AR11011 - ARCHITECTURE STUDIO 1.1 DECONSTRUCTING PLACE – V ILLA ANALYISIS
C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD KEN SHUTTLEWORTH DESIGNED THIS HOUSE FOR HIMSELF AND HIS HE WANTED TO INCORPORATE INTO IT THE INFLUENCE OF THE LANDSCAPE AND ITS HISTORY. W ILTSHIRE HOLDS SOME OF THE OLDEST MONUMENTS IN THE COUNTRY. STONE CIRCLES AND CHALK HORSES ARE SCATTERED ACROSS THE COUNTY. THIS REPRESENTS MANKIND ’S AGE LONG RELATIONSHIP WITH NATURE AND THE LANDSCAPE. I N ADDITION , THE AREA IS ALSO FAMED FOR ITS CROP CIRCLES, WHICH FURTHER SUGGESTS MYSTICISM IN THE LOCATION . FAMILY.
I N RESPONSE TO THIS, KEN SHUTTLEWORTH’S DESIGN IS CRESCENT SHAPED . I T IS CONSTRUCTED USING CIRCLE ARCS ON THE BUILDING AND CIRCLES IN ITS LANDSCAPING. ANOTHER FACTOR THAT THE ARCHITECT
HAD TO SOLVE IN HIS BUILDING WAS HIS WIFE’S DISABILITY.
HE THEREFORE
KEPT THE MAJORITY OF THE ACTIVITY ON ONE LEVEL AND A LARGE OPEN SPACE IN THE LIVING AREA.
A KEY PRECEDING INFLUENCE ON SHUTTLEWORTH AND THE USE FRANK L LOYD W RIGHT. HIS DESIGN FOR THE SECOND
OF THE CURVE WAS
JACOB’S HOUSE MADE USE OF A LONG CURVED GLASS PANEL IN ORDER TO MAKE THE MOST OF THE SUN THROUGHOUT THE DAY. I N C RESCENT HOUSE, KEN SHUTTLEWORTH ALSO USED A LONG GLASS PANEL ON THE UPPER GALLERY TO CATCH THE EVENING SUN .
THE HOUSE SHAPE ENHANCES THE SURROUNDING LANDSCAPE. THE W ILTSHIRE COUNTRYSIDE ON ONE SIDE, WHILST THE BACK WALL PRIVATELY HOUSES THE BEDROOMS BEHIND ITS CURVE. W ITH NO WINDOWS INTO THE HOUSE ON THE GROUND FLOOR FACING NORTH, THE BEDROOMS ARE TOP-LIT. THIS ALSO MEANS THAT THEY ARE SPARED THE VIEW OF THE CONCRETE WORKS, THE SEWAGE WORKS AND THE ROAD . LARGE WINDOWS LOOK OUT TO THE WIDE VIEWS OF THE HILLY
W HILST KEN SHUTTLEWORTH IS KNOWN FOR ROUNDED BUILDINGS GHERKIN AND L ONDON C ITY HALL (WITH NORMAN FOSTER), C RESCENT HOUSE IS UNUSUAL BECAUSE OF ITS INCLUSION OF CONCRETE. AND USE OF GLASS, FOR EXAMPLE , THE
C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD
[LEFT] GROUND FLOOR PLAN [CENTRE] FIRST FLOOR PL AN
C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD
BACK ELEVATION
FRONT ELEVATION
CROSS SECTION
C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD
C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD
C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD
SITE MODEL
SPATIAL
1:20
C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD
LIGHT STUDIES
C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD
C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD
C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD
BIBLIOGRAPHY BAKER, GEOFFREY H. – L E C ORBUSIER: AN ANALYSIS O F FORM – 1984, V AN NOSTRAND REINHOLD BENNETT, DAVID – EXPLORING C ONCRETE ARCHITECTURE – 2001, BIRKHAUSSER MELHUISH, C LARE – MODERN HOUSE 2 – 2000, PHAIDON W ESTON, RICHARD – THE HOUSE I N THE TWENTIETH C ENTURY – 2002, L AURENCE KING
C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD
W EBSITES HTTP://WWW .BTINTERNET.COM/~KENSHUTTLEWORTH/EXTERIORV IEWS.HTM HTTP://WWW .MAKEARCHITECTS.COM/#/ PROJECTS/0002/ HTTP://WWW .INDEPENDENT.CO.UK/LIFE-STYLE/ HOUSE-AND-HOME/INTERIORS/THE-MODERN-WAY-THE-BEAUTY-AND-DIVERSITY-OF -SOME-OF-THE-COUNTRYS-FINEST-CONTEMPORARY-HOMES-ARE-CELEBRATED-IN -A-NEW-BOOK-
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C RESCENT HOUSE, KEN SHUTTLEWORTH – W ILTSHIRE, UK TEAM : PATRICK DAVIES, L IAM MCKELVIE, ASHLEIGH MUIRHEAD
MARIE SHORT HOUSE, GLENN MURCUTT – KEMPSEY, AUSTRALIA THIS HOUSE IS LOCATED IN THE AUSTRALIAN DESERT. I T MUST ADDRESS THE ENVIRONMENTAL ISSUES THIS BRINGS. THE BUILDING MUST STAY COOL IN THE DAY AND SHIELD FROM THE COLD DURING THE NIGHT.
