Language II

Language: Composition, Structure, Material Design Studio Project Reader Unit 2 Tom Coward & Simon Henley Mufaddal Nagree Kingston University M.Arch 5

Acknowledgements Tom Coward Unit Tutor Simon Henley Unit Tutor Bruno Silvestre Dissertation Tutor Matthew Whittaker Tectonics Tutor M.Arch Unit 2 ‘17/’18 Collective Research 3D Materials Workshop Kingston University

Contents 1977 and all that ...

Stirling, Hollein, Moneo 5 Three Scales Precedent Studies 7 Three Essays History, Knowledge, Intuition 17

Abstraction & Imposition Site-less Context 21

Language Composition, Structure, Material 31 Material Language Technical Studies 71

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1977 and all that ...

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Man-Transforms Modernism & Memory Informal Monumentality Pattern Language Collage City

Unit 2’s agenda situates itself within the context of 1977 and all that… by examining the various cross-roads in architecture of that time. As a Unit, we were primarily interested the works of James Stirling and Hans Hollein, together with the seminal texts highlighted above.

The Unit aims to draw a contextual parallel of a shape-shifting society of the late 70s to the mid-80s to our times - in the midst of diminishing domesticity in contemporary life as we move further into the digital world. The project, in essence, is a community archive of domestic possessions. In addition to the storage facilities it may provide, it aims to fulfill its civic responsibility by offering a flexible communal space for curatorial, convivial, congregational and perhaps other uses.

By responding to all other forms of context except for the immediate physical i.e. the regional and climatic, the socio-political, the economic, the cultural etc contexts, the first semester’s work was primarily aimed at designing ideas for the ‘heart’ of this archive. These were mostly interiors to understand the relationship between man, object and space within a degree of abstraction.

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575 Wandsworth Road Khadambi Asalache Texture, Light, Harmony 6

Three Scales “The Knowledge that there is no symmetry in nature, made me think of harmony, not in terms of symmetry, but in terms of visual balance.”

- Khadambi Asalache Part of Unit 2’s agenda this year was to survey, explore and study various National Trust properties, public galleries and museums.

The chosen set of three scales; 575 Wandsworth Road, 2 Willow Road, Lisson Gallery and Museum Abteiberg were the cause of various provocations for the thesis project.

Over 19 years, the owner, Khadambi Asalache, a Kenyan poet and artist, turned his home at 575 Wandsworth Road into a work of art. This passion of covering every inch of the walls with carved fretwork, started by the need to hide the dampness on one of the basement walls. The fretwork goes hand in hand with a careful selection and display of collected objects.

The three-house modernist terrace at 2 Willow Road is built with a concrete frame and a facing red brick infill. This allowed for details like the large panoramic opening on the first floor level where the living/dining rooms are; resulting in ample daylight and continuous views. The opening as a result, with its deep sill, becomes a showcase for some of the family’s collection and is visible from the outside for passers-by as well, especially in the evening hours.

The composition of the Bell Street facade at Lisson Gallery responds to the array of shop-fronts on the street and ample north light which is unobstructed with the help of the school playground opposite. The large opening on the ground floor part reflects the surroundings such as trees and sky but also becomes a showcase for artwork during the evening hours. The first floor has obscured windows for a different kind of light quality in the interior as opposed to a clear view of passers-by on the ground floor.

Museum Abteiberg is an ensemble of forms and a collage of different compositions. The pedestrian access from lower ground, up the garden, onto the terrace and along the bridge leads you to a sandstone paved square, weaving the different elements and surfaces of the museum together. Most of the spaces are organised below the higher ground level except for the admin tower block that elevates with sandstone and undulating glazing to create a dialogue with the scale and towers of the nearby churches.

Together they form a set of three scales of exploring the relationships between man, object and space; that of residential, shop-front and civic.

