Material Associations Graeme Deacon 120012133 Architecture + Society \ 2019-2020
Contents
Abstract 5 Introduction 9 Materiality 13 Narrative 21 Material + Immateriality
27
True Materiality
33
Gottfried Semper
41
Materiality in Sacred Spaces
47
Conclusion 53 Brief
57
Concept + the City
65
Site Material Photographic Study
93
Precedents 137 Elevation Study
155
Brick Detailing
175
Ground Material
211
Church Atmosphere Study
219
Structural Study
231
Proposal Visuals
251
Bibliography + Illustration Credits
261
Appendix
273
3
Abstract
Material Associations
Figure 1 : Sketch of Morris+Company’s Energy Hub which raises the industrial material above the first floor.
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Abstract
‘Meaning and value are here vested solely in the artefact - the building - and form is developed from the intense working of materials and their means of construction.’ Zumthor1 Materials are the foundation of a successful building and place. This thesis explores design through materiality. Materials significantly alter one’s perspective by inheriting a material’s characteristics to create a collective space. The interaction of seeing relatable objects, such as a brick, allows one to appreciate the scale of the construction. The textures and colours of a material both affect its perceived weight, scale, light qualities and the buildings narrative. Through an analysis of the existing shipyard buildings in Gdańsk, the topic will be explored through a project that embraces materiality, language and is derived from its place.
1 - Zumthor, Peter. 1998. Thinking Architecture. Basel: Birkhäuser. p26
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Introduction
Material Associations
Figure 2 : Brick detail in Gdańsk Imperial Shipyard.
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Introduction
Materials have been intensely studied by researchers, practitioners and theorists. Materials have the ability to perform specific functions, contribute to one’s wellbeing, alter our perceptions of the world and its architecture. If material choice is neglected and in turn unsuccessful, it can contribute to a sense of discomfort and hostility. Materials are essential to the challenges architects face in today’s world. They can also be considerable contributors to climate change or other man-made calamities. It is palpable that materials matter. Materials are essential in the success of a space. They are experienced through light and sound, having the ability to create a genius loci. Materials dictate architecture. They influence the form and content of their built environment. The nineteenth century presented a question to the avant-garde architect; how to liberate architecture from the previous two styles of architecture. The trabeated, derived from the characteristics of timber, and the arcuated, fixed to the characteristics of masonry. The advancement in production of structural iron inaugurated a revolution as new forms, proportions and construction methods were becoming readily available. The nineteenth century brought structural steel, which was a catalyst for yet another architectural revolution. This was then further heightened by the development of reinforced concrete. Now, in contemporary architecture, architects are increasingly looking back at the former historical methods of trabeated and arcuated architecture. This is because of their ability to appropriately work the material to its natural strengths, but also because it holds a more meaningful narrative within its context. Materiality is the essence of contemporary architecture. Once seen as a secondary concern, it is now regarded as a primary consideration of the design process. Since the beginning of the century, the contemporary scene has moved to an expressive use of materials, becoming the preferred method of how architecture is presented to its users. Materiality in contemporary buildings has seen a challenge of traditional restraints, such as contemporary forms. Herzog & de Meuron are seen as the leaders of the style. The Ricola-Europe Warehouse in Laufen, Switzerland (1974), uses the timber façade to give a narrative of what lies behind, uniting substance and surface. This creates an imagery for the user that can excite and engage an interest that would lead the curious into the building. It is this engagement of the user and the architecture that is explored through a materiality, derived from its place in the project.
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Materiality
“Each material has its specific characteristics which we must understand if we want to use it.� Mies van der Rohe
Material Associations
Figure 3 : Stone bridge under construction.
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Materiality
“Marco Polo describes a bridge, stone by stone. ‘But which is the stone that supports the bridge?’ Kublai Khan asks. ‘The bridge is not supported by one stone or another,’ Marco answers, ‘but by the line of the arch that they form.’ Kublai Khan remains silent, reflecting. Then he adds: ‘Why do you speak to me of stones? It is only the arch that matters to me.’ Polo answers: ‘Without stones there is no arch.’”2 ‘Materiality’ is inadequately used as a means of describing a material quality. It is this tendency that limits a piece of architecture to only be seen as a result of its’ materials. However, the concept of materiality implies more than just a set of appropriate materials by which the finished building is constructed. In a wider context, materiality changes its perspective, inheriting a further characteristic as a multifaceted piece that refers to the collective of form, structure, space and material. Consequently, the term can only be applied to a piece of architecture that holds a sense of integrity through the material’s treatment. In the text, “Style: Style in Technical and Tectonic Arts, or, Practical Aesthetics” Gottfried Semper proposes that there are four categories of materials, identified by their technical purposes. Materials can be light and durable, like wood; pliable like clay; or robust and dense, like stone; or malleable and tough, like fabrics. Further to this, Semper devises a second classification based on the manner in which these materials are assembled. According to the above materials, he defines four main artistic activities; ceramics, tectonics, stereotomy and textiles. The next level of classification refers to “the domain of form” established from “the technical procedures” rather than characteristics. As an illustration, textiles refer to the act of weaving and knitting, however the material is not necessarily selected as timber or a fabric; the fundamental focus is of the method of assemblage and how the organisational characteristics of a specific material are applied. Although the former categorisation by Semper focuses on the literal aspect of the material, the latter prioritises the significance of “the different instances and modes in which the architectural product comes into being;”3 the referential aspect. Thus, materiality develops into an expression of material, spatial, formal and structural qualities, by distancing from the literal reference of a material condition. Hereof, contrasting the common use of the term ‘materiality’ within the architectural discipline, materiality provides the ability for these architectural expressions to be conducted. This suggests that by reducing materiality to the singularities of material, then the space will consequently reduce entirety of the term. Materiality is asserted upon a vast variety of domains. Materiality should be considered as the substance of an architectural totality. Once materiality is accepted in its entirety, all forms of architectural organisation can then be directly related to the fundamentals of materiality. Daniel Miller, an anthropologist, regards materiality as being closely related with social sciences. Miller positions materiality in regard to the everyday world and characterises both the “colloquial” and “philosophical” uses of the term materiality. The former characteristic concentrates on the quantitative aspects of object, whereas the philosophical approach suggests an object is formed to indicate the presence of 2 - Calvino, Italo. 1997. Invisible Cities. London: Vintage Books, 1997. p82 3 - Semper, Gottfried. 2004. “Classification of the Technical Arts,” Style in the Technical and Tectonic Arts; or, Practical Aesthetics, Los Angeles, CA: Getty Publications. pp109-113 4 - Frampton, Kenneth. 1996. “Rappel a l’Ordre: The Case for the Tectonic,” Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 19651995, ed. Kate Nesbitt, New York, NY: Princeton Architectural Press. p23.
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Material Associations
Figure 4 : Peter Zumthor’s Bruder Klaus Field Chapel.
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Materiality
an immaterial subject. Miller presents an interpretation of a religious temple, as going beyond being a mere physical entity. It is associated with ideologies, human acts and the user’s life. This approach looks to theorise materiality as more of a diagnostic device as opposed to being purely physical conditions. Thus, materiality is associated with phenomenology. At the other end of the spectrum, art historian Erwin Panofsky suggests a contrasting view of materiality through exploring the ‘subject’ of artworks. He argues that the material characteristics of any object are closely linked with the fundamental principles that establish a more profound design. Panofsky believes that a motif will hold a significance that is more than its physical appearance. Materiality then becomes the expression of the elemental design that implies a particular message. In turn, materiality then becomes associated with “iconology.” Architecture has undeniably produced its own views towards materiality. These are interlinked with the above; phenomenology, iconology, among other comparable thinking developed within other disciplines. Succeeding the theories of John Ruskin and Semper, Kenneth Frampton considers the architectural discipline to have conceived a notable interest in attempting to understand the physical content of architecture by referencing Le Corbusier’s text ‘Three Reminders to Architects’; “Thus, one may assert that building is ontological rather than representational in character and that build form is a presence rather than something standing for an absence.”4
4 - Frampton, Kenneth. 1996. “Rappel a l’Ordre: The Case for the Tectonic,” Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 19651995, ed. Kate Nesbitt, New York, NY: Princeton Architectural Press. p23.
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Narrative
Material Associations
Figure 5 : Neandrathal cave painting.
