ACTING TOWN ACADEMIC
PORTFOLIO
APRIL GLASBY
V O L II
BA ARCHITECTURE AT NEWCASTLE UNIVERSITY
APRIL GLASBY
140310641
PRIMER
STAGING
EXPLORING THE URBAN GRAIN
ANALYSING THE MACRO
p a g e 12
p a g e 38
DEVELOPING FORM
ANALYSING THE MICRO
p a g e 22
p a g e 47
EXPLORING MATERIALITY
DEVELOPING THE BRIEF
p a g e 28
p a g e 53
REALISATION AND
REFINEMENT
DESIGN D E V E L O P M E NT p a g e 60
AFTERWORD
CHARETTE p a g e 128
BIBLIOGRAPHY AND REFERENCES p a g e 133
NEW WORK DESIGN DECLARATION p a g e 83
INTERGRATED TECHNOLOGY P A R T II p a g e 108
REVISED WORK
PRIMER
GRADUATION
PROJECT
The year began with an in-depth site study in the Georgian
The Graduation project returned us to Richmond, this time
market town of Richmond, North Yorkshire. As we were
to an empty site situated behind a cluster of residential, com-
working within Richmond for the entire year it was important
mercial and abandoned buildings. The biggest challenge of
to establish an understanding of the town and its complexi-
the graduation project for me was trying to incorporate all
ties. I learnt to observe the town from a deeper level, viewing
areas of my architectural education into one project, by mesh-
everyday elements as integral aspects of the town’s working.
ing design with theory, technology and professional practice.
The Primer really founded the setting for the year, exploring
architectural theory played a massive role in the conception of
themes of form and materiality. The relationship between a
my final building as I took major influence from Architecture
building and its context drove me through the year, becoming
as City and le Corbusier’s Architectural Promenade. This year
an important theme explored throughout.
I have tried to use my graduation project as a platform for me to investigate other areas of architecture, such as the ones men-
The Primer presented a new challenge, creating a monument
tioned previously.
rather than designing a building. At first it took time to wrap my head around this, considering solely how the form could
Another important turning point for my design came when I
be viewed rather than how the interior spaces would be used.
identified my client as Punchdrunk. I feel this gave my design
But once I had, I realised the importance in creating this
depth and tangibility and allowed me to delve deeper into one
building as a form, wrapping the entire building in one, uni-
area of performing arts. In doing this, very specific needs for
form façade. It allowed the focus to be concentrated upon how
the building were defined, allowing me to further develop the
the monument would exist within the site, and how it would
scheme. The Graduation project was the longest and most
be experienced from the outside, forming an embodiment of
complex I had ever undertaken, having the ability to mould
Richmond.
the project into my own was really rewarding and produced an outcome that I am proud of.
Overall the Primer taught me much about Richmond, and how to approach the town in the Graduation project. It also showed me the importance of a materiality’s relationship with the building form and surrounding context.
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LEARNING SUMMARY
THE YEAR AS A WHOLE
This year has been extremely challenging, and at times has tested my resolve. I have really enjoyed working in the Acting Town studio; coming from a background of performing arts it was incredibly enjoyable to be able to combine that area of my life with my studies. A difficulty I have found this year was my inability to create work quick enough, I have been working with a highly iterative process, quickly adapting, changing and sometimes completely scrapping my design. It was therefore difficult to keep up with representation, leading me at times to not being able to portray what is in my head to others. However, I feel this process allowed me to explore the outer parameters of the project, quickly creating and changing ideas. It was therefore important for me to develop ways of quickly and easily portraying design ideas, this transpired mostly through the use of sketch model making. Model making also became a primary focus of my year, developing the use of plaster, clay, card and various other mediums.
This year for me was also the first time I really began to develop an interest in Architectural Theory and research. This began with writing the dissertation and progressed through the exploration of Florian Biegel and Phillip Christou’s Architecture as City. This is something I will continue, broadening my knowledge and improving my architectural craft.
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STUDIO OUTLINE
“T
he studio challenges a representation-
al notion of matter and space, charged with emblematic meaning and value. It seeks to explore a relational aesthetics capable of generating architectural situ-
“
ations conducive to rich cultural, social and personal experiences.
