Fragments of Archiving by Tasos Theodorakakis

FRAGMENTS OF ARCHIVING

A Park in St. Dunstan in the East

UNIVERSITY BARTLETT

COLLEGE SCHOOL

LONDON ARCHITECTURE

BENVGHE5 TUTOR: HANNAH CORLETT

SEPTEMBER 2017

FRAGMENTS OF ARCHIVING A Park in St. Dunstan in the East

TA S O S

THEODORAKAKIS

SN:15113802

02 Urban Palimpsest

00.

ACKNOWLEDGMENTS

The current work is my second thesis in a series of projects concerning my general interest on the subject of memory and the concept of time as the fourth dimension in architecture. Using the concept of palimpsest as a tool to understand and recognize complex historical environments which coexist with the present, I attempted four years ago with my friend Konstantinos, to put these thoughts into practice on the abandoned settlement in Vathia - Greece, through a proposal for intervention and revival of this settlement, a â&#x20AC;&#x2DC;deadâ&#x20AC;&#x2122; place for modern life. A new architectural layer was added to narrate the past and at the same time, to form a bridge of connecting it with the present. In my present work, I am interested for similar reasons in another place; the public garden of St Dunstan in the East in the City of London. A park that seems to hold a narrative that expects to be revealed and may itself reveal, another story about the city. For the accomplishment of this thesis I would like to thank my supervisor Hannah Corlett for the guidance given through the course. In addition I would like to thank the B-Scan team for assisting me on scanning digitally my site as part of my survey, as well as Peter Guillery for his assistance regarding archives and information about my site. I would also like to thank and dedicate this project to my former professor and teacher A. Spanomaridis. Finally I would like to thank all my friends who have helped and supported me throughout the master course and have contributed to a pleasant journey.

00.

INDEX

01. SYNOPSIS

pg. 01

02. THE PALIMPSEST

pg. 03

03. ST. DUNSTAN

pg. 11

04. SURVEY + DOCUMENTATION

pg. 33

05. TIME SCULPTURE

pg. 55

06. ARCHIVE OF ARCHIVING

pg. 75

07. PROPOSAL

pg. 85

On Memory

On Archive

On Gaze

11. CONCLUSION

pg. 149

12. BIBLIOGRAPHY

pg. 153

03 Palimpsest + Time

01.

SYNOPSIS

Our Cities hold within them historical sites and chronicles that summarize their history. Furthermore, they hold sites with multiple historic layers, places that are known and referred as Palimpsests. Places where the scriptures composing them coexist and each of them represents a certain truth, a certain interpretation of the place through time. The result is a multi-layered ‘time plot’, a ‘time sculpture’ where the scriptures, whether contradictory or complementary, identify and at the same time reveal and narrate its history. The result is equally exciting and fascinating with the process that created it, if one considers that the final complexity is open to interpretation, and at the same time, constitutes an appropriate canvas for new scriptures to follow. But what is the nature and role of these sites in cities today? How can these places be understood, and adapted to today’s life? How could we re-use them? What part of their nature should we preserve or forget? The work explores the above concerns through a compositional exercise at such a palimpsest place in the City of London; in the public garden of St. Dunstan in the East, a park in a ruin that stands as what’s been left of the former St. Dunstan in the East Church. The intention here is not simply to preserve the existing, nor to oppose the new layer to the old. The thesis attends to explore how this layer could become a tool for both preserving such an environment and at the same time encouraging further transformation in the future. It is more like a ‘Progressive Preservation’. St Dunstan in the East is proposed to become a new archive centre through a new architectural layer, to become a point of knowledge, of interaction, of spectacle and at the same time, to reveal the essence of memory which is currently in oblivion. “Η φύσις κρύπτεσθαι φιλεί” [en: Nature [Truth] loves to conceal Herself.] Heraclitus

03 Palimpsest + Memory

02.

THE PALIMPSEST Read - Write - Erase

“Layering is used as a deliberate device of aesthetic expression – the visible accumulation of overlapping traces from successive periods, each trace modifying and being modified by the new additions, to produce something like a collage of time. It is the sense of depth in an old city that is so intriguing. The remains uncovered imply the layers still hidden (…).” (Lynch, K. 1972)

The concept of palimpsest in architecture is a situation in time in which layers of different origins co-exist and shape relations. These relations may either occur intentionally or unintentionally. Every layer stands as a result of certain intentions and has transformed the previous whole -the subject- into something new and different. Each transformation whether constructive or destructive can be described as a process of three basic steps; we read, we write, we erase. This concept may be transferred in the re-use of a historic urban environment. We record, we understand, we evaluate, then we decide what is there to preserve and what may be or needs to be forgotten, and then we add a new scripture into the complex. This first step of ‘reading’, of comprehending is fundamental in order to evaluate what to preserve, as each scripture is a reflection of certain cultural meanings and patterns. One needs to be deeply aware of them in order to add a new scripture. De Carlo talks about the concept of “revelatory capacity of reading”, a concept of identifying the “engraved marks” of the complex, how they have been structured, their meaning and their impact in our history.1 As Clifford Geertz states: “In order to understand the cathedral of Chartres, for example, it is not enough to know what are its materials, but that it is a particular cathedral and, most critically, what are ‘the specific concepts of the relations among God, man, and architecture that, since they have governed its creation, it consequently embodies.” (Geertz, 1993:51)

The above process might happen multiple times, and of course, it would be a generalization to claim that all these steps are always applied with the same order or with equal intensity. The result is this complex of multivocal ‘truths’, a collage of layers that gives the palimpsest its identity. “… and it is perhaps this sense of ‘memory’ which every architect who converts a building to a new use should leave behind him. To understand the essense of a building and to preserve enough of that essence to be meaningful should be his constant aim.” 2 (Cantacuzino. S, 1975)

1 2

de Carlo. 1990 Cantacuzino, S. 1975.

HOW DO FRAGMENTS OF DIFFERENT TIME COEXIST?

Reuse - Authenticity and truth Throughout history, buildings have always been re-used and transformed in order to adapt to their new role. While this transformation emphasizes continuity, the memory of their previous role is retained along with their current one. This act of re-using a building is not new despite the gap that appeared for the first time in the 20th century with modernity being distant from historicity.3 However, this gap in modern society led on one hand to the developed of the modern conservation movement and on the other hand to the institutionalisation of memory in general. This sudden “obsession of the western world with memory”4, perhaps due this somehow sudden amnesia, this nostalgia of the past, as a result of mass migration which has been a characteristic of our age, has led to the institutionalization of memory lately in forms such as museums and archives. On the issue of re-using historic environments, concepts, such as preservation, restoration, renovation, anastylosis, remodeling, were developed, as attempts of identifying and evaluating the ‘quantity’ in which ‘the past’ should be saved or forgotten.5 Along with any of the above forms of preservation, what is being preserved is not only a spatial configuration or a physical object of some sort, rather a certain value every object of the past represents. It is critical to understand that all this process, this evaluation, is extremely relevant and greatly dependent upon the context. The notion of conservation is deeply connected with notions such as heritage, tradition and transmission of knowledge. This transmission again is extremely relevant, since ‘truth’ and ‘knowledge’, as notions, may differ from one society to another or from one religion to another.6 Perhaps our age of globalization which has imposed ‘global values’ and ‘global truths’ has changed certain points of how we interact with history. However, there will always be challenges when dealing with these palimpsest environments. Today, we are facing a new digital reality that is growing rapidly, which has already impacted this act of re-use. As the digital world becomes more and more ‘real’ and believable, questions on what, or how much to preserve are being raised. A recent issue regarding the demolition on Robin Hood gardens designed by Allison and Peter Smithson is a typical example, in which the survey of the complex-using 3D scanning technique-has created-literally-a digital 3D replica of the building and has raised arguments whether this is an appropriate amount of preservation or not.7 Virtual reality on the other hand, has the capability today to create believable environments and even fantastic realities that to some extent make the physical world seem a bit more flexible to alterations. In that sense our historic environments face a new challenge of being able to be more adaptable to this rapidly-changing environment.

3 4 5 6 7

Brooker, G. and Stone, S., 2004. Huyssen, A. 1995. Brooker, G. and Stone, S., 2004. Cantacuzino, S. 1975. Smout Alen, 2016.

