Ludka Majernikova_Y5 | Unit 14 | Bartlett School of Architecture

All work produced by Unit 14

Cover design by Charlie Harris

www.bartlett.ucl.ac.uk/architecture

Copyright 2021

The Bartlett School of Architecture, UCL All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher.

@unit14_ucl

ludmila.majernikova@gmail.com @ludka_majernikova

RURAL MONUMENTALITY

ŠTRBSKÉ PLESO CULTURAL CENTRE

High Tatras, Slovakia

Situated in the context of an ongoing cultural crisis, the proposal creates a representational monument, by the mountain lake of Štrbské Pleso, Slovakia.

Developed in the context of an ongoing cultural crisis in Slovakia, the project responds to the desire for a renaissance of regional architectural expression in the monumental.

Architecturally, the design is shaped by the analysis of folk typological archetypes, playing with their defining formal characteristics. As a significant intervention into the site, it is both infrastructurally and socially transformative – a showcase of contemporary architectural expression rooted in its folk tradition.

The massing is composed of two main axis – the rack-railway to cable-car interchange station in one, and folk performance venue and museum in the other. The programme arrangement of the

main axis creates a linear procession up through the building, from main entrance, through the exhibition areas to the performance venue. Two secondary axes diverge from the central space, first the exhibition areas and second, the cable-car station.

Merging the representational and cultural with the infrastructural, it offers a programmatic fusion. As such it re-imagines the folk, civic, monument, and acts as a showcase of contemporary application of folk architectural principles.

PART I. ARTEFACT ANALYSIS

Interlocking shingles

Hand hewn from larch or spruce, the Slovak šindeľ

Roof Edge beam sill Sits over bells and creates generous eaves to send water away from the main frame

Central King Post

Unlike seen in most cases, central truss post is suspended from the top beams and acts in tension, providing additional stiffness to the system

Crossed Tie Beams

Half lapped and nailed against the King post they hang from the perimeter beams and king post and add rigidity.

Roof corner

Edge beams joined by half lap or cross lap connection

Primary Oak Frame

Set of inclined columns and edge beams form the primary framework of the bell-tower

Sill Beam

Joined by half lap connection at corners, mounted on stone foundation

Structural Principles: Timber Frame

Due to the nature of the timber frame structure as well as external requirements the belltower was disassembled, relocated and reconstructed in the late 18th century. This was possible also due to the fact that it is constructed in its entirety out of interlocking timber elements held in place using only timber dowels.

Oak frame structure put together with half and cross lap joints, reinforced with timber nails and dowels. Nature of system allowed for disassembly

Overdesign: design for redundancy through system rarely found in region

III. INTERNAL KING POST BRACING

II. KING POST + CROSSED TIE BEAMS

I. PRIMARY FRAME POSTS + BEAMS

Suspended King Post: Disassembly

The suspended central king post locks the crossing beams together creating greater rigidity within the entire frame. All cross bracing is lapped onto the post from two sides allowing them to snap into place during assembly. The overall system seems similar to that of a truss crossing condition.

Central King Post Suspended from roof joists, it acts in tension, providing additional stiffness to the system

Crossed Tie Beams Hung from the king post and sit ontop of perimeter beams

Lap Connections Components held together by flush cross-lap joints

Post Tip Post ending hewen into ornament to highlight its suspended, floating nature

Timber Dowels Key connections further reinforced by timber dowels instead of nails

Cross Bracing Bracing stiffens connections between beams and king post. All members joined by flush cross-lap

Roof Structure: Articular Church Sv. Kríž

Largest articular church in Slovakia constructed completely out of timber. Relocated as original location was in flood zone, and re-assembled in new location. Roof truss’ cross over and pierced by suspended king post creating rigidity in the frame.

III. Suspended king post and diagonal rafters

II. Primary roof truss system overlapping

I. External interlocking shingles + internal interlocking celining panels

Interlocking shingles Hand hewn from larch or spruce, the Slovak šindeľ

Central King Post Central truss post is suspended from the roof purlin and acts in tension, providing additional stiffness to the overlapping system

Crossed Tie Beams Half lapped and nailed against the King post they hang from the perimeter beams and king post and add rigidity.

