TRACES
TRACES
Ka Chi K1057053
St udio Houghton Baty Jane Houghto n Stephen B a ty
To n e ‘T h e S ilv e r P a v ilio n is f a mo u s wo rld w i d e f o r it s s imp lic it y a n d re f in e me n t , a t t r a c t i n g a s t e a d y s t re a m o f v is it o rs t h ro u g h ou t t h e y e a r. I t s b e a u t y is f o u n d in f e a t u re s l i k e t h e s p le n d id s t ru c t u re o f t h e t e mp le, t h e mira c le o f ma k in g t h e g a rd e n ; t h e e l e g a n t s t u d y ro o m, K o g e t s u d a i; t h e mo o n -v i e w i n g p la t f o r m, G in s a d a n ; t h e g a rd e n wit h i t s s e a o f s ilv e r s a n d - t h e lis t g o e s o n a n d o n . Ye t wh a t le a v e s t h e s t ro n g e s t imp re s s io n i s t h e f a c t t h a t t h is t e mp le s t a n d s a s t h e c o re o f t h e J a p a n e s e a e s t h e t ic , wh ic h t ra n s c e n d s t ime a n d h is t o ric a l e ra . Cle a n e d d a y a f t e r d a y, we a t h e re d o v e r t ime , t h e S i l v e r P a v ilio n re v e a ls it s n a t u ra l b e a u t y a s i t a g e s , a s t h o u g h it wa s s t rip p in g o f i t s v e i l s o n e a f t e r a n o t h e r. ’ K e n y a Ha ra
Tone ______________________________________________________________________________________________________7
Wapping_____________________________________________________________________________________________10 Chapter
1 Traces ___________________________________________________________________________________________________14
Chapter
2
Revealing/Concealing__________________________________________________________________22
Chapter
3
Schematic Development____________________________________________________________30
Chapter
4 Strategies___________________________________________________________________________________________42
Chapter
5 Spatial and Planning Development______________________________________50
Chapter
6 Rational/Irrational___________________________________________________________________________73
Chapter
7 Material and tectonic___________________________________________________________________102
Wharf Gate Lock
Wall Corridor Street
Brief Historical fabric Building form is the solution From private to public Blocks/Walls Walls/Openings Precedent studies Massing Model
Working drawings and models Load bearing Grid Beam Diagram Envelop
Ro se Ga r d e n L ik e mo s t o f t h e p la c e s in lo n d o n , i t i s s u rro u n d e d b y b ric k s b u ild in g . T h e g a rd e n wa s a h ig h d e n s it y la n d wit h wa re h o u s e , d we llin g a n d s c h o o l in t h e b e g in n i n g o f la s t c e n t r y. B o mb s d e s t ro y e d mos t o f t h e b u ild in g d u rin g W W I I . T h e To we r H a m l e t Co u n c il t rie d t o re d e v e lo p it f o r d w e l l i n g . B u t it t u r n e d u p in t o a g a rd e n a t t h e e n d . Wa p p in g h ig h s t re e t is o n t h e s o u t h o f R o s e G a rd e n a lo n g t h e t h a me s . I t wa s a v e r y b u s y s t re e t wh e n wa p p in g wa s s t i l l a b u s y wh a r f a re a . No w, t h e h ig h s t re e t i s s t i l l t h e ma in c irc u la t io n t o c o n n e c t wa p p i n g t o o t h e r p la c e s in To we r Ha mle t f ro m e a s t t o we s t . T h e p ro je c t is , t o b u ild a e ld e rly c a re h o m e o n t h is g a rd e n . F ill it u p a g a in s i n c e W W I I wit h a n e w c o mmu n it y.
