Stage I Architecture Portfolio 2016 by Brandon Few

Architecture Portfolio

Brandon Few 2015/16

Stage I

Architecture Portfolio

Contents

03 04 05 06 ARC 1013 COURSEWORK 2015-2016 Student Number: 140045949

[Fig. 1]

[Fig. 1] Structural diagram showing the structural elements to my building design. With the building being made out of concrete, the primary structure is the four main pre-cast concrete walls as well as the concrete floor. These elements support the building’s dead load. The facade of metal sheeting and wooden timber beams on the exterior of the walls have no structural impact at all and so I have classed these as quandary structure. The insulation and interior facade are also not structural and are also classed as quandary. [Fig. 2] Structural diagram showing the concrete floor which is primary structure as well as the floor finish of cherry wood beams which is secondary structure and supports the imposed load (such as people using the space, furniture and other possible forces imposed on the structure) that may push, pull and twist the structure. [Fig. 3] Structural diagram showing one of the primary structure walls comprising of two ‘L’ Shaped pre-cast concrete blocks with a pre-cast lintel above the concrete to support the glass within the window. [Fig. 4] Structural diagram showing the roof of my building. The roof is made out of pre-cast reinforced concrete and is supported by the concrete, primary structure walls. The roof itself is secondary structure and would support slate tiles, classed as quandary structure as well as the snow load.

[Fig. 2]

[Fig. 5] Structural diagram showing the primary and secondary structure of the toilet. Although this is not structural to the main building itself I have included this to show that the toilet is a structure of its own within the main reading room structure and the walls support the toilet’s roof. The same principle is applied to the entrance lobby.

Charrette Week Pages 1 - 6

Architectural Design Pages 7 - 60

Introduction to Architectural History

Principles & Theories of Architecture (1.1)

Architectural Technology (1.1 & 1.2)

Pages 61 - 64

Pages 65 - 70

Pages 71 - 82

[Fig. 3]

Page 1/3

Architectural Representation Pages 83 - 127

ACADEMIC PORTFOLIO

| AP1: CONTENTS AND DECLARATION (STAGE 1 Arch.)

This document acts as a check-list for your submission. You should print out this page, complete it (provide all known provisional grades and Module Marks) and submit it as the ﬁrst document in your por4olio case/box.

I conﬁrm that my Por4olio includes the following elements and that each of these is en<rely the product of my own work: Student Name (print):____________________________Student No:________________ Signed:_____________________ BRANDON FEW 140045949 Tick CONTENTS AND DECLARATION (Signed) ☐ AP1 AP2 LEARNING SUMMARY DOCUMENT ☐ AP3 ORIGINAL DESIGN SUBMISSIONS Provisional Grade ChareHe ☐ A Beyond the Frame ________________ ☐ B Reading room project ________________ ☐ C Row house typology ________________ ☐ A Row house living ________________ ☐

AP4

FINAL DESIGN SUBMISSIONS (Addi<onal/ Completed/ Revised work to that listed in AP3 above) XXX ☐ XXX ☐ XXX ☐

AP5

NON-DESIGN MODULE COURSEWORK ARC1011 INTRODUCTION TO ARCHITECTURAL HISTORY ARC1012 PRINCIPLES AND THEORIES OF ARCHITECTURE ARC1013 ARCHITECTURAL TECHNOLOGY 1.1 ARC1014 ARCHITECTURAL TECHNOLOGY 1.2 ARC1016 ARCHITECTURAL REPRESENTATION

Module Mark (where known) N/A _________________ 61% _________________ 64% _________________ N/A _________________ N/A _________________

☐ ☐ ☐ ☐ ☐

AP6

DIGITAL SUBMISSION

☐

ARC1001 ARCHITECTURAL DESIGN 2015/16

SCHOOL OF ARCHITECTURE PLANNING AND LANDSCAPE NEWCASTLE UNIVERSITY

Learning Summary A reflection and evaluation on my work throughout this year; my weaknesses and strengths as well as the areas I am excited to improve in the year to come. Throughout this year I have learnt an enormous amount due to the wide range of modules that we have been set alongside the diversity of the projects within these modules. The representation project was an exposure to the importance of line weights and the precision required with architectural drawings such as plans, sections and elevations. I felt that in this first assignment my line weights were quite average but feel that since this first project the care and precision I have taken drawing these has improved dramatically; shown by the progression from a B for Reading Room project to an A in the Row House Living project. I still feel that I can further improve this skill next year with my presentation of plans, sections and elevations. I believe that photography is one of my strongest skills having had a large amount of experience previously within this area. I have found that there is a vast difference however between site photography and model photography; with model photography being an area that I feel I need to improve and refine further in the year to come. Responding to the site context and surrounding influences has been a strong point with my work this year, with feedback from tutors being positive regarding this. I have enjoyed the design side of the course and although the projects are intense, I feel this has pushed me with these skills . Skills such as site analysis have dramatically improved since the Reading Room project where I had little knowledge about just how vast the amount of information is required from a site visit. After realising this during the Reading Room project I made a conscious effort to attain as much information as possible for the Row House project so as to not fall into the same pit fall and I felt that I was far more prepared leading to more reasoning behind each design decision that I made. My sketchbook work has not been of satisfactory quality for my own liking; reflecting on both the amount and quality of work within my sketchbook I feel it has not been to my full potential and I am excited to improve this in the year to come, hopefully in turn improving the quality and effectiveness of my design process as well as the resulting final design work. The non-design modules have been enjoyable. Essays do not fill me with excitement as the design projects do but I have enjoyed the challenge and diversity of subject topics with essay writing; being encouraged to think so critically and analytically about buildings, spaces, architectural influences which is something that is completely new to me. I have found this skill surprisingly relevant and useful within my design process to date. Coursework and posters have provided another skill and insight into a side of architecture that I have found quite challenging due to the task of visually representing a lot of information although I feel that I have done this successfully.

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CHARRETTE WEEK

Ruination Charrette week is a unique way to celebrate the start of the year for the School of Architecture, Planning and Landscape at Newcastle University. The week long spectacle, consisting of 11 groups and group leaders, is designed to involve students from all stages within the school and create an atmosphere of experimentation, creative thinking and hands on designing for the year to come.

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Initial Concept and Planning

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Initial Ruination

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Secondary Concept and Planning

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Secondary Ruination

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ARCHITECTURAL DESIGN

1.1 A review of the design projects that have aimed to gradually develop basic architectural thinking, skills and knowledge. Each project has introduced essential architectural skills, informed by an appropriate level of cultural and technical understanding, theories and histories of architecture.

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Beyond the Frame 'Beyond the Frame' focused on interior paintings by Pieter de Hooch, a Dutch 17th century painter. The paintings showed traditional 17th century Dutch living conditions within the home. We were given the task of observing the painting assigned to us as well as other works by Pieter de Hooch before designing and representing the rest of the room and building that could lie beyond what is visible in the painting through models.

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Initial Design Work

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Further Design Work

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Sketch Model Photography

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Further Model Photography

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Internal Perspectives Photography

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Heaton Reading Room Heaton Reading Room was a project based in Heaton, Newcastle Upon-Tyne. The brief outlined providing a building covering an area of 50m2 for the local community to use as a library. It needed to contain roughly 100m of shelving for books, a space large enough to fit around 25 people at one time to allow for a reading group as well as at least 2 reading nooks built into the space itself.

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Site Analysis & Initial Designs

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Top Left: These set of images show an experiment conducted with a site model to observe the different levels and angles of light affecting the site at different times of day throughout different months of the year. From this experiment I looked at the best position in the site to situate the reading room and which direction would provide the best quality of light entering into the building whilst trying to reduce glare. Top Right: This sketchbook drawing was the initial plan for the interior of my reading room. Although rough this plan helped to identify the best placement of the reading nooks, reading room for the reading group whilst providing some separation from the main reading area to the allow some noise protection. Bottom Left: This drawing (originally at 1:50 scale) was the improved plan that followed on from the drawing Top Right. This plan helped to again improve and identify the flaws within the rough ideas noted down within the first plan.

