20) At Ohio State University, Mack Scogin Merrill Elam's new KNOWLTON HALL brings the design process to the larger academic community, by Sara Hart (2005)

The Knowlton Hall stands out in its dynamic zone, bounded by raw concrete parking garages, a football stadium and a red brick business school. It is perfectly positioned to be seen by numerous students as it is enveloped by walkways for pedestrians of the campus. It is a prominent structure, which is committed to teach by example to the students of architecture that it houses.

This project is relevant to my work in seeing how influential architecture can be. The Knowlton Hall was designed not only to influence the students and teachers than will use the space and lead by example of the teachings taught within, but also as inspiration to the students on the rest of the campus. I like how the building was designed to have an open atmosphere with an auditorium inviting students from other programmes in, unlike most schools, which are simply designed to house their own students.

The Knowlton Hall is unique in that the design process within the school is constantly on display and it is seen as an iconic object on the site, quite distinguishable from the rest of the campus. I really like the white marble cladding and feel this gives great effect, however it is interesting to note that although a client may be insistent on something in a project, it is important to give adequate information about a material, in this case they were adequately informed that it is not a durable material and it requires a lot of maintenance.

Knowlton Hall (The Ohio State University Archive, 2010)

Image reference: The Ohio State University Archive, (2010), Knowlton Hall [ONLINE]. Available at:http://library.osu.edu/buckeye-stroll/locations/knowlton-hall/2010-knowlton-hall [Accessed 26 April 15].

19) Building and exhibition layout: Sainsbury Wing compared with Castelvecchio, by Kali Tzortzi, (2004)

This reading is a useful precedent for my work, particularly at the moment as we embark on a project to design a museum/gallery space. As outlined in this reading, it is very important to consider the spatial qualities of a museum, in particular the patterns of movement, as this will be the basis of the route that people take and will impact on how much the viewer is exposed to the exhibits.

Interestingly the Sainsbury wing of the National Gallery in London was permanently designed for the early Renaissance collection of the National Gallery, but the Castelvecchio in Verona was not purpose built, it was a conversion of a historic building. Although both collections vary in scale and importance, it is interesting to see how the spaces deliver from such different starting points. As an Interior Architect a lot of my work will involve renovation projects and therefore the Castelvecchio is particularly of interest.

Both museums are based on axes. The Sainsbury wing has a powerful axis acting as the structural property, which works effectively at guiding people through the space. It also uses perspectives to draw attention to features of the space as well as artwork displayed. Arched openings emphasise importance of displayed work and long vistas are terminated by alter pieces. In contrary the Castelvecchio consists of lots of changing spaces with short passages between, bringing isolated episodes in solidity into a whole.

The visual construction of museum space is also very important and something I must consider in my work. Looking at the Sainsbury Wing, it appears to be comprised of conventional rooms, not free flowing space, however the architect has cleverly used an open relationship between rooms with wide doors creating a sense of open space, allowing the user to see into one room from another. I feel that the Sainsbury Wing’s design deals with a principal problem: that visitors may bypass rooms due to them being out of the way and not obvious.  With an obvious hierarchy among spaces and an emphasis on central space, there is a clear flow to the museum.

The observation study carried out to record the routes of 100 people through the galleries is very interesting. This showed that people start following lines and corners at the beginning of their journeys and then move randomly within the space. This is useful research that can be transferred to my design for my final project this year. Perhaps my design should be very clearly and structured at the start, guiding people through, and then reach a point where they can chose which way to flow around the rest of the space.

As seen in the Castelvecchio, there is a high degree of sequencing, with limited choices and few possible diversions from the entrance to exit, which in turn constrains the circulation pattern.

'The rooms lock together beautifully': the Sainsbury wing at the National Gallery. (Lee, 2001)

The five-room enfilade of sculpture galleries on the ground floor of the Castelvecchio (Tyler, 2013)



Images references:
Sarah Lee, (2001), The Sainsbury Wing [ONLINE]. Available at:http://www.theguardian.com/culture/2001/jul/11/artsfeatures.arts1 [Accessed 01 April 15].