HOW A DOOR BECOMES A WINDOW? HOW A WALL BECOMES A PATH? HOW A BIKE BECOMES A BULL?

KEY CONCEPTS - CASE STUDIES The palimpsest-as described earlier-is a collage through time, in which, in order to re-use it, to intervene, one must first read and comprehend its “historical stratification”8 in depth. The palimpsest may sometimes seem as a ‘time-sculpture’, having multiple ‘sculptors’ through time. In a sense, this time sculpture might at first appear ‘seemingly unfamiliar’, unrecognizable and odd. However, while reading its fragments carefully and identifying familiar signifiers, this ‘time sculpture’ appears all of a sudden ‘semiologically familiar’. When reading a ruined structure for example, one seeks to identify a familiar fragment or a pattern (such as a wall masonry, an opening, a staircase etc), in order to understand the whole. This ‘schizophrenic’ state of the palimpsest, of multiple chronicles are a sum of relationships awaiting a new hierarchy to be applied and new relationships to be formed. As Carlo Scarpa noted: To achieve anything, one must invent relationships.9 This final relationship between the new and the old, the historic and the contemporary is a didactic mechanism, which may reveal certain values of the past and redefine their contemporary role.

8 9

Schultz, A.C. 2007 Schultz, A.C. 2007

The Frankish Castle is one of the most enduring monuments on the island of Paros. It was built in the 1200s by the Venetian Sanoudos. Scholars believe that the castle was built from the vestiges of an assortment of ancient sanctuaries that were scattered in and around the island of Paros. Source: www.greeka.com

The most surprising oil painting in the show is The Fireplace from 1918. In this painting, a white cubic volume appears painted in perspective on an abstracted field of layered colors. Even as a purist painter or architect, one can see the creeping influence of surrealism in his painterly work, which would reach its zenith in the Charles de Beistegui apartment in Paris of 1929–1931.

“Kintsugi”, an ancient Japanese technique of repairing pottery with a gold glue that becomes a part of its new identity. Deterioration over time is not hidden, but rather celebrated and results an object with a higher value and aesthetic.

CARLOS BRILLEMBOURG • August 8, 2013 / The Architect’s Newspaper

This building has multiply being altered throughout its life in order to serve different uses needed at times. First as a Methodist Chapel, then as a Synagogue, then as a Mosque which it remains till this day. However, the building has always kept its initial type of use as a place of worship. Jamme Masjid Mosque, London

Guess how I made the bull’s head? One day, in a pile of objects all jumbled up together, I found an old bicycle seat right next to a rusty set of handlebars. In a flash, they joined together in my head. The idea of the Bull’s Head came to me before I had a chance to think. All I did was weld them together... [but] if you were only to see the bull’s head and not the bicycle seat and handlebars that form it, the sculpture would lose some of its impact.

Palimpsest, a notion in architecture I had previously researched; a piece of parchment which holds multiple writings on it and thus is a document that reflects the history of the acts that took place.

Picasso describes the artwork in 1943 to visiting photographer George Brassai

Pikionis’s landscaping took the form of a system of footpaths, individually paved with stones, antique spolia and modern urban rubble, that followed and extended the existing paths on the two hills that had been walked upon, often for centuries. This landscaping is groundbreaking and radical—precisely because it is ultimately modest and thoroughly in situ—a piece of architecture learning from its context.

What Anne-Catrin Schultz addresses as Spatial Stratification is Scarpas spacial thinking; a precise process in which he clearly separates things based on their chronological or material properties, thus revealing them and then invents relationships based on antithesis. Schultz, A.-C. 2007. Carlo Scarpa: Layers. Stuttgart: A. Menges, Print. p16

Dimitris Pikionis-Landscape project of the Acropolis and Philopappos Hill 1954-58

The Parthenon in Athens was initially a temple. It was later re-used as a church,afterwards it was re-used as a mosque during the Ottoman empire. Today it is a ruin. Any trace from either the church or the mosque have been removed, and the Parthenon represents directly its use as a temple in the Classical Greek period.

04-13. [top-down, left-right] Concepts 8

As described previously, a palimpsest appears as a time sculpture constructed (occupied) through time. Its occupation might be constant, or might be interrupted for some reasons. Again, some layers might then be re-used, some might not. The location where this project takes place is an example of a palimpsest constructed through time, which has now reached a state where one of its layers has been left untouched, as a ruin. This notion of the ruin has also a palimpsest nature. A ruin may be perceived as a complex of fragments of time waiting to be potentially adapted or forgotten. However, ruins represent a state that every building must face at some point in some form. From the representation of Piranesi with a propagandistic character, the paintings of Joseph Ghandy who worships their incompleteness, to the sketches of Le Corbusier who refers them as sources of knowledge, ruins appear to have a charm nature, based exactly on this incompleteness which talks about something that was there, and what could have potentially been. Furthermore, they summarize a clear and distant chronicle from today’ s life. As Mark Minkjan states, “they raise questions, about memories and imaginations of a foregone past, and of potential futures.”10 For him, this nature of decay which “provokes thoughts and actions” is a characteristic of the ruins.11 On the other hand, architect Peter Murray, employs the word “trace”, which he uses to talk about notions such as residual and memory.12 For Murray, these “traces” symbolize the lives that once took place. Ruins might appear “pretty ‘boring’ if they have been striped off their humanity and are preserved as mere physical objects”.13 It is these ‘traces’ that make a ruin enigmatic and open to multiple readings. Its value and its hidden meanings extend beyond their physicality. The amount and the way in which these hidden values may reappear and be re-imagined, depends upon this “interplay between an individual’s internalized response and sensibilities and the external realities of the place itself.”14 “Absence suggests presence and what is present is open to interpretation.” (Littlefield, D. 2007)

10 11 12 13 14

Minkjan, M. 2013 Minkjan, M. 2013 Littlefield, D. 2007 Littlefield, D. 2007 Littlefield, D. 2007

14 St Dunstan in the East

03. S T . D U N S T A N i n t h e E A S T The church of St Dunstan in the East stood on this site from ancient times. Sir Christopher Wren rebuilt the church after the Great Fire of 1666 and the only part of his design which survives is the tower. The remainder of the church was rebuilt in 1817 and destroyed by enemy action in 1941. The garden was created by the Corporation of London and opened by the Rt. Hon the Lord Mayor Sir Peter Studd on 21st June 1971.

Inscription on the entrance St. Dunstan in the East garden

Location:

St. Dunstan’s Hill, London EC4 England, UK

Long/Lat:

51°30’34.82’’N

Subsuming Parish:

All Hallows by the Tower

0°4’57.80’’W

Area: 1065 m2 Listed: Grade I List entry Number:

1359173

Date first listed:

04-Jan-1950

Name:

CHURCH OF ST DUNSTAN IN THE EAST

ST DUNSTAN IN THE EAST (RUIN)

District Type:

London Borough

Architects:

Christopher Wren (Ephraim Beauchamp)

David Laing

Sir Herbert Baker & Scott

Seely & Paget Partnership

15 Visit to the London Metropolitan Archives 12

Brief History The exercise of this thesis takes places in the City of London; at the public garden of St Dunstan in the East, a public park located in the ruins of the former St Dunstan in the East Church. The site has its origins in the preroman period when it was used as a Druid Shrine. After the Romans, the Saxons built and established a church around 1100. According to Thomas Murray, the first traces of St. Dunstan in the East are found in parish books dating four centuries back of that time (13rd century).15 Taking into account the great fire of London in 1666, it is difficult to trace evidence of the church’s founding. The oldest description appears to be that of sir John Stow’s (in a survey report in 1598): “The church of St. Dunstan is called in the East, for difference from one other of the same name in the West. It is a fair and large church of an ancient building, and within a large churchyard.”16

St Dunstan in the East was damaged for the first time in the great fire of London in 1666. Though the building was seriously damaged, it was decided to rebuild the church. In 1695 Sir Christopher Wren was commissioned as the architect of the new church. He patched up the damaged main body and added a large tower that stands till this day. However, the main body of the church, lasted till 1800’s when it appeared to suffer from structural problems and so, was rebuilt some years later in 1821 by David Laing who reconstructed the main body of the church in a gothic revival style. In 1941 St Dunstan in the East church witnessed its last form of destruction by the Blitz. The main body of the church was severely damaged. The tower and steeple however remained unscratched. Having been listed as Grade I building, the surviving ruin was then acquired by the City Corporation of London and transformed into a public garden that opened in 1971. The site remains a garden to this day, a gathering point for Londoners during lunch break and other special occasions.