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The sketchbook drawing above outlines the process of how I arrived at the final design for my reading room roof design and massing within the site. The main concept consisted of taking a set of 4 rectangles joined into a long single rectangle before twisting and squashing down parts of the rectangles to create a set of 5 slanted roof sections that make up the full roof structure of the building and allowed for light to enter the building from above and not only from windows on the sides of the building. Page 17

Model Progress Photography

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Final Model Photography

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Final plan of the reading room - originally drawn at 1:50 scale.

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mateRiality

West and North facing elevations showing materiality - originally drawn at 1:50 scale.

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West facing elevation of the reading room - originally drawn at 1:50 scale.

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North facing section of the reading room showing the quality of light within the space - originally drawn at 1:50 scale.

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Site plan showing the roof outline and context of the building within the site on Chillingham Road - originally drawn at 1:200 scale.

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Perspective drawing of the reading nook as seen from within the space.

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Atmospheric of the interior of the final design for the reading room showing the quality of light within the space as seen from the entrance.

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Row House Typologies The Row House Typologies project scrutinises significant 20th century row house typologies and possibilities of urban dwelling. Through readings, discussion, model making, drawing and writing we were set the task of creating a booklet explaining the qualities and potentially flaws within the design of a designated row house design before then modelling the building itself and presenting our findings and opinions as a group on the row house design. This project was used as a precedent study for the row house living project that was to follow.

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Contents ACCORDIA Cambridge â&#x20AC;&#x153;The aim of the project was to create a desirable place to live that balances usable private space with high quality public space.â&#x20AC;?

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Group 18

Client Architects Site Spatial Organisation Construction and Materials

2008 The RIBA Stirling Prize 2009 RICS East of England Awards: Regeneration Award 2009 Hauser Award: Shortlist 2008 RIBA National Award 2007 Civic Trust Award 2006 Building for Life Awards: Gold Standard 2006 Housing Design Awards: Overall Winner 2006 Housing Design Awards: Medium Housebuilder Winner 2006 National Homebuilder Design Awards: Best Housing Project of the Year 2006 National Homebuilder Design Awards: Best House of three or more storeys 2004 National Homebuilder Design Awards: Project Award 2003 Housing Design Awards: National Project Award

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Brandon Few, Nophill Mohmmd, Cheng Wan Mak, Wiktoria Sypnicka, Olga, Barkova

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Client “Our approach reflects the changing aspirations of modern lifestyles and continues a strong tradition of domestic architecture in Cambridge, creatively blending built form with landscape.” Fielden Clegg Bradley Studios

The Accordia development was designed and built for Countryside Properties Ltd., a nationwide development company specialising in residential developments. The project was a collaboration of landowners and regional authorities in an effort to create large-scale housing that would ‘benefit local communities’. Alan Cherry founded Countryside Properties Ltd. in 1958 and small residential developments in Essex and East London were carried out. Through the 1970’s the company continued to expand and in the 1980’s with partnership team created they began work on their first new community development in Chelmsford. In 2008 Lloyds Banking Group Ltd. acquired majority control of Countryside properties Ltd. and with the company celebrating 50 years the Accordia project in Cambridge became the first residential scheme to receive the esteemed RIBA Stirling Prize.

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When designing Accordia the architects, Maccreanor Lavington and Alison Brooks Architects, set out to make a design which included a variety of innovative house and apartment types in the form of terraces, courtyard houses and ‘set-piece’ apartment buildings. The buildings are situated within public landscaped gardens that extend to approximately three hectares. “Our approach reflects the changing aspirations of modern lifestyles and continues a strong tradition of domestic architecture in Cambridge, creatively blending built form with landscape.”

Architects

The versatility of the design means that a wide range of people can comfortably inhabit the space. This increases the diversity within the community of the Accadia Project.

“The values of Accordia are those British cities need more of: a subtly controlling masterplan, a collaborative approach and an eye for both the detail and the big picture in the landscape and the architecture.”

RIBA

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Feilden Clegg Bradley Studios are an award winning architecture firm which has a wide spectrum of designs ranging from schools to housing. Accordia was one of their many housing projects and involved bringing architecture and landscaping together in order to create both an intimate, private space as well as an inviting public area. The whole concept being based around the idea of living in a garden, hence the courtyard and the terraces being hidden in the actual structure instead of being exposed to the whole neighbourhood. In addition to these private spaces, there is a community area in between the two rows of the long houses. This idea of a small communal space seems to match that of an earlier design, The Bennets Courtyard, which also features an open space for the neighbourhood. Through this, FCB Studios created a balance between the private and public, allowing people of different backgrounds and interest to enjoy these spaces the way they wish to.

Site â&#x20AC;&#x153;This substantial residential quarter in Cambridge is widely regarded as having set a whole new benchmark for large-scale housing in the UK, and was the first housing project to win the RIBA Stirling Prize in 2008. Our aim has been to produce an exemplary urban environment: a desirable place to live that balances usable private space within an overall structure of high quality public space.â&#x20AC;? Fielden Clegg Bradley Studios

[Fig. 6] [Fig. 6] Shows the elevations of the 4 bed long courtyard house

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Cambridge University Botanic Gardens Cambridge Train Station

Main Site [Fig. 1]

[Fig. 2]

In [Fig. 1] we can see the site location of the 4 Long Bed Courtyard House in context to the surrounding area. The row house is situated within a group of tightly knit houses and apartments in a suburban area only a mile South from Cambridge city centre.

[Fig. 3]

Accordia Supermarket Local Shopping Centre

Empty Common Community Garden

[Fig. 2] shows a closer view of the context of the site and how the row houses are situated within the surrounding residential area which is relatively built up.

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Private Area

[Fig. 3] highlights a few of the major benefits of the site location. A supermarket is situated within the Accordia project as well as a large local shopping centre under 1km away from site. The site is walking distance from the city centre, only a mile away, as well as Cambridge Station under 1km away. Local parks and gardens are within walking distance from the site, perfect for families.

Public Area

[Fig. 4]

[Fig. 4] The location of the existing mature protected trees had a large impact on the layout and placemement of the site. The layout has been designed to minimise the movement of cars through and around the site and this also aids in integrating the houses with the natural environment surrounding the site. Access to the main entrances is only possible via foot and through the communal public space. This was a large part of the design for the project as they wanted to encorporate high quality private and public garden spaces. The garages are accessed through the back streets of the site which reduces the effevt that noise and movement of cars has on the private spaces. [Fig. 5]

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[Fig. 5] shows the transitions from public to private within the building. A large aspect of the design which the architects wanted to address within the design.

At first glance, the long courtyard house seems very defensive due to the 3 storey façade. The hidden entrance also helps to create a rather private feel to the building, not giving much away. Once inside and through the lobby, the space immediately opens up. The living room and dining room flow together into one, as does the ground floor courtyard and kitchen, all together creating a space which encourages interaction between the occupants. On the other hand, upstairs is a far more private bedroom area separated into two sections by the terrace. This is evident as the stair cases leading upstairs are cleverly hidden away behind walls or in the more private areas at the back of the house. Both the north and south bedrooms have their own separated stair cases so that the occupants do not have to pass through the terrace during the colder months. However this could become an issue as the stairs cases are also at either end of the house, which could be difficult for large families with children as the parents would be required to walk through the whole house before reaching the smaller bedrooms. The master bedroom features a third floor study, the highest point of the whole house, creating a space where the house owner can get away and relax or study whilst still being able to watch over the house. These small hidden spaces and the open areas create a balance between the private life as well as the social aspect of everyday living.

“The scheme is set in a mature landscape - previously occupied by 1940s low-rise government offices - and contains over 700 mature trees. These trees are integrated into landscape consultant, Grant Associates’ designed landscape and communal gardens.” Fielden Clegg Bradley Studios

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“This is high density housing at its very best... An exhilarating project which marked a paradigm shift in British housing”

“The external materials for the housing comprises mostly of bricks selected to match closely the traditional Cambridge Gault clay bricks, with the apartments constructed from Copper and Green Oak. Many elements of the buildings were fabricated off-site - increasing speed of construction, reducing waste, and improving environmental performance. As they age gracefully, the stock bricks, composite timber and aluminium windows, and all copper and untreated hardwood will require minimal maintenance.” Taken from the Fielden Clegg Bradley Studios website.

