S A R A K E L LY PORTFOLIO Stage 3
Design
“One of the most complex, intricate, and ingenious series of interiors ever conceived� - the Oxford Dictionary of Architecture
S A R A K E L LY PORTFOLIO Contents
Learning Summery
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ARC3001: Architectural Design 01. Charrette Aural dynamics
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02. Primer A cenotaph/Pavilion for Sir John Soane
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03. The Grand Tour A tour of Italy in search of Soane’s inspiration
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04. Building on what has already been built An intervention at the Soane Museum
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* Improved Works *New Works
L EA R N I N G S U M M A RY ARCHITECTURAL REFLECTION
Over the past three years at Newcastle University, there has been noticeable development in terms of my intellectual and personal growth. When thinking back to my first weeks at university, it’s difficult to record the progress, as the majority of my architectural skills developed slowly and over the threeyear period. However, I feel I have matured over this time and believe this is reflected in my work, in terms of the work quality, presentation and subject understanding. Perhaps the most intense stage of the course has been within the last few weeks, during the preparation for the final crit, and for the development of this portfolio. Looking back over stage 2 work, has allowed me to see, in full clarity, the steps I have taken and the improvements I have made to become a more efficient and confident architecture student. Many of these improvements are visibly seen in this portfolio, through the development of Photoshop, CAD, SketchUp and Revit skills. As well as improvements in computer software, the past three years have shown a gradually wider experimental range of model making methods through the exploration of materials, as well as gaining more experience about presentation and layout. However, the most important form of improvement comes on a more personal note; the process of design and how my outlook on this has drastically changed. I have slowly developed a greater appreciation for the complexity of architecture as a profession, as well as a subject, in terms of technical and theoretical detailing, due to a wide range of coursework assignments. The most significant development is a change in confidence since the beginning weeks, as i grow to trust my instincts due to critically analysed feedback. This process has been slow and difficult but I feel I have developed as an individual as well as a designer. During my time studying architecture at Newcastle University, over a course of several different design projects, the school has provided an interpretable structure of design process. During stages 1&2, I found this difficult to translate this process into a
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project that was conceptually, visually and structurally sound, potentially because the approach is quite generic. However, these, more restricting, projects gave me the opportunity to develop an individual processing system that has further developed in this graduation year. A good example of this is represented in the primer project, where I developed a series of outcomes established by particular views around the site, and light quality. These individual outcomes allowed me to distinguish three designs that could then be combined so an agreeable compromise that works both conceptually and physically. In stage 3, unlike previous stages, the semester 1&2 projects were combined to produce a year long narrative of a particular study. In my case, this was researching the works of Sir John Soane with the intention of designing an intervention at his former home in London. During the primer, we looked at Soane’s works, researching how he used light and space within his works in order to design a pavilion, in memorial to Soane. This loosely translated into the intervention in London, where we took the principles from research at the primer, and assigned them to extending Soane’s design process at his home in Lincoln’s Inn Fields. The encompassing nature of the project is what attracted me to it in the first place. I saw the scheme as a good opportunity to help develop my personal design process by using it along side someone else’s, Sir John Soane. In this sense, I feel I expressed a lot more confidence and interest in this project, even though it brought many struggles along the way. Studying architecture had shaped my understanding of the subject and allowed me to think more subjectively about my future, as I apply the skills I have gathered and apply them to practice in the Part 1 placement.
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CHARRETTE
AU R A L DY NA M I C S
Goethe called architecture frozen music: this studio hopes to create an audio-space that is profoundly alive.
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An interdisciplinary investigation into the interactions between space and sound. This charrette engaged with both sides of the binary, creating both a space and an aural tapestry that was interdependent and profoundly symbiotic. The studio aimed to work with the specific material type of timber in order to design and construct an installation that housed a performance space for a saxophonist. As well as sounds created from the saxophone, the installation aimed to interact with the public to create an interdisciplinary soundscape, that was heard within the new space. The project concluded with a public spectacle - weaving together various other sound-spaces into a promenade performance. The overall aim was to think beyond the aesthetic and the visual - to create a space that is multifaceted and holistic.
