Site, Briefing + Technology Report

Isabelle Lalibert Diploma Unit 15 | FT Y2 | ID: 515119 School of Architecture | University of Greenwich

Table of Contents
INTRODUCTION 1. 1.1 1.2 DESIGN CONCEPT (SITE+BRIEF) The City v OccupyLondon The site 1.2.1 Location 1.2.2 Urban context 1.2.3 The streetscape 1.2.4 21-29 Sun Street 1.2.5 Historical context 1.2.6 Conservation area The wider context - access to the site The City and the Occupy movement Design strategy Introduction to the new design 1.6.1 The Sun Street elevation 1.6.2 A revived Crown Place 1.6.3 A new courtyard 1.6.4 A new roofscape Follies: from the 18th to the 21st century A building as a chess game Organisation of the follies in the urban parcscape Defining the parcscape STRUCTURE + CONSTRUCTION Axonometric demolition schedule New steel structure Circulation Lighting & Energy strategy 2.4.1 Maximizing natural light 2.4.2 Minimizing energy requirements 2.4.3 Energy sources Ventilation strategy Services THE FOLLIES Chaste Luxury: a monastic cell 3.1.1 Meditative light patterns 3.1.2 The monastic cell 3.1.3 A peaceful meditative space 3.1.4 Technical details 3 4 5 6 7 8 9 10 11 12 13 14 15 15 16 17 18 19 20 21 22 23 24 25 26 27 27 28 29 30 30 31 32 33 34 35 36 3.3 3.2 Diligent Sloth: a promenade architecturale 3.2.1 An architectural promenade through the building 3.2.2 Ramp construction detail Patient Wrath: a deaf mans dialogue 3.3.1 The debating chamber 3.3.2 The acoustics of an open debating chamber Humble Pride: timidity on an epic scale 3.4.1 The internal belfry 3.4.2 Technical details Kind Envy: a giant Claude glass 3.5.1 The modern Claude glass Generous Greed: a modern confessional 3.6.1 Displaying the confessions Restrained Gluttony: the illusion of excess GA DRAWINGS Demolition plans 4.1.1 South elevation demolition plan 4.1.2 East elevation demolition plan 4.1.3 North elevation demolition plan 4.1.4 Basement demolition plan 4.1.5 Ground floor demolition plan 4.1.6 Typical upper floor demolition plan (floors 1-3) 4.1.7 Roof demolition plan 4.1.8 Long section demolition plan Proposed elevations + plans 4.2.1 Proposed front elevation - Sun Street 4.2.2 Proposed side elevation - Crown Place 4.2.3 Proposed rear elevation - the courtyard 4.2.4 Proposed basement plan 4.2.5 Proposed ground level plan, part 1: structural changes 4.2.6 Proposed ground level plan, part 2: follies 4.2.7 Proposed top level plan 4.2.8 Proposed roof plan 4.2.9 Proposed long section 37 38 39 40 41 42 43 44 45 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70

3.4

1.3 1.4 1.5 1.6

3.5 3.6 3.7 4.0 4.1

1.7 1.8 1.9 1.10 2. 2.1 2.2 2.3 2.4

4.2

2.5 2.6 3.0 3.1

REFERENCES

Introduction

The project originates in the wake of the financial crisis of 2008, which left the City of Londons banking industry reeling from the resulting chaos. The client, the Soros Foundation, was keen to build a bridge with the apparent enemy of the bankers, the OccupyLondon movement, which appeared on the scene in 2011. The site in question is the start of the bridge: an abandoned former UBS Bank building, which physically sits across from UBSs new headquarters, and which was temporarily taken over by the OccupyLondon movement, who declared it the Bank of Ideas. As the building sits across the street from the City of London, the client felt it offered an excellent base to reflect on the City, its values, and the contrasts highlighted by OccupyLondons protests. This intervention intends to bridge the cultural divide between the bankers of the City and the self-styled 99 percent represented by Occupy, and explore the values alleged to be represented by both sides. The Soros Foundation strongly feels this is an innovative way to critique the current controversies surrounding the financial industry in the United Kingdom, and hopes this paves the way for further such initiatives in other key markets where the Foundation is present. As such, the client wishes to provide an environment of the highest quality and will cover any budgetary concerns related to the project, so that only the best and most appropriate materials and methods of construction will be considered.
Conceptual illustration of some of the changes brought to the site.

1. DESIGN CONCEPT:
Site + Brief

1.1

The City v OccupyLondon

The worldwide financial crisis, which started in 2008, highlighted a divide between the financial industry and the rest of the population. Both sides feel misunderstood, and the divide grows ever wider. A series of protests, which started on Wall Street in New York, eventually made it to London and dubbed itself OccupyLSX (London Stock Exchange). The Occupy movement managed to get much press, however, their demands are not heard by the City, and a deaf mans dialogue appears to continue. The movement recognizes its own weaknesses - their website mentions as one of the top items to address is to clarify their demands, and communicate them more effectively. A deaf-mans dialogue is ongoing between the two parties, and the intention of the Soros Foundation is to provide a physical site which can educate whilst being fun - an approach often forgotten by the financial world, but which the rest of the world is more receptive to.

Its been four years since the financial crisis hit. Governments have failed catastrophically to implement the economic change needed to prevent it happening again. They have failed to protect their citizens interests against those of corporations and the financial markets. Ordinary people families, small businesses and communities are being forced to pay for a crisis they didnt cause. May marks an international call to act locally and globally against this injustice and to fight for a sustainable economy that puts people and the environment we live in before corporate profits.

[www.occupylondon.org.uk]

A woman walks in front of the FTSE stock market indicator in London

OccupyLSX tent city at St. Pauls Cathedral, London, 2011

1.2.1 The site - location

The site is in the eastern part of central London, just north of the City of London. It occupies the building at 21-29 Sun Street, which is on the corner of Sun Street and Crown Place. The site is located next to the City of London, and adjacent key transport hubs, such as Liverpool Street station. Its easy access both in terms of proximity from the City and major transport hubs is a key advantage.