Raw Material

Almost entire length of trunk could be utilised in single piece

Prevalence In rural, more elevated regions

Growth Pattern

Taller, slender trunks and root systems enable trees to grow closer together

Key Species used in Log Construction:

• Spruce | Smrek |Picea abies

• [Silver] Fir | Jedla [biela] | Abies alba

• [Red] Pine | Borovica |Pinus sylvestris

• Larch | Smrekovec | Larix decidua

Trunk laid on top of each other, tied in the corners, minimising amount of splicing necessary

Log Construction | Coniferous Trees

Construction

Articular Church Sv. Kríž [Paludza]

Considered to be tha largest timber structure in Slovakia but also probably central europe with a capacity of 1200 people seated, and up to 6000 standing. Could be considred first communal but also cultural venue of such scale.

As part of the counter-reformation, imperial decree dictated all protestant churches could only be constructed out of a single material - timber. Originally constructed in 1774, it was put together by master carpenter Jozef Lang and 40 builders in only 8 months. Relocated from its original location in 1982 (200 years after completion) as it was part of the flood zone for the proposed Liprovska Mara reservoir, it was re-assembled in Sv. Kríž, nearby.

structure

Bell-tower

Shingle-clad baroque style onion dome

Roof layering set of multiple shallower roofs across the bell-tower heignt

Roof overhanging eaves

Remote Location Church built outside of and facing away from rom village. Trees planted around perimeter, but not too close to minimise spread of wood disease onto timber structure.

Interlocking shingles Hand hewn from larch or spruce, the Slovak šindeľ

Church nave 42m long with equally long transept. Bell-tower added in 1781 after restrictions on protestant churches lifted.

Corner Notching

Box-notch or dovetail-notch used to interlock perpendicular walls

Roof Truss System

Primary oak framing for roof truss and structure above crossing. Primary structure sits on edge beam of log construction walls.

Perimeter Balconies

Church perimeter walls feature additional levels of balconies increasing its capacity

Log Construction

Flat-on-flat technique of arranging hewen logs onto each other

Cross-Plan

First church to have a cross-plan, increasing its capacity while maintaining connection between visitors and pulpit.

Shingle Cladding

Interlocking boards fastened onto structural walls with timber dowels

Forest Re-Configured

Study of church roof with focus on use of different timber species. The church is a part of the Articular churches in Slovakia, meaning they were constructed purely out of timber. For this reason they are a showcase of careful timber species selection depending on their inherent qualities.

V. Interlocking roof shingles Hewn from soft conifers like larch or spruce

I. Structural envelope Logs of soft conifers like larch or spruce

II. Suspended ceiling Hewn planks from soft conifers

III. Roof truss system Typically softwoods but occasionally hardwood deciduous timbers like oak

IV. Roof battens Planks from soft conifers like larch or spruce

Interlocking shingles Hand hewn from larch or spruce, the Slovak šindeľ Primary roof truss frame Often times constructed from hardwood decidouous woods depending on roof spans

Structural Skin Walls constructed by log construction method, typically from softwood conifers like larch, pine or spruce

Softwood conifers

Hardwood deciduous

ARTICULAR CHURCH PALUDZA (SV. KRÍŽ)

TIMBER CHURCH TRNOVÉ

TIMBER CHURCH HERVATOV

ARTICULAR CHURCH HRONSEK

TIMBER CHURCH RUSKÝ POTOK

ARTICULAR CHURCH LEŠTINY

ARTICULAR CHURCH BREŽANY

TIMBER CHURCH ZUBEREC, MUSEUM ORAVSKEJ DENINY

Wooden Churches Of The Slovak Carpathians

Set of timber churches arguably one of the most valuable showcase of Slovak cultural heritage and regional, vernacular construction methods. The Wooden Churches of the Slovak Carpathians are a sub-set of churches listed as UNESCO World Heritage Site consisting of nine wooden religious buildings constructed between the 16th and 18th centuries. Selected churches are of particular interest due to roof form, location and constructions methods used.

PART II. BRIEF DEVELOPMENT

The Slovak Cultural Uprising Reformation

The following time-line indicates key dates in the development of the Slovak nation, which until recently was always a part of larger, multinational and multicultural states.

This context is essential, to understand the economic, political and socio-cultural conditions within which people lived that gave rise to the regional folk architectural expression that will be looked at.

