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Dublin School of Architecture
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THE STABLE VOID IN CONTEXT Brenda Carroll
Dublin School of Architecture
The Stable Void In Context
Brenda Carroll
Dublin School of Architecture Press
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Brenda Carroll Dublin School of Architecture, Dublin Institute of Technology, Bolton Street, Dublin 1, Ireland dublinschoolofarchitecture.com Head of School James Horan Assistant Head of School Orna Hanly Head of Department of Architectural Technology Cormac Allen The Stable Void in Context Brenda Carroll Dublin School of Architcture Press Issue No.2
ISBN 978-0-9568502-1-8 Design - Brenda Carroll Š Dublin School of Architecture
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CONTENTS
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Foreword Introduction Initial Approach Critical Reection Further Exploration Analysis Conclusions Brief Criteria Brief Selection Brief Development Design Intention Site Selection Site Analysis Design Development Design Conclusion Conclusion Bibliography Credits
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FOREWORD
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The following dissertation was
submitted to the Dublin School of Architecture, Dublin Institute of
Technology, in partial fulďŹ llment of
the requirements for the Degree of Bachelor of Architecture 2010:
It is a rare opportunity, in both the study and practice of architecture, for the designer to have free reign to decide what and where they will design and who they will design for. In the preparation of this thesis, I had the opportunity to do exactly that (in a theoretical sense at least) and for that opportunity, I am extremely grateful. I would like to thank the sta at DIT for their help, expertise and encouragement. I would also like to thank my family and friends without whose support, I would not have succeeded.
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INTRODUCTION
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This thesis examines the existence and placement of static objects within constantly changing environments. The study began with observations on a series of urban pockets that existed within the fabric of Dublin City. These parcels or islands of space are situated primarily, but not exclusively, in the northwestern quarter of the city and all display one significant characteristic; they obstruct the flow of the sprawling city. These parcels take various forms (barracks, institutions, parklands) and many have changed function over time, (for example, Collins Barracks and the Royal Hospital Kilmainham are both currently functioning as museums)
Below: 1. Phoenix Park 2. Royal Hospital Kilmainham 3. St. James Gate Brewery 4. Collins Barracks 5. St. Brendan s Hospital
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but all display a significant quality - that of a permanence of presence and a solidity which has failed to be eroded by the passage of time. The largest of the identified pockets is the Phoenix Park and it holds the most significance in the reading of Dublin City. In the introduction to Ireland s entry to the Lisbon Triennale 2007, Dublin City was described as follows, The city of Dublin is formed around two extensive, stable voids: one natural, the other man-made, in the form of the bay and the Phoenix Park respectively. (Line to Surface, Urban Void, Extended City)(1). It is the stability of this void in the face of constant change which became one of the primary focuses of this study.
INITIAL APPROACH
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Left: Gates leading from the Phoenix Park into the urban condition of Park Gate Street. Right: Castleknock Gate
If the analogy of the island is applied to the Phoenix Park, then the surrounding city becomes a moving sea; the sprawl of the city a result of the cohesive and adhesive properties of water. It must be noted however, that this is not a tidal body of water; capillary action draws the city from its core, yet it fails to correspondingly contract. Continuing the metaphor, the surrounding boundary wall of the Phoenix Park may be seen to have a wax coating preventing the natural process of erosion and deposition.
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Initial studies of the edge condition of the park concluded the following: 1. The openings were minimal - a total of eight openings in a wall with a length of 11km. 2. The openings did not vary in accordance with the variety of the conditions into which they entered. For example, the gate leading into the village of Castleknock is largely similar to the gate leading into the urban condition at Park Gate Street.
3. If the park and the bay are viewed as stable voids , then the river Liey could be viewed as a third void which provides the potential of linking the park and the sea and accordingly, giving a new reading to the city. This potential was explored ex-
tensively in Derek Tynan s 1982 Thesis at Cornell University entitled; Dublin: The Park and the City (2). Tynan observes the following, In Dublin, the possibility exists of the river as a set piece, connecting not only the park to the city but in addition, the city
Right: Linking the voids Below: Image from Derek Tynan s Thesis at Cornell University, Dublin: The Park and the City .
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to the sea. The river then, as a set piece, counterpoint to the O Connell Street St. Stephen s Green axis as a sequence with beginning, middle and end as three conditions; park city and sea .
