1
1
INTRODUCTION MEXICO’S CULTURE OF OCCUPATION PAGE 5
2
3
OCCUPATION OF NEW ZELAND HOUSE
T H E S I S MATERIAL FORMS OF CONQUEST PAGE 17
2
PAGE 39
4a
GEOMETRIC PRINCIPLES OF OCCUPATION PAGE 47
4b 5
GEOMETRIC PRINCIPLES OF OCCUPATION PAGE 61
1:5 PROTOTYPE OF EXPANDING MOULDING PAGE 75
6a 6b
MATERIALISM PLASTICITY AND OCCUPATION
3
PAGE 91
MATERIALISM PLASTICITY AND OCCUPATION PAGE 99
4
1
INTRODUCTION MEXICO’S CULTURE OF OCCUPATION
5
THE CHURRINGUERESQUE STYLE IN CONTEXT
A DISTORTED IMPORTATION
: THE CHURRINGUERESQUE
1 Introduction
History: Spanish Roots Named after the architect and sculptor, JosĂŠ Benito de Churriguera, born in Madrid of a Catalan family, and who worked primarily in Madrid and Salamanca, the origins of the style are said to go back to an architect and sculptor named Alonso Cano, who designed the facade of the cathedral at Granada in 1667.
Figure 1 Templo de Carmen, San Luis Potosi.
6
A
THE CHURRINGUERESQUE :
A DISTORTED IMPORTATION
Height : 1720-1760
Death : 1760-1780
1
Introduction
Birth : 1680 - 1720
B
The Estiple Column: The Dissolution Of The Structure Between 1720 and 1760, the Churrigueresque column, or estipite, in the shape of an inverted cone or obelisk, was established as a central element of ornamental decoration. It challenges the traditional understanding of column ornamentation as expression of structure, and instead uses it as an axis from which intricate geometry multiplies outwards.
Figure 2 Churringuera retable, Granada.
Figure 3 Facade of Sagrario Metropolitano, Mexico DF.
Figure 4 Puerta de Alcalรก, Madrid.
Figure 5 DETAIL, Facade of Sagrario Metropolitano, Mexico DF. 7
A DISTORTED IMPORTATION
1 Introduction
Figure 6 - 7 El Sagrario Metropilitano
Figure 8 - 9 El Templo del Carmen 8
: THE CHURRINGUERESQUE
Introduction
AS A MEDIUM OF HYBRIDATION
1
ORNAMENT
Figure 10 - 12 Santa María Tonantzintla, Puebla.
9
OF OCCUPATION
AN ARCHITECTURE
1 Introduction
Before 1521
Architecture of
THE PAST
1521, Conquest
1600s - 1920
Architecture of
A History Of Occupation
CONQUEST
1910, Revolution
1920 - 2000
Architecture of
REVOLUTION
2000, End of the Revolution
21st Century
A POST-REVOLUTIONARY ARCHITECTURE?
10
Mexico’s quick and enthusiastic adoption of modernism can be attributed to political conditions arising from the Mexican Revolution, which ended in 1920. The Revolutionary Party sought an image for Mexico at once technocratic and sensitive to an oppressed population. This resulted in a Modernism married with indigenous iconography ans themes.
A
Introduction
OF OCCUPATION
1
AN ARCHITECTURE
Figure 13 - 14 Mural at the Palacio Nacional, Diego Rivera.
11
OF OCCUPATION
AN ARCHITECTURE
1 Introduction
Transforming The Generic: Architecture of Revolution Mexicos quick and enthusiastic adoption of modernism can be attributed to political conditions arising from the Mexican Revolution, which ended in 1920. The Revolutionary Party sought an image for Mexico at once technocratic and sensitive to an oppressed population. This resulted in a Modernism married with indigenous iconography ans themes.
Figure 15 UNAM Library, Mexico DF.
Figure 16 DETAIL, Ornament on library facade. 12
B
OF OCCUPATION
1
Introduction
AN ARCHITECTURE
C
D
An Architecture Of Hybridization Figure 17 - 18 Mayan Temples, Uxumal.
Modernism in Mexico exploited the uncanny compatibilities between modernist and ancient Mayan and Aztec architecture and geometry to infuse the modernist blank wall with crowded iconography after indigenous traditions. Linear geometric ornament was abstracted into modernist forms.
Modernist Abstraction Of Aztec Motifs Figure 19 UNAM School of Medicine, Mexico DF.
Figure 20 Mayan ornamental key. 13
A CONTEMPORARY GENERIC ARQUITECTURE
: A FAILURE TO ADAPT
1 Introduction
The Mexican Embassy In Berlin: A Diluted Iconography Failing to develop an ornamental method of appropriation equal to its current needs, Mexico deploys a Generic Modern, the only potential of which is to proclaim membership of an architectural club that is increasingly irrelevant. For its iconographic and symbolic meaning, this architecture resorts to the lowest common denominator.
Figure 21 - 22 Mexican Embassy in Berlin, Francisco Serrano, 1996.
14
A
15
1
Introduction
16
2
T H E S I S MATERIAL FORMS OF CONQUEST
17
ORNAMENT AS A FORM OF OCCUPATION
OF THE HAND
2 Thesis
Figure 1 Plasticity in culture.
