Exercise 1.1:Existing Interiors: Explore & Select

Rochester Cathedral (Site 1)

A place of Christian worship since AD604. This is the oldest building I have ever set foot in (to my knowledge) and one of the main reasons why it intrigues me so much. This is a Grade I listed building and is the second oldest Cathedral in England. The present building was initiated by Bishop Gundulf in 1080 (A carved statue of him currently dons a Covid-19 face mask as shown below). The architecture is Norman, Gothic and Early English Perpendicular with a fine crypt, medieval wall paintings and a magnificent 15th century chapter room doorway. This religious building is full of wonder, mystery and history.

This Cathedral holds many ancient secrets and is a place of mystery and amazement. As an atheist, religion for me is part of our history and tradition. It gave birth to such magnificent, complex buildings. Luxurious spaces open to the public. How many lives were lost in the construction of the building? How many craftsman worked for nothing in hope of being closer to god and perhaps acceptance or forgiveness? Yet the powerful presence, space and atmosphere this cathedral emanates was created by us as humans. The building has moved through centuries, from Medieval to the present day and has seen almost every design trend there is via renovation and construction upgrades, this is showcased throughout the building. All religious buildings are unmistakably prominent in design we all seem to be able to tell straight away the purpose of any building by the design similarities. All cathedrals have the same architectural sections – the narthex, aisles, nave, transept and apse containing the alter. Similar to a house with bathrooms, bedrooms, and kitchen etc. Why do we still follow these architectural rules, why do we still use them as we did thousands of years ago? Although some religious buildings for now have already been converted into houses, flats and hotels. Imagine what this cathedral could be converted into…….

The Historic Dockyard – 3 Slip (Site 2): A building built for building!

A building built for building ships. The roof of this building is purposely shaped like the hull of a ship for chip construction…if you turn the building upside down it almost turns into a boat. Unique in its design and shape, this building stands out and is hard to miss. Its large gaping entrance is some what inviting and although the roof is covered in windows it always seems to be dark inside making it even more intriguing and mysterious. As I sat and observed the behaviour of visitors to the Dockyard, the majority of them are instantly drawn to this building as soon as they set eyes on it and I truly believe its because of its sheer size and unknown meaning due to its unique purpose. Its not a home, a church, a factory, a shopping mall …what is it? On entry to the building visitors look up ….we are not used to seeing such vast unused space within a construction. The ground floor of the building is now home to several historic boats and heavy machinery which all seem to look tiny in comparison to their surrounding..

Although the building was used to construct many famous war ships, today it is home to a vast array of epic objects and vehicles from both the Chatham Historic Dockyard Trust and Royal Engineers Museum, Library and Archive collections. Now referred to as ‘the big space’. For 414 years Chatham Royal Dockyard provided over 500 ships for the Royal Navy, and was at the forefront of shipbuilding, industrial and architectural technology. The architecture is innovating and intricate. Such a complex and large structure designed 100 of years age is truly memorising. It stands at the cusp of technological change. Visitors seem to have a similar behaviour to that of the cathedral of deep reflection and awe of how big the space they are entering is, perhaps its the size of the buildings or perhaps its the history or maybe the contents? Visitors seem to use it as an observation area, constantly looking around and investigating the surroundings. This building is all about looking up and many visitors will reach for their phone to capture such a beautiful immense picture of whats above them. I think this structure makes everyone appreciate architecture, whether they understand its architecture or not, including children and toddlers. That is powerful!

Home Sweet Home (Site 3)

Home is apparently a state of mind – having moved quite a lot in my life I agree with this philosophy and here’s why. Home is space which belongs to you, your territory. Its our naked personality, its our relaxation, its our funny, its our angry and its our private area. Its who you choose to share your world with or its just you.

