transition and threshold
DESCRIPTION
Thesis exploring the nature of the interstitial Urban spaceTRANSCRIPT
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TRANSITION+THRESHOLD
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CONTENTS
INTRODUCTION
SITE | EXPLORATIONS, ITERATIONS
REPOPULATING THE IN-BETWEEN
STREET EXTEND
CLOISTER | COURTYARD |CONSTELLATION
A HISTORY OF CONTAINMENT
THRESHOLD | FRAME
PEDAGOGY | PROGRAMME
CUTTING + REVEALING
DESIGN DEVELOPMENT
FINAL PRESENTATION
BIBLIOGRAPHY
APPENDIX
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3
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53
60
68
71
87
97
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I N T R O D U C T I O N
This thesis is an investigation into the in-between space.
I am interested in the most apparent interpretation of the
interstitial realm; how the gaps in our built environment
define spatial layers, articulating thresholds between
public and private, inside and outside. Moments for
pause and reflection, dynamic perception.
In between spaces also have a social role, in their
greatest manifestations they can create gestures
of inclusion, shared spaces that foster community
integration and cohesion.
School has a unique position in a person’s life, it forms a
temporal threshold between infancy and adulthood and
thus provides an perfect medium for exploring this thesis.
The annual theme of the school of architecture, “Inherited
Landscape”, also has resonances with this exploration
as designing within existing fabric already implies an in-
between space; gaps between old and new, past and
present.
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S I T E | E X P L O R A T I O N S , I T E R A T I O N S
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S I T E 1 | N O R T H S T R A N D
The first site investigated is at the intersection of North
Strand road and East wall road adjacent to the Tolka
river and Fairview park. The context is that of an urban
village, close to the city but contained and self sufficient.
A strong sense of identity is created by the intersection of
routes; road, river and train.
Following a number of studies the site proved to be
too large and open to be an effective medium for an
exploration of the in-between space.
site sketch [Author]
6
site sections [Author]
site plan [Author]
7
The next site was the result of a search for interstitial
spaces in the dense fabric of Dublin’s inner city; finding
a function for the forgotten, space in the void. By linking
the currently dilapidated Aldborough House to the Fire
Station Art Studios via Hewardine terrece a route is
created, a campus that is greater than the sum of its
parts.
However the size and dispersion of these spaces
resulted in the site being unsuitable for a school brief
considering the need for open play space and ancillary
facilities.
S I T E 2 | B U C K I N G H A M S T R E E T
context drawing highlighting educational institutions [Author]
8site plan [Author]
route section [Author]
9
The site chosen for the school design is on Sean Mac
Dermott street again in Dublin’s north inner city. It was
occupied by the Magdalene Asylum run by the sisters of
Charity of Refuge since from approximately 1877 until it
was closed as the last Magdalene Laundry in Ireland in
1996.
The site has an interesting combination of building
remnants and open space. Its size and aspect is
appropriate for a school brief and it presents the complex
challenge of creating a new identity for a building with an
oppressive history.
S I T E 3 | S E A N M A C D E R M O T T S T R E E T
site photo [Author]
10context drawing [Author]
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R E P O P U L A T I N G T H E I N - B E T W E E N
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specific work spaces such as studios for art create stimulating environments and movement through the school
initial spatial study 1 [Author]
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elements of transition such as stairs become spaces for interaction, performance and casual learning
initial spatial study 2 [Author]
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an internal street allows students to showcase and display their work, strengthening school pride and identity
initial spatial study 3 [Author]
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this “street” can also foster community inclusion by becoming a space for markets and social interaction
initial spatial study 4 [Author]
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S T R E E T E X T E N D
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[ R E F E R E N C E ] U N I V E R S I T A L U I G I B O C C O N I , M I L A NG R A F T O N A R C H I T E C T S
PRIVATE PUBLIC
By extending the street into the body of the school
education and community become interlinked; children
can actively and socially engage with other members of
society and outside school hours the space is inhabited
and used for community meetings, night classes, sports
and other activities
The ground floor of the Universita Luigi Bocconi in Milan
is public space which, “reaches out to the city and
beckons the visitor into the heart of the interior.”1
The ground floor mediates between the life of the city
and the life of the University through a series of spatial
movements from street (public) to the offices hovering
above (private).
