Cambridge Portfolio

Cambridge Ashley Ball BA (HONS) Architecture Year 2

WELLS CATHEDRAL LIBRARY / WELLS Unknown

1. Separate bays which sit two people

2. Light enters from quadrangle open space

3. Repetative structure

4. Little distraction as one faces the book shelf

1/20 SECTION

READING CAMBRIDGE

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Library Study

WELLS CATHEDRAL LIBRARY / WELLS Unknown

1. Later addition of the library sectioned off from the main worship area 2. The Chapter House along the north face allowed a space for meetings and somewhere the books could be read aloud; positioned at opposite sends, possibly for accoustic levels

Vaulted space to enclosed

3. Quadrangle aids light penetration into the continuous rows of windows

Chapter House

Linear movement through the library

Book-

Chapter House

Seat-

Library Interior to Exterior

MOVEMENT PATTERNS 4. Public access into larger expanses of space, whereas private is on the surrounding attachments.

Wells Cathedral - Chapter House to Library

Library

Salisbury Cathedral - Similar layout to Wells Cathedral, but here the two sit in close proximity

Natural lighting 1. Glass was installed in the windows to save books from weather penetration 2. Windows are not installed for the sake of views - but rather for the need for light 3. Windows on Eastern and Western faces meaning morning and evening light - an improvement consideration would be to have north facing light to receive a steady constant in natural light conditions - although it is possible this was positioned to increase the ethereal conditions with strength of light

Public to private

SPATIAL ORGANISATION

Chapter House

Library

5. Cathedral designed in a rigid cross formation with emphasis on the Nave and Aisles

Canterbury Cathedral - location close together, with Chapter House not octaganal

Chapter House at Wells

READING CAMBRIDGE

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Library Study

The transitions up the staircase excludes natural daylight focussing the viewer on this one focal piece of light, which can be viewed from all levels as ascending.

The form was to emulate the idea of disregarding traditional rectangular shaped windows, for some kind of light fraction or gap that created an irregular shape. Rather than develop a language entirely of straight box like forms, subtle angling of objects creates an understated focal point.

This disused building in Leeds City Centre created initial interest due to its phenomenal natural light conditions.

Located directly adjacent to the railway line, the building is on five storeys including the ground floor which is the only area to be in current use with electrical supply.

The qualities of the derelict spaces transforms throughout the day with large windows creating extensive light penetration.

It was the intention to create a site specific work by understanding the existing recesses and the rhythmic transition of dark and light.

Recording the natural light conditions, helped to manifest a suitable response, which was to utilise existing spaces to create artificial light installations; resembling natural light conditions.

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Light Installation

Stemming from an interest in Japanese philosophy, the piece represents the difference between Western and Eastern perceptions on light and shadow - and the subtle appreciation of simple things.

Wabi Sabi is an intuative appreciation of a transient beauty in the physical world that reflects the irreversible flow of life in the spiritual world. It is an understated beauty that exists in the modest, rustic, imperfect, or even decayed, an aesthetic sensibility that finds a melancholic beauty in the impermanence of all things.

In the West there is a constant strive to develop and change, having a continual search for light and clarity. Alternatively, the subtle and subdued representations in Eastern lives present a deeper sensory connection and an inate ability to contemplate and feel. There is an appreciation of shadows, which the West tries to light; there is the love of the worn, that the West tries to repair.

There are subtleties in the everyday - something I wish to expose.

Stop motion film showing light and shadow transiton on simplistic form

Intuative Response to Philosophical Text

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Intuative Response

Plaster cast of concept exploring transition of alleyways into breakout courtyard spaces, developing the idea of dark into light and an appreciation of both.

Detailing each transition will become a set of rules for design.

Understanding and exploiting each transition will strengthen the philisophical grounding of the project helping to combine all trains of thought.

Developing the dark to light spaces exaggerates the transition meaning the sequential experience deepens.

In the most part, natural light should be explored to its fullest potential, with additional artifical lighting used for user comfort depending on the task.

The rawness of each space is also worth exploring - understanding the material properties and how this can inform the transitional route.

A material and space can connect to the next through a selection of ways. The material can stay the same, with the light condition in flux, or it can be the light condition which is a constant with the material properties surrounding oneself in change. Either way, the transition is explored in the design.

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Initial Models

NARRATIVE// Day to day our lives can appear mundane and dreary; a series of meaningless tasks of necessity. A reversal in perception can transform these quite ordinary tasks into ones of beauty.

It is important to learn to appreciate the poetics of subtleties. In the fast paced ‘want’ culture, demand is of essence and regularly the subtle is seen as old or used.

“Architecture should be sensitive to those emotional qualities that define the city, melancholy, expectancy, pathos, hope” (Caruso 2008).

Exploring dualities of simplicity and complexity quantifies this philsophical projection.

Removal and retainment of exisiting buildings plays with the idea of memory and loss.

On the surface the new fabric appears discreet; a continuation of Cambridges’ urban fabric. At a closer glanse there are subtle shifts in brickwork with the addition of glazed or polished surfaces, developing its complexity in an understated manner.