Fig. 4

Central London - area highlighted in red detailed in figure 5

Fig. 5

Close-up of location of the site in central London

Finsbury Square Finsbury Circus

Site Broadgate

Liverpool Street Station

Spitalfields Market

indicates Borough limits

1.2.2 The site - urban context

As this building is intended to be both a reflection on the City and as a place to relax and reflect, it was important to find a location near the City, but not in it. The chosen building, located in the London Borough of Hackney, faces the City of London across the street. The Borough of Hackney has indicated in its 2002 development plan that this area of the borough (known as South Shoreditch) was one in which they would encourage developments of interest. The Soros Foundation strongly believes that this proposal fits this description.

site Islington Hackney

Finsbury Square

Broadgate Liverpool Street Station Finsbury Circus

Site
City London Borough of Islington

London Borough of Hackney

N
City of London

Aerial view of the site

Political limits of the Boroughs of London

1.2.3 The site - the streetscape

Sun Street is a short street which runs approximately east-west. Crown Place, which continues the border of the building, is now a pedestrian street with large mature trees, and which is partly used as the outdoor terrace of a local cafe. Although the street is of easy access and is located between major traffic arteries (Commercial Street and Bishopsgate), and is adjacent to Liverpool Street Station, it has very little thorough traffic, which makes it a pleasant area to be in. The south side of the street, which is part of the City of London, is now occupied by seven-storied, glazed curtain-walled, 20th century office buildings which do not relate to the immediate urban context and create a departure from the historical local vernacular. The Soros Foundation believes that the intervention planned for 21-29 Sun Street will help create a link between the old and new vernacular of the area.

Finsbury Square

Wilson St.

Earl Street

P wn Cro
The site, looking west on Sun St.

e lac

Fig. 8 The building at 21-29 Sun St. is a combination of former buildings which are nearly identical. The ground floor was previously extended (light grey).

Front facade of the site at 21-29 Sun St.

t ree l St Ear

Crown P lace

t ee Str n Su
W ilso

nS

t.

Sun Street, looking east: the site and the new UBS building

The site, looking east on Sun St. 8

et tre nS Su

1.2.4 The site - 21-29 Sun Street

The building, which belongs to the UBS Bank, is now sitting empty. It was recently taken over temporarily by the Occupy London movement and renamed the Bank of Ideas.

1.2.5 The site - historical context

The site was formed during the late 18th century, after an Act of Parliament was passed for the establishment of a new link between Finsbury Square (just created) and Bishopsgate Street. Sun Street (then named Crown Street) was built in a haphazard way with a mixture of buildings. The entire street, renamed Sun Street after the arrival of the trains in the 1860s (which cut off the previous Crown/Sun Street) , was replaced during the 19th century with a new build of more formal terraced houses. During the late 19th century, most of the houses on Sun Street were extended to the rear to house workshops and small factories. The area became more industrial and remained so until the 1970s when a conversion to offices started appearing.
Ordnance Survey Map 1875

As per the maps to the right, the area suffered considerable bomb damage during World War II, either following direct hits, fire, or structural damage which then required site clearance. This allowed a mishmash of new builds to appear in the 1960s and 70s, which had little concern for the historical context and local vernacular. This explains the disparity in the aesthetics of the area.

LCC Bomb Damage map, 1939-45 Red = seriously damaged but repairable at a cost Green areas = site clearance Purple = destroyed

Ordnance Survey Map, 1948-1953. Yellow areas = empty sites as consequence of War damage

Goads Fire insurance map 1958, detailing occupation type. The site at 21-29 Sun street was a warehouse for scientific equipment.

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1.2.6 The site - conservation area

The site sits in whats known as the Sun Street Conservation Area, however, several of the buildings in the conservation area are deemed either neutral or as detracting from the local area. The London Borough of Hackney is keen to revitalise this area, particularly due to its proximity to the City, and to ensure that it becomes an architectural showcase for high quality projects driving the regeneration. Hackney councils 2006 planning document (South Shoreditch Supplementary Planning Document) notes that the area is underutilised and has an outmoded building stock. The project is aiming to keep some of the current aspects of the chosen building, whilst adding and removing from it, and that doing so will provide a bridge between the older building stock and the newer architecture encountered in the surroundings.

Site Sun Street Conservation Area boundary Buildings that make a positive contribution to the Sun Street Conservation Area Buildings that are neutral in the Sun Street Conservation Area

Buildings that detract from the Sun Street Conservation Area Buildings of Townscape Merit Buildings of local significance (locally listed) Statutorily listed buildings

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1.3 The wider context - access to the site

The site benefits from being in an excellent location to ease public access. This is the preferred method of transport encouraged by the Soros Foundation in order to support low-carbon emissions activities, and as such, no parking facilities will be offered on site. A community sharing bicycle stand for 35 Boris Bikes already exists in front of the building, and it will be retained.

Boris Bike station in front of the site

Transport for London bicycling map (2007) - Site highlighted in red.

Access to the site through public transportation

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1.4 The City and the Occupy movement: a dialectical relationship

In order to create an architectural response to this relationship of apparent opposites, an analysis of values which are often assigned to each party was conducted, that is, the City versus the Occupy movement. Reiser and Umemoto devised a concept of operating in a state of poise, which evolved from Aristotles concept of the mean, and which creates an ambiguous and dynamic point between the two extremes values.

Seven Heavenly Virtues (OccupyLSX)

Seven Deadly Sins

(the City of London)

Together, they create a dynamic tension that defines the typology of follies set in the parcscape.

State of dynamic tension between sin and virtue

(forces of capitalism/anti-capitalism)
Seven Heavenly Virtues Seven Deadly Sins

Chastity Restraint Generosity Diligence Patience Kindness Humility

Reiser + Umemotos concept of Operating in a State of Poise.

Chaste Luxury Restrained Gluttony Generous Greed Diligent Sloth Patient Wrath Kind Envy Humble Pride

Luxuriance Gluttony Greed Sloth Wrath Envy Pride

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1.5 A design strategy in three parts

A park within a building

Setting about transforming a building into an urban park requires one to look at the building in the same way as a picturesque landscape. It is a setting for follies, completely man-made, fragmented and sculpted in a similar fashion to what Capability Brown did to 18th century landscapes. The building becomes an enclosed parcscape.