Figure 2 Plasticity in materials. 18
THE EDUCATION
OF THE HAND
2
Thesis
THE EDUCATION
A B
Conquest & Education: The Colonial Catechisms The process by which the indigenous religion of Mexico, and all of its relevant imagery was replaced with Catholic iconography and imagery was a process of rough translation. New images were rendered in terms of the old.
Conquest & Education: Ornamental Stucco Work Christian stucco work following Baroque linework ans forms had to be taught to the indigenous population who executed it. They were left to best approximate these alien forms, resulting in an impure approximation of classical ornament.
Figure 4 Notebook for colonial catechism circa, 1640. Figure 3 Fraction of the Mayan alphabet. Figure 7 Puto from St. MarĂa Tonantzintla, showing hybrid iconography.
Figure 5 Iconographic ornamental stonework from site in Uxmal.
Figure 6 Stucco work, St. MarĂa Tonantzintla. 19
OF THE HAND
THE EDUCATION
2 Thesis
An Approximation Of Gestural Linework Mexicos quick and enthusiastic adoption of modernism can be attributed to political conditions arising from the Mexican Revolution, which ended in 1920. The Revolutionary Party sought an image for Mexico at once technocratic and sensitive to an oppressed population. This resulted in a Modernism married with indigenous iconography ans themes.
Figure 8 Stucco work, St. MarĂa.
Figure 9 Stucco work, Abbey church of Aldersbach, Bavaria. 20
C
OF THE HAND
2
Thesis
THE EDUCATION
D
E
The Gestural Nature Of Stucco As a plastic material used to execute the grand reliefs of Baroque ornament, stucco is entirely dependent on the training of the stuccoist’s hand and the richness of his gestural ability. In the context of the architectural history of Mexico, such a material required the instruction of native hands towards the generation of Europen lines and forms.
Figure 9 Plasterers’ tools from Joseph Moxons’Mechanick Exercises, 1703.
Figure 10 Stuccoists’ tools from P.N. Sprengels’ Handwerke and Kunst..., Berlin 1772.
The Imprint Of The Hand Gesture Upon The Material
Figure 11 Iconographic ornamental stonework from site in Uxmal. 21
A.NEO-CLASSICAL DECORUM around the site..
OF THE HAND
THE EDUCATION
2 Thesis
Neo-Classical Decorum Around The Site
THE ATHENEUM, EXTERIOR
Name
SCROLLING FOLIAGE / GROTESQUE Family
Form
Naturalistic/Icon. Linear Relief
(1828, DECIMUS BURTON)
Name
REPRODUCTION OF ELGIN MARBLE
Family
Iconographic
Form
Linear Relief
123 PALL MALL, EXTERIOR
(11882, ALEXANDER PEEBLES)
Name
Name
SCROLLING FOLIAGE Family
Naturalistic
Form
Linear Relief
Name
URN WITH ROSETTES
Family
Iconographic
Form
Object
TRYGLYPHS Family
Materialistic
Name
ROMAN FIGURES ON PEDIMENT Family
Iconographic
Form
Linear Relief
Object
Iconographic
Form
Object
CONSOLE WITH ACANTHUS LEAVES Form
Naturalistic/Geo. Object
22
Name
CORINTHIAN CAPITAL Family
Iconographic
Form
Object
Name
Name
PEDIMENT ON CONSOLES Family
Geometric
CORINTHIAN CAPITAL
Geometric
Iconographic/Nat. Surface Relief Iconographic
Form
Linear Relief
Family
Form
Form
Object
Name
GEOMETRICAL FRIEZE
Family
Naturalistic/Icon. Linear Relief
Name
Family
Form
Name
VERTEBRATE RELIEF Family
STATUE OF ATHENA Family
Name Form
Name
MAPLE LEAF Family
Form
Single Relief
The majority of buildings surrounding the site belong to a 19th century Nash development, set squarely in the neoclassical tradition. As such they rely classical ornamental motifs executed in plaster (for the interiors) and stone (for the exteriors).
F
OF THE HAND
2
Thesis
THE EDUCATION
G H
The Decorus Gesture: Rococo Rococo linework was the culmination of gestural expression in craft during the Baroque. The linework at once following the extablished geometries of the Rocaille while ginving the sensation of freedom. Hand work and the gesture of the tool were paramount.
Figure 12 Rococo ornament, Franziskanerkirche, Ăœberlingen.
Figure 14 Manual of Gesture: Embracing a complete system of notation, together with the principles of interpretation selections for practice. Albert M. Bacon, Professor of Elocution.
Figure 13 Rococo ornament, Franziskanerkirche, Ăœberlingen.
Figure 15 Catalogue of gestures. Albert M. Bacon, Professor of Elocution
The Formula For Propriety: Gestural Notation The art of manual gesture, especially during the 18th and 19th centuries, was well documented and scientifically studied. Rules of propriety were to be followed as closely as possible, their successfull approximation leading to beauty.
23
OF THE HAND
Graceful Gestures
THE EDUCATION
Passionate Gestures
2 Thesis
Catalougue Of Graceful Gestures
Figure 16 - 17 Notation diagrams from Bacons’ book describing two sets of gestural paths.
Reproduction of Graceful Gestures
Reproduction Of Passionate Gestures
Long Exposure With Light Source
Long Exposure With Light Source
Graceful gestures, according to Bacon’s Manual of Gesture, are the transitioning of the hand through long, drawn out curves without sudden changes in speed or direction producing gentle forms. These very closely resemble Hogarths principles for his Line of Beauty.