10/11
Wapping
12/13
Wapping, northbank of thames
Tr a ce s No t h in g is n o t in e v it a b le . F ro m a f a c a d e (o u t d o o r) t o a h a llwa y wit h wa ll m o u n t c u p b o a rd (in d o o r). S u r f a c e s a re w a s h e d a wa y b y ra in wa t e r, d rie d b y t h e s u n a n d re p a in t b y h u ma n b e in g . I t ’s a p ro c e s s o f c o mmu n ic a t io n , b e t we e n h u ma n a n d t h e n a t u re . A n d ma rk s we re le f t o n t he f a c a d e a n d it b e c o me s a me d ia o f c o mm u n i c a t i o n . T h e y a re c u e s o f s t o rie s u n d e r n ea t h , wh ic h c a n n o t b e re a d e n t ire ly, c a n n o t b e e ra s e d a n d c a n n o t b e re writ t e n . B u t t h e y h a v e o c c u rre d . We c a ll t h e se s t o r i e s ‘e x p e rie n c e s ’ wh ic h p o lis h h u ma n a n d n o n -h u ma n . T h is n a t u ra l p ro c e s s g i v e in c o n s p ic u o u s q u a lit ie s , a s u b t le a n d d e lic a t e rh y t h m, wh ic h a re n o t d i ff i c u l t t o b e o b s e rv e d . S t a y h e re a n d b e d r a w n i n t o t ra n c e , t o u c h it , s me ll it a n d d o n’t m i s s o u t a n y s in g le t ra c e s . T h e n , t h e y s t a r t t e l l i n g y o u t h e ir s t o rie s .
14/15
Chapter
1
Traces
Wh a r f Wa p p in g is lo c a t e d in n o r t h b a n k o f t h a me s , p a r t o f L o n d o n B o ro u g h o f To w e r Ha mle t s ’s d o c k la n d s . I t wa s a wha r f a re a b e f o re W W I I . G o o d s f ro m t h e wo r l d w e re t ra n s p o r t e d t h ro u g h t h e t h a me s b y s h i p s . A s e rie s o f b ric k wh a r f b u ild in g s , a s w e l l a s wa re h o u s e s , mo v e d t h e g o o d s ins i d e f ro m t h e s h ip s b y a b o o m o n t h e b u ild i n g . G o o d s we re t h e n t ra n s f e rre d t o t h e s t re et l e v e l b y a n o t h e r s e t o f b o o m f a c in g t o t h e w a p p i n g h ig h s t re e t . T h e y a re t h e e n t ra n c e , b a rrie rs or s o r t o f c o n t ro lle r o f t h e e n t r y o f t h e g o o d s . A f t e r wo rld wa rI I , wa p p in g wa s d e s t ro y e d b y t h e b o mb . I t is n o t a wh a r f a re a a n y mo re . T h e u n d e s t ro y e d wh a r f b u i l d i n g s we re t ra n s f o r me d in t o re s id e n t ia l b u i l d i n g . Ho we v e r, t h e in d u s t ria l wh a r f b u i l d i n g s wh ic h we re b u ilt wit h B ric k s , h e av y t i m b e r a n d s t e e l le f t a s t ro n g ima g e o f i n d u s t r i a l t o t h is mid d le c la s s liv in g a re a n o w a d a y.
16/17
Wharf, wapping
Ga te T h e e v e n t s in t h is b u ild in g g a v e i t a f o r m , wh ic h wa s b u ilt b y b ric k s . T h e h e a v y t imb e r lin t e l s u p p o r t t h e o p e n in g o f t h e wa re h o u s e . T h e t imb e r d o o rs h a v e t o b e t o u g h a n d s t ro n g , in o rd e r t o co p e wit h t h e h e a v y lo g is t ic wo rk e v e r y d a y. A s e rie s o f f lo o r t o c e ilin g h e ig h t t i m b e r d o o r e x p re s s e s t h e f u n c t io n o f t h e b u ild in g . G o o d s in a n d g o o d s o ut . I t i s a n c o o p e ra t io n b e t we e n d iff e re n mat e r i a l s . T h e wh a r f is a t ra n s it io n s p a c e , i t i s a t h re s h o ld . T h e d o o rs a re t h e la s t b o u n d r y. W h e n it o p e n e d , g o o d f ro m t h e w o r l d c a m e in . W h e n it wa s c lo s e d , t h e c it y w a s c l o s e d t o t h e o u t s id e wo rld .
