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I also thought that bricks made of glass could be interesting for the façade. When I researched about it, I found some projects where it was used. A good example was this façade for Chanel, a lot of research and investigation was involved to make the facade strong enough and vandalism proof. Reading that made me realize that it was not a clever idea to have glass on the facade and the costs would not fit the budget.

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MVRDV has used a pioneering glass technology to replace the brick facade of a former townhouse in Amsterdam with a transparent replica, more suited to the building's new use as a Chanel boutique.

Described by the Rotterdam studio as the first of its kind, the innovative facade of Crystal Houses Amsterdam uses glass bricks, windows frames and architraves to recreate the city's traditional architectural style.

The glass bricks are held in place with a transparent high-strength glue. According to MVRDV, the construction is "in many ways, stronger than concrete", as was proven during the testing process.

Towards the upper storeys, the glass elements merge with the original terracotta brickwork to create the illusion of a dissolving wall.

MVRDV to build giant scaffolding staircase in Rotterdam city centre

The architects believe the technology offers a solution to the loss of local character in city centres around the world, many of which are now dominated by plain glass shopfronts.

"We said to the client, 'Let's bring back what will be demolished but develop it further'," said Winy Maas, one of the three co-founders of MVRDV.

"Crystal Houses make space for a remarkable flagship store, respect the structure of the surroundings and bring a poetic innovation in glass construction," he continued.

"It enables global brands to combine the overwhelming desire of transparency with a couleur locale, and modernity with heritage. It can thus be applied everywhere in our historic centres."

Crystal Houses, now home to the Chanel boutique, is located on PC Hooftstraat, a former residential street that has become a hub for luxury fashion brands like Prada, Dior and Rolex.

Many of the buildings on this street have lost elements of their original architecture. MVRDV didn't want to do the same, but the studio's idea to recreate the original facade in glass had never been tried before.

After developing the concept, the studio worked with specialists to develop the technologies to make it a reality.

Researchers from Delft University of Technology partnered with engineering firm ABT and contractor Wessels Zeist to test structural solutions and fabrication techniques.

A team of Poesia glassmakers in Venice cast the bricks from solid glass, while German company Delo Industrial Adhesives provided the high-strength glue.

High-tech lasers and laboratory grade UV-lamps were required in the manufacturing process. Milk was also used, as its low transparency made it useful during the levelling of the bricks.

"Six to 10 experts worked every day for a whole year in a place that bore more resemblance to a laboratory than a construction site," said MVRDV in a statement.

The firm sees Crystal Houses as a starting point for reimagining the future of glass in construction.

One of the main advantages is that the material is completely recyclable. During the installation, several imperfect bricks were melted down and remoulded - in fact, the entire facade could be reformed in the future.

MVRDV was founded in 1993 by Maas, with Jacob van Rijs and Nathalie de Vries. The studio often uses a lot of glass in its buildings, with examples including a pyramid-shaped library and a hotel in a giant greenhouse.

The team also experimented with the material for its Glass Farm shop and office complex in Schijndel, which combines flat glass surfaces with the form of a vernacular barn.

Photography is by Daria Scagliola and Stijn Brakkee.

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MVRDV replaces traditional facade with glass bricks that are stronger than concrete

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MVRDV has used a pioneering glass technology to replace the brick facade of a former townhouse in Amsterdam with a transparent replica

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Since we could go back to our normal lesson at the college, it was possible to create our outcomes using the 3D workshop. I had no experience using a 3D workshop before; however, I was extremely excited to learn. I knew the time available at the 3D workshop would not be enough to learn how to use the equipment and create an entire model so I made my final model at home out of cardboard to make sure I would have an outcome to present.
At the 3D workshop I was advised to create a section from the studio. First, I learned how to use the laser cutter and drew all the parts of the section on the computer so they could be cut by the laser. It was simpler and easier than I had expected and thankfully my first test on a grey board came out fairly accurate despite the door that looked too tall. After fixing the door and being sure that all the parts would fit together, I made the section model out of wood. I am happy to have learned a bit more about the 3D workshop and satisfied with the result.

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Observational drawing created during Tim’s lesson. The objects are art tools I had at home or from the internet.

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After thinking about how I would include my identity in the design while considering the project's context, I came across this very simple idea but a way I found to share something from my background while referencing the project's context. Then, I designed a pendant light for the interior design, the material used would be Capim Dourado which is an organic material with natural golden colour. It is only found in a specific region of Brazil (Jalapão) and used for crafting jewellery, decorations, bags and so on. It is of course a sustainable material, handmade and unique, the golden colour is a reference to the baroque embroidery in the octagon room. The pendant's design has intertwined octagons with patterns inspired by baroque embroidery as well. On top of that, I thought that including something handmade in the studio was excellent considering that the purpose of the studio is exactly to create and make. I was reluctant to show the idea to my client at the final meeting and I now regret not showing it to her, so I had to include it in the Padlet.

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A groin vault ceiling is one of the most popular and beautiful ceilings found in today's custom homes. However, the traditional construction method required to construct this type of ceiling called for a great deal of skill, time, and material. Furthermore, even those carpenters who have the skills necessary to frame this ceiling either refuse or charge such an outlandish price that it becomes impractical to entertain. Thus, this type of ceiling has been left to the upper echelon of homes.

However, this is no longer the case. Groin vault ceiling kits from Archways & Ceilings now allow a builder / contractor to add these to their homes quickly, easily, and affordably.

What is a Groin Vault?

Before we get into the construction process, let's make sure we're all on the same page about what a groin vault even is. The Groin Vault is created when two barrel vaults intersect with one another. A groin vault is also known as a cross vault or a double barrel vault. This Architectural marvel is very common in European countries, especially Rome.