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Narrative
Narrative, as an architectural concept, has seen a diverse variety of interpretations from many architects. The term ‘narrative’ is used as a nominal of ‘story’; normally, but not always of the site’s history. This narrative of the building isn’t represented through materiality alone. Monica Flundernick believes that narrative is more of a sequence of actions or events, where the “communication of anthropocentric experience - the experientiality which is inherent in human experience and feelings, and depiction perceptions and reflections”5 takes place. Sylvain De Bleeckere and Sebastiaan Gerards suggest the origin of the term ‘narrative architecture’ originating from the phrase ‘architecture parlante’ which was first used in the text “Etudes d’architecture en France” (an unauthored text) within the 1852 publication of Magasin Pittoresque. Emil Kaufmann determined the term to be referring to the work of Claude-Nicolas LeDoux. and then translated a hundred years later to ‘narrative architecture’ by Emil Kaufmann.6 Narrative was undoubtedly used in architecture before these terms. It predates terminology to the extent of cave painting by the Neanderthals. Sophia Psarra explores the use of narratives in John Soane’s house, which was built in the early nineteenth century, in her seminal text In Architecture and Narrative: the Formation of Space and Cultural Meaning.7 In 1983, an architectural organisation formed in London from Nigel Coates’ unit at the Architectural Association – Narrative Architecture Today (NATØ). They explored narrativity from a postmodernist approach and redefined a narrative architecture as a progressive process by the user.8 Bleeckere and Gerards define narrative architecture themselves as ‘little stories,’ as proposed by the philosopher Jean-Francois Lyotard, or as a ‘metanarrative’.9 Metanarratives are described as accepting “only its own narrative as the ultimate one and claims therefore a monopoly on all the little stories.”10 They continue this to describe the present day as being rightly focused on the ‘little stories’ as the driver for narrative architecture.11 Psarra classifies narrative architecture into two groups; conceptual and perceptual. The relationship between the two is described as how the architecture reflects “how the conceptual and perceptual affect cultural content”.”12 Psarra indicates the narrative of the building is not only physical, but also associated with space-time relationships.13 Peter Zumthor agrees with this concept, and suggests that quality architecture is “the art of space and it is the art of time as well.”14 Although Zumthor does not directly discuss designing with a narrative, the thought process is shared through his use of material and atmosphere to create a memory. Herzog & de Meuron, the contemporary Swiss architectural practice, made their distinguished reputation through the amalgamation of a gracefully controlled formal vocabulary with a refined use of materiality. They are famous for their techniques of construction, where the fabric of the building becomes descriptive, possessing a narrative. Although reminiscent of high modernist formalism, it is presented in a much purer manner. The quieter the forms become; the more complexities are introduced in the name of maintaining the stripped back form. The more the materials are coerced into the desired form, the more individual they become. Herzog & de Meuron’s buildings appear glaringly generic, not as a modernist driven desire to express the production process 5 - Fludernick, Monica. 2009. An Introduction to Narratology. Abingdon, Oxon: Routledge. p59 6 - De Bleeckere, Sylvain and Gerards, Sebastiaan. 2017. Narrative Architecture: A Designer’s Journey New York: Routledge. pp1-2 7 - Psarra, Sophia. 2009. Architecture and Narrative: The Formation of Space and Cultural Meaning. London: Routledge. p115 8 - Jamieson, Claire. 2017. NATO: Narrative Architecture in Postmodern London Oxon: Routledge. p9 9 - De Bleeckere, Sylvain and Gerards, Sebastiaan. 2017. Narrative Architecture: A Designer’s Journey New York: Routledge. p3 10 - Ibid. p2 11 - Ibid. p3 12 - See Reference 7. p3 13 - Ibid. p3 14 - Zumthor, Peter. 1998. Thinking Architecture. Basel: Birkhäuser. p86.
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Material Associations
Figure 6 : Stacked faรงade of the Ricola Warehouse.
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Narrative
or to plan the future, but due to an interest in exploring how the everyday can become poignant. It is because of this that there is an element of ambiguity as to whether to call their work ‘minimalist’ or ‘neomodernist’, or even both. Minimalist for their perceptual concepts, yet neomodernist for their historic driven narrative. The narrative to Herzog & de Meuron’s buildings’ function in a manner that reads to create a modern design, is to traduce it. Subsequently, there is a much deeper and more convoluted thought than this, suggested by their historical driven narrative. The Ricola-Europe Warehouse in Laufen, Switzerland (1974), is a prime example of their work. Materials are used as culturally specific elements, to express visual references “to the traditional stacking of sawn timber boards around the numerous saw mills of the area, as well as to the limestone quarry within which the storage building sits. The foundation beams have been left exposed. Layers of construction have been left visible, so that the basic cladding of galvanized sheet metal can be seen with the loading bay. The image of the stacking of planks is seen on approaching the building; every element of the cladding is a kind of storage frame, wherein parts of the façade are ‘stored’, just as goods are stored in the building’s interior.”15 One can identify a material once its supposed spatial depth is recognised. In the Ricola warehouse, the visual depth of the stacking of the cladding runs a sequence of variation across the otherwise smooth skin of the building, extending the effect the architects would find in the stone from the quarry the building sits in. The simple building form accepts the tactile value of surface, by breaking it into the series of stacked bands. The stacking, which has multiple references; whether it be the shelving inside or the planks of timber from the surrounding saw mills, gives the warehouse a site-specific narrative. Herzog & de Meuron utilise the paradoxical spatial impacts of the material to realise a minimalist approach to the form to a point of ambiguity where the materials properties almost become incidental. The formal language of the building is a harmony of form and ornament. A move familiar to classical orders such as the ornamentation of Corinthian or Ionic columns. The application of the stacked language plays between the spatial depth of the façade as well as the visual density. It breaks what could easily be an unimpressive flat aluminium clad with no soul. The true architectural joy takes its effect from the shadows created by embrasures, with their site-specific and formal concepts. Subsequently, it allows the user to understand the proportions better; and its connection to its context much more than the mundane shed it could easily have been.
15 - Mack, Gerhard, Herzog & de Meuron. 2010. Herzog & de Meuron 1978-1988. The Complete Works. Volume 1. Edited by: Gerhard Mack. Chinese ed. Beijing, China Architecture & Building Press. Vol. No. 1.
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Material + Immateriality
Material Associations
Figure 7 : El Lissikitzky’s monochromatic lenticular walled room.
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Material + Immateriality
Since the turn of the century, materiality has been at the forefront of architectural discourse and practice, yet its essential meaning is ever diminishing. Material responsiveness, dematerialisation and digital materiality define an area that allows for a creative exploration with proven observations from the scientific realm. This is described as materiality and immateriality; a term which is perpetually transforming. As a reaction to an advance in science, materiality became a course of investigation through the emergence of nineteenth-century German aesthetics. Advancing a greater awareness of the physical aspects of architecture, architects began to examine the relationship of material arrangements, perceptual function and psychological response. The impression received from materials was not fundamentally deduced from scientific results or physical contact, but from an understanding of oneself in a specific sensory rapport to the material. It is this perceptive relationship that differentiates the materiality from the physical material. These ideas re-emerged transformed in the early avant-garde projects and manifestos of El Lissitzky, a Russian architect, artist and designer. The architects before him had theorised materiality, however he looked to apply this relationship in his work through experimenting with light, colour and images. Environments were seen as an opportunity of encouraging lively activity into prosaic life. In the avant-garde text, Art and Pangeometry, Lissikitzky proposes the possibility of constructing materials in a manner that would read as one solid when in a static state, but when in motion, became multiple articulations of an imaginary space. This is referred to as ‘immaterial materiality.’16 He explored this in a series of rooms at the Internationale Kunstausstellung in 1926, where the room was multi-coloured or had monochromatic lenticular walls that changed depending on the viewers standpoint. Lissikitzky showed that the definite properties of a material were connected to the interaction of the viewer through both physiological and psychological effects. This led to an almost immediate reaction in design; objects provoked material perceptions as opposed to previously gratify formality, functionality or monumentality. Lissikitzky’s anomaly examined rebutting the formal language and practical concern of material considerations, celebrating the informality and unfinished object. This allowed the viewer to have a series of interpretations of the construction. This recognised the viewer as a part of the experience of architecture and consequently, allowed the architect to manipulate the viewer and their interpretation of the ‘immaterial’ through control of a material. These have subsequently resurfaced in contemporary architecture. Gernot Böhme explored the concept of a ‘materialised energy’ of an atmosphere in the text, “Atmosphere as the Subject Matter of Architecture.” Böhme queries if observing is the “truest means of perceiving architecture? Do we not feel it even more? And what does architecture actually shape – matter or should we say space?”17 Böhme concludes that atmospheres (including environment, materials and other users) are a shared reality of the perceiver and the perceived; the stage of human life within the space. He refers to Herzog & de Meuron’s architecture as experimenting with a material with an intelligent approach, as opposed to the undistinguished attitude that can remove the potentially mundane atmosphere. 16 - Lissitzky, E., K. und Pangeometrie. 1925. In U. Conrads (Ed.) (1965) Rußland: Architektur für eine Weltrevolution. Berlin, Frankfurt am Main, Germany. p128 17 - Böhme, G. (2003). Atmosphere as the Subject Matter of Architecture. In P. Ursprung (Ed.), Herzog & de Meuron: Natural History. Baden, Switzerland: Lars Müller Publishers. p399
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Material Associations
Figure 8 : Glenn Murcutt House.
