Page 1

TRACES


TRACES

Ka Chi K1057053


St udio Houghton Baty Jane Houghto n Stephen B a ty

To n e ‘T h e S ilv e r P a v ilio n is f a mo u s wo rld w i d e f o r it s s imp lic it y a n d re f in e me n t , a t t r a c t i n g a s t e a d y s t re a m o f v is it o rs t h ro u g h ou t t h e y e a r. I t s b e a u t y is f o u n d in f e a t u re s l i k e t h e s p le n d id s t ru c t u re o f t h e t e mp le, t h e mira c le o f ma k in g t h e g a rd e n ; t h e e l e g a n t s t u d y ro o m, K o g e t s u d a i; t h e mo o n -v i e w i n g p la t f o r m, G in s a d a n ; t h e g a rd e n wit h i t s s e a o f s ilv e r s a n d - t h e lis t g o e s o n a n d o n . Ye t wh a t le a v e s t h e s t ro n g e s t imp re s s io n i s t h e f a c t t h a t t h is t e mp le s t a n d s a s t h e c o re o f t h e J a p a n e s e a e s t h e t ic , wh ic h t ra n s c e n d s t ime a n d h is t o ric a l e ra . Cle a n e d d a y a f t e r d a y, we a t h e re d o v e r t ime , t h e S i l v e r P a v ilio n re v e a ls it s n a t u ra l b e a u t y a s i t a g e s , a s t h o u g h it wa s s t rip p in g o f i t s v e i l s o n e a f t e r a n o t h e r. ’ K e n y a Ha ra


Tone ______________________________________________________________________________________________________7

Wapping_____________________________________________________________________________________________10 Chapter

1 Traces ___________________________________________________________________________________________________14

Chapter

2

Revealing/Concealing__________________________________________________________________22

Chapter

3

Schematic Development____________________________________________________________30

Chapter

4 Strategies___________________________________________________________________________________________42

Chapter

5 Spatial and Planning Development______________________________________50

Chapter

6 Rational/Irrational___________________________________________________________________________73

Chapter

7 Material and tectonic___________________________________________________________________102

Wharf Gate Lock

Wall Corridor Street

Brief Historical fabric Building form is the solution From private to public Blocks/Walls Walls/Openings Precedent studies Massing Model

Working drawings and models Load bearing Grid Beam Diagram Envelop


Ro se Ga r d e n L ik e mo s t o f t h e p la c e s in lo n d o n , i t i s s u rro u n d e d b y b ric k s b u ild in g . T h e g a rd e n wa s a h ig h d e n s it y la n d wit h wa re h o u s e , d we llin g a n d s c h o o l in t h e b e g in n i n g o f la s t c e n t r y. B o mb s d e s t ro y e d mos t o f t h e b u ild in g d u rin g W W I I . T h e To we r H a m l e t Co u n c il t rie d t o re d e v e lo p it f o r d w e l l i n g . B u t it t u r n e d u p in t o a g a rd e n a t t h e e n d . Wa p p in g h ig h s t re e t is o n t h e s o u t h o f R o s e G a rd e n a lo n g t h e t h a me s . I t wa s a v e r y b u s y s t re e t wh e n wa p p in g wa s s t i l l a b u s y wh a r f a re a . No w, t h e h ig h s t re e t i s s t i l l t h e ma in c irc u la t io n t o c o n n e c t wa p p i n g t o o t h e r p la c e s in To we r Ha mle t f ro m e a s t t o we s t . T h e p ro je c t is , t o b u ild a e ld e rly c a re h o m e o n t h is g a rd e n . F ill it u p a g a in s i n c e W W I I wit h a n e w c o mmu n it y.

