Ghost in the Machine | Case Study Field Trip Report

Coventry Cathedral Field Trip Case Study

Architect and Designer

Sir Basil Urwin Spence, (13 August 1907 – 19 November 1976) was a Scottish born architect who is most notably renowned for his work on the new Coventry Cathedral and the Beehive in New Zealand. Throughout his early career he experimented with many styles but is most know for buildings developed towards the end of his life in a refined Modernist/Brutalist aesthetic.

1938

1976

The Sydney Jones Library (1976) 50 Queen Anne's Gate (1976) Aston University Library (1975) ”‹–‹•Š Â?Â„ÂƒÂ•Â•Â›ÇĄ ‘Â?‡ Č‹ÍłÍťÍšÍłČŒ Civic Centre (1970) ͸͡ Č‚ ͳͲ; ƒÂ?‘Â?Â‰ÂƒÂ–Â‡ÇĄ •‘…‹ƒŽ Š‘—•‹Â?‰ †‡˜‡Ž‘’Â?‡Â?–• Č‹ÍłÍťÍ¸ÍťČŒ Newcastle Central library(1968-2007) British Pavilion Expo 67 (1967)

™‹•• ‘––ƒ‰‡ ‡‹•—”‡ ‡Â?–”‡ Č‹ÍłÍťÍ¸Í´Č‚ÍśČŒ —–…Š‡•‘Â?–‘™Â? Ď?Žƒ–• Č‹ÍłÍťÍ¸Í´Č‚ÍłÍťÍťÍľČŒ Coventry Cathedral (1962) Spence House (1961) St Paul's Church, Wordsworth Avenue (1959) ›†‡Â?ŠƒÂ? …Š‘‘Ž Č‹ÍłÍťÍˇÍťČŒ

Duncanrig Secondary (1953) Sea and Ships Pavilions for Festival of Britain (1951) Broughton Place, Peeblesshire (1938) Gribloch Country House (1938)

1930

1935

1940

1945

1950

1955

1960

1965

Residential

1970

Educational

1975

Public

ˆĎ?‹…‡

1980

Religeous

Structral Strategy

Geometric baptistry and nave roof Secondary structure

Concrete tie-beams Primary structure Hidden concrete truss Primary structure

False roof and slender decorative columns Tertiary structure

Main concrete structure Primary structure

Brick facade Tertiary structure

Concrete

Concrete

The primary intention of the design engineer was for most of the building to be formed by unreinforced concrete in order for it to act structurally in the same way as a masonary builing ϐ but through implication of new technologies ϐ Ǥ the concrete on the inside spence could clad the building in a stone similar to the original building Ǥ in recognition that religeous are usually amongst Ǥ

“The building was designed for a life of at least 500 years... concrete was not allowed to come directly in contact with the english concrete”

Prestressed Concrete zones

-Basil Spence

This image shows the steel within the concrete expanding and breaking away from the mate Ǥ lowed the concrete to weather

The columns sit of tiny bronze pins to illustrate what the main structure has achived to created a sense of wonder when emmersed within a spiritual and to Ǥ

Sketches of a detail of the Freyssinet prstressing system

Structural plan of the new cathedral set perpen Ǥ

the thick concrete walls that support the new Ǥ red as they are not supportiong the main infra Ǥ

Porch Pile-cap

Entrance spectical of the elaborate false Ǥ entrance guides you into the space and Ǥ

Nave

Roof Strcuture

Rib Truss

The nave of the roof has a shallow pitch that runs Ǥ

ϐ “carry their load principally through extensional forces, tension and compression”. The baptistry roof was de ϐ Ǥ its very light weight, the height means it may in ϐ Ǥ Force transfer within the Nave roof, as shown in the

Rib Truss

rib truss

Triangluar stress distributions shown on a single element

External view of baptistry roof analysied, highlighting areas of prestressed concrete including the front porch lintel The assumed shell action of the baptistry roof, with internal stresses and tendon forces

Glass facade and entrance porch

grand porch and front facade to allow its appar Ǯ ǯǤ an entire front wall of etched glass and a view Ǥ lows for a honesty within the architecture, remi ǯ ǡ Ǥ The glass is held in place by elegant thin strips of Ǥ ing spence used delecate steel cables that were attatched to both the interior and exterior using ǯ Ǥ