RIBA Judges 2008

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Accordia Team

Client: Countryside Properties (Accordia) Ltd Associate Architects: Maccreanor Lavington Alison Brooks Architects Landscape Consultant: Grant Associates Structural Engineer: Richard Jackson Plc M & E Engineer: Roberts & Partners Planning Supervisor: DTZ Pieda Consulting Cost Consultant: Philip Pank Partnership Traffic Consultant: Denis Wilson Partnership Contractor: Kajima Construction Europe Photography: Tim Crocker

Model photography of the row house design from Accordia, Cambridge - built at 1:50 scale.

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Row House Living Row House Living was a project based in the Ousburn Valley in Newcastle Upon-Tyne. The project brief required a row house on a site 5mx27m consisting of 3 bedrooms and an artists studio to suite the client's needs. The main difficulty of the project was the need for good quality light within the whole space as well as providing garden and outside areas for the artist and their family.

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Initial Design Work

Drawing 1.

Drawing 2.

Drawing 3.

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Drawing 1: This sketchbook drawing shows two bridges in the surrounding the area of the site in the Ousburn Valley. These bridges were part of the influence behind the warehouse design and the traditional red brick used within my design. Drawing 2: A set of drawings from the site and the toffee factory which also influenced the design of the row house. The toffee factory was a very strong influence towards the warehouse conversion style design and the steel frame structure. Drawing 3: Site analysis of the different levels and gradients of the site as well as some initial designs. Drawing 4: Drawing showing the design process behind the initial massings and concept using morphing on a set of frames.

Drawing 4.

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Site Analysis

Ouse Burn

Top: Map showing the site context within the city of Newcastle Upon-Tyne. Bottom: Map showing a more precise context of the site on James Place Street within the Ousburn Valley. Ouse Burn

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Photography from the site on James Place Street as well as architectural influences from within the Ousburn Valley a short distance away from the site itself.

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Initial Designs

Progression of 1:100 massings for the row house design. These massings helped to visually represent some of the initial designs from my sketchbook (shown on the previous page) and subsequently improving my ideas for the project.

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Photography of a 1:100 sketch model of my row house design. This model helped to highlight some of the design flaws from my massings and initial design concepts such as over glazing in some areas and not providing enough high quality light in other areas of the house. Page 47

Final Design Concept

Initial design from my sketchbook showing the steel frame structure that became a key element and feature within the warehouse style design of my row house project. The drawings show the initial progression from a slanted roof to flat roof garden and experimenting with the use of public and private spaces and how to visually represent this separation within my design.

The drawings above show a more detailed and improved drawing for the steel frame structure of my row house. The introduction of a private living area into the design that overhangs the ground floor courtyard area as well as a look at whether a traditional warehouse style sawtooth roof would be a better design for the roof at the rear of the building. Page 48

A more detailed perspective drawing of the row house design showing the altered roof design, glazing of the building and courtyard spaces.

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“In the modern view, the pitched roof was itself a “dead concept,” but equally unhealthy were all those other dead concepts that got stored underneath the gable, in the attic. For there is where the ghosts of our past reside...”

“The Human Faculty for making sense of the world registers the transition from outside to inside too. When you pass through the natural construction of the dell’s portico and front door you feel you are stepping over a threshold between two distinctly different set of conditions.”

The Power Of Doorways Simon Unwin

A Place of My Own Michael Pollan

A series of quotes taken from the reading list for the row house living project that influenced the reasoning and concept behind some of the design features of my building.

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“We comfort ourselves by reliving memories of protection. Something closed must retain our memories, while leaving them their original value as images. Memories of the outside world will never have the same tonality as those of home...” The Poetics of Space Gaston Bachelard

A series of internal perspectives of the finalised design for the row house. The drawing on the far right shows the view from the lounge area towards the front door and shows a slightly more detailed insight into the atmosphere within the building.

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Left: In this sketchbook drawing I aimed to try and show the main living room space as a very light and airy environment for the client and her family to live in. The main concept for this design came from the requirement of a living area that could be kept clutter free, provide an area of space that could be viewable from the kitchen for safety for her children. The idea of using different levels areas as a slight separation of spaces led to the main living area being a relatively large and open plan space with a slight stepped down area at the bottom of the main stairs allowing use for either a separate dining area or a children's play area; hopefully containing the toys and other items of clutter within this space and not scattered around the kitchen or dining area. The children's play area feature large sliding doors into the ground floor courtyard space surrounded with floor to ceiling glass windows allowing for activity to be going on within this space and still be viewable from either the kitchen, living room, dining area or even studio. Bottom Left and Right: Photographs of the exterior and interior of the final model of my row house design. The internal photograph is taken from the living room space looking down towards the main entrance.

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Photo-montage of my row house model within the site of James Place Street - originally printed at A3 size.

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11.5m

6.4m

4.3m

54째58'30.6"N 1째3

Section A-A 1 Section of the final Row House design - originally printed on trace at 1:50 scale.

James Place Street Page 54

1.8m

2.2m

8.0m

7.2m

4.2m 2.9m

Back Stephen Street

0.0m

35'20.0"W

1:50 Page 55

Section atmospheric showing the quality of light within the row house design - originally printed on trace at 1:50 scale and used behind the original section. Page 56

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Ground floor plan of the row house design - originally drawn at 1:50 scale.

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First floor plan of the row house design - originally drawn at 1:50 scale.

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Second floor plan of the row house design - originally drawn at 1:50 scale.

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ARCHITECTURAL HISTORY

An introduction to architectural history through the use of a selection of significant buildings and sites throughout the world history. The course aims to introduce an understanding of the difference between monumental and vernacular architecture, to learn and to recognise archetypal forms in architecture and how these were shaped by technological, social, economic, geographic and cultural influences.

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Durham Cathedral, also known as The Cathedral Church of Christ, Blessed Mary the Virgin and St Cuthbert of Durham, stands proudly on top of a rocky promontory next to the Castle and towering above the medieval city and river that winds round below it. The cathedral is often referred to being potentially the greatest Norman or Romanesque building in Europe but why and how was this cathedral built to such a magnificent size and scale? When William the Conqueror arrived with his Norman armies after the Battle of Hastings he wanted to impose their political as well as their ecclesiastical might on Northumbria. Furthermore, seeing himself as a modern day Roman Emperor he intended to build on a scale to that of the Romans and so the Cathedral was built almost exactly to the

Brandon Athol Few

same size and scale as Old St Peters in Rome itself. “The impact of these cathedral building

140045949

programmes was enormous, and extended far beyond the settlements in which the cathedrals were located. This can be seen in the case of Durham cathedral which can be said to have had a general influence on architecture in England and Scotland in the late eleventh and twelfth centuries, namely in terms of decoration and the rib vaults…”i Construction began on the Romanesque style Cathedral in 1093AD when Bishop William of Saint Calais ordered the construction of a cathedral of “nobler and grander scale” to replace the one built

Analyse in depth any characteristic aspect of the building or site. These might

98 years previous. The construction of the Cathedral was completed in 1133AD although it

include not only architectural discussion but also social or environmental

continued to rise and grow in size over the next few hundred years, culminating in 1500AD

factors or concern processes of designing and building. However, the analysis

with the completion of the central tower that rises hundreds of metres above the river Weirii.

must deal with all the complexity of the chosen aspect and not be a simple

This was only 40 years before Henry VIII started to dissolve the monasteries and cathedrals.

description, as well as it should relate clearly to any architectural aspect or

Henry however was more lenient on Durham Cathedral for the reason that as well as being a

discussion.

place of worship, it was also seen as a fortress against the Scottish and King Henry VIII was quite rightfully fearful of an invasion from the North of the border and so the cathedral was used as a stronghold against a possible attack. The fact that Durham Cathedral managed to survive almost untouched cements its importance within England’s architectural history and

“An exploration of the social and architectural factors that lead to the style

influences. It is “a masterpiece because of the proportion of the building. Architectural

and grandeur of Durham Cathedral.”

design, landscape, history, heritage and spirituality have all influenced the design of this building.”iii There were several reasons behind Durham Cathedral’s magnificent size, scale and i , 2011. Cathedrals, Communities and Conflict in the Anglo-Norman World (Studies in the History of Medieval Religion). Edition. Boydell Press. ii Durham Cathedral: Readers choice for Britain's best building - YouTube. 2016. Durham Cathedral: Readers

choice for Britain's best building - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=34moa66Xo7U. [Accessed 25 April 2016]. iii Durham Cathedral: Readers choice for Britain's best building - YouTube. 2016. Durham Cathedral: Readers choice for Britain's best building - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=34moa66Xo7U. [Accessed 25 April 2016].