In America, the groin vault has become a popular and beautiful ceiling found in many homes. So much so, the groin vault is Archways & Ceilings most popular ceiling kit! The Groin Vault Ceiling Kit, allows anyone to add an elegant architectural feature to their home!

How quick is it to construct a groin vault ceiling kit from Archways & Ceilings?

A groin vault constructed traditionally on site takes 10 times longer than using an Archway & Ceiling's groin vault kit. For example, an 8' 0" by 6' 0" groin vault would normally take two experienced carpenters two full days to construct when you include the prep work, laying it out, scribing the hips, cutting the blocks, and assembling. However, when using an Archways & Ceilings groin vault kit, the construction process is simplified tremendously, and all that is needed is two framers one hour to install.

Although groin ceiling framing looks like it might be complicated, it's really quite simple. Our prefabricated kits and easy-to-follow instructions take the guesswork out of the process.

THE FIRST STEPS TO TAKE WHEN INSTALLING GROIN CEILING FRAMING

1. You just need to frame a cross brace (two pieces of wood that intersect in the center of your desired location). Just make sure your cross brace is strong enough to support the weight of the groin vault and back bracing. You've now completed the foundation for your groin ceiling framing.

2. Snap two lines to the underside of your or cross brace. Just make sure they're centered in the groin vault area within ¼".

3. Identify and organize your struts. Don't worry; each one comes labeled with positioning indicators that will tell you exactly where they go. When you see struts marked with an "S," you'll know that those belong on the shorter side. Go ahead and separate those from the ones that are marked with an "L." Those belong on the longer side. Each will also be marked with a number. The number indicates exactly where those struts should be placed within the groin ceiling framing.

4. Use a square to mark the underside of your existing pieces of the cross brace according to the strut positioning measurements on the groin vault plan that came with your kit.

5. Now it's time to place your struts. Start from the outside of the groin vault framing. They may seem short, but don't despair. They're made in halves. Line up the squared end of each half to the center mark that you marked in step four. Take a look at the groin vault plan to find the rise and placement of the angle-cut tips. Place your struts and then double check to be sure they are on the correct side and position.

6. Continue nailing all struts into place until all the outer strut halves are in place. Then, it's time to work your way inward and follow the steps on your instruction guide to complete the installation.

As you can see from the steps above, you don't need any fancy tools or showy techniques. All you need is a measuring tape, a nail gun and a little initiative. Your groin ceiling framing will be up in no time.

How easy is it to install a groin vault ceiling kit from Archways & Ceilings?

The need for high end skilled framers is not required. As long as the framers can paint by number, read a plan drawing, and use a nail gun, then construction will be a breeze. But what about adding drywall and finishing the groin vault? Well, that's also a pretty simple procedure! In order to get you started, here's a quick rundown on the drywall process.

HOW TO INSTALL DRYWALL FOR A GROIN VAULT CEILING

We know you want to jump right into it, but before you get started, let's talk about your choice of drywall. We recommend using a double layer of 1/4 inch flexible drywall, so it's easy to bend into place. If you really have your heart set on ½ inch boards, you'll have to wet them from the back in order to help them bend without breaking. Okay, now let's roll up our sleeves and get to drywalling these groin arches. Here's how it's done:

1. Measure the length from the side of the groin arch to the center. This will determine the length of the cut you'll need for the drywall. If it's longer than 96 inches, of course, multiple panels of drywall will be needed to complete the job.

2. Measure the curved length of each curved strut from its center to its tip. Then measure from the side of the groin vault to each strut tip. These dimensions are the layout measurements.

3. Transfer your layout measurements to the drywall and mark a line that intersects where the center and side measurements meet.

4. Cut the drywall along this line.

5. Prop the drywall up against a wall and slowly bend it downward until a curve is formed.

6. Align the drywall to the groin vault and firmly press it up against the curvature.

7. Screw the drywall in place.

8. Repeat these steps along the same side of the groin vault until the corner is drywalled (measure, cut, bend, repeat).

9. Trim and shave the drywall where needed so that the diagonal cut of the drywall matches up evenly with the groin strut tips.

10. Repeat these steps for all sides of the groin vault, and then continue repeat the process for any other groin arches you have installed.

Now, all that's left to do is to add some tape and mud and you're ready to paint and texture. As you can see from this finished hallway, installing and drywalling groin arches is worth every bit of effort. Check out this simple step by step video demonstrating how to properly drywall a groin vault.

People usually get that installation is easy, but they tend to worry about the drywall process. Have no fear; we'll provide you with step-by-step instructions so it won't be much more difficult than drywalling a standard wall.

We've tried to make the complete groin vault construction process as easy and affordable as possible. When we're designing our ceiling kits or archway kits, we want to make them available for everyone, not just professional contractors or carpenters. In fact, we have had several handy DIYers successfully install our groin vault ceiling kits. It is really that easy! See for yourself. Watch the following installation video.

How affordable is it to construct a groin vault ceiling kit from Archways & Ceilings?

Because groin vault construction varies based on size and construction method, prices vary. The one thing we can tell you is that it gets very affordable when you choose a prefabricated kit instead of a groin vault built from scratch. Even if you plan to do the groin construction yourself, you must consider your time into the cost.

For example, an 8' 0" by 6' 0" groin vault ceiling kit from Archways & Ceilings costs $504.95. If this ceiling was to be built traditionally, then the cost would consist of $250.00 of material and a minimum of $500 dollars in labor. You do the math!