The prestressed concrete elements above the baptistary roof allows spence to play with large planes of glass to give the effect of two building intersecting with one an Ǥ ϐ Ǯϐ ǯ

This image shows the cables that attach to the Ǥ These cables will require maintainence to remain Ǥ

Porch Roof 7.31m

766.5kN

1117kN

5398kN

21.3m

M

1117kN

2.34m

Forces applied to the porch buttress demonstrating the feasibility of the Ǥ This creates a grand entrance allow Ǥ The roof appears detached from the Ǯϐ ǯ

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Program

ϐ ϐ ϐ ϐ

Ruins

Choir

Christ the

‘I felt it should be dominant and separate; I put it on the axis of the font - from the old Cathedral to the alter and from the chapel of unity’ - Basil Spence

unity

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Store

Choir Room

Muniment Room ǯ

ǯ

Sewing Room

ǯ

‘The High alter has become even more prominent and the reredos behind it has been removed entirely.’

- Basil Spence

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Environmental Strategy

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‘The Baptistery window, 81 feet high and 51 feet across, is glazed with stained glass by John Piper. It is a rich composition in colour culminating centrally in a clear blaze of golden light’ - Basil Spence

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Summer & Winter Solstice

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,ŽůLJ dƌŝŶŝƚLJ ŚƵƌĐŚ EĞǁ ŽǀĞŶƚƌLJ ĂƚŚĞĚƌĂů KůĚ ZƵŝŶƐ

dLJƉŽůŽŐLJ ŚƵƌĐŚ ŽĨ ^ƚ͘ :ŽŚĂŶŶ ŽŵŝŶŝŬƵƐ ŽŚŵ EĞƵͲhůŵ

dŚĞ ŚƵƌĐŚ ŽĨ ^ƚ :ŽŚĂŶŶ͕ ƉƌĞƐĞŶƚƐ ŝŶƚĞƌĞƐƚŝŶŐ ƉůĂŶƐ ǁŚŝĐŚ ƐŽŵĞ ƐƉĞĐƵůĂƚĞ ^ƉĞŶĐĞ ŵƵƐƚ ŚĂǀĞ ďĞĞŶ ŝŶĨůƵĞŶĐĞĚ ďLJ͘ ŝƌĞĐƚŝŽŶĂů ůŝŐŚƚ ŝƐ ŬĞLJ ŝŶ ^ƚ :ŽŚĂŶŶ ŚƵƌĐŚ ĂƐ ŝƚ ĐĞŶƚƌĞƐ ĂƌŽƵŶĚ ƚŚĞ ŝŵƉŽƌƚĂŶĐĞ ŽĨ ůŝŐŚƚ ĂŶĚ ůŝƚƵƌŐLJ͘ dŚĞ ŝŐͲ ĂŐ ĞĚŐĞƐ ĂůůŽǁ ůŽŶŐ ǁŝŶĚŽǁƐ ƚŽ ĚŝƌĞĐƚ ůŝŐŚƚ ƐƚƌĂŝŐŚƚ ƚŽǁĂƌĚƐ ƚŚĞ ĂůƚĂƌ ƚŚĞƌĞĨŽƌĞ ĞŵƉŚĂƐŝƐŝŶŐ ƚŚĞ ŝŵƉŽƌƚĂŶĐĞ ŽĨ ƚŚĞ ůŝƚƵƌŐLJ͘ dŚŝƐ ĚŝƌĞĐƚŝŽŶĂů ůŝŐŚƚ ŝƐ ƐŚŽǁŶ ŝŶ ĞdžĂĐƚůLJ ƚŚĞ ƐĂŵĞ ǁĂLJ ŝŶ ŽǀĞŶƚƌLJ ĂƚŚĞĚƌĂů ĂƐ ^ƉĞŶĐĞ ƌĞƉĞĂƚƐ ƚŚĞ ŝŐͲnjĂŐ ĞĚŐĞ ĂƐ ƐĞĞŶ ŝŶ ƚŚĞ ƉůĂŶƐ ŽƉƉŽƐŝƚĞ͘

'ƌŽƵŶĚ ĨůŽŽƌ ƉůĂŶ ŽĨ ůŽŽƌ ƉůĂĂŶ ŽĨ ŽĨ Ĩ ^ƚ ^^ƚƚ͘ :ŽŚĂ ŚĂĂŶŶ Ŷ ŚƵƌĐŚ ŽĨ ^ƚ͘ :ŽŚĂŶŶ