Catalogue Of Passionate Gestures Passionate gestures are meant to startle and proclaim, using quick bursts of speed and sudden changes in direction. The hand darts back and forth between positions in an excited path.
24
I J
Fig. 1-4 Anish Kapoor exhibition at the Royal Academy, 2009.
B
2
A
OF THE MACHINE
Thesis
THE EDUCATION
Anish Kapoor’s Concrete Worms Anish Kapoor’s concrete pieces use a CNC concrete extruder that builds up a 2D shape over a surface. The process if deliberately messy and it generates, through its imperfections, a new quality of work that is uniquely the machine’s.
Large Scale Rapid Manufacturing: Contour Crafting Contour Crafting, a construction process under development by Behrokh Khoshnevis of the University of Southern California’s Information Sciences Institute, uses a computer-controlled crane to build large structures rapidly. It was originally conceived as a method to construct molds for industrial parts.
Figure 18 - 21 Anish Kapoor exhibition at the Royal Academy, 2009.
Figure 22 Samll scale 3 axis CNC frame mounted with a Contour Crafting nozzle. Using a
quick-setting, concrete-like material, Contour Crafting forms a surface layer by layer witha nozzle that both deposits and tools a stream of ceramic material.
Figure 23 - 26 Process of forming a double curvature, expanding section.
25
OF THE MACHINE
THE EDUCATION
2 Thesis
Scratch Coat
Traditional Stucco Work: Progressive Depositing & Removing Of Material
Brown Coat
Finishing Coat
26
C
OF THE MACHINE
2
Thesis
THE EDUCATION
D
Scratch Coat
Rendering A Curve Orthogonally In order for a 2 axis plotter to drop an uninterrupted line of stucco on a surface, it has to abstract the curve. I’ve chosen this abstraction because is deposits material over an area around the curve, which can then be built up in successive steps, in higher resolution.
Brown Coat
Finishing Coat
27
OF THE MACHINE
THE EDUCATION
2 Thesis
Redering Of A Gestural Curve Scratch Coat
Brown Coat
Finishing Coat
28
E
OF THE MACHINE
2
Thesis
THE EDUCATION
F
Molding With A Changing Profile Altering the visible sides of the line allows for a series of changing curves to be inserted which vary throughout the length of the line.
29
}
A three axis cnc milling machine is used to trim away areas that are further away from the original curve.
OF THE MACHINE
THE EDUCATION
2 Thesis
A Color Coat Applied On The Final Surface
An Additive Scheme That Shows The Buildup Of Layers
30
I J
OF THE MACHINE
2
Thesis
THE EDUCATION
K L
Rules For Linking Gestures
Shifting Resolution Along A Gestural Path
31
OF THE MACHINE
THE EDUCATION
A. THREE RESOLUTIONS OF A GESTURAL PATH.
2 Thesis
Three Resolutions Of A Gestural Path Scratch Coat
Brown Coat
Finishing Coat
32
M
OF THE MACHINE
2
Thesis
THE EDUCATION
N O
Construction Of Applied Color Coat
Finished Gestural Curve
33
OF THE MACHINE
2
B
C
A
B
C
Thesis
A
TOWARDS A NEW GESTURAL QUALITY
Use Of Traditional Tooling Geometries
Simulation Of Tooling: Single Motif
34
A B
OF THE MACHINE
2
Thesis
TOWARDS A NEW GESTURAL QUALITY
C
Addition Of Color Scheme
35
OF THE MACHINE
2
A
B
TOWARDS A NEW GESTURAL QUALITY
C
Thesis
C
B
Use Of Traditional Tooling Geometries
A
Simulation Of Tooling: Single Motif
36
D E
OF THE MACHINE
2
Thesis
TOWARDS A NEW GESTURAL QUALITY
F
Addition Of Color Scheme
37
38
3
OCCUPATION OF NEW ZELAND HOUSE
39
THE SITE AND PROGRAMME
CUEERNT & NEW HOUSE
THE
3 Ocupation Of The Site
Figure 1 OS map showing existing site.
16 St. George Street Hanover Square W1S 1FD The existing site is a neoclassical town house in Hanover Square with an approximate size of 50 square meters. The house has been occupied by the Mexican Embassy since.
40
A
CURRENT & NEW HOUSE
SU
ET
KS
OL
10
Brazilian and Chilean Embassy
The National Gallery
TR
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FF
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ON LT AR
(Sainsbury Wing)
EE
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24
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6 15 1
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25
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29
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5 12
1 to
21 to 24
12
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6
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Bank
16
SE
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KH
IC RW WA
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RE
ST
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Bank
COCKSP
6 11 17
UR COUR T
9 20
10
10
7
E
10
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41
Travellers' Club
OO RL
AC
PL
TE WA
L
AL
LM
L PA
Waterloo Gardens
24
N TO RL
CA
25
12
12
5b 14
14 to 16
17 to 19
20
2
3
4
11
5
7
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8
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8
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The explanation that is a bit longer and no one really want to read but it must be here to show that there is some actual content, even if it is only wikipedia! Oh my, almost anything could be written here as long as it is lengthy and frames correctly. Maybe key words are made IN ALL CAPS.
Figure 2 OS map showing the new site, New Zeland House.