15 16

Murray, T.B.M.N. 1859 Murray, T.B.M.N. 1859

St Dunstan in the East

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16 Site Location in the City of London 14

St Dunstan in the East

17 Site Location in the City of London 15

pre-Roman Druidic Shrine post-Roman Saxons build a church on the site 950 AD

Restoration of the church by St. Dunstan

1100 Founding of the Church 1365 Archbishop succession - Simon Islip 1381 South Aisle Added (Foundations by Henry Yevele) 1550 Described fist by John Stow in a survey report (mentioning monuments from 14th and 15th C) 1666 Great Fire of London: Serious Damage not enough severe to warrant a complete rebuild 1666-98 Patched up: Final Stage replacement steeple 1695-1701 Restoration by Sir Christopher Wren 1800â&#x20AC;&#x2122;s Church falls into decline (weight of naive roof displaced walls by 7 inches) 1810 Alarming symptoms of insecurity in the building appeared. 1817-1821 Corporation of London Architectâ&#x20AC;&#x2122;s rebuilds the main body of the church- David Laing 1941 Church bombed by the Blitz - Only tower and steeple remain unscratched 1941-1967 Church remains a ruin 1942 Services are held as part of the National Day of Prayer. 1950 Listed as Grade I 1953 Sir Herbert Baker & Scott reconstructs the spire (It was taken down for repair in 1951) 1960 Church gets linked with All Hallows by the Tower 1967 City Corporation of London acquires the ruins and decides to create a public park (London Architects and Parks Department) 1971 1970-2 1976

Church and Graveyard open as a public park Restoration of Tower by Seely & Paget Partnership and conversion to offices. Park receives Landscape Heritage Award

2015

Improvement Works (new plantation in the garden)

St Dunstan in the East

18 St Dunstan in the East [1560] 17

St Dunstan in the East

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200

400

800m

19 Site Location in the City of London 18

St Dunstan in the East

20 Site Location in the City of London 19

1941

1945

1999

2017 21 Aerial Views of the Site [1941-2017] 20

2 1

1. 2. 3. 4.

St Dunstan in the East Monument London city high-rise Buildings River Themes

Sunday 2nd September Monday 3rd September Tuesday 4th / Wednesday 5th of September

Damage Beyond repair Seriously damaged, doubtful if repairable Seriously damaged, Repaired at cost

[top-down, left-right] 22 Basic Landmarks of the Area of St. Dunstan in the East 23 Access points of the garden of St. Dunstan in the East 24 Sprawl of the Great Fire of London [1666] 25 Bombing damage after the Blitz

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26 Archives of St Dunstan in the East 22

Stages of Evolution (Fire- Bomb - Park) Since the site has a complex evolution with multiple stages of destruction and reconstruction, it is important to attempt to map these changes and define the phases of the church so as to be able to read it as a Palimpsest of multiple layers of time. Each phase has left its traces on the site today which form the sites “historical stratification”17 Stage A: The Great Fire of London + Christopher Wren It is known that the initial church had a south aisle added to it in 1381. Since the church has been reconstructed multiple times, it is hard to define any evident traces on the site. In 1667 Inhabitants of the area began to raise their church from the ruins but with a very limited budget. With the help of contributors some years later, Christopher Wren was acquired as the architect of the new church (1695-1701).18 Wren added a modern gothic tower with a steeple and a spire to match the previous style of the gothic exterior, an undeniable proof of Wren’ s mechanical skills and taste. He also patched up the damaged body of the church, using tuscan arcades, doric reredos and pillars in the interior.19 Though Wren’s tower and spire were a great example of engineering for the time, the repair of the main body of the church appeared to be insecure. In 1800 alarming symptoms started to appear as the weight of naive roof had displaced the walls of the church by 7 inches.20 This lead to the decline of the church some years later and the need to reconstruct it in 1817-1821 by the Corporation of London Architect’s department. The architect now was Mr. David Leing who reconstructed the church in a early gothic revival style.

17 18 19 20

Schultz, A.C., 2007 Murray, T.B.M.N. 1859 Ward, H.M.N., 1845 Murray, T.B.M.N. 1859

The Ancient church

17th Century

South churchyard 1815

David Leingâ&#x20AC;&#x2122;s restoration of the church

1817

St Dunstan in the East

1720

St Dunstan in the East

1750

Central Nave of the church 1817

St Dunstan in the East

1817

South churchyard

North-east porch of the church

1891 24

19th century

Stage B: Reconstruction by David Leing When David Leing began works of rebuilding the church, evidence of the ancient church were brought to light. A weekly magazine of the time (The Saturday Magazine No690 April 1 1843) gives a fair description of all findings:21 1. The foundations which were laid open which indicated the size of the ancient church to be a very large space.22 The initial floor was found to be two feet bellow the pavement (with glazed and ornament tiles). 2. Along with it a thick marble slab and stone benches, as well as fragments of a beautiful eastern window, were also found. This western window and the chancel appeared to be built on the same site with the precedent ancient church. 3. Massive chalk and rubble walls were traced extending in all directions especially north ways. 4. In the south wall, a very perfect piscina carved out of one block of Purbeck marble, was discovered. 5. Opposite in the north wall were remains of a stone ambry while stone vessels of holy water were found in the walls of the porches and at the west end of the church. David Leing designed a new body for the church in accordance to the existing tower of Christopher Wren, as well as to the previous interior. His design included a central naive with north and south aisles of nearby equal width. These were divided by slender clustered columns and pointed arches of stone, supporting a clerestoried ceiling of six pinnacled buttresses against north and south walls. Entrance was made from the north-east side (porched with a groined ceiling) while a secondary western entrance was made beneath the tower.23 A gallery in west end was used for the organ. The building made out of Portland Stone corresponded with the tower and the previous design since the eastern window was very similar to size and detail with the ancient one. The windows of the aisles were designed similarly to the great east window.

21 22 23

Ward, H.M.N., 1845 Ward, H.M.N., 1845 Ward, H.M.N., 1845

Necropolis

South Aisle Added in 1381

Replacement of mansonry by 17.78cm

Ambry + Hingest

Stone Vessels Holly Water Toscan + Gothic

Piscina (Marble)

36. Stages of the Church’s evolution 1. Ancient Church [outline] 2. Church’s Graveyard area 3. Christopher Wren’s church [outline] 4. Structural sufferings from the weight of the naive roof 5. Findings of the ancient church during David Leing’s restoration 6. David Leing’s restoration of the church in 1821 7. Remaining masonry of the church’s main body after the Blitz in 1941

8 26

8. Transformation of the church into a public garden 1971

Stage C: The Blitz “After the Allied victory in 1945, the London authorities had difficult decisions to make: whether to repair, rebuild or redevelop? The task was huge, and many plans took decades to fulfill. Yet the devastation gave architects a rare chance to reinvent the city, reworking the ruins for a new function. From the iconic to the very humble, here are some of Londonist’s favorite buildings and locations that rose from the rubble to receive a second chance from the developers.”24 When the church was bombed by the Blitz, Wren’ s tower survived and was untouched. However Leing’ s main body of the church was severely damaged. The nave and aisles were destroyed and only the masonry of the church remained on different heights. The central eastern window of the church was also seriously damaged. The tower on the other hand needed repairs which took over in 1951 by removing and repairing the spire and placing it back. A unique set of bells was also removed and transferred to Loughborough were it serves till this day. The site was then acquired by the City Corporation in 1967 and was decided to use both the church and the burial ground as a public open space. A Brief of the Civic Trust Awards for the park in 1973 gives a detailed description of the basic design principles of the park: 1. The shell of the ruined church would serve as the main architectural element of the park. 2. The ruin was repaired and in particular the existing stone window tracery, which had been shattered beyond restoration by fire has been replaced. 3. Design of the garden layout was based on freely flowing shapes, while a new central fountain was introduced. 4. Handmade retaining walls were built with hand-made ash grey facings and Portland stone copings. 5. Old York stone paving from London Bridge were placed as well as granite sets cobbles and Wealden rough stock brick pavers for paving textures.