'ƌŽƵŶĚ ĨůŽŽƌ ƉůĂŶ ŽĨ ŽǀĞŶƚƌLJ ĂƚŚĞĚƌĂů

ŚƵƌĐŚ ŽĨ ^ƚ͘ :ŽŚĂŶŶ

ŽǀĞŶƚƌLJ ĂƚŚĞĚƌĂů

dLJƉŽůŽŐLJ ŚƵƌĐŚ ŽĨ EŽƚƌĞ ĂŵĞ >Ğ ZĂŝŶĐLJ ƵŐƵƐƚĞ WĞƌƌĞƚ ^ƉĞŶĐĞ ŽƉƚĞĚ ĨŽƌ Ă ůĂƌŐĞ ŽƉĞŶ ƉůĂŶ ƐƚLJůĞ ĨŽƌ ŵĂŶLJ ƌĞĂƐŽŶƐ͕ ŽŶĞ ŽĨ ƚŚĞƐĞ ďĞŝŶŐ ƚŚĂƚ ŚĞ ǁĂƐ ǁŽƌƌŝĞĚ ƚŚĂƚ ƚŚĞ ďƵĚŐĞƚ ǁŽƵůĚ ŶŽƚ ƐƚƌĞƚĐŚ ǀĞƌLJ ĨĂƌ ĂƐ ƚŚĞ ǁĂƌ ĚĂŵĂŐĞ ĐŽŵŵŝƐƐŝŽŶ ǁĂƐ ĂďůĞ ƚŽ ƉĂLJ ĨŽƌ Ă ͚ƉůĂŝŶ ƌĞƉůĂĐĞŵĞŶƚ͛͘ dŽ ƐƵĐĐĞĞĚ ŝŶ Ă ƐŝŵƉůĞ ŵŽŶƵŵĞŶƚĂůŝƚLJ͕ ^ƉĞŶĐĞ ƵƐĞĚ ǀĞƌLJ Ɛůŝŵ ĐŽůƵŵŶƐ ǁŚŝĐŚ ŐŝǀĞƐ ĂŶ ĞƚŚĞƌĞĂů ŶĂƚƵƌĞ ƚŽ ƚŚĞ ďƵŝůĚŝŶŐ͘ dŚĞ ŚƵƌĐŚ ŽĨ EŽƚƌĞ ĂŵĞ͕ >Ğ ZĂŝŶĐLJ ƉƌĞƐĞŶƚƐ ƚŚĞ ƐĂŵĞ ƐŽůƵƚŝŽŶ ƚŽ Ă ƐŝŵŝůĂƌ ƉƌŽďůĞŵ͘ >Ğ ZĂŝŶĐLJ ŚƵƌĐŚ ƉƌĞƐĞŶƚƐ Ă WůĂŶ ĐŽŶƚĂŝŶŝŶŐ Ă ŶĂŢǀĞ͕ ŝƐůĞƐ ĂŶĚ ƐĂŶĐƚƵĂƌLJ ŝŶ Ă ƐŝŶŐůĞ ƐƉĂĐĞ͘ ƐŚĂůůŽǁ ĐŽŶĐƌĞƚĞ ǀĂƵůƚ ǁŝƚŚ ƚƵŶŶĞů ǀĂƵůƚĞĚ ŝƐůĞƐ ƌĞƐƚŝŶŐ ƵƉŽŶ ƐůĞŶĚĞƌ ĐŽůƵŵŶƐ ŝƐ ĂůƐŽ ƉƌĞƐĞŶƚĞĚ ĂŐĂŝŶ ƌĞĨůĞĐƚŝŶŐ ƚŚŽƐĞ ŽĨ ŽǀĞŶƚƌLJ ĐĂƚŚĞĚƌĂů͘