With Archways & Ceilings it is now possible Mr. Builder or Mr. Contractor to add these beautiful groin vault ceilings to your homes. This could be your next competitive advantage. As more and more homeowners are expecting more and more from their builder, what are you doing to set yourself apart? A beautiful groin vault made quickly, easily, and affordably could be your next meal ticket.
Order Your Groin Vault Kit
Editor's Note: This post was originally published in February 2010 and has been completely revamped and update for accuracy and comprehensiveness.

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Simplifying Groin Vault Construction with a Groin Vault Ceiling Kit

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A groin vault ceiling is one of the most popular and beautiful ceilings found in today's custom homes. However, the traditional construction method required to construct this type of ceiling called for a great deal of skill, time, and material.

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I researched many different construction techniques that I could use for my design, most of them I found while looking for low cost construction techniques. I came across a lot of information and one thing led to another. One of them was the thin brick vaulting, an ancient construction technique but very functional and affordable; I also came across the Guastavino vaults, Catalan vaults, and many others. The techniques were amazing to learn about but difficult to estimate costs and difficult to find someone capable to do the job. I tried different things and sketched a few ideas inspired by the techniques I learned although it did not really fit my layout for the studio. The most difficult part was to figure out how it would look aesthetically from the outside, especially the roof part. Another challenge was the costs and labour for that kind of job, even after researching a lot I did not find concise information enough to estimate the costs.

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Under the heading of esoteric masonry, there are a few items that stand out: columns, lintels, arches, bridges, aqueducts, serpentine brick walls, corbels, carved stone, flying buttresses, fireplaces and in the far exotic end of the spectrum, Guastavino tile vaults. Guastavino tile is a masonry construction using thin tile built up in multiple-layers to form a composite of thin shells in various configurations of self-supporting masonry arches and vaults. The building technique was brought to the United States by Rafael Guastavino from Catalonia, Spain, in the late 19th century. The construction company that he formed, along with his son to follow in his footsteps, remained in the business of building Guastavino vaults up into the early 1960s. A most notable example of Guastavino tile is the Oyster Bar in Grand Central Terminal in New York City.

Prior to and in coordination with the Association for Preservation Technology International conference in October 2013 in New York City, a two-day hands-on workshop at the A. Ottavino stone yard in Ozone Park, Queens, NY, gathered a number of craftspeople to build two Guastavino structures. One was an intersection of two barrel vaults and the other a barrel vault with intersecting lunettes (little moons).

The workshop leaders were Kent Diebolt ( Vertical Access, NYC), Berta de Miguel (Vertical Access), Mallory Taub (Arup, San Francisco), David López López (Catalonia), Benjamin Ibarra Sevilla (University of Texas, Austin), Marta Doménech Rodriguez (Catalonia), Ken and David Follett (Follett-PCLS), and Kevin Dalton (Vertical Access). Sponsors included Orchard Park, NY-based Boston Valley Terra Cotta, which supplied the tile; APT ( Association of Preservation Technology) and Vertical Access. The National Center for Preservation Technology and Training (NCPTT) provided a grant.

Here's the process for building a Guastavino vault:

You take a tile in one hand, left or right as needed, and in the loose hand take a trowel, which you then dip into wet, white plaster. Butter two edges of the tile and then briskly, or at least without too much hesitation, lift up and set the thin piece of baked-clay masonry sort-of flat up in the air and squeezed against the other tiles you have already set. The tiles set over the last few minutes hang out into the air. You gently wiggle and prod the tile with your fingers and your palms to where it needs to be, and then you hold it there for a bit.

Hold the thin tile there just long enough for it to stay in place as it reaches out along where you imagine and desire the vault surface to be. As best as you are able, that is, as this is a workshop for non-masons to gain an inherent appreciation of the craftsmanship of this masonry technique. As you stand and hold the tile, you look around and talk to your neighbor. You get to know each other as you build together. On the wet saw, tiles are being cut in halves, slivers and triangles. You feel the weight of the tile and the plaster on your hands as it changes from wet and squishy to hard. Timing is important; the materials can be impatient.

Listen to the tap-tap of the trowel against the drum of the vault. There is no formwork. You have to feel through the structure of the masonry as it sets and cures. At this stage there is no support, only the magic of adhesion of the plaster as it sets hold to suck in and grasp the tiles that freely reach out into space. That is, until you get to the last tile, which, as in a picture puzzle, fits in and completes the whole reality of the vault.

Another layer of tile is offset over the first layer, set in a cementitious mortar, with a whole lot less dramatic flair. Slick it with the mortar and plop it down, wet, squiggle it into place and move on. There are, for this workshop, only two layers of tile. The last tiles are set in place. Then everyone adjourns to an interior room for lunch and a talk about the history, mystery and tradition of this architectural form.

But hold on! There are many mysteries when it comes to Guastavino vaults and one of the first is their remarkable strength and durability in form - when everyone has almost left the work area, and only minutes since the last tile has been set, a really big guy in an impish stir of impatience jumps up and runs from corner to corner across the top of one of the freshly built vaults.

For more information, the definitive book on the subject is Guastavino Vaulting, The Art of Structural Tile, by John Ochsendorf (New York, Princeton Architectural Press, 2010). See Clem Labine's review in the April 2011 issue of Traditional Building.

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Under the heading of esoteric masonry, there are a few items that stand out: columns, lintels, arches, bridges, aqueducts, serpentine brick walls, corbels, carved stone, flying buttresses, fireplaces and in the far exotic end of the spectrum, Guastavino tile vaults.

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They are so thin that it's hard to believe that they stand up.