10/11


Wapping


12/13


Wapping, northbank of thames


Tr a ce s No t h in g is n o t in e v it a b le . F ro m a f a c a d e (o u t d o o r) t o a h a llwa y wit h wa ll m o u n t c u p b o a rd (in d o o r). S u r f a c e s a re w a s h e d a wa y b y ra in wa t e r, d rie d b y t h e s u n a n d re p a in t b y h u ma n b e in g . I t ’s a p ro c e s s o f c o mmu n ic a t io n , b e t we e n h u ma n a n d t h e n a t u re . A n d ma rk s we re le f t o n t he f a c a d e a n d it b e c o me s a me d ia o f c o mm u n i c a t i o n . T h e y a re c u e s o f s t o rie s u n d e r n ea t h , wh ic h c a n n o t b e re a d e n t ire ly, c a n n o t b e e ra s e d a n d c a n n o t b e re writ t e n . B u t t h e y h a v e o c c u rre d . We c a ll t h e se s t o r i e s ‘e x p e rie n c e s ’ wh ic h p o lis h h u ma n a n d n o n -h u ma n . T h is n a t u ra l p ro c e s s g i v e in c o n s p ic u o u s q u a lit ie s , a s u b t le a n d d e lic a t e rh y t h m, wh ic h a re n o t d i ff i c u l t t o b e o b s e rv e d . S t a y h e re a n d b e d r a w n i n t o t ra n c e , t o u c h it , s me ll it a n d d o n’t m i s s o u t a n y s in g le t ra c e s . T h e n , t h e y s t a r t t e l l i n g y o u t h e ir s t o rie s .

14/15


Chapter

1

Traces


Wh a r f Wa p p in g is lo c a t e d in n o r t h b a n k o f t h a me s , p a r t o f L o n d o n B o ro u g h o f To w e r Ha mle t s ’s d o c k la n d s . I t wa s a wha r f a re a b e f o re W W I I . G o o d s f ro m t h e wo r l d w e re t ra n s p o r t e d t h ro u g h t h e t h a me s b y s h i p s . A s e rie s o f b ric k wh a r f b u ild in g s , a s w e l l a s wa re h o u s e s , mo v e d t h e g o o d s ins i d e f ro m t h e s h ip s b y a b o o m o n t h e b u ild i n g . G o o d s we re t h e n t ra n s f e rre d t o t h e s t re et l e v e l b y a n o t h e r s e t o f b o o m f a c in g t o t h e w a p p i n g h ig h s t re e t . T h e y a re t h e e n t ra n c e , b a rrie rs or s o r t o f c o n t ro lle r o f t h e e n t r y o f t h e g o o d s . A f t e r wo rld wa rI I , wa p p in g wa s d e s t ro y e d b y t h e b o mb . I t is n o t a wh a r f a re a a n y mo re . T h e u n d e s t ro y e d wh a r f b u i l d i n g s we re t ra n s f o r me d in t o re s id e n t ia l b u i l d i n g . Ho we v e r, t h e in d u s t ria l wh a r f b u i l d i n g s wh ic h we re b u ilt wit h B ric k s , h e av y t i m b e r a n d s t e e l le f t a s t ro n g ima g e o f i n d u s t r i a l t o t h is mid d le c la s s liv in g a re a n o w a d a y.

16/17


Wharf, wapping


Ga te T h e e v e n t s in t h is b u ild in g g a v e i t a f o r m , wh ic h wa s b u ilt b y b ric k s . T h e h e a v y t imb e r lin t e l s u p p o r t t h e o p e n in g o f t h e wa re h o u s e . T h e t imb e r d o o rs h a v e t o b e t o u g h a n d s t ro n g , in o rd e r t o co p e wit h t h e h e a v y lo g is t ic wo rk e v e r y d a y. A s e rie s o f f lo o r t o c e ilin g h e ig h t t i m b e r d o o r e x p re s s e s t h e f u n c t io n o f t h e b u ild in g . G o o d s in a n d g o o d s o ut . I t i s a n c o o p e ra t io n b e t we e n d iff e re n mat e r i a l s . T h e wh a r f is a t ra n s it io n s p a c e , i t i s a t h re s h o ld . T h e d o o rs a re t h e la s t b o u n d r y. W h e n it o p e n e d , g o o d f ro m t h e w o r l d c a m e in . W h e n it wa s c lo s e d , t h e c it y w a s c l o s e d t o t h e o u t s id e wo rld .

