the general public and the inhabitants of the terraced houses⁵. This can be justified by considering the origins of the Victorian terraced house; the kitchens were added extensions which did not initially form part of the building typology. When considering Fred Scott’s five aspects of a building (Scott, 2008, 150), they can still be recognised after the demolition of the kitchen extensions. The spatial hierarchy will be informed by Louis Kahn’s served: servant spaces concept. The existing terraced houses and the new building addition will work together as a cohesive design informed by the discourses of interiority and inhabitation and the Body due to the transitions from public to private and vice versa. In order for the truthful conveyance of meaning, parallels must be formed between the connotations recognised, chosen, developed, or generated by the interior designer and those present in the psyche of the prospective occupant. Therefore, the designer ought to cultivate an unequivocal response to the potential occupant. In order to do so, the designer should develop a model inhabitant (Konigk, 2015, 271). In this project, the model inhabitants are categorised as long stay inhabitants of the private realm of the existing Victorian terraced houses and short stay inhabitants of the semi-public and public domain within the proposed new building addition. This is essential for encouraging social interaction through casual encounters (Caan, 2011, 66; Poot et al, 2015, 51), which fosters social cohesion, a sense of belonging and identity that the project intends to achieve. It was found in the content analysis that advanced states of being can only be successfully designed for when individuals are perceived as representations of psychological beings, instead of embodied, tangible entities (Hewlett in Perolini, 2011, 169; Caan, 2011, 37; Ganoe, 1991, 1; Giunta, 2015, 5). The basic human needs set out by Caan (2011, 60-61), Tan’s (2011) symbolic motifs, the intypes of Jennings (2007) and Alexander’s patterns can be considered as strategies for achieving this. Only once these needs are met, can the designer further extend the inhabitants understanding and experience of a space. The threshold when moving from one space to another is a pivotal component in extending this experience. Third space provides the fundamental structure of the various spaces recognised in the built environment (i.e. interiors and exteriors). It is, therefore, considered as the ultimate threshold within a building. We can employ the concept of served: servant spaces postulated by Louis Kahn to organise and arrange the spaces that make up a building. Additionally, it is important to consider how contemporary design interpretations of the established built and cultural heritage could enhance the genius loci recognised in the statement of significance. Figure 2.5: Diagram illustrating the bracketed extension of the concept (opposite page).

5.)

Refer to Chapter 4 on page 51.

Interiority

Kahnâ&#x20AC;&#x2122;s Served vs Servant Space (Connally, 1977; Brawne, 1992)

Movement through space (Kingwell, 2003)

Third Space (Power, 2010; Loveday, 2008)

Layers (Caan, 2011)

Threshold (Dincer et al, 2019; McCarthy, 2005)

Spatial demarcation (Connally, 1977; Attiwill et al, 2015; Di Prete et al, 2015; Power, 2010)

Public Interior (Poot et al, 2015; Pimlott, 2018)

Psychological & Sociological needs (Brooker, 2016; Ganoe, 1991; Gottdeiner, 1985; Power & Wirfs Brock, 2019; Ghani et al, 2016, Perolini, 2011)

Sense of Place (Attiwill, 2017; UNESCO, 2003 & 2005; Campelo et al, 2013; Heidegger, 1996; Phuong, 2010; NorbergSchulz, 1980)

Symbolic Motifs (Tan, 2011)

Den/haven

Edge/ boundary

Journey

Mystery

Threshold

Patterns (Alexander et al, 1977)

100: Pedestrian street

Inhabitation & the Body

130: Entrance room

112: Entrance transition

119: Arcades

131: The flow 132: Staircase through rooms as a stage

141: A room of oneâ&#x20AC;&#x2122;s own

110: Main entrance

193: Half open wall

194: Interior window

233: Floor surface

127: Intimacy 129: Common gradient areas at the heart

168: Connection 179: Alcoves to earth

250: Warm colours

Intypes (Jennings, 2007) Showcase staircase. Bifurcated plan. Marching order. Repeat repeat. Ghost hearth. Notch. Hotspot.

WILKINSON, Domaria, December 2019

03 Context Study 3.1 INTRODUCTION

3.1.1 Interventionist Approach As the context (time and place) changes, buildings need to adapt. Scott (2008, 4-17) states that there are three possible results for a building; demolition, preservation, alteration. Buildings are built for a particular function (functional edict â&#x20AC;&#x201C; form follows function); however, the original function may no longer be practical or appropriate. Therefore, the interventionists need to respond to this problem. Naturally, the functional edict needs to be inverted; function follows form. The existing building will be the point of departure, its form determines which functions it can accommodate, granting that this will be altered. 3.1.2 Managing Alteration It is imperative that studies to understand a place, including but not limited to; analysis of physical, written, and verbal evidence of a place of significance is done before any work is attempted (ICOMOS, 2013, 8). The process of managing alteration to a place of significance is known as conservation. This needs to be done in a way that will support the heritage values of the place in its setting, while simultaneously identifying opportunities to enhance or reveal those values for the present or in the future (Historic England, 2008, 22). Places of cultural and historical significance reveal the identity of communities and how they and their surroundings were formed (ICOMOS, 2013, 1). Such places are special and irreplaceable. It may be substantiated to carry out an intervention if it enhances, reinforces or uncovers specific heritage values, fosters a better understanding of history, and any potential harm is carefully considered to be insignificant in relation to the benefits (Historic England, 2008, 22) (ICOMOS, 2013, 3). As will be discussed in Chapter 3, the high level values vary in nature, and can be valued as unprompted and instinctive, or influenced by association and experience surrounding the place in question (Historic England, 2008, 27). 3.1.3 Context Study Considering the above discussion, I will propose a choice of site and analyse its context (in time and place). Archetypes will be identified within the study which were derived from relevant literature. These will also inform the analysis of the precedents and the next phase in the design process when developing a concept.

3.2 ALTERATION STRATEGY

Fred Scott (2008, 106) outlines a strategy derived from a physical procedure that forms an intellectual process to understand the host building, to make strategic decisions, and to develop a design proposal. The process is summarised as follows:

Surface

Stripping Back (removal of rotten fabric, mainly plaster and wood) Making Good (original fabric is repaired and replaced, replacing much of what was removed in Stage 1)

Spatial

Enabling Works (removal of parts which would prevent the implementation of new work, i.e. partial demolitions) New Work (implementation of changes)

3.2.1 Stripping Back A contextual analysis of the building in two realms: 1. the physical location; and 2. the temporal position. I.e in time and place (‘paradigm’) The interventionist must gain a deep understanding of the host building, and begin to establish a dialogue between the ideal and the actual. Furthermore, a ‘structural affinity’ needs to be developed which prepares the correspondence between the extant and the new. The building must be understood physical (location and the building itself) and cultural (concept and history) context. This is the first step which lays the foundation for all subsequent procedures (Scott, 2008, 108-113).

3.2.2 Making Good No interventionist intelligence is required in the physical process (construction) but in the design process, ‘making good’ is the point when the most strategic and fundamental design decisions are made (Scott, 2008, 116123). Two decisions are made: 1. The degree of alteration; and 2. The use function of the building.

A context analysis will be carried out in order to gain a thorough understanding of the site. This will include an analysis of its cultural and historical significance, done through a typological study with a theoretical lens. A statement of significance of the proposed site will be deliberated, aided by a building analysis and a discussion on the importance of its location.

WILKINSON, Domaria, December 2019

3.2.3 Enabling Works This is the removal of parts which would prevent the implementation of new work, i.e. partial demolitions (Scott, 2008:123). While partial demolitions take place, it is imperative that the five aspects remain recognisable. “… with intervention [demolition] requires a surgical precision. The partial demolitions of and removals from the host building are in one sense like a shadow being cast on the new work to come. The making of such absences can be understood to be equal to the insertion of the new works. These removals have also potencies of their own in reveailing the Khanian spirit of the built spaces and structures. Demolition can therefore be as new works,” (Scott, 2008:123).

3.2.4 New Works ”New works are the implementation of the proposed changes to the existing building, as a way of achieving change of use for the new occupation,” (Scott, 2008:108). This offers an opportunity for creativity by ensuring coherence between old and new, while simultaneously distinguishing them (Scott, 2008:137). While new additions are added, it is imperative that the five aspects remain recognisable.

This is It is the process of ‘breaking’ the host building, after which the building is made habitable / operational by the new work.

Rancliffe Street

Sho e

ous

Stre

lic H

Pub

sex

Sus

Harrington Street

Figure 3.1: Back-to-back terraces in Manchester in the early 19th Century.

Figure 3.2: Layout of terraced houses in the late 19th Century as a result of the 1875 Act.

3.3 HISTORICAL DEVELOPMENT & CULTURAL SIGNIFICANCE

3.3.1 Origins of the Victorian Terraced House At the beginning of the 19th century terraced houses were regarded as sought-after architecture. John Nash, the architect who designed Regent’s Park in 1811, incorporated terraced houses, since they evoked a sense of ownership among residents (Morris, 2013, 268). In the mid-19th century, the terraced house became increasingly popular due to increased migration to urban areas as a result of the Industrial Revolution. In merely a decade, (1841-1851), urban areas in Britain increased in excess of 25%, and as a result more than 50% of the population dwelled in metropolitan regions. By 1911, the urban population had tripled in size (Eveleigh, 2008, 1). Terraced houses became a cost-effective solution to accommodate considerable quantities of inhabitants into a comparatively confined space (Eveleigh, 2008, 1). The British building industry was faced with the challenge of building vast numbers of Victorian houses, which over a hundred years later became a significant characteristic of the majority of settlements in England (Marshall & Willox, 1986, 8). One can start to see the development of the Victorian house by looking at the back-to-back terraced houses that were common at the beginning of the 19th century¹. The back-to-back terraces were a direct result of the influx of workers to the cities due to the Industrial revolution. The established long plots and primitive street configuration made it difficult to maximise the number of dwellings (Brunskill, 2000, 186). This resulted in people living in single-roomed houses overlooking a shared courtyard with privies, a drain, and a water supply. Child mortality, typhus and cholera were often extremely high. These conditions became unacceptable due to the increasing number of slums that were appearing in the city centres. The institution of building management protocols came as a response to this. In order to control housing standards, authority was given to management bodies of health in the Public Health Act of 1848 and the Local Government Act of

1.) 2.)

1858. The Public Health Act of 1875 came into being as a result of this. The Public Health Act was instituted in 1875. It compelled metropolitan governments to implement regulations for new streets², to certify structural stability of dwellings and prevent fires, and to allow for the drainage and ventilation of and around buildings (Calow, 2007, 13). It stipulated that all dwellings were required to be through houses, outlawing the back-to-back terraced housing type. More detail was specified in the 1878 Building Act. It defined requirements for the foundations, dampproofing, ceiling heights, depth of walls, under-floor ventilation, space between households, garden space for each individual house, ventilation of rooms and dimensions of windows (University of the West of England, 2009). Despite the fact that regional adaptations were often less meticulous, they were generous compared to modern day standards. The legislation was significant because it established building regulations for the housing of the working class. By 1830 it had been stipulated that courts and streets had to be 30 feet wide, and so courts were outlawed (Muthesius, 1982, 126). The earliest form of the two up two down house can be observed at Egerton and Pinnacle Field in the 1820 workers houses which were built as four roomed through houses (Muthesius, 1982, 123). The quality of the dwellings were relatively high with reasonable sized living rooms and with the master bedroom in the front, and a small bedroom and kitchen at the back. Typically, the yard was distinct but enclosed for each individual house. Ordinarily, the 1850s houses in Liverpool had one bedroom with a back extension. It is important to note the progression of the gradual expansion of the back rooms, when the kitchen became big enough to serve as a kitchen-living room, so that the front room could be used as a parlour. Ultimately, a small scullery was added to the two room deep house. Varieties of terraced houses with an enclosed back yard, which were accessed through a small narrow passage between houses, appear before 1800 and many more developed by 1820 (Muthesius, 1982, 126). This is the archetype we find at Westgate today.

See Figure 3.1 on page 20. See Figure 3.2 on page 20.

WILKINSON, Domaria, December 2019

Key:

6 8

First floor Ground floor

First floor

8 Salfaire, c1850s with larger, thicker walls

First floor

Egerton, Workers Houses c1830s

Ground floor

3 3

Passage

1...Kitchen 2...Scullery 3...Bedroom 4...Front room/parlour 5...Living room 6...Yard 7...Forecourt 8...Privie 9...Brew room

Terraced houses with shared entrance c1820s-1840

Ground floor

First floor

Norwich, early 19th C, originally one room deep with small extension for scullery across whole width of the house

Ground floor

Manchester, late 19th C, with no back scullery extension

Shared drain

Ground floor

First floor

Preston, late 19th C, third bedroom for every other house. Economic solution by providing every house with its own back yard.

Passage

Access passage

8 6

Norwich, late 19th C with extension into back yard

First floor

Ground floor

Liverpool, c1900, ÂŁ100 house

Figure 3.3: Development of the two up two down terraced house (not to scale). Adapted from The English Terraced House by S. Muthesius.

The stairs which were initially found at the back of the house have developed in various regions to such an extent that they were later located in the middle, like the ones we find at present at Westgate.

3.3.2 The Urban and Interior Threshold As an urban building type, the relationship between the terrace and the street is an important element of particular interest. The architectural uniformity of the terrace included the treatment of boundaries when private space originated (Historic England, 2017, 12). Where the terrace faces directly onto a front garden or area this space provides an important transition between public and private zones and retaining a clear demarcated boundary was vital (Historic England, 2017, 12). Original boundary treatments (which could include dwarf walls with metal railings, stone balustrades or hedges) were usually treated as part of the architectural composition and would also become simpler as you progressed further down the ‘class’ of terrace (Historic England, 2017, 12). This urban and interior threshold plays an important role in defining spatial demarcation and the greater system of the built environment. This raises an important question of where the interior stops and the exterior begins. The layout of a building indicates how inhabitants gain access from one space to another within a dwelling. Furthermore, one can observe the transition from the public domain of the street to the private domain of the dwelling (Daunton, 1988, 295). There is a direct transition from public to private with a well-defined threshold in terraced houses at the end of 19th century3. The early 19th century terraced houses were grouped around a courtyard and shared facilities such as washhouses and privies, which acted as an ambiguous intermediary between public and private⁴ (Daunton, 1988, 295). Although most of the courtyards were outlawed due to the 1875 Public Health Act, it can be argued that one can learn something about collective shared spaces that has almost disappeared from our urban fabric. These spaces are opportunity for shared experiences and encounters that are vital in place making (McCarthy, 2005, 112; Perolini, 2011, 167). 3.3.3 Typlogy and Archetypes In addition to analysing the development of the Victorian terraced house, it is important to analyse⁵ the building typology using the archetypes theoretical lens discussed in the literature review6 .

Figure 3.4: Variation of entrances and staircase layouts.

The vertical connection is an important apect of the two up two down terraced house. It provides the transition from semi-public to private.

Public

Semi public

Intimacy gradient

Private

Figure 3.5: Degress of publicness and intimacy gradient of the staircase in the two up two down terraced house.

3.) 4.) 5.) 6.)

See Figure 3.2 on page 20. See Figure 3.1 on page 20. See Figure 3.6 on page 24. Refer to Section 2.3.2 on page 15 for a full discussion on the theory of Tan’s Symbolic Motifs, Alexander’s patterns, and Jennings’ Intypes.

WILKINSON, Domaria, December 2019

Symbolic motifs (Tan, 2011)

Den/haven

Edge/boundary

Journey

Mystery

Threshold

Patterns (Alexander, et al, 1977)

100: Pedestrian street

130: Entrance room

110: Main entrance

131: The flow through rooms

193: Half open wall

112: Entrance transition

119: Arcades

127: Intimacy gradient

132: Staircase as a stage

141: A room of oneâ&#x20AC;&#x2122;s own

168: Connection to earth

194: Interior window

233: Floor surface

129: Common areas at the heart

179: Alcoves

250: Warm colours

InTypes (Jennings, 2007) Showcase staircase Bifurcated plan Marching order Repeat repeat Ghost hearth

Notch Hotspot Face to face Two by two Borrowed view

Kahnâ&#x20AC;&#x2122;s Servant: Served Space (Connally, 1977; Brawne, 1992)

Figure 3.6: Archetypes that are identified in the analysis of the various artefacts.

Edge 100: Pedestrian street

Threshold 110: Main entrance 112: Entrance transition 130: Entrance room Servant space

Den/haven 171: A room of oneâ&#x20AC;&#x2122;s own Served space Den/haven 131: The flow through rooms 130: Entrance room Served & servant space

132: Staircase as stage Showcase staircase

Ground floor

First floor

Figure 3.7: Theoretical analysis of Egerton, Workers Houses, c1830s.

Servant space

129: Common areas at the heart Served space Threshold 127: Intimacy gradient Servant space Threshold 110: Main entrance 112: Entrance transition Bifurcated plan Servant space

130: Entrance room Served space

Edge 100: Pedestrian street Marching order

Figure 3.8: Theoretical analysis of Terraced houses with shared entrance c1820s-1840s.

WILKINSON, Domaria, December 2019

First floor

Den/haven 141: A room of oneâ&#x20AC;&#x2122;s own Served space

130: Entrance room Served & Servant space

Edge 100: Pedestrian street

129: Common areas at the heart Servant space

Ground floor

Threshold 110: Main entrance 112: Entrance transition 130: Entrance room Served space

Journey 127: Intimacy gradient Servant space

Figure 3.9: Theoretical analysis of Salfaire, c1850s with larger, thicker walls.

130: Entrance room Served & Servant space

129: Common areas at the heart Servant space

Den/haven 141: A room of oneâ&#x20AC;&#x2122;s own Served space

Threshold 129: Common areas at the hear t110: Main entrance 112: Entrance transition 130: Entrance room Servant space

Edge 100: Pedestrian street

First floor

Ground floor

Figure 3.10: Theoretical analysis of terraced houses in Norwich, early 19th C, originally one room deep with small extension for scullery across whole width of the house.

Journey 132: Staircase as stage 127: Intimacy gradient

Den/haven 131: The flow through rooms 130: Entrance room Served & servant space

Showcase staircase

Servant Space Threshold 110: Main entrance 112: Entrance transition 130: Entrance room Servant space

Den/haven 171: A room of oneâ&#x20AC;&#x2122;s own Served space

Edge 100: Pedestrian street Marching order Ground floor

Ground floor

Figure 3.11: Theoretical analysis of Manchester terraced house, late 19th C, with no back scullery extension.

Threshold Bifurcated plan

Edge 100: Pedestrian street Marching order

Den/haven 171: A room of oneâ&#x20AC;&#x2122;s own Served space

Threshold 110: Main entrance 112: Entrance transition 130: Entrance room Servant space

Den/haven 131: The flow through rooms 130: Entrance room Served & servant space

Journey 132: Staircase as stage Showcase staircase

Servant space

Ground floor

First floor

Figure 3.12: Theoretical analysis of Preston terraced house, late 19th C, with third bedroom for every other house. Economic solution by providing every other house with its own back yard.

WILKINSON, Domaria, December 2019

Servant space

129: Common areas at the heart 131: The flow through rooms Served space

Threshold 127: Intimacy gradient Servant space

130: Entrance room 110: Main entrance Served space

Threshold Bifurcated plan Servant space

112: Entrance transition Edge 100: Pedestrian street Marching order Figure 3.13: Theoretical analysis of Norwich terraced house, late 19th C, with extension into back yard.

Servant space

130: Entrance room Served & Servant space

129: Common areas at the heart Servant space

Den/haven 141: A room of oneâ&#x20AC;&#x2122;s own Served space

Threshold 129: Common areas at the hear t110: Main entrance 112: Entrance transition 130: Entrance room Servant space First floor

Ground floor

Edge 100: Pedestrian street Figure 3.14: Theoretical analysis of Liverpool ÂŁ100 house, c1900.