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THE CONCEPT The Charrette used the idea of integrating members of the public by creating small ‘instruments’ that are loosely attached to the structural frame, which in itself, is shaped to portray the idea of sound funneling from the saxophone to a viewing /listening portal where the music is directed only to the person peering in. The idea was that each instrument would correspond to a certain sound produced by the saxophone, allowing the overall soundscape to compliment itself. All instruments were made from some form of paper, card or wood, in order to allow the flow of timber to run through every aspect of the design. The coloured elements were intended to entice members of the public to join in with the performance, making the overall visuals of the design more fun, entertaining and interesting.
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PRIMER
A C E N O TA P H / PAV I L I O N F O R S I R J O H N S O A N E
“The architectural space comes alive only in correspondence with the human presence that perceives” - Tadao Ando
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The primer project was the initial step towards the graduation design. It introduced the architecture of Sir John Soane as we designed a cenotaph/pavilion in Leazes park, Newcastle Upon-Tyne. In 3 small stages, over 4 weeks, we researched Sir John Soane in detail for the first time, with the aim to design a memorial for him in a large park on the outskirts of Newcastle’s city center. The project aimed to look at benefiting light to highlight certain aspects of the pavilion, a trait that was used very often in Soanes designs, particularly in his house, at Lincoln’s Inn Fields. This specific use of lighting qualities was also intended for soft public interaction; a point of focus for passers by peering into the lit spaces from the park, enticing them to enter. Over the period, experimentation with models and sketches was essential and highly influenced by Soane. At the end of the short project, a small exhibition was held, highlighting the work of all students within the ‘Building on what has already been built’ studio, in a way that would reflect the many works of Sir John Soane.
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SIR JOHN SOANE T H E M A ST E R O F S PAC E A N D L I G H T Sir John Soane was an English architect who specialised in the Neo-Classical style in the 1800s. Throughout the primer, I have looked at the works of Soane to influence my creativity in order to design the Cenotaph. Soane predominantly experimented with mirrors and natural light within his designs to create different illusions of space, creating ambiguous experiences within his architecture.
The labyrinth of light and shadow connecting the space with the body.
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Soane was interested in how people moved through his architecture, and was clear about how he wanted them to feel while they were there. Natural light was a necessity to Soane, allowing him to highlight the aspects within a building that he felt should be heavily admired, as they perhaps carried importance,or maybe just that he thought they were beautiful. He uses light and dark spaces to emphasis a specific emotion whilst moving through a building, in order to connect the space with the body. It is this idea, where the development of the pavilion stemmed from.
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CONNECTION TO NEWCASTLE The site of the pavilion, will be situated in Leazes park, Newcastle Upon-Tyne. The park sits on the outskirts of the city center but is a heavily used connection for student accommodation in Fenham and Newcastle.
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T HE BAN K O F E N GL A N D
THE B A N K OF EN G L A N D
THE B REAKFAST RO OM
Soane was well know for implementing large domes with large openings that allowed natural daylight to enter into a space. His experimentation with arches allows chambers of light to be formed, highlighting vital aspects of the design.
Soane’s use of direct and non-direct light had an empowering effect of the experience had in that space, exemplified here at the Bank of England. Here he shields large windows with a crossed vault so the light can be captured beautifully and spread softly into the rest of the space. His playful attention to detail spreads throughout his designs, especially in his house in Holborn.
One of the most famous of his works, Soane uses mirrors and natural light to create ambiguity in one the main spaces in his house. The breakfast room was where he held morning meetings with students/ clients and is connected directly to the central dome. Some of the light is indirect, and feeds into the main space from light-wells above and around the pendative dome. Vanity mirrors on the corners of the dome allow you to see into connected spaces.
1. Leazes Park 2. St. James Park Stadium 3. Newcastle Central Station 4. Newcastle University Campus 5. Northumberland Street 6. Granger Market 7. Grey’s Monument 8. The River Tyne
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REQUIREMENTS
E X P L O R AT I O N
E X C AVAT I N G T H E G R I D
MODELS AND SKETCHES
The studio requirements for the primer project ask to design the pavilion using a pre-formatted grid that consists in a 12x15m reticule with a meter of separation between the axes. The idea then is to excavate the abstract structure (of at least 5m high) defining two different spaces within its limits. One becoming the cenotaph for Sir John Soane, the principle space, and the other, a significantly different space. Both spaces were to be designed with strong relation to Soane’s architecture, with twists of our own personal interpretation.