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Material + Immateriality
Traditional materials have been reconceptualised within the contemporary architecture movement. With the appropriation of forgotten methods, Peter Zumthor’s Bruder Klaus Field Chapel connects us to the traditional material practices of architecture, through the utilisation of long-forgotten, historic construction methods. Conversely, Glenn Murcutt’s use of cheap industrial materials, primarily corrugated cement or metal sheets, combine the house and the factory. His union of vernacular and modern architecture presents building with associations of climate and cultural references.
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True Materiality
“The valuing of form over matter relegates material in architecture to the practical underside of the profession and lifts the status of the architect to form giver.� Katie Lloyd Thomas
Material Associations
Figure 9 : Louis Kahn’s Indian Institute of Management.
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True Materiality
“Materials are not only chosen for technically meeting technological demands. Other factors, like the atmosphere a material creates, play an important role. Some architects let themselves get inspired by materials, with its specific characteristic properties.”18 Schroepher discusses how materials can influence an architect, using the relationship between Louis Kahn and brick as an example. As stated above, apart from being a part of the design process, material choice can be the fundamental basis of the project. Schroepher indicates that the testing of a material’s conceptual and physical properties will result in a clear understanding of the material and how it can be intricately used within the design concept. Through physical modelling and research one can develop a suitable expression of the material, rather than the traditional use of the material.19 Kahn says: “When you are designing in brick, you must ask brick what it wants or what it can do. Brick will say; I like an arch. You say, but arches are difficult to make, they cost more money. I think you could use concrete across your opening equally well. But the brick says, I know you’re right, but if you ask me what I like, l like an arch.”20 Schoepher suggests that the most articulated material application can be the catalyst to a design concept; “a material investigation can inspire and enhance an architectural concept.”21 According to Schroepher, Kahn’s interpretation is an example of how one illustrates an inveterate research into the character and potential of brick. His use of brick is in contrast to other notable architects who explored the material, such as Aalto or Wright. All three of the above architects worked the material physically; but in very different manners, they would express a different attitude about the brick’s character and the potential of the material in their projects. In turn, it was the humble brick that informed their designs.22 Kahn’s influential quote above articulates an intrinsic, true use of materiality in designs. For him, concrete in compression and steel in tension is acceptable, however the use of cheap replications imitating stone is distasteful. The choice of a material requires the design to work with the material’s characteristics, then apply it in an appropriate manner to the building through detailing that will engage the essence of the material through its strengths and restraints. When one recognises a material’s properties, it is only then possible to design a building that features the material in a fitting way. It should also be noted that materials that form the building’s structure should be considered if one was to truly celebrate a material. ‘True’ architecture demands the honest use of materials. A building’s roof supported by a brick wall is what is seen as a product of ‘true’ architecture due to the honesty in the use of the materials. The idea of a ‘truth’ to materials, expects materials to be used in the most effective nature, bound by their properties. Although it is not a necessity for one to reveal or express the structure, concealing it would not be deemed a ‘true’ piece of architecture; such as using a brick wall to hide a steel frame.
18 - van Dooren, Elise and van Iersel, Taco. 2008. “A House of Cardboard,” Cardboard in Architecture, Vol. 7, edited by Mick Eekhout, Fons Verheijen, Ronald Visser. Netherlands: IOS Press. p88. 19 - Schroepher, Thomas. 2011. Material Design: Informing Architecture by Materiality, Basel: Birkhäuser. p25. 20 - Kahn, Louis. 1991. “Space and Inspirations,” Louis I. Kahn, Writings, Lectures, Interviews, edited by Alessandra Latour. Newyork: Rizzoli. p228 21 - Schroepher, Thomas. 2011. Material Design: Informing Architecture by Materiality, Basel: Birkhäuser, p20 22 - Ibid. p20
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Material Associations
Figure 10 : 6a Architect’s Raven Row Gallery holds the memory of the charred timber from a fire that destroyed the building by cladding the extension in cast iron poured into a charred timber formwork.
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True Materiality
The characteristics and the abilities of the material should be included in the tectonics of the building and not solely on the appearance. Manuel DeLanda believes that it is superficial otherwise, and that “once conceived, a design can be given a physical form by simply imposing it on a material substratum, which is taken to be homogeneous, obedient and receptive to the wishes of the designer.”23 The reason architects have started to use materials in a ‘dishonest’ manner, is probably only due to building economics. During the Industrial Revolution, architects began to use new materials, such as iron as a cheaper and readily available alternative to traditional, locally available materials. Iron foundries developed methods of casting to create entire façades that mimicked traditional materials. It was this that began the decay in honest architecture, although it could be argued that rendering (dating back to Roman ages) was the first example. The concept of a material expressing its culture, history or a suggestion to its local origin was ignored and had been replaced by a mere imitation. This notion has over time led to the architect viewing a material as nothing more than as a different tub of paint. With this attitude it pushes material to become a mere finish; exchangeable and superficial. This then unsurprisingly, makes materials a supplementary issue in architecture, and are used solely for decoration where they should hold meaning and significance, having been underestimated in the power of matter.
23 - DeLanda, Manuel. 2001. ‘Philosophies of Design: The Case of Modelling Software’, in Jaime Salazar (ed), Verb Processing. Actar: Barcelona. p132.
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Gottfried Semper
Material Associations
Figure 11 : Gottfried Semper’s Caribbean Hut.
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Gottfried Semper
In 1851, Gottfried Semper published his seminal text, The Four Elements of Architecture. He described the wall of the primitive hut as being fabricated of woven mats, rather than constructed of stone. The three remaining elements the hut was constructed of were; the hearth, the mound and the roof. He described them as not “material elements or forms, but as motives or ideas, as technical operations based in the applied arts.”24 The roof was related to frame making, which was also associated with the production of furniture such as tables and chairs. The mound was related to terracing along with the wall. The hearth subsequently allowed for ceramics to be produced. The combination of the four elements created an enclosure. This space was created with the process of knitting, knotting, stitching and weaving; all of which are practices in the production of fabrics. Semper had accordingly assigned a technical skill or trade, to the four elements; the wall was in the domain of textiles, the hearth with ceramics, the mound with masonry and the frame with joinery. Semper’s primary interest lay in the fascination of the textile wall, the fourth element, as it is connected to the intent to adorn a building. The wall then became a solid, stereotomic masonry wall, where textiles could be hung. Semper asserted that the “hanging carpets remained the true walls, the visible boundaries of space. The often solid walls behind them were necessary for reasons that had nothing to do with the creation of space.”25 The architectural joy was in the drape, not the wall, it became a mere secondary object within the space. Semper suggests the skin is not a substitute for the bare wall but holds a function of character through ornamentation. Consequently, it then gives a further function to the making of the space; it ‘clothes’ the building with “greater significance, artistic expression and beauty.”26 Semper possibly established this theory from the German words ‘wand’ (wall) and ‘gewand’ (dress) as they derive from a single root, which indicates the woven material formed the wall. The four elements are given further analysis by aligning them with trades, conveying a materialistic, pragmatic perspective on his hypothesis. The rules of style, allurement and architecture all emerge from industrial artefacts. The art of textiles through knotting, stitching and weaving established the creation of clothes and subsequently the walls of the enclosure. The hand carried an ability to transform raw material that could be categorised as elastic, malleable, hard or pliable to its corresponding trades; textiles, tectonic, ceramic and stereotomic respectively. Semper describes the knot as being the “oldest technical symbol.”27 The knot can be reconstructed in many different forms; stitching, plaiting and weaving, all of which originate from the raw material starting life as a band or thread. The linear material can then be constructed into a surface which holds the ability to dress an object. A ‘new’ material (one that had been formed like the above) could be used to construct one of the four elements. When this occurred, the forms and meaning of the original material would be conveyed in the new component. The Greek temples built in stone, explore the details of joinery developed from the precedent of timber construction. This suggests that although the characteristics of one material may dictate a certain path, they can be mimicked and adapted to work with another material. This can then lead to forms becoming alien to its intended use and lose the connection with their origins. This would allow for the evolution of a new style. 24 - Semper, G. 1989. The Four Elements of Architecture and Other Writings. Cambridge University Press. p24 25 - Ibid. p104 26 - Herrmann, W. 1989. Gottfried Semper: In Search of Architecture. Cambridge, Mass.: MIT Press. p219 27 - Semper, Gottfried. 2004. Style in the Technical and Tectonic Arts; or, Practical Aesthetics, Los Angeles, CA: Getty Publications. p219
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Material Associations
Figure 12 : Floor plan of the Parthenon, Athens.
