TRACES

TRACES

Ka Chi

K1057053

Studio Houghton Baty

Jane HoughtonStephen Baty

Tone

‘The Si lver Pavi l ion is famous worldwide for i ts s impl ic i ty and ref inement, at t ract ing a steady stream of v is i tors throughout the year. I ts beauty is found in features l ike the splendid structure of the temple, the miracle of making the garden; the elegant study room, Kogetsudai; the moon-viewing plat form, Ginsadan; the garden with i ts sea of s i lver sand - the l is t goes on and on. Yet what leaves the strongest impression is the fact that th is temple stands as the core of the Japanese aesthet ic, which transcends t ime and histor ical era. Cleaned day af ter day, weathered over t ime, the Si lver Pavi l ion reveals i ts natural beauty as i t ages, as though i t was str ipping of i ts vei ls one af ter another. ’

Kenya Hara

Tone ______________________________________________________________________________________________________7

Wapping_____________________________________________________________________________________________10 Chapter 1 Traces ___________________________________________________________________________________________________14 Wharf Gate Lock Chapter 2 Revealing/Concealing__________________________________________________________________22 Wall Corridor Street

Chapter 3 Schematic Development____________________________________________________________30 Brief Historical fabric Building form is the solution

Chapter 4 Strategies___________________________________________________________________________________________42 From private to public Blocks/Walls Walls/Openings

Chapter 5 Spatial and Planning Development______________________________________50 Precedent studies Massing Model Chapter 6 Rational/Irrational___________________________________________________________________________73 Working drawings and models Chapter 7 Material and tectonic___________________________________________________________________102 Load bearing Grid Beam Diagram Envelop

10/11

Rose Garden

Like most of the places in london, i t is surrounded by br icks bui lding. The garden was a high densi ty land with warehouse, dwel l ing and school in the beginning of last centry. Bombs destroyed most of the bui lding dur ing WWII. The Tower Hamlet Counci l t r ied to redevelop i t for dwel l ing. But i t turned up into a garden at the end.

Wapping high street is on the south of Rose Garden along the thames. I t was a very busy street when wapping was st i l l a busy whar f area. Now, the high street is st i l l the main circulat ion to connect wapping to other places in Tower Hamlet f rom east to west.

The project is, to bui ld a elder ly care home on this garden. Fi l l i t up again s ince WWII wi th a new community.

Wapping

12/13

Wapping, northbank of thames

Traces

Nothing is not inevi table. From a facade (outdoor) to a hal lway with wal l mount cupboard ( indoor) .Sur faces are washed away by rain water, dr ied by the sun and repaint by human being. I t ’s a process of communicat ion ,between human and the nature. And marks were lef t on the facade and i t becomes a media of communicat ion. They are cues of stor ies underneath, which cannot be read ent i re ly, cannot be erased and cannot be rewri t ten. But they have occurred. We cal l these stor ies ‘exper iences’ which pol ish human and non-human. This natural process give inconspicuous qual i t ies, a subt le and del icate rhythm, which are not di ff icul t to be observed. Stay here and be drawn into t rance, touch i t , smel l i t and don’t miss out any s ingle t races. Then, they star t te l l ing you their stor ies.

14/15

Chapter 1 Traces

Wharf

Wapping is located in nor th bank of thames, par t of London Borough of Tower Hamlets’s docklands. I t was a whar f area before WWII. Goods from the world were t ranspor ted through the thames by ships. A ser ies of br ick whar f bui ldings, as wel l as warehouses, moved the goods inside from the ships by a boom on the bui lding. Goods were then transferred to the street level by another set of boom facing to the wapping high street.

They are the entrance, barr iers or sor t of control ler of the entry of the goods.

After wor ld warI I , wapping was destroyed by the bomb. I t is not a whar f area anymore. The undestroyed whar f bui ldings were transformed into resident ia l bui lding. However, the industr ia l whar f bui ldings which were bui l t wi th Br icks, heavy t imber and steel lef t a strong image of industr ia l to th is middle class l iv ing area nowaday.

16/17

Wharf, wapping

Gate

The events in th is bui lding gave i t a form, which was bui l t by br icks. The heavy t imber l intel suppor t the opening of the warehouse. The t imber doors have to be tough and strong, in order to cope with the heavy logist ic work everyday. A ser ies of f loor to cei l ing height t imber door expresses the funct ion of the bui lding. Goods in and goods out. I t is an cooperat ion between di fferen mater ia ls.

The whar f is a t ransi t ion space, i t is a threshold. The doors are the last boundry. When i t opened, good from the world came in. When i t was closed, the ci ty was closed to the outside world.

18/19

Wapping High Street - Facade of K warehouse, St John Whar f .

Locks

More than one door lock holes are on the whar f t imber door. Uncountable scratches are on the sur face. People can re-paint the door and keep using i t for years. But the paint can not cover the scratches. The paint cannot f i l l up the old door lock holes. The story of th is door can be traced through these scratches.