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Taking into account that natural light is a major element in the designing of the pavilion, it seemed important to explore and experiment using different drawing patterns and models in order to understand how to utilise the light in the best way possible. I wanted to play with direct and indirect light and the idea of having two contrasting spaces appealed. A larger space, acting as a more functional space, and a smaller one, which will hold a statue in memory of Sir John Soane. With the functionality of the spaces in mind it is important to examine what kind of light §are designed for each particular zone. Simple sketches such as these, allowed me to understand the difference between strengths of direct and indirect light which ultimately helped me reach my final outcome. Experimental model making also introduced a new level of exploration when playing with light, especially with a grid like structure.
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Representational digital model OUTCO M E ONE
OU TCOM E TWO
OU TCOM E TH R E E
The stepped dome allows light to filter in from a single opening in the center and creates a nice, bright open space. However, the complexity of the gridded structure unfortunately hinders with the detail within the dome, and therefor the light does nit pin point specific areas like initially intended. The small space is very contrasting but stands dull in comparison allowing a heavy flow of direct light which could work well if exhibiting a statue.
The large space takes influence from the breakfast room at Sir John Soane’s house. A tall slim dome extrudes the grid with a single opening allowing light to flood through from the top of the pavilion. Around the dome a separate space allows light to harshly penetrate a single section but filter through into both the dome and the small arch, creating different intensity of light in each of the spaces.
Following the previous design, this outcome also takes heavy influence from the breakfast room. The large space houses to a pendative dome with attached arches. The grid structure here is almost fully concealed, representing a ceiling that could be places to direct light more precisely. The four opening in this ‘ceiling’ represent the four mirrors from the breakfast room, allowing for a soft light to penetrate into the space. The outcome of this allows the dome to not be overwhelming but still an enjoyable atmosphere. The smaller space has a tiered ceiling with a central slit of light which will shine directly onto the memorial for Soane.
Representational physical model
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T H E WA L L S T H E S PA C E U N D E R N E AT H
The next phase of the design was to incorporate wall in which the gridded structure will stand upon in order to view the excavated spaces in the best possible way. This allowed me to create a space beneath the main focal point where people will be directed to specific areas. The concept behind the wall design initially was to see where people would most likely want to be within the two spaces. The development of this concept evolved using tracing paper to highlight the most important corresponding areas. Whilst designing the walls, taking the natural light into consideration was very important, but also about how they will relate to the site, how they entice people to walk through them, and how they aid in creating the correct emotional journey intended. Three proposals were made and looked at in more detail to determine the final design.
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O UTCO ME ONE
O UTCO ME TWO
O UTCO M E T H R EE
The walls here take a complex ‘maze’ approach, weaving people in and out the main spaces. Walls interlink between each other and pass directly through the Cenotaph, without entering a main space fully. The walls guide visitors into dead ends within a grand or small area allowing them feel a little lost within the structure, gaining perspective from the gridded structure above. After analysis, the approach I wanted to take on the walls was not for participants to feel exacerbated and lost.
A more simplified version of the first outcome, whilst still keeping the ‘maze’ feel. When entering the structure, from most entrances, you are faced with a choice of direction. The idea behind the walls is that wherever the walls lead you within the domed space, you would get a different light effect from the four openings. However, after further exploration using the model with lights, this would not be the case due to the shear hight of the dome, producing a rounded effect throughout, rather than spotted areas.
The final outcome took a huge step back from the initial two. The concept behind the wall design was to implement the beauty of Leazes park, taking advantage of its picturesque scenery. It made more sense to leave the domed space open, allowing it to be viewed as a spectacular, and as a whole. The walls allow views of the ‘beautiful’ sights around the park from the being in the center of the Cenotaph as well as from onlooking from the outside. The wall are designed so you can always see out the other side.