ŚƵƌĐŚ ŽĨ EŽƚƌĞ ĂŵĞ

ŚƵƌĐŚ ŽĨ EŽƚƌĞ ĂŵĞ

ŽǀĞŶƚƌLJ ĂƚŚĞĚƌĂů

ǣȀȀ Ǥ Ǥ Ȁ ǫ α ǣȀȀ Ǥ Ǧ Ǥ Ȁ Ȁ Ǥ ǫ αͳͲ͸ͺ ǣȀȀ Ǥ Ǥ Ǥ Ȁ Ȁ Ȁ ȀʹʹͷͶ ǣȀȀ Ǥ ȀʹͲͳͻȀͲͺȀͳͶȀ Ǧ Ǧ Ǧ Ǧ Ǧ Ǧ Ȁ ǣȀȀ Ǥ Ǥ Ȁ Ȁ Ǧ Ȁ Ǧ Ȁͳ͵ͶʹͻͶͳ ǣȀȀ Ǥ Ǧ Ǥ Ȁ Ȁ ̴ ̴ͷǤ ǣȀȀ Ǥ Ǥ Ȁ Ȁ Ǧ Ȁ Ǧ Ȁͳ͵ͶʹͻͶͳ ǣȀȀ Ǥ Ǧ Ǥ Ȁ Ȁ ̴ ̴ͷǤ ǣȀȀ Ǥ Ǥ Ȁ Ȁ Ǧ Ȁ Ǧ Ȁͳ͵ͶʹͻͶͳ ǣȀȀ Ǥ͵͸Ͳ Ǥ Ȁ Ȁ Ǧ Ǧ Ǧ ȋ Ȍ ȋʹͲͳ͹Ȍ ǡ Ǥ ͳͻ͸ʹǤ ǡ ǤͶͷǦͶͺ ǣȀȀ Ǥ Ǧ Ǥ Ȁ Ȁ Ǥ ǫ εͷͶͼ; ǣȀȀ Ǥ Ǥ Ǥ Ȁ Ȁ Ȁ Ȁ͸͸ͻͺ ǣȀȀ Ǥ Ȁ͸ͶͷͿ ǣȀȀ Ǥ Ǥ Ǥ Ȁ Ǥ ǫ ε

ǡ Ǥ Ǥ ȋʹͲͳ͸ȌǤ Ǥ ǡ ͸ʹǦͺ͵Ǥ

Ǥ ȋʹͲͳͻǡ ͳͳȌǤ ʹǤ Ǥ ǡ Ǥ ȋʹͲͳʹǡ ͳͻȌǤ Ǥ ǣ ǣȀȀ Ǥ Ǥ Ȁ Ȁ Ǧ Ǧ Ǧ Ǧ Ǧ Ǧ ǦͳͻǦͲͶǦʹͲͳʹȀ Ǥ ȋʹͲͲ͹ǡ ͳ͸ȌǤ ̹ Ǥ ǣ ǣȀȀ Ǥ Ǥ Ȁ ȀʹͲͲ͹Ȁ Ȁͳ͸Ȁ Ǧ Ǥ Ǥ ȋʹͲͳͻȌǤ Ǥ ȏ Ȑ ǣ ǣȀȀ Ǥ Ȁ Ȁ Ǧ ȏ ͳʹ Ǥ ʹͲͳͻȐǤ Ǥ ȋʹͲͳͻȌǤ Ǥ ȏ Ȑ ǣ ǣȀȀ Ǥ Ǥ Ǥ Ȁ Ȁ Ǧ Ǧ Ǧ Ǧͳͺͳ͸ͳͻͳͳ ȏ ͳʹ Ǥ ʹͲͳͻȐǤ Ǥ Ǥ Ǥ ȋʹͲͳͻȌǤ ǡ ǡ ȁ Ǥ ȏ Ȑ ǣ ǣȀȀ Ǥ Ǥ Ȁ ȀʹͺͷͻͳͷȀ Ǧ Ǧ Ǧ Ǧ Ǧ Ǧ Ǧ ǫ α Ƭ ̴ αͶ͹Ƭ α ͵ ͺ ͵ʹ ͸ ʹͷ Ǧ ͳ Ͳ ͹ ̴ ȏ ͳʹ Ǥ ʹͲͳͻȐǤ ǡ Ǥ ȋʹͲͳͻȌǤ ǡ Ǥ ȏ Ȑ Ǥ ǣ ǣȀȀ Ǥ Ǥ Ȁ Ȁ Ȁ Ǧ Ǧ Ǧ Ǧ ǦͳͶ͹ͻͷʹ͹ͺ ȏ ͳʹ Ǥ ʹͲͳͻȐǤ Ǥ Ǥ Ǥ ȋʹͲͳͻȌǤ Ȃ Ǥ ȏ Ȑ ǣ ǣȀȀ Ǥ Ǥ Ǥ Ȁ Ȁ Ǧ Ȁ ȏ ͳʹ Ǥ ʹͲͳͻȐǤ