3.3.4 Victorian Terraces as heritage at risk Victorian terraces have been a distinct part of British history and are being demolished, abandoned and neglected at a vast rate. Approximately six million Victorian terraces were built (Marshall & Willox, 1986, 7), and in just seven years in the mid20th century, approximately half a million houses considered inadequate were demolished (Ravetz & Turkington, 2013, 71). After World War I and the emergence of the suburban semidetached house, terraced houses were viewed as redundant (Scott, 2013, 233). In addition, with new legislature for suburban housing implemented in the early 20th century, Victorian terraces came to be viewed as squalid and overcrowded, and were avoided (Ravetz & Turkington, 2013, 66). As of 2015, terraced housing comprised 28% of the proportion of housing in England (London Government, 2015). Our environment (England) is a testament of the unique and lively human endeavour which is at risk of being lost. It has been moulded by individuals reacting to the environment they find themselves in, and symbolises the ambitions, abilities and contribution of sequential generations (Historic England, 2008, 19). And as a result, society ascribes significance to this historic environment as part of their cultural and natural heritage. It is a manifestation of the wisdom, values and customs of assorted groups of people. Furthermore, it offers uniqueness, significance and value to the spaces we dwell in, affording an impression of permanence and a basis of self (Historic England, 2008, 19). In addition, it is a communal and fiscal resource and a basis for education and pleasure (Historic England, 2008, 19). Historic interiors can be seen as incomplete places of rich expressive experiences (Mitchel et. al, 2018, 53). They should be conceptualised as a continuous process where space, time, materials, and people are interrelated in an unravelling process (Mitchel et. al, 2018, 53). Furthermore, Pallasmaa denotes that the â&#x20AC;&#x153;forceful emotional engagementâ&#x20AC;? of historic surroundings as idiosyncratic experiences are critical in understanding this process (Mitchel et. al, 2018, 53). This study aims to assess the values and intangible heritage of Victorian terraced houses, and propose a solution to the problem of uniting the existing with a new, relevant and updated design.

WILKINSON, Domaria, December 2019

3.3.5 The hotels of lincoln⁷

1. Tower Hotel • Laundry • Business centre • Room service • Bar • Restaurant

2. White Hart Hotel • Baggage storage • Laundry • Meeting/Banquet facilities • Snack bar • Bar • Restaurant

8. The Bronze Pig • Bar • Restaurant

9. DoubleTree by Hilton • Concierge • Baggage storage • Dry cleaning • Business centre • Meeting/Banquet facilities • Room service • Bar • Restaurant

10. Holiday Inn 3. Lincoln Hotel, Sure Hotel Collection by Best Western • Baggage storage • Dry cleaning • Baggage storage • Meeting/Banquet facilities • Dry cleaning • Room service • Meeting/Banquet facilities • On-site coffee shop • Room service • Bar • Snack bar • Restaurant • Bar • Restaurant 11. Hotel Inn Express 4. Castle Hotel • Baggage storage • Baggage storage • Dry cleaning • Room service • Laundry • Bar • Snack bar • Restaurant • Bar • Restaurant 5. The Rest • Shared lounge/TV area • Concierge • Baggage storage • On-site coffee shop • Snack bar • Bar

6. Bail House

7. Charlotte House • Baggage storage • Meeting/Banquet facilities • Bar Figure 3.15: Map indicating the hotels of Lincoln.

7.)

Only hotels were selected, no Bed & breakfasts, AirBnBs, lodges, campsites, or caravan sites, etc were considered for the purposes of this study. The reason for this selection criteria is because the design proposal is intended to fall into this category. The definition of a hotel according to the Business Dictonary (2019), is “[a] commercial establishment providing lodging, meals, and other guest services. In general, to be called a hotel, an establishment must have a minimum of six letting bedrooms, at least three of which must have attached (ensuite) private bathroom facilities”.

WILKINSON, Domaria, December 2019

3.4 CHOICE OF SITE

The project is to be located in the existing terraced houses in 43-59 Westgate, Lincoln, LN1 3BG. It was built in 1901 by the architect/builder C A Fairchild. There is currently limited information available on the buildingâ&#x20AC;&#x2122;s history and development, but through the analysis and perusal of archaeological documents, historic maps, similar archetypical building types and a site analysis a thorough understanding of the building will be developed.

Figure 3.16: North elevation of the project site @ scale 1:200.

Figure 3.17-3.18: Initial sketches indicating the perception of the connectivity of the Bailgate area.

Figure 3.19: Site Plan @ 1:1250 showing the project site of 43-59

Westgate, Lincoln, LN1 3BG in its context adjacent to the Lincoln Castle grounds and transit nodes.

WILKINSON, Domaria, December 2019

3.5 BUILDING AND LOCATION ANALYSIS

3.5.1 Location The location of the site plays an important role in its significance and potential as a player in the tourism industry of Lincoln.

Figure 3.20-3.22: Elevations of the project site facing onto Westgate street. Figure 3.23: Elevation of the project site facing onto the Castle wall (opposite bottom).

WILKINSON, Domaria, December 2019

Figure 3.24: Diagram indicating the key location of the site. It

has the potential to play a supporting role to the Lincoln Castle, and thus to enhance tourism. Figure 3.25-3.28: Photographs indicating the parking lots

adjacent to the project site (below).

Stre

Pede

n wa

lkwa

ess

pass

age

stria

Acce

Terra c

Yard

Cast

le bo

unda

ry w

all

Figure 3.29: Site plan @ 1:400.

WILKINSON, Domaria, December 2019

3.5.2 Building Analysis The site can be analysed using the same theoretical lens as the historical examples⁸.

Edge 100: Pedestrian street Marching order Repeat repeat Borrowed view

130: Entrance room Served space

Bifurcated plan

Journey 127: Intimacy gradient Servant space

Threshold 129: Common areas at the hear t110: Main entrance 112: Entrance transition Servant space

129: Common areas at the heart Servant space

131: The flow through rooms Servant space

PRODUCED BY AN AUTODESK STUDENT VERSION

Ground floor

5755

1485

4270 1675

805

1790

1785

230

1485

Den/haven 141: A room of one’s own Served space

1230

125

795

820 220

230

215

660

230 950

720

5920

220

235

800

2715

810

230

1180

1815

5740

245

100

2910 5300

First floor

1785

Scale 1:50

230 810210 1020

820

1230

190

220

230

Scale 1:50

125

795

820 230

860

Typical Second Floor Plan

5300 1170 940

215

245 165

NORT

WILKINSON Domaria 240 660 440 240

2020

1800

9715

5930

220

5920

7070

Den/haven 141: A room of one’s own Served space

2505

2950

BATHROOM 6.66 m²

225

3000

BEDROOM

3915

9690

100 870 105 120 120

15.40 m²

225

220

3460

Borrowed view

PRODUCED BY AN AUTODESK STUDENT VERSION

1060

210

220

720

950

230

6230 90

PRODUCED BY AN AUTODESK STUDENT VERSION

Threshold

9.00 m²

MASTER BEDROOM

PRODUCED BY AN AUTODESK STUDENT VERSION

HALL

800

2715

810

230

1180

5740

1815

245

100

2910 5300

Second floor/attic

Typical Second Floor Plan

Typical First Floor Plan

Scale 1:50

NORT

WILKINSON Domaria

INT9003M-2

Figure 3.30: Theoretical analysis of project site. PRODUCED BY AN AUTODESK STUDENT VERSION

8.)

210

225 1790

INT9003M-2

235

240 3915

2505

2950

BATHROOM

220

805

13.70 m²

8.03 m²

5930

2020

1800

9715 7070

MASTER BEDROOM

120

3460

8.03 m²

440

220

90 1060

9690

100 870 105 120

131: The flow through rooms Servant space

6.66 m²

4270

BEDROOM

Journey 127: Intimacy gradient Servant space

245 165

240

860

3775 6230

820

15.40 m²

BEDROOM

3000

PRODUCED BY AN AUTODESK STUDENT VERSION

9.00 m²

Typical First Floor Plan

3775

190

225

1675

230

HALL

230

1485

940

PRODUCED BY AN AUTODESK STUDENT VERSION

5755

1485

Ghost hearth Servant space

13.70 m²

PRODUCED BY AN AUTODESK STUDENT VERSION

Den/haven 141: A room of one’s own Served space

5300 1170

230 810210 1020

BEDROOM

Refer to Section 2.3.2 on page 15 for a full discussion on the theory of Tan’s Symbolic Motifs, Alexander’s patterns, and Jennings’ Intypes.

Any building can be considered to have five aspects. These will guarantee the endurance of a building if they can be recognised after the alteration process (Scott, 2008, 150).

Footings

Plan

Section

Elevation

Profile

Figure 3.31: Five aspects of the project site according to Fred Scott.

WILKINSON, Domaria, December 2019

3.6 VISITOR PROFILING

In order to design a hospitality interior in the project site, it is necessary to analyse the visitors of the area. According to a survey set out by Arkenford in October 2016, Lincolnshire is currently attracting an older demographic of visitors (mostly older independents without children), but younger independent visitors are not opposed to visiting. Lincolnshire is appealing as a destination to visit with other adults, mainly as couples. Respondents did not strongly associate family attractions with Lincolnshire (Arkenford, 2016, 35). Lincolnshire is appealing as both a destination for a day trip and holiday, as well as a mixture of a city, rural and coastal breaks â&#x20AC;&#x201C; there is not one key type of holiday that people are taking here but instead they are enjoying a variety of different types of breaks. The most popular types of holiday, regardless of destination, fit well with this. Exploring market towns, sampling local food, relaxing on a quiet traditional beach holiday, escaping into the countryside and exploring the culture of an interesting city were the most popular types of holiday. From the statistics gained from this analysis, the target market for the project proposal can be established; since couples without dependant children are most likely to visit Lincolnshire, and Lincoln was considered the most popular destination (Arkenford, 2016, 32).

Visited Lincolnshire for day trip or holiday

Rural 19%

Specific Event 6% Visiting friends / family 22%

City / town 27% Coastal break 26%

Visited Lincolnshire

Business 5%

Day trip 39%

Longer break - 4 nights or more, 23%

Short break - 3 nights or more 33%

Figure 3.32: Graph illustrating the types of holiday tourists go on. Figure 3.33: Graph illustrating the reasons for visiting Lincolnshire.

80% 70% 60% 50%

Under 45 with no kids at home

40%

Young family (any child under 5)

30%

Older family (all children over 5)

20%

Over 45 with no kids at home

10% 0%

I have visited I have visited I have not visited Lincolnshire in Lincolnshire Lincolnshire but the more I would be past 2 years than 2 years ago interested

Figure 3.34: Graph showing the family types and time frame they last visited Lincolnshire.

What are they doing in Lincolnshire? Other Visited an aviation heritage attraction Attended a specific event Rural/countryside walking Visited family attractions Relaxed on the beach Coastal walking Visited museums/galleries Visited local markets Visited historical attractions Went shopping Ate/drank at local pubs and restaurants 0%

10%

20%

30%

40%

50%

60%

70%

80%

Figure 3.35: Graph showing what visitors are doing in Lincolnshire.

70% 60% 50% Under 45 with no kids at home

40%

Young family (any child under 5)

30%

Older family (all children over 5)

20%

Over 45 with no kids at home

10% 0%

Rural City / town Coastal break/day break / day break / day trip trip trip

Visiting friends / family

To attend a specific event

Figure 3.36: Graph indicating the family types and the type of holiday they went on in Lincolnshire.

WILKINSON, Domaria, December 2019

3.7 STATEMENT OF SIGNIFICANCE

3.7.1 Evidential Value Evidence of past human activity (Historic England, 2008, 28) can be identified on the site of 43-59 Westgate, Lincoln. Archaeological investigations (L Donel, 1995 & 1996) has established that buildings cut into the western side of the north bank of the castle in the 19m century. This tells us that there were other buildings on this site before the current building was erected. We can also confirm this by looking at maps dating 1888 on the Ordnance Surveyâ š. We can also gather from this building the development of the way people lived and their requirements for expansion. The conversion of an attic to the second floor in 2006 in five of the ten terraces demonstrates this theory. This rearranged the organisation and hierarchy of the bedrooms. It also changed the facade as dormer windows were added to accommodate the new bedrooms. It kept in the limits of alteration set up by Fred Scott (2008, 150); the profile, footings, section, plan and elevation. In addition, the extension of the rear building is another indicator of people moving their kitchens towards the back and the implementation of toilets within Victorian houses10 (Marshall & Willox, 1986, 39). It is unclear what the original layout of the building was, however, we can make this assumption since many Victorian terraced houses were built and developed in the same way. 3.7.2 Historic Value The buildingâ&#x20AC;&#x2122;s location in relation to the Lincoln Castle contributes to its historic value. The fact that is looking onto the boundary wall of the Castle gives it a sense of attachment and association with the historic monument. Furthermore, the current site is where the moat of the Castle used to stand, which also provides a unique factor to the heritage of the building. This could be a defining feature for the proposed alteration, whereby the proposed function may act as a supporting role to the Castle (and Cathedral) and its tourism industry.

9.) See Figure 3.38 10.) See Figure 3.37

Figure 3.37: Victorian House Axonometric (original by Marshall & Willox, 1986, 39) indicating movement of kitchen towards the back and WC into the extension of the house.

In a more general view, the Westgate terraced houses symbolise the height of Victorian terraced architecture. This connection to the working class people of Britain contributes to the heritage of the idiosyncratic building type. Associations of family life in a working class and the industrial revolution are connected to this building time. The utilitarian function of the existing building is that of dwelling and domestic life. I believe that the proposal of a hospitality function is suitable, since the function is essentially the same; somewhere to sleep, wash, eat and potentially socialize. The proposal, however, should allow for more luxurious living since often hotels are associated with holidays and excursions, where people more often than not want to indulge in lavish experiences.

Figure 3.39: Image of the box window and the brick motif located on the facade of the terraces at Westgate.

Privacy gradient

3.7.3 Aesthetic Value The particularly good condition of the proposed site emanates aesthetic value. Moreover, the use of black box windows rather than the typical bay window provides a sense of unique quality to the elevation of the building, however, it may detract from is value as a truly Victorian terrace. I suspect it may be one of the reasons that it is not a listed building. Due to the time it was built (C1901 â&#x20AC;&#x201C; the end of the Victorian era), the building is a mature product of a vernacular tradition of building (Historic England, 2008, 30). The execution of the design is not particularly innovative, however, the motif of the alternating bricks of different materials provide a sense of understated variety and simple elegance. The fact that the building exterior has been retained without the addition of plaster and paint also greatly contributes to its aesthetic value. Unfortunately in this case the patina created due to weathering of the flashing along the box windows and chimneys detracts rather than adds to its aesthetic value because of the good condition the rest of the building is in. Generally, terraced houses provide a sense of rhythm. According to Ching (2015, 396), rhythm integrates the elementary concept of repetition as a means to arrange forms and spaces in architecture11. Often, terraced houses are a source of culture and identity which is depicted through paintings and sketches12. The intangible associations connected to terraced houses provide content for artistsâ&#x20AC;&#x2122; impressions, relating the aesthetic value to the community value.

Figure 3.40: Rhythmn of the windows and doors on the facade of the project site. Figure 3.41: Privacy gradient of the project site.

11.) See Figure 3.40. 12.) See Figure 3.42 on page 44.

WILKINSON, Domaria, December 2019

Figure 3.42: Painting depicting aesthetic value of terraced houses as seen through the eyes of an artist (Thomas, 2019).

3.7.4 Communal Value People may consider part of their ontology to derive from a place, or have emotional bonds to it, and can ascribe meaning to it that is reflected as symbolic and commemorative values (Historic England, 2008, 31). The terraced house may have a great deal of commemorative value to the people who grew up and/or lived in one. However, due to the fact that there are so many Victorian terraces in Britain, their appreciation for it may be diminished. This can be seen currently through the vast amounts of Victorian terraced houses at risk of being demolished or abandoned due to the cost of maintaining them. Therefore, the following groups of people may be regarded as the community that ascribes communal value to Victorian terraces; low income households, individuals requiring government grants, individuals having difficulty altering existing terraced house due to conservation restrictions, individuals wanting to generate an income from their property, tourists looking for and has had accommodation close to the Cathedral Quarter in Lincoln. Due to the siteâ&#x20AC;&#x2122;s proximity to the Lincoln Castle and Cathedral, communal value may be extended to the terraces of 43-59 Westgate. The Cathedral Quarter of Lincoln attracts the greatest amount of tourists, and so the residents of Lincoln feel particularly proud and attached to this district of the city. It is also the oldest part of the city, richly populated with historical stories and events. This is reflected in the fact that the sites falls within the City Council Conservation Area No.1 - Cathedral & City Centre. This will place some restrictions on the intervention since these are regions of distinct architectural or historic interest, whose character or appearance is deemed desirable to protect or enrich (Lincoln City Council, 2019).

Figure 3.43: Map indicating the City Council Conservation Area No.1 - Cathedral & City Centre.

WILKINSON, Domaria, December 2019

3.8 RESTRICTIONS

The car parks adjacent to the project site are protected due to the fact that significant archaeological remains, including footings for the original Roman City walls, evidence of metal and working exist under the car park site and other sites around the city (Historic England, 2008). Furthermore, it is part of the Lincoln Roman colonia (Lindum) scheduled monument catergory.

Addition of dormer five windows in 2006 when attics were converted to lofts.

Addition of five attics to lofts in 2006.

Typical back extension with kitchen function.

Figure 3.44: Axonometric of the proposed building site.

Figure 3.45: Map @ scale 1:2500 indicating the protected Lincoln Roman colonia (Lindum) monument.

WILKINSON, Domaria, December 2019

3.9 TYPOLOGICAL ANALYSIS

The Victorian two up two down terrraced house consists of two rooms on the ground floor or at entry level, used as semiprivate/public spaces for reception of guests, cooking, eating and entertaining. The kitchens are usually located towards the back, often as an extension to the building14. Additionally, the two rooms at the top are private for the residents use only. The function of these rooms are often used as bedrooms, with an added bathroom, often as an extension too. The rooms at the top are connected to the rooms at the bottom by way of a staircase15.

Two rooms located on lower floor level Semi-private/public Reception of guests, cooking, eating, entertaining. Servant/served space

Two rooms located on upper floor level Private Sleeping, washing Served space

Vertical connection Transition from semi-private/ public to private Movement, traffic Servant space

Figure 3.46: Diagrams illustrating the key characteristics of a Victorian two up two down terraced house.

14.) Refer to section 3.7.1 on page 42. 15.) Refer to section 3.3.1 on page 21.

3.10 ELEMENTS OF SIGNIFICANCE

The site symbolises the height of Victorian terraced architecture. Therefore, we can identify elements that are unique to this building. The stripping back process informed the selection of significant elements.

Figure 3.47: Castle wall varying stone patterns.

Figure 3.48: Unusual bay window detailing.

Figure 3.49: Original services.

Figure 3.50: Joints at the kitchen extensions.

Figure 3.51: Decaying brick exterior.

A1 Historic & Communal value due to the contribution of the Lincoln Castle to this value. A2 Evidential value as seen from the development of the services in terraced houses. A3 Aesthetic value by way of natural decay and weathering of the building.

WILKINSON, Domaria, December 2019

Figure 3.52: Unit numbers layered over time.

B1 Aesthetic value ascribed to the unique black box windows rather than the typical bay windows. B2 Evidential value as an indication of how the building development with the kitchen B3 Aesthetic value attributed to the numbers of the units, as well as the layering over time.

3.11 CONCLUSION

It is believed that the location of the site provides an important connection to the main attraction of tourism in Lincoln; the Lincoln Castle and Cathedral. This is a critical factor to consider since design proposal comprises of a hospitality interior which aims to tap into what the tourism potential Lincoln has to offer. The value of Lincolnshire’s tourism industry rose by over £300m in the last five years, reaching £1.37bn in 2016 (Lincoln City Council, 2017). A context analysis was carried out in order to gain a thorough understanding of the site. This included an analysis of its cultural and historical significance where a statement of significance was discussed, a building analysis was done which compared how the nature of the building compares to its current condition, and the importance of its location was deliberated. The aim of context study is to critically situate the project paradigmatically (in time and place). Its intent is to define the parameters of the interior treatise, to contextualise the project, and to collect and report on the majority of the data and evidence necessary to prepare a design concept. An analysis of relevant subject literature resulted in archetypes being identified to aid in the assessment of the building typology and the further development of a design proposal. In order for the building typology to be made relevant and viable in the 21st century market, the spirit of place needs to be revealed. Loveday’s Third Space and Hunt’s Three Natures, in conjuction with the notions of Eliasson on thresholds and Kahn on Served: Servant spaces, forms a strategy to reveal this spirit of place to both the inhabitants of the Victorian two up two down houses, and the passers by.