This series of thresholds creates spatial richness and
diverse inhabitation, it becomes, “ a city in miniature”. 2
1. O’Regan, J and Dearey, N (Ed.) (2009) New Irish Architecture. 24, AAI Awards Kinsale : Gandon Editions2. Ibid.
[diagram: Author. project: Grafton Architects]
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study model: public | private + routes.
[diagram: Author. project: Grafton Architects]
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C L O I S T E R | C O U R T Y A R D | C O N S T E L L A T I O N
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[ R E F E R E N C E ] L ’ A B B A Y E D U T H O R O N E T
The school design has been largely influenced by a study
of abbeys and monasteries. The cloister plan creates a
calm and clear route around a central garden, creating
a threshold between the interior and exterior worlds. In
le Thoronet there is a covered external walkway with
spaces within this thickened threshold to sit and pause
looking towards the garden. A secondary route on top of
the covered arcade allows for external circulation on the
upper level, open to the sky.
Ground floor plan. Fujimoto, Sou (2008)The Cistercian Abbey of Le Thoronet. A + U: Architecture and urbanism
21
Sections. Fujimoto, Sou (2008)The Cistercian Abbey of Le Thoronet. A + U: Architecture and urbanism
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Image courtesy of Jonathan Janssens
23
Image courtesy of Jonathan Janssens
24study model: classroom section + garden. [Author]
fig. 19
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[ R E F E R E N C E ] H A C K E S C H E H O E F E , B E R L I N
The Hackeshe Hoefe are a series of courtyards off
a busy street in the centre of Berlin. They provide a
pedestrian terrain away from the noise of traffic and
create a knitted pattern of shops, cafes and a cinema.
The route through is hinted at by glimpses into the next
court, they become sequentially more calm and serene
until you reach the trees and water of the graveyard at
the other end.
This underlines the motif of a hidden garden, an oasis of
green that is glimpsed but never fully revealed
solid | void | route study drawing [Author]
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Hackeshe Hoefe [Author]
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hidden garden concept drawing 1 [Author]
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hidden garden concept drawing 2 [Author]
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[ R E F E R E N C E ] R O M A C E N T R E F O R C O N T E M P O R A R Y A R T SC A R U S O S T J O H N
Also influenced by monastery plans, Caruso St. John
describe their centre for contemporary arts in terms of
constellations; emerging as a balance of forces rather
than through a finite set of forms.1 Existing structures
on site are preserved, augmented and demolished
where appropriate, the serial industrial aesthetic of the
barracks is engaged with but there is not a deliberate
distinction made between old and new construction.
The juxtaposition of the different elements creates an
exciting spatial diversity and expresses the history and
culture of the city in a way that would not be possible in a
completely new building.
This painterly method of overlaying new and old provided
hints to working within the existing context of the
Convent. The buildings should be thoroughly understood
and analysed; allowed to express their voice without
being overly precious about formal consistencies or
historical delineations.
Model: Caruso St. John
1. Caruso St. John. (2000) Roma Centre for Contemporary Arts. A + T
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Ground floor plan: Caruso St. John
Section: Caruso St. John
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[model: Author project: Caruso St. John]
structure + light study model
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U N C A N N Y R E P R E S S I O N | A H I S T O R Y O F C O N T A I N M E N T
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The Magdalene Asylum was an institution founded
as one of many in Britain and Ireland as part of the
Female Penitentiary Movement in the 19th Century.
The first Magdalene Asylum was established in Dublin
in 1767. The movement was founded in England, “for
the rescue reclamation and protection of betrayed and
fallen women”.1 It was to provide temporary shelter
for prostitutes, abused women and girls or unmarried
mothers mostly of the lower social classes, with the
objective to give them rest, hygiene, food, work and
enough education to take up work outside prostitution,
mostly as domestic servants. While the Magdalene
Asylums were founded and initially managed by lay
people most institutions in Ireland were taken over by
catholic orders during the middle of the 19th century.
The Order of Our Lady of Charity of Refuge was founded
in France in 1666 under the rule of the Augustinian
Order. “As well as poverty, chastity and obedience, the
nuns took a fourth vow, which obliged them to labour for
the conversion of penitent women.”2 They ran the biggest
Magdalene Institutions in Ireland and enforced strict rules
which were still enforced until well into the second half
of 19th Century. These rules included complete silence
during work, at mealtime and in the dormitories, cutting
or shaving of hair, none or only limited contacts with
families, assigning of new names to the inmates, long
hours of prayers and devotion, very limited education.