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SITE The walls form the several main entrances to the building, varying in length to reach different parts of the site. Each entrance point aligns perfectly with one other opposite so that a clear view through the Cenotaph is achievable. The entrances are positioned, onlooking an attraction of the park, so when stood in the center of the dome, you can look out and always see something interesting and beautiful from around Leazes park. This idea allows people to integrate more with the site and appreciate the space within. Some of the key views are represented in the images to the left.
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DIRECTIONAL JOURNEY LINES OF SIGHT
The dynamic relationship between the walls and the site
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The walls allow people to journey through the building, whilst always having a destination in sight. This photo-montage, shows the building looking through a sculptural frame of which there are many positioned around the park, highlighting particular views. When standing in the correct position, the frame captures the bandstand perfectly. I wanted to keep such novelties all over the park and therefore designed the walls very straight and long, as a way of luring people in, as well keeping a particular line of sight, which is common within the Soane museum. This dynamic relationship between the walls and the park, allows people to interact more with the Cenotaph, even if only using it to get from one space to the next. A directional journey.
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THE JO HN SOAN E M U SE U M This diagram shows some of the main lines of sight within Soanes house in London, allowing a strong visual connection between all the individual spaces
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PAV I LI O N FOR S OANE There is a clear relation to the Soane museum and its lines of sight within the pavilion, where a new view is available when stood in the center. This allows all the spaces to become strongly connected by the central point, the pavilion.
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CONCRETE TIMBER Laminated timber forms the materiality for the gridded structure. Its lightweight materiality and its warm tones allow the spaces within to echo the sense of openness and freedom that stems from my concept. Within the larger space, a ceiling covers the dome to emphasise the shape and to achieve the correct light effect. The materiality of the ceiling will be a thin timber sheeting that will allow the atmospheric ambiguity to continue.
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The walls will be made from vertical strips of cast concrete that will continue the perpendicular form from the structure above. The contrast between the timber and the concrete will create an interesting dynamic especially whilst inside the Cenotaph. With the light airy spaces above, the weightiness and the dark colour of the concrete will only emphasise the lighter elements of the space more.
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FOUNDATION DETAIL
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CON N ECT I ON D ETA I L
CO N N ECT I ON D ETA I L
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SE CT I O NA L P E RS P ECT I V E S H OW I N G T HE L I G H T QUA LIT IES W IT HIN T HE T WO SPACES
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COLLECTIVE GROUP SECTIONS
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COLLECTIVE GROUP MODELS
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‘P U B L IC AN D P RIVATE B U IL D IN G S’, 1 8 1 5 .
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‘COL L ABOR AT ION’, 2016.
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THE GRAND TOUR
A T O U R O F I T A LY I N S E A R C H O F S O A N E ’ S I N S P I R A T I O N
“Examining the numerous and inestimable remains of antiquity” - Sir John Soane
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In 1780, Soane had the opportunity to travel to Italy, something unknown of his time - to experience first hand, the architecture that he’d read and admired his whole architectural career. It was only after he returned from ‘The Grand Tour’ that he bought his first house at Lincoln’s Inn Field. In an attempt to find his inspiration, we traveled to Italy, where we visited Rome, Verona and Venice, in order to experience the architecture that inspired Soane so much on his return. During the visit, it was clear to see the strong influences from Italian architectural ornamentation within Soane’s work, as well as witness Roman ruins, such as those at the forum, which he admired and, almost longed for, within his career. Cited by Darley, this was a time that Soane expressed his attention as “entirely being taken up in seeing and examining the numerous and inestimable remains of antiquity”. The visit to Italy allowed us to see works by heavily influential architects such as Carlo Scarpa and Juan Navarro Baldeweg.
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THE VIDEO T H E A R C H I T E C T U R A L H I G H L I G H T S O F I T A LY The QR code, links to a video I made of the highlights of our time in Italy, considering the most influential aspects that pushed me forward with the graduation project.
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B U I L D I N G O N W H AT H A S A L R E A D Y B E E N B U I LT
A N I N T E R V E N T I O N AT T H E S O A N E M U S E U M
Soane idealised the idea of his house becoming an archaeological description of construction , when it becomes a ruin.
