PROGRAM and PRECEDENTS

The identification of suitable architectural precedents for this project presents some interesting difficulties.  Although many volumes have been written on museum/display architecture, very few address the display of artifacts of the size of that presently in question.  This follows from the simple fact that very little architecture exists to house such massive artifacts.  Buildings such as the Imperial War Museum in London house large display objects, but even these are somewhat smaller that the fore topsail of the H.M.S. Victory.  Additionally, there is the aspect of display of multiple pieces, not a singular artifact, in these structures.

This is not to say that the intention of the project at hand is to narrowly confine itself to the exhibition of a single object.  Although the fore topsail is the obvious focal point, it is anticipated that peripheral aspects of the building will be designed to educate visitors in the aspects of sail making, daily life in the rigging, and the events at Trafalgar which led to the present condition of the sail.  Collectively, these elements will make up the building program.  In this regard, there are a select few existing projects which provide precedents in terms of style and program development.

wasa dockyard museum Location : Stockholm Architects : Hans Akerblad and Bjorn Howander project date : 1961     This naval museum was built to accommodate the Wasa, a Swedish timber frame warship, which was raised in 1961.  It is in essence a closed pontoon which accommodates the dual function of restoration work and public display.  It is perhaps the best precedent for the project at hand for two reasons.  First, the singular nature of the large artifact display.  Second, the extremely sensitive conservation aspects demanded by  the Ship.  Initially, humidity had to be maintained at 95% inside the building in order not to stress the frame, which had been submerged for hundreds of years.  Materially, the structure is composed of concrete and corrugated aluminum, owing to its original function of a temporary display.  The ultimate fate of the Wasa has yet to be decided.     Despite its singular intention, the museum also contains an entrance courtyard, which is flanked by exhibition space, archives and offices, each of which pertain to the ship.  Also included are public facilities such as washrooms and a restaurant.  The compactness of site is also an issue, as with the Portsmouth Historic Dockyard, In terms of programmatic development and site similarity, the Wasa museum is arguably the strongest example for the housing of the Victory's Fore Topsail.      Palazzo Rossa Location : Genoa Architect : Franco Albini Project Date : 1953 - 1961     The conversion of an existing palazzo into a display space by Franco Albini has created a structure of particular note for this thesis.  Principally, its interest is in the creative use of a multistory courtyard as a focal point.     The building is the third in a series of of Genoese museums of Albini's design.  Originally, the palazzo was built for two brothers so that each had his own piano nobile.  In the modern museum, this translates to each of the two principal floors having its own mezzanine. As one of the best examples of the baroque in Genoa, very little alteration was allowed with the colourfully frescoed walls.  Albini's solution was to use transparent glass screens for the new partitions, an innovative idea.     Palazzo Rossa's courtyard is not used as a display space in itself.  However, each floor open onto it, allowing natural light to filter into the displays.  It is easy to imagine a similar multistory building housing the Victory Fore Topsail.  In such a central courtyard the sail would be housed, with multiple balcony levels designated as peripheral display space.     Schematically, Palazzo Rossa represents one two main lighting types to be investigated in this thesis; lateral lighting of an open courtyard. California Aerospace Museum Location : Exposition Park, Los Angeles Architect : Frank Gehry     Part of the challenge in designing a housing for the fore topsail of the H.M.S. Victory is its integration into an existing display oriented site.  This situation is similar to that of the California Aerospace Museum in Los Angeles.  Here, the museum is one of many components in Exhibition Park, a public display ground dating back to1885.  the  integration of the aerospace museum raised questions regarding context and approach, two issues that must be dealt with by the thesis proposal.  In this case, the museum structure was attached to an existing armory building in order 'to integrate it more thoroughly with the institutions surrounding it.'  The Museum is actually much smaller than the armory, following the mindset of creative additions which do not dominate or mar existing buildings.  It is anticipated that a similar approach will be used in the historic dockyard of Portsmouth.     Another aspect of the Aerospace Museum of particular relevance is the large scale of the display objects.   Gehry's study of visitor movement around these massive aerospace artifacts brings the display object into a truly three dimensional field.  The Titan 3C booster pictured here is a suitable example.  In this case, visitors can view the exhibit both from floor level and a mezzanine/balcony above.  Given the size of the Victory's fore topsail, this is a very applicable design approach. Yale Centre for British Art Location : new Haven, Connecticut Architect  Louis Kahn Project Date : 1969-77     Oriented around two multistory courtyards, the Yale Centre for British Art offers several relevant lessons for display space design.  Like Palazzo Rossa, the courtyards in themselves are not used as display spaces.  However, the potential along for the placement of a large, central object can be seen in the lower photo.     The concept of lighting multiple stories through a central, skylit courtyard is evident in Kahn's design.  Additionally, the building concept is quite successful at filtering large amounts of light through a substantial volume. additional precautions would have to be investigated regarding placement of a fragile artifact exposed to such levels of natural light.     Another aspect of Kahn's design which is often overlooked is its exterior functions on the ground level.  Located on a busy campus road and adjacent to both university buildings and shops, the simple corner entrance is effective, and is flanked by commercial /public functions.  Given its location in the Portsmouth Historic Dockyard, a similar integration and openness to the existing visitor traffic is a necessity for the Victory Fore Topsail Housing. Solomon R. Guggenheim Museum Location: New York, New York Architect: Frank Lloyd Wright Project Date:  1956-59     It is not immediately obvious how Wright's sculputral spiralling ramp could influence design of a buiilding in a conservative dockyard.  It is the superb sense of procession espoused by this design which is a suitable example for the project at hand. This is no to suggest that a ramp should necessarily be constructed aroung the Victory Topsail.  However, it is certainly desirable to create a space which facilitates circulation in such an obvious yet effortless manner.     As a multistorey building containing a central atrium, the ramp design solves the problem of vertical movement between different floors.  In this design, the floor as an individual unit ceases to exist, and is replaced by a single display floor area which covers several stories in building height.  Finally, there is the the creative use of a large area skylight to illuminate the building without using excessive wall display space for windows.  These two aspects are sought to be incorperated in the Victory topsail housing.