Under the management of the Sisters the Magdalene
Homes often developed into long term homes for the
penitents.
T H E M A G D A L E N E A S Y L U M
1. Finnegan, F (2001) Do penance or perish : a study of Magdalen asylums in Ireland. Piltown, Co. Kilkenny : Congrave Press
2. Ibid.
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As in the Convent of the Sisters of Charity of Refuge on
Sean Mac Dermott Street Lower, the women worked
mostly in laundries. These commercial laundries were
often the main support of the Convents, the Sisters had
therefore an interest to keep the institutions well staffed.
The women were ‘brought‘ to the institutions primarily by
priests or relatives, mostly illegally. However the majority
of the women would have been either too young or
not well enough educated to be aware of their legal
status. Some women spent the majority of their adult
life in the homes. Estranged from their families, friends
and let down by society, they became increasingly
institutionalised and died eventually in the care of the
nuns. The laundries gradually became less viable due
to the introduction of domestic washing machines and
the changing of social values in Ireland. The Laundry on
Sean Mac Dermott street was closed in 1996 as the last
remaining Magdalene Laundry in Ireland.
Magdalene “penitents” participating in a Corpus
Christi Procession on Sean Mac Dermott street in
1950s. [J.M. Smith 2007]
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[ R E F E R E N C E ] L E T T E R F R A C K F U R N I T U R E C O L L E G EO ’ D O N N E L L + T U O M E Y
A building with a similar history of institutional cruelty was
St. Joseph’s industrial school in Letterfrack Co. Galway,
opened in 1887 by the Christian Brothers for boys who
had committed minor criminal offences or who were
destitute or homeless. The boys provided free labour for
local businesses and suffered much violence and abuse
at the hands of the Brothers.
After the Brothers left the building in 1973 it was taken
over by a community group involved in education and
development and the building needed to be altered
to fit its new purpose. O’ Donnell + Tuomey’s design
incorporates the existing buildings and also creates new
purpose built structures. The institutional rigidity is relieved
by creating a new axis off centre and views out are
created by lowering the windows.1 The new structures
have a language of their own but work with the existing
volumes to create a new entrance forecourt.
The design is strongly informative for the school project
on Sean Mac Dermott Street. Without turning its back
on history or context, the furniture college creates a new
and positive image for the institutional building; through
a combination of minor interventions, new building and
the creation of rich urban spaces the building is reborn,
becoming a symbol of the positive forces of community
and education.
1. O’Donnell & Tuomey Architects (2004)Transformation of an institution : the Furniture College, Letterfrack, : Ireland’s Pavilion at the Venice Biennale. Oysterhaven, Kinsale : Gandon Editions
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Model: O’ Donnell + Tuomey Architects
37
The Uncanny is a specific type of fear, a paradox that
combines the familiar with the fearful. Freud describes
it as the return of the repressed. 1 The culture of
containment associated with the Magdalene Laundry has
resonances with this particular type of horror; society was
aware of the atrocities being committed but deliberately
tried to repress this distasteful version of reality.
The laundry and dormitory buildings were destroyed in a
fire in 2006 but the remaining convent buildings still retain
the vestiges of its past, with its powerful presence on
the street and high walls to hide the world within it is like
a manifestation of the Uncanny space. This is a valuable
dialectical tool in trying to alleviate these inherent cultural
and physical fears. By revealing a new interior, a garden,
the sounds and songs of children playing and learning,
the Uncanny fears are pin-pricked, light is shed on the
dark and repressed void.
T H E U N C A N N Y
1. Freud, S. (1919) The Uncanny
38
nun’s cell. convent building.[Author]
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corridor convent building. [Author]
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gaps in wall sketch. railway street.[Author]
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The Uncanny also has associations with doubling and
dual hidden worlds. 1 Stairs create this duality; always
simultaneously creating a positive and negative space.
IBy acknowledging this spatial reality and inhabiting this
void, spaces to hide, dark and exciting spaces can be
created in the poche or in-between spaces.
“In architecture the prototypical spandrel is the triangular
space “left over” on top when a rectangular wall is
pierced by a passageway capped with a rounded arch.
By extension a spandrel is any geometric configuration
of space inevitably left over as a consequence of other
architectural decisions. Thus the space between the floor
and the first step of a staircase or the horizontal course
between the lintels of a horizontal line of windows and the
bottom of the row of windows on the floor just above are
also called spandrels.” 2
The renewal or refurbishment of an existing structure
such as the convent building is full of opportunities
to investigate the potentials of these “spandrels”; the
gaps between new and old, adapted consequences
of previous design decisions, the space in the shutter
box of a sash window. The motif of spandrels informs
the detailed design of inhabited in-between spaces
throughout the school design.
