Stage III Architecture Portfolio 2018 by Brandon Few

FLUX.

17/18

STAGE III ARCHITECTURE PORTFOLIO By Brandon Few

FLUXMAGAZINE.COM | STAGE 3 | PART 1

GAFIA Treating the coast as a place to ‘escape to’ and celebrating the people and place of Northumberland.

SURFING BEYOND THE TURBINES FREE POSTER INSIDE. A unique experience of surfing beyond the Blyth Offshore Wind Farm.

THE FLUX PROJECT A unique building intervention celebrating the industrial history of Blyth & looking towards a new future for the area.

STAGE III ARCHITECTURE PORTFOLIO By Brandon Few

2017-18

â&#x20AC;&#x153;They walked, and the long waves rolled and murmured rhythmically beside them; the fresh salty wind blew free and unobstructed in their faces, wrapped itself around their ears, and made them feel slightly numb and deliciously dizzy. They walked along in that wide, peaceful, whispering hush of the sea that gives every sound, near or far, some mysterious importance.â&#x20AC;? Thomas Mann

Learning Summary GAFIA was a thoroughly enjoyable studio that looked at architecture and the broad range of cross disciplinary design related to it that is often brushed over within the course. The Primer provided a wealth of research and investigation into Industry typologies and Blyth; the people and place that exist their as well as its rich industrial history. This helped to provide Throughout this year the ‘GAFIA’ studio tutors, Colin a strong narrative that continued to strengthen Ross & Michael “Meeks” Simpson, have worked hard throughout the design process and all the way to push us as architecture students; this has not always through Realisation, Refinement and the final design been the easiest experience but I have consistently of The Flux Project. found myself working harder and harder to improve my work. This year has not been without its challenges; playing and captaining the NUMHC 2nd XI has been an It has been a year full of hard work as well as the incredible experience but has definitely added to the associated rewards along the way. Dissertation proved pressure and stresses of the course. I do believe beside to be a rather challenging exercise as I am not as this stress it has had a huge positive impact on my passionate about writing compared with design work. studies. It has provided a unique and alternative range Sam Austin’s guidance and encouragement as my of situations to improve and push my leadership, dissertation tutor was more useful than I can explain team work and time management skills that would and helped to make the final result an incredibly not have happened within the course alone. This has rewarding experience. It helped to improve my subsequently helped within my architectural studies research and writing skills, which previously were and also provided a break from work and the studio not as strong as my design related skills within the to mentally and physically detox. course as well as inspiring a love for writing that had previously been lacking. The chosen topic provided a fascinating insight into the social, political and economic effects and drivers that often reflect within architecture. The prolonged time researching and curating the arguments and ideas for the dissertation also helped in my own personal architectural studies; investigation and questioning architecture to a much greater level of depth than ever previously. Architecture stage 3 has been a year full of challenges and lessons both within and outside of architectural studies. Following on from our team’s success in the ‘2017 APL Summer Design Competition’, I started this academic year feeling inspired and motivated for the work that lay ahead.

STAGE III

[NB.]

New work shown through presence of this symbol. Revised work shown through presence of this symbol.

J-Lay Project Site photograph of the large deep-sea offshore construction vessel located in Blyth. The vessel is part of a project creating one of the worldâ&#x20AC;&#x2122;s largest pipe laying systems.

Design

Contents

Charrette & Competition

1-6

Studio Outline

7-8

Primer Project

9 - 25

Field Trip

26 - 36

Staging

37 - 64

Thinking Through Making Week

65 - 72

Realisation & Refinement

73 - 99

Tectonic Integration

100 - 108

Charrette 12 This year charrette ran alongside the 2017 APL Summer Design Competition; to design Alphabettiâ&#x20AC;&#x2122;s new theatre space. Part 1 consisted of designing and building a flexible exhibition system to enable the competition work to be exhibited in the Alphabetti bar space. Part 2 involved an ideas competition to design a linear urban park and street that would run along St Jamesâ&#x20AC;&#x2122; Boulevard and adjacent to the new theatre premises.

Right: Exploded axonometric showing design of one of the units; utilising inexpensive materials of chipboard and off the peg timber sections.

Left: Concept sketch showing the spill out theatre. The proposal will provide a hub for activity, promoting the Alphabetti Theatre and helping to enrich the community. 2

Alphabetti Competition The following is a design proposal for the new Alphabetti theatre space that was completed by Jonathon Pilosof, Matilda Barratt & Myself as part of the 2017 APL Summer Design Competition. The Self-Build Amphitheatre was a flexible and multifunctional theatre design proposal that was awarded second place in the APL Summer Design Competition.

THE SELF-BUILD AMPHITHEATRE 2017 Our Self- Build Amphitheatre designed for Alphabetti Theatre Company enables the energetic and exciting band of performers to expand on their work, championing fringe culture. Traditional amphitheatre seating has been fused with a modern modular system to create a dramatic atmosphere that will enhance any artist’s performance. Whether theatre, music or Alphabetti Soup, the space will form the perfect backdrop to a show. By proposing a simple, nononsense design for seating and stage, the theatre is given the ability to expand the audience capacity at its own pace; whether an event next week needs forty seats, or the festival next year needs a hundred. The proposed DIY system provides limitless options, such as an immersive theatre space, comedy night amphitheatre or full stage. The entire seating system can easily be dismantled, allowing the theatre to use the space to the fullest extent or even in the public arena for travelling shows. Individual seat modules can be customised to any performance configuration, accommodating wheelchair users and those with difficulty sitting at lower height. In addition, by using low cost materials, wear and tear won’t stop the show going on. By using predominantly low carbon footprint, low toxicity OSB the theatre can stay true to its environmentally conscious aims; whilst the finished top panels can be formed from any timber strong enough to hold a person’s weight, breathing new life into waste material. We believe that by giving you the tools to expand your own stage, Alphabetti Theatre can continue expanding its mission to be Newcastle’s biggest hotspot of young artist talent and culture. Concept drawing of the Amphitheatre.

Site map showing the Alphabetti Theatre. Original image at 1:1250. 4

This image shows the venue at roughly half capacity (where full capacity numbers 100 people). The tiered amphitheatre will enhance the performance - no matter how bad the comedianâ&#x20AC;&#x2122;s jokes are.

Original image at 1:100.

m m 90 42

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Perspective section showing the theatre space in band configuration.

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The re-assembled stage creates a perfect configuration for a standing audience to discover Newcastleâ&#x20AC;&#x2122;s up and coming artists and bands.

1800mm

Original image at 1:50.

Alphabetti Theatre Site photograph of the Alphabetti Theatre located on St. James Boulevard in Newcastle-Upon-Tyne. The theatre aims to “create, produce and program new original work across the performing arts.”

“An important part of the theatre ecology of the North East, not just of Newcastle. It’s a place where exciting new work can be seen and enjoyed.” BRITISH THEATRE GUIDE 6

“Acknowledging the coast as a place ‘to escape to’, this will be a study of people and place on the Northumberland Coast.” GAFIA STUDIO BRIEF, COLIN ROSS & MICHAEL ‘MEEKS’ SIMPSON

South Beach Blyth Site photograph of an unknown surfer finishing an early morning surf session in South Beach, Blyth - a popular surf spot for many locals living in the area. 7

Studio 1: GAFIA ‘Getting Away From It All’ focuses on the Northumberland coastline stretching between Berwick-Upon-Tweed and Blyth. The studio aims to explore the coast as a place to ‘escape to’ and draw inspiration for our graduation projects from the people and place that inhabit it. The studio outline also looked at architecture as a cross-disciplinary practice, aiming to celebrate the diversity of design practices within Architecture as a subject, profession and passion.

