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CONTENTS.
Reflective Report
p. 4
Primer
p. 6
Field trip: Berlin & Cologne
p. 18
Staging
p. 24
Realisation
p. 46
Thinking through making
p. 68
Synthesis
p. 74
Illustrated cultural bibliography
p. 100
Bibliography
p. 106
Group work New or amended work
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ACKNOWLEDGEMENTS.
Firstly, I would like to thank my studio tutors, Jack Mutton and Harriet Sutcliffe, for their advice throughout this year, As well as inspiring me to explore the potential of materials. This year has been incredibly rewarding for my education and it would not have been possible without their guidance. I would like to thank my friends and family for supporting me throughout the completion of my degree. Thanks.
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REFLECTIVE REPORT. As a 21 year old, this last year of university has been incredibly rewarding. The course content provided to us allowed me to explore different areas of knowledge that I was interested in, varying from learning about mycelium and its architectural purposes to investigating how rich brick facades and various other materials. Joining the “Ordinary resilience” studio gave me the opportunity to work on a site where we could find various derelict buildings, that carried a remarkable amount of history. This aspect of the site caught my eye from the start. The studio engages with the ideas of concerning context, historic narrative and materials. Personally, one of the aspects that I was interested in the most was: materiality. I began to ask myself: Why does material matter? How can I make it matter? Our studio started the year examining the city at a range of scales. Focusing on a specific scale at a time enabled me to truly analyse unique aspects of Newcastle that I hadn’t noticed before, like the materiality of the facades in different areas. Another important aspect of our studio was that we worked closely with various artists references. Two of the artists that influenced my work were Joseph Cornell and Gabriel de la Mora. As working closely with the work of artists was something that I was used to do during High school, it was quite satisfying to go back to it and borrow ideas from their work. Traveling to Cologne and Berlin for our fieldtrip, was a very enriching experience, as we visited various buildings were their materiality and the way they were built were their most important aspects. Visiting “Bruder Klaus” chapel
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Bruder Klaus Chapel
Mycelium sample from dissertation
Brick material study
allowed me to reflect in how a building method can create different ambiences inside a building. Another important building that we visited was “The Ernst Busch academy of dramatic arts”, the building presents an interesting juxtaposition between materials as well as the Concept of “Old & new”, as the new build is a renovation of an older building.
Having our tech report related to our design, was crucial for me to understand the technical aspects of preserving and recycling materials around my site. As well as it was a learning experience from which I gained a good amount of knowledge about using CLT as a structural element, as well as the sustainable aspects of using reclaimed bricks for building design.
“I like to see them change from being the end of one thing to becoming the beginning of another”
In realisation, I further developed my design, which influenced my theory into practice essay. This essay was a further analogy of my design concept and the work of artist Gabriel de la Mora. De la Mora’s work enabled me to reinterpret various areas in my building, and allowed me to work towards the idea that certain areas of my building could be transformed whilst maintaining their historical importance.
– Gabriel de la Mora. During this year, I reflected on the importance of materiality, and celebrating the history of a building. Therefore, for my design project I decided to maintain the facades of various buildings across my site as a way to celebrate their history. Being inspired by one of my primer pieces the main concept of my design was to keep the facades and merge them to show a continuation in materiality. Maintaining the facades represented a celebration of the history of these buildings, being a reflection on the work of artist Gabriel de la Mora who uses old found deteriorated things and transforms them into something new that essentially celebrates the history of the object.
During synthesis, I worked quite heavily on further developing the interior spaces as well as the façades. Developing images of the studios and galleries allowed me to further understand how these spaces would work in my building. Developing an elevation study also allowed me to further work with the materiality of the building, as well as develop more detailed moments to refine my building. Looking at the work that I did for my dissertation, I was very interested in working with “pure” mycelium and how this specific material could make a contribution in an architectural context. My dissertation allowed me to gain an immense amount of knowledge in a field of architecture that I didn’t know much about.
