Eleanor Mettham Portfolio by PDF Uploads

Stage III Academic Portfolio Eleanor Victoria Mettham Building Upon Building 2020.2021

Synthesis Thematic Case Study

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Illustrated Reflective Diary

Appendix Cultural Bibliography

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• Contents •

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Masterplan Modelled Visualisation

Cultural Bibliography

Thematic Case Study

Conceptual Modelling

Having completed Stage II under rather strange circumstances, it was important to reflect upon what enabled me to succeed toward the end of the year working from home and how this could be incorporated into Stage III wheth-

Thematic Case Study

1:5 Detailed Delicate Modelling

Conceptual Representation

Embossing Plans Inspired by Artist Representation

Character and Language Development

Graphical Representation Development

Experiential Focus

• Illustrated Reflective Diary•

Reflections between Stages II and III

er this is in Newcastle or elsewhere. The Glasgow project allowed me to focus upon three-dimensional representation in particular at smaller 1:10 and 1:5 scales. This launched me into an admiration for detail which

drove much of my dissertation’s argument. The Bishop Auckland project allowed me to establish strong conceptual standpoints for my design work and drove the entire project. Such informed the graphical representation style I adopted and is the method

followed during Stage III conceptualisation and realisation. Both projects pushed me into the atmospheric and experiential direction, paying attention to this aspect of my designs in particular strengthened both my work and my enjoyment during the process.

Continuing to develop my hand-drawing and model making skills allowed me to remain highly focused and take joy from my studio work during the pandemic period. If I had reduced my efforts to digital methods as would have been slightly more convenient,

I don’t think I would have left Stage II with the positive attitude I did. Therefore I continued to work in this way over the summer as I conducted my dissertation research and intended to do so as I entered Stage III. Experiential and emotional fo-

Cultural Bibliography

cus became evermore important as I recognised the reduction of such in our own lives during the repeated lock-downs which followed. This has been central to my graduation project and has become central to my overall architectural attitude developing.

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Ornamental Detail Analysis of Caruso St John’s Nottingham Contemporary Gallery

Thematic Case Study

• Framing •

• Studio Introduction • Building Upon Building As a studio, Building Upon Building is centred around architectural preservation, questioning conventionally accepted understandings of preservation, heritage and nature in particular. This year such is realised through a proposal for Berthold Lubetkin’s Penguin Pond in London Zoo. The 1934 Grade I listed structure

stands empty yet shielded by its heritage status. Unfit for the animals it was designed for yet protected. Concerns arise around the purpose of its preservation and the purpose of the 21st century zoo itself. Is the physical retention actually retaining the pond’s original acclaims which earnt its listing or do alternatives exceed this?

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• Studio Themes • Experimental Preservation The studio seeks to take an experimental attitude toward the act of preservation. Urged to question such from initial introduction, it quickly became clear that commonly accepted presumptions of preservation as detainment of the old and architecture as imposition of the new are inaccurate, naïve distinctions. Architecture is preservation. It is a process which preserves and alters, frames and re-frames the environment, whether consciously or unconsciously, beyond retaining physical objects deemed valuable.1 Such becomes clear

when we accept the Soviet preservationist Evgenii Mikhailovskii’s description that: ‘the work of preservation did not involve changing architecture but changing the way that architecture was perceived’.2 It is not simply about the physicality but the perceptibility that the intervention has the ability to alter. Architectural preservation is a means of celebrating and reinstating fading aspects,3 deciding which are of greatest value and how to re-frame them. Architecture is preservation, but what must be preserved and is this occurring?

Heritage, Nature, Preservation & Climate Change Introducing the new to the old, an intervention upon an existing ‘heritage’ structure faces criticism from the contemporary understanding of preservation and heritage as ‘a revered object to be preserved’.4 Yet when understood as an unending process the approach taken is less set and open to experimentation. Architecture is a reflection of the complex social, cultural and political situations in which it sits and cannot be expected to remain advantageously reflective if it does not alter with such. As explored by Timothy Morton, ‘the aim is

not to restore or preserve nature, which is impossible, but to design and use technology together with ecology in order to achieve the survival of human and animal species’.5 It is necessary to realise the interrelationship between built and natural heritage and such can then become ‘the most sustainable architectural resource’,6 allowing the process to continue with the appropriation of our existing environment for today’s necessities and critically preserving our climate from the current challenges it suffers.

• Site Declaration • The Penguin’s Pond Berthold Lubetkin, ZSL London Zoo, The Regent’s Park, 1934 Drawing on our initial questioning, analysis of the heritage process of the pond began. Studying the evolving situations in which it arose, created and now sits in,

we sought to determine the possibilities presently offered and how an advantageous relationship can emerge between this existing and our new interventions.

What will the future hold for the beloved penguin pond?

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• Part I •

Thematic Case Study

Cultural Bibliography

Macro - - - - - - - Micro Four Part Studio Approach Taken

“The Lungs of the City” ~Lord Chatham {1708-1778}

Park Development

Developing London Sprawl

• Site Analysis •

•The Regent’s Park •

Wider Context ~ Context ~ Architects ~ Architecture

Development

Examining the Pond’s context from four different scales an in-depth analysis could be conducted which highlighted those aspects of a protected building within a protected park in a protected society which must be

understood before interventions may be proposed. Studying each of these areas has confirmed their reflective insight into the social, cultural and political alterations which occurred alongside the architectural development.

Designed in 1811 by John Nash, The Regent’s Park flowered into the picturesque vision Nash sought and still delivers such to the capital city’s inhabitants. Providing a contrasting compliment to the bustle of the centre’s grey streets the park’s canvas is rich which

greens. Frequently referred to as ‘the lungs of the city’,7 London’s parks have continuously been recognised for their health and well-being benefits and avoided proposed Western expansion. Preservation has focused upon the benefits recognised and reinforced by

a somewhat unwavering process. The care and protection of this organ are unsurprisingly of as high concern today as they were previously but to what extent should Nash’s picturesque ideals be preserved and how does or should such merge into the Zoo itself?

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Park Crescent

All Souls Church

Fig. 2. Fig. 1.

‘A total work of architectural and landscape art’ ~ John Summerson {1904-1992}

Fig. 3.

The Queen Victoria Monument

Carlton Terrace

•The Regent’s Park •

The Picturesque

Framing Views : The Scenic Route

Nash’s approach in designing this park was arguably experimental, focused upon carefully curating a relationship between palatial dwellings and natural landscaping, the built and natural beauty. This relationship allowed for the interwoven public and private space the park holds highlighting the benefits of employing complimentary contrast.

The public park benefits from the surrounding architecture, the private architecture benefits from the enclosed park. In this way elements are recognised as interdependent entities in a single entity.8 No parts take individual precedence and rely on each to excel beyond individual work to become a total work of picturesque environment.

Central to the achievement of Nash’s picturesque environment was the technique of framing views. His creation of landscape paintings upon our real-life canvas was achieved through his careful manipulation of lines of sight and composition. From St James’ to The Re-

gent’s Park, multiple views are framed of monuments and terraces. The Park crescent’s curved formation framing a small collection of trees at the end of the route,just prior to the park entrance itself, a first introduction to the natural and unnatural relationship celebrated.

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The South Villa

• Part II •

Thematic Case Study

York Terrace

Mary-le-bone Church

Sussex Place

Thematic Case Study

Cultural Bibliography

Hanover Terrace

...the Society would have “a collection of living animals such as never yet existed in ancient or modern times” 9

The Framing Views Technique

The 21st century

A New Zoo

The New Century

~ZSL Prospectus, March 1825

The Victorian Years

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The First 10 Years

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The Outer Circle

1826 ZSL Nobility

Science

1934 The Penguin’s Pond Commerce

Education Leisure Exclusive Inclusive

Prison-like Cages

Fig. 4.

Fig. 5.

Picturesque

Technically Advanced

Visitor Circulation

...the lack of such a Society and menagerie: “this opprobrium to our age and nation” 10 ~ZSL Prospectus, March 1825

•The Regent’s Park •

•The Zoological Society of London•

Framing Views

The Evolving Purpose of Zoos

The relationship between the enclosed park and surrounding outer circle is particularly strong. Seen here is the framed view from each of the palatial structures into the park and to the distant palatial structures along

the curved enclosure. The repetition of their façades complimentarily contrasted by the freedom of the parks species and meandering paths. Techniques employed to remove roads and city from view are still evident today.

The concept of keeping animals is ancient, from royal menageries to travelling circuses, there has always been great interest in viewing animals particularly exotic animals. Yet the attitude we have taken to

their keeping has evolved drastically. From its conception in 1826 by Sir Humphry Davy and Stamford Raffles, ZSL London Zoo has held onto its scientific purpose and is recognised as the oldest scientific zoo in

the world. Opening its doors early on from the nobility to the wider public the zoo has always placed the correct keeping of animals at its forefront, a continually evolving process which the zoo’s development reflects.

Habitat Immersion

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The Victorian Years 1837 - 1900

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The New Zoo 1940 - 2000

The First 10 Years 1828 - 1837

The 21st Century 2000 - Present

A New Century 1900 - 1940

Architecture has played a critical role in the advancement of the zoo and society from the beginning, but its approach, roughly splitting into 5 major periods has varied. The first ten years saw the zoo occupy a work-in-progress status. Decimus

•The Zoological Society of London•

Periodic Development

Burton was the zoo’s architect. The Victorian years saw many world firsts, the first reptile house, aquarium and insect house. Yet less of these structures exist in their original function today due to advancing scientific understanding. The

New Century brought great technological advancement and began to concentrate less on displaying animals in their ‘natural habitat’ alike the Mappin Terraces but the ‘perfect habitat’ alike the Gorilla House and Penguin’s Pond.11

The New Zoo after WWII saw major construction, it focused on the visitors and children in particular. Significant structures include the Casson Pavilion and Snowdon Aviary currently under renovation by Foster

& Partners. The 21st century focuses on separating animals into various different ecosystems and habitats and aims to immerse the visitor. The architecture is arguably un-notable, fake and themepark-esque.12

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Fig. 6.

Fig. 12 - 13.

Fig. 6.

Fig. 8.

Fig. 11.

Fig. 7.

The First 10 Years 1828 - 1837 .....Yards, Paddocks & Ponds.....

Fig. 9.

The Victorian Years 1837 - 1900 .....Houses & Aviaries.....

The First Ten Years focused upon Picturesque Landscaping, enclosures termed yards, paddocks and ponds and the ability for visitors to stumble upon animals. The Victorian Years focused upon picturesque architecture, displaying animals in beautiful houses for viewers, but behavioural sci-

A New Century 1900 - 1940 ....Terraces & Houses & Ponds.....

Fig. 10.

The New Zoo 1940 - 2000 .....Pavilions & Aviaries.....

Fig. 17.

Fig. 15.

The 21st Century 2000 - Present .....Lands, Kingdoms & Beaches.....

Fig. 14.

Fig. 16.

•The Zoological Society of London•

Periodic Differentiation - Enclosures & Visitor Treatment

Atmospheric Alteration - Re-branding

ence advanced far beyond this as the New Century took hold. The enclosures became more technologically and scientifically led utilising manufactured ‘unnatural’ materials, often concrete. The Mappin Terraces followed Hagenbeckian principles of habitat replication but with its straight visitor

fencing and animal compartmentalisation, failed to fake naturalism. The pond did not attempt this. Instead it displayed the penguin’s natural activities dramatically in the perfect habitat despite the ‘unnaturality’ of such. The New Zoo’s enclosures such as the Casson Pavilion and

the Snowdon Aviary focused upon visitor circulation and utilised new technology to create environments representative of the animals they housed. The 21st Century has returned to habitat replication attempting to transport visitors to animals’ ‘natural environments’ not necessarily the perfect.13

From initial inception particularly from the ‘New Zoo’ period to present day, ZSL has undergone atmospheric alterations. Some intentional some likely unintentional. The child and visitor focusing has led to the adoption of simpler fonts and slogans. The decision is intended to unite all. Replacing ‘Living for

Conservation’ with ‘Let’s work for wildlife’ shows this attempt and does actually seem to include the zoo’s wider work more than the previous.14 The campaign posters also use this simplistic approach which comes across as careless and unwelcoming. ‘Squad’ were responsible for updating the logo and park

sign-age. They state they chose a ‘more organic’, ‘almost leaf-like’ font and incorporated animals into the text opposed to the them sitting upon the text in the existing identity which ‘unfortunately played into how zoos used to be: an animal on top of some type, as if it was sitting on a pedestal

Fig. 18.

for people’s entertainment’.15 Though the intention is understandable it is another example of the zoo’s new position which appears to strive to recreate the wild and the natural opposed to pair it complimentarily with the ‘unnatural’ fonts and architecture such as has been successful in the park and pond.

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Atmospheric Visualisation

Fig. 23. Fig. 24.

Fig. 21.

Fig. 20.

Fig. 25. Fig. 26.

Fig. 19.

Fig. 22.

Mapping & Layout Alteration

Fig. 31.

Fig. 27.

Fig. 28.

Fig. 32.

Fig. 30.

Fig. 29.

Fig. 33.

Graphical Representation

Fig. 35. Fig. 34.

Fig. 39. Fig. 36.

Fig. 38.

Fig. 37.

Such child focus and simplification pairs with the increasing commercialisation to create a rather undesirable atmosphere. Screaming children, unhappy parents, expensive and poor quality refreshments and souvenirs pushed from many angles. The cartoon animals and silly names such as ‘the

•The Zoological Society of London•

The (Un)wonderful Zoo

Atmospheric Alteration

lion’s den’ and ‘the adventure cafe’ reduce respect and wonder visitors have for the zoo. Previously seeing exotic animals in the heart of the capital, particularly stumbling upon elephants and walking with penguins generated a sense of wonder within the zoo. This is reduced, partly due to increasing

health and safety standards but largely due to the care the zoo appears to take in its presentation. The butterfly house, an inflated temporary tube is often deflated, dirty and wildly unappealing along with plastic multicoloured picnic benches and animal cut outs dotted about the circulatory system.

The altering atmosphere the visitors experience and the physical and graphical development interlink to reflect the changing focuses of the zoo as they evolve simultaneously. The architectural drawing as an entity in itself can represent the ambitions, the design intends to achieve. In this case the most

recent mapping and graphical representation reflects simplification and technological design. Unlike the emotional depictions of previous periods. The mapping in particular shows the simplification and reduction of care in presentation. This unsurprisingly arguably plays out into the zoo itself.

Fig. 40. Fig. 41.

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Thematic Case Study

• Part III •

• Part IV •

Thematic Case Study

Cultural Bibliography

Roof Plan

...As Lubetkin once told me, “the curving façade and outstretched arms were intended to introduce a smile into what in fact is a machine.” ~ John Allan

Location of second tree, no longer standing

Location of existing tree

> North-West Section

> North-East Section

> South-West Section

Ground Floor Plan

Born in Tbilisi, Georgia {USSR} in 1901, Berthold Lubetkin spent his early years and art education in Russia. Witnessing the Russian Revolution of 1917 he can be affiliated with concepts of Russian Constructivism alike Vladimir Tatlin’s 1920 monument designed to replace those reflective of the tsa-

•Berthold Lubetkin & Tecton•

•The Penguin’s Pond•

Practice Investigation

ZSL 1934

rist period.16 In the 20s Lubetkin spent time in Berlin and Paris at the ecole-des-beaux arts. Moving to London, he co-founded Tecton in 1932. Alluding to the technical focus of their group, the derivation of the name comes from the Latin ‘architecton’. Emerging was their concentration upon the ‘phy-

scial and social implications’ of the ‘art of architecture’.17 Such evolves with the Gorilla House, Penguin’s Pond and North Gate Kiosk in London Zoo. Also significant is Finsbury health centre also Grade I listed, it expresses Lubetkin’s employment of social, technical and aesthetic ideals to realise a

‘radical humanitarian brief for a deprived community’. Showing the power of Modernism to do so and creating a welcoming no longer intimidating hospital atmosphere ahead of its time. The form of the curving arms representative of the machine’s smile, the natural and unnatural merging.18

Realised by the minds of Berthold Lubetkin, Tecton and engineer Ove Arup during the period of advanced biological research, the Penguin Pond is the pinnacle of their zoo structures utilising technical innovation to the benefit of the species housed. Yet beyond the credited achievement of its structural spiralling ramps and Modern aesthetic is a greater set of ideals Lubetkin held and which stand within the walls of this enclosure.

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• Preservation of Ideals •

Thematic Case Study

Cultural Bibliography

Synthesis

“It’s not always a building’s fault that it becomes unsuitable.” ~ John Allan

“Perhaps it’s time to blow it to smithereens” ~ Sasha Lubetkin

Fig.42.

Following their contraction of the bacterial infection bumble-foot due to small abrasions from walking on the exposed concrete of the pond, the penguins were removed in 2004. They now inhabit ‘Penguin Beach’ an imitative alternative. Lubetkin’s daughter has been quoted in numerous articles stating the pond would not

•The Penguin’s Pond•

•The Wonder of the Zoo•

Flaws & Blame & Care(lessness)

Experience

be fit for anything else than the penguins it was so perfectly designed for which aligns with calls to remove the listed structure thought dated and uncaring. Yet this was in fact largely the fault of the zoo’s decisions not the original design. Lubetkin’s biographer and pond renovator John Allan reveals Lubetkin specified rubber

for the poolside paving for penguin’s comfort but the zoo removed this in favour of concrete. The pond was designed for Antarctic penguins known to huddle together but these were also replaced by the zoo with Humboldt penguins who like to burrow leaving the design perfectly but the original brief incorrect. Finally, during the

restoration ‘we were required to apply a layer of quartz granules to the ramp surfaces for the benefit of the keepers, but to the discomfort to the penguins who have some practice in walking on slippery surfaces’.19 Arguably the issue is one of care and a lack of such has caused the loss of beloved penguins in a beloved enclosure.

One of the most significant aspects the Penguin Pond established/preserved was visitor experience, the wonder of the zoo. With its cinematic viewing windows it exemplifies the viewing experience and intrigue for all who approach and lean on the white walls. As is the case with the Gorilla House with its summer and winter display options. Maho-

ly Nagy’s 1937 filming of the new architecture by Tecton for MOMA and Harvard University captures the majestic drama of the animals in these highly Modern enclosures. From its early days with the nobility and highly sought entrance to the zoo, the excitement of stumbling upon new animals to the penguin pond’s playful innovative display

and encounters to a reduction in intrigue today. The visitor depictions seen to the right are taken from Foster & partners’ renderings of the Snowdon Aviary renovation. Focus is still upon children and the elderly and merchandise can be seen on many individuals as-well as selfie sticks and cameras, the wonder is not expected to be preserved.

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Thematic Case Study

• Preservation of Ideals •

Thematic Case Study

Cultural Bibliography

“ZSL London Zoo’s breath-taking exhibit transports visitors from the heart of London to India’s vibrant Sasan Gir, where they can get closer than ever before to mighty Asiatic lions” ~ ZSL

• Framing Views •

• Representative > Replicative - The Extent of Deception•

Reoccurring Techniques Identifiable

Framing Views - ‘Habitat Immersion’

Analogous to the techniques employed by Nash in Regent’s Park, Lubetkin’s windows frame the penguins alike a painting upon the white concrete canvas or the proscenium arch of a theatre’s stage. Lowering the floor of the pond beneath ground

level creates a raised viewing platform for visitors alike the grand circles and boxes in a theatre. The theatrical set-up is appreciated for what it is opposed to failing to elude the public into believing they are elsewhere. Why would they need to be?