04 Precedent Studies 4.1 INTRODUCTION

Precedents and archetypes provide the interior designer with tools to analyse the literature research and interpret the findings that come out of this (Konigk, 2015, 266). The precedent studies will inform the design decisions. A critical analysis and description of precedents of the same type as the host building (utilitarian use and morphological typologies), as well as precedents where the typology was altered (either through changes in use, or changes in form) will be carried out. The archetypes discussed in Chapter 2 will inform the analysis of the precedents.

Interiority Third Space Threshold Layers Movement through space Spatial demarcation Public Interior

Symbolic motifs (Tan, 2011)

Den/haven

Inhabitation & the Body

Edge/boundary

Journey

Mystery

Threshold

Patterns (Alexander, et al, 1977)

100: Pedestrian street

130: Entrance room

193: Half open wall

110: Main entrance

131: The flow through rooms

194: Interior window

112: Entrance transition

119: Arcades

127: Intimacy gradient

132: Staircase as a stage

141: A room of oneâ&#x20AC;&#x2122;s own

168: Connection to earth

233: Floor surface

129: Common areas at the heart

179: Alcoves

250: Warm colours

InTypes (Jennings, 2007) Showcase staircase Bifurcated plan Marching order Repeat repeat Ghost hearth Notch

Hotspot Face to face Two by two Borrowed view Follow me Borrowed view

Kahnâ&#x20AC;&#x2122;s Servant: Served Space (Connally, 1977; Brawne, 1992)

WILKINSON, Domaria, December 2019

Archetypes: a) 132: Staircase as a stage

Showcase staircase

e h

d b g a

e b d g a e

Figure 4.1: The Etch House (Fraher & Findlay, 2019).

Figure 4.2: The Etch House Ground, First and Second Floor Plans indicating archetypes.

4.2 THE ETCH HOUSE London 2017 Fraher & Findlay

4.2.1 Introduction I chose this precedent in order to learn how a site with a similar morphology was changed and how the architects handled challenges common in two up two down terraced houses. In addition, I wanted to know how the designers treat the history of the building, and how a visual record of the earlier artefact is displayed in the new design. 4.2.2 Analysis and Comparison Layouts of terraced houses suffer from a narrow layout with narrow circulation spaces. Usually on the ground floor the spaces are divided into rooms located off the circulation space, and the spaces above are less than desirable as a result of the stagnant corridor space (Fraher & Findlay, 2019). This is a similar problem to the one in my own project due to its form, and I believe that there is a risk of feeling unable to break down walls within the structure. The architects aimed to challenge the traditional layout by using the staircase to spread across the building, thereby, removing the dark corridor and landing spaces and instead liberating the plan by inserting a CNC cut staircase (Fraher & Findlay, 2019) (see Figure 4.2, 4.3 & 4.4). By removing the internal walls, the designers were able to drop the floor levels to create generous volumes within the space (see Figure 4.5). The liberation of the plan places an emphasis on the vertical circulation and the CNC cut staircase provides a focal point and

Figure 4.3: Orignal layout of stairs.

Figure 4.4: Changes in floor levels.

Servant Space b) 130: Entrance room Threshold c) Edge/boundary 100: Pedestrian street d) Threshold e) Den/haven 141: A room of oneâ&#x20AC;&#x2122;s own Served Space f) 168: Connection to earth g) 112: Entrance transition 131: The flow through rooms Servant Space h) 129: Common areas at the heart

spatial hierarchy (see Figure 4.6).The architectural philosopher Norberg-Schulz, uses the phenomenological terms, ‘place’ and ‘sense of place’ as a key for clarifying the notion ‘genius loci’ or ‘spirit of place’ and ‘dwelling’ in architecture (NorbergSchulz, 1980 in Phuong, 2010, 2). Though topographical position and material settings are tangible, the connotations they embody are intangible. Both are equally important with regards to individual and shared encounters, social exchanges, and emotional experiences (Campelo et al, 2013, 156). The designers create a visual record of the earlier artefact by superficially indicating the floor level changes that were made (FIgure 4.7) This tells the intangible story/history of how the building was changed, and starts to form part of the sense of place and identity of the building. However, I believe that this is done in too much of a superficial manner and could have been integrated more with the three dimensional design of the space. They did, however, use a hexagonal motif for the ironmongery within the space, which was derived from ceramic tiles found in the original building (Figure 4.8). I believe that this is a more integrated and cohesive method to incorporate an older element into the new design.

Figure 4.5: Visual indication of floor level changes (Fraher & Findlay, 2019).

4.2.3 Evaluation This is an important precedent to include because it illustrates how the, often intangible, history of a building can be integrated into the new design. There were some successful methods of doing this; such as the hexagonal ironmongery, and some that I believe require further development; such as the change in floor level markings. The liberation of the floor plans were also significant aspects of this precedent as terraced houses are renowned for box-like layouts, and the manner in which this was done is remarkable but still respectful through its juxtaposition of materials and forms. 4.2.4 Application The lessons learned from this precedent study are as follows: - Stripping back is important in order to address spatial problems in the existing structure; - The memory of the existing structure can be used as a feature or superficial decoration, however, it should be considered carefully; - The development of the alteration through form is a useful tool with regards to enhancing and respecting the existing structure.

Figure 4.7: Simple, clean and crisps details using neutral tones and textures with feature colours to emphasise specific areas (Fraher & Findlay, 2019).

WILKINSON, Domaria, December 2019

Figure 4.6: Hexagonal ironmongery (Fraher & Findlay, 2019).

4.3 PARKHURST SHOPS Johannesburg 2010 Kate Otten Architects

4.3.1 Introduction I chose this precedent to learn how a residential unit which was closed off to the street was converted to address issues of the urban and interior threshold. This is a concern in my own project due to the fact that the site is currently a residential unit. Although the urban-interior threshold in my site is not as drastic as in this precedent, it is still present and very much disjointed. Furthermore, I want to investigate how the designers implement theory into their design and spatial organisation. This will prove to be a useful tool in my own project since the notions of spatial demarcation and the theoretical discourses of interiority and inhabitation and the body are aspects I want to investigate through my own project. 4.3.2 Analysis and Comparison The project involves the connecting and alteration of two suburban houses into retail space on a busy residential street (Architecture List, 2019). It is commonplace, in Johannesburg, for buildings to have a limited relationship with the street through their boundary walls and orientation from the road (Kate Otten Architects, 2019). This precedent focusses on this relationship by constructing a far more lively urban edge, fostering an obvious and accessible relationship with the street (Architecture List, 2019). This notion can be extended (my own analysis) using John Lovedayâ&#x20AC;&#x2122;s Third Space and Dixon Huntâ&#x20AC;&#x2122;s Three Natures theories to give us a holistic understanding of spatial demarcation. Power (2010, 291-301) proposes that by linking the two conceptual notions of Three Natures by Dixon Hunt and Third Space by John Loveday, we can have a holistic understanding of spatial demarcation by utilising it within interior design theory. This raises an important question about where an interior stops and the exterior begins. The urban and interior threshold, therefore, plays an important role with regards to defining spatial demarcation and the greater system of the built environment. The threshold is expressed in a three dimensional manner through the form of the roof of the building edge. I believe that this precedent is very successful in its implementation of spatial demarcation and investigation of the urban-interior threshold. I would criticise, however, that this urban-interior threshold is not as fluid as it could be, but I do take into consideration that in its context, crime is a major issue. Fortunately, in my own project this is not a major concern, therefore, I believe that I can challenge this threshold even further. This endeavour can form part of the discourse of interiority. Interiority ascertains the interior as an isolated domain and progressing into it is an undertaking from the social realm to a space which can convey the utterance of the characteristics of ontology (Hillier & Hanson, 1984, 144-5 in Konigk, 2015, 269). Another aspect that is quite successful is the sense of scale and the relationship of the shops with its surrounding buildings (see Figure 4.14). The alteration fits easily into the suburban area, retaining its scale and character, while concurrently uplifting the retail strip (Kate Otten Architects, 2019).

Figure 4.9: Parkhurst Shops (Kate Otten Architects, 2019).

Interiority

Inhabitation & the Body

Figure 4.10: Interiority and Inhabitation & the Body are discourses at play in the Parkhurst Shops.

4.3.3 Evaluation This precedent is essential in its endeavour and successful implementation of spatial demarcation and hierarchy. It contains critical lessons of scale, contextual considerations, urban-interior threshold and spatial demarcation. This project challenges the notions of inside and outside by activating the street edge and designating in-between spaces such as the courtyards. 4.3.4 Application The lessons taken from this precedent is as follows: - The spatial demarcation of the interior by using theory is made clear; - The treatment of the urban and interior threshold is a useful method in order to portray the progressing into the interior is an undertaking from the public realm to an interior space (Hillier & Hanson, 1984, 144-5). - The use of scale is also critical when considering context and can be investigated even further using theories such as critical regionalism.

Figure 4.11: Image of the roofscape of the Parkhurst Shops (Architecture List, 2019).

c b

Figure 4.12: Diagram showing urban and interior edge threshold.

Archetypes: a) Threshold Edge/boundary 100: Pedestrian street 112: Entrance transition b) 179: Alcoves c) Threshold 130: Entrance room 131: The flow through rooms Served Space d) Den/haven 141: A room of one’s own Served Space

Spatial Demarcation: 1. First Nature/Second Space 2. Second Nature/Third Space 3. Third Nature/First Space

Figure 4.13: Diagram illustrating spatial demarcation according to John Loveday’s Third Space and Dixon Hunt’s Three Nature theories.

WILKINSON, Domaria, December 2019

4.4 PARAMOUNT HOUSE HOTEL Sydney 2018 Breathe Architecture

4.4.1 Introduction I chose to analyse this precedent and apply to my own design methods of how an existing building can be altered without losing its essence or sense of place. This endeavour requires restraint and precision with regards to enabling works, to support the new work to be inserted (Scott, 2008, 123). The utilitarian use is similar to that of my own project as a hotel and its approach with regards to adaptive reuse from a film house to a hotel. 4.4.2 Analysis and Comparison This precedent demonstrates that materiality, lighting and the relationship between the existing and new are all tools that can be used to enable the designer to enhance the inhabitant’s experience. It has a strong sense of place and identity due to the designers’ treatment of the heritage values of the building. “They definitely allow these buildings to change over time, to have different identities—it’s a credit to the city,” says Beard, one of the investors, as he gestures towards wall remnants on the lobby floor (Robb, 2018). They suggest the positions of former walls, which became inessential and did not serve a significant function, and are intangible to the majority of visitors. According to Robb (2018) the crowning feat of the Paramount House Hotel is the patina copper chevron element that envelopes the structure’s extended rooftop and functions as an understated shield around inhabitants’ bathrooms and terraces (see Figure 4.19 & 4.20). The designers use strategies such as material selection and spatial manipulation in order to create a cohesive new design. The theory of Inhabitation and Body states that particular spaces articulate and construct the ‘capacities and desires’ of a particular body when it is contextualised in space (Taylor & Preston, 2006, 10-11 in Konigk, 2015, 269). This is in agreement with the concept that an individual “chooses to consume a specific interior as an expression of their selfidentity” (Konigk, 2015, 269). Furthermore, one could consider inhabitation to embrace principles that are sympathetic to human beings as representations of psychological nonpareil, instead of embodied, tangible entities (Hewlett in Perolini, 2011, 169). This means that interior design has a responsibility to not only express intangible cultural heritage, but start to delve into what is significant in the digital age and how history can be made relevant in an ever-changing world of technology. The designers of Paramount House Hotel have crafted an identity that starts to reflect individuals’ identities when it is experienced. Lastly, lighting is used as a tool to enhance the inhabitants’ experience. Light is very deceptive and is successful when trying evoke a mood or experience (see Figure 4.21).

Figure 4.14: Image of the Paramount House Hotel reception (Breathe Architecture, 2019).

d a Figure 4.15: Image of the Paramount House Hotel reception (Breathe Architecture, 2019). Figure 4.16: Image of the Paramount House Hotel reception seating (Breathe Architecture, 2019).

Figure 4.17: Image of the Paramount House Hotel exterior copper cladding (Breathe Architecture, 2019). Figure 4.18: Image of the Paramount House Hotel copper cladding as a screen (Breathe Architecture, 2019).

Archetypes: a) Threshold 130: Entrance room 131: The flow through rooms b) 207: Good materials c) 250: Warm colours

d) 251: Different chairs e) 252: Pools of light Follow me

f) 168: Connection to earth g) Journey h) Borrowed view

4.4.3 Evaluation This project successfully demonstrates the notion of Inhabitation and the Body whereby a particular individual “chooses to consume a specific interior as an expression of their self-identity” (Konigk, 2015, 269). A unique identity needs to be created in order for this to be effective. I believe that this was done by doing a thorough stripping back process to fully understand what is significant of the existing building, and then implementing strategies such as material selection, spatial manipulation and lighting design to create a cohesive design. It is the designers’ duty to encourage the use of one’s imagination, because curiosity steers people to experiment with new things. According to Attiwill (2017, 96) this is known was spacecraft, where objects are arranged in a way to interrupt habit and, instead, entice curiosity. Interior design should generate attraction by creating a special and unique quality that will convince the user, in other words, creating a sense of place. I believe that the Paramount House Hotel was successful in this aspect. ‘The hotel rooms have been designed with Surry Hills and Sydney references; whether it be a breakout outdoor space, a reminder of past architecture in the design, or local products,’ says Paramount House Hotel co-owner, Mark Dundon. 4.4.4 Application The lessons taken from this precedent is as follows: - Making use of tools such as materials, lighting and juxtaposing the old and the new can be used to enhance the experience of the space; - Integration of the memory of the existing building into the three dimensional design is far more effective than superficially indicating it (such as in the Etch House). - By creating a special and unique quality in an interior will convince the user, in other words, creating a sense of place.

Figure 4.19: Interiority and Inhabitation & the Body are discourses at play in the Paramount House Hotel.

Figure 4.20: Visitors/guests/tourists and locals/residents are the user groups identified in the Paramount House Hotel. These are the same as the ones in my project.

b c

Figure 4.22: Materials and textures as a tool to marry the old and the new.

Figure 4.21: Lighting used to enhance the experience of an inhabitant (Breathe Architecture, 2019).

WILKINSON, Domaria, December 2019

Figure 4.23: Form/morphology used in conjuction with materials to make a cohesive new design.

4.5 WHITWORTH MANCHESTER Manchester, UK 2018 Grzywinski+Pons

4.5.1 Introduction The Whitworth Locke has been included as a contemporary precedent due to its similar utilitarian use and approach of adaptive reuse to my own project. It also incorporates a bar, cafe, lounge and co-working space. Since in my own proposal I wish to include gastronomic design, I believe that this is a valuable example to look at. The treatment of the historic fabric in the alteration is remarkable in terms of celebration and juxtaposition of materials, forms and proportions. 4.5.2 Analysis and Comparison The primary motivation of the design team for the alteration of the building was the intention to foster and commemorate the richness of the historic 19th Century building structure. They were tasked with demolishing a 1980s intervention, while crafting a unique new language which is appropriate to the new function of the building. Special consideration was given to thresholds into the building and the dialogue between the old and the new (see Figure 4.37). The use of programs as in-between or threshold spaces is a useful tactic in the spatial organisation of the project. This can be analysed using the two conceptual notions of Three Natures by Dixon Hunt and Third Space by John Loveday (Power, 2010, 291-301) (see Figure 4.36). This relates to the notion of interiority and is a different implementation of this theory, compared to the former Midland Grand Hotel. However, as seen in the section (Figure 4.38), the showcase staircase is still present in the Whitworth Locke. The use of material and colour is particularly notable compared to a similar category of design in the Paramount House Hotel, where almost no colour was used other than lighting. I believe that the look and feel is quite successful because it provides a clear contrast between old and new, yet still blends the two toghether. For example, in the bar, the elegant steel columns fundamental of the Victorian era are painted. This transforms the columns to merge cohesively with the new design (see Figure 4.40). The rooms themselves are extremely fashionable and in terms of longevity it may not stand the test of time since fashion colours are constantly changing. However, a part from choice of colour, I believe the rooms are quite successful in its intent to create a design language that speaks to both the contemporary hotel design and the existing Victorian fabric. 4.5.3 Evaluation This was a critical project to include into my precedent study due to the constructing of a design language that is appropriate in a building of heritage value. If it were not for the quirks of the existing structure, I believe, the new design would look like any typical contemporary hotel and a sense of place would not be present. Therefore, I can state that the existing fabric is equally, if not more, important when considering an alteration. In my opinion, the social spaces such as the bar is more successful than the rooms, due to the fact that it responds more the existing fabric. Space is directly lived through its associated images and

Archetypes: a) Den/haven 141: A room of oneâ&#x20AC;&#x2122;s own Served Space b) Edge/boundary 100: Pedestrian street

c) 119: Arcades 100: Pedestrian street d) Threshold e) 130: Entrance room Threshold

Figure 4.24: Bar area in the Whitworth Locke (Grzywinski+Pons 2019).

Figure 4.25: Restaurant area in the Whitworth Locke (Grzywinski+Pons 2019).

3 2

Figure 4.26: Diagram illustrating the threshold of the Whitworth Locke.

f) 132: Staircase as a stage 112: Entrance transition 131: The flow through rooms Showcase staircase

Servant Space g) 168: Connection to earth

h) 207: Good materials i) 251: Different chairs Face to face Party of four

j) 179: Alcoves

Spatial Demarcation: 1. First Nature/Second Space 2. Second Nature/Third Space 3. Third Nature/First Space

symbols (Perolini, 2011, 167), (Power, 2010, 291). For example, â&#x20AC;&#x153;a song being played on a musical instrument or a story being told through voiceâ&#x20AC;? (Konigk, 2015, 5). Therefore, social space is the medium through which the cultural life of society takes place and is formed by and impacts cultural interface (McCarthy, 2005, 112), (Perolini, 2011, 167). The connotations of the new design is that of contemporary hospitality design, which in turn makes history relevant to the modern age. The programmatic use of the spaces as thresholds from public to private is also of critical importance when one considers the urban context. Interiority played an essential role in this project, and therefore, reinforces my proposal of interiority as an appropriate theory in my own design project. 4.5.4 Application The lessons taken from this precedent is as follows: - Creating an appropriate design language means that responding to the historic building is equally, if not more, crucial than adding a new design element; - Theoretical notions, particularly interiority, provide an essential guideline for adaptive reuse; - Use of materials and colour should be considered carefully so as to not detract from heritage value of the existing building; - Programmatic use can be a useful way to generate a threshold from public to private.

Figure 4.27: Axo of the bar area in the Whitworth Locke (Grzywinski+Pons 2019).

Figure 4.28: Section through the Whitworth Locke (original by Grzywinski+Pons 2019, my emphasis).

h Figure 4.29: Diagrams illustrating connect between three existing buildings which comprised the site for the Whitworth Locke.

Figure 4.30: Image showing the column treatment (Vial, 2019).

Figure 4.31: Interior of Whitworth Locke indicating the haven/den archetype (Vial, 2019).

Figure 4.32: Interior of Whitworth Locke (Vial, 2019).

WILKINSON, Domaria, December 2019

Figure 4.33: Details of interior of Whitworth Locke (Vial, 2019).

Figure 4.34: Material palette of Whitworth Locke restaurant area (Vial, 2019).