As materiality was a very significant factor in my design, it was something that I decided to focus on from the very beginning. By producing various materiality studies, I developed a good understanding of how I could make different brick tonalities work together. During thinking through making week, I continued this material studies and produced several ( 74 to be exact) bricks of various tonalities, which I used to create a piece that would help me understand how to create a smooth transition in tonality when it came to working with the different brick facades that I was interested in preserving.
Overall, looking not only at my design concepts but also my representational skills, being part of the “ordinary resilience” studio allowed me allowed me to develop a graphical style that I will carry on using, as well as the importance of making models.
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PRIMER.
The primer project consisted in understanding the city at different scales. For this, careful observation was needed. This project shows how “cities can adopt a certain character from urban grain through city room and façade.” It was important to discover how each building was part of a “wider discussion” and how they can communicate a message. To start this project, the first requirement was to investigate the city of Newcastle through sketching and photography. This allowed me to document the aspects of the city that stood out the most to me. The projects outputs were to produce two sculptures and one print. Each of these outputs were meant to represent three different scales of the city; large, medium and small. The project also encouraged me to look into different artists like Joseph Cornell and Gabriel de la Mora to extract different ideas and concepts that could further develop the prints and sculptures.
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City scales.
Whilst observing the city of Newcastle I took interest in various aspects. One of them being the different facade materials that could be found whilst walking down to the Quayside. Another one being how the language of streets would change, as well as the little details found in buildings that I hadn’t noticed before.
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Artist influences.
Fig. 1
Joseph Cornell A parrot for Juan Gris (1953-54)
Joseph Cornell was born in Nyack, New York. Cornell’s most characteristic art works were boxed assemblages created from found objects. The boxes were arranged with eclectic fragments of photographs or Victorian bric-a-brac. Several of his boxes were interactive and are meant to be handled. ‘Cornell could create poetry from the common place’. Joseph Cornell was fascinated by the fragments of once beautiful and precious objects he found on his frequent trips to the bookshops and thrift shops, he was largely self-taught.
Fig. 2
“A parrot for Juan Gris” This piece is part of a series of 18 boxes that we developed over 15 years. The intend of this piece was to create a homage to Juan Gris collage: The man at the Cafe. “Cornell worked mostly in series, spinning obsessions with Renaissance portraitists and film stars into microcosms of Victorian anachronism and eccentricity.” (The metropolitan museum of art, 2018)
Photography of Joseph Cornell
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Fig. 3
Gabriel de la Mora Mexican artist, Gabriel de la Mora, often works with materials that are considered waste or derelict. His intentions with these materials are to put them through a process of pentimento, of reworking, erasing and altering, generating palimpsest works that convey the effects of the passage of time, natural elements and histories of use. “127,687” This piece was created by breaking down eggshells into small pieces that were then sorted by hue and pieced back together – 127,687 were the number of eggshell pieces that were used in this piece. De la Mora’s intentions with “127,687” was to create a monochrome piece that reflected on “the barriers of organic life, the passage of time and the muddied boundaries between media” as he describes his piece as a mixture between “painting, sculpture and drawing”
127,687 Fig. 4
“The weight of thought” This series works with shoe soles, showing how a person’s unique way of walking leaves a natural hole. By unifying all of the shoe soles into one art piece he highlights how each of them present a different story, how every hole may signify the loss of material through time, leaving an emptiness that represents the persons history. (Taylor,n.d)
“I like to see them change from being the end of one thing to becoming the beginning of another” The weight of thought
– Gabriel de la Mora.
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Large scale.
For my large-scale piece, I decided to do a cast. This piece represents my journey through the site, and how I experienced it. The shape of it represent the route I took from the university all the way down to the quayside. The colours essentially represent the materiality of the buildings that I passed on this route. Varying from limestone to big glazed facades to brick ones. For this piece I wanted to present the idea of how all these facades almost merge between one another, creating a transition in tonalities across the city. Before creating my final piece I developed some test cast to see how this different materiality’s could merge.
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Medium scale.