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2 Willow Road Erno Goldfinger’s Residence Objects, Light, Showcase 8

2 Willow Road Street Elevation Scale 1:200 9

Lisson Gallery Bell Street Gallery Artwork & Street View 10 GSPublisherVersion 0.0.100.100

2 Willow Road Bell St. Section Scale 1:200 11

Lisson Gallery Bell St. Facade; Tony Fretton Artwork, Invitation, Shop-front 12

Lisson Gallery Bell St. Elevation Scale 1:200 13

Museum Abteiberg Monchengladbach; Hans Hollein Civic Presence; An Alternative Perspective 14

Museum Abteiberg Monchengladbach; Hans Hollein Civic Presence; An Alternative Perspective 15

Museum of Roman Art Merida; Rafael Moneo; Compression & Contrivance 16

Photo by Michael Moran Refer to Three Essays booklet

Three Essays 1. Compression, Contrivance, Continuity 2. Confrontation, Configuration, Continuity 3. History, Knowledge, Intuition Although these essays have been written separately over the course of the academic year, they are inevitably linked to one another to form an integral whole. In some sense, the autonomous nature of these essays are analogous to building fragments that construct a language to form a whole.

These essays, though not directly addressing the thesis project, begins to generate a conversation about the choices of the language that is pursued in it. This has consequently led to some of the tectonic and compositional decisions of the project. They explore the perception of ‘history’ and the connotations associated with the words ‘conservation’ and ‘preservation’ in contemporary practice which deserves critical attention.

The essays are appended to this project reader to put the thesis project into a theoretical context of the works of Rafael Moneo and others. It is an alternative position with regards to the works of Stirling and Hollein as entailed by the Unit agenda whilst inevitably incorporating elements from an arsenal of passive observations in day to day life.

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Museum of Roman Art Merida, Rafael Moneo Structure & Contrivance

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Museum of Roman Art Merida, Rafael Moneo Detail Section (NTS) 19

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Abstraction & Imposition By responding to all other forms of context except for the immediate physical i.e. the regional and climatic, the socio-political, the economic, the cultural etc. contexts, the ‘heart’ of this archive presents itself as a series of abstract design ideas to understand the relationship between man, object and space.

The object in this narrative is not limited to an artefact that may be curated as part of an exhibition. It extends to a live entity where the contents of the storage may be temporarily used for convivial or congregational activities. This narrative further extends to the relevance of furniture, whether it is a cabinet, a table or even a mere podium for display. Furniture then becomes an element of mediation, between the space and object.

By studying Rafael Moneo as a counter-position to Stirling and Hollein at the time, the project seeks to take an alternative approach in developing a contrivance of structure both in its formal (building) and its programmatic senses as opposed to a collage or assemblage of ideas. This structure aims to respond to a specific contextual agenda and address some of the specific themes at hand.

It is an attempt to construct a specific language that begins with the idea of intersecting arches forming diagonal enfilades and creating a negative spaces that act as thresholds for four rooms. The result is an open plan spatial configuration with no prescribed route where the direction of load transfers are clearly.

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Thesis Intersecting Arches Cast Fragment 22

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Abstract Gallery Designing Ideas Structure & Contrivance 24

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top-bottom: Section; Rooms Section; Nave Ground Floor Plan First Floor Plan

Abstract Gallery Diagrams Scale 1:400 25

Abstract Gallery ‘Balcony’ View 26

Abstract Gallery Nave & Transversal Rooms 27

Abstract Gallery Intersecting Arches Threshold 28

Abstract Gallery Half Arched Enfilade 29

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Language Picking up on the industrial and civic heritage of Kingston Upon Thames, and combined with the studies and essays mentioned in this document, the project pursues a distinct suburban presence through a language of composition, structure and hierarchy of materials.

The contrasting presence in the local neighbourhood is a direct provocation of what a civic building should entail in a banal juxtaposition of residential, commercial and industrial buildings. It addresses both the specificities of the site and program, and transcends into universal and timeless qualities of architecture.

