THE STRANGE PALACE HOTEL
THE STRAND PALACE HOTEL MENAGERIE THE ASYLUM SEEKER SANCTUARY A MOSS PROPAGATED WAR STRUCTURE LAUNDRY LOUNGE VINYL & METAMORPHOSIS POPLAR ROWING CLUB: ROOF EXTENSION PERSONAL ARTWORK & PHOTOGRAPHY
PROJECT TYPE: ACADEMIC DATE: SPRING 2022
LOCATION: LONDON, UNITED KINGDOM
Our interactions with animals have primarily been through zoos, circuses, and domestication- contexts which emphasize a separation between humanity and the animal kingdom by placing animals on a performing pedestal for our entertainment. In reality, humans and animals have a long history of working side by side as equals.
The Strange Palace Hotel is a museum exploring a journey back in time that combines the past and the present of central London’s Strand Palace Hotel. Previously situated here was The Exeter Change’ Menagerie between 1773 and 1829. My project seeks to reinterpret this history in the hotel’s central courtyard.
My program aims to navigate human relationships with animals, through augmented reality, highlighting how it has changed over time through immersive museum exhibits. The use of augmented reality challenges the necessity for live animals, especially since abuse is often prevalent in zoos and circuses.
To blur the boundaries between natural and human environments, the building’s cladding will be constructed from willow. The willow structure will be eventually engulfed by greenery. The willow will also act as nests for the local Swifts, a bird species which have been rapidly declining in population since their displacement due to modern construction methods. The courtyard space will transform into a wild garden and open the once private block into a lush public space. For guests, the hotel transforms from merely being a place to stay into an unexpected experience that explores our innate relationship with the growth of natural organisms in one of the most metropolitan regions of London. The Strange Palace Hotel can provide a solution to achieving a more empathetic consideration of animals within our urban society and, on a wider scale, questions how these two domains can coexist.
My building is situated in a densely populated area with a lack of green spaces within a close radius of my site. My proposal is to use the light wells to convert this space into a courtyard filled with wonder, transforming the guests’ hotel stay into a true experience.
LIGHT
Ideal for cafe and garden areas DARK Ideal for AR spaces
MEDIUM Ideal for circulation and minor AR
This light analysis allows me to see the naturally shaded areas which indicates how dense my cladding needs to be depending on the purpose of the space.
I began to start experimenting within the space of the courtyards to explore how to incorporate unique spaces whilst bridging existing spaces. I designed with the material willow to see the best way to connect adjacent areas.
To explore willow’s materiality, I began to do physical experiments playing with the qualities. I used moulds to shape the willow into arches additionally, I began to use the natural grass rafia as a connector.
Creating panels seemed as an efficient way of converting the natural material into a more controllable building element, however, the framework highly limits the type of geometry that can be produced. It would be difficult to create shapes that flow and weave themselves together without using an organised tiling system.
To create a more dynamic structure, I digitalised my experiments and began to create different chunks of willow. Manipulating the base geometry, the scatter density, and the rotation will be my three key parameters to create optimal geometry that aligns with the program and desired aesthetic output.
PATTERN ONE Skewing
This sunlight study shows that I can play with different weaving patterns to create different shadows. For example the most densely woven pattern: Pattern B with thickness 3 may be ideal for the Augmented Reality. Thickness 1 may be more ideal for a cafe space as privacy screens.
This interior render displays the circus exhibition. This exhibition is meant to portray circuses in a dark setting, creating an ominous mood to allude to circuses not showing the full picture. The render shows how augmented reality can be used in place of real animals.
Timber will facilitate the loads of my building to transfer them either to the central pier lift shift or to the outskirts of the existing building. The connection system will be able to do this adequately whilst creating this unique pattern and shape.
WILLOW CONNECTION
Internally, willow will be purely aesthetic and attach to the floor to span across the ceilings. Externally, the willow will be a self-supported structure but will use my building’s timber structure to hold its shape. The connections are released vertically to allow small movement adjustments throughout my building but prevent lateral swaying.
Willow rods Rubber profile
Inlay (ABS)
Fastening wedge Aperture bar Slim side mount
WILLOW CONNECTION DETAIL 1 2 3 4 5 6 7 8
Mounting plate (spliced steel) anchor
This render depicts how the existing hotel interacts with the timber structure, the willow facade, and the surrounding entourage.