4.6 OLIVETTI SHOWROOM Venice, Italy 1958 Carlo Scarpa

4.6.1 Introduction The Olivetti Showroom is an example of how stratification is expertly implemented in architecture. I believe that it is important to learn how this principle of layering is used as a seminal technique that allows elements of different origins to be combined into a non-hierarchial whole (Schultz, 2007, 6). This is of particular significance, since my own project is one of adaptive reuse, and this comprises of a layering process when producing a cohesive whole. 4.6.2 Analysis and Comparison Scarpa uses the processes of separation, excision and contrast when building the story of a building (Schultz, 2007, 16). The result of of these processes is one of compositional and sculptural qualities, and the composition has a syncopative nature. Openings are not aligned, however, it is rhythmic. Several openings between levels and spaces show how materials juxtapose when viewed from a specific angle (Firestone, 2018). This is extended further by use of superposed perception (see Figure 4.49), whereby the layering of individual elements give them new meaning and express something entirely different (Schultz, 2007, 14). Natural materials and finishes are used, such as concrete, wood, stone, tiles, plaster. These textures and finishes possess a hand-finished quality which contributes to the impression of a personal touch (Firestone, 2018). There are instances where coarse and smooth textures of the same material are placed alongside each other and different varieties of materials fused together. This demonstrates how intricate detailing can become when a thorough stripping back process is carried out. The stratification of materials and â&#x20AC;&#x2DC;layersâ&#x20AC;&#x2122; are illustrated in this detailing, therefore, making this design such a good example of the stratification process (Schultz, 2007, 10). Scarpa goes beyond the horizontal and vertical planes of architecture, i.e. spatial stratification, and this is an achievement in itself that I will strive to accomplish in my own project. Naturally, the staircase is the feature in this showroom. It exemplifies the vertical connection of horizontal planes, and in a similar way to the former Midland Grand Hotel, functions as the stage for the user acending and descending. I draw on this connection between the two precedents because it links my thinking and approach to my own design project. Since vertical connection is so important in terraced houses, I believe that this is a prominent feature that should be celebrated. The way that Scarpa has composed this staircase is timeless, and provides not only a functional purpose but one of beauty and marvel (Schultz, 2007, 7). Archetypes: a) 132: Staircase as a stage Showcase staircase

Servant Space b) Journey c) 207: Good materials

Figure 4.35: Olivetti Showroom wall (Fracalossi, 2011).

2 Figure 4.36: Glimpses of details through openings (Mark English Architects, 2018).

Figure 4.38: Material stratification.

d) 132: Staircase as a stage 112: Entrance transition 131: The flow through rooms Showcase staircase

Servant Space e) 233: Floor surface f) Edge/boundary 100: Pedestrian street g) 119: Arcades 100: Pedestrian street

Figure 4.39: Spatial stratification.

Figure 4.37: Fushion of materials (Mark English Architects, 2018).

Figure 4.40: Strategies for various material joints.

Figure 4.41: Interior view of the Olivetti Showroom (Marshall, 2016).

Figure 4.42: Sketch of the staircase in Olivetti Showroom.

Figure 4.43: Alignment of steps.

Figure 4.44: Axis analysis of the stairs in Olivetti Showroom.

c Figure 4.45: The planes that make up a space in its simplest form.

4.6.3 Evaluation Carlo Scarpaâ&#x20AC;&#x2122;s work is becoming increasing relevant in contemporary design due to the nature of stratification in architecture (Schultz, 2007, 6). It is necessary to understand how he puts his designs together in order to understand them, and then learn from them. The process of multidimentional stratification in interior design is what generates a sense of place and ontology in his work. I believe that this a complex and comprehensive method of creating a sense of place in interior design. His detailing is from years of experience which unfortunately I do not have, however, I believe that by taking small lessons and guidelines from his work it will allow me become closer to my goal. Knowledge of materials, colours and textures is imperitive.

WILKINSON, Domaria, December 2019

Figure 4.46: Sketch of the material detail on one of the walls in the Olivetti Showroom.

Figure 4.47: Superposed perception .

4.6.4 Application The lessons taken from this precedent is as follows: - Stratification is a method that can be used to create a sense of place and identity in an interior space; - The processes of separation, excision and contrast are ways in which stratification can be achieved. Ultimately, identifying key features within the existing fabric is crucial, i.e. stripping back (Scott, 2008, 123); - Vertical connections between horizontal planes are more than just walls and staircases, but rather are integrated elements of the design; - Material, colour and texture selection is key when combining elements together to form a composition.

4.7 PRECEDENT STUDY CONCLUSION

The analysis of five precedents, the significance of the following characteristics become clear, which should be taken forward for consideration in the design proposal, in addition with the overarching theoretical framework which is interpreted in each precedent study:

Stripping back is important in order to address spatial problems in the existing structure and selecting elements of significance for restoration (Scott, 2008, 108).

Architectural planes facilitate design as well as spatial organisers. These provide links between spaces which are to be designed with care and precision.

It is critical to protect the significance of the building fabric along with its intangible qualities and heritage. These can be identified and incorporated into the alteration for a more cohesive result.

Thresholds can be interpreted in various ways such as programmatic function in spaces, physical barriers and in-between buffer zones.

Community play a critical role in the success of alteration proposals; ultimately their perception of the building and place attachment will influence the reception of the new design.

Creating an appropriate design language in response to the building fabric that enables both the old and the new to co-exist, which generates layers within the space through the use of colours, materials, lighting and taste goods and processes such as separation, excision and contrast (Schultz, 2007, 10).

The precedents provide a way to assess and evaluate the research, which can be interpreted and applied to the design proposal. The findings from this chapter frame the approach of the design problem identified in the project site.

WILKINSON, Domaria, December 2019

05 Design Proposal 5.1 INTRODUCTION

As established in the Chapter 3, the project is located in the existing terraced houses in 43-59 Westgate, Lincoln, LN1 3BG. It was built in 1901 (at the end of the Victorian era) by the architect/builder C A Fairchild. Significance is ascribed to it due to its proximity to the Lincoln Castle and Cathedral, standing on the site of the historic moat around the Castle. The site signifies the height of Victorian two-up two-down terraced house vernacular, and is associated with the industrial revolution and working class life. Due to the vast quantity of Victorian terraced houses in the United Kingdom and their high cost of maintenance, they can be considered as heritage at risk. The extent to which the building will be altered will be explored and it will be determined whether a surface of spatial alteration is the most suitable. Additionally, the change-of-use of the existing building will be deliberated and substantiated. Approaches toward engaging with the degree of alteration will be discussed and interpreted to fit the project scheme, while ensuring that the five aspects remain recognisable after the aflteration. There is more that one can do to ensure that the authenticity of a place is retained than simply preserving the existing fabric (Historic England, 2008, 45). With this in mind, I will make a proposal for the mode of production, the extent to which the building will be altered, deliberate its change-of-use, communicate the concept, and illustrate the design proposal.

Residential needs: - Sleep - Eat - Wash - Socialise

The intervention mode of production is employed because the intention is to transform the existing space, so that old and new are completely intertwined. It is believed that this is necessary so as not to limit the design proposal of a hotel in an already existing spatially organised space. Currently, there is a problem at the site; it is a building that has been identified as heritage at risk and the fact that it is disjointed from interaction with the street which ultimately results in undermined public appreciation. The building needs to be exploited in order for people to appreciate its value in todayâ&#x20AC;&#x2122;s context. In order to achieve the abovementioned aims, a spatial alteration will be conducted. The existing spatial organisation will not be retained, as the hotel will require an entrance that speaks to its new spatial hierarchy and function. This will be an important threshold space that is required to straddle both the public and private (exterior and interior) realms. By transforming the point of entry, and subsequently the circulation of the building, through the alteration the vertical movement within, the building is broken by the process â&#x20AC;&#x201C; in other words, the process of ruination is carried out (Scott, 2008, 95).

5.3 CHANGE OF USE

When broken down, the functions of a house is to provide a place to sleep, wash, eat and socialise. The utilitarian use of a hotel is the same when broken down to its most basic functions. Naturally, the spatial organisation and hierarchy changes, as well as the degree of privacy. However, since the urban-interior threshold is a notion I wish to explore through this project, I believe it is compatable with the function of a hotel. Often socialising is done around a dinner table, an attribute also shared by a restaurant/cafe/bar. Again, a change in the degree of privacy is required, but it is not an unsuitable one.

Change in: Spatial organisation Hierarchy Degree of Privacy

5.2 MODE OF PRODUCTION & DEGREES OF ALTERATION

Hospitality needs: - Sleep - Eat - Wash - Socialise

Figure 5.1: Change of use diagram.

Mode of Production: Intervention (transforming the existing space; so that old and new are completely intertwined (Hay, 2007:33-42))

Degree of Alteration: Spatial (involving the plan and section; includes surface) - altering the size of rooms; and - changing the spatial organisation (Scott, 2008, 92-95).

Theory1

Interiority

Inhabitation & the Body Archetypes

Change of use

Hospitality

Gastronomy

Figure 5.2: Diagram illustrating design decisions and informants.

1.)

Refer to Chapter 2 on page 7 for full discussion of theory.

WILKINSON, Domaria, December 2019

5.4 SPATIAL STRATEGY

Fred Scott (2008, 106) outlines a spatial strategy that forms an intellectual process to understand the host building, to make strategic decisions, and to develop a design proposal2. 5.4.1 Enabling Works This is the removal of parts which would prevent the implementation of new work, i.e. partial demolitions (Scott, 2008:123). While partial demolitions take place, it is imperative that the five aspects remain recognisable.

Figure 5.3: Demolition of back kitchen extensions.

Figure 5.4: Demolition of internal walls.

2.)

Refer to section 3.1 on page 18 for full discussion on the spatial strategy.

5.4.2 New Works This is the implementation of changes (Scott, 2008:108). This offers an opportunity for creativity by ensuring coherence between old and new, while simultaneously distinguishing them (Scott, 2008:137). While new additions are added, it is imperative that the five aspects remain recognisable. The architecture of the extension can have various manifestations. Approaches to the degree of alteration include; colour, style, materiality and geometry (Scott, 2008, 101). By using these approaches set out by Scott, the following has been decided: - The extension style and materiality will be tectonic to contrast the existing building, and therefore, make clear what is old and what is new; - There will be layers of walls and geometry within the extension which will have materiality which is in harmony with the existing building, i.e. brickwork; - The colour used within the interiors will complement the existing structure, using neutral tones which are derived from the colour of the brickwork of the existing building; - The geometry of the new works will be simple, which are in accord with and enhance the existing building.

Figure 5.5: Diagrammatic section indicating the new works as defined by Scott (2008, 108).

Threshold between old & new Threshold as immersion

Inside & outside

Inside

Transition gallery 4

Den/Haven

Hotel threshold

Basement

Threshold as an immersive space.

WILKINSON, Domaria, December 2019

5.5 MODEL INHABITANT

Outside

Inside

PUBLIC INTERIOR Short stay inhabitants Public Collective viewing of castle wall, collective encounters Coffee & social space

HAVEN Long stay inhabitants Private Individual and Co-habitation Victorian Terraced Houses

Figure 5.6: Sectional diagram illustrating the model inhabitant of the project and how they are catered for in the project proposal. Furthermore, the inside-outside relationship is also indicated.

Figure 5.7: Inside/outside space idea (DesignBoom, 2017). Figure 5.8: Nested interior (Design Hunter, n.d). Figure 5.9: Street interaction (Dezeen, 2010).

5.6 INSIDE VERSUS OUTSIDE

In a nested structure, the inside is invariably the outside, and vice versa. One needs to reconsider the various boundaries between house, street, garden and neighbour (Fujimoto, 2008). The intention, thus, is not to generate a design that is about form or space, but simply about expressing the richness of what lies in between houses and streets. Therefore, it is a borderline that creates the interpretation of the crossing of awareness, and becomes a new boundary that forms in the inhabitantâ&#x20AC;&#x2122;s perception, which does not belong to any domain (inside/ outside).

Outside

Inside

Layered inside & outside

Public

Private

Public

Figure 5.10: Current inside-outside relationship. Figure 5.11: Development of nested interior with inside/outside public space. Figure 5.12: Further development of nested interior by breaking up of volumes.

WILKINSON, Domaria, December 2019

5.7 IN-BETWEEN (THIRD) SPACE

A link is provided between the public short stay inhabitants and the private long stay inhabitants. This is semi private which reveals the third space. Furthermore, it adds a sense of privacy for long stay inhabitants while providing a layer of intangible meaning through its communication of space as a threshold.

Public

Private

Public

Figure 5.13: Building edge treatment.

Slab

Wall

Atrium

Gap giving glimpses of in-between space

Figure 5.14: Revealing third space at slab edge.

Figure 5.15: Ghost-like Architecture by Shingo Masuda and Katsuhisa Otsubo Architects. Materials play on transparency to blur the boundary between inside and outside (Dezeen, 2010). Figure 5.16: HA’s vietnamese ‘less house’. The slabs are pulled back from the outer barrier (DesignBoom, 2017).

Figure 5.17: House W by KC Design Studio. The mesh boundary layer has openings linking inside and outside (Estilopropio, 2017). Figure 5.18: HA’s vietnamese ‘less house’. The outer layer merges street, house, garden and neighbours (DesignBoom, 2017).

Figure 5.19: Light Walls House by mA-style Architects. Third space is revealed by allowing visual accessibility of the roof structure and outside connections (Archdaily, 2013). Figure 5.20: House in Takamatsu by Yasunari Tsukada Design. Layering of volumes, and openings start to reveal in-between spaces, creating a layering of interiors (HomeDesign, 2013).

Figure 5.21: HA’s vietnamese ‘less house’. The slabs are pulled back from the outer barrier. Furthermore, transparency is key in communicating this concept (DesignBoom, 2017). Figure 5.22: House N by Sou Fujimoto Architects. Another example of a layering of volumes which communicate the blurring of inside and outside (Archdaily, 2011).

WILKINSON, Domaria, December 2019

5.8 MATERIAL STRATEGY

5.8.1 Heritage When articulating second order meanings and spirit of place, the curation of furniture and materials become significant. Intangible connotations are linked to tangible surfaces that are directly in contact with inhabitants, which in turn supports place attachment and genius loci (Brooker & Stone, 2004, 197; Konigk, 2015, 91).

Since the development of the Victorian terraced house is interconnected with the age of the machinery revolution, base materials that are neutral and speak to the fabric of a city that has witnessed the industrial revolution are selected to communicate this heritage. Glass is also a key material to link in the concept of third space.

Industrial revolution

Figure 5.23: Leeds, England in 1954 (Riboud, 1954).

Contemporary translation A

D 1

A1 Low iron ribbed glass (Glass Studio Supplies, 2019)

B1 Caesarstone Airy Concrete (Caesarstone, 2019)

A2 (Soak, 2019)

B2 Fioranese I Cocci Cenere Spaccato (Fioranese, 2019)

C2 Fioranese I Cocci Calce Spaccato (Fioranese, 2019)

D1 (National Tiles, 2018) D2 Fioranese I Cocci Cenere (Fioranese, 2019)

The red brick has been appropriated to fit into an interior setting, conjuring up associations of ceramics and the craftsmanship.

Victorian materiality, geometry, colours, patterns A B

Figure 5.24: Material palette inspired by the project site brickwork and typical Victorian elements such as the geometric tiling patterns, and firepaces tiles.

Contemporary translation 2

A1 Red brick on project site. A2 Terracotta colours and shades (Elle Decoration, 2017) A3 Brockway Beachcomber Strand in Pebble (Brockway, 2019)

B1 Geometric tiles surrounding a Victorian cast iron fireplace (Victorian Fireplace Store, 2019) B3 Fioranese Cementine Black & White alluding to Victorian motifs (Fioranese, 2019)

WILKINSON, Domaria, December 2019

C2 Vibia Palma Hanging light reminiscent of hanging pot plants (Vibia, 2019) C3 Soho House 50â&#x20AC;&#x2122;s inspired motel (Domino, 2019)

D1 Victorian geometric tiles (Original Features, 2018) D2 (The Design Chaser, 2018) D3 (Hege in France, 2015)

5.8.2 Third Space Interpretation The tiling layouts will enable the concept to be conveyed. By using Fioranese I Cocci collection, which work together due their background colour choices. They provide a seamless transition from one type to another.

Figure 5.25 & 5.26: Fioranese I Cocci collection (Fioranese, 2019).

A1 Fioranese I Cocci Calce (Fioranese, 2019) A2 Fioranese I Cocci Calce Spaccato (Fioranese, 2019) A3 Fioranese I Cocci Canere & Canere Spaccato (TileZooo, 2018)

B1 Fioranese I Cocci Cenere (Fioranese, 2019)

C2 Fioranese I Cocci Cemento (Fioranese, 2019)

D1 Fioranese I Cocci Grafite (Fioranese, 2019)

B2 Fioranese I Cocci Cenere Spaccato (Fioranese, 2019)

C2 Fioranese I Cocci Cemento Spaccato (Fioranese, 2019)

D2 Fioranese I Cocci Grafite (Fioranese, 2019)

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WILKINSON, Domaria, December 2019

1) Transfunctionalisation is a dynamic process in which secondary meaning is ascribed to a use object. This is a societal development whereby second-order meaning is attached and which exceeds the first-order meaning (use function) (Gottdiener, 1985, 998). It is the process by which the measurable entity becomes the carrier for secondary associations (Kingwell, 2006, 175). 2) Denotation is the first order meaning (includes the operational purpose of objects); it is comprised of all the constant and discernible evidence in signs (Eco, 1979, 56-86, Konigk, 2015, 48-50). 3) Connotation is the volatile and idiosyncratic interpretation of objects. This is the secondorder meaning which includes abstract associations (Eco, 1979, 56-86, Konigk, 2015, 48-50). 4) Utterance is created by identifying components from a collection of meanings, separating the components, expressing them and composing them as a meaningful thread to create a text (Eco, 1979, 151). The utterance for this proposal includes: • The observation & experience of the ritual of Viennese Coffee House Culture (in the central display experience pod); •Composition of the tangible components which are carriers of the intangible ritual (displayed in the central display experience pod); • Choice of long stay or short stay customers (deliberately including the fast pace of London city culture to appropriate the brand to its new context); •Abstraction of the experience by creating a physical space to move through.

Figure 5.27: Material look and feel overlaid onto a concept graph, illustrating ‘overcoding’, ‘frames’, and ‘bracketed extensions’.

De n ob otat ser i vab on 2 le e vid e

SUPERFICIAL nce

n iso

con

DEEP her m

Literal & Open Texts Design elements provide a face-value interpretation, literal translations and minimal transfunctionalisation

‘Overcoding’ commonly used rules

utic cir c ene

nt compar sta

OPERATIONAL PURPOSE

Context & Grounding The design starts to refer to its context not explicitly so, but rather through transfunctionalisation1 and interpretation through abstraction.

‘Frames’ easily interpret context

CONCEPTUAL ASSOCIATIONS

Identity The identity of the space starts to influence the collective utterance⁴, allowing for creative interpretation.

Heritage & Intangible Content Links are deveoped with lessons learned from the past and tacit knowledge, reference to symbolic knowledge

‘bracketed extensions’ content disguised from the core message

Abstraction Design elements start to become abstracted and complex, with several layers of different meaning.

cre

Co e in nno ter tatio pre tat n 3 ion

ativ

IMAGE REFERENCES A1: B1: C1: D1: E1: F1: G1: H1: I1: A2: B2: (Sito Architecten, 2014) C2: (National Tiles, 2018) D2: E2: F2: G2: H2: I2: A3: B3: C3: (Grzywinski+Pons 2019) D3: (Etsy, 2019) E3: (Grzywinski+Pons 2019) F3: G3: (Archinect, n.d.) H3: (Behance, 2012) I3: A4: B4: C4: (Fioranese, 2019) D4: (Grzywinski+Pons 2019) E4: F4: G4: (Glass Studio Supplies, 2019) H4: I4: (Archilovers, 2017) A5: B5: C5: (Fioranese, 2019) D5: (Fioranese, 2019) E5: (Elle Decoration, 2017) F5: (Homify, n.d.) G5: (Grzywinski+Pons 2019) H5: (Design Hunter, n.d). I5: A6: B6: C6: D6: E6: (Soak, 2019) F6: G6: (Williamson, 2019) H6: I6: (Williamson, 2019) A7: B7: C7: D7: E7: F7: G7: H7: I7: A8: B8: C8: D8: E8: F8: G8: H8: I8:

J1: K1: L1: J2: K2: L2: J3: K3: L3: J4: (Paguponhome, n.d.) K4: L4: J5: K5: L5: J6: (Stvan, 2011) K6: L6: J7: K7: (Archdaily, 2015) L7: J8; K8: L8:

5.9 PROJECT SCHEME

5.9.1 Broader response The proposed building extension aims to respect the existing street elevation. This responds to Fred Scotts five aspects, ensuring the the footings, plan, section, elevation, and profile of the original building remains recognisable (Scott, 2008, 150). Additionally, the roof of the extension aims to blend into the landscape of the castle wall and surrounding environment through the use of a roof garden that mimics the landscape.

Building ruin The slit that exposes the building interior by replacing existing wall and roof with glazing. This reveals third space to the passers by on the street. Furthermore, it starts to blur the boundary between inside and outside, acting as a threshold as association.

Figure 5.29: Planting Palette Look & Feel (Plant Care Today, 2019; Miller, 2019; Garland Nursary, 2019).