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4. It was further observed, that the potential for a stronger connection between the park and the river (and accordingly, between the park, the city and the sea), was hindered by the gap that exists between the end of the walled quays and the park entrance. Initial solutions aimed to create a reactive edge by dissolving part of the boundary wall in order to address the urban condition at Park Gate Street and furthermore, to bridge the gap between the quays and the Phoenix Park Gate. Clockwise from top left: Models and sketches which explore the possibilites of eroding the Phoenix Park boundary wall. Right: Sketch exploring the potential of extending the Phoenix Park into
what is currently the Hickey s Fabric Site (creating a link with the existing park at the Croppies Acre) and linking the South and North Liey Quays to the central avenue of the Phoenix Park.
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CRITICAL REFLECTION
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The inititial approach hypothesised that the reading of Dublin City could be improved by connecting the park and the river. A solution involved dissolving part of the boundary. Further study and exploration of the edge condition of the Phoenix Park resulted in a conclusion that the preciousness and significance of the Phoenix Park lay in the permanence and solidity of its edge and that dissolving this edge would, in fact, detract from its significance. The further exploration of the Phoenix Park edge condition forms the next section of this dissertation.
Below: Dissolving the boundary - model exploring the possibility of linking the Phoenix Park and the River Liffey
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Existing Condition: The above drawing shows the park and the city centre (as enclosed by the North and South Circular Roads) as two intersecting ovals. The drawing shows the points at which both elements are stitched into the surrounding fabric of the city. Running parallel to the south wall of the Phoenix Park and directly through the city centre is the River Liey. Note the disconnected relationship of the Park and the River.
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Initial Proposal The initial approach hypothesised that by creating a new stitch which linked the main avenue of the Phoenix Park with the Liey Quays, the relationship between the park and the city could be improved.
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FUTHER EXPLORATION
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The Edge Condition The initial concept sketch (below) was further examined. The sketch shows a paradoxical condition the solidity of the void (park) and definition of its edge in contrast to the ill-defined, bleeding edge condition of the city. Further exploration of the edge condition took the form of historical mapping in order to establish the significance of this edge (park boundary wall) within the context of the city over time.
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1685
1728
1780
1780
1836
1875
1936
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2010
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ANALYSIS
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Analysis of the edge condition over time showed that this edge (the park boundary wall) could be used as a measuring device for the growth of the city. Given that the bay has changed shape over time (see map year 1728 pg. 20 - Trinity College may be noted in close proximity to the bay), the park edge provides the most legible unchanging edge in the city. If a line is drawn from the centre of a tree trunk section to the edge, the rings are easier to count. Similarly, the changing scale of the city is easier to comprehend when using the park edge as a reference. The park improves the legibility of the city and in doing so,
furthers our understanding of our current placement within the history of the city. Furthermore, it was observed that the park boundary wall has gained signiďŹ cance over time; when it was created it was the separator of rural land from rural land (see map year 1685 pg. 20) but as time has taken eect on the city, the wall has become the separator of rural land from the urban condition. Following these observations, it was concluded that any intervention should maintain a distance from the park boundary wall and that it should not dissolve or disintegrate this edge in any way.
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Medieval Pre 1750 1750 - 1850 1850 - 1900 1900 - 1940 1940 - Present
Growth
Time The Eect of Time on the City
CONCLUSIONS
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Growth
Time
Growth
Time
Conclusions: The park edge may be used as a marker on which to track the effect of time and growth on the city. The park gains significance as time increases, the greater the contrast between urban growth and the fixed parkland, the greater the appreciation. Hypothesis: Appreciation and understanding of scale and placement in time are gained through comparison with an unchanging constant.
Intention: It was intended that the proposal would become a translation of the relationship between the park and the city. It would be a place where time would stands still, thus highlighting the human understanding of the effect that time has on a place. The proposal would highlight the difference between change and permanence, movement (growth) and stillness and ultimately, between life and death.
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Time & Growth (City) Significance (Park)
The time of architecture is a detained time, in the greatest of buildings time stands firmly still. (The Eyes of the Skin) (3).