Photography of H&M Building
Photography of Primark Building
Photography of Fenwick Building
Photography of The pearl building
Linocut of H&M Building
Linocut of Primark Building
Linocut of Fenwick Building
Linocut of The pearl building
My medium scale piece focuses on investigating the different languages found in one specific street. In this case I studied the facades of Northumberland street, where from my experience whilst exploring the city I noticed that some buildings stand out more than others. My piece aims to represent how these different facades can be perceived by the public eye. To develop my concept, I decided to make a print. Using lino, I cut out various facades outlines that I then used to create 3 different pieces. The pieces present an abstract representation of Northumberland street.
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Above: Final Prints in blue paper Left: Final print in brown paper
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Small scale.
Fig. 5
The pearl
Moss Bross
Process images
For my small scale piece, I developed a cast. For this cast I looked at buildings like “The pearl� in Northumberland street and the Moss Bross building next to it. I was interested in creating a piece that would show the contrast between the brutalist building and the small house with pargetting details.
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Final sculpture
Close up of sculpture
Drawing of sculpture
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FIELD TRIP: Berlin & Cologne.
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City exploration.
University building in Cologne
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Ernst Busch Academy
Neues Museum Berlin
Bruder Klaus Chapel
Kirche Christi Auferstehung
We travelled to Cologne and Berlin for our field trip. This experience was very enriching, as we visited various buildings were the materiality and the building construction were their most important aspects. We visited “Bruder Klaus” chapel where we saw how a building method can create different ambiences inside a building. Another important building that we visited was “The Ernst Busch academy of dramatic arts”, the building presents an interesting juxtaposition between materials as well as the Concept of “Old & new”, as the new build is a renovation of an older building.
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Materials & Textures.
Exterior Of Bruder Klaus chapel
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Exterior of Kirche Christi Auferstehung
Wall detail of Ernst Busch academy
Basement of Ernst Busch academy
Kolumba museum
In terms of materiality and textures, we visited various buildings where we could find the theme of “old & new”. Showing how a new building can be designed to celebrate an older building that was there before. Some interesting examples for this idea are “The Ernst Busch academy” and the Kolumba museum. Furthermore, the “Bruder Klaus” chapel presents some interesting change in tonalities on its exterior.
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STAGING.
Staging investigates how a site can be developed in consideration of the unique qualities that the surrounding concept provides. It develops a proposal for a new portion of the city located near the Tyne river. The site is located on City road near the Quayside. It presents fascinating pitched roofscapes, as well as a rich amount of brick facades. On this phase the site analysis was developed. My project initially presents the idea of converting 3 derelict buildings, with different brick facades into one that would house the new Architecture School for Newcastle University. The main concept of my design is to keep their facades and merge them to show a continuation in materiality and to create a flow in tonality. Maintaining the facades represents a celebration of the history of these buildings. This shows the influence of artist Gabriel de la Mora by how he uses old found deteriorated things and transforms them into something new that essentially celebrates the history of the object.
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City plan. The site is located in the south-east area of Newcastle Upon Tyne, near The Tyne river. It is currently occupied by a small warehouse, Keelmens hospital, Keel house and the Salvation army. Keelmens hospital which is a known grade II* listed building is an almhouse style construction built in 1701. It was built to house the sick and aged keelmen along with their families. Located near the quayside, the site has views to some very known buildings in the city, like the Baltic and the Sage, as well as it is possible to see the Millennium bridge. The materiality of the buildings surrounding the site are predominantly a variety of different types of bricks, from common burnt clay brick to more grey toned ones.
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Site analysis.
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Site model.
Site images.
Keelmens Hospital
Warehouse
The salvation army
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Historic mapping. Keelmens Hospital is an almshouse style construction built in 1701. It was bult to house the sick and aged keelmen along with their families. It is in a prime located with direct correlation to the Quayside.
The Ragged and Industrial School was built in 1882, costing £3,300. It schooled 200 puplis, all boys from the ages of 7-14. It Later became the Royal Jubilee School. - Keelmens Hospital
- Site of Maternity Hospital, then housing
- School
- Hadrians Wall
1880’s Historic mapping
The Maternity Hospital built resulted from a1960s Act of Parliament. It was one of the rst ‘lying-in’ hospitals in the country where pregnant woman could take bed rest.
