Ludka Majernikova_Y5 | Unit 14 | Bartlett School of Architecture

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LUDKA MAJERNIKOVA YEAR 5

UNIT

Y5 LM

RURAL MONUMENTALITY

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LUDKA MAJERNIKOVA YEAR 5 Y5 LM

ludmila.majernikova@gmail.com @ludka_majernikova

R U R A L M O N U M E NTA L IT Y ŠTRBSKÉ PLESO CULTURAL CENTRE High Tatras, Slovakia

S

ituated 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.

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.

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

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PART I. ARTEFACT ANALYSIS

MALE OZOROVCE: TIMBER FRAME STRUCTURAL SPECULATION

Male Ozorovce Bell Tower Evangelical articular* bell tower in Male Ozorovce, eastern Slovakia.

As part of the counter-reformation, imperial decree dictated all protestant churches and related structures could only be constructed out of a single material - timber. Structures were constructed with simple lap joints and reinforced with timber nails and dowels.

Constructed in 1619, solely out of oak as a timber frame. Timber framing as well as the use of deciduous trees in construction quite unique to the location so most likely designed by foreign carpenter. The original structure had been disassembled, relocated and reassembled after 200 years.

Suspended 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

Roof battens Often notched directly onto roof rafters

Oak roof rafter

DESIGN PORTFOLIO | ARTEFACT ANALYSIS

Roof overhanging eaves Creates protected circulation around building perimeter and keeps rain away from structure

Cross Bracing Perimeter bracing of main oak frame

Perimeter upstand Stone upstand protects timber structure from water while evening out terrain

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

MALE OZOROVCE: TIMBER FRAME STRUCTURAL SPECULATION

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

DESIGN PORTFOLIO | ARTEFACT ANALYSIS

I. PRIMARY FRAME POSTS + BEAMS

II. KING POST + CROSSED TIE BEAMS

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.

III. INTERNAL KING POST BRACING

MALE OZOROVCE: TIMBER FRAME STRUCTURAL SPECULATION

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

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

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

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

DESIGN PORTFOLIO |ARTEFACT ANALYSIS

Lap Connections Components held together by flush cross-lap joints

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

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.

MALE OZOROVCE: TIMBER FRAME STRUCTURAL SPECULATION

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

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

DESIGN PORTFOLIO | ARTEFACT ANALYSIS

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

I. External interlocking shingles + internal interlocking celining panels

II. Primary roof truss system overlapping

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

VERNACULAR ARCHITECTURE: TIMBER CONSTRUCTION SYSTEMS

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

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

DESIGN PORTFOLIO |ARTEFACT ANALYSIS

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

Log Construction | Coniferous Trees

ARTICULAR CHURCH SV. KRÍŽ: VERNACULAR TIMBER CONSTRUCTION METHODS

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.

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

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

DESIGN PORTFOLIO | ARTEFACT ANALYSIS

Bell-tower Shingle-clad baroque style onion dome

Roof overhanging eaves Creates protected entrance zone

Suspended Ceiling Thin, interlocking boards suspended from primary roof structure

Perimeter upstand Stone upstand protects timber structure from water while evening out terrain

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

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

Shingle Cladding Interlocking boards fastened onto structural walls with timber dowels

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

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

ARTICULAR CHURCH, PALUDZA SV. KRIZ: ANALYSIS OF TIMBER SPECIES USED

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

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

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

Softwood conifers

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

DESIGN PORTFOLIO | ARTEFACT ANALYSIS

II. Suspended ceiling Hewn planks from soft conifers

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

Hardwood deciduous

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.

ARTICULAR CHURCH SV. KRÍŽ: VERNACULAR TIMBER CONSTRUCTION METHODS DESIGN PORTFOLIO |ARTEFACT ANALYSIS

ARTICULAR CHURCH PALUDZA (SV. KRÍŽ)

TIMBER CHURCH RUSKÝ POTOK

TIMBER CHURCH TRNOVÉ

ARTICULAR CHURCH LEŠTINY

TIMBER CHURCH HERVATOV

ARTICULAR CHURCH BREŽANY

ARTICULAR CHURCH HRONSEK

TIMBER CHURCH ZUBEREC, MUSEUM ORAVSKEJ DENINY

Wooden Churches Of The Slovak Carpathians

HRANIČNÉ

ŽILINA

TRNOVÉ

MALÁ FRANKOVKA TATRANSKÁ JAVORINA TATRANSKÁ KOTLINA

ISTEBNÉ ZÁBREŽ

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.

