HORTUS CONCLUSUS THAMES BARRIER PARK / ZUMTHOR’S SERPENTINE PAVILION
JACK BA R ON
Published in Great Britain in 2017. Š Copyright Jack Baron 2017 The right of Jack Baron to be identified as the author of this work. All photographs and graphics were taken or produced by Jack Baron (unless otherwise stated.) All rights reserved. No part of this publication may be reproduced, transmitted or stored in a retrieval system, in any form or by any means, without permission in writing from the author.
HORTUS CONCLUSUS Thames barrier Park . Peter Zumthor’s Serpentine Pavilion
ARCHITECTURAL PROTOTYPES Re/Source Studio 22 LSBU MArch 2016/17
“Hortus conclusus soror mea, sponsa, hortus conclusus, fons signatus�
“A garden enclosed is my sister, my spouse; a garden enclosed, a fountain sealed up.” King Solomon’s “Song of Songs” 4:12.
C O N T E N T S Chapters
Introduction
2
Concept
6
Location
14
Site History
22
Program
30
Geometry
36
Circulation
52
Planting
60
Materials
68
Afterword
83
Bibliography
93
INTRODUCTION Foreword
Architectural typology refers to the study and documentation of a set of buildings or architectural landscapes which have similarities, whether in their use, form or style. The purpose of this study is to analyse two examples; one a building another a landscape. Although they do not share a direct ‘typology,’ it is hoped through comparison I may discover an underlining relationship - their own unique ‘prototype.’
1
INTRODUCTION Thames Barrier Park
Project: Location: Construction: Architect: Building Type: Site Area: Building Area: Total Floor Area: Materials:
Project:
Thames Barrier Park East London, United Kingdom 2001 Patel Taylor Park (Inc. Memorial & Cafe) 26,000 m2 9,500 m2 17,300 m2 Reinforced-Concrete Construction
Patel Taylor won an international competition to design one of London’s largest new parks, in a joint effort with French landscape architect Allain Provost, and structural engineers Arup. The Thames Barrier Park has transformed a derelict brownfield site, and is a significant factor in attracting new investment to London’s Royal Docks. Every aspect of the park, from its urban form - which seeks to
Architect Profile:
link the park into the surrounding docklands - to the varied
Patel Taylor was founded by Pankaj Patel and Andrew Taylor
richness of its landscaped components and the design of its
in 1989. Based in Clerkenwell, London, the office specialise
buildings, its ‘fixtures and fittings’ - makes a contemporary
in fusing together the elements of architecture, landscape and
cultural statement. It creates a series of settings for surrounding
urban design and has since completed projects throughout the
new development to respond to and is a rich and inviting new
United Kingdom and in mainland Europe.
public space which effectively initiates a new piece of London with its own clear identity, but which links with the river and
Patel Taylor’s work often involves suggesting a framework
industrial context. The high-quality of the landscaping, design
that helps repair and reinforce a sense of place. The practice
materials and planting all contributes to this space and has
has received more than 40 design awards and was named
led to a strong feeling of well being and pride in the local
Masterplanning and Public Realm Architect of the Year in the
community and those who use the park.
Building Design Awards 2013.
2
Fig.1. Site Plan, 2017. 3
INTRODUCTION Serpentine Pavilion
Project: Location: Construction: Architect: Building Type: Site Area: Building Area: Garden Area: Materials:
Project: ‘Hortus Conclusus’ was designed by Peter Zumthor in 2011 with the concept of creating a contemplative pavilion, in a joint effort with Dutch garden designer Piet Oudolf.
Serpentine Pavilion Hyde Park, London, United Kingdom 19 May – 27 June 2011 Peter Zumthor Park Pavilion 960 m2 390 m2 252 m2 Timber-frame Construction
Arup were also instructed to provide all the specialist technical services and engineering support for the structure, the construction of which was completed on 27 June, 2011. It was opened to the public from 1 July to 16 October, 2011. Public Opening Dates: 1 July – 16 October 2011
Architect Profile: Peter Zumthor is a Swiss architect whose work is frequently described as uncompromising and minimalist. Though managing a relatively small firm, he is the winner of the 2009 Pritzker Prize and 2013 RIBA Royal Gold Medal.