Flooding the space with natural light

As the building already had a good level of natural light through the existing facades on Sun Street and Crown Place, it was decided to retain those elevations whilst not letting them hinder the development plans.

Minimising energy consumption

As well as introducing photovoltaic cells on the roof, a strategy of insulation and better glazing will help minimise fluctuactions in the ambient temperature of the building. Additional temperature control will be effected through temperature zoning.

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1.6 Introduction to the new design

1.6.1 The Sun Street elevation The new elevation on Sun Street retains the dressed stone facade of the 1930s, but the new structure punctures it, creating a highly visible eye-catcher on a particularly drab existing streetscape, thus highlighting the buildings new vocation. The windows will retain their current appearance, but will be replaced by highly efficient triple-glazed windows. A simple mechanism would allow the windows to open in the summer to naturally ventilate the building, but would be under a mechanical control, as they would not be accessible otherwise. The doors of the front facade are functional, though not usually in use, as the main entrance is now moved to Crown Place. The left-most doors on the image at left are part of a new fire escape route.

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1.6.2 A revived Crown Place The entrance to the new building is located on Crown Place, thus giving the building a more dignified entrance atrium. It also allows for a disabled access ramp, which was inexistant in the previous building, and which is equally close to the new lift. This east facade equally retains the rythmn of its previous appearance, however, above the new entrance sits one of the follies, the Claude Glass, bringing a new perception of the other side through the use of convex glass. This new wall of glass allows even more of the morning light to enter the building. A new fire escape route exits to the right of the main entrance, providing a second means of escape to the building.

The Crown Place elevation prior to our intervention

The new entrance and elevation

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1.6.3 A new courtyard The rear of the former building was in fact a collage of 3 older buildings which had been extended in an unsymmetrical manner over the years, and thus did not enhance the space. The ground floor had been extended to the same area as the basement, however, the previous rear-extensions did not follow the same patterns from the 1st to 3rd floor. The new courtyard is thus brought back to ground level, providing a visual link with the street, and eliminating the unnecessary indentation to the upper floors. The new arrangement allows neutral northern light to flood the internal space of the building. The larger courtyard accomodates one of the follies and plays with the buildings threshold: the internal space continues to the outside, whilst remaining an internal part of the main building. As this wall is north-facing, triple-glazing will of course be in order, as this will ensure the thermal efficiency of the building. These glazed panels are fixed, and they accomodate two openings where the ramp exits and re-enters the main space of the building.

The existing courtyard

The proposed plan

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1.6.4 A new roofscape One can clearly see here the impact of removing the indentation in the back of the building: it provides larger courtyard, which still benefits from direct sunlight, even if it is located a floor lower than it used to be. As the surface area of the roof is now larger, it accomodates both a series of photovoltaic cells, which will provide more than enough energy to power the building: indeed, there will be no heating system - it is a park after all, and the new triple-glazing installed on the three glazed elevations s hould provide enough thermal resistance in the winter. The roof equally accomodates the engine room for the lift (grey box), as well as the opening of the cone of light that brings sunlight directly to the basement. A flat trap door (which opens with hydrolic pistons) is located left of the lift engine, in order to provide roof access for maintenance purposes.

Aerial view of the proposed building 18

1.7 Follies: from the 18th century country garden to the 21st century urban context

Translating the themes of dynamic tension into a physical form is explored through the concept of the folly. Follies were an important part of the British country estate (or garden) of the 18th century. Although these buildings appeared to be fun, nonsensical extravagances which were randomly set into the landscape, follies often were a social commentary on certain values which the owner of the folly wanted to communicate. At Stowe Park, Lord Cobham built the Temple of Ancient Virtue in a classical style, and then built a mock ruin named the Temple of Modern Virtue. Neither were actual temples, but the humour would not have been lost on his contemporaries: they illustrated his views on the ruin of modern virtue... The follies were meant to entertain and as such, were located along a very carefully planned journey through the garden, intended to be discovered along the way - thus the origin of the phrase being led down the garden path.
Stourhead Park

An urban parcscape Using the concept of the folly within an urban setting, the site then becomes an urban parcscape, where follies may appear to be randomly set, but are in fact carefully planned to be discovered along a journey through the park. The garden of the 18th century was about mastery of man over nature, the ability to create landscape in order for them to appear picturesque. Capability Brown, one of Britains most famous landscape architect of the time, was known for creating mountains and moving lakes. In this spirit, the fabric of the building will be modified to create journeys. The building itself then becomes a humorous critique and commentary on the City and its relationship to the rest of Britain: as it sits facing the city, it reflects the City onto itself.

Terunobu Fujimoris Beetle House Architects Build Small Spaces, V&A, 2010 19

1.8 The building as a chess game

The follies of the parcscape are a dynamic point between opposite values. The building becomes a chess game where the two opposing sides (the bankers v the occupy people) can interact consciously or not. The chess game becomes three-dimensional architecture, and involves strategy in more dimensions. Moving through a building becomes a type of 3D chess game.

Examples of 3D chess boards

The Tri-D chess set was first used on Star Trek in the 1960s

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1.9 Organisation of the follies in the urban parcscape

The site is a parcscape with follies, which serve for debate, communication, relaxation, or art exhibitions/installations. Using all the areas of the building at 21-29 Sun Street helps to determine the seven follies. It does not determine the exact location, however, it ties all the spaces of the building together - the follies can be part of the fabric of the building, or set within the building. It becomes quickly clear though, that the current internal structure prevents moving through the building in a three-dimensional way. The demolition of the current internal structure becomes necessary.

In an 18th century garden, the follies appeared to have been strewn around the landscape randomly, but they were in fact placed with much attention so they would be discovered along the way. A similar guiding principle is used in the parcscape: - the space is divided in two zones: the darkness and quiet of the basement, and the light and noise of the main floor - the grid of the steel structure dictates the placement of the follies - the circulation is mainly done through a curvy ramp.

roof

Kind Envy: the Claude glass

3rd floor

Patient Wrath: a debating chamber

2nd floor

Restrained Gluttony: the trompe-loeil

1st floor

Generous Greed: a modern confessional

ground floor

Chaste Luxury: monastic opulence

basement

Humble Pride: the bell of morality

Model of the existing structure of the building. View looking west from Crown Place.

