Jack Baron Architecture - HORTUS CONCLUSUS: Thames Barrier Park / Zumthor’s Serpentine Pavilion

HORTUS CONCLUSUS THAMES BARRIER PARK / ZUMTHOR’S SERPENTINE PAVILION

JACK BA R ON

Published in Great Britain in 2017. Š Copyright Jack Baron 2017 The right of Jack Baron to be identified as the author of this work. All photographs and graphics were taken or produced

by Jack Baron (unless otherwise stated.)

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HORTUS CONCLUSUS Thames barrier Park . Peter Zumthor’s Serpentine Pavilion

ARCHITECTURAL PROTOTYPES Re/Source Studio 22 LSBU MArch 2016/17

“Hortus conclusus soror mea, sponsa, hortus conclusus, fons signatus�

“A garden enclosed is my sister, my spouse; a garden enclosed, a fountain sealed up.”

King Solomon’s “Song of Songs” 4:12.

C O N T E N T S Chapters

Introduction

2

Concept

6

Location

14

Site History

22

Program

30

Geometry

36

Circulation

52

Planting

60

Materials

68

Afterword

83

Bibliography

93

INTRODUCTION Foreword

Architectural typology refers to the study and documentation of a set of buildings or architectural landscapes which have similarities, whether in their use, form or style.

The purpose of this study is to analyse two examples; one a building another a landscape. Although they do not share a direct ‘typology,’ it is hoped through comparison I may discover an underlining relationship - their own unique ‘prototype.’

1

INTRODUCTION Thames Barrier Park

Project: Location: Construction: Architect: Building Type: Site Area: Building Area: Total Floor Area: Materials:

Project:

Thames Barrier Park East London, United Kingdom 2001 Patel Taylor Park (Inc. Memorial & Cafe) 26,000 m2 9,500 m2 17,300 m2 Reinforced-Concrete Construction

Patel Taylor won an international competition to design one of London’s largest new parks, in a joint effort with French landscape architect Allain Provost, and structural engineers Arup. The Thames Barrier Park has transformed a derelict brownfield site, and is a significant factor in attracting new investment to London’s Royal Docks.

Every aspect of the park, from its urban form - which seeks to

Architect Profile:

link the park into the surrounding docklands - to the varied

Patel Taylor was founded by Pankaj Patel and Andrew Taylor

richness of its landscaped components and the design of its

in 1989. Based in Clerkenwell, London, the office specialise

buildings, its ‘fixtures and fittings’ - makes a contemporary

in fusing together the elements of architecture, landscape and

cultural statement. It creates a series of settings for surrounding

urban design and has since completed projects throughout the

new development to respond to and is a rich and inviting new

United Kingdom and in mainland Europe.

public space which effectively initiates a new piece of London with its own clear identity, but which links with the river and

Patel Taylor’s work often involves suggesting a framework

industrial context. The high-quality of the landscaping, design

that helps repair and reinforce a sense of place. The practice

materials and planting all contributes to this space and has

has received more than 40 design awards and was named

led to a strong feeling of well being and pride in the local

Masterplanning and Public Realm Architect of the Year in the

community and those who use the park.

Building Design Awards 2013.

2

Fig.1. Site Plan, 2017.

3

INTRODUCTION Serpentine Pavilion

Project: Location: Construction: Architect: Building Type: Site Area: Building Area: Garden Area: Materials:

Project: ‘Hortus Conclusus’ was designed by Peter Zumthor in 2011 with the concept of creating a contemplative pavilion, in a joint effort with Dutch garden designer Piet Oudolf.

Serpentine Pavilion Hyde Park, London, United Kingdom 19 May – 27 June 2011 Peter Zumthor Park Pavilion 960 m2 390 m2 252 m2 Timber-frame Construction

Arup were also instructed to provide all the specialist technical services and engineering support for the structure, the construction of which was completed on 27 June, 2011.

It was opened to the public from 1 July to 16 October, 2011.

Public Opening Dates: 1 July – 16 October 2011

Architect Profile: Peter Zumthor is a Swiss architect whose work is frequently described as uncompromising and minimalist. Though managing a relatively small firm, he is the winner of the 2009 Pritzker Prize and 2013 RIBA Royal Gold Medal.

Dimensions of Pavilion: 390 sqm (gross) 252 sqm internal garden space (net) 100 sqm transition space (net) 5.5 m height pavilion facade 2.7 m min height internal garden space

His best known projects are the Kunsthaus Bregenz (1997), a glass and concrete cube that overlooks Lake Constance (Bodensee) in Austria, and the cave-like thermal baths in Vals, Switzerland (1999).

Zumthor always emphasises the sensory aspects of the architectural experience. To him, the physicality of materials can involve an individual with the world, evoking experiences and texturing horizons of place through memory.

4

Fig.2. Site Plan, 2017.