A new social housing scheme was built connecting Howard Street to City Road. This continued the development of social housig around the area.
New roads were introduced around City Road to improve links between the Town Centre and Quayside as well as access routes in and out of Newcastle.
- New Road Infrstructure
- Keelmens Hospital
- Maternity Hospital
- New Housing
1950’s Historic mapping
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- School
- Hadrians Wall
Modern day mapping
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Site materiality.
The materiality of the buildings surrounding the site are predominantly a variety of different types of bricks, from common burnt clay brick to more grey toned ones. The site itself is covered with rich brick facades.
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Warehouse bricks
The salvation army bricks
Keelhouse bricks
Keelmens bricks
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Relation to past projects.
Primer Large Scale piece
Images from field trip
Looking back at my primer pieces. The work that I had realised for my large city scale had great influence in my design concept. This work presents the idea of merging the materiality of different faรงades in an abstract way. Some of the buildings visited during our European trip to Cologne and Berlin also informed my concept development, as they presented junctions of different materials. On the following page a materiality study presents the brick colours and textured of the three main buildings on the site. Furthermore, it shows the potential mixture of different bricks.
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Materiality studies.
Tonalities found on the site
Blend studies between tonalities
Sketch of site buildings
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Design development.
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Massing.
For my massing proposal, I was interested in preserving the south-east facades of the warehouse, Keelmens hospital and the Salvation army, as they celebrate a rich variety of bricks colours and textures. Considering that each facade was built in a different time, each of them represents a different moment in history. I am also interested in extending the building and with it incorporating pitch roofs that respond to the roofscapes of the site. On the page to the left, I developed different massing proposals
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Massing model.
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Massing in context.
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Initial roof scape study.
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Initial Elevations.
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Urban grain mapping.
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REALISATION.
Based on my urban proposal and enquiries into the language of the city developed during Staging, this next phase of the project focuses on further developing the massing proposal for the Architecture School. The objectives for my project are to design a new building that encourages interaction between students and allows creativity to flourish amongst them. The facilities are intended to further enhance the University’s research-led education, as well as fostering links between University activities and the local community by having a public spaces that invite visitors into the building. During realisation I developed a schedule of accommodation that allowed me to organise the programme of the building, and refine the interior spaces. I worked with dividing the building into two sections: Public and private. The private areas will be occupied by students and staff – they will include workshop spaces, lecture theatres, studio spaces, review / seminar spaces, staff rooms and offices. The public areas will be open to students, staff and the wider public – they will include the main Gallery, open show space areas, a cafeteria and an interior courtyard. The courtyard, something I retained from Keelmens Hospital, acts as a space where public and private areas meet, becoming a centre point for social interaction.
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Collage of maintained buildings
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Concept development.
One of the key aspects from Keelmens hospital that I was not interested in maintaining was its clock tower. As one of my main design concepts is to create a continuity between all the brick facades, the clock-tower’s existing beige rendered façade would produce a break in this continuity. However, since the clock tower was an iconic element from the hospital it was important that its history wouldn’t disappear.
Fig. 6
Reflecting on the work of de la Mora, he describes the holes in the shoes as a way of people “leaving their information” . As a result, even though a part of the sole has been lost, the emptiness is filled with the memory of those instants that lead to the shoe soles deterioration. Therefore, I aim to leave a void were the tower was located. Leave an emptiness to represent the memory of its existence.
Fig. 7
“The weight of thought” by Gabriel de la Mora
-Paragraph taken from: ARC3015 Theory into practice essay
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Collage of progress work
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Initial plans.
Ground floor
First floor
Second floor
Third floor
During the development of my initial plans, I divided the building in 3 different areas. To the left, where Salvation army building was located, I decided to put most of the studios, workshop and two lectures theatres, making it a “students only area�. To the right of the building I placed most offices and open show spaces, as well as the main entrance to the building.