It has always baffled me, even from a young age, that homes aren’t decorated or enjoyed visually to their full potential. Why not make it reflection of your personality, however crazy that is, give your home life!!! Why not fill it with everything you adore, everything that makes you happy and in return it will give you so much more back! I remember as a child my parents friends couldn’t go on their exotic beach holiday honeymoon due to illness so they ended up staying closer to home in the UK. Whilst they were away in the UK, all their friends got together and turned their garden into a temporary beach. They ordered in a lorry load of sand to lay down in the garden, deck chairs and a paddling pool to act as the sea. It was wonderful and even the local news covered this story. But it made me think… why is this not the norm?? Why cant the beach garden stay forever and be enjoyed as a mini oasis? I admire home owners that go above and beyond to make their space theirs.

As I private tenant I often get frustrated that I cant fully reflect my personality in my own home, structurally as well as decoratively, although I give it a good go by using furniture, objects, accessories and art work. I wonder how different my space will feel when we do eventually own our own home?

I live at home with my husband and two children, when we look for privacy we tend to head towards our bedroom. When we are hungry we aim for the kitchen. We function alongside our surroundings for example when friends visit we usually gather in the kitchen in order to host food and drinks. Children will head for toys and we are lucky enough to have a play room in our home specifically for this although children tend to play wherever they desire, they are rule breakers for sections of a home. Every room has a purpose, and we seem to adhere to those purposes. We dine in the dinning room …we have not dined in the bathroom for instance and equally we have not washed in the dining room. Functional rooms for specific purposes all sectioned off from one another which adhere to the age of the property. The interiors following suit of the functions, layering to create a comfortable, easy atmosphere. Our terrace house was built around the 1940’s. It was interestingly squeezed between two semi-detached house’s back in the 40’s not long after the semi-detached houses where built. If you look closely at the roofs you will see the unusual dis-alignment. The original owner of the land or perhaps the builder/architect must have changed his mind with regards adding this property in. In our loft space you can see through to the neighbours loft.

Site Selection

After taking into consideration my 3 chosen sites, I have decided to further investigate Site 2 No. 3 Slip, the reason being it is so raw and unique in its design and purpose it intrigues me the most. Its the largest out of all my site’s yet has the minimalist interior but is fairly complex in its architecture. Its effectively a huge hanger with a mass of open space, but to me its so much more. The history and meaning of this building being the forefront of architectural technology is compelling. There are many buildings made for building (factory’s etc) but I wonder how often architecture is taking into consideration and to what extent?

Reflection on Project 1 ….

I enjoyed the experience of Project 1, I had a sure winner from the start although I tried not to be prejudice on this decision. However this particular building has forever fascinated me. I think if I were to repeat the exercise I would perhaps choose more conflicting architecture, perhaps something which is viewed as boring and mundane in comparison to a more flamboyant structure which has constant attention due to its outrageous design. I am glad I chose home as I think I have learnt a lot more then I thought I knew from this. My view on a home is happy, positive, calm, unified, powerful, love yet I understand not everyone’s views are the same. Home can be a safe place for many of us but not for all. I guess all of us have our own take on a space of which is influenced by our own personal experiences, memories, our past and nostalgia which can be triggered by one or all of our senses. We are able to experience a space at the same time but we could all experience a different atmosphere from that same space. I wish I would have asked the strangers occupying the spaces in this study for their feedback …how different would it have been to mine? Or would this have been similar?

Hans Van Der Laan

Hans Van Der Laan was a Dutch Benedicte Monk & Architect (Born 1904- Died 1991) – There is a sense of centralism, serenity and celestial within his creations. He brings his designs to life through manipulation of natural light. His designs seem to mirror the movement and shape of light created by his straight, clean cut lines. His work appears to be inspired by the pattern and journey of natural light.

There is a strong religious context within his work, he creates the presence of divinity within the atmosphere of a space, by using natural light as a focal point ,usually situated above eye level, enforcing the sanctity in the atmosphere he creates. Hans somehow manages to control and capture natural light within his spaces, by shaping a room and using the light as decoration, giving a sense of calmness, connection and reflection.

Hans use’s sensory architecture ensuring the experience of the room is tranquil. His work has similarity, meaning and reason, rooms suit their surroundings and the surroundings suit the rooms. The clean edges, sharp lines and perfect proportions make his spaces satisfying environments, as well as clearly defining him as an artist, architect and designer. There are clear characteristics which make his work recognisable, they follow a strict pattern which may be in connection with his life as a Monk. However, his rule breaking in design counteracts this ascetic life.

