Project Matrix - Plan and Brief for the weeks ahead
First Unitarian Church - Louis Kahn
Model
to be built with Remy Dunne
The
chosen architectural precedent is Louis Kahn’s First Unitarian Church. The
primary motivation of this is to produce a scale study model for another
course, ARCH7304 – Architecture and the City, as part of a semester long group
study of the building as a civic space, exploring its relationship to
inhabitants and activities occurring in it.
Kahn’s
building deals with human experience of constructed space at a variety of
scales, and by representing this in a clearly legible manner it is hoped that
we, and anyone who views it, will be enabled to better understand those
sensations and states of being he was attempting to develop, and the manner in
which he created them. Models can explore and present ideas and information
about a building not possible in a plan or section, and can represent the
phenomenological ideologies Kahn was exploring. Further, a realistic
representation of materiality, in line with the palette Kahn used, can help
explore how he used certain materials and types of finishes to create desired
effects.
Key
Concept
According to Goldhagen (2001) in the
Fist Unitarian Church, Kahn synthesised an “embodiment
of his expanding social vision with new ideas on how to achieve an architecture
of authenticity” with it representing a refinement of architectural
languages he was developing.
By following a more abstract
modelling approach, the intention is to show how the proportion and implied
mass of the building, as well as the relationship between and intimacy of
spaces are intended to inform the process of ritual and memory surrounding
congregants enquiring approach to religion. It is important for this model to
engage with the larger themes of the structure which are heavily connected to
Kahns interpretations of spirituality. Representation of mass, volume,
proportion, spatial relationships, the rhythm and disruption of form, light and
shadow are of primary importance. It is those elements within the design that
Kahn uses to elevate congregants experience to a plane of intellectual
awareness of themselves where they can engage with fundamental questions of
their beliefs.
Selected
Design Element
The purpose behind the selection of
the design elements for the model is to recreate with a certain accuracy the
construction systems Kahn employed, to better explore how they were then
‘ornamented’ by light and tectonic detailing to affect users phenomenological
experience. It is hoped that this model, in conjunction with other analytical
work produced during the course, will allow us to better understand the
construction language Kahn used to explore his architectural ideologies of form
and tectonics.
The model will be of a long section
of the full building, running from the entrance hall in the east to the
classrooms in the west. This section will take in the entire length and involve
all major spaces, expressing the parti of its design and the underlying
principles and relations of spaces. Those spaces will be the entrance hall and
adjacent outdoor space, the ambulatory, sanctuary with light towers above, and
the classrooms. By recreating all the materials used, we hope to make an
accurate representation of light, volume and the proportions of the monumental
planes, and how they relate to spaces intended uses. To accurately represent
Kahns use of light it is important for us to use similar materials to the
building, as such we will attempt to imitate as closely as possible the
luminance, tone and texture of materials. The relationship of wall, floor and
roof elements to one another, and to the immediate context will be accurately
represented, with information sourced from photographs and plans. Detail will
be appropriate to the scale.
The
modelled section will approximate to the following designated sections:
How
is the Key concept reflected in the Design Studio
By employing a sectional model, it is
hoped that there will be a clarity of how proportion, mass and the planar forms
of its monumental design are employed by Kahn to stimulate desired sensations
within congregants. Due to the buildings size and our intention to show the
proportions and full sequence of spaces, a 1.50 scale has been chosen. This
means that certain detail elements will not be shown, and instead the model
will focus on larger and more abstract elements of design. A sectional model of
the building will reveal the buildings concentric form and relationship between
spaces, and how it deals with ideas of memory and ritual that affect an
individuals agency as they explore their religion.
By using similar materials to Kahn,
we hope to explore the manner in which he reinterpreted ornamentation through
light and architectural tectonics. This relationship of light and tectonics is
hard to express in any other format, and so a realistic, scale representation
of them may aid us in demonstrating their intended effect upon each space and
their ethereal qualities.
The physical model, and our ability
to replicate important design elements of the church to a high degree will
significantly aid us in presenting our analysis of the building and its
underlying ideas when we make our final presentation. It will strongly support
the analytical assessment of our speech and diagrams by enabling us to provide
clear demonstrations to our peers. Further, the skills we develop using a variety
of machinery and materials will develop both of our abilities and we move into
the final design studios of our degree. More importantly, the understanding of
material properties and how to quickly deploy them in models will potentially
be very useful for us during our careers.
Geometrical
Description of the Shape
The buildings shape is dictated by
the central sanctuary, in the form of a square around which the classrooms are
situated, forming rectangular blocks which distort its form in a manner
expressing functional intent. The space between the blocks of classrooms forms
an articulate void expressing the squat composition of the building.