5

C O N C E P T Thames Barrier Park

The Thames Barrier Park is a riverside park in London

The park is strategically placed and very well connected;

and stands as a vivid example of modern landscape in the

it connects to the Pantoon Dock DLR Station, there are bus

UK. The park was commissioned by the London Dockland

routes leading directly to it and there is a free car park for

Development Corporation as being a catalyst for urban

visitors. There is a cafe next to the DLR Station and a visitor

regeneration. The idea for creating a riverside park at that

centre, which was designed by Patel Taylor and incorporates

location dates back to 1985, but it was not implemented then

the white concrete used throughout the park and green oak.

because of a contamination on the site caused by factories that remained there until 1985, when the London Dockland

The design team’s idea was that earth should be shifted in

Development Corporation purchased the site and arranged

order to create different levels and consequently allow for a

for an international design competition. The aim of the

spectacular effect, as well as act as a barricade for the park,

winning entry to the competition was to create a deep ‘green

isolating it from excessive noise produced by the Woolwich

dock’ cutting through the 9ha set diagonally to provide a vista

Road.

ending at the abandoned Millennium Mills to the North and the Thames Barrier to the South.

“This project is clearly a park of its time and it is as much a threedimensional architectural and planning composition as it is a piece of landscape.”

The Observer Review.

6

“It was our ambition to create something more than another ‘green lung’ salvaged from the leftover space between buildings.

Instead we aimed for a special place of cultural significance with its own clear identity.”

Patel Taylor

Parks bordering the River Thames (from West to East): Marble Hill Park Syon Park Kew Royal Botanic Gardens Furnival Gardens Leaders Gardens Bishops Park Wandsworth Park Hurlingham Park battersea Park The Victoria Tower Gardens Jubilee Gardens King Edward Memorial Park Sir John McDougal Gardens Island Gardens Greenwich Park Lyle Park Thames Barrier Park Royal Victoria Gardens

Fig.3. Parks in London.

8

town Quays he global o ial units ‘in Patel ng the ‘basically gh and be velopment’. e ongoing he urban ely on Patel

15 Patel Taylor’s competition stage plan of the park with suggested forms of surrounding development, redrawn 2004

popularity -walking, the endering e so in day. Apart te but don’t appear, in te their ers. made secure y the n the park o, hosting a e for the rself with ng e’.40 While enjoy a

16 Across the plateau towards new, neighbouring development 17 Active ‘green dock’

15

Fig.4. Initial Concept Plan.

9

C O N C E P T Serpentine Pavilion

Hortus Conclusus historically protected the private precinct

This genre became symbolic of impenetrability, inviolability

from public intrusion, creating a protective barrier, in

(purity) and seclusion, a metaphor of the heavenly paradise

essence bringing nature within its walls. It was created out of

and the Garden of Eden. As the space created is literally

practicality when man feared the wildness of the landscape,

focused inward, it becomes a figurative expression of

(animals and intruders) and chose to erect a protective barrier.

spirituality. Within medieval paintings and tapestries the Virgin is typically shown in a meadow with walls or a fence

Either way, it manifested itself as walled gardens for the aristocratic class to delight in.

encircling her, embraced by angels and saints.

Within, they would have

servants tend plants or create an idyllic retreat for sitting,

Salvation was to be found through nature, in this case a

dancing and playing instruments. Others would stroll and

garden. Interestingly, the word “paradise” is derived from the

contemplate their faith. The only continuously existing

Persian word “pairideaza”, which when literally translated

medieval gardens today are monastic cloister gardens.

means “surrounded by walls.”

The enclosed garden was a common setting for images

Relationship with the heavens is emphasised in a walled

of the Virgin Mary in medieval artwork. According to

garden as it eliminates the outside world converging the

Elizabeth Barlow Rogers, Landscape Design: a cultural and

garden below with the heavens above. There is a stark contrast

architectural history–

between the containing walls and the vertical endlessness of the sky – truly a vertical landscape.

“the notion of the garden as an enclosed space, set apart, and infused with metaphorical meaning – a representation

It is this historic relationship an enclosed garden creates with

of nature perfected through human art in the service of an

the sky and the heavens above is what was recreated within

ideal – is fundamental to our understanding of the history of

Zumthor’s contemporary design for the pavilion.

landscape design.”

10

“The hortus conclusus that I dream of is enclosed all around and open to the sky. Every time I imagine a garden in an architectural setting, it turns into a magical place.�

Peter Zumthor

Fig.5. Zumthor’s Sketch Plan and Section.