Carroll, J.P. 2014

ST DUNSTAN IN THE EAST - 20th Century

41 28

[From Left to Right, Top to bottom] 37. Panoramic view from the Monument facing east. 1971 38. St Dunstan in the East 1910 39. “The Blitz” hits London [1941] 40. John Pladdys ringing at St Dunstan’s 41. Interior of the church 42. After the Blitz 43. After the Blitz 44. After the Blitz 45. After the Blitz 46. Work on the spire nears completion in this picture taken in 1951 47. St Dunstan in the East, St Dunstan’s Hill, Elevated view of St Dunstan in the East showing bomb damage. 1941 48. National day of prayer held in the Blitzed church

47 29

49 St Dunstan in the East 30

Why a Garden ? What is quite interesting at this stage after the Blitz is the decision not to rebuild the church nor to demolish it for the sake of development, a strategy that was adopted largely for most of the bombing sites, but instead to turn it into a public garden and a memorial of that event. After the Blitz, bombed sites became sites of opportunity for developers, commonly used for large housing and surprisingly are still used today as building sites.25 While for some this was an opportunity for profit (its interesting that the bombing maps of the city were developed mainly for post-war planing and landowners26), for others these sites were ‘witnesses’ of an event that had to be remembered. After the war conservationists were highly motivated, and “the idea of heritage and listing buildings only really started after the war”27. As a result, some buildings such as churches had a different approach. While most of them were rebuilt, some, including St Dunstan in the East were converted into public gardens as places of memory. The Times wrote in 1944 “The time will come – much sooner than most of us today can visualize – when no trace of death from the air will be left in the streets of rebuilt London […] It is the purpose of war memorials to remind posterity of the reality of the sacrifices upon which its apparent security has been built. These church ruins, we suggest, would do this with realism and gravity.28” Among these and similar to St Dunstan is the Christ Church on Newgate Street which was also left as a ruin, as a reminder of the Blitz. However, Watts questions the complex stating: “The entire complex is a mess, but a very polite mess that evokes no great thoughts of human sacrifice”. And actually this ‘polite mess’ may be found in St Dunstan in the East, a site that has actually been burned and bombed summarizing the history of the city, which however today is a calm place with no evidence of what has happened. Perhaps, as Alan Lee Williams comments: “It’s always a puzzle why it did not happen, maybe they just wanted to forget.”29

25 26 27 28 29

Watts, P.Blitzed, 2015. Watts, P.Blitzed, 2015. Watts, P.Blitzed, 2015. Watts, P.Blitzed, 2015. Watts, P.Blitzed, 2015.

50 Survey + Documentation of St. Dunstan in the East

04.

S U R V E Y + D O C U M E N TAT I O N

The oldest archive testimony of the church’ s existence is the Ancient Vestry located in the London Metropolitan Archives, which records the church’ s events. Visiting different archives, making a thorough on-line research, reading different reports of different times, along with tracing drawings, sketches and old photographs provides an understanding of the various ways of documenting and their importance when dealing with historic buildings. Furthermore, it develops a ‘mosaic of information’, which consists of all these layers of documentation in order to understand and further document or re-use such a place. This historic mosaic of the building, works as a foundation in connecting today’ s traces that are found on the site with the different events of the church’ s past, leading to their “historic stratification”.30 For the precision this research demanded, the site was surveyed using a 3D scanner, a contemporary way of documenting, which resulted a three dimensional replica on the site, making possible to detect any visible trace and detail.

Schultz, A.C. 2007

54 34

[From Left to Right, Top to bottom]

60 35

51. St Dunstan-in-the-East, showing position of pews. c1800 52. Section from east to west of St Dunstan-in-the-East. 1817 53. Elevation, plan and cross-section of St Dunstan-in-theEast’s tower. 54. Elevation, Plan of St Dunstan-in-the-East. 1817 55. View of St Dunstan-in-the-East from south east. c1835 56. Elevation, plan and cross-section of St Dunstan-in-the-East’s tower. 1826 57. Cross-section of mullions in principal window of St Dunstan-in-the-East’s east end. c1820 58. Principal east window of St Dunstan-in-the-East. c1820 59. Drawings to show proposed new windows in north east and north west apses of St Dunstan’s in the West. c1880 60. Interior view of St Dunstan-in-the-East. c1835

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0.20

.36

0.05 0.02 0.05

.44

26째

19째

0.05

0.13

R0.07 0.24 2.60

1.17 0.52

0.73

0.75

0.47

0.11

1.82

0.11

0.48

0.08 0.11

4.63

0.49

2.13

0.16

0.332

0.15

R0.25

3.67 0.49

2.17

0.20

0.16

0.048

0.49

0.15

.15

0.10

0.14

0.11 0.08

0.08

0.202

0.11

0.33

R0.05

R0.03

0.05

0.15

0.16

0.14

0.16

62 61

65 64 0.14 0.73 0.73 0.73 3.93 0.73 0.73 0.14

0.11

1.79

56 R0.1 8 .19

R0 0.042 0.121 0.169 0.664

0.010 0.212

0.69

0.75

0.33

R0.300 2 R0.34

0.95 0.52

0.08

60 2

0.43 0.21

0.61 0.45

0.16

R0.0 10 R0.

0.030 0.260 0.060 0.260

0.16 0.13 0.14 0.17 0.11

0.38 0.15 0.48 0.40 2.60 0.73 0.47 1.82 0.48 4.63 2.13 0.20

0.14

0.73

0.37

1.97 68

8.73 2.18 0.36

0.36

3.65

[From Left to Right, Top to bottom]

6.43

0.70

3.21

3.67

2.18

5.71

0.35

4.37 2.18

3.21

2.18

0.36

4.37

70 37

61. Groined ceiling of the North-east porch [Plan] 62. Detail drawing of the church’s window [Plan] 63. Detail of the church’s window [Elevation] 64. Central east window [Elevation] 65. Detail of the various types of openings [Plan] 6. Detail of the church’s window [Plan] 67. Detail of the central corridor’s supporting column [Plan] 68. Master plan of the church [1821] 69. Central Eastern window [Elevation] 70. Groined ceiling of the central corridor [Plan]

ST DUNSTAN IN THE EAST GARDEN

76 38

[From Left to Right, Top to bottom]

85 39

71. North East entrance of the garden 72. Detail of the North East entrance 73. Detail of the North Masonry 74. Plantation and the ruin 75. South East entrance 76. Burial ground traces 77. South interior elevation 78. Plantation and the ruin 79. Plantation and the ruin 80. Detail of South East entrance 81. East window trace 82. Interior of the Garden 83. Interior of the Garden 84. Garden use for photography 85. Plantation and the ruin

86 3D Imagery [up] 87 Stereoscopic imagery [down] 40

88 3D Imagery [up] 89 Stereoscopic imagery [down] 41

90 Survey of St Dunstan in the East with 3D Scan 42

91 3D point cloud . Exported from the survey [Axonometric] 91 43

92 3D Scanning methodology 44

Idol Lane

St. Dunstan's Alley

Hill

St. Dun

stan's

St. Dunstan's Lane

St.

Dun

sta n

's H

ill

n's Hill

St. Dunsta

3D Scanner Position [1-14]

Key Points of Interest

Spheres position

20m

93 3D Scanning survey process. Traverse of survey. 45

94 3D Scan. Exported Plan 46

95 3D Scan. Exported Plan 47

96 3D Scan. Exported Section T 48

97 3D Scan. Exported Section K 49

98 Sections of the Ruin 50

99 3D Scan. Exported Axonometric 51

100 3D Scan. Exported Perspective 52

101 3D Scan. Exported Perspective 53

102 Central corridor of the former church

05.

TIME SCULPTURE

Time Sculpture: Observation Adding on to my research, from a more personal scope of documentation when I first visited the site I perceived it as an open place of stability, fixed in time, which observes the ever-changing and fast-moving surrounding City.

ARRIVAL A ruin is located on an inclined ground. It is partly covered by plantation. A grand door stands on the right side and signifies the entrance to the church-park. Really, how much of a garden or how much of a church is in this place I wonder? And if there is no church anymore, then what are these remaining traces that have been wrapped in green?