Unlike the park and pond the theatrics of the Hagenbeckian exhibitions such as the Mappin Terraces and newer ‘immersive’ environments such as Land of the Lions, Penguin Beach and Tiger Territory, do not acknowledge the deceptive techniques used. Framing techniques are used in the pond and park but they do not

try to trick and transport you out of London. You are still aware of where you are, the ropes are still visible. The other locations try to hide the ropes yet end up creating obviously false scenes with no irony employed. The size of the site and need for compartmentalisation and protective visitor screens breaks the illusion.

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Thematic Case Study

• Preservation of Ideals •

Thematic Case Study

Cultural Bibliography

“There must be no antagonism between architecture and its natural setting...The architecture of the house embraces the garden. House and garden coalesce, a single unit in the landscape” ~ MARS Manifesto, 1938

Fig. 43-44.

Fig. 45.

Fig. 46.

Fig. 47.

Fig. 48-49.

“Pond and trees coalesce, a single unit in the landscape” ~ Josep-Maria Garcia-Fuentes

One of the most important aspects explored during our analysis is the relationship between the natural and the unnatural. Highly important for Lubetkin in his original design, the relationship represents the ability of that which is perceived as

• The Natural & The Unnatural •

Unnatural to the Benefit of the Natural

‘unnatural’ to benefit the ‘natural’, simultaneously merging the relationship between built and natural heritage. The two trees seen in Lubetkin’s original model presented to the penguins were intrinsic to his design, he stressed the importance of

keeping such when it was suggested they were removed for ease during construction and the concrete is cut around the ailanthus tree which still exists today.20 The second unfortunately is no longer there highlighting the fragility of the natural once more.

The organic shadows created upon the white canvas and leaves visible through the precisely-cut ellipses in Maholy Nagy’s film display the complimentary contrast Lubetkin recognised. Much more than an aesthetic aspect, the trees were

integral to creating the perfect habitat for the penguins. The trees provide the small twigs needed for the penguin’s nesting boxes, the circular holes allow more to fall into the pond and the larger branches provide shade from the south sun-

light. Technological tools and industrial materials are used to the penguin’s advantage over an aesthetically focused habitat imitation attempt. The Unnatural is can aid the natural. Just as in the park, they are interdependent entities.

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Thematic Case Study

• Preservation of Ideals •

Thematic Case Study

“How many citizens of London ...have brooded over the railings of that pool, envying the penguins as they streak through the blue water or plod up the exquisite incline of the ramp—and have wondered sadly why human beings cannot be provided, like penguins, with an environment so adapted to their needs?” ~ Mother & Child parenting journal 22

•Functional Brief• A Research Centre for Ecological Change & Wildlife at the Royal Zoological Society of London Studio Requirements ~ Propose the design of a new building to host such as an extension of Lubetkin’s Penguin Pond ~ Must decide the location and its position as connected to the Penguin’s Pond. ~ As a minimum requirement, you must include at least: a lab (2.000 m2), spaces for the inhabitation on of animals (1000 m2),

• Circulation • Admirable Exhibition In the midst of London’s unceasing expansion, circulation was in need of attention in the 1930s. Roads came to standstills, cars in every direction, the people’s circulation system was far from simplistic and admirable. The penguins’ on the other hand was ad-

mired by onlookers, their perfect parade spurred the media to marvel at their unobstructed movement and implied lifestyle benefits a Modernist approach could allow. Punch magazine even suggested such could act as a model for traffic management.21

and a residence for two researchers (120 m2). ~ A landscape approach to the massing of the volume is required. ~ You must create a landscape strategy for your proposal and for the whole Royal Zoological Society of London in relation to Regent’s Park. This must deal with both the design and its ecological aspects.

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Thematic Case Study

Preservation of ... Experience

• Initial Design Development•

Preservation of ... Ideals - Preservation of ... The Wild

ZSL’s Preservation of the Wild Scheme

have arguably been lost. Retrieving these presents beneficial possibilities for the Zoo and wider world. The preservation of ideals aids the preservation of the wild itself. Acknowledging the current climate crisis, preservation of the wild must be at the forefront of all of our efforts, efforts of the architectural

field and ZSL in particular. Both sit in a position of great responsibility. If the zoo is to continue to uphold its prided scientific focus and celebrated innovation, preservation of the wild has to be the achieved through the interventions they adopt. The ideals and the wild will sit in a beneficial interdependency.

Interdependent, the ideals and the wild preserved sit in a relationship with the integral preservation of experience. Loss of the wonder of the zoo to commercial concentration and the wonder of much to the digital world, experience is flat. Seeing a lion would have generating such awe in previ-

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Preservation of ... Experience

• Initial Design Concept Development•

Adopting the attitude which accepts architecture as preservation rather than two distinct aspects, initial development defined the ideals captured by Lubetkin’s pond as necessary. Though the pond may be unsuitable today, the ideals introduced are most suitable and though the physical structure is protected they

Cultural Bibliography

ous times, yet today you have the possibility of travelling to see lions and can ‘see’ much more in the digital world we have in our hands. We may not necessarily need such rich experiences to survive but as has been emphasised during the preview of digital life the pandemic has given us, we require

real-life experiences for our own health. Additionally, such experiences will generate the revenue required for the zoo to continue its essential preservation work. Therefore, I have envisioned a scheme for ZSL which focuses upon re-framing existing architectural elements which once offered

greater benefit than in their present state and curating emotionally rich experiences throughout their journey. Visitors are presented with a revised introduction to their visit from the point of entry to the Casson Pavilion to the Penguin’s Pond and Research Centre before entering the existing zoo.

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Thematic Case Study

• Initial Design Development •

Entrance Renovation

Initial Route Design

In response to the somewhat careless rebranding of ZSL, I have reintroduced original fonts and updated the Zoo’s logo. Such sits atop the renovated entrance which is intended to entice and enchant visitors into the zoo opposed to the shabbier entrance currently plastered with advertisements and

the simplistic fonts. The slogan is altered to read ‘ZSL - Preservation of the Wild’ as a more sophisticated alternative to the childish ‘Let’s work for wildlife’ and necessarily presents more confidence. Animals are held supported by the structure just as they are supported by the zoo’s protective scheme.

The climate crisis is frightening and concerning and is so for everyone, therefore the focus of the zoo cannot be on children alone, everyone must play a part. It is true the younger generation need inspiring and are powerful yet the adults make the detrimental deci-

sions in most cases. The initial pathway guiding visitors from the entrance to the Casson Pavilion incorporates this. It presents a dilapidated lost zoo plastered with posters of ZSL’s lost exhibits. It encloses the visitors with recycled wooden panels directing them straight

Cultural Bibliography

to the Casson and hiding signs of animal life. A world without animals and wildlife could not survive but this hypothetical depiction is equally as concerning and intended to be an eerie and frightening introduction matching the real situation we are facing.

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Thematic Case Study

• Initial Design Development •

• Initial Design Development•

Re-appropriation of The Casson Pavilion

The Frozen Zoo

Continuing the dramatics, the Casson Pavilion is transformed into an educational informative theatre displaying the deteriorating ecosystems of our world in its different compartments. Previously intended for the viewing of elephants and rhinos the

compartments lend themselves along with the efficient s-shaped visitor circulation to this re-appropriation. The structure is preserved physically as-well as the ecosystem and creature like representation it employed before the zoo turned to replication.

In addition to the attention upon encouraging visitor’s environmental awareness and visitor revenue, the zoo’s own environmental work is expanding alongside such. Stemming from the intriguing relationship explored between the natural and the

unnatural. Architecture as an unnatural aspect has a responsibility to aid the natural not hinder it. The research centre will provide a permanent location for the zoo’s collection of DNA. Collected from thousands of species, particularly endangered plants and

Cultural Bibliography

animals, the natural world is preserved and protected by somewhat ‘unnatural’ science. Just as the ice caps in the penguins’ Antarctic home are melting and preservation may allow such to remain frozen, preservation exists in the form of a Frozen Zoo in London.

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Thematic Case Study

Preservation of the Pond itself poses a valuable tool for the zoo’s overall preservation scheme. It’s historical status brings attraction likely unparalleled by novel rootless structures. If it were not as integral to the zoo’s funding, attraction may not be a major driver in the

Thematic Case Study

• Early Visualisations•

The Penguin Pond

The House of Protection

argument for preservation yet the consequence tourist attraction can bring in this circumstance is beneficial. Preventing the destruction of this beloved structure satisfies common public desire, yet this physical preservation is perhaps the smallest intervention. Firstly, I intend to fill the

pond with glass penguin sculptures, harnessing the intrigue of this careful creative task. Representative of the frozen animals preserved in the research centre, the penguins are protected yet sadness is also instilled in visitors gazing into the pond for they see the penguins are in a

fragile state along with the rest of the wild. The structure also stands as a reminder of the consequences a lack of care can have, the penguins are no longer there due to the careless mistakes made by the zoo which they acknowledge and encourage against in all future work

The research centre intervention upon the site of Lubetkin’s pond is the central structure. It houses the Frozen Zoo and laboratories for the zoo’s scientists. The structure draws from the exhibition space created by Lubetkin. It stands as an exhibition of science. A translucent

language offers the visitors an inspiring insight into the essential work the zoo focuses upon. It strengthens the natural and unnatural relationship with the replanting of the lost second tree and incorporation of plant species into the scientific research programme.

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• Initial Design Development •

The House of Protection

Massing Formulation

Careful to harness a representative not replicative nature, I envisioned the research centre as a living structure blurring the lines between built and natural heritage and the unnatural and the natural. Just as the park is referred to anatomically as the lungs of the city, I intend

the structure to adopt a skeletal form in an embrace of the penguin pond. An embrace a symbol of care and reminiscent of the outer circle surrounding the park, the pond and preserved {in glass} penguins inside and the two trees are surrounding my unnatural yet beneficial architecture.

Early massings stemmed from the forms of the pond and zoo’s wider context. A curved embrace striven for which offers an intriguing display of circulation. Linear symmetrical and somewhat palatial forms inspired by the architecture complimenting Regent’s Park yet not trying to replicate such and incorporating new and advantageous materials.

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Preservation of Ideals ....The Wild ....Experience

Enchanting

Frightening

Entrance

Initial Pathway

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Intriguing

Casson Pavilion Theatre

Mycelium Maze & Science Pods

Hopeful

Preservation of Ideals ....The Wild ....Experience

• Initial Design Development • Concerning

Massing Formulation: The Mycelium Maze The route between ‘The Casson Pavilion’ and ‘The Penguin’s Pond’ became an important moment in the visitor’s journey. After the alarming introduction provided, this is the point at which hope creeps into their minds, the possibilities that scientific innovation holds. An intriguing passage guides their hopeful intrigue and reiterates the need for such scientific focus through winding lengthened pathways. A maze of-

fers the perfect passage, but of what? The similarly intriguing and hopeful mycelium. Alike the freezing of species’ DNA in ‘The Frozen Zoo’ , the intention behind the use of mycelium for the maze element of my scheme emphasises the use of science and technology, specifically the ‘unnatural’ side of such to benefit the natural world. Mycelium is manufactured from natural components but the production of such and

Ice Sculptures Exhibition Hall of Lost Species

shaping into architectural products is rather unnatural. The form of the maze is inspired by the natural forms created but its height and function solidify its unnatural state. The upcylcing of waste in production, reduction of alternative material production and visitor attraction is intensified, both environment and experience benefits. The visitors, the zoo’s scientific work and the animals benefit. The wild benefits.

Saddening then Fascinating

The Pond Monument & Frozen Zoo

Inspiring

House of Protection Exhibition

• Initial Design Development• Protection of the Wild Scheme - Intended Emotional Experiences

Animals of the Remaining Zoo

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“the most utilitarian structures can be designed as beautiful objects that combine contemporary materials and classic architecture”

Fig.50.

Fig.51.

Fig.52.

Fig.53.

•Technical & Material Influences & Climate Change•

•Precedents•

Informing Later Technical Studies & Declaration of Response

Thematic Case Study: The Hill House Box Encouraging Experimental Preservation

Acknowledging the extent of the climate crisis through the proposal’s programme, the construction must also reflect such. Wood and glass from the existing cafe and children’s zoo removed is upcylced into the initial pathway’s panelling and glass is recycled. The building facade utilises recycled glass in the translucent panelling proposed which allow for the scientist’s silhou-

ettes to be observed. This facade could be made entirely of glass but U channel glass offers the ability to insulate more efficiently with transparent insulation between the double skin. This double skin increases the building’s heat retention and natural daylight entering through every wall reducing energy costs daily. The mycelium maze offers the ability to up-cycle agricultural

waste in its production and the more frequent use inspires more to experiment with alike materials. The concrete bones pose the greatest concern initially but through careful design and specification of GGBS concrete such will not reduce the sustainable nature of the structure over its whole life for its intended permanence as a DNA collection is critically significant.

The term experimental encapsulates Carmody Groarke’s approach to preservation. Experiment implies risk, uncertainty and the ‘dangerous possibility of failure’. Yet as stated by Jorge Otero-Pailos, Experimental Preservation experimenting with untouchable , protected valuable objects is ‘a necessary method for advancing knowledge about those very things, and indeed for protecting their future.’ This is exactly the outcome Hill House Box offers. Andy Groarke spoke

of the box as a ‘hospital ’ for the house. A temporary intervention which protects and nurtures the house’s water damaged body. This hospital metaphor is valuable, it supports the nature of preservation as uncertain, offering architecture as equivalent to medicine. The treating of patients is never without risk but no intervention would lead to greater damage and eventually end of life. Treating Hill House as a living entity constantly changing through time rather than stagnant

‘built heritage’. Experimental preservation treats the house, not all risk is eliminated but ‘safer’ interventions might endorse an earlier end. Presenting the house as living also allows the architects to question the life of the house , in a ghostly silhouette behind the translucent chain, the house could be seen as dying. There is no confirmation that it will definitely be resurrected but its soul is what is necessary to preserve just as the soul of the penguin pond must be preserved and can

be without preserving original function in this case. Additional projects offering value at this stage to my own included: Carmody Groarke’s Artist Studio with its complimentary contrast harnessing contemporary materials and lighting possibilities with the existing warehouses below; Glenn Howells Architects’ English National Ballet School with its translucent language relates directly to the exhibition of

Fig.54.

movement I aim to create. Finally, the Baroque Orangery designed to the plans of Borromini’s famous Baroque church of San Carlo alle Quattro Fontane in Rome merges contemporary materials and classical forms, mass produced materials can create palatial beauty when used in complimentary contrast and improve one another. The delicacy of plant shadows cast on the translucent wrapping is a representation of such and one which I intend to pursue.

Thematic Case Study

• Testing •

• Illustrated Reflective Diary• Reflections between Framing & Testing Following the Framing Review, I felt I had established a strong and clear design concept I could continue to develop. I particularly needed to ground my massing within the context of the pond, zoo and park which I had been doing in my initial

massing and concept development but must make clearer visually. I also must clarify the conversation I propose between Lubetkin’s Pond and my scheme as-well as developing the programme and form of the ‘House of Protection’ itself.

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Dissertation Cover

My dissertation followed to intrigue amounting for the emotional side of architecture which I feel is somewhat perceived as lesser in favour of ‘functionality’. Yet emotional functionality and technical functionality cannot be severed so distinctly. The intangible emotion with which architecture is conceived is arguably reflected in the tangible construction. In this way they are as interdependent as the park and ‘palaces’ , the natural and

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Nottingham Contemporary Gallery

Fig. 55. John Ruskin, n.d

Theory Into Practice Essay Cover

Hand-Drawing

• Illustrated Reflective Diary•

Dissertation

Theory into Practice

the unnatural, the left and the right side of the brain. Through examining the harsh contemporary attitude toward ornament which I felt most critically reflects the pursuit of emotionlessness by many contemporary projects, an enquiry was able to be taken. It was at this point my brain felt most expanded, sometimes confused but largely inspired

and expanded. I intend to continue this focal point and lead my own work with such where possible. Particularly significant was John Ruskin’s emotive drawing which directed much of my Theory into Practice research. The power he accrues through letting his emotions guide his mark marking is something I intend to allow myself to do.

The Theory into Practice module, similarly allowed me to reflect upon my own practice which I had perhaps previously taken for granted or insignificant. I delved into my hand-drawing preference and argued for the value inherent within the architectural drawing be-

yond its status as another instrumental tool in the building process. Exploration into this continued in the following months as my project reached realisation. It was at this point I referred back to Rem Koolhaas’ text ‘Preservation is Overtak-

ing Us’. Dedicated to preservation, Rem Koolhaas supportively argues: ‘I think that architecture is gone’.23 Suggesting we are no longer even producing architecture, he argues that preservation is in fact ‘overtaking us’ but presents this positively. The transition of preservation from

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Fig. 56.

a ‘retroactive’ to a ‘prospective’ activity is necessary since ‘it is clear that we built so much mediocrity that it is literally threatening our lives’.24 An approach focusing upon architecture as an act of preservation can preserve the aspects missing from much contemporary architecture.

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•Programmatic Development • The House of Protection & Penguin’s Pond •Development • The House of Protection Following the Framing Review, I began to further develop my massing , experimenting with varying formations of my technical and conceptual intentions.

1. Laboratories 2. Private Spaces 3. The Frozen Zoo 4. Animal Care Areas 5. Reception 6. Circulatory System 7. Reading Areas 8. Staff Room 9. Private Animal Care

The massing proposal I presented in the Framing review required greater clarification of programme. It was a simple conversation between visible laboratories and invisible (private) areas for the scientists. I began to alter such paying attention to more specific spaces needed. The Frozen Zoo is located beneath The Penguin Pond at this stage. Animal spaces intended to be transparent rather than translucent

for greater viewing were located at different levels offering differing viewpoints for the public. Differing levels of privacy needed was attended to by creating two further concrete cores. The roof offers an area to extend the ‘natural’ scientific research undertaken as it encloses the flat roof in a fabric covering creating an experimental greenhouse to study plants requiring differing environments.

10. Private Staff Areas 11. Storage 12. Roof Garden 13. Experimental Greenhouse 14. Two En-suite Residences 15. Bathrooms & Changing Facilities 16. Offices

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Basement Level - The Frozen Zoo

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Initial Site Plan - The Casson Pavilion to The House of Protection

Ground Floor Plan

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Site Plan - Amendments

•Development in Plan• Grounding the Centre within its Context

Developing the circulation between The Casson Pavilion and the research centre and the size of the laboratories in particular has allowed my building to be greater appropriated within the site. Linking it to the existing structures and incorporating present exhibit landscaping to continue the visitors journey through the zoo. The ground floor at this stage hous-

es a reception area in the large core, public seating in the two smaller cores and the exhibition hall which leads visitors to the pond and centre. The first floor houses a large laboratory space, staff areas both visible and invisible in the wings and small cores,storage in the other small core, bathroom and changing facilities in the large core and access to the pond.

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At this point I returned to the circulatory aspect of my initial explorations to establish this aspect in my own scheme strongly. As postulated throughout Hadas. A. Steiner’s ‘For the Birds’ article, circulation within the zoo is highly significant, differing and reflective of purpose. The Mappin terraces, The Casson Pa-

Thematic Case Study

•Circulation Development•

•Development in Section•

Greater Attention to Circulatory System

Grounding the Centre within its Context

vilion, The Penguin’s Pond and The Snowdon Aviary are of particular relevance. The mappin terraces placement of animals in a ‘natural’ habitat failed for the industrial structure from which it was assembled leaks out into the compartmentalisation and visitor walkways created. The Casson Pavilion simplistically and

efficiently circulates visitors around its interior and exterior. The Penguin Pond circulates visitors around its elliptical exterior and the penguins around its interior both highly free yet subtly guided. The Snowdon Aviary raises the circulation offering simplistic ramping to the visitors in this case and the birds encircle them.