His work is criticised for being bland with his interiors resembling that of a prison. Adding colour and vibrancy to his designs could complement the use of light, enhancing the celestial atmosphere.

His minimalist, modern designs are ahead of their time. Hans made his own rules when it came to architecture, there seems to be clear techniques and similarities within his design vision. He uses subtle, calming pallets of colour, again all perfectly balanced and positioned to complement one another. His work stands out and is easy to identify because of this.

Tadao Ando

Tadao Ando (Born 1941) is a Japanese , self taught Architect, often referred to as a Critical Regionalism. One of his most talked about structures is the Church of the Light, of which its name speaks for itself….

The Church of the Light was built in 1989 in the City of Ibraka in Japan near Tadao’s home. The building consists of thick, perfectly executed, concrete cubes, penetrated by an angled wall, dividing the cube into the Chapel and entrance. A crucifix cut within the concrete behind the Altar is the masterpiece of this structure. Similar to Hans, Tadao uses natural light as a focal point, the striking simplicity of the design creates a sense of spirituality and connection to nature.

Tadao’s controversial vision is reflected within his work. The harsh contrast of light against smooth, dark, cold surface’s is mesmerising. The minimalism gives a sense of pureness, is mind cleansing and one can only imagine being left in a reflective state of mind, a wake up call to the appreciation of our surroundings. He manages to tune into the subconscious by connecting his designs to the environment and space around by vision and centralism. On the other hand, his designs can appear cold, uninviting and tedious, they are distracting in an evolutionary way because of the unexpected, unpredictable atmosphere created within a space. The simplicity in his work is ground breaking, the distraction of the minimalism is almost disturbing.

Where one would usually enter or pass by a room,structure,building, without noticing, one must simply appreciate Tadao’s extraordinary influence within his designs, both from the exterior and interior, having never a predictable moment. Ahead of his time, ground breaking in thought, the attention to detail as an architect is impeccable. He manages to connect architecture to space, nature, environment and the subconscious.

Peter Zumthor

Peter Zumthor (Born 1943) is a Swiss architect, whose work is shockingly minimalist and pure. Straight, sharp lines balanced against organic material and light manipulation are recognizable design techniques. His work is extraordinary, almost unworldly, in the sense of his structures being totally unique. Peter seems to focus on the structure itself as the center piece of both the exterior and interior, all being connected as one and flowing in harmony for the pleasure of the visitor creating an exciting, out of the ordinary, atmosphere. The shocking exterior perfectly balancing the calm interior, as shown in his Bruder Klaus Chapel situated in the middle of a field in. The construction of which also being dramatic and arguably the most interesting aspects of the church via the methods used. Beginning with a wigwam made of 112 tree trunks, upon completion of the frame, layers of concrete were poured and rammed atop the existing surface. When the concrete of all 24 layers had set, the wooden frame was set on fire, leaving behind a hollowed blackened cavity and charred walls. This, I feel, can only enhance the senses and impact on the atmosphere.

Some of his designs include gravity defying tourist facilities in Norway at the old Zinc Mines. Crisp appearances, which he designed to be experienced first hand. His buildings explore the tactile and sensory qualities of spaces and materials, while retaining a minimalist feel. Awkward angels and sharp unkind surfaces can be seen as cold and uninviting, yet one can only be drawn into to the design by the simplicity, yet complexity of the overall outcome. Alien like windows, making way for portals of light. The interior of his designs being an exploration adventure for the visitors, the outside of buildings conflicting the interior, making one feel lost in a small space and in awe.

His designs are modest, the majority of which are on a small scale but each one delivering a huge impact. He represents architecture in the traditional sense of making things. He uses the exterior to dress the interior and is the master of surprise.