Reflective garden The roof garden serves to act as a reflection of the surrounding environs, by mimicing the castle wall vegetation. This can be, therefore, considered as a threshold as association.

Main entrance ramp The ramp serves as a transition from the street to the hotel experience threshold. It can thus be considered as a threshold by event, since it connects both the existing and the new.

Figure 5.28: Project scheme axonometric indicating the main features visible on the exterior.

WILKINSON, Domaria, December 2019

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A D

B 5433

9233

9437

9381

9348

9302

508

RAMP

1984

2000 RAMP

281

EQ1

1493

HAVEN TYPE 4

EQ1

HAVEN TYPE 4

EQ1

EQ2

HAVEN TYPE 4

HAVEN TYPE 3

EQ3

EQ4

HAVEN TYPE 1

HAVEN TYPE 2

EQ4

HAVEN TYPE 2

HAVEN TYPE 3

EQ3 HAVEN TYPE 1

1345

Ramp which serves as the main hotel entrance. It is to be brightly illuminated to draw attention to it.

Solid Oak

SERVICE RAMP

Reception acting as the second skin within the space, filtering out short stay inhabitants.

LUGGAGE STORE UP

BATHROOM

Fioranese I Cocci Grafite

Haven/Den Type 1

Haven/Den Type 2

Coffee shop programmatic threshold acting as first skin of the space.

COFFEE COUNTER

RECEPTION

Fioranese I Cocci Grafite Spaccato

Vibia Wireflow

Vibia Puck Wall Art

Showcase staircase that serves as the hotel entrance threshold to the suites.

Banquette seating provides an in between space which separates the first and second skins.

ABLUTION BLOCK

5285

Haven/Den Type 3

Haven/Den Type 1

3 4504

Haven/Den Type 3

Haven/Den Type 2

SERVICE ENTRANCE

PASSAGE 1298

2048

Haven/Den Type 4

2985

7580

Haven/Den Type 4

Lighting:

LUGGAGE STORE

3707

6199

Haven/Den Type 4

MAIN ENTRANCE

3322

BEDROOM

1725

965

Floor Finishes:

Vibia Palma BOH KITCHEN

Vibia Palma Wall

SERVICE ENTRANCE

Astro Globe Light

Ground Floor Plan Scale 1:100

LED Strip light

5934

WILKINSON, Domaria INT9005M-2

3503

9381

9348

COURTYARD

F A

Vibia Puck Wall

1930 H RT NO

Vibia Palo Alto

A 540

B 9233

C 9437

D 9381

E 9348

F 9302

4492

3070

Revealing third space by replacing a section of the roof with glazing, allowing passers-by on the street as well as long stay inhabitants to challenge their perception of the building through their experience.

6199

7580

SERVICE RAMP

Glazing which discretely connects the old and the new. By doing so, the five aspects (Scott. 2008, 150) remain recognisable after the implementation of the alteration.

Revealing third space by inserting glazing above trees within the hotel threshold experience/urban interior. Additionally, this invites the outside in, and the inside out, thereby blending the boundary between interior and exterior. Instead, layers start to form within the space which provide levels of privacy and intimacy (Caan, 2011; Alexander et al, 1977).

3 Inside outside space which allows it to become a nested structure. Here the inside is invariably the outside, and vice versa (Fujimoto, 2008). The intention, thus, is not to generate a design that is about form or space, but simply about expressing the richness of what lies in between houses and streets. Therefore, it is a borderline that creates the interpretation of the crossing of awareness, and becomes a new boundary that forms in the inhabitant’s perception, which does not belong to any domain (inside/outside).

68000

75 00 0

71000

Roof Plan Scale 1:200 WILKINSON, Domaria INT9005M-2

The ramp is a secondary public space (Poot et al, 2015, 44; Di Prete et al, 2015, 15). Also referred to as semipublic or “collective spaces”, termed by the architect Manuel de Sola-Morales. This space provides urban, architectural, civic and morphological depth to cities, and does not fall strictly into the private or public realms, but rather overlaps both simultaneously. Thus, public interiors can be considered as thresholds that blur the distinction between the private and public realms (Poot et al, 2015, 49; Power, 2010, 294).

Hotel experience threshold roof with landscaping which mimics the castle wall in order to blend into its broader context and respect the heritage values identified in the statement of significance.

Floor Finishes:

Fioranese I Cocci Calce

Solid Oak

Fioranese I Cocci Calce Spaccato

A A

500

9233 EQ1

9437 EQ1

EQ1

HAVEN SUITE T4

9381

EQ1

EQ2

HAVEN SUITE T4

HAVEN SUITE T3

9348 4022

EQ3

HAVEN SUITE T1

HAVEN SUITE T2

9302 EQ3

EQ2

HAVEN SUITE T2

HAVEN SUITE T3

508

3812

308

HAVEN SUITE T1

90 850 200

HAVEN SUITE T4

Haven/Den Type 4

HAVEN SUITE

6964

9696

Haven/Den Type 4

Haven/Den Type 3

Haven/Den Type 1

Haven/Den Type 3

Haven/Den Type 2

PASSAGE

1100

PASSAGE

100

1 00

205 1298 90

Haven/Den Type 1

ELEVATOR

P H

Lighting:

Vibia Wireflow

Vibia Puck Wall

ELEVATOR

F Vibia Palma

G Vibia Palma Wall Solid ash gallery that serves as a threshold between public interior hotel entrance and private havens. It can further be considered as a threshold as an event which connects the public and private realms.

First Floor Plan

G A

Scale 1:100 50

1900

1570 STAIRCASE

GALLERY WIDTH

WILKINSON, Domaria INT9005-2

9300

Astro Globe Light

3084

GALLERY

LED Strip light H RT NO

Floor Finishes:

Fioranese I Cocci Calce

Fioranese I Cocci Calce Spaccato

Polished Concrete

Fioranese Cementine Black & White B&W_4

Solid Oak

A D

47705 497

9233

9437

9381

19166

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SPA

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3726_ L U Z

9348 4711

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6199

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WILKINSON, Domaria, December 2019

5.9.2 Hotel Experience Threshold The hotel experience threshold provides the user a choice between a domestic threshold (entering from the street directly into the Den/Haven), and a hotel threshold (entering via the ramp and using the gallery to access the Den/Haven). This provides a level of respect for the heritage of the terraced house by ensuring that traditional use of the street entrance is maintained. Additionally, it not only allows the user some level of authority and choice in their experience, but also adds a layer of experience to the interior, and provides complexity in the nesting effect of interior spaces.

Outdoor space (third space reveal) Service space (servant space)

Serv

ice e

ntran

Figure 5.32: Hotel extension considered as an experience threshold, organised using the intimacy/privacy gradient, Third space and Served vs Servant spaces.

Elevator (transition)

Gallery threshold (transition) Reception (transition from semipublic short stay to semiprivate long stay) Coffee point (semi-public skin) Transition staircase - level change (public skin)

The scheme works on a three point privacy/intimacy gradient going in the Y, X and Z axis.

Public

Figure 5.33: Three point privacy/intimacy gradient.

Most Private (Haven/ den bedroom) In-between threshold (ramp) Private (Servant space)

Less Private (Haven/ den living area)

In-between threshold (gallery) In-between threshold (Reception) Semi-public (Coffee point) In-between threshold (stairs)

Least Private (Haven/ den kitchen/ dining)

Public

Semi-public (pedestrian walkway) Semi-private (Haven/den third space) Private (Haven/den) Semi-private (Haven/den third space) Semi-public (Hotel public interior)

WILKINSON, Domaria, December 2019

Figure 5.34: Viewpoint A as seen from the main entrance into the hotel.

Key Plan indicating Viewpoint A.

Figure 5.35: Viewpoint B showing the reception desk, waiting area and gallery into the haven/den suits.

Key Plan indicating Viewpoint B.

WILKINSON, Domaria, December 2019

200

Exterior glazing: insulating glass. Interior glazing: safety glass.

926

5600

80mm diameter hollow cast steel column fixed to the ground to engineerâ&#x20AC;&#x2122;s spec.

74 115 LG LEVEL 1

Section F-F Scale 1:50

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House

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Both the existing and new walls and the (existing) foundation making up the extension of the basement level are to be left exposed in order to reveal this act of alteration and reveal the third space and second nature of the structure.

2500

Basement and underpinning to engineers specification.

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12117

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WILKINSON, Domaria INT9005M-2 98

WILKINSON, Domaria, December 2019

95 99

21839

EXISTING BUILDING

5.9.3 Gallery as threshold The gallery connects both the old and the new. The gallery also serves as the typological hotel passage. Often in hotel passages, the notch Intype, as classified by Jennings (2007) is present. â&#x20AC;&#x153;Notch is a circulation strategy in which a long corridor wall is broken by a line of shallow recesses that indicate a door openingâ&#x20AC;? (The Interior Archetypes Research and Teaching Project, 2019). In addition to disrupting the monotony of hotel corridors, notches provide a transition space into each hotel room. It acts as a threshold when moving into and out of a room, and therefore, creates a perception of increased privacy and individuality (Lawson, 1976, 156 in The Interior Archetypes Research and Teaching Project, 2019). Journey 132: Staircase as stage 127: Intimacy gradient 100: Pedestrian street Showcase staircase

The threshold approach can be categorised into threshold design approaches as (Dincer et al, 2017):

Bookmatched oak veneer ballustrade & solid oak floor used as a continuation throughout the gallery to emphasise its role in connecting the old and the new

Threshold 110: Main entrance 112: Entrance transition Notch Servant space

Servant Space

1. An object; 2. An association; 3. An event; 4. An immersive space.

Threshold as an object

Third space revealed by cutting away existing chimney

Threshold as an event

Figure 5.36: Axonometric of the gallery serving as a hotel passage and threshold.

102

Frequently perceived as autonomous and provocative, the inserted artefact is a significant and dominant component that generates unexpected interchanges between the insertion and the existing volume and/or building (Brooker & Stone, 2004, 102).

Movement does more than offer entry to various spaces inside a building; moreover, it connects isolated and distinct areas (Brooker & Stone, 2004, 220).

Hotel entrance (via the gallery)

Circulation through the space is seen as a journey (Tan, 2011), moving from public to private. The hotel entrance is located on the top level and the house entrance on the middle level.

House entrance (original terraced house entrance)

Figure 5.37: Circulation as a journey.

WILKINSON, Domaria, December 2019

103

Gallery that connects the haven/den suites to the hotel threshold extension. The gallery is inspired by Zaha Hadid’s Maxxi Museum project. It is considered as a threshold as event as the event of moving across it connects both old and new, inside and outside, creating a layering effect (Dincer et al, 2019, 60; Caan, 2001, 40). Furthermore, it is considered as a threshold as object, as it straddles both the old and the new, inside and outside, as a single artefact.

Luminaire inspired by retail store, Mußler Beauty, by Notino. It is created by suspending Addlux Light Sheets from the roof soffit.

U/S CEILING

1000

Detail D

1280

TOP OF STAIRCASE

U/S OF STAIRCASE

1453

Detail C

1767

U/S OF STAIRCASE

74 115 BASEMENT LEVEL 1

Section H-H Scale 1:50

WILKINSON, Domaria INT9004M-2 104

15 SHADOWLINE 92 150 15 188

280

SHADOWLINE 60

770

1000

15 SHADOWLINE 770 SHADOWLINE 60

1000

92 150 15

Ballustrade with internal 60x30x3mm steel truss structure as per engineers spec. 15mm shadowlines painted black, Colour: Black, Code: Fantasy Space Dulux 60RR14/002

188

280

50mm diameter solid ash handrail.

Addlux LED Light Sheet with grid matrix type.

Detail C

Scale 1:25

Detail H1

Detail H2

170mm reinforced concrete roof soffit Mesh ceiling ADDLUX LED LIGHT SHEET

ADDLUX LED LIGHT SHEET

300

Scale 1:25

This lighting system provides lighting underneath the gallery within the public interior, connecting both the old existing terraced house and proposed new extension. The compositions turn into visual sets of tools to facilitate the experience of the threshold. By highlighting the profile of the gallery, this places further emphasis on the gallery as threshold as event and object.

300

Detail H1

Scale 1:25

Detail D Detail H2 Scale 1:25 Scale 1:25

The LED light sheet is suspended from the soffit using anchors and 3mm wires. This provides a floating effect which contributes to the interest of the gallery element. Addlux LED Light Sheet with grid matrix type forming a light box overhed along the edge of the gallery.

MuĂ&#x;ler Beauty by Notino (Dexigner, Scale 1:25 2018).

Maxxi Museum by Zaha Hadid (Archdaily, 2010).

Diagram illustrating Addlux sheet composition (Addlux, 2019).

WILKINSON, Domaria, December 2019

105

5.9.4 Haven/Den The staircase forms a centralised servant space. Everything is organised around the vertical circulation which links all levels together. Circulation is employed as a tool to reveal third space by guiding the user around the space. The the whole unit (walls, floors, ceilings, & staris) is finished with oak. This is used to unify and enhance the layering effect by differentiating the new insertion from the existing fabric. This is done using a material that is in harmony with the colours and tones of the brickwork. This inverts typical expectations, placing value back inside the terraced house. Furthmore, rooms are not separated by a single wall, but rather by layers of spaces and volumes. Floor finishes are used to help differentiate spaces. Thus, rooms turn to functions.

Layering of space:

Lower Ground Floor

Ground Floor

First Floor

Castelvecchio Museum – The East Wing by Filippo Bricolo & Bricolo Falsarella Associates (Archdaily, 2017). The emphasised door thresholds serve as notches (The Interior Archetypes Research and Teaching Project, 2019). The threshold starts to reflect someone moving through the space – becomes symbolic (Dincer et al, 2019)

1888 Hotel (Ovolo Hotels, 2019). The room numbers are cast as shadows using a spotlight above. This can start to reveal negative space, and add a layer of meaning in its reflection. Each viewer’s experience may be different due to varying heights and angles of viewing. It can be considered as the hotspot Intype (The Interior Archetypes Research and Teaching Project, 2019).

The Haven/den numbers will correlated with the existing unit numbers on the street. Figure 5.38: Haven/den emphasised entrance transition.

106

PLANTER PLANTER 1190 1190

2870

455

455 670

DINING DINING 2508 2508

CHIMNEY CHIMNEY 670 405 405 1 000

1 000

STAIRS STAIRS

140

DINING

850

6199

E D

1570

205 1090

1461

4022

D A Basement Floor Plan 3567 4022

455

2919

D D D

THIRDTHIRD SPACE THIRD SPACE SPACE

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1525 1525

850 1525

D D

EQ2 EQ2 EQ2 HAVEN SUITE T3 HAVEN SUITE T3 TH OR HAVEN NSUITE T3

Haven Type Haven Type 1 1

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2 E 2 2

Haven/Den Haven/Den Type 2 Haven/Den Type 2 Type 2

BALCONY PASSAGE SERVICES BATHROOM BALCONY BALCONY PASSAGE PASSAGE SERVICES SERVICES BATHROOM BATHROOM 1100 1100 100 100 1099 1099 100 100 100 1099 100 1100

6199

2177 2177

1570 1570

205 2051300 1090 1090 205 1300 5121300 512 512 2177

E E

I I

Fioranese Cocci Fioranse I Cocci Fioranese II Cocci Fioranese I Cocci Calce Calce A Calce Calce

Vibia Puck Wall Vibia Puck WallWall Vibia Puck Wall Vibia Puck 3812 3812 3812 HAVEN SUITE T1 HAVEN SUITE T1 HAVEN SUITE T1

H H RT RT NO NO

J J

E E

FirsF

Solid Oak Oak Solid Solid Oak

508 508 508 308 308 308

Basement Floor Plan Fioranese Cocci Fioranese II Cocci Fioranse I Cocci Fioranese I Cocci Calce Spaccato CalceCalce Spaccato Calce Spaccato

Vibia Palma Vibia Palma Vibia Palma Vibia Palma Vibia Palma Vibia Palma Pendant

Scale @ A1 Scale 1:501:50 @ A1 J J

Floor Finishes:

Vibia Vibia Puck Puck Wall Wall

9302 9302 9302 EQ EQ EQ

Speccato

D D D

Vibia Palma Vibia Palma WallWall Vibia Palma Wall Vibia Palma Palma Wall Wall Vibia Vibia Palma Wall

Haven/Den Type 1 Haven/Den Haven/Den Type 3 Haven/Den Type 3 Type 3

P P P2300

Haven/Den Haven/Den Type 2 Haven/Den Type 2 Type 2

G G G

First Floor Plan

BALCONY 2300

2300

A A

BALCONY

Scale 1:50 @ A1 Haven/Den Haven/Den Type 1 Haven/Den Type 1 Astro Globe Light Astro Globe Light Type 1 AstroGlobe Globe Light Astro Globe Light Domaria WILKINSON, Astro LightLight Astro Globe INT9004M-2

H RT NO

Haven/Den Type 1

BALCONY

H T H TTH R H R O O N T R H N R T O O R NO N N

First Floor Plan First Floor Plan First Floor Plan

Scale 1:100 E E E

LED Strip light LED Strip Light LED Strip light LED Strip Strip light WILKINSON, Domaria LED light LED Strip light INT9005M-2 Lighting: Lighting: Lighting:

Vibia Wireflow Wireflow Vibia Vibia Wireflow

WILKINSON, Domaria, December 2019

Floor Finishes: Finishes: Floor A A Floor Finishes:

Vibia Wireflow Vibia Wireflow Wireflow Vibia Vibia Wireflow

Scale 1:50 @ A1

Domaria WILKINSON, WILKINSON, J Domaria E INT9005M-2 INT9005M-2

Ground Floor Plan

F F Ground Floor Plan Ground Floor Plan VibiaWireflow Wireflow Vibia Solid oak

I I

EQ3 EQ3 EQ3 Domaria WILKINSON, HAVEN SUITE T2 HAVEN SUITE T2 INT9005M-2 HAVEN SUITE T2

STAIRS

BEDROOM BEDROOM BEDROOM

4455 4455 4455

EQ3 D EQ3 EQ3 HAVEN SUITE T2 HAVEN SUITE T2 HAVEN SUITE T2

9348 90 90 D 90

CHIMNEY 1 000

Haven Type 1

D 93481 9348D

6199 6199

D D

P P

Lighting: Lighting: Lighting: Lighting: Lighting: Lighting:

E E EFloor Basement Plan Basement Floor P Plan BEDROOM

1 1

BEDROOM 2919 4022 3567 BEDROOM

1333

D EY

CHIMNEY 1 000 455 CHIMNEY STAIRS 1 000 STAIRS455

1570

D A Plan Lower Ground Floor 2919 3567

E EGround E E Floor Plan 243

D D

1423

Haven/Den Haven/Den Haven/Den Haven/Den Type 2 Type 22 Haven/Den Type 2 Type Type 2

THIRD SPACE

2177

J E DE

512

1294

TV ROOM THIRD SPACE

TV ROOM

2557

PASSAGE BATHROOM BEDROOM 1570 SERVICES 1570 6199 100 1100 100 1099 205 61991300 205 21771300 675 512 850 1090 5121090 2177 4455 ENTRANCE THIRD SPACE 850 4594 BALCONY BALCONY PASSAGE SERVICES PASSAGE SERVICES BATHROOM BATHROOM BEDROOM 1099 1099 100 1100 100 LIVING 100 1100 100 THIRD SPACE ENTRANCE ENTRANCE THIRD SPACE THIRD SPACE

J I

THIRD

BALCONY

2 6199 1570

Haven/Den Haven/Den Haven/Den Haven/Den Type Type 1 1 Haven/Den Type 11 Type Type 1

THIRD 1525 SPACE

1525

4455

LIVING

TV ROOM

THIRD SPACE

243

2 Haven/Den Haven/Den Haven/Den Haven/Den Type Type 3 3 Haven/Den Type 33 Type Type 3

2557

1294

D D D

KITCHEN THIRD 1570 SPACE

1294

1570

675

2575 2557 DINING TV ROOM

1294

1334

243

2990

STAIRS

LIVING

1000

CHIMNEY 616 405

DINING 2480

KITCHEN Fioranese II Cocci Fioranese Cocci Fioranese Cocci Fioranese II Cocci Cocci Calce Spaccato Fioranese I Calce Spaccato Calce Spaccato Spaccato Calce Calce Spaccato 4594

850 6199 850

KITCHEN

3117 1334

KITCHEN 243 6199

6199

3117

J I

455

6199

2925

PLANTER 1190

2557

716

1300

STAIRS STAIRS

THIRD SPACE LIVING

6199

4594

DINING KITCHEN

DINING 6199

2575 3117

2575

3812 3812 3812 3812 3812 I IHAVEN SUITE T1 HAVEN SUITE T1 HAVEN SUITE T1 T1 HAVEN SUITE SUITE HAVEN T1

508 508 508 508 508 308 308 308 308 308

675

9302 9302 9302 9302 9302 EQ EQ EQ EQ EQ

E 2

455

CHIMNEY CHIMNEY 1 000 1 000

Fioranese I Cocci Fioranese Cocci Fioranese III Cocci Cocci Fioranese Calce Fioranese I Cocci Calce Calce Calce Calce 4256 850 4594

850

SPACE 675 THIRD850

EQ2 EQ2 EQ2 EQ2 EQ2 HAVEN SUITE T3 HAVEN SUITE T3 HAVEN SUITE T3 T3 D HAVEN HAVEN SUITE SUITE T3

Solid Oak Solid Oak Solid Oak Oak Solid Solid Oak

LIVING LIVING 2913 2913

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EQ3 EQ3 EQ3 EQ3 EQ3 HAVEN SUITE T2 HAVEN SUITE T2 HAVEN SUITE T2 T2 HAVEN SUITE SUITE HAVEN T2

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1 2575

48 48 48 48 48 0 00 00

140

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140

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THIRD SPACE

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BEDROOM THIRD SPACE

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675

716

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4455 850

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Vibia Puck Puck Wall Wall Vibia Vibia Puck Wall

107

‘Bracketted Extension’ Insertion of haven unit providing sightlines of negative space (third space). Threshold as an association.