At 1.50 scale, the model will be approximately
850mm long, 550mm deep and 255mm high, and is to be mounted on a base 20mm
thick. The dimensions of individual elements of the model will be determined
later, but due to the repetitive geometry in many parts of the building, there
is a high chance we will be making multiple copies of certain elements.
There are five differently sized internal spaces
which together compose the external form.
They are as follows:
The entrance hall / lobby: 167mm long,
56mm high, 65mm wide
The ambulatory which is approximately 56
mm high, 34mm wide
The sanctuary 378mm long, 150mm high,
160mm wide
The light towers, of which only two will
be made 150mm long, 90mm high, 120mm wide
The classrooms to the west 120mm long,
126mm high, 180mm wide
The classrooms to the south 600mm long,
126mm high, 145mm wide
The accuracy of these measurements
are important to clearly expressing how they proportion each space, which when
viewed in section will articulate how Kahn varied the experiential sensations
of space to stimulate phenomenological sensations within congregants and affect
their sense of passage through the structure.
Proposed
Scale, Material, Technique
The model will be built at a 1.50
scale. We had initially discussed using a larger scale to increase the
detailing of the building, but realised that this would not improve our ability
to examine its qualities, nor would it allow us to analyse the larger spatial
forces at work. We feel that 1.50 is a decent balance between two scales that
allows for enough detailing without resulting in a cumbersome model.
Our desire to explore form,
monumentality, proportion, spatial relationships and light can most readily be
done at 1.50 as it is a scale which enables sufficient detailing without
demanding a greater articulation of built elements, which we feel would detract
from the models goal to make legible Kahn’s design strategies. Any larger a
scale would demand a higher degree of detailing which neither our time nor
budget allows for. Further, a smaller scale would mean working with smaller
components and a subsequent loss of detail.
The material palette consists of a
mix of unadorned, raw or lightly finished concrete and timber which can be
readily replicated in a model. The intention of this close replication is to
better demonstrate the interplay of material, form and light, and the different
textural relationship within the building of spaces and usages.
In place of concrete and concrete
blockwork we will be using HydroCal gypsum cement, separately finished to best
imitate the two materials as Kahns interplay of them within certain spaces
relates to certain desired effects. The HydroCal will be cast in plastic moulds
formed from cut foam and then detailed to imitate the distinctive finishes used
– either polished, off-form or textured to imitate the block work.
The external brick masonry walls will
also be composed of cast HydroCal, in this instance using a masonry dye to
match the external surfaces to their real finish type. This is a more desirable
approach to achieve the intended finish as it creates a more natural colour and
does not diminish the surface texture in the way that painting over the formed
HydroCal elements would.
Kahn uses Red Oak timber within the
building, however due to the scarcity of this timber in Australia, we will be
using White Oak, which when lightly treated with oil bears a close resemblance
to Red Oak. This timber will be cut into small strips to act as cladding and
mimic as best as possible the existing timber.
The model will be primarily made by
hand. The concrete will be created by hand shaping the blue foam with hot wire
cutters and sandpaper, using a vac machine to form a plastic cast over and then
casting and detailing it. The timber will be machined by hand, using bandsaws
and sanding machines to plane the objects. They will be finished with a light
application of oil. Hand shaping will be more efficient for the two of us and
better fits our desired budget.
The model base will be made from a
single panel of Merbau timber, which is to be CNC’d with an outline of the
buildings walls stabilise the structure.
Time,
Commitment, Budget
Both of us live close to UNSW,
therefore meeting and working together will not be too difficult. This
proximity will allow us to meet up more regularly, and work more hours than if
we lived further away. We aim to organise ourselves so that work requiring
specific machinery or inputs only found at the Squarehouse can be done during
its opening hours, and any work outside of hours can be completed either at
home or in the Engineering and MCIC labs.
Rather than buy the materials in bulk
at first, we have decided to stagger our purchases to better budget materials
for each stage. The first stage of purchasing and preparation will follow the
completion of a 3D model, from which we can gather information on the number of
wall and roof surfaces we will need to make. This will then be used to
determine the number of unique moulds, and thus the total amount of casting.
Multiple versions of the casts will be made to increase casting speed.
In conjunction with this 3D model, we
will also need to develop a model for CNC milling of the base where the walls
will slot in. This model may take some time to accurately make and may require
revisions or fixing during later stages.
For the preparation of the blue foam,
we can use a variety of labs and even work together at one another’s
apartments.
Between the two of us the model
should take approx. 5 weeks to build. We will likely need to commit as close as
possible to 2 full days per week, with more hours occurring outside that to
take advantage of quieter hours at the SquareHouse. The primary issue with
timing will be potential backlog of forming and casting the HydroCal, and using
the CNC as other students intend to use a similar method. An additional
variable to the timing will likely be the degree with which we chose to perfect
the final product, and any failings of material production that occur along the
way.
