Thesis Proposal Text

On 20 May 1803, the newly refitted English flagship H.M.S. Victory set sail from the Royal Naval Dockyard at Portsmouth England. Fleet Commander Viscount Horatio Nelson KB was charged with engaging and destroying the combined Franco-Spanish fleet to remove Napoleon's threat of invasion of the British Isles. The waters off of Cape Trafalgar saw nelson confront the enemy on the morning of October 21. The result was a victory so resounding as to remove all opposition to His Majesty's Navy.

The severely battered Victory  limped back to Portsmouth, with Nelson's body preserved in a barrel of brandy for a hero's funeral. Extensive repairs on the ship were begun. However, contrary to the practice of recycling or discarding damaged material, an artifact from Trafalgar was stowed away for posterity. The fore Topsail, torn by shot and stained with blood and black powder, was preserved in a sail locker.  The workmanlike quality and the functional nature of the sail give testament not only to the men who sailed the Victory, but the massive industrial complex which outfitted the navy at Portsmouth.  Since the world's first drydock was completed in 1495, the dockyard has stood as a triumph of organization and planning, representing the heart of a seafaring community.

One hundred and ninety-five years later, the fore top of the Victory has yet to be put on public display. This thesis seeks to provide a permanent housing for this very important piece of history. Her Majesty's naval base at Portsmouth is still home to England's naval fleet, and its dockyards also house the refurbished Victory, H.M.S. Warrior, and the remains of the H.M.S. Mary Rose. These three ships are accompanied by the dockyard's heritage buildings and docks, as well as the Royal Naval Museum. The design of a housing among these historical elements will give the Fore Topsail of the Victory the permanent home it deserves.  The development of an architectural theory for the presentation of the topsail in an evocative and historically accurate manner is the objective of this thesis.

As a tool for the enhancement of architectural design, the thesis research presented here explores issues of site, program and precedent for the purpose of directing its ultimate form.  The museum as an architectural type is also of primary importance, as it is the vehicle by which the artifact is to be presented.  A museum which cannot convey the depth of cultural, scientific, or religious value of its artifacts has failed in its purpose. The method by which architecture adds to or facilitates the museum experience is worthy of study.  Because the museum is able to display the object itself, museum architecture must capitalize on this unique sense of immediacy.

However, the successful interior experience of the museum in this case arguably only makes up one half of the equation that is the thesis.  Sensitive and compelling integration of a new structure into a richly historic site is the its counterpart.  Failure in either of these two aspects will quickly negate any gains made by the other.  For the fore topsail of the H.M.S. Victory, these two requirements exist not in conflict with one another, but in harmony.  The successful exploitation of the Historic Dockyard as a site will only enhance the display by presenting the sail in its true contextual setting.  In this sense, what is ultimately to be created is a 'museum within a museum.'

The link between architecture and material culture may not be immediately apparent.  In this case, study of the Victory Fore Tospail as a human artifact inevitably reveals characteristics which have the potential to guide architectural design. Material culture is the physical product of human endeavour.  Despite this lofty definition, it is a term which can apply to the most mundane or ordinary of objects, as well as the most exquisite.  To think about material culture is to also think about art, history, and the relationship of the three to innumerable outside factors.  These too can be extremely philosophical or practical... or both.  Climactic conditions, religion, the price of paint, ideology, local wood type and so forth all play a contributing role towards the production of an end, tangible product.

Henry Glassie wrote that while historical literature preserves the history of an aristocratic few, the history of most people is preserved in unwritten artifacts.  Those who preserve their own lives in text present themselves as they want to be seen.  If one looks closely enough, an artifact tells a similar story, but much more pointedly and accurately so, without presumption and prejudice.  In this there is a certain truth inherent to the artifact that cannot be assumed in text.  For the dockyard workers who designed and crafted the weapons of war, and for the sailors who clambered about in the rigging, the sail stands as testimony to their way of life.  The subtleties of their lives can be inferred from a close examination of the material makeup of the artifact.  The mind wanders to the seamstress dimensioning and cutting the fabric, the petrified boy clinging to the canvas on his first climb into the rigging.