BRIEF CRITERIA
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Issues of Exploration: The Park as a Pleasure Giving Device Initial analysis established the intention that the proposal should explore issues such as stillness, silence, permanence, stability, defined edge and timelessness (death) and accordingly, through contrast, growth, change, movement, instability, undefined edge and the passage of time (life). In addition to the above criteria, it was necessary for the proposal to incorporate and address the symbolic meaning of the park. Below Left: Jean Beraud s Chalet du Cycle , Bois de Boulogne, c. 1906. Below Right: Adam and Eve, Lucas the Elder Cranach, 1533
During historical research about parks and gardens through time, it was found that one of the most important
functions of parks has been the assuagement and assurance of people in times of unrest and uncertainty. A significant precedent for this was the donation, by Napoleon III, of the Bois de Boulogne (a former royal hunting forest) to the people of Paris in 1852 following the French Revolution. The aesthetic rationale of modern city parks harks back to the timeless theme of the Garden of Eden: in this brilliant variation [Bois de Boulogne], it was hoped that relaxation and diversion in a natural setting would act as a safety valve for the tensions of urban life and perhaps neutralise its harmful effects. (The Garden: Visions of Paradise) (4)
God Almightie first Planted a Garden. And indeed it is the Purest of Humane pleasures. It is the Greatest Refreshment to the Spirits of Man. Francis Bacon Of Gardens (5)
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Uncertainty, Unrest: Influenced by current economic conditions and the general feeling of uncertainty and disillusionment which pervades Ireland as a result of the recent economic downturn, I decided that the proposal should use the park to respond to the above, and that it should, above all, be a necessary intervention. It could be said that much of the reason for the recent collapse of the construction industry in Ireland was due to a lack of consideration and regard for what was actually needed. Many projects were constructed frivolously and unnecessarily; At its peak in 2006, 90,000 dwellings were built. That was clearly at an unsustainable level. Dr. Alan Barrett from the ESRI. (www.esri.ie)(6). Furthermore, it was established that the proposal should not have a profit-driven function and it should give pleasure and assurance to those who used it.
In his essay, The Pleasure of Architecture , Bernard Tschumi advocates the use of architecture as a pleasure giving device. He uses the analogy of fireworks, Fireworks produce a pleasure that cannot be sold or bought, that cannot be integrated in any production cycle and goes on to explain the concept of radical uselessness ; if architecture is useless, and radically so, this very uselessness will mean strength in any society where profit is prevalent. If there has been some reason to doubt the necessity of architecture, then the necessity of architecture may well be its non-necessity. (The Pleasure of Architecture) (7). This is an interesting concept; the idea that one of the primary objectives of architecture is to give pleasure and that this is a necessary and important function - that the necessity of a building may lie in its functional ability to give pleasure to those who use it.
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Above: Discontent & disillusionment; protest marches in Dublin, 2008.
Right : Desired issues of exploration; criteria for brief selection
Silence
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Noise
Stillness
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Movement
Death
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Life
Permanence
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Transience
Stability
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Instability
Unchanging
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Constant Change
Static
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Dynamic
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Assurance
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Non-ProďŹ t Driven Pleasure Giving
BRIEF SELECTION
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Having established the brief criteria, it became necessary to explore the possibilities of a brief that would allow an exploration of the relevant issues: A cemetery and/or crematorium was initially considered but eventually disregarded as being too personal, i.e. it would mean a great deal more to someone who had a relative/ friend buried there than to someone who had not. In an article for the New York Times in September 2007, Roberta Smith described Damien Hirst s work The Physical Impossibility of Death in the Mind of Someone Living as follows: 'The shark is simultaneously life and death incarnate in a way you don t quite grasp until you see it, suspended and silent, in its tank.' (Just When You Thought It Was Safe )(8). This one sentence and image, describe succinctly, the issues that I wished to explore through this proposal; the creation of a place where the eects of