Various areas of the building changed with how I decided to work with the slope of the site. As initially I had decided to flatten the site, however after some careful consideration, I decided not to do so, as it would create some drastic changes to the landscape. Therefore, I decided to work with having entrances at different levels, allowing the level changes in the site to be more subtle.
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To Highlight the difference from one area of the building to another, I designed a different roofscape for each area. As shown on my staging diagram, I maintained the geometry of some original roofscapes, whilst experimenting with different ones for Keelmens hospital and the Salvation army.
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1:100 model.
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Courtyard close up
North view
South Elevation
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Floor plates view
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Programme of spaces.
Magazine space
48.7 m2
Studios
Workshop
Offices & Staffroom
1439.9 m2
290.1 m2
470.5 m2
Crit / Seminar Rooms 205.3 m2
Lecture Theatres WC
316.7 m2
83.3 m2
Interior Courtyard
WC
Galleries 260.5 m2
518.9 m2
74 m2
Open Seating Areas 200 m2
Open Showspaces Public
Cafeteria 254.3 m2 Reception
560 m2
62.9 m2
Private
Key: Interior Courtyard Workshop
Crit / Seminar rooms Offices & Staffroom
Open Showspaces Magazine Space
Cafeteria
Open Seating Spaces
Lecture Theatre
Studios
Reception
WC
Galleries
Whilst developing the programme of spaces, I decided to work around the interior courtyard. This space represents the area where public and private meet, becoming a centre point for social interaction. To the left of the courtyard, the Student area can be found. This area includes the studio spaces, workshop and lecture theatres. To the right of the courtyard, various show spaces can be found as well as the reception area. This area is also largely occupied by offices for staff and administration. Finally, around the courtyard, the cafeteria can be found, as well as various gallery and Crit room spaces.
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Programme of spaces.
Key: Interior Courtyard Workshop Lecture Theatre WC Crit / Seminar rooms
Key: Interior Courtyard Workshop Lecture Theatre WC Crit / Seminar rooms Offices & Staffroom Cafeteria
Offices & Staffroom Studios
Cafeteria
Galleries
Studios
Open Showspaces
Galleries Magazine Space Open Seating Spaces Open Showspaces Reception
Magazine Space Storage
Open Seating Spaces Reception 57
Old vs. New.
The Salvation Army
Keelmens hospital
Warehouse
As mentioned before, one of the main concepts of my design is to retain the brick facades of various buildings from the site. The three brick facades that I chose to retain were: The red bricks from the warehouse, the burned bricks from Keelmens hospital and the grey bricks from the salvation army. As I decided to merge the old buildings and extend certain areas of them, not all the wall could be retained. The diagram above shows which areas have been retained. The spaces inside this building have been fully redeveloped.
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Ground floor plan.
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11 10
9 8 8 8
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4 5
2
5 3
5
1
Ground Floor 0m
5m
10 m
20 m
Key: 1 2 3 4 5 6 7 8
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Gallery Open show space Offices Toilets Seminar/Crit Rooms Cafeteria Inner Courtyard Studios
9 Lecture Theatres 10 Workshop 11 Bike storage 12 Magazine room 13 Staff room 14 IT room 15 Photography room 16 Open seating area 17 Reception
Gallery.
Various gallery spaces, like this one will be used for public events. The interior spaces in the gallery present an exposed cross laminated timber roof structure, to celebrate the interior materiality of the architecture building. This gallery in particular is located on the ground floor of the building.
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First floor plan.
10 9
8
9 16 8 8
8 4
12 8 4 2
5
8
3
First Floor 0m
5m
10 m
20 m
Key: 1 2 3 4 5 6 7 8
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Gallery Open show space Offices Toilets Seminar/Crit Rooms Cafeteria Inner Courtyard Studios
9 Lecture Theatres 10 Workshop 11 Bike storage 12 Magazine room 13 Staff room 14 IT room 15 Photography room 16 Open seating area 17 Reception
Studio.
