Wunderkamer

JAKUB RYNG PROJECT 2 WUNDERKAMER A PLACE FOR MY FRIEND’S COLLECTION OF TIES

CONTENTS PAGE

Introduction Inspiration Design development

Exterior Interior

Final Design Lighting Site Ritual Drawings

Plan Elevations Sections

Exploded Iso Detail

External Perspective

Internal Perspective Model

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INTRODUCTION THE BRIEF The objective of this project is to design a timber pavilion used by a friend - Albert - to store his collection of ties. The pavilion is to be situated in Albert’s garden, a surprisingly flat piece of land on his Bath property.

Albert is a real tie aficionado. His collection includes over 1000 of them and spans over all the wondrous colours, patterns, textures, and permutations of those, the tailor’s mind could imagine. He usually puts his tie on just before he leaves to work.

But the pavilion is not merely meant to serve the role of a wardrobe. Albert takes pleasure in spending his free time marveling at his collection. He also likes to show it off to guests and visitors. The pavilion will consequently need to satisfy all of these different requirements.

TWO SIDES OF THE TIE ANGULARITY

SIMPLICITY

ELEGANCE

THE PRACTICAL REQUIREMENTS Usage Requirements: • Storage system (shaded from sunlight) • A “space” to put the tie on (well-lit)

TIES

Environmental Factors: • Minimise exposure to sunlight • Ensure low moisture content of air inside

TYING THE TIE - THE RITUAL

PATTERNS GRID Check

Stripes

Paisley

Geometric

WAVE SCULPTURE

CYCLICAL LOOP

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INSPIRATION

“Admit constraints: then, having admitted, fill with discovery.�

ANTHONY FROSHAUG

THE MODERN GRID Mies van der Rohe Farnsworth House, Plano, Illionois (1951) Dominion Centre, Bank Pavilion, Toronto (1969) Lafayette Park, Detroit (1956) National Galery, Berlin (1968) Philip Johnson Glass House, New Canaan, Connecticut (1949)

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Most of the initial conceptual experimentation around the theme, was based within the framework of the modern grid; the assumption being that the sense of order and constraint would reflect the conventional regularity of ties.

At the same time emphasis was put upon the notion of placing a more unrestrained, organic form within the framework of the grid.

INSPIRATION

Tina Manis Associates The Lightbox Gallery, London The most straightforward take on the concept of warping the grid: an irregular, organic shape is sculpted within a regular grid mesh.

WARPING THE GRID Expanding on the notion of placing an irregular, visually contrasting object within the context of the grid, the research subsequently turned to exploring the concept of warping the grid itself - just as a tie does through the gentle curvature on the material.

Daniel Liebeskind Jewish Museum, Berlin (2001) The narrow scar-like windows cut in the irregular facade provide dramatic lighting for the empty voids of the museum, creating long, defused shadows.

WWAA Architects Polish Pavilion Expo 2010, Shanghai (2010) A traditionally flat, regular folk pattern is folded into a three-dimensional structure. Especially interesting is the way in which the pavilion meets the ground. Sheltered openings are created by using the inherent features of the form - simply lifting the vertical planes off the ground in the corners.

On the opposite side, the patterned planes gently fold into the ground

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DESIGN DEVELOPMENT EXTERIOR

FACADE GRID VARIATION

Square

BREAKING THE CUBE

Diamond

Equilateral Triangles

EXAMPLES OF EARLY EXPERIMENTATION

The superimposing of the 45° diagonals on top of the orthogonal grid adds dynamism to the pavilion’s facades. The relative density and direction of the diagonals can be varied for each facade in order to regulate the level of sunlight entering the building.

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In order to help the eye make out and follow the diagonal lines, which curve at the edges, they were painted in two strong colours. This visual emphasis of this particular element links back to the concept of the tie as the finishing, and most important, conspicuous element of one’s attire.

The geometry of the equilateral triangle facade allows for a more natural opening to be created by cutting off one of the corners.

DESIGN DEVELOPMENT INTERIOR STORAGE METHOD Early on in the project, based on previous research, the storage method for the ties was established: rolling the ties into cylinders and placing them within a regular mesh of square shelves. Apart from being the most tie-friendly storage system, this method also presented a lot a potential in terms of its aesthetics. The initial concept of warping the grid was very much relevant to this.

EARLY EXPERIMENTATION

SPATIAL ARRANGEMENT While the paisley-shaped storage cabinet presented a lot of potential with regards to orchestrating one’s movement about the pavilion, it appeared to compromise the convenience of usage.

Trying to address some of the shortcomings of the early design, a concept was eventually devised, inspired by the actual method, in which the ties will be store (described above).

The cylindrical shelving unit - a blown up version of the rolled up tie - forms the very core of the entire pavilion - a monumental pod inside which lives a vivid collection of ties.

The initial concept for the interior space of the pavillion was fundamentally open-plan, with only one non-load-bearing partition used as the shelving module for the ties. The shape of the module referred back to one of the most iconic tie patters - the paisely.

The paisely-shaped module served to regulate one’s movements around the space. Upon entry, the curved wall of the paisely would invite the user to walk along the outer wall of the shelf - letting him pick one of the ties. The curvature would then lead the user into the heart of the pavillion (marked x), where he would be able to put the tie on.