Local Surfer Dr. G Sowman, a Blyth local enjoys an afternoon surf session in North Blyth before heading to work in Newcastle. Georgie has spent many years travelling and surfing all over the world but still believes that Northumberland is the best place to surf.

GAFIA

GETTING AWAY FROM IT ALL

Concept graphic created for the studio during Primer. 9

Primer Project The Primer Project was a 5 week long investigation into the people and place of the Northumberland coast alongside researching architecture typologies that exist all over the world. Each week revolved around experimenting, investigating and questioning a certain building. The final outputs from the 5 weeks included typology model studies, folios of sketch work, research into Dutch cross disciplinary designers as well as a film poster. The film poster highlighted the research into the people and place of Blyth during Primer. All this work was curated in a Primer exhibition where we showcased the broad research and site analysis we had explored as a whole studio. Initially I struggled with the Primer Project; my love/hate relationship with model making alongside (my naivety) not understanding the relevance of the number of typology studies meant my work sometimes lacked consistency and depth. This changed as the weeks progressed and the reasoning behind each task became more and more clear. My research into â&#x20AC;&#x2DC;Industryâ&#x20AC;&#x2122; buildings during primer not only created a wealth of research and interest into the architecture typology but also later played a key role in underpinning an incredibly strong narrative and understanding into the industrial context of Blyth and subsequent site of The Flux Project.

UK - England - Northumberland - Blyth

“New figures reveal that almost 10 million people visited Northumberland in 2016, pumping £852million into the county’s economy....” NORTHUMBERLAND GAZETTE

North Sea

English Channel

ENGLAND 11

Holy Island Bamburgh Beadnall

Craster

North Sea Alnmouth

Population: 37,000+

Amble

Newbiggin-by-the-Sea

Blyth Tynemouth

NORTHUMBERLAND 12

FISH QUAYS The North Shields Fish Quay dates as far back as the 13th Century. The Quay is a rugged hub of activity with commercial activity still continuing day in and day out in the area. It is a unique place of character and experience; the place is filled with the smells and sights of the sea, restaurants, trawlers, seagulls and fishermen.

North Shields Fish Quay

Fish Quays River Tyne

Timber, balsa and paper model showing the lightweight steel skin and structure as it sits raised about the water in North Shields.

THE CLOUD The Cloud is a 178m long building in Auckland that was designed and constructed primarily for the Rugby World Cup in NZ. Designed in a similar way to a ‘tent’, the PVC roof is sculpted on top of the glass and steel structure below. The building is now used as a venue space and for tourism; providing a space for people to gather and interact.

The Cloud

Queens Wharf

Freemans Bay

Timber, foam, steel and paper model showing the white PVC roof of the aptly named ‘The Cloud’ as it meets the glass and steel structure at the front and sides of the building. The Cloud is situated on Queens Wharf, a piece of land that juts out from Auckland Harbour above Freemans Bay.

TATE LIVERPOOL The Tate Liverpool is a modern art museum located in Albert Dock. The area was once a bustling dock area with warehouses full of cargo from Asia; tea, silk, tobacco and spirits. They later lay derelict for several years before the site was chosen as the new site for the â&#x20AC;&#x2DC;Tate in the Northâ&#x20AC;&#x2122;.

Original Existing Architecture

Modern Entranceway

Albert Dock

A5 timber and paper model showing the modern entranceway and its form and scale in comparison with the original warehouse building architecture.

MOSQUITO COAST FACTORY The Mosquito Factory is a concrete fabrication of a utopian site for living, research and production. The building is made out of galvanised steel and echoes the language in the industrial architecture surrounding the site. The building is designed to create a space for experimentation and artistic research.

Mosquito Factory

A5 timber and plastic model showing the scale of the entranceway compared with the overall form of the building as well as the simple language in the materiality of the design.

PERDIDO SPAR The Perdido Spar sits 200 miles off the coast of Texas. It is an offshore energy platform that will be operating deeper than any other oil and gas production facility ever made.

Living Quarters

Spar

Ballast

Timber, foam and paper cardboard model showing the Perdido Spar.

MARKER DESIGN The marker design is inspired by the form of the beach huts that lie on the coast of Blyth. The task was to create a marker that would be useful to a specific group of people within the area that were lacking facilities. The design was for a set of changing rooms to be built in North Blyth to provide showers and changing facilities to surfers in the area through the use of water collection.

North Blyth

Wind Turbine Marker design

North Sea

A5 timber, paper and card model showing the marker design as an initial investigation into a destination building on the coast. The building is a changing facility based in Blyth that utilises water collection and recycling to provide a renewable changing areas for surfers spotted in North Blyth.

The Cloud Perspective section of The Cloud in Auckland showing atmosphere and how the steel, glass and PVC structure interacts with the light as it enters into the large space created within.

SURFING BEYOND THE TURBINES

Surfing like you’ve never seen it before... GAFIA STUDIO :*BRANDON FEW “SURFING BEYOND THE TURBINES”

SURFING BEYOND THE TURBINES Brandon Few

Final Primer Film Poster Design. Original image 594mm x 841mm. 21

EXHIBIT ALMANAC The Primer project ended with the collation of the 5 weeks of work in an exhibition in the architecture building. The â&#x20AC;&#x2DC;Exhibit Almanacâ&#x20AC;&#x2122; included our film poster designs which summarised the key themes within our films and our research into people and place. It also included over 100 typology study models, folios of work and an installation celebrating the cross disciplinary design research conducted within the studio.

RESCUE

TRANSPORT

Exhibit Almanac Image showing the exhibition collated at the end of the primer stage. The models are collated by their 6 categories (labelled in image) and on the right in the foreground you can see the installation showcasing the cross disciplinary design conducted by the studio. 23

ENERGY

INDUSTRY

DEFENCE

COMMUNICATION

THE TURBINES

Surﬁng like you’ve never seen it before... GAFIA STUDIO :*BRANDON FEW “SURFING BEYOND THE TURBINES”

SURFING BEYOND THE TURBINES Brandon Few

FREE POSTER

SURFING BEYOND

Renewable Energy Photograph of the Wind Turbine that sits in North Blyth as seen from the main Blyth high street - a clear reminder of the importanace of the renewable energy industry in the area. 25

Field Trip After the primer project we embarked on a studio field trip to The Netherlands. The aim of the trip was to visit a number of â&#x20AC;&#x2DC;distinct, formally and spatially memorable buildings in Utrecht, Amsterdam & Rotterdam.â&#x20AC;&#x2122; The trip was also designed to support our studio focus and interest in cross disciplinary design, primarily the dutch designers we had researched.

Nieuwmarkt Photograph taken whilst in Amsterdam on the field trip in December.

“Whether it’s art, furniture, fashion or architecture, Dutch Design is recognised and celebrated all around the world”(4) IAMAMSTERDAM.COM

UK - The Netherlands - Amsterdam - Utrecht - Rotterdam

North Sea

Itinerary: 7 days, 3 cities.

Amsterdam

Utrecht Rotterdam

THE NETHERLANDS

Skyline Horizon Drawing tracing the form and elevations of a section of Amsterdamâ&#x20AC;&#x2122;s skyline seen from a walkway near the Nemo Science Museum.

SANAA Architects Line drawing showing the atmosphere and experience created by the exposed structural elements that disappear into the roof within the theatre in Almere.

Railway Building Line drawings looking at the building suspended above the railway tracks in Amsterdam as seen from near the Nemo Science Museum.

Theatre & Arts Centre, Almere Photograph taken inside the theatre designed by Sanaa Architects.