1. Kingston Station 2. Horse Fair Bridge; River Thames 3. Kingston Historic Market 4. Surrey County Council 5. KU Penrhyn Road 6. KU Knights Park 7. Surbiton Station 8. St. Marks Church 9. Proposed site

In its exterior condition, this language is characterised by the form that ‘hugs’ the site, the resulting courtyard for events, the basement entrance pavilion that acts as a stage, the separated pavilion for the cafe/bar, the tower that rises as a landmark beacon, the steel framed polycarbonate facade as a translucent skin and the incorporation of existing large trees as the ‘mass’ that ‘completes’ the building. In the interior, an enfilade of intersecting arches create a threshold for four spaces to provide a meandering experience through the ‘exhibition storage’ as opposed to a prescribed route.

The L-shaped structure of the tower defines the square gallery spaces and descends into a three storey foyer in direct dialogue with the remains of the enfilade at each end.

Archive Urban Condition Scale 1:10000

These linguistic devices act as autonomous fragments that are perceived more than just their sum to form a greater whole.

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Site Southwest Facing Corner Winter 32

Site 25-30m Tree ‘Portico’ Winter 33

Site Southwest Facing Corner Spring 34

Site Tree ‘Portico’ Approach Spring 35

Archive Site Strategy Form, Orientation, Corner 36

Archive Iterations; Massing Model Homothetic Triangles 37

Archive Iterations; Exterior North Corner 38

Archive Iterations; Exterior South Colonnade 39

Archive Iterations; Interior Intersecting Arches Enfilade 40

Archive Iterations; Interior Exhibition Storage Rooms 41

Archive Iterations; Exterior Tower; Landmark Lamp 42

Archive Maquette Interior Intersecting Arches Enfilade 43

Archive Maquette Colonnade Repetitive Bays 44

Archive Maquette Tower Double Height Gallery 45

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The program of the main building is essentially divided into a structure of three main uses. These are the ‘permanent’ archival storage cells which sit in the basement and ‘plinth’ of the building, the ‘live’ or ‘exhibition’ storage rooms distributed in an open plan across the three wings and two storeys, and the ‘communal’ tower of gallery spaces that lead to a roof terrace overlooking spectacular views of Kingston.

1. Duke of Buckingham pub 2. The Chip Club chip shop 3. Barber shop 4. Local church 5. Hogsmill River 6. King Athelstan Primary School 7. Royal Mail Warehouse 8. Kingsmill Business Park 9. Archive

Archive Figure Ground Scale 1:2500

The cafe/bar pavilion is a mirrored expression of the main building expressed inside-out as a precast concrete structure. The main elevation is articulated by a colonnade and steps leading up to the ‘platform’. In contrast to the steel framing of the archive, the glazed wall of the cafe is framed in timber that complements the timber furniture to further ‘humanise’ the overall composition. The upper floor gives views towards Hogsmill River towards the north and the deliberate offset of its form creates a balcony overlooking the courtyard.

The representation for the scheme is deliberately distilled from a physical context beyond the figure ground to communicate its autonomous form and presence.

After its initial affair with the specificity of the site, the building begins to take control of its civic responsibility and therefore demands for representation of its own context. In other words, the building is the context.

Whilst the views are more about an essay of the building itself, the axonometric diagrams begin to represent the occupation of the civic spaces.