It is not difficult to think of the Fore Topsail of the H.M.S. Victory as a piece of material culture given the above scope.  Certainly, it has an everyday quality.  The simplicity of the canvas testifies to its ruggedness and functionality.  If, as Glassie writes, material culture is the 'study of patterns' then a break from this methodology begins to occur.  For in this aspect the topsail stands alone.  It is not one in a series of similar elements which can be scrutinized and understood as individuals composing a larger group.  And it is this that is the primary tool of material culture, the base method by which the truth within objects is revealed.  While the secrets of an individual item may be extracted with difficulty, when held up against its predecessors and successors, larger patterns begin to emerge.  Failing a larger cross section of similar objects, the methodology of material culture begins to fall apart.

It is the singularity of the topsail that presents problems with this type of analysis.  Paradoxically, it is this singularity that also gives the sail much of its historical significance.  In the era of square sailed ships, literally acres and acres of sailcloth were churned out by the dockyard for ships of the line and sloops alike, all without much fanfare.  Despite such a production volume, very little physical evidence remains of the process today.  This factor alone lends some importance to the Victory Fore Topsail.

Gradually, the realization is made that the power of the Victory Fore Topsail does not rest solely in the qualities espoused by the material culture methodology.  While it is true that it does represent the physical remnant of the everyman in a real way, its meaning far transcends this attribute.  Ultimately, this power is derived from an elusive historical happenstance created by the events of Trafalgar.  Imagine in this sense the different meaning to be attributed to the sail had Trafalgar turned out in some other way; an English loss, a stalemate, or particularly the survival of Nelson.  Even more extreme, what would the significance of the sail be had it not been rigged atop the Victory that day?  Clearly, the significance of the sail rests more in it presence at a particular event than the particulars of its workmanship.

The ability of historical circumstance to transform an everyday object into an icon is very much worthy of study.  The Levi-Strauss  concept of 'history as myth' in modern society offers a pertinent explanation for fascination with the topsail.  History forges new creation myths for those societies which, often for the worse, judge themselves too 'advanced' to believe in myth itself.  In this sense, history acts as a subtle surrogate for larger unspoken beliefs.  The fervor of the patriot is the natural result, as this trait most often exhibits itself as nationalistic (some would argue nacissistic) pride. History and myth in this sense are not inherently opposite, in fact, they complement each other well.  The modern societal perspective on the events of Trafalgar prove that.  In many cases, it is true that historical fact gradually become hyperbolized with the passage of time into a fictionalized version ot itself.  The sheer number of visitors to the Historic Dockyard suggest that something beyond a mere collection of artifacts is found there, lending credibility to its 'mythical' appeal.

It is also surprising to note that a large number of tourists drawn to the site are not from the British Isles.  Certainly, the vast amount of passenger ferry traffic from continental Europe bears some responsibility.  Were the dockyard  a symbol only of national pride, such numbers of international tourists, particularly French, would likely not be attracted.  This observation speaks of the appeal of the dockyard beyond any national concerns to its larger, human aspect.  As the oldest (and arguably only) completely preserved dockyard from the age of sail, it relates to many visitors the way of life in their own cities during that era.  Regardless of nationality, the life of the sailor and the dockyard are intriguing in their universality.

As a piece of material culture, the fore topsail of the H.M.S. Victory is characterized by duality.  Perhaps the best description for it is an ordinary object elevated to mythical status.  Its strong romantic appeal rests in the idea that the work and deeds of average persons, labourers, and sailors can play a pivotal role in history.  With this realization, the sacrifices made by Nelson and untold numbers of his men are remembered in this simple object.

Site Considerations

The external environment is dominant factor over even the smallest of sites, and urban geography in general.  In the case of this thesis, external considerations are of heightened importance because the site in question happens to be on an active naval base.  Any visitor to the flagship area will likely be puzzled by the massive amount of tourists which besiege the area, and that such leisure activity can take place in the middle of a military installation.