18/19
Wapping High Street - Facade o f K wa re h o u s e , S t J o h n W h a r f .
L o cks Mo re t h a n o n e d o o r lo c k h o le s a re o n t h e wh a r f t imb e r d o o r. Un c o u n t a b le s c r a t c h e s a re o n t h e s u r f a c e . P e o p le c a n re- p a i n t t h e d o o r a n d k e e p u s in g it f o r y ea r s . B u t t h e p a in t c a n n o t c o v e r t h e s c ra t c h e s . T h e p a in t c a n n o t f ill u p t h e o ld d o o r l o c k h o le s . T h e s t o r y o f t h is d o o r c a n b e t r a c e d t h ro u g h t h e s e s c ra t c h e s .
20/21
Wapping High Street - Lock of t imb e r d o o r.
Re ve a lin g /Co n ce a lin g A lo c k e d b o x is a c o n c e a le d s p a c e . R e v e a lin g t h e b o x , a n d b rin g t h e c o n n e c t io n in f ro m t h e o u t s id e w o r l d . T h e y c h a n g e e a c h o t h e rs . T h e c h a n g e d e v e lo p s t h e e x p e rie n c e o f t h e s p a c e s . I t is e x t e n s io n , in v a s io n a n d a d a p ta t i o n . T h e q u a lit y o f s u c h p ro c e s s is d ep e n d s o n t h e s c a le o f t h e b o x .
22/23
Chapter 2
Revealing/Concealing the box
Wa ll B o x e s o f g lo v e s h a v e b e e n s t o red i n t h e wa ll mo u n t c u p b o a rd . Diff e re n t s i z e s a n d d iff e re n t s t y le s o f g lo v e s a re h id d e n i n t h e b o x e s . B o x e s a re s t o re d o n t h e cu p b o a rd i n a s t ro n g o rd e r. I t is a c a t a lo g . I n fo r m a t i o n s a re lo c k e d . I t is a n in s t a lla t io n p re s e n t a i n g t h e s u b je c t o f t h is s p a c e . I t is p a r t o f t h e s p a c e b u t g iv e s t h e imp re s s io n o f t h i s g lo v e s h o p .
24/25
Bel gi um - Glove s sto re , Sto rag e a n d d is p la y
Co r r id o r A n o t h e r s e rie s o f wa ll mo u n t c u p b o a rd , i n a la rg e r s c a le , f o r min g t h e a c o r r i d o r. T h e c u p b o a rd is t h e s p a c e it s e lf . R e p e t i t i o n o f s a me la n g u a g e g iv e s a s t ro n g o rd e r. B u t t h e s lig h t ly o p e n d o o rs o f c u p b oa rd g a v e a n e x c it me n t t o t h e s p a c e , a v e r y s u b t l e c h a n g e o f t h e rh y t h m.
26/27
Royal hos pital, Chelsea - Hallw a y wit h wa llmo u n t c u p b o a rd
Str e e t A s e rie s o f “ c u p b o a rd � in a e v e n b i g g e r s c a le . T h e y a re f o o d k io s k s c o n n e c t e d t o t h e f o o d ma rk e t a t t h e b a c k . I t is p a r t o f t h e b u ild in g wh e n it c lo s e s . I t b ec o m e s p a r t o f t h e s t re e t wh e n it o p e n s . A n d i t c o n n e c t t h e b u ild in g , t h e f o o d mar k e t , w i t h t h e s t re e t . T h e s t re e t g a in a n o t h e r f u n c t i o n f ro m t h e f o o d ma rk e t . A t t h e s a m e t i m e , t h e f o o d ma rk e t g a in t h e a t mo s p h e re f ro m t h e s t re e t .