Dimensions of Pavilion: 390 sqm (gross) 252 sqm internal garden space (net) 100 sqm transition space (net) 5.5 m height pavilion facade 2.7 m min height internal garden space
His best known projects are the Kunsthaus Bregenz (1997), a glass and concrete cube that overlooks Lake Constance (Bodensee) in Austria, and the cave-like thermal baths in Vals, Switzerland (1999). Zumthor always emphasises the sensory aspects of the architectural experience. To him, the physicality of materials can involve an individual with the world, evoking experiences and texturing horizons of place through memory. 4
Fig.2. Site Plan, 2017. 5
C O N C E P T Thames Barrier Park
The Thames Barrier Park is a riverside park in London
The park is strategically placed and very well connected;
and stands as a vivid example of modern landscape in the
it connects to the Pantoon Dock DLR Station, there are bus
UK. The park was commissioned by the London Dockland
routes leading directly to it and there is a free car park for
Development Corporation as being a catalyst for urban
visitors. There is a cafe next to the DLR Station and a visitor
regeneration. The idea for creating a riverside park at that
centre, which was designed by Patel Taylor and incorporates
location dates back to 1985, but it was not implemented then
the white concrete used throughout the park and green oak.
because of a contamination on the site caused by factories that remained there until 1985, when the London Dockland
The design team’s idea was that earth should be shifted in
Development Corporation purchased the site and arranged
order to create different levels and consequently allow for a
for an international design competition. The aim of the
spectacular effect, as well as act as a barricade for the park,
winning entry to the competition was to create a deep ‘green
isolating it from excessive noise produced by the Woolwich
dock’ cutting through the 9ha set diagonally to provide a vista
Road.
ending at the abandoned Millennium Mills to the North and the Thames Barrier to the South.
“This project is clearly a park of its time and it is as much a threedimensional architectural and planning composition as it is a piece of landscape.” The Observer Review. 6
“It was our ambition to create something more than another ‘green lung’ salvaged from the leftover space between buildings. Instead we aimed for a special place of cultural significance with its own clear identity.” Patel Taylor
Parks bordering the River Thames (from West to East): Marble Hill Park Syon Park Kew Royal Botanic Gardens Furnival Gardens Leaders Gardens Bishops Park Wandsworth Park Hurlingham Park battersea Park The Victoria Tower Gardens Jubilee Gardens King Edward Memorial Park Sir John McDougal Gardens Island Gardens Greenwich Park Lyle Park Thames Barrier Park Royal Victoria Gardens
Fig.3. Parks in London. 8
town Quays he global o ial units ‘in Patel ng the ‘basically gh and be velopment’. e ongoing he urban ely on Patel
15 Patel Taylor’s competition stage plan of the park with suggested forms of surrounding development, redrawn 2004
popularity -walking, the endering e so in day. Apart te but don’t appear, in te their ers. made secure y the n the park o, hosting a e for the rself with ng e’.40 While enjoy a
16 Across the plateau towards new, neighbouring development 17 Active ‘green dock’
15
Fig.4. Initial Concept Plan. 9
C O N C E P T Serpentine Pavilion
Hortus Conclusus historically protected the private precinct
This genre became symbolic of impenetrability, inviolability
from public intrusion, creating a protective barrier, in
(purity) and seclusion, a metaphor of the heavenly paradise
essence bringing nature within its walls. It was created out of
and the Garden of Eden. As the space created is literally
practicality when man feared the wildness of the landscape,
focused inward, it becomes a figurative expression of
(animals and intruders) and chose to erect a protective barrier.
spirituality. Within medieval paintings and tapestries the Virgin is typically shown in a meadow with walls or a fence
Either way, it manifested itself as walled gardens for the aristocratic class to delight in.
encircling her, embraced by angels and saints.
Within, they would have
servants tend plants or create an idyllic retreat for sitting,
Salvation was to be found through nature, in this case a
dancing and playing instruments. Others would stroll and
garden. Interestingly, the word “paradise” is derived from the
contemplate their faith. The only continuously existing
Persian word “pairideaza”, which when literally translated
medieval gardens today are monastic cloister gardens.
means “surrounded by walls.”
The enclosed garden was a common setting for images
Relationship with the heavens is emphasised in a walled
of the Virgin Mary in medieval artwork. According to
garden as it eliminates the outside world converging the
Elizabeth Barlow Rogers, Landscape Design: a cultural and
garden below with the heavens above. There is a stark contrast
architectural history–
between the containing walls and the vertical endlessness of the sky – truly a vertical landscape.
“the notion of the garden as an enclosed space, set apart, and infused with metaphorical meaning – a representation
It is this historic relationship an enclosed garden creates with
of nature perfected through human art in the service of an
the sky and the heavens above is what was recreated within
ideal – is fundamental to our understanding of the history of
Zumthor’s contemporary design for the pavilion.
landscape design.”
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“The hortus conclusus that I dream of is enclosed all around and open to the sky. Every time I imagine a garden in an architectural setting, it turns into a magical place.� Peter Zumthor
Fig.5. Zumthor’s Sketch Plan and Section.