Layout of the follies, structure and planes in the landscape of the building

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1.10 Defining the parcscape

The use of bright colours for the follies is deliberate: only the follies are coloured, and their shape tends to be more curved or organic. All of this emphasizes the parc-like atmosphere. The structure is defined by its rectilinear form, and its lack of colour (white). It provides clear visual cues as to the organisation of the space. The choice of colours is also deliberate: only primary and sec-

ondary colours off a colour wheel were chosen, and they were chosen as they are the most intense of the colour spectrum. This intensity was important as it reflects the intensity of the beliefs of the two parties involved in this project, the bankers and the OccupyLondon people.

A cut-away of the building, showing the colourful chaos of the interior parcscape
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2. Structure & Construction

2.1 Axonometric demolition schedule

Due to the complexity of the original building (which had been added to several times in several different forms), it proved impossible to retain the various floors. The intention was to create a spacious environment, and the forest of existing columns, which supported older short-span beams, was another deciding factor: new steels would provide bracing for the remaining existing structure, as well as the support structure for the new additions. As the existing building has a Certificate of Immunity from Listing, there were no restrictions as to what could be done to the fabric of the structure. The demolition will include the removal of all internal floors, all structural columns, the roof, the north wall, the staircase and the lift. The current foundations will be retained and re-inforced with the appropriate piling where necessary, ie, under the new steel columns. A detailed environmental study will completed prior to the start of works, in order to describe the environmental and socio-economic impacts of the proposed changes to the building, as well as the impacts of the demolition, site preparation, construction and subsequent operation of the building. Amongst the various aspects to be studied, an analysis of the materials present in the building will be done in order to assess the recyclability of materials, and where impossible to recycle, a removal & disposal plan will be established. Once these materials are known, precautions will be taken to avoid excessive dust generation on site. As the site is in central London, a certain amount of traffic management will need to be looked into: certain routes will need to be determined to ensure that the lorries and equipment do not create traffic problems, and that they do not become stuck in rush-hour traffic and delay the demolition process. Equally, road closures will need to be agreed with in accordance to the Borough of Hackney and the City of London.

Exploded axonometric drawing of the demolition plan 24

2.2 New steel structure

In order to support the existing walls and prevent them from collapsing, as well as to provide a framework for the new space, a new steel structure was designed in order to m inimize the amount of steel necessary in construction whilst providing enough strength. The new wall at the back which replaces the previous indent, creates a harmonious link between the two city grid plans which appear to meet in this building: that of the Borough of Hackney to the north, which is slightly slanted, and the one of the City of London to the south, which is perfectly rectangular.
Outline of new structure superimposed in red over existing structure

The size of steels were calculated due to the spans they would cover. Although they will not carry the normal floor-load, the steels need to be strong enough to resist torsion as they are free-standing. Therefore, the steels were chosen to be slightly bigger to compensate for this. The maximum span in this structure is eight meters, but it was calculated that in a normal floorload situation, it could stretch to 10 meters. The 500x500mm I-beams and columns will be brought in to site in sectionsv and welded on location. The new structure will then be attached to the existing walls through a system of wall braces bolted onto the steels. The beams are located in between the rows of windows, but at half the interval of the previous floors.

New courtyard Crown Place

Crown Place Sun st.

New courtyard

Sun street

The new steel structure, looking east.

Perspective plan of the new steel structure (not to scale). 25

2.3 Circulation
The complexity of Piranesis Carceri drawings and their apparent impossibility, draws the interest of the observer. Translating this concept to the parcscape, the intent is to provide many routes through the space which will bring complexity and surprise to the visitor, whilst meeting health & safety and fire regulations. A new ramp, which acts as a promenade architecturale, moves around, as well as in and out of the building. It connects all key areas in the main space, and it sits on the steel structure. It does not, however, connect with the basement , which is accessible only through the stairs or the lift. The two staircases comply to the building regulations in order to make them fire escape routes, and as such, are located at opposite ends of the building.

Piranesis Carceri complex prison design

Perspective plan view of the new circulation routes

3
ground floor courtyard

2
basement

4 1 4

MAIN ENTRANCE

New circulation viewed from the courtyard (north)

The gradient of the ramp never exceeds 8 degrees. Building regulations allow up to 10 degrees incline.

1 2 3 4

Ramp Lift Fire escape stairs Doors/fire exits

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2.4 Lighting and Energy strategy

2.4.1 Maximizing natural light

The intention is for the building to be completely lit by natural light. In this effect, the building is only open during daylight hours, and as such, will be open longer in the summer than in the winter in the same way that public parcs are accessible following a timetable that changes with the seasons.

Because of the extensive glazing, most of the insulation will have to come in the form of triple-glazing for the windows, and super-insulation for the new roof and existing walls and foundations. Although more costly at first, the result will be a long-term energy saver, and will allow to maintain a relatively stable temperature throughout the year.

The low sun of a typical afternoon sun doesnt quite reach inside, but enough light is reflected off the neighbouring buildings to keep the light levels acceptable

Typical illumination of the space in the afternoon of the spring and autumn equinoxes

The late summer sun (7pm) still lights up the building at the summer solstice

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2.4.2 Minimizing energy requirementsv

In order to further minimise the energy requirements of the building, it is intended that heating of the building in winter will be done through zones. The main zone will be temperate, to protect from the elements, and maintain a comfortable temperature for walking around the parcscape. It might be slightly cooler in the winter and thus the visitors might keep their jackets on, the way one does visiting a gallery.
temperate zone
warm zone

The cafe and the mediation room will be heated zones (in light red), and the power required for this zone will be provided through the photovoltaic cells on the roof. The rest of the building (in light orange) will benefit from super-insulation in the walls, roof and added to the existing foundations. Although expensive to install, all the windows will be tripleglazed to ensure that the new glass curtain wall and the already extensive glazing will not be a source of heat loss/gain, and thus greatly diminish the need for heating. So due to the lack of heating system throughout the building, and the lack of major lighting sytem, the warm zones and the lift are the only major areas in the building consuming energy.