28/29
Bel gi um - Food kiosks, e xrensio n o f a n in d o o r ma rk e t
Qu e stio n : Tr a c e s + p ro g r a m So lu tio n r : Histo r ica l e le m e nts Re ve a lin g /Co n c eal i ng
30/31
Chapter 3
Schemeatic development
In fir m a r y a n d Wa p p in g d ay a ctivitie s ce n tr e fo r e ld e r ly peopl e T h is is a b u ild in g e ld e rly will liv e h e re f o r la s t p a g e o f t h e ir lif e . T h e y will b e g o n e b u t le f t t h e t ra c e s in t h e b u ild in g . T h i s b u ild in g n e e d a n c o n t a in e r , a b o x o f t h i s . S o t h e ma in p ro g ra ms o f t h is b u i l d i n g a re t h e Ca re h o me a n d a mu s e u m. A m u s e u m wh e re p u t t in g t h e d e a d e ld e rly na m e s a n d mo n u me n t in it I t is a c a t a lo g o f p e o p le s p e n t t h e i r r e s t o f lif e in t h is b u ild in g . T h is is a mix e d -u s e b u ild in g wit h c o mp re h e n s iv e p ro g ra ms . F ro m th e v e r y p u b lic g me mo ria l g a rd e n t o a v er i n t i m a t e b e d ro o m o f t h e e ld e rly. T h e c o mp o s i t i o n o f in f ir ma r y a n d b e d ro o m e n c o u r a g e t h e c o mmu n it y in s id e t h e b u ild in g . Wh e n p e o p le is s t a y in g in t h e in f ir ma r y, t h e y a re n o t ju s t in a n h o s p it a l, t h e y a re v i s i t i n g s o me b o d y ’s h o me . A n d , t h e mu s e u m is o p e n t o p u b lic , c o n n e c t in g with a n me mo ria l g a rd e n , c h a p e l a n d o t h e r p u b l i c f a c ilit ie s . I t is b e c a u s e e ld e rly s ho u l d n ’t b e ju s t s t a y in g in t h e ir o wn ro o m f o r t h e i r re s t o f lif e . E ld e rly s a re t h e s t a k e h o ld e rs o f th e b u i l d i n g a s we ll a s t h e wa p p in g . P ro g ra ms in c lu d in g : c a re h o me B e d ro o m I n f ir ma r y O ff ic e s Din n in g h a ll S e rv ic e s (lo u n d r y, h a ir d re s s in g ) L ib ra r y T h e ra p y p o o l Ch a p e l Mu s e u m Me mo ria l G a rd e n S u p p o r t a t iv e s e rv ic e s ( c a r p a rk , re c e p t i o n ) T h e b u ild in g in c lu d in g v e r y p riv a t e p ro g r a m a n d v e r p u b lic p ro g ra m. T h e b u il d i n g h a v e t o b e we ll c o n t ro lle d b y p la n n in g a n d t h e d e s ig n o f t h e b o u n d a r y
32/33
Bel gi um -Ca re Ho me, entrance o f b e d ro o m C hel sea roya l h o spita l-livin g u n it , B a n d s in g in g in f ro n t o f t h e c h imn e y
Histo r ica l F a b r ic De riv in g t h e b u ild in g f o r m f ro m t h e h is t o ric a l ma p . S e e k in g t h e p o t en t i a l o f t h e s p a c e in t h e h is t o y. R e c o n n e c t ing n o w a n d the past.
34/35
H i stor i cal stu dy - Wappin g from 1 8 7 0 - n o w
Schem atic mode l - Histo ric a l v o id
36/37
Schem atic mode l - Histo ric a l S o lid
Bu ild in g fo r m is th e so lu tion A lin e a r ma s s wit h o p e n in g o n 2 s i d e s a s a s o lu t io n o f c o n n e c t in g t h e p u b lic a n d t h e p riv a t e a s we ll a s ime rg in g t o t h e h i s t o r i c a l f a b ric .