- STUDIO BRIEF
PRIMER
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EXPLORING THE URBAN GRAIN
T
he sites for both the Primer and Graduation project are situated in the Georgian market town of Richmond,
North Yorkshire. The projects focus upon a deep reading of the town, exploring the area’s vast topography and roofscapes. Richmond’s urban landscape is formed around the castle, built in 1071. The town’s make-up is complex; where residential and commercial coexist without much distinction, and old and new inhabit the same space. Richmond is an urban haven set within the vast countryside of the North York Moors.
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N
R I C H M O N D, Noth Yorkshire
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PRIMER
16
EXPLORING THE URBAN GRAIN
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PRIMER
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EXPLORING THE URBAN GRAIN
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N
PRIMER SITE
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DEVELOPING FORM
I
n developing the form of the monument, I focused upon the roof-scapes of Richmond and of the Primer site. The
idea behind the form began with wanting the shape of the roofs to be experienced at ground level. As one of the most interesting aspects of Richmond’s urban landscape, they can only be totally appreciated from a high point, such as the top of the castle. To allow the geometry to be appreciated at ground level I mirrored the roof-scape of the site at the bottom of the building, creating a shaped underside that becomes shelter for the public realm beneath. This idea was inspired by the space underneath the Caixa Forum in Madrid, where the surface of the underside of the building is imperative to the experience of the space.
PRIMER
24
FORM CONCEPT
DEVELOPING FORM
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MODEL DEVELOPMENT
PRIMER
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FINAL MONUMENT
DEVELOPING FORM
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EXPLORING MATERIALITY
W
e were asked to consider the adaptive use of a material we had observed in Richmond, following on from the
focus on the site’s roofscape I decided to investigate the use of clay roof tiles. Looking at Architects such as Kengo Kuma I decided to develop a façade that could wrap the entire building, using roof tiles I created myself. I investigated using reclaimed roof tiles, however I wanted to get a feel for the process required to make a clay tile, and allow myself the freedom of designing any shaped tile I wanted. Each tile took about 15-20 minutes to make and about a day to dry, because I had to leave the wet tiles on the form I had made to dry, the process to make 6 tiles took about a week. I then went on to design a bracket that would attach the tiles to the wall; I designed this so that the curve of the edge could be appreciated from ground level. On the underside of the monument the tiles would be hung using tensile metal wire.
PRIMER
30
INITIAL CLAY TILE DEVELOPMENT
EXPLORING MATERIALIT Y
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MAKING PROCESS
PRIMER
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FINAL CLAY TILES
EXPLORING MATERIALIT Y
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PRIMER
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TILE BRACKET
EXPLORING MATERIALIT Y
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THE TILE FACADE
STAGING
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A N A L Y S I N G the M A C R O
T
his chapter explored the surrounding area around the graduation site, cosidering surrounding infrastructure, ge-
ography and council restrictions. Following on from the Primer the Graduation project will continue the deep reading of the town.
STAGING
RICHMOND
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ANALYSING THE MACRO
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SCALES OF RICHMOND
STAGING
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ANALYSING THE MACRO
SITE ANALYSIS
Building density
Public voids
Major roads
Minor roads
Green spaces
River
SURROUNDING SITE ELEMENTS
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STAGING
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Extract from A R C 3 0 14 : Professional Practice and Management
RICHMOND CONSERVATION
T
he site is situated in Richmond, North Yorkshire, just North of the town centre; the area is part of both the Rich-
mondshire district council and the North Yorkshire county council , however the area’s planning restrictions are set by the Richmondshire district council. Most of the town and some of the surrounding area is part of a conservation area, as shown in figure 2. As well as this there are many Grade II listed buildings situated around the site as shown in figure 1. Richmondshire’s local plan for 2028 states that “In 2028, sustainable growth in the Richmondshire plan area’s towns and villages supports the quality of life of rural communities and addresses their needs for local homes, work and leisure, through development and the provision of services.”
fig. 1 : listed buildings around the site The centre’s open courtyard design will provide space to be incorporated into the public realm, where the community can coexist with the building’s inhabitants. As well as providing a new space of leisure for Richmond, the building will also provide a new opportunity for employment, as set out as a requirement in the local plan for 2028 . The building will become a new cultural centre within Richmond and North Yorkshire; and will therefore attract both local residents to visit and tourists from farther afield, bringing business in.