THE GARDEN The time is 14:35. Two gardeners are maintaining the park, while Londoners are siting on the benches, scrolling down their phones during their lunch break. At the centre stands a water element, with eight benches. I am sitting on the central one. Is it a garden or a church, I question myself once again? No one, however, seems to feel as being in a church. The time is 14:54. I am now alone in this place. I feel isolated and so, I carefully observe the place, the way the plants climb on the walls of the ruin hiding their imperfection and destruction. As if the ruin attends to hide its wounds. I notice that the city is being framed through the 12 Gothic openings and perhaps less ‘skilfully’ or ‘ably’ through its ruined walls. A new ‘floor’ has been designed after the bombing that re-defines the church and transforms it into a garden. Seven trees compose the new roof of this urban room.

103 Personal notes on the first visit 56

URBAN ROOM In this closed-open space my relationship with the city suddenly changes. Instead of walking in the urban grid, I am now distant, isolated, I am in an open urban room. The gaps-windows [are they really windows?] frame the city, indicating urban gazes and revealing it fragmentarily. The Shard, the Monument, they appear as moments in the park to remind us that the city is changing, is transforming. But the garden is a room, or to put it better, the church has been transformed into a room where you are hiding and re-discovering the city. However, time here is seems frozen. Eight benches in a radial arrangement indicate the central point of rest where also the element of water appears; The new epicentre. The water fountain that coexists with the silhouette of the Monument that can be seen from a window. Water, fire [â&#x20AC;Ś]

Creating this historic mosaic of the building, helped me create a foundation for my next stage to connect today’s traces that are found on the site with the different events of the church’s past leading to their historic stratification. For the precision this research demanded, I surveyed the site using a 3d scanner, a new way of documenting which I came across this year and which really opens new horizons on the way we archive buildings and space. Using different tools of recording, helped me also understand and distinguish the two stages of destruction caused by the Fire and the Bombing which appear to stand as key elements of the place’s identity and to define a clear connection with the traces that are found within the site today. This made me understand and address the site as a ruin that stands like a ‘time sculpture’ with ‘signifiers’ that could potentially reveal those past events, as well as other hidden traces. Adding on to my research, on a more personal scope of documentation when I first visited the site I perceived it as an open place of stability, fixed in time, which observes the ever-changing and fast-moving surrounding City. I noted: “In this closed-open space my relationship with the city suddenly changes. Instead of walking in the urban grid, I am now distant, I am isolated. The remnants, the gaps and the windows frame the city and reveal it fragmentarily, while indicating urban gazes … So this garden is a room or in other words, the church has been transformed into an urban room where you are hiding and re-discovering the city. Time here seems frozen.” The above description and the stages of the church’s development through time are the qualities that have to be preserved and therefore define the new proposed program. My proposal is an Archive centre. The ruin should become a point of knowledge, of interaction and of spectacle, while at the same time it should reveal its essence of memory, which is currently in oblivion.

104 North-East entrance 58

105 Trace of a former window on the east wall 59

106 Is it a park or a church? 61

IS IT A PARK? OR A CHURCH? 107 Is it a park or a church? 63

108 Collage of the churchâ&#x20AC;&#x2122;s evolution 64

ANCIENT CHURCH GREAT LONDON FIRE

RUIN

G OT H I C C H U R C H STRUCTURAL PROBLEMS

RUIN

G OT H I C C H U R C H WW2- THE BLITZ

RUIN

PUBLIC GARDEN

109 Stages of the churchâ&#x20AC;&#x2122;s evolution 65

110 Fragments of history founded within the church 66

111 Historic stratification of archives found in the church 67

111 Historic stratification of archives found in the church 68

112 Historic stratification of archives found in the church 69

113 Historic stratification of archives found in the church 71

ST. DUNSTAN in the EAST

FRAGMENTS OF ARCHIVING B

T A S O S S T U D E N T 73

T H E O D O R A K A K I S N O : 1 5 1 1 3 1148 Windows: 0 2 indicators of urban gaze

115 Surveying St Dunstan in the East

06.

ARCHIVE OF ARCHIVING What to preserve? Archives as places of memory

St Dunstan in the East seems to summarize the cityâ&#x20AC;&#x2122;s history since all historic events have left their scar on this site. It is this quality along with the churchâ&#x20AC;&#x2122;s nature of evolution through destruction the elements that have to be preserved and therefore define the new proposed program. The proposal for St Dunstan in the East attends to re-use it as a park of memory, and as an Archive centre. The ruin is proposed to become a point of knowledge, of interaction and of spectacle, while at the same time it should reveal its essence of memory, which is currently in oblivion.

â&#x20AC;&#x153;In this closed-open space my relationship with the city suddenly changes. Instead of walking in the urban grid, I am now distant, I have been isolated. The Gaps and windows frame the city, indicate urban gazes and reveal it fragmentarily â&#x20AC;Ś So this garden is a room, or to better put it, the church has been transformed into an urban room where you are hiding and re-discovering the city. Time here seems frozen.â&#x20AC;?

116 Fragments of information of St Dunstan in the East 77

117 Archive Typology 1. Entrance 2. Lobby 3. Cafeteria + Retail 4. Corridor 5. Archive storage 6. Administrative offices 7. Archive offices 8. Archive Visitor room 9. Shipping 10. Receiving 81. Package Examination 78

Archive [from the Greek: Αρχείον Arkheion Arkhi= Authority]

At this point it is important to define the archive as it is a key notion of this project. As a term it has its origin to the greek Arkheion, which is a word connected to the notion of authority31. An archive is an object of evidence, it might be a place or a document, physical or digital. An archive might be either a primary object or place, or a documentation of something that is valuable or even lost. Voss and Werner distinguish two types of archives, the “physical site” and the “imaginative site”, the last one being constantly re-invented and “shifting”.32 Over the history the idea of an archive constantly changes as technology evolves. When new objects, new forms of reality are introduced, at the same time our ways of documenting them also change. New types of archives are constantly being added. Every type of archive may be used differently, may be a different type of documenting, may be more or less accurate. As Derrida notes: “nothing is less clear today than the word archive”.33 One might address an evolution of the last centuries of documentation and ‘archiving’ by different types of media. Each time a new form of archiving has been introduced, similar issues tend to emerge. Photography was used in the 19th century as a “political apparatus”34 for criminal records raising issues of ethics. Similar issues were raised with stereoscopy some years later which was a type of representation of space through photography giving it a third dimension. Similarities may be found even today in 3D software or 3D Scanning, tools of ‘archiving’ which through imagery produce 3D physical replicas. These objects of evidence in some situations are considered to be an appropriate amount of preservation.

31 32 33 34

Tagg, J., 2012. Voss and Werner, 1999, p.i Derrida, 1996, p.90 Tagg, J., 2012.

118 Surveying St Dunstan in the East [Axonometric fragments] 80

Archive places’ on the other hand, are institutions that store this information collected through time. They basically store what we wish to remember and consider to be important. This process of ‘archiving’ in its contemporary sense goes back to the Archival Administration which was developed in revolutionary France in the 18th century.35 The institutionalization of archives generally takes place in 19th century Europe as an attempt for creating a place for national memory (collective memory in a sense). This collection of memory, these “factories of memory” as Huyssen refers to both on collective and on individual scale are today a “big business”36. For Nora, our age is defined by our “desire to archive”.37 Though one might argue that this institutionalization of archives provides access to truth for the public, Foucault states that the act of archiving in a sense, is closely related to the act of accumulating everything of constituting a place of all times an idea that is a part of our modernity.38 For him, the archive in a more political approach, is closely linked with a “system of utterability” and the “law of what can be said”, an instrument of power.39 Both Foucaul and Derrida address the act of ‘archiving’ as something that “produces as much as it records the event.”40 One can question whether an archive is an “object of truth” or an “instrument of power”? Perhaps both. Whether an archive is open to interpretation, or constructs a certain truth, is a key question to understand the power of such notion and the purposefulness the act of ‘archiving it’ might hold.

35 36 37 38 39 40

Evans, S. 2010. Evans, S. 2010. Nora, 1989, p14. Foucault. M. 1967 Foucault. M. 2010 Derrida, 1996, p.17

07.