This external renders expresses a balcony terrace moment, where the users can step out of the museum to see the willow forms.
bridge is a moment leaving the museum and entering with the willow and experience the
KYRA JOHNSTON
2022
ARCHITECTURE PORTFOLIO
The
EXTERIOR RENDER:
entering the restaurant. Users can watch how the birds interact the mix of materials as they cross.
Theme: Repurposing Infrastructure: Intervening Memories
PROJECT TYPE: ACADEMIC
DATE: FALL 2021
LOCATION: LONDON, UNITED KINGDOM
The Strand Palace Hotel sits on the sites of one of the most famous menageries in the world. Although now a popular hotel, The Exeter Change’ Menagerie was situated on-site between 1773 and 1829. My project aims to revive the spirit of the animals back into the site. I will be creating an architectural intervention on the entrance facade and lobby space of The Strand Palace Hotel.
I will also be exploring the concept of cabinets and collectors and drawing comparisons between menageries as a mere exhibition of animals and a collection of antiquities. A menagerie is defined as a collection of animals on display, and animals were kept in cages similar to antiquities kept in cabinets. Cabinets were not specific to a cabinet we think of nowadays, but some were thought of as collection rooms. Keeping animals in a cabinet-like room exposes collectors treating animals as objects rather than living creatures.
As animal rights become a more prevalent issue, the whole idea of zoos is being questioned, which brings forth an opportunity to re-imagine zoos (and menageries). I will attempt to recreate the concept of a zoo (or menagerie) by incorporating augmented reality as an alternative to live animals. The architecture will come to life through the animals and vice versa.
I hope that The Strand Palace Menagerie creates a conversation that draws a bridge over the gap between the present and past purpose of the site to bring back its essential history. I also hope to redefine the necessity of live animals at a zoo through an architectural twist to my site.
Although the Exeter ‘Change menagerie itself was located on the Strand, it had multiple relocations due to the development of areas in London. It was also around the time that the RSPCA was founded and investigated into the treatment of animals at the multiple menageries across London.
KYRA JOHNSTON
2022
ARCHITECTURE PORTFOLIO
LONDON ZOO, REGENTS PARK
EXETER CHANGE’
KINGS MEWS, CHARING CROSS SURREY
I used a myriad of animals and combined through the process of randomization. I liked how the symmetrical effect created resembled a butterfly and I hope to take symmetry further in my geometries.
After visiting the space, I decided to re-design the entrance room due to its unique features. I took the detailed parts and applied the geometry processing and liked how the balustrades came out.
TYPE: ACADEMIC DATE: SPRING 2021
LOCATION: RYE, UNITED KINGDOM
The beaches of the English south coast see many boats containing asylum seekers wash up at their shores after an arduous crossing from mainland Europe. The Asylum Seeker Sanctuary, situated around 45 minutes from the port of Dover, where most asylum seekers are received, explores how biophilic architecture can be used to accommodate these displaced people in a way that is calming, empathetic, and dignified. Between January and June 2019, an estimated 10.8 million new displacements occurred worldwide, with a record 65% of these stemming from natural disasters. This figure is over double the number of displacements due to conflict and, as the climate crisis worsens, will only increase at a higher and higher rate.
Privacy was also a critical factor in many design choices; offset floors, roof lights, and double-height spaces are used throughout the building to allow for large amounts of natural lighting without exposing the asylum seekers inside to the public, promoting feelings of enclosure and safety.
Biophilic principles are used within the architecture to aid the mental well-being and emotional healing of the guests. The intricately textured wall faces slow rainwater as it moves along its shallow slope, working to propagate moss as the building ages. Growth will primarily occur along the shaded north face of the building and the back courtyard wall, a calming view for some of the more stressful spaces like the interview rooms.
As humans, we have an intuitive attraction to design that mimics the evolutionary growth of natural organisms. Because of this, after the grueling journey that many asylum seekers face, this organic presence will allow for some solace as they begin their long process of achieving refugee status.
Although one street away from the high street, my site is nestled between three community buildings. It is currently a car park with an existing high wall that separates the street from the residential area behind. The horizontal open-nature of the site allows for a large exposed front facing retail spaces.
The site is currently used as a car park, it sits flushed against the Grade I listed Town Wall also known as the Rye Land Gate. It was built in 1340 made out of stone rubble and is still in great condition. There is also a small tower attached to the wall that will not be removed for my program.
There were an estimated 10.8 million new displacements worldwide from January to June in 2019. A record was set of 65% (7 million) were caused by natural disaster. This number is almost double the displacements caused by conflict and violence during this period.