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had in mind when he set out his plans for the cathedral building programme and “Durham

detailing and why this impressive feat was achievable in the time period that it was

is the first large building since the Conquest in which decoration plays a major part in the

constructed. The Norman Conquest had cemented the power of the church within England

architectural effect.”v

and William the Conqueror implemented a colossal building project of monasteries and parish level. These new churches continued a vital role within community: acting as schools,

Durham’s architectural value lies in the fact that it is the oldest surviving building with a

markets and also entertainment venues. Christianity began to dominate the lives of ordinary

stone vaulted ceiling of such grand scale. This may not seem quite as remarkable today but

peoples’ everyday lives at home as well as pilgrimage and thus it could be argued that the

developing the skills and techniques to roof such a large buildings with stone rather than

church had an impact on every member of the population’s lives. With this social context in

wood shaped the course of European architecture from then onwards. The many influences

mind the church gained a huge amount of power and ultimately money. This led to the

behind its design and architectural value intertwined like fibres in a string to produce what is

church being the centre of peoples’ everyday lives and having access the incredible finances

recognised both as an exemplar of Romanesque architecture as well as one of the world’s

required to build a cathedral of such grandeur and scale.

greatest cathedrals.

One of the biggest architectural characteristics of Durham Cathedral is the ribbed stone vaults crowning the nave, which is the earliest known example of its kind not only in England but potentially also in Europe. This revolutionary design feature led to the not only the masons being able to achieve greater heights but also a new architectural style, the gothic that was to follow the Romanesque.iv The masons were therefore able to build the lightest possible stone vault whilst still maintaining a solid building and this was a huge breakthrough. This great new height that was achieved created a wonder for the viewer and the grandeur created an incredible sense of awe and wonder which successfully reiterated the embodiment of the raw power and might of God as well as his strength and security through the sturdy and solid building construction. Arriving at the cathedral you enter into the extraordinary Galilee Chapel, a place of huge religious importance, a symbol of Jesus leaving the shores of Galilee to make his last journey to his crucifixion and resurrection. From the chapel you enter into the nave of the Cathedral and journey way up towards the great alter, the nave’s incredible size and grandeur evokes emotions of the significance and magnitude of the journey that Jesus experienced as he departed from the shores of Galilee and ventured towards Jerusalem where he would ultimately be crucified. With the ceiling of the nave suspended towards heaven, this architectural feature is used to prompt an emotional response within those visiting and the cathedral’s cruciform only reinforces how prominent the religious influences were on the layout. In the time period that the cathedral was constructed this overwhelming height, width and attention to detail with the construction of the nave; both the aesthetic and structural beauty would have been incomparable to anything the people of Northumbria would have seen with their own eyes. This is exactly the effect that William the Conqueror iv Durham Cathedral: Readers choice for Britain's best building - YouTube. 2016. Durham Cathedral: Readers

v , 2011. Cathedrals, Communities and Conflict in the Anglo-Norman World (Studies in the History of Medieval Religion). Edition. Boydell Press.

choice for Britain's best building - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=34moa66Xo7U. [Accessed 25 April 2016].

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Bibliography: 1. Eric Fernie, 2002. The Architecture of Norman England. Edition. Oxford University Press. 2. , 2011. Cathedrals, Communities and Conflict in the Anglo-Norman World (Studies in the History of Medieval Religion). Edition. Boydell Press.

3. Durham Cathedral: Readers choice for Britain's best building - YouTube. 2016. Durham Cathedral: Readers choice for Britain's best building - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=34moa66Xo7U. [Accessed 25 April 2016].

4. , 1998. Anglo-Norman Durham 1093-1193. Edition. BOYE6.

5. Bequest, Sir W G , 1972. Handbook of Durham Cathedral.. 1st ed. Durham: Durham : Thos. Caldcleugh, Printer. 6. Bumpus, T F, 1937. The cathedrals of England and Wales. 1st ed. London: London : T. Werner Laurie .

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PRINCIPLES AND THEORIES OF ARCHITECTURE

1.1 Principles and Theories comprised of selected topics in the city from classical times to the present day. This consisted of material covered in the lectures but more importantly supplemented by directed and personal reading. The main elements of architecture included were experiential factors of architecture, architectural space, proportion, composition and materiality.

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140045949 Principles and Theories of Architecture Newcastle University November 2015

them, 4Holden Hall, is still in use for alternative purposes within the school to this day. As you approach the school from the main road, you are greeted with a scene almost out of a book, a classic English countryside panorama of sheep meandering across fields rolled out like a great green carpet towards a tight cluster of red brick facades and chimneys, contrasted with the deep blacks and greys of the slate roofs. Rising tall and impressive behind these buildings is the Main Building; it’s two spires protruding high above the other buildings clearly marking its location and boasting of the large scale of the building extending out past the buildings in front. This familiar site from my final two years of school is something very special to myself. There is something quite magical about going to school somewhere as special as Cheadle Hulme School. When you stand in front of the Main Building you realize just how large it’s footprint is and this resonates the strength and stability of its foundation as it sits firmly in the ground, projecting a sense of permanence and safety. As you stand in front of the main entrance the sizeable breadth of the building causes you to turn your head to be able to see the two limits of the structure, this portrays the scale of the building’s grandeur and consequently confirming the sensation of being in an environment of importance and great achievement. When the sun is shining down onto the main building, it illuminates the vibrant red brick façade and sand stone windowsills, edgings and archways; creating a beautiful contrast between the cool and light sandstone texture and the slightly darker and warmer red bricks. This contrast on the facade crafts a subtle and natural reaction of sensation in an inviting and comfortable space whilst the large scale and incredibly ornate carvings in the sandstone still displays the achievement and importance of the setting you are about to set foot into. Directly in the middle of the building sits an ostentatious double staircase that merges into one that leads up to the sizeable wooden main door. The design of the staircase continues that of the building’s red brick and sandstone facade, which echoes the same reaction as you approach the front door. The hefty size of the door echoes the feeling of achievement and importance and the scale of the building you are about to enter. On entering the building you are greeted with the reception area and the first hint of modern extension to the original structure, a pair of automatic sliding glass doors with the school crest engraved onto them. The bulk of the original building has been kept in incredible condition over the years considering the regularity and intensive nature of its use and the small additions of modern technology and design work well alongside the original structural design.

Principles of Architecture

Cheadle Hulme School Main Building

1 2In 1854 a meeting was held in the Albion Hotel, Manchester, that resulted in the forming of a committee to promote the foundation of ‘Warehousemen and Clerks School for necessitous children’ in Manchester. This was the beginning of the process towards the opening of the ‘Warehousemen and Clerks’ Orphans School’ which would become ‘Cheadle Hulme School’ in 1931, as it is known today. The school was set up with the ethos that every child deserves an education no matter their family circumstances - financially or other. The school maintains this ethos to this day, providing bursaries to a large number of students of different ages within the school through donations to the Bursary Fund. 3The corner stone of the current Main Building of the School was laid in 1867 and was completed two years later. There were three previous main buildings of the ‘Warehousemen and Clerks’ Orphans School’ before the current and one of

. 2015. . [ONLINE] Available at: http://images.myschoolcdn.com/303/photo/2012/06/large_photo125403_1247977.jp g. [Accessed 03 December 2015]. 2 Cheadle Hulme High - Parallax. 2015. Cheadle Hulme High - Parallax. [ONLINE] Available at: https://www.cheadlehulmeschool.co.uk/parallax/index.html. [Accessed 03 December 2015]. 3 The Way We Were: Cheadle Hulme School - Manchester Evening News. 2015. The Way We Were: Cheadle Hulme School - Manchester Evening News. [ONLINE] Available at: http://www.manchestereveningnews.co.uk/news/nostalgia/way-were-cheadle-hulmeschool-4293148. [Accessed 03 December 2015]. 1

4 Cheadle Hulme High - Parallax. 2015. Cheadle Hulme High - Parallax. [ONLINE]

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Available at: https://www.cheadlehulmeschool.co.uk/parallax/index.html. [Accessed 03 December 2015].

of the location of the space within the building. Windows run along each side of the room and at the end of each wing, giving a vista out over the school’s grounds as well as flooding the whole space with light. This light is essential due to it’s use by artists throughout the day and shows how an area and space of a building that has been used successfully for one purpose for several years can easily be changed to a successful space for a completely different use. When I think about what I believe makes this building good, I think about the buildings use, the great size of the building designed to accommodate the classrooms and offices required. The building has well considered circulation routes with five large stairways and 3 main corridors that assist the ease of movement of large numbers of people throughout the structure. I think a building should have a heart and soul about it. It should evoke an emotion and reaction within you as you gaze up at it or walk through it and experience the sights, the colours and the sounds. Personally the outer appearance of the building at Cheadle Hulme School fills me with awe and inspiration whilst inside the building the rooms provide a warm and welcoming environment. The building makes use of all the space it has and accommodates the purposes needed whilst still having flare and excitement through ornate carvings on the façade and elaborate stain glass windows within. It has been shaped and molded as years have gone by due to the ever-changing structure of schooling and the building has managed to cope and adapt to fit these needs.

