Initial responses were instinctive abstractions using existing information as stimuli. The use of clay in models throughout the project was an aid in understanding the properties of the material and as inspiration for its application.
The initial response model uses the shape of the site along with the direction of surrounding streets & patterns of movement and a feeling of the character of the area to create a diagrammatic model which was remarkably similar to the final strategy.
A mini-project asked us to create an element within our chapels, for which I decided to design and mock up a triptych of panels.
The initial response model uses the shape of the site along with the direction of surrounding streets & patterns of movement and a feeling of the character of the area to create a diagrammatic model which was remarkably similar to the final strategy.
A mini-project asked us to create an element within our chapels, for which I decided to design and mock up a triptych of panels.
Formulation of site and design strategy spawned the idea of a steel framed structure supporting a cladding of ceramic tiles. This cladding would be parted along an edge to create a light channel revealing the structure and providing dramatic lighting.
The concept of a broken ceramic piece stitched together with a steel truss begins here, although further development leads me to shun the pyramid-like form & steel frame in favour of further investigating the structural properties of clay.
Structural investigations begin to work with the compressive qualities of clay, experimenting with parabolic (catenary) arches. The preliminary structural model below is illustrating the series of steel purlins intended to support a rainscreen of ceramic tiles.
Working through the initial concept, the creation of a physical glazed stoneware piece aided in design progression by providing a tactile contact with the material. The drive to create a space which echoed the seamless connection between the raw inner surface of the ceramic and the cold hard exterior pushed the design to seek a new form of structural solution.
In the timbrel/guastavino tile vault a deft solution was found. Eliminating the need for any metal structural elements, a timbrel vault is freespanning unreinforced masonry.
The vaults consist of several laminated layers of ceramic tile. These vaults span between piers and ribs of a similar construction, with the first layer adhered using a quick-setting gypsum mortar. The subsequent layers are laminated on top using a waterproof portland cement mortar in a different pattern to the previous layer, circumventing overlapping bonds, and therefore resulting in a very compressively strong and waterproof membrane. The final layer of tiles is glazed on the upwards face, giving a smooth finish that is resistant to weathering and signs of age.
An extra long brick is used to form the walls; laid in flemish bond a cavity wall is created, which could potentially be filled with insulation. The corbelled header bond columns reinforce the solidity of the structure, creating an impressive feature, as well as utilising the exterior face to channel and drain water from the roof.
Landscaping cuts into the slope of the site to bring about a promenade that serves to link the two exterior domains and simultaneously buffer the main chapel space from the pedestrian through-way.
Functionally the building is split into two main volumes, and this is clearly expressed, with a structural glass entrance space linking the two brick and tile structures - emphasising the crossing of threshold into the chapel itself.
Movement through and around the site adapts and accommodates existing pathways before contemplating a new structure.
Conspicuous in an urban area of high density, these open spaces situated on the edge of the cathedral grounds are utilised to the advantage of the users of the chapel, as well as giving back part of the public realm to the people.