The movement of visitors from the educational Casson Pavilion theatre to the Pond as a monumental reminder and the Research Centre exhibition of science is highly significant to my scheme, therefore, a split section has been taken through this area of the zoo in order to represent such.

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Private Staff Visible Staff Public Visible Animal Private Animal

•Circulation Development•

•Development in Section•

Greater Attention to Circulatory System

Frozen Zoo Location Thinking Through Sketching

Successful and advantageous to exhibit my own circulation system is an analysis of the Casson Pavilion’s. It creates a careful relationship between public space, staff

space, private staff spaces, animal spaces and private animal spaces and efficient circulation connecting each where necessary. As is the case with my proposed programme.

Testing the excavated location of the Frozen Zoo beneath the pond and the scientist’s circulation to and from this.

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• Conversation with The Penguin’s Pond•

• Tectonics •

Clarification

‘Natural’ & ‘Unnatural’ Permanence & Temporality

This has been clarified to a greater extent than it was during the original Framing Review earlier in the chapter dedicated to Framing. Yet, the intended conversation between the pond and the research centre developed significantly during the test-

ing phase. The framing of the pond from the exhibition hall and the pond framing the centre as well as the glass sculpture display within. The pond is used as the theatrical canvas it resembled and continues to resemble as the tree shadows dance on its walls.

Beginning to consider the tectonics of my design in more detail, employment of a sustainable approach is necessary. But sustainability may look different to initial presumptions. The permanence and temporality of our environment is intriguing and offers support for the idea that built and natural heritage are not the distinct entities

presumed but interdependent upon one another. ‘Permanent’ architecture may not be the unsustainable villain it is often thought as. Yet it is necessary to recognise the correct point at which interdependency is most valuable, when the ‘unnatural’ is the most beneficial to the ‘natural’ which is almost always at different points. The

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zoo’s extensive list of protected structures presents a strange permanence over the site which contrasts the temporality of the natural world it looks after. The natural enclosures such as our own bodies cannot achieve the same permanence as these unnatural {architectural} enclosures. But when used correctly such can provide benefit.

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Grey pixels represent temporal possibility and black pixels suggest permanence is necessary

• Tectonics •

‘Natural’ & ‘Unnatural’ Permanence & Temporality

Permanent & Temporal Elements

Thinking about the ‘natural’ and ‘unnatural’ aspects of my proposal, it became clear there is a strong link between the natural with temporality and the unnatural with permanence. The ice and glass sculptures and modern science particularly the IVF techniques

employed in the Frozen Zoo. Critically these permanent elements are allowed to be so for the benefit they provide for the natural. The natural aspects here include the experimental mycelium maze, the experimental greenhouse and the protected trees surrounding the pond.

I began to determine which elements of my scheme actually needed to be permanent and which could adopt a more temporal materiality. The facade and roof can and such would allow for laboratory expansion or reduction if ever

necessary. The initial pathway and mycelium maze are also intentionally temporal likely updated with advancing innovation and circumstantial change, hopefully the initial pathway will one soon need be less frightening not more.

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• Tectonics •

•Thinking Through Making •

Permanence & Temporality

Supporting Columns - Necessary Permanence

With the relationship between the permanent and temporal in mind, I began to model elements of the scheme in materials varying in levels of permanence. From wax to paper to clay to concrete each allowed me to question and represent my argument for the necessity of the unnatural and permanent in certain circumstances for the benefit of the natural.

This was the approach which inspired my thinking through making exploration. Unable to access concrete at this moment in time which I intended the columns to be, I created a conceptual piece which stressed the necessity of permanence in this situation.

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•Thinking Through Making • Supporting Columns - Necessary Permanence As part of the skeletal language I have envisioned from the beginning of this proposal, each element is loosely representative of an anatomical element. The columns are the centre’s legs. They support the laboratories above. In a nod to the melting ice caps of the penguin’s Antarctica I chose wax to model these columns. Melting as temperatures increase, they replicate the necessary prevention we must take. Just as without legs you

would fall, the laboratories would fall if the columns were made of wax or a number of temporal materials, they require a greater permanence in order to care for the temporary world. They hold up the ‘unnatural ‘IVF science and the ‘natural’ plant science. Placing them in the freezer half melted intends to show the position we find ourselves. Freezing time and destruction but at which point will it or is it already too late to prevent?

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•Thinking Through Making • Supporting Columns - Necessary Permanence Following on from this I sought to explore permanent columns. Creating a form-work and replicating the forms over and over. Unfortunately a number of the columns failed as seen above for the level of expansion which occurred was not prepared for. It also became difficult as the cylinders had to be cut

perfectly in two in order for the columns to be able to be removed successfully. A lip on one side trapped the column and shattered it a few times. Yet, this was just as valuable for it supported two parts of my argument. That care must be take in every aspect and even the slightest reduction in care can cause great

damage as seen with the penguin’s bumble-foot. Secondly, that precision is undeniably most successfully achieved through machine manufacture and this unnatural act just as it aided Lubetkin in the creation of a ‘perfect habitat’ can aid future projects even/especially for the ‘natural’ opposition.

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• Tectonics •

Permanence & Temporality

I then proceeded to model the developing house of protection in paper and clay as the temporal and permanent symbols. This massing model allowed for the language between the solid and light elements of the scheme to be visualised and developed further.

Establishing almost immediately that a translucent facade would enclose the centre for the purpose of exhibiting the science occurring inside to the wider visiting public, I experimented with this. Taking the decision to specify a double skin u-channel glass envelope. Creating

this model I looked at the technicalities of the build up from head to sill with inserts into which the glass channels slot and importantly also at whether or not such achieves the desired outcome conceptually too. Again I modelled in paper to represent the more temporal nature of this facade.

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Until this point, I explored the idea of locating the Frozen Zoo beneath the Penguin’s Pond in an excavated space. Yet this would mean access for the scientists is unnecessarily complicated and does not offer the protective enclosure the Frozen Zoo requires. I had planned

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“A living laboratory dedicated to the Earth’s tropical regions, the Palm House is a chance to glimpse the magic of the rainforest”

Fig.57.

Fig.58.

•Rethinking & Development •

Relocation of Frozen Zoo

Roof Language & Contextual Appropriation sentially it is a safe. Therefore, it was relocated beneath the main centre for improved circulation, protection, greater permanence and to allow the first viewing of the visitors to be of the laboratories and scientists inside them which is where the work actually occurs.

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“How can we turn a house which is very static into something more flexible, more performative?”

•Rethinking & Development •

for the visitors to be able to look down into the space through the pond’s floor turned to glass but on reflection this would not create the spectacle and experience of wonder the poignant pond monument could. The room houses large rather unattractive freezers, es-

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At this point, I also altered the roof structure. Originally I intended to create a tentlike fabric roof to the garden but after exploring the fabrics available, such as that used in ‘Breathe - MINI living’ a housing prototype by SO-IL in Milan in 2017, it was clear the fabric whilst successful in

its own right would not create the desired translucency for the display of the plants. Transparent palm house style greenhouses would. Such is also more contextually appropriate for the United Kingdom boasts a wonderful display of palm house structures. One of the most famous being Kew

Gardens and ZSl’s first architect Decimus Burton designed it. This link along with the innovation which surrounded these structures at the time and can be further improved if necessary with modern technological advancements , meant it appeared the perfect language to develop.

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Fig.61.

Fig.59.

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Fig.60.

•Tectonic Intentions •

•Rethinking & Development •

Complimentary Contrast

Language & Contextual Appropriation Massing Language Opaque Invisible - Translucent Semi-Visible - Transparent Visible

Synthesis

One of the reasons the relationship between the new Research Centre and Penguin’s Pond and the existing Casson Pavilion is the atmosphere created. A dense structure offering dark interiors, the pavilion offers the perfect habitat for a theatrical performative piece such as envisaged. But both the pond

and centre are light and open structures. The pond because it was once a joyful exhibition and now a reminder needing to be on view constantly from many angles and the centre due to the light requirements needed for the scientist’s work and the environmental aware architecture which must prevail

which seeks to reduce the need for artificial lighting. The language of such is achieved through the glass skin in complimentary contrast with the dense elephant skin representative of the human skeleton and skin and the elephant and rhino skeleton and skin.

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•Tectonic Intentions •

Representative > Replicative

Lubetkin did not attempt to reproduce an imitation of Antarctica, it was precisely this which allowed him to achieve the perfect instead of fake concept of natural habitat. The Mappin terraces attempt to do so as do recent zoo exhibits such

as Land of the Lions. The Snowdon Aviary and Casson Pavilion support the representation not replication for they loosely represent the animals they housed. A winged bird and elephants and rhinos around a watering hole.25

The house of protection follows similar intentions resembling a skeleton embracing the pond with its spindly legs and concrete bones and spine and a creature like roof, yet doesn’t try to imitate.

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1:200 Ground Floor Plan

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1:200 Basement (Frozen Zoo) Plan

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1:200 First Floor Plan

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•Current Condition • Development in Plan & Section

•Tectonic Language Massing• Solid Opaque Invisible - Translucent Visible - Transparent Visible

Basement (-2) 1.Maintenance/ Plant Room Basement (-1) 2. Frozen Zoo Ground Floor 3. Public Entrance

Hall 4. Rainwater Collection/ Storage 5. Reception First Floor 6. Staff Area 7. Staff Area Private 8. Staff Reading Room

9. Non-sterile Lab 10. Mezzanine Second Floor 11. Staff Changing/ Bathroom Facilities 12. Sterile lab 13. Animal Care Area 14. Animal Care Area

Private Third Floor 15. Greenhouses 16. En-suite Residence Fourth Floor 17. En-suite Residence 18. Greenhouses

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• Synthesis •

Fig.63.

•Illustrated Reflective Diary• Reflections between Testing & Synthesis Following the Testing review I felt my design was in a strong place conceptually but must be further realised technically. Accurate drawings need be the next focus. I have added further context I felt was missing and necessary to present the wider aspects of my scheme. I’ve clarified the tectonic intentions in much greater detail drawing on the discussions in the testing review around our studio’s approach to permanence and temporality.

I also intended to focus upon clarifying circulation, I inserted this into the testing chapter after the review, such appears to be successful in presenting the circulatory intentions drawn form analysis of the zoo and Steiner’s for the birds in particular and link my design strategy with its site. They become almost an architectural element in themselves matching the needs of the users and visitors precisely enough that they can direct crowds and individuals whilst alluding to this route as their own choice.

Following the professional practice report I feel my deign works successfully in contemporary practice and aided me in understanding the much wider implications of my design for example the replanting of one tree by the pond and the investigation of species possibly beneficial to the zoos landscaping and the parks and wider in future. Yet cannot become too caught up in speed and efficiency so that the wonder is lost as with many other recent zoo projects.

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Symmetry & balance

Structure

Overall Structural System

Plan to Section

1:500 Site Parti Plan

Additive & Subtractive

Circulation to Use

Hierarchy

1:500 Site Parti Section Circulation of 3 Scientists

•Technical Development - Integrated Construction•

Diagrammatic Parti Analysis

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Site cleared Materials recycled/reused elsewhere in scheme

Concrete Frame Columns, Cores, Floor Slabs and Pods built up in layers

Translucent Panelling & Greenhouse Glazing Panels lifted into place internally then externally

Excavation Works For Pile foundations, Concrete Pods, Entrance Hall and Basements

Metal Facade Fixings Steel angles bolted to reinforced concrete and Sills and Heads attached for panelling

Inserting Panels Panels lifted and fitted into place as seen above

Foundations Reinforced concrete pile foundations, ground floor slabs and retaining wall

Rooftop Greenhouse Sill attached with sill anchor to concrete up-stand and glazing bars, ridges and end rafters assembled

•Technical Development - Integrated Construction• Construction Sequence

Services & Creation of Drainage Channel Ducting system exposed and ceiling tray including light fittings and drainage pipes fitted into ready made holes to take water to collection point below

Primary

Secondary

•Technical Development - Integrated Construction• Structural Development

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Energy Saving Concrete cores and slabs act as thermal mass

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Waste Air Use Benefiting plant species & surrounding environment

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Ground Source Heat Pump Utilising the ground’s constant temperature to heat the building

Introduction of plant species from: Greenhouse - Zoo Landscaping Regent’s Park - Beyond

Protection and reinstating of existing trees

Active Ventilation Supplying greenhouse with waste air

Ecosystem Enhancement Bird-friendly U-channel glass

•Technical Development - Integrated Construction•

Sustainability & Environmental Strategy

Sustainability & Environmental Strategy Summary of Strategies Adopted

Water Collection Rainwater collected from the roof used to water plants in greenhouse

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Summer Daytime

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Winter Daytime

External & Internal Panels

Diffused & Direct Light

Orientation

Winter Night time

Summer Night time

Summer Lighting

Summer Daytime Cooling Water cooled by unchanging ground temperature and used in underfloor pipes. Concrete slabs and cores store heat as a thermal mass during the day Wacotech TIMax translucent insulation in-between channel glass double skin increases their thermal performance so spaces aren’t overheated via the glazed facade. Ventilation Active ventilation removes warm waste air from bathrooms, laboratories (sterile labs contain multiple fume cupboards and large amount of ventilation). MVHR heat recovery unit fitted with summer bypass so fresh air is not heated as

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Winter Lighting

•Technical Development - Integrated Construction•

Sustainability & Environmental Strategy

Lighting Strategy

it enters. Air removed and enters greenhouses and remainder of building (non-laboratory spaces) via natural ventilation. Windows are placed on roof apex as heat rises and on the North side of the main building out of direct sunlight to maintain light but not increase heating in summer. Summer Night time Heating/Cooling Heat released from concrete as exterior temperature cools and removed via ventilation to reduce interior temperature. If laboratories are in use, machines and scientists and concrete thermal mass heat the space but underfloor heating can be used if the temperature drops low enough. Ventilation

Natural unless laboratories are in use then MVHR is used with or without summer bypass depending upon the temperature being low enough. Winter Daytime Heating Underfloor heating pipes with water heated via Ground Source Heat Pump heat spaces. Concrete acts as thermal mass and absorbs heat throughout the day Ventilation Predominantly active though greenhouses often still use natural ventilation as semi-exterior spaces. MVHR prevents heat loss from waste air as the fresh cool air passes it is heated before delivery to spaces.

Winter Night time Heating Concrete releases heat absorbed through the day and heats the space and underfloor heating can be used when laboratories or residences in use out of hours. Ventilation Active in residential areas and laboratories when one or both are used. Separate ducting allows certain areas to be ventilated if necessary. Air heated by recovery unit when in use and greenhouses kept warm by release of waste internal air into these spaces and closed vent sashes. Plants remove CO2 from this air so space does not need fresh air supply at all times.

Orientation Orientated so that the building does not cast shadow upon Lubetkin’s Penguin Pond and to capture as much sun as possible to light the spaces and illuminate the scientists inside for the public exhibition. The large horizontal windows are placed to the North to ensure spaces are well lit but do not need cooling in the Summer due to heat gain from direct sun as these predominantly residential spaces are used less during the daytime. The work spaces’ locations face South and utilise u channel glass to ensure diffused light enters these areas.

External & Internal Panels Diffused & Direct Light The facade is made up of a mix of Bendheim’s channel glass with either their Rough-cast finish or Clarrismo finish. The Internal walls enclosing the laboratories are also Clarrismo glass panels. Both internal and external walls are double layered. This reduces the solar gain in the summer and heat loss in the winter while allowing the maximum amount of natural daylight into the building. The Rough-cast panels allow a glare-free diffused light which is necessary for

the controlled laboratory environments. The Clarrismo panels act as windows allowing viewing in and out and direct light. These are on the internal walls so light is not reduced unnecessarily from the external to internal spaces and on certain faces of the external facade. These are around the corners of the central space and on the non-lab space faces so as to reduce the direct south sunlight entering the labs. Summer Daylight through facade. Direct light and solar heat gain reduced though by careful placement of Clarris-

mo clear glass and translucent insulation of panels meaning the labs conditions do not vary too much from summer to winter which is necessary for controlled experiments. LED task lighting and main lighting on daylight and motion sensors so can be in use in low light when spaces in use such as at night. Winter South facing work spaces lit by daylight, north spaces not generally in use during daytime so daylight and motion sensors allow such to be used only when necessary and energy saved.

Thematic Case Study

Thematic Case Study Refuge Zones In concrete fire compartments

12m

16m Mineral wool insulation naturally fire retardant chosen where concrete columns are internally exposed

External fire - Insulation extending protection (insulation period) Corridor & Lab protected

Office

11m

External fire - Integrity lengthened by fire-rated glass Corridor & Lab protected

External fire - Insulation period extended for those using corridor to escape Corridor & Exterior glazing protected

Fire in corridor - Insulation period extended for those escaping laboratories Lab & Exterior glazing protected

Third Floor

Structure of reinforced concrete, made up of 50% GGBS and 50% less cement, increasing durability and structural stability of the building in the event of fire due to increasing concretes non-combustible properties. Escape stairs formed from precast concrete offering similarly high fire performance.

•Technical Development - Integrated Construction•

Fire Strategy

Internal fire - Integrity lengthened by fire-rated glass Corridor & External glazing protected

LABORATORY

EXTERIOR

11m

Escape Stairs

Ground Floor

CORRIDOR

Glass Insulation

7m Office

Framing

Fig.64. Wacotech™ TIMax Channel

CORRIDOR

12m Roof Garden

CORRIDOR

16m

Testing

LABORATORY

18m

EXTERIOR

Residence

11.5m

EXTERIOR

9.5m

LABORATORY

13m

LABORATORY

11.5m

Residences are split from the laboratory spaces, contained within concrete fire compartments protecting them and/or the laboratories from spread within the building and multiple escape routes can be taken.

Refuge Zones On Flat roof

Lift shaft serves basement levels but is not contained within a protected escape stair, >1 escape stair will be accessible in different directions from lift in all areas. The lift shaft is also formed of reinforced concrete.

Synthesis

A double layer of fire-rated glass makes up the building facade and another double layer encloses the four separate laboratories. The fire integrity is increased to over 30 minutes as a result. If the fire continues and the temperature exceeds the glass’ limit, it will crack but remain in its frame and continue to act as a barrier to smoke and flames.26 The transparent insulation in-between the double layers is self-extinguishing Wacotech™ TIMax Channel Glass Insulation. It will not continue to burn and spread the fire once the source of the flame is gone.27

CORRIDOR

Chemicals stored in concrete cores which act as fire compartments. The walls, flooring and ceiling of the chemical store is of reinforced concrete and accessible by a fire door which can reduce the spread and intensity of the fire if originating here and can prevent such being set alight by a fire originating elsewhere.

Cultural Bibliography

CORRIDOR

Refuge Zones In protected stair/ lobby

EXTERIOR

Cultural Bibliography

LABORATORY

Synthesis

LABORATORY EXTERIOR

Testing

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EXTERIOR

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Thematic Case Study

• Illustrated Reflective Diary •

Reflections Following Integrated Construction

Reflections Prior to Finalising

Utilising knowledge I acquired during Stage II, particularly during the report I did on Waugh Thistleton’s Bushey Cemetery it has been incredibly helpful and rewarding working in such technical depth on our own projects. I have been able to explore sustainability aspects integral to our studio and my scheme in depth. I have

also been able to realise the structure to a high degree of detail beginning to understand what it takes for a design to be as technologically advanced as the zoo is used to. The parti diagramming has been one of the most useful aspects. I have been able to confirm the conceptual and technical sides of my design simultaneously.