Christianization | ≈ 700 A.D.

Greater Moravia | 833-907 A.D.

The first major West-Slavic state, composed of Slavic ancestors of Czechs, Moravians and Slovaks.

Multiculturalism

Long history of cross-cultural impact from other Slavic nations, Germans, Hungarians due to trade, expanding settlement, resource extraction.

Kingdom of Hungary | 1000 -1867

Confirmed Extent Possible Extent

Area of Slovak Population Maximum Extent

Magyarisation | 1700 -1800

Strong oppression of Slovak people under Hungarian rule, peaking after The AustroHungarian Compromise of 1867 when they were given free reign on the oppression of non-Hungarian peoples living in the Hungarian kingdom

First Slovak Republic 1939-1945

Third Czechodlovak Republic | 1945-1948 Czechoslovak Socialist Republic |1948-1990

Austro-Hungarian Empire | 1867 -1918

Independent Democratic Slovak Republic | 1993

First + Second Czechoslovak Republic| 1918-1939

Area of Slovak Population

Maximum Extent

Area of Slovak Population Full Extent

[1st -4th Czechoslovak Republic; as area during inter-war years and WW2 changed]

Forest Categorization

“Wood has the priceless, indeed the unique, value of being the one basic resource that man [humankind] can renew… a wellmanaged forest goes on creating wood forever.” –

Martyn Bramwell

By Elevation

1. Low Altitude Forests

2. Mid Altitude Forests

3. High Altitude Forests

National Parks + Protected Areas

AUSTRIA

Logging in Slovakia

Around 7 - 10 million m3 of timber is logged annually, the ratio between deciduous and coniferous trees being 65% to 35% respectively. The majority of this timber is exported, so increasing the cost of the material domestically.

The most commonly logged tree species are; beech (34%), spruce (22%), oak (13%), pine (7%), fir (4%) and other.

CZECHIA

Forest Coverage

41% of Slovakia’s land coverage are forests and wooded areas

Tree Species: Forest Composition

Beech 36%, Spruce 21.9%, Oak 13.3%, Decidous Other 8%, Pine 6.7%, Hornbean 6.2%, Fir 4.1%, Larch 2.7%, Coniferous other 1.1%

UKRAINE

Beech

Fir Pine Spruce Oak Beech Mix Dec.

TREE SPECIES | KEY CHARACTERISTICS

Spruce Smrek |Picea abies

Oak Dub | Quercus robus

Pine Borovica |Pinus sylvestris

Habitat

Coniferous | Softwood

Coniferous | Softwood

Deciduous | Hardwood

[Silver] Fir

Jedla [biela] | Abies alba

[European] Larch

Smrekovec | Larix decidua

Coniferous

Coniferous | Softwood [hardest of softwoods]

LOG CONSTRUCTION CONIFEROUS TREES

VYSOKÉTATRY

NÍZKE TATRY

FRAME CONSTRUCTION DECIDOUS TREES

Regions of species overlap feature mixed approaches to vernacular construction systems

Forests | Dominant Tree Species

Regional division of tree species reflected on the traditional vernacular structures both in terms of material use as well as construction type. The area of Liptov, Orava and Vysoke Tatry features the unique overlap of different timber construction systems not found elswhere in the country.

RUŽOMBEROK

MARTIN

ŽILINA

VYSOKÉ TATRY

SPIŠKÁ N.V.

LIPTOVSKÝ MIKULÁŠ

FOREST COVERAGE

Area of highest forest density, including most of the protected national parks.

VYSOKÉTATRY

NÍZKE TATRY

FOREST COVERAGE

HIGH-ALTITUDE FORESTS

MID-ALTITUDE FORESTS

LOW-ALTITUDE FORESTS

MOUNTAIN RANGES

Mountains | The Tatras, Orava + Liptov Basin

Study exploring relationship between elements under compression and tension as well as integration of primary and secondary components. Canopy structure attempts to use different species for different components - particularly in compression and tension - to utilize the strengths of selected timbers.

LIFE IN THE FORESTS

Life in these regions has always been deeply intertwined with the forsts and mountains, reflected on the sociocultural development of there areas.

RUŽOMBEROK MARTIN

ŽILINA

VYSOKÉ TATRY

SPIŠKÁ N.V.