L O C A T I O N Thames Barrier Park
Thames Barrier Park is located directly adjacent the Thames
The Thames Barrier Park was commissioned as a kick-start
Barrier flood defence, built in 1984. The defence system
for development within the surrounding area. Previous areas
sits along the river Thames, between the Silvertown area of
used for industry are currently vacant. The park aims to
Newham (north) and Woolwich (south).
attract residential development for future residents wishing to live close to London. The riverbank setting provides an ideal
Silvertown was historically an industrial area of London, with
opportunity for city living with uninterrupted views.
a busy docklands importing and exporting in and out the river Thames to the rest of the world. On 21 April 2015, Newham Council gave planning permission to The Silvertown Partnership for a new ÂŁ3.5billion redevelopment of the area. The 7 million square foot
Key:
development will provide offices, a tech hub, 3,000 new homes
Site Location
and brand experience pavilions.
Green Area and Parks
A school, health centre and shops are also included in the plan
Roads
and an innovative new bridge will cross the Royal Docks to get people to Custom House station and Crossrail.
Public Access Buildings DLR 14
Fig.6. Site Location Plan.
Fig.7. Building Footprint Plan.
Fig.8. Aerial view of Thames Barrier Park. 15
Fig.9. Aerial photograph of Thames Barrier Park.
L O C A T I O N Serpentine Pavilion
Kensington Gardens, once the private gardens of Kensington
At its north-western end (originally the inflow of the River
Palace, are among the Royal Parks of London. They gardens
Westbourne) in an area known as “The Italian Garden”,
are shared by the City of Westminster and the Royal Borough
there are four fountains and a number of classical sculptures.
of Kensington and Chelsea, and sit immediately to the west of
At the foot of the Italian Gardens is a parish boundary
Hyde Park, in western central London. The gardens cover an
marker, delineating the boundary between Paddington and St
area of 270 acres. The open spaces of Kensington Gardens,
George Hanover Square parishes, on the exact centre of the
Hyde Park, Green Park and St. James’s Park together form
Westbourne river.
an almost continuous “green lung” in the heart of London. Kensington Gardens are Grade I listed on the Register of Historic Parks and Gardens. Kensington Gardens was originally the western section of
Key:
Hyde Park, which had been created by Henry VIII in 1536 to
Site Location
use as a hunting ground. It was separated from the remainder of Hyde Park in 1728 at the request of Queen Caroline[4] and
Green Area and Parks
designed by Henry Wise and Charles Bridgeman in order to Roads
form a landscape garden, with fashionable features including the Round Pond, formal avenues and a sunken Dutch garden.
Public Access
Bridgeman created the Serpentine between 1726 and 1731 by damming the eastern outflow of the River Westbourne
Buildings
from Hyde Park. The part of the Serpentine that lies within DLR
Kensington Gardens is known as “The Long Water”. 18
Fig.10. Site Location Plan.
Fig.11. Building Plan.
Fig.12. Aerial view of Kensington Gardens. 19
Fig.13. Aerial photograph of Kensington Gardens, Hyde Park.
SITE HISTORY Thames Barrier Park
The park was built on what was one of the country’s
Concluding this phase was the formation of a “capillary break
most polluted sites, the former PR Chemicals factory.
layer.” This drainage system is made up of a lower layer of
Decontaminating the site took many years and was done with
rough, non-porous material and an upper layer of porous soil
painstaking precision.
and sand. Rainwater is absorbed by the finer upper layer and transported along the top of the rough lower layer to where it
The project’s first phase, decontaminating the brownfield site,
can be safely drained away. The second phase of construction
began in January 1997 and was completed in nine months.
began in January 1998 and, due to park building and planting
Surface oils and tars were removed from the site. Water was
requirements, was not completed until March 2000.
pumped from the contaminated subsurface water table, to be replaced eventually by natural processes.
Fig.14. Existing Site Photograph, 1951. 22
Fig.15. Site Plan, 1951.
Fig.16. Site Plan, 2011. 23
Fig.17. Site Plan, 1890.
SITE HISTORY Serpentine Pavilion
The Serpentine Galleries are two contemporary art galleries in
it comprises 900 square metres of gallery space, restaurant,
Kensington Gardens, Hyde Park, Central London. Comprising
shop and social space. The Magazine Restaurant adjoins the
the Serpentine Gallery and the Serpentine Sackler Gallery,
gallery space.
they are within five minutes walk of each other, linked by the bridge over the Serpentine Lake from which the galleries get
Every year since 2000 the Serpentine Gallery has commissioned
their names. Their exhibitions, architecture, education and
a temporary summer pavilion by a leading architect. The series
public programmes attract up to 1.2 million visitors a year.
presents the work of an international architect or design team
Admission to both galleries is free.
who has not completed a building in England at the time of the Gallery’s invitation. Each Pavilion is completed within six
The Serpentine Gallery was established in 1970 and is housed
months and is situated on the Gallery’s lawn for three months
in a Grade II listed former tea pavilion built in 1933–34
for the public to explore. Cecil Balmond has been a creative
by the architect J. Grey West. Notable artists whose works
force behind Serpentine Pavilion programme.