KOŽANY PRÍKRA

TRVRDOŠÍN

LEŠTINY PALUDZA

SMOKOVCE

KEŽMAROK

POPRAD

HERVATOV TROČANY

BODRUŽAL LADOMÍROVÁ KOŽANY

PREŠOV BREŽANY

RUDNO

PRIEVIDZA

KORYTNICA, KÚPELE

BANSKÁ BYSTRICA

KOŠICE

HRONSEK

BRATISLAVA

ZBOJ RUSKÝ POTOK LADOMÍROVÁ RUSKÁ BYSTRÁ

ZVOLEN

NITRA

NOVÁ SEDLICA

DÚŽAVA

PART II. BRIEF DEVELOPMENT

The Slovak Cultural Uprising

Reforma

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.

Multiculturalism

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

Christianization | ≈ 700 A.D.

Greater Moravia | 833-907 A.D.

Kingdom of Hungary | 1000 -1867

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

Confirmed Extent Possible Extent

Area of Slovak Population Maximum Extent

ation | 1520 -1600 Third Czechodlovak Republic | 1945-1948 Czechoslovak Socialist Republic |1948-1990

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

Independent Democratic Slovak Republic | 1993

First Slovak Republic 1939-1945

Austro-Hungarian Empire | 1867 -1918

Area of Slovak Population Maximum Extent

First + Second Czechoslovak Republic| 1918-1939

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

CZECHIA

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.

Part I. | Introduction POLAND

Forest Coverage

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

UKRAINE

Tree Species: Forest Composition

HUNGARY

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

Spruce 21.9% Oak 13.3% Pine 6.7% Beech 36%

Fir

Oak

Pine

Beech

Spruce

Mix Dec.

Figure 12.

TREE SPECIES | KEY CHARACTERISTICS Spruce

Oak

Pine

Smrek |Picea abies

Dub | Quercus robus

Borovica |Pinus sylvestris

Spruce

Coniferous | Softwood

Deciduous | Hardwood

Maturity: 30-50 years Can live up to: 350

Maturity: 150 years Can live up to: 700

Oak

35-55m

ConiferousRed | Softwood Pine Felling: 100-160 years Can live up to: 400

35-45m 20-40m

Height 50m 40m 30m 20m 10m Altitude

Mid-altitude forests | 550m <1200m

Usage on Construction Roofing / shingles

Secondary roof structure

Primary roof structure Ceiling / roof soffit

Wall Structure / Columns

Durability | Resistance to water, rot, fungus, pests etc.

Class 1 | Very Durable Class 2 | Durable Class 3 | Moderately Class 4 | Slightly Durable Class 5 | Not Durable

Habitat

Low-altitude forests | <550m

Mid-altitude forests | 550m <1200m

Part I. | Introduction

[Silver] Fir Jedla [biela] | Abies alba Coniferous | Softwood [Douglas] Fir

Maturity: 50-120 years Can live up to: 500-600

40-50m

[European] Larch

Yew

Smrekovec | Larix decidua

Tis | Taxus baccata

Larch

Coniferous | Softwood Maturity: 15-45 years Can live up to: 1000

Coniferous | Softwood [hardest of softwoods] Yew years Maturity: ~100 Can live up to: 600-1000

25-50m 10-25m

Height 50m 40m 30m 20m 10m Mountain forests | 1200m < 1600m

Mountain forests | 1200m < 1600m

Low-altitude forests | <550m

Altitude

Usage on Construction Roofing / shingles

Secondary roof structure

Primary roof structure Ceiling / roof soffit

Wall Structure / Columns

Durability Class 1 | Very Durable Class 2 | Durable Class 3 | Moderately Class 4 | Slightly Durable Class 5 | Not Durable

BRIEF DEVELOPMENT | REGIONAL ANALYSIS: FORESTRY IN SLOVAKIA

LOG CONSTRUCTION CONIFEROUS TREES FIR

OAK BEECH MIX DEC.