LIPTOVSKÝ MIKULÁŠ

REGIONAL IDENTITY

FOREST AS LIFE Forestry and the outdoors intertwined with socio-cultural development

VYSOKÉ TATRY

Folklore| The Untouched Regions

Area of the Liptov basin, Orava and the Tatra mountains hold the key to uncovering traditional Slovak culture and heritage. Thanks to its geographical location and terrain the area withheld against external influences the longest and so features the broadest variety of traditional slovak folk culture, deeply rooted in slavic paganism.

ISOLATION FOR CONSERVATION

Geographical nature of region led to conservation of tradional folk slovak culture and way of life, in many ways rooted in slavic paganism

LIPTOV

ORAVA NÍZKE TATRY VYSOKÉTATRY

Regional Identity | Mountains, Forests + Folklore

SInterconnection between nature and structure

Traditions rooted in Slavic Paganism

Janosik legend

Flax harvest as social activity

Religious ritual as social binder

Area of Slovak National Uprising

Life outdoors

Forestry and tree logging history

Home to tradional folk dancing

Folk festival venues across the region play with defining characteristics of folk regional expression. Each region of central Slovakia has several venues for folk festivals, each reflecting their respective construction and formal tradition.

Detva | Folk Festival Venue

I. AXO VIEW: STEPPED TERRAIN, EACH STEP WITH SPECIFIC FUNCTION

II. PLAN VIEW: STEPPING PLATFORMS

TIMBER FRAME CONSTRUCTION, 1975

ANNUAL, REGIONAL FOLK FESTIVAL

III. ELEVATION: MOUNTAIN RANGE

Východná | Folk Festival Venue

One of the largest venues for folk performance, Vychodna features only outdoor spaces, so limiting its use during the year. Folk festival venues across the region play with defining characteristics of folk regional expression.

I. AXO VIEW: STAGE SCENE MIMICKING MOUNTAIN RANGE BEHIND

II. PLAN VIEW: CHAOS

TIMBER LOG CONSTRUCTION, 1971

FORM OF STAGE SCENE COMPLEMENTING MOUNTAIN RANGE BEHIND

III. ELEVATION: MOUNTAIN RANGE

Gable Signalling| Communication of Function

As seen throughout architectural history, just like on the ancient Greek pediments, the roof gable takes up the role of architectural communication. As a common feature of façade design, the front gable of dwellings – oriented towards the primary communication route through the settlement – is the most ornate and detailed elevation.

Structure as Ornament | Folk Painting and Carving in Architecture

Ornamentation of structural components had multiple purposes; didactic [in churches], recordkeeping in the form of monograms and dates, protective symbols around windows and doors as well as weatherproofing, in the form of lime-washing log ends to protect the end-grain.

PART III. DESIGN DEVELOPMENT

0m

CONTEXT 1:15,000 @A3

Štrbské Pleso | Vysoké Tatry

Area of the Liptov basin, Orava and the Tatra mountains hold the key to uncovering traditional Slovak culture and heritage. Thanks to its geographical location and terrain the area withheld against external influences the longest and so features the broadest variety of traditional slovak folk culture, deeply rooted in slavic paganism.

Štrbské Pleso | Vysoké Tatry

Architecture Of Štrbské Pleso

Similarly to other areas across Slovakia, most representational, monumental and iconic architecture, playing with regional expression is that build under Communism and so carries until today mixed connotations, and is often stigmatized.

SMALL SKI-JUMP, 1970

HOTEL FIS, 1970

ORIGINAL S.P. TRAIN STOP,

HOTEL PATRIA, 1968s

TATRAS TOWER, 2022

HOTEL PANORAMA, 1967

GRANDHOTEL ŠTRBSKÉ PLESO, 1900

LARGE SKI-JUMP, 1970

SKI-JUMP WATCH-TOWER, 1970

RACK-RAILWAY TO CABLE CAR

Cultural Infrastructure

Tatra Electric Railway extension proposal to continue around the perimeter of the TANAP national park, connecting to the Polish infrastructure on the northern edge of the Tatras. Štrbské Pleso would become the heart of this development as it also has the terminus of the Rack-rail from Štrba.

The extension of the Tatra Electric Railway is one part of the regional development masterplan. The other would be to extend the rack-railway all the way to the cable cars deeper in the valley, creating a seamless infrastructural integration laying the foundation for Cultural Infrastructure.