time are eliminated; a silent, still, suspended place for the dead, whose very function is to educate and encourage appreciation of life. A Natural History Museum was selected as it provides the potential to explore the relevant issues in an interesting way; it deals with life and death simultaneously. In addition, research on the necessity of a Natural History Museum proved that this was,
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indeed, extremely necessary. Dublin s existing Natural History Museum building houses just 10,000 specimens of a collection estimated at 2,000,000 (the remainder of the collection is currently in storage). A report written by the Royal Irish Academy in 2005 entitled The Natural History Museum, Present Status and Future Needs (9), conďŹ rmed the shortcomings and pressing future needs of the establishment. Below: The Physical Impossibility of Death in the Mind of Someone Living , Damien Hirst
BRIEF DEVELOPMENT
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Schedule of Accommodation Public Interface Reception (20㎡) Foyer (200㎡) Bookshop (80㎡) Giftshop (50㎡) Restaurant (200㎡) Toilets (50㎡) 600㎡
Exhibition Education Film Room (35㎡) Interactive Workshop (35㎡) Lecture Theatre (200㎡) 270㎡
Exhibition Irish Fauna World Mammals Evolution S eries Birds Mating Series Crystal Jellies Taxonomy Underwater Series Geology 5000㎡
Exhibition Support Photography Workshop (30㎡) Graphics Workshop (30㎡) Model Making Workshop (50㎡) 110㎡
Reference/Storage/Laboratory Laboratory (150㎡) Biological Reference Centre (100㎡) Manuscript Storage (40㎡) Non-Display Specimens (200㎡) 490㎡
Outdoor Space Playground (150㎡) Taxonomy Trail Bike Hire (30㎡) General (1000㎡) 1180㎡
Exhib. Education 270㎡ / 3.5%
Public Interface 600㎡ / 7.5%
Exhib. Support 110㎡ / 1.5%
Reference/ Store/Labs
Exhibition
5000㎡ / 60%
490㎡ / 6%
Outdoor Space
Staff Facilities Keeper's Office (15㎡) Assistant Keeper's Office (15㎡) Curator of Invertabrates (15㎡) Curator of Entomology (15㎡) Curator: Aquatic Invertabrates (15㎡) Curator: Terrestrial Invertabrates (15㎡) Curator of Palaeontology (15㎡) Curator of Minerals/Rocks (15㎡) Technicians/Support Staff (25㎡) Education Officer (15㎡) Display Manager (15㎡) Biological Records Officer (15㎡) Secretary's Office (12㎡) Staff Room + Toilets (55㎡) 257㎡ Services Plant Room (100㎡) Janitor's Store (10㎡) 110㎡
Using the report 'The Natural History Museum, Present Status and Future Needs' (9) and through analysis of various existing Natural History Museums in Europe (Aarhus, Brussels, Oslo), I formulated the above Schedule of Accommodation.
1180㎡ / 15%
Staff Facilities 257㎡ / 3.5%
Services
110㎡ / 1.5%
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Above: Schedule of Accommodation the most public spaces are on the far left moving towards the most private spaces on the far right. Left: Diagram showing the proportionate scale of the proposed spaces
DESIGN INTENTION
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Design Intention:
How could this be achieved?
Where?
To create a still, silent environment which would be removed from time and which would connect people to the unchangingness and permanence of death.
1. Spatial exploration of above and below ground relationship (the world of the dead versus the world of the living).
Why?
3. Circumnavigation of the static obstacle to increase awareness of surrounding movement.
The city expands as time passes; its edge bleeds. Yet, if we place ourselves in any given location in the city, it is difficult to understand the constant state of change that is occuring at the city edge. In the Phoenix Park however, the opposite condition exists. It is only when we place ourselves within the park in a given location at ground level that the changing profile of the park becomes apparent (the movement and growth of trees, their seasonal change in colour etc.). Therefore, in order to increase understanding of placement in time, it was concluded that the proposal must sit within the confines of the park boundary wall.
I had hypothesised that in order to fully understand our place within a constantly changing environment, it is necessary to compare that environment with an unchanging constant. I therefore believed that the proposal may cause increased appreciation of the transient nature of life.
2. Creation of a datum.
4. Physical disengagement of the obstacles from the world of the living. 5. Use of materials which reflect the passage of time. 6. 'Bring[ing] earth and sky together.' (The Poetics of Space) (10)
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1. Spatial exploration of the above and below ground relationship - the worlds of the living and the dead:
1. The horizon, the division between above and below ground; the boundary between the living and the dead.
'The relationship between the dead and the living has become ever more distant.' (Igualada Cementery, Enric Miralles and Carme Pinos) (11).
2. The unchangingness and permanence of death - the line never uctuates, the line never ends.
Exploration of the ritualistic process of making incisions in the earth in which to place boxes for the dead.