PROPOSAL

119 Collage of intention: An archive of the placeâ&#x20AC;&#x2122;s archiving

FRAGMENTS OF ARCHIVING

As an attempt to put the above concerns into practice, the site is proposed to become an archive of its own documented history. A place of exploration where the archive is both the historic objects and the building itself. An Archive of the place’s Archiving! An Archive of the way we Archive! This archive centre should consist of fragmental experiences of documentation, of ‘multiple realities’ and interpretations of the ruin, of archiving and tracing it, in a similar way that the journey from a sketch to a final 3D replica constantly adds pieces to the mosaic of understanding a historic environment. The new topography treats the site as ‘a garden of archive’, while at the same time it adds on to create a new archive centre of the church’s history. The ground and the ruin are being treated in such way so as to reveal the church’s traces and fragments, to generate multiple readings of the events that have taken place, and at the same time to provide a new reading of the surrounding city. The topography, basic urban gazes, and the geometry of the site are elements that define the proposal. The intervention is consisted of two layers. A surface that constructs the new ‘ground’ of the site and a ‘monolith’ which is placed inside the church’ s former main body and is suspended from the ground. When entering the site, the visitor is confronted with a ruin and a hanged ‘monolith’ that reflects the surrounding plantation of the garden. At night, the illusion shifts and reveals a second smaller prism inside, a dark, burned object. A reminder of the church’s former body.

1100 AD

Found

1666

1941

1970

Fire

Bomb

Park

Building

Ruin

Traces

Caused by

Signifiers Survey

+ Intention

Program

Archive of Archiving

Layer Narrative History

Underline Traces

Reuse

Revealing Traces Preservation

Intervention

Archive Centre of:

What

Building Signifiers

Spectacle

How

Fra g m e n tal In ter ven tion

Documenting In-Presentia

Type s o f A rchi ve s

Digital

In-Absentia The Building

120 The main historic events that need to be revealed 86

121 Time Sculpture : Sentimental topography 87

ARCHIVE

122 Main destruction events of the churchâ&#x20AC;&#x2122;s history 88

III I

Four layers of intervention Four types of ARCHIVES I. In-presentia II. Digital III. In-absentia IV. The wall

123 Diagram of the intervention [Axonometric]: Four types of Archives 89

1. Church + Traces

2. Geometry Axes + Gaze

3. Position of the Archives

4. Urban Gaze + Archive Gaze

5. Layer A: The New Ground

6. Layer B: The Monolith

124 Layers of synthesis 90

Layer B: The Monolith

Ruin of St. Dunstan in the East

Layer A: The New Ground

125 Synthesis diagram [up] 126 Intervention diagram [down] 91

127 St Dunstan in the East [1910]. The main body of the church was destroyed after the Blitz 92

128 The monolith: A thin glass layer reflects the surrounding plantation during day. At night, a smaller dark prism is being revealed 93

129 Former churchâ&#x20AC;&#x2122;s interior: A spacial quality that is being preserved 94

130 Revival of the former churchâ&#x20AC;&#x2122;s interior groined ceiling 95

131 Section-K: Trace of the former body of the church [up] 132 Section-T: Trace of the former body of the church [down]

ON MEMORY, ARCHIVE AND GAZE The proposed topography narrates the church’s history and the events that have taken place. Initially when approaching the site, the visitor is confronted with a ruin and a hanged ‘monolith’ that represents the destructions of the church (Great fire of London and the Blitz) which reflects the surrounding plantation of the garden. At night, the illusion shifts and reveals a second smaller prism inside, a dark, burned-like object! The second layer; the ‘new ground’ reveals and narrates different stories and details of the place as the visitor moves. Four spaces of ‘archiving’ described above, act as episodes-parts of the overall journey. Each one of them narrates a different story: I On the north wall, the visitor is confronted with a wall which frames objects of the church. The new layer complements the walls geometry and analogies, and at the same time establishes several new relations between the visitor and the masonry in the form of paradox. The wall is more dynamic, may be trespassed, has a ‘sliding door’ and a balcony. II In the middle of the ‘urban room’, the monolith is placed at such height so as to, on one hand, reveal the original height of the ruined building and on the other hand, to create a primitive geometry of the groined ceiling of the church. In addition, the benches under the monolith facing the ‘new’ eastern window (staircase) are being formed two feet bellow ground level, in order to reveal the churches initial level. These new benches (pews) are now located in the central corridor. III On the west wall, a thick transparent staircase, starting from the point of the found Pinnacle takes the visitor to a small journey which provides multiple gazes of the ‘collage’ wall in different heights. First entering from the ‘cutting’ on the masonry, then moving under the bells right under the tower and finally moving in a complete opposite direction on a new floor which resembles the old upper floor of the organ-to a belvedere looking towards the City of London. IV A completely different treatment has been applied on the south wall. Here, the displaced wall stands alone, creating a new entrance to the ‘urban room’. The displacement, apart from creating this archive nature, and establishing a gaze towards the City of London serves another purpose. It describes the displacement of the walls made once by the weight of the nave roof in the 19th century which lead to Leing’s restoration of the church.

133 The wall of the church as an archive. Framing fragments of the masonry 134 Archives-objects of evidence as the objects that need to be revealed 135 Windows as archives, background for other archives and indicators of gaze

The â&#x20AC;&#x2DC;garden of archivesâ&#x20AC;&#x2122; narrates four types of archive related to St Dunstan in the East: I Archives-objects of evidence found within the ruin today: inpresentia (north wall) The north wall is being used as an indicator of different fragmentsarchives found on site: Two pinnacles indicating the churches initial height. A stone vessel indicator of the churches former presence. II Digital archives and documents that have or will be produced in the future. (monolith) The monolith contains an interior space that stores documents of the churchâ&#x20AC;&#x2122;s history and stores existing archives or archives that might be added in the future. In addition, it accommodates a small amphitheater where digital projections may be held. The monolith is raised eight meters above the ground level and provides multiple views towards the park. The visitor at this point is being confronted with 3d imagery, stereoscopic imagery and other types of documentation. III Archives-objects of evidence that have been removed from the church and are replaced with 3d replicas: in-absentia (west wall) On the west wall the visitor is facing a collage synthesis of the key elements indicating the churches former presence until the bombing. Three dimensional replicas are placed: a stone piscina on the northwest entrance and the former church bells which were removed after the bombing, part of the upper floor which stored the organ. IV

The ruin as an archive of itself (south wall)

On the south part of the ruin, a part of the wall is being, displaced, is being framed and is treated as an archive of itself. Any plantation on the wall is being removed and the archive wall is open for interpretation and study. Furthermore, in a square-area in-front of the wall, masonry fragments are being placed.

100

136 Windows as archives, background for other archives and indicators of gaze 101

137 A cut in the west end of the North wall reveals a clear gaze to the City of London 138 Time Sculpture. Deconstruction of the window and the generation of a new object

The ‘garden of archive’ indicates new gazes depending on the position and the height of the visitor. The ruin features 12 gothic windows that become vessels for new gazes towards the church’s history and the surrounding city. In addition, new openings are introduced, and some of the previous ones are altered. I On the north wall, four windows work either as frames for the archives behind them or as background for the ones in-front of them. In addition, a window is transformed into a passage way from the north part of the park to the ‘interior’ and vice versa. A cutting is made on the north-west end of the wall in order to provide a clear gaze to the highrise buildings of the City of London; the new scriptures. Meanwhile, it establishes a clear separation between Christopher Wren’s layer (the tower and the house) and Leing’s body of the church built later. II On the south wall, the removed part is placed in such way as to indicate a second set of gazes towards the new centre of the City of London. A surface is being placed in front of the wall in such angle as to work as a place for viewing. The door in the south east end of the ruin is being treated in such was as to prevent movement and indicate its former state as a window. III On the west side, the single window is being ‘raised’ one meter to establish a clear gaze with the Monument located west of the park. IV Finally, in the east side of the ruin, the area under the monolith is a rest area where the ceiling and a stare case leading to the archives, indicate the former groined ceiling of the church and the great eastern window which was destroyed during the Blitz.

103

4 8

1 Black Marble 2 Dark Metal 3 Burned Wood 4 Tile 5 Concrete 6 Grey Plaster 7 Water 8 Dark Plaster 9 Portland Stone 10 Glass Brick 11 Transparent metal 12 Perforated metal

139 Top view of the proposal 140 Materials and Textures of the proposal 104

City of London High Rise

Idol Lane Idol Lane

City of London High Rise K4

St. Dunstan's Alley St. Dunstan's Alley

2 1

2 1 T3

S stan's t.H Dunstan's H ill ill

St. Dunstan's Lane

St. Dun

St. Dunstan's Lane

's Hill 's Hill St. Dunstan St. Dunstan

Hill

St. D u

nsta n's

St. D

uns

tan' s

Hill

1. 2. 3. 4. 1. 5. 2. 6. 3. 7. 4. 8. 5. 9. 6. 10. 7. 11. 8. 12. 9. 10. 11. 12.