have been exhibited there include Man Ray, Henry Moore, 2000: Zaha Hadid 2001: Daniel Libeskind 2002: Toyo Ito 2003: Oscar Niemeyer 2005: Álvaro Siza and Eduardo Souto de Moura 2006: Rem Koolhaas and Arup 2007: Olafur Eliasson and Kjetil Thorsen 2008: Frank Gehry 2009: SANAA 2010: Jean Nouvel 2011: Peter Zumthor with Piet Oudolf 2012: Ai Weiwei and Herzog & de Meuron 2013: Sou Fujimoto 2014: Smiljan Radic 2015: Selgas Cano 2016: Bjarke Ingels
Jean-Michel Basquiat, Andy Warhol, Paula Rego, Bridget Riley, Allan McCollum, Anish Kapoor, Christian Boltanski, Philippe Parreno, Richard Prince, Wolfgang Tillmans, Gerhard Richter, Gustav Metzger, Damien Hirst, Jeff Koons and Marina Abramović. On the ground at the gallery’s entrance is a permanent work made by Ian Hamilton Finlay in collaboration with Peter Coates, and dedicated to Diana, Princess of Wales, the gallery’s former patron. In 2013 the Serpentine Sackler Gallery, with an extension designed by Zaha Hadid Architects, was opened to the public, giving new life to The Magazine, a Grade II* listed former gunpowder store built in 1805. Located five minutes’ walk from the Serpentine Gallery across the Serpentine Bridge, 26
Fig.18. Serpentine Pavilion, 2011.
Fig.19. Serpentine Gallery, 2015. 27
Fig.20. Site Plan, 1890.
P R O G R A M Thames Barrier Park
Thames Barrier Park is a simple, square-shaped grass plateau.
Open-space areas:
Recreational uses
It is not a traditional English park , rather it is a refreshing
Children’s play space:
Climbing
example of contemporary modernist park design.
Visitor centre / cafe:
Eating / Seating
Memorial pavilion:
Seating / Relaxing
The park consists of a variety of areas, purposely designed for
Pathways:
Walking / Cycling
different uses. The ‘layering’ technique allow visitors to carry
‘Green Dock:’
Walking / Contemplating
out activities within the open space, for communal interaction, but also in screened areas, for smaller groups and couples.
Fig.21. Children’s Play Area. 30
Pavilion
Cafe / Visitor Centre
Green Areas
Pathways
‘Green Dock’
Fig.22. Exploded Use Diagram.
Circulation Routes
Play Spaces
View Points
Structures
‘Green Dock’
Landscaping & Planting
P R O G R A M Serpentine Pavilion
The enclosed garden creates a sensual environment for visitors
The care and effort which goes in to a garden is also respected.
to simply sit and relax. Whether to socialise or contemplate
The walled enclosure safe guards the garden and those whom
self thoughts,
have visited. This safe atmosphere further allows escapism.
the sheltered, protected area creates a space
which escapes the busy everyday life in the city. Allowing interaction with plants and the insects it attracts, the garden provokes connection with nature. An important relationship most people forget to experience, especially in the city of London.
Fig.23. View of planting inside centre of pavilion. 34
“A garden is the most intimate landscape ensemble I know of. It is close to us. In it we cultivate the plants we need. A garden requires care and protection. And so we encircle it, we defend it and fend for it. We give it shelter. The garden turns into a place.... Enclosed gardens fascinate me... There is something else that strikes me in this image of a garden fenced off within the larger landscape around it: something small has found sanctuary within something big.� Peter Zumthor
G E O M E T R Y Thames Barrier Park
Thames Barrier Park in relation to the Royal Victoria Dock
Given this historic landmark is to remain during this
Footbridge, Royal Victoria Square and Silvertown Quays
regeneration project, the veiw points within the park follow
(2001). Views north are directed towards the derelict 20th
an access route future residents will follow directly to the park
century flour mill. The building is currently undergoing a
and the river front beyond.
major renovation as part of a £3.5billion redevelopment of Silvertown, on the south side of the Royal Victoria Dock, between the Thames Barrier and the ExCel exhibition centre. To be renamed as ‘Millennium Mills,’ to form part of the newly built Britannia village, in Newham.
36
Fig.24. Annotated Aerial Photograph, 2017.
Fig.25. View from river front facing Thames Barrier.
Fig.26. View from footbridge looking south at Thames Barrier.
Fig.27. View from footbridge looking north towards Flour Mill.
Fig.28. View from footbridge looking south along ‘Green Dock.’
R O YA L V I C T O R I A S Q U A R E
To maintain continuity of landscape throughout the Royal
To the east is a triangular group of closely planted trees. A
docks area, Patel Taylor was also commissioned for the
pavilion was originally intended for this location, but the
design of Royal Victoria Square as part of the ExCel Centre’s
funding never materialised. So the trees have been tightly
development, along with landscape architects EDAW.
planted to echo the mass of the proposed structure.