Site Integration and Display Theory

'The special setting of the icon has most often, and particularly in the west, been an aedicular space, a scaled down architectural enclosure which created for that singled out object its own spatial world.'  To construct a housing for the fore topsail of the H.M.S. Victory that turns its back on the dockyard site itself can only be seen as a failure in design.  Despite the need for protection and conservation, it is the aim of this project is to provide a building that is the antithesis of the sealed drum that describes so many museums.   Traditionally, the goal of the museum is to display the artifact in a setting which replicates the original as closely as possible.  Such a goal will not be applicable to the topsail in the usual sense, as the artifact is already in its natural setting.  This fact, however, presents its own challenges, the greatest of which is the use of architecture towards appropriate and compelling integration of the sail into the historic dockyard.  The neighbouring elements, the great ship basin, the storehouses, the ropehouse, and the victory itself form a backdrop for the project at hand.  A structure which references and becomes a part of this array is the design ideal.

The fore topsail of the H.M.S. Victory is a 'planar' element,  What then separates it from the standard presentation of planar elements, the picture frame?  Quite simply, and aside from its functional intentions, the topsail is a planar element designed for three dimensional space.  Its base description as planar is in reality inaccurate; with its billow it is a graceful, natural curve.  Everything about this curve implies motion.  To be truly evocative in its display setting, every effort to design a structure which adheres to and is inspired by the sail itself must be made.  Primarily, this implies the exhibition of the topsail in three dimensional space.  As opposed to a painting with its ideal viewing angle somewhere near perpendicular to planar, there is no one ideal angle from which to view the topsail.  As a three dimensional artifact, the preferable visitor experience of the topsail is one of unimpeded movement for viewing from all angles, vertical and horizontal.  This is the essential challenge of designing a structure to housing.  First, there is the desire to leave the sail freestanding in an upright position as to be seen in its entirety in an unobstructed manner.  Second, there is the need to provide some form of viewing platforms or mezzanine type structure to allow close viewing from different heights.  The latter requirement is particularly important considering the desire to facilitate experience of the sail in its truest and most realistic sense.  One drawback of the present public display of the H.M.S. Victory is that the visitor is vertically limited to the quarter deck.  For obvious safety reasons, it is impractical to allow visitors onto the masts or rigging.  However, the housing of the Topsail can rectify this problem by providing platforms and walkways at various levels, allowing the visitor to see the sail and the rigging close up.  Given that this is the manner in which the men who sailed the Victory experienced the sail, the authenticity of this structural approach is enticing.

Program

Despite its obvious focus on the topsail itself, several other complimentary functions are intended to be included in the thesis design.  Along the lines of the Wasa Dockyard Museum, these elements are to be subordinate, but also related to the topsail and its display.   The below diagram shows the various functions and spaces by their representative volumes.  One dimension, moreso than the others, is fixed; the size of the sail itself.  It is expected that a  minimum15x15x15 metre cube will be allotted for the housing function, totaling 3375 square metres of building space.