Entrance to the Garden NE Entrance to courtyard N Part of garden Former EntranceNecropolis to the Garden Archive in-presentia NE Entrance to courtyard NW Entrance to couryard N Part of garden Couryard area Former Necropolis Archive in-absentia in-presentia Pews Area NW Entrance to couryard Staircase area to Archive centre Couryard Archive -in-absentia the Wall Urban Gaze Pews Area Staircase to Archive centre Archive - the Wall Urban Gaze

20m

141 Masterplan of the intervention 105

Archives in-presentia

Pinnacle Groined ceiling

Supporters

New Floor

Pulley

Balcony Pinnacle Stone Vessel Church ambry Staircase

Door

Balcony

A cut of the masonry on the west end is made to reveal a clear view to the cityâ&#x20AC;&#x2122;s high rise buildings

The intervention on the north wall is composed of archives that are found on the site

142 North part of the intervention [Archive 1] : Archives in-presentia [Axonometric] 106

3D Piscina

A cut of the masonry on the west end is made to reveal a clear view to the cityâ&#x20AC;&#x2122;s high rise buildings

3D Column

Pinnacle B

Stone Vessel

Burial ground

Balcony

Door

Staircase

Church ambry

Pinnacle A North Part of the Garden

Groined ceiling

East Entrance 143 North part of the intervention [Archive 1] : Archives in-presentia [Plan] 107

108

144 North part of the intervention [Archive 1] : Archives in-presentia [Plan] 109

Pulley

Stone Vessel Door

145 Diagram of the intervention on the north wall of the church: A new door transforms a window into an entrance [up] 146 North part of the intervention [Archive 1] : Archives in-presentia [down] 110

Pulley

Stone Vessel Door

147 [left] Construction details of the door [Axonometric] 148 [right] Construction details of the door [Plan - Section] 111

149 South West entrance 112

150 Section T3 113

A Window becomes a door

A Window becomes a frame for a pinnacle

A Window becomes a balconi

151 Interventions on the windows of the church [Axonometric] 114

152 Interventions on the windows of the church [Section - Plan] 115

116

153 North part of the intervention [Archive 1] : Archives in-presentia [Plan] 117

DIGITAL Archive

A second layer of the monolith is the glass brick that during daytime reflects the surrounding plantation, and in a way camouflages the monolith. During night, the monolith casts light and is being revealed.

The monolith has a dark stone layered skin, with slot openings.

Archive center: featuring an amphitheater and a storage space for archives.

A monolith is introduced as an accommodation for the digital archive of the church. It revived the volume and the former ceiling of the church.

The benches of the park are now under the Monolith at 60cm bellow ground level, at the point where the initial ancient church was built.

East part of the ruin. Entrance to the archives from a staircase.

154 East part of the intervention [Archive 4] : Digital Archive [Axonometric] 118

Benches of the garden

Former position of columns Former central corridor

Staircase that leads to the digital archive area New â&#x20AC;&#x2DC;eastern windowâ&#x20AC;&#x2122;

Entrance from the north east porch of the church

Former chancel of the church

155 East part of the intervention [Archive 4] : Digital Archive [Plan] 119

1 Storage space for the archives 2 Reading space-Amphitheater 3 Entrance 4 Reading space

Digital archive centre

Dark stone skin, with slot openings Structural supporting frame 1

Second skin of the monolith of glass brick

156 [up] East part of the intervention [Archive 4] : Digital Archive [Plan] 157 [down] East part of the intervention [Archive 4] : Digital Archive [Axonometric] 120

158 Aerial view of the proposal: Revival of the events of destruction that took place in the site 121

159 South Elevation T 122

160 Section T2 123

161 East Elevation K 124

162 Section K2 125

126

163 The urban room 127

III

Archives in-ABsentia

The West window is being ‘lifted’ in order to provide a clear view to the London Monument 3D Replica of the former piscina

Pinnacle

Staircase: entrance from the North-west part.

Former upper floor of the church. Staircase that leads to the upper floor of the church

Traces of the removed windows are being introduced 3D replica of the former column of the church’s interior

3D replica of the former church bells

164 West part of the intervention [Archive 2] : Archives in-absentia [Axonometric] 128

Pinnacle

Staircase: entrance from the North-west part.

West entrance to the garden

3D Replica of the former piscina

3D replica of the former column of the churchâ&#x20AC;&#x2122;s interior

3D replica of the former church bells

The West window is being â&#x20AC;&#x2DC;liftedâ&#x20AC;&#x2122; in order to provide a clear view to the London Monument Traces of the removed windows are being introduced

165 West part of the intervention [Archive 2] : Archives in-absentia [Plan] 129

166 Section K3 130

167 Section K4 131

Groined ceiling

Supporters

New Floor

3D replica of stone piscina

168 Intervention in the north east porch of the church [Axonometric]

169 Insertion of a 3D replica in the north west part of the church [Axonometric]

Steel frame

Sliding concrete wall

Blockage of the door indicating its former use as a window

Bench of the garden

170 Intervention on the South East window of the church [Axonometric] 132

171 Entrance to the park [Axonometric]

172 133

3D replica of the stone vessel of holly water in the west part of the church

134

173 North west part of the intervention 135

THE WALL Archive Shift of part of the masonry as a reminder of the structural problem caused by the weight of the naive roof in 18 century

Traces of the removed windows are being introduced

The ruin as an archive

Blockage of the door indicating its former use as a window

The West window is being â&#x20AC;&#x2DC;liftedâ&#x20AC;&#x2122; in order to provide a clear view to the London Monument

174 North part of the intervention [Archive 3] : The wall archive [Axonometric] 136

The West window is being ‘lifted’ in order to provide a clear view to the London Monument

Fragments of the church’s masonry lay as archives

Shift of part of the masonry as a reminder of the structural problem caused by the weight of the naive roof in 18 century

Large sitting area rotated towards the city of London high rise

Traces of the removed windows are being introduced

Blockage of the door indicating its former use as a window

South entrance to the garden

175 North part of the intervention [Archive 3] : The wall archive [Plan] 137

176 South part of the intervention [Archive 3] : The wall archive 138

177 South part of the intervention [Archive 3] : The wall archive 139

140

178 South part of the intervention [Archive 3] : The wall archive 141

179 West part of the intervention 142

City of London High Rise

Idol Lane

St. Dunstan's Alley

2 1

ill

St. Dun

stan's H

St. Dunstan's Lane

's Hill

St. Dunstan St. D uns

tan' s

Hill

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Entrance to the Garden NE Entrance to courtyard N Part of garden Former Necropolis Archive in-presentia NW Entrance to couryard Couryard area Archive in-absentia Pews Area Staircase to Archive centre Archive - the Wall Urban Gaze

20m

180 Masterplan of the intervention 143

144

181 North part of the park. A pinnacle indicates the former height of the church and reveals the entrance to the urban room 145

146

147

182 Archives

11.

CONCLUSION

The current thesis, is an exercise on how historic urban environments of multiple chronologies may be re-used and re-introduced as receptacles for contemporary needs. Our age is characterized with the institutionalization of memory through agents such as archive centres. The above proposal is an architectural and synthetic exercise on how these environments may adapt such programs, but at the same time, it is an attempt to question the nature of these programs. The proposal indicates a way in which the archive, may become a part of the existing architecture and at the same time how the historic environment could become itself the archive and a source of knowledge. The intervention acts as a form of collage on the existing; By revealing what is currently in oblivion, by complementing what needs to be highlighted, by correcting what has been altered and by completing what is incomplete. Finally, the proposed palimpsest serves as a vehicle in order to observe and to comprehend the place’s history while at the same time it acts as an indicator of observing and comprehending the surroundings city’s history. A history which this place appears to have being ‘recording’ throughout its life.

149

183 Gaze 150

184 3D replicas of the former church bells of the church 151

12.