L O C A T I O N Thames Barrier Park

Thames Barrier Park is located directly adjacent the Thames

The Thames Barrier Park was commissioned as a kick-start

Barrier flood defence, built in 1984. The defence system

for development within the surrounding area. Previous areas

sits along the river Thames, between the Silvertown area of

used for industry are currently vacant. The park aims to

Newham (north) and Woolwich (south).

attract residential development for future residents wishing to live close to London. The riverbank setting provides an ideal

Silvertown was historically an industrial area of London, with

opportunity for city living with uninterrupted views.

a busy docklands importing and exporting in and out the river Thames to the rest of the world.

On 21 April 2015, Newham Council gave planning permission to The Silvertown Partnership for a new ÂŁ3.5billion redevelopment of the area. The 7 million square foot

Key:

development will provide offices, a tech hub, 3,000 new homes

Site Location

and brand experience pavilions.

Green Area and Parks

A school, health centre and shops are also included in the plan

Roads

and an innovative new bridge will cross the Royal Docks to get people to Custom House station and Crossrail.

Public Access Buildings DLR 14

Fig.6. Site Location Plan.

Fig.7. Building Footprint Plan.

Fig.8. Aerial view of Thames Barrier Park.

15

Fig.9. Aerial photograph of Thames Barrier Park.

L O C A T I O N Serpentine Pavilion

Kensington Gardens, once the private gardens of Kensington

At its north-western end (originally the inflow of the River

Palace, are among the Royal Parks of London. They gardens

Westbourne) in an area known as “The Italian Garden”,

are shared by the City of Westminster and the Royal Borough

there are four fountains and a number of classical sculptures.

of Kensington and Chelsea, and sit immediately to the west of

At the foot of the Italian Gardens is a parish boundary

Hyde Park, in western central London. The gardens cover an

marker, delineating the boundary between Paddington and St

area of 270 acres. The open spaces of Kensington Gardens,

George Hanover Square parishes, on the exact centre of the

Hyde Park, Green Park and St. James’s Park together form

Westbourne river.

an almost continuous “green lung” in the heart of London.

Kensington Gardens are Grade I listed on the Register of Historic Parks and Gardens.

Kensington Gardens was originally the western section of

Key:

Hyde Park, which had been created by Henry VIII in 1536 to

Site Location

use as a hunting ground. It was separated from the remainder of Hyde Park in 1728 at the request of Queen Caroline[4] and

Green Area and Parks

designed by Henry Wise and Charles Bridgeman in order to Roads

form a landscape garden, with fashionable features including the Round Pond, formal avenues and a sunken Dutch garden.

Public Access

Bridgeman created the Serpentine between 1726 and 1731 by damming the eastern outflow of the River Westbourne

Buildings

from Hyde Park. The part of the Serpentine that lies within DLR

Kensington Gardens is known as “The Long Water”.

18

Fig.10. Site Location Plan.

Fig.11. Building Plan.

Fig.12. Aerial view of Kensington Gardens.

19

Fig.13. Aerial photograph of Kensington Gardens, Hyde Park.

SITE HISTORY Thames Barrier Park

The park was built on what was one of the country’s

Concluding this phase was the formation of a “capillary break

most polluted sites, the former PR Chemicals factory.

layer.” This drainage system is made up of a lower layer of

Decontaminating the site took many years and was done with

rough, non-porous material and an upper layer of porous soil

painstaking precision.

and sand. Rainwater is absorbed by the finer upper layer and transported along the top of the rough lower layer to where it

The project’s first phase, decontaminating the brownfield site,

can be safely drained away. The second phase of construction

began in January 1997 and was completed in nine months.

began in January 1998 and, due to park building and planting

Surface oils and tars were removed from the site. Water was

requirements, was not completed until March 2000.

pumped from the contaminated subsurface water table, to be replaced eventually by natural processes.

Fig.14. Existing Site Photograph, 1951.

22

Fig.15. Site Plan, 1951.

Fig.16. Site Plan, 2011.

23

Fig.17. Site Plan, 1890.

SITE HISTORY Serpentine Pavilion

The Serpentine Galleries are two contemporary art galleries in

it comprises 900 square metres of gallery space, restaurant,

Kensington Gardens, Hyde Park, Central London. Comprising

shop and social space. The Magazine Restaurant adjoins the

the Serpentine Gallery and the Serpentine Sackler Gallery,

gallery space.

they are within five minutes walk of each other, linked by the bridge over the Serpentine Lake from which the galleries get

Every year since 2000 the Serpentine Gallery has commissioned

their names. Their exhibitions, architecture, education and

a temporary summer pavilion by a leading architect. The series

public programmes attract up to 1.2 million visitors a year.

presents the work of an international architect or design team

Admission to both galleries is free.

who has not completed a building in England at the time of the Gallery’s invitation. Each Pavilion is completed within six

The Serpentine Gallery was established in 1970 and is housed

months and is situated on the Gallery’s lawn for three months

in a Grade II listed former tea pavilion built in 1933–34

for the public to explore. Cecil Balmond has been a creative

by the architect J. Grey West. Notable artists whose works

force behind Serpentine Pavilion programme.