P O C H E + S P A N D R E L | I N H A B I T E D V O I D
1. Freud, S. (1919) The Uncanny2. Gould, S (1997) The Exaptive Excellence of Spandrels as a Term and Prototype. Proceedings of the National
Academy of Sciences 94
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attic of convent building.[Author]
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stairs sketch [Author]
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“secret” hidden spots for a quiet read[Author]
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den with ball pool and periscope for covert spying[Author]
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perspective: stairs + library[Author]
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detail: storage boxes in steps[Author]
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S I T E | M O R P H O L O G Y
Sean Mac Dermott Street formerly known as Gloucester Street (renamed in 1933), formed part of the Gardiner
Estate and was developed from 1760 by Luke Gardiner II as part of the expansion of North Dublin in the
18th Century which included Mountjoy Square, Upper and Lower Gardiner Street, Beresford Place, South of
Summerhill and Rutland Street. Luke Gardiner II contributed to the development until his death at the 1798
Battle of New Ross. Most of his estate was sold off by 1848 and a number of the buildings of the estate were
converted into tenements. What had been a fashionable living area around Gardiner Street gradually developed
into one of the worst slums of Dublin. By the end of the nineteenth century most of the terraced Georgian
houses were converted into tenements.
Roque’s map from 1756 shows Great Martin’s Lane which would later become Mecklenburgh Street and Railway Street. Further west on Marlborough Street the site for St. Thomas church is already visible which was planned as visual axis for Gloucester Street.
1756
1773
Shows the beginning extension of the Gardiner estate to the east.
49
1811
1847
1889
Shows the extent of the development of the Gardiner Estate to the east of the city.
Shows the first buildings of the Magdalene Asylum on Mecklenburgh Street Lower. Remnants of the external wall towards now Railway Street is still in place. The building was later used as part of the laundry complex. The original Dispensary building on Mecklenburgh Street Lower is also in place. The rear buildings at Palace Yard were only removed in 2006.
Shows the extension of the Magdalene Asylum towards Gloucester Street Lower. The first part of the Convent building is already in place together with the dormitory designed between 1868 and 1874. The laundry was positioned to the rear. The drying posts for the laundry are shown in the Convents Yard.
50
Shows the expansion of the Magdalene Asylum since 1888. The Convent building was extended along Gloucester Street Lower with a Convent Chapel to the rear for the Sisters of Our Lady of Charity who took over the Asylum in 1877. The former Palace Yard with the new ‘Dispensary’ building at Lower Tyrone Street (renamed from Mecklenburgh Street Lower, subsequently renamed Railway Street) was now part of the Asylum. The laundry buildings have also expanded towards the inner of the yard.
1909
1936
One of the last major developments to the Magdalene Asylum is the extension of the Convent building along now Sean Mac Dermott Street Lower (renamed from Gloucester Street Lower) sometime after 1909. The buildings on Railway Street opposite the laundry have been demolished probably to make way for the Liberty House complex built in 1938/39.
51
31868-1874
11909-1936
21888
b u i l t o r d e r
c o n s t r u c t i o n p e r i o d
g r o u n d f l o o r p l a n
r o o f p l a n
r e a r e l e v a t i o n
f r o n t e l e v a t i o n ( m i r r o r e d )
building phases diagram [Author]
52
folded elevations to courtyard. existing [Author]
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chapel interior [Author]
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T H R E S H O L D | F R A M E
55
The entrance to a school is a critical element in defining
its presence and ethos. It should create a civic gesture
of inclusion while at the same time defining the school’s
territory. It should describe the world within; encouraging
entry with light and view.
The entrance of Trinity College Dublin creates a
sequence of layered thresholds. It begins with a gap
between footpath and door, after entering through the
large wooden doors you are in an octagonal space that
is inside but feels external due to materiality and wind
flowing through, there is a clear view of trees, lawns
and the cloistered world outside. From here you decide
whether to continue into the courtyard or to move laterally
via the inside space either side. The richness comes
from a certain ambiguity between inside and outside,
public and private and a layering of framed views and
space.