Threshold as an immersive

Vertical circulation, original entrances, two functions per level, extension kitchen, original Victorian fireplace, Chimneys, Wall panelling, original grid, Victorian inspired tiles, black powder coated steel.

Synthesis Materiality,geometry, style Proximity Organisation (display, spatial experience) Timeliness Interpretation to appeal to modern context Associations Strategicplacement/ arrangement of elements

Private

‘Frames’ Ant House by mA-style Architects (Archdaily, 2012).

Denotation

Openings within the unit provide further awareness of third space. Level changes also challenge two up two down concept.

Connotation

‘Overcoding’ The Etch House by Fraher & Findlay (Fraher & Findlay, 2019). Clean, crisp details providing contrast to original structure.

Figure 5.39: Insertion of the Haven/den unit.

108

Public

Figure 5.40: Services as Third space and Servant space revealed within Haven/den.

Louis Kahn stresses the authentic manifestation of mechanical equipment in his designs (Heyer, 1966, 391 in Connally, 1977, 35). This calls for the grouping, not hiding of mechanical systems, which makes the Third Space of the building visible.

Third space & Servant spaces revealed as an aesthetic feature within the Haven/den.

Pioneer Square Loft in Seattle by US studio Plum Design and designer Corey Kingston. Note the neatly exposed services that run along the edge of the ceiling (Dezeen, 2019).

WILKINSON, Domaria, December 2019

109

Haven/Den Haven/Den Haven/Den Type 3 Haven/Den Type 33 Type Type 3

Haven/Den Haven/Den Haven/Den Type 2 Haven/Den Type 22 Type Type 2

Haven/Den Haven/Den Haven/Den Type 1 Haven/Den Type 11 Type Type 1

Haven/Den Haven/Den Haven/Den Type 2 Haven/Den Type 22 Type Type 2

E E Floor Finishes:

Lighting:

Floor Finishes: Finishes: Floor Floor Finishes:

E E E

EQ3 EQ3 EQ3 HAVEN SUITE T2 HAVEN SUITE T2 HAVEN SUITE T2

F F F

9302 9302 9302 EQ EQ EQ

EQ2 EQ2 EQ2 HAVEN SUITE T3 HAVEN SUITE T3 HAVEN SUITE T3

3812 3812 3812 HAVEN SUITE T1 HAVEN SUITE T1 HAVEN SUITE T1

Lighting: Lighting: Lighting: Lighting:

Solid oak

508 508 508 308 308 308

Solid Oak Oak Solid Solid Oak

Vibia Wireflow Vibia Wireflow Vibia Wireflow Vibia Wireflow Vibia Wireflow

Fioranese II Cocci Cocci Fioranese Fioranse I Cocci Fioranese I Cocci Calce CalceCalce Calce

Vibia Puck Vibia Puck WallWall Vibia Puck Wall Vibia Puck Wall Vibia Puck Wall

Fioranese II Cocci Cocci Fioranese Fioranese I Cocci Fioranse I Cocci Calce Spaccato Calce Spaccato CalceCalce Spaccato Speccato

Vibia Palma Vibia Palma Vibia Palma Vibia Palma Vibia Palma Pendant

F F D D D Haven/Den Haven/Den Type 3 Haven/Den Type 3 Type 3

Vibia Palma Wall Vibia Palma Wall Vibia Palma WallWall Vibia Palma Vibia Palma Wall

Haven/Den Haven/Den Type 1 Haven/Den Type 1 Type 1

Haven/Den Haven/Den Type 2 Haven/Den Type 2 Type 2

G G

F F F

Astro Globe Astro LightLight AstroGlobe Globe Light Astro Globe Light Astro Globe Light

E E E

H TH H R O RTTTH N R O OR NO N N

LED Strip light LEDStrip Strip light LED Light LED Strip light LED Strip light

Lighting: Lighting: Lighting:

Vibia Wireflow Wireflow Vibia Vibia Wireflow Naked

Servant space

Vibia Puck Puck Wall Wall Vibia Vibia Puck Wall

Ghost hearth

Den/haven 171: A room of oneâ&#x20AC;&#x2122;s own 194: Interior window Served space

Threshold 110: Main entrance 112: Entrance transition 130: Entrance room Servant space

Vibia Palma Palma Vibia Vibia Palma

Edge 100: Pedestrian street Marching order

Journey 132: Staircase as stage 127: Intimacy gradient Showcase staircase

Servant Space

129: Common areas at the heart

Vibia Palma Palma Wall Wall Vibia Vibia Palma Wall

168: Connection to earth 233: Floor surface 250: Warm colours Served Space

Astro Globe Globe Light Light Astro Astro Globe Light Figure 5.41: Archetypical analysis of Haven/den.

G G G

110

H RTTH OR H N T O N OR N

LED Strip Strip light light LED LED Strip light

193: Half open wall

B B

455 4235

CHIMNEYCHIMNEY 542 90 542 90 988

988

BEDROOM BEDROOM 2980 2980

KITCHENETTE KITCHENETTE

455

3560

CHIMNEYCHIMNEY 600 82 600 82 961

4235

ENTRANCE FROM STREET ENTRANCE FROM STREET 1100 140 1100 140

4015

455

THIRD SPACE THIRD SPACE

BEDROOM BEDROOM 961 2283 2283

KITCHENETTE KITCHENETTE

BATHROOM BATHROOM

CHIMNEY

850

850 DINING

D E

DUCT

KITCHEN

6199

DUCT

2990

977 100 1100

Passage Passage from street from street providing house providing house threshold experience. threshold experience.

2575

KITCHENETTE

BATHROOM 2860

3750 KITCHENETTE

1000 STAIRS

BIC

675

475

DINING 2480

STAIRS & ELEVATOR STAIRS & ELEVATOR LEADING LEADING TO OTHER LEVELS TO OTHER LEVELS

Typical First Floor Plan

Typical Ground Floor Plan

Typical First Floor Plan Typical First Floor Plan 1754

ENTRANCE FROM STREET 1100 140

C 1423

1333

243

1461

THIRD SPACE THIRD SPACE

100 STAIRS & ELEVATOR STAIRS & ELEVATOR LEADING LEADING TO OTHER LEVELS TO OTHER LEVELS

100

977

1300 THIRD SPACE THIRD SPACE

CHIMNEY 616 405

KITCHEN

DUCT

850

THIRD SPACE 850 1446 BEDROOM 1386

1446

CHIMNEY

475

DUCT

BIC 3394

THIRD SPACE 1525850

850

455

2925

PLANTER 1190

6199

BATHROOM 2860

1570

716

1570 100 1100

6199 3750

KITCHENETTE

DUCT

1300

987

DUCT

THIRD SPACE THIRD SPACE

3703 KITCHENETTE

BATHROOM 2860 PASSAGE 100 1100 100

1300 THIRD SPACE THIRD SPACE

100

BEDROOM 1386

1525

D 3394

CHIMNEY

BIC

1437 470

DUCT

850

THIRD SPACE 850 BEDROOM 1390

BIC 3441

CHIMNEY

470

6199 BATHROOM 2860

987

PASSAGE 1570 100 1100

6199 3703

1300

1570

DUCT

850

THIRD SPACE 1525850

BEDROOM 1390

1525

1 3441

1437

A 4256

6199

Typical Ground Floor Plan Typical Ground Floor Plan

Sect Section

1875

850

7144

1300

THIRD SPACE

HAVEN

PASSAGE

THIRD SPACE

OOM 2283

BATHROOM

A U/S CEILING

2158

Basement Floor Plan Haven Type Haven Type 4 4

U/S CEILING

2476

ScaleScale 1:1001:100 Domaria WILKINSON, Domaria WILKINSON,

INT9005M-2 DINT9005M-2

H RT NO

H RT NO 78 100 FIRST FLOOR LEVEL + 500 U/S CEILING

2400 2600

Passage from street providing house threshold experience.

Haven/Den Type 1 Scale 1:50 @ A1 WILKINSON, Domaria INT9004M-2

2620 2900

DUCT

78 100 FIRST FLOOR LEVEL + 500 U/S CEILING

H RT NO

Haven/Den Type 4 Scale 1:100 72 100 LG LEVEL 2

STAIRS & ELEVATOR LEADING TO OTHER LEVELS

ound Floor Plan

WILKINSON, Domaria INT9005M-2

Section C-C

Section C-C WILKINSON, Domaria, December 2019

111

5.9.4.1 Staircase as Third & Servant Space In the Victorian two-up two-down terrace, the staircase is the key component communicating its morphological- and usetypology (Tan, 2011, 40; Muthesius, 1982, 92). The staircase in the Haven/Den provides a link to all the levels within the unit. Only in the early 19th century did the staircase become a conventional characteristic in the households of the working class. Several inner-city dwellings of this era had staircases that were enclosed, and expressed as steep, convoluted, and winding (Muthesius, 1983, 67). Since landings and hallways were unusual, often a narrow staircase stretched flanking a wall in the confined lower or rear space, running straight into a room upstairs (Muthesius, 1983, 10, 88; Griffiths, 1984, 18). 1 000

205

The proposed staircase here intends to mimic the steep gradient of the historical artefact, however, the implementation of integrated handrails and ballustrades provide the safety required for buildings of the 21st century.

1 000

10 13 9 12 8 11 7 10 6 9 5 8 4 7

1 500

3 6

Ballustrade with internal 60x30x3mm rectangular steel hollow section forming truss structure as per engineers spec. 60x30x30mm mild steel stringer framework which is fixed to the existing 200mm thick loadbearing wall. Stair finished with 22mm thick oak floor board to match floor finish.

5 1 4

900x300x22mm oak floor finish laid on top of 40x25mm timber battens according to flooring specialists instructions with Warmup foil heater system between them.

2 Typical Staircase Plan

Scale 1:25

Staircase: Ground Floor Plan Scale 1:50

112

78 265

77 755 24

U/S OF BULKHEAD

Ballustrade with internal 60x30x3mm rectangular steel hollow section forming truss structure as per engineers spec.

HANDRAIL 1000 AFFL

900x300x22mm oak floor finish laid on top of 40x25mm timber battens according to flooring specialists instructions with Warmup foil heater system between them?.

75 465

75 160

U/S CEILING

60x30x30mm mild steel stringer framework which is fixed to the existing 200mm thick loadbearing wall.

U/S OF BULKHEAD 8

Stair finished with 22mm thick oak floor board to match floor finish.

HANDRAIL 1000 AFFL

50mm screed with polished concrete floor finish.

72 100 Detail 3

170mm reinforced concrete slab.

Section J-J Scale 1:25

Section J-J

WILKINSON, Domaria, December 2019

Scale 1:25

113

HANDRAILHANDRAIL 1000 AFFL1000 AFFL

Bookmatched oak veneer laid on 15mm thick substrate and supported by 60x30x3mm rectangular steel hollow section. Grain in vertical direction. Dashed line indicates joint lines.

26 27

78 265

Detail 1

U/S CEILING U/S CEILING 77 655 77 655 24

22mm thick ash stair to match floor finish.

The floor boards are supported by a 60x30x30mm mild steel stringer framework which is fixed to the existing 200mm thick loadbearing wall.

U/S OF BULKHEAD U/S OF BULKHEAD

HANDRAILHANDRAIL 1000 AFFL1000 AFFL 17

900x300x22mm ash floor finish laid on top of 40x25mm timber battens with Warmup foil heater system between them3.

15 14

Detail 1 13

Structural concrete beam running between existing 200mm thick loadbearing walls.

75 160

U/S CEILING U/S CEILING 11

Ballustrade finished with bookmatched oak veneer laid on 15mm thick substrate. Grain in vertical direction.

Dashed line indicates joint lines.

Internal ballustrade 60x30x3mm rectangular mild steel hollow section truss structure as per engineers spec.

Detail 2

Scale 1:25

Refer to Detail E for underfloor heating detailing.

Section I-I I-I Section ScaleScale 1:25 1:25 114

Section I-I

3.)

WILKINSON, Domaria WILKINSON, Domaria

72 100

45. 00°

STRUCTURE SHADOWLINE 15 135 15 45. 00° SHADOWLINE

SHADOWLINE

45. 00°

15 SHADO 770

880

770

STR 1000 15 SHADOWLINE

STRUCTURE SHADOWLINE 15 135 15 60 SHADOWLINE STRUCTURE SHADOWLINE 15 135 15

Scale 1:20

Detail F Detail F 1:20 Scale Scale 1:20 30 22

FFL

900x300x22mm oak floor finish laid on top of 40x25mm timber battens.

2 00

FFL

2 00

FFL

2 00

Laid on top of 2.3mm Warmup® Foil Heater system, which is on top of an Underlay, 10mm Warmup® Insulation Board and insulation layer. Stair finished with 22mm thick oak floor board to match floor finish.

Detail C Scale 1:10

60x30x30mm mild steel stringer framework which is fixed to the existing 200mm thick loadbearing wall.

Detail C Detail C 1:10 Scale Detail 1

Scale 1:10

2 50

Scale 1:10

30 2 50

2 00

2 50

FFL

22 60 22

60x30x30mm mild steel stringer framework which is fixed to the existing 200mm thick loadbearing wall.

22mm thick oak board on the underside of staircase fixed to steel stringer.

FFL

2 00

22 60 22

Stair finished with 22mm thick oak floor board to match floor finish, with solid ash nosing.

22 60 22

FFL

Detail D

All exposed joints to be mitred.

Detail 2

Scale 1:10

Detail D Detail D 1:10 Scale Scale 1:10

Scale 1:10

17 2

170

17 2

10 22 10

Laid on top of 2.3mm Warmup® Foil Heater system, which is on top of an Underlay, 10mm Warmup® Insulation Board and insulation layer. 170mm reinforced concrete slab.

50mm screed

170

FFL

17 2

10 22

FFL

10 22

900x300x22mm oak floor finish.

170

1000

880 60

Detail F

Detail 3

Detail E

Scale 1:10

Detail E Detail E 1:10 Scale Scale 1:10 WILKINSON, Domaria, December 2019

115

60x30x3mm rectangular steel hollow section stringer framework fixed to loadbearing wall according to engineerâ&#x20AC;&#x2122;s spec.

Existing 200mm thick loadbearing wall

Ballustrade with internal 60x30x3mm rectangular steel hollow section forming truss structure as per engineers spec.

22mm thick oak stair with solid ash nosing, laid on top of 60x30x3mm rectangular steel hollow section with Warmup foil heater system between them?.

60x30x3mm rectangular steel hollow section stringer framework fixed to loadbearing wall according to engineerâ&#x20AC;&#x2122;s spec.

116

The details relating to the ballustrade and handrail are inspired by the Etch House designed by Fraher & Findlay. These are clean, crisp details providing contrast to original structure.

Figure 5.42: Etch House

ballustrade details designed by Fraher & Findlay (2019).

STRUCTURE 15 SHADOWLINE 50

50mm diameter solid ash handrail.

SHADOWLINE

45. 00Â°

770

Ballustrade with internal 60x30x3mm steel truss structure as per engineers spec.

15mm shadowlines painted black, Colour: Black, Code: Fantasy Space Dulux 60RR14/002

Detail A Scale 1:20

WILKINSON, Domaria, December 2019

2 00

Scale 1:20

Much like the servant spaces of the Kimbell Art Museum designed by Louis Kahn, the staircase (servant space) is discernible and honestly expressed, and fulfills the practical requirements without encroaching on the simplicity of the building structure (Connally, 1977, 120). The continuity of the materials is key in conveying the integration this servant space.

Detail 4

STRUCTURE SHADOWLINE 15 135 15

880 60

1000

Meaning and ontology can be conveyed through the surface using particular materials, and it is the detailing and treatment of these that gives every building its unique identity (Brooker & Stone, 2004, 197). The materiality intends to link the levels of the unit by continuing the ash flooring, in order to communicate the ideas associated with the journey and showcase staircase archetypes (Tan, 2011; Jennings, 2007).

117

The look and feel of an interior is made up of taste goods. These are objects that are employed to signify social status, and often correlate to procurement and consumption (Taylor & Preston, 2006, 12; Konigk, 2015, 91). Therefore, they present a manifestation of cultural values. Meanings, qualities and experiences are communicated through the use of taste goods, as well as association with particular social groups (Bourdieu, 1984, 76-77; Konigk, 2015, 91).

C3 B3 B4

C1 Feature clock

Contemporary interpretation of Victorian wallpanelling, B1

Figure 5.43: Haven/den Type 1 bedroom axonometric. Figure 5.44: Haven/den selected materials & taste goods (opposite page).

118

5.9.4.2 Haven/Den Look & Feel The look & feel of the haven/ den bedroom is inpired by the red brickwork of the existing building. The textures and colours are intended to conjure up associations of ceramics and the craftsmanship. The bathroom is in contrast with the warmth of the bedroom, hinting at the Victorian era industrial revolution, by using black powder coated steel, and concrete inspired colours and textures.

A1 Unfinished Solid Oak flooring (Flooring Supplies, 2019) A2 Ada & Ina Ingrid Mustard Linen mix, Prewashed fabric (Ada & Ina, 2019) A3 Vibia Wireflow Hanging light (Vibia, 2019a) A4 Fioranese I Cocci Calce Spaccato (Fioranese, 2019)

B1 Brockway Beachcomber Strand in Pebble (Brockway, 2019)

B2 Ada & Ina Mailis Dark Natural Linen mix, Prewashed fabric (Ada & Ina, 2019) B3 Vibia Puck Wall light (Vibia, 2019b) B4 Fioranese I Cocci Calce (Fioranese, 2019)

WILKINSON, Domaria, December 2019

C1 Ada & Ina Linnea Port Linen fabric (Ada & Ina, 2019)

D1 Ada & Ina Linnea Ruby Red Linen fabric (Ada & Ina, 2019)

C2 Ada & Ina Enni Old Rosa Linen mix fabric (Ada & Ina, 2019)

D2 Ada & Ina Enni Chalk Linen mix fabric (Ada & Ina, 2019)

C3 Low iron ribbed glass (Glass Studio Supplies, 2019)

D3 Powdercoated steel tubing and sheets (Cardinal Paint, 2019)

C4 Caesarstone Airy Concrete (Caesarstone, 2019)

D4 Mixer Tap Victorian Ceramic Dual Levers Monobloc Black (PicUK, 2019)

119

Figure 5.45: Viewpoint C showing Haven/den Type 1.

Key Plan indicating Viewpoint C.

120

Figure 5.46: Viewpoint D showing Haven/den Type 1.

Key Plan indicating Viewpoint D.