In reality, the city of Portsmouth has had to deal with the practicalities of balancing strategic and civilian concerns for some time.  Portsmouth was a town like any other until 1496 when Henry VII made the decision to declare island a garrison and a royal dockyard.  The national government power has always transcended the wishes of the local authorities.  Yet, at the same time, it must be acknowledged that failing the military presence, the town itself would likely not exist. The issue as it relates to this thesis is one of appropriate land usage.  The desire to diversify the city with a strong mercantile and tourist presence affords the opportunity for the Victory Topsail Housing, and the 'Flagship Portsmouth' area in general. Without such an attitude from both local and national officials, architectural additions to the flagship area would not be possible.

The 'Flagship Portsmouth' area of Portsmouth Harbour comprises approximately 12 acres of historic dockyard which was partitioned from the working naval yard in 1985.  Ten years later a new organization under the name 'flagship Portsmouth' was formed to oversee the historic ships and dockyards.  This new body is solely dedicated to the visitor management on the site  and the marketing of the historic attractions. Capital investments made during this period served to improve visitor facilities in the form of several new exhibitions spaces, shops and restaurants.  The decision to partition and improve the historic dockyard allowed the transition from a somewhat neglected corner of a working naval yard to a dedicated historic and cultural space.   It is important to note that while programmatic precedents are explored later in the thesis, the structures explored here will provide stylistic guidance for the thesis design.  Beyond the desire to draw inspiration from these buildings, the municipal regulations governing construction at the historic dockyard mandate adherence to the original character of the site.

In creating a traditional site analysis it is easy to elaborate only on physical attributes of the area in question.  Especially in the case of the Historic Dockyard, if not all sites in general, it is equally illuminating to gain some understanding of site in terms of cultural presentation.  Of particular interest is a brief examination of the presentation of the dockyard as an attraction.  Certainly, if the Historic Dockyard was still in active service, although the physical aspects of the site would not change, much of the psychology would.  In this regard, the above administration has done a commendable job in terms of presenting the site as true to its orignial purpose.  Whereas there is arguably a tendency to downplay historical content where large number of tourists are to be appealed to in favour of eye catching 'entertainment' type activities, this has not occurred at the dockyard.  This is not to say that the dockyard fails to entertain, the contrary is quite the case.  Despite and perhaps because of an extremely conservationist and historically accurate approach, visitors flock to the dockyard in great numbers.  As is the subject of study here, the physical reality of the site may at times negate visitor comfort in the modern sense of overly generous amenities which in many cases overpower similar historic areas.

The central spine of the historic dockyard is the so called 'main road' which begins at Victory Gate and leads in a straight north-northwest direction to the great ship basin.  This is the sole means of entry to the dockyard for the civilian visitor.  Victory Gate is flanked by the oldest standing building in the historic dockyard, the Porter's Lodge.  This small brick structure with its series of gable roofs was built in 1708 and renovated extensively in 1994 to provide security and managerial space for the new administration.  From this checkpoint the dockyard unfolds, characterized mainly by the long corridor of structures flanking the road and ordered as follows:

H.M.S. Warrior

The first display  element at Flagship Portsmouth, the Warrior actually  lies outside of the imaginary property line of the Historic Dockyard.  Once through Victory Gate, it is docked to the left and slightly behind the visitor.

The new Admissions building/entrance hall immediately to the left of Victory Gate serves as the main control point and directs visitors towards the warrior.  However, the original topography of the dockyard has imposed a slightly unnatural spatial arrangement of main axis, control point, and historic attraction.  The ability of the entrance hall to overcome this arrangement is a matter of opinion.

Royal Naval Museum

The Royal Naval Museum is the most identifiable presence on the main road approach to the H.M.S. Victory.  These structure were originally built as the three great storehouses, no. 9, 10, and 11.  The  massive red brick buildings were constructed in 1782, 1779 and 1763 respectively.  Periodic additions and modifications have been undertaken, including the addition of a public colonnade and the restoration of  the clock tower above Storehouse no. 10 in 1992.

Collectively, the facades of these three buildings stretch over 210 metres.  The main road runs along their frontage, and is restricted to base traffic.  A pedestrian area of approximately 12 metres acts as a buffer between the Naval Museum and the main road.  It is this pedestrian area which directs tourists towards the H.M.S. Victory.

In the above photo, the masts of the Victory  can be seen to the right, behind the bulk of the great rope house.