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The graduation project focus’s on the study of Sir John Soane’s Museum in Lincoln’s Inn Field and intends to design an extension into number 15 of the square. The existing building was designed and built progressively by Sir John Soane as his home, architectural office and later also as a display exhibition space for his many collections. The construction occupied 12, 13 and 14 Lincoln’s Inn Field, and was occupied as a museum during Soane’s lifetime by a Private Act of Parliament in 1833, which took effect in 1837 when the Soane passed away. The Act was required to maintain the building ‘as nearly as possible’ as it was at the time of Soane’s death. Soane was known for constantly altering his house, making alterations continuously to provide more space for collections etc. He arranged new distributions, planned new skylights and was constantly moving objects in his collection and building contingent evolving relations between the spaces. Soane spent many years dreaming of the future of his house, and of London, and thought about extending his house further towards 15&16 Lincoln’s Inn Fields. He idealised the idea of his home becoming an archaeological description of construction in a far future when it would become a ruin, comparing it to those he had seen in Rome.
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SOANE’S IDEOLOGY OF LONDON LO N D O N
In 1778, Soane set out on his grand tour of Italy, after having become fascinated in the emotive power of the ruin and its instrumental facility in architectural education. Soane writes about the future of London and how he perceives it. He considered that future scholars would descend upon London after the collapse of the British Empire and speculated that his house would be inspected as a potential future ruin, in the same way as he had inspected the ruins in Rome. He describes how a space-age antiquary could interpret his house as carrying a similar historic and beautiful value as that of the Roman ruins.
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Soane was heavily influenced by Italian craftsmanship and this influenced his designed, having a great impact - for his works specifically and for London.
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With this in mind, I wanted to look more closely at specific Italian ornamentation, such as the dome and the arch, in order to revive the durability of Italian workmanship that appears throughout Sir John Soane’s museum.
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THE NEUES MUSEUM DAVID CHIPPERFIELD
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NATIONAL MUSEUM OF ROMAN ART RAFAEL MONEO
HYDRAULIC MUSEUM JUAN NAVARRO BALDEWEG
TAMA ART UNIVERSITY LIBRARY TOYO ITO
THE LABYRINTH XAVIER CORBERO
KIMBELL ART MUSEUM LOUIS KAHN
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A RCHI T ECT U R AL OR NAM ENTAT ION I am exploring his interest of architectural ornamentation within Italian design, looking at the integral part-to-whole relationships of tectonic components, rather than the representational adornment of pre-modern constructions. I have looked in close detail to the arch, which appears in many of Soane’s works, with the intent to bring the durability of Italian architecture into modern construction. The image on the left, shows a diagrammatic representation of the vaulted arched ceiling detailing within the main entrances of the new intervention, creating the initial impact when arriving.
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1796 On his return to London in 1792, Soane bought No.12. Lincoln’s Inn Fields, demolishing the existing and rebuilding the property as his own residence.
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Over a period of 41 years Soane bought and remodelled No.13 and No.14 Lincoln’s Inn Fields in small sections, assigning each space specifically to a function. There were constant alterations to enhance the poetic and picturesque qualities of the interiors and to incorporate new acquisitions.
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T HE PICT U R ES QU E Soane’s interest in the poetry of architecture was developed in response to the picturesque movement. He found the picturesque to be halfway between beautiful, with emphasis on smoothness, regularity and order, and sublime, which promoted vastness, magnitude and intimations of power. With this in mind, the outcome of the Soane intervention will aim to support beauty, alongside functionality, keeping within the initiative of the picturesque. This is one of the key concepts behind the new intervention at the Soane museum, using the existing pre-determined geometries to distinguish the new.
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1810 The plans were developed from the existing geometries of the original scheme. As the design expanded, each individual space was developed from the previous section, using axis, which passed though the central spaces.
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1822 Soane began to pursue the redesign of the terraced houses at Lincoln’s Inn Fields, with using the picturesque. The key contextual elements of the new intervention aim to investigate these particular perspectives of Soane’s thinking, of remodelling using axis to achieve a continuity of space and sensation by linking new rooms strongly to those that had already been designed, which intensifies predetermined geometries.
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RO O M - BY- RO O M D E S I G N These sequence of spaces, then begin to form a series of elements that come together to form the architectural whole. The Soane museum could therefore be conceptually taken apart and dissected into a build up of individual spaces, that each comprise their own character and functionality but have a strong geometrical connection through the visual connections formed from the picturesque.