Have you been in the Oyster Bar in Grand Central Station? Or the Boston Public Library? Then you have been in a Guastavian vault, a dome built by Rafael Guastavino and his family. He brought the Catalan or Timbrel vault from Spain and built many in the USA. They are ingenious, very thin structures that are built without reinforcement, just the bonding of ceramic tiles together into thin, shallow arches. Kris at Low-Tech Magazine described them in the definitive post on the subject:

© Vegas&Mileto; via V2.com

The timbrel vault does not rely on gravity but on the adhesion of several layers of overlapping tiles which are woven together with fast-setting mortar. If just one layer of thin tiles was used, the structure would collapse, but adding two or three layers makes the resulting laminated shell almost as strong as reinforced concrete.
© Vegas&Mileto; via V2.com

Timbrel vaults are also known as Catalan vaults, because it is thought that they were invented in Catalonia. Not far down the Mediterranian coast from Catalonia is Villarreal, where Fernando Vegas and Camilla Mileto have designed a Pantheon (defined as "a building in which the illustrious dead of a nation are buried or honored"), but which in North America we would call a mausoleum. This one is for the Soriano - Manzanet Family, who may or may not be illustrious, but certainly have style.

© Vegas&Mileto; via V2.com

According to the V2.com press release,

Special 3D programs were required to design the pantheon and the final solution was only agreed on after 23 consecutive variations aiming for optimum aesthetic and structural results. All the curves in the pantheon were produced using catenary profiles. These curves are incredibly difficult to express mathematically and graphically to successfully optimise the construction's overall structural operation.

© Vegas&Mileto; via V2.com

Close to 20,000 handmade ceramic tiles were used in construction following tests to establish the type of clay, fuel and flame, texture, durability and aging tests. The size and thickness, both dependent on the curves of the pantheon, and the necessary weight were calculated for the three ceramic layers to compensate for the effect of wind suction.

© Vegas&Mileto; via V2.com

Timbrel vaults don't need a lot of expensive formwork, usually just a bit of light moveable stuff for the first layer. But these vaults were designed without any formwork at all.

The vault is comprised of four interlinked hyperbolic paraboloids and is very light yet incredibly resistant because of its curves. Formwork was not required and only some metal guides were used to ensure curvature was guaranteed at all times.

© Vegas&Mileto; via V2.com

It is a very light structure, coming in at 12.5 tonnes; they say that a conventional masonry pantheon weighs between 15 and 20 times as much. It was built with only tiles plaster and white cement, and no reinforcement. "Nevertheless, the pantheon vault is designed to withstand possible earthquakes given the rigid curves and the addition of fiberglass rods at the springings to absorb shear force."

© Vegas&Mileto; via V2.com

It is sort of ironic, using such an efficient and light structure for such a silly function as a family mausoleum/ pantheon; it would be more exciting if it was something useful, like a tapas bar. Perhaps architects will be inspired to use this incredible technology for a more lively function.

© Vegas&Mileto; via V2.com

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Guastavian Vaults Are Still Being Built, and Are as Thin and Elegant as Ever

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They are so thin that it's hard to believe that they stand up. Have you been in the Oyster Bar in Grand Central Station? Or the Boston Public Library? Then you have been in a Guastavian vault, a dome built by Rafael Guastavino and his family.

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Researchers from Swiss university ETH Zürich have created the facades of a winery in Greece from 13,596 individually placed bricks using a technology they have named "augmented bricklaying".

Built at the Kitrvs winery in Pydna near the foot of Mount Olympus, the building will be used to process and store wine from the local vineyards.

Its intricate, semi-transparent brick facades were designed by researchers from Gramazio Kohler Research at ETH Zürich and digital construction company Incon.ai. All 13,596 bricks were individually rotated and tilted to create the overall pattern.

"Each brick had a slight differentiation to the previous brick in rotation and position to create a continuous pattern over the whole elevation of the building," explained ETH Zürich researcher Daniela Mitterberger.

"The design controlled both, the bigger pattern of the whole building and the rotation and position of each brick. "

The intricate pattern across the 225-square-metre facades was created using parametric software and then built by masons using an augmented-reality optical guidance system.

"To achieve such an intricate design, a parametric digital design and fabrication model was developed, using Grasshopper software, Compas and Python as a programming language," said Mitterberger.

"By optically instructing masons with tailored digital information through a custom augmented reality user interface, a direct connection to the digital design model can be established."

Each individual brick was positioned individually by varying the amount of mortar to create the overall pattern, which is intended to look like light moving across a liquid surface.

ETH Zurich combines 3D printing and casting to make more efficient concrete structures

"The deviation of the brick courses was achieved through varying mortar heights from five millimetres to 30 millimetres," said Mitterberger.

"The rotation of the individual bricks was also related to the underlying mortar and ranged from -20 to +20 degrees."

The masons positioned the bricks using an augmented reality interface, which updated the model in realtime when each brick was placed.

"This craft-specific user interface allows masons to intuitively understand where to place the bricks according to the digital blueprint and computationally derived spatial model," said Mitterberger.

"At the same time, the custom made dynamic optical guidance system tracked already placed bricks and updated the digital model," she continued.

"The technological innovation of this system uses visual-inertial object tracking features and realtime feedback to precisely relate what has already been physically built to the digital model, exceeding the accuracy of conventional holographic representations used as state of the art in this domain."

Mitterberger believes that the system demonstrates how technology and craft can be combined to create advanced structures.

"Through the re-introduction of craftsmanship into digital fabrication processes, augmented bricklaying pursues a human-centred approach to the notion of a fully automated building site," she added.

"Augmented bricklaying can be understood as a way to overcome the known limitations of robotic automation, at the same time expanding the scope of digital fabrication through a socially sustainable model of digitalised building construction."

Researchers at ETH Zurich are pushing the bounds of advanced construction techniques.

Recently they created a machine that controls the setting rate of concrete to offer a "seamless transition between casting and 3D printing" and in the past, they pioneered a method of robotic construction, which is being used to create a computer-designed modular house.