have been exhibited there include Man Ray, Henry Moore, 2000: Zaha Hadid 2001: Daniel Libeskind 2002: Toyo Ito 2003: Oscar Niemeyer 2005: Álvaro Siza and Eduardo Souto de Moura 2006: Rem Koolhaas and Arup 2007: Olafur Eliasson and Kjetil Thorsen 2008: Frank Gehry 2009: SANAA 2010: Jean Nouvel 2011: Peter Zumthor with Piet Oudolf 2012: Ai Weiwei and Herzog & de Meuron 2013: Sou Fujimoto 2014: Smiljan Radic 2015: Selgas Cano 2016: Bjarke Ingels

Jean-Michel Basquiat, Andy Warhol, Paula Rego, Bridget Riley, Allan McCollum, Anish Kapoor, Christian Boltanski, Philippe Parreno, Richard Prince, Wolfgang Tillmans, Gerhard Richter, Gustav Metzger, Damien Hirst, Jeff Koons and Marina Abramović. On the ground at the gallery’s entrance is a permanent work made by Ian Hamilton Finlay in collaboration with Peter Coates, and dedicated to Diana, Princess of Wales, the gallery’s former patron.

In 2013 the Serpentine Sackler Gallery, with an extension designed by Zaha Hadid Architects, was opened to the public, giving new life to The Magazine, a Grade II* listed former gunpowder store built in 1805. Located five minutes’ walk from the Serpentine Gallery across the Serpentine Bridge, 26

Fig.18. Serpentine Pavilion, 2011.

Fig.19. Serpentine Gallery, 2015.

27

Fig.20. Site Plan, 1890.

P R O G R A M Thames Barrier Park

Thames Barrier Park is a simple, square-shaped grass plateau.

Open-space areas:

Recreational uses

It is not a traditional English park , rather it is a refreshing

Children’s play space:

Climbing

example of contemporary modernist park design.

Visitor centre / cafe:

Eating / Seating

Memorial pavilion:

Seating / Relaxing

The park consists of a variety of areas, purposely designed for

Pathways:

Walking / Cycling

different uses. The ‘layering’ technique allow visitors to carry

‘Green Dock:’

Walking / Contemplating

out activities within the open space, for communal interaction, but also in screened areas, for smaller groups and couples.

Fig.21. Children’s Play Area.

30

Pavilion

Cafe / Visitor Centre

Green Areas

Pathways

‘Green Dock’

Fig.22. Exploded Use Diagram.

Circulation Routes

Play Spaces

View Points

Structures

‘Green Dock’

Landscaping & Planting

P R O G R A M Serpentine Pavilion

The enclosed garden creates a sensual environment for visitors

The care and effort which goes in to a garden is also respected.

to simply sit and relax. Whether to socialise or contemplate

The walled enclosure safe guards the garden and those whom

self thoughts,

have visited. This safe atmosphere further allows escapism.

the sheltered, protected area creates a space

which escapes the busy everyday life in the city.

Allowing interaction with plants and the insects it attracts, the garden provokes connection with nature. An important relationship most people forget to experience, especially in the city of London.

Fig.23. View of planting inside centre of pavilion.

34

“A garden is the most intimate landscape ensemble I know of. It is close to us. In it we cultivate the plants we need.

A garden requires care and protection. And so we encircle it, we defend it and fend for it. We give it shelter. The garden turns into a place....

Enclosed gardens fascinate me... There is something else that strikes me in this image of a garden fenced off within the larger landscape around it: something small has found sanctuary within something big.�

Peter Zumthor

G E O M E T R Y Thames Barrier Park

Thames Barrier Park in relation to the Royal Victoria Dock

Given this historic landmark is to remain during this

Footbridge, Royal Victoria Square and Silvertown Quays

regeneration project, the veiw points within the park follow

(2001). Views north are directed towards the derelict 20th

an access route future residents will follow directly to the park

century flour mill. The building is currently undergoing a

and the river front beyond.

major renovation as part of a £3.5billion redevelopment of Silvertown, on the south side of the Royal Victoria Dock, between the Thames Barrier and the ExCel exhibition centre.

To be renamed as ‘Millennium Mills,’ to form part of the newly built Britannia village, in Newham.

36

Fig.24. Annotated Aerial Photograph, 2017.

Fig.25. View from river front facing Thames Barrier.

Fig.26. View from footbridge looking south at Thames Barrier.

Fig.27. View from footbridge looking north towards Flour Mill.

Fig.28. View from footbridge looking south along ‘Green Dock.’

R O YA L V I C T O R I A S Q U A R E

To maintain continuity of landscape throughout the Royal

To the east is a triangular group of closely planted trees. A

docks area, Patel Taylor was also commissioned for the

pavilion was originally intended for this location, but the

design of Royal Victoria Square as part of the ExCel Centre’s

funding never materialised. So the trees have been tightly

development, along with landscape architects EDAW.

planted to echo the mass of the proposed structure.