Intertwined within the gorgeous brick structure that has stood in this exact spot for so many years, are small hints of modern technology and design that work alongside the brickwork and classical design to your journey through the different spaces. The walls are covered in a warm yellow paint and treated like a canvas to showcase the school’s talents: with artwork all the way along the Head’s Corridor, from the Head’s Office up to the sixth form common area. These works of art include paintings, photography, textiles and sculptural pieces made by students in reception as well as in sixth form. I think that this showcase of works and talents adds something very special to the experience within the main building and exaggerates the sensation of being in a welcoming and accepting environment rather than focusing too much on the large grandeur of the building and its history as this can sometimes feel daunting and portray a sense of insignificance. This environment and attitude is also portrayed in the school’s ethos “We want every young person to achieve their best and to be proud of those achievements. We want them to have experienced a rich, challenging and dynamic curriculum, to have a true sense of well-being - what it means to them and how to achieve it- and we want them to be able to question the world around them with an open mind and with the character to stand up for their beliefs.” The main building is a place of learning, inspiration and a buzz of activity and the wall space that the main corridors provide help the school to provide this environment within. As you pass through reception and the automatic doors you arrive at two large and relatively heavy double doors, which lead into the school’s dining hall. This not only caters for every student that attends the school from 4-18 years old but is also multipurpose and acts as a dance studio for zumba lessons each week as well as the setting for many of the formal dinners and events which are held throughout the year. This shows the multifunction nature of the rooms within the school and how they need to be able to swiftly be converted from one type of activity to another. The dining room itself has four large columns showing the strength of the structural features holding up a very high ceiling. The northfacing wall is decorated with ornate stain glass windows that allow a constant quality of light through into the space. The long and broad corridors on the first three floors extend from one end of the building to the other and act like the backbone to the structure and the circulation throughout the building with each adjoining room like a rib to this central route of movement. On the fourth floor however you see a conversion from old to new; the school used to be for both boarders and day students and the uppermost floor of the main building was used as living areas for the students that were boarders. When the school converted to being only day students this space was redesigned into the A level art studios. The room is like a long, thin spine with two wings at the end. The trusses are exposed like giant ribs within the space and the sloped ceiling gives a true sense Page 67

The Poster This assignment involved creating a poster to represent a chosen building, structure or place relating to a photo-fragment we were given as a group. The task aimed to encourage the use of visual communicate to convey our ideas. The poster information needed to include a visual description of the chosen building, structure or place, reflect on some of the themes and ideas from the lectures and clearly communicate specific themes and ideas drawn from the lectures using images and key words/text.

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PRUDHOE CHARE THOMAS BEWICK

Group 1: Elliott Crowe, Brandon Few, Isaure Leotard, Sophie Ogilvie-Graham

Racheal osinuga, Monica Said, Benedict Thornton Douglas Wigmore

Final poster design - originally printed at A2.

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ARCHITECTURAL TECHNOLOGY

1.1 and 1.2 Architectural technology helped to improve the ability to describe and explain the properties of common building materials and the structural, environmental and construction implications of using these materials. The ability to use simple manual and computer techniques in order to estimate those aspects of structure was vital for this module.

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Reading Room Coursework Architectural Technology (1.1) Having completed our design work for the community library, we were set the task of developing the structure of the building. The coursework consisted of producing a short, illustrated report covering the structure of the building. The main challenge with this coursework was that the document had to be very concise and therefore the need to communicate efficiently with the reader was essential.

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ARC 1013 COURSEWORK 2015-2016 Student Number: 140045949

[Fig. 1]

[Fig. 2]

[Fig. 3]

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ARC 1013 COURSEWORK 2015-2016 Student Number: 140045949

300 mm

300

[Fig. 4]

The structure of my building is based upon a concrete frame structure, with the exception that I have replaced the concrete columns in the standard concrete frame structure with pre-cast, reinforced concrete walls which are the primary structure of the building, supporting the roof load. From the outside of the building the pre-cast concrete roof is prominent as it juts out past the wall to provide shelter to the entrance way, the large slab of concrete for the roof was a large part of the design of the structure due to the different levels and angles in the roof design being on display and this being visible exhibits its importance. The exterior of the concrete walls are covered in sheet metal and pine wood faรงades, providing an aesthetically pleasing, sleek and modern finish to the exterior of the structure and providing some weather resistance to the concrete. On entering the building you are immersed in a large, open and uninterrupted space. This idea of a continuous open space without interruption was a prominent reason for the structural design of the building. Glass fills the spaces left by the different levels and angles of the concrete roof allowing a large amount of light to enter the space and interact with the textures of the concrete, casting shadows within the wall faces. The large amount of light entering the space with the concrete surface also creates a modern, light and simplistic atmosphere within the structure whilst not effecting the purpose of the space.

[Fig. 5]

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[Table 1]

Structure Primary

Secondary

Quandary

Material

Size

Weight area of top = 0.89m2 height = 3.8m volume (0.89m2x3.8m) = 3.39m3 weight (from APB*) = 24kgm-3 load (3.39m3x24kgm-3) = 81.44kN or weight = 8144kg load (16.9m3x24kNm-3) = 405.6kN weight = 40560kg

Wall

Reinforced concrete

(looking at tallest wall, upper limit of stress) effective height = 3.8m effective width = 0.3m slenderness ratio (3.8m/0.3m) = 12.67 12.67 < 27 so well within reasonable range of slenderness ratio

Floor

Reinforced concrete

area = 84.5m2 depth = 0.2m volume (84.5m2x0.2m) = 16.9m3 weight (from APB*) = 24kNm-3 load (16.9m3x24kNm-3) = 405.6kN

Roof

Reinforced concrete

largest span = 8435.7mm pre-stressed one-way span solid slab: span/depth ratio: 40 depth (8435.7mm/40) = 210.88mm or 0.21m total area = 116.22m2 total volume (116.22m2x0.21m) = 24.41m3 load (24.41m3x24kNm-3) = 585.84kN

load = 585.84kN weight = 58584kg

Floorboards

Timber beams

area = 84.5m2 depth of floorboard (from APB*) = 22mm weight (from APB*) = 12.20kgm-2 load (84.5m2x12.2kgm-2x10ms-1) = 10.31kN

load = 10.31kN weight = 1031kg

Roofing tiles (part of roof dead load)

Slate tiles

area (same as roof) = 116.22mm2 weight (from APB*) = 31.0kgm-2 load (116.22m2x31.0kgm-2x10ms-1) = 36.01kN

load = 36.01kN weight = 3601kg

[Table 2]

Roof

Roof tiles

Wind load

Snow load

Dead load

585.84kN

36.01kN

Imposed load

sheltered = 0.25kNm-2 in Heaton = 0.8kNm-2 -2 area = 116.22m area = 116.22m-2 load (0.25kNm-2xx116.22m-2) =29.06kN snow load (0.8kNm-2x116.22m-2) = 92.98kN

Total load 585.84kN+ 36.01kN = 621.85kN 621.85kN/116.22m-2 = 5.35kNm-2 dead load 92.98kN+29.06kN = 122.03kN 122.03kN/116.22m-2 = 1.05kNm-2 characteristic imposed dead load

[Table 1] showing primary, secondary and quandary (due to being part of dead load) structure, material, size calculations and weight. [Table 2] shows the calculations for dead load and imposed load of/on to the roof. Dead load calculations taken from [Table 1] and imposed load calculations shown. * APB - Architectâ&#x20AC;&#x2122;s Pocket Book (Fourth Edition) written by Charlotte Baden-Powell, Jonathon Hetreed & Ann Ross

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Row House Living Coursework Architectural Technology (1.2) Having completed our design work for Row House Living, we were set the task of selecting two windows from our design and showing the view(s) the occupants would have from that space. Once this was completed we were then asked to use Dialux to determine the Daylight factor in the day time inhabited spaces, making calculations based on the windows as originally designed within the project. We then made short notes on how effective the daylight factor was and began testing what the best solutions were to correct these.