This defining of frame is reminiscent of Edward Hopper
paintings where there is an implied gap between frame
and viewer. Looking through the doors of Trinity you are
initially unaware of the interstitial gap or frame between
the two external worlds. Similarly when we look at
Hopper’s characters through the frame of a window,
invisible space is created between the two frames.
The Whitney museum in New York creates spatial
stratification in the vertical plane. From the footpath and
the sheltered entrance bridge there are views to a terrace
below, belonging to the more private territory of the
museum; it can only be accessed from the world within.
The entrance of the school should create layers of
movement between the public life of the street and the
private inner world of the school. Subtle mediations
between inside and outside.
E N T R A N C E
56
[Author] trinity college. entrance study
57
fig. 47 Room in New York (1932) Edward Hopper
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Whitney study [model: Author project: Marcel Breuer]
Image courtesy of the Whitney Musuem of Modern Art
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[Author]entrance study. relief model.
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[Author]
subtraction | addition. elevation studies.
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P E D A G O G Y | P R O G R A M M E
62
The design is influenced by a number of studies on
pedagogy. Rudolf Steiner proposed a curriculum focused
on the individual child proposing that different types of
learning such as art or music require different spaces. He
also had specific instructions as to differing classroom
designs depending on different age groups.
Ken Robinson identifies a tendency in contemporary
education towards job readiness at the expense of
creativity.
The Reggio Emilia method stresses the importance of
the school as civic space and a central piazza forms the
social heart of the school, a non-hierarchical space for
meetings and group activities.
Maria Montessori created a way of learning that focused
on a more tactile approach, there is a strong focus on
learning through play and building.
The conclusion was for a school with flexible spaces for
different types of learning; workshops, art rooms and
gardens for growing and experiencing nature.
E D U C A T I O N A L T H E O R Y
Müller, T & Schneider, R (Eds.) (2002) Montessori : Lehrmaterialien 1913-1935, Möbel und Architektur = Teaching materials 1913-1935, furniture and architecture Munich ; London : Prestel
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B R I E F A N A L Y S I S
To develop a programme our thesis group analysed the
schedule of accommodation of a number of schools.
I looked at the Department of Education repeat design
school and compared in to two very compact designs;
the Ranelagh Multidenominational School by O’ Donnell
+ Tuomey in Dublin and the Open Air School by Duiker
and Bijvoet in the Netherlands. The conclusion was that
despite the small footprint of the two school, provision
was made for external sheltered space, areas to learn
and play outside and that this is completely absent from
the Department of Education school.
64
Department of Education Standard SchoolSt. Benedict’s National School Ongar, Dublin 15
Total Floor Area: 2,214sqmNumber of Pupils: 304m2 per pupil: 7.3sqmSchool Type: PrimaryTypical Classroom size: 80sqm
Gen
eral
Cla
ssro
oms
(16X
80s
qm)
Anc
illar
y - L
ibra
ry
Circ
ulat
ion
- Hal
lway
s
Com
mun
al -
Din
ing
area
’s /
Pla
y ar
ea’s
Out
door
- B
alco
ny s
pace
s N
/A
Rec
reat
ion
- 2 X
Bal
l Cou
rts +
Yar
d
Adm
in -
Toile
ts, O
ffice
s, C
hang
ing
room
s
Brief study [diagram: Author project: Dept. of Education]
65
Open Air School, Amsterdam, the NetherlandsJohannes Duiker and Bernard Bijvoet
Total Floor Area: 1620sqmNumber of Pupils: 220m2 per pupil: 7.36sqmSchool Type: PrimaryTypical Classroom size: 76sqm
Gen
eral
Cla
ssro
oms
(16X
80s
qm)
Anc
illar
y - M
usic
, Sci
ence
, Lib
rary
, Lec
ture
Roo
ms
N/A
Circ
ulat
ion
- Hal
lway
s
Com
mun
al -
Ent
ranc
e H
all
Out
door
- B
alco
ny s
pace
s
Rec
reat
ion
- Cou
rtyar
d of
per
imet
er b
lock
Adm
in -
Offi
ces,
Sta
ff
Brief study [diagram: Author project: Duiker + Bijvoet]
66
Ranelagh Multidenominational School, Dublin 6O’ Donnell Tuomey Architects
Total Floor Area: 1142sqmNumber of Pupils: 250m2 per pupil: 4.6sqmSchool Type: PrimaryTypical Classroom size: 70sqm
Gen
eral
Cla
ssro
oms
(16X
80s
qm)
Anc
illar
y - L
ibra
ry
Circ