PUBLIC SPACES TOPSAIL ENCLOSURE Entry Hall                                              Information/Orientation centre              Coat room                    Museum boutique and storage         Washrooms                 Auditorium (125 pers) Permanent  exhibition galleries             Temporary exhibition galleries                General stack area         Rare book room                 Design workshops             Activity room (audio-visual)               Exterior Decking (Multi-level) Receiving Security and reception             Truck dock and delivery bay         Temporary storage             Maintenance area              Collections/Curation area total Collection storage                     Workshops                 Staging area for mounting exhibits     Conservation laboratories         Conservators offices                Photo labs                 Administration Director's office                 Administrative offices            Conference room             General storage                   Washrooms                 General Mechanical and electrical rooms

225 Square Metres,               1. 3375 Cubic Metres 100 Square Metres 25 40 - 50 100                                                  5. 1000 of 1250                              2. 250 of 1250 600 150 - - 500 20 to be provided 25 15                                                          3. 750 50 50 50 25 included above                                                          4. 20 15 15 25 15 50

isometric showing potential arrangement of volumes Concept of ramp surrounding topsail enclosure, accessing multiple mezzanines.

detailed program analysis

Main Exhibition Space/Topsail Enclosure - As the focal point of the building, the topsail enclosure will serve to facilitate and enhance the viewing experience of the topsail, while at the same time account for its protection and conservation.  Given the height of the sail and the necessity of vertical display, the enclosure will be a multistory space.  The possibility of numerous mezzanines organized around this central multistory display core is quite attractive.  However, the issue of air quality with such an open plan may become problematic. Certainly, conservation issues such as air quality and benign lighting must be reconciled with the desire to present the sail in as open and dramatic a fashion as possible.  Situation of the topsail enclosure within the building is another point to be considered, especially regarding its relationship to the building's entry.  As a grand gallery opening upwards from a smaller entry, the presentation effect achieved by the enclosure is of high potential.

Auxiliary Exhibit Area - Utilization of this display space as a viewing platform for the sail gives it an importance  beyond its mere informative content.  In a site where space is at a premium, the viewing mezzanines can perform a dual function with use in display of complementary artifacts.  The anticipated direction for auxiliary displays are to provide an exclusive space for items from and pertaining to the Victory.  In particular, this refers to artifacts and information regarding the sails and rigging of the ship.  Validity of this display is gained by the immediate proximity of the building to The Great Rope House, and the Victory herself.  As these galleries are expected to wrap around the topsail enclosure, the issue of natural light and openness of exterior facades comes under scrutiny.  While ideally the auxiliary displays would be naturally lit, a problematic filtering of excessive natural light through the mezzanines to the sail itself could take place.  An innovative structural/lighting design is called for in this regard.

Curation/Archival - As with almost all other museum complexes, display space at the Royal Naval Museum could be improved upon.  Again, in a site of limited size, the placement of these spaces becomes a design challenge.  This is particularly so given that the site location at the water's edge negates the possibility of construction of elaborate basements.  However, the presence of archival space in the topsail housing is an unarguable necessity.

Theatre - the inclusion of a theatre in the Topsail Housing is directed towards increasing the public appeal and informative content of the building.  Given the fact that almost all other structures in the Flagship Portsmouth area are converted listed buildings, they are certainly not conducive for large scale refitting for the creation of a theatre.  As noted in the relevant municipal regulations, a high degree of importance is placed on increasing the level of tourist amenities at the historic dockyard.  In this regard, a small, yet state of the art theatre is a large step, and adds value to the Topsail Housing.  Concerning program, the inclusion of a theatre adds importance to circulation and effective tourist flow; this given the expected spurts of traffic induced by periodic audiovisual displays within the building.

Administration - Given its presence on a tourist oriented site that receives hundreds of tourists per day,  administrative considerations are of high importance.  The goal in design of the Topsail Housing is to provide a user friendly interface with the artifact.  To this end, administrative program elements are included to facilitate the visitor's experience while ensuring the safety of the sail itself.  A straightforward design of administrative space, especially in the entryway area, is a necessity.

Other Public Amenities -  Ideally, the Topsail Housing would rest on a site large enough to provide countless user amenities and diversions.  Given that this is not the case, provision of suitable peripheral public functions is of some concern.  Beyond the obvious presence of washrooms and waiting areas, the inclusion of an exterior deck, possibly multistory, is quite attractive.  Given its location adjacent to the victory and on the water of the Great Ship Basin, providing excessive unused space in the building interior seems irrelevant.  Certainly, a canopied exterior platform which offers such views is a superior method of offering rest areas to the public.