38/39
Schem atic mo del - So a n e corrid o r in R o y a l h o s p it a l
40/41
Pla cin g o f th e b u ild in g m ass Re la tio n sh ip b e twe e n p u bl i c a n d p r iva te is c o n tro lle d by the p la c in g o f b u ild in g m a sses T h e c o n n e c tio n b e twe e n of the b u ild in g m a sse s is c o n trol ed by th e o p e n in g s A se r ie s o f h e a vy tim b e r door
42/43
Chapter 4
Strategies
F r o m p r iva te to p u b lic T h e r o a d is se p e r a te d b y the r a ilwa y. It is th e b u sie st el ement in th e p h o to g r a p h . Ta ke o ut the r a ilwa y, a n d th e r o a d will come to g a th e r
44/45
Rai l w ay, Wa pping po wer station
Blo cks/Wa lls W h e t h e d o o rs a re c lo s e d . T h e e l e m e n t s a re s t a n d a lo n e . it is c le a r t h a t 5 b l o c k s a re in t h e p a p e r. W h e n t h e d o o rs a re o p e n e d . T h ey c o m e t o g e t h e r. T h e y a re n o mo re b lo c k s , t h e y a re wa lls .
46/47
Sketch, strate gy of connection
48/49
Str ategy dra win g, LEFT conc e a lling, R igh t re vealin g
Wa lls/o p e n in g s P ro p o r t io n o f o p e n in g s a n d wa lls d e f i n e d t h e f u n c t io n o f t h e b u ild in g b lo c k . C a n a ma n g o t h ru o g h ? Ca n a wh e e l c h a i r g o t h ro u g h ? Ca n a b e d g o t h ro u g h ? C a n a t ro lle y g o t h o ru g h ? Ca n a g ro u p o f p e o p l e g o t h ro u g h ?
50/51
C oncept d ra win g - Ink prin t o f wa lls a n d o p e n n in g s , P e n e t ra t io n o f s p a c e 1 o f 3
P re c e n d e n t s t u d ie s o f d iff e re n t ki n d o f c a re h o me wit h d iff e re n t s c h e me h a v e d i ff e re n t s t ra t e g y t o t a c k le t h e p ro b le m. De riv in g e le me n t s f ro m t h e h is t o r i c a l m o d e l f o r f u r t h e r d e v e lo p me n t . Ca p t u re m o m e n t s in t h e s e mo d e ls a n d p u t it b a c k i n t o t h e d e s ig n
52/53
Chapter 5
Spatial and planning development
Preceden t stu die s : Chelsea
54/55
Precedent studies : Du blin
Living unit Stu dy - Tra n sfo r ma t io n o f a His t o ric a l g e o me t r y
56/57
Bui l di ng la n guage study - Pos it iv e s p a c e
Bui l di ng langu a ge stu dy - Po si t iv e s p a c e d ra win g
58/59
Building langu a ge stu dy - nega tiv e s p a c e d ra win g
Bui l di ng langu a ge stu dy - Po si t iv e s p a c e mo u ld
60/61
Building langu a ge stu dy - Ne gativ e s p a c e wa x c a s t
Building langu a ge stu dy - Eleva tio n
62/63
Ra tio n a liza tio n T h e f irs t o v e ra ll p la n n in g wa s a im e d a t ra t io n a liz e d t h e h is t o ric a l f o o t p r i n t w h i c h wa s a ma z e . Tra n s f o r min g t h e f o o t p r i n t i n t o s t ra ig h t lin e in o rd e r t o d e f in e t he p ro g r a m , t o ma k e s u re t h e la n g u a g e is c o ns i s t a n t a n d t o e x p lo re d t h e p o t e n t ia l a n d c o n s t r a i n t b e t we e n t h e h is t o ric a l f o o r p e in t a n d in s t a n t c o n t e x t .
64/65
! :100 Workin g dra win g 1
66/67
! :100 foam bo a rd mode l 1
Ir r a tio n a liza tio n T h e s e c o n d p la n n in g b a s e d o n t he p re v i o u s o n e , t r y in g t o imme rg e b a c k in t o t h e m a z e lik e h is t o ric a l f o o t p rin t .