11
B
New Zeland House 80 Haymarket SW1Y 4TQ
18
3
Ocupation Of The Site
THE
OF THE BUILDING
SURVEY
3 Ocupation Of The Site
Figure 3 Ground Floor plan.
Figure 4 Mezzanine Level plan.
Plan Drawings
Figure 5 Typical tower level plan.
Figure 6 Isometric view showing Southeast corner.
Figure 7 Section North to South, through entrance area.
The building, which accomodates 20 000 sq meters, is comprised of a tower and a podium level. The podium includes the first 5 floors, rising to 60ft in order to continue the cornice height of the surrounding buildings. With the tower, however, it rises 20 storeys.
Section & Isometric Drawings
42
A
B
AND ITS NEIGHBOURS
3
Ocupation Of The Site
MODERNISM
A
Pall Mall Elevation With Royale Arcade & Nash House
B
Haymarket Elevation With Her Majesty’s Theatre
The explanation that is a bit longer and no one really want to read but it must be here to show that there is some actual content, even if it is only wikipedia! Oh my, almost anything could be written here as long as it is lengthy and frames correctly. Maybe key words are made IN ALL CAPS.
43
OF PROGRAMME
DISTRIBUTION
Figure 8 Section through present entrance, North to South.
3 Ocupation Of The Site
Consulate
Exhibition Spaces
Level Distribution The embassy occupies two sections: half of the podium, which is five levels, and four floors of the tower. It accomodates a reception, embassy offices, a trace department and offices, an ambassador’s residence, exhibition spaces, and consulate offices.
Amb. Residence
Embassy Offices
Reception & Trade Offices
44
A
DISTRIBUTION
OF PROGRAMME
Figure 9 Ground floor plan of proposal for a Mexican Embassy. Ocupation Of The Site
RECEPTION and MAINTENACE OFFICES
3
employee circ.
Employee Entrance
Proposed Ground Floor Plan The gournd floor scheme separates the podium levels into two section, the South section being occupied by the Mexican embassy. A public passage is planned to cut in between the two parts and connect with the Royal Arcade. The main entrance and reception is located on Pall Mall.
RECEPTION
visitor circ.
B
Visitor Entrance Ambassador Entrance
ambassador circ.
Trade Office Entrance
TRADE OFFICES
Figure 10 Ground floor plan of existing building.
C
Existing Ground Floor Plan
45
46
4a 47
GEOMETRIC PRINCIPLES OF OCCUPATION DEVELOPMENT OF AN ORNAMENTAL GEOMETRY OF TRANSFORMATION
4a Geometric Principles Of Transformation
Figure 1 Santuario of the Cartuja, Granada. 48
B
William Hogarth & The Analysis Of Beauty Hogarth wrote and published his ideas of artistic design in his book The Analysis of Beauty (1753). In it, he professes to define the principles of beauty and grace which he, a child of Rococo, saw realized in principles of variation (the Line of Beauty).
Figure 2 William Hogarth, self portrait.
Figure 3 The Analysis of Beauty, cover 1753.
Curvature
Intricacy
Variation
The Principles Of Variation In Beauty Figure 4 - 9 From Hogarths’ plate on IDEAL BEAUTY, The Analysis of Beauty.
49
Geometric Principles Of Transformation
A
IN THE 18th CENTURY
4a
THE RULES OF GEOMETRIC BEAUTY
IN THE 18th CENTURY
THE RULES OF GEOMETRIC BEAUTY
The Conic Section
4a
Hogarth’s Line of Beauty
Geometric Principles Of Transformation
The Catalogue of Classical Moulding Geometries
50
Variation & Complexity Through Projections In the language of the classical moulding, the most complex projections were regarded as the most beautiful. Geometries that could be constructed with a compass were regarded as inferior to more intellectual projections, such as the conic section, or Hogarth’s spiral on a cone.
C
THE RULES OF GEOMETRIC BEAUTY
IN THE 18th CENTURY
Figure 10 STUDY: infectious expansion by abusing the rules of variation, Templo del Carmen.
E
Geometric Principles Of Transformation
The Churrigueresque exploits the principle of variation and takes it to the extreme. It sacrifices what Hogarth would term “balance� and arrives at a geometry that expands and distorts as it spreads into its surroundings. It is not a contained geometry, it is a process of infection.
Figure 11 STUDY: simple rule for simultaneous variation and continuity of curvature, after Owen Jones.
Serial Variation & Death Of The Line Of Beauty The rules that govern the application of beautiful geometries are subject to degeneration and imbalance, of the loss of control with excessive repetition, which Hogarth always advises against.
Figure 12 STUDY: Serial distorsion of the Line of Beauty according to rules of variation.
51
4a
D
Variation & Distortion: The Churringueresque Process
OF A NEO-CHURRIGUERESQUE CURVE
PROJECTION
4a Geometric Principles Of Transformation
Variation & Complexity Through Projections In the language of the classical moulding, the most complex projections were regarded as the most beautiful. Geometries that could be constructed with a compass were regarded as inferior to more intellectual projections, such as the conic section, or Hogarth’s spiral on a cone.
52
A
Variation & Distortion: The Churrigueresque Process
4a
B
OF A NEO-CHURRIGUERESQUE CURVE
Geometric Principles Of Transformation
PROJECTION
The Churrigueresque exploits the principle of variation and takes it to the extreme. It sacrifices what Hogarth would term “balance” and arrives at a geometry that expands and distorts as it spreads into its surroundings. It is not a contained geometry, it is a process of infection.