Prior to the finalising of my proposal, I felt I must find a way to ensure I harness the way I have been working {predominantly by hand} in my final work. It seems much more common and I sometimes fear expected to digitally render final work, yet I feel this would lose the sense of wonder desired and experiential richness I am intending to preserve. I would certainly lose such in the process. I am aware of the need for

definitive drawings to be produced uniformly digitally, my technical and structural diagramming is therefore done in this way, yet emotional drawing and painting shall dominate. As explored in greater depth in my Theory into Practice essay, Numbers of pixels do not equate to the depth of

anger graphite can withhold and freedom with which a delicate or forceful hand can splatter paint. Nor does a ‘forest give up its secret’ if you simply ‘measure the height of the trees’.28 Able to speed up and seemingly perfect the architectural design process, we seem to be under false illusion that everything is controllable via ‘mathematically oriented knowledge’.29 Whilst architectural drawing is just one element, an incorrect attitude toward

Cultural Bibliography

Synthesis

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this will infect the whole design. a lack of interaction between mind and hand removes the ‘personal and emotional connection’ of the work.30If a more emotional process can be adopted at this stage it should be extendible. This is what I intended to present evidence for through the nature of my final realisations. Preserving the care needed for our environment through the care taken here.

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Thematic Case Study

• Finalising •

• ZSL London Zoo • Welcomes You

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Thematic Case Study

• The New London Zoo •

• Preservation of the Wild•

The House of Protection within ZSL’s Preservation of the Wild Scheme

Concept Image

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Thematic Case Study

•The Preservation of the Wild•

Site Section 1:500

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Thematic Case Study

• ZSL’s Protection of the Wild•

My Trip to The Zoo

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Thematic Case Study

• ZSL’s Protection of the Wild•

My Trip to The Zoo

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Thematic Case Study

• ZSL’s Protection of the Wild•

My Trip to The Zoo

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Thematic Case Study

•The House of Protection• Concept Image

•The House of Protection• Framed interdependent relationship between visitors, scientists and animals, architecture and nature, the natural and the unnaural, built and natural heritage

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Cultural Bibliography

Synthesis

g j

n h

n g m f l

p q

• The House of Protection• Programme • The House of Protection• Site Axonometric

a. Maintenance Room b. The Frozen Zoo c. Exhibition/Entrance Hall d. Rainwater collection & Store Room e. Reception f. Animal Care Area {Visible}

g. Animal Care Area {Invisible} h. Non-Sterile Laboratories i. Mezzanine Floor j. Staff Room {Visible} k. Staff Area {Invisible} l. Reading Room {Visible}

m. Chemical Store n. Sterile Laboratories o. Bathroom, Changing & Locker Facilities p. Experimental Greenhouse q. Staff Offices r. En-suite Overnight Residence

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Ground Floor

Basement Level -2

First Floor

Second Floor

Basement Level -1

•Final Floor Plans •

1:100

Third Floor

Fourth Floor

Fifth Floor

Roof

•Final Floor Plans •

1:100

extend section to include entrance and initial route

•Short Section • 1:100

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Thematic Case Study

•The House of Protection •

Structure

Technical Section & Part Elevation Study

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Thematic Case Study

• The House of Protection•

1:500 Site Model

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Thematic Case Study

The Frozen Zoo

Scientist’s Reading Room

A laboratory

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Synthesis

Private Staff Seating Area

• The House of Protection•

Interior Lightness

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Thematic Case Study

My final proposal has incorporated the essential ideals explored in the Framing phase which were so significant to Berthold Lubetkin. Preservation of such has re-framed both the pond and the zoo into a greater advantageous light than recent years. The proposal does so in the following ways...

•Preservation of Ideals •

•The Wonder of the Zoo•

• Representative > Replicative - The Extent of Deception•

Its focus upon preservation of experience within the zoo is achieved through the dramatic introduction given to the public as soon as they step through the enticing gates. Frightening in some parts and exciting in others the zoo utilises architectural interventions such as within the Casson

Pavilion to reinstate such different emotions somewhat lost in the modern zoo we have been acclimatised to. Stripping this away catapults visitors into action and introduces a nostalgic yearning for the lost animals of the zoo before it is actually too late and people still have not realised.

Intending to follow Lubetkin’s gestural and representative approach the House of Protection adopts a structure alike our own anatomical composition but does not imitate such. Similarly the creature-like almost serpentine roof avoids reaching a place of falsity and deception acknowledg-

ing its place and purpose. Its contemporary materials do not then pose a contradiction between trying to achieve a certain location with entirely different materials. It also allows contradiction to be avoided and complimentary contrast to shine through its simultaneous similarity and

Thematic Case Study

Cultural Bibliography

dissimilarity with the palatial structures of Regent’s Park. Its linear facade and symmetrical composition resembles both the human body and the repeated terraces of the outer circle not aiming to transport visitors out of the zoo but allowing the zoo to offer them honest experience and delight.

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•Preservation of Ideals •

•An Admirable Exhibition of Circulation • The circulation employed focuses on the simplistic admired circulation of the Pond, recreating this for the scientists who have become an exhibit of ZSL themselves. Both the interior staff circulation and visitor circulation aims to extend the

balance of freedom and guidance created in the pond. Paths are direct and frame the necessary views and routes for all whilst still allowing wandering and stumbling upon unexpected elements as initially achieved within the zoo.

•Preservation of Ideals •

• Framing Views • This guiding circulation works to preserve Nash and the Pond’s framing techniques. Views are created for all around the perimeter of the pond either into the sculptural monument, into the research centre for the visitors or out into the park and of the visitors for the scientists at work.

Thematic Case Study

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Thematic Case Study

•Preservation of Ideals •

• The Natural & The Unnatural •

Finally, perhaps the most significant ideal to preserve, the unnatural’s power to benefit the natural I have explored throughout the year. The final proposal displays such through its tectonics and its direct relationship with the natural. In terms of tectonics, the temporary and permanent aspects sit in the beneficial

interdependency recognised and striven for. The natural forms such as mycelium and the human skeleton realised into precise rather ‘unnatural’ representations yet offer greater benefit and the natural and unnatural, the left and the right support and care for the animals of the zoo and the wild. .

The proposal’s direct relationship involves its collection of DNA and IVF science directly working together with the natural. Further to this is the relationship between the trees, the plants of the greenhouse and the introductory species in the

Thematic Case Study

zoo and park interface. All of which stand against the unnatural structure of perfectly straight panelling yet when such occurs the interdependent complimentary contrast does not clash but succeeds. A perfect habitat for animal, scientist and visitor.

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Thematic Case Study

• Cultural Bibliography •

• Cultural Bibliogrpahy • Being stuck inside, I have painted a lot, not being able to travel I’ve drawn on my own memories of the experience of certain cities. The two which generally take precedence are Venice and Vienna, I paint them for I can still remember the beauty I felt when I visited. Yet these exercises have

been intriguing for they are acts of preservation in themselves , rather desperate acts to cling to experiences I cannot have currently and perhaps may not have again for the initial impression placed these cities in my memory in a positive light but if I were to return would I be disappointed.

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• Cultural Bibliography • There is definitely a sense of nostalgia present and unconsciously preserving initial experience through the medium of paint is something I think of highly. The painting does not replicate the architecture

exactly but re-frames it just as architectural preservation can. The physical structure does not always need to be preserved for the inherent value to be preserved, in many cases the experience generated.

• Cultural Bibliography • In the summer I spent a few days creating jewellery from found objects, the beach shells worked most successfully. It was mostly a creative task dur-

ing an English Seaside Summer but also highlights the power and in some cases simplicity of upcylcing as a sustainable and advantageous action.

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Thematic Case Study

Fig. 65.

Thematic Case Study

Fig. 66.

Fig. 67.

• Cultural Bibliography •

Projects

Anna Karenina (2012) I have also unsurprisingly spent quite a lot of time watching films. By one of my favourite directors, Joe Wright’s ‘Anna Karenina’ grasped my attention immediately for its stylistic and beautiful staging and particularly its use of a theatre. Turning the stage and audito-

rium into various locations throughout the film, it mixes the illusion of film with the exaggeration of the theatre. Just as the park and the pond frame views but do not attempt to deceive the visitor, Wright does so wonderfully. The proscenium arch and balconies visible in

most scenes as-well as ropes and scenes backstage, the audience knows they are not really in the icy snow of Russia but a stage set yet can now admire different aspects of the actors’ behaviours like the penguins in the zoo not be alluded by a false yet unacknowledged reality.

I designed our Degree Show Invitation this year which played on the nostalgia of the studio for our year group spending almost a year and a half away. It also aimed to incorporate the important hand-drawn and physical elements of our course in complimentary contrast with the digital graphics not lost in favour of such with everything being virtual. I also took on two projects for GoHigh Lighting a luxury lighting design manufacturer, meeting their brief with initial concepts and further realised visualisations.

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• Cultural Bibliography • When galleries were briefly open during Summer 2020 we took the opportunity to visit Nottingham Contemporary Gallery for my dissertation studies. Yet the exhibition inside was for a different purpose, ‘Grace Before Jones: Camera, Disco, Stu-

dio’ was an exciting welcome back to art. Featured within was a section of Andy Warhol black and whites which now appear on highly priced jeans. I found this descendence fascinating and highly telling of popular culture’s relationship with the art world.

• Cultural Bibliography • Thematic Case Study Readings As became apparent during our Virtual Framing Exhibition, there are strong links amongst many studios particularly that of how memory of place of physical place can be preserved.These case studies have consequently been insightful and offered an opportunity to explore precedents from across the globe during a nationwide travel ban.

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Thematic Case Study

• Thematic Case Study • Individual Submission

EXPLORING THEORETICS

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Carmody Groarke

BY ELEANOR METTHAM

Fig. 1

In terms of their theoretical position, there appears to be strong emphasis throughout their studio towards preservation. Their unconventional yet respectful interventions challenge overly-cautious unimaginative preservation of existing structures, places and cultures. Achieving this through a variety of different ways, each project offers an insight into their continually advancing explorations of their ideas and preoccupations. The most significant of which being…

Active conservation Experimental preservation Challenging the notion of preservation

The Hill House Box encapsulates each of these concepts. It is necessary to look to their earlier works for evidence of each concept emerging and strengthening. Particularly allusive of these explorations are: Windermere Jetty Museum, The Filling Station, BFI Southbank and their Artist Studio in Hoxton.

4. How does the case study relate to the Architect’s theoretical position/how does it explore their ideas/preoccupations?

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Thematic Case Study

Preservation Explorations in Additional Works 1 Windemere Jetty Museum employs a form of active conservation in its visitor and site relationship. It saves George Pattinson’s original collection of boats from their gradual ‘reclamation by the weather and the lake’ after the Windermere Steamboat Museum fell into disrepair.2 The museum, visitor facilities and conservation workshop stand as a sensitive yet highly celebratory contemporary intervention within the Lake District UNESCO World Heritage Site offering unique visitor engagement through exposed rather than hidden conservation and preservation.

The Filling Station proposed an alternative intervention for a derelict petrol station in London 2012, without erasing the original features,3 Carmody Groarke introduced a necessary sense of place in an area radically transforming to a commercial estate masterplan. Offering diverse cultural opportunities for performances, dining and exhibitions they revealed the necessity of placing users at the forefront of preservation above all else. Significantly, the intervention was temporary, for three years it introduced the importance of the preservation of social and cultural aspects of an area as well as the physical built form.

The artist studio built in Hoxton, though small and simple reveals the risky approach the architects take to preservation. Reimagining the space already used by the artist, the new addition accommodates the artists missing necessities such as light and privacy whilst critically remaining in the historically rich furniture warehouses the artist favoured.4 Standing as a deliberately contrasting statement against the 19th century graffitied brick below, the stepped aluminium clad boxes challenge the necessity for cautious conservative ‘fitting in’ by revealing the complimentary abilities each can have to the other through contrast.

Fig. 2

Cultural Bibliography

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Testing

Active Conservation Finally, reinvigorating the entrance to the British Film Institute (BFI) Southbank provides the tired and unwelcoming 1950s cinema house built beneath the arches of Waterloo Bridge with the attention necessary for it to fulfil its location’s cultural legacy. It’s backlit style light exterior utilises its dark brutalist bridge for contrasting compliment and further emphasises the original qualities offered by the building - its dark and broody cinema interiors.5 The UK’s largest independent cinema house now celebrates British film and welcomes the visitors it deserves.

Experimental Preservation The term experimental encapsulates Carmody Groarke’s approach to preservation here. Experiment implies risk, uncertainty and the ‘dangerous possibility of failure’.7 Yet as stated in Jorge OteroPailos’ Experimental Preservation, experimenting with untouchable, protected valuable objects is ‘a necessary method for advancing knowledge about those very things, and indeed for ptotecting their future.’8 This is exactly the outcome Hill House Box offers. The architects make no arrogant claims to know the perfect preservation route which should be taken for Hill House but extend the time for the National Trust for Scotland to make preservation decisions by ensuring knowledge can advance whilst no further damage occurs. In a Small Talk Lecture at Newcastle University in March 2020, Andy Groarke spoke of the box as a ‘hospital’ for the house. A temporary intervention which protects and nurtures the house’s water damaged body. This hospital metaphor is valuable, it supports the nature of preservation as uncertain, offering architecture as equivalent to medicine. The treating of patients is never without risk but no intervention would lead to greater damage and eventually life ends. Treating Hill House as a living entity constantly changing through time rather than stagnant ‘built heritage’. Experimental preservation treats the house, not all risk is eliminated but ‘safer’ interventions might endorse an earlier end.

Presenting the house as living also allows the architects to question the life of the house, in a ghostly silhouette behind the translucent chain, the house could be seen as dying. There is no confirmation that it will definitely be resurrected but its soul is what is necessary to preserve.

A concept which Carmody Groarke’s Hill House Box particularly accentuates.6 Rather than hiding the house from view during the expected 15-year conservation period, behind commonplace scaffolding and plastic sheeting, the chained box allows the works to be watched and the house to still be part of the surrounding society and landscape as it always has – an important act of preservation.

Challenging the Notion of Preservation In their preservation efforts and explorations it would appear Carmody Groarke adhere to the notion of preservation as stated by the Soviet preservtionist Evgenii Mikhailovskii in the 1930s, ‘the work of preservation does not involve changing architecture but changing the way that architecture is perceived’. Hill House Box may not directly change Mackintosh’s Hill House but it alters the way it is perceived. It allows new experience of the architecture placing the contemporary user/visitor at the forefront and focusing on the process of preservation to preserve what is truly necessary rather than focusing on the result and the preservation assumed necessary.

Fig. 5

The box may remain and indeed continue to exhibit the house in the new perspective it offers, or it may be removed in favour of an alternative act of preservation. Whichever future is decided upon for the house, this intervention offers aid in such decisionmaking and acts as an exemplar approach to preservation.

Fig. 3

The box as a museum provides a highly unique visitor experience exhibiting Mackintosh’s house alternatively. Walkways lead visitors on a journey of previously unattainable viewpoints, highlighting fine details at chimney pot height and revealing the reality of Mackintosh’s innovative elements to the naked eye. By allowing such an extensive viewing, analysis of Mackintosh’s efforts can occur. This can hopefully lead to a gre-

Bibliography

-ater understanding of the values expressed in his work which are of necessity to preserve, as opposed to an obscured view of what is presumed obligatory to restore. Without such in depth analysis the preservation would of quite possibly followed a visually replicative route as opposed to one which focuses on securing the social and cultural fundamentals the house contributed to. This active conservation means the public can witness and feel involved within the drying and restoration efforts and become much more attentive toward the house and the conservation effort. In this way, it highlights preservation as a process of care, attention and appreciation throughout rather than a visually restored imitation with little connection to historical or contemporary society and culture.

Groarke", Carmody Groarke, 2020 https://www.carmodygroarke.com

1 "Carmody 2

"Carmody Groarke — Windermere Jetty Museum", Carmody Groarke, 2020 <https://www.carmodygroarke.com/windermerejetty-museum/>

"Carmody Groarke — The Filling Station", Carmody Groarke, 2020 <https://www.carmodygroarke.com/the-fillingstation/> 3

"Carmody Groarke — Artist Studio, Hoxton", Carmody Groarke, 2020 https://www.carmodygroarke.com/artist-studiohoxton/ 5

"Carmody Groarke — BFI Southbank", Carmody

Groarke, 2020

<https://www.carmodygroarke.com/bfi-southbank/>

Fig. 4

- Visitor experience - Images of visitor walkways - House at new unexperienced viewpoints see new details - Witness the conservation, bring new attention and care for the house than before

"Carmody Groarke — The Hill House Box", Carmody Groarke, 2020 https://www.carmodygroarke.com/hill-house/

7 Otero-Pailos,

Jorge, Erik Fenstad Langdalen, and Thordis Arrhenius, Experimental Preservation (Zürich: Lars Müller Publ, 2016) p11 8

ibid p11

List of Figures Fig. 1 Hill House Box Dehlin, Johan, and Carmody Groarke, 2019 available at: https://www.carmodygroarke.com/hill-house/ Fig. 2 Collage of selected works Photographs available at: "Carmody Groarke", Carmody Groarke, 2020 https://www.carmodygroarke.com

Fig. 3 Hill House Box Interior Walkways Dehlin, Johan, and Carmody Groarke, 2019 available at: https://www.carmodygroarke.com/hill-house/

Fig. 4 Hill House Box Interior Walkways Dehlin, Johan, and Carmody Groarke, 2019 available at: https://www.carmodygroarke.com/hill-house/ Fig. 5 Hill House Box Interior Walkways Dehlin, Johan, and Carmody Groarke, 2019 available at: https://www.carmodygroarke.com/hill-house/

