Sarah-Louise Huelin
Diploma 3

Post-oil translation, explores the paradigm of a 'complete' architecture, through the inversion of preservation, to regain the cathedral's original civic application. Set in a post-oil era, at a time of civil unrest, Beauvais' commune will demand that its only  asset, will be reborn.  By reframing the cathedral as the physical and symbolic centre of the city, it represents a multi layered heterotopia of construction and activity. In order to ascertain flexibility within such a rigid stone mass, the cathedral will be deconstructed by a medieval revival  mechanism. The permanence of the crane will allow the gothic masonry to be assembled, moved, re-arranged and scrapped continuously, allowing unprecedented control to the public and its immediate context.  A re-established language of craft will be recycled through the embellished use of the hand as the future cathedrals of Beauvais evolve around the guild and the holistic disposition of the ‘master builder’ will return, as the designer is once again the builder.

Every five years the community of Beauvais meet to re-establish the spatial needs and programmatic changes of the cathedral.The cathedral is set as a hive of construction activity. Displaying a wide variety of topological configurations.Cathedral Heterotopia, a continuos process of flexibility, to be assembled, moved, rearranged and scrapped continuously, erradicating a future of strict preservation and regaining a civic role within the cathedral.Reframing the cathedral as the physical and symbolic centre of the city in a post-oil era.This project aims to explore the paradigm of a ‘complete’ architecture. An invariable programme directed by preservation means the cathedral has evolved as a process of gradual decay, whilst  ignored by a constantly adapting society. Our assets should be reused to represent the future and not the past. They should be a symbol for prosperity and should depict and retain a sustainable message.  Elevational transformation of Beauvais cathedral. In 2016 we will see a 'gothic ampithetre' generated through a horizontal striation of gothic masonary elements, reorganised through the cylindirical constraints of the permenant, crane mechanism.Reversing the Iconoclasm on the west facade of Wells Cathedral, to bring god down to the people. By re-ordering the last judgement hierarchy of its depictions, the cathedral takes on a vertical typology.In a post-oil era, transport and communication occurs only at a local scale. Energy is to be generated and consumed on site. The river which runs west of the cathedral is utilised, a waterwheel elevates water to a channel which terminates at the original font site, which turns a larger waterwheel, powers the crane in order to deconstruct and reconfigure the cathedral.1:100 scale laser-cut model, derived from 7500 individual stone pieces to form a 'gothic kit of parts'. To be reconfigured as a revival of the gothic form. A futuristic reconfiguration in the form of a tower allows for natural light to permeate a multilayered commercial, cathedral tower.'Gothic Amphitheatre' with guild workshop to west and central theatre platform for public performances, meetings and congregation. Access and flexibilty to the composite stone parts allows for an open air concentric design based on the constraints of permanent construction mechanisms. It initiates a multilayered spatial experience from intimate vaulted rooms to an archive of derelict columns for recreation.