3. The horizontal line that appears on the heart monitor of the deceased.
2. Creation of a datum: During a drawing exercise during the third year of my architectural education, I was asked to draw the word death . I drew a straight, unending, horizontal line. The horizontal line has numerous associations with death;
Right: 1 & 2 Opening the boundary between live and dead worlds - making incisions in the earth. 3. "Horizon 1", Ruth Pattus, 4. Heart monitor of the deceased
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3. Circumnavigation of the static obstacle: The initial observation and starting point for this study was of a constantly changing, growing city moving around a stable void . It was observed that the stability of the void could be used to give meaning and increased understanding of a state of constant change. I hypothesised that if the theory held, the placement of static obstacles within the confines of the park would provide a clearer reading to the growth and change that exists within the park itself. 'Building transcends physical and functional requirements by fusing with a place, by gathering the meaning of a situation. Architecture does not so much intrude on a landscape as it serves to explain it.' (Anchoring) (12).
'Fifteen rocks in their five clumps at Ryoan-Ji are examples without equal of man s tyranny over nature. Here, chaos holds still forever, and the observer moves carefully around it, to see it outlined first one way and then another. Everything is a sign of passage, yet in this secure compound, change, not permanence is the illusion. True, accidents of light alter the forms, but one can come back tomorrow and will find the same unmanaged shapes held perfectly in place.' (The Built, The Unbuilt and The Unbuildable: In Pursuit of Architectural Meaning (13).
Right: 1. Ryon-Ji Temple, Kyoto 2. Placement of the static obstacle within the confines of the park wall 3. Sketch: Moving City_Stable Void
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1. The solidity and permanence of the park edge makes the eect of time on the city more legible
2. If a permanent unchanging object is placed within the park it may become a reference point for the eect of time on the area around that object
3. If a still, dead object is placed within this space it makes the life that surrounds it more apparent
NO CHANGE
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4. Physically disengage the obstacles from the world of the living: The diagram to the right explores the notion of removing objects from time. The stable voids inhabit a space that is disengaged from both the living and dead worlds.
Make an incision in the earth and remove the earth from that place
5. Use reective materials which reect the passage of time: 'Kunsthaus Bregenz absorbs the changing light of the sky, it reects light and colour and gives an intimation of its inner life according to the angle of vision, the daylight and the weather.' (Thinking Architecture) (14).
Right: 1. Kunsthaus Bregenz, Peter Zumthor 2. Using materials to highlight the passage of time
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Place a stable object into the hole
The boxes contain the specimens which must be protected from the elements - the boxes are physically disengaged from the living earth and from time
Below Ground: Circumnavigate the stable voids
Above Ground: Circumnavigate the stable voids
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Allow light to enter from above - the constantly changing light of the living world
6. 'Bring earth and sky together' (The Poetics of Space) (10): The stable voids become the world of the dead, the unchanging, static, man made place where time has no eect. The surrounding circulation space is the natural, changing world, the place where man s ultimate powerlessness over nature and the passage of time is exploited. This place will be of the earth ; its walls are the earth and its roof is the sky. This place is illuminated by the sky and will change as the light of the day and time of year changes. It 'brings earth and sky together' and encouragaes people
to look up at the constantly changing sky - the roof of the natural world. Ironically, this sky represents the live world but also, symbolically, represents heaven, the world of souls: ' In the beginning, God created heaven and earth.' 'On the fourth day God said, There shall be lights in the heavenly sky to divide between day and night. They shall serve as omens [and deďŹ ne] festivals, days and years. They shall be lights in the heavenly sky, to shine on the earth.' (Genesis 1:14)(15) Right: 1. The Pantheon, Emperor Hadrian 2,3. Bruder Klaus Chapel, Peter Zumthor 4,5. Modena Cemetery, Aldo Rossi, 6. Chapel St. Mark, S. Lewerentz
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SITE SELECTION
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Topography - Contour = 1m
Public Transport Routes
Vehicular Routes
Chestnut Lime
Spruce Sycamore Oak
Holm Oak Birch
Hawthorn
Beech
Tree Coverage
Private Public Service Park Ranger
Deciduous
Coniferous
Proximity to Museums
Tree Species
Initially Selected Sites
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Following initial site analysis on the Phoenix Park as a whole, three potential sites were selected and considered; The Klondkyke, The Magazine Fort and The Hollow. The Hollow was ultimately selected as a site for the project for the following reasons: density of deciduous tree coverage, steep gradient, proximity to city centre, public transport, other museums and to Dublin Zoo.