Drawing montage of a perspective, elevation, plan and grid showing the rational and reasoning behind the form of the theatre and arts centre in Almere.

Almere Photograph of the residential area in Almere.

Drawing showing a birds eye view of a residential area in Almere.

MADE.COM Photograph taken in the made shop in Amsterdam, taking inspiration for internal experience and products.

Staging Primer and the early research into Blyth and industrial building typologies led me to look into the history of the port town and how the loss of industry had dramatically affected the area. I started to regularly visit Blyth and take footage and photos as part of the short film task we had as part of Staging. This brought me to notice the strong surf culture that existing in Blyth as well as throughout the Northumberland Coastline. I started to explore this surf culture and question how it could be utilised to create a destination building in Blyth that would help to revitalise the area which had lost tourism since the closure of its ship building yard and coal collieries.

Brief Narrative The global surf industry in 2017 was estimated to be worth $13 billion and although this is largely dominated by the US market, surfing in Europe, China and even Korea is rapidly growing in popularity. Cornwall currently has a surf industry of £153m which has a dramatic positive impact on the county’s economy. With the introduction of surfing as an Olympic sport in the Tokyo games and the recent developments in wave pool technology the sport will continue to grow in popularity in the years to come.

The site location and building would not only help to improve tourism to the area and create a social hub for the town but also help put Blyth on the map as a specialist research, innovation and training centre for surfing in the UK. Australia has some of the best surfers in the world currently and this is partially due to the training and innovation centres that exist across the country. These centres provide specialist training and research for their athletes from a young age, allowing them to dominate competitions later all over the world. With the popularity of surfing growing in the UK and the need for specialist training for Olympic athletes becoming more important, this building would provide the necessary training and facilities for UK surfers.

Northumberland has a strong surfing culture and some of the best waves around but currently the county is not utilising this incredible opportunity on its doorstep. Tynemouth Surf Co. has seen success in the region and creates a hub for music and art events as well as a centre for surf training and social interaction but is a small example of what could be created to benefit the local economy and community in Blyth.

Already in the UK, centres like The Chill Factore in Manchester, Surfsnowdonia in Wales and Tynemouth Surf Co. in Tynemouth are providing specialist training for extreme sports athletes and this building would help to add to the range of places and sports being catered for within the UK.

The site I have chosen to investigate in Blyth is the Alcan Ship Unloading facility in North Blyth which currently is a popular surfing and fishing spot with locals and visitors but lacks any form of infrastructure. The site has a rich link to the industrial past of Blyth and would create a clearly defined infrastructure between the town centre, quayside, North Blyth and the North Sea which currently does not exist.

Left: QR code link to the “Surfing Beyond The Turbines” short film looking at the research into Blyth on the Northumberland coastline.

Pamphlet Design

SURFING BEYOND THE TURBINES

E-SEA

A3 folded pamphlet that I made during staging to showcase the key themes and concepts researched into the site in Blyth as well as the design brief.

FROM COAL INDUSTRY

‘Surfing Beyond the Turbines’ is a short film by Brandon Few. It has been created to spark insight start a conversation about the ‘People + Place’ of Blyth on the Northumberland coast.

Front Cover

Full pamphlet unfolded (front.)

The perfect location for a national surf centre to provide training facilities for local, national and international tourists and surfers visiting the area. Utilising old coal industry buildings within its design and providing a venue that looks out towards the North Sea and Blyth’s famous wind turbines - it is a surf venue and experience like no other in the world. NEWBIGGIN-BY-THE-SEA

BLYTH

The film looks at the coastal town and its humble beginnings, later becoming a large hub of industry on the Northumberland Coast. This industrial past of the coastal town has shaped and defined the Blyth that we see today. The film investigates the slow decline of Blyth as an industrial focal point and the steady transformation that Blyth has undergone over the past century. The film then looks towards the horizon and the future of Blyth. What is left of ‘Surfing Beyond the Turbines’ is a the once bustling port town, the ‘secret short film by Brandon Few. It has surf ’ culture that has been growing been created to spark insight start a rapidly both within and+ along conversation about theBlyth ‘People Place’ the Northumberland coastline. How could of Blyth on the Northumberland coast. this transform Blyth from industrial decay to tourist hotspot in the future?

TO SURFING HUB SURFING BEYOND THE TURBINES

TO SURFING HUB

FROM COAL INDUSTRY

The film looks at the coastal town and its humble beginnings, later becoming a large hub of industry on the Northumberland Coast. This industrial past of the coastal town has shaped and defined the Blyth that we see today. The film investigates the slow decline of Blyth as an industrial focal point and the steady transformation that Blyth has undergone over the past century. The film then looks towards the horizon and the future of Blyth. What is left of the once bustling port town, the ‘secret surf ’ culture that has been growing rapidly both within Blyth and along the Northumberland coastline. How could this transform Blyth from industrial decay to tourist hotspot in the future?

TO SURFING HUB

Back Cover

Brandon Few

SURFING BEYOND THE TURBINES

GAFIA STUDIO :*BRANDON FEW “SURFING BEYOND THE TURBINES”

Surfing like you’ve never seen it before...

SURFING BEYOND THE TURBINES

Full pamphlet unfolded (back.)

Project J-Lay seen from the site of the flux project. Blyth has a strong renewable energy industry currently.

The tourism industry decreased when the townâ&#x20AC;&#x2122;s train station, coal collieries and ship yards closed in the late 20th century.

Blyth has incredible potential as a tourist destination but is currently underutilised.

The quayside currently is an under appreciated area in Blyth and could be a hub of activity.

Blyth Town Centre.

Photograph showing the site located in the existing storage silo of The Alcan Ship Unloading Facility in North Blyth. Currently there is no link between the town centre, quayside and North Blyth.

Historic Context 1890

1890s North Blyth becomes a centre for the coal industry in Blyth with four coal staithes built up in Blyth Harbour to transport coal from Cowpen Colliery to be loaded onto ships. Gas works and Ship building yard in Blyth take up a large area of land in the town and show the importance that ship building and coal had on Blyth’s economy. Blyth High Ferry provides a link between North Blyth and the town centre. 1930

May 24, 2018 12:21

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University of Newcastle

Projection: British National Grid

1930s North Blyth sees more coal staithes built and a much denser collection of railway tracks to Cowpen Colliery. The shipyard in Blyth expands to take up land adjacent to the existing area. The Blyth High Ferry continues to provide a link between North Blyth and the town centre.

1960

May 24, 2018 12:23

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University of Newcastle

Projection: British National Grid

1960s Just before the closure of Blyth’s ship yards, coal collieries and public railway station the area is a hub for industrial activity. The site in North Blyth has become even more condensed with railway lines and coal collieries. Between 1967 - 1986 the shipyard and coal collieries closed, having a dramatic impact on Blyth’s economy as well as the tourism industry to the area.

May 24, 2018 12:23

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Projection: British National Grid

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University of Newcastle

Looking to the Future The historical context of the site chosen continues with the narrative of my project celebrating the old and look to the new; utilising the industrial past of Blyth and creating a new building intervention that looks at what the future industry of Blyth will be. These key interests in Blyth and the site became clear during the research conducted during the primer project as well as the short film produced over the course of staging. The port town historically had such a clear link to the sea through the coal and ship building industries but currently this connection has been lost due to the lack of connection between the town centre, quayside and North Blyth. The site has been chosen to re-use one of the existing storage silos from the Alcan Ship Unloading Facility and create a narrative within the building design that acknowledges and celebrates the industrial history of the site whilst creating a new architecture typology that celebrates the people and place of Blyth that currently exist there today.

