As an exercise defying that architecture is a disjunction between the interior and exterior, this project poses that both are allowed to exist simultaneously, in support, and in opposition to the other. Given the constraints of the site boundaries and its context--the Sir John Soane Museum in London--this project deliberately exploits architectural curiosities, fantasies, oddities, and anomalies while perversely obsessing over the real and domestic.
A certain sensibility is immediately evident in the exterior form. The simple tripartite system complies with its surrounding buildings while the three protuberant volumes suggest a quasi-anomous form; on one hand, uncomfortably soft and cute, on the other, suspiciously bloated and fleshy. The cuts at each level reinforce the datum of the neighboring blocks as well as exhibit a hierarchy of layers that lures the visitor closer toward the inside. Inside, an assemblage of exuberant parts populate between the adjacent walls of the site, containing and partitioning the individual spaces. Columns and floor plates manifest independently from the ground up and impede the nearly converging volumes, producing programmatic connectivity and renewed collaboration between divergent forms. While the columns and floors are used throughout the building to perform as conventional structural support, they are most notable for their pronounced representation. They embody both a light and pliant materiality as well as an unyielding sense of rigidity. Together, the various internal parts empathize and confront each other through a set dialogue that actualizes the interstitial space with minimal formal gestures to the maximum programmatic effect.