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FROM WORKSHOP TO SITE

SEPTEMBER 2020

From Workshop to Site

At Millimetre’s workshop in Brighton, a tremendous steel skeleton has been rapidly emerging. It will form the delicate superstructure of a garden pavilion-cum-guesthouse destined for the Isle of Wight. In the main hangar, a healthy collection of gently oxidizing off-the-shelf steel sections and staggeringly sharp, bespoke milled elements is set back from a row of socially-distanced workspaces. Millimetre’s metal workers have been working around the clock (and in the excessive summer heat) to cut, weld and grind the heap in front of them into the many precise modular components that will form the pavilion’s columns, floor and roof. An assembly line has been formed to increase the efficiency of fabrication, with a station each for repetitive rotary welding tasks, rotary grinding, welding using custom jigs and more complicated non-linear welds. As the steel passes through the workshop, glistening segments come to form elaborate sculptures. Adjacent to the metalworking bays is a six-axis robot arm programmed to cut high density foam into jigs for the most intricate welding alignments. This will be essential to the success of the central roof truss node, where nine tubular sections converge. More on this will follow at a later date.

The pavilion will be lifted off the ground by cantilevering trusses held from the main columns, which are formed of four tubular sections tied together by intermittent thin plates along their height. The lower portions of these columns, which sit beneath the floor build-up, are amicably referred to as the daleks. These stub columns are the first pieces to be finalized, quickly assembled in tandem to confirm tolerances, and sent away to be painted for corrosion protection before arriving to site.

On the northeast coast of the Isle of Wight, the site falls to overlook a protected marshland with tidal flows fed by the Solent. A shallow depression with raking banks at the bottom of the hill will conceal the feet of the pavilion superstructure; the baseplates of the stub columns now erected atop the long strip foundations and adjoined to form the triangulated support for the floor and deck above. Located to capture rainwater dropping from the overhanging roof eaves, the perimeter gravel drain will also mark the boundary between building and landscape, with tall, wild grasses merging with the wetland beyond..

As the pavilion envelope will be formed largely of full-width glass spans closely abutting the columns, erecting the steel frame precisely is critical. Despite a remarkable installation tolerance of +/- 3mm diagonally across each 5 x 5m bay, the stub columns must be shimmed to ensure exact alignment and verticality. Between them, the galvanised (and thus silvery) internal floor beams are distinguishable from the external floor beams, which are coated to resist corrosion and painted to achieve a warm metallic finish. With the cantilevering terrace beams installed additionally, a datum is formed approximately 180mm below the intended finished floor level from which the remainder of the pavilion will rise..

Back in Brighton, the columns which will stand on the shoulders of the stubs now installed on site are laid out one by one. Their height and slenderness astound – a true feat for the structural engineers, Smith & Wallwork. It is through, not around these columns that the thermal envelope will run, with tall and narrow glazing centred on each column between the four vertical tubes. The next test-build will involve hoisting up these columns, narrowly missing the suspended lights of the workshop, to bolt on the roof trusses via the halving joints rigidly reaching out to receive them. That dramatic and exciting update will have to follow.

SCREENS

JUNE 2015

Screens

Images: Avenham Park Pavillion, Preston.  The Institute of Timber, Detroit

‘What do you see when you look up through the trees? Try to imagine this moment in a pretended place or part of a journey through a particular sequence of spaces. How does one describe this experience? What is it about spaces in nature, for example forests, which make them fascinating yet at the same time unsettling places to inhabit? A forest offers a place of refuge and natural beauty where the element of surprise is all part of the experience’

The idea of nature as a spatial experience and a driver for architectural form was a question that ran through my academic work and has subsequently led to an obsession with a perceptual and evolving architecture. It is interesting that my time in the office has allowed me to both reflect and discover parallels that run through similar themes in the work of the practice. A pursuit for a “thicket-like” characteristic, which allows for shifts in spatial qualities and a variation of patterns that overlay like woven surfaces to define space are just some of the mannerisms that I have begun to recognise.

I compare my own attempt to generate a kind of place that is animated, brightening as you ascend towards the canopy when reading the blurred lines of the roof of the pavilion designed for a woodland park in Preston. The structure is designed as a number of layers of mesh to capture rain whilst creating a display of shadows that activate the building beneath. As a competition proposal, the structure was never fully realised yet it has been the ideas established during this process that still resonate today. By staggering the building between the tree density, the line of the pavilion is undefined breaking the traditional form of constructing space and allowing a new reading of the building and landscape. Particularly enlightening in the search for the enclosure of space is a fruition of a screen-like quality that works as a surface and also as a generator of it’s tectonic form.

The use of the screen as a ‘device’ in our architecture allows elements to become not only separators of rooms or the external environment but also actuators for unique and unimagined spatial experiences. In search of this architecture is an attempt to purposefully discover a different architecture and an unplanned result that wouldn’t necessarily be reached through something un-natural.

Benni Allan graduated from the Bartlett with Distinction in 2014, and has been working on a project for Jesus College, Cambridge since joining Niall McLaughlin Architects. In February 2015, Benni was named as one of the nation’s up-and-coming designers and ‘One to Watch’ by the Design Council to represent the future of British design. His project the ‘City of Forests’ looked at beautifying Detroit through reforestation strategies to promote a denser, greener and more sustainable future in which timber becomes the main economic output. As Detroit continues to struggle with the effects of massive industrial changes, this more positive image of vacancy as an asset opens new discussions about the future post-industrial city.