Site Context

FLUX / fl^ks / noun noun: flux plural noun: fluxes 1. The action or process of flowing or flowing out. the rate of flow of a fluid across a given area. 2. Continuous change. synonyms: continuous change, changeability, variability, fluidity â&#x20AC;&#x153;the whole surf industry is in a state of fluxâ&#x20AC;?

THE FLUX PROJECT

noun noun: the flux project 1. Surf research, training and innovation centre based in Blyth, Northumberland. providing specialist training to amateurs and professionals alike. 2. FLUX a surf research, innovation and lifestyle brand in The Flux Project that aims to keep people up to date and inspired by the research, innovation and training occurring in Blyth and help to bring specialist skills back to Blyth.

The Flux Project Site Map. 6

2 3

Map Key: 1. Blyth Town Centre. 2. Existing Storage Silo. 3. Proposed Wave Pool. 4. Blyth Quayside. 5. Proposed Bridge. 6. Wind Turbines 800m from the shore. 7. Popular beach break surfing spot. 8. Reef break surfing spot alongside wind turbines. 9. South Beach, a popular beach break surfing spot.

Site analysis map showing The Flux Project site within the context of Blyth. Original image at 1:2500 on A1. (Also used as part of ARC3013 Integrated Tech. Part II) 54

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SITE VIEW POINTS

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To po ward ol. s S ou th

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Qu ards Tow

Key Drivers Along with the historical context of the site being a key driver behind the choice of site was the view points that the site provided. These were key drivers behind not only the choice of site but also within the building form and design. 55

ach

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Concept model at 1:1000 investigating the potential massings to create the views out from the building.

Image showing a closer view of the concept models and initial massing studies to try and achieve the key view points shown previously.

Developing the Form 1. Looking at the existing silo and the natural grids that occur due to the direction of the town and North Blyth. 2. Floor plan tests looking at achieving the desired views from the building inhabiting the whole storage silo structure. 3. Another iteration of the floor plans utilising the whole storage silo to achieve the desired views. 4. Looking at a building that follows the same site lines and directions as the conveyor from the Alcan Ship Unloading Facility. The building cuts into the silo and creates a void below for social activity while the stacked volumes begin to provide the desired views. 5. Looking at how the building can maximise the experience of the user and provide a route through that educates visitors as they move through the spaces. Using the same language and form as the conveyor the building entrance is at the top, allowing views to the ‘final destination’ of the wind turbines. As you move through the building you see and learn from views into the research spaces before finally exiting at ground level towards the water. 6. The previous concept continues to develop and shape. Using the main entrance way to mirror the language of the conveyor you enter on the top floor and 3 stacked volumes provide the desired views as well as educating visitors as they move through to the ground floor.

Central circulation core

Final exit towards the ‘final destination’ of the sea Views to Research centre from core

Conveyor

Route up to entrance Arrival from Quayside Experience & Route Through Diagram showing the conceptual route through the building and the language of the existing architecture translated within the route through the building. 60

Developing the Form pt2

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Final concept iteration of floor plans using 3 stacked volumes to provide the key views from the building which were key site drivers to the site as well as the design.

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Concept sketch showing the 3 stacked volumes within the existing storage silo with part of the external skin removed. The sketch shows the desired view out towards the surfers and the wind turbines. The stacked volumes mean the entrance is at the top of the building and follows the same language as the existing architecture of the conveyor.

Concept sketch showing the key view from the building out towards the wave pool and quayside which was a key driver behind the orientation of the research space in the stacked volumes.

THE FLUX PROJECT

Surfing like youâ&#x20AC;&#x2122;ve never seen it before...

THE FLUX PROJECT Brandon Few

Concept Poster Design showing The Flux Project initial design as seen from the Wind Turbines. Original image 594mm x 841mm. 64

Thinking Through Making Thinking Through Making week was a week long design exercise that looked at investigation an aspect of the building in a closer scale such as 1:1 or 1:10. With my project, The Flux Project, investigating the surf culture of Blyth and how it can positively impact the economy and community I started to look at what exactly surf culture is all about.

‘Shaka’ - meaning of ‘Aloha Spirit’ which is the coordination of the mind and the spirit to think and exude good feelings to others. The symbol is also known all over the world as an international greeting between surfers.

Surf Culture My Thinking Through Making Week consisted of researching the culture that exists within surfing. The thing I found was that surfing is not just simply a sport that people enjoy as a hobby, surfing is often treated as a way of life by many. Surfing incorporates skateboarding, music, art, photography, film making, travel, clothing and style. Just as the studio investigated architecture as a cross disciplinary in primer and beyond, so I have looked to surfing as a cross disciplinary sport that incorporates so much more than first visible. My research also looked at the â&#x20AC;&#x2DC;wave projectâ&#x20AC;&#x2122; charity that uses surf as therapy to those suffering from both physical and mental difficulties. The Flux Project is designed to be not only a tourist destination but also a base for the wave project to help those in the community who could benefit from the sport.

FLUX Surf Research & Innovation Brand

This culminated in the design and creation of a set of FLUX magazines and t shirts as a taster of the types of products the in house design team would be creating. Sadly I was unable to actually try shaping or designing a surfboard which would have been a fascinating experience. I did however research the type of innovation currently occurring within surfing, especially the 3D printing of fins which is becoming more and more normal within the industry - this research and the 1:1 models influenced the design of my building throughout the realisation and refinement stages.

Venice Beach A skateboarder enjoys a day session at Venice Beach skate park in California. Skateboarding is becoming more and more prominent as a training activity within professional surfing and is part of the same culture as surfing.

Realisation & Refinement With the main program and initial design concepts progressing from Staging, the project started to enter Realisation & Refinement. This was when the concepts and rough design started to develop into a much more refined project. The Thinking Through Making research and models along with the strong narrative developed through Primer and Staging helped to culminate all these key concepts and drivers into The Flux Project design.

Blyth Beach Huts Photograph of the beach huts that lie on the seafront in Blyth. This was key in the design of the primer marker and the building form of the â&#x20AC;&#x153;The Flux Projectâ&#x20AC;?.

FORM MUTATION

1. The building form is inspired by the beach huts located on the beach front in Blyth (see previous photograph). Timber beach huts are common sightings in coastal regions and often are a sight that evoke happiness and memories about previous trips to the seaside, often from when you were younger. The form is also often related to safety and protection from the sometimes harsh external environmental elements.

2. This regular and recognisable coastal typology is then pulled apart and open to create a new, unique architecture. Although a new form it is still heavily influenced by the beach hut typology and all that it embodies. The aim of this is to create a new typology that resembles an existing form, evoking the same shelter and comfort that the beach hut evokes whilst making you question the new activity that is occurring within this building.

3. This evolution of the â&#x20AC;&#x2DC;beach hutâ&#x20AC;&#x2122; is also inspired by the renewable energy industry that is to prominent within Blyth. The form goes from a simple shelter to create a new, beach hut inspired, form. This form utilises environmental strategy within the design in an effort to maintain the importance of renewable energy in the region and help to pay homage to the architecture typology in the reason and the current industry of Blyth whilst again creating a new typology that draws your eye.

4. The form uses single sided, stack and cross ventilation in the building to help naturally cool the design. The south facing glazing helps to utilise solar gain during the cold winter months to heat the structure whilst shielding from solar glare during the warm summer months. This environmental strategy was another key driver behind the form that the building took.

BUILDING IMPLEMENTATION

1. As previously mentioned the site for The Flux Project was chosen due to not only the views but also due to Blyth’s industrial history. This set of images shows the new beach hut form, incorporated within the 3 stacked volumes to create a new coastal typology intervention that pays homage to Blyth’s industrial history as well as the coastal forms found on Blyth’s coastline. Looking at the old industry of Blyth and also looking to a new tourism industry within the area.