Simplicity in volume, complexity in detail.

Transitions from one space to the next is dictated by alterations in light concentrations, creating a connection between the whole site, old and new.

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Proposed MAPS OF CAMBRIDGE

CAMBRIDGE BUILT UP OF A SERIES OF NARROW SPACES

ALLEYWAYS

COURTYARD SPACES

TRANSITION BETWEEN LIGHT AND DARK

OPEN TO CONFINED SPACES

REPETITION AND RHYTHM IN BUILT FABRIC LANGUAGE OF CAMBRIDGE

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Cambridge Context

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CONTINUATION OF TRANSITION BETWEEN ALLEYWAYS AND COURTYARD SPACES STITCHING TOGETHER EXISTING AND NEW

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1. Gallery space overlooking double height space

2. Castle Street Entrances - two alleyways leading to courtyard

3. New entrance between old and new - polished concrete becomes subtle statement in architectural language

4. Underground public depository space leading onto private storage depository

5. New alleyway between Folk Museum and new Arts Library - a continuation of brick fabric

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Design

INTEREST THROUGH EXISTING ALLEYWAY

CONFINED TRANSITION FROM DARK INTO LIGHT

EXAGERATED NATURAL LIGHT IN NEW COURTYARD

POSITIONING OF NEW ART GALLERY CREATING NEW ALLEYWAY OF POLISHED CONCRETE

CHANNEL OF LIGHT THROUGH ALLEY INTO ART GALLERY

ROOF LIGHTS DIRECTS LIGHT IN DIFFERENT DIRECTIONS

PATTERNING OF LIGHT AND SHADOW THROUGHOUT THE DAY

MATERIALS CREATING CONTINUATION BETWEEN SPACES OLD AND NEW

DARK DOUBLE HEIGHT PROJECTION SPACE DISPLAYING ORIGINAL CONSTRUCTION MATERIALS

UNDERGROUND GALLERY EXPOSES AND EXPLOITS LITTLE LIGHT CONDITION BY USE OF POLISHED CONCRETE AND ARTIFICIAL LIGHT

CONNECTION THROUGH EXISTING COTTAGE ALLEY SEEING ART LIBRARY AS CONTINATION

ROOF LIGHTS PROJECT NATURAL LIGHT INTO CENTRAL COMMUNAL AREA

SEMI ENCLOSED VERANDA EXPRESSING LIGHT FRACTIONS FROM BRICK PATTERNING

CONTINUATION OF BRICK LANGUAGE IN RHYTHM OF NEW ART LIBRARY

ROUTE// TRANSITION BETWEEN LIGHT AND DARK THROUGH A SERIES OF ALLEYWAYS AND COURTYARD SPACES CONNECTING OLD AND NEW

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Route : transition between light and dark

Existing site consisting of original cottages and 20th century additions to create the gallery space

Two sites to make use of situated in different light conditions and expanse of space - a link between these is essential, and the successful knitting of old and new

1970’s extension to gallery space - area to be demolised as not currently utilising space successfully

Extrapolation of retained buildings develops idea of memory and loss.

Main line of view from cottage kept as this is the central piece for the two sites.

Main buildings to keep including cottage gallery, terraced houses and burnt out terraced house

Incorporation of circulation by creating system of alleyways and courtyards - exploring transition between old and new

By retaining this formation, it forms a natural courtyard with the exisiting buildings including Folk Museum creating a skin allowing some kind of statement internally

The location of the courtyard volume creates two different courtyard areas of interest combined with the alleyways

Alleyways are explored as vital transition spaces to exaggerate light created in the courtyard spaces

Art gallery rooflights as a visual continuation of contextual surroundings

Art library ventilation chimneys create points to continue visual jutting of roofline

Folk Museum creates a contemporary statement looking at shifting angles of roofline in immediate context

Interesting roofline of local vernacular - shifting angular line

Roofline -Identifying existing rooflines as important feature as this helps to create local character -Angular formation of rooflines to be incorporated with rooflights and ventilation stack -The roof design to be a singular part in the whole; not simply a summation of the whole.

-In the art gallery, the rooflights take on a delicate character through the system of repetition of similar elements with a slight shift, directed towards north and south light. The new line emphasises a continual jutting of local rooflines through a steep triangular formation.

-The art library takes on a slightly different approach to the immediate context. The ventilation stacks are at different heights helping to visually create an angular line of view. The addition of roof lights continues a idea of singular component being repeated to work as a whole.

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Roofline

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Language of Brick

Wall junction at arts library - polished concrete joining brick formation

-Opening up the boundaries from Northampton Street to create an open plaza for external reading and gathering -Behind the wall is a grassland area which contains a reedbed drainage system for the Arts Library and Cafe -The lanuage of paved materials suggests a difference in activity from footpath to gathering area, to entrance of cafe

Inclusion of glazed brickwork to highlight areas of interest, ie: entrances/ seating

-New entrance courtyard along Castle Street where current gallery space will be demolished - making the cottage a central focus point.