18/19


Wapping High Street - Facade o f K wa re h o u s e , S t J o h n W h a r f .


L o cks Mo re t h a n o n e d o o r lo c k h o le s a re o n t h e wh a r f t imb e r d o o r. Un c o u n t a b le s c r a t c h e s a re o n t h e s u r f a c e . P e o p le c a n re- p a i n t t h e d o o r a n d k e e p u s in g it f o r y ea r s . B u t t h e p a in t c a n n o t c o v e r t h e s c ra t c h e s . T h e p a in t c a n n o t f ill u p t h e o ld d o o r l o c k h o le s . T h e s t o r y o f t h is d o o r c a n b e t r a c e d t h ro u g h t h e s e s c ra t c h e s .

20/21


Wapping High Street - Lock of t imb e r d o o r.


Re ve a lin g /Co n ce a lin g A lo c k e d b o x is a c o n c e a le d s p a c e . R e v e a lin g t h e b o x , a n d b rin g t h e c o n n e c t io n in f ro m t h e o u t s id e w o r l d . T h e y c h a n g e e a c h o t h e rs . T h e c h a n g e d e v e lo p s t h e e x p e rie n c e o f t h e s p a c e s . I t is e x t e n s io n , in v a s io n a n d a d a p ta t i o n . T h e q u a lit y o f s u c h p ro c e s s is d ep e n d s o n t h e s c a le o f t h e b o x .

22/23


Chapter 2

Revealing/Concealing the box


Wa ll B o x e s o f g lo v e s h a v e b e e n s t o red i n t h e wa ll mo u n t c u p b o a rd . Diff e re n t s i z e s a n d d iff e re n t s t y le s o f g lo v e s a re h id d e n i n t h e b o x e s . B o x e s a re s t o re d o n t h e cu p b o a rd i n a s t ro n g o rd e r. I t is a c a t a lo g . I n fo r m a t i o n s a re lo c k e d . I t is a n in s t a lla t io n p re s e n t a i n g t h e s u b je c t o f t h is s p a c e . I t is p a r t o f t h e s p a c e b u t g iv e s t h e imp re s s io n o f t h i s g lo v e s h o p .

24/25


Bel gi um - Glove s sto re , Sto rag e a n d d is p la y


Co r r id o r A n o t h e r s e rie s o f wa ll mo u n t c u p b o a rd , i n a la rg e r s c a le , f o r min g t h e a c o r r i d o r. T h e c u p b o a rd is t h e s p a c e it s e lf . R e p e t i t i o n o f s a me la n g u a g e g iv e s a s t ro n g o rd e r. B u t t h e s lig h t ly o p e n d o o rs o f c u p b oa rd g a v e a n e x c it me n t t o t h e s p a c e , a v e r y s u b t l e c h a n g e o f t h e rh y t h m.

26/27


Royal hos pital, Chelsea - Hallw a y wit h wa llmo u n t c u p b o a rd


Str e e t A s e rie s o f “ c u p b o a rd � in a e v e n b i g g e r s c a le . T h e y a re f o o d k io s k s c o n n e c t e d t o t h e f o o d ma rk e t a t t h e b a c k . I t is p a r t o f t h e b u ild in g wh e n it c lo s e s . I t b ec o m e s p a r t o f t h e s t re e t wh e n it o p e n s . A n d i t c o n n e c t t h e b u ild in g , t h e f o o d mar k e t , w i t h t h e s t re e t . T h e s t re e t g a in a n o t h e r f u n c t i o n f ro m t h e f o o d ma rk e t . A t t h e s a m e t i m e , t h e f o o d ma rk e t g a in t h e a t mo s p h e re f ro m t h e s t re e t .