BIBLIOGRAPHY

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ARCHIVES From LONDON metropolitan ARCHIVES: St Dunstan-in-the-East, View of St Dunstan-in-the-East. c1800?. [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, View of west end of St Dunstan-in-the-East. c1750 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, South view of St Dunstan-in-the-East, with figures in foreground. 1810 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, View of St Dunstan-in-the-East, from south east, with figures. 1815 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, St Dunstanâ&#x20AC;&#x2122;s in the East: Interior. 1817 [Drawing] London Metropolitan Archives, Metropolitan Prints Collection. London. St Dunstan-in-the-East, Partial view of St Dunstan-in-the-East. 1813 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, View of St Dunstan-in-the-East during rebuilding, with scaffolding and figures. 1817 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, Partial view of St Dunstan-in-the-East. 1813 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, Partial view of St Dunstan-in-the-East. 1813 [Drawing] London Metropolitan Archives, Main Print Collection. London. The lost porch, with groined ceiling. St Dunstan in the East, and its one-time sculptural interest [Online]. Available from: http://www.speel.me.uk/chlondon/stdunstaniteast.html [Accessed 18 May 2017].

IMAGERY Cover:

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02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 12. 13. 14- 26.

Tasos Theodorakakis [December 2017] Tasos Theodorakakis [March 2017] Tasos Theodorakakis [May 2017] Tasos Theodorakakis [August 2016] Walls Against Paris: The Rooftop Garden of the Charles de Beistegui Apartment (Le Corbusier, 1929-31). Socks [Online]. Available from: http://socks-studio.com/ [Accessed 18 May 2017]. Available from: http://yoshimichi.blogspot.co.uk/ [Accessed 18 May 2017] Tasos Theodorakakis [December 2017] Available from: http://www.innerdesign.com/ [Accessed 18 May 2017] Available from: www.cambridge.org/core_title/gb/140547 [Accessed 18 May 2017] Available from: https://en.wikipedia.org [Accessed 18 May 2017] Available from: www.archdaily.com [Accessed 18 May 2017] Available from: https://en.wikipedia.org/wiki/Parthenon [Accessed 18 May 2017] Tasos Theodorakakis [May 2017]

27. St Dunstan-in-the-East, View of St Dunstan-in-the-East. c1800?. [Drawing] London Metropolitan Archives, Main Print Collection. London. 28. St Dunstan-in-the-East, View of west end of St Dunstan-in-the-East. c1750 [Drawing] London Metropolitan Archives, Main Print Collection. London. 29. St Dunstan-in-the-East, South view of St Dunstan-in-the East, with figures in foreground. 1810 [Drawing] London Metropolitan Archives, Main Print Collection. London. 30. St Dunstan-in-the-East, View of St Dunstan-in-the-East, from south east, with figures. 1815 [Drawing] London Metropolitan Archives, Main Print Collection. London. 31. St Dunstan-in-the-East, St Dunstanâ&#x20AC;&#x2122;s in the East: Interior. 1817 [Drawing] London Metropolitan Archives, Metropolitan Prints Collection. London. 32. St Dunstan-in-the-East, Partial view of St Dunstan-in-the- East. 1813 [Drawing] London Metropolitan Archives, Main Print Collection. London. 33. St Dunstan-in-the-East, View of St Dunstan-in-the-East during rebuilding, with scaffolding and figures.1817[Drawing] London Metropolitan Archives, Main Print Collection. London. 34. St Dunstan-in-the-East, View of St Dunstan-in-the-East during rebuilding, with scaffolding and figures.1817[Drawing] London Metropolitan Archives, Main Print Collection. London. 35. The lost porch, with groined ceiling. St Dunstan in the East, and its one-time sculptural interest [Online]. Available from: http://www.speel.me.uk/chlondon/stdunstaniteast.html [Accessed 18 May 2017]. 36. Tasos Theodorakakis [July 2017] 37. St Dunstan in the East, Panoramic view from the Monument facing east. 1971 [Photograph] London Metropolitan Archives, Coates Collection. London.

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IMAGERY 38. In 1910 (from Spitalfields Life), ST DUNSTAN-IN-THE EAST, Lower Thames St [Online]. Available from: http://lon don.lovesguide.com/dunstan-in-the-east.htm [Accessed 18 May 2017]. 39. “The Blitz” hits London (A famous image of the bombing of London, a Heinkel III bomber over the Thames, taken from an other German bomber at 6.48pm on the 7th September 1940), World War II today [Online]. Available from: http://ww2today.com/7th-september-1940-the-blitz-hits- london [Accessed 18 May 2017]. 40. John Pladdys ringing at St Dunstan’s, ST DUNSTAN-IN-THE- EAST, Lower Thames St [Online]. Available from: http://london.lovesguide.com/dunstan-in- the-east.htm [Accessed 18 May 2017]. 41. Interior. ST DUNSTAN-IN-THE-EAST, Lower Thames St [Online]. Available from: http://london.lovesguide.com/dun stan-in-the-east.htm [Accessed 18 May 2017]. 42. After the Blitz (Following the blitz, the bells lay forlornly at the base of the ruined tower. The metal was saved and ear marked for a new ring of bells to be cast in Loughborough. This picture was taken in July, 1941), Lower Thames St [Online]. Available from: http://london.lovesguide.com/dun stan-in-the-east.htm [Accessed 18 May 2017]. 43. After the Blitz (Following the blitz, the bells lay forlornly at the base of the ruined tower. The metal was saved and earmarked for a new ring of bells to be cast in Loughborough This picture was taken in July, 1941), Lower Thames St [Online]. Available from: http://london.lovesguide.com/dun stan-in-the-east.htm [Accessed 18 May 2017]. 44. National day of prayer held in the Blitzed church of St Idol lane picture, Getty Images [Online]. Available from: http://www.gettyimages.co.uk/ [Accessed 18 May 2017]. 45. St Dunstan in the East, St Dunstan’s Hill, Elevated view of St Dunstan in the East showing bomb damage. 1941 [Photograph] London Metropolitan Archives, Cross and Tibbs Collection. London. 46. Work on the spire nears completion in this picture, taken in 1951. This was the year that the new ring of bells for the tower was cast. ST DUNSTAN-IN-THE-EAST, Lower Thames St [Online]. Available from: http://london.lovesguide.com/ dunstan-in-the-east.htm [Accessed 18 May 2017]. 47. New York Bureau. ST DUNSTAN-IN-THE-EAST, Lower Thames St [Online]. Available from: http://london. lovesguide.com/dunstan-in-the-east.htm [Accessed 18 May 2017]. 48. New York Bureau. ST DUNSTAN-IN-THE-EAST, Lower Thames St [Online]. Available from: http://london.lovesguide.com/dunstan-in-the-east.htm [Accessed 18 May 2017]. 49. Tasos Theodorakakis [May 2017] 50. Tasos Theodorakakis [May 2017]

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IMAGERY 53. 54. 55. 56.

stan-in-the-East. 1817 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, Elevation, plan and cross-section of St Dunstan-in-the-East’s tower. 1826 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, Elevation, Plan of St Dunstan-in-the- East. 1817 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, View of St Dunstan-in-the-East from south east. c1835 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, Elevation, plan and cross-section of St Dunstan-in-the-East’s tower. 1826 [Drawing] London Metropolitan Archives, Main Print Collection. London.

57. 58. 59. 60. 61-70. 71-85. 86-89. 90-101. 102-111. 112-118. 119-155. 156-184.

St Dunstan-in-the-East, Plan of St Dunstan-in-the-East, showing position of pews. c1800 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, Cross-section of mullions in principal window of St Dunstan-in-the-East’s east end. c1820 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, Principal east window of St Dunstan-in-the-East. c1820 [Drawing] London Metropolitan Archives, Main Print Collection. London. St Dunstan-in-the-East, Drawings to show proposed new windows in north east and north west apses of St Dunstan’s in the West. c1880 [Drawing] London Metropolitan Archives, Main Print Collection. London. Tasos Theodorakakis [August 2017] Tasos Theodorakakis [June 2017] Tasos Theodorakakis [June 2017] Tasos Theodorakakis [June 2017] Tasos Theodorakakis [June 2017] Tasos Theodorakakis [July 2017] Tasos Theodorakakis [August 2017] Tasos Theodorakakis [September 2017]

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pg. 36-37 pg. 38-39 pg. 40-41 pg. 42-53 pg. 54-68 pg. 69-80 pg. 80-119 pg. 119-151