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Gottfried Semper
Semper believed the hearth’s origin could be connected to the altar. Frampton regards this spiritual and social connotation that Semper presented as being a phenomenal element to the architecture, derived “from the Latin ‘aedificare’, which in turn is the origin of the English word ‘edifice’, meaning literally ‘too make a hearth’. The latent institutional connotations of both hearth and edifice are further suggested by the verb ‘edify’, which means to educate, strengthen and instruct.”28 In Semper’s classification of original techniques, stereotomy is classed as an ancient principle. Semper describes stereotomy as the “solid ashlar masonry of the Earth,”29 being portrayed as an altar, a fabricated element built as a place of glorification. The hearth becomes symbolic of the heart of the building; it can be used to divide the spaces into rooms or become the focal point of a space. Historically it is where humans gathered to socialise as well as to keep warm and to cook. Due to the vital role the hearth plays within the space, it can be regarded as the altar in a religious setting. Simon Unwin makes this association, stating: “The architecture of an altar may be more consistent than that of a hearth or of a bed—it is almost always a table (a platform) for ritual or symbolic sacrifice, or which plays the role of focus for worship.”30 The principal purpose of all Christian churches is to identify the place of the altar. As the hearth is the predominant place in the dwelling, the altar is to the church.
28 - Frampton, Kenneth. 1996. “Rappel a l’Ordre: The Case for the Tectonic,” Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965-1995, ed. Kate Nesbitt, New York, NY: Princeton Architectural Press. p27. 29 - Semper, Gottfried. 2004. Style in the Technical and Tectonic Arts; or, Practical Aesthetics, Los Angeles, CA: Getty Publications. p351 30 - Unwin, Simon. 2003. Analysing architecture. 2nd ed. London: Routledge. p87
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Materiality in Sacred Spaces
Material Associations
Figure 13 : Peter Celsing’s St. Thomas Church.
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Materiality in Sacred Spaces
Places of worship are a sophisticated composition of physical elements, functions, and symbolism. The French Jesuit, Pierre Teilhard de Chardin believed: “We are not physical beings having a spiritual experience; we are spiritual beings having a physical experience.” A sacred space is a man-made construction that attempts to create a ‘spiritual’ environment. With this combination, the architecture can be separated into a series of categories that define and refine the material options. Like Semper, these can be categorised into their roles of the building. There are three categories; the structure; the colourful, and the replaceable. The first category of the religious space is its foundations and walls. These are durable materials with utilitarian qualities that provide structure and strength. They do not demand or require to be an ‘attractive’ material, but rather practical. Their beauty however tends to be in texture and tone rather than pattern or colour. The second category in a religious building is a series of colourful surfaces that contrast to the flat, neutral structural aspect. These contrasting elements are stained glass windows, statues and ornamentation. These are essential in the building’s visual assertion of permanence and value. Although they hold no practical purpose, they hold value in the creation of awe, and often excessive beauty. The last category is the light, soft and replaceable. The altars, pews, and fabrics of the religion form the furnishings and finishes, the alters or pews in the catholic church. These elements establish a human scale connection to the space allowing the user to touch and physically engage with the sacred space. The composition of the three creates a space that encourages worship by instilling a spiritual atmosphere. When the categories are analysed, it becomes easy to make appropriate material selections for each element within the space. Each of the categories are essential in creating a beautiful space for worship. Only the second is special to the religious building as it is not required in other buildings, nor is it commonplace in contemporary architecture. This is because they serve a higher purpose than mere decoration or practicality. The first category is permanent, and the top is temporary. The middle is unique, its dynamic and has an impact that often exceeds the building’s size. By creating colourful contrast to the stereotomic walls, small amounts of contrast are required to create visual excitement. Small stain glass windows can cast a glow, like jewels, on the walls. The second category holds the ability to generate a sense that the church and its congregation are attempting to impress the spiritual world. Although they may not be structural, the materials are intrinsic in completing the space. Within a religious space, these normally superficial moves become meaningful. It is because of their importance that they will not move, despite in many cases being able to do so. If they were to, it would be with great consideration, as each element is carefully located within the space. The materiality of these should therefore be made of more materials that will stand the test of time. The gold-plated decorations suggest the promise of eternity in precious metal. The stainedglass window allows for the different colours to illuminate the space; the variety of colours are a reference to all of God’s creations in the world. They are impressive, in many cases specific to the ritual process, and often are paralleled to offering a glimpse
49
Material Associations
Figure 14 : Luis Barragan’s Capilla De La Capuchinas.
50
Materiality in Sacred Spaces
of heaven. These objects are emotive and inspiring. They should therefore be made of an appropriate material that one could consider a higher power to reside in. All the materials collectively enhance the space to a suitable one that can only be a place of prayer.
51
Conclusion
Material Associations
Concrete Slab Concrete. Board finished
Glazing
Outer load-bearing brick Inner load-bearing brick
Lime-washed brick White glazed brick Perforated white glazed brick
White glazed brick bench with heating Brick floor Concrete foundations
Figure 15 : Section of Johan Celsing’s Årsta Church with the seat being incorporated into the wall.
54
Conclusion
A material centric approach to architecture is becoming seemingly more popular within the contemporary architectural era. It is a realist approach, which works on the principle of the primary thought process being on the object. This rejects much of the twentieth century movement’s mentality focusing on the subject. Contemporary architecture is beginning to show an apparent disregard to this orientation towards design. Through materiality, the architect should seek to provide a better quality experience for the user by studying economic, environmental, and social aspects of design to provide a site-specific response as opposed to a general solution. By visibly articulating this ethic, it allows the architect to discuss topics such as sustainability and quality of design, and in turn make an informed contribution to society. Materials are essential in the success of a space. They can create a genius loci through the experience of light and sound. The sense of place can be established through the use of a narrative. As an architectural concept, narrative has a variety of interpretations from many architects. It is often used to tell the story of the site’s history. Although this narrative of the building isn’t represented through materiality alone, it plays a fundamental role in the reading of the architecture’s ‘story.’ Herzog & de Meuron are renowned for their controlled vocabulary of narrative by using a refined palette of materials. Their architecture holds a narrative through the descriptive techniques of construction in a refined and pure manner. Materiality has recently been a focus of many contemporary architects, with it being at the centre of their architectural discourse and practice. The meaning is however ever dwindling. Materials have been reduced from Kahn’s influential quote, articulating essential and honest use of materiality in designs. Due to this, the term is perpetually transforming and is now seen in interdisciplinary fields that are allowing for artistic representation and experimentation to take place. This has led to a dematerialisation and a lack of responsiveness. When one recognises a material’s properties, it is only then possible to design a building that features the material in a fitting manner.
55
Brief
Material Associations
Figure 16 : Proposed site.
58
Brief
Historically, the fire station was in the centre of the shipyard. The building had its own identity of being a fire station. Equipment was simple and the firefighters all had one goal, to put out fires. The fire station was a lodge, as well as a day job, made up of men who both were employed and volunteered for the job. When the shipyards hit their peak, the on site living accommodation became overpopulated. This meant there was a new shift of workers migrating from the city to the newly established ‘suburbs.’ The fire station remained on site serving only the shipyards. However, fire stations had to be built to accommodate the sprawling population also, out to the newly formed suburbs. The fire station became one level, representing the suburban houses for the most part. The soviet government system made the fire station uniform and structured, losing much of their identity of the past. With the new masterplan of the site, there is a look to densify the site and add to the urban grain on the vast wasteland. With this proposal, the city is gaining a population count higher than it has been for more than a decade. With these mass quantities of people migrating back to the urban centre, the old dilapidated fire station that reminisces of what once was, is not sufficient enough to handle the modern-day problems of firefighting. The purpose of this thesis project is to develop a fire station and religious space in today’s social context. It should hold an identity through materiality. It should also be a place where a dialogue can develop between the people of the fire station and the public that will populate the site. Historically, the church would have done this so an approach to rebuild this would be an appropriate medium. Not only is there a need for the fire station, but also a need for a leisure facility as well. As there is a distinct lack of health and well-being facilities within the city centre. The firefighters require to be in the correct mind and physical state; this would require places such as a gym, swimming pool and outdoor training spaces. These could be opened to the public, allowing for the social interaction between public and private. 1.
To design a fire station in an urban context. This proposal is to place the building and its alterations within its context in a meaningful manner.
2.
To develop an unique identity, contextually appropriate to the site. To achieve this, materiality must be examined very closely.
3.
To develop a relationship between private and public zones. These spaces need to be integrated so that the public areas do not interfere with private areas of the fire station. This can be achieved through the leisure facilities and church.
4.
To allow the workings of the fire station as possible to be observed. The public is always fascinated by the workings of a fire station and its engines, the building should develop a system which allows the public to view operations without getting in the way.
5.
To create firefighter’s private area away from the public. To provide a place for the men to relax among themselves, creating that fraternity atmosphere.
59
Material Associations
Transition Zones allow movement of personnel between the facility’s exposed to carcinogens zones and safe ones intended for extended occupancy.
Figure 17 : Bubble diagram of layout connection requirements.
60
Brief
²
² ²
Users: 2 Station Managers (in-living with a family of 4 each) 12 Firefighters 1 Receptionist 1 Minister 80-100 Church Congregation 20 Swimming Pool 40 Gym + Gym Hall
Total: 186
Figure 18 : Schedule of accommodation.