Photography is by Michael Lyrenmann.
Project credits:
Team: Gramazio Kohler Research, ETH Zürich
Collaborators: Kathrin Dörfler, Daniela Mitterberger, Timothy Sandy, Foteini Salveridou, Fernando Cena, Lukas Stadlmann, Lefteris Kotsonis, Eleni Alexi, Dimitris Ntantamis
Consultancy: Nebojsa Mojsilovic, Structural Masonry, ETH Zürich
Selected experts: Tobias Bonwetsch, ROB Technologies
AR tracking system: Incon.ai

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Kitrvs winery's parametric facades built from 13,596 individually rotated bricks

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Researchers from Swiss university ETH Zürich have created the facades of a winery in Greece from 13,596 individually placed bricks using a technology they have named "augmented bricklaying". Built at the Kitrvs winery in Pydna near the foot of Mount Olympus, the building will be used to process and store wine from the local vineyards.

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Mezzotint of James Gibbs

Designer of the Octagon Room, Orleans House

James Gibbs, the architect of St Martin in the Fields in Trafalgar Square, London is mainly known in Twickenham as the designer of the Octagon at Orleans House. This building, allegedly built to accommodate a dinner party for Queen Caroline, was commissioned by James Johnston in about 1718.

Gibbs was born into a Scottish Catholic family and was actually destined to enter the church following training in Rome. His sojourn in Rome, where he rebelled against the zealous instruction turned him to architecture. Johnston, also a Scot was at the other end of the religious spectrum and might be thought to have been an unlikely client, particularly in the aftermath of the 1715 Rebellion.

The Octagon at Orleans House, designed by Gibbs c1718

Additions to Cross Deep, Gifford Lodge and Whitton Hall

In about 1750 Gibbs added wings to the house known as Cross Deep, for its owner, Barnaby Backwell, a banker.

Shortly before this he had added a room to Admiral Sir Chaloner Ogle's house, later called Gifford Lodge, facing Twickenham Green.

In 1725 he designed ancillary buildings at Whitton Place for the Earl of Ilay (later Duke of Argyll). One of these, known as the Greenhouse but actually a stone building was later converted into a separate house and survived until 1935.

Collaborations with Alexander Pope and Rysbrack

Gibbs established a corner in the design of church monuments, collaborating from time to time with Alexander Pope and Michael Rysbrack. Pope sometimes wrote the epitaphs, Rysbrack carved the figures and Gibbs created the settings.

Perhaps the best known of Gibbs' designs is the monument to Matthew Prior, who had died in 1721, for which Rysbrack carved the figures and Coysevox the bust of Prior. Pope did not like the bust of Prior without his wig and his relationship with Gibbs may have cooled from this time.

Gibbs designed the monument to Pope's friend James Craggs the younger who died from smallpox while living up the road from Pope at the top of Cross Deep.

Advises Pope

It has been stated that Gibbs designed Pope's Villa for the poet but the evidence for this is fragmentary, relying on the interpretation of an undated letter possibly of 1719. More likely perhaps he advised Pope on later alterations to the villa, as noted in a memoir dated 1751 and held to have been written by Gibbs himself.

Horace Walpole's opinion of Gibbs, included in his Anecdotes of Painting in 1771 was fairly indifferent: "...Gibbs, like Vanbrugh, had no aversion to ponderosity, but not being endued with much invention was only regularly heavy. His praise was fidelity to rules, his failing, want of grace."

Further reading:

Howard Colvin, A Biographical Dictionary of British Architects 1600-1840, Yale, 1995
T F Friedman, James Gibbs Architect, London Borough of Richmond upon Thames, 1982
The History of Orleans House Twickenham, London Borough of Richmond upon Thames, 1994
T F Friedman, James Gibbs, Yale, 1984

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James Gibbs, A very individual architect - Twickenham Museum

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Designer of the Octagon Room, Orleans House James Gibbs, the architect of St Martin in the Fields in Trafalgar Square, London is mainly known in Twickenham as the designer of the Octagon at Orleans House. This building, allegedly built to accommodate a dinner party for Queen Caroline, was commissioned by James Johnston in about 1718.

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My client and I had some difficulties in arranging our final meeting. First, we had agreed to meet at a 'next Friday' that I assumed would be the next Friday we had ahead so I prepared for the meeting as planned. On the day, I learned from the client that the Friday we had agreed was the Friday of the next week. I was very embarrassed and a bit upset that I would have to go out of the plan I had structured. I had planned to meet her and share the final idea to be approved before I create my final model, in case I had to make any changes and now I wouldn't have as much time. We had a hard time finding another possible date so I had to start creating my final model before our final meeting that thankfully happened. despite the embarrassing situation, it was a lesson to me. I learned that I should be precise and always use dates with the numbers specified to be sure instead of assuming.

On the final meeting, I started to present the final idea by guiding the client through the small changes I had made to the layout she had chosen before. I talked about the layout and the appliances it included and showed images and illustrations of the inside of the studio. I tried to explain to her at my best capability how I imagined the exterior to be, which was not very easy for me. I showed her the 3D model on SketchUp although I had a hard time showing her the inside because I was using a different computer that I'm not used to, it all went fine. I showed her the materials I had planned to be used with the support of images of samples. In the end, we talked about the costs and I explained a bit about the new things I had included. I strongly believe that she was happy with the final outcome and it was truly relieving and rewarding to me. The only thing she had to add was regarding the remaining budget that could be used for safety equipment for the artist.

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I created this collage as a form of inspiration that helped me with ideas for the studio while I was selecting, cutting and arranging its images. I used pictures from magazines that reasoned with my ideas, the project's context, and reminded me of the gallery. I also used acrylic paints to create an artistic background.