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fig. 2 : Richmond conservation area
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A N A L Y S I N G the M I C R O
STAGING
ND
AS
ST
RE
ET
FR
EN
CH
GA
TE
DU
N 48
THE SITE
ANALYSING THE MICRO
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STAGING
Residential Abandoned Commercial
BUILDING USES
SUN AND SHADE 50
Monastic
ANALYSING THE MICRO
ROUTES
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D E V E L O P I N G the B R I E F
T
he brief we were set instructed us to create a ‘Laboratory for Performing Arts’ that should be considered as an
experimental venue for both the public and performer. The centre should not only provide opportunity for performance but for education also. The overall floor area should not exceed 1500-2000m2 with at least 500-600m2 of potential performance space. We should also consider utilising the existing buildings on site.
STAGING
54
THE CLIENT
DEVELOPING A BRIEF
I
n developing a brief I decided to pick a specific theatre company that
would provide a list of exact requirements for the performing arts centre. Punchdrunk are a company that work in the format of immersion theatre, in which the audience are free to roam the set and follow the performance as they wish. They exploit the relationship between spectator and performer in their plays, creating an intimate relationship that at times even involves contact. The performers are mostly dancers; so there is a requirement in the centre for spaces for dance rehearsal. During performances the only distinction between audience and performer is created through the use of masks, which the audience members wear. This lack of separation will lead my design proposal, creating a sense throughout the building that a performance can happen anywhere, and anyone can watch. A typical proscenium arch auditorium promotes a hierarchy; the audience are there to watch and the dancers to perform, I will therefore not be including one within the centre, promoting spaces that create intimacy within the performance.
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STAGING
ADAPTABLE PERFORMANCE SPACE
the B R I D G E
ADAPTABLE PERFORMANCE SPACE
A C C E S S C O R E
ADAPTABLE PERFORMANCE SPACE
LOBBY AREA
DANCER‘S SOCIAL SPACE
THE BAR
STORAGE AND ANCILLARY SPACES
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S C H E D U L E OF A C C O M M O D A T I O N
DEVELOPING A BRIEF
T
he building will be Punchdrunk’s new centre for teaching and per-
formance situated in the North of the UK. Due to the theatre company’s changing requirements in their performance and rehearsal spaces, the rooms within the centre must be open, adaptable spaces that offer varying qualities of light, atmosphere and dimension. As well as this the relationship between the performers and the public realm is important and there must therefore be a space for them to coexist. This can be provided in an outdoor courtyard or a space such as a café or bar. There must also be within the building an area for social space for the dancers that is separated from the public. The centre should explore the relationship between spectator and performer, utilising experimentation with materiality.
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INDIVIDUAL BRIEF
R E A L I S A T I ON A N D REFINEMENT
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DESIGN DEVELOPMENT
REALISATION
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INITIAL MASSING IDEAS
DESIGN DEVELOPMENT
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Extract from A R C 3 0 1 5 : Theory into Practice
A R C H I T E C T U R E as C I T Y
The city should be experienced on both the large urban scale and the smaller scale of a building. To create this, the architect must form an
‘architectural ensemble’1; a group of buildings that place considerable importance on spatial relationships, movement and contribution to the public realm. In viewing everything as a city and designing a cluster of forms, ‘one is designing the
city in microcosm’2.
This is a theory written about by Florian Beigel and Phillip Christou in Architecture as City, in which they discuss the various scales at which the city exists, as ‘a city archaeology, a city origin
or city fragment’3. They believe in architecture as research, designing projects that not only exist as buildings but as an exploration into the public realm. To create Architecture as City, their projects rarely involve just one stand-alone building, but aim to create and ‘architectural ensemble’.
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Within Richmond, the town exists at many
The
reflection
scales (figure 5); the history of the town, the
in
tourism and the integration of the modern age.
bedding
the
of
project the
these
becomes
building
voids crucial,
within
the
withemsite.