LIPTOVSKÝ MIKULÁŠ MARTIN

K V YS O VYSOKÉ

É

ŽILINA

TA

TRY

PINE SPRUCE

TATRY

RUŽOMBEROK

NÍZKE TATRY SPIŠKÁ N.V.

FRAME CONSTRUCTION DECIDOUS TREES

FIR PINE

DESIGN PORTFOLIO |BRIEF DEVELOPMENT

SPRUCE

Regions of species overlap feature mixed approaches to vernacular construction systems

BEECH OAK

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.

ŽILINA LIPTOVSKÝ MIKULÁŠ MARTIN

TA

TRY

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

K V YS O VYSOKÉ

É

BRIEF DEVELOPMENT | REGIONAL ANALYSIS: MOUNTAINS IN SLOVAKIA

PROTECTED ZONES UNPROTECTED ZONES

TATRY

RUŽOMBEROK

NÍZKE TATRY SPIŠKÁ N.V.

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.

FOREST COVERAGE HIGH-ALTITUDE FORESTS

DESIGN PORTFOLIO |BRIEF DEVELOPMENT

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.

BRIEF DEVELOPMENT | REGIONAL ANALYSIS: CULTURE IN SLOVAKIA

REGIONAL IDENTITY

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

TRY

ORAVA

1 MARTIN

RUŽOMBEROK

2

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LIPTOV3

5

VYSOKÉ TATRY K V YS O VYSOKÉ É

LIPTOVSKÝ MIKULÁŠ

TA

ŽILINA

TATRY

NÍZKE TATRY 4

SPIŠKÁ N.V.

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

DESIGN PORTFOLIO |BRIEF DEVELOPMENT

SITES OF SOCIO-CULTURAL IMPORTANCE

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TERCHOVÁ - BIRTHPLACE OF JÁNOŠÍK

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ARTICULAR CHURCH SV KRÍŽ

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VÝCHODNÁ FESTIVAL

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LOW TATRAS MT. REGION

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HIGH TATRAS

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ICONIC KRIVÁŇ MT.

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.

BRIEF DEVELOPMENT | REGIONAL ANALYSIS: CULTURE IN SLOVAKIA DESIGN PORTFOLIO |BRIEF DEVELOPMENT

SInterconnection between nature and structure

Flax harvest as social activity

Forestry and tree logging history

Traditions rooted in Slavic Paganism

Home to tradional folk dancing

Life outdoors

Janosik legend

Area of Slovak National Uprising

Religious ritual as social binder

Regional Identity | Mountains, Forests + Folklore

BRIEF DEVELOPMENT | REGIONAL ANALYSIS: CULTURE IN SLOVAKIA

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

DESIGN PORTFOLIO |BRIEF DEVELOPMENT

II. PLAN VIEW: STEPPING PLATFORMS

TIMBER FRAME CONSTRUCTION, 1975

III. ELEVATION: MOUNTAIN RANGE

ANNUAL, REGIONAL FOLK FESTIVAL

Detva | Folk Festival Venue 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.

BRIEF DEVELOPMENT | REGIONAL ANALYSIS: CULTURE IN SLOVAKIA

I. AXO VIEW: STAGE SCENE MIMICKING MOUNTAIN RANGE BEHIND

DESIGN PORTFOLIO | BRIEF DEVELOPMENT

II. PLAN VIEW: CHAOS

TIMBER LOG CONSTRUCTION, 1971

III. ELEVATION: MOUNTAIN RANGE

FORM OF STAGE SCENE COMPLEMENTING MOUNTAIN RANGE BEHIND

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.

BRIEF DEVELOPMENT | REGIONAL IDENTITY: GABLE SIGNALLING DESIGN PORTFOLIO |BRIEF DEVELOPMENT

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.

BRIEF DEVELOPMENT | REGIONAL IDENTITY: STRUCTURAL ORNAMENT DESIGN PORTFOLIO | BRIEF DEVELOPMENT

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

BRIEF DEVELOPMENT | SITE LOCATION

500m

CONTEXT 1:15,000 @A3 TA

TRY

Štrbské Pleso | Vysoké Tatry

K

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DESIGN PORTFOLIO |BRIEF DEVELOPMENT

0m

V YS O

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.