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The decisions I made before to save costs were not being expressed on the costings table because I was using a website estimation based on the area, so I decided to breakdown the construction costs completely. I figured a more accurate estimation could help me see opportunities for more savings and make it possible to add all of my client's requests. I used several websites as guides for material prices and labour, one of them was https://www.timber-frame-suppliers.co.uk/timber-frame-self-build-cost-calculator/ I found while looking for framing prices but provided me with costs for other services as well.

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I opted to leave the model as it was and cover the failed paint with papier mache for it to look uniform. It was good to experiment first so I won't have the same problems with my final model.

This model also made me realize I'm not happy with the completely flat roof. To me, the outside form looks too horizontal and long and seems to be missing something.

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I tried spray painting on the roof of the model as a test but the result wasn't satisfactory even after many layers of paint because I probably should have used a primer first but I didn't have it at the moment.

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I knew that the time available for me to use the 3D workshop would not be enough to create an entire model, since I do not have experience using the equipment. To guarantee I would have a model for my outcome I created my final idea at home out of cardboard I kept from deliveries. Although it is simple and I did not have access to much material and tools, I tried to make it as neat as possible to represent my final design.

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A book of architecture : containing designs of buildings and ornaments : Gibbs, James, 1682-1754 : Free Download, Borrow, and Streaming : Internet Archive

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See what's new with book lending at the Internet Archive

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From the beginning, I knew I would like to include octagon geometry in my design somehow. I researched octagon geometry to know a bit more about the form and maybe why it was used for the Octagon Room. The results were very intriguing. The octagon significance is related to power and kingship, which could explain why it was used for the octagon room, a room to receive the king and his family.
'the octagon is the symbol of kingship, standing halfway between earth and Heaven, the square and the circle—a perfect geometric form that perfectly incarnates the French conception of the sovereign as the essential mediator standing midway between God and the people.'

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Classical architecture has a rich and intricate symbolic repertoire reaching back to earliest recorded history that today can be compared to ancient Latin: a language once in common currency but today understood only by a few adepts. Well into the 19th century, the educated viewer could read a building as one reads a book, but today the language of classicism is largely mute to us, much of its meaning lost and eroded by time and the relentless evolution of human societies.

The first step in deciphering the meaning of the built world is to understand a structure's geometry—both its two-dimensional plan and in three dimensions. The origins of geometry—literally, "the measure of the earth"—are as obscure as the origins of civilization, and much that was "discovered" by the likes of Pythagoras was actually obtained from the priestly caste of ancient Egypt—their own knowledge so lost in the mists of time that it was attributed to Toth, god of language and knowledge—and was simply openly disseminated by the Greeks for the first time.

Pi, for example, often attributed to Archimedes, is clearly encoded in the measures of the Great Pyramid of Giza (and was also known in ancient China, the Indus Valley and in Sumer). Likewise, the symbolic meaning of geometry and number can be traced through the Greeks and the other ancient civilizations of the Mediterranean basin to Egypt and Sumer, and when we continue farther in time we encounter the evidence of monolithic civilizations destroyed by the last ice age, about which so much has been projected and too little known. The point here is to identify the origin of the symbolic meaning of geometric figures: Egypt, transmitted to us via the Greeks and their neighbors.

We will use a very simple example to illustrate geometry's symbolic power: the Bosquet of the Three Fountains in the gardens of Versailles ( depicted in the watercolor reproduced at the top of the post). This elaborate garden-within-a-garden was built in the early 1700s by order of Louis XIV, and tradition holds that the king acted as his own architect and directed the bosquet's design.

The bird's-eye-view watercolor above was commissioned by the Société des Amis de Versailles to aid in fund-raising efforts to rebuild the bosquet. As you can see, the garden is laid out on three levels: each parterre with its central fountain is linked by grass steps, ramps and low cascades to the level below. Like the other baroque bosquets in the park of Versailles designed for Louis XIV, the Three Fountains is rigidly geometric and features elaborate water displays.

Though difficult to see in this small reproduction, the highest, farthest fountain has a circular basin; the middle basin is square and the lowest is octagonal. And here we have the crux of the bosquet's symbolic meaning: the circle (and its three-dimensional counterpart the sphere) represents the arcing vault of the heavens.

The square represents the earth, literally its four "corners," or cardinal directions (as well as the four known continents of the Renaissance age: Europe, Asia, Africa and America).

Finally, the octagon is the symbol of kingship, standing halfway between earth and Heaven, the square and the circle—a perfect geometric form that perfectly incarnates the French conception of the sovereign as the essential mediator standing midway between God and the people.

The traditional method of constructing an octagon begins with a square, upon which one inscribes the arc of a circle. Constructing an octagon also generates an infinitely regressing triangle, further adding to the figure's symbolic power (in fact, Louis XIV became linked to Descartes' idea of a centered infinity—with himself as the central point from which infinity was referenced, of course).

You will also notice that Louis XIV did not place the octagon between the circle and the square, as one would expect, but rather he employed it as the summation of a progression, or an equation: Heaven (circle) and earth (square) give rise to the king (octagon). And here we have a simple but profound insight into the mind of the Sun King: unsurprisingly, he considered himself and his position as the summation of the union of Heaven and earth, rather than as the mediator between them. No one ever said Louis XIV was afflicted by self-doubt.

Finally, what we have here is a perfect symbolic expression of absolutism—no surprise really, as the bosquet was conceived by the man who literally defined the age. France, in the Age of Louis XIV, superceded Italy to claim first place among the powers of Europe in all spheres, including for the first time, culturally. Though it used the art and architecture of Italy as its template, France constructed its cultural hegemony upon the foundations of absolutism, not humanism, and Leonardo's humanist vision of man as the center and measure of all things was replaced by the idea of a single man—a king.