2. Part of the existing storage silo skin is removed to allow for views out towards the wind turbines, the wave pool and Quayside. The removal of part of the skin also allows for a new social hub of activity to take place within the silo.

Diagram also previously used within the ARC3013 Integrated Tech Report Part II. 76

3. The new building intervention utilises the existing silo structure and creates a hybrid design of both old and new architecture.

Church & Parish Centre in Cologne

PRECEDENT STUDY

1010

2014 ¥ 10 ∂

∂ 2014 ¥ 10

Dokumentation

Kirche und Gemeindezentrum in Köln

Grundrisse • Schnitt Maßstab 1:500

Section • Layout plans scale 1:500

Church and Parish Centre in Cologne

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Architekten: Sauerbruch Hutton, Berlin Louisa Hutton, Matthias Sauerbruch, Juan Lucas Young Projektleiter: Jürgen Bartenschlag, Vera Hartmann Tragwerksplaner:

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Horz + Ladewig, Köln Fotos: Annette Kisling, Margot Gottschling

Im nordwestlichen Teil des Grundstücks in Köln-Stammheim, eingerahmt von altem Baumbestand, steht der Neubau der evangelischen Immanuel-Kirche. Der Bau, der nicht wie im Wettbewerb aus Stahlbeton, sondern letztlich aus Kostengründen in Holzbauweise errichtet wurde, erhält durch den Campanile direkt an der Straße einen unübersehbaren Wegweiser. Der Glockenturm ist wie die Kirche und die kleine Gebetskapelle mit einer diagonalen Holzschalung aus sibirischer Lärche verkleidet. Eine Vergrauungslasur vereinheitlicht das Bild der Fassaden. Man betritt das Kirchengebäude über das niedrige Foyer unter der Empore und erlebt dann die volle Höhe des Kirchenschiffs von elf Metern. Die vorgefertigten Holztafelelemente und Stützen sind unverkleidet, die gebürsteten und weiß gewachsten Oberflächen lassen die Maserung des Holzes sichtbar werden. Als Bodenbelag wurde ein heller Sichtestrich eingesetzt. Die Rippenstruktur mit Stützen von 7,5 ≈ 30 cm bildet mit den ausfachenden Platten ein steifes Tragwerk aus Dach und Wandscheiben. Durch einfache, wirtschaftlich optimierte Einfeldträger konnten aufwändige Anschlüsse bei biegesteifen Rahmenecken vermieden werden. Die über dem Foyer ansteigenden Stufenbalken dienen als Sitzbänke der Empore. Die minimalistische Gestaltung durchbrechen die Architekten mit dem raumhohen Screen aus 3800 farbigen Holzlamellen in 27 unterschiedlichen Farben, der sich hinter dem Altar erhebt und wie ein Vorhang vor der Orgel schwebt. Über dem Altar öffnet sich das »Himmelfenster«. Dieses Oberlicht verstärkt den Effekt der nach oben heller werdenden Farben und erzeugt eine transzendente Aura. Die Räumlichkeiten können von der Gemeinde je nach Veranstaltung flexibel genutzt werden. Eine in den Screen eingebaute Öffnung erleichtert das Wegräumen des liturgischen Mobiliars, der Altarbereich kann so in eine Bühne verwandelt werden. Seitlich des Altars sind weitere Bereiche durch Faltwände hinzuschaltbar und die lose Bestuhlung kann unterschiedlich angeordnet werden. EM

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Kirche und Gemeindezentrum in Köln

2014 ¥ 10 ∂

Glockenturm Kapelle Windfang Foyer Hauptschiff Altar Orgel Mehrzweckraum Bandproberaum Mehrzweckraum der Gemeinde Küster Sakristei Küche Kolumbarium Empore

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Bell tower Chapel Vestibule Foyer Nave Altar Organ Multipurpose space Music rehearsals Multupurpose space for congregation Sexton Sacristy Kitchen Columbarium Gallery

The new Protestant Immanuel Church stands in the north-western area of the site in Stammheim, Cologne, surrounded by a stock of old trees. As early as the 1960s, plans had been made to build a church here, but all that was erected was a community centre, which was subsequently demolished. For cost reasons, the present development was not implemented in reinforced concrete, as foreseen in the competition brief, but in a timber form of construction. The bell tower next to the road forms a conspicuous landmark and is clad, like the church itself and the small prayer chapel, in Siberian larch boarding laid diagonally. A greying glaze finish lends the facades a uniform appearance. Access to the building is via a low-height foyer beneath a raised gallery. From the foyer, visitors then proceed to the nave, experiencing it in its full height of 11 metres. The prefabricated timber panels and columns in the interior were left unclad. Their brushed and white-waxed surfaces allow the grain of the wood to remain visible. The flooring consists of an exposed screed with a shiny finish. In conjunction with the infill panels, the rib-like framework, with 75 x 300 mm columns, forms a rigid load-bearing structure for the roof and walls. By using simple, cost-optimized singlespan beams, it was possible to avoid elaborate connections at the rigid junctions between members of the framing. Behind the altar, the architects have departed from the restrained character of their design with a full-height screen, consisting of 3,800 wooden strips in 27 different colours. The screen is like a curtain suspended in front of the organ. Above the altar is a “window to heaven”, a top light that intensifies the effect of the colours, which become paler towards the top, creating a transcendental aura. An opening left in the screen facilitates the removal of the pulpit and font, allowing the altar area to be converted into a stage and the freestanding seating to be flexibly arranged, depending on the nature of the event. Folding partitions 1 permit additional rooms to be added to the main space. The stepped beams that rise over the foyer act as seating benches in the gallery.

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Kirche und Gemeindezentrum in Köln

2014 ¥ 10 ∂

8 8 Schema Beleuchtungskonzept Maßstab 1:300

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Vertikalschnitte • Maßstab 1:20 Vertical sections • scale 1:20 1 Kies, Dachdichtung Bitumenbahn dreilagig Gefälledämmung EPS 100 –210 mm, Dampfsperre Furnierschichtholzplatte 27 mm dazw. Funierschichtholzträger 75/500 mm Dämmung Schallschutzplatte 50 mm Furnierschichtholzplatte 27 mm mit Akustikbohrungen 2 Stülpschalung Lärche mit Vergrauungsanstrich 26 mm, Konterlattung 63/50 mm Fassadenbahn, Konstruktionsvollholz 60/160 mm dazwischen Mineralwolle 160 mm, Dampfsperre Brettsperrholz weiß gewachst 85 mm 3 Kies, Dachdichtung Bitumenbahn dreilagig Dämmung Mineralwolle 2≈ 100 mm, Dampfsperre Furnierschichtholzplatte 27 mm 4 Ringanker Konstruktionsvollholz 100/200 mm Konstruktionsvollholz 80/80 mm 5 Schiebewand 6 Sichtbeton 100 mm, Fassadenbahn, Mineralwolle 130 mm, Dampfsperre, OSB-Platte 45 mm 7 Sichtestrich mit Weißzementzuschlag geschliffen 61 mm, Trennlage, Fussbodenheizung 30 mm Wärmedämmung Hartschaum 50 mm Abdichtung, Bodenplatte Stahlbeton 200 mm Dämmung XPS 60 mm, Sauberkeitsschicht 8 Oberlicht ESG 10 + SZR 16 + VSG 16 mm in Holzrahmen Eiche 9 Furnierschichtholz 75/500 mm + 100/800 mm 10 Unterkonstruktion Screen Eiche 100/80 mm 11 Kantholz Lärche 680/25/80 mm 12 Gewindestab Ø 10 mm

Precedent also previously used within the ARC3013 Integrated Tech Report Part II.