20/21

Wapping High Street - Lock of t imber door.

Reveal ing/Conceal ing

A locked box is a concealed space. Reveal ing the box, and br ing the connect ion in f rom the outside world. They change each others. The change develops the exper ience of the spaces. I t is extension, invasion and adaptat ion.

The qual i ty of such process is depends on the scale of the box.

22/23

Chapter 2 Revealing/Concealing the box

Wall

Boxes of gloves have been stored in the wal l mount cupboard. Di fferent s izes and di fferent sty les of gloves are hidden in the boxes. Boxes are stored on the cupboard in a strong order. I t is a catalog.Informat ions are locked. I t is an instal lat ion presentaing the subject of th is space. I t is par t of the space but gives the impression of th is glove shop.

24/25

Belgium - Gloves store, Storage and display

Corr idor

Another ser ies of wal l mount cupboard, in a larger scale, forming the a corr idor. The cupboard is the space i tsel f . Repet i t ion of same language gives a strong order. But the s l ight ly open doors of cupboard gave an exci tment to the space, a very subt le change of the rhythm.

26/27

Royal hospital , Chelsea - Hal lway with wal lmount cupboard

Street

A ser ies of “cupboard” in a even bigger scale. They are food kiosks connected to the food market at the back. I t is par t of the bui lding when i t c loses. I t becomes par t of the street when i t opens. And i t connect the bui lding,the food market, wi th the street. The street gain another funct ion f rom the food market. At the same t ime, the food market gain the atmosphere from the street.

28/29

Belgium - Food kiosks, exrension of an indoor market

Quest ion: Traces + programSolut ionr: Histor ical e lements Reveal ing/Conceal ing

30/31

Chapter 3 Schemeatic development

Inf i rmary and Wapping day act iv i t ies centre for e lder ly people

This is a bui lding elder ly wi l l l ive here for last page of their l i fe. They wi l l be gone but lef t the t races in the bui lding. This bui lding need an container , a box of th is. So the main programs of th is bui lding are the Care home and a museum. A museum where putt ing the dead elder ly names and monument in i t

I t is a catalog of people spent their rest of l i fe in th is bui ld ing.

This is a mixed-use bui lding with comprehensive programs. From the very publ ic gmemorial garden to a ver int imate bedroom of the elder ly. The composi t ion of inf i rmary and bedroom encourage the community inside the bui lding. When people is staying in the inf i rmary, they are not just in an hospital , they are v is i t ing somebody’s home. And, the museum is open to publ ic, connect ing with an memorial garden, chapel and other publ ic faci l i t ies. I t is because elder ly shouldn’t be just staying in their own room for their rest of l i fe.

Elder lys are the stakeholders of the bui ld ing as wel l as the wapping.

Programs including:care home BedroomInf i rmaryOff icesDinning hal lServices ( loundry, hair dressing)LibraryTherapy poolChapelMuseumMemorial GardenSuppor tat ive services( car park, recept ion)

The bui lding including very pr ivate program and ver publ ic program. The bui lding have to be wel l control led by planning and the design of the boundary

32/33

Belgium -Care Home, entrance of bedroomChelsea royal hospi ta l - l iv ing uni t , Band singing infront of the chimney

Histor ical Fabr ic

Deriv ing the bui lding form from the histor ical map. Seeking the potent ia l of the space in the histoy. Reconnect ing now and the past.

34/35

Histor ical study - Wapping from 1870 - now

Schematic model - Histor ical void 36/37

Schematic model - Histor ical Sol id

Bui ld ing form is the solut ion

A l inear mass with opening on 2 s ides as a solut ion of connect ing the publ ic and the pr ivate as wel l as imerging to the histor ical fabr ic.

38/39

Schematic model - Soane corr idor in Royal hospi ta l 40/41

Placing of the bui ld ing mass

Relat ionship between publ ic and pr ivate is control led by the placing of bui lding masses

The connect ion between of the bui lding masses is controled by the openings

A ser ies of heavy t imber door

42/43

Chapter 4 Strategies

From pr ivate to publ ic

The road is seperated by the rai lway. I t is the busiest e lement in the photograph. Take out the rai lway, and the road wi l l come togather

44/45

Rai lway, Wapping power stat ion

Blocks/Wal ls

Whe the doors are closed. The elements are stand alone. i t is c lear that 5 blocks are in the paper.

When the doors are opened. They come together. They are no more blocks, they are wal ls.

46/47

Sketch, strategy of connect ion

48/49

Strategy drawing, LEFT conceal l ing, Right reveal ing

Walls/openings

Propor t ion of openings and wal ls def ined the funct ion of the bui lding block. Can a man go thruogh? Can a wheel chair go through? Can a bed go through? Can a t ro l ley go thorugh? Can a group of people go through?