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1. The Klondyke 2. The Magazine Fort 3. The Hollow
The Hollow's proximity to Dublin Zoo and steep gradient provided a unique opportunity to exploit the boundary between live and dead worlds and to increase appreciation through direct contrast between the two. The above/ below ground relationship between the selected site and Dublin Zoo is indicated in the sketch section (opposite).
Site Criteria
Deciduous Tree Coverage
Gradient > 1/4m Proximity to: City Centre Public Transport Other Museums Zoo Main Gate
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Klondyke
Magazine
Hollow
Left: Exploitation of sectional relationship between Dublin Zoo and The Hollow, Below: Increasing appreciation through direct contrast
Range of Scale: Fin Whale Skeleton - Harlequin Beetle
Irish Museum of Modern Art
Zoo - Moving animal - stationary person views from one direction only
Heuston Station
Liey
Dead Zoo - Stationary animal - person moves to view, gathering more information in less time
The Klondyke
Zoo - Animal needs natural elements to survive
Dead Zoo - Specimen needs to be removed from nature to survive
The Hollow Dublin Zoo
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SITE ANALYSIS
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0.000m -9.000m
Topography - Contour = 1m
Tree Locations
Routes
Vehicular Road Pedestrian Road Footpath Track
1 2 3 2
4 5
Building Use Private Public
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3 1
3
1. Zoo Admin 2. Garda Headquarters 3. Zoo Entrance Kiosk 4. Bandstand 5. Tea Rooms
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Pedestrian Desire Lines
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Site Photographs
DESIGN DEVELOPMENT
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Design Development One: The ďŹ rst concept model shows a literal interpretation of the concept of circumnavigating a stable void or static obstacle. This fragmented scheme was located on the south west facing slope (perpendicular to Dublin Zoo entrance). The volumes indicate the exhibition space and the manipulated ground plane indicates the surrounding circulation space. Critical Reection: The scheme was overly literal in its manifestation of this idea. The manipulation of the ground plane was erroneous from the point of view that the
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architecture aimed to facilitate an understanding of an changing condition as opposed to a manufactured one. The exhibition space volumes appear to have been casually 'strewn' across the landscape, failing to convey the static, stable quality that is required of them. Conclusions at this Stage: It was concluded that the earth may be removed in areas but should not be manipulated in this way. The architecture should serve to explain an landscape therefore trees should remain in their original locations. The layout of the display boxes required rationalisation.
Design Development Two: The second concept model explored the notion of creating a datum, a separator between live and dead worlds. The building took a carved form and remained on the southwest facing slope. The critical element at this stage in terms of the development of the proposal, was the creation of the datum. However, nothing showed above the datum line and therefore this scheme did not truly explore living and dead worlds. Critical Reection: The scheme had become
overly solid in its form with little distinction between opposing conditions. Conclusions at this stage: It was concluded that elements of the scheme should rise above the datum. The scheme should show greater distinction between opposing conditions and may need to be more fragmented. This page: Sketch and model exploring the notion of incorporating existing trees into the scheme. Opposite Page: Model showing carved structure creating a series of terraces
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Design Development Three: The box elements were reintroduced as large glass display cases and these were held in tension by the carved element (incorporating elements of both concept models one and two). This scheme began to explore the notions of suspension, linearity and repetition. Critical Reection: The extreme linearity and overrationalisation of the circulation spaces were problematic elements at this stage as there was a lack of choice for visitors
as to the route they wished to take. The organisational layout of the specimens also lacked rationalisation, for example, the whale was suspended as were the birds. The glass boxes became problematic in terms of light penetration and the damage this would cause to the specimens. Conclusions at this stage: It was concluded that the materiality of the project needed further consideration. The layout of the specimens and circulation needed to be rationalised.
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Right: Concept models showing glazed display boxes. Sketch section shows lack of rationalisation of display areas
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Design Development Four: The critical developments at this stage were in three primary areas:
Dublin Zoo) making way for the placement of the large specimen tombs.