By creating an ensemble of buildings, there are
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spaces left between the forms. These spaces are
A question asked in Architecture as City is if
integral to the design, in the role of positively
an ensemble of buildings can provide a positive
charged voids that become outdoor courtyards;
contribution to the public realm. A city is a place
where the wider public and building inhabitants
where many values and customs cohabit the same
can coexist. Within Richmond’s townscape,
space; the aim is to create buildings that create
these voids already exist, in places such as the
a strong positive influence to the experiences of
market square(figure 4), the castle grounds,
the community. In doing this the building can,
and even the site itself exists as a positive void.
not only provide for itself, but for the city as well.
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REALISATION
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DEVELOPING A GRID
DESIGN DEVELOPMENT
Following on from the research into Architecture as City, I decided to form a set of rules, creating a
system to control the massing of the centre. At first the grid was linear with regular gaps between the lines, but as it developed further the grid became freer. Taking points from the existing buildings on site, the grid-lines became less linear connecting important site elements. Using this system I began massing, creating models that allowed me to change what was extruded and what was voided.
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FINAL GRID PROPOSAL
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REALISATION
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EXTRUSIONS AND VOIDS
DESIGN DEVELOPMENT
To further explore the idea of extrusions and voids I creat-
ed some plaster cast models. What was interesting about this was to create an extrusion in plaster I had to create a void in the mould, creating the inverse of the end result. The model pictured here explores changes in level in excess, with a large contrast between the highest and lowest points. It was created using a linear system, forming smaller spaces between. This system creates in interesting urban landscape, however I need to work now to recreate it in a format that provides the required spaces and takes more influence from site.
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REALISATION
The first massing followed on from the ideas explored previously, creating a version of the extrusions and voids that can exist within site. The voids meant that a large excavation would be required, allowing the voided spaces to feel sunken and sheltered. At this point the grid was still in a linear form, creating rectilinear rooms shapes. However, points on site were used to define the lines running away from the garage, meaning varying sized spaces were created, some that were quite small and would be difficult to occupy. At this point the building feels quite isolated, detached from any of the pre-existing buildings.
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MASSING PROPOSAL ONE
DESIGN DEVELOPMENT
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REALISATION
The second massing proposal connected the existing garage
to the centre, using a stair core to join them. This explored to idea of providing two routes into the centre, one through the existing private road, into the centre of the building. The second was through the garage space, offering a public foyer for performances that would take place in the centre. Due to the spaces being too small and restrictive previously, I removed some of the grid lines to allow for larger spaces. This massing also created a corridor running around the central space, acting as both circulation and social space for the dancers. At this point in the design process the spaces were still fixed, allocated for primarily one purpose.
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MASSING PROPOSAL TWO
DESIGN DEVELOPMENT
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REALISATION
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INITIAL MOVEMENT CONCEPT
Extract from A R C 3 0 1 5 : Theory into Practice
MOVEMENT
A
city is made up of individual contained
spaces, connected by the spatial relationships that exist between them. To reflect this to the scale of a building, an importance must be placed upon the movement from space to space. The body and mind are undeniably linked and therefore the experience of the body must have influence over the experience of the mind. It is therefore important that an architect considers the movements of the body through their building. Performers, the main users of the centre, already have a close relationship with the movements of their body, it therefore becomes even more important to enhance the experience of moving from one space to another. The flow of movement within the centre is neither up nor down, left nor right, for you have to move one direction to move another. The combination of vertical and horizontal movement in the form of ramps means that the circulation becomes inhabitable, social spaces that exist for both the wider public and performers.
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As well as the importance of moving from one space to another, the design should also propose a route through the entire ensemble. The idea of ‘promenade architecturale’ is a big influence in the design of the centre. First coined by Le Corbusier in his description of Villa Savoye, the term became his new way of describing circulation. The intention of the promenade is to ‘resensitise people to their surroundings’, by creating an intentional and planned route through the building, revealing important elements as you move through. My graduation project is formed of small volumes connected by ramped courtyards; the journey through the building begins in the foyer entrance of the existing garage. As you move through the building further elements of the centre are revealed to you. Part of moving through the centre involves moving through spaces that will be used as studios and performance spaces.