50/51

Concept drawing - Ink pr int of wal ls and opennings, Penetrat ion of space 1of 3

Precendent studies of di fferent k ind of care home with di fferent scheme have di fferent strategy to tackle the problem.

Deriv ing elements f rom the histor ical model for fur ther development. Capture moments in these models and put i t back into the design

52/53

Chapter 5 Spatial and planning development

Precedent studies : Chelsea 54/55

Precedent studies : Dubl in

Liv ing uni t Study - Transformat ion of a Histor ical geometry 56/57

Bui lding language study - Posi t ive space

Bui lding language study - Posi t ive space drawing 58/59

Bui lding language study - negat ive space drawing

Bui lding language study - Posi t ive space mould 60/61

Bui lding language study - Negat ive space wax cast

Bui lding language study - Elevat ion 62/63

Rational izat ion

The f i rst overal l planning was aimed at rat ional ized the histor ical foot pr int which was a maze. Transforming the footpr int into straight l ine in order to def ine the program, to make sure the language is consistant and to explored the potent ia l and constraint between the histor ical foor peint and instant context .

64/65

! :100 Working drawing 1

66/67

! :100 foam board model 1

I r rat ional izat ion

The second planning based on the previous one, t ry ing to immerge back into the maze l ike histor ical footpr int .

68/69

1:100 Working drawing 2

70/71

1:100 Foam board model 2

The histor ical footpr int is the potent ia l of the project as wel l as the main constraint of planning.

Elder ly care wards and inf i rmary need a rat ional layout to fu l l f i l the program requirement.

Publ ic programs can be loose in both form and planning to respond the instant context which is surrounded by rough warehouses/whar f layout.

72/73

Chapter 6 Rational/Irrational

74/75

G/f plan, Working drawing , 1:200 in A1 76/77

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1. Bedroom2. Siting Area3. Bathroom4. Loundry5. Infirmary reception6. Infirmary entrance

9. Morning terrace

7. Office8. Fire escape

10. Dining Hall11. Kitchen12. Public toilet13. Chapel14. Memorial museum15. Memorial Garden16. Indoor exhibition17. Public Foyer

19. Outdoor exhibition18. Light well

78/79

G/f

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1. Bedroom2. Siting Area3. Bathroom4. Loundry5. Infirmary reception6. Infirmary entrance

9. Morning terrace

7. Office8. Fire escape

10. Dining Hall11. Kitchen12. Public toilet13. Chapel14. Memorial museum15. Memorial Garden16. Indoor exhibition17. Public Foyer

19. Outdoor exhibition18. Light well

G/f plan, 1:100 in A1

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1. Sleeping area2. Library3. Bathroom4. Roof Gardeb5. Infirmary

7. Staff pentry8. Loundry9. Toilet10. Fire excape

6. Office

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80/81

1st/f

1. Sleeping area2. Library3. Bathroom4. Roof Gardeb5. Infirmary

7. Staff pentry8. Loundry9. Toilet10. Fire excape

6. Office

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1/f plan, 1:100 in A1

Basement1. Lift Lobby2. Changing room3. Storage4. Therapy pool5. Main plant room6. Massage room7. Toilet8. Second plant room9. Fire escape staircase

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Basement1. Lift Lobby2. Changing room3. Storage4. Therapy pool5. Main plant room6. Massage room7. Toilet8. Second plant room9. Fire escape staircase

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Basement plan, 1:100 in A1

Working model, west elevat ion 84/85

Working model, east e levat ion

Roof plan , 1:200 in A1 86/87

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88/89

Internal e levat ion AA, 1:100 in A1

Internal e levat ion BB, 1:100 in A1

East elevat ion, 1:100 in A1

Sect ion DD !:!00 in A! 90/91

92/93

Working model, Main entrance and garden

94/95

Working model, High Street elevat ion

96/97

Working model, Memorial garden

Sketch, histor ical foot pr int sect ion 98/99

Order

Strong order because of the funct ion of inf i rmary. Very conducted facade expressing the indiv idual occupier in th is block.

I t is a col lect ive of indiv idual pr ivate space.

100/101

Working models, Inf i rmary

Engl ish Bond br ick wal lBr icks pier/columnLoad bear ing blocksSteel L intelTimber LintelSteel I beamTimber jo ist

102/103

Chapter 6 Tectonic and material

Grid

Grid on the lef t has strong order

Grid on the r ight has a loose order

104/105

Load bear ing gird

Horizontal rhythm

As same as the load bear ing gr id

From lef t to r ight, f rom strong to loose

106/107

Beam diagram, 1:100 in A1

Facade for responding instant context

Engl ish Bond br ick wal l

Load bear ing blocks

Steel L intel

Steel I beam

Timber jo ist

108/109

Envelop detai l drawing, 1:20 in A1

View of south bank from wappin 110/111