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Appendix

• Endnotes •

• References •

1 ‘‘Preservation Creates Relevance Without New Forms’ A Supplement to OMA’s Preservation Manifesto’ by Jorge Otero-Pailos in Rem Koolhaas, ‘Preservation Is Overtaking Us’, Columbia GSAPP <https://www.arch. columbia.edu/books/reader/6-preservation-is-overtaking-us> Evgenii Vasil’evich Mikhailovskii, “The Methods of Restoration Architectural Mon2 uments: Contemporary eoretical Conceptions,” Future Anterior 8, no. 1, (Summer 2011) pp.84–95 3 ‘Introduction’ by Mark Wigley in Rem Koolhaas, ‘Preservation Is Overtaking Us’, Columbia GSAPP, 2014 Building Upon Building Studio Brief 2020-2021 4 5 Timothy Morton, The Ecological Thought (Cambridge, Mass. ; London: Harvard University Press, 2010). 6 Building Upon Building Studio Brief 2020-2021 7 Great Britain Parliament, Cobbett’s Parliamentary Debates, During the ... Session of the ... Parliament of the United Kingdom of Great Britain and Ireland and of the Kingdom of Great Britain ... (R. Bagshaw, 1812), p1123. 8 Todd Longstaffe-Gowan, ‘Reinstating John Nash’s Picturesque Vision At Regent’s Park, London’, Garden History, 43 (2015), 87–96. 9 “1825 Prospectus For ZSL”, Zoological Society Of London (ZSL), 2021 <https://www. zsl.org/blogs/artefact-of-the-month/1825-prospectus-for-zsl> [Accessed 1 June 2021]. 10 “1825 Prospectus For ZSL”, Zoological Society Of London (ZSL), 2021 <https://www. zsl.org/blogs/artefact-of-the-month/1825-prospectus-for-zsl> [Accessed 1 June 2021]. 11 “Architecture At ZSL London Zoo, Regent’s Park”, Zoological Society Of London (ZSL), 2021 <https://www.zsl.org/about-us/architecture-at-zsl-london-zoo-regents-park> [Accessed 1 June 2021]. 12 “Architecture At ZSL London Zoo, Regent’s Park”, Zoological Society Of London (ZSL), 2021 <https://www.zsl.org/about-us/architecture-at-zsl-london-zoo-regents-park> [Accessed 1 June 2021]. 13 “Architecture At ZSL London Zoo, Regent’s Park”, Zoological Society Of London (ZSL), 2021 <https://www.zsl.org/about-us/architecture-at-zsl-london-zoo-regents-park> [Accessed 1 June 2021]. Tom Banks, “New Look For ZSL And “Let’s Work For Wildlife” Positioning | Design 14 Week”, Design Week, 2015 <https://www.designweek.co.uk/issues/8-14-june-2015/new-

look-for-zsl-and-lets-work-for-wildlife-positioning/> [Accessed 1 June 2021]. “ZSL London Zoo”, Squad <https://squad.co/work/zsl-london-zoo/> [Accessed 1 15 June 2021]. “Moma | Inventing Abstraction”, Moma.Org <https://www.moma.org/interactives/ 16 exhibitions/2012/inventingabstraction/?work=226> [Accessed 1 June 2021]. 17 Anastasia Bow-Bertrand, “Berthold Lubetkin: The Russian Architect Who Revolutionised London”, Culture Trip <https://theculturetrip.com/europe/russia/articles/berthold-lubetkin-the-russian-architect-who-revolutionised-london/> [Accessed 1 June 2021]. John Allan, “1938: Finsbury Health Centre, London – The Twentieth Century Socie18 ty”, C20society.Org.Uk <https://c20society.org.uk/100-buildings/1938-finsbury-health-centre-london> [Accessed 1 June 2021]. 19 “The Penguin Pool Can Be Enjoyed As An Aquatic Sculpture”, Camden New Journal <http://camdennewjournal.com/article/the-penguin-pool-can-be-enjoyed-as-an-aquaticsculpture> [Accessed 1 June 2021]. 20 Josep-Maria Garcia-Fuentes, “Habitat”, Vesper, 3 (2020) 21 Hadas A. Steiner, ‘For the Birds’, Grey Room, 2003, 5–31 <https://doi. org/10.1162/152638103322751047> 22 “A London Health Center: Employment of a New Architectural Idiom,” Mother and Child, November 1938, 297–300. 23 Rem Koolhaas, ‘Preservation Is Overtaking Us’, Columbia GSAPP, 2014, Chapter 3 24 Rem Koolhaas, ‘Preservation Is Overtaking Us’, Columbia GSAPP, 2014, Chapter 3 25 Hadas A. Steiner, ‘For the Birds’, Grey Room, 2003, 5–31 <https://doi. org/10.1162/152638103322751047>

26 “Fire Rated And Specialist Safety Glass”, Fire Glass UK, 2021 <https://www.fireglassuk.com/fire-ratedglass/> 27“Channel Glass Insulation | Wacotech Timax | Bendheim Wall Systems Inc.”, Bendheim, 2021 <https://bendheim.com/system_product/wacotech-thermal-insulation/>

28 Paolo Belardi, Why Architects Still Draw: Two Lectures on Architectural Drawing, trans. by Zachary Nowak, e MIT Press ( e MIT Press, 2014), p. 81 Dalibor Vesely, Architecture in the Age of Divided Representation: e Question of 29 Creativity in the Shadow of Production (Cambridge, Mass.: MIT Press, 2004) pp.232-233 30 Michael Graves, ‘Architecture and the Lost Art of Drawing’, New York Times (1923-Current File) (New York, N.Y: New York Times Company, 2012), pp. SR5

Bibliography

|139

140|

Bibliography

Appendix

• List of Figures •

• Bibliography • Allan, John, “1938: Finsbury Health Centre, London – The Twentieth Century Society”, C20society.Org.Uk <https://c20society.org. uk/100-buildings/1938-finsbury-health-centre-london> [Accessed 1 June 2021]

Great Britain Parliament, Cobbett’s Parliamentary Debates, During the ... Session of the ... Parliament of the United Kingdom of Great Britain and Ireland and of the Kingdom of Great Britain ... (R. Bagshaw, 1812), p1123.

“A London Health Center: Employment of a New Architectural Idiom,” Mother and Child, November 1938, 297–300

‘Introduction’ by Mark Wigley in Rem Koolhaas, ‘Preservation Is Overtaking Us’, Columbia GSAPP, 2014

“Architecture At ZSL London Zoo, Regent’s Park”, Zoological Society Of London (ZSL), 2021 <https://www.zsl.org/about-us/architectureat-zsl-london-zoo-regents-park> [Accessed 1 June 2021] Banks, Tom, “New Look For ZSL And “Let’s Work For Wildlife” Positioning | Design Week”, Design Week, 2015 <https://www. designweek.co.uk/issues/8-14-june-2015/new-look-for-zsl-and-letswork-for-wildlife-positioning/> [Accessed 1 June 2021] Belardi, Paolo. Why Architects Still Draw: Two Lectures on Architectural Drawing, trans. by Zach- ary Nowak, e MIT Press ( e MIT Press, 2014), pp. 8-86 Bow-Bertrand, Anastasia, “Berthold Lubetkin: The Russian Architect Who Revolutionised London”, Culture Trip <https://theculturetrip. com/europe/russia/articles/berthold-lubetkin-the-russian-architect-who-revolutionised-london/> [Accessed 1 June 2021] Building Upon Building Studio Brief 2020-2021 Channel Glass Insulation | Wacotech Timax | Bendheim Wall Systems Inc.”, Bendheim, 2021 <https://bendheim.com/system_product/ wacotech-thermal-insulation/> “Fire Rated And Specialist Safety Glass”, Fire Glass UK, 2021 <https://www.fireglassuk.com/fire-rated-glass/> Garcia-Fuentes, Josep-Maria. “Habitat”, Vesper, 3 (2020) Graves, Michael. ‘Architecture and the Lost Art of Drawing’, New York Times (1923-Current File) (New York, N.Y: New York Times Company, 2012), pp. SR5

Koolhaas, Rem. ‘Preservation Is Overtaking Us’, Columbia GSAPP <https://www.arch.columbia. edu/books/reader/6-preservation-is-overtaking-us> Mikhailovskii, Evgenii Vasil’evich. “ The Methods of Restoration Architectural Monuments: Con- temporary eoretical Conceptions,” Future Anterior 8, no. 1, (Summer 2011) pp.84–95 Moholy-Nagy, László, New Architecture At The London Zoo, 1937 <https://player.bfi.org.uk/free/film/watch-new-architecture-at-thelondon-zoo-1937-online> [Accessed 1 June 2021] “Moma | Inventing Abstraction”, Moma.Org <https://www.moma. org/interactives/exhibitions/2012/inventingabstraction/?work=226> [Accessed 1 June 2021] Morton, Timothy. The Ecological Thought (Cambridge, Mass. ; London: Harvard University Press, 2010). ‘‘Preservation Creates Relevance Without New Forms’ A Supplement to OMA’s Preservation Manifesto’ by Jorge Otero-Pailos in Rem Koolhaas, ‘Preservation Is Overtaking Us’, Columbia GSAPP <https://www.arch. columbia.edu/books/reader/6-preservation-is-overtaking-us> “The Penguin Pool Can Be Enjoyed As An Aquatic Sculpture”, Camden New Journal <http://camdennewjournal.com/article/the-penguinpool-can-be-enjoyed-as-an-aquatic-sculpture> [Accessed 1 June 2021] “1825 Prospectus For ZSL”, Zoological Society Of London (ZSL), 2021 <https://www.zsl.org/blogs/artefact-of-the-month/1825-prospectus-for-zsl> [Accessed 1 June 2021]

Vesely, Dalibor. Architecture in the Age of Divided Representation: e Question of Creativity in the Shadow of Production (Cambridge, Mass.: MIT Press, 2004) p.231-241 “ZSL London Zoo”, Squad <https://squad.co/work/zsl-london-zoo/> [Accessed 1 June 2021] Readings not referenced in portfolio but forming my explorations through the year... Loos, Adolf. ‘Architecture (1910)’ in On Architecture, trans. by Michael Mitchell, Studies in Austri- an Literature, Culture, and ought (Riverside, Calif.: Ariadne Press, 2002) Kerr, Robert .‘Ruskin and Emotional Architecture’, Royal Institute of British Architects Journal, 10 March 1900, Pérez-Gómez, Alberto. Architecture and the Crisis of Modern Science, Fulcrum.Org (Cambridge, Massachusetts: e MIT Press, 1983) pp.3-14 (Summer 1979) pp. 31-41. Originally presented to the German Werkbund, 1965. Ruskin, John. The Seven Lamps Of Architecture (Project Gutenberg, 2011) Ruskin, John. The Two Paths (Project Gutenberg, 2005) pp. 200-202 Rykwert, Joseph. ‘Art as ings Seen’ in e Necessity of Arti ce, Ideas in Architecture (New York: Rizzoli, 1982), Rykwert, Joseph. ‘Meaning and Building’ in e Necessity of Arti ce, Ideas in Architecture (New York: Rizzoli, 1982), Unrau, John . Looking at Architecture with Ruskin (London: ames and Hudson, 1978). Weber, Max. ‘Science as a Vocation’, Weizmann Institute of Science, p8. Originally delivered as a speech at Munich University in 1917 Wheeler, Katherine. “They Cannot Choose But Look’: Ruskin And Emotional Architecture”, 19: Interdisciplinary Studies In e Long Nineteenth Century, 2016 (23),

Fig. 1. Westall, William. View Looking North Down Regent Street Towards All Souls Church, 1825. ...in...Todd Longstaffe-Gowan and David Lambert, ‘A Total Work Of Architectural And Landscape Art’ A Vision For Regent’S Park (London: Crown Estate Paving Commission, 2017), p. 14. Fig. 2. The Holme, Regent’s Park (Antiqua Print Gallery, 1880). Fig. 3. Smith, W. R. View Of Sussex Place, Regent’s Park, Marylebone, London (London: London Metropolitan Archives (City of London), 1828). Fig. 4. Rogers, Untitled (Private Collection, London, 1835). Fig. 5. Evans, Mary. A Plan Of Regent’s Park Including Regent’s Canal And Marylebone Church, 1830. Fig. 6. Agar, Eileen. Photograph Of Lubetkin’S Penguin Pool At London Zoo (Tate Archive TGA 8927/1/13, 1940) Fig. 7. Hulme, Frederick William, View Of The Tunnel In The Zoological Gardens At Regent’s Park (London Metropolitan Archives (City of London), 1840) FIg. 8. The Illustrated London News, 1843 <https://www.victorianlondon. org/entertainment/londonzoo.htm> [Accessed 1 June 2021] Fig.9. Gilbert, Sue, Mappin Terraces, 1972 <http://expertslife.blogspot. com/2012/09/london-zoos-listed-building-problem.html> [Accessed 1 June 2021] Fig. 10. Casson Conder Partnership Architects, 2019 <https://www.cassonconder.co.uk/the-elephant-house-historical/#itemId=5caca6ac652dea5106359bdb> [Accessed 1 June 2021] Fig. 11. ZSL <https://www.zsl.org/videos/behind-the-scenes/what-inspired-land-of-the-lions> [Accessed 1 June 2021] Fig. 12-13. Extracts from the following two websites: Banks, Tom, “New Look For ZSL And “Let’s Work For Wildlife” Positioning | Design Week”, Design Week, 2015 <https://www.designweek. co.uk/issues/8-14-june-2015/new-look-for-zsl-and-lets-work-for-wildlifepositioning/> [Accessed 1 June 2021] “ZSL London Zoo”, Squad <https://squad.co/work/zsl-london-zoo/> [Accessed 1 June 2021] Fig. 14. London - “The Zoo” - Main Entrance. (London: E.F.A, 1905) FIg.15. Bloomberg, The Main Entrance To London Zoo In Regent’s Park, London., 2013 <https://www.bloomberg.com/news/articles/2016-10-13/london-zoo-calls-police-after-reported-gorilla-escape> [Accessed 1 June 2021] Fig. 16. London Top SIght Tours <https://www.londontopsightstours.com/ tour/london-zoo-entrance-ticket/> [Accessed 1 June 2021] Fig.17. Screenshot taken from: Google Maps Fig. 18. Screenshot taken from: Google Maps Fig.19. Hulme, Frederick WIlliam. Gardens Of e Zoological Society, e Avenue, print: litho- graph, b&w, 1848 Fig.20. Actress Lilli Palmer Feeding A Young Bear Cub Milk From A Spoon, London Zoo, 1936 <https://www.express.co.uk/pictures/pics/6822/London-Zoo-vintage-iconic-animals-pictures> [Accessed 1 June 2021] Fig.21. Two chimpanzee’s enjoy afternoon tea at London Zoo, 1958 <https://www.express.co.uk/pictures/pics/6822/London-Zoo-vintage-iconic-animals-pictures> [Accessed 1 June Fig.22. Still taken from: Moholy-Nagy, László, New Architecture At The London Zoo, 1937 <https://player.bfi.org.uk/free/film/watch-new-archi-

tecture-at-the-london-zoo-1937-online> [Accessed 1 June 2021] Fig.23. ZSL, Penguin Beach <https://www.zsl.org/zsl-london-zoo/exhibits/penguin-beach> [Accessed 1 June 2021] Fig.24. ZSL, Tiger Territory <https://www.zsl.org/zsl-london-zoo/venuesat-zsl-london-zoo/tiger-territory> [Accessed 1 June 2021] Fig.25. ZSL <https://www.zsl.org/zsl-london-zoo/exhibits/land-of-the-lions> [Accessed 1 June 2021] Fig.26. ZSL <https://www.zsl.org/zsl-london-zoo/exhibits/land-of-the-lions> [Accessed 1 June 2021] Fig.27. Scan obtained from ZSL Archives following request Fig.28. Scan obtained from ZSL Archives following request Fig.29. Scan obtained from ZSL Archives following request Fig.30. Scan obtained from ZSL Archives following request Fig.31. Scan obtained from ZSL Archives following request Fig.32. Scan obtained from ZSL Archives following request Fig.33. https://www.zsl.org/zsl-london-zoo/visitor-information/map-ofzsl-london-zoo Fig.34. Cruikshank, George, Giraffes – Granny-Dears & Other Novelties (The British Museum, 1836) Fig.35. Porter, John Fletcher, 1890 <https://www.victorianlondon.org/entertainment/londonzoo.htm> [Accessed 1 June 2021] Fig.36. Diagram Of Original Design For Mappin Terraces <http://www. richardwhitby.net/thebearpit.html> [Accessed 1 June 2021] Fig.37. Lubetkin, Berthold, and Tecton, The Penguin’s Pond (The Riba Collections, 1928) Fig.38. Casson, Hugh, Record Drawing For Elephant And Rhinoceros Pavilion, Zoological Society Of London Zoo, Regent’s Park, London: Plan, Elevation And Section (Royal Acadmeny of Arts, 1971) Fig.39. New Aviary, Zoological Society, 1966 <https://www.cca.qc.ca/en/ archives/380477/cedric-price-fonds/396839/projects/397561/new-aviary-zoological-society> [Accessed 1 June 2021] Fig.40. ZSL, 2016 <https://www.itv.com/news/london/2016-03-17/ queen-and-duke-of-edinburgh-to-open-london-zoos-new-lion-enclosure> [Accessed 1 June 2021] Fig.41. Snowdon Aviary Refurbishment, 2021 <https://www.archdaily. com/879635/foster-plus-partners-gains-planning-permission-for-snowdonaviary-transformation-at-the-london-zoo/59b98936b22e38f34700008cfoster-plus-partners-gains-planning-permission-for-snowdon-aviary-transformation-at-the-london-zoo-image> [Accessed 1 June 2021] Fig.42. Stills taken from: Moholy-Nagy, László, New Architecture At The London Zoo, 1937 <https://player.bfi.org.uk/free/film/watch-new-architecture-at-the-london-zoo-1937-online> [Accessed 1 June 2021] Fig. 43-44. Stills taken from: Moholy-Nagy, László, New Architecture At The London Zoo, 1937 <https://player.bfi.org.uk/free/film/watch-new-architecture-at-the-london-zoo-1937-online> [Accessed 1 June 2021] Fig. 45. Tree of Heaven shadows London Zoo, Josep-Maria Garcia Fuentes, photograph, 2019 Fig. 46. John Havinden, Penguin Pool, London Zoo, Regent’s Park, London: Model Of e Pool With Penguins, 1928 <https://www.architecture. com/ image-library/ribapix/image-information/poster/penguin-pool-londonzoo-regents-park-london-model-of-the-pool-with-penguins/ posterid/

Appendix

Bibliography

RIBA2844-23.html> [Accessed 1 May 2021]. Fig.47. Tree of Heaven shadows London Zoo, Josep-Maria Garcia Fuentes, photograph, 2019 Fig.48-49. Stills taken from: Moholy-Nagy, László, New Architecture At The London Zoo, 1937 <https://player.bfi.org.uk/free/film/watch-new-architecture-at-the-london-zoo-1937-online> [Accessed 1 June 2021] Fig. 50. Glenn Howells Architects, English National Ballet School, 2019 <https://www.glennhowells.co.uk/project/english-national-ballet/> [Accessed 1 June 2021] Fig.51. Carmody Groarke, Artist Studio Hoxton, 2018 <https://www.carmodygroarke.com/artist-studio-hoxton/> [Accessed 1 June 2021] Fig.52. Berndtson, Hampus, A Classic Baroque Church Is Reimagined As A Glowing Orangery In Denmark <https://inhabitat.com/a-classic-baroquechurch-is-reimagined-as-a-glowing-orangery-in-denmark/> [Accessed 1 June 2021] Fig.53. Hill House Box, 2019 <https://www.carmodygroarke.com/hillhouse/> [Accessed 1 June 2021] Fig.54. Hill House Box, 2019 <https://www.carmodygroarke.com/hillhouse/> [Accessed 1 June 2021] Fig. 55. Ruskin, John. North West Angle of the Facade of St Mark’s, Venice, watercolour, n.d. Tate Gallery, London Fig.56. Koolhaas, Rem, Jorge Otero-Pailos, and Jordan Carver, Preservation Is Overtaking Us (New York: ColumbiaBooks on Architecture and the City, 2016) Fig.57. Ghinitoiu, Laurian, Breathe Mini Living, 2017 <https://pila.studio/ projects/breathe-mini-living/#> [Accessed 1 June 2021] Fig.58. ”Royal Botanic Gardens, Kew | Kew”, Kew.Org, 2021 <https:// www.kew.org> [Accessed 16 May 2021] Fig.59. Ghinitoiu, Laurian, Breathe Mini Living, 2017 <https://pila.studio/ projects/breathe-mini-living/#> [Accessed 1 June 2021] Fig.60. ”Royal Botanic Gardens, Kew | Kew”, Kew.Org, 2021 <https:// www.kew.org> [Accessed 16 May 2021] Fig.61. <https://theplacesihavebeen.com/site_brutalism/casson-pavilion-london-zoo/> [Accessed 1 June 2021] Fig.62. Halbe, Roland, 2007 <https://bendheim.com/project/nelson-atkins-museum-art/> [Accessed 1 June 2021] Fig.63. Hulme, Frederick WIlliam. Gardens Of e Zoological Society, e Avenue, print: litho- graph, b&w, 1848 Fig. 64. WacotechTM TIMax Channel Glass Insulation Photograph, undated, available at “Channel Glass Insulation | Wacotech Timax | Bendheim Wall Systems Inc.”, Bendheim, 2021 <https:// bendheim.com/system_product/wacotech-thermal-insulation/> [Accessed 1 May 2021]. Fig. 65. Sterlin, Svetlana, Stills From Anna Karenina (2012), 2020 <https://ourculturemag.com/2020/08/24/15-captivating-stills-from-anna-karenina-2012/> [Accessed 1 June 2021] Fig. 66. Official Film Poster, 2012 <https://www.imdb.com/title/ tt1781769/> [Accessed 1 June 2021] Fig. 67. Sterlin, Svetlana, Stills From Anna Karenina (2012), 2020 <https://ourculturemag.com/2020/08/24/15-captivating-stills-from-anna-karenina-2012/> [Accessed 1 June 2021]

|141

Appendix

• Appendix •

• Framing Review • Miro Board ‘Pin-up’

Bibliography

|143

144|

Bibliography

Appendix

Framing

Private areas for animal care etc.