Ǥ Ǥ Ǥ Ǥ ȋʹͲͳͻȌǤ Ǥ ȏ Ȑ ǣ ǣȀȀ Ǥ Ǥ Ǥ Ȁ Ȁ Ǥ ǫ α͹͵ͳͳ ȏ ͳʹ Ǥ ʹͲͳͻȐǤ ǡ Ǥ ȋʹͲͳͻȌǤ ǡ ͷͿͼ͸ǣ Ǥ ȏ Ȑ Ǥ Ǥ Ǥ ǣ ǣȀȀ Ǥ Ǥ Ȁ Ȁͳ͵ʹ͹ǫ α ȏ ͳʹ Ǥ ʹͲͳͻȐǤ ǡ Ǥ ȋͳͻ͸ʹȌǤ ǣ Ǥ Ǥ Ǥ Ǥ Ǥ ȋʹͲͳͻȌǤ Ǥ ȏ Ȑ ǣ ǣȀȀ Ǥ Ǥ Ǥ ȀʹͲͳ͹ͲͻͲ͵ͲͳͲ͹ʹ͹Ȁ ǣȀȀ Ǥ Ǥ Ǥ Ȁ Ȁ Ȁ Ǧ ȏ ͳʹ Ǥ ʹͲͳͻȐǤ Ǧ ǡ ǡ ̶ ǣ ̶ǡ ǡ ͻ ȋʹͲͲʹȌǡ ʹͷͳǦʹͷͺ δ ǣȀȀ Ǥ ȀͳͲǤͳͲͳ͸Ȁ ͳͲ͸͸Ǧ͹ͻ͵ͺȋͲʹȌͲͲͲ͸ͻǦ͸ε ǡ ǡ ̶ ǡ ͳͻ͸ʹǣ ̶ǡ 2 ǡ ʹͲͳʹǡ ͳʹ͵Ǧͳ͵ͺ δ ǣȀȀ Ǥ ȀͳͲǤͶͲͲͲȀ Ǥͳ͵ʹ͹ε Ȍǡ Ǥ Ǧ ǡ ̶ ǡ ȋ Ȍ Ǥ Ǧ ̶ǡ Ǥ Ǥ ǡ ʹͲͳͻ δ ǣȀȀ Ǥ Ǥ Ǥ Ȁ ȀͷͳʹͶʹ͸Ͳε ȏ ͳʹ ʹͲͳͻȐ ̶ Ȃ ǥ̶ǡ Ǥ Ǥ Ǥ ǡ ʹͲͳͻ δ ǣȀȀ Ǥ Ǥ Ǥ Ȁ Ǧ Ǧ Ǧ Ǧ Ǧ Ǧ Ǧ Ȁε ȏ ͳʹ ʹͲͳͻȐ

ǡ ǡ ̶ ǡ ȋ Ȍ ̶ǡ Ǥ Ǥ ǡ ʹͲͳͻ δ ǣȀȀ Ǥ Ǥ Ǥ Ȁ ȀͷͳʹͶ͵ͷͷε ȏ ͳʹ ʹͲͳͻȐ ̶ ǯ ̶ǡ ǡ ʹͲͳͻ δ ǣȀȀ Ǥ Ǥ Ȁ Ȁ Ǧ Ǧ Ǧ Ǧ Ǧ Ǧ Ǧ Ǧ Ǧͺ͹ͷ͸Ȁε ȏ ͳʹ ʹͲͳͻȐ ̶͸ Ƭ ȁ ̶ǡ Ǥ ǡ ʹͲͳͻ δ ǣȀȀ Ǥ Ȁ Ǧ Ǧ Ǧ Ǧ Ǧ Ȁε ȏ ͳʹ ʹͲͳͻȐ ̶ ǡ ̶ǡ ǡ ʹͲͳͻ δ ǣȀȀ Ǥ Ǥ Ȁ Ȁ Ȁʹ͸ͷʹ͹ͶͶ͸Ͷͳε ȏ ͳʹ ʹͲͳͻȐ