Diagrammatical section illustrating the triple-glazed windows, superinsulation around the periphery of the building, and the various temperature zones in the building.

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2.4.3

Energy sources

The building is not completely overshadowed by the surrounding buildings, and whilst the elevations do get overshadowed, the roof is not overshadowed at any point during the year, allowing for a three-point strategy:

Cone of the internal belfry is oriented to capture the suns rays and provide lighting to the basement. Photovoltaics: Up to 3 rows of photovoltaic cells can be installed on the roof to provide enough energy to run the cafe and the heat exchanger. Any extra power generated will be sold back to the National Grid.

A B

The extensive glazing on 3 sides of the building means that there is enough light coming in the building for it to not require lighting if it opens following sunrise and sunset patterns throughout the year. Triple-glazing will be implemented throughout the building, and the glass is to have a high Solar Heat Gain Coefficient (SHGC) to minimize the need for heating.

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2.5 Ventilation strategy

As the internal space of the building changes from 5 different areas (4 floors and the basement) to two (above and below ground), and as the intention of the building is to use as little energy as possible, a natural ventilation strategy will be encouraged. The fresh air will come in from inlets on the roof, and enter on the ground floor. As the stale air warms up, it will rise and be extracted out of the building. In the winter, a heat exchanger will collect the heat from the stale air, and use it to warm the incoming air. The power for the heat exchanger will come from the photovoltaic cells on the roof. The basement is somewhat separate from the rest of the space, and as such, will need more mechanical help to circulate the air. Pipes will run along the ceiling along the beams. In the rest of the building, the pipes will run along the walls, and add to the carceri effect of the follies and circulation routes. In the summer, the ventilation will be aided by the opening of the upper floor windows. The cafe and the meditation room are the only enclosed rooms and will benefit from underfloor heating, which will be powered by the photovoltaic cells on the roof.

2.6 Services
Except for the cafe on the upper level, there will be very little need for services through the building. The loos will be situated on the ground level and the debating chamber level to minimise the need to move pipes through the building.

incoming water soil pipe

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3.0 The Follies

3.1 Chaste Luxury: the understated opulence of a monastery

chastity castitas purity, knowledge, honesty, wisdom luxury luxuria lust, excessive thoughts of pleasure, of sex

A quasi monastic space where the visitor can sit quietly with their thoughts. It is about the extreme quality of craft, the selection of the highest quality materials.

John Pawson says of such spaces that the effects of light read as essential components of the fabric of the architecture, being used variously to add precision, drama and a sense of mystery to the experience of the spaces.

Uniform, direct light: the space is a covered courtyard.

Controlled, indirect light: day and night lighting comes from the same place

Controlled, indirect light: light bounces off the wall for a diffuse effect
Novy Dvur Monastery by John Pawson - a monastic opulence: high quality finishes and materials in the utmost simplicity

Key elements to a peaceful environment in an early sketch of this folly

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3.1.1 Meditative light patterns

This space is made of a lightweight structure that is partially built off-site and brought in to be integrated to the structure. The space hugs the visitor in the same way that a monks cell provides a quiet place for contemplation and reflection. The visitor does not have views to the outside to distract him or to be observed, but benefits from daylight, either indirect & modulated, Inside, a meditative state is encouraged by the way light embraces the walls: the faceted surfaces reflect light or create shadows depending on their angle.
UN Studio YouTurn: One appreciates the texture of the wall by the way the light hits the facets and creates a variety of shadows.

UN Studio Holiday Home: It is the way the light hits the walls of the folly that allows the visitor to appreciate the space. The light is modulated, indirect.

The folly sits in the courtyard in the back of the building, and bridges the inside/outside boundary. Lighting comes in through light wells and the faceted texture of the walls create shadows that articulate the space.

Steven Holls sketch shows the indirect light entering the gallery at Kiasma Museum in Helsinki. It is the light and shadows which accentuate the shape and texture of the space.

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3.1.2 The monastic cell

The shape follows the intersection of selected stock market graphs and extrapolates between them. It is a visual representation of the peaks and valleys of the stock market movements. The outside of the folly is of bright plum coloured perspex panels, however the inside is completely white. It is thus possible to appreciate the space for what it is, but equally, it is possible to colour the light coming in by sliding a clear, coloured perspex panel at each opening. Some of the openings are extruded like oddly-shaped chimneys, others are part of the skin of the folly. The meditative space inside provides largers spaces to be quietly shared with others, but equally a smaller space which is lit directly from above by a chimney painted with colour on the inside, in order to colour the light coming in. In this case, the colour chosen was yellow, in order to continue raising the mood of the users of the space. The meditation space hugs the form of the ramp in order to maximise its size in the limited footprint of the courtyard.

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3.1.3 A peaceful medidative space

Although the monastic cell is located on the north side of the building, it still benefits from sunlight early in the morning, at mid-day and before sunset. The varying intensity of light creates a variety of shadows and moods inside the cell. The light that comes in is either neutral (northern), indirect/bounced, or direct sunlight, and this changes throughout the day and through the year.
One corner offers an isolated quiet space lit by its own lightwell, whose internal walls have been painted a bright yellow, casting a sunny glow on the visitor even on a cloudy day.

The monastic cell fills the new ground floor courtyard and hugs the outside portion of the ramp.

The angled internal surface allows people to sit or recline along the walls and floors, and to benefit from direct light. At certain times of the year, coloured transparent perspex sheets can be slid in the lightwell openings to transform the monochrome environment into a colourful one (above & below).