Detail precedent study for 1:20 detailed section.

1 bed of gravel; three-layer bituminous roof seal 100 –210 mm EPS insulation to falls; vapour barrier 27 mm laminated wood sheeting 75/500 mm laminated timber beam 50 mm sound-insulating sheeting e e 27 mm laminated wood sheeting with acoustic borings 2 26 mm larch weatherboarding with grey glaze finish 50/63 mm battens; facade membrane 60/160 mm timber posts with 160 mm mineral wool between; vapour barrier 85 mm laminated timber cross-boarding, white waxed 3 bed of gravel; three-layer bituminous roof seal 2≈ 100 mm mineral-wool insulation; vapour barrier 27 mm laminated wood sheeting 6 6 4 100/200 mm timber peripheral tie beam 80/80 mm timber bearer 5 folding partition 6 100 mm exposed concrete; facade membrane 130 mm mineral-wool; vapour barrier; 45 mm OSB 7 61 mm exposed screed with white-cement, ground smooth; separating layer; 30 mm underfloor heating 50 mm rigid-foam thermal insulation sealing layer; 200 mm reinf. concrete floor 60 mm extruded polystyrene insulation; blinding 8 roof light: 10 mm toughened glass + 16 mm cavity + 16 mm lam. safety glass in oak frame 9 75/500 mm + 100/800 mm lam. timber beam 10 80/100 mm oak supporting structure 11 25/80 mm wood strip 680 mm long bb 12 Ø 10 mm threaded rod

Diagramm of lighting concept scale 1:300

Inspiration for exposed wooden frame.

1 1

10 10 3 3

Lichtplanung Natürliches Licht tritt an zwei Stellen in das Hauptschiff ein: Während ein Oberlicht den Altarraum und das farbige »Relief« belichtet, erhellt eine mattierte Scheibe, auf der sich das Schattenspiel der davor stehenden Bäume abzeichnet, den hinteren Kirchenraum über der Empore. Das subtile Lichtkonzept sah möglichst kleine Leuchten mit möglichst großen Abständen vor. Umgesetzt wurde es mit einer schlichten Halogenlampe, die für unterschiedliche Lichtstimmungen gedimmt oder abgeschaltet werden kann. Die Leuchten haben keine Verkleidung und bestehen nur aus einer Deckenhalterung und einer Alumi-

niumhülse. Die Beleuchtungsstärke ist auf 200 bis 250 lux ausgelegt, sodass die Liedtexte bei stimmungsvoller Atmosphäre gut lesbar sind. Um die Auslässe in der Decke möglichst klein zu halten, sind die Trafos separat angeordnet und Niedervoltzuleitungen in Leerrohren in den Decken verlegt. Im Hauptschiff sind die Trafos hinter Revisionsklappen in der Deckenkonstruktion untergebracht. Um auch bei wenigen Besuchern eine geborgene Atmosphäre zu schaffen, sind die punktförmigen Leuchten auf nur drei Meter abgehängt und bilden einen Lichtteppich über der Gemeinde. Dank der dünnen Kabel sind die Aufhängungen kaum sichtbar. EM

Detail inspiration for suspended lighting in building.

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Natural light enters the nave at two points. While a top light illuminates the altar area and the screen, the gallery space receives daylight via a pane of translucent glass. An illuminance of 200 –250 lux was planned, as well as a maximum spacing between light fittings. Simple halogen lamps were used that can be dimmed to varying degrees. To keep the ceiling outlets as small as possible, the transformer units were installed separately. In the nave, they are housed in the ceiling behind inspection flaps. To create a congenial atmosphere, the lamps are suspended to a height of only three metres above the floor. Thanks to the use of slender cables, the suspension of the lamps is scarcely perceptible.

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Schnitt durch die Pendelleuchte Maßstab 1:2 Section through pendant lamp scale 1:2 1 2 3 4

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Halogenlampe 12 V Fassung GU 5.3 Rohrhülse Ø 11 mm mit Zugentlastung Abdeckung Aluminium mit Magneten an Metallstiften fixiert Metallbügel mit 2 angeschraubten Metallstiften

1 2 3 4 5

12 V halogen lamp GU 5.3 socket Ø 11 mm tubular sleeve with strain relief aluminium cover fixed with magnets to metal rods metal hanger with two metal rods screwed on

House in Seekirchen

PRECEDENT STUDY

2004 ¥ 1/2 ∂

∂ 2004 ¥ 1/2

Dokumentation

Wohnhaus in Seekirchen House in Seekirchen Architekten: ebner:grömer, Altheim Johannes Ebner, Franz Grömer Fotos: Rupert Steiner

Inspiration for vertical timber cladding and materiality as wee as roof pitch in project.

In der österreichischen Kleinstadt im Salzburger Land, 300 Meter vom Wallersee entfernt, entstand ein homogen und einfach gestalteter Holzriegelbau, der die Forderung der Behörden nach einem ortsüblichen Satteldach erfüllt und zu einem bestimmenden Gestaltungsmerkmal übersteigert. Das Ergebnis ist ein bis auf die Grundformen reduzierter Bau, der über Fassade und Dach gänzlich mit einer engen Lattung aus Lärchenholz überzogen ist. Die eigentliche Dachhaut aus Aluminium-Trapezblech und die statisch wirksame Diagonalschalung bleiben unter der Fassade verborgen. Bei der Auswahl der Materialien stand die baubiologische Unbedenklichkeit im Vordergrund. Die sägeraue und dadurch gegen Feuchte widerstandsfähigere Lärchenschalung blieb unbehandelt und wird mit der Zeit einheitlich vergrauen, da keine zusätzlichen Maßnahmen zum konstruktiven Holzschutz vorgesehen wurden. Der Abstand der Hölzer gewährleistet einen natürlichen Austrocknungsprozess. Um Feuchtigkeitsschäden an den Befestigungspunkten zu vermeiden, sind die Latten von hinten mit der Konterlattung vernagelt. Diese ist in den Lattenzwischenräumen mit der Unterkonstruktion verschraubt. Alle Fensterflächen, die in die durchgängige Holzfassade geschnitten sind, sitzen außenbündig und sind ausschließlich festverglast. Öffnungsflügel bestehen aus beschichteten Sperrholzplatten.

9 aa

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This homogeneous, timber-framed house in Austria responds to local building regulations with a double-pitched roof that at the same time forms a striking design feature. The outer skin of closely spaced larch strips and the visually minimized eaves construction lend the building a simple but bold geometric form. All windows are set flush with the facade. The actual roof skin, which consists of ribbed sheet aluminium, remains concealed. An additional layer of thermal insulation beneath the rafters also serves to accommodate service installations. The choice of materials was based on their acceptability in terms of constructional biology. To avoid moisture damage, all wood strips were rear fixed.

3 b

Grundrisse • Schnitt Maßstab 1:250 1 2 3 4 5 6

Abstellraum Windfang Kind Diele Terrasse Bad

7 8 9 10 11 12 13 14 15 16

Schrankraum Schlafzimmer Wohnen Küche/Essen WC Einlieger Wäsche Heizung Fitness Werkraum

7 8 9 10 11 Store Draught-excluding lobby 12 13 Child’s room 14 Hall 15 Terrace 16 Bathroom

Floor plans • Section scale 1:250 1 2 3 4 5 6

Wohnhaus in Seekirchen

Dressing room Bedroom Living room Kitchen/Dining room WC Self-contained flat Utilities room Heating Fitness room Workroom

2004 ¥ 1/2 ∂

∂ 2004 ¥ 1/2

2 Schnitte Maßstab 1:10 Sections scale 1:10

Die Lärchenholzlatten an Dach und Fassade sind gattergeschnitten und sägerau. Hierdurch schließt sich die Holzstruktur an der Oberfläche schneller. Bei wie üblich gegen die Vorschubrichtung gehobeltem Holz entstehen an der Oberfläche kleinste Risse, die sich bei Bewitterung öffnen und die Haltbarkeit entscheidend verkürzen.