28/29


Bel gi um - Food kiosks, e xrensio n o f a n in d o o r ma rk e t


Qu e stio n : Tr a c e s + p ro g r a m So lu tio n r : Histo r ica l e le m e nts Re ve a lin g /Co n c eal i ng

30/31


Chapter 3

Schemeatic development


In fir m a r y a n d Wa p p in g d ay a ctivitie s ce n tr e fo r e ld e r ly peopl e T h is is a b u ild in g e ld e rly will liv e h e re f o r la s t p a g e o f t h e ir lif e . T h e y will b e g o n e b u t le f t t h e t ra c e s in t h e b u ild in g . T h i s b u ild in g n e e d a n c o n t a in e r , a b o x o f t h i s . S o t h e ma in p ro g ra ms o f t h is b u i l d i n g a re t h e Ca re h o me a n d a mu s e u m. A m u s e u m wh e re p u t t in g t h e d e a d e ld e rly na m e s a n d mo n u me n t in it I t is a c a t a lo g o f p e o p le s p e n t t h e i r r e s t o f lif e in t h is b u ild in g . T h is is a mix e d -u s e b u ild in g wit h c o mp re h e n s iv e p ro g ra ms . F ro m th e v e r y p u b lic g me mo ria l g a rd e n t o a v er i n t i m a t e b e d ro o m o f t h e e ld e rly. T h e c o mp o s i t i o n o f in f ir ma r y a n d b e d ro o m e n c o u r a g e t h e c o mmu n it y in s id e t h e b u ild in g . Wh e n p e o p le is s t a y in g in t h e in f ir ma r y, t h e y a re n o t ju s t in a n h o s p it a l, t h e y a re v i s i t i n g s o me b o d y ’s h o me . A n d , t h e mu s e u m is o p e n t o p u b lic , c o n n e c t in g with a n me mo ria l g a rd e n , c h a p e l a n d o t h e r p u b l i c f a c ilit ie s . I t is b e c a u s e e ld e rly s ho u l d n ’t b e ju s t s t a y in g in t h e ir o wn ro o m f o r t h e i r re s t o f lif e . E ld e rly s a re t h e s t a k e h o ld e rs o f th e b u i l d i n g a s we ll a s t h e wa p p in g . P ro g ra ms in c lu d in g : c a re h o me B e d ro o m I n f ir ma r y O ff ic e s Din n in g h a ll S e rv ic e s (lo u n d r y, h a ir d re s s in g ) L ib ra r y T h e ra p y p o o l Ch a p e l Mu s e u m Me mo ria l G a rd e n S u p p o r t a t iv e s e rv ic e s ( c a r p a rk , re c e p t i o n ) T h e b u ild in g in c lu d in g v e r y p riv a t e p ro g r a m a n d v e r p u b lic p ro g ra m. T h e b u il d i n g h a v e t o b e we ll c o n t ro lle d b y p la n n in g a n d t h e d e s ig n o f t h e b o u n d a r y

32/33


Bel gi um -Ca re Ho me, entrance o f b e d ro o m C hel sea roya l h o spita l-livin g u n it , B a n d s in g in g in f ro n t o f t h e c h imn e y


Histo r ica l F a b r ic De riv in g t h e b u ild in g f o r m f ro m t h e h is t o ric a l ma p . S e e k in g t h e p o t en t i a l o f t h e s p a c e in t h e h is t o y. R e c o n n e c t ing n o w a n d the past.

34/35


H i stor i cal stu dy - Wappin g from 1 8 7 0 - n o w


Schem atic mode l - Histo ric a l v o id

36/37


Schem atic mode l - Histo ric a l S o lid


Bu ild in g fo r m is th e so lu tion A lin e a r ma s s wit h o p e n in g o n 2 s i d e s a s a s o lu t io n o f c o n n e c t in g t h e p u b lic a n d t h e p riv a t e a s we ll a s ime rg in g t o t h e h i s t o r i c a l f a b ric .