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3.1.4 Technical details

show how the light comes in The monastic cell is mostly built as a normal orthogonal structure, and the angularity is added on afterwards. This simplifies the structure and does not change the experience of the user. The glass used in the windows are are triple-glazed, and every gap in the structure is filled with wool insulation, which has the added benefit of acoustic insulation in addition to keeping the space warm. Ventilation

lightweight steel trusses, custom made for each section of the roof Triple-glazed, low-e glass windows Insulated window frame to reduce cold-bridge effect UPE steel sections Ventilation outlet

Polyurethane resin-coated plywood sheet, 40mm thickness Thermafleece Original wool insulation, 100mm thickness

UPE steel sections

Internal facades made out of plywood sheets, 25mm-thick Angular surfaces made of plywood sheets, 25mm thickness, and plaster finish

Finished floor level, white Nora resin flooring Sub-flooring, plywood 40mm thickness Underfloor radiant heating system IPE steel sections with parallel flanges , 400mm between centres not to scale 36

3.2 Diligent Sloth: make haste slowly (Festina Lente)

Being lazy, slothful, but with the utmost diligence and care. It is about minimizing the effort required to get the best results. The promenade architecturale defines the parcscape. It leads from one folly to the other, in the same way that the garden path led to the follies in the picturesque garden.

diligence industria persistence, effort, ethics, rectitude sloth acedia laziness, indifference, failure to utilise ones talents

Three representations of the ramp : top left, as a perspective looking south-west; top right, in plan; bottom, a perspective view looking east.

The promenade architecturale at Le Corbusiers Villa Savoye

The helix of a gastropod shell, cut away to show its geometry

The ramp of the Guggenheim Museum in New York 37

3.2.1 An architectural promenade through the building

The ramp is supported by joining the steel of the ramp to the buildings new steel structure. This gives the illusion of the ramp floating through space. The ramp sneaks inside and outside the building, and helps to create a Carcerilike meandering through the building.

see 1:5 detail on next page

Plan view (detail on the next page)

View from the outside of the ramp

Long section through the ramp Short section through the ramp 38

3.2.2 Ramp construction detail

A bespoke joint had to be specialised for this ramp due to the shape of the ramp. (details of the joint below)

Clear laminated glass, back painted in red

Clear laminated glass, back-painted red Brushed stainless steel bespoke ironmongery Bespoke steel bracket & brushed stainless steel ironmongery

Clear laminated glass, back-painted red Laminated non-slip safety glass, backpainted red IPE steel section, connected to the main steel structure of the building Plan view, Scale 1:5 Bespoke steel bracket & brushed stainless steel ironmongery

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3.3 Patient Wrath: a deaf mans dialogue

patience patientia peace, mercy, sufferance, to do no harm wrath ira inordinate and uncontrolled feelings of hatred and anger

Nothing spells wrath that is sustained over years sometimes like the Houses of Parliament. One must display the qualities of patience to get anything through, yet show fire and wrath to awake the masses. A debating chamber is all about achieving a dynamic tension, reaching the equilibrium to that state of poise. As a true dialogue between the two camps is difficult (the Bankers & the Occupy group), this quality is imbued in the architecture. Using a traditional form like an agora or greco-roman theatre, one obtains a natural semi-circle which is conducive to exchange, however, by rotating the circles and offsetting them slightly, it becomes much harder to have a proper dialogue: a deaf mans dialogue ensues.

House of Commons, London

By mirroring and rotating the form of the Greco-Roman theatre, the new debating chamber emerges.

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3.3.1 Patient Wrath: the debating chamber

Much like the Houses of Parliament, the debating chamber allows the opposing sides to engage in discussions. However, as both parties tend to avoid listening to each other, this is reflected in the architecture: the two half roman theatres are slightly turned against each other, so whilst it is still possible to hold a discussion between both sides, it is just not very comfortable to do so. The seating also does not face each other, and it is located in an open environment which brightens the cacophony of the debate. The seating is constructed of simple plywood sheets covered with wood veneer (to smooth out the angles) and the whole surface then covered in a polyurethane-resin compound.

The debating chamber sits at the heart of the building.

Concept images the debating chamber in use. The seating does not face the opposing site directly, challenging the communication further.

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3.3.2 The acoustics of an open debating chamber

One of the caracteristics of a debating chamber is the level of noise involved. In order to brighten the cacophony, the debating chamber was left open so that the debates can permeate the entire building. As the debating chamber sits on an open platform in the middle of the space, it not only influences the whole hall, but it is equally influenced by all movement and chatter around it. All the surfaces of the main hall are hard, save but a few plants, thus they all bounce the noise around the space. Concrete, glass, resin, bronze and steel reverberate sound at different frequencies and different speeds, therefore adding to the music of the hall.

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3.4 Humble Pride: timidity on an epic scale

humility humilitas bravery, modesty, reverence, altruism pride superbia hubris, excessive love of self, desire to be more important than others

Everything in the City is about appearances: trying to be bigger than ones neighbour. The building gains a kind of belfry which contains a small bell, but the belfry is an internal one, thus it is a timid one. From the outside, one has the impression of grandeur, but the small bell represents the modesty and inner compass that the OccupyLSX is to the Bankers. All stock exchanges around the world are opened and closed with a bell or gong of some kind. This bell reminds one of morality and opens and closes the trading day within the building.

The opening and closing of stock markets is traditionally done with bells.

site

The belfry holds the bell of morality, but contrary to a normal belfry, the tower is absorbed by the building. The timidity becomes more powerful than the pride of the City.

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3.4.1 Humble Pride: the internal belfry

The internal belfry takes the shape of a cone in order to gather as much light as possible. The cone is made of thin sheets of bronze covered with gold-leaf, both inside and out, casting a warm glow to both to the basement, and the main hall, even on cloudy days. The cone is suspended from steels connected to the roof and steel structure, and as such, is not supported by any means in the basement. The walls and ceiling of the basement are lined with Thermafleece natural wool insulation, which is dyed black as it becomes the wall and ceiling finish, for the dual purpose of thermal

insulation of the basement, and also, as acoustic insulation. (The floor also has a layer of wool insulation underneath the black marble floor finish.) The wool absorbs the ambient noise of the space and isolates it from the rest of the building, but it also absorbs the sounds made by the bell and the cone itself (which can also be used as a giant bell). In this way, the bell of morality rung by the OccupyLondon people continues to go unheard by the bankers. This creates a dark, quiet space for people to come and wander in. Such spaces are rare in the centre of London, and acts much like a grotto in a picturesque landscape.

The basement appears like a near infinite space lit only through the golden beam of light

The cone of light draws daylight through the building to illuminate the basement. The inside of the cone is lined with gold in order to bring a warm light to the basement, even on gray days.