NÍZKE TATRY

TRAIN TO RACK-RAILWAY

RACK-RAILWAY STOP

RAILAY + RACK RAIL INTERFACE

Area of the Liptov basin, Orava and the Tatra mountains hold the key to uncovering traditional Slovak culture and heritage. Thanks to its geographical location and terrain the area withheld against external influences the longest and so features the broade

RACK RAIL + PERFORMANCE VENUE

Area of the Liptov basin, Orava and the Tatra mountains hold the key to uncovering traditional Slovak culture and heritage. Thanks to its geographical location and terrain the area withheld against external influences the longest and so features t

RACK RAIL + CABLE CAR INTERFACE

Area of the Liptov basin, Orava and the Tatra mountains hold the key to uncovering traditional Slovak culture and heritage. Thanks to its geographical location and terrain the area withheld against external influences the longest and so features the broades

CABLE CAR + MUSEUM

Area of the Liptov basin, Orava and the Tatra mountains hold the key to uncovering traditional Slovak culture and heritage. Thanks to its geographical location and terrain the area withheld against external influences the longest and so features the bro

Cultural Infrastructure

Extending the Tatra Electric Railway is one part of the regional development master-plan. The other would be to extend the rackrailway all the way to the ski slopes, creating a seamless infrastructural integration laying the foundation for Cultural Infrastructure.

The area of the site would be central to the masterplan as it would feature the southern station for the ski-lift, a rack-ralway station and a cultural center featuring exhibition spaces and a folk hall, dedicated to seasonal folk dance festivals

INFRASTRUCTURAL DEVELOPEMENT

EXISTING ELECTRIC RAILWAY MAIN ROAD

PROPOSED RAILWAY EXTENSION

EXISITNG RACK-RAILWAY

PROPOSED

LAKESIDEFOOTPATH

INFRASTRUCTURAL DEVELOPEMENT

EXISTING ELECTRIC RAILWAY

PEDESTRIAN ROUTE

RACK-RAILWAY ROUTE

FOREST EDGE

OUTDOOR EXHIBITION AREA

DIRECTIONALITY OF PROPOSAL

Site Strategy

The proposal will sit between the Štrbské Pleso lake and the proposed extention to the rack-railway, creating a bridge between the two flows - lake perimeter, pedestrian path on one hand and railway on the other. This creates opportunities for multiple different means of interconnecting the two routes.

the entrance

and feeds into the pre-function and exhibition spaces while the main roof of the

covers the primary programme.

Inspired by the strieška - a small / partial roof covering the entrance zone of a building or alternatively protecting the facade on taller buildings, this massing is composed of a mega structure roof covering most of the programme and the strieška

The strieška covers

hall

massing

Roof Overlap + Strieška

Roof steps to indicate change of programme - from entrance hall, to exhibition space, pre-function to performance hall.

Volume Hierarchy & Stepping

Clear distinguishing of programme and hierarchy of function through differently scaled volumes. Buildings of civic importance (churches) often differentiated the procession of spaces and importance of functions through volumetric stepping.

The length of the overlapping rooves indicates the dominant directionality of the massing as well as the procession journey through towards the event hall and lake side.

Inspired by the traditional method of shingle laying, the massing is composed of several, overlapping roofs, exhagerating the relationship between the overlapping elements, while creating directionality along the main spine of the massing.

Shigle Overlapping

In this massing the roof structure distinguishes between the performance hall and additional programme of the main spine. It further highlights the journey through the “mountain” up towards the event hall.

Inspired by the traditional method of shingle laying, the last [or first] layer of shingles on the roof ridge extends outwards in the direction opposite the dominant wind to further protect the ridge from the rain and snow. The silhouette additionally mimics the mountain ranges behind.

Mountain Silhouette - Ridge Shingle

PERFORMANCE

Programme Convergence

Massing split into two converging volumes, crossing over in the middle - one with the flow of people from railway to cable-car station, the other for people moving between exhibition and cultural venue. Transept crossing features a dynamic prefunction space also dedicated to exhibitions.

PRE-FUNCTION + EXHIBITION AREAS

INFRASTRUCTURAL TRANCEPT CROSSING

PRIMARY ENTRANCE ZONE

POTENTIAL FOR PROGRAMME SPILL-OUT EXTERNALLY

PART IV.