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PA S S A G E L E A D I N G T O T H E SARCOPHAGUS
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T H E M O N K S PA R L O U R
T H E B R E A K FA S T PA R L O U R
T H E B R E A K FA S T R O O M
PA S S A G E L E A D I N G T O C E N T R A L DOME
THE DINING/LIVING ROOM
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CONNECTION VIA CIRCULATION The current circulation through the Soane museum links the individual elements with the use of in-between spaces. This connection follows a tour, established by Soane, that allows visitors to experience each space in an intended order. Where each space is geometrically interlinked but individual in its own right. This circulative exploration was aimed to explore the main connections between the static elements.
E X I S T I N G C I RC U L AT I O N Sir John Soane’s Museum
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The Crypt The teaching room The Breakfast Room The New Picture Room The Central Dome Library and Dining Room The students room The picture room Catacombs Monks Parlor North Drawing room South Drawing Room
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IND IVID UA L ROOMS OF THE S OAN E M U SE U M Mixed media models showing the negative some of the major rooms that build up the Soane museum
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Creating individual cast elements that have been adapted from the previous space in order to create a clear link between spaces.
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Experimenting with plaster casts to experience light qualities within domes and other influential ornamentation.
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First stages of room-by-room conceptual build model, developed through the idea of the individual elements that form the Soane museum.
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These images show that the forms are individual within their own right as well as connecting together to form a different architectural whole.
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THE VIDEO R O O M - B Y- R O O M C O N C E P T UA L G I F The QR code, links to a video, showing the conceptual build up of individual spaces that form an architectural whole, inspired by the build up of spaces within the Soane museum. This was the initial concept model that inspired the next stage of the design process.
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THE SITE LINCOLN’S INN FIELD
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T H O R O U G H FA R E CONNECTION VIA SOANE Soane always has an clear interest for his students, and cared for their architectural education, even after he died, selling his house to the public for students to continue visiting and learning. This concept allowed me to distinguish a thoroughfare through 15 Lincolns in fields to connect the London School of Art students directly to the park, via the Soane Museum, in order to make the most of the student/Soane connection. This thoroughfare is intended for al members of the public to help bring people into the intervention through inviting open entrances at both front and back facades.
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T H O R O U G H FA R E CONNECTION VIA SOANE This connection will allow the students, and members of the public to access the intervention as a public walkway that is directly accessible to the Soane museum, and passes the cenotaph vertical funnel. The walkway through the intervention offers views into the casting workshop spaces that are formed by a double height space in the basement. As well as the intriguing views into both the workshop and the cenotaph, there is a public cafe/bar.
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T H O R O U G H FA R E CONNECTION VIA SOANE A series of light studies showing how the main entrance, from Lincoln’s Inn Fields, into the thoroughfare will be perceived at different times of the day. Here it is clear that the central core becomes the main focus, as well as windows looking down into the workshops, for passers-by.
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DEVELOPMENT OF PLANS In the development of the plans, I went back to look at how Soane developed his house over the period of 41 years using the theory of the picturesque, connecting pre-determined geometries to new ones.
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Continuing with his use of axis, the new basic plan was developed by determining the new spaces by extending the axis from the existing, This formed a new space, connected by the monks yard in the basement. This new space becomes the cenotaph for Sir John Soane.
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CONNECTION THE HEART OF BOTH BUILDINGS The new determined space, forms a cenotaph for Sir John Soane which has strong connections to the heart of Soane’s building; the Central Dome. Because this connection can not be physically applied, and is difficult to achieve visually, it was important to apply an emotionally strong connection when in the new space, achieved by creating a similar atmosphere.
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THE CENTRAL DOME
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FUNCTION OF THE VERTICAL T H E C E N O TA P H Z O N I N G A R E A S The cenotaph is open to the elements, and comprises of 4 significant levels that run vertically through 3 stories of the building, however being a focal point for all. In the basement, the most significant element, is in the form of an inverted dome, as a physical reflection to Soane’s Italian influenced architecture. The white concrete dome is open the elements and therefor has the ability to collect rain water, meaning at certain points of the year, the dome will become a reflection pool, representing Sir John Soane. As the vertical rises, the function of each level becomes more reflective, drawing the strong connection from the dome/pool up through the building.