Although this is classed as an urban square, it still retains elements of modern landscaping prevalent within the Thames
Finally to the south by the waterside are four preserved 20m
Barrier Park, emphasising the quality and character of the
dock cranes; reminders of the area’s heavy industrial heritage.
public realm in the regeneration of the Royal Docks.
A deck overhanging the dock edge has been formed to define a viewing area for water sports and dock activities.
The Royal Victoria Square uses the past as a central theme, with focus on an original warehouse and the massive dockside cranes. Along with the linear canopies mimicking the historic finger docks tat existed here before the entire area was rebuilt in the 1930s. The space is a place of relief and to take spill out from the vast adjacent exhibition halls. On the north side is an area of paving, conceived as part of a ceremonial route to the Excel building, that features two rows of fountain jets. North of this again is a pool, on the far side of which is an original surviving warehouse from the late 19th Century.
46
Fig.29. Tree planting to follow view points.
Fig.30. Aerial photograph of Royal Victoria Square. 47
Fig.31. Cantilever canopy structure.
G E O M E T R Y Serpentine Pavilion
When positioned on site, instead of positioned directly opposite
Zumthor wanted the pavilion to create a space with an
the Serpentine Galleries Zumthor’s pavilion was positioned
overhanging roof above a timber bench that would encircle
at a angle to follow the surrounding landscaping. This would
the garden. This roof overhang and resulting frame geometry
give the building a more pronounce impact on visitor’s arrival.
presented a technical challenge to the engineers, as it makes an unstable structure that wants to fall forwards towards the
The pavilion is no way meant to form an extension to the
garden. To overcome this, Ted Featonby, project manager,
Serpentine Galleries, but instead the contemporary building
devised a 600mm x 600mm timber plate, which forms a stiff
purposes redirects the site lines within the park.
connection between the floor and the primary timber upright, making an inverted T shape. This “Featonby plate” both stabilises the building and forms the profile for the bench. Both inside and out the corners have a curved profile – an effect which is achieved externally by routing and internally through the application of timber beads.
50
Fig.32. Block Plan. 51
C I R C U L AT I O N Thames Barrier Park
What is remarkable about the 5 meter green dock which splits
In contrast to its stark form, it provides a sheltered micro-
the park is that is has no side exits. Therefore, once people enter,
climate for the “rainbow garden,” a series of parallel strips
they are inclined to look North towards the Thames Barrier,
of plantings and paths. The park consists of a ‘Green Dock’
the wavy hedges and the evergreen honeysuckle which covers
which sits below ground level and splits through the park.
70 degree sloping walls, and ultimately arrive at a ramp which
This enclosed garden designates a direct route through the
leads up to the viewing pavilion facing the Thames. A green
site, from entry all the way to the end of the park, overlooking
trench running through the park is a reminder of the area’s
the Thames Flood Defences. Once inside the enclosed garden,
former industrial heritage. Cutting through the plateau, this
high hedges are planted similar to a maze, defining a variety
“dry dock,” with its 16-foot- (5-meter-) high concrete walls,
of possible routes.
depicts the scale and depth of former dockside structures.
52
Fig.33. Restricted walkway within ‘Green Dock.’
Fig.34. North-East view towards surrounding development.
Fig.35. East view towards memorial pavilion. 54
Fig.36. North view within ‘Green Dock.’
C I R C U L AT I O N Serpentine Pavilion
The pavilion emphasises a sense of space. On entry, one walks into a compressed space, a dark corridor, which leads onto an open space. This contrast between compression and expansion complements the stark contrast between dark and light that accompanies these spaces. Within this route, a build up of atmosphere is created. The visitor experiences a sense of excitement as if being trapped then set free. It is within these confined spaces, one becomes isolated and disconnected from the outside world. A transition process, escaping the normalities associated with the modern world we live today to a timeless dimension. It is this transition through these spaces which provokes a sense of self-reflection and discovery. The confined space has a high sloping ceiling with a low hanging artificial light fitting. This creates a dark space above, which mysteriously appears endless.
Fig.37. Natural light entering walkway. 56
Fig.38. View inside.
Floor Plan Scale 1:100 0m
1m
2m
3m
4m
6m
9m
P L A N T I N G Thames Barrier Park
Patel Tayor have collaboratively worked with French
Instead of naturally occurring, free-flowing planting as
landscape architect Alain Provost on two occasions, the
found in English parks and woodlands, the planting has
Eastside City Park and Thames Barrier Park. On both
been strategically grouped together and aligned in rows,
projects, award-winning projects were produced. His work
strengthening views and site lines across the site.
salso include designs for the Parc Floral in the Bois de Vincennes, Paris,Parc André Citroën in Paris, the Jardin
A various mix of high hedges and low level ornamental planting
Diderot at La Défense.
have been set out within the ‘green dock.’ Similar to a maze found within an Victorian garden, the planting determines
The minimal planting design upon this project aims to further
various pathways through the terrain, until eventually leading
reflects a European feel, rather then a traditional English
to the Thames Estuary.
landscape.