Although this is classed as an urban square, it still retains elements of modern landscaping prevalent within the Thames

Finally to the south by the waterside are four preserved 20m

Barrier Park, emphasising the quality and character of the

dock cranes; reminders of the area’s heavy industrial heritage.

public realm in the regeneration of the Royal Docks.

A deck overhanging the dock edge has been formed to define a viewing area for water sports and dock activities.

The Royal Victoria Square uses the past as a central theme, with focus on an original warehouse and the massive dockside cranes. Along with the linear canopies mimicking the historic finger docks tat existed here before the entire area was rebuilt in the 1930s. The space is a place of relief and to take spill out from the vast adjacent exhibition halls.

On the north side is an area of paving, conceived as part of a ceremonial route to the Excel building, that features two rows of fountain jets. North of this again is a pool, on the far side of which is an original surviving warehouse from the late 19th Century.

46

Fig.29. Tree planting to follow view points.

Fig.30. Aerial photograph of Royal Victoria Square.

47

Fig.31. Cantilever canopy structure.

G E O M E T R Y Serpentine Pavilion

When positioned on site, instead of positioned directly opposite

Zumthor wanted the pavilion to create a space with an

the Serpentine Galleries Zumthor’s pavilion was positioned

overhanging roof above a timber bench that would encircle

at a angle to follow the surrounding landscaping. This would

the garden. This roof overhang and resulting frame geometry

give the building a more pronounce impact on visitor’s arrival.

presented a technical challenge to the engineers, as it makes an unstable structure that wants to fall forwards towards the

The pavilion is no way meant to form an extension to the

garden. To overcome this, Ted Featonby, project manager,

Serpentine Galleries, but instead the contemporary building

devised a 600mm x 600mm timber plate, which forms a stiff

purposes redirects the site lines within the park.

connection between the floor and the primary timber upright, making an inverted T shape. This “Featonby plate” both stabilises the building and forms the profile for the bench. Both inside and out the corners have a curved profile – an effect which is achieved externally by routing and internally through the application of timber beads.

50

Fig.32. Block Plan.

51

C I R C U L AT I O N Thames Barrier Park

What is remarkable about the 5 meter green dock which splits

In contrast to its stark form, it provides a sheltered micro-

the park is that is has no side exits. Therefore, once people enter,

climate for the “rainbow garden,” a series of parallel strips

they are inclined to look North towards the Thames Barrier,

of plantings and paths. The park consists of a ‘Green Dock’

the wavy hedges and the evergreen honeysuckle which covers

which sits below ground level and splits through the park.

70 degree sloping walls, and ultimately arrive at a ramp which

This enclosed garden designates a direct route through the

leads up to the viewing pavilion facing the Thames. A green

site, from entry all the way to the end of the park, overlooking

trench running through the park is a reminder of the area’s

the Thames Flood Defences. Once inside the enclosed garden,

former industrial heritage. Cutting through the plateau, this

high hedges are planted similar to a maze, defining a variety

“dry dock,” with its 16-foot- (5-meter-) high concrete walls,

of possible routes.

depicts the scale and depth of former dockside structures.

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Fig.33. Restricted walkway within ‘Green Dock.’

Fig.34. North-East view towards surrounding development.

Fig.35. East view towards memorial pavilion.

54

Fig.36. North view within ‘Green Dock.’

C I R C U L AT I O N Serpentine Pavilion

The pavilion emphasises a sense of space. On entry, one walks into a compressed space, a dark corridor, which leads onto an open space. This contrast between compression and expansion complements the stark contrast between dark and light that accompanies these spaces.

Within this route, a build up of atmosphere is created. The visitor experiences a sense of excitement as if being trapped then set free.

It is within these confined spaces, one becomes isolated and disconnected from the outside world. A transition process, escaping the normalities associated with the modern world we live today to a timeless dimension.

It is this transition through these spaces which provokes a sense of self-reflection and discovery.

The confined space has a high sloping ceiling with a low hanging artificial light fitting. This creates a dark space above, which mysteriously appears endless.

Fig.37. Natural light entering walkway.

56

Fig.38. View inside.

Floor Plan Scale 1:100 0m

1m

2m

3m

4m

6m

9m

P L A N T I N G Thames Barrier Park

Patel Tayor have collaboratively worked with French

Instead of naturally occurring, free-flowing planting as

landscape architect Alain Provost on two occasions, the

found in English parks and woodlands, the planting has

Eastside City Park and Thames Barrier Park. On both

been strategically grouped together and aligned in rows,

projects, award-winning projects were produced. His work

strengthening views and site lines across the site.

salso include designs for the Parc Floral in the Bois de Vincennes, Paris,Parc André Citroën in Paris, the Jardin

A various mix of high hedges and low level ornamental planting

Diderot at La Défense.

have been set out within the ‘green dock.’ Similar to a maze found within an Victorian garden, the planting determines

The minimal planting design upon this project aims to further

various pathways through the terrain, until eventually leading

reflects a European feel, rather then a traditional English

to the Thames Estuary.

landscape.