Light reflection zone
Public thoroughfare viewing space Immediately surrounded by his students
BASEMENT CONNECTION
Cenotaph inverted dome representing Soane
The main connection between the intervention and the existing museum is via the monks yard in the basement, however the two both share the same existing staircase within 14 Lincoln’s Inn Field, so new openings are made within the partition wall with the aid of steel reinforcement.
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T H E C E N O TA P H I N D RY P E R I O D S
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T H E C E N O TA P H I N R A I N Y P E R I O D S
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Existing brick structure that has been restored
Existing brick structure that has been restored
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New pre-cast reinforced concrete load bearing structure
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Ce n o tap h Cas t i n g wo rk s hop P re p arat i o n ro om or ca sts M o ld i n g s tat i o n s S e t t i n g wo rk s h op Cas t i n g wo rk s hop Sto rage
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Existing brick structure that has been restored
Existing brick structure that has been restored
New pre-cast reinforced concrete load bearing structure
New pre-cast reinforced concrete load bearing structure
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Existing brick structure that has been restored
Existing brick structure that has been restored
New pre-cast reinforced concrete load bearing structure
New pre-cast reinforced concrete load bearing structure
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Preparation for scaffolding - Glazed elements removed - Basement opening boarded over to support scaffolding - Railings and front wall removed
05.
Existing fill-in - The existing openings are filled with brick of a vertical lay up until the steel element which forms the structure of the new opening
06.
Steel Reinforcements - More steel reinforcements are added to the new windows and 3 large openings made determining the new entrance. - Steel arched lintels are added to support the weight of the existing and new brick infill’s.
04.
Steel Reinforcements - Steel reinforcements are added to existing openings in preparation for removal of brick. - The main entrance detailing is removed along with the door
07.
Brick in-fills. - The arched steel lintels are clad in brick to continue the materiality of the facade. - Detailing to the brick columns forming the entrance is added.
08.
New fittings - New windows frames are added to the openings - Brick arched lintels are added to the steel element
Existing facade
Erection of the scaffolding - Facade is attached securely to the scaffolding in preparation for the removal attached building.
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N EW FACADE
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STRUCTURE CONNECTION BETWEEN NEW AND OLD The existing brick partition between 14&15 is retained and new openings are made so there is accessibility to the intervention from the staircase of 14. The concrete load bearing walls run in a simple grid shown here, allowing the floors to cantilever. Therefore the new concrete walls can just touch the existing without causing great damage.
STRUCTURE P R E - C A S T C O N C R E T E WA L L S There is a clear grid structure that form the load bearing elements within the structure. These precast structural walls bear the loads through the centers, rather than through the corners allowing the main entrance into each space to be via a corner archway, allowing each space to be more closely related to the cenotaph.
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TA M A A R T U N I V E R S I T Y L I B R A RY TOYO ITO The Tama Art university library in Japan, uses pre-cast concrete elements with interlocking arched walls, which is a similar use of materiality in which the Soane intervention will carry. The concrete crossings are reinforced with steel plates in order to withstand the pressure from the load, however are not load bearing.
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R O O M - B Y- R O O M THE HEART OF BOTH BUILDINGS The axonometric diagram represents the different spaces within the intervention at Lincoln’s Inn Fields. It shows the room-by-room concept and highlights each room as its own individual space.
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Practice
Academic Learning
Acknowledgment
Observation
L E V E L S O F U N D E R S TA N D I N G Vocational Learning
T H E F U N C T I O N S T H E S E R P E R AT E L E V E L S This diagram shows the levels of understanding within the building, as it moves from vocational learning in the basement where students practice the art of casting, surrounding Soane cenotaph, where he can be amongst them. As the levels get higher the level of understanding becomes more academic, journeying through research through the end result of practice. Overall the intervention aims to become an institute of integrative pedagogical design.
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EXPLODED ROOM AXONOMETRIC OF THE SOANE MUSEUM
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EXPLODED ROOM AXONOMETRIC OF THE INTERVENTION
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