38/39


Schem atic mo del - So a n e corrid o r in R o y a l h o s p it a l

40/41


Pla cin g o f th e b u ild in g m ass Re la tio n sh ip b e twe e n p u bl i c a n d p r iva te is c o n tro lle d by the p la c in g o f b u ild in g m a sses T h e c o n n e c tio n b e twe e n of the b u ild in g m a sse s is c o n trol ed by th e o p e n in g s A se r ie s o f h e a vy tim b e r door

42/43


Chapter 4

Strategies


F r o m p r iva te to p u b lic T h e r o a d is se p e r a te d b y the r a ilwa y. It is th e b u sie st el ement in th e p h o to g r a p h . Ta ke o ut the r a ilwa y, a n d th e r o a d will come to g a th e r

44/45


Rai l w ay, Wa pping po wer station


Blo cks/Wa lls W h e t h e d o o rs a re c lo s e d . T h e e l e m e n t s a re s t a n d a lo n e . it is c le a r t h a t 5 b l o c k s a re in t h e p a p e r. W h e n t h e d o o rs a re o p e n e d . T h ey c o m e t o g e t h e r. T h e y a re n o mo re b lo c k s , t h e y a re wa lls .

46/47


Sketch, strate gy of connection


48/49


Str ategy dra win g, LEFT conc e a lling, R igh t re vealin g


Wa lls/o p e n in g s P ro p o r t io n o f o p e n in g s a n d wa lls d e f i n e d t h e f u n c t io n o f t h e b u ild in g b lo c k . C a n a ma n g o t h ru o g h ? Ca n a wh e e l c h a i r g o t h ro u g h ? Ca n a b e d g o t h ro u g h ? C a n a t ro lle y g o t h o ru g h ? Ca n a g ro u p o f p e o p l e g o t h ro u g h ?

50/51


C oncept d ra win g - Ink prin t o f wa lls a n d o p e n n in g s , P e n e t ra t io n o f s p a c e 1 o f 3


P re c e n d e n t s t u d ie s o f d iff e re n t ki n d o f c a re h o me wit h d iff e re n t s c h e me h a v e d i ff e re n t s t ra t e g y t o t a c k le t h e p ro b le m. De riv in g e le me n t s f ro m t h e h is t o r i c a l m o d e l f o r f u r t h e r d e v e lo p me n t . Ca p t u re m o m e n t s in t h e s e mo d e ls a n d p u t it b a c k i n t o t h e d e s ig n

52/53


Chapter 5

Spatial and planning development


Preceden t stu die s : Chelsea

54/55


Precedent studies : Du blin


Living unit Stu dy - Tra n sfo r ma t io n o f a His t o ric a l g e o me t r y

56/57


Bui l di ng la n guage study - Pos it iv e s p a c e


Bui l di ng langu a ge stu dy - Po si t iv e s p a c e d ra win g

58/59


Building langu a ge stu dy - nega tiv e s p a c e d ra win g


Bui l di ng langu a ge stu dy - Po si t iv e s p a c e mo u ld

60/61


Building langu a ge stu dy - Ne gativ e s p a c e wa x c a s t


Building langu a ge stu dy - Eleva tio n

62/63


Ra tio n a liza tio n T h e f irs t o v e ra ll p la n n in g wa s a im e d a t ra t io n a liz e d t h e h is t o ric a l f o o t p r i n t w h i c h wa s a ma z e . Tra n s f o r min g t h e f o o t p r i n t i n t o s t ra ig h t lin e in o rd e r t o d e f in e t he p ro g r a m , t o ma k e s u re t h e la n g u a g e is c o ns i s t a n t a n d t o e x p lo re d t h e p o t e n t ia l a n d c o n s t r a i n t b e t we e n t h e h is t o ric a l f o o r p e in t a n d in s t a n t c o n t e x t .

64/65


! :100 Workin g dra win g 1


66/67


! :100 foam bo a rd mode l 1


Ir r a tio n a liza tio n T h e s e c o n d p la n n in g b a s e d o n t he p re v i o u s o n e , t r y in g t o imme rg e b a c k in t o t h e m a z e lik e h is t o ric a l f o o t p rin t .