NÍZKE TATRY

DESIGN PORTFOLIO |BRIEF DEVELOPMENT

Štrbské Pleso | Vysoké Tatry

BRIEF DEVELOPMENT | SITE LOCATION

DESIGN PORTFOLIO |BRIEF DEVELOPMENT

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Urban Analysis

100m

CONTEXT 1:5000 @A3

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500m

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BRIEF DEVELOPMENT | SITE LOCATION DESIGN PORTFOLIO |BRIEF DEVELOPMENT

SMALL SKI-JUMP, 1970

HOTEL PATRIA, 1968s

LARGE SKI-JUMP, 1970

HOTEL FIS, 1970

SKI-JUMP WATCH-TOWER, 1970

GRANDHOTEL ŠTRBSKÉ PLESO, 1900

ORIGINAL S.P. TRAIN STOP,

HOTEL PANORAMA, 1967

TATRAS TOWER, 2022

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.

BRIEF DEVELOPMENT | SITE LOCATION

CABLE CAR

RACK-RAILWAY TO CABLE CAR

RACK-RAILWAY STOP

Cultural Infrastructure

TRY

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.

TA

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.

K

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DESIGN PORTFOLIO |BRIEF DEVELOPMENT

TRAIN TO RACK-RAILWAY

V YS O

NÍZKE TATRY

RAILWAY

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 RAILWAY

RACK RAILWAY + PERFORMANCE VENUE

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

CABLE CAR

RACK RAIL + CABLE CAR INTERFACE

RACK-RAILWAY

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

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

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Cultural Infrastructure INFRASTRUCTURAL DEVELOPEMENT

Extending the Tatra Electric Railway is 10one 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.

MAIN ROAD EXISTING ELECTRIC RAILWAY PROPOSED RAILWAY EXTENSION EXISITNG RACK-RAILWAY

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

PROPOSED RACK EXTENSION

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DESIGN PORTFOLIO |BRIEF DEVELOPMENT

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DESIGN DEVELOPMENT | MASSING STRATEGY

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OO TP AT H

OUTDOOR AMPHITHEATER

CAB LE-C

FOREST EDGE

AR

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RAC K-R

AILW AY

OUTDOOR EXHIBITION AREA

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EXISTING ELECTRIC RAILWAY PEDESTRIAN ROUTE

LAKESIDE

INFRASTRUCTURAL DEVELOPEMENT

FOOTPATH

FOREST EDGE

DIRECTIONALITY OF PROPOSAL AREA TO BE DEMOLISHED

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RACK-RAILWAY ROUTE FOREST EDGE

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DESIGN PORTFOLIO |DESIGN DEVELOPMENT

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LINEAR PROGRAMME

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CONVERGING PROGRAMME

Site Strategy

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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.

DESIGN DEVELOPMENT | MASSING STRATEGY

The strieška covers the entrance hall and feeds into the pre-function and exhibition spaces while the main roof of the massing covers the primary programme.

EVENT

PRE-FUNCTION

DESIGN PORTFOLIO |DESIGN DEVELOPMENT

EXHIBITION

EVENT

PRE-FUNCTION EXHIBITION

Roof Overlap + Strieška 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.

EVENT

PRE-FUNCTION EVENT EXHIBITION

DESIGN DEVELOPMENT | MASSING STRATEGY

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

EVENT

PRE-FUNCTION

EXHIBITION

EVENT

PRE-FUNCTION EXHIBITION

EVENT

PRE-FUNCTION EVENT

DESIGN PORTFOLIO |DESIGN DEVELOPMENT

EXHIBITION

EVENT PRE-FUNCTION EXHIBITION

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.

DESIGN DEVELOPMENT | MASSING STRATEGY DESIGN PORTFOLIO |DESIGN DEVELOPMENT

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.

EVENT

PRE-FUNCTION

EXHIBITION

Shigle Overlapping 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.

EVENT PRE-FUNCTION EXHIBITION

DESIGN DEVELOPMENT | MASSING STRATEGY

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.

