submitted Thesis by
Anna Maria Barbour
to the Faculty of The Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of
Masters of Architecture
Approved
Paul F. Emmons, PhD
Jaan Holt
Marco Frascari, PhD
Susan C. Piedmont-Palladino
June 2004 College of Architecture and Urban Studies Blacksburg, Virginia Washington-Alexandria Architecture Center Alexandria, Virginia
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bridging the gap the luthier in old towne
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abstract
The urban realm is a collage of ruin, artifact, and modern invention. Whole pieces and fragments linger untouched or prosthetized onto new constructions, creating a landscape of monsters. These creatures, beautiful or grotesque, metamorphose through time. The tendons that tie these body parts together tell the story of architecture. This thesis explores the joint between such members: the detail of the space between.
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acknowledgements
Thank you Paul, Jaan, Marco, and Susan for making my three years at the Center a rich experience that will always remain with me. A shout out to my North Room homies: Mary Butterworth, John Schippers, Steven Siebers, and especially Madame Petite, Akiko Suzuki, a true friend, domo arigato. Cheers to alumnae Heather Grutzius and Anita King. Danke to Uli Dietz. Kszi to Jamie Bresner. A green thumbs up to Kristi Geronilla and Lisa Rocci. Thank you Mom and Dad and Mom and Dad Nolan for listening to strange architectural ramblings. Most importantly, thank you John, my husband, best friend, soul mate. Your support and confidence inspire me. PS Wags to the #1 pooch, Ashley, for making those late nights at studio a bit less lonely.
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table of contents
title page abstract acknowledgements table of contents site site elevation then and now program instrument golden section monsters collage case study cremona monastic qualities process the bridge drawings sections elevations details and models bibliography vita i ii iii iv 1 2 3 4 5 6 7-8 9 10 11 12 13-14 15-20 21-24 25-29 30-34 35 36
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"The joint, that is the fertile detail, is the place where both the construction and the construing of architecture take place." Marco Frascari
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site
Located in Old Town, Alexandria this site belongs to a block of row houses on King Street. The row house typology has commercial use at street level and residential above. Dating back to the early 1800's, the main building of 1011 King Street remains intact after several lifetimes of programs.
N
1:500
1:100
site elevation
1011
1000 block King Street
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then and now
Originally built for commercial use, 1011 was converted into a church in 1975, The United House of Prayer for all People. Its presence on King Street has faded with vacancy, and needs a new idenity.
1801 - commercial use
1975- United House of Prayer for all People
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program violin maker's shop
There are three main spaces needed for making violins: Seasoning-for drying of wood, aging it for up to 20 years before use; Carving-hand tools shape wedges of wood into the curved instruments; Curing-after crafting, a varnish is applied for protection and beauty. The main tools needed for hand crafting a violin: A sturdy work surface, sharp tools, and plenty of light. The walls are intentionally thicker than needed, to buffer the city from the violinmaker's realm. A western facing light well filters light down onto the main work surface. The glazed stairwell on the east also offers indirect light. All tools have their own place. The Curing Room is dust free and contained. The Seasoning Area becomes a screen for the workroom's operatic bathoom.
Chi von Stietencrowigs, Geigenbaumeister Studio-Wien
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instrument
Several species of wood comprise a single instrument. The back is a hard wood such as maple, sycamore, or beech. The trees from the northern slopes of central European mountains have dense fibers but are light weight. The front is a soft wood, such as pine or spruce, that is flexible across its grain, side to side. The tailpiece, neck, and end button are typically ebony. The bridge is also a soft wood, flexible front to back. The purfling, an inlay bordering the front, is white wood and ebony, preventing any cracks from spreading from back to front.
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golden section
The golden number is prevalent in the geometry of the instrument. The ratios repeat themselves throughout the body of the violin.
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monsters
"The marriages between analogous architectures give birth to hybrids and those between diverse architectures generate ...monsters" -Camillo Boitto
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"In architecture, monsters are always located in the joint between architectural elements." - Marco Frascari
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collage
"Buildings are cultural texts that are generated by assembling fragments, excerpts, citations, passages, and quotations. Every building is then both assimilation and transformation of other building." -Marco Frascari
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case study: cremona
The lifestyle of the Cremonese Violin masters allowed sufficient time to perfect the instrument design used today. Their clients, mostly wealthy and royalty, had ample funds and time to allow a slowpaced unhurried environment in which to hand craft their product. The great makers all lived within a close proximity to each other and the S. Domenico Monastery.