53
OF A NEO-CHURRIGUERESQUE CURVE
PROJECTION
4a Geometric Principles Of Transformation
Defining A Catalogue Based On An Ornamental Path
Progressing series of profiles
54
C
Turning A Geometric Catalogue Into a Series Of Extrusion Techniques
4a
A
BECOMES A TOOL AND THEN SURFACE
Geometric Principles Of Transformation
GEOMETRY
55
BECOMES A TOOL AND THEN SURFACE
GEOMETRY
4a Geometric Principles Of Transformation
Single Motif One curve extruded along itself.
56
B
Linear Motif
4a
C
BECOMES A TOOL AND THEN SURFACE
Geometric Principles Of Transformation
GEOMETRY
A series of degenerating curves extruded along themselves.
57
BECOMES A TOOL AND THEN SURFACE
GEOMETRY
4a Geometric Principles Of Transformation
Surface Motif A fractal growth appearing within a linearly evolving system.
58
D
59
4a
Geometric Principles Of Transformation
60
4b 61
GEOMETRIC PRINCIPLES OF OCCUPATION DETAILING THE PROCESS OF OCCUPATION
DELIMITING THE FACADE OF THE NEW MEXICAN EMBASSY
I. INVASION
RECEPTION and MAINTENACE OFFICES employee circ.
visitor circ.
RECEPTION
4b Occupation Of A Modernist Curtain Wall
ambassador circ.
TRADE OFFICES
Figure 2
Figure 1
Southeastern isonometric view, showing occupied facade and cladding.
Groundfloor programmatic distribution diagram, and location of new entrance. 62
New Programme For The “Plinth” Facing Pall Mall The Southern half of the “plinth” (the lower four floors) facing Pall Mall is to become the street front facade for the new Mexican embassy. A geometric intervention is planned to appropriate the existing cladding here, infusing it with neo-Churrigueresque geometries of inavsion which desify towards the entrace.
A
I. INVASION
DELIMITING THE FACADE OF THE NEW MEXICAN EMBASSY
Figure 3
Southern elevation, facing Pall Mall. Area of invasion.
Figure 4
Section through cladding on first four floors (ignores terrace level).
Occupation Of A Modernist Curtain Wall
The facade consists of a horizontal cladding system repeated over three floors, surmounted by a terrace. On one end of the facade lies the corner with Haymarket and on the other is the Royal Arcade. The ground floor and mezzanine floor are recessed.
4b
B
Existing Surface Cladding Of The Facade On Pall Mall
Figure 5
Royal Arcade.
63
EXAMINING THE EXISTING CLADDING
I. INVASION
Figure 6
Detail section, podium level window cladding.
Detail Of The Cladding System
1
4b Occupation Of A Modernist Curtain Wall
2
The most prominent aspect of the existing cladding are the portland stone fascias that run horizontally without interruption. Otherwise, the cladding is a sophisticated doblue glazed system that incorporates ventilation into the window.
5
1 45mm portland stone fascia.
2 2 Cladding support, reinforced concrete.
4
3
3 sliding glass panel, 4mm 4 Exterior glazing 5mm 5 500 x 400mm reinforced concrete beam.
Figure 7
Photograph: cladding detail at corner. 64
A
I. INVASION
EXAMINING THE EXISTING CLADDING
Figure 8
Perspective model of a typical cladding section.
Occupation Of A Modernist Curtain Wall
The existing cladding is composed of four main materials: a reinforced concrete supporting structure, aluminium window framing, glass and a portland stone fascia.
Figure 9
Exploded diagram of materials.
Glass
Aluminium
Stone 65
Reinforced Concrete
4b
B
The Materials Of The Existing Facade
EXAMINING THE EXISTING CLADDING
I. INVASION
Primary Support
(400mm reinforced concrete columns) Primary Support
(reinforced concrete beams and slab) Cladding Support Beam
4b
Structural Diagram Of The Curtain Wall System
Area of window frame system (mullions)
Occupation Of A Modernist Curtain Wall
The cladding is supported mainly by a beam that runs along the perimieter of each level. The stone cladding is attached directly to this and the mullions are mounted on it.
66
C
9F 34223
II. DESTRUCTION
DEFINING THE AREAS TO BE REMOVED
8F 31073
7F 27923
6F 24773
5F 21623
3F
The geometric scheme of ornamental occupation calles for a graduation infection and animation of the horizontality of the existing facade. Areas within tolerance of the new geometry are kept, and the point at which the fall outside is the border at which reconstruction begins.
14683
2F 10853
1F 6924
mezzanine 3415
ground 0
Destroy Keep
67
Occupation Of A Modernist Curtain Wall
Areas to Keep/Demolish, According Tolerances To New Geometric Scheme
18473
4b
B
4F
Figure 10
Transformative geometries upon the stable horizontality of the existing facade.
DEFINING THE AREAS TO BE REMOVED
II. DESTRUCTION
Figure 11
Isometric showing areas to be removed, at nearest joint.
Disassemble
Glazing panels * Aluminium frame *
Demolish
Cladding support * beam .
Refining Borders According to Possibility Of Dissasembly Instead Of Demolishing
Stone panels *
4b Occupation Of A Modernist Curtain Wall
Figure 12
Isometric showing structure remaining after demolishing occurs.