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Classical architecture has a rich and intricate symbolic repertoire reaching back to earliest recorded history that today can be compared to ancient Latin: a language once in common currency but today understood only by a few adepts.

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After my research on brick facades, I found it very hard to express and represent my idea on paper so I used clay to create mini bricks on a scale of 1:10 to experiment with. The process was long, especially the drying time so I had to put it near to the radiator to dry quicker. After that, I finally could try placing it in different positions to create 3D effects. Unfortunately, the number of bricks (51) turned out to be too little to create a decent sized wall enough to reproduce the design I had in mind but enough to have an idea of how it could look like.

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This model was a chance to experiment with different materials to see what works and what doesn't before creating the final model. The first thing I tried was papier mache to cover the outside of the model. It implied a lot of time to cover it and to dry completely but I am happy with the result.

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After changing the location, the design also had to change and adapt to make the best out of the new spot. The position of the windows changed, and the orientation of the building as well. The interior layout changed to an even more open space concept to facilitate moving freely through the building, allow light inside all the spaces, and also reduce construction costs. Furthermore, I had to make changes to fit the new appliances for ceramics artists, including a room for the kiln and a space for the pottery wheel. Here are some of the layout ideas I tried and changed until I was happy with the result.

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I came across this technology while looking for diverse ways to use bricks. I wanted to include bricks at the façade because it is part of the identity of the borough, but I did not want it to be the same as any other building in the area. Looking for a way to create an interesting façade I found an amazing technology: that combines augmented reality and the expertise of bricklayers to create interesting 3D effects for facades and sense of movement. The technology of oculus is combined with an app called Fologram that serves a holographic guide for the bricklayer. The technology helps to make complex design achievable, easier to build, savings on labour costs and time.

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Fusing augmented reality with the physical space, Fologram seeks to facilitate the construction of complex designs (for example, parametric designs that require a series of measurements, verification, and specific care) through digital instructions that are virtually superimposed into the workspace, directing a step-by-step guide for bricklayers during the construction process.

'Research institutions and large companies are working with industrial robots to automate these challenging construction tasks. However, robots aren't well-suited for unpredictable construction environments, and even the most sophisticated computer vision algorithms cannot match the intuition and skill of a trained bricklayer,' stated their creators.

Fologram expects that augmented reality will gradually eliminate drawings on construction sites, avoiding errors and misinterpretations, and increasing the speed and precision of the construction process.

View more details of the process in the video below.

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This is How a Complex Brick Wall is Built Using Augmented Reality

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Fusing augmented reality with the physical space, Fologram seeks to facilitate the construction of complex designs (for example, parametric designs that require a series of measurements, verification, and specific care) through digital instructions that are virtually superimposed into the workspace, directing a step-by-step guide for bricklayers during the construction process.

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Workbench with wheels to be easily moved however needed, moisture resistant top to avoid damaging the table, easier to clean and use, especially when working with clay. The storage space is also a very useful and practical feature.

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Metric: Width 1200 to 2440mm x Height 900mm x Depth 900mm and 1220mm
Imperial: Width 4' to 8" x Height 3' x Depth 3' and 4'

Made of construction grade CLS C16 pressure treated timber

Tabletop and shelf are made from uniMDF hydro-air Moisture Resistant sheet 18mm

Workbenches starting from 4ft to 5ft will have 2 sets of legs, 6ft to 8ft workbenches will have 3 sets of legs

All sizes can be modified on request

Free delivery (see delivery information below)

Strong, sturdy and beautifully finished

Hand made in the UK

Please note: Imperial measurements are for representative purposes. Workbenches will cut in metrics 4ft - 120cm, 5ft - 150cm, 6ft - 180cm and etc.

Why choose - UniMDF hydro air Moisture Resistant Worktop

UniMDF hydro air is made of pine wood, which is responsible for its typical light, stable wood colour. During the manufacturing process, the wood fibres are mixed with special glue and subsequently compressed under high pressure and at a high temperature to produce a homogeneous MDF board. Doing so prevents uniMDF hydro air from swelling after contact with water as quickly as regular MDF, which makes this board better suited for wet areas. uniMDF hydro air is made of wood from sustainably managed forests of non-controversial origin.

Key Features

Water-resistant

Low density

Homogeneously sealed surface

UniMDF hydro air Moisture Resistant sheets PEFC and FSC certified, also ISO 9001 certificate

Convenient workbenches for professionals, easy to move around your workshop or garage thanks to the integrated swivel heavy-duty wheels with brake castor 100mm (each wheel lifting capacity 125 kg). The heavy-duty construction and the 1150kg weight capacity (500kg - 750kg with wheels option) ensure that these tables can handle various types of projects. 4ft depth workbenches are ideal for fabric cutting, sign or print workshops.

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Wooden uniMDF Top Workbench with Wheels 3ft and 4ft Depth - 18mm uniMDF Moisture Resistant Top

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Metric: Width 1200 to 2440mm x Height 900mm x Depth 900mm and 1220mmImperial: Width 4' to 8" x Height 3' x Depth 3' and 4' Made of construction grade CLS C16 pressure treated timber Tabletop and shelf are made from uniMDF hydro-air Moisture Resistant sheet 18mm Workbenches starting from 4ft to 5ft will have 2 sets of legs, 6ft to 8ft workbenches will have 3 sets of legs All sizes can be modified on request Free delivery (see delivery information below) Strong, sturdy and beautifully finished Hand made in the UK Please note: Imperial measurements are for representative purposes.