After placing a sun analysis on my site model, I realised that my site gets very little direct sunlight all year round, I will need to innovate ways to receive sun without being blocked by the town wall.
To begin designing, I used a mass block and subtracted spheres. This was inspired by my project one design to create shallow surfaces for moss propagation.
I didn’t find any of facades were very interesting so I began to design areas that I planned to add intricacy to.
I started to look into designing roof lights and curved terraces. I also began to design the spatial layout of the ground floor entrance as it is the most important area to plan. I started to experiment with creating skylights by offsetting the first floor to maintain ground floor privacy.
In order to bring more light into the building whilst ensuring the privacy of the users, I incorporated a skylight for the second-floor rooms. The skylight will allow light into the hallway, which will then be transferred into the rooms through high windows. The roof light will also provide dramatic visual appeal to residents living in homes of higher elevation.
SECTION 1:10 on A2
2 3 5
4 6 7
1
SECTION 1:10 on A2
1+7: 130mm 3d-printed sandstone tiles
2+6: 40mm + 40mm horizontal and vertical stainless steel channel for tiles
3+5: 10 mil moisture barrier + 60mm foamglass insulation bituminous coating
4: 380mm reinforced concrete wall + 10 mil vapour barrier
2
1: 24mm laminated safety glass + 18mm cavity + 8mm float glass + 18mm cavity + 16mm toughened safety glass
2: 12mm stainless steel spherical cover
3: 200mm circular steel channel for LED strips
4: 130mm 3D-printed sandstone tiles + 40mm + 40mm horizontal and vertical stainless steel frame for tiles
5: 10 mil moisture barrier + 60mm foam-glass insulation bituminous coating
6: 380mm reinforced concrete wall
7: 10 mil vapour barrier + 20mm gypsum plaster
The moss will act as soundproofing for many areas, e.g. the interview rooms. Moss is also known to reduce stress levels and bring a calming side of nature in a controlled environment. I will be using a small pipe that sits behind the steel frame to draw the water collected in the trough back up to the top of the wall. The water pipe will have small holes to create a controlled "rainfall" trickle down the wall.
3 4 5 6 7
1
The ground floor circulation has been vital to the design of my project. The goal was to create a smooth process for the asylum seekers whilst still meeting all the requirements. I’ve made sure that there is natural light by using skylights created from offsetting the upper floors.
Area to provide asylum seekers with fresh clothes, towels, and hot drinks on arrival.
Space to allow vans to turn in and drop off the asylum seekers
Entrance into the building with space for them to line up and be given warm drinks
Spaces for users to take a long shower, comfortably get changed whilst looking out to private moss gardens from the shower view. Also where laundry is picked up and returned to their rooms.
The exterior wall will be double sided with a slight slope in either direction to have rain water trickle down the surfaces. The humidity of the shower will be an optimal area for moss to prosper.
An indoor waiting room as well as an outdoor double-sided moss bench for those waiting to be interviewed. Also has a small prayer room.
Interview pods for the asylum seekers with large windows to let light in and views of the moss wall.
MOSS COURTYARD
Area for moss to propagate and create views out for interview rooms and first floor balconies. Also a potential escape route if necessary for post-interview.
CAFETERIA
Large seating area for hot meals with views to the moss courtyard.
Main prayer space for guests.
STAFF AND VISITOR ENTRANCE
Entrance into the building for staff and food deliveries. Also an entrance for visitors coming to pick up family or friends.
Staff room and visitors area to wait for friends and family.
KYRA JOHNSTON STAFF AND VISITOR LOUNGE PRAYER AREA
Theme: Climate and History - Natural Bunkers
PROJECT TYPE: ACADEMIC DATE: FALL 2020
LOCATION: RYE, UNITED KINGDOM
Rye is a small town two miles from the coast that is at the confluence of river Rother, Tollingham, and Brede. Because of this, it was an essential location for bunkers and pillboxes during the war. Overtime, bunkers, pillboxes, and sound mirrors were left unused, and their natural state has been revealed.
This project explores how wartime structures are perceived by humans and non-humans. As humans we associate them with war but non-humans can associate them as positive structures to propagate growth by creating new kinds of environments and new kinds of microcosms in the landscape. Through geometry explorations, I curate an understanding of how these monoliths create ideal conditions for growth versus what we associate them with as humans.