68/69


1:100 Wo rking drawing 2


70/71


1:100 Foam bo a rd mode l 2


T h e h is t o ric a l f o o t p rin t is t h e p o t e n t i a l o f t h e p ro je c t a s we ll a s t h e ma in c o n s t r a i n t o f p la n n in g . E ld e rly c a re wa rd s a n d in f ir ma r y n e e d a ra t io n a l la y o u t t o f u llf il t h e p ro g r a m re q u ire me n t . P u b lic p ro g ra ms c a n b e lo o s e in b o t h f o r m a n d p la n n in g t o re s p o n d t h e in s ta n t c o n t e x t wh ic h is s u rro u n d e d b y ro u g h wa re h o u s e s / wh a r f la y o u t .

72/73


Chapter 6

Rational/Irrational


74/75


G /f plan, Workin g dra win g , 1 :200 in A 1

76/77


G/f

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

Bedroom Siting Area Bathroom Loundry Infirmary reception Infirmary entrance Office Fire escape Morning terrace Dining Hall Kitchen Public toilet Chapel Memorial museum Memorial Garden Indoor exhibition Public Foyer Light well Outdoor exhibition

78/79


om Area om ry ary reception ary entrance

5

6 8

scape ng terrace Hall n toilet el rial museum rial Garden exhibition Foyer well or exhibition

13

12

7

18

2

9

18

18 15

4

3

10 1

16 14

9

20

11 19 8

G/f pl an , 1 :100 in A 1


1st/f 10 9

2

3

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

Sleeping area Library Bathroom Roof Gardeb Infirmary Office Staff pentry Loundry Toilet Fire excape

4

80/81


10 9

8

2 3

7

6

5

1

10

1/f pl an , 1 :100 in A 1

4


Basement 1. 2. 3. 4. 5. 6. 7. 8. 9.

Lift Lobby Changing room Storage Therapy pool Main plant room Massage room Toilet Second plant room Fire escape staircase

82/83


ment

Lift Lobby Changing room Storage Therapy pool Main plant room Massage room Toilet Second plant room Fire escape staircase

9

5

6

8

6

4

4

4 2

1

3

Basem ent plan, 1:1 0 0 in A 1


Wor ki ng mo del, west e leva tio n

84/85


Wor king mode l, east e leva tio n


Roof pl an , 1:2 0 0 in A 1

86/87


C

B A

D

D

C

B A

88/89


Inter nal e leva tio n A A , 1:1 0 0 i n A 1

Inter nal e leva tio n B B , 1:1 0 0 i n A 1

East eleva tio n , 1 :100 in A 1


Secti on DD !:!00 in A !

90/91


92/93


Wor king mode l, Ma in e n tra n c e a n d g a rd e n


94/95


Wor king mode l, High Street ele v a t io n


96/97


Wor king mode l, Me morial ga rd e n


Sketch, hi sto ric a l foot prin t sectio n

98/99


Or d e r S t ro n g o rd e r b e c a u s e o f t h e f u n c t i o n o f in f ir ma r y. Ve r y c o n d u c t e d f a c a d e e x p re s s in g t h e in d iv id u a l o c c u p i e r i n t h i s b lo c k . I t is a c o lle c t iv e o f in d iv id u a l p ri v a t e space.

100/101


Wor ki ng mode ls, Infir ma r y


E n g lis h B o n d b ric k wa ll B ric k s p ie r/ c o lu mn L o a d b e a rin g b lo c k s S t e e l L in t e l T imb e r L in t e l Steel I beam T imb e r jo is t

102/103


Chapter 6

Tectonic and material


Gr id G rid o n t h e le f t h a s s t ro n g o rd e r G rid o n t h e rig h t h a s a lo o s e o rd e r

104/105


Load bearing gird


Ho r izo n ta l r h yth m A s s a me a s t h e lo a d b e a rin g g rid F ro m le f t t o rig h t , f ro m s t ro n g t o l o o s e

106/107


Beam di agra m, 1:1 0 0 in A 1


F a ca d e fo r r e sp o n d in g in s tant co n te xt E n g lis h B o n d b ric k wa ll L o a d b e a rin g b lo c k s S t e e l L in t e l Steel I beam T imb e r jo is t

108/109


Envel op de tail dra win g, 1:2 0 in A 1


Vi ew of south bank fro m wappin

110/111


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