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Views and Daylight Predictions Architectural Technology 1.2 ARC1014 Brandon Few - 140045949

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Row House Views View 1 is from the childrenâ&#x20AC;&#x2122;s bedroom, located on the 1st floor and above the studio. From this image you can see the view out the south and south-west facing windows towards the Ousburn Valley in the distance. The trees across the road are clearly visible from this room within the row house. The photo used for this photoshop of the view out towards the valley, from within the space, was taken in April time and shows the deciduous trees without their leaves and before it has reached the time of year to start growing them again. From closer to the window more of the valley in the distance would be visible.

View 2 shows the same view as the image above but with the slight change that this perspective is from the summer months when the deciduous trees are in full leaf and blocking out a lot of the views out towards the Ousburn Valley in the distance.

Architectural Technology 1.2

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Student Number - 140045949

View 3 is from the studio located on the ground floor, below the childrenâ&#x20AC;&#x2122;s room perspective shown on the previous page. The view is out the south facing window towards the Ousburn Valley in the distance, also clearly showing the cars and a typical scene you might experience when living along this road. The photo used for this photoshop of the view out towards the valley from within the space was taken in April time and shows the deciduous trees without their leaves, meaning some of the valley is clearly visible in the distance. From closer to the window more of the valley in the distance would be visible.

View 4 is the same south facing window from within the studio except taken in the summer months when the deciduous trees are in full leaf. The leaves are covering up any views through the trees towards the valley beyond it.

Architectural Technology 1.2

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Student Number - 140045949

Project 1 14.05.2016

Operator Telephone Fax e-Mail

Kids Bedroom / Light scene 3 / Daylight factor calculation surface 1 / Greyscale (D)

Project 1

CHildRenâ&#x20AC;&#x2122;s BedRoom

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Kids Bedroom / Light scene 3 / Daylight factor calculation surface 1 / Greyscale (D) Kids Bedroom / Light scene 3 / Daylight factor calculation surface 1 / Isolines (D)

When I first began modelling the bedroom located on the second floor of the row house I began to worry that the combination of the south-west and south facing windows may cause over glazing and glare onto the desk area that would make it difficult and uncomfortable to work on. I attempted to maximise the views and light within the space but due to the small size of the room this led to Project 1 an uneven spread of light within the area.

A comfortable range for the average daylight factor is between 2% and 5%. [Fig. 1] shows the space after being modelled in DIALux, instantly I could see that the average daylight factor, although only just over the range at 5.12%, was unevenly spread across the room area.

14.05.2016

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[Fig. 4] shows this uneven spread across the room more accurately through false colouring whilst [fig. 6] shows this spread summarised through isolines.

Kids Bedroom / Light scene 3 / 3D Rendering

Project 1 14.05.2016

Operator Telephone Fax e-Mail

Project 1

Position of surface in room: Marked point: (0.000 m, 0.000 m, 0.750 m)

[fig. 6] Position of surface in room: [fig. 4]

Kids Bedroom / Light scene 3 / False Colour Rendering 14.05.2016

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[fig. 5]

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[fig. 1]

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Horizontal illuminance outdoors Eo: 19655 lx DIALux 4.6 by DIAL GmbH

DIALux 4.6 by DIAL GmbH

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DIALux 4.6 by DIAL GmbH

In [fig. 4] you can see 2 particularly bright spots within the middle of the room whilst the edges of the room tend to be relatively dark compared with the rest of the room. Scale 1 : 29

Scale 1 : 29

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[fig. 2]

[fig. 3]

Architectural Technology 1.2 DIALux 4.6 by DIAL GmbH

DIALux 4.6 by DIAL GmbH

[fig. 7]

[fig. 8]

ARC1014

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Kids Bedroom / Light scene 3 / False Colour Rendering Project 1

impRoVements to design

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Improvement 1:

Kids Bedroom / Light scene 3 / Daylight factor calculation surface 1 / Greyscale (D)

Project 1

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Improvement 2:

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Kids Bedroom / Light scene 3 / False Colour Rendering

Kids Bedroom / Light scene 3 / Daylight factor calculation surface 1 / Greyscale (D)

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Kids Bedroom / Light scene 3 / Daylight factor calculation surface 1 / Greyscale (D)

Scale 1 : 29

Position of surface in room: Marked point: (0.000 m, 0.000 m, 0.750 m)

[fig. 9]

Scale 1 : 29

[fig. 10] Position of surface in room:

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[fig. 12]

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Dmin / Dav D [%] 0.48 0.110

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From the observations made on the average daylight factor and the spread of light through the room space Page I set 8out to make DIALux 4.6 by DIAL GmbH some alterations to the space to try and improve both the average daylight factor within the room as well as the spread of light within the space.

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DIALux 4.6 by DIAL GmbH

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Improvement 1: I started out by splitting the 2 large windows on the 2 walls into smaller windows to try and reduce the glare whilst maintain the positive spread I originally had from my design. I also added a roof light to the room above the bed area to try and reduce the dark patch in the corner of the room. In [fig. 9] and [fig. 10] you can see these changes and the effects they had on the space. The changes reduces the amount of glare on the desk area of the room but there was still very uneven spread through the room. The sky light increased the light into the corner of the room but created an uneven spread of light over the bed compared with the rest of the room. From [fig. 10 and 11.] We can see that there is still an uneven spread of daylight factor over 5%.

Scale 1 : 29

Position of surface in room: Marked point: (0.000 m, 0.000 m, 0.750 m)

[fig. 15]

Scale 1 : 29

[fig. 16] Position of surface in room:

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Architectural Technology 1.2

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Scale 1 : 29

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Improvement 2: From these observations I continued to try and improve the light within the space with the removal of the roof light and decreasing the size of the 2 windows on the south facing windows. This improved the lighting spread within the space with better spread of daylight between 2% and 5% (see fig. 12, 13 and 14.) Improvement 3: Continuing to try and improve the lighting within the space I again reduced the size of the south facing window and merged the 2 windows into a long thin window. This helped to improve the spread of daylight factor within the space, reduced the glare on the desk and left me with an average daylight factor of 3.61%. These improvements also left me with a better spread of daylight factor between 2% and 5% across the room (see fig. 16 and 17.).

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ARC1014

DIALux 4.6 by DIAL GmbH

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Student Number - 140045949

Project 1 16.05.2016

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Studio / Light scene 1 / Daylight factor calculation surface 1 / Greyscale (D)

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tHe studio

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Studio / Light scene 1 / Daylight factor calculation surface 1 / Isolines (D)

Studio / Light scene 1 / Daylight factor calculation surface 1 / Greyscale (D)

In [fig. 18] and [fig. 24] you can see the studio modelled in DIALux. The studio is located on the ground floor below the bedroom modelled on the previous pages. The studio leads onto a corridor with sliding doors leading onto a courtyard which added another element of light to the daylight factor and spread within the studio. [Fig. 24] shows the studioâ&#x20AC;&#x2122;s lighting directly into the room from 2 roof lights located on the slanted roof as well as a large south facing window. One of the challenges involved with the lighting spread within this room was the factor of the dark room located next to the studio on the right hand side as you enter the front door.

A comfortable range for the average daylight factor is between 2% and 5%. From [fig. 21] I could see that the average daylight factor was 4.88%, within the range. From [fig. 21] you can see the spread of the daylight factor within the room which leads to the desk and main work area of the studio to be within the range of 2% and 5% whilst also addressing the challenge of the light room adjacent to the studio which need to be totally light free within. Locating the roof lights and window in the one area of the studio near the desk work area the design heavily reduced the amount of light reaching the Scale 1 : 42 other end of the room and so helping to reduce the risk of light entering into the dark room.