Frozen Zoo (Private Space) Regent’s Park

Entrance, Store etc. (Private Space)

Private residences/animal care etc.

Zoological Society of London

Private residences/animal care etc.

labs Public seating areas

Berthold Lubetkin & Tecton The Penguin Pond

Frozen Zoo beneath pond

Ice Sculpture exhibition (Public)

Animal Areas

Public Space

The Protection of the Wild. The Preservation of Experience

Park Development

Scientists’ Space (Visible to Public) Scientists’ Space (Private)

Intended visitor experience from point of arrival

I. Enchanting

II. Shocking

III. Dramatic

IV. Intriguing

V. Saddening

VI. Fascinating

VII. Inspiring

VIII. Hopeful

The London Sprawl

Concept Created by John Nash, 1826

The First 10 Years 1828-1837

The Victorian Years 1837-1900

A New Century 1900-1940

The New Zoo 1940-2000

The 21st Century 2000-present

Testing

Picturesque Gardens

Picturesque Architecture

Technologically Advancing

Visitor CIrculation Focus

Immersive Natural Environments

• Testing Review •

• Synthesis Review •

Miro Board ‘Pin-up’

Bibliography

|145

THE HILL HOUSE

• Thematic Case Study • Group Submission

BY SAM FARD, ELEANOR METTHAM, MICHELLE MOK, CATHERINE MCCONNACHE, HANNAH BATHO AND REECE MINOTT

CONTENTS Q1. THE HILL HOUSE BOX – NEW & OLD Q2. REFLECTION ON BERTHOLD LUBETKIN AND THE PENGUIN POND PT.1 Q2. REFLECTION ON BERTHOLD LUBETKIN AND THE PENGUIN POND PT.2 Q3. ENVIRONMENTAL AND CLIMATIC CONTEXT Q4. EXPLORING THEORETICS Q5. RELATING TO OTHER BUILDINGS

4 10 17 23 31 37

THE HILL HOUSE BOX – NEW & OLD BY MICHELLE MOK

LUBETKIN’S PENGUIN POND Fig. 4

Fig. 1

ABSTRACT ANTARCTICA

The Grade 1 listed Penguin Pond in London Zoo was designed by Lubetkin with Tecton Group in 1934. It stands as an uninhabited modernist architectural icon in the zoo, the building once accommodated penguins but the enclosure became uncomfortable and in 2004 penguins were moved into a different enclosure. The pond is a representation of modern technology and conscious design, it also was designed in consideration to the penguins’ natural habitat. 1 The ramps were a topographical feature of the penguins’ abstract Antarctica. Their white concrete - a representation of the glacier, contrasted the azure tiles on the pool floor, embodying the ocean. 2

Fig. 2

‘The visual sense of continuous white surface and the ramps’ sloped and curved surface ‘made the circulation belong to the natural order of things’. 3

Fig. 3

Fig. 5

It is placed precisely between two existing trees in the park . The trees cast shadows on the white concrete and create shining reﬂections in the water.

NATURAL AND ARTIFICAL Catherine McConnachie

VERNACULAR

Fig. 11

Fig. 6 Fig. 7

REFLECTION ON BERTHOLD LUBETKIN AND THE PENGUIN POND PART 1 BY CATHERINE MCCHONNACHIE

Hill House displays Scottish vernacular architecture combined with modernist principles. The exterior of the house is specifically reminiscent of Scottish traditions with robust rough-cast concrete grey walls which have been formed with a harling render treatment and which materials were sourced locally. This style is iconic in Scotland and can be seen in The Great Hall of Stirling Castle.

The combining styles are evident through it’s exterior facades, as the house echoes a Baronial style 4 with shaped gabels and the conical roofed tower , seen commonly in Scottish castles (see bottom left photo) but without showing any evidence of ornamental or decorative details. Instead the shape of the building focuses on ‘the massing of the parts’5.

In terms of Helensburgh, where the house is set, the building stands out with it’s modernist exterior showing a simplicity in which contrasts with elaborate styled houses nearby. Catherine McConnachie

Fig. 8

HARLING RENDER

Fig. 9

THE GREAT HALL

Fig. 10

FYVIE CASTLE

Fig. 12

Lubetkin’s design for the penguin pool was influenced by the Russian Constructivist sculptor Naum Gabo. 6 Gabo’s work seen in the middle right photo shows a ‘sense of spatial movement’ 7 which mirrors the spatial movement seen in the penguin pond’s cantilevered central ramp.

Lubetkin moved from Soviet Georgia to England in 1931. The ideas and elements of constructivist architecture present in Soviet Union in the 1920s and early 1930s can be seen in the penguin pool, with it’s elliptical cylindrical form and use of concrete. A famous example of constructivist architecture is the Melnikov House by Konstantin Melnikov built in 1929 and seen in the bottom right photo. The geometric forms and white concrete are similar to that found in Lubetkin’s design.

Fig. 13

Fig. 14

NAUM GABO

MELNIKOV HOUSE

NATURE

BIBLIOGRAPHY Fig. 18

Fig. 15

Hill House and the Penguin Pond both display ideas of nature in their design. Lubetkin’s pond is a clear example of the natural and artificial simultaneously working together in a building. Existing trees in the site were kept, one was an overhanging Ailanthus tree which was carefully preserved through adapting the concrete canopy around the trunk.8 The trees and the pond co-existed and complimented each other. The trees created changing shadows and reflections on the white concrete and the pool blurring the lines between the artificial and natural. The tree also provided solar protection to the penguins and sourced sprigs for them to make nests.9

1 Richard Hornsey, Penguin’s-Eye View Lázló Moholy-Nagy meets Berthold Lubetkin at the London Zoo () <http://www.bauhaus-imaginista.org/articles/6215/penguin-s-eye-view> [accessed 1 December 2020].

BOTH BUILDINGS ARE IN NATURAL SETTINGS SURROUNDED WITH TREES AND GREEN SPACE AND RESPOND TO IDEAS OF NATURE IN THEIR DESIGNS Fig. 16

Fig. 17

5 , M207 The Hill House, Helensburgh () <https://www.mackintosh architecture.gla.ac.uk/catalogue/browse/display/?rs=206&xml=des> [accessed 1 December 2020].

6 JOSÉ JUAN BARBA , Should the Penguin Pool be restored for historical value, or should it exist only as images of an utopia? (2019) <https://www.metalocus.es/en/news/should-penguinpool-be-restored-historical-value-or-should-it-exist-only-images-utopia> [accessed 1 December 2020]. 7 The Editors of Encyclopaedia Britannica , Naum Gabo () <https://www.britannica.com/biography/Naum-Gabo> [accessed 1 December 2020].

8 Josep-Maria Garcia-Fuentes, Habitat , Lubetkin & the Penguin's Pond () <not published yet> [accessed 1 December 2020].

9 Josep-Maria Garcia-Fuentes, Habitat , Lubetkin & the Penguin's Pond () <not published yet> [accessed 1 December 2020]. 10 Meaghan Kelly '05.5, English and History of Art 151, Brown University, 2004, Charles Rennie Mackintosh's "Hill House" () <http://www.victorianweb.org/art/architecture/mackintosh/kelly10.html> [accessed 1 December 2020].

11 , The Hill House () <https://www.nts.org.uk/visit/places/the-hill-house/mackintosh-and-the-hill-house> [accessed 1 December 2020].

Fig. 20

Fig. 21

Fig. 22

The experience of Hill House differs from the Penguin Pond due to the inhabitants the buildings were designed for. Both buildings have clean and uncluttered appearances and follow the principles of modernism, Hill House has a highly ornamental interior and includes oriental themes as well as ‘art noveau and art deco details’.12 The decorative but spacious interior design serves the affluent Blackie families lifestyle. The moods created in the house are also interesting, the hallways, landings and upstairs have dark wood panelling and are calming and quiet whilst the drawing room and bedrooms are open, airy and light filled. In these spaces white and off white surfaces serve as a canvas on which Mackintosh ‘served an array of colour’. 13 A sense of movement through the building is created through the changing patterns of shadows and space and transitions from light to dark woods. The changes of light and colour through the house ‘define space and separate public from private spaces’. 14

Fig. 23

Fig. 24

Fig. 25

CALM QUIET DARK SPACES

In comparison, Lubetkin had considered experience in his design for people and penguins. The concrete walls surrounding the enclosure have big rectangle cut outs which are reminiscent of a cinema screen. 15 The panoramic view and the position of the central double helix ramp provide a stage and viewer impression. The atmosphere created is compared to that of a circus.16 Lubetkin’s penguin pond representing an abstract antarctica has features that people are familiar with, for example the white concrete and blue mosaic floor representing the colours associated with Antarctica and the ramp representing topography. 17 In terms of the inhabitants of the pond, the pool had created an unsuccessful experience. The pool proved to be too shallow for this type of penguin that burrowed and Lubetkin’s original idea of rubber coating the concrete was dismissed by the zoo.18 The penguins were soon suffering from bumblefoot as a result of walking on bare concrete and the penguins were then removed from the enclosure.

Furthermore modernist principles are reflected within the use of white to emphasise light and clean lines; this is demonstrated within Mackintosh's domestic interiors and within the walls and structure of Lubetkin’s penguin pond. Looking in the details in both designs small motifs share differing modernist principles; Famously the elegant, yet simple and slimline design of the Hill House furniture ( particularly chairs) perhaps mirror the design of the columns within the Penguin Pond.

REFLECTION ON BERTHOLD LUBETKIN AND THE PENGUIN POND PART 2 BY HANNAH BATHO

Symbolism is also present within both designs with the Penguin Pond a modernist representation of a natural habitat and Hill House a modernist representation of a Scottish vernacular architecture. Both a symbol of a traditional form.

12 Alyn Griffiths, Charles Rennie Mackintosh's Hill House was designed from the inside out (2018) <https://www.dezeen.com/2018/06/04/charles-rennie-mackintosh-hill-househelensburgh-architecture/> [accessed 1 December 2020]. 13 Rob Tomlinson, The Hill House () <https://www.rob-tomlinson.com/places/hill-house> [accessed 1 December 2020].

14 Meaghan Kelly '05.5, English and History of Art 151, Brown University, 2004, Charles Rennie Mackintosh's "Hill House" () <http://www.victorianweb.org/art/architecture/mackintosh/kelly10.html> [accessed 1 December 2020]. 15 Richard Hornsey, Penguin’s-Eye View Lázló Moholy-Nagy meets Berthold Lubetkin at the London Zoo () <http://www.bauhaus-imaginista.org/articles/6215/penguin-s-eye-view> [accessed 1 December 2020]. 16 Richard Hornsey, Penguin’s-Eye View Lázló Moholy-Nagy meets Berthold Lubetkin at the London Zoo () <http://www.bauhaus-imaginista.org/articles/6215/penguin-s-eye-view> [accessed 1 December 2020].

NATURE MOTIFS IN HILL HOUSES’S INTERIOR

CIRCUS ATMOSPHERE

LIGHT AIRY SPACES

Within Lubetkin’s Penguin Pond and Mackintosh’s Hill House, the design is heavily influenced by the international modernist style. Both plan and elevations are designed to be both ‘simple and practical’ with the emphasis on function over form. Function is ensured by simplified and stripped back forms within both structures accentuating geometric shapes. However it is arguable that Mackintosh highlighted asymmetry and used this as a feature whereas Lubetkin’s design revelled in the splendour of symmetry.

4 Rob Tomlinson, The Hill House () <https://www.rob-tomlinson.com/places/hill-house> [accessed 1 December 2020].

17 Hadas A. Steiner, For the Birds () <https://www.mitpressjournals.org/doi/pdfplus/10.1162/152638103322751047> [accessed 1 December 2020].

18 India Block, Berthold Lubetkin's empty Penguin Pool should be blown "to smithereens" says daughter (2019) <https://www.dezeen.com/2019/01/08/penguin-pool-london-zoo-bertholdlubetkin-debate-uk-architecture-news/> [accessed 1 December 2020].

PLANS DISPLAY SIMPLIFIED AND STRIPPED BACK FORMS

Catherine McConnachie

EXPIERIENCE

MODERNISM

3 Hadas A. Steiner, For the Birds () <https://www.mitpressjournals.org/doi/pdfplus/10.1162/152638103322751047> [accessed 1 December 2020].

Catherine McConnachie

FIGURE 5

2 Hadas A. Steiner, For the Birds () <https://www.mitpressjournals.org/doi/pdfplus/10.1162/152638103322751047> [accessed 1 December 2020].

Fig. 19

In comparison, Hill House includes ideas of natural by the design’s response to its landscape and nature motifs in the interior decoration and details. The exterior of Hill House is formed strongly and ‘echoes the Scottish landscape’ 10 , it’s position on a hill allows a panoramic view of the River Clyde. Frequent images of a rose and flower found in the interior décor show Mackintosh was inspired by nature. 11

REFLECTION ON BERTHOLD LUBETKIN AND THE PENGUIN’S POND IN REALTION TO HILL HOUSE

Fig. 26

Fig. 27

Fig. 28

List of Figures

Fig 1- Photo of ramp construction -https://www.vam.ac.uk/articles/engineering-the-penguin-pool-at-london-zoo Fig 2- Photo of penguins in Antarctica - https://www.dailymail.co.uk/sciencetech/article-8455143/Antarctic-penguin-populations-explode-global-warming.html Fig 3 – Photo of penguin pond showing shadows of tree - http://www.galinsky.com/buildings/penguin/ Fig 4- Photo of penguin pond - https://worldarchitecture.org/architecture-news/epvhc/berthold-lubetkins-poetic-penguin-pool-may-be-demolished-at-london-zoo.html Fig 5- Photo of penguin pond showing tree shadows -https://archeyes.com/penguin-pool-london-berthold-lubetkin/ Fig 6- Photo of Scottish flag - https://en.wikipedia.org/wiki/Flag_of_Scotland Fig 7 – Photo of The Hill House - https://en.wikipedia.org/wiki/Hill_House,_Helensburgh Fig 8 – Photo of close up harling render - http://www.macleanplastering.co.uk/roughcasting-harling-inverness/ Fig 9 - Photo of The Great Hall - https://en.wikipedia.org/wiki/Harling_(wall_finish) Fig 10 - Photo of Fyvie Castle , Scotland - https://en.wikipedia.org/wiki/Fyvie_Castle Fig 11 – Soviet Union Georgia Flag - https://en.wikipedia.org/wiki/Flag_of_the_Georgian_Soviet_Socialist_Republic Fig 12 – Photo of Penguin Pond from sky view - https://worldarchitecture.org/architecture-news/epvhc/berthold-lubetkins-poetic-penguin-pool-may-be-demolished-at-londonzoo.html Fig 13 – Photo of Naum Gabo sculpture - https://jaded3space.wordpress.com/2011/11/15/naum-gabo/ Fig 14 – Photo of Melnikov House - https://www.archdaily.com/151567/ad-classics-melnikov-house-konstantin-melnikov/55acf189e58ece0f5400022f-ad-classics-melnikov-housekonstantin-melnikov-photo Fig 15 – Aerial view of Penguin pond in site – photoshopped from google earth Fig 16 – Photo of Penguin Pond showing tree - https://worldarchitecture.org/architecture-news/epvhc/berthold-lubetkins-poetic-penguin-pool-may-be-demolished-at-londonzoo.html Fig 17- Cropped photo showing penguin pond structure contoured to existing tree – https://worldarchitecture.org/architecture-news/epvhc/berthold-lubetkins-poetic-penguinpool-may-be-demolished-at-london-zoo.html Fig 18- Aerial view of Hill House in site – photoshopped from google earth Fig 19- Screenshot taken from google earth street view Fig 20- Interior of Hill House showing rose motif on wallpaper - https://www.dezeen.com/2018/06/04/charles-rennie-mackintosh-hill-house-helensburgh-architecture/ Fig 21 – Photo of close up of rose motif –https://www.nts.org.uk/stories/the-great-eight-at-the-hill-house Fig 22 – Photo of drawing room in Hill House showing light airy space - https://www.historicenvironment.scot/archives-and-research/online-exhibitions/great-scottishinteriors/the-hill-house-helensburgh/ Fig 23- Photo of bedroom in Hill House - https://www.dezeen.com/2018/06/04/charles-rennie-mackintosh-hill-house-helensburgh-architecture/ Fig 24- Photo of dining room in Hill House - https://ar.pinterest.com/pin/405464772693153217/ Fig 25- Photo of landing / coridoor showing darker spaces in house - https://www.fat-creative.com/blogpost/2018/04/scotland-helensburgh-the-hill-house-by-charles-mackintosh Fig 26- Photo of penguins showing circus atmosphere - https://archeyes.com/penguin-pool-london-berthold-lubetkin/ Fig 27 – Drawing by myself using photoshop showing how penguin pond exhibited penguins like a circus Fig 18- Drawing by myself using photoshop showing the type of penguin the design was intended for and the type of penguin which was put in

UNCOMFORTBALE PENGUINS Catherine McConnachie

REFLECTION ON BERTHOLD LUBETKIN AND THE PENGUIN’S POND IN REALTION TO HILL HOUSE Hill House by Charles Rennie Mackintosh, commissioned by the Blackie family in 1904, is considered mackintosh’s ‘domestic masterpiece. Designed with ‘restrained simplicity’ and referencing the ‘Glasgow Style’ Hill House used unconventional design techniques and materials to create a functional, yet decorative living space. This was exemplified by ‘sturdy exterior, spacious, light-filled rooms and latticelike black-or-white furniture’. Perhaps an integral design principle was the notion of combining the vernacular of Scottish design with international modernist ideals, to create a sympathetic, yet progressive design. The human experience of this house was at the forefront of conception, with the plan focusing on the philosophy on how the occupants would use the house. Mackintosh resolved space within through the use of massing and symbolic geometry. Using this geometry, an irregular elevation was created, disregarding symmetry and proportion; Mackintosh disliked such design methods and favoured asymmetry such was the international style

HILL HOUSE

DESIGN PRINCIPLES

FIGURE 1

FIGURE 2

Importantly within this design, Mackintosh was influenced by the idea of a ‘perfect realisation' of 'form, colour, proportion’. Themes of the manmade and natural form, are also core design principles, with motifs of the natural demonstrated within the decoration and contrasting with the precise geometric forms of the modernist structure.