60
Fig.39. Tree planting strengthening view points.
Fig.40. Hedges define various ground levels.
Fig.41. Precisely cut hedges to replicate waves. 62
Fig.42. Strategically positioned rows of trees.
P L A N T I N G Serpentine Pavilion
Piet Oudolf (born 27 October 1944) is an influential Dutch
The planting within the enclosed garden, is at the centre of
garden designer, nurseryman and author. Working primarily
interest. All the seating around the perimeter of the pavilion
with perennial plant varieties, Oudolf practices a naturalistic
is aimed at the planting with only the sky above and glimpes
approach to gardening.
of the trees with the park are visible. Being able to see, smell and touch the planting brings the people closer to nature and
Taking a cue from architectural design, Oudolf prioritizes the
provoking an opportunity to really pay attention to it.
seasonal life cycle of a plant over decorative considerations like flower or colour. He focuses primarily on structural characteristics, such as leaf or seed pod shape, present before and after a plant has flowered. The stability of perennials after planting are key to Oudolf’s designs. Unlike self-seeding or bulb-based plants that spread and require division each season, perennials remain in established formations. The result are gardens that persist in their planned state years after being planted with little deviation from Oudolf’s hand drawn maps.
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“The centre of my pavilion
is a garden; it invites us to gather around. We will meet in the garden� Peter Zumthor
Fig.43. Rainfall naturally directed towards planting.
Fig.44. Planting Strategy (Nts)
“I am very pleased to be collaborating with Peter Zumthor and the Serpentine Gallery on this year’s Pavilion and to be part of this exciting project. My work aims to bring nature back into human surroundings and this Pavilion provides the perfect opportunity for people to reflect and relax in a contemplative garden away from the busy metropolis.” Piet Oudolf
M A T E R I A L S Thames Barrier Park
CAFE / VISITOR CENTRE Materials:
The glass enclosure leads out onto a timber deck, raised just
Foundations:
Concrete piled
above the level of the park providing an elevated transition
Super-Structure:
Green Oak / Steel frame
from landscape to enclosure. The green oak structure is
Flooring:
Timber panel
fixed by a series of exposed steel and bolt connections and is encouraged to weather as so to further enhance it’s natural
Towards the main entrance to the park lies a visitor centre, also
appearance.
designed by Patel Taylor. Set within a minimal contemporary
The plan of the pavilion follows the geometry of the park
structure, the pavilion provides toilets and cafe with seating.
angled towards the Thames Barrier, complimenting the layout
The centre is constructed from a combination of in-situ
of the surrounding landscape and encouraging views of the
reinforced concrete, green oak and full-height glazing facing
Barrier from inside the centre.
over the centre of the park.
68
Fig.45. View visitor centre/ cafe in context.
Fig.46. Entrance to visitor centre / cafe. 69
P AV I L I O N O F R E M E M B R A N C E Materials:
The structure consists of 23 irregularly spaced steel columns
Foundations:
Concrete piled foundations
supporting a slatted timber roof with a large circular hole.
Super-Structure:
Steel frame
Purposely designed seating, carved from stone, provides an
Roof Structure:
Timber
area for sheltered contemplation, reading, and relaxing whilst
Flooring:
Timber panel
looking out over the Thames Estuary.
At the river end of the dock is the ‘Pavilion of Remembrance.’
As with many memorial precedents, located close to the sea
This memorial structure commemorates all those who
(or river) encourages an engagement with nature. It is this
tragically lost their lives during the London Blitz.
engagement which evokes people to feel a connection with the departed.
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Fig.47. Pavilion of Remembrance, 2011.
Fig.48. Pavilion positioned facing out to sea.
Fig.49. Purposely designed seating to replicate waves. 72
Fig.50. Pavilion of Remembrance, 2016.
M A T E R I A L S Serpentine Pavilion
Materials:
In the end, a combination of black Idenden – a polymer
Concrete strip foundations
emulsion often used as a vapour barrier coating for pipework
Timber frame super structure
– and rolls of hessian scrim have been used for the entire
Sheet plywood covering
pavilion apart from the bench.