61
Material Associations
Figure 19 : Patrick Geddes’ ‘Place-Work-Folk’ table emphasises a connection to a place, through his associations with ‘place, work, folk’ suggesting that a society actively engaged in their communities have a deeper sense of belonging. With this mindset, the concept should create a genius loci and connect the users to their place of work and wider community.
62
Brief
63
Concept + the City
Material Associations
Figure 20 : Typical Gdańsk street elevation A ‘Dutch’ gable lined street can be found within the core of Gdańsk. These façades are merely a thin, decorative, insulating layer to the street. Venturi would call them ‘decorated sheds’. The buildings that lie behind are built to a Soviet style of life, and more recently contemporary life. The proposal rejects this trend by inhabiting the walls and due to it’s immense thickness becomes self-insulating.
66
Concept + The City
Figure 21 : Section through typical Gdańsk townhouse.
67
Material Associations
Figure 22 : Axonometric of the Road to Freedom highlighted in red.
68
Concept + The City
69
Material Associations
Figure 23 : Material reading of the Road to Freedom.
70
Concept + The City
Figure 24 : Collage of the existing site and it’s surroundings.
71
Material Associations
Figure 25 : Lech Wałęsa lifted on fellow shipyard worker’s shoulders outside the Administration building that defines an edge of the site.
72
Concept + The City
73
Material Associations
Figure 26 : Historic image of the Administration building and the church that used to sit on the site.
Figure 27 : The site plan in 1929. Red-fire station. Blue-canteen. Orange-offices. Yellow-church. Grey-shooting range.
74
Concept + The City
Figure 28 : The Imperial Shipyard fireman practicing on the site.
Figure 29 : Soviet era fire engine in the shipyard.
75
Material Associations
Figure 30 : Existing fire station East elevation.
Figure 31 : Existing fire station South elevation.
Figure 33 : Existing fire station West elevation.
76
Figure 32 : Existing fire station North elevation.
Concept + The City
Figure 34 : Existing fire station first floor plan.
Figure 35 : Existing fire station ground floor plan.
77
Material Associations
Figure 36 : City plan showing the locations of existing fire stations. ‘+’ denotes proposed site.
78
Concept + The City
Figure 37 : City plan showing the locations of existing religious buildings. ‘+’ denotes proposed site.
79
Material Associations
Figure 38 : Development of the site. Existing condition.
80
Concept + The City
Figure 39 : Development of the site. Proposed mass of fire station.
81
Material Associations
Figure 40 : Development of the site. Addition of church.
82
Concept + The City
Figure 41 : Development of the site. Colonnade and loggia to connect buildings together.
83
Material Associations
Figure 42 : Development of the site. Colonnade to Southern edge to complete the square.
84
Concept + The City
Figure 43 : Development of the site. Brickwork details wrap around the square and courtyards.
85
Material Associations
Figure 44 : Proposed window detail takes elements from the existing window detail (opposite) through stepping back the surrounds and the arch lintels.
Figure 45 : Respecting the existing fire station through it’s proportions.
86
Concept + The City
87
Material Associations
Figure 46 : Respecting the existing fire station’s language of structure.
88
Concept + The City
89
Material Associations
Figure 47 : Completing the square. The banding from the Administration building is continued around and the lintel height of the ground floor openings on the existing fire station are also continued.
90
Concept + The City
91
Site Material Photographic Study
Material Associations
Figure 48 : Existing fire station front (East) elevation.
94
Site Material Photographic Study
95
Material Associations
Figure 49 : Interior of existing fire station.
96
Site Material Photographic Study
Figure 50 : Interior of existing fire station.
97
Material Associations
Figure 51 : Interior of existing fire station engine house.
98
Site Material Photographic Study
99
Material Associations
Figure 52 : South elevation of existing fire station. The art installation, ‘The Guardian’ by Stefaan De Croock is made from salvaged wood from the shipyards.
100
Site Material Photographic Study
Figure 53 : Shipyard building with typical brick detailing of the shipyard.
101
Material Associations
Figure 54 : Brick detail of the Administration building.
102
Site Material Photographic Study
103
Material Associations
Figure 55 : Side street in the shipyard.
104
Site Material Photographic Study
105
Material Associations
Figure 56 : Industrial materials cross between the brick buildings.
106
Site Material Photographic Study
107
Material Associations
Figure 57 : Windows of shipyard building.
108
Site Material Photographic Study
109
Material Associations
Figure 58 : Office addition to shipbuilding unit.
110
Site Material Photographic Study
111
Material Associations
Figure 59 : Machine within a hull building hall.
112
Site Material Photographic Study
Figure 60 : Stamped brick.
113
Material Associations
Figure 61 : Exposed structure of hull building hall.
114
Site Material Photographic Study
Figure 62 : Crane framed by hall window.
115
Material Associations
Figure 63 : Locker room of shipyard building.
116
Site Material Photographic Study
117
Material Associations
Figure 64 : Shipyard building and vessel frame a defunct crane.
118
Site Material Photographic Study
119
Material Associations
Figure 65 : Sawtooth brick detail.
120
Site Material Photographic Study
Figure 66 : Industrial frames bolted onto vandalised building.
121
Material Associations
Figure 67 : Special cobble pays tribute to where shipworkers were killed during the Solidarity movement.
122
Site Material Photographic Study
Figure 68 : Intersecting tram tracks and cobbles.
123
Material Associations
Figure 69 : Hexagonal cobbles.
124
Site Material Photographic Study
Figure 70 : Abandoned boat left to rot.
125
Material Associations
Figure 71 : Rope wraps around corroded iron balustrade.
126
Site Material Photographic Study
127
Material Associations
Figure 72 : Steel door to shipyard building.
128
Site Material Photographic Study
129
Material Associations
Figure 73 : Many alterations have had a negative effect on the faรงades of the shipyard buildings with carelessly matched brick and windows.
130
Site Material Photographic Study
Figure 74 : Old power distribution unit.
131
Material Associations
Figure 75 : European Centre of Solidarity (ECS) to the South West of the proposed site.
132
Site Material Photographic Study
133
Material Associations
Figure 76 : Gate Number 2, an existing gate to the shipyard with the ECS in the background.
134
Site Material Photographic Study
135
Precedents
Material Associations
Figure 77 : John Soane’s Bank of England inhabits ‘in between spaces’.
138
Precedents
First Floor
Section
Ground Floor
Second Floor
Figure 78 : Like many Scottish castles, Little Cumbrae Castle uses the wall as living space.
139
Material Associations
Figure 79 : Francesco Borromini’s San Carlo alle Quattro Fontane uses the wall as inhabited space and formalises the gardens with a colonnade.
140
Precedents
141
Material Associations
Figure 80 : Giovanni Muzio’s Convento di Sant’Angelo uses a tectonic façade to line the street edge with relief for garden space behind.
142
Precedents
Figure 81 : A tectonic façade marks the entrance to Dominikus Böhm’s Church of St. Joseph.
143
Material Associations
Figure 82 : Southwark Fire Station creates an urban block by incorporating mixed use throughout the site. The historic fire station housed apartments and a small hospital as well as a large fire station and training facility.
144
Precedents
Figure 83 : Pedevilla Architect’s fire station in Vierschach uses a minimal palette and a simple form with openings only where required.
145
Material Associations
Figure 84 : Peter Celsing’s St. Thomas Church creates a courtyard, uses a restrained palette and uses light delicately to create a calming space.
146
Precedents
147
Material Associations
Figure 85 : Johan Celsing’s Årsta Church controls the entrance sequence for the user by compressing the lobby before lifting the volume in the nave to give the user a sense of awe in the tall volume.
148
Precedents
149
Material Associations
Figure 86 : Gillespie, Kidd & Coia’s St. Bride’s Church uses timber to diffuse the light and deep walls to create a secure, safe feeling within the space.
150
Precedents
Figure 87 : Inigo Jones’ Queen’s House utilises the colonnade to formalise the garden square and to bring user’s into the building.
151
Material Associations
Figure 88 : Friedrich August Stßler’s Neues Museum completes the garden square with a colonnade to create an entrance sequence to the buildings on Museum Island.
152
Precedents
153
Elevation Study
Material Associations
Figure 89 : Flat elevation with simple openings.
Figure 90 : Recessed brickwork reads the openings below.
156
Elevation Study
Figure 91 : Brick returns read the openings below.
Figure 92 : Brick returns read the openings below.
157
Material Associations
Figure 93 : Slanting the wall into the window reads the openings below and gives depth to the faรงade.
Figure 94 : Slanting the wall into the window reads the openings below and gives depth to the faรงade..
158
Elevation Study
Figure 95 : Slanting the wall into the window reads the openings below and gives depth to the faรงade.
Figure 96 : Sawtooth stepped reads the openings and brick detail below.
159
Material Associations
Figure 97 : Stepping in to the window.
Figure 98 : Stepping in to the window with recessed brickwork.
160
Elevation Study
Figure 99 : Stepped in to the window.