THE
ARCHITECT HAS OVERCOME THESE PROBLEMS BY USING A SYSTEM OF SHUTTERS.
THESE OPEN AND CLOSE , PROVIDING VENTILATION DURING THE
DAY AND PROTECTION FROM THE COLD AT NIGHT.
THE HOUSE HAS BEEN ADAPTED OVERTIME. THE ORIGINAL CLIENT’S PROGRAM WAS BASED AROUND A DAY AND NIGHT PATTERN FOR THE BUILDING, BASED UPON ITS DIRECT NORTH FACING LAYOUT. NOW , HOWEVER, IT IS THE HOUSE OF
THE ARCHITECT AND HIS FAMILY. THIS REQUIRES A
SYSTEM WHICH DIFFERENTIATES BETWEEN CHILD AND ADULT PATTERNS. THE
“GUTTER” THIS OPENS ONTO ALL THE
LAYOUT IS SOCIABLE AND ENHANCED THROUGH USE OF THE RUNNING THROUGH THE MIDDLE OF THE HOUSE . SOCIAL ROOMS OF THE HOUSE.
MARIE SHORT HOUSE, GLENN MURCUTT – KEMPSEY, AUSTRALIA
BECAUSE OF THE DIFFICULT LOCATION FOR MATERIAL DELIVERIES, THERE WERE CONSTRAINTS ON THE CONSTRUCTION . THE WOOD USED FOR THE FRAME WAS MAINLY REUSED FROM THE SIGHT. THE PARTITION WALLS DO NOT EXTEND THE ENTIRE WAY UP TO THE CEILING.
THIS ALLOWS FOR BETTER
VENTILATION OF THE HOUSE. THE INSULATION IS CONTAINED IN THE VOID OF THE ROOF , WHICH IS CORRUGATED IRON WHICH SUITS THE CLIMATE WELL .
THE HOUSE IS RAISED UP OFF THE GROUND IN ORDER TO LIMIT BOTH THE IMPACT ON THE LAND AND THE ACCESS OF DESERT WILDLIFE . THE HOUSE PRIORITISES FUNCTION, FROM WHICH ITS FORM IS DERIVED . I T IS BASED ON SIMILAR IDEAS OF THE VERNACULAR ARCHITECTURE.
I T IS EXTENDABLE AND WAS DESIGNED USING CATALOGUE MEASUREMENTS FOR MAXIMUM EFFICIENCY. THIS METHOD HAS PROVED SUCCESSFUL AS MUCH OF THE ARCHITECTS LATER PROJECTS HAVE BEEN VARIATIONS ON THIS STYLE.
MARIE SHORT HOUSE, GLENN MURCUTT – KEMPSEY, AUSTRALIA
HIND HOUSE, JOHN PARDEY ARCHITECTS – W ARGRAVE, UK A FAIRLY NEW AND UNIQUE PROJECT, THIS HOUSE IS BUILT ON A SITE WHICH EVERY YEAR FLOODS. THE STEEL FRAME RAISES THE HOUSE ABOVE THE WATER LEVEL , LEAVING BELOW A SPACE FOR CAR PARKING WHEN DRY. THE STEEL STILTS ALSO MAKE THE HOUSE APPEAR TO FLOAT.
THE HOUSE HAS A PINWHEEL STRUCTURE. THIS MEANS THAT IT IS ENTERED THROUGH A STAIRCASE INTO THE CENTRE OF THE HOUSE. THE REST OF THE HOUSE IS THEN LAID OUT AT ANGLES FROM THIS POINT, LIKE A PINWHEEL . THERE ARE THREE DISTINCT ZONES COMING OUT FROM THE CENTRE. THESE ARE THE LIVING AND KITCHEN AREAS, BEDROOM AREAS AND GUEST AREAS.
HIND HOUSE, JOHN PARDEY ARCHITECTS – W ARGRAVE, UK
FULL HEIGHT GLASS FRONTS FACE THE RIVER IN ORDER TO MAKE THE MOST OF THE VIEW AND THE NATURAL HEIGHT IN THE MORNING. D IVIDERS ARE ALSO USED IN ORDER TO RESTRICT THE SUN FROM SOME AREAS.