68
The borders determined by the new occupying geometries are further refined by material. The glazing and aluminium frames will be disassembled at their joints, as will the portland stone panels. The supporting beam must be demolished, as it will be replaced with a steel plate.
B
III. RECONSTRUCTION
Occupation Of A Modernist Curtain Wall
Transformative Ornament: Dense Mouldings Erupt From The Seams In The Exisitng Cladding A neo-Churrigueresque ornament is envisioned as a process of tranformation. Every attempt is made to establish continuity with the existing facade, creating an ornamental process of invasion which gradually establishes a new geometric order.
4b
A
THE FACADE IS INFECTED AND TRANSFORMED
69
THE FACADE IS INFECTED AND TRANSFORMED
III. RECONSTRUCTION
Figure 13
Idealized progression of sections of a stone fascia being distorted by expanding flashing which becomes mouldings.
4b
Conceptual Transformation: Hidden Flashing Expands & Distorts The Fascia
Figure 14
Occupation Of A Modernist Curtain Wall
Render showing gradual transformation of forms and materials.
As a conceptual design, the flashing hidden within the seams of the modernist curtain wall is the source of growth that goes from being unnoticeable, to an enormous moulding that takes control of the faced and redirects its horizontal geometry, bending everything in its path.
70
B
III. RECONSTRUCTION
THE FACADE IS INFECTED AND TRANSFORMED
Detail Section A:
Existing Cladding Support
a
a
Detail Section B:
New Cladding Support
b
b
Figure 16
A 16 mm steel plate is introduced that is continuous with the existing cladding support.
71
Occupation Of A Modernist Curtain Wall
Because of the deviation from the supporting beam grid that the new fascia calls for, the straight concrete beam that supports the existing cladding is replaced by a 16mm steel plate, laser cut to match the profile of the churrigueresque mouldings. This plate is fixed to the existing beams by steel H sections.
Figure 15
Steel H sections are fixed to beams.
4b
C
Rationalizing Support Structure For The Reconstructed Section Of The Curtain Wall
THE FACADE IS INFECTED AND TRANSFORMED
e
III. RECONSTRUCTION
e
d
d
section a
c
c
section d
4b
Progression of sections through an expanding moulding
Occupation Of A Modernist Curtain Wall
The expanding elements in the new facade are rationalized in order to allow them to be mounted on the supporting steel plate. b
a
b
a
section b
section c
section e 72
D
3
2
4
Detail of neo-Churrigueresque moulding This detail shows the structure of different moulding profiles of different scales fixed to the supporting steel plate, as well as the cast imitation portland stone panels. When the profile reaches a large enough size, it is cast as a shell, with a high quality layer of material polymer plaster on the outside and fiber reinforced plaster on the inside. This is attached to a square steel profile by expanding insulation foam.
1
7
8
5
9
6
10
1 Distorted stone fascia. Cast in imitation portland stone 2 Plaster shell. Outside layer reinforced with polymer solution 3 Expanding foam insulation. 4 140mm x 140mm steel section. 5 Solid plaster cast of smaller moulding section. 6 Flashing. 7 Steel support for stone fascia. 8 14mm steel plate. 9 Steel H section. 10 Hook joint cast into moulding piece. 11 500 x 400mm reinforced concrete beam.
73
11
Occupation Of A Modernist Curtain Wall
E
THE FACADE IS INFECTED AND TRANSFORMED
4b
III. RECONSTRUCTION
74
5 75
1:5 PROTOTYPE OF EXPANDING MOULDING TOOLING A CONSTANTLY CHANGING PROFILE
SELECTED FOR A 1:5 PROTOTYPE
SECTION
770 mm
700 mm
The Point Of Greatest Complexity
5
The area of moulding selected for a prototype is the point of greatest complexity, where the plaster section is largest in comparison to the stone support, and also the vertical displacement is greatest. The size and density of these forms required good knowledge of the limits of the chosen tool: the cnc milling machine.
Prototype
76
A
THE LIMITATIONS OF THE TOOL
DETERMIN SURFACE DIVISIONS
High Resolution
(greatest visibility)
break in curvature break in curvature
Med. Resolution
Med. Resolution
Low Resolution
(lowest visibility)
Prototype
The form is divided along its length to allow a 3 axis CNC machine to mill all of the surface. Additionally, every division occurs at a break in cirvature, taking advatage of the geometries inherent discontinuity.
break in curvature
5
A
Division Of Surface Along Length & Tooling Resolution
77
DETERMIN SURFACE DIVISIONS
Maximum depth of 85 mm is exceded
THE LIMITATIONS OF THE TOOL
max depth 85cm
Maximum depth of 85 mm is observed
Division Of Surface Perpendicular to Length According to Depth
5
The maximum depth I was able to achieve in the finishing stage when making this prototype was 85mm. This limits the the legth of surface that can be milled when the surface has a curvature. The result is that the limitations of the tool also determine the rate longitudinal divisions. These divisions, however, always occur at existing breaks in curvature.