Furthermore connections between the house and its surrounding landscape are inherent throughout. Both house and landscape extend horizontally to embrace the gardener's house and vertically to become part of the hill on which it stands’ FIGURE 3

FIGURE 4

FIGURE 6

FIGURE 10

FIGURE 9

FIGURE 7

FIGURE 8

FIGURE 15

TACKLING MOISTURE

WEATHER DAMAGE

REFLECTION ON BERTHOLD LUBETKIN AND THE PENGUIN’S POND IN REALTION TO HILL HOUSE FIGURE 18

LIGHT AND SHADOW| FIGURE 16

FIGURE 19

Hill House and The Penguin Pond both use light and shadow to add extra dimension to each design. Mackintosh’s interiors within Hill house demonstrates this with clean surfaces providing an effective canvas for shadow. Mackintosh’s geometric furniture design makes for dramatic and clear effect when influenced by light and shadow. Additionally Interiors make the most of the geometry of Hill House, to provide copious amounts of light which co contrasts to previous philosophy of decorative styles.

Lubetkin’s Penguin pool perhaps mirrors this motif with natural forms casting shadows/Reflections within the pool. This is further emphasised and exaggerated by the bright white interior/exterior. These shadows connect both buildings to their natural settings, reflecting nature within the interior.

FIGURE 17

ENVIRONMENTAL AND CLIMATIC CONTEXT BY SAM FARD

Charles Rennie Mackintosh intended on innovating his own cement render which would allow smooth and eye-catching surfaces throughout the building's curves and edges. Mackintosh used a new mixture, which consisted of an addition of aggregate into Portland cement, a technique known as harling, when applied as the top coat of the buildings façade. However, the Portland cement render used as part of the Hill House failed to stand the test of time against the harsh battle against Scotland’s fierce attack from mother nature. An amalgamation between winters causing freeze thaw, a process that causes the solid render to expand and contract resulting in stress to the material and cracking and chipping off over time. Thus, the vulnerable façade allows for water to penetrate and seep in causing “gradual water ingress”3. As the water seeps in it causes the buildings infrastructure to slowly cripple, saturating the bricks and adding a huge amount of unaccounted weight resulting in structural stress. Portland cement, contrasting to the conventional lime and mortar, has poor elasticity or porosity characteristics. “From the outset, the Blackies’ domestic staff were discreetly positioning buckets around Hill House to catch drips”4. The saturated bricks of the permeable sandstone substrate underneath has resulted in a entry point for moisture throughout the rest of the structure, causing severe damage that is unable to breathe due to the poor render choice.

Arguably the cage like preservation of Hill House plays with the idea of shadows; part of the enhanced experience of Hill House lies with the intermingling of cage (preservation) and the House. Almost tree like forms, cast from the preservation cage, create dramatic shadows on the buildings façade. This is perhaps reminiscent of the tress reflected in Lubetkin Penguin Pond. However juxtaposing, this shows a echoing of manmade construction rather than natural form.

CONTEXT

BIBLIOGRAPHY LIST OF FIGURES "Competing Natural And Historical Heritage: The Penguin Pool At London Zoo", Www-Tandfonline-Com.Libproxy.Ncl.Ac.Uk, 2020 <https://www-tandfonlinecom.libproxy.ncl.ac.uk/doi/full/10.1080/13527250701712026> [Accessed 14 December 2020] Frearson, Amy, "Carmody Groarke Builds Huge See-Through Shed Around Mackintosh's Hill House", Dezeen, 2020 <https://www.dezeen.com/2019/06/10/hill-house-box-carmodygroarke-charles-rennie-mackintosh-museum/> [Accessed 14 December 2020] Gregh, Eleanor, "C. R. Mackintosh: The Symbolic Geometry Of The Hill House", Www-Cambridge-Org.Libproxy.Ncl.Ac.Uk, 2020 <https://www-cambridgeorg.libproxy.ncl.ac.uk/core/journals/arq-architectural-researchquarterly/article/c-r-mackintosh-the-symbolic-geometry-of-thehill-house> [Accessed 14 December 2020]

Inoki, Linda, "The Modernist Innovations Of Mackintosh", The Japan Times, 2020 <https://www.japantimes.co.jp/culture/2000/11/26/arts/th e-modernist-innovations-of-mackintosh/> [Accessed 14 December 2020]

"Mackintosh Architecture: Essay - Mackintosh And Materials", Mackintosh-Architecture.Gla.Ac.Uk, 2020 <https://www.mackintosharchitecture.gla.ac.uk/catalogue/essay/?eid=mack_and_m aterials.> [Accessed 14 December 2020]

"Rennie Mackintosh’S Hill House – When Two Roofs Are Better Than One", The Guardian, 2020 <https://www.theguardian.com/artanddesign/2019/jun/02 /hill-house-helensburgh-charles-rennie-mackintoshcarmody-groarke> [Accessed 14 December 2020]

"The External And Internal Decorative Finishes Of The Hill House, Helensburgh: Challenges Of An Early TwentiethCentury Dwelling House", Www-TandfonlineCom.Libproxy.Ncl.Ac.Uk, 2020 <https://www-tandfonlinecom.libproxy.ncl.ac.uk/doi/full/10.1080/00393630.2020.17 79522> [Accessed 14 December 2020] "The Hill House | National Trust For Scotland", National Trust For Scotland, 2020 <https://www.nts.org.uk/visit/places/the-hill-house> [Accessed 14 December 2020]

FIGURE 1: Mackintosh Stained Glass <https://www.wikiart.org/en/charles-rennie-

mackintosh/stained-glass-window-the-hill-house-glasgow/> [Accessed 14 December 2020]

FIGURE 2: Hill House Façade <https://www.dezeen.com/2018/06/04/charlesrennie-mackintosh-hill-house-helensburgh-architecture/> [Accessed 14 December 2020] FIGURE 3: Hill House Interior <https://www.dezeen.com/2018/06/04/charlesrennie-mackintosh-hill-house-helensburgh-architecture/> [Accessed 14 December 2020] FIGURE 4: Hill House Grounds <https://www.alamy.com/exterior-and-garden-ofthe-hill-house-in-helensburgh-scotland-designed-by-charles-rennie-mackintoshfor-glasgow-book-publisher-walter-blackie-image222348052.html> [Accessed 14 December 2020] FIGURE 5: Hill House Plan <https://www-cambridgeorg.libproxy.ncl.ac.uk/core/services/aop-cambridge-core/content/view/c-rmackintosh-the-symbolic-geometry-of-the-hill-house.pdf> [Accessed 14 December 2020] FIGURE 6:Penguin Pond Lower Plan, < Reece Minnot >[Accessed 14 December 2020] FIGURE 7: Details Penguin Pond <https://zoo-gle.nl/en/portfolio/europe/london/> [Accessed 14 December 2020]

FIGURE 17: Dining Room Shadow Hill House <https://www.nts.org.uk/visit/places/the-hill-house/mackintoshand-the-hill-house> [Accessed 14 December 2020]

FIGURE 18: Hill House Preservation Shadow

<https://www.lomondappletree.co.uk/blog--info/hill-househelensburgh-in-a-full-size-box> [Accessed 14 December 2020]

FIGURE 19: Penguin Pond Nature Shadow

<https://www.architecture.com/image-library/RIBApix/imageinformation/poster/> [Accessed 14 December 2020]

Figure 3: Weathered Render illustration by author

ANALYSING DATA

The Hill House site is situated a few kilometres from the Helensburgh coast, causing it be hit by wet and stormy showers accompanied by strong winds. The Hill House built up area sits directly above a previously occupied agricultural land, formerly used to grow potatoes. In addition, the site sits right above a reservoir, where in times of heavy rain “water has been seen running through the cellar space.“1 of the Hill House.

GRASS AND JUNCUS DEBRIS & PEATY ACIDIC MOR LAYER DARK SILKY BROWN TEXTURED POORLY DRAINED HORIZON

CEMENT

LIME

CEMENT

LIME

WATER

HARLING

PORTLAND CEMENT

WATER

SAND

NORMAL CEMENT

Figure 5: Comparison between Portland harling render and normal render, illustration by author.

By carrying out various forms of data collection, it allows the layering of various results on top of each other to possibly notice aspects of weakness that may not of been noticed by the naked eye. Furthermore, combining the survey results into one dataset makes the 3D visualisation tool a lot more effective as it graphically illustrates areas of built up damp, absorbed throughout the cement fabric infrastructure. Combining laser scan data and IRT survey can indicate areas of significant water entry7. Noticeably, areas of water entry is most commonly found from the structures chimneys, the highest opening of the building, causing water to trickle down into the bedrooms and ceiling when it rains. In addition, the building ledges which stick out, as seen around the corners of the building in the figure below are also areas where damp collates and spreads through the interior spaces. Moreover, understanding areas of water entry into the building, it also leads to indicate the direction of water travel through the building. The IRT imaging as seen in the figure below measures the disparities of surface temperature found within the Hill House, which is key for visualising the scale of water damage the building has endured during its battle with the wet Scottish climate. It presents areas of damp as water is a great conductor of heat and thus during the summer period of data collection were recorded at higher temperatures within context. Microwave moisture mapping is a non-destructive method of

analysing the moisture content of the building fabric and can be used to determine the distribution and degree of sub-surface water saturation8. Figure 7: Images of thermal analysis ‘The Hill House: Collaborative Scientific Conservation in Action | HES’, Historic Environment Scotland Blog, 2019

13%

100% 87%

Figure 8: Illustration by author

Figure 9: Permeability test model for Hill House Box intervention, Scotland, National Trust for, ‘The Hill House Box– Your Questions…’, National Trust for Scotland (National Trust for Scotland, 2020)

REFRENCE LIST 1) Iconscotland, ‘Hill House, Helensburgh’, Conservation Conversations, 2018 <https://iconscotland.wordpress.com/2018/10/24/hill-house-helensburgh/> [accessed 12 December 2020] 2) ‘Rennie Mackintosh’s Hill House – When Two Roofs Are Better than One’, The Guardian, 2019 <http://www.theguardian.com/artanddesign/2019/jun/02/hill-househelensburgh-charles-rennie-mackintosh-carmody-groarke> [accessed 12 December 2020] 3) Scotland, National Trust for, ‘Water Damage at the Hill House’, National Trust for Scotland (National Trust for Scotland, 2020), https://www.nts.org.uk/ <https://www.nts.org.uk/stories/water-damage-at-hill-house> [accessed 12 December 2020] 4) ‘Charles Rennie Mackintosh’s The Hill House – When Two Roofs Are Better than One’, Charles Rennie Mackintosh | CRM Society, 2019 <https://www.crmsociety.com/charles-rennie-mackintoshs-the-hill-house-when-two-roofs-are-better-than-one/> [accessed 12 December 2020]

5) Scotland, National Trust for, ‘Water Runs Deep at the Hill House’, National Trust for Scotland (National Trust for Scotland, 2020), https://www.nts.org.uk/ <https://www.nts.org.uk/stories/water-runs-deep-at-hill-house> [accessed 13 December 2020] 6) ‘The Hill House: Collaborative Scientific Conservation in Action | HES’, Historic Environment Scotland Blog, 2019 <https://blog.historicenvironment.scot/2019/03/hill-house/> [accessed 12 December 2020]

7) ‘The Hill House: Collaborative Scientific Conservation in Action | HES’, Historic Environment Scotland Blog, 2019 <https://blog.historicenvironment.scot/2019/03/hill-house/> [accessed 12 December 2020]

8) ‘The Hill House: Collaborative Scientific Conservation in Action | HES’, Historic Environment Scotland Blog, 2019 <https://blog.historicenvironment.scot/2019/03/hill-house/> [accessed 12 December 2020]

BLUE-GREY WATERLOGGED GLEY HORIZON

FIGURE 8: Mackintosh Modernist Chairs <https://www.vntg.com/117921/hillhouse-chairs-by-charles-rennie-mackintosh-for-cassina/> [Accessed 14 December 2020] FIGURE 9: Hill House and Entrance Gate <https://www.crmsociety.com/venue/thehill-house/> [Accessed 14 December 2020]

9) Scotland, National Trust for, ‘The Hill House Box– Your Questions…’, National Trust for Scotland (National Trust for Scotland, 2020), https://www.nts.org.uk/ <https://www.nts.org.uk/stories/the-hill-house-box-your-questions-answered> [accessed 12 December 2020]

10) Scotland, National Trust for, ‘The Hill House Box– Your Questions…’, National Trust for Scotland (National Trust for Scotland, 2020), https://www.nts.org.uk/ <https://www.nts.org.uk/stories/the-hill-house-box-your-questions-answered> [accessed 12 December 2020]

FIGURE 10:Sculptural Ramps Penguin Pool <https://worldarchitecture.org/article-

links/epvhc/berthold_lubetkins_poetic_penguin_pool_may_be_demolished_at_lon don_zoo.html> [Accessed 14 December 2020]

FIGURE 11: Geometry Diagram <https://www-cambridge-

org.libproxy.ncl.ac.uk/core/services/aop-cambridge-core/content/view/c-rmackintosh-the-symbolic-geometry-of-the-hill-house.pdf> [Accessed 14 December 2020] FIGURE 12: Geometry Facade, <https://www-cambridgeorg.libproxy.ncl.ac.uk/core/services/aop-cambridge-core/content/view/c-rmackintosh-the-symbolic-geometry-of-the-hill-house.pdf> [Accessed 14 December 2020] FIGURE 13: Hill House Elevation <https://www.thetimes.co.uk/article/amackintosh-that-doesn-t-like-rain-9fqfw8wn6> [Accessed 14 December 2020]

IMPERMEABLE CLAY PARENT MATIERAL

Figure 2: Soil section illustration by author

FIGURE 14: Penguin Pond Top View <https://worldarchitecture.org/architecturenews/epvhc/berthold-lubetkins-poetic-penguin-pool-may-be-demolished-atlondon-zoo.html> [Accessed 14 December 2020] FIGURE 15: Hill House Interior Shadow Detail <https://www.lyonandturnbull.com/news/article/designs-by-charles-renniemackintosh/> [Accessed 14 December 2020]

FIGURE 16: Penguin Pool Tree Shadow

<https://avantiarchitects.co.uk/project/penguin-pool-london-zoo/> [Accessed 14 December 2020]

Figure 4: Images of water damage, ‘Water Damage at the Hill House’, National Trust for Scotland (National Trust for Scotland, 2020)

Moisture running throughout the buildings infrastructure is one of the worst tarnishes to the building due to its climactic context. The presence of water within the environment is the chief concern that needs to be taken care of when conserving the building. As the buildings membrane is saturated the dew point throughout the stone gradually ingresses within the interior of the building, worsening the issues of damp and condensation. When working towards conserving the Hill House and proposing a form of preservation its important to consider the prerequisites, as the high moisture content within the building needs to be addressed and appropriately tackled. Its vital to reasonably maintain the environment that the building and its interiors are acclimated to. “If we didn’t do this, the building would be at risk of ‘environmental shock’ and may be damaged further”9. “Instead, we will stop around 87% of the rain reaching the house, allowing it to dry out at a natural rate and at lowest risk of further damage”10. The Hill House Box intervened by Carmody Groarke acts as a giant permeable bubble which swallows itself around the entire building. Yet the boxes permeability shields itself from the rain above whilst allowing an efficient circulation of air, allowing the house to dry out and letting conservators begin rescuing the archetypal home. The drying out process may take up to three years before any conservation work can begin. “The semi-permeable metallic mesh silhouette built to protect the structure as an ‘artefact’”11. The building intervention assembled of stainless steel chainmail mesh, “the cross-braced steel box reduces rain penetration… and provides sufficient light for trees to grow within it”12 ,emphasises the attention to detail when ensuring the climactic difference between old and new environments isn’t too stark. The finely woven chainmail, commonly used for butchers’ gloves, is semi-permeable to allow air and moisture to travel through13. This semi permeability which allows a small percentage of rain in, and most of it out, ensuring a controlled and gradual drying environment of the buildings infrastructure. The illustration to the right represents the Hill House Box membrane and how it tackles the climactic control and battle with rainfall as the main causation of damage to the Rennie Mackintosh’s design. Once the building has dried out It will allow the conservation to take a greater physical play, “Initial treatments may involve removal of the harling [only 25% of which is believed to be original], installing heating to move the dew point within the sandstone, addressing issues with some of the windows and improving the drainage across the site”14.

Figure 1: Google maps illustrated by author

Helensburgh, located within the western Scottish highlands, acquires approximately 190 days of rain each year. Hill House, as described by the Architect working on the Hill House Box intervention, stated the structure as "a 115-year-old sandstone sponge” - Andy Groarke2. The Hill house was constructed of red sandstone, having quite a high porosity, accompanied by additional sections built with brick. The soil saturation in the surrounding environment resulted in very wet and unstable foundation for the buildings framework, an area where soil slumps are quite common, negatively worsening the buildings integrity.

Figure 6: Images of data moisture datal analysis ‘A Day of Science and Digital Innovation at The Hill House | HES’, Historic Environment Scotland Blog.

The data research and analysis in regard to the Hill House was carried out by the Engine Shed, with collaboration from the Historic Environment Scotland. “This technology records differences in surface temperature and that shows where moisture from decades of almost constant wet weather is retained within the building”5. These surveys are vital for the conservation of the Hill Houses as it pinpoints areas of damp. As seen above, the documentation was entirely aided by the digital age, a medium of technology many years ahead of the building its being put service to conserving. The Engine Shed team used a Z+F image scanner (as seen in the top left) to collect a 3 dimensional representation of the building from both the exterior and interior of the building. They also carried out Infra-red thermography (IRT) and microwave moisture mapping of key problem areas6.

11) ‘How Natural Trust for Scotland Will Save Mackintosh’s The Hill House?’, World Architecture Community <https://worldarchitecture.org/architecturenews/cvnmc/how-natural-trust-for-scotland-will-save-mackintoshis-the-hill-house-.html> [accessed 13 December 2020]

12) ‘The Hill House Box, Helensburgh’ <https://www.ribaj.com/buildings/regional-awards-shortlist-2020-scotland-carmody-groarke-mackintosh-museum-hill-house> [accessed 13 December 2020] 13) Gaffney, Kieran, ‘Ghostly Chainmail Shroud Buys Time for Mackintosh’s The Hill House’ <https://www.ribaj.com/buildings/the-hill-house-charles-renniemackintosh-national-trust-for-scotland-carmody-groarke-conservation-envelope> [accessed 13 December 2020]

14) Iconscotland, ‘Hill House, Helensburgh’, Conservation Conversations, 2018 <https://iconscotland.wordpress.com/2018/10/24/hill-house-helensburgh/> [accessed 12 December 2020]

FIGURE LIST 1) 2) 3) 4) 5) 6) 7) 8) 9)

Preservation Explorations in Additional Works 1

Google maps illustrated by author Soil section illustration by author Weathered Render illustration by author Images of water damage, ‘Water Damage at the Hill House’, National Trust for Scotland (National Trust for Scotland, 2020) Comparison between Portland harling render and normal render, illustration by author. Images of data moisture datal analysis ‘A Day of Science and Digital Innovation at The Hill House | HES’, Historic Environment Scotland Blog. Images of thermal analysis ‘The Hill House: Collaborative Scientific Conservation in Action | HES’, Historic Environment Scotland Blog, 2019 Illustration by author, representing chainmail membrane semipermeability Permeability test model for Hill House Box intervention, Scotland, National Trust for, ‘The Hill House Box– Your Questions…’, National Trust for Scotland (National Trust for Scotland, 2020)

EXPLORING THEORETICS

Windemere Jetty Museum employs a form of active conservation in its visitor and site relationship. It saves George Pattinson’s original collection of boats from their gradual ‘reclamation by the weather and the lake’ after the Windermere Steamboat Museum fell into disrepair.2 The museum, visitor facilities and conservation workshop stand as a sensitive yet highly celebratory contemporary intervention within the Lake District UNESCO World Heritage Site offering unique visitor engagement through exposed rather than hidden conservation and preservation.

