Castle Mill House Phase I

(2011)

Apartment building refurbishment and extension
Invited competition - placed 1st

Won: Oxford Preservation Society commendation, 2012
Design team: Andrew Dawson, Paul Southouse, Igea Troiani and Hannah Durham

Castle Mill House Phase I aims to give the existing building a modern face-lift by adding decorative balcony elements to the façades of the building and a series of penthouse pavilions to the rooftop. The proposal also includes the refurbishment of the existing 23 flats to improve the level of amenity, services and layout.

The addition of decorative balcony elements aims to update the exterior appearance of the building to give it a revitalised appearance as well as add open space amenity to the existing apartments. These decorative elements are conceived as finely detailed, steel structures that make reference to the ironwork produced by the previously adjacent Lucy's Eagle Ironworks. This link is important in connecting the building historically with the site and context. The detailing in the balcony aims to celebrate decorative lacework and soften what is otherwise a severe brick and concrete building. They also help to break down the mass of the existing building by interrupting the strong horizontal pre-cast concrete panels that mask the building structure.

The proposal also adds to the existing flat roof, a series of penthouse pavilions. Each penthouse pavilion sits within a roof top wild flower meadow and have its own terrace offering a unique living experience in Oxford. The elevations of the pavilions respond to the geometry used to order the façade. This allows the additional level to blend into the building.

Workhouse Yard, Dullingham

(2010)

New Residence
Design team:Igea Troiani, Andrew Dawson, Hannah Durham and Astrid Bois D'Enghien

The owner of the site, an eccentric collector, has used the site as a yard and workshop over the past four decades. It is now disused and derelict. The adjacent yard is the Workhouse, a Grade II listed building, which has been the family's home for the same period. The site is located on the edge of a picturesque rural English settlement. Planning boundaries have excluded the site from the designated development zone within Dullingham.

The design aims to reconcile past architectures with a contemporary interpretation of the iconic rural barn. Identified elements include the frame grid, roof form, proportion and thatched covering. A frame grid was established and covered in a thatched mat, after a series of moves including twisting, cranking and buckling the barn was still recognisable but disfigured and reinvented. The interior grid was either filled or left void creating a series of interlocking internal spaces; again the grid is reinforced by its constant visibility.

96B Bullingdon Road

(2008)

New Private Residence
Design team:Andrew Dawson and Igea Troiani

This family residence for an architectural coupling and their children is homage to Alison and Peter Smithson's, Upper Lawn pavilion in Tisbury, 1959-62; Luigi Moretti's Girasole Apartment building in Rome, 1947-50; Le Corbusier's Ripolin Whitewash; and Ben Nicholson, The White Reliefs produced between 1934 and 1939. The house is deliberately modern and English Brutalist in tone but converses externally with the Victorian terraces which surround it using contextual materiality. In 2010, I wrote, directed and produced the documentary, House after Two Years of Living on 96B Bullingdon Road. In 2011, I published “Excurcus 3: Complex Ordinariness in Oxford: House after Two Years of Living”, in Gerald Adler, Timothy Brittain Catlin and Gordana Fontana Giusti (eds.), Scale: Imagination, Perception and Practice in Architecture, (Critiques: Critical studies in Architectural Humanities Series), London: Routledge, pp. 147-155.

Cultural Arts Facility

(2009)

The Fabrica Project, Pontremoli, Italy Design team:Andrew Dawson, Igea Troiani and Hannah Durham

The Fabrica building presents a unique opportunity to bring a tailored Arts Facility to Pontremoli and Tuscany. Its location adjacent to the Magra River provides an ideal backdrop and outlook. The existing building is filled with a complex history. This design proposal aims to capitalise on the site of the Fabrica, its history and the weathered beauty of the existing factory.

The Fabrica itself has changed from being a chestnut mill powered by river water to an under-utilised series of rental tenancies. The building's original importance and role is no longer relevant, however the memories and traces of history remain. Adaptive reuse as cultural facilities will ensure the building becomes an active contributor to the life and culture of Pontremoli.

The Fabrica site is located on the original pilgrimage route (or Francigena) to Rome. This design respects and celebrates this significant historical trace. As a response to the idea of a pilgrim's journey, an architectural ribbon element has been inserted into the interior of the original factory building. The ribbon makes reference and draws from the notion not only of a pilgrim route but other lines including river, railway, and tunnel surrounding the site.

Taut Competition

(2009)

Competition (no winner announced)
Design team:Andrew Dawson, Igea Troiani and Hannah Durham

The Tauthaus is designed for Bruno Taut and his poet friend, Paul Scheerbart. It emerges from the memory of their Glashaus built in Cologne in 1914. The house is located in New York.

The house emerges from a dream in which the upper faceted dome roof of the Glashaus has been removed and replaced by a lengthy faceted coloured glass tower, at the top of which is an observatory bedroom in which Taut works, sleeps and gazes out at the stars. The glass ceiling is a tribute to the galaxy. It wears a crown like that on no other New York skyscraper.

A spiral glass stair, similar to that designed by Taut in the Glashaus clings to the circumference of the exterior glass wall up to Taut’s bedroom. A selection of Scheerbart’s fourteen aphorisms, which were placed on the interior of the original pavilion, are etched on the exterior wall of the glass tower and accompany one as you walk up.

Below ground is a meeting room for 500 people. It is Taut’s Volkshalle- an artistic, socialist meeting room. It is the space in which he and Scheerbart collaborate and spread the word about German expressionist glass architecture. It includes in it cinematic screens on which the films of Hans Richter or The Cabinet of Dr Caligari etc are playing. Communal tables are arranged for feasts. Since the space is below ground, light enters through the glass ceiling over which the coloured water of the moat flows.

© website Anna Zaremba 2013