-Brick is the continuing material with subtle shifting in brickwork to suggest a contemporary statement. Polished concrete is used in areas of transitional change, creating a point of interest to guide user into new spaces.

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External Areas

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Brick Junctions

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Art Library Elevation

Key Key 1. Castle Street Castle Space Street 2.1.

Education 3.2.

Double height gallery space in existing terraced houses Education Space 4.3.

Entrance new gallery and to back courtyard Doublealleyway heightinto gallery space inaccess existing terraced houses 5. Connecting walkway 4.

Entrance alleyway into new gallery and access to back courtyard 6. Ventilation stack 5.

Connecting walkway 7. Rooflights responding to contextual surrounding 8.6.

Top floor gallerystack space with balcony overlooking space below Ventilation 9.7.

New gallery space Rooflights responding to contextual surrounding 10, Reception, bookshop/ catalogue collection 8. Top floor gallery space with balcony overlooking space below 11. Sloping alleyway down to underground depository 9.Existing New gallery 12.

Cottagespace Gallery 13.

Cafe and social reading area catalogue collection 10, Reception, bookshop/ 14.

Arts library communcal 11.

Sloping alleyway study downarea to underground depository 15. Private study area overlooking floor below 12.

Existing Cottage Gallery 16. Main supporting core with bookshelves and ventialtion systen in one 13.

Cafe and social reading area 17.

Ventialtion stacks 18.

Rooflights 14.

Arts library communcal study area 19.

Reed bed drainage system/ grassland area 15.

Private study area overlooking floor below 20. Northampton Street

16. Main supporting core with bookshelves and ventialtion systen in one 17. Ventialtion stacks 18. Rooflights 19. Reed bed drainage system/ grassland area 20. Northampton Street

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Site Section

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CHURCHYARD

T EE R ST

COURTYARD

E D U C AT I O N CENTRE

COTTAGE

M A I N OFFICE

PRIVATE DEPOSITORY

COURTYARD

OFFICES REED BED DRAINAGE SYSTEM/ GRASSLAND

PUBLIC DEPOSITORY

W/C

CAFE

EXISTING COTTAGE GALLERY

KITCHEN

COURTYARD

N STREET

NORTHAMPTO

Ground Floor Plan

Basement Floor Plan

Existing building New in existing building New

ART DELIVERY SPACE

RECEPTION AND BOOKSHOP

FOLK MUSEUM

EXISTING COTTAGE GALLERY

GALLERY STORAGE

FIRST FLOOR NEW GALLERY

VOID OF DOUBLE HEIGHT GALLERY MEZZANINE FLOOR GALLERY

EXISTING COTTAGE GALLERY

ARTS LIBRARY COMMUNAL STUDY SPACE

FOLK MUSEUM

PRIVATE STUDY

FOLK MUSEUM

VOID

SEMI ENCLOSED VERANDA

First Floor Plan

SEMI ENCLOSED VERANDA

Second Floor Plan

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Plans

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Catalogue of Development

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Site Model

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Development Models

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Final Models

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Final Models

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Rooflights

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Presentation Sheets

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S T A L K E R

O l d C h a p e l St udi o s Ne w C l a s s r o o m

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Design Day: Shortlist Entry for Holbeck Community Room

‘We express ourselves by what we do; we live in what we do; we are what we do’ Embedded philosophy communicates unspeakable traits within a culture to the wider world through a series of consensual actions and desires.

Without this philosophy which is ingrained in a culture from the minute to the extraordinary, where does one position oneself? A look to the past to inform the future can aid a new way of thinking, or rather a rediscovered way of thinking to perpetuate the idea of a culture.

Displayed today in the developed West, there is a ‘want’ culture, of need and excess based on materialistic propaganda. This act of generic globalisation is a removal of personal freedom. Is it possible to overturn this and embed a new topology of philosophy into our culture?

Rather than the East learning from the West, can the West learn from the East? Can we develop a new way of thinking to ensure our survival?

It is through this investigation which I intend on redirecting this research into a series of works to see how principles of appreciation can be transferred into a tenet of our Western culture.

This work will manifest itself through appropriate works, such as sound installation, short films, sculpture and drawing; a continuing exploration of light and shadow.

To philosophically examine this experience, a series of writing will be produced to question this notion of appreciation.

Zen monks seek to reach their goal of enlightenment not through learning but by the unlearning of all preconceived notions of life and

NAGANO

Much of Japanese philosophy ambiguously examines the expression of all kinds of forms and actions. The term ‘Wabi Sabi’ represents a comprehensive Japanese world view or aesthetic centred on the acceptance of transient beauty; the art of impermanence.

Japan has the world’s tenth-largest population, with over 127 million people. How does the scale of population affect the expression of tradition from small scale to the larger population? The proposal is to visit Japan and document the variations in traditions between the Westerly inspired capital and the smaller communities in ‘traditional’ Japan.

KYOTO

TOKYO

TOFUKUJI

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Norman Foster Travel Scholarship Entry