Brief : Design a timber cabinetto for Bath Music Festival that displays, expresses and reflects the nature of the Serpent Chandelier.
Site Response and Materiality
Bath Abbey has both Norman and Gothic Revival origins and closely echoes the instrument's biomimicry and traditional background.
I have clad the structure with shou sugi ban timber panels so that my design harmoniously complements the 16th Century Serpent - bound in black leather - whilst interpreting it in a contemporary manner. Tall and rectilinear in elevation, yet organic in plan, the display echoes Bath Abbey's slender, and highly ornamented interior.
As the chandelier cannot be played, the cabinetto's undulating walls enable interaction and provoke various perceptions of the instrument dependent on the occupants viewing position and angle of sight. The three portal frames in compression are arranged radially to form a stable hexagon. The resulting six 'legs' are an ode to the Serpent's six air holes.
Serpent Chandelier Form Analysis - Front Elevation
Serpent Chandelier Form Analysis - Plan
Early sketch of organic form supported by geometrical arched portal frames
Light
I have utilised shadow in order to challenge preconceptions of what it means to display. The design reflects the chandelier's dark elegance, creates a visceral atmosphere, as well as synergy by both physically and acoustically extending of the instrument.
Four skylights in the roof allow rays to come through and irregularly illuminate the instrument so that, as occupants look up, they have an alternative view.
Early sketch of stalactite timber battens repetitive texture
Internal Perspective of Final Model - Hand Drawn
Texture
The interior perpetuates the idea that the instrument is at home by giving the structure similar properties. Therefore, I double layered the cladding from the ceiling to create delicate stalactite forms, the ultimate organic stalactite being the chandelier growing downwards from the exhibit roof’s centre.
Final Plan - Hand Drawn from 1.2m above ground