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Archive Ground Floor Plan Scale 1:800 48 GSPublisherVersion 0.0.100.100

Archive First Floor Plan Scale 1:800 49 GSPublisherVersion 0.0.100.100

Archive First Floor Plan Scale 1:800 50 GSPublisherVersion 0.0.100.100

Archive Basement Plan Scale 1:800 51 GSPublisherVersion 0.0.100.100

Archive: Tower Third Floor Plan Scale 1:200 52

Archive: Tower Eighth Floor Plan Scale 1:200 53

Archive: Tower Ninth Floor Plan Scale 1:200 54

Archive: Tower Terrace Floor Plan Scale 1:200 55

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Archive South Facing Elevation Scale 1:800 56

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Archive South Facing Enfilade Section Scale 1:800 57

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Archive West Facing Elevation Scale 1:800 58

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Archive Tower Section Scale 1:800 59

Archive Southwest Facing Shop-front Corner 60

Archive Southwest Facing CafĂŠ / Bar 61

Archive West Facing Courtyard, Basement Entrance & Tower 62

Archive Southwest Facing Courtyard, Basement Entrance & Tower 63

Archive Foyer Entry to Tower & Exhibition Storage 64

Archive Foyer to Enfilade Exhibition Storage 65

Archive Exhibition Storage Intersecting Arches 66

Archive: Tower Double Height Gallery 8th/9th Floor 67

Archive Axonometric Diagram Autonomous Form 68 GSPublisherVersion 0.0.100.100

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Archive: CafĂŠ / Bar Axonometric Diagram Evening Hours 69

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Archive: CafĂŠ / Bar Axonometric Diagram Evening Hours 69

Archive Parapet Frieze Bubble Wrap Cast Sample 70

Material Language The juxtapositional and banal nature of the local townscape comprising of residential, commercial and industrial uses, demanded a tectonic response that addressed and echoed the resulting varied tectonic character. By proposing a contrasting scheme to the nearby red brick and rendered Victorian housing, the proposition is a suburban figure of confrontation, not as a competitor to its context, but as an image of civicness and continuity. As a result, the project is inevitably a physical manifestation of the ideas explored in Three Essays: ‘Compression, Contrivance, Continuity’, ‘Configuration, Confrontation, Continuity’ and ‘History, Knowledge, Intuition’.

The tectonic ethos is conceived through a set of ‘linguistic’ devices, particular fragments and compositional strategies to make an integral whole.

The structure is composed of a predominantly precast concrete structural system sitting on an in-situ foundation wrapped in a steel framed polycarbonate facade. The vertical structure, i.e. precast walls, are in white concrete with subtle horizontal scores to add depth, texture and a visual ‘guide’ for exhibits. The hollow core slabs are cast in silicone molds to achieve a glossy soffit; similar to the resin screed for the floor (p.43-45). As a result, the vertical plane of parallel walls are braced by the ‘slicing’ horizontal plane of flat slabs in contrasting finishes of concrete. The cafe however, sits as a separate pavilion composed of an exposed precast concrete structure that suggests a dialogue with the main building. The structure of the tower is composed of four L-shaped precast walls, flat precast hollow-core slabs and a circulation shaft for a lift, stairs and services. The tower sits on thicker in-situ basement walls and a pile foundation.

The concrete parapet ‘bands’ act as a plinth at the bottom and a frieze at the top - both cast in bubble wrap to add a rich, familiar relief, giving the building an organic grain that otherwise disappears from distant views (p.70). The courtyard is articulated by semipermeable concrete paving and steps sculpted from an ergonomic form facing southwest and aligned to the geometry of the tower and the basement entrance pavilion that also acts as a ‘stage’. The steps create an amphitheater-like atmosphere and allow for various public events to take place. The raised platform further connects the cafe/bar pavilion through a separate set of concrete steps and a ramp. To reinstate some of the lost ‘green’ space, the terrace of the main archive is accessible and has a provision for a roof garden and concrete paving. (p.68-69) The courtyard-facing colonnade creates a ‘civic’ depth in the facade providing shelter from the elements. The polycarbonate skin allows for continuous ‘flat’ light inside, creates a thermal separation from the core structure and acts as a solar shield minimising solar gain. Its expression on the street is an homage to the industrial heritage of the site with its exposed steel ‘rib’.