Figure 100 : Stepping in to the window with recessed brickwork.
161
Material Associations
Figure 101 : Stepping in to the window with recessed brickwork.
Figure 102 : Stepping in to the window with recessed brickwork.
162
Elevation Study
Figure 103 : Stepping in and out reinterprets the sawtooth detail in the existing shipyard.
Figure 104 : Stepping in and out reinterprets the sawtooth detail in the existing shipyard.
163
Material Associations
Figure 105 : Stepping in to the window with recessed brickwork.
Figure 106 : Stepping in to the window.
164
Elevation Study
Figure 107 : Stepping in to the window.
Figure 108 : Stepping in to the window.
165
Material Associations
Figure 109 : Proposed elevation study. The openings respect the windows of the existing fire station with the flat arch lintel. The sawtooth brickwork band respects the existing brickwork detail in the shipyard as seen in Figure 65.
166
Elevation Study
Figure 110 : Part section of proposed fire station.
167
Material Associations
Figure 111 : Elevation study of engine house with shutter doors.
168
Elevation Study
Figure 112 : Elevation study of engine house with bi-fold doors.
169
Material Associations
Figure 113 : Elevation study of engine house with pulley doors.
170
Elevation Study
Figure 114 : Elevation study of engine house with pulley doors and colonnade entrance to pedestrians.
171
Material Associations
Figure 115 : Proposed elevation study of engine house with pulley doors and colonnade entrance to pedestrians.
172
Elevation Study
173
Brick Detailing
Material Associations
Figure 116 : Brick detailing on administration building with light mortar.
176
Brick Detailing
Figure 117 : Brickwork detail on shipyard building with light mortar.
177
Material Associations
Figure 118 : Brickwork on shipyard building with dyed mortar. Brick is a suitable material as it is a coastal environment the salt in the air will degrade material faster, brick will show some signs of efflorescence it is extremely durable. It is widely available in Poland and with the demolition of some existing shipyard buildings in Henning Larsen’s plans, could be reclaimed and used in the proposal from these sites.
178
Brick Detailing
Figure 119 : Banding diagram of dark to light brick.
Figure 120 : Banding diagram showing datum line with dark below and light above.
179
Material Associations
Figure 121 : Effect of mortar colouring with Petersen bricks D35 + D48.
180
Brick Detailing
Figure 122 : Effect of mortar colouring with Petersen Bricks D29 + D91.
181
Material Associations
Figure 123 : Stretcher bond.
Figure 125 : Raking stretcher bond.
182
Brick Detailing
Figure 124 : Flemish bond.
Figure 126 : English bond.
183
Material Associations
Figure 127 : Horizontal bond (half width vertical joint).
Figure 128 : Header bond.
184
Brick Detailing
Figure 129 : Stacked bond.
Figure 130 : Block bond.
185
Material Associations
Figure 131 : Convex pointed.
Figure 132 : Flush pointed.
Figure 133 : Flush brushed pointed.
186
Brick Detailing
Figure 134 : Raked pointed.
Figure 135 : Recessed pointed.
Figure 136 : Weather struck pointed.
187
Material Associations
Figure 137 : Cobbled ground wrapping onto wall.
188
Brick Detailing
Figure 138 : Brick acting as cobbles wrapping onto wall.
189
Material Associations
Figure 139 : External to internal study.
190
Brick Detailing
Figure 140 : External to internal study.
191
Material Associations
Figure 141 : External to internal study.
192
Brick Detailing
Figure 142 : External to internal study.
193
Material Associations
Figure 143 : External to internal study.
194
Brick Detailing
Figure 144 : External to internal study.
195
Material Associations
Figure 145 : Brickwork banding study. Umbra brick vertically stacked.
196
Brick Detailing
Figure 146 : Brickwork banding study. Umbra brick vertically stacked and recessed.
197
Material Associations
Figure 147 : Brickwork banding study. Umbra brick.
198
Brick Detailing
Figure 148 : Brickwork banding study. Flush returns.
199
Material Associations
Figure 149 : Brickwork banding study. Protruding returns.
200
Brick Detailing
Figure 150 : Brickwork banding study. Protruding returns with additional top and bottom half lengths.
201
Material Associations
Figure 151 : Brickwork banding study. Protruding bands with raised courses between.
202
Brick Detailing
Figure 152 : Brickwork banding study. Protruding bands.
203
Material Associations
Figure 153 : Brickwork banding study. Protruding sawtooth.
204
Brick Detailing
Figure 154 : Brickwork banding study. Recessed sawtooth
205
Material Associations
Figure 155 : Proposed band above loggia with window opening. The woven material that Semper refers to in his Four Elements is represented in the sawtooth brickwork whilst referring to the existing shipyard building details. The jack (flat) arch is a take of the traditional segmental arches of the existing fire station.
206
Brick Detailing
Figure 156 : Proposed band above colonnade.
207
Material Associations
Figure 157 : Proposed stair within in church wall.
208
Brick Detailing
Figure 158 : Entrance to church.
209
Ground Material
Material Associations
Figure 159 : Unfolded elevations of church and existing fire station courtyard.
212
Ground Material
213
Material Associations
Figure 160 : Unfolded elevations of church square.
214
Ground Materia
215
Material Associations
Figure 161 : Seating in square in brick reads as if it is growing out of the ground.
216
Ground Materia
217
Church Atmosphere Study
Material Associations
Figure 162 : Study of nave to prayer room with red brick.
220
Church Atmosphere Study
221
Material Associations
Figure 163 : Study of nave to prayer room with grey brick.
222
Church Atmosphere Study
223
Material Associations
Figure 164 : Study of nave to prayer room with white brick.
224
Church Atmosphere Study
225
Material Associations
Figure 165 : Study of nave to prayer room with red and grey brick.
226
Church Atmosphere Study
Figure 166 : Study of nave from balcony.
227
Material Associations
Figure 167 : Cut-away isometric of church.
228
Church Atmosphere Study
229
Structural Study
Material Associations
Figure 168 : Long section of church nave exploring structure and light with shallow beams.
Figure 169 : Long section of church nave exploring structure and light with deep beams.
232
Structural Study
233
Material Associations
Figure 170 : Long section of church nave exploring structure and light with filtered light between beams.
Figure 171 : Long section of church nave exploring structure and light with deep stereotomic v-shaped beams.
234
Structural Study
235
Material Associations
Figure 172 : Long section of church nave exploring structure and light with criss-cross beams.
Figure 173 : Long section of church nave exploring structure and light with shallow beams.
236
Structural Study
237
Material Associations
Figure 174 : Long section of church nave exploring structure and light with stepped beams.
Figure 175 : Long section of church nave exploring structure and light with timber filtering light between beams.
238
Structural Study
239
Material Associations
Figure 176 : Proposed long section of church nave exploring structure and light with filtered light and deep concrete beams that sit on the load bearing brickwork.
Figure 177 : Proposed cross section of church with filtered light and deep concrete beams that sit on the load bearing brickwork.
240
Structural Study
241
Material Associations
Figure 178 : Axonometric exploring the colonnade structure with brick columns.
242
Structural Study
Figure 179 : Axonometric exploring the colonnade structure with concrete columns.
243
Material Associations
Figure 180 : Axonometric exploring the colonnade structure with timber columns.
244
Structural Study
Figure 181 : Axonometric exploring the colonnade structure with tapered concrete columns between the sawtooth brick banding.
245
Material Associations
Figure 182 : Axonometric exploring the colonnade structure with tapered concrete columns between the recessed sawtooth brick banding.
246
Structural Study
Figure 183 : Axonometric exploring the colonnade structure with concrete columns between the recessed sawtooth brick banding.
247
Material Associations
Figure 184 : Axonometric of the proposed colonnade structure with tapered concrete columns between the sawtooth brick banding with the exception of the church where it recesses to emphasise the entrance.
248
Structural Study
249
Proposal Visuals
Material Associations
Figure 185 : Studying in the quiet room looking over the fire engine house.
252
Proposal Visuals
253
Material Associations
Figure 186 : Entering under the colonnade into the church square.
254
Proposal Visuals
255
Material Associations
Figure 187 : Mass in the church nave.
256
Proposal Visuals
Figure 188 : Axonometric of the proposed site.
257
Material Associations
Figure 189 : Axonometric of the proposed site.
258
Proposal Visuals
259
Bibliography + Illustration Credits
Material Associations
1
Zumthor, Peter. 1998. Thinking Architecture. Basel: Birkhäuser. p26
2
Calvino, Italo. 1997. Invisible Cities. London: Vintage Books, 1997. p82
3
Semper, Gottfried. 2004. “Classification of the Technical Arts,” Style in the Technical and Tectonic Arts; or, Practical Aesthetics, Los Angeles, CA: Getty Publications. pp109-113
4
Frampton, Kenneth. 1996. “Rappel a l’Ordre: The Case for the Tectonic,” Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965-1995, ed. Kate Nesbitt, New York, NY: Princeton Architectural Press. p23.