The larch strips to the roof and facade are frame sawn and used in an unplaned state. The rough surface forms a natural seal more quickly than is the case with wrought timber. The usual process of planing in the feed direction results in tiny slits in the surface, which open up when exposed to weathering and thus seriously reduce the life of the material. c

Precedent also previously used within the ARC3013 Integrated Tech Report Part II.

Detail inspiration for hidden guttering and finishing.

Inspiration for window detailing.

1 Abdeckung Aluminiumblech 2 Decklattung Lärche unbehandelt 30 mm auf Konterlattung 30 mm wasserführende Schicht Trapezblech 30 mm Lattung 40/50 mm auf Konterlattung 25 mm Unterspannbahn diffusionsoffen 0,7 mm Diagonal-Schalung 25 mm Wärmedämmung Steinwolle 240 mm Dampfbremse Wärmedämmung Steinwolle 80 mm Schalung 25 mm, Gipskarton 15 mm 3 Entwässerungsrinne Aluminiumblech 4 Stahlrohr verzinkt | 60 mm 5 Decklattung Lärche unbehandelt 30 mm Lattung 30 mm auf Konterlattung 25 mm Windpapier Diagonalschalung 25 mm Wärmedämmung Steinwolle 200 mm Dampfsperre Wärmedämmung Steinwolle 80 mm Schalung 25 mm Gipskarton 12,5 mm 6 Festverglasung in Stahlrahmen U = 0,7 W/m2K 7 Sperrholz Okume schwarz beschichtet 15 mm 8 Stahlrohr verzinkt | 50 mm 9 Abhängung Rundstahl verzinkt Ø 16 mm 10 OSB-Platte 20 mm Trennlage auf Schüttung 100 mm Brettstapeldecke 120 mm

1 sheet aluminium ridge covering 2 30 mm untreated larch cover strips on 30 mm battens water-bearing layer: ribbed aluminium sheeting 30 mm deep 40/50 mm battens on 25 mm counterbattens 0.7 mm moisture-diffusing waterproof layer 25 mm diagonal boarding 240 mm rock-wool thermal insulation vapour-retarding layer 80 mm rock-wool thermal insulation 25 mm open boarding; 15 mm plasterboard 3 sheet aluminium rainwater gutter 4 60/60 mm galvanized steel SHS 5 30 mm untreated larch cover strips 30 mm battens on 25 mm counter-battens windproof paper on 25 mm diagonal boarding 200 mm rock-wool thermal insulation vapour barrier 80 mm rock-wool thermal insulation 25 mm boarding; 12.5 mm plasterboard 6 fixed glazing in steel frame (U = 0.7 W/m2K) 7 15 mm black-coated okumé plywood 8 50/50 mm galvanized steel SHS 9 Ø 16 mm galvanized steel suspension rod 10 20 mm oriented-strand board separating layer on 100 mm loose filling 120 mm stacked-plank floor 10

Shawm House in Northumbria

PRECEDENT STUDY

Inspiration for hidden guttering and cladding detail. Inspiration for flush finishing.

Inspiration for timber cladding materiality & roof pitch in project.

Precedent also previously used within the ARC3013 Integrated Tech Report Part II.

Inspiration for ground floor detailing.

Environmental Strategy Sketch model showing environmental strategy behind the new beach hut typology used in the design of The Flux Project.

Ratio & Proportion Sketch drawings showing initial calculations into the building form, scale and pitch of roof used within the design of The Flux Project.

Hierarchy of Form Conceptual diagrams showing the hierarchy of spaces within The Flux Project design.

Primary form of The Flux Project which incorporates the normal route and experience moving through the building.

Certain areas of the primary form are pulled out to form specialist areas for unique activities or experiences such as entrance way, seating area with views out to wind turbines and the integrated stage for music gigs and art exhibitions.

The final form produced by the hierachy of form. The specialist areas pulled from the primary form are clad in metal to identify their specialist activity through a different architectural language to the rest of the building 82

BLYTH OFFSHORE WIND FARM

Blyth master plan axonometric showing the master plan developed for the area during staging to help and improve the infrastructure between the town centre, quayside, North Blyth and towards South Beach. This masterplan proposal produced by myself, Helena Taylor and Matt Harrison in the studio was to try improve tourism to the area and break through the â&#x20AC;&#x2DC;industrial skinâ&#x20AC;&#x2122; that the Blyth Quayside currently has blocking easy routes down towards South Blyth.

Original image 594mm x 841mm.

ALCAN SHIP UNLOADING FAC.

BLYTH SOUTH BEACH

BLYTH MASTERPLAN AXONOMETRIC

Blyth Masterplan Axonometric The Blyth Culture & Activites Masterplan is a proposal for a set of key buildings in the Northern area of Blyth that would increase tourism to the area, celebrate the people & place that currently exists in the port town and interject new activities for both locals and regional visitors.

HYGGE

BLYTH MARITIME MUSEUM

RIDLEY PARK

NEW SWING BRIDGE

BLYTH QUAYSIDE

THE FLUX PROJECT

BLYTH HIGHSTREET

CATAPULT RENEWABLES

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Site Plan Site Plan showing The Flux Project in Blyth and the desired views that the 3 stacked volumes achieve.

wa ve

STRUCTURAL AXONOMETRIC Tertiary Structure: 1.30mm treated vertical timber cladding. 2.10mm treated single layer plyboard. 3. galvanised steel window detail. 4. 30mm timber floorboards. 5. 30mm treated suspended cladding. 6. 10mm OSB board. 7. 15mm plasterboard.

Secondary Structure: 8. timber Frame 9. horizontal timber ladder beams. 10. 100/100mm horizontal support beams between timber frames 11. 30/30mm horizontal counter batons 12. 200mm horizontal beam supporting floorboards

Primary Structure: 13. steel frame. 14. concrete foundations. 15. supplimentary steel columns to reinforce existing silo steel frame.

Primary Structure: 13. existing silo steel frame.

Tertiary Structure: 13. existing silo steel skin.

Diagram also previously used within the ARC3013 Integrated Tech Report Part II.

The Flux Project Site

Original image at 1:100 on 594mm x 841mm.

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Second Floor Plan

Second Floor 24. Main public entrance to The Flux Project. 25. Reception 26. Stairs to teaching area one. 27. Disabled toilets. 28. Male toilets. 29. Flux Shop. 30. Female toilets. 31. Teaching area two. 32. Sports analysis centre. 33. Stairs to teaching area one. 34. Central public stairway. 35. External viewing platform. 36.Protected stairway. 37. Bar. 38. Kitchen. 39. Seating area/music venue stage. 40. Stairs to upstairs seating area. 41. Exit to exterior viewing platform.

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Original image at 1:100 on 594mm x 841mm.

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First Floor Plan

First Floor 11. Private entrance for studios/ workshops. 12. Equipment and materials office. 13. Stairs to sports analysis centre. 14. Flux lifestyle brand office. 15. External viewing deck. 16. Shaping, glassing and 3D printing studio. 17. Storage. 18. Central public stairway. 19. Staff room. 20. Protected stairway. 21. Public exit to exterior viewing platform. 22. Staff toilets. 23. Stairs to 2nd Floor.