The skin further responds to the theme of translucency

that was provoked by the very large 25-30m deciduous trees that are conceived as a mass that ‘completes’ the building. They are opaque in the summer and transparent in the winter - a seasonal ‘facade’ and ‘portico’ of the building (p.32-35). In the evening hours, the building would glow and reveal silhouettes of the objects, people and structure inside - especially the tower, which would act as a landmark ‘lamp’ from distant views (p.42).

The intersection of four half-arched walls that are bound together with a concrete ‘keystone’ to create a threshold for four spaces. This device is used in the circulation spaces to suggest an open-plan meandering enfilade of the exhibition storage as opposed to a prescribed route. It is an example of digging out a void in a static wall system to create a negative ‘dome’ and consequently of how structure itself can become a spatial experience (p.22). The main foyer is where the compressive forces become most alive. Here, the tower comes to the ground with the help of a triple height space where the L-shaped walls of the tower sit on four large arched walls. The foyer is lit by a clerestory gallery which provides access to the roof terrace. On either side of the foyer, the beginning of the enfilades are exposed like ruins creating a dialogue between the larger arches of the foyer and the smaller intersecting arches. This results in a completely porous floor plan where the transition of spaces become apparent through spatial and structural configuration. (p.64-65) All interior fixtures and fittings conform to the theme of exposed materiality. The building is mostly air conditioned by an AHU located in the basement plant room with slender, exposed steel ductwork that matches the exposed finned-tube radiators for convection heating near the facades. Slab-mounted, flexible LED lighting tracks further complement the slenderness.

The courtyard paving and roof have semi-permeable materials and are sloped appropriately for drainage at a minimum slope of 2%. All down pipes are hidden within the non-structural precast colonnades that connect to the perimeter drainage and consequently the towns main storm water drainage network.

Specific building regulations compliances include the application of a liquid applied membrane as a ‘tanking’ barrier for the basement walls to consolidate watertightness due to relatively high water tables on site (Approved Document C), provision of safe lighting and other electrical equipment (Approved Document P), appropriate means of escape and specification of polycarbonate panels according to appropriate fire safety standards (Approved Document F) and appropriate construction sequencing and workmanship for precast concrete (Approved Document 7).

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Sheet-pile foundation, in-situ retaining walls and flat slab:

Foundations Sketches Excavations Options 72

Retained earth excavations likely as opposed to open-cut excavations as the latter would not be possible for certain areas especially closer to the trees on the east and north sides, the southwest and northwest corners and the south facing street side

Precast load bearing concrete walls with cast-in ‘tongue’ for vertical joints to hollow core slabs that are exposed as ‘skirting’ and tongue/ groove horizontal joints with in-situ grouting as opposed to ship-lap to keep centre lines consistent.

Precast hollow core slabs with in-situ grout joints over re-bars.

Precast Concrete Sketches Joints Options 73

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1. Piles foundation; pile caps below basement level 2. Basement in-situ concrete floor slab 3. Ground floor slab composed of precast hollow core units; Ref: Detail Section 4. Staircase, lift & services shaft 5. Load bearing precast double height concrete walls 6. Load bearing precast concrete walls 7. Precast hollow core floor slabs; Ref: Detail Section 8. Precast concrete stairs 9. Roof terrace 10. Steel framed polycarbonate facade GSPublisherVersion 0.0.100.100

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Archive: Tower Structural Diagram 75

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Archive Exhibition Storage Bays, Structure, Curtains 76 GSPublisherVersion 0.0.100.100

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1. Precast concrete colonnade 2. Precast concrete walls; horizontal scores 3. Precast concrete hollow core slabs; cast in silicone 4. Precast half arched walls; horizontal scores 5. Precast concrete parapet; cast in bubble wrap 6. Steel-framed polycarbonate facade 7. Lockable exhibition storage furniture 8. Provision for room dividing curtains for private exhibitions or blackouts; acoustic & thermal fabric 9. Concrete ‘keystone’ to connect arched walls GSPublisherVersion 0.0.100.100