5
Fludernick, Monica. 2009. An Introduction to Narratology. Abingdon, Oxon: Routledge. p59
6
De Bleeckere, Sylvain and Gerards, Sebastiaan. 2017. Narrative Architecture: A Designer’s Journey New York: Routledge. pp1-2
7
Psarra, Sophia. 2009. Architecture and Narrative: The Formation of Space and Cultural Meaning. London: Routledge. p115
8
Jamieson, Claire. 2017. NATO: Narrative Architecture in Postmodern London Oxon: Routledge. p9
9
De Bleeckere, Sylvain and Gerards, Sebastiaan. 2017. Narrative Architecture: A Designer’s Journey New York: Routledge. p3
10
Ibid. p2
11
Ibid. p3
12
Psarra, Sophia. 2009. Architecture and Narrative: The Formation of Space and Cultural Meaning. London: Routledge. p3
13
Ibid. p3
14
Zumthor, Peter. 1998. Thinking Architecture. Basel: Birkhäuser. p86.
15
Mack, Gerhard, Herzog & de Meuron. 2010. Herzog & de Meuron 1978-1988. The Complete Works. Volume 1. Edited by: Gerhard Mack. Chinese ed. Beijing, China Architecture & Building Press. Vol. No. 1.
16
Lissitzky, El, K. und Pangeometrie. 1925. In U. Conrads (Ed.) (1965) Rußland: Architektur für eine Weltrevolution. Berlin, Frankfurt am Main, Germany. p128
262
References
17
Böhme, Gernot. (2003). Atmosphere as the Subject Matter of Architecture. In P. Ursprung (Ed.), Herzog & de Meuron: Natural History. Baden, Switzerland: Lars Müller Publishers. p399
18
van Dooren, Elise and van Iersel, Taco. 2008. “A House of Cardboard,” Cardboard in Architecture, Vol. 7, edited by Mick Eekhout, Fons Verheijen, Ronald Visser. Netherlands: IOS Press. p88.
19
Schroepher, Thomas. 2011. Material Design: Informing Architecture by Materiality, Basel: Birkhäuser. p25.
20
Kahn, Louis. 1991. “Space and Inspirations,” Louis I. Kahn, Writings, Lectures, Interviews, edited by Alessandra Latour. Newyork: Rizzoli. p228
21
Schroepher, Thomas. 2011. Material Design: Informing Architecture by Materiality, Basel: Birkhäuser, p20
22
Ibid. p20
23
DeLanda, Manuel. 2001. ‘Philosophies of Design: The Case of Modelling Software’, in Jaime Salazar (ed), Verb Processing. Actar: Barcelona. p132.
24
Semper, Gottfried. 1989. The Four Elements of Architecture and Other Writings. Cambridge University Press. p24
25
Ibid. p104
26
Herrmann, W. 1989. Gottfried Semper: In Search of Architecture. Cambridge, Mass.: MIT Press. p219
27
Semper, Gottfried. 2004. Style in the Technical and Tectonic Arts; or, Practical Aesthetics, Los Angeles, CA: Getty Publications. p219
28
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30
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Figure 1 : Author’s own Figure 2 : https://www.traseo.pl/trasa/tajemnice-stoczni-cesarskiej Figure 3 : http://www.fulltable.com/VTS/p/pir/bits/bridge/1.jpeg Figure 4 : https://www.archdaily.com/798340/peter-zumthors-bruder-klaus-field-chapel-through-the- lens-of-aldo-amoretti Figure 5 : http://www.sci-news.com/geology/humans-out-of-africa-escape-drying-climate-05331.html Figure 6 : https://atlasofplaces.com/architecture/ricola-storage-building/ Figure 7 : https://quincampoix.tumblr.com/post/22870985886/room-designed-by-el-lissitzky-for-the Figure 8 : https://www.ozetecture.org/marie-short-glenn-murcutt-house Figure 9 : http://paradisebackyard.blogspot.com/2013/11/larchitettura-del-mattone-faccia-vista.html Figure 10 : https://www.dezeen.com/2009/03/06/raven-row-by-6a-architects/ Figure 11 : https://faoithin.tumblr.com/post/122266381123/the-four-elements-of-architecture-gottfried Figure 12 : Author’s own Figure 13 : https://divisare.com/projects/420181-peter-celsing-andy-liffner-st-thomas-church Figure 14 : https://i.pinimg.com/originals/d9/3e/e2/d93ee2cf947492f5bfecff11ce60d6c2.jpg Figure 15 : https://i.pinimg.com/originals/10/38/76/103876eef9e993a6156fd472c64e3c3e.png Figure 16 : Author’s own Figure 17 : Ibid Figure 18 : Ibid Figure 19 : https://medium.com/@designforsustainability/design-and-planning-for-people-in-place-sir- patrick-geddes-1854-1932-and-the-emergence-of-2efa4886317e Figure 20 : Author’s own Figure 21 : Ibid Figure 22 : Ibid Figure 23 : Ibid Figure 24 : Ibid Figure 25 : https://www.historiaposzukaj.pl/assets/media/Wiedza/Historiomat/o05990001_32_ Stanislaw_Skladanowski.JPG Figure 26 : https://www.whitemad.pl/stocznia-cesarska-w-gdansku-rusza-remont-budynku-dyrekcji-z- 1878-roku/ Figure 27 : Author’s own Figure 28 : https://stoczniacesarska.pl/en/ Figure 29 : https://www.gdansk.pl/wiadomosci/remiza-w-stoczni-cesarskiej-przed-rewitalizacja-poznaj- jej-strazacka-historie,a,141320 Figure 30 : Author’s own Figure 31 : Ibid Figure 32 : Ibid Figure 33 : Ibid Figure 34 : Ibid Figure 35 : Ibid Figure 36 : Ibid Figure 37 : Ibid Figure 38 : Ibid Figure 39 : Ibid Figure 40 : Ibid Figure 41 : Ibid Figure 42 : Ibid Figure 43 : Ibid Figure 44 : Ibid Figure 45 : Ibid Figure 46 : Ibid Figure 47 : Ibid Figure 48 : https://trojmiasto.wyborcza.pl/trojmiasto/7,35612,24491156,zabytkowa-remiza-strazacka-w- stoczni-cesarskiej-bedzie-odnowiona.html?disableRedirects=true
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Illustration Credits Figure 49 : https://www.gdansk.pl/wiadomosci/remiza-w-stoczni-cesarskiej-przed-rewitalizacja-poznaj- jej-strazacka-historie,a,141320 Figure 50 : Ibid Figure 51 : Ibid Figure 52 : http://blogzmiasta.pl/stocznia-cesarska-bez-przepustki/ Figure 53 : http://blogzmiasta.pl/stocznia-cesarska-bez-przepustki/ Figure 54 : https://www.whitemad.pl/stocznia-cesarska-w-gdansku-rusza-remont-budynku-dyrekcji-z- 1878-roku/ Figure 55 : https://www.traseo.pl/trasa/tajemnice-stoczni-cesarskiej Figure 56 : https://sciezkimojegoswiata.com/2018/04/30/majowkowy-spacer-po-stoczni-gdanskiej/ Figure 57 : https://www.traseo.pl/trasa/tajemnice-stoczni-cesarskiej Figure 58 : Ibid Figure 59 : http://blogzmiasta.pl/stocznia-cesarska-bez-przepustki/ Figure 60 : https://www.traseo.pl/trasa/tajemnice-stoczni-cesarskiej Figure 61 : http://blogzmiasta.pl/stocznia-cesarska-bez-przepustki/ Figure 62 : http://blogzmiasta.pl/stocznia-cesarska-bez-przepustki/ Figure 63 : https://stoczniacesarska.pl/en/ Figure 64 : https://www.traseo.pl/trasa/tajemnice-stoczni-cesarskiej Figure 65 : Author’s own Figure 66 : Ibid Figure 67 : http://ibedeker.pl/relacje/tajemnice-stoczni-gdanskiej-czyli-chodzmy-na-spacer/ Figure 68 : Author’s own Figure 69 : http://blogzmiasta.pl/stocznia-cesarska-bez-przepustki/ Figure 70 : https://www.traseo.pl/trasa/tajemnice-stoczni-cesarskiej Figure 71 : https://stoczniacesarska.pl/en/ Figure 72 : Ibid Figure 73 : Author’s own Figure 74 : Ibid Figure 75 : https://sciezkimojegoswiata.com/2018/04/30/majowkowy-spacer-po-stoczni-gdanskiej/ Figure 76 : Ibid Figure 77 : https://i.pinimg.com/originals/0a/2b/74/0a2b74f89acb8546eef06dab2bf26c35.png https://i.pinimg.com/originals/a7/ac/a3/a7aca3507dc81ab0b24b76c88109b9d6.jpg https://journal.eahn.org/articles/10.5334/ah.204/ Figure 78 : Author’s own Figure 79 : https://journal.eahn.org/articles/10.5334/ah.204/ https://journal.eahn.org/articles/10.5334/ah.204/ Figure 80 : https://www.ordinearchitetti.mi.it/it/mappe/itinerari/edificio/304-angelicum/41-giovanni- muzio https://fondazione.ordinearchitetti.mi.it/it/notizie/dettaglio/8279 Figure 81 : https://architectureofdoom.tumblr.com/post/187640693353/dominikus-böhm-st-josephs- church https://twitter.com/furmadamadam/status/782542483272204288 https://newchurcharchitecture.wordpress.com/2015/02/15/church-of-st-joseph-by-dominikus- bohm/ Figure 82 : Authors own https://commons.wikimedia.org/wiki/File:Southwark_Fire_Station_2.jpg Figure 83 : https://www.dezeen.com/2016/07/22/feuerwehr-vierschach-pedevilla-architecs-red-alpine- fire-station/ Figure 84 : http://dromanelli.blogspot.com/2018/07/peter-celsing-st-thomas-church.html https://divisare.com/projects/420181-peter-celsing-andy-liffner-st-thomas-church Figure 85 : https://divisare.com/projects/214208-johan-celsing-arkitektkontor-ioana-marinescu-arsta- church Figure 86 : https://stallanbrand.com/projects/st-brides-church-and-presbytery https://www.urbanrealm.com/news/5086/Architects_say_thanks_a_million_as_St_Bride’s_ grant_brings_tower_rebuild_closer.html