Daniel Libeskind

Daniel Libeskind (Born 1946) is a Polish American international architect, artist, professor and set designer. He is famous for his old vs new designs, creating a ying and yang effect in the most controversial way by connecting the past to the present via historical and modern design. I believe his work creates the biggest impact via atmosphere, he meticulously layers his designs from the outside in, with intricate attention to detail all relating to the purpose of the building, whether this be a war museum or an art gallery. His designs have purpose and direction resulting in a interactive experience, destined to shock and gain the attention of everyone visiting. He creates senses and emotions via his architecture resulting in a reflective state of mind. His work is extremely identifiable, he seems to be able to stay true to his ying yang trademark throughout all of his projects, yet each project being undeniably original.

Libeskind famously won the competition to be the master plan architect for the reconstruction of the World Trade Centre. I now understand after studying his work why he must of won this competition, he seems to be able to express tragedy through architecture and interior design, by connecting the outside world via atmosphere and space derived from unusual yet meaningful designs and techniques. His work is striking in looks, factual, well researched and true to its meaning, delivering a small insight into the factual events associated with some of his projects.

Daniel Libeskind is renowned for his design and completion of the Jewish museum in Berlin. The building is a journey in its self which tells a story to coinside with the purpose of the museum. The museum exhibits the history of the Jews in Germany from the fourth century to the present, explicitly presenting and integrating, for the first time in postwar Germany, the repercussions of the Holocaust. As a man whose family was destroyed by the Holocaust and whose country of birth was ravaged by Nazi and Communist alike, Libeskind has a very strong connection to this design. Every detail has been designed meticulously to cause a sense shock, reflection, inspiration and connection to the purpose of the building.

Jewish Museum in Berlin – A Void cuts through the zigzagging plan of the new building and creates a space that embodies absence. It is a straight line whose impenetrability becomes the central focus around which exhibitions are organized. In order to move from one side of the museum to the other, visitors must cross one of the 60 bridges that open onto this void. One aspect of the design that really stood out to me personally is the Memory Void, which is one of the symbolic spaces on the ground level of the building. This includes the installation Shalekhet ( Fallen Leaves ) by Menashe Kadishman. This consists of over 10,000 faces with open mouths, cut from heavy round iron plates, cover the entire floor of the ground floor void. Visitors must tread over these painful, distressed iron faces, which I can only imagine causes a very uncomfortable, unnatural atmosphere subsequently a place for refection of loss and pain. I imagine this area to be completely silent, as a sign of respect for the fallen. This design sparked a reflective mood for me on the lives lost during the holocaust, the human beings responsible, the innocent, the devastation and the impact on the survivors. Experiencing the building first hand must only enhance such feelings and emotions. Being forced to walk over these iron faces as you move through the building, gives a sense of responsibility as such devastation of the Holocaust was man-made. I also envisage a connection here between both the murdered and the humans involved in the brutal killings, carry out their duty, brainwashed, scared, and forced to unwillingly slaughter there own kind.

Windows have no sense of belonging, making the building impossible to judge from the outside and equally disorientating from the inside. Each detail of this building tells a story, the building is made up of layers and layers of detailed design each having there own reason to be present and resulting in a bigger impact on the atmosphere for the visitor. His architecture guides visitors through, telling them a story, connecting them to the contents held within and leading them on clear paths of discovery to their surroundings, creating a physical story to interact with.

Libeskind’s attention to detail and shocking techniques used throughout all aspects of his designs are outstanding, both his interiors and exteriors are equally fascinating and uncomfortable to the eye. I appreciate the authentic designs used to incorporate certain atmospheres, you simply cannot fathom a Libeskind design hence why he is such a true inspiration.

Olafur Eliasson

Olafur Eliasson (Born 1967) is a Danish–Icelandic artist known for his sculptures and large-scale installation art employing elemental materials such as light, water, moss, fog and air temperature to enhance the viewer’s experience. Olafur is an expert in smoke and mirrors, creating a mind altering atmosphere. His art is made to change the way we see and experience the world. His work is simple but has great impact and carries important messages. He influences the viewer by exploring the notion of what we consider as the truth and how we perceive the world around us. We create reality as we go through space, his exhibitions and art work elaborate this. His work is completely dependant on the spectator. For example one of his installations ‘Beauty’ 1993, simply a room full of raindrops with a carefully positioned light, is totally dependant on the eye, if there is no eye there is no rainbow. As you enter the room the rainbow will become visible at some point, if there is another person in the room at the same time they maybe seeing the rainbow but you may not, making you question your eyes….do you trust your eyes? This piece was inspired by his fascination with Iceland and visiting the waterfalls with his father. ‘Beauty’ does look exactly like the spray one would see at the bottom of a waterfall.