EVENT

PRE-FUNCTION

EXHIBITION

EVENT

PRE-FUNCTION

DESIGN PORTFOLIO |DESIGN DEVELOPMENT

EXHIBITION

EVENT

PRE-FUNCTION EVENT EXHIBITION

Mountain Silhouette - Ridge Shingle Inspired by the traditional method of shingle laying, the last [or first] layer of shingles on the roof ridgeEVENT extends outwards in the direction opposite the dominant wind to further protect the ridge from the rain and snow.

The silhouette additionally mimics the PRE-FUNCTION mountain ranges behind.

EXHIBITION

DESIGN DEVELOPMENT | MASSING STRATEGY DESIGN PORTFOLIO |DESIGN DEVELOPMENT

PERFORMANCE SPILL-OUT ZONE

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.

PERFORMANCE HALL AND STAGE

PRE-FUNCTION + EXHIBITION AREAS

INFRASTRUCTURAL TRANCEPT CROSSING

PRIMARY ENTRANCE ZONE

POTENTIAL FOR PROGRAMME SPILL-OUT EXTERNALLY

I

PART IV. ŠTRBSKÉ PLESO CULTURAL CENTRE

Gable Directionality | Hiker’s Approach

FINAL PROPOSAL| PROGRAMME DESIGN PORTFOLIO | FINAL PROPOSAL

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

FINAL PROPOSAL| KEY DESIGN PRINCIPLES

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.

The Plinth

DESIGN PORTFOLIO | FINAL PROPOSAL

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

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

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

Roof Layering + Eaves Overhang

Volumetric Division of Function + Directionality

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

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

Concept Development | Key Driving Principles

FINAL PROPOSAL| KEY DESIGN PRINCIPLES

Štrbské Pleso Cultural Centre | Vysoké Tatry, High Tatras The linear programme arranged of the main axis creates a linear procession route up through the building, from main entrance, through the exhibition and pre-function areas to the venue hall. Two secondary axes diverge from the central space, first the exhibition gallery and second, the cable-car station.

Spatial Sequence The skewed cross-plan creates converging axes of culture and infrastructure

Programme Arrangement The linear arrangement of programme in the main axes creates a spatial procession up through the building to the performance hall

Roof Structure The structure becomes internal ornament, wayfinding and aid to programmatic requirements - like in the main hall

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

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

PROGRAMME| OVERVIEW

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.

5.

2.

DESIGN PORTFOLIO |FINAL PROPOSAL

1.

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

8.

7.

6.

3.

4.

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

FINAL PROPOSAL| THE PROCESSION

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

RACK-RALWAY ENTRANCE ZONE + PLAZA

TICKET HALL

CENTRAL CIRCULATION SPINE

PRE-FUNCTION + EXHIBITION AREAS

PRE-FUNCTION AREAS

FOLK PERFORMANCE HALL AND STAGE

PERFORMANCE BACK OF HOUSE + STORAGE

PERFORMANCE SPILL-OUT ZONE

PROGRAMME|INTERCHANGE DESIGN PORTFOLIO |FINAL PROPOSAL

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.

PROGRAMME| TERMINUS DESIGN PORTFOLIO |FINAL PROPOSAL

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.

PROGRAMME| EXHIBITION DESIGN PORTFOLIO |FINAL PROPOSAL

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

PROGRAMME| PERFORMANCE DESIGN PORTFOLIO |FINAL PROPOSAL

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.

FINAL PROPOSAL| STRUCTURAL STRATEGY DESIGN PORTFOLIO |DESIGN DEVELOPMENT

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.

Roof cladding; solar shingles

Acoustic treatment

Primary timber roof structure

Glulam columns supporting bridge roof

Station Platforms

Original 1880’s bridge pier; limestone section with infill

Original 1880’s bridge pier; limestone section with infill

Pre-fab, pre-stressed concrete box girder module

Structural Strategy | Fragment

FINAL PROPOSAL| STRUCTURAL STRATEGY

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.

Interlocking shingles Hand hewn to support local craftsmen.

The Folk Performance Hall

Roof battens Notched directly onto roof rafters

Roof Rafters Primary roof structure which is expressed.

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

DESIGN PORTFOLIO | FINAL PROPOSAL

Utilisation of Local Tree Species Internal Timber Frame Oak outer zone

Spruce inner zone

Oak outer zone

External Timber Frame Spruce inner zone

Oak outer zone

Acetylated Wood GLT columns.