The studio spaces will present exposed cross laminated timber walls and ceilings. Cork-boards will be mounted on to the walls to allow students to pin-up work. This particular studio is located on the second floor of the building and it feature a double height ceiling aspect.
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Second floor plan.
8 8
16 8 8
4
8
1 4 2 1 3 17
Second Floor 0m
5m
10 m
20 m
Key: 1 2 3 4 5 6 7 8
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Gallery Open show space Offices Toilets Seminar/Crit Rooms Cafeteria Inner Courtyard Studios
9 Lecture Theatres 10 Workshop 11 Bike storage 12 Magazine room 13 Staff room 14 IT room 15 Photography room 16 Open seating area 17 Reception
Cafeteria.
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Third floor plan.
16
15
14
2
4
3
3
13 3
Third Floor 0m
5m
10 m
20 m
Key: 1 2 3 4 5 6 7 8
The cafeteria area is located in the centre of the building, adjacent to the courtyard . It features a double height space to allow natural light to its ground floor area. The concrete wall to the right is a retaining wall that has been left exposed to showcase the materiality of the space.
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Gallery Open show space Offices Toilets Seminar/Crit Rooms Cafeteria Inner Courtyard Studios
9 Lecture Theatres 10 Workshop 11 Bike storage 12 Magazine room 13 Staff room 14 IT room 15 Photography room 16 Open seating area 17 Reception
Elevations & key section.
BALTIC FLOUR MILLS
0
5
10
20m
North elevation
0
South elevation
Section through building showing materiality
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5
10
20m
Final tonality study.
Fig. 8
“127,687” - Gabriel de la Mora
Staging tonality studies
This tonality study shows the exact transition of tonalities for the building. To make this tonality study I used the same technique I used during staging. Inspired by the piece “127,678” for Gabriel de la Mora, who broke down eggs shells to them piece them back together in a different way, I broke down various bricks and used the dust to create this transition.
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THINKING THROUGH MAKING. The outputs for this week where to produce a model that presented a conceptual exploration of material and tectonic qualities that can help inform our design decisions for realisation and synthesis. During thinking through making week I was interested in experimenting with creating a transition between different brick tonalities. As materiality is an important aspect of my design, this week helped me resolve how I could create a smooth transition between the different bricks tonalities in my site.
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Process.
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I started the process by making several moulds where I would be putting my cast mixture in. I used different cement dyes to create the different tonalities in the bricks. As I wanted to create a smooth transition between one tonality and the other, I thought that it would be appropriate to make various bricks that had a mixture of two different tonalities.
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Final model.
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SYNTHESIS.
During the Synthesis phase I worked closely with further developing the facades of the building, using the knowledge gained from Thinking through making week and the technological report. An important aspect that I show in this phase is how creating a change in tonality on my brick faรงade would work. Other aspects developed during Synthesis were various interior spaces, the purpose of developing them was to understand how materials can be used to create particular experiences and atmospheres. Finally, it was also important to show the building in its immediate context.
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Exterior materiality development.
Waste disposal
Recycling Sorting materials
Unbroken bricks are re-used for new building
Raw material extraction
Demolition
Production
Use
Transport
Building constrcution
-Diagram taken from: ARC3013 Detailed Technology study report
One of my interests when it came to developing the façade of the building was to re-use bricks from the site, to maintain the character of the other walls I was retaining. Re-using bricks from the site had various benefits, one of them being that using reclaimed bricks from the old building would help preserve the history of the place. Another positive aspect of re-using the bricks is its sustainability.
‘Use of salvaged bricks can reduce resource use, energy consumption and pollution to manufacture new bricks and they can offer historic aesthetic qualities to a site structure’
As from the very beginning I was interested in developing a change in tonality, thinking through making week allowed me to further develop this concept. During the synthesis phase I developed different bricks that I would then use for my façade study.
- Meg Calkins
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-Diagram taken from: ARC3013 Detailed Technology study report
Initial material studies developed during staging
Tonality changes developed during primer
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Facade development progress.