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monastic qualities
The monastic life and violinmaker's life had similar qualities. Violinmaking was a way of life. The enduring dedication to the trade was usually passed down to the next generations. They sought constant refinement in the craft, existing with a brotherhood of contemporaries.
Novy Dvur, a Cistercian Monastery by John Pawson
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process
The original building is a remnant of 19th century city. Spatially, it was insufficient for the new program. In order to retain its scale and character, a conscious decision was made to completely separate the two buildings. The front building, Building 1 would begin the transition from busy street life to a quieter place for the violinmaker's shop and residence, Building 2. The space between is the bridge.
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the bridge
The violin's compressive and tensile parts meet at the bridge, which vibrates the strings allowing sound to resonate in the body of the instrument. The bridge of the building connects the two.
Bridge as machine? The south wall of Building 2 has a louvered screen that filters intense daylight. At night, it pivots to enclose a performance The space/garden. louvers now bounce sound back down to the audience. The old building cradles the bridge when it is lowered.
the bridge, 2.0
The character of the building is not machine-like, so the moving part was eliminated. A new roof was necessary for Building 1, so the projected pitch became a canopy between the two parts. The burden of weight was removed from Building 1 and was supported by columns, floating the roof above Building 1.
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the bridge, 2.1
Bridge as parasol? The steel flanges of the new "bridge" are pinned to the column, allowing for gradual movement. Tension cables hold the arms apart and tie the structure in front of Building 1. Adjusting the angle of the members created a new roof deck above Building 1. Louvers join the parasol together, screening the courtyard and Building 2 from southern light.
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drawings
1 2 3 4 5 wine cellar tunnel mechanical room electric tools storage
4 1 3
5
2
lower level N
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1 2 3 4
parlour garden entry carving
5 office 6 seasoning 7 toilet/opera room
The entrance on King Street is through the original main doorway. The brick party wall remains exposed, and there is a view into the courtyard through a sheet of frosted glass. A raised concrete basin punctures through the window, forcing the visitor to turn left into the parlour. There are no violins present, just a quiet room where the instrument can be heard. Building 2 can be seen through the courtyard containing the silence. Upon entry is a two-storey space preparing the way into the shop. The wooden floors curve away from the walls, becoming the brick wall's base. The view into the carving room is past one of two massive concrete walls that carry the load of the floors opened for the light well. Beyond is the seasoning area. Wedges of sycamore and maple suspended on shelves disguise the toilet/opera room on the other side of the translucent wall.
5 1 2 3 7
4
6
carving level (ground) N
16
1 sound/see room 2 flying bridge 2 cruing room
The stairs belong to a light well that spills indirect light onto each floor. At the curing level, threaded wires threaded into the concrete walls to suspend violins freshly coated with amber varnishes. The entire room is contained and saw dust free. Beyond is the two-story seasoning room and office, flooded with plenty of North light. A door at the top of the stairs leads to Building 1 across a flying bridge cantilevered by a steel arm similar to the large canopy. Only after journeying through the building, is one permitted to see a violin in the viewing/hearing room.
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3
2
curing level (first level) N
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1 2 3 4 5 6
roof deck flying bridge eating room cooking/gallery sleeping room bathing room
The second and third levels are the violinmaker's residence. Between the two concrete walls is the galley kitchen. Suspended shelves hold necessary house wares and filter the western sun at the big window. A private sleeping room and bathing room are at the north end of the house. The south end is open for eating and reading. The door leads to the roof deck of Building 1.
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1
4 3 6
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second level N
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1 2 3 4
study living room sleeping room bathing room
The violinmaker's suite and a large socializing space make up the fourth floor. The closet hovers above the floor, attached to the concrete wall. A wet bar is hollowed out of the other wall. Books and important heirlooms replace bricks in the exterior/interior walls.
3 2
1
4
third level N
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The roof has sedums growing over the south and north sides. Excess water drains north and enters the storm water system via internal drains at the corners of the walls. A roof deck faces west for views of the George Washington Masonic Temple and easternAlexandria.
roof plan N
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transverse section south to north
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transverse section north to south
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The three-story light w...