BY ELEANOR METTHAM

Finally, reinvigorating the entrance to the British Film Institute (BFI) Southbank provides the tired and unwelcoming 1950s cinema house built beneath the arches of Waterloo Bridge with the attention necessary for it to fulfil its location’s cultural legacy. It’s backlit style light exterior utilises its dark brutalist bridge for contrasting compliment and further emphasises the original qualities offered by the building - its dark and broody cinema interiors.5 The UK’s largest independent cinema house now celebrates British film and welcomes the visitors it deserves.

Experimental Preservation

The term experimental encapsulates Carmody Groarke’s approach to preservation here. Experiment implies risk, uncertainty and the ‘dangerous possibility of failure’.7 Yet as stated in Jorge OteroPailos’ Experimental Preservation, experimenting with untouchable, protected valuable objects is ‘a necessary method for advancing knowledge about those very things, and indeed for ptotecting their future.’8 This is exactly the outcome Hill House Box offers. The architects make no arrogant claims to know the perfect preservation route which should be taken for Hill House but extend the time for the National Trust for Scotland to make preservation decisions by ensuring knowledge can advance whilst no further damage occurs. In a Small Talk Lecture at Newcastle University in March 2020, Andy Groarke spoke of the box as a ‘hospital’ for the house. A temporary intervention which protects and nurtures the house’s water damaged body. This hospital metaphor is valuable, it supports the nature of preservation as uncertain, offering architecture as equivalent to medicine. The treating of patients is never without risk but no intervention would lead to greater damage and eventually life ends. Treating Hill House as a living entity constantly changing through time rather than stagnant ‘built heritage’. Experimental preservation treats the house, not all risk is eliminated but ‘safer’ interventions might endorse an earlier end.

Fig. 5

Fig. 2

BIBLIOGRAPHY ‘A Day of Science and Digital Innovation at The Hill House | HES’, Historic Environment Scotland Blog, 2019 <https://blog.historicenvironment.scot/2019/08/science-hill-house/> [accessed 12 December 2020] ‘Charles Rennie Mackintosh’s The Hill House – When Two Roofs Are Better than One’, Charles Rennie Mackintosh | CRM Society, 2019 <https://www.crmsociety.com/charles-rennie-mackintoshsthe-hill-house-when-two-roofs-are-better-than-one/> [accessed 12 December 2020] Cooke, Louise, ‘Conservation inside the Box’, Louise Cooke, 2018 <https://lucooke.wordpress.com/2018/04/30/conservation-inside-the-box/> [accessed 14 December 2020] Dickson, Bryan, Mel Houston, and Suzanne Reid, ‘The External and Internal Decorative Finishes of the Hill House, Helensburgh: Challenges of an Early Twentieth-Century Dwelling House’, Studies in Conservation, 65 (2020), 1–5 <https://doi.org/10.1080/00393630.2020.1779522> ———, ‘The External and Internal Decorative Finishes of the Hill House, Helensburgh: Challenges of an Early Twentieth-Century Dwelling House’, Studies in Conservation, 65.sup1 (2020), P70–74 <https://doi.org/10.1080/00393630.2020.1779522> Environment, U. N., ‘Nature-Based Solutions for Climate’, UNEP - UN Environment Programme, 2019 <http://www.unenvironment.org/nature-based-solutions-climate> [accessed 14 December 2020] Gaffney, Kieran, ‘Ghostly Chainmail Shroud Buys Time for Mackintosh’s The Hill House’ <https://www.ribaj.com/buildings/the-hill-house-charles-rennie-mackintosh-national-trust-for-scotlandcarmody-groarke-conservation-envelope> [accessed 13 December 2020] ‘Hill House Survey Confirms Extent of Water/Weather Damage’, Secret Scotland, 2019 <https://secretscotland.wordpress.com/2019/03/19/hill-house-survey-confirms-extent-of-water-weatherdamage/> [accessed 14 December 2020] ‘Home | Scotland’s Soils’ <https://soils.environment.gov.scot/> [accessed 14 December 2020] ‘How Natural Trust for Scotland Will Save Mackintosh’s The Hill House?’, World Architecture Community <https://worldarchitecture.org/architecture-news/cvnmc/how-natural-trust-for-scotlandwill-save-mackintoshis-the-hill-house-.html> [accessed 13 December 2020] Iconscotland, ‘Hill House, Helensburgh’, Conservation Conversations, 2018 <https://iconscotland.wordpress.com/2018/10/24/hill-house-helensburgh/> [accessed 12 December 2020] ‘LAND, SEA AND SKY: HOW CLIMATE CHANGE IS DAMAGING SCOTLAND’, WWF <https://www.wwf.org.uk/updates/land-sea-and-sky-how-climate-change-damaging-scotland> [accessed 14 December 2020] Live, Glasgow, ‘Extent of Damage to Mackintosh House Revealed in New Survey’, GlasgowLive, 2019 <https://www.glasgowlive.co.uk/news/glasgow-news/extent-damage-mackintosh-houserevealed-15989370> [accessed 14 December 2020] ‘Mackintosh Architecture: Essay - Mackintosh and Materials’ <https://www.mackintosh-architecture.gla.ac.uk/catalogue/essay/?eid=mack_and_materials> [accessed 14 December 2020] ‘Mackintosh Architecture: The Catalogue - Browse - Display’ <https://www.mackintosh-architecture.gla.ac.uk/catalogue/browse/display/?rs=206&xml=des> [accessed 14 December 2020] ‘Mackintosh’s Hill House to Be Sheathed under a Protective Veil : December 2017 : News : Architecture in Profile the Building Environment in Scotland’, Urban Realm <https://www.urbanrealm.com/news/7145/sendtofriend/Mackintosh%E2%80%99s_Hill_House_to_be_sheathed_under_a_protective_veil.html> [accessed 14 December 2020] ‘Pebbledashing.Com | Preparing for Pebbledashing’ <https://pebbledashing.com/inspiration/preparing-for-pebbledashing> [accessed 14 December 2020] ‘Rennie Mackintosh’s Hill House – When Two Roofs Are Better than One’, The Guardian, 2019 <http://www.theguardian.com/artanddesign/2019/jun/02/hill-house-helensburgh-charles-renniemackintosh-carmody-groarke> [accessed 12 December 2020] Scotland, National Trust for, ‘The Hill House Box– Your Questions…’, National Trust for Scotland (National Trust for Scotland, 2020), https://www.nts.org.uk/ <https://www.nts.org.uk/stories/thehill-house-box-your-questions-answered> [accessed 12 December 2020] ———, ‘Water Damage at the Hill House’, National Trust for Scotland (National Trust for Scotland, 2020), https://www.nts.org.uk/ <https://www.nts.org.uk/stories/water-damage-at-hill-house> [accessed 12 December 2020] ———, ‘Water Runs Deep at the Hill House’, National Trust for Scotland (National Trust for Scotland, 2020), https://www.nts.org.uk/ <https://www.nts.org.uk/stories/water-runs-deep-at-hillhouse> [accessed 13 December 2020] ‘The Hill House Box, Helensburgh’ <https://www.ribaj.com/buildings/regional-awards-shortlist-2020-scotland-carmody-groarke-mackintosh-museum-hill-house> [accessed 13 December 2020] ‘The Hill House Box, Helensburgh - HDG Magazine’, Galvanizers Association <https://www.galvanizing.org.uk/magazine-article/the-hill-house-box-helensburgh/> [accessed 14 December 2020] ‘The Hill House: Collaborative Scientific Conservation in Action | HES’, Historic Environment Scotland Blog, 2019 <https://blog.historicenvironment.scot/2019/03/hill-house/> [accessed 12 December 2020] ‘Tn710-Soil-Analysis-in-the-West-Highlands-and-Islands.Pdf’ <https://www.fas.scot/downloads/tn710-soil-analysis-in-the-west-highlands-and-islands/> [accessed 14 December 2020] Vardoulakis, Sotiris, Chrysanthi Dimitroulopoulou, John Thornes, Ka-Man Lai, Jonathon Taylor, Isabella Myers, and others, ‘Impact of Climate Change on the Domestic Indoor Environment and Associated Health Risks in the UK’, Environment International, 85 (2015), 299–313 <https://doi.org/10.1016/j.envint.2015.09.010> ‘What Is Damp?’ <http://riskaverseltd.co.uk/what-is-damp/> [accessed 14 December 2020] Wright, Andrew, ‘Early Portland Cement: Its Use and Influence on Architectural Design’, Architectural Heritage, 22.1 (2011), 99–114 <https://doi.org/10.3366/arch.2011.0020>

Active Conservation

Carmody Groarke

Fig. 1

Active conservation Experimental preservation Challenging the notion of preservation

4. How does the case study relate to the Architect’s theoretical position/how does it explore their ideas/preoccupations?

Fig. 3

Bibliography

Groarke", Carmody Groarke, 2020 https://www.carmodygroarke.com

1 "Carmody 2

"Carmody Groarke — Windermere Jetty Museum", Carmody Groarke, 2020 <https://www.carmodygroarke.com/windermerejetty-museum/>

"Carmody Groarke — The Filling Station", Carmody Groarke, 2020 <https://www.carmodygroarke.com/the-fillingstation/> 3

"Carmody Groarke — Artist Studio, Hoxton", Carmody Groarke, 2020 https://www.carmodygroarke.com/artist-studiohoxton/ 5

"Carmody Groarke — BFI Southbank", Carmody

Groarke, 2020

<https://www.carmodygroarke.com/bfi-southbank/>

Fig. 4

- Visitor experience - Images of visitor walkways - House at new unexperienced viewpoints see new details - Witness the conservation, bring new attention and care for the house than before

"Carmody Groarke — The Hill House Box", Carmody Groarke, 2020 https://www.carmodygroarke.com/hill-house/

7 Otero-Pailos,

Jorge, Erik Fenstad Langdalen, and Thordis Arrhenius, Experimental Preservation (Zürich: Lars Müller Publ, 2016) p11 8

ibid p11

Fig. 3 Hill House Box Interior Walkways Dehlin, Johan, and Carmody Groarke, 2019 available at: https://www.carmodygroarke.com/hill-house/

BRIEF

DENIZEN WORKS - HILL HOUSE COMPETITION ENTRY [MF AJ 2017] Shortlisted alongside Carmody Groarke in competition for the Hill House visitor centre, Denizen works submitted a scheme that aimed to accomplish the same goal of being “as innovative to the 21st century as Mackintosh’s was to the 20th”, but with a contrasting approach.

RELATING TO OTHER BUILDINGS BY REECE MINOTT

Carmody Groarke does however aim to provide a similar atmospheric experience with their enclosure to that within the Hill House itself (fig. 3/4) by making use of natural light - diffusing it through the Steel mesh facade. The intervention does not detract from the previous experience of the house. Meier attempts to use natural light in a similar way, maintaining the use of large glazed windows and skylights seen with the previous enclosure to optimise the experience of the sacrificial site within. The introduction of solar shades does, however, have the opposite effect at times, leaving harsh shadows across the monument within (fig. 5). This interrupts the visual experience of the monument, something Carmody Groarke prioritised avoiding with their Hill House Intervention.

Figure 1 E nclosures

OLD ENCLOSURE

MEIER’S MUSEUM

Figure 2 - Following Form

Figure 3 - Inside Hill House

[AD 2019] Both schemes looked to address the decaying physical state of the Hill House, Carmody Groarke take an active approach to this providing a breathable facade to protect the house from rain while the reparation process is ongoing. [DW HH] Denizen, on the other hand, aimed to increase excitement and enthusiasm towards visiting the site, this would subse- quently increase the financial intake of the centre, passively aiding the repair by helping fund restoration.

This approach meant designing a centre which celebrated Macintosh’s work and his interests. Denizen were particularly inspired by Mackintosh’s interest in Japanese design and his painting of a fritillaria plant (fig.8). Ultimately this led to a scheme much more driven by form than Carmody Groarke's, although both aimed to aid reparation of Hill House, and both schemes offered new ways to experience the site (fig.7). One of the main contrasts between the two schemes is the consideration of views towards the house and of the relationship with the surrounding landscape. Carmody Groarke looked to avoid interrupting the surrounding environment with the translucent mesh maintaining views of the house. The structure is imposing, however, and clearly interrupts the former experience. Denizen works, on the other hand,- looked to place their scheme away from the House, up the hill. This made it a part of the experience of walking through the surrounding area and allowed the framing of key views from a distance (fig. 7/10). This also meant from the public roads, views of the house and the surrounding landscape were maintained.

EXPERIENCE

Figure 7 - S cheme placement and proposed views

Figure 4 - Inside the Hill House box

Unlike the Hill House box, the Museum of the Ara Pacis is a permanent structure. This alters the perception of the intervention. The 15-year planned lifespan of the Hill house box reinforces the theme of utilitarianism, demonstrating to visitors it is a necessity, seemingly admitting the preferable experience of the hill house before its arrival - and along with its other qualities this warms peoples perception. The museum on the other hand represents the progression of architecture in Rome and being permanent, the controversies around the building are intensified. It cancels out the possibility of change and many people don't appreciate this interpretation of the architectural style.

Both the Carmody Groarke and Neiheiser Argyros’s interventions provide an enclosure with a translucent steel facade. For both structures this is important in maintaining relationship between internal and external spaces - the structural elements are also visually exposed in both structures (fig. 12/13) expressing an industrial, lightweight and temporary materiality. The material nature of the Hill House box contrasts the building it encloses, and is representitive of the function which is itself temporary. [AD 2019] Carmody Groarke also use the tranlucence to maintain views of house and ensure its silhouette is still able to be appreciated. [LC 2020] Neiheiser argyros, on the other hand, use the translucence in the opposite way, attempting to hide what is within. The sculpture encloses the vents of the North Greenwich Station; by using a translucent facade, the unappealing vents are disguised by a structure which plays with light and form. A utilitarian design much more visually appropriate to its setting than the vents.

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Figure 8 - M ackintosh’s Fritillaria P lant

Figure 9 - Denizen W orks P roposed S cheme

Figure 10 - Denizen W orks P roposed S cheme (internal)

In both structures there is an attempt to compliment the qualities of old and new while preserving key characteristics of the heritage sites. Similarly to Carmody Groarke, Atelier-R maintain external views and the visual connection between the building and the surrounding landscape. This is achieved by the new structure being entirely contained by the castle walls, whereas the Hill House box uses translucence with the facade of their enclosure.

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- Arch Daily (2011) – Ara Pacis Museum / Richard Meier & Partners [AD 2011] - Arch Daily (2019) – The Hill House Box / Carmody Groarke [AD 2019]

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- Denizen Works – The Hill House Visitor Centre - Hill House — DENIZEN WORKS [DW HH]

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Figure 17 - Cortan C astle W alkways

Figure 18 - Cortan C astle W alkways

Figure 19 - Hill House W alkways

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Figures:

•

1 , 2 , 7 , 15 , 16 – Illustrations By Author

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3 - https://www.historicenvironment.scot/archives-and-research/online-exhibitions/great-scottish-interiors/the-hill-house-helensburgh/

• • • •

Figure 21 - Intervention hidden to maintain

views

Figure 22 - Translucent box to maintain

views

• • •

Figure 11 - view out of sculptural screen

Figure 12 - E xternal matieriality of sculptural screen

Figure 13 - E xternal matieriality of Hill House Box

Figure 15 - Hill House Box; Translucence express

Figure 16 - S culptural S creen; Tranlucence disguises vents

- Merlin Fulcher (2017), via. Architects Journal – Carmody Groarke win competition for visitor centre at Mackintosh’s Hill House [MF AJ 2017]

- Tom Ravenscroft (2020), via. Dezeen.com – Atelier-R creates tourist routes around ruins of Czech Republic [TR 2020]

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Figure 20 - Cortan C astle W alkways

- Design Curial (2019) – Rethinking Architectural Conservation: Hill House Box by Carmody Groarke [DC 2019]

- Lizzie Crook (2020) – via. Dezeen.com – Perforated Metal Pavilion by Neiheiser Argyros disguises London Underground vent [LC 2020]

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sillouhette

Figure 14 - North greenwich station sculptural screen

[TR 2020] Atelier-R produce a series of cortan walkways at Helfstyn Castle, Czech Republic. Similarly to the elevated walkways of the hill house box, this ‘tourist route’ allows for a unique new visitor experience, with views inaccessable prior to the intervention. Groarke explains the approach to changing the experience of Hill House: “Could I convince my children to visit a Mackintosh building? Reluctantly. Could I ask them to climb a walkway 50ft in the Air? More likely.”. Atelier-R are similarly successfull in widening the demographic of potential visitors by altering the experience with elevated their elevated walkways.

References:

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Figure 5 - Shadows on the monument

Figure 6 - The A ra P acis M useum

BIBLIOGRAPHY & FIGURES

ATELIER-R – TOURIST ROUTE THROUGH HELFSTYN CASTLE

NEIHEISER ARGYROS – NORTH GREENWICH STATION SCULPTURAL SCREEN

RICHARD MEIER - THE MUSEUM OF THE ARA PACIS (2006)

ARA PACIS

DENIZEN WORKS (PROPOSED)

MATERIALITY

ENCLOSURE Located in Rome, The Museum of the Ara Pacis encloses a heritage site, protecting it from outdoor elements, while providing a visitor centre, much like Carmody Groarke's Hill House Box (fig. 1). Unlike the Hill House box, which is a new intervention, [AD 2011] the Ara Pacis has been enclosed in its current location since 1913, Meier was contracted to redevelop the enclosure in 2006 as the previous structure was in an advanced state of decay. This meant that not only was Meier’s museum intended to preserve the physical state of the internal monument, but consider the form and conventions of the previous enclosure and historic structures in wider Rome (fig. 2). [DC 2019] Carmody Groarke on the other hand prioritises function - trying not to emulate the form of Macintosh’s Hill House so as not to detract from its qualities.

HILL HOUSE BOX

4 - https://www.metropolismag.com/architecture/charles-rennie-mackintosh-hill-house-box/ 5 - https://www.turismoroma.it/it/node/204

6 - https://www.tiqets.com/en/rome-attractions-c71631/tickets-for-ara-pacis-museum-p974368/

8 , 9 , 10 - http://www.denizenworks.com/hill-house-visitor-centre

11 , 12 - https://www.dezeen.com/2020/08/24/north-greenwich-sculptural-screen-neiheiser-argyros-london/ 13 - https://www.carmodygroarke.com/hill-house/

14 - https://www.archdaily.com/946538/north-greenwich-sculptural-screen-neiheiser-argyros 17 , 21 - https://www.allcadblocks.com/helfstyn-castle-palace-reconstruction-atelier-r/

18 - https://www.inexhibit.com/marker/the-reconstruction-of-the-helfstyn-castle-palace-and-the-contemporary-grafts-by-atelier-r/

19 - https://www.nts.org.uk/visit/places/the-hill-house/highlights/hill-house-box

20 - https://afasiaarchzine.com/2020/11/atelier-r-helfstyn-castle-palace-reconstruction-tyn-nad-becvou/

22 - https://www.archdaily.com/920640/the-hill-house-box-carmody-groarke