THE
GLASS USED ALSO ASSISTS IN THE INSULATION OF THE HOUSE . I T ALLOWS HEAT TO ENTER THROUGH IT BUT DOESN ’T ALLOW IT TO ESCAPE .
BETWEEN THE STEEL FRAMES OF THE HOUSE, THERE IS CEDAR AND ZINC CLADDING, UNDER WHICH THE TIMBER STUD INFILL SITS. THE WALLS ARE ALSO INSULATED USING SHEEP WOOL , A NATURAL AND RENEWABLE RESOURCE.
W HILST THE HOUSE INTEGRATES NATURE, IT ALSO EMBRACES TECHNOLOGICAL DEVELOPMENT. MANY OF THE FUNCTIONS ARE CONTROLLED BY COMPUTER. THIS MAKES THE HEATING AND COOLING OF THE HOUSE MORE CALCULATED AND EFFICIENT.
HIND HOUSE, JOHN PARDEY ARCHITECTS – W ARGRAVE, UK
V ILLA M, STEPHANE BEEL – ZEDELGEM, BELGIUM THIS LONG HOUSE IS DESIGNED TO BRIDGE THE OUTSIDE WITH THE INSIDE. DESPITE BEING LIFTED OFF THE GROUND , THERE ARE SEVERAL STEPS DIRECTLY ONTO THE LAWN SPACE. THE WIDE LAWN IS ALSO MATCHED BY AN EQUALLY LONG WALL OF GLASS.
THE LAYOUT GIVES THE MAJORITY OF THE LIVING SPACE TO THE MIDDLE OF THE HOUSE , WHERE THE LONG WINDOWS PROVIDE A LARGE AMOUNT OF NATURAL LIGHT TO IMPROVE THE SOCIABLE FEELING OF THE SPACE. THE PRIVATE SPACES ARE THEN FOUND CLOSER TO THE ENDS OF THE HOUSE. BY RAISING THE HOUSE BY HALF A METRE, THE SPACE BELOW WAS ADEQUATE FOR THE INCLUSION OF A BASEMENT IN WHICH THE CAR WAS ABLE TO BE PARKED . DOORS WITHIN THE HOUSE ARE SLIDING, SUGGESTING THAT THE HOUSE TAKES A CONSIDERABLE AMOUNT OF PRECEDENCE FROM JAPANESE ARCHITECTURE.
V ILLA M, STEPHANE BEEL – ZEDELGEM, BELGIUM
DIMENSIONALLY, THE HOUSE IS DESIGNED TO ACCOMMODATE PEOPLE. AVERAGE HUMAN HEIGHT DIVIDES NEAR PERFECTLY INTO THE ROOM DIMENSIONS. THE POSITIONING OF ROOMS WITHIN THE HOUSE IS ALSO DESIGNED TO OPTIMISE THEIR USABILITY DURING THEIR MAIN USAGE HOURS BECAUSE OF THE POSITIONS OF THEIR WINDOWS.
THE HOUSE IS CONSTRUCTED FROM STEEL , WOOD, GLASS, INSULATION AND RENDER. THE EXTENSIVE LIST HELPS TO BREAK THE HOUSE DOWN FROM ITS MASSIVE LENGTH INTO SOMETHING LESS IMPOSING ON THE LANDSCAPE.
THE LANDSCAPE IS CELEBRATED INSIDE THE HOUSE BY ENTERING THROUGH THE REAR BY FOOT AND THROUGH THE BASEMENT BY CAR. THIS KEEPS THE GARDEN FACING WALL OF THE HOUSE FREE OF DISTRACTIONS.
V ILLA M, STEPHANE BEEL – ZEDELGEM, BELGIUM
FISHER HOUSE, L OUIS KAHN – HATBORO, PENNSYLVANIA, USA A KEY INFLUENCE ON L OUIS KAHN WAS THE BLOCK AND MASONRY STRUCTURES OF THE ANCIENT WORLD . THIS HAD A PROFOUND EFFECT ON
KAHN’S DESIGN FOR THIS HOUSE. THE ORIGINAL IDEA WAS TO USE MASONRY FOR ONE ENTIRE WALL , BUT THIS WAS NOT USED IN THE FINAL DESIGN . I NSTEAD , THE BUILDING WAS BUILT ON A STONE PLINTH WHICH WAS BUILT INTO THE SLOPE OF THE LAND . FROM THE NEARBY ROAD , ONE CANNOT PERCEIVE THIS STONE WORK AND CAN ONLY SEE THE WOOD OF THE REST OF THE HOUSE. THIS HELPS THE BUILDING BLEND INTO THE SURROUNDING WOODLAND .