Bricks are sorted out
Harvested bricks from old buidlings
concrete poured into mould unit
Panel units are created for special junctions
Brackets are used to fix panels to main structure
Final result
Whilst developing the facade, I was interested in showing new additions to the old buildings. Therefore, I created a change in direction on the brickwork. On this area of the facade, the top floor was a new addition. To facilitate the brick laying process during construction of the building I developed a brick panel system using recycled bricks from areas of the old buildings that were demolished. -Diagram taken from: Technology study report
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ARC3013 Detailed
Part elevation study.
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Construction progress.
The primary structure of my building would be cross laminated timber. This sketches show an initial understanding of how they would work. The sketches in the right show how the roof system would work, As I would have Glulam beams that would rest on the cross laminated timber panel of the upper floor level. I decided to use Glulam as it has good spanning properties.
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For the roof system, I will be having non-structural cross laminated timber panels, resting in between the Glulam beams, this panels will have cut out areas for windows. This system will span all across the Keelmens hospital area. To support the CLT panels, rafters would be put in place below them.
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Interior staircase sketches.
Section Key. 1a. Building roof Construction: 0.07 mm Standing seam Zinc Sheet Polymer bitumen membrane 2 x 90 mm foam glass thermal insulation 1b. Ceiling: 100 mm cross laminated timber 180/115 mm glulam rafter 405/150 mm glulam beam
Plasterboard finish LED ceiling bar with adjustable lights
structure tied back to clt with Ancon TFMT7 wall tie Air gap Breather membrane 100 mm Kingspan K8 insulation Airtight membrane 150 mm Cross laminated timber 10 mm Internal insulation Plasterboard finish tied back to timber battens
1c. 405/150 mm Glulam beam
3. Cavity Firestop
1d. Courtyard roof construction: 0.07 mm Standing seam Zinc Sheet Neo-steel rooflight Polymer bitumen membrane 2 x 90 mm foam glass thermal insulation 100 mm cross laminated timber 180/115 mm glulam rafters 405/150 mm glulam beams
4. Upper floors construction: 20 mm Engineered timber finish 25 mm grooved insulation with underfloor heating by timeleon 2 x 20 mm Fermacell 10 mm Regupol 6010SH Resilient acoustic layer 250 mm Cross laminated timber structural floor
2. External Wall Construction: Recycled brick from Keelmens
4b. Ceiling: Suspended ceiling for services
5. Staircase: Cross laminated timber steps with cross laminated timber columns to provide structural support Metal/ clt handrail 6. Retaining wall: 120 mm Rigid insulation 780 mm Concrete retaining wall with L beam steel cast for Clt floor panel support. 7 . Temporary concrete fill and gravel used for drainage 8 . Ground floor: Engineered timber finishing Concrete screed 70 mm rigid Insulation 320 mm Concrete slab 120 mm rigid insulation
9. Floor Drainage: Stainless steel drainage grating 150 mm air gap Gravel Perforated drain pipe 10. Window: Pre cast brick panel above window Double glazing window 11. Internal Wall Construction: Recycled brick from Keelmens structure tied back to clt with Ancon TFMT7 wall tie Air gap Breather membrane 100 mm Kingspan K8 insulation Airtight membrane 150 mm exposed Cross laminated timber finish
-Section taken from: ARC3013 Detailed Technology study
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Section study.
1a.
2
1d. 1c.
1b.
4 3
5 11
10
6
7
8
9
0
83
1
2
3m
Part section: Student area.
The student area is located on the area of the Salvation army. This spaces will be used mostly as studios, however they can also be used for reviews. Several rooms present a double height feature, to allow student to work on bigger pieces of work. As well as, the workshop is located on the left corner of the building.
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Part section: Courtyard area.
The courtyard is located in the centre of the building. The brickwork shows what areas have been modified from the original Keelmens building, as the vertical bricks show the new and the horizontal ones represent the old. The staircase in the courtyard has been positioned specifically in the position where it is to represent an inversion of the old clocktower. The roof of this area portrays the cross laminated timber and Glulam roof system. Having a roof over the courtyard will provide a warmer temperature for the courtyard during winter time, whilst over summer time the windows on the roof can be opened up to allow air in and out.