ulat
ion
- Hal
lway
s
Com
mun
al -
Din
ing
area
’s /
Pla
y ar
ea’s
Out
door
- B
alco
ny s
pace
s
Rec
reat
ion
- Yar
d
Adm
in -
Toile
ts, O
ffice
s, S
taff
Brief study [diagram: Author project: O’Donnell + Tuomey]
67
classroom studies; inbetween + sheltered external spaces [Author]
68
BR
IEF
. SCHOOL16 X Classrooms 8X80 Genera l Off ice Pr inc ip les Off ice Staff Room Staff W/C Home school l ia ison | breakfast c lub Hal l
PRACTICAL | SHAREDArt Room Meta l | Wood Workshop Music | Drama RoomKitchen and store [wi th access to growing plots] L ibrary [part of c i rcu lat ion]Changing rooms & WC Showers Sports Equipment Storage
+Circulat ion 20% 429
TOTAL INTERNAL
EXTERNAL SPACE5-aside footbal l p i tch 16X27 432sqmvert ica l gardens 8X40 400roof p layground 500[1332sqm]
TOTAL
sqm12801616501250200[1624]
1001208012070601250[612]
429
[2595]
432400500[1332]
3927
69
C U T T I N G + R E V E A L I N G
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Conical Interesct. (1975) Gordon Matta-Clark.
71
In order to develop a visual link between street and
garden and to define a forecourt and entrance hall a
cut is made through the section of the building with the
greatest dilapidation and fire damage; in the centre. This
creates a space between new and old, revealing and
connecting. Matta Clark’s “Conical Intersect” project was
an interesting reference; by cutting through a building in
a working class area in Paris he reveals the nature of the
interior and also creates a view through to the Pompidou
Centre then under construction.
I N T E R S E C T
cut + reveal concept model [Author]
72
existing
demolition
ground floor plan existing. scale 1:500
73
existing
demolition
first floor plan existing. scale 1:500
74
second floor plan existing. scale 1:500
existing
demolition
75
D E S I G N D E V E L O P M E N T
76
concept model: juxtaposing and offsetting volumes creating routes, connections and external spatial variations [Author]
77
arranging volumes to define central court [Author]
78
massing sketch [Author]
79
massing model [Author]
80
plan strategy sketches [Author]
81
context model [Author]
82
G R O U N D F L O O R P L A N
1. school entrance2. ha l l entrance3. l ibrary zone4. workshop5. pr inc ip le’s off ice6. genera l off ice7. staff room8. home school l ia ison room9. hal l10. c lassroom11. sensory garden12. 5-as ide p i tch13. sport centre
1
2
3
4
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7
8
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10
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10
1010
10
10
10
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12
13
section strategy sketches [Author]
83
G R O U N D F L O O R P L A N
1. school entrance2. ha l l entrance3. l ibrary zone4. workshop5. pr inc ip le’s off ice6. genera l off ice7. staff room8. home school l ia ison room9. hal l10. c lassroom11. sensory garden12. 5-as ide p i tch13. sport centre
1
2
3
4
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7
8
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10
10
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1010
10
10
10
11
12
13
ground floor plan development [Author]
84
14. sc ience lab15. language lab16. remedia l c lassroom
17. p lant nursery18. k i tchen and cookery c lassroom19. music room20. art room
9
10
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1010
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3
F I R S T F L O O R P L A N S E C O N D F L O O R P L A N
first floor plan development [Author]
85
14. sc ience lab15. language lab16. remedia l c lassroom
17. p lant nursery18. k i tchen and cookery c lassroom19. music room20. art room
9
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1010
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11
14
15
16
18
20
21
17
19
3
F I R S T F L O O R P L A N S E C O N D F L O O R P L A N
first floor plan development [Author]
86
section development. entrance hall [Author]
87
section development. classroom [Author]
88
F I N A L P R E S E N T A T I O N
89
ground floor plan. nts. [Author]
90
first floor plan. nts. [Author]
second floor plan. nts. [Author]
91
section thru courtyard. nts. [Author]
92
entrance hall [Author]
93
circulation/workspace [Author]
94
stairs/library[Author]
95
section thru courtyard - sports hall. nts. [Author]
96
section thru existing- courtyard - classrooms. nts. [Author]
97
classroom study. nts. [Author]
98
view from railway street. [Author]
99
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