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PROMENADE
ARCHITETURAL
REALISATION
Light qualities
Viewpoints
PUBLIC
PRIVATE
PUBLIC
PRIVATE Public/private divide
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WORK PRESENTED AT CROSS REVIEWS
DESIGN DEVELOPMENT
最爀漀甀渀搀 昀氀漀漀爀 簀 㨀㈀
昀椀爀猀琀 昀氀漀漀爀 簀 㨀㈀
最爀漀甀渀搀 昀氀漀漀爀 簀 㨀㈀
昀椀爀猀琀 昀氀漀漀爀 簀 㨀㈀
猀椀琀攀 瀀氀愀渀 簀 㨀㔀
猀椀琀攀 瀀氀愀渀 簀 㨀㔀
猀攀挀琀椀漀渀 渀ⴀ猀 簀 㨀
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REALISATION
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CROSS REVIEWS
DESIGN DEVELOPMENT
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DESIGN DECLARATION
The final proposal focuses on the themes of movement, transparency and adaptability. The building is
made up of primarily three open, flexible performance/rehearsal spaces that are connected via a series of ramps. The building is intended as a journey that a spectator should move through. The main circulation space becomes an outdoor courtyard and social space that offers an additional area for performance. The spaces are also connected via a service and access core that is connected to the rooms through the building’s social spaces. These long social spaces become integral to the design of the building, offering interaction between spectator and performer. The façade of the building is a combination of polycarbonate and glass, experimenting with levels of transparency and sightlines.
REFINEMENT
DU
ND
AS
ST
RE
ET
N
88
SITE PLAN
DESIGN DECLARATION
THE GARAGE
STUDIO SPACE
THE CORE
D I S A B I L I TY ACCESS MAIN BUILDING ROUTE
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BUILDING ROUTES
REFINEMENT
FLOOR PLANS 1. Performance/rehearsal space 2. Dressing rooms 3. The Long Bar 4. Performance lobby area/social space 5. Service/access core 6. Dance Studio/performance space 7. Dancer social space with lockers/storage 8. Performance/exhibition space
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DESIGN DECLARATION
A
B
N -2 L E V E L
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REFINEMENT
A
A
B
N 92
-1 L E V E L
DESIGN DECLARATION
A
B
N 93
GROUND FLOOR
94
SECTION A
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REFINEMENT
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DESIGN
THE LONG BAR
DECLARATION
97
REFINEMENT
98
DESIGN
SOCIAL SPACE
DECLARATION
99
REFINEMENT
100
DESIGN
COURT YARD
DECLARATION
101
REFINEMENT
102
DESIGN
THE GARAGE
DECLARATION
103
REFINEMENT
THE MARKET
104
GARAGE ADAPTATIONS
DESIGN
DECLARATION
DANCE STUDIO
BOX OFFICE
105
REFINEMENT
106
SECTION B MODEL
DESIGN
DECLARATION
107
REFINEMENT
108
DESIGN
DECLARATION
109
INTERGRATION OF TECHNOLOGY
I began to explore levels of faรงade transparency within my project, using gaps in opacity to create views into the performance spaces, prompting
Technology has influenced my design declara-
spectators to move through the building. This
tion in primarily two ways; the first is the use of
between spectator and performer, by creating a
a structural grid and the second is the design of
visual link despite being separated spatially. To
the faรงade. The integration of technology in these
create different levels of transparency I began ex-
two elements has enhanced and furthered the de-
perimenting with different glazing types, looking
sign of the centre.
at the use of glass and polycarbonate in buildings
was implemented to explore the relationship
such as the Laban dance centre. This led me to the conclusion that the building would be primarily polycarbonate with areas of glass that would provide views. After researching about natural When I was beginning to consider how to de-
heating and ventilation, I decided that it would be
sign the centre I began by drawing a flat grid on
most efficient to utilise both the glass and polycar-
site, using the lines and points of various exist-
bonate, creating a double skin faรงade with an inte-
ing buildings and elements on site (see previous
rior layer of polycarbonate and an exterior layer of
work). Originally this was to control the massing
glass. This allowed me to remove the polycarbon-
and design of the building, however, as I began
ate in places, providing a view through. The space
to develop the structure, the system I had created
between the two layers created a deep faรงade that
became integral to the placement of the columns.
allowed for inhabitation. In the areas where there
This simplified the construction of the building,
was no polycarbonate a gap was created, in which
freeing the faรงade of any load and allowing for
I situated benches, encouraging the space to be
open, mostly column-free spaces. Initially I had
occupied and the inhabitants to gaze out. These
created the system to aid the design of the build-
moments became fundamental to the building de-
ing, however it also ended up enhancing the de-
sign, exploring the relationship between perform-
sign of the building structure.
er and spectator.