Outer zone of cross-section made from more durable, acetylated hardwood giving it higher durability

Structural Strategy | Fragment Analysis of Museum

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

The Museum of Folk Architecture

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

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

Roof Eaves Roof overhand creates sheltered eaves circulation.

Compression Tension

The Lamination Effect

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.

FINAL PROPOSAL| STRUCTURAL STRATEGY DESIGN PORTFOLIO | FINAL PROPOSAL

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.

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

Column Footing Timber columns attached to stone footing

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

I. Flush Cross-Lap

II. Cross-Lap

III. Dove-Tail Half-Lap

IV. Half-Lap

FINAL PROPOSAL|SHORT SECTION DESIGN PORTFOLIO | FINAL PROPOSAL

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

FINAL PROPOSAL|FOLK HALL DESIGN PORTFOLIO | FINAL PROPOSAL

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.

Roof Beams 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.

DESIGN PORTFOLIO | FINAL PROPOSAL

Section AA’ North

1:500 @ A3

Section AA’ South

1:500 @ A3

FINAL PROPOSAL| LONG SECTION S

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 Roof overhand creates protected perimeter circulation and paved public space within the wild terrain.

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

SITE PLAN 1:2000 @ A3 0

20

40

80

+ 143.0 m

+ 143.0 m

L01 PLAN 1:500 @ A2 0

5

10

20

40

+ 143.0 m

L02 PLAN 1:500 @ A2 0

5

10

20

40

+ 143.0 m

L02 PLAN 1:500 @ A2 0

5

10

20

40

L02

+1358.5 m

L01 +1354.5 m

GF +1350.0 m + 143.0 m

01

02 7.50

03 5.00

04 7.50

05 7.50

06 7.50

07 7.50

08 7.50

L02

+1358.5 m

L01

+1354.5 m

GF

+1350.0 m

45.0

02

SECTION AA’ 1:200 @ A2 0

5

10

20

40

09 7.50

08

10 5.00

11 5.00

12 5.00

L02 +1358.5 m

L01 +1354.5 m

GF +1350.0 m

13 5.00

14 5.00

16

15 5.00

5.00

17 5.00

18 7.50

19 7.50

20 7.50

21 7.50

22 7.50

23 7.50

24 5.00

25 5.00

26 7.50

27 7.50

28 5.00

L02

+1358.5 m

L01

+1354.5 m

GF

+1350.0 m

65.0

40.0

21

28

+1370.5m

SOUTH-WEST ELEVATION

+1368.5m +1365.5m

+1350.5m

NORTH-EAST ELEVATION

+1368.5m +1365.5m

+1350.5m

+1370.5m

I

PART VI. APPENDIX

ARTEFACT ANALYSIS: TIMBER FRAME SPECULATION

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

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

DESIGN PORTFOLIO |ARTEFACT ANALYSIS

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

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.

MALE OZOROVCE: TIMBER FRAME STRUCTURAL SPECULATION DESIGN PORTFOLIO | ARTEFACT ANALYSIS

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

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

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.

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

MALE OZOROVCE: TIMBER FRAME STRUCTURAL SPECULATION DESIGN PORTFOLIO |ARTEFACT ANALYSIS

Corner condition exploring relationship between horizontal, vertical and roof structure

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

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.

MALE OZOROVCE: TIMBER FRAME STRUCTURAL SPECULATION DESIGN PORTFOLIO | ARTEFACT ANALYSIS

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.

ARTEFACT ANALYSIS: TIMBER FRAME SPECULATION DESIGN PORTFOLIO |ARTEFACT ANALYSIS

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

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

COMPONENT LAYERING 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.

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

ARTEFACT ANALYSIS: TIMBER FRAME SPECULATION DESIGN PORTFOLIO | ARTEFACT ANALYSIS

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

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

COMPONENT CONTINUITY 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 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 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.

UNIT @unit14_ucl

C R A F T E D H O R I ZO N S

2024

A

t 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.

UNIT 14 @unit14_ucl

All work produced by Unit 14 Unit book 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 retreival system without permission in writing from the publisher.