WILKINSON, Domaria, December 2019

121

5.9.4.3 Bathroom as Servant Space Since the bathroom serves a secondary purpose, which sustains the primary function, in the haven/den, it is considered as a servant space (Connally, 1977, 35). Furthermore, the proposed bathroom is contemplated as the ‘Naked’ archetype under the Intypes project (Cornell University, 2019). Here the visual and/or physical barrier separating the bedroom and bathroom is dissolved. It blurs the traditional boundary between the private and public realms, and questions conventional principles of interior spaces. It may have no, transparent or translucent partitions, nonetheless, a ‘Naked’ bathroom is not concealed (Yang, 2005, 21-24). The 20th century Modernists defined the idiom ‘naked’ in the built form as ‘absolute honesty’. It was used to describe everyday artefacts in domestic interiors that do not conceal their purpose. Moreover, it was contemplated that artefacts used daily could be perceived as a form art. ‘Naked’ bathrooms

allow for this celebration of form whereby the position of plumbing fittings in a hotel room are visible (Kim, 2009, 82-91). The implementation of this theory in the proposal offers a practical application whereby the bathroom is enclosed using glass panells for water controll and a feature partition doubling as a cupboard. The feature partition references the industrial revolution through its materiality; black powdercoated mild steel. The arch forms alludes to the Roman heritage of the city of Lincoln. By incorporating it as a cupboard, the partition allows for perceived privacy, obscured by clothing hanging and placed on shelves. Additionally, the door leading to the bathroom is obscured by the use of ribbed glass to ensure sufficient privacy upon entering the den/haven. Third Space is revealed by revealing the access panels within the wall. This offers an honesty in expression, while simultaneously providing for practical requirements.

D Water supply pipe

1855x2400mm frameless shower glass panel to manuf’s detail

40mm dia Grey water drainage pipe

Cupboard/partition constructed from 20x20x3mm hollow mild steel section, finish: black powdercoat.

110mm dia Soil water drainage pipe

1 165

UniDrain HighLine Corner Panel with frame

2599

Detail 7

600x600mm tile, Fioranese I Cocci, Calce Spaccato

600x600mm tile, Fioranese I Cocci, Calce

1010

Wall hung Duravit 1930 Series Washbasin, Code: 043860 Duravit wall mounted WC, Code: Darling New #254509.

Mixer Tap Victorian Ceramic Dual Levers Monobloc Black

4 20

Detail 6

Drywall plastered and tiled on both sides with 600x600mm Fioranese I Cocci Calce

110 dia uPVC stubstack with one way vent valve

401

843

611 1855

Hyco Powerflow 30L Multipoint Unvented Water Heater 3000W - PF30LC

Haven/Den Bathroom Type 1 Plan

Scale 1:25

150

22 10 3

122

7 10

15 96

10 3

1848 EQ

Cupboard/partition constructed from 20x20x3mm hollow mild steel section, finish: black powdercoat.

1300

RAK Black Chrome Round Mixer Shower 6mm safety ribbed glass.

2400

Glass door with black chrome frame and 6mm safety ribbed glass infill. 600x600mm Fioranese I Cocci Calce with grout colour to match. 1100

UniDrain HighLine Corner Panel with frame 900x300x22mm ash floor finish laid on top of 40x25mm timber battens with Warmup foil heater system between them.

FFL

Detail 5

Section K-K

Scale 1:25

354

The floor is a plane that offers design control, and needs to be considered as more than an object of usefulness and ease of maintenance (Brooker & Stone, 2004, 146). The surface provides a third space interpretation using floor materials. The colour of the Fioranese I Cocci Collection provides a gradient/ transition effect as a way to define space, meaning that a new space within another space is communicated to the inhabitant without the use of vertical planes.

Ă¸

10 00

646

96mm screed stepped to allow for height difference between tiles and hardwood floor finish. 170mm reinforced concrete slab.

170

213

A2 Fioranese I Cocci Calce (Fioranese, 2019)

897

A1 Fioranese I Cocci Calce Spaccato (Fioranese, 2019)

FFL

1344

WILKINSON, Domaria, December 2019

401

1080

600 1 855

ACCESS PANEL

65 123

1300

1 165

2400

2599

K L

1010

1000mm diameter custom mirror with black powdercoated frame fixed to wall with screws.

354

4 20

Ă¸

843 1855

Duravit wall mounted WC flush sensor Duravit wall mounted WC, Code: Darling New #254509.

150

Detail 8

Scale 1:25

:10

600 1 855

Section L-L Scale 1:25

401

1080

Section L-L

170mm reinforced concrete slab.

Detail H

ACCESS PANEL

10 3 50

17 10

96mm screed stepped to allow for height difference between tiles and hardwood floor finish.

1344

900x300x22mm ash floor finish laid on top of 40x25mm timber battens with Warmup foil heater system between them.

Detail I

3 3 20

20x20mm hollow mild steel section, finish: black powdercoat, fixed into metpost steel shoe bolted to screed. 5 50 22

900x300x22mm ash floor finish laid on top of WarmupÂŽ Foil Heater system.

50mm screed

Detail 9 Scale 1:5

124

Sec

Scale

Wall hung Duravit 1930 Series Washbasin, Code: 043860

170

FFL

Mixer Tap Victorian Ceramic Dual Levers Monobloc Black Access panels within the wall for access to water boiler.

611

213

646

401

10 00

897

1100

600x600mm Fioranese I Cocci Calce tiles with grout colour to match.

26 15

1010

L EQ

1300

1 165

4 20

401

843

611

2599

K 1010

4 20

1855

Detail Detail 5G Scale Scale 1:10 1:10

50mm screed

1848 EQ

611

Detail H 1300 2400

26 15

150

26 15

15 96

Detail J

1100

Detail 9

Detail I

17 10

15 150 10 3

22 22 1717 1010

20x20mm hollow mild steel section, finish: black powdercoat, fixed into metpost steel shoe bolted to screed. 900x300x22mm oak floor finish laid on top of Warmup® Foil Heater system.

3 3 20

600x600mm tile (see plan for spec) with grout colour to match.

Section K

Scale 1:25

170mm reinforced concrete slab.

5 50 22

900x300x22mm oak floor finish laid 843 on top of 2.3mm Warmup® 1855 Foil Heater system, which is on top of an Underlay, 10mm Warmup® Insulation Board and insulation layer.

10 3 50

401

150

FFL

17 10

22 17 10

10 3

96 50

17x3mm aluminium straight edge trim (15-16mm thick tile).

611

50 10 10 33 50

600x600mm tile (see plan for spec) with grout colour to match.

843

50mm screed

Detail 6G Detail Detail H

170mm reinforced concrete slab.

Scale 1:10 1:10 Scale

Detail H Detail FFLI

Wall

16mm MDF with bookmatched oak veneer fixed to cleats. Grain in vertical direction.

Scale 1:25

5 50 22 77

5x5mm routered shadowline

3 3 20

Detail I

Section K-K

All joints to be mitred. 3 3 20

Curtain wall transom/mullion

Detail 7J Detail Scale 1:10

26 15

354

150

600x600mm Fioranese I Cocci Calce tile with grout colour to match.

50mm screed

646

170mm reinforced concrete slab.

Detail I8 Detail

170

213

Scale 1:10

897

15 15

401

1100

2400

1855

96 96

WILKINSON, Domaria, December 2019

125 FFL

100 70 116

2 195

100

1783

400

622 POSITION OF DRAINAGE PIPE

70 80

1855x2400mm frameless shower glass panel to manufâ&#x20AC;&#x2122;s detail

1400

437

Cupboard/partition constructed from 20x20x3mm hollow mild steel section, finish: black powdercoat.

482

Detail 6

UniDrain HighLine Corner Panel with frame

Drywall plastered and tiled on both sides with 600x600mm Fioranese I Cocci Calce

POSITION OF DRAINAGE PIPE

351

Detail 7

Duravit wall mounted WC, Code: Darling New #254509.

COUNTER 920M

600x600mm tile, Fioranese I Cocci, Calce Spaccato

1262

2544

110 dia uPVC stubstack with one way vent valve

600x600mm tile, Fioranese I Cocci, Calce

VANITY

600

Hyco Powerflow 30L Multipoint Unvented Water Heater 3000W - PF30LC Duravit undercounter D-Code Vanity basin, Code: 033849

Mixer Tap Victorian Ceramic Dual Levers Monobloc Black

20mm Caesarstone vanity top, Code: 4044 Airy Concrete @ 920mm AFFL

Water supply pipe 40mm dia Grey water drainage pipe

Haven/Den Bathroom Type 4 Plan

Scale 1:25

15 96

Detail K

Scale 1:10 27

FFL

110mm dia Soil water drainage pipe

126 301620

1620

COUNTER TO 920MM A

16mm MDF with bookmatched oak veneer fixed to cleats. Grain in vertical direction.

4mm mirror fixed to wall with slimline frame and concealed hanger.

Duct

Mixer Tap Victorian Ceramic Dual Levers Monobloc Black Detail 14

Duravit undercounter D-Code Vanity basin, Code: 033849 20mm Caesarstone vanity top and back-splash, Code: 4044 Airy Concrete @ 920mm AFFL

COUNTER TOP @ 920MM AFFL

Vanity legs constructed from 20mm diameter hollow mild steel section, finish: black powdercoated Detail 8

FFL

900x300x22mm oak floor finish laid on top of 40x25mm timber battens with Warmup foil heater system between them.

Section M-M Section M-M

600x600mm tile, Fioranese I Cocci, Calce Spaccato

Scale 1:25 Scale 1:25

96mm screed stepped to allow for height difference between tiles and hardwood floor finish.

COUNTER TOP @ 920MM AFFL

15 20 920

885

920

885

15 20

COUNTER TOP @ 920MM AFFL

500

1380

170mm reinforced concrete slab.

WILKINSON, Domaria, December 2019

127

FFL

NTER TOP @ 920MM AFFL COUNTER TOP @ 920MM AFFL

FFL FFL

Section M-M Scale 1:25 Section M-M Scale 1:25

100 70 116

70 80

400

622

POSITION OF DRAINAGE PIPE

Scale 1:25

Scale 1:10

1380 500

15 20

500

COUNTER TOP @ 920MM AFFL COUNTER TOP @ 920MM AFFL

885

920

FFL

Detail K

20mm Caesarstone vanity top, Code: 4044 Airy Concrete, fixed to 16mm substrate to match internal carcass. Mild steel support bolted to floor for support. Note: Details to be workshopped with shopfitter. 4mm mirror fixed to wall with slimline frame and concealed hanger.

Scale 1:10

128

Detail R

301620

1620

73 1620

Detail R

FFL

Section O-O Scale 1:25 Section O-O Section O-O Scale 1:25 ScaleN 1:25 O

Detail 11

Scale 1:10

Detail 8

27 45

Detail 11

15 20

Vanity legs constructed from 20mm diameter hollow mild steel section, fixed to floor using floor cap to shopfitterâ&#x20AC;&#x2122;s spec, finish: black powdercoated.

15 96

Detail K

96mm screed stepped to allow for height difference between tiles and hardwood floor finish. 170mm reinforced concrete slab.

Scale 1:25 Section N-N

Detail Scale 10 1:10

Section N-N Scale 1:25 Section N-N

FFL

600x600mm tile, Fioranese I Cocci, Calce Spaccato

Detail 10

FFL

20mm Caesarstone vanity top, Code: 4044 Airy Concrete @ 920mm AFFL Detail 12 Detail 12 Vanity legs constructed from 20mm diameter hollow mild steel section, finish: black powdercoated

Detail 14

885

Duravit undercounter D-Code Vanity basin, Code: 033849

VANITY

600

VANITY

600 EQ

1380

POSITION OF DRAINAGE PIPE

Mixer Tap Victorian Ceramic Dual Levers Monobloc Black

2544

1262

20mm Caesarstone vanity backsplash, Code: 4044 Airy Concrete @ 920mm AFFL

920

482 351

POSITION OF DRAINAGE PIPE

351 EQ 920

622

1783

100

4mm mirror fixed to wall with slimline frame and concealed hanger.

885

920

885

FFL

400

437 1400

1400 482

1262

15 202544 500

Detail 14

Detail 11

FFL

100

POSITION OF DRAINAGE PIPE

437

70 80

2 195

1783

500 15 20

R TOP @ MM AFFL COUNTER TOP @ 920MM AFFL

2 195

M N

VANITY

600

COUNTER TOP @ 920MM AFFL

FFL

15 96

Detail 13

Duravit undercounter D-Code Vanity basin, Code: 033849

Detail O

Detail

Scale 1:

Scale 1:2 Silicone bead

1620

Detail N

Detail O

Detail 14 O Detail Scale 1:10

WILKINSON, Domaria, December 2019

Concealed hanger 920

Slimline mirror frame

301620

COUNTER TOP @ 920MM AFFL

Fixing screw

20mm Caesarstone vanity backsplash, Code: 4044 Airy Concrete, fixed to wall with 1620 cleats.

Wall

4mm mirror

COUNT 9

500

Detail N

Detail O Detail Q

Scale 1:10 N Detail

Detail N

301620

20mm Caesarstone vanity backsplash, Code: 4044 Airy Concrete, fixed to wall with1620 1620 cleats.

301620

Scale 1:10

Detail R

FFL

Detail Q Detail Q Scale 1:2

15 20

73 1620

73 1620 15 96

15 96

Detail K

Detail R

Scale 1:10

15mm shadowline painted black, Colour: Black, Code: Fantasy

Vanity legs constructed from 20mm diameter hollow mild steel section, finish: black powdercoated

Scale 1:10

4mm mirror fixed to wall with slimline frame and concealed hanger.

Detail 15

45 20mm Caesarstone vanity top, Code: 4044 Airy Concrete, fixed to 16mm substrate to match internal carcass.

Detail 12 R Detail

Detail K

Scale 1:10

FFL

Detail K

Sca

FFL

73 1620

600

VANITY

2544

1262

885

POSITION O

Detail Scale 15 1:2 Scale 1:2

129

5.8.4.4 Haven/Den Wall Panelling The wall panelling aims to make references to Victorian interior design. It adds another layer of meaning by invoking symbolic archetypes found in original Victorian houses. The wall panelling grounds the new insertion in its temporal context, without committing pastiche. It does this by making a contemporary translation to provide a tangible visual connection to the historic significance, and so strengthens the historic attachment to place (Historic England, 2008).

Figure 5.46: Haven/den type 4 bedroom axonometric. Figure 5.47: Typical wall panelling & clock details (opposite page).

130

500 500

153015

16mm MDF fixed panel finished with bookmatched veneer with 15mm grooves routed out every 45mm c/c with 22mm Acoustisorb behind fixed to 9mm mdf board Matt black steel clock hands and numbers in Roman numerals fixed to wall panel with concealed screw fixing.

Typical Wall Panelling & Clock Detail Scale Detail 1:10 16 Scale 1:25

Typical Wall Panelling & Clock Detail Scale 1:10

1 2

500 1390

1390

500

Detail 16

16mm MDF fixed panel finished with bookmatched veneer with 15mm grooves routed out every 45mm c/c with 22mm Acoustisorb behind fixed to 9mm mdf board

Section P-P: Wallpanelling & Clock Scale 1:50

Typical Wall Panelling & Clock Scale 1:50 WILKINSON, Domaria Typical Wall Panelling INT9005M-2

& Clock

Scale 1:50

WILKINSON, Domaria, December 2019 WILKINSON, Domaria INT9005M-2

131

5.8.4.5 Haven/Den Living Area The living area is the space that forms the intermediary intimacy space. It separates the private bedroom from the semi-public dining, acting as a threshold. It can therefore be considered as a threshold as an event, since the function of the space acts llike a catalyst in a chemical reaction. The event generates a novel interior-exterior setting within the existing space, where the viewer observes the work ‘outside’, and through intervention, also ‘inside’ (Dincer et al, 2019, 55). The symbolic meaning that manifests in interiors through the careful arrangements of ensembles, constellations and symbolic motifs of archetypes and technical components generates meaning by employing proximal assemblies (Konigk, 2015, 172).

Threshold as an event

C1 D2 B2

C2 on this wall

Figure 5.48: Haven/den type 1 living room axonometric. Figure 5.49: Typical Haven living room selected materials & taste goods (opposite page).

132

A1 Steelcase West Elm Work Belle Sofa (Steelcase, 2019a)

B2 Unfinished Solid Oak flooring (Flooring Supplies, 2019)

C1 Steelcase Embrace Chair CHE005 (Steelcase, 2019b)

D1 Bolia Trace coffee table - small (Bolia, 2019c)

A2 Brockway Beachcomber Strand in Pebble (Brockway, 2019)

B3 Ada & Ina Mailis Dark Natural Linen mix, Prewashed fabric (Ada & Ina, 2019)

C2 Vibia Puck Wall Art (Vibia, 2019c)

D2 Steelcase Drum Table (Steelcase, 2019c)

A3 Steelcase West Elm Work Belle Sofa (Steelcase, 2019a)

WILKINSON, Domaria, December 2019

C3 Ada & Ina Enni Old Rosa Linen mix fabric (Ada & Ina, 2019)

D3 Ada & Ina Linnea Port Linen fabric (Ada & Ina, 2019)

133

5.8.4.6 Haven/Den Kitchen Extension The kitchen extension symbolises the historic development of Victorian two two down houses. These extensions were typically found at the back of the house (Marshall & Willox, 1986, 39). However, the contemporary translation here demonstrates an alternative solution in order to include the hotel threshold experience. Furthermore, the extension is in keeping with Scottâ&#x20AC;&#x2122;s five aspects. These will guarantee the endurance of a building if they can be recognised after the alteration process (Scott, 2008, 150).

C2 D3

Nesting of interior layers, by placing volumes within volumes, the layering effect is communicated to the inhabitant.

Third space & Second Nature is revealed by negative volumes not taken up by the new insertion. It can be considered as the middle or intermediate mode. This also helps establish a genius loci or spirit of place required by Third Nature to give it a spatial demarcation (Power, 2010, 296-7).

Third Nature and First Space can be seen as the dichotomy of private and public; which is culturally charged. This means that space becomes place, and consequently genius loci is essential for this to occur. B2

A3 Figure 5.50: Haven/den type 1 kitchen axonometric. Figure 5.51: Typical Haven kitchen selected materials & taste goods (opposite page).

134

A1 ) Service pipes exposed like that of Pioneer Square Loft in Seattle by US studio Plum Design and designer Corey Kingston (Dezeen, 2019).

B2 Unfinished Solid Oak flooring (Flooring Supplies, 2019) B3 Vibia Palma Hanging (Vibia, 2019d)

A2 20mm thick Caesarstone 4044 Airy Concrete (Caesarstone, 2019) A3 Bolia Beaver Barstool (Steelcase, 2019d)

WILKINSON, Domaria, December 2019

C1 Bolia Swing Dining Chair finished with Lacquered oak (Bolia, 2019a) C2 Bolia Swing Dining Chair finished with Lacquered oak (Bolia, 2019b) C3 Bolia New Mood Square Small dining table finished with Black Fenix laminate, Oiled oak (Bolia, 2019b)

D1 Fioranese 200x200mm Cementine Black & White Posa B&W_4 (Fioranese, 2019) D3 Bolia New Mood Square Small dining table finished with Black Fenix laminate, Oiled oak (Bolia, 2019b)

135

5.8.4.7 Sample board A sample board is put together illustrating the material finishes of the Den/Haven. Here the strategic decisions is based on the theory and applying second order meanings to the architectural planes and surfaces in order express the concept to the inhabitant (Brooker & Stone, 2004, 197; Konigk, 2015, 91).

Figure 5.52: Sample board put together illustrating materials chosen for the Haven/Den.

136

22mm Unfinished Solid Oak flooring.

Ada & Ina Mailis Oyster Linen fabric.

20mm Caesarstone Airy Concrete with arris edge. Ada & Ina Enni Oyster Linen fabric. Ada & Ina Mailis Dark Natural Linen fabric Low iron ribbed glass.

Matt black steel clock hands with concealed fixing.

Ada & Ina Danila Tangerinel Linen fabric.

Brockway Beachcomber Strand in Pebble.

Ada & Ina Enni Wild Rose Linen fabric.

Ada & Ina Ingrid Peony Linen fabric. Ada & Ina Linnea Ruby Red Linen fabric.

300x300mm Fioranese I Cocci Calce Spaccato tile.

WILKINSON, Domaria, December 2019

300x300mm Fioranese I Cocci Calce tile.

Ada & Ina Linnea Port Linen fabric.