68/69
1:100 Wo rking drawing 2
70/71
1:100 Foam bo a rd mode l 2
T h e h is t o ric a l f o o t p rin t is t h e p o t e n t i a l o f t h e p ro je c t a s we ll a s t h e ma in c o n s t r a i n t o f p la n n in g . E ld e rly c a re wa rd s a n d in f ir ma r y n e e d a ra t io n a l la y o u t t o f u llf il t h e p ro g r a m re q u ire me n t . P u b lic p ro g ra ms c a n b e lo o s e in b o t h f o r m a n d p la n n in g t o re s p o n d t h e in s ta n t c o n t e x t wh ic h is s u rro u n d e d b y ro u g h wa re h o u s e s / wh a r f la y o u t .
72/73
Chapter 6
Rational/Irrational
74/75
G /f plan, Workin g dra win g , 1 :200 in A 1
76/77
G/f
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.
Bedroom Siting Area Bathroom Loundry Infirmary reception Infirmary entrance Office Fire escape Morning terrace Dining Hall Kitchen Public toilet Chapel Memorial museum Memorial Garden Indoor exhibition Public Foyer Light well Outdoor exhibition
78/79
om Area om ry ary reception ary entrance
5
6 8
scape ng terrace Hall n toilet el rial museum rial Garden exhibition Foyer well or exhibition
13
12
7
18
2
9
18
18 15
4
3
10 1
16 14
9
20
11 19 8
G/f pl an , 1 :100 in A 1
1st/f 10 9
2
3
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
Sleeping area Library Bathroom Roof Gardeb Infirmary Office Staff pentry Loundry Toilet Fire excape
4
80/81
10 9
8
2 3
7
6
5
1
10
1/f pl an , 1 :100 in A 1
4
Basement 1. 2. 3. 4. 5. 6. 7. 8. 9.
Lift Lobby Changing room Storage Therapy pool Main plant room Massage room Toilet Second plant room Fire escape staircase
82/83
ment
Lift Lobby Changing room Storage Therapy pool Main plant room Massage room Toilet Second plant room Fire escape staircase
9
5
6
8
6
4
4
4 2
1
3
Basem ent plan, 1:1 0 0 in A 1
Wor ki ng mo del, west e leva tio n
84/85
Wor king mode l, east e leva tio n
Roof pl an , 1:2 0 0 in A 1
86/87
C
B A
D
D
C
B A
88/89
Inter nal e leva tio n A A , 1:1 0 0 i n A 1
Inter nal e leva tio n B B , 1:1 0 0 i n A 1
East eleva tio n , 1 :100 in A 1
Secti on DD !:!00 in A !
90/91
92/93
Wor king mode l, Ma in e n tra n c e a n d g a rd e n
94/95
Wor king mode l, High Street ele v a t io n
96/97
Wor king mode l, Me morial ga rd e n
Sketch, hi sto ric a l foot prin t sectio n
98/99
Or d e r S t ro n g o rd e r b e c a u s e o f t h e f u n c t i o n o f in f ir ma r y. Ve r y c o n d u c t e d f a c a d e e x p re s s in g t h e in d iv id u a l o c c u p i e r i n t h i s b lo c k . I t is a c o lle c t iv e o f in d iv id u a l p ri v a t e space.
100/101
Wor ki ng mode ls, Infir ma r y
E n g lis h B o n d b ric k wa ll B ric k s p ie r/ c o lu mn L o a d b e a rin g b lo c k s S t e e l L in t e l T imb e r L in t e l Steel I beam T imb e r jo is t
102/103
Chapter 6
Tectonic and material
Gr id G rid o n t h e le f t h a s s t ro n g o rd e r G rid o n t h e rig h t h a s a lo o s e o rd e r
104/105
Load bearing gird
Ho r izo n ta l r h yth m A s s a me a s t h e lo a d b e a rin g g rid F ro m le f t t o rig h t , f ro m s t ro n g t o l o o s e
106/107
Beam di agra m, 1:1 0 0 in A 1
F a ca d e fo r r e sp o n d in g in s tant co n te xt E n g lis h B o n d b ric k wa ll L o a d b e a rin g b lo c k s S t e e l L in t e l Steel I beam T imb e r jo is t
108/109
Envel op de tail dra win g, 1:2 0 in A 1
Vi ew of south bank fro m wappin
110/111