Project 1

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Studio / Light scene 1 / 3D Rendering

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Position of surface in room: Marked point: (0.000 m, -0.008 m, 0.750 m)

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[fig. 23]

Scale 1 : 44 Position of surface in room: Marked point: (0.000 m, -0.008 m, 0.750 m)

[fig.Position 21] of surface in room:

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I think this window arrangement worked well for the task of the studio; containing an appropriate spread for the uses of the room as well as an average daylight spread between 2% and 5%.

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[fig. 19]

[fig. 20]

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[fig. 24]

[fig. 25]

Architectural Technology 1.2 DIALux 4.6 by DIAL GmbH

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ARCHITECTURAL REPRESENTATION

The Architectural Representation module aimed to introduce the ability to process, transform and communicate information. In particular we experienced information modes and communication appropriate to circumstance, manual communication techniques, principles for written and graphic media, basic to advanced computing skills in the architectural context and core study and workplace computer skills.

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The Tasks Booklet The Tasks Booklet was the first project and introduced the key skills required throughout the year such as line weights, architectural analysis of a building or space and photography.

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ARC1016 ARChiteCtuRAl RepResentAtion 2015-2016 NewCAstle univeRsity sChool of ARChiteCtuRe And plAnning student numbeR: 140045949

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Contents meAsuRed dRAwing pAges 2-7

hollow objeCt pAges 8-13

obseRvAtionAl dRAwings pAges 14-17

photogRAphy pAges 18-24

City dRAwing pAges 25-27

life dRAwings pAges 28-30

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tAsK one meAsuRed Room

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plAn meAsuRements - RotundA

seCtion meAsuRements - RotundA

plAn meAsuRements - outside stAiRs

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seCtion meAsuRements - RAiling of RotundA

detAils meAsuRement - dooR of RotundA

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detAils meAsuRement - dooR of RotundA

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1:100 plAn dRAfts

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1:100 seCtion dRAfts

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1:20 detAil dRAfts

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meAsuRed dRAwing

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tAsK two hollow objeCt

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Sketches

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tAsK thRee obseRvAtionAl dRAwing

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Space is full of light due to the large glass roof above. The mood of the room is affected by the weather and the type of light entering into the space through the glass roof. Central point for transition through the building into different rooms and areas. The current entrance doesnâ&#x20AC;&#x2122;t allow you to see the circular structure making it appear that maybe the entrance has changed from the original design and build. The grandeur and size of the building is only revealed once you are inside it. The design of the space is very classical yet it is modern and simplistic in itâ&#x20AC;&#x2122;s decoration as well as the colour scheme, making me think that it has been re-painted and maybe re-decorated since it was first built. The old wooden door tells of the old history within the building. Clean and crisp atmosphere to the space due to the colours and amount of light within the space. Tables and chairs have been added to the space to create more uses to the space than just a through route. Very calm and quiet space, the echoes however add to the sensation of its grandeur despite its surprising size.

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obseRvAtionAl dRAwings

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finAl dRAwing of RotundA dooR

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tAsK fouR photogRAphy

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Details: ISO 500 39mm f/5.0 1/2000 sec

Photograph looking upwards at the sky light of the rotunda, focusing on the details leading from the wall up to the roof. This image particularly interested me due to the circular levels leading up to the roof being distorted due to the angle and appear to almost bend. Taken of a grey day the sky in the background appears almost white and very monochromatic. This means no distraction is taken away from the shape of the structure in the image.

Details: ISO 500 39mm f/5.0 1/500 sec

Photograph looking at the combination of both square, rectangular and circular shapes. Due to the circular shape of the space the top of the door border curves along with the wall. This is then contrasted with the square shapes inset within the door border which appear flat yet we can see from the top of the collection of squares that they actually curve like the top of the door border.

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Details: ISO 800 50 mm f/5.0 1/250 sec

Photograph showing the details, texture and condition of the stone floor of the building. I liked the simplistic nature of the image showing the crack in the stone. When you look closer you realise that there is actually a fascinating design to the floor and the texture is not as plain as you may think at first glance. This detail in the floor is probably very rarely spotted or appreciated by the people walking through the space on a daily basis.

Details: ISO 100 25 mm f/4.0 1/2500 sec

Photograph showing the warm tones and interesting shadows created by light entering through the roof. In this image the warm light completely changed the colours and patterns created on the side of the wall compared with on a grey dull day. The light and shadow cast in this image almost looks like a bird in mid flight.

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Details: ISO 200 38mm f/2.5 1/640 sec

Photograph focusing on the small paint brush details on the square details within the door. The bold green colour on the white immediately captures your attention and this image again shows the square elements curving with the shape of the space.

Details: ISO 800 50mm f/3.5 1/1600 sec

A close up image showing the curves and the uniform square elements within the curving structure of the door border. Bold colour contrast immediately drawing your eyes to the dark green of the squares. Feeling that the square elements are trapped within the curving structure even though the space itself has a feeling of openness and grandeur.

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the thRee imAges

Details: ISO 250 18mm f/3.5 1/5000 sec

I found this image interesting as it showed the tone of light coming into the space through the roof as well as the interesting shadows and light patterns created by the roof. The space is warm and opening, and the image portrays the tall height of the room and the circular details leading from the wall to the roof light.

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Details: ISO 100 18mm f/22.0 1/4 sec

A long exposure showing the flow of people through the space and the alternative uses to the space with the tables and chairs within it. I found this image interesting because it had a human element unlike the other images of the space, It portrays the hustle and bustle through the space and the slow shutter shows a feeling of rushing and rapid movements through from one space to the next.

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Details: ISO 500 50mm f/1.8 1/800 sec

Photograph showing the wooden textures, details and tone changes within the door in the rotunda. I found this images to be so interesting due to the huge amount of textural change and details within the image and itâ&#x20AC;&#x2122;s a very close up shot of a section of the old door.

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tAsK five City dRAwing

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initiAl dRAwings

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finAl dRAwing

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tAsK siX life dRAwings

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[fig. 1]

[fig. 2]

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[fig. 3]

[fig. 4]

[fig. 5]

[fig. 1] shows 5 minute studies in ChARCoAl of the life model in seveRAl positions And foCusing on smAll AspeCts. [fig. 2] shows slightly longeR 10 And 15 minute studies in ChARCoAl of the life model AgAin in diffeRent positions. mAny of the studies oveRlApping And dRAwn on top of eACh otheR. [fig. 3] 30 minutes using two penCils tAped togetheR of the life model lying on heR bACK on A Rug. the study looKs liKe A bluRRed photogRAph due to this teChnique. [fig. 4] shows A 20 minute study in gRAphite of the life model lying on heR bACK with Knee bent. no shAding wAs used, line weight wAs used to tRy CReAte the diffeRent light on the foRm. [fig. 5] is two 20 minute studies oveRlApping. the life model lying down wAs dRAwn fiRst in gRAphite quite Rough whilst the stAnding position inCludes A moRe finished study with shAding of the light on the figuRe. shows A study of ARound

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Self Analysis Through the course of this project I learnt a lot and improved many existing skills. The measured drawing helped me to understand more about line weights and their importance in portraying the structural and details to a building and easily representing the different layers and aspects to a room and building through only the weight of your hand whilst drawing. I found the measured drawing interesting as I had never had to do anything so accurately to scale before and the precision required was enjoyable as it was something so new to me. As well as improving on my accuracy and scale drawings the observational drawing task required me to think about the space in a lot more detail than the everyday person walking through the space. This showed me the details, textures and atmosphere within the room that often do not get appreciated by the average eye. Through these different tasks I have found that my appreciation for space and the time taken by architects to decide on even the smallest placement of details is an incredibly intricate and complex process. I have found myself not just seeing spaces but observing and questioning places and buildings around me to try gain more of an understanding of the places which we encounter and inhabit on a daily basis. Life drawing is an activity which I had previously taken part in but the loose flow and movement within the different mediums we used to study the human form was a pleasant contrast from the tight, intricate style of the measured drawing. I found it beneficial to improve on my work with charcoal and try more loose, quick representations of the forms which we were studying. In summary I feel that this task has provided me with new skills as well as improving on old skills that I havenâ&#x20AC;&#x2122;t practiced in a fair bit of time. I feel the range of tasks and the breadth of skills required to complete these tasks have been of real benefit to me. I did find however that my weaknesses were often with impatience with the measured drawing and realising that the smallest measurement error can have a drastic effect on the look of your measured room and its accuracy.