137

Fioranese 200x200mm Cementine Black & White Posa B&W_4.

Second order meanings and spirit of place are articulated through the specific curation of furniture and materials. Tangible surfaces that are directly in contact with inhabitants have intangible connotations, which supports place attachment and genius loci (Brooker & Stone, 2004, 197; Konigk, 2015, 91). Base materials that are neutral and speak to the fabric of a city that has witnessed the industrial revolution are selected to communicate the connectivity of the development of the Victorian terraced house with the age of the machinery revolution.

Industrial Revolution

Glass is also a key material to link in the concept of Third Space and notion of threshold. Third Space has to do with the nature of â&#x20AC;&#x153;power relations in spaceâ&#x20AC;? (Loveday, 2008, 2), therefore, ribbed glass can control the infiltration of light into space but blurs legibility, which in turn provides privacy to the user, and allows a certain amount of control. Figure 5.53: Leeds, England in 1954 (Riboud, 1954).

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The red brick has been appropriated to fit into an interior setting, conjuring up associations of ceramics and the craftsmanship. This is done by implementing tones of red and orange, and ceramic textures. Figure 5.54: Brick facade of project site.

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Victorian patterns and motifs informed the choice of tiles and style of ironmongery. The clock hands allude to the clock towers of surrounding churches in the area. Furthermore, the neutral colour scheme is in harmony with the Lincolnshire sandstone used in the Lincoln Castle and Cathedral. Figure 5.55: Victorian tiles and shapes (DirectTileWarehouse, 2019).

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5.8.4.8 Five Aspects Analysis Any building can be considered to have five aspects; plan, section, elevation, profile and footings. These will guarantee the endurance of a building if they can be recognised after the alteration process (Scott, 2008, 150). What has been identified as key for the two-up two-down Victorian terraced house is that of the original ground floor and first floor room functions, with an extension of some sort. The concepts of Third Space and Three Natures offered a unique interpretation by pulling the inserted alteration away from the original â&#x20AC;&#x2DC;skinâ&#x20AC;&#x2122; of the building, allowing the proposal to fit snuggly within the confines of the building structure. The addition of the urban interior replaces the existing kitchen extensions. This is considered appropriate due to this being a servant space which matches that of the kitchen. This enhances and aids in the smooth workings of the overall building.

Section and Footings The internal alterations project out as an extension to a new lower ground level, which is a reinterpretation of the kitchen extension. The urban interior provides the servant space to facilitate the new use function of the building (Connally, 1977, 35). The old and the new are connected through the gallery which is considered as a threshold as event (Dincer et al, 2019, 60). Here the link is not concerned with producing a tangible connotation, but develops into an event (Dincer et al, 2019, 55).

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Figure 5.56: Plan diagram showing both internal and external alterations.

Plan The alteration inserts into and around the back of the original building fabric, which enhances and reinterprets the entrances into the individual units from the street. This addresses the domestic transition from public street to private dwelling (Daunton, 1988, 295). The original envelope can still be recognised after the intervention in form, and fits neatly onto the property boundary; contained on the north by Westgate Street, the south by the Lincoln Castle boundary wall, and the carparks on the west and east. Materiality plays a crucial role in defining the junction between old and new, and provides a layering of time which conveys the preceding version of the building into the present, and beyond to the future (Brooker & Stone, 2004, 9-10).

Figure 5.57: Section diagram illustrating indicating new additions to the existing building fabric.

Elevation From the street elevation there is but one external modification to the building fabric; the Third Space stripping back of the skin by wall of glazing, which reveals the inner workings of the building to the outsider. This unravels the servant space, since a corridor is seen from the outside leading into the havens/dens. This is considered as threshold as an association, which permits the user to view the interconnected interior-exterior imagery (Dincer et al, 2019, 52), whereby the glazing reflects the exterior environment and blurs what is seen on the inside. It defines a different interior-exterior allowing the outside and inside to unify, therefore the threshold becomes an association (Dincer et al, 2019, 54).

Figure 5.58: Street elevation indicating the glazed Third Space interpretation.

Profile Due to the fact that the project site falls within the City Council Conservation Area No.1 - Cathedral & City Centre, it is of critical importance that the profile of the building remains intact. This area of the city is considered significant for its distinct architectural or historic interest, whose character or appearance is deemed desirable to protect or enrich (Lincoln City Council, 2019). Therefore, there is no disparate breaks in the profile (Scott, 2008, 150).

Figure 5.59: Outline of the building profile.

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5.10 CONCLUSION

The extent to which the building will be altered was explored and it was determined that a spatial alteration will be the most suitable. The change-of-use of the existing building was deliberated, and it was substantiated that the change-of-use from residential to hospitality is a compatible one. The architecture of the extension can have various manifestations. Approaches set out be Fred Scott when engaging with the degree of alteration were discussed and interpreted to fit the project scheme, while ensuring that the five aspects remain recognisable after the aflteration. The users are able to choose their experience of entering the space; the original front house entrance threshold, or the new hotel experience threshold. This threshold experience ultimately influences the inhabitantsâ&#x20AC;&#x2122; perception of the building. In a nested structure, the inside is invariably the outside, and vice versa (Fujimoto, 2008). The intention, thus, is not to generate a design that is about form or space, but simply about expressing the richness of what lies in between houses and streets. Therefore, it is a borderline that creates the interpretation of the crossing of awareness, and becomes a new boundary that forms in the inhabitantâ&#x20AC;&#x2122;s perception, which does not belong to any domain (inside/outside). The concept can be considered as a strategy for exploring third space and architectural layers by applying the notion of served: servant spaces as a method for spatial organisation within the alteration of a Victorian terraced house. Furthermore, the proposal strives to reveal the third space/ second nature to the user in order to extend their experience of the building fabric. By doing this, the perception of the inhabitant is challenged and adds a new layer of meaning to Victorian two up two down terraced houses. There is more that one can do to ensure that the authenticity of a place is retained than simply preserving the existing fabric (Historic England, 2008, 45). With this in mind, a proposal for the mode of production was made, along with the extent to which the building will be altered, and the concept as well as the design proposal was communicated.

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06 Conclusion The project aimed to examine the notion of inhabiting the historical building typology of Victorian terraced houses, and how they can be integrated and made relevant within a broader city context of the 21st century, through the alteration of the current endangered 20th century terraced houses of Westgate Street. In fulfilling the aim, a strategy was developed for exploring thresholds through third space by applying the notion of served: servant spaces as a method for spatial organisation within the alteration of a Victorian terraced house. Furthermore, the study endeavoured to uncover what the implications may be on the experience of the inhabitants of a space and using this experience to generate a sense of place within a hospitality interior, in order to demonstrate that hospitality interiors should go beyond economic gain. It was found in the content analysis that advanced states of being can only be successfully designed for when individuals are perceived as representations of psychological beings, instead of embodied, tangible entities. The basic human needs set out by Caan (2011), Tan’s (2011) symbolic motifs, the intypes of Jennings (2007) and Alexander’s patterns can be considered as strategies for achieving this. Only once these needs are met, can the designer further extend the inhabitants understanding and experience of a space. The threshold, when moving from one space to another, is a pivotal component in extending this experience. Third Space provides the fundamental structure of the various spaces recognised in the built environment (i.e. interiors and exteriors).

It is, therefore, considered as the ultimate threshold within a building. The concept of served: servant spaces postulated by Louis Kahn can be employed to organise and arrange these spaces that make up a building. The proposed house hotel manifests by way of minimal unit insertions that stand independently but in sympathy with the original Victorian terraced house. The connection between the public street interface, semi-public urban interior located at the back of the building, and the private dwellings are connected through a gallery which forms a threshold, used for movement through space, viewing the castle wall and people below, and revealing Third Space and Second Nature to users as a second order meaning. Additionally, the gallery forms the journey of varying levels of privacy where casual encounters are fostered in order to form place attachment and provide a sense of place through its unique experience. The gallery is seen as a threshold as an event and object, a theory derived from installation artist, Olafur Eliasson, which provides an overlap between design and creative industries, and can be used to question and change the perception, response and experience of practitioners and the public in designed interiors; a new system that one could both imagine visually and live physically. The proposal allows for shifting levels of intimacy within the individual havens/dens through vertical circulation around use programs suited to specific privacy needs. Altogether, these components form a three dimensional privacy gradient, which proves useful for organisation of spaces and services.

Limitations: The undertaking of public surveys and questionnaires are supported by the qualitative research approach, however, this was excluded due to ethical guidelines set up the university. The statistics required for the visitor profiling relied on the surveys carried out by Arkenford, which disclosed that the sample shows a greater proportion of ‘Older Independents’ (over 45 with no children at home) than anticipated from visitors in the region. In general, this group is more inclined to fill out surveys than young people and busy parents. Due to ethical constraints, the proposal is based on secondary sources, as I was unable to physically observe and interview inhabitants and their interaction with the building.

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The Third Space and Three Natures concepts at present are limited in investigation and examination, thus, there were limited sources to rely on to define and explore it in this thesis. Therefore, the investigation was intuitive in its approach to apply it to a design proposal. The project site is located next to the Castle boundary wall, which is a historical monument with strict heritage protection. This meant that the design proposal was limited to the constraints of the site boundary despite the obvious issue of being located between two car parks. Proposals of taking up two parking bays on either side of the site are necessary in order to provide a main entrance and service access.

Practical

Theoretical

Contributions The treatise makes the following contributions: There is a greater potential to explore and reveal the sense of place in Victorian terraced houses through the theoretical framework proposed in this treatise. A strategy is devised for the application of third space as a threshold within space and time when designing a hospitality interior. The study defines, investigates and criticises how third space is used in the built environment, and how it can be implemented into an existing building fabric. The importance of understanding the relationship between inhabitants and their surroundings, by examining how their experience is impacted by moving through space. A contribution is made to the importance of the interior design profession and its place in this world, alongside other artistic and design industries, through the application of overlapping theory.

The analysis of the historical and typological development of the terraced house typology by using a theoretical lens. Through a process of qualitative research analysis, a set of criteria was devised to review a complete design, visually distinguishing the tangible and intangible components. Establishing the requirement to regard human encounter and experience with buildings before second order meaning and extended understanding can be successfully implemented by the interior designer. A proposal that contributes to the Lincolnshire tourism industry. This is a critical factor to consider since the design proposal comprises of a hospitality interior which aims to tap into what the tourism potential Lincoln has to offer. The value of Lincolnshire’s tourism industry rose by over £300m in the last five years, reaching £1.37bn in 2016 (Lincoln City Council, 2017). There was very limited information of the historical research and documentation of the project site. This treatise contributes to the understanding of the building located in context (time and place).

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Recommendations The treatise makes the following recommendations for further research: That the coupling of the concepts of Third Space and Three Natures is explored further and in greater depth. This study relied heavily on the contributions of Power (2010) due to the lack of research on this notion. That the Third Space strategy prepared by this thesis be scrutinised further through design investigation. That the theoretical framework of designing for advanced states of being by viewing individuals as embodied carriers of meaning before extending their experience and understanding of the built environment be examined further through research and design experimentation. That the proposal of the urban and interior threshold be applied and investigated in other building typologies such as sub-urban houses, high street shops and workplace buildings with different contexts (time and place) and cultures. High street shops are a big area of concern in the United Kingdom due to online platforms for shopping and shopping malls. Factors to note may be vehicle accessibility and how this may impact this threshold.

That the car parks adjacent to the project site be developed in a more sensitive way, so as to not detract from the heritage and cultural significance of the Bailgate area of Lincoln. This can be done by underground design solutions or more considered architectural solutions that fit in with the architectural building context. That research be done by observing and interviewing inhabitants when interacting with a building designed using the proposed strategy. This may further determine the success of the strategy which is based on primary sources rather than secondary sources.

The proposal responds to the issue of Victorian two-up two-down terraced houses as heritage at risk, and can be considered as an approach to combatting this risk. Furthermore, it allows the building typology to be perceived in a new light within the 21st century, by revealing the Third Space and Second Nature to the user in order to extend their experience of the building fabric. By allowing users to choose their experience of entering the space; the original front house entrance threshold, or the new hotel experience threshold, a novel experience and typology is created. This threshold experience ultimately influences the inhabitants’ perception of the building. Their existing view is challenged and adds a new layer of meaning to Victorian two-up two-down terraced houses. The new layering of meaning enhances the spirit of place and contributes to the tourism industry of Lincoln by strengthening its place attachment.

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A Olafur Eliasson Case Studies The work of Eliasson expresses several dichotomies, such as natural/artificial, interior/exterior, tangible/intangible and is employed as a way to expose suppositions and urge dialogue (Dincer et al, 2019, 46-47). He further shifts the perception of the interior-exterior relationship by intentionally challenging them. Threshold as Object The threshold as an object is intended to be observed from inside to change the awareness of outside (Dincer et al, 2019, 51). The compositions turn into visual sets of tools to facilitate the experience of the threshold. Fensterkaleidoskop, 1998 This is one of several installations in which the installation is piercing through the window of the exhibition space into the outer room. It is covered in a reflective foil (Dincer et al, 2019, 48-49). The installation frames the view of the outer space, which in turn impacts the way the viewer will experience the threshold. Additionally, the mirror foil reflects the picture being framed which provides a sense of ambiguity to the threshold. The form of the installation which fits neatly into the window frame allows for a cohesive design with the existing, merging the inside and outside through this one element, bringing the outside in and the inside out. Although this is an artistic installation, I believe lessons can be learned from the treatment of the threshold and applied to my design concept. By using a protruding element that straddles both interior and exterior realms, the boundary is blurred between them. Furthermore, the reflective nature of the object brings the picture of the outside into the space, allowing the user to be aware of the outside world while still being inside. Dream House, 2007 In this installation fifteen truncated pyramidal forms are fastened to an icosahedral structure. A lens is fixed to each one at the narrow edge, and at the wide edge is a projection screen where it intersects the frame. The user can observe fifteen screens while inhabiting the Dream House, where an inverted view of the surrounding environment is projected onto each of the screens (Dincer et al, 2019, 48-49). This installation offers a unique perception of the surrounding environment, which can only be observed when located inside the object. Therefore, the threshold challenges the user’s experience of their surroundings. In both the above installations, we can consider the use of a kaleidoscope to display our perception, and the manner in which the eye operates is a paradigm that should not be presumed to be impartial. As stated by Eliason and Ursprung (2012, 239-240) “[t]hrough our perceptions, we may change the surrounding reality”. Threshold as Association The threshold as an association permits the user to view the interconnected interior-exterior imagery. (Dincer et al, 2019, 52). It defines a different interior-exterior allowing the outside and inside to unify, therefore the threshold becomes an association (Dincer et al, 2019, 54). Your Circumspection Disclosed, 1999 Here a dimmed space houses installations, revealing views of the exterior surroundings by way of half-real and half-reflected views which are projected or transmitted upon a wall facing the

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Figure A & B: Fensterkaleidoskop (Schink, 1998).

Figure C & D: Dream House (Birgfeld & PhotoTECTONICS, 2007).

opening (Dincer et al, 2019, 48-49). By allowing the viewer to see the exterior surroundings, they are able to contextualise themselves and associate the interior space with that of the outside environment adjacent to it. This also starts to question the importance of window and door openings. In Archetypes in Architecture (1987), Thiis-Evenson describes four architectural archetypes; wall, floor, door and window. The latter two being referred to as ‘openings’ and that the interior-exterior correlation as a ‘dynamic dialogue’ (Dincer et al, 2019, 45). Thiis-Evenson argues that all architecture needs to span between complete openness and closure, which is delineated by three concepts; motion, weight and substance. Perec (1974), also supports the view of an architectural artefact consisting of various archetypes. He posits that all rooms have a minimum of one door and occasionally a window. He goes on to say that doors interrupt, separate and divide space, inhibiting diffusion, and enforcing partition (Dincer et al, 2019, 44-45). The revolving door and the Dutch door provides examples of how tangible qualities of archetypes affect the inside-outside relationship. Siegert (2012), states that the “revolving door is a paradox”, as a person travels through a door that is always closed. Simmel (2000), deliberates that doors unify the interior and exterior, and Teyssot (2008), argues that a window is an exemplary device of the threshold (Dincer et al, 2019, 46). Inside the Horizon, 2014 Found at the Foundation Louis Vuitton Building in Paris, triangular columns are clad on one face by yellow glass tiles, which are lit from within, and by mirrors on the remaining two faces. This exhibits a lively composition of light, shadows, and reflections, which furthermore, presents continuously varying perceptions, simultaneously displaying the reflection of the surrounding city (Dincer et al, 2019, 54). This offers an application of threshold located within a context deemed important by the designer. I believe that this can be appropriated to the project proposal to reflect the significance of the context (time and place), as identified by the statement of significance.

Figure E & F: Your Circumspection Disclosed (Pellion, 1999).

Figure G & H: Inside the Horison (Iwan Baan, 2014).

Seeing Yourself Sensing, 2001 In this example, mirrors positioned on the building façade reflect the surrounding environment of a museum. The interior and exterior merge as people observe portions of their own reflection intermingled with the environment found outside the building. This example offers a much more visual subjective experience of the user. Furthermore it is not merely an installation in an exhibition, but forms part of a building, which is far more useful to the project. One can expand on this concept by arguing that the Third space is revealed but in a manner that allows the user to visualise themselves inside it. Threshold as Event Here designing a threshold is deemed as a link that is not concerned with producing a tangible connotation, but develops into an event. Therefore, the threshold as an event is discerned as dynamically producing the event, comparable to a catalyst in a chemical reaction, the event generates a novel interiorexterior setting within the existing space. The viewer observes the work ‘outside’, and through intervention, also ‘inside’ (Dincer et al, 2019, 55).

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Figure I & J: Seeing yourself Sensing (Eliasson, 2001).

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The Body as Brain, 2005 Here we can observe a wooden canal divided into two within a museum. One branch flows down past a staircase to the lower level, terminating as a projection on the wall, the other tributary continuing outside again. The ‘event’ (canal) provides the connection between the interior and exterior, and acts as a narrative or journey running throughout the entire place. This treatment of the threshold further unifies all elements of the design into a cohesive whole. It can be likened to Tan’s (2011) archetypes of journey/odyssey and mystery. Threshold as Immersive Space Lastly, the threshold as an immersive space, shifts the interiorexterior which is experienced equally from inside or outside the space (Dincer et al, 2019, 56). The boundary between inside and outside becomes unidentifiable and, as in The Blind Pavilion, the visitor is immersed in the fluid and dynamic visual and atmospheric conditions (Dincer et al, 2019, 57). The Drop Factory, 2000 In the Drop Factory, a geodesic dome is constructed from a steel structure with inserted mirror panes in triangular shapes reflective on either side. These optically fragment the environment whereas the interior panels augment it by way of water and light. This installation blurs the interior and exterior less so than some of the others, however, its reflective nature forces the user to engage with the threshold itself by observing their own reflection within the threshold itself. The use of water and light to multiply the experience adds a dynamic sense to the threshold. I feel that this is less successful in revealing the third space, which is what the project aims to do. The Blind Pavilion, 2003 The Blind Pavilion is glazed with angular panes of clear and black glass, and is located outside on a plinth. The immediate surroundings are either reflected, partly hidden by the black glass, or framed in fragments by the glass panes. This provides the users an experience that is constantly changing according to the sun angle and weather conditions outside. Furthermore, at a specific angle and position within the installation, the user can observe a full picture of the surroundings without any obscurity of the black glass. One can apply this experience to the project proposal by employing the use of mystery and journey through a space. Furthermore, allowing the inhabitant a full picture at a particular point is also beneficial in providing ‘overcoding’ and ‘frames’ for them to understand the concept. Conclusion The threshold is frequently perceived as a tangible boundary between interior and exterior in architecture, however, it is argued that by examining the works of Eliasson, the innate capacity of a threshold which embraces an active interchange linking interior and exterior, whereby one defines the other, is revealed (Dincer et al, 2019, 59). The above strategies offer a method to challenge and expand on the notion of threshold. It is recognised that these are, for the most part, temporary artistic installations, and they would need to be applied and appropriated in order to be successful in an interior design intervention.

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Figure K & L: The Body as Brain (Zug, 2005).

Figure M & N: The Drop Factory (Wamhof, 2000).

Figure O & P: The Blind Pavilion (Berg, 2003).

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B Drawings

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4719

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ROOF ADDITION

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