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Fig.39. Tree planting strengthening view points.

Fig.40. Hedges define various ground levels.

Fig.41. Precisely cut hedges to replicate waves.

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Fig.42. Strategically positioned rows of trees.

P L A N T I N G Serpentine Pavilion

Piet Oudolf (born 27 October 1944) is an influential Dutch

The planting within the enclosed garden, is at the centre of

garden designer, nurseryman and author. Working primarily

interest. All the seating around the perimeter of the pavilion

with perennial plant varieties, Oudolf practices a naturalistic

is aimed at the planting with only the sky above and glimpes

approach to gardening.

of the trees with the park are visible. Being able to see, smell and touch the planting brings the people closer to nature and

Taking a cue from architectural design, Oudolf prioritizes the

provoking an opportunity to really pay attention to it.

seasonal life cycle of a plant over decorative considerations like flower or colour. He focuses primarily on structural characteristics, such as leaf or seed pod shape, present before and after a plant has flowered. The stability of perennials after planting are key to Oudolf’s designs.

Unlike self-seeding or bulb-based plants that spread and require division each season, perennials remain in established formations. The result are gardens that persist in their planned state years after being planted with little deviation from Oudolf’s hand drawn maps.

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“The centre of my pavilion

is a garden; it invites us to gather around.

We will meet in the garden�

Peter Zumthor

Fig.43. Rainfall naturally directed towards planting.

Fig.44. Planting Strategy (Nts)

“I am very pleased to be collaborating with Peter Zumthor and the Serpentine Gallery on this year’s Pavilion and to be part of this exciting project. My work aims to bring nature back into human surroundings and this Pavilion provides the perfect opportunity for people to reflect and relax in a contemplative garden away from the busy metropolis.”

Piet Oudolf

M A T E R I A L S Thames Barrier Park

CAFE / VISITOR CENTRE Materials:

The glass enclosure leads out onto a timber deck, raised just

Foundations:

Concrete piled

above the level of the park providing an elevated transition

Super-Structure:

Green Oak / Steel frame

from landscape to enclosure. The green oak structure is

Flooring:

Timber panel

fixed by a series of exposed steel and bolt connections and is encouraged to weather as so to further enhance it’s natural

Towards the main entrance to the park lies a visitor centre, also

appearance.

designed by Patel Taylor. Set within a minimal contemporary

The plan of the pavilion follows the geometry of the park

structure, the pavilion provides toilets and cafe with seating.

angled towards the Thames Barrier, complimenting the layout

The centre is constructed from a combination of in-situ

of the surrounding landscape and encouraging views of the

reinforced concrete, green oak and full-height glazing facing

Barrier from inside the centre.

over the centre of the park.

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Fig.45. View visitor centre/ cafe in context.

Fig.46. Entrance to visitor centre / cafe.

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P AV I L I O N O F R E M E M B R A N C E Materials:

The structure consists of 23 irregularly spaced steel columns

Foundations:

Concrete piled foundations

supporting a slatted timber roof with a large circular hole.

Super-Structure:

Steel frame

Purposely designed seating, carved from stone, provides an

Roof Structure:

Timber

area for sheltered contemplation, reading, and relaxing whilst

Flooring:

Timber panel

looking out over the Thames Estuary.

At the river end of the dock is the ‘Pavilion of Remembrance.’

As with many memorial precedents, located close to the sea

This memorial structure commemorates all those who

(or river) encourages an engagement with nature. It is this

tragically lost their lives during the London Blitz.

engagement which evokes people to feel a connection with the departed.

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Fig.47. Pavilion of Remembrance, 2011.

Fig.48. Pavilion positioned facing out to sea.

Fig.49. Purposely designed seating to replicate waves.

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Fig.50. Pavilion of Remembrance, 2016.

M A T E R I A L S Serpentine Pavilion

Materials:

In the end, a combination of black Idenden – a polymer

Concrete strip foundations

emulsion often used as a vapour barrier coating for pipework

Timber frame super structure

– and rolls of hessian scrim have been used for the entire

Sheet plywood covering

pavilion apart from the bench.