ŠTRBSKÉ

PLESO CULTURAL CENTRE

Gable Directionality | Hiker’s Approach

Programme + Circulation

Transport | Rack-rail + Cable-car station

Transition Zones | Ticket hall, information

Culture | Folk museum + Performance Venue

Pre-Function | Support spaces for venue

Support | Storage, performance back-of house, amenities

Spatial Sequence

Programme arranged sequentially creating a primary linear procession of spaces through main axis, from entrance to venue. Secondary axes added to form cross plan.

Converging Programme + Terrain

Massing adjusted to follow terrain creating to programmatic axes that converge in the middle - the cultural and the infrastructural.

Plinth

Stone plinth flattens terrain and creates perimeter circulation and public space, linking the main road with the lake-sided paths

Roof Pitch + Gable

Roof pitching applied due to environmental factors, creating a gabled entrance zone.

Roof Layering + Eaves Overhang

Roof overhand creates sheltered eaves circulation. Roof division and stepping enabling light to enter the deep floor plan.

Volumetric Division of Function + Directionality

Stepping of volumes creates clear division between functions. Angle applied to gable overhang adding directionality to the converging axes.

The

Roof Form

The roof is split and layered, dividing the massing based on function and bringing in light into the deep floor-plan

Gable Angle

The gable slope is inverted adding directionality to the volumes

Gable Frontage

The gables as frontages become entrances (and exits) and clearly communicate internal prgramme of volume

The stone foundation turned plinth, creating not merely sheltered circulation but a public space

Stone Footing

Spatial Sequence| Programmatic Overview

The central space of the proposal is designed to offer a clear, direct route for passengers changing from the rack-rail to cable-car, with the option of diverging into the second, cultural axis.

1. Entrance plaza + rack-rail stop

2. The central hall + ticket-hall

3. Transition space between station and cable-car landside

4. Cable-car airside

5. Exhibition areas

6. Pre-function and flexible areas for event support

7. Main event hall

8. Putdoor exhibition and performance areas

The Plinth| Aerial View

Aerial view exploring the buffer zone the elevated plinth creates - The stone foundation creating not only sheltered circulation but a public space within the wild landscape.

Gable Directionality| View From Lake

The Procession | Programmatic Arrangement

The linear programme arranged of the main axis creates a linear procession route up through the building, from main entrance, through the exhibition and prefunction areas to the venue hall. Two secondary axes diverge from the central space, first the exhibition gallery and second, the cable-car station.

TRANSPORT ENTRANCE HALL + EXHIBITION

CENTRAL CIRCULATION SPINE

TICKET HALL

RACK-RALWAY ENTRANCE ZONE + PLAZA

PERFORMANCE SPILL-OUT ZONE

PRE-FUNCTION + EXHIBITION AREAS

PRE-FUNCTION AREAS

FOLK PERFORMANCE HALL AND STAGE

PERFORMANCE BACK OF HOUSE + STORAGE

Station + Entrance Zone

The entrance hall spills out onto the plinth entrance plaza becoming a station in itself, mediating between the rack-rail platforms and cable-car terminus.

Cable-Car Station

The only external part of the proposal is the cable-car station itself directly connected to the central staircase and so the station hall and rack railway.

Exhibition Areas

Areas dedicated to the exhibitions of folk vernacular construction methods, architecture and overall utilitarian design exhibits from the region.

Folk Performance Hall

Performance hall and pre-function areas dedicated for folk dance and musical performances, seasonal festivals as well as regular performances by local folk ensambles from surrounding villages.

Structural Strategy | Overview

The overall strategy follows that of the vernacular folk architecture in the region. It is split up into the following layers; the stone plinth to even out the terrain, the timber, rafter-frame structure of the main building volumes, and the shingle clad overhanging and gabled roof.

Structural

Strategy | Fragment

Pre-fab, pre-stressed concrete box girder module

Original 1880’s bridge pier; limestone section with infill

Original 1880’s bridge pier; limestone section with infill

Primary timber roof structure

Glulam columns supporting bridge roof Station Platforms

Roof cladding; solar shingles Acoustic treatment

Structural Strategy | Fragment Analysis of Performance Hall

The structural strategy is formed by a laminated timber superstructure on top of a stone and concrete plinth. The timber components are a combination of GLT and DLT, minimizing the amount of glue and steel used in connections be dowel reinforcement and use of traditional half and cross lap connections.