Archive Exhibition Storage Intersecting Arches Diagram 77

Facade Sketches Connection Options 78

Facade Sketch Half-arched Wall Offset & Visibility 79

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Facade Connection Detail Diagrams Scale 1:10 80

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1. Precast concrete hollow core floor slab 2. Cast in steel ‘cross’ plate at 3m grid 3. Steel frame at 1.5m grid, thermally broken profiles 4. Position of polycarbonate panels

Facade Connection Detail Diagrams Scale 1:10 81

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1. Services running down to AHU unit & plant room 2. AHU ductwork 3. Finned tube radiators 4. Some natural ventilation via doors

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MEP General AHU + Radiators Strategy Diagram 82

Since it is mostly a ‘storage’ building it does not require heavy loads of ventilation. Convection heating, i.e. radiators, are part of the future-proofing strategy for flexibility and are placed near the facades.

The plant room is located at basement level in the same position as (1); refer to basement plan p.51.

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1. Precast concrete colonnade 2. Cast-in rainwater downpipes & floor drain 3. Steel framed polycarbonate facade 4. Finned-tube radiators 5. Ventilation and AC ductwork; supply/extract; exposed slab-mount; AHU in basement plant room 6. Exposed ceiling mount LED tracks, manual control 7. 2-gang power socket/switch 8. Light switch 9. Cast-in curtain tracks 10. Exposed ceiling mount LED tracks, plant control 11. Smoke detectors & fire alarms

MEP Strategy Typical Bay Scale 1:100 83

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Detail Section 09 South Wing Roof Parapet Scale 1:20 10 84

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1. Steel coping 2. Concrete parapet, 150mm, cast in bubble wrap 3. Z-angle fixing 4. EPS insulation, 150/100mm 5. Mineral wool insulation 6. Thermally broken exposed steel profile 7. Polycarbonate panel, 50mm, Ucw-Value 1.0 W/m²K; Ref: Rodeca 8. Precast concrete wall 9. Finned-tube radiator; Ref: Meinertz / Turnbull-Scott 10. Standard steel U-channel 11. Cast in slab 'cross' steel plate for facade support; see detail diagram 12. Resin screed, 60mm, polished 13. Precast concrete hollow core slab 09 sheet pile foundation; basement 12 wall 14. Concrete 13 07 15. Concrete paving; semi permeable; exposed aggregate 06 16. Perimeter French drain to main town storm drain network 17. Gravel 05 18. Pre-drilled hole & pin fixing 19. Liquid02applied membrane 04 drain 20. Ground 21. Hardcore bed 22. Basic14 green roof build up; sedum blanket; Ref: Bauder

Detail Section South Wing First Floor Scale 1:20 85

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Detail Section South Wing Ground Floor Scale 1:20 86

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1. Steel coping 2. Concrete parapet, 150mm, cast in bubble wrap 3. Z-angle fixing 4. EPS insulation, 150/100mm 5. Mineral wool insulation 6. Thermally broken exposed steel profile 7. Polycarbonate panel, 50mm, Ucw-Value 1.0 W/m²K; Ref: Rodeca 8. Precast concrete wall 9. Finned-tube radiator; Ref: Meinertz / Turnbull-Scott 10. Standard steel U-channel 11. Cast in slab 'cross' steel plate for facade support; see detail diagram 12. Resin screed, 60mm, polished 13. Precast concrete hollow core slab 14. Concrete sheet pile foundation; basement wall 15. Concrete paving; semi permeable; exposed aggregate 16. Perimeter French drain to main town storm drain network 17. Gravel 18. Pre-drilled hole & pin fixing 19. Liquid applied membrane 20. Ground drain 21. Hardcore bed 22. Basic green roof build up; sedum blanket; Ref: Bauder

Detail Section Basement Foundation Scale 1:20 87

Detail Elevation South Facing Scale 1:20 88

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Detail Elevation South Facing Scale 1:20 90

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