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3.4.1 Humble Pride: the internal belfry

Bespoke triple-glazed, low-e, glass dome Bespoke circular IPE steel section , 175x175 Thermafleece Original natural wool insulation (in 1,200x1,000mm slabs) Sealing joint Lightweight steel to join with roof structure Bespoke circular IPE steel section , 250x250mm, to join the main steel structure Bronze sheets, 1,000x2,900x5mm Gold-leaf covering, 24k, 100x100x0.1mm sheets

Rubber ring hidden in floor thickness for movement absorption Bespoke circular IPE steel section , 250x250mm, to join the main steel structure Ventilation outlet

Black italian marble slabs, 600x600x20mm Sub-floor structure Thermafleece Original natural wool insulation, dyed black,(in 1,200x1,000mm slabs) IPE steel sections with parallel flanges , 400mm between centres

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A conceptual drawing of the internal belfry.

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3.5 Kind Envy: a giant Claude glass

kindness humanitas satisfaction, loyalty, compassion, integrity envy invidia insatiable desire for something possessed by another

A way to look at what others have in a kinder way, indirectly, and in doing so, gaining a different perspective on the object of our envy. The Claude glass was a type of dark convex mirror used by Picturesque painters such as Claude in order to help them create their paintings. The painter would set up the mirror and they would observe the scene purely through the darkened mirror. Their perception was distorted but it was interpreted as an enhanced version of reality. This version of the Claude glass allows both the bankers and the OccupyLondon to become aware of how perception affects envy, and how the same observer will perceive the other side differently if it is severely distorted. This perception creates an ephemeral new reality, but equally gives the observer an awareness of the distortion and of this new reality.

An 18th century Claude glass

The Claude glass inserted in the existing structure.

Diagram section of the Claude glass

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3.5.1 The modern Claude glass

In creating a modern Claude glass, a convex mold needs to be devised in order to create the right amount of distortions. In order to maintain our energy efficiency targets, close work with the glass manufacturers will be required in order to achieve a triple-glazing. The glass will have a high Solar Heat Gain Coefficient (SHGC) with a factor of 1 in order to let in as much heat as possible during the winter months. As the sun rises higher in the sky during the summer, it does not hit the glass as directly as it does in the winter and the impact of the heat gain is thus minimized. The pattern and size of the claude glass panels follow the rythmn of the remaining existing facade. Whilst it is relatively simple in construction, the Claude glass adds a subtle and interesting change to the Crown Place elevation.
IPE steel section, 200x200mm, bolted to the new steel frame structure, to the addtional vertical steel, and the window frame Individually molded triple-glazed, high SHGC factor 1 (Solar Heat Gain Coefficient) glass panels

Thermally insulated window frame, bolted onto the steel section IPE steel section, 250x250mm, bolted into the existing wall, and onto the new steel structure.

Portland stone panels to be bolted onto the steel frame The intention is to produce a concave surface much like the plaster one above, but in triple-glazed glass.

East-west section facing north, through the Claude Glass.

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3.6 Generous Greed: a modern confessional

charity caritas generosity, will, benevolence, sacrifice greed avaratia excessive desire/pursuit of wealth, status, power

Paraphrasing T.S. Elliot, generous greed indicates how one can think they are doing good, but as they are doing it for the wrong reasons, it amounts to selfish charity. Bankers and other influentials members of society feel that by confessing their innermost thoughts, they are being generous with the rest of the population whilst greedily promoting themselves. In this regards, the newspapers, Twitter and Facebook are a form of modern confessional, open to the world for all to see. These attributes are translated architecturally by glass bubbles, constructed out of hand-made Murano glass, where one finds a very simple terminal, linked to a central computer. The confessions are then displayed onto a clear display superimposed onto the outside of the glass of any one of the capsules in the hall. The greedy self-propaganda intended by the author is thus thwarted.

Concept drawing

The glass confessional hangs from a beam and is fitted with a simple terminal, and onto which various confessions are projected.

Fig. 47 Murmur Study #1, by Christopher Baker. This installation prints out Facebook and Twitter updates onto ticker tapes 49

3.6.1 Displaying the confessions

. . .Mar

)
)

))

))
)) )

)) )

))

ialnf d

a d mi t s
. . .joh
)

. . .m

o n ey i

y e ar a

The capsules slightly opaque appearance comes from a clear electronic display that projects the various tweet-like confessions. As the pods are all interlinked, the confessions do not necessarily appear on the same pod that the user is in, and in addition, it is possible to log in remotely and post through a smartphone app. The display is akin to an iPad, and all the connections are done wirelessly. The only wiring is for the power connections, and this means a simple wire that follows the support cable (in the case of the pods that are not inhabitable) and through the floor support in the case of the pods where users can enter. The power comes from the photovoltaic cells on the roof.

))

)))
)))
)

) ))

) )
)

)) ))

))

))

An example of the input screen, akin to an iPad.

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3.7 Restrained Gluttony: the illusion of excess

Temperance temperentia restraint, self-control, justice, honour, abstention Gluttony gula over-indulgence, over-consumption

Rem Koolhaas said: "Minimum is the ultimate ornament, the contemporary baroque. Minimum is the maximum in drag." Although the trompe loeil has been around for centuries, it came into force during the Baroque - a sometimes costeffective way to obtain exuberance and the illusion of grandeur. The optical illusions are often painted, and though the eye is never convinced by a trompe loeil, they remain popular and appreciated for the skill required in their construction. The contemporary trompe loeil can be minimum in architectural construction, however not in effort or skill required to accomplish it successfully. In this case, the illusion is visible only from the entrance on the ground floor: an Escher-like entanglement of staircases appear to the visitor, however, a very simple and straightforward staircase lies behind the glass. The staircases are printed onto an adhesive clear surface and applied on the inside of the staircase glass wall, in order to enhance the illusion.

The Painted Hall at the Old Royal Naval College, Greenwich was painted by James Thornhill. He was instructed to display the importance of the Navy in Britain.