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Original image at 1:100 on 594mm x 841mm.

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Ground Floor Plan

Ground Floor 1. Equipment storage & cleaning area. 2. Female toilets, showers & disabled changing. 3. Male toilets, showers & disabled changing. 4. Protected stairwell. 5. Equipment hire desk. 6. Final exit to outside. 7. Exit for skate park. 8. Changing cubicles. 9. Exit to water. 10. Lockers

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Perspective Section

AA Site Section 1. Stairs to entrance with integrated seating for viewing during events.

7. Central Public Circulation Core.

2. Integrated seating into windowsills.

8. Private Research & Innovation Area.

3. Main entrance.

9. Staff Toilet.

4. Teaching Space 1.

10. Equipment storage & cleaning area.

5. Upstairs seating/viewing gallery.

11. Main public changing area.

6. Kitchen.

12. Exit towards skate park. The Flux Project

Ship Unloading Conveyor

Blyth

Joe Bloggs Weekend Visitor from Cornwall

Lucy Campbell UK Womenâ&#x20AC;&#x2122;s Surfing Champion

Alice Cox Local Dog Owner

Dr. M Richards Head of Surf Innovation & Research

10. 1.

Original image at 1:100 on 594mm x 841mm. 93

Alcan Ship Unloading Facility

Existing Storage Silo

Skateboard Park

6. Ben Skinner UK Longboard Surf Champion

7. John Dickens 3D Printing Specialist & Surf Enthusiast

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Day in the Life.

Arrives at Head to Changing Arrives at reception Head to to Changing ‘The Flux room to ‘The Flux reception Project’ pay to room dumpto Project’ pay dump personal personal belongings belongings in lockers inand lockers hire and hire wetsuit and wetsuit and surfboard. surfboard.

9:20 amam 9:20

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Visitor 2 arriving with own equipment to surf in the ocean. Visitor 2 arriving with own equipment to surf in the ocean.

Heads out Heads out to the open to the open water water

Changing Changing room to room dumpto dump personal personal belongings belongings in lockers inand lockers hire and hire wetsuit and wetsuit and surfboard surfboard

Land Land Session Session

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Presentation Presentation to the group to group of the overview ofofoverview the day. of the day.

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Arrives at Head to Arrives at Head to to ‘The Flux reception ‘The Flux reception Project’ pay to Project’ pay

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Visitor 1 arriving to spend the day learning to surf. Visitor 1 arriving to spend the day learning to surf.

Training in Lu Training in cafe Lu wave pool wave pool train cafe train

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Shower & Shower change& change

Leaves Leaves facility facility

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Open water End of Open water End surf training trainingofday surf training among the training day among the turbines turbines

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Safety Safety training for training for open water open water surfing surfing

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unch in unch e partinof ening partday of ning day

Shower & Shower change& change

End the day End day withthe a food with a food & drinks & drinks in the bar in the lookingbar over looking over the surfers the fromsurfers the bar from the bar

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Leaves home Arrives at for work the facility

Changes into work clothes, makes a Leaves home Arrives at coffee Changes and for work the facility heads into work to the clothes, office makes a coffee and heads to the office

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8:55 am

Visitor 3 works within the research facility.

9:10 am

8:00 am

Visitor 3 works within the research facility.

Starts work on prototypes of 3D Starts printed work on surfboard prototypes fins of 3D printed surfboard fins

He the l

He the lu

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Visitor 4 is a professional surfer training for the World’s Surf League Women’s Championship Tour.

Wake up, shower, breakfast in apartment Wake up, shower, breakfast in apartment

9:00 am

8:00 am

Visitor 4 is a professional surfer training for the World’s Surf League Women’s Championship Tour.

He the apa for He the apa for

Gym session with professional trainers and Gym coaches session with professional trainers and coaches

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Leaves facility

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Ocean training

4:00 pm

End of work day

eads to Heads to Wave pool e cafe or wave pool to training artment work with r lunch researcher eads to onHeads to Wave pool prototype e cafe or wave pool to training equipment artment work with r lunch researcher on prototype equipment

5:00 pm

12:00 am

Leaves facility

12:00 am

Heads Analysis of Shower & to wave professional change pool with surfer professional and their eads to surfer Heads of Shower & to test Analysis equipment to wave in cafe for prototypes professional wave pool change lunch pool with surfer professional and their surfer to test equipment prototypes in wave pool

Y am/pm Y am/pm

1:00 pm 1:00 pm

X am/pm X am/pm

12:00 am 12:00 am

eads to e cafe for lunch

Ocean training

End of work day

ANOTH ER

FESTIVA L

FESTIVAL

FLUX PR OJECT DARY N E G FLUX PROJECT E L R E H ANOT T C E J O R P FLUX LEGEND ARY ANOTHER LEGENDARY

FREE M US TALENT IC FEATURING S REGION FREE MUSIC FEATURING REGIONS FINEST S FINES T T TALENTS S E IN F S N IO G RE FEATURING IC S U M E E FR TALENTS

SATURDAY 7 TH JUNE SATURDAY ENTRY E FRE 7 TH SAJUNE TURDAY FREE 7 THENTRY JUNE FREE EN TRY

AMBER SHIFI AMBERSHIFI THI E DIN IF RSHDIN AMBETHE INDOOR FIREWO IN T FIREWORKS THE DINDOOR RKS R S I K P R L O E W E T ROUBLE FIR TROUBLE OR N INDOTRIPLE EW VLIENYL B U O R T E NEW VINYL L TRIP TREV G IBB L YGIBB VIN NEWTREV MERRY GO GPIBB MERRYGO TREV LUS DJS O TILLTLATE ILL LATE RYGDJS MERPLUS

3PPLUM ATE ILLILL S DJS TT LLATE L 3PM TILL A T E E T BBQ, LIV A L L EIBL T A N M DS & P LOCAL C 3 BBQ, LIVE R BANDS AFT B & EERFLUX FLUX . PROJECT PRO LOCAL B CRAFT BEER. JECT & S T D C N E A J O E R V P I L 2 X , NORTH FLU2 NORTH BBQ BLYTH BLY ROAD, . R E N E O B RTHUMROATDH, ROAD, T F NORTHUMBERLAND A R TH BE LOCAL C 2 NORTH BLY ANDRLAND L ER

NORTHUMB

ANOTHER LEGENDARY FLUX PROJECT FESTIVAL Poster and leaflet advertising an all day bbq and music festival at The Flux Project. 99

1:20 DETAIL SECTION

1:20 Detail Section

Sunlight

Sunlight 1

3 5

1500mm

6 9

7 10

13 14 15 17 18 16

20 8 5600mm 21

3900mm

6700 mm

5600mm

4960mm

30 31

11800mm

32 29 12500mm 1. 30mm treated vertical timber cladding 2. 10mm treated single layer plyboard 3. EPDM waterproofing layer 4. 285/375mm horizontal ladder beam 5. galvanized steel window detail 6. 100mm rock-wool thermal insulation 7. 0.7mm breather membrane

8. vertical timber column 9. fixed double glazing in timber frame 10. galvanized steel window lintel detail 11. 285/325mm horizontal ladder beam 12. 30mm treated vertical timber cladding 13. 50mm cavity spacer built into EPDM waterproof layer 14. 30/30mm counter battens 15. EPDM waterproofing layer 16. sheet aluminium hidden rainwater gutter 17. 30/30mm battens 18. 15mm plasterboard 19. exposed section of timber frame inside building 20. 10mm OSB board (below EPDM waterproofing layer) 8900mm

21. 0.7mm breather membrane 22. 100