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Powder coating finish which makes it stain and mark resistant and easy to clean

Both working surface and bottom board are made of solid MDF

Comes with 12 free hooks to hang the tools on the pegboard

Max load 230kg: 100kg per shelf, 20kg-pegboard, 10kg-drawer.

Size: 155cm (H) x 60cm (W) x 120cm (L)

Free UK mainland delivery

How long will delivery take?

Dispatch takes 24-48 Hours

Free UK Delivery* Excludes highlands, islands & R.O.I takes 3-5 working days, excluding weekends & bank holidays

Free UK Delivery* Excludes highlands, islands & R.O.I for larger items takes 7-10 working days, excluding weekends & bank holidays

£2.99 Next Day Delivery is available on orders placed Monday - Thursday before 1pm.

What is classed as a 'large' item?
Garden Furniture, Living Room Furniture, parasols, shelving units, etc.

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Powder coating finish which makes it stain and mark resistant and easy to clean Both working surface and bottom board are made of solid MDF Comes with 12 free hooks to hang the tools on the pegboard Max load 230kg: 100kg per shelf, 20kg-pegboard, 10kg-drawer.

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We're rated as 'Excellent'

This Valencia Simplicity White vertical blind is an old favourite and we can see why. It's simple, it's elegant and it will open up even the smallest of rooms to give the illusion of space.

Not only that, those soft fabric louvres help to create an inviting atmosphere that's easy to relax in as well as letting you control the light in all sorts of ways.

As well as this blind being ideal for a long window or a patio door, it will work well in kitchens and bathrooms too. The polyester fabric is moisture resistant and wipes clean easily, perfect for the busiest of homes.

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Valencia Simplicity White Vertical Blind

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This Valencia Simplicity White vertical blind is an old favourite and we can see why. It's simple, it's elegant and it will open up even the smallest of rooms to give the illusion of space. Not only that, those soft fabric louvres help to create an inviting atmosphere that's e

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Band saw, pillar drill, hand saw, hand drill, screw driller, grinder, fret saw, rivet guns, bench clamps, bench vice, hammers, mallets, metal rulers, stanley knives, workbench.

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Kiln, pottery wheel, tools and clay.

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After researching each part of the construction (materials + labour costs), I could add other appliances to the studio and make it even more complete. The new appliances include powered tools that can be useful for artists working with different materials, vertical blinds and art supplies requested by the client. Finally, I included a mini fridge, laptop and printer that will bring even more functionality to the studio. The costs also include a contingency fee and, planing permission and building control fees.

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I decided to create a 3D model to help me understand better the dimensions and proportions of the studio I designed and find potential ways to improve and develop the idea further. The model is made out of cardboard on a scale of 1:50.

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Here I selected a few examples of materials and colours to present to my client and start thinking about the outside look.
We could follow the Gallery's style and try to match with similar colours or we could go for a different and more unique look, for that I selected blue bricks as an example and make reference to the Octagonal Room ceiling.

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Since one of the main concerns of our first meeting was the location, I started the second meeting by presenting to my client other possible locations. I had chosen one location beforehand that I judged to be the most appropriate and designed my ideas having the place in mind but I still wanted my client to be a part of the decision, so I presented to her other options as well. Fortunately, she agreed with me regarding the location and I could show her the ideas I prepared. Overall she seemed to like the ideas and had a favourite, which was the first option although she had a few requests like blinds for the windows and more artist materials. I guided her through the costs and explained the design fee I had included, which she agreed was fair. She mentioned we should probably include a contingency percentage inside the costs.
Next, I made questions about the style she prefers and if she had something in mind for the interior and she expressed a desire for a modern interior and mostly neutral colours to suit any artist. Finally, I showed her examples of colours we could have for the bricks so we could start thinking about the exterior's aesthetic.
I asked her a few times to make sure she was happy with the options I presented and we could develop one of them further. The meeting was lovely and she seemed satisfied with what we decided so far.

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Key Points
-Location
-New Designs
-Finishes
-Costs Updated
-Questions

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I tried different websites that help to estimate the overall costs of buildings to find some accuracy, that was the basic building cost based on the area.
On top of that, I researched construction materials stores to find materials measurements and affordable options but still looking for quality. I used the measures I found to calculate how many bricks would be needed to cover the area of the walls and then find the accurate price, for example. The cost calculation was a long process that involved many layers and details that helped make the budget clear and accurate.

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This is the first idea I prepared to show my client. I designed the entrance to be on the side and have windows at the front to allow people to see the inside. I wanted to keep the ceramics equipment and water facilities near each other to be practical and easy to work. The storage space, desk for computer and toilet are in the back since they are not the focus to the viewer. The diagonal window on the side allows people walking on the other side to have a peek inside the studio.

Below is a floor plan on a scale of 1:50 and drawings of the exterior from different perspectives to help the client visualize the idea.

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I wanted to offer a very different option to my client, so this is my second idea. Again I tried to keep appliances and facilities that were often used together near each other. The entrance is at the front and the angled wall has cabinets bellow.

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At the meeting with my client, she demonstrated concerns regarding the location I proposed because of the presence of trees on the site. I had difficulties deciding on a possible new location without actually seeing it in person. The pictures I took on my first visit turned out not enough to help me on this task so I decided to step back and revisit the site.

The experience was beyond enlightening. My perception of the surroundings and the location were different from the first time and much more clear. This time, I imagined the site in the future with all the seasonal changes and not only what I was seeing and how that would affect the building as well. I also took a person with me to have a different pair of eyes that could give me the perspective of an audience. I believe it was helpful because I had the opportunity to explain my ideas to someone that could be the audience and see how she responded to them.

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This is one of the possible locations I found.

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This is the second location I thought about.