1. The change in orientation to the south-eastern slope (parallel to Dublin Zoo entrance).
Critical Reection: Again, the linearity of the scheme was problematic in terms of the control it exerted on visitors to the museum. It was felt that there was a lack of choice given to users in terms of circulation and that the experience of using the building could become somewhat monotonous.
2. The change in materiality from glass to concrete for the large specimen display boxes. 3. The introduction of a damlike wall of 'stacked graves' holding the smallest specimens (anthropods, butteries etc.) which conceptually retains the earth and water (lake in
Conclusions at this stage: The scheme should take on a more labyrinthine quality.
This page: Model photographs showing linear placement of tomb like boxes
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Right, Clockwise from bottom left: 1. Holocaust Memorial, Berlin, Peter Eisenman 2. San Catalda Cemetery, Modena, Aldo Rossi. 3. Igualada Cemetery, Enric Miralles & Carme Pinos. 4. Model phograph
showing 'stacked grave' system for small specimens. 5. Horizon 1, Ruth Petrus. 6. Liberty Dam, Maryland 7. Sketch showing concept of using the stacked graves to retain earth and water
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DESIGN CONCLUSION
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The following pages show the ďŹ nal design proposal as presented in June 2010. The circulation of the building is somewhat labyrinthine whilst maintaining a degree of choice for occupants about which route they take.
Circulation spaces relate to the landscape with framed views of particular trees; they are heavily glazed and so change with the changing light of the sky.
The natural slope of the site is used to determine the layout of the exhibition, for example, the tallest specimens lie in the African Mammal Box, and so this box is placed at the naturally lowest point of the site.
The display boxes retain their tomb-like, monolithic character. Stone was considered as a material for the display boxes but concrete was ultimately selected for its homogenous character - to create the appearance of single, large headstones on the elevation.
Above ground, a grass roof covers the circulation zones and the concrete boxes protrude 450mm above this to form seating on the grass plaza.
Dublin's existing Natural History Museum is aectionately known as the 'Dead Zoo' and it was felt that this was a very appropriate title for this proposal.
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This page - clockwise from top: 1. Site Plan 2. Block plan showing structural grid 3. Site model 4. Exterior perspective showing relationship between Dublin Zoo entrance and grass plaza Opposite page: Floor Plans
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Level -1
Level -2
Level -3
Level -4
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This page, from top: 1. Front elevation 2. Longitudinal Section 3. Exterior perspective showing engraving on building extrior 4 & 5. Interior perspectives showing buttery wall
6. Model photograph Opposite page, from top: 1. Interior perspective section 2. Engraving detail on elevation - engraving updated as specimens are added to collection
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This page, clockwise from top: 1. Longitudinal Section 2. Cross Section showing the depths of the Fin Whale Skeleton Chamber 3. Cross section showing
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sectional relationship with Dublin Zoo 4. Detail section showing peep hole for viewing of specimens at eye level and roof seating Opposite page: Notional interior perspective
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CONCLUSION
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I was once told by a well respected architect and friend that the least enjoyable aspect of the practice of architecture is the passage of time. Ironic then, that I chose to study this very topic as part of my architectural thesis. Having completed the thesis process, (and a degree in architecture) I can vouch for his assertions. Throughout four preceding years of architectural education, not once did I come to the end of a project feeling satisfied that there was nothing more that I could add to it. The fifth and final year and thesis project was, of course, no different. Having said this, I must stress that the opportunity the thesis process presents, to focus so completely on a personal expression of architecture, is a unique and very valuable reward. The experience of producing this body of work is one I learned a great deal from and one that I will always cherish.
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BIBLIOGRAPHY
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(1) Essay:
by Cody, P. (2007) Line to Surface, Ireland at the Lisbon Architecture Triennale 2007. (2) Thesis: by Tynan, D. (1982) Thesis presented for Master of Architecture, Cornell University. (3) Pallasmaa, J. (2005) Academy.
Great Britain: Wiley-
(4) Van Zuylen, G. (1995) London: Thames & Hudson. (5) Essay: Bacon, F. (1625) from York: P.F. Colier & Son.
New
(6) The Economic and Social Research Institute, 2008.
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Dublin School of Architecture
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THE STABLE VOID IN CONTEXT Brenda Carroll
Dublin School of Architecture