Cambridge

BA (HONS) ArchitectureYear 2

Ashley Ball

READING CAMBRIDGE

1/20 SECTION

WELLS CATHEDRAL LIBRARY / WELLSUnknown

1. Separate bays which sit two people 2. Light enters from quadrangle open space 3. Repetative structure 4. Little distraction as one faces the book shelf

CambridgeLibrary Study

WELLS CATHEDRAL LIBRARY / WELLSUnknown

READING CAMBRIDGE

MOVEMENT PATTERNS

SPATIAL ORGANISATION

Interior to Exterior

Vaulted space to enclosed

1. Later addition of the library sectioned off from the main worship area

2. The Chapter House along the north face allowed a space for meetings and some-where the books could be read aloud; positioned at opposite sends, possibly for accoustic levels

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

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

Chapter House

Library

Chapter House

Library

Wells Cathedral - Chapter House to Library

Chapter House

Library

Chapter House at Wells

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

Public to private

4. Public access into larger expanses of space, whereas private is on the surround-ing attachments.

5. Cathedral designed in a rigid cross forma-tion with emphasis on the Nave and Aisles

Natural lighting

1. Glass was installed in the windows to save books from weather penetration

2. Windows are not installed for the sake of views - but rather for the need for light

3. Windows on Eastern and Western faces meaning morning and evening light - an improvement consideration would be to have north facing light to receive a steady constant in natural light conditions - although it is possible this was positioned to increase the ethereal conditions with strength of light

Linear movement through the library

Book- Seat-

CambridgeLibrary Study

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

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

CambridgeLight Installation

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

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

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

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

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

Intuative Response to Philosophical Text

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

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

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

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

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CambridgeIntuative Response

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Detailing each transition will become a set of rules for design. Understanding and exploiting each transition will strengthen the philisophical grounding of the project helping to combine all trains of thought.

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

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

The rawness of each space is also worth exploring - understanding the material properties and how this can inform the transitional route. A material and space can connect to the next through a selection of ways. The material can stay the same, with the light condition in flux, or it can be the light condition which is a constant with the material properties surrounding oneself in change. Either way, the transition is explored in the design.

CambridgeInitial Models

NARRATIVE//

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

It is important to learn to appreciate the poetics of subtleties. In the fast paced ‘want’ culture, demand is of essence and regularly the subtle is seen as old or used. “Architecture should be sensitive to those emotional qualities that define the city, melancholy, expectancy, pathos, hope” (Caruso 2008).

Exploring dualities of simplicity and complexity quantifies this philsophical projection. Removal and retainment of exisiting buildings plays with the idea of memory and loss.On the surface the new fabric appears discreet; a continuation of Cambridges’ urban fabric. At a closer glanse there are subtle shifts in brickwork with the addition of glazed or polished surfaces, developing its complexity in an understated manner.

Simplicity in volume, complexity in detail.

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

LANGUAGE OF CAMBRIDGE

CAMBRIDGE BUILT UP OF A SERIES OF NARROW SPACES

ALLEYWAYS COURTYARD SPACES TRANSITION BETWEEN LIGHT AND DARK OPEN TO CONFINED SPACES REPETITION AND RHYTHM IN BUILT FABRIC

1880 1900 1920 1960 2010

MAPS OF CAMBRIDGE

Proposed

CambridgeCambridge Context

CASTLE STREET NORTHAMPTON STREET

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

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1. Gallery space overlooking double height space

2. Castle Street Entrances - two alleyways leading to courtyard 3. New entrance between old and new - polished concrete becomes subtle statement in architectural language

4. Underground public depository space leading onto private storage depository 5. New alleyway between Folk Museum and new Arts Library - a continuation of brick fabric

CambridgeDesign

INTEREST THROUGH EXISTING ALLEYWAY CONFINED TRANSITION FROM DARK INTO LIGHT EXAGERATED NATURAL LIGHT IN NEW COURTYARD

EXAGERATED NATURAL LIGHT IN NEW COURTYARD POSITIONING OF NEW ART GALLERY CREATING NEW ALLEYWAY OF POLISHED CONCRETE

CHANNEL OF LIGHT THROUGH ALLEY INTO ART GALLERY ROOF LIGHTS DIRECTS LIGHT IN DIFFERENT DIRECTIONS

PATTERNING OF LIGHT AND SHADOW THROUGHOUT THE DAY MATERIALS CREATING CONTINUATION BETWEEN SPACES OLD AND NEW DARK DOUBLE HEIGHT PROJECTION SPACE DISPLAYING ORIGINAL CONSTRUCTION MATERIALS

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

CONNECTION THROUGH EXISTING COTTAGE ALLEY SEEING ART LIBRARY AS CONTINATION

ROOF LIGHTS PROJECT NATURAL LIGHT INTO CENTRAL COMMUNAL AREA

SEMI ENCLOSED VERANDA EXPRESSING LIGHT FRACTIONS FROM BRICK PATTERNING

CONTINUATION OF BRICK LANGUAGE IN RHYTHM OF NEW ART LIBRARY

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

CambridgeRoute : transition between light and dark

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

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

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

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

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

Extrapolation of retained buildings develops idea of memory and loss. Main line of view from cottage kept as this is the central piece for the two sites.