Ed Tyler, (2013), The five-room enfilade of sculpture galleries on the ground floor. [ONLINE]. Available at:http://www.bdonline.co.uk/paul-williams-inspiration-castelvecchio-museum-verona-by-carlo-scarpa/5049482.article [Accessed 01 April 15].

 

18) On concrete materiality in architecture, by Ute Poerschke (2013)

The study of materiality is very important, as it forms the basis of architecture. Finding the most appropriate material for a design is essential as it will ultimately define the success of the structure, as seen in Venice where door jambs rest on the stone threshold and cause bending movement that the stone cannot absorb as it lacks flexibility, which leads to cracking. Evidently in this case the material was not studied in detail and allocated to the perfect form.

When considering materials there are many characteristics to consider. Flexibility and rigidity are important components, which will establish the degree of force a material will be able to withstand. This reading also outlines that not only the architecture should employ materials according to its nature but also the entire form should derive from the material, giving the space a true reflection of the essence of the material. Materials should also be the materials must be judiciously employed, according to the qualities; there must be no excess on the side of strength or slightness.

Materials can also be understood in two respects; as structural forms and also material as surface. The effort to fuse inner and outer materiality is characteristic of many modern architects – and certainly not a feature of Post-Modern architects. For architecture right up to the present, it has been an intellectual challenge to harmonise the two views of material as such as structural form and material as such as surface.

17) Félix Candela. In memorian (1910-1997). From thin concrete shells to the 21st century’s lightweight structures, P. Cassinello(*), M. Schlaich, J.A. Torroja

Felix Candela was a structural artist who applied his theories to thin shells hoping to fulfil architectural requirements of utility, strength and beauty. His journey of thin shell construction took off as engineers and builders were pursuing a more efficient shell structure. Reinforced concrete had a lot of potential due to its geometry, structural elements and strength.

It is interesting that Candela was both a designer and builder and therefore saw the process of designing the structures right through to the end product of building them. He also experimented a lot with making full-scale models as he felt this was the simplest and most immediate way to learn. With relation to my work, this emphasises the importance of extensive model making to thoroughly ensure a design works well.

The Los Manantiales is a fine example of Candela’s work, demonstrating his masterful combination of artistry and technical expertise. The continuous geometry gives the resemblance of a flower with the internal space enclosed by a single sculptural surface. The way the light flows through the structure beautifully outlines the roofs form.

 

Concrete shell structures may still have a place in present day design, as they are honest in shape and beneficial for noise protection and heat storage. Also thanks to CNC- guided machines, free-shaped formwork is not particularly expensive anymore.

Los Manantiale (Duncan, 2008)

Image reference: Duncan, (2008), Los Manantiale [ONLINE]. Available at: http://www.archdaily.com/496202/ad-classics-los-manantiales-felix-candela/ [Accessed 21 March 15].

16) “The diversity of timber in Alvar Aalto's architecture: forests, shelter and safety”, by Teija Isohauta

Alvar Aalto classical approach to architecture stems from his love of the simplistic Finnish rural log buildings. He describes wood as “the redeemer of architectural spirit, used not for sentimental reasons but as a timeless material of ancient traditions that is viable for construction and psychological and biological reasons”. The way he uses timber in his work is beautiful, being a profound interpretation of living as an integral part of the natural environment. With developments in technology he begins to play with bending timber and adapting it to ever growing needs.

Villa Mairea is a fine example of a transition from traditional to modern architecture. There is a constant theme of variable and advancing technology throughout the design. The morphing of technology is seen through the house as materials change from stone to glass to steel to stone slab, together forming a beautiful collaboration. The context is also exploited in the design with the emphasis on merging the inside with the outdoors and making them one.

Wood is a material not frequently seen in the Modern movement, but with the variety of ways Alvar Aalto uses wood, he creates a special character in the history of modern architecture.  Wood is a material that could be incorporated in to my designs as it improves quality and increases the feeling of aesthetic wellbeing.