Prototype
78
B
THE LIMITATIONS OF THE TOOL
Prototype
Milling The Upper Part Of The Moulding In Sectons
5
C
DETERMIN SURFACE DIVISIONS
Figure 1 Upper section of moulding as milled material
Figure 2 Parts layed out for milling in 600 x 400 x 100 blocks of foam 79
DETERMIN SURFACE DIVISIONS
THE LIMITATIONS OF THE TOOL
Resulting Milled Pieces
5 Prototype
80
D
THE LIMITATIONS OF THE TOOL
Assembly Of Pieces To Construct Mould Of The Full Surface
Prototype
The pieces must be milled with corresponding surface so they can be assembled into a complete mould. Each mould then casts a segment of the length of the moulding.
5
F
DETERMIN SURFACE DIVISIONS
81
DETERMIN SURFACE DIVISIONS
THE LIMITATIONS OF THE TOOL
Assembled Moulds
5 Prototype
82
F
CONTROLLING THE TOOL
MATCHING THE TOOL PATH TO THE GEOMETRY
Figure 3 Toolpaths imprinted on the cast are each individual representations of the varying Churrigueresque line.
Prototype
The need for high resolutions when milling arises when the tool mark must be disguised, because it has nothing to do with the intended geometry of the millied object. The milling process, however, allows for control of toolpaths and curvature. If each toolpath is an accurate representation of the desired geometries, then their appearance on the surface is not a distraction: it is articulation. Faster milling times can be achieved if the toolpath does not need to be hidden.
5
A
The Need to Control The Toolpath
83
MATCHING THE TOOL PATH TO THE GEOMETRY
NURBS Surface
Geometry Sensitive Toolpath Generation
CONTROLLING THE TOOL
Standard Parallel Finishing Operation
Extracting NURBS Curves To Generate Gestural Toolpaths
5
Having constructed the moulding surfaces as NURBS surfaces allowed me to generate an unlimited number of curves that perfectly follow the geometric paths I developed in my ornament plates. This is a way in which the modelling process shares an affinity with the tooling process, which I would have liked to explore further.
Prototype
84
B
CONTROLLING THE TOOL
MATCHING THE TOOL PATH TO THE GEOMETRY
Roughing Standard Toolpath Generation
Finishing Partially Standard (Piece Connections) & Partially Gestural (Moulding Surface)
Foam Block 1
Prototype
Gestural tooling is applied only at the finishing stage, and then only when the tool directly touches the moulding surface. All other surfaces have to be milled using standard tool generation procedures. The each surface has to be generated individually and then integrated into the entire finishing operation.
Foam Block 2
5
C
Selective Application Of Gestural Toolpaths
Foam Block 3
85
MATCHING THE TOOL PATH TO THE GEOMETRY
Roughing Standard Toolpath Generation
CONTROLLING THE TOOL
Finishing Partially Standard (Piece Connections) & Partially Gestural (Moulding Surface)
Foam Block 1
Foam Block 2
5 Prototype
Foam Block 3
86
Simulation Of Milling Stages Having constructed the moulding surfaces as NURBS surfaces allowed me to generate an unlimited number of curves that perfectly follow the geometric paths I developed in my ornament plates. This is a way in which the modelling process shares an affinity with the tooling process, which I would have liked to explore further.
D
CASTING
THE PROTOTYPE
Layer 1 A thin layer of basic alpha plaster was applied to the surface of the mould.
Prototype
The casting of the design must be carried out in two stages. The first is a fine layer aplied to the surface with a weather resistant plaster mix (polymer reinforced). This captures the detail of the mold, especially individual tool marks. The second is a reinforced layer which forms the bulk of the structure. For this prototype I applied several layers of plaster bandage.
Layer 2 At least 4 layers of plaster bandage covered the thin film of plaster and the whole was left to cure.
5
A
Casting Stages: Fine Layer & Reinforced Layer
End Result While a finer plaster should have been used to create a finer surface, and a misjudged use of vaseline as a release agent further compromised the surface, a rigid shell was created that bears the tool marks.
87
THE PROTOTYPE
CASTING
Assembled Mould
Casting The Lower Moulding Section The reduced complexity of the lower part of the moulding allowed for it to be cast in one piece.
5 Prototype
Layer 1
Layer 2 88
B
CASTING
Casting The Lower Moulding Section
Assembled Mould
The middle section of the prototype, the imitation portland stone fascia, is cast in concrete. It is the heaviest element in the design and as such is fixed to a vertical board with bolts cast into it.
Prototype
Cast-In Ties These are four 8mm bolts with a washer fixed to the end to provide extra support.
5
C
THE PROTOTYPE
Poured Concrete 89
90
6a 91
MATERIALISM PLASTICITY AND OCCUPATION DEVELOPMENT OF A MATERIALISTIC ORNAMENT
OF GHOSTS
Figure 1 Catedral Metropolitana, exterior view with view of Templo Mayor
6a Materialist Principles Of Occupation
Figure 2 Catedral Metropolitana interior. 92
THE CASTING
THE CASTING
Ornamental Stonework In Uxmal
Figure 3 Catherwood Site Drawing, 1844.
Figure 4 Photograph of corner detail. Materialist Principles Of Occupation
An interesting aspect of Mayan stonework is its proliferation of orifices, as well as the snakes that jut outwards at regular intervals, especially in corners. This is intended to carry anthropomorphic meanings (eyes, nose, etc.) among others.