Gloweka Rennies installation in the womens toilets at the V&A Museum, 2009. 51

4.0 GA drawings demolition plans + proposed plans

4.1.1 South elevation demolition plan

demolition retained

Sun Street
Scale 1:100 53

4.1.2 East elevation demolition plan

demolition retained

Sun Street

Crown Place
Scale 1:100 54

4.1.3 North elevation demolition plan

demolition retained

Crown Place

party wall with 5 Crown Place internal courtyard

Scale 1:100

55

4.1.4 Basement demolition plan

demolition retained

Crown Place

Scale 1:100

Sun Street

56

4.1.5 Ground floor demolition plan

demolition retained

Crown Place

Scale 1:100

Sun Street

57

4.1.6 Typical upper floor demolition plan

(Floors 1-3)
demolition retained

Crown Place

Scale 1:100

Sun Street

58

4.1.7 Roof demolition plan

demolition retained

Crown Place

Scale 1:100

Sun Street

59

4.1.8 Long section demolition plan

demolition retained

Not to scale

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4.2.1 Proposed front elevation

Sun Street

Scale 1:100

follies

new structures

61

4.2.2 Proposed side elevation

Crown Place

Sun Street

Crown Place

Scale 1:100

follies

new structures

62

4.2.3 Proposed rear elevation

The courtyard

Scale 1:100

follies

new structures

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4.2.4 Proposed basement plan

New staircase (and fire escape)

New glass lift

All support columns and beams are new steel columns which span the height of the building. Columns are 500mm x500mm, I-Beams are 300mmx500mm

Cone opening (Humble Pride folly)

New staircase (and fire escape)

64 follies

Scale 1:100

4.2.5 Proposed ground level plan

Part 1: structural changes

New courtyard on the ground level

new staircase (and fire escape)

new glass lift new glass-curtain wall replaces the former brick wall

new entrance

new steel structure

disabled access ramp new staircase (and fire escape)

not to scale

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4.2.6 Proposed ground level plan

Part 2: follies

Chaste Luxury (meditative space)

Diligent sloth (promenade architecturale)

Kind Envy (the Claude glass)

Generous Greed (modern confessional)

Humble Pride (internal belfry cone) Patient Wrath (debating chamber)

not to scale

follies

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4.2.7 Proposed top level plan

Restrained Gluttony (trompe-loeil)

Kind Envy (the Claude glass)

The Caf

not to scale

follies

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4.2.8 Proposed roof plan

Flat trap door for roof access

Lift engine room

Photovoltaic cells New cone of light that leads directly to the basement. Toped with a domed laminated double-glazed glass, and inclined to face south.

not to scale

follies

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4.2.9 Proposed long section

Internal belfry shaped like a cone to maximize the amount of light coming into the basement enclosed caf, accessed by the ramp and staircase/lift

fire escape stairs

section cut through the ramp debating chamber, open to the rest of the hall modern confessional hung from steel structure, accessed by the ramp

new ground floor beams and lightweight floor

new foundations and piling to support the new steel structure

not to scale

follies

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References

1.1 The City v OccupyLondon - http://www.telegraph.co.uk/finance/comment/jeremy-warner/6786069/Credit-ratingagencies-the-untouchable-kings-of-finance.html - http://www.le-flaneur.co.uk/2011/we-are-the-99/ 1.2.1 The site - location - Google Maps - Ordnance Survey map 2012, illustrated by the author 1.2.2 The site - urban context - Google Maps - Ordnance Survey map 2012, illustrated by the author 1.2.3 The site - the streetscape - Ordnance Survey map 2012 illustrated by the author - Front facade of the site by Bing Maps 1.2.5 The site - historical context - Ordnance Survey Map 1875, Donald Insall Associates, Historic Buildings Baseline Study, London, 2009, p. 36 - London City Council - bomb damage map, 1939-1945, Donald Insall Associates, Historic Buildings Baseline Study, London, 2009, p.41 - Ordnance Survey Map 1948-1953, Donald Insall Associates, Historic Buildings Baseline Study, London, 2009, p.42 - Goads fire insurance map 1958, Donald Insall Associates, Historic Buildings Baseline Study, London, 2009, p.39 1.2.6 The site - conservation area - Donald Insall Associates, Historic Buildings Baseline Study, London, 2009, p. 86 1.3 The wider context - access to the site - Bicycling map, Transport for London, 2007 - Public transportation map based on the Ordnance Survey Map 2012. 1.4 The City and the Occupy movement: a dialectical relationship - Reiser + Umemoto, Folly of the Mean in Atlas of Novel Tectonics, Princeton Architectural Press, New York, 2006, p. 83

1.7 Follies: from the 18th century country garden to the 21st century urban context - Terunobu Fujimoris, Beetles House. 1:1 Architects Build Small Spaces, V&A Publishing, London, 2010. - Stourhead Park. www.follies.org.uk/pdf/Foll-e%2008.pdf 3.1 Chaste Luxury - Novy Dvur Monastery. www.johnpawson.com 3.1.1 Meditative light patterns - UN Studio, Youturn Pavilion, Sao Paulo Art Biennale, Brazil, 2010 http://www.unstudio.com/projects/youturn-pavilion - UN Studio, Holiday Home at the ICA Philadelphia, USA, 2006. http://www.unstudio.com/projects/holiday-home-ica - Steven Holl - Written in Water, Lars Mller Publisher, Baden, 2002 (no page numbers) 3.2 Diligent Sloth - Picture of a gastropod shell. Alan Powers, Nature in Design, Conrad Octopus Ltd,London, 1999, p.56 - http://www.andymalanowski.com/Favorites/Images/guggenheim%20museum3.jpg 3.3 Patient Wrath - http://projectbritain.com/government/index.htm - http://www.petersommer.com/gallery/theatre-miletus-turkey-photo/ 3.4 Humble Pride Ceremonial opening of the Tokyo Stock Exchange. New York Stock Exchange opening bell photo. 3.5 Kind Envy http://physics.kenyon.edu/EarlyApparatus/Optics/Claude_Lorrain_Mirror/Claude_Lorrain_Mirror.html 3.5.1 The modern Claude glass http://fgigroups.com/images/index/Convex.jpg 3.6 Generous Greed http://vimeo.com/4464887

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