He also created a large scale man-made waterfall underneath the Brooklyn Bridge. The purpose of this installation was to identify just how big the Brooklyn Bridge is, the waterfall set the scale for the bridge and in return the question of just how big we are. Watching the water cascade gives a sense of time passing. Olafur must have extreme confidence in his ideas to design such large scale pieces, he is a big risk taker which for him always seems to pay off.

Olafur’s strong concern for nature and the environment we live in today comes from his time spent in Iceland, a vibrant rich volcanic-ally active island, with a small population, thriving seas , rich in wildlife but dense in humanity. His work is strongly influenced by Iceland’s landscape. The Harper building in Reykjavik is based on natural Icelandic rock formations.

Fjordenhus in Denmark is another building inspired by similar rock formations and his research into geometry. The design looks extremely complex, however all elements of this building fit inside one another, thus creating a geometrical wonder.

Olafur enjoys handing over the responsibility of his art work to the participant. His way of thinking is so inspirational. The viewer of his art co-produces the narrative creating a meaningful atmosphere and a sense of being good enough, smart enough to understand your environment and able to make a difference regardless of our differences. You dont have to be the same to share a space, your own indivudual interpretation of his spaces and designs are meant to be explored by you personally. As a direct result of this, this turns thinking into doing.

His most powerful exhibitions have to be his Ice Watch projects – Glacier ice from Greenland, which is vastly disappearing due to global climate change, is shipped miles to our streets all across the world. He brings the issue of global warming and melting ice caps to us, the people, and makes it real! The chunks of ice are available to touch, see, smell and hear as they melt and disappear into nothing. Giving a voice to our environment, creating an emotional connection. Simplicity is deceptive. By simply being able to visibly see, touch, smell and sense the melting of the ice (not just any ice) the ice being the actual ice affected by global warming is much more likely to have an impact on us then watching this happen from a far via the internet or TV. Interacting with the problem creates a greater lasting effect for all ages, especially children as they are our future. I can only imagine this in turn creates hope for change. A way to get us to look at things differently.

His work creates a lasting effect in a positive way via an experience. He tries to show you his vision but through your eyes for a more memorable and meaningful connection. Its as if he tries to create an unforgettable memory via an atmosphere which is why his designs are so powerful. His concerns with climate emergency and our future are prominent throughout his art. He gives a voice to nothingness. His work is intelligent and scientific. Eliasson clearly wants to inspire via his creations, making the viewer aware of their current surroundings outside of his designs. His designs are made to include every individual. He believes art can have a strong impact on the world outside of their creations.

The ability to see something, to realise to not take our surroundings for granted. Reality is relative, it is more likely to change. Its now on us to decide where we go from here.

Ernesto Nathan Rogers

Ernesto (Born 1909 – Died 1969) was an Italian architect, writer and educator. Ernesto is among the key figures of the modern movement in Italy. Best known for his work on the Torre Velasca in the historic centre of Milan. As well as being a founding member of the architectural partnership BBPR. Rogers, to­gether with Gian Luigi Banfi, Lu­dovico Bel­gio­joso and En­rico Per­es­sutti, in 1932 formed an architectural partnership in Milan, named BBPR (from the names of the ar­chi­tects). As a part­ner of BBPR, Rogers completed several projects. In the period between the two World Wars an account of his activities virtually coincides with the engagements of BBPR as a whole.