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TECHNOLOGY STATEMENT
Throughout the year technology has enhanced and inspired my design process and outcomes, specifically in the examples mentioned above. I think it is important that design and technology work closely, influencing one another as the design progresses. Completing the intergrated technology Part I kick started my thinking on how I could utilise technology to enhance my design, however, I did not end up following through with any of the ideas I discussed there. W
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2 1
2
1 2 3
4 5 6
7
1
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1. Waterproof Membrane 2. Retaining wall structure 3. Concrete pile wall 4. Rigid insulation 100mm 5. Rigid insulation 200mm 6. Plasterboard 7. Concreate floor slab
RETAINING WALL
1
2
7
6
3
4
8
9
5
2 1. Lightweight concrete slab 2. Rigid insluation 150mm 3. Reinforced concrete slab 4. Insulation acting as acoustic sealant 5. Acoustic panelling 6. Batons running horizontally 7. Batons running in opposite direction 8. Cavity to absorb impact 9. Floor covering
FLOOR INSIDE-OUTSIDE JUNCTION
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INTERGRATION OF TECHNOLOGY
As mentioned previously in the Technology statement, the incorporation of a
grid plan to aid the design of the centre greatly helped when placing structural elements.
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STRUCTURAL GRID
INTERGRATION OF TECHNOLOGY
ROOFS
COLUMNS
FLOORS
COLUMNS
RAMPS
FOUNDATIONS
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BUILDING CONSTRUCTION
INTERGRATION OF TECHNOLOGY
120
INTERGRATION OF TECHNOLOGY
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CONSTRUCTION AND MATERIALITY
INTERGRATION OF TECHNOLOGY
122
SUMMER CONDITIONS
WINTER CONDITIONS
ENVIRONMENTAL DESIGN AND SERVICES
123
INTERGRATION OF TECHNOLOGY
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THE FACADE
INTERGRATION OF TECHNOLOGY
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AFTERWORD
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CHARETTE WEEK
The Instrumental charette’s aim was to “curate a series of soundscapes using sound making contraptions”. The week began with us searching for items we could recycle into instruments, visiting recycling centres and searching around Newcastle. The most interesting object we found was the drum of a tumble dryer. We decided that this would become the focal point of our instrument, using the spinning motion to generate sound. We tested putting various things inside the drum, the most effective was a mixture of sand and rice, creating a rain-like sound. Originally, to test the effectiveness of the spin, we attached a handle to the drum to operate the instrument (fig. 1). However, we developed this further and added a bike that would drive the tumble drum. We used various cylindrical items and a bike inner tube that we had found to create the mechanism. The thing I took mainly from the Charette was the importance of material reuse and the inspiration that be obtained from found objects.
AFTERWORD
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CHARETTE WEEK
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BIBLIOGRAPHY AND REFERENCES
IMAGES pg. 52-53 - https://www.punchdrunk.org.uk/sleep-no-more/ http://www.ahrc.ac.uk/research/readwatchlisten/features/immersedinpunch pg. 63 - Architecture as City, Phillip Christou and Florian Biegel pg. 79 - http://cea-seminar.blogspot.co.uk/2012/09/how-architectural-design-moves-us.html
SIGNIFICANT TEXTS F. Beigel and P. Christou, 2010, Architecture as City, (Austria: SpringerWeinNewYork) P. Blundell Jones and M. Meagher, 2015, Architecture and movement, (New York: Routledge) F. Samuel, 2010, Le Corbusier and the Architectural Promenade, (Germany: Birkhauser) N. Bourriaud, 1998, Relational Aesthetics
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