Utilisation of Local Tree Species

Spruce inner zone Acetylated Wood GLT columns. Outer zone of cross-section made from more durable, acetylated hardwood giving it higher durability

Interlocking shingles Hand hewn to support local craftsmen

Perimeter up-stand

Stone up-stand protects timber structure from water while evening out terrain

Oak outer zone

Spruce inner zone Oak outer zone Internal Timber Frame External Timber Frame Oak outer zone

The Folk Performance Hall

Roof battens Notched directly onto roof rafters

Roof Rafters Primary roof structure which is expressed.

Structural Strategy | Fragment Analysis of Museum

The Museum of Folk Architecture

The Lamination Effect

Compression Tension

Lamination effect; GLT is stronger than an individual plank of the same cross-section as the risk of defects within the timber grain is dispersed.

The stone foundation turns plinth, creating not merely sheltered circulation but a public space

Stone Footing

Roof Eaves Roof overhand creates sheltered eaves circulation.

Central King Post Central truss post is suspended from the ridge beam

Roof Structure Roof beams cross-lapped onto suspended post and primary columns at the perimeter of the hall

The

Attic | Structure + Atmosphere

The suspended posts within the truss system create a depth to roof structure resembling that of an attic in traditional folk construction. Typically used as storage, and not directly accessible, the proposal twists the idea of the attic and gives it new life, becoming almost a memory palace - a museum of the disappearing folk construction techniques.

Structural

Frame sonsists of primary rafters, supported by perpandicularly running beams. The system creates depth to the structure ideal for concealing high-level services required.

I. Flush Cross-Lap II. Cross-Lap III. Dove-Tail Half-Lap IV. Half-Lap

Typical Lap Connections

components lapped together using hardwood dowles instead of steel, referencing the traditional joinery of the region.

Roof Frame

Column Footing Timber columns attached to stone footing

The Gable

Every gable ending directly communicates the internal functuion of its respective volume, inspired by the folk use of gables for signalling.

Performance | Folk Hall

Following the trend from folk festival venues, the structure within the folk hall is painted and carved, in the fashion of the Liptov and Tatry region - the colour and geometric patterns complementing those of the regional folk design, particuarly the traditional dresses.

Suspended Posts

Marked to highlight the suspended members within the system.

Painted in the direction of the main hall as a means of way-finding

Column Base

Painted and marked more heavily closer to the stage and performance areas.

Roof Beams

Section AA’ North

1:500 @ A3

Section AA’ South

1:500 @ A3

Interchange| Main Hall

Central space and structure marking directs flow from station towards cable-car and deeper, towards the performance hall.

Terminus| Cable-Car Station

Exhibition | Museum of Folk Architecture

Performance| Folk Hall

Approach from the North

The roof followes the terrain height, stepping down from the cable-car towards the rack-railway at its base.

Overhang

Lakeside Approach

From the Wild | Hiker’s Approach

Lakeside

Completing the composition of existing buildings, Hotel Patria and the mountainside slopes.

PART V. GENERAL ARRANGEMENT

+1370.5m

SOUTH-WEST ELEVATION

+1368.5m

+1365.5m

+1350.5m

NORTH-EAST ELEVATION

+1370.5m

PART VI. APPENDIX

Branching inspired by L-systems Each branch is half the thickness of previous branch

BRANCHING STRUCTURE

Study of planar and non-planar structural solutions with varying forms of assembly and construction; from traditional lumber to GLT, CLT and steam-bent components.

Equal branch thickness: Panel Form of branching structure created by timber panel

Equal branch thickness: Diverging Node Modular branches connected by diverging node

Equal branch thickness: Removal of Node Steam bent components enable the removal of node

I. Structral frame re-imagined: Exploration into re-framing the bell-tower using branching components to minimise amount of connections while maintaining formal characteristics of tower frame

STRUCTURAL RE-INTERPRETATION

Speculation envisioning the replication of formal and spatial conditions of the bell-tower using two methods: re-imagining the structural skin and structural frame. Exercise tries to capture the defining formal characteristics of the structure using different (but contemporary) approaches and methods.