Semaphore Tower

The present appearance of semaphore tower is due to extensive renovations following a fire in 1913.  It is the tallest structure in the historic dockyard and contributes greatly to its architectural significance.  Along the main road journey  to the victory, it is somewhat hidden behind the Royal Naval Museum, and is presently not accessible to the public.

The Tower itself can only be truly seen from the water, or the appropriate way to approach a dockyard.  It is in essence an octagonal pavilion with windows set to the cardinal points between Ionic columns.  Above these rise a lookout and a signal mast, supported by an oversized yard.  Of neo-Georgian detail, it is an eclectic mix that adds a dominant but unusual character to the area.

H.M.S. Victory

The H.M.S. Victory  was permanently dry docked at No. 2 dock on the Great Ship Basin during 1922.  The Basin itself was originally constructed in 1698, with the completion of No. 2 dock following in 1802.  The Victory is obscured from the main road by the Great Rope House, and is located on the furthest portion of the tourist area from the main gate.

Part of the interest in selecting the historic dockyard as a thesis site stems from the unique qualities of its planning and construction.  At its core, it is an agglomeration of structures built over a span of several hundred years.  The architectural situation today is still impacted by decisions made during the middle ages and earlier.

additionally, there is the reality of modern usage for which the site was not originally intended.  Clearly, for the generations of naval planners who carved out the dockyard the aspects of public display and tourist comfort were not of any importance.  The dockyard is far from ideal in terms of its display arrangement.  This is not to label the situation as negative, but as authentic to its original use.  In particular, the location of the H.M.S. Warrior and the H.M.S. Victory lack the focus that would likely be afforded from a different, display oriented master plan.

However, the in the case of the Victory, the present arrangement leaves an opportunity for this thesis.  In many ways, the thesis site should be recognized as a space for improvement or completion of a presently incomplete area.  The photo of the main road above clearly suggests such an improvement can be made.  The complete lack of a focal point to the end of the road is an architectural opportunity.   The presently empty space at the end of this road and adjacent to the starboard side of the victory can be seen in the site plan above as a teal square.

The issue of focus must be considered on such a fractured site.  The degree to which this thesis expands outwardly from this starting point is yet to be decided, yet the appeal of redesigning a vast majority of the dockyard in broad strokes has its appeal.  The primary idea is to delineate clearly with an intervention that does not detract from the original architecture.  Functionally, the area in which the Historic Dockyard shows the most need is in improved visitor amenities.  This is evident from the positive stance of local planning officials and recent influxes of capital into the area.  However, there is a limit to which buildings which were never designed for visitor comfort can be modified without compromising their historical integrity.  It is anticipated that the design of a new structure would have the mandate of providing space for visitors who would not otherwise be so accomodated while experiencing other, neighbouring exhibits.  A more simplified manner of explanation is to describe the new structure as providing amenities for visitors in transition between the Victory, The Topsail Housing, and the Royal Naval Museum.  A brief visit to the site in its present format reveals that there is very little in the way of appropriate rest area adjacent to the Victory drydock, save a large expanse of unfriendly blacktop.  As will be discussed later, the inherent benefit of a multistory structure adjacent to the Victory and the other historic buildings is the possibility of exterior galleries from which to view the attractions in a more liesurely manner.

The development of a new vision for a fractured site weighed down with heavy programmatic requirements offers a stiff challenge.  However, the presence of such high quality existing architecture at the site provides inspiration for this new design.  Incorperation of structure into the dockyard is nothing new.  Generations of planners and architects have struggled to add 'just one more building' into this incredibly diverse and active environment.

Museum Theory

'There is nothing natural about museums, their collections, or the way in which those objects are presented to us.  For museums are always fictional in that they are always created or constructed by us in a particular set of social and historical circumstances; they are negotiated realities.'   - Jeanne Cannizzo

How should a museum present an artifact as a piece of collective heritage?  The abstraction of permanent display and the removal of context seem to be the muted evils of all museum display.  As a means for presenting people with their own culture, the museum itself seems far less than satisfactory.