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Figure 87 : https://www.alliesandmorrison.com/project/queens-house https://images.easyweddings.co.uk/s3/ew-image-global-uk/release/ImageUploader/ Queens-House---Royal-Museums-Greenwich-20244-P361089-1923080406.j pg?quality=80&format=jpg&mode=crop&crop=0,0,0,0&width=1200 Figure 88 : https://archimaps.tumblr.com/image/176966466472 https://www.berlin.de/landesdenkmalamt/_assets/bilder/welterbe/museumsinsel03.jpg Figure 89 : Author’s own Figure 90 : Ibid Figure 91 : Ibid Figure 92 : Ibid Figure 93 : Ibid Figure 94 : Ibid Figure 95 : Ibid Figure 96 : Ibid Figure 97 : Ibid Figure 98 : Ibid Figure 99 : Ibid Figure 100 : Ibid Figure 101 : Ibid Figure 102 : Ibid Figure 103 : Ibid Figure 104 : Ibid Figure 105 : Ibid Figure 106 : Ibid Figure 107 : Ibid Figure 108 : Ibid Figure 109 : Ibid Figure 110 : Ibid Figure 111 : Ibid Figure 112 : Ibid Figure 113 : Ibid Figure 114 : Ibid Figure 115 : Ibid Figure 116 : https://www.whitemad.pl/stocznia-cesarska-w-gdansku-rusza-remont-budynku-dyrekcji-z- 1878-roku/ Figure 117 : https://stoczniacesarska.pl/en/ Figure 118 : Ibid Figure 119 : Author’s own Figure 120 : Ibid Figure 121 : Ibid Figure 122 : Ibid Figure 123 : Ibid Figure 124 : Ibid Figure 125 : Ibid Figure 126 : Ibid Figure 127 : Ibid Figure 128 : Ibid Figure 129 : Ibid Figure 130 : Ibid Figure 131 : Ibid Figure 132 : Ibid Figure 133 : Ibid Figure 134 : Ibid Figure 135 : Ibid Figure 136 : Ibid
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Figure 137 : Ibid Figure 138 : Ibid Figure 139 : Ibid Figure 140 : Ibid Figure 141 : Ibid Figure 142 : Ibid Figure 143 : Ibid Figure 144 : Ibid Figure 145 : Ibid Figure 146 : Ibid Figure 147 : Ibid Figure 148 : Ibid Figure 149 : Ibid Figure 150 : Ibid Figure 151 : Ibid Figure 152 : Ibid Figure 153 : Ibid Figure 154 : Ibid Figure 155 : Ibid Figure 156 : Ibid Figure 157 : Ibid Figure 158 : Ibid Figure 159 : Ibid Figure 160 : Ibid Figure 161 : Ibid Figure 162 : Ibid Figure 163 : Ibid Figure 164 : Ibid Figure 165 : Ibid Figure 166 : Ibid Figure 167 : Ibid Figure 168 : Ibid Figure 169 : Ibid Figure 170 : Ibid Figure 171 : Ibid Figure 172 : Ibid Figure 173 : Ibid Figure 174 : Ibid Figure 175 : Ibid Figure 176 : Ibid Figure 177 : Ibid Figure 178 : Ibid Figure 179 : Ibid Figure 180 : Ibid Figure 181 : Ibid Figure 182 : Ibid Figure 183 : Ibid Figure 184 : Ibid Figure 185 : Ibid Figure 186 : Ibid Figure 187 : Ibid Figure 188 : Ibid Figure 189 : Ibid Figure 190 : Ibid Figure 191 : Ibid
Figure 192 : Ibid Figure 193 : Ibid Figure 194 : Ibid Figure 195 : Ibid Figure 196 : Ibid Figure 197 : Ibid Figure 198 : Ibid Figure 199 : Ibid Figure 200 : Ibid Figure 201 : Ibid Figure 202 : Ibid Figure 203 : Ibid Figure 204 : Ibid Figure 205 : Ibid Figure 206 : Ibid Figure 207 : Ibid Figure 208 : Ibid Figure 209 : Ibid Figure 210 : Ibid Figure 211 : Ibid Figure 212 : Ibid Figure 213 : Ibid Figure 214 : Ibid Figure 215 : Ibid Figure 216 : Ibid Figure 217 : Ibid Figure 218 : Ibid Figure 219 : Ibid Figure 220 : Ibid Figure 221 : Ibid Figure 222 : Ibid Figure 223 : Ibid Figure 224 : Ibid Figure 225 : Ibid Figure 226 : Ibid Figure 227 : Ibid Figure 228 : Ibid Figure 229 : Ibid Figure 230 : Ibid
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Figure 190 : Development. Site plan of an initial concept.
Figure 191 : Development. Axonometric of the above initial concept.
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Figure 192 : Development. Site plan of an initial concept.
Figure 193 : Development. Axonometric of the above initial concept.
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Figure 194 : Development. Site plan of an initial concept.
Figure 195 : Development. Axonometric of the above initial concept.
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Figure 196 : Development. Site plan of an initial concept.
Figure 197 : Development. Axonometric of the above initial concept.
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Figure 198 : Development. Site plan of an initial concept.
Figure 199 : Development. Axonometric of the above initial concept.
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Figure 200 : Development. Site Plan of the proposed concept.
Figure 201 : Development. Axonometric of the proposed concept.
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Figure 202 : Development. Massing model of an initial concept.
Figure 203 : Development. Massing model of an initial concept.
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Figure 204 : Development. Massing model of initial concept.
Figure 205 : Development. Massing model of developing concept.
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Figure 206 : Development. Massing model of developing concept.
Figure 207 : Development. Massing model of developing concept.
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Figure 208 : Development. Massing model of developing concept.
Figure 209 : Development. Massing model of developing concept.
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Figure 210 : Development. Ground floor plan of developing concept.
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Figure 211 : Development. Ground floor plan of developing concept.
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Figure 212 : Development. Ground floor plan of developing concept.
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Figure 213 : Development. East elevation of developing concept.
Figure 214 : Development. East elevation of developing concept.
Figure 215 : Development. South elevation of developing concept.
Figure 216 : Development. Cross section through church of developing concept.
Figure 217 : Development. Cross section through fire station of developing concept.
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Figure 218 : Development. Ground floor plan of developing concept.
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Figure 219 : Development. Banding diagram of spatial uses.
Figure 220 : Development. East elevation of developing concept.
Figure 221 : Development. South elevation of developing concept.
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Figure 222 : Development. Visual of developing concept from the Sala building to the South.
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Figure 223 : Development. Ground floor plan with ground textures of developing concept.
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Figure 224 : Development. Ground floor plan of developing concept.
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Figure 225 : Development. Ground floor plan of developing concept.
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Figure 226 : Development. Faรงade study of fire station entrance.
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Figure 227 : Development sectional study of fire station entrance.
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Figure 228 : Long Section through church nave showing material and light.
Figure 229 : Cross section through church showing material and light. Poland has a very poor attitude to sustainable design, as can be seen within the group analysis. The proposal rejects this attitude and creates a design which will last whilst using sustainable principles. The deep, load bearing brick walls create a thermal mass which in turn allows for a constant air humidity within the space. This construction method also allows for the building to have a very long lifespan and therefore the waste created from refurbishments are minimised. Further to this, the bricks could be reused in another build if demolished appropriately. Due to the orientation, the large opening to the South allows for natural southern light to enter the space, along with the rooflights, which also open for ventilation to reduce the space becoming uncomfortably warm from the solar gains.
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