The budget will be as follows:
Blue Foam : $16 for 100 x 300 x 300
mm board
Merbau Timber Panel for CNC (x1): $50
for 1200 x 600 x 18 mm
Hyrdocal XL : $22 for 5kgs
Total: $88.00
However we will allow a max budget of
$120 to account for repurchasing of material and fixing mistakes.
Timber for the casting frames will be
taken from the scrap timber bins within the SquareHouse Lab.
References
Goldhagegn, S. W., (2001) Louis
Kahn’s Situated Modernism, Yale University Press: New Haven, Connecticut
Architectural Precedent - 2
Kanchanjunga Apartments –
Charles Correa
1.
Key Concept
The Kanchanjunga Apartments are large
luxury apartments located in an upscale suburban setting, designed in the 1970s
responds to the present society, the escalating urbanization and the climatic
conditions in the region. Mumbai experiences a moderately hot climate with high
humidity, hence the orientation of these apartments is east-west to catch
prevailing sea breezes. This orientation also frames the view of the Arabian
Sea and the harbor on the rear side causing it to face the sun and heavy
monsoon rains. These problems were solved by wrapping around the living space
using the verandah. The building uses reinforced concrete for its structure
employing lateral load bearing walls and the ‘slip form method’. The deceiving
plain exterior of the flat façade is inversely proportional to the complicated
section that it hides beneath. Correa has played with the floor
slabs to provide various single and double height spaces shown in the figures
below. This
complicated labyrinth of slabs develops a very puzzling but interesting section
for the enthusiasts to study, shown in the figure on the right. The modularity
of the apartment is something incredible as the flats in the apartment
interlock with each other vertically and are repetitive. The idea is to develop
a sectional elevation that explores the fabric of this building helping the
maker and the viewer understand and admire the space, also trying to replicate
the materials at the same time. 
2. Selected
Design Element
The selected design element as I have mentioned earlier
is the true essence of this entire apartment. The opening up of the living
spaces using the double height verandahs and pushing back of the living space
using this double height so that the residents have a good view of the harbor
or the Arabian Sea and also protecting them from the afternoon sun. The export
from sketchup below shows the section that I wish to model, one of the most
interesting aspects is to see that the upper slab is a repetition of the lower
slab and hence can be repeated above/below again, showing the interlocking of
the units.
The facade is exposed concrete with a pale yellow color
which gives the high rise a distinct identity among the surrounding buildings.
The effort would be to replicate these factors as closely as possible and at
the same time making a model in the time frame that is available to us. The
particular section expresses clearly Correas intention of using the sea breezes
to keep the interiors of the apartment cool throughout the year, seen in the
image below. As the final product will be a sectional elevation that shows the
section of slabs on one side and the uncomplicated façade on the adjacent side.
It juxtaposes the solid-dominant façade with voids in it, alongside the void-dominant
section with solid slabs in it. The section also proves to be an incredible
study of human scale with varying floor to floor heights in apartments.
3. Key concept
reflected in the Design Studio
The 1:50 model will help us understand the efficient use
of single and double heights that Correa has evidently mastered in this
building. There are a lot of comparisons of the Kanchanjunga apartments to the Unité
d'habitation by Le Corbusier, they do bear some similarity but in my opinion
Correa has taken the interlocking concept of the units a lot further with the
varying slab heights. The verandah is designed as an important space in these
apartments, importance of which I have previously highlighted. I am specializing
in Housing in my Masters of Architecture, and intent to do my graduation studio
next semester. I believe that this would be a very strong precedent to study as
it will strengthen my understanding of many intricate details of a section
which we so often take for granted. We often assume a floor slab to be flat and
two dimensional, here is a precedent which questions this idea. The precedent
helps us understand through example that a floor slab is also a 3-dimensional
entity like any other in the realm of architecture and that it needs thought
and respect.
4. Geometrical
Description of the Shape
Building
this model at a 1:50 scale the model will approximately span 42cm/42cm/30cm.
Two adjacent walls – one displaying the window openings of various sizes in the
concrete wall which bring in the sea breeze, the other showing off the various
floor to floor heights in the apartment. The rear two sides will be plain and
just reflect the basic openings without a lot of detail, as the focus is to
detail the western and southern façade to explain the flow of sea breeze
through the apartments and also how the apartments respond to the local
climate.
5. Proposed
Scale, Material, Technique
1:50 scale model would help us understand the principles
employed in the formulation of this design, without letting us get lost in the
process of building it.