6a
A
OF GHOSTS
93
OF GHOSTS
Non-Perforated Pieces
THE CASTING
Perforated Pieces
Reconstruction Of The Stone Pattern
Face Pattern Unit
6a Materialist Principles Of Occupation
Repeated Facade
94
B
THE CASTING
Fluid Stimulation Of Stucco (Realflow)
Materialist Principles Of Occupation
With tweaking, a viscous fluid of a consistency approaching that of stucco flowing through gaps can be obtained in Realflow. This is then for 60 frames to obtain a, even cover that reacts accurately to gravity and to the stone. The stonework can then be taken out, leaving a partial stucco cast.
6a
C
OF GHOSTS
95
OF GHOSTS
THE CASTING
Ooxing Simulation
Resulting Negative Stonework
Partial Stucco Cast
6a Materialist Principles Of Occupation
96
D
97
6a
Materialist Principles Of Occupation
98
6b 99
MATERIALISM PLASTICITY AND OCCUPATION DETAILING THE PROCESS OF OCCUPATION
OZZING THROUGH VANISHED STONE : DOUBLE SIDED EXTERIOR CLADDING
A
23
22
21
20
Four Floors Taken For Exhibition & Consulate Services
Figure 1 Four floors take for exhibition and consulate services.
Typical Tower Floorplan
6b Occupation Of The Tower Floors
Figure 2 Typical floor plan.
100
B
DOUBLE SIDED EXTERIOR CLADDING : OZZING THROUGH VANISHED STONE
Figure 3 East elevation drawing showing the existing structural grids’ relationship to the new ornamental grid. Beams are drawn as part of the stone work.
Catherwood Reference Drawings, Circa 1884 The Catherwood drawings, which would have formed the basis of a Yucatan chapter in Owen Jones’s The Grammar of Ornament, render Mayan ornamental stone work according to its idealized, grid structure, showing also their role in horizontally segmenting the building facade.
Occupation Of The Tower Floors
D
The facade of New Zealand House is reenvisioned as a Mayan ornamental masonry facade, based on ornament at Uxmal. The rigid oramental grids replace the existing cladding lines (and are later to disappear themselves), but they also incorporate elements such are reinforced concrete beams.
Figure 4 Detail of the eastern building of the Nunnery Quadrangle. 101
6b
C
Construction Of A Mayan Ornamental Masonry Grid
OZZING THROUGH VANISHED STONE : DOUBLE SIDED EXTERIOR CLADDING
Elevations Showing Ornamental Grid
Four Floors Replaced With New Cladding
The 11th floor to the 14th cladding is removed, to be replaced by and ornamental cladding following the materialist ornamental proposal. Mayan ornamental stonework grids set up an new order in these floors, to be followed by the new ornamental scheme.
6b Occupation Of The Tower Floors
Figure 5 East elevation with stone gridwork. 102
Figure 6 South elevation with stone gridwork.
E
DOUBLE SIDED EXTERIOR CLADDING : OZZING THROUGH VANISHED STONE
Occupation Of The Tower Floors
6b
F
Four Floors Replaced With New Cladding
103
OZZING THROUGH VANISHED STONE : DOUBLE SIDED EXTERIOR CLADDING
13
12
Proposed Tower Level Floor Plan
UP
11
UP
E 20
21
UP 10
UP
22
9
6b
8
Occupation Of The Tower Floors
104
23
DOUBLE SIDED EXTERIOR CLADDING : OZZING THROUGH VANISHED STONE
Occupation Of The Tower Floors
6b
F
INSITU Tooling Of A White Plaster Wall (Ornamental Toolpaths)
105
OZZING THROUGH VANISHED STONE : DOUBLE SIDED EXTERIOR CLADDING
Colored Toolpath & Relief
6b Occupation Of The Tower Floors
106
G
DOUBLE SIDED EXTERIOR CLADDING : OZZING THROUGH VANISHED STONE
1 Large scale printed stone structure.
3
2 8/120mm aluminium frame.
4
3 Double glazing 3mm float + 6mm cavity + 3mm float.
6 2 7
5
6 Bolt M12. 7 8mm aluminium I section.
Occupation Of The Tower Floors
Detailed Section Through Cladding System 1:5
5 40mm plaster render, shot onto lathe.
1
6b
H
4 100mm laminated persepx panel with lathed surface.
107
OZZING THROUGH VANISHED STONE : DOUBLE SIDED EXTERIOR CLADDING
Large scale printed 1 stone structure. 8/120mm aluminium 2 frame. double glazing 3 3mm float + 6mm cavity + 3mm float 100mm laminated 4 perspex panel with lathed surface 40mm plaster render, 5 shot onto lathe. 8mm aluminium I 6 section. 500 x 400mm reinforced 7 concrete beam. 400mm reinforced 8 concrete column.
8 1
5
3
4
2
6b Occupation Of The Tower Floors
6
108
Plan Showing Attachment To Column 1:20
I
DOUBLE SIDED EXTERIOR CLADDING : OZZING THROUGH VANISHED STONE
7 1 5
2
1 Large scale printed
stone structure.
6
2 8/120mm aluminium
frame.
3 double glazing
3mm float + 6mm cavity + 3mm float
4
4 100mm laminated
perspex panel with lathed surface
5 40mm plaster render,
shot onto lathe.
6 8mm aluminium I
section.
7 500 x 400mm reinforced
concrete beam.
8 400mm reinforced
concrete column.
Occupation Of The Tower Floors
3
6b
J
Section; Cladding System With Supports 1:20
109
110