Skin, black Idenden over scrim Bench, Prussian blue stained timber

First a layer of Idenden is painted over the timber, then a layer

Floor, black Idenden with sand over scrim

of the hessian scrim is stuck over it, starting from the pavilion’s base, and rolled over the roof and under the overhang. This

Zumthor desired a depth of blackness to the timber that could

is followed by several more layers of Idenden until the dark

not have been achieved simply by painting it. “Peter wanted

black is achieved.

something really black, with a depth and shadow to it, rather than the flat black that paint would achieve. He also wanted a

The blackness of the material would give the pavilion

finish with a memory to it so that when people looked at it, it

a mysterious, timeless finish. The simple timber frame

would be familiar in some way,” says project architect Anna

construction beneath become completely unknown, instead

Page

the outer shell become a complete solid form, as if carved from stone. In contrast to the blackness of the pavilion, the

Finding the right solution took time. The first serious contender

timber bench which encircles the garden will be stained a rich

was black roofing felt, but this wasn’t durable enough to be

Prussian blue.

used as a flooring material, nor sufficiently fire-proof to be an internal wall lining. Other solutions considered were charring

The top of the bench will be fitted with solid 400mm x 60mm

the timber and using black rubber, but these too failed to

pieces of pine finished with rounded edges. The timber will

achieve the depth of black that Zumthor wanted.

be secured underneath with hidden mechanical fixings and will project forward 100mm. It is then finished with two stains which react on the Swiss Pine to create a luminous Prussian blue.

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Fig.51. External View of Pavilion, 2011.

Fig.52. Deep black material finish.

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Exploded Perspective Drawing (Nts)

The result a simple prefabricated structural system, made

The roof overhang and resulting frame geometry presented a

of pine and standard 8ft x 4ft (2.4 x 1.2m) panels of spruce

technical challenge to the engineers, as it makes an unstable

plywood for the skin, which is cheap and easy to erect on site.

structure that wants to fall forwards towards the garden. To

The primary structure and frame use a prefabricated roof

overcome this, Ted Featonby, project manager, devised a

truss construction nailed together with the frames positioned

600mm x 600mm timber plate, which forms a stiff connection

at 600mm centres. The 18mm-thick plywood skin is then

between the floor and the primary timber upright, making

nailed to the frame on site. The timber structure rests on a

an inverted T shape. This “Featonby plate” both stabilises

concrete foundation of two simple strip footings, which run

the building and forms the profile for the bench. Both inside

continuously around the building’s perimeter.

and out the corners have a curved profile – an effect which is achieved externally by routing and internally through the application of timber beads.

Fig.53. Timber Frame System.

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Positive corners formed with 80mm diameter nosing.

Negative corners curved with negative nosing.

Wal mounting outside: 100mm structural timber stud 18mm plywood panel nailed to stud at 240mm intervals.

Viabizzuno lamp in zinc-coated steel.

Door frames and thresholds formed with 30mm diameter nosing.

Bench: 400x60mm timber with rounded edges of 80mm diameter.

Tarmac with sand topping.

Steel edging screwed to timber stake.

Growing medium.

150mm gravel strip.

Geotextile drainage membrane.

Sole plate bolted to concrete footing.

Concrete Footing.

Detailed Section 1:50 Scale 0m

1m

2m

3m

4m

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200mm structural timber joist.

“Peter chose timber because he wanted a simple, honest material that reflected the temporality of the pavilions. He wanted something appropriate to the site and programme that would still hold a poetic resonance, and timber did all this�

Anna Page - Project Architect.

Isometric Drawing Scale 1:100 0m

1m

2m

3m

4m

6m

9m

Fig.54. Restored enclosed garden from Pomeii.

Fig.55. View inside Serpentine Pavilion, 2011.

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CONCLUSION Afterword

‘Hortus Conclusus’ literally translates to ‘enclosed garden,’

Patel Taylor’s idea for the park, was that earth should be

in Latin. Historically, hortus conclusus protected the private

shifted in order to create different levels and consequently

precinct from public intrusion, creating a protective barrier, in

allow for a spectacular effect, as well as act as a barricade

essence bringing nature within its walls. It was created out of

for the park, isolating it from the surrounding busy roads -

practicality when man feared the wildness of the landscape,

therefore creating it’s own ‘hortus conclusus.’

(animals and intruders) and chose to erect a protective barrier.

Thames Barrier Park is a purpose built contained space with Artificial nature is the basis for the hortus conclusus - shutting

walls, surrounded on each side by large-scale buildings which

the space off from the outside world, creating an image of

‘defend’ the space within.

an inner paradise. The enclosed garden can be considered a paradox. To close off the outside world and bring a controlled

In particular, the 5-meter wide ‘Green Dock,’ which splits

nature within, creating an outdoor room that functions as a

through the park, creates a secluded oasis, a refuge of

metaphor for nature.

peace and tranquillity among the chaos within the urban infrastructure.

Relationship with the heavens is emphasised in a walled garden as it eliminates the outside world converging the

What is remarkable is that is has no side exits. Therefore,

garden below with the heavens above. There is a stark contrast

(similar to Zumthor’s Pavilion) once people enter, they are

between the containing walls and the vertical endlessness of

inclined to look North towards the Thames Barrier, the wavy

the sky – truly a vertical landscape.

hedges and the evergreen honeysuckle which covers 70 degree sloping walls, and ultimately arrive at a ramp which leads up to the memorial pavilion.