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Part section: Show space area.
This area of the building shows all the open show spaces on the right side of the building. This area is considered to be open to the public. Due to the changes in level of the site, the reception area is located on the second floor of the building. Directly behind this area, the offices and staff room areas are located
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Exterior areas.
Student entrance, which leads directly to workshops, studios and lecture theatres
Public entrance, showing open show spaces and reception area
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1:20 Facade model: process.
As I way to develop the faรงade in further detail, I made a 1:20 model of a section of the faรงade located in the north side of the building. To make the faรงade I produced a large amount of 1:20 individual bricks, which I then mortared together. I also made a cast using my knowledge gained during primer to mimic the foundations and retaining walls of the ground floor area. As the buildings structure is cross laminated timber, it was important to me to show its construction detail between walls and floors.
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1:20 Facade model.
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Close up image showing how CLT floor panel is resting on Concrete retaining wall
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It was important to me to capture different details, such as the change in brick direction on the top floor, which represents an addition to height to the original building. As well as I wanted to capture the detail of bricks around openings and the protruding bricks, which where an original detail from Keelmens hospital.
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Site view from across the river.
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B I B L I O G R A P H Y.
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Illustrations.
Text.
Fig. 1 Unknown. (2020) A parrot for Juan Gris. Available at: http:// www.artnet.com/usernet/awc/awc_workdetail.sp?aid=425357754&gi d=425357754&cid=130137&wid=425510760&page=10 (Accessed: 20 November 2019).
Taylor, Timothy. (n.d) Gabriel de la Mora. Available at: https://www. timothytaylor.com/artists/gabriel-de-la-mora/ (Accessed: 16 February 2020). The metropolitan museum of art (2018) Bird of a feather: Joseph Cornell homage to Juan Gris. Available at: https://www.metmuseum.org/ exhibitions/listings/2018/birds-of-a-feather (Accessed: 12 November 2019).
Fig. 2 Gahr, David. (1967) Artist and sculptor Joseph Cornell poses for a portrait in 1967 at his home and studio in Flushing, Queens, New York. Available at: https://www.gettyimages.co.uk/detail/newsphoto/artist-and-sculptor-joseph-cornell-poses-for-a-portrait-in-newsphoto/144898477(Accessed: 20 November 2019).
Jahoda, Paola Isabella. (2020) ‘Material Matters’. Assignment for ARC3015 Theory into practice, BA Architecture, Newcastle University. Unpublished.
Fig. 3 Ziccarelli, Guillaume. (2019) “127687” Available at: https:// www.perrotin.com/artists/gabriel_de_la_mora_/455/127-687/45257 (Accessed: 20 February 2020).
Jahoda, Paola Isabella. (2020) ‘Technical report’. Assignment for ARC3013 Architectural Technology 3: Integrated construction, BA Architecture, Newcastle University. Unpublished.
Fig. 4 Perrotin. (2019) “The weight of thought” Available at: https:// www.perrotin.com/exhibitions/gabriel_de_la_mora_-echo/7867 (Accessed: 20 February 2020). Fig. 5 Fentiman, Alan. (2019) Moss Bross on film. Available at: https:// alanfentiman.co.uk/ (Accessed: 22 November 2019). Fig. 6 Perrotin. (2019) “The weight of thought” Available at: https:// www.perrotin.com/exhibitions/gabriel_de_la_mora_-echo/7867 (Accessed: 20 February 2020). Fig. 7 Unknown. (2020) “The weight of thought” close up Taken from: https://abstractioninaction.com/wp-content/ uploads/2013/10/62-detalle-IMG_1966-ret.jpg (Accessed: 16 February 2020) Fig. 8 Ziccarelli, Guillaume. (2019) “127687” Available at: https:// www.perrotin.com/artists/gabriel_de_la_mora_/455/127-687/45257 (Accessed: 20 February 2020). ALL other pieces of work are my own.
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