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

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

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

Art gallery rooflights as a visual continuation of contextual surroundings

Art library ventilation chimneys create points to continue visual

jutting of roofline

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

Interesting roofline of local vernacular - shifting angular line

Roofline

-Identifying existing rooflines as important feature as this helps to create local character

-Angular formation of rooflines to be incorporated with rooflights and ventilation stack

-The roof design to be a singular part in the whole; not simply a summation of the whole.

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

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

CambridgeRoofline

CambridgeLanguage of Brick

-Opening up the boundaries from Northampton Street to create an open plaza for external reading and gathering

-Behind the wall is a grassland area which contains a reedbed drainage system for the Arts Library and Cafe

-The lanuage of paved materials suggests a difference in activity from footpath to gathering area, to entrance of cafe

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

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

Wall junction at arts library - polished concrete joining brick formation Inclusion of glazed brickwork to highlight areas of interest, ie: entrances/ seating

CambridgeExternal Areas

CambridgeBrick Junctions

CambridgeArt Library Elevation

Key

1. Castle Street2. Education Space3. Double height gallery space in existing terraced houses4. Entrance alleyway into new gallery and access to back courtyard5. Connecting walkway6. Ventilation stack7. Rooflights responding to contextual surrounding8. Top floor gallery space with balcony overlooking space below9. New gallery space10, Reception, bookshop/ catalogue collection11. Sloping alleyway down to underground depository12. Existing Cottage Gallery13. Cafe and social reading area14. Arts library communcal study area15. Private study area overlooking floor below16. Main supporting core with bookshelves and ventialtion systen in one17. Ventialtion stacks18. Rooflights19. Reed bed drainage system/ grassland area20. Northampton Street

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Key

1. Castle Street2. Education Space3. Double height gallery space in existing terraced houses4. Entrance alleyway into new gallery and access to back courtyard5. Connecting walkway6. Ventilation stack7. Rooflights responding to contextual surrounding8. Top floor gallery space with balcony overlooking space below9. New gallery space10, Reception, bookshop/ catalogue collection11. Sloping alleyway down to underground depository12. Existing Cottage Gallery13. Cafe and social reading area14. Arts library communcal study area15. Private study area overlooking floor below16. Main supporting core with bookshelves and ventialtion systen in one17. Ventialtion stacks18. Rooflights19. Reed bed drainage system/ grassland area20. Northampton Street

CambridgeSite Section

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Basement Floor Plan

PUBLIC DEPOSITORY

PRIVATE DEPOSITORY

E X I S T I N G C O T T A G E GALLERY

CAFE KITCHEN

W/C

COTTAGE

OFFICES

M A I N OFFICE RECEPTION AND

BOOKSHOP

E D U C AT I O N CENTRE

ART DELIVERY SPACE

FOLK MUSEUM

COURTYARD

COURTYARD

COURTYARD

CASTLE STREET

NORTHAMPTON STREET

Ground Floor Plan

CHURCHYARD

REED BED DRAINAGE SYSTEM/ GRASSLAND

New

New in existing building

Existing building

VOID OF DOUBLE HEIGHT

GALLERY

MEZZANINE FLOOR

GALLERY

EXISTING COTTAGE GALLERY

VOID

SEMI ENCLOSED VERANDA

FOLK MUSEUM

PRIVATESTUDY

Second Floor Plan

ARTS LIBRARY COMMUNAL

STUDY SPACE

SEMI ENCLOSED VERANDA

First Floor Plan

GALLERY STORAGE

FIRST FLOOR NEW

GALLERY

EXISTING COTTAGE GALLERY

FOLK MUSEUM

CambridgePlans

CambridgeCatalogue of Development

CambridgeSite Model

CambridgeDevelopment Models

CambridgeFinal Models

CambridgeFinal Models

CambridgeRooflights

CambridgePresentation Sheets

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CambridgeDesign Day: Shortlist Entry for Holbeck Community Room

WE LOVE DIRT

CambridgeNorman Foster Travel Scholarship Entry

Embedded philosophy communicates unspeakable traitswithin a culture to the wider world through a series ofconsensual actions and desires.

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

Displayed today in the developed West, there is a ‘want’culture, of need and excess based on materialisticpropaganda. This act of generic globalisation is a removal of personal freedom. Is it possible to overturn this andembed a new topology of philosophy into our culture? Rather than the East learning from the West, can the West learn from the East? Can we develop a new way of thinking to ensure our survival?

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

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

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

This work will manifest itself through appropriate works, such as sound installation, short films, sculpture and drawing; a continuing exploration of light and shadow.To philosophically examine this experience, a series ofwriting will be produced to question this notion ofappreciation.

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

‘We express ourselves bywhat we do;we live in what we do;we are what we do’

KYOTO

NAGANO

TOKYO

TOFUKUJI