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Unbuilt Architecture This project introduced the digital tools that are central to the contemporary practice of architectural design. Although physical model making and drawing still remains a vital part of the architectâ&#x20AC;&#x2122;s skill set, the use of digital tools has remained contentious in architectural education. This 3 week project introduced Photoshop, InDesign, SketchUp and Revit and attempted to enable critical thinking and creativity through the use of digital media as well as the knowledge of when and how to select different tools. We were set the task of producing an A1 board, a 15 second video of our digital model and a booklet showing the process and journey we took to arrive at our final designs.

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LUANDA CONSULATE LOUIS KHAN Student Number: 140045949 Module Code ARC 1016

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Contents Louis Khan A visionary architect, expert manipulator of form and light (1901-1974) A study on the incorporation of unglazed and independent forms inspired by the ruins of the ancient world and transformed into a very modernist style of Architecture.

Line of Inquiry

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The Concept Art

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The 3D Image

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The Exploded Axonometric

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The Elevation

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The Video

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References

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Line

When I set out to establish a line of enquiry for this project I began by researching Louis Khan; his influences, architectural style and reasoning behind this and other buildings he designed. Louis Kahn was a visionary architect and an expert manipulator of both light and form. He is regarded as one of the most influential architects of the twentieth century although he realised relatively few buildings. Kahn studied under an American variation of the French Beaux-Arts trained by Paul Cret, a French-born Philadelphia based architect and industrial designer. This led Khan to a Modern classic style that bridged neoclassicism with 20th century modernism and encouraged a warping and breaking of axes. Louis Kahn’s works involved clear expression of mass, load bearing of masonry walls and door openings that are emphasized. From this I arrived at the conclusion that one of Khan’s main considerations behind the building’s design was light. Louis Khan noticed that a large problem within the community within Luanda was glazing within buildings causing a huge amount of glare within the building preventing people from working within them. He also noticed that the local people to overcome this issue often faced away from the windows and used the walls reflective qualities to provide the right amount of light to work without glare. This led to the emphasis of door openings and large load bearing masonry walls that are free from glazing and steel. This allows light to pass into the spaces beyond without entering through glazing and causing glare whilst still managing to provide the right amount of light to those working within the building. He also utilised the interior walls as reflectors of light to those working within the space. In this process the light plays with the structure and shapes within the design and casts a pattern of shadows within the spaces beyond the voids. I focused my line of inquiry on the roof and main load bearing masonry and the shadows and forms cast within and on the outside of the structure as the light enters through the voids and interacts with the materiality of the building.

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Concept art

â&#x20AC;&#x153;The sun never knew how great it was until it struck the side of a building...â&#x20AC;?

Louis Kahn

The main idea with the concept art was aiming to portray the feature of the roof design, how the light played with the shapes and forms as it moved into the spaces beyond and how this interaction within the features of his buildings was not an alien concept for Louis Kahn within his designs. I began with a view of my SketchUp model roof exported as a CAD file and loaded this into Illustrator. There I changed the line weights and saved this as a PDF Print file. This was then opened into Photoshop the threshold of an image of Louis Kahn was altered to create a simple black and white version. This was added over the top of the roof pattern as an overlay and the opacity altered to allow the background pattern to show through certain parts of his face. This image was duplicated and distorted to create a shadow upon the roof pattern. This was to represent the concept that Louis Kahn designs his buildings around the shadow and play of light within the structure, represented through his form casting a shadow upon the form of the building created.

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Behind

THE

For the 3D image I began with my SketchUp model and exported it as both a CAD file for the lines as well as a PNG Image of the shadows. The CAD file was loaded into Illustrator and the line weights edited before being exported as a PDF. This was then loaded into Photoshop and the shadows, Materials, textures and shows added onto the 2 point perspective of the building. This 3D image was meant to represent a feel of the surroundings of the building as well as the materiality that I felt would suit the building as it sits within the environment. People were added within the photoshop to show the height of the building relative to a human walking up to enter into the consulate.

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3D image Page 121

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Axonometric

The SketchUp model was exploded to reveal the walls and structure within the building more clearly. From the SketchUp model a view was exported as PNG showing the shadows of the building but no edges showing on the image. This same view was then exported as a CAD file and loaded into Illustrator to edit the line weights of the image. This was then exported as a PDF and loaded into photoshop where the shadow image was placed underneath the line drawing. This was then exported as an Axonometric Diagram showing the structure and used to again capture the shadows created by the roof forms as the light enters through the voids.

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The elevation The initial stage in the elevation was to export a PNG showing the shadows on the elevation from the SketchUp model. This same perspective was exported as a CAD file from Sketchup and opened into Illustrator to edit the line weights. This was then exported as a PDF and opened into photoshop for the materials, textures and context to added in. The elevation was done in this way to show the materiality and context as well as the being done to 1:50 scale to show a valid scale to view the elevation at.

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the After setting up scenes from within SketchUp I then exported the animation as a set of JPEGs into a file. The sequence chosen was to show the progression of light and shadows against the building as the day progresses. Opening these into Premiere Pro I then created a video out of the sequence of photos exported from SketchUp. I then overlaid the noise of cars and people passing by to show the kind of hustle and bustle that would most likely be created by the building of this building within the environment.

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References: http://www.penccil.com/gallery.php?p=546723899980 http://www.biography.com/people/louis-kahn-37884 http://www.archdaily.com/362554/light-matters-louis-kahn-and-the-power-of-shadow http://mediamilitia.com/hot-air-balloon-pack-textures-images-vectors-brushes/ http://www.texturezine.com/hi-res-concrete-textures-2/ http://www.lughertexture.com/bricks-walls-textures-free-hires/concrete-walls-hires-textures http://designmuseum.org/designers/louis-kahn http://www.getintravel.com/guide-to-jordan-where-to-go-and-what-to-see/ http://eskipaper.com/ http://www.charlie-bruzzese.com/walking-people/ https://s-media-cache-ak0.pinimg.com/736x/69/1e/74/691e74ae5be305ea1c33c9dc4d7ca798. jpg https://s-media-cache-ak0.pinimg.com/564x/88/f9/b2/88f9b2848259b486375bc11ceb5b350b. jpg http://img14.deviantart.net/ebdb/i/2014/268/2/c/bird_silhouette_1_by_mindsqueezed80hfiz.png http://preview.turbosquid.com/Preview/2014/12/11__15_09_01/palm_royal01_f_0000_sign. pngebcf8f73-6c3f-45c5-9569-a9000aec5170Original.jpg https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRl900bWGvB1KMyeaFz_ MeNUx9NtLt4olH0roruDiRoyPtKeIyUsw https://encrypted-tbn1.gstatic.com/ images?q=tbn:ANd9GcQfm5lFDAUPCnwwbyK9gyd7yzhnf0PmSMPCx7SCwE3hI2gkkapm https://encrypted-tbn1.gstatic.com/ http://cache4.asset-cache.net/gc/510392227-cheerful-man-holding-duffle-bag-walkinggettyimages. http://previews.123rf.com/images/likstudio/likstudio1109/likstudio110900068/10537888Natural-stone-texture-with-different-colors-Stock-Photo-background.jpg http://bgfons.com/upload/stone_texture197.jpg http://www.pergamonteam.com/sites/default/files/zip/concrete_010.jpg http://img10.deviantart.net/b24b/i/2010/037/1/f/desert_mountain_1_by_tkrain_stock.jpg http://www.texturex.com/Sky-Textures/ sky+texture+high+resolution+panoramic+blue+green+clouds+stock+photo.jpg.php

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LUANDA CONSULATE LOUIS Khan Student Number: 140045949 Module Code: W

Concept Art: “The sun never knew how great it was until it struck the side of a building...”

1 2 0 Elevation 1:50

Final poster design - originally printed at A1 size.

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Stage I Architecture Portfolio

Brandon Few 2015/16