FISHER HOUSE, L OUIS KAHN – HATBORO, PENNSYLVANIA, USA
THE NARROW , 2 ACRE PLOT IS BORDERED BY A STREAM . THE HOUSE IS DESIGNED SO THAT THE BEDROOMS FACE THE STREAM . THEY ARE ALSO EAST-FACING, SO THEY ARE LIT NATURALLY IN THE MORNING.
THE HOUSE IS SPLIT INTO TWO EQUALLY SIZED BLOCKS WHICH MEET AT 45 TO EACH OTHER. O NE BLOCK IS SEPARATED INTO BEDROOMS, O
WHERE THE OTHER MAKES USE OF OPEN PLAN LAYOUT.
THE HOUSE IS INFORMED BY GEOMETRY. THE BUILDING BEGAN AS TWO SQUARES, THEN WAS DIVIDED USING GOLDEN RATIO INTO THE DIFFERENT PARTITIONS.
FISHER HOUSE, L OUIS KAHN – HATBORO, PENNSYLVANIA, USA
KOSHINO HOUSE, TADO ANDO – KOBE, JAPAN SITED IN A NATIONAL PARK, THIS HOUSE WAS DESIGNED TO BE CONCEALED FROM SIGHT AND WAS THEREFORE BUILT MOSTLY INTO THE GROUND . THREE BLOCKS OF DIFFERENT SHAPES, JOINED THROUGH CORRIDORS, MAKE UP THE BUILDING, WHICH ARE JOINED THROUGH UNDERGROUND CORRIDORS.
THE HOUSE IS CONSTRUCTED ENTIRELY WITH IN SITU CONCRETE. THIS IS GIVEN A POLISHED FINISH WHICH IS TYPICAL OF JAPANESE ARCHITECTURE. THE ROOM SIZE AND PROPORTION ALSO TAKES ITS PRECEDENT FROM JAPANESE ARCHITECTURE. ANOTHER PRECEDENT ON THIS BUILDING IS L E C ORBUSIER AND HIS USE OF CONCRETE.
KOSHINO HOUSE, TADO ANDO – KOBE, JAPAN
NO TREES WERE DESTROYED IN THE MAKING OF THE BUILDING WHICH COMPENSATES FOR ITS HEAVY USE OF THE POLLUTING CONCRETE.
THE MATERIAL CHOICE FOR THE HOUSE IS HIGHLIGHTED BY THE POSITIONING OF WINDOWS. THEY ALLOW FOR NATURAL LIGHT TO ENTER AND ILLUMINATE THE SUBTLE CHANGES AND ROUGH TEXTURES OF THE CONCRETE.
A LARGE AMOUNT OF THE BUILDING IS TOP-LIT, OWING TO THE FACT THAT IT HAS BEEN BUILT INTO THE GROUND .
KOSHINO HOUSE, TADO ANDO – KOBE, JAPAN
THE ROSEN HOUSE, C RAIG ELLWOOD – L OS ANGELES, USA THE ROSEN HOUSE SEEKS TO CAPTURE BOTH THE BEAUTIFUL AND C ALIFORNIAN LANDSCAPE, WHICH MEANS BOTH HILLY TERRAIN AND WOODED SURROUNDINGS. THEREFORE, IT WAS INCREDIBLY IMPORTANT THAT IT MADE A VERY SMALL IMPACT ON THIS IDYLLIC SCENE. THE INDUSTRIAL . THE SITE IS
THE HOUSE IS DESIGNED AROUND A COURTYARD FROM WHICH MANY OF THE ISSUES OF THE BRIEF WERE ADDRESSED .
THE ROSEN HOUSE, C RAIG ELLWOOD – L OS ANGELES, USA
THE COURTYARD ALLOWS FOR VENTILATION AROUND THE HOUSE. THE CURRENTS OF AIR CAN BE ADMITTED AND ESCAPE THANKS TO THE SYSTEM OF SLIDING DOORS. THE COURTYARD ALLOWS FOR EXTRA LIGHT IN THE HOUSE, AS ROOMS CAN BE LIT FROM BOTH SIDES. THANKS TO THIS, ONE CAN ENJOY MORE VIEWS OF NATURE THAN WHAT IS USUALLY RESTRICTED TO THEM. I N ADDITION, THE COURTYARD ACTS AS A FOCAL POINT. THIS IS A RECREATIONAL POINT WHERE ONE CAN BE OUTSIDE AND YET STILL REMAIN WITHIN THE BUILDING.
I N THIS HOUSE, THE BEDROOMS ARE LOCATED AT THE WEST SIDE, SO THAT THE SUN IS ON IT IN THE LATER HOURS AND IT IS WARM IN TIME FOR SLEEP.
THE PARTITION WALLS IN THIS BUILDING DO NOT TOUCH THE ROOF IN ORDER TO ENHANCE THE FEELING OF OPENNESS.
THE ROSEN HOUSE, C RAIG ELLWOOD – L OS ANGELES, USA