Making Space – Materiality, Typology and Spatiality

The choice of material for achieving the relationship of materiality, visual stimulation and harmony has been a conscious decision since the process of making the Skeleton model. Despite the fact that plywood is a cheap material, and its grain is a given element at its assemblage, a careful reinterpretation of its surfacing formed the vessel for this semester thesis project. Model-making, drawing and thought-process have been driven by this conceptual gesture that have been primarily informed by first semester work. This is evident from the models for the site analysis and it will be the case for the resolution of the design process that will follow.The approach is the combination of the narrative in Jorn Utzon’s Bagsvaerd Kirke with the process of profiling of the contour in the Wenlock Arms.

The obsession with the shape and the excitement in carpentry have driven this design. The Skeleton is subtle externally but playful internally. The narrative is following the concept strategic openings that allow sunlight to infiltrate while the bright undulating roof structure is starting to play with light and shadow. Careful and meticulous work is part of this project. The current model is not a mere projection of surfaces that interact with light. This skeleton project has to show skill, care and involvement, a similar approach to the precedent studies of the Saynatsalo Town Hall and the Walsall Art Gallery.The lining of the plywood used is a revealing attitude and intention. The 45 degree angle signifies the passage of light and probably the direction of the bricklaying, while horizontal linings reveal the modulor used.

Architectural Unveiling of ‘The Wenlock Arms’ Pub

[image: The Wenlock Arms Pub in Context – Photogrammetric Study]


A place that is inviting
not only by the services it may offer
by its appearance and reputation.
The site is not important
as long as it provides a refuge to its
Quality is the priority
in all aspects of existence
its environment can remain organic.
A public house, for me, should be ‘adequate’
whenever and forever.

It is important to note the change of density that occurred in a century and the change of use. In addition, there is a narrowing of the canal which shows its gradual deterioration. An important feature that promotes the area, today, is the neighbouring park by the name ‘Shepherdess Walk’ which is now the department of athletics for the pub. The pub is now the single element that discloses the richness of activity happening before the WWII and the park is somehow concealing the grief and destruction during the bombing of London. The Wenlock Arms is hiding a rich tradition that can be meticulously extracted by observations both from the outside and inside. It is now welcoming people from a wider range of areas and has a strong supporting clientele.
The pub is represented in plan and not in figure to signify its public character and in two different time instances of its existence. The choice of date is significant and representational of the 1890 and current condition of the neighbourhood.

[image: The Wenlock Arms Pub Interior – PhotoMerge Sequence]

The arrangement of furniture at its typology show the function of the space they occupy, such as the central u-shaped bar that is pin-pointed by the cash machine. The taps set perimetrically and the visual is unobstructed so that the customers can be served efficiently. Moving outwards, in a spiral motion, there are stools next to the bar and also in groups facing outwards, embracing a small table, evidence of the public character of the space. The spaces at the back provide a colder tone since they seem empty and unwell-coming. Circulation, service and frequency of use are signified by the change of material on the floors and the wearing off of the coating, in some cases.

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Architecturally, the setting of the Wenlock Arms is forming an obvious centerpoint, the bar in the centre, that in turn it radiates outwards with the act of conversation. The main objective was to define what is the character of the space that is beyond the constraints of the temporal. Working in conjunction with the trend of accumulation and also objectifying the existing element we were to draw in digital the narrative of the place. The cellar, the pub and the common-room are defining the spaces that are assigned to and the accumulation of objects operates accordingly.
The wall textures, the picture frames, bottles and pint glasses, the stools and food baskets, the empty barrels and the pressure gauges, the chains and the safety signs, the stacking chairs and the big table, curtains and table cloths, coasters, the piano and the light fixtures are the result of accumulation and temporality but this case are the elements that create this particular space.


My pub is not registered as a
pub from its external appearance
but it is located via word travel. The
space is an abandoned warehouse
so that space is never a matter for
less people to get aquainted to.
Exposed materials and structural
units, sloppy amendments and ample
space are elements of the real
character of my space. Apart from
some corners that are furnished in
a homelike spirit, the rest of the space
is characterised by its accumulation
of objects and temporality of room
they occupy. The people make the
spaces and in their turn spaces
provide them with adaptability.

The Indistinct Application and the “Inside Out” – Product Design

I might add, that it is the transcendence of the academic to the professional.
I am honoured to install this product on site.
The current owners are currently enthused with the idea that their exterior will be finally comfortable to use
Isn’t it what architecture is all about? Providing solutions…

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This project has begun from the cradle of my school Unit, consisting a step in the laborious design process.
I had to understand the true potential of the pub’s interior; in this case the’ Wenlock Arms’. Instinctive observations and methodical recordings were needed in order to begin a deeper connection with the space content. The project begun with the ‘Fragment’ task, otherwise the  indication of noteworthy objects that if removed or replaced would alter the existing condition irreversibly. My interpretation of the special ingredient of the pub was already located outside. It was chosen by  a set of observations during my research.

The marvel begun to occur by the time the smoking ban was implemented in the United Kingdom and smokers were restricted to enjoy their habit outside. The intriguing aspect that lead me to proceed with my study was the detailed carpentry and the light and shadow textures. My reading was to translate these elements into a line-drawing the same way, I translated the interior elevations of the Pub.

Villa Giulia and the water of Rome

The Villa Giulia in Rome

The unveiling of the secret connection of the Villa Giulia and water of Rome.
This drawing has been the instrument of my research building presentation. Following the rules of representation of Giambattista Nolli, somebody can instantly be aware of the building in focus. The rest of the assemblage is a my personal interpretation of the site. Contours, textures and colours are the means that reveal the architect’s concept. Bartolomeo Ammanati designed the nymphaeum, the sunken fountain garden at the heart of the Villa.
Water is pure and the source of life and healthiness for the city of Rome, something that is clearly honoured in this drawing.