It is this historic relationship an enclosed garden creates with the sky and the heavens above is what was recreated within Zumthor’s contemporary design for the pavilion.

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Fig.56. Thames Barrier Park, 2016.

Fig.57. Mont Saint Michel, Monastery, 1862.

Fig.58. Inside Serpentine Pavilion, 2011.

Fig.59. Drawing of St. Pauls Catherdral in 11th Century.

Fig.60. Benedictine Priory of St. Gregory’s, Downside, 1812.

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Fig.61. Enclosed Garden - Mont Saint Michel, Monastery.

Fig.62. Cloisters - Mont Saint Michel, Monastery.

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Fig.63. ‘The Garden of Eden’ c.1410

“The notion of the garden as an enclosed space, set apart, and infused with metaphorical meaning – a representation of nature perfected through human art in the service of an ideal – is fundamental to our understanding of the history of landscape design.”

The enclosed garden was a common setting for images

abounds which may include the following within this setting: a

of the Virgin Mary in medieval artwork. According to

rose, a lily, violets and an iris. The symbolism behind the plant

Elizabeth Barlow Rogers, ‘Landscape Design: a cultural and

material -- violets for her modesty, the white lily for her purity

architectural history.’

and the iris is representative of David or Christ.

This genre became symbolic of impenetrability, inviolability

The thornless rose itself was a medieval symbol of the Holy

(purity) and seclusion, a metaphor of the heavenly paradise

Virgin, the primrose was a virginal guide to paradise, primroses

and the Garden of Eden. As the space created is literally

were known as “the key to heaven”… salvation was to be found

focused inward, it becomes a figurative expression of

through nature... in this case a garden. (Interestingly, the word

spirituality. Within medieval paintings and tapestries the

“paradise” is derived from the Persian word “ pairideaza”,

Virgin is typically shown in a meadow with walls or a fence

which when literally translated means “surrounded by walls.”

encircling her, embraced by angels and saints, plant material

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“We come from nature and we return to nature; we are conceived and born; we live and die; we rot or burn and vanish into the earth.

I rarely thought about such things when I was young.

Now I do. I see a great cycle and I am part of it.�

Peter Zumthor

BIBLIOGRAPHY Data Sources

Fig.17. www.digimap.edina.ac.uk/roam/historic Fig.18. www.gettyimages.co.uk Fig.19. www.serpentinegalleries.org Fig.20. www.digimap.edina.ac.uk/roam/historic Fig.23. www.serpentinegalleries.org Fig.24. www.google.com/earth Fig.30. pateltaylor.co.uk/royal-victoria-square Fig.37. www.serpentinegalleries.org Fig.38. www.serpentinegalleries.org Fig.43. www.bdonline.co.uk Fig.44. www.wga.hu Fig.47. www.pateltaylor.co.uk/studio Fig.51. www.bdonline.co.uk Fig.52. www.bdonline.co.uk Fig.53. www.bdonline.co.uk Fig.54. www.bible-architecture.info Fig.55. www.serpentinegalleries.org Fig.57. www.bible-architecture.info Fig.58. www.serpentinegalleries.org Fig.59. www.stpauls.co.uk/history-collections/history Fig.60. www.victorianweb.org/art/architecture Fig.61. www.journeyaroundtheglobe.com Fig.62. www.journeyaroundtheglobe.com Fig.63. www.artchive.com/web_gallery

Acknowledgements: www.pateltaylor.co.uk/studio www.architectureweek.com www.royalparks.org.uk/kensington-gardens www.theguardian.com/serpentine-pavilion www.serpentinegalleries.org www.architectureweek.com www.toddhaimanlandscapedesign.com www.bible-architecture.info www.lddc-history.org.uk/engineering/ Source of illustrations: Fig.1. www.ordnancesurvey.co.uk Fig.2. www.ordnancesurvey.co.uk Fig.3. www.pateltaylor.co.uk/studio Fig.4. www.pateltaylor.co.uk/studio Fig.5. www.serpentinegalleries.org Fig.6. www.ordnancesurvey.co.uk Fig.7. www.ordnancesurvey.co.uk Fig.8. www.pateltaylor.co.uk/studio Fig.9. www.google.com/earth Fig.10. www.ordnancesurvey.co.uk Fig.11. www.ordnancesurvey.co.uk Fig.12. www.serpentinegalleries.org Fig.13. www.google.com/earth Fig.14. www.pateltaylor.co.uk/studio Fig.15. www.digimap.edina.ac.uk/roam/historic Fig.16. www.digimap.edina.ac.uk/roam/historic

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