Skin, black Idenden over scrim Bench, Prussian blue stained timber
First a layer of Idenden is painted over the timber, then a layer
Floor, black Idenden with sand over scrim
of the hessian scrim is stuck over it, starting from the pavilion’s base, and rolled over the roof and under the overhang. This
Zumthor desired a depth of blackness to the timber that could
is followed by several more layers of Idenden until the dark
not have been achieved simply by painting it. “Peter wanted
black is achieved.
something really black, with a depth and shadow to it, rather than the flat black that paint would achieve. He also wanted a
The blackness of the material would give the pavilion
finish with a memory to it so that when people looked at it, it
a mysterious, timeless finish. The simple timber frame
would be familiar in some way,” says project architect Anna
construction beneath become completely unknown, instead
Page
the outer shell become a complete solid form, as if carved from stone. In contrast to the blackness of the pavilion, the
Finding the right solution took time. The first serious contender
timber bench which encircles the garden will be stained a rich
was black roofing felt, but this wasn’t durable enough to be
Prussian blue.
used as a flooring material, nor sufficiently fire-proof to be an internal wall lining. Other solutions considered were charring
The top of the bench will be fitted with solid 400mm x 60mm
the timber and using black rubber, but these too failed to
pieces of pine finished with rounded edges. The timber will
achieve the depth of black that Zumthor wanted.
be secured underneath with hidden mechanical fixings and will project forward 100mm. It is then finished with two stains which react on the Swiss Pine to create a luminous Prussian blue.
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Fig.51. External View of Pavilion, 2011.
Fig.52. Deep black material finish. 75
Exploded Perspective Drawing (Nts)
The result a simple prefabricated structural system, made
The roof overhang and resulting frame geometry presented a
of pine and standard 8ft x 4ft (2.4 x 1.2m) panels of spruce
technical challenge to the engineers, as it makes an unstable
plywood for the skin, which is cheap and easy to erect on site.
structure that wants to fall forwards towards the garden. To
The primary structure and frame use a prefabricated roof
overcome this, Ted Featonby, project manager, devised a
truss construction nailed together with the frames positioned
600mm x 600mm timber plate, which forms a stiff connection
at 600mm centres. The 18mm-thick plywood skin is then
between the floor and the primary timber upright, making
nailed to the frame on site. The timber structure rests on a
an inverted T shape. This “Featonby plate” both stabilises
concrete foundation of two simple strip footings, which run
the building and forms the profile for the bench. Both inside
continuously around the building’s perimeter.
and out the corners have a curved profile – an effect which is achieved externally by routing and internally through the application of timber beads.
Fig.53. Timber Frame System. 78
Positive corners formed with 80mm diameter nosing. Negative corners curved with negative nosing.
Wal mounting outside: 100mm structural timber stud 18mm plywood panel nailed to stud at 240mm intervals.
Viabizzuno lamp in zinc-coated steel.
Door frames and thresholds formed with 30mm diameter nosing.
Bench: 400x60mm timber with rounded edges of 80mm diameter. Tarmac with sand topping. Steel edging screwed to timber stake.
Growing medium. 150mm gravel strip. Geotextile drainage membrane. Sole plate bolted to concrete footing.
Concrete Footing.
Detailed Section 1:50 Scale 0m
1m
2m
3m
4m
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200mm structural timber joist.
“Peter chose timber because he wanted a simple, honest material that reflected the temporality of the pavilions. He wanted something appropriate to the site and programme that would still hold a poetic resonance, and timber did all this� Anna Page - Project Architect.
Isometric Drawing Scale 1:100 0m
1m
2m
3m
4m
6m
9m
Fig.54. Restored enclosed garden from Pomeii.
Fig.55. View inside Serpentine Pavilion, 2011. 82
CONCLUSION Afterword
‘Hortus Conclusus’ literally translates to ‘enclosed garden,’
Patel Taylor’s idea for the park, was that earth should be
in Latin. Historically, hortus conclusus protected the private
shifted in order to create different levels and consequently
precinct from public intrusion, creating a protective barrier, in
allow for a spectacular effect, as well as act as a barricade
essence bringing nature within its walls. It was created out of
for the park, isolating it from the surrounding busy roads -
practicality when man feared the wildness of the landscape,
therefore creating it’s own ‘hortus conclusus.’
(animals and intruders) and chose to erect a protective barrier. Thames Barrier Park is a purpose built contained space with Artificial nature is the basis for the hortus conclusus - shutting
walls, surrounded on each side by large-scale buildings which
the space off from the outside world, creating an image of
‘defend’ the space within.
an inner paradise. The enclosed garden can be considered a paradox. To close off the outside world and bring a controlled
In particular, the 5-meter wide ‘Green Dock,’ which splits
nature within, creating an outdoor room that functions as a
through the park, creates a secluded oasis, a refuge of
metaphor for nature.
peace and tranquillity among the chaos within the urban infrastructure.
Relationship with the heavens is emphasised in a walled garden as it eliminates the outside world converging the
What is remarkable is that is has no side exits. Therefore,
garden below with the heavens above. There is a stark contrast
(similar to Zumthor’s Pavilion) once people enter, they are
between the containing walls and the vertical endlessness of
inclined to look North towards the Thames Barrier, the wavy
the sky – truly a vertical landscape.
hedges and the evergreen honeysuckle which covers 70 degree sloping walls, and ultimately arrive at a ramp which leads up to the memorial pavilion.