Correa, being a modern architect of the
post-independence India designed the building the modernist material concrete. He practised material honesty and most often left facades unfinished and practised the local vernacular in the modern environment. The exterior façade is a pale
yellow concrete, but the replication of this section in cast concrete would be
unwise as the cement with the floor slab thickness of 0.4 cm would break with
the depth that we are looking at. Hence we will use timber and plywood of
various thicknesses to model the floor and wall. The floor and wall plans will
be laser cut for accuracy and they will be joined together with tongue and
groove joints eventually glued together. To mimic concrete we will use timber
and ply without a veneer so that it is easy to paint over it. A grey paint
mixed with oxide colour to give the pale yellow would be used for the façade
and a grey would be used for the section of slabs. The interiors would be
painted white, minimalist as are the actual interiors. These would be joined
together by hand. Smaller interior objects like the stairs and railings would
be cast in concrete using a foam block model made by hand and vacuum forming.
6. Time
Commitment, Budget
- The drawing of the plans for the laser cutting could possibly take 2-3 full days.
- 1 entire day for the laser-cutting of various timber boards. The boards will mostly be recycled boards that match the requirement thickness as there are plenty of off cut boards available at all times measuring 42cm/15cm (the depth of the section).
- Painting the model would take 1 day and the drying of paint would possibly take another day. The budget is highly dependent on the availability of the timber off cuts at the workshops, which otherwise would be purchased at bunnings or the maker space for about $16 a sheet.
- The paint and glue will be purchased in the similar stores, which wouldn’t exceed $25 in total summing up to a grand total of about $50 approximately.
Keeping two extra days in hand as a buffer for any
unforeseen circumstance the process should take about 8 days, hence 4 weeks of
2 days each. Hence keeping 10 days
in hand before the submission in case of miscalculations and over-lap of the
other two models.
The purpose of this model at a
smaller scale 1:300 would be to visualize and understand the entire building
and the interlocking units that it is made of. There are 4 major types of
apartments varying in its area and program. The idea is to make a block model
of these units with punctures for the verandah and the windows so that it amplifies
what is being explored in the previous 1:50 model.
3. Key concept
reflected in the Design Studio
_________________________________________________
Architectural Precedent - 3
Kanchanjunga Apartments –
Charles Correa
1.
Key Concept
The purpose of this model at a
smaller scale 1:300 would be to visualize and understand the entire building
and the interlocking units that it is made of. There are 4 major types of
apartments varying in its area and program. The idea is to make a block model
of these units with punctures for the verandah and the windows so that it amplifies
what is being explored in the previous 1:50 model.
2. Selected
Design Element
The entire building is of 28 floors consisting of about
17 apartments on one side. The plan is to make the top 4 apartment blocks which
are different and interlock around the core as shown in the figure below. The
rest of the model will be cast in one piece with the core protruding for the
entire height of the building, around which the detachable blocks would sit as
shown in the figure below.
3. Key concept
reflected in the Design Studio
This model reflects the necessity and importance of
interlocking units and how they can provide the occupants with comfortable
living spaces. It also brings attention to the importance of modularity in the
housing scenario where repetition is very common. It is always good to have
units which are replaceable and detachable even only theoretically.
4. Geometrical
Description of the Shape
The blocks
will exhibit the brutalist exposed concrete material throughout. I have not
made a decision whether I would like to replicate the colors that have been
painted in the niches of the building as decided by Correa. This decision will
be made towards the last phase of this project, I am worried as it may attract attention
of the observer, and take away the importance of the modularity that is being
expressed in this model..
5. Proposed
Scale, Material, Technique
1:300 scale would be a good scale for us to do this
study.
Using Ultracal
gypsum cement to make the blocks.
The technique would be to make a frame for the unit
blocks and arrange laser cut ply or timber and glue them on to the base, as
they represent the windows and verandah openings.
Pouring Ultracal cement into the mould and then
repeating this process for the other similar blocks and also the main building structure.
6. Time
Commitment, Budget
- Drawing up the openings of the windows and verandahs would possibly take less than half a day, the other half could be used for laser cutting these elements and making of the frame for the casting.
- Setting period of one day where we can shift focus to other projects.
- The The Ultracal 30 5 kgs = 22$
- As the scale is really small I have no worries about finding small timber off cut pieces to reuse and make the frame and the window openings.
- This project is designed to be a supplement to the other more complicated and tedious project hence it is simple and cheap, yet it explores a different modeling technique and scale. The total time taken would be three days hence the model should be completed within a week giving ample room for miscalculations and accommodating the two other intense projects for this course.
https://www.barnes.com.au/plaster-gypsums-99
https://www.bunnings.com.au/stores/nsw/alexandria
https://issuu.com/eelkokroon/docs/kanchanjunga-apartments
https://issuu.com/dzul8/docs/history
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