In order to increase the functionality of the cabinet, the cylindrical shell was split into 6 sliding arches on 3 different radii. The user is thus able to control the degree of privacy the pavilion offers. When not in use, the shell of the cabinet protects the ties which are kept on the inside of the cylinder from sunlight.

PUBLIC

PRIVATE

On an aditional circular track inside the pod is a tall mirror, which can also be positioned to take into account the changing lighting.

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DESIGN DEVELOPMENT FINAL DESIGN A significant influence on this design move came from one of Louis Kahn’s earliest buildings: the Yale Art Gallery. In it, Kahn manages to evoke the grandeur and monumentality of the art treasures stored within it, through his clever use of the most basic geometric forms.

The cylindrical shape of the cabinet inside led to some modifications to the exterior of the pavilion. The most logical alteration to some of the earlier exterior designs was to change the base of the pavilion to a square.

This reduction of the geometry of the structure to the most basic, regular shapes naturally led to the choice of the external facade grid as that based on equilateral triangles.

Louis Kahn Yale Art Gallery, New Haven (1953)

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DESIGN DEVELOPMENT LIGHT NATURAL LIGHTING When the outside light levels are adequate, the inside of the cylinder is illuminated primarily through the light scoop in the roof.

In a reference to the language of tie-wearing, the light scoop itself is oriented towards the south-east, where the sun rises, since conventionally, a man would put his tie on in the morning - that’s what Albert does most of the time.

WARPING THE GRID Aside from serving as a protective layer against wind, rainfall, and sunlight, the triangular facade also contributes to the dynamic aesthetics of the design. As the sun moves across the sky, the shadows cast by the facade onto the cylindrical cabinet would undergo constant change and distortion.

ARTIFICIAL LIGHTING Supporting the natural daylight system when the outside light levels are not enough to light the space inside, the pavilion is fitted with electrical lighting, which runs around the circular opening just beneath the roof.

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DESIGN DEVELOPMENT SITE One of the most powerful concepts associated with the ritual of tying the tie is the notion of making a loop: returning to a place one has already been too. This had been the underlying notion behind the design of the pavilion’s surroundings.

In plan, the pavilion is situated within an orthogonal grid. The grid itself is not parallel to the edges of the A3 base - or the surroundings buildings - though. A tie, by its very nature, is imperfect, ever so slightly different with every knot. The form, the angles, the curvature all vary... It is for this reason that the orthogonal grid is slightly skewed in relation to its surroundings.

The house - i.e. the starting place for the morning journey - is positioned to the south of the pavilion, while the garage - i.e. the user’s destination in his morning ritual - to the east. This arrangement prompts the user to take a path, which leads him around the pavilion, letting him marvel at the dynamic shadows cast by the rising son.

The user subsequently enters the pavilion through the entryway situated at the northwestern corner. Having put a tie on, he exits and walks south - then east - thus completing the loop laid out for him.

In total there are 8 paths leading to the square marked around the pavilion.

Theoretically, this presents opportunities for a far greater number of loops.

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“Architecture is experienced as one roams about in it and walks through it...”

LE CORBUSIER

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DESIGN DEVELOPMENT THE RITUAL THE TEMPLE ANALOGY

2) In order to enter the pavilion one needs to pass through two layers of doors or portals...

This is reminiscent of a gothic church, which usually has a narthex separating the outside from the nave.

1) The orientation of the pavilion with the entrance positioned on the western-most corner refers to the conventional orientation of a gothic church. It’s worth noting that most churches only allude to this ideal orientation, but in reality they deviate from it by some angle. This is also the case in this design.

3. Around the cylindrical pod in the middle, there is a passageway, which let’s one observe the shadows cast by the triangular facade onto the curvature of the shelves. This is reminiscent of the aisles and the ambulatory, which mark a circuit around the nave and the altar.

THE RITUAL STORYBOARD

The morning walk...

Glimpses of the shadows cast by the morning sun

Around the corner...

First portal...

Second portal...

Making the decision.

Tying the tie...

Out again.

Completing the loop...

And he’s off...

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DRAWINGS PLAN 1:20

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DRAWINGS ELEVATIONS on site

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DRAWINGS ELEVATIONS

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DRAWINGS ELEVATIONS

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DRAWINGS SECTIONS 1:20

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DRAWINGS EXPLODED ISO 1:50

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DRAWINGS DETAIL ◄ ROOF SECTION DETAIL 1:10

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Zinc roof Insulation Weather-proofing Decking Roof joist

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► GUTTER SECTION DETAIL 1:10 1.

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vent

Aluminium gutter Aluminium downspout

◄ FLOOR AND FOUNDATION SECTION DETAIL 1:10 5

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Galvanized steel bolt Galvanized joist hanger Steal shoe Bolts cast in concrete Timber batten Timber joist Timber flooring Damp proof membrane Insulation

▼ SLIDING DOOR SECTION DETAIL 1:5 HEAD

SILL

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fixed panel

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sliding panel

DRAWINGS EXTERNAL PERSPECTIVE

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DRAWINGS INTERNAL PERSPECTIVE

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MODEL

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MODEL

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