I. Existing condition of bell-tower with primary focus on cornener condition

II. Form of bell-tower extracted through skin and re-constructed as structural surface

III. Structural skin re-arranged following the logic of overlapping shingles

CONTINUOUS BRANCHING STRUCTURE FROM DISCRETE FRAME

Structural speculation exploring the fusion of components, specifically structure of level and roof support. Form following or tracing load paths and grain directions of components.

Corner condition exploring relationship between horizontal, vertical and roof structure

Corner condition re-framed Fusion of strategic components to minimise amount of connection points

STRUCTURAL RE-FRAMING

Speculation envisioning the space of the Male Ozorovce bell-tower “reframed” using contemporary lamination techniques in which multi-directional structural components converge, opening up the central space.

Combining timber species to utilize their characteristics

Steam bent components enable the removal of node, different species used for components in compression and those in tension

COMPONENT LAYERING

Fusion of components: Tension + Compression Exploration of integrating elements under compression and tension using timber joints and splicing techniques

Fusion of components Primary + Secondary Exploration of integrating primary and secondary structures using timber joints and splicing techniques

Study exploring relationship between elements under compression and tension as well as integration of primary and secondary components. Canopy structure attempts to use different species for different components - particularly in compression and tension - to utilize the strengths of selected timbers.

Branching out Secondary structures branching out of primary

Non-planar / freeform structure: Removal of Node

Steam bent components enable the removal of node as well as layering of components under tension and compression

COMPONENT CONTINUITY

Tension + Compression interface

Exploration of integrating elements under compression and tension using timber joints and splicing techniques

Study exploring relationship between elements under compression and tension as well as integration of primary and secondary components. Canopy structure attempts to use different species for different components - particularly in compression and tension - to utilize the strengths of selected timbers.

All work produced by Unit 14 Unit book design by Charlie Harriswww.bartlett.ucl.ac.uk/architecture

Copyright 2021 The Bartlett School of Architecture, UCL All rights reserved.

No part of this publication may be reproduced or transmited in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retreival system without permission in writing from the publisher.

CRAFTED HORIZONS 2024

At the center of Unit 14’s academic exploration lies Buckminster Fuller’s ideal of the ‘The Comprehensive Designer’, a master-builder that follows Renaissance principles and a holistic approach. Fuller referred to this ideal of the designer as somebody who is capable of comprehending the ‘integrateable significance’ of specialised findings and is able to realise and coordinate the commonwealth potentials of these discoveries while not disappearing into a career of expertise. Like Fuller, we are opportunists in search of new ideas and their benefits via architectural synthesis. As such Unit 14 is a test bed for exploration and innovation, examining the role of the architect in an environment of continuous change. We are in search of the new, leveraging technologies, workflows and modes of production seen in disciplines outside our own. We test ideas systematically by means of digital as well as physical drawings, models and prototypes. Our work evolves around technological speculation with a research-driven core, generating momentum through astute synthesis. Our propositions are ultimately made through the design of buildings and through the in-depth consideration of structural formation and tectonic. This, coupled with a strong research ethos, will generate new and unprecedented, one day viable and spectacular proposals. They will be beautiful because of their intelligence - extraordinary findings and the artful integration of those into architecture.

The focus of this year’s work evolves around the notion of ‘Crafted Horizons’. The term aims to highlight the architect’s fundamental agency and core competency of the profession to anticipate the future as the result of the highest degree of synthesis of the observed underlying principles. Constructional logic, spatial innovation, typological organisation, environmental and structural performance are all negotiated in a highly iterative process driven by intense architectural investigation. Through the deep understanding of constructional principles, we will generate highly developed architectural systems of unencountered intensity where spatial organisation arises as a result of sets of mutual interactions. Observation as well as re-examination of past and contemporary civilisatory developments will enable us to project near future scenarios and position ourselves as avant-garde in the process of designing a comprehensive vision for the forthcoming. The projects will take shape as research based, imaginative architectural visions driven by speculation.

Thanks to: ALA, Boele Architects, Daab Design, DaeWha Kang Design DKFS, Heatherwick, Knippershelbig, NK3, RSHP, Seth Stein Architects, ZHA, Expedition Engineering.