Concrete monoliths on the coast often are linked to a sense of strength and often violence, however, no matter their association, they still are subject to bio-colonization. Over time the concrete becomes more alkaline creating an ideal surface for moss propagation. As the moss begins to overtake the structure, it instigates a conversation about the relationship between materiality and function through the perspective of humans and non-humans.
The sunlight hours map is a good indicator that my shading needs to be extremely efficient due to the higher amount of sun hours Rye receives.
Understanding the direction of the wind makes me ensure that the moss surfaces will not be exposed to high amounts of wind. This will allow the moss seeds to latch onto the surface without blowing away.
The sun path diagram is important to analyse to create sufficient shading for the moss to prosper in.
I would like to use concrete as my final material to replicate the visuals of a concrete bunker. However, I will use either dissolvable form-work or the Eggshell method which prints a thin-shell formwork while casting concrete inside.
This was one of my most successful iterations, I really liked how the detailing create unique intricate areas. I began to apply that to the flat surface and further experiment with this language.
The detailed pattern in the discs helps to slow down the water flow and increase the likelihood of moss This will ensure that the humidity of the surface will stay high for optimal moss growth. The view matches looking out to
Theme: Social Infrastructure - Culminating Spaces
PROJECT TYPE: ACADEMIC
DATE: SPRING 2020
LOCATION: DALSTON, UNITED KINGDOM
Dalston puts a significant amount of importance on community centers, and therefore it is vital to combine daily services with communal areas. The successful addition of a laundry and community service could help create this necessary space. This project is a laundry business where people can come and socialize, relax, and celebrate the process of laundry. To make this project successful, I added social spaces, including sofas, and complimentary coffee, tea. I hope to develop a green roof to aid with regulating the indoor temperature, creating a sound barrier externally and internally, as well as potentially drawing more biodiversity back into Dalston alongside the Eastern Curve Garden. Furthermore, I hope to develop a graywater storage space; I will have troughs to recycle rainwater as well as recycling the water from the washing machines, sinks, and showers for plumbing. This water can also water the plants at the Dalston Eastern Curve Garden. I will place a few washing lines of the on the exterior upper side of the building to take advantage of the prevailing winds and strong wind channel developed by the Dalston plaza. My site will also accommodate the primary owner of the laundrette in a separate living space, consisting of a small room and kitchen as well as a dining table and bathroom embedded in the laundrette.
PROJECT TYPE: ACADEMIC DATE: FALL 2019
Drawing inspiration from a microscopic image of vinyl grooves, I created a device that re-imagines the creation of a master disc. The adjustable wooden plank create a unique stamp every time. The metal device is my representation of a record player. This reading device analyses the grooves similar to the needle of a record machine. To minimise unnatural movements, I used ball rollers and made every element adjustable. Altogether, my project re-imagines the creation of vinyl, the record player, and lastly the produced sound. The drawing produced on the paper replicates the sound generated by a record machine. After inserting a blank piece of paper, the magnet snaps shut to create tension in the paper. As the device reads the groove, the pencil reflects the movement and draws a line.
Theme: Storytelling - Representing Senses
DATE: FALL 2019
LOCATION: WALMER YARD, LONDON
We were assigned the task to create an installation based off of the story of Icarus. We focused on the themes of suspension, gravity, and the threshold between gods and humans. We created a chair to experience being enclosed in a space and drawing upwards. The 6m long strings elongated the sense of verticality and movement. I was mainly focused on the lighting and fabric installations but aided with the overall design.
Theme: Social Infrastructure - Training and Gathering
PROJECT TYPE: PERSONAL DATE: SUMMER 2022
LOCATION: LONDON, UNITED KINGDOM
My partner in this project, Daniel Langstaff, and I were approached by a Rowing Club to design their roof extension. They were looking for a pitched roof design with renders and drawings. They are currently raising funding and we are continuing our design discussions. Daniel and I brainstormed the designs together and separated the tasks, we both designed iterations, I then focused on the hero render and drawings whilst he created the additional renders. We created a simple recurring pattern to draw inspiration from the surrounding area and create a structure that complements the skyline of the city. We have created multiple design iterations working with the client’s needs and budget.
Primary space within the upper extension is a large open recreational space, which adapts to the varied use that the rowing club has for their building. There are a multitude of roof lights to illuminate the enclosed interior spaces.
Exploring different roof shapes to sit atop of the existing architectureprimarily focusing on pitched roofing for height and client’s aesthetic.