A controversial and seminal project of its time, Torre Velasca is a prime example of Rogers’ ability to reconcile environmental factors with historic references. While remaining true to a focus on function and modernist construction methods, the tower also refers to its historic context. A head of its time in design, this project caused huge controversy. Hated by many and loved by others, this was the ‘marmite’ architecture of its time. It simply did not conform to the accepted image of a building or structure. It pushed the boundaries of design by placing most of inside space at the top of the structure, resembling a mushroom like shape. To this day it still stands out in the city skyline. This created an uncomfortable atmosphere for many due to its shear size and presence. It became one of the most discussed buildings of the end of the 50s decade. However it was far more then a building, it represented a great icon of ideological transition between those who defended a strict modernism and the application of technology in construction, and those who on the other hand were open to modernism incorporating historic references to the design.

Its structure recalls the Lombard tradition, made of medieval fortresses and towers, each having a massive profile. In such fortresses, the lower sections were always narrower while the upper section of the building would be propped up by wood or stone beams. This building is a result of the modern interpretation of the typical Italian Medieval castle. Which equally satisfied the functional needs of space, narrower surface on the ground with a more spacious surface area on the upper floors.

No account of Rogers’ contribution would be complete without a mention of his work as an architectural theorist and critic. His ideas, expressed in writing as much as in buildings, were central to discussions taking place in Italy and beyond during the post-war period. They were broadcast prominently through his editorship of the Casabella magazine and work as an educator, a post he would maintain until he resigned in 1964. During his time as editor of Casabella, he became an influential international force in the emerging architecture and design fields of the postwar era, as well as a critic in favor of the environment and the student protests.

Rogers’ work remained relevant for generations of architects to follow and is often seen as laying the groundwork for Postmodernism. Even if Rogers’ work as an editor, thinker, and academic, is at times considered even more influential than his work as an architect and designer; Roger left behind important architectural work.

After researching all 6 key practitioners of atmosphere in architecture and design, I can now fully appreciate the complexity and depth behind structures, from the everyday constructions we take for granted, to grand designs purposely built for admiration and observation. With all structures I come across, I now find myself contemplating the how and why behind the design and the impact the exterior has on the interior. Architecture is the foundation for interior design, the beginning of the journey, but yet in itself is meticulously constructed of layers of ideas and meaning, all forming the conclusion of an atmosphere via a space, for us to experience.

Each practitioner seems to have a strong influence and a unique method of delivering that influence via an atmosphere through their creations, which is what makes their designs so distinctive. Hans embraces his holy influence via his work, creating a superior presence and reflective state of mind. Tadao’s nature focused creations and love for our natural surroundings are complemented by his designs. Peter Zumthor represents a changed ethos, an essentialist of the sensual, taking architecture back to basics but with the upmost class. Libeskind has a strong connection with history, and an ability to connect the past with the present. He not only gives a voice to history via an atmosphere but also creates emotions which replicate that of his historic projects. Olafur’s clear concern for the climate emergency, his love for geometry and his Icelandic roots are all motives behind his structures and exhibitions, of which he envisages spreading hope for change. Lastly Ernesto, with his brave political views and expression of a modern movement via his statement designs.

All the practitioners designs are unique, personal and unapologetic, yet they all share a similarity. All of their creations go above and beyond just being matter, they give nothingness a voice, they give meaning and purpose to substance, every detail has a reason, every reason has a detail. Atmosphere can be designed to send powerful messages, it can create emotions and awareness, evoke nostalgia and spirituality. Whether an atmosphere is subconsciously created or not, it is the space around us, it is everywhere we go, it is shared with others, yet perhaps interpreted differently for each and every one of us, therefore setting such a strong theme via an atmosphere, as these 6 artists have done, is extremely skilful. Another surprising discovery I have made whilst researching these practitioners is that they all seem to have a strong scientific appreciation, including a need for experimentation. They are able to think outside the box and are all ‘rule breakers’ in architecture and design. I admire the powerful and heroic measures each practitioner has endured. They all push the boundaries in design and art in order to make an impact. Although many of their designs have bought great negativity and upset, I truly feel the underlying message is genuinely positive and empowering . Without any judgement or critique how can the perfect article be made? Being open to interpretation and review from creations is pivotal to moving forward as an artist, designer and architect and is required in order to constitute change. The most obscure ideas have lead to some of the finest inventions.