It would be foolish to deny that museums are not products of very particular world views, social structures, and economies.  In that sense, the images and items they contain are not presented without belief or memory.  It is the question of their representation of original loyalties that must be asked.  The display of patriotic material is somewhat more straightforward in this regard.  After all, the object which symbolized the glory of crown and country two hundred years ago does much the same today, barring some form of political revolution.  Still, to offer an object blindly as a uni-dimensional replacement for a flag does a grave disservice, particularly when that object has its own unique set of historical circumstances.

The aspect most unique to the Victory Topsail is that, aside from its obvious historical magnitude, its human story can be revealed through the tool of its contextual location.  Herein lies the importance of the architectural design; in that the sail does not stand alone but amongst the structures and objects which gave it significance.  The great ropehouse, the great ship basin and the Victory herself are all within a stone's throw.  From this, perhaps the most important point to remember about the Fore Topsail is that it represents not only an isolated group of sailors off the coast of Cape Trafalgar.  The community of Portsmouth was responsible for design and construction of the weapons, and provision of its sons for the defense of an entire nation.  Even for those who were not present at battle, their contribution through the 'greatest industrial complex in the world' was felt.  This spirit perhaps best explains the extreme sense of pride felt by locals for the historic dockyard even today.

An architectural response to this pride must therefore include the topsail as one element in the array of features that make up the dockyard as a whole.  Another important means of communicating the topsail is through its everyday nature, in danger of being overshadowed by the passage of time.  Far too often even the greatest historical artifacts are neglected by a tendency to focus on modern views of their own history, and a failure to relate the human story that accompanies them.  In the case of the Victory's Fore Topsail, this could easily be the so, especially given the fact that the public has little common knowledge of life in the navy during the era of sail power.  For some of the men who blockaded Cadiz for the long summer months of 1805, the rigging and the sail itself was home.  These were the men who lived in and clambered over the upper rigging of the ship to trim the sails, some of whom actually died in the sails on October 21.  A permanent display of the fore topsail must encourage the visitor not to merely understand it as a piece of cloth, or a tool.  Evocative communication of the human reality of the Trafalgar story is what will ultimately make the display a success.

The added challenge and opportunity offered by the topsail housing design is in its singularity.  As a rule, higher quality is expected from any custom made product.  Though it may seem simplistic to make this comparison, it directly applies in this case.  Whereas traditional museum galleries (with the rare exception of the permanent exhibition) are design to house a never-ending parade of artifacts of all shapes and sizes, this concern is removed in the project at hand.  The central atrium for the topsail itself therefore can be custom designed down to the smallest detail.  Pursuant to this thought is the origin of the phrase Topsail Housing.  For inherent to this design for a single purpose is the creation of a home... a living space for the sail.  The word shrine seems to imply dutiful, quiet respect for a fragile object.  Housing, on the other hand, gives a sense of the active, larger than life quality of the sail.  To design a housing for the sail is to present it as a living cultural icon, to present its story at a human scale.

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.

Program and Site Integration

'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.

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.

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.

Also developed in conjunction with quantitative program data are a series of sketches and writings on the more experiential intentions of the thesis design stage.  The word 'narrative' refers to the piecing together of thoughts on individual spaces, effects and relationships to form a vision of the housing in its entirety.  The below photo is highlighted to show the approach to the site along the main road of the Historic Dockyard.  Certainly, it would be possible to sketch the housing in this space.  However, it is my intention to show only fragments of the building as a series of ideas, and not to presumptuously draw the building in its entirety.  Ultimately, the entire structure will reconcile these ideas with a single structure.  It should also be noted that these sketches are merely studies, and may not represent the final built form.

Approach

Layout of the Historic Dockyard presents the opportunity for the southern and main facade of the building to be visible upon passage through Victory Gate.  Presently vacant, the site at the end of the main road could be greatly enhanced by the strong presence of the Victory Topsail Housing structure.  Provision of an appropriate focal point at the end of corridor is the basic intent of the thesis design.  As stated in the site analysis, addition of a new element into the dockyard presents the challenge of improving some of the fractured aesthetics that presently govern the site.  Simple placement of the housing at the termination of this long corridor is intended to improve upon these existing conditions.