It is this historic relationship an enclosed garden creates with the sky and the heavens above is what was recreated within Zumthor’s contemporary design for the pavilion.
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Fig.56. Thames Barrier Park, 2016.
Fig.57. Mont Saint Michel, Monastery, 1862.
Fig.58. Inside Serpentine Pavilion, 2011.
Fig.59. Drawing of St. Pauls Catherdral in 11th Century.
Fig.60. Benedictine Priory of St. Gregory’s, Downside, 1812. 86
Fig.61. Enclosed Garden - Mont Saint Michel, Monastery.
Fig.62. Cloisters - Mont Saint Michel, Monastery. 87
Fig.63. ‘The Garden of Eden’ c.1410
“The notion of the garden as an enclosed space, set apart, and infused with metaphorical meaning – a representation of nature perfected through human art in the service of an ideal – is fundamental to our understanding of the history of landscape design.” The enclosed garden was a common setting for images
abounds which may include the following within this setting: a
of the Virgin Mary in medieval artwork. According to
rose, a lily, violets and an iris. The symbolism behind the plant
Elizabeth Barlow Rogers, ‘Landscape Design: a cultural and
material -- violets for her modesty, the white lily for her purity
architectural history.’
and the iris is representative of David or Christ.
This genre became symbolic of impenetrability, inviolability
The thornless rose itself was a medieval symbol of the Holy
(purity) and seclusion, a metaphor of the heavenly paradise
Virgin, the primrose was a virginal guide to paradise, primroses
and the Garden of Eden. As the space created is literally
were known as “the key to heaven”… salvation was to be found
focused inward, it becomes a figurative expression of
through nature... in this case a garden. (Interestingly, the word
spirituality. Within medieval paintings and tapestries the
“paradise” is derived from the Persian word “ pairideaza”,
Virgin is typically shown in a meadow with walls or a fence
which when literally translated means “surrounded by walls.”
encircling her, embraced by angels and saints, plant material
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“We come from nature and we return to nature; we are conceived and born; we live and die; we rot or burn and vanish into the earth. I rarely thought about such things when I was young. Now I do. I see a great cycle and I am part of it.� Peter Zumthor
BIBLIOGRAPHY Data Sources
Fig.17. www.digimap.edina.ac.uk/roam/historic Fig.18. www.gettyimages.co.uk Fig.19. www.serpentinegalleries.org Fig.20. www.digimap.edina.ac.uk/roam/historic Fig.23. www.serpentinegalleries.org Fig.24. www.google.com/earth Fig.30. pateltaylor.co.uk/royal-victoria-square Fig.37. www.serpentinegalleries.org Fig.38. www.serpentinegalleries.org Fig.43. www.bdonline.co.uk Fig.44. www.wga.hu Fig.47. www.pateltaylor.co.uk/studio Fig.51. www.bdonline.co.uk Fig.52. www.bdonline.co.uk Fig.53. www.bdonline.co.uk Fig.54. www.bible-architecture.info Fig.55. www.serpentinegalleries.org Fig.57. www.bible-architecture.info Fig.58. www.serpentinegalleries.org Fig.59. www.stpauls.co.uk/history-collections/history Fig.60. www.victorianweb.org/art/architecture Fig.61. www.journeyaroundtheglobe.com Fig.62. www.journeyaroundtheglobe.com Fig.63. www.artchive.com/web_gallery
Acknowledgements: www.pateltaylor.co.uk/studio www.architectureweek.com www.royalparks.org.uk/kensington-gardens www.theguardian.com/serpentine-pavilion www.serpentinegalleries.org www.architectureweek.com www.toddhaimanlandscapedesign.com www.bible-architecture.info www.lddc-history.org.uk/engineering/ Source of illustrations: Fig.1. www.ordnancesurvey.co.uk Fig.2. www.ordnancesurvey.co.uk Fig.3. www.pateltaylor.co.uk/studio Fig.4. www.pateltaylor.co.uk/studio Fig.5. www.serpentinegalleries.org Fig.6. www.ordnancesurvey.co.uk Fig.7. www.ordnancesurvey.co.uk Fig.8. www.pateltaylor.co.uk/studio Fig.9. www.google.com/earth Fig.10. www.ordnancesurvey.co.uk Fig.11. www.ordnancesurvey.co.uk Fig.12. www.serpentinegalleries.org Fig.13. www.google.com/earth Fig.14. www.pateltaylor.co.uk/studio Fig.15. www.digimap.edina.ac.uk/roam/historic Fig.16. www.digimap.edina.ac.uk/roam/historic
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