HIDDEN BRUTALISM

A house constructed of hexagonal units; not something you see often, but the signature of architect Noel Moffett (1912-1994). In fact, Ashington House was meant to be constructed entirely of stacked hexagonal units, but the Greater London Council rejected the original plans by Noel Moffet & Associates. Unperturbed, Moffett simply produced an asymmetrical design that combined more conventional quadrangles at varying floor levels with a flourish of concrete flying buttresses and staggered covered staircases. He did however, manage to include two single-storey detached houses in the plan which were originally intended for disabled tenants. The wide angles of the hexagonal units allowed for increased mobility. Inspired by The Giant’s Causeway (Moffett was Irish), German expressionism, and Neuman, Hecker and Sharon’s Dubiner Apartment House (which is based on 100 square-foot hexagons), these houses are considered part of one of London’s forgotten Brutalist masterpieces.

THE PERFECTION OF THE HEXAGON

The house already had a second storey built upon two of the three hexagons that make up the original design. Rees was commissioned to create an extension on the ground floor and to add a third and final hexagon to the second storey. The ground floor extension was to be annexed for a family member so we had to take into consideration that the building now needed two entrances. In nature, the hexagon is, of course, found in the beehive. It is considered the most perfect and efficient shape for the honeycomb because it’s the best way to divide a surface into regions of equal area with the least total perimeter (the honeycomb conjecture proven by mathematician Thomas C. Hales in 1999). The economy of this shape means that it has been adopted by Architects for Society with their Hex House model: flat-packed, scalable, modular and sustainable housing. It makes the foresight of Moffett’s design feel all the more visionary.

CU LATER

In discussion with the client, we landed upon copper cladding for the upstairs extension. Not only would a light timber frame with cladding be more economical than a brick and block construction, it would be aesthetically pleasing. The raw copper has a deep umber hue to begin with which would keep it within the context of the estate’s dark brown brickwork. However, with time, the copper oxidises, gaining texture and verdigris. This gradual weathering in response to the elements means that the structure almost feels like a living thing that undergoes metamorphosis. It will take on a green patina but not before it has become part of the urban landscape.

DURABLE, LIGHTWEIGHT, INSULATED

It was really important that the metal structure could breathe. It actually protrudes and overhangs slightly so that rain water drains off and away from the ground floor walls. There is also venting and capping beneath the cladding for ventilation and to avoid damp setting in from condensation. The original structure meant there was a slab of concrete on top of the ground floor that created a cold bridge so this overhang nicely creates a barrier to cold air. Insulated plasterboard retains heat within the structure. The copper cladding is interlinked at the seams allowing for expansion and contraction of the metal throughout the seasons. The seams, although functional, provide congruence and texture. Copper trim along the top of the ground floor extension neatly ties in the new material across the structure. The client sourced similar bricks as well as re-using some of the originals for the ground floor extension so there was no obvious break between the old building and the new work.