Tower

Pursuant to the concept of approach described above is the possibility of including a tower element on the housing structure.  Again examining the above photo, there is a strong case for the insertion of a third vertical element between the clocktower of boathouse No. 10, and the masts of the Victory.  It is important to note that tight restrictions are placed on vertical construction in the dockyard given the continued presence of ship traffic.  However, a tower of similar height as the clocktower and Victory masts would be permitted given the presence of these tall elements in the immediate vicinity already.

Proceeding along the main road from Victory Gate, the attention of the visitor will be drawn the to the strong vertical elements that terminate a very repetitive horizontal corridor formed by the storehouses.

Seeing as the proposed structure is dedicated to the sail, it can be seen as appropriate to use fabric louvers and devices on the building facade.  Beyond conveying the purpose of the building in a subtle way, these elements are also useful at controlling light penetration to a sensitive artifact.

The regular spacing and tight geometry of the facade echoes the orderly symmetry and repetitiveness of the storehouses and the great ropehouse, in a slightly more fanciful way.  Beyond this, the facade seeks to provide a backdrop for the tower element and provide a wall that provides visual termination for the presently open corridor.

entry hall

Upon entry of the housing structure itself, the visitor will arrive in a double height entry hall which opens upward to the topsail enclosure.  Visible from the instant of entry, the purpose of the hall is to frame the sail as the focal point of the exhibition inside.  This space is designed to guide the visitor directly toward the sail itself.  The desired effect is one of directness, terminating the almost half kilometer of procession from Victory Gate.  Axial direction in this case is of very high value, the sail is presented in a formal, frontal prospect, communicative of its power and significance.  Clearly, the intent here is to provide an awe inspiring space appropriate for such an important and imposing artifact.

mezzanines and central gallery

Following the initial encounter with the sail in a frontal, formal position, the visitor will then be encouraged to explore the multiple mezzanine levels which diverge outward from the main space.  Circling and observing the sail from multiple heights, numerous other related exhibits are also presented, whilethe sail itself always remains in sight as  a point of reference for these displays.  This procession can be seen as 'familiarization' with the sail.  The multiple oblique viewing angles subconsciously suggest a more personal and intimate viewing of the artifact.

exterior decking

Following the viewing of the sail and its related exhibits, the exterior decks flow outward to allow visitors to relax in a non-museum environment.  A response to the need for increased user amenities in the dockyard, these decks are more than a passive space relegated to peripheral location on the building.  Given the proximity to the victory and the multiple vistas to the working dockyard and the harbour beyond, these decks will take advantage of their elevation over the primarily flat site to gain viewing advantage.  As a leisurely space in the otherwise hard topped dockyard, even the provision of simple wood flooring is a welcome luxury for weary tourists.

Conclusion

Only in the design portion of the thesis will it be known how successfully the above research can be integrated into built form.  However, as a tool for guiding the design process, the research itself has proved invaluable.  The understanding of the significance associated with the Victory’s Fore Topsail  and the Historic Dockyard as a site provides the inspiration to contribute to the area in two ways.  First, the provision of a permanent home for the topsail.  Second, the integration of a new structure to the dockyard site, the first original structure dedicated to display in its history.

Through the continued and frenetic activity which has characterized the dockyard for over five hundred years, it could be described as difficult to reflect and take stock of the dockyard’s situation at any given point in time.  It is even more difficult to predict a course for the future.  World events, political circumstance, and the sea itself have  spurred the almost organic growth of the dockyard in many different directions.  Presently, it is reasonably certain that the future of the Historic Dockyard as a cultural site has been ensured with the creation of the Flagship Portsmouth entity ten years ago.  The proposal of a new building in the Historic Dockyard solely dedicated to cultural concerns has finally come of age.

The step of constructing a new display space symbolizes the commitment towards opening the historic dockyard and its various attractions to the world.  Presently, it is a topic under consideration by the British government, and is therefore a major factor in the course of Portsmouth Harbour..  It is ironic that the concern over the placement of a single artifact from the dockyard’s distant past is about to determine  its future.  From an architectural point of view, this situation presents limitless opportunities.   the Exploration of this timely issue as a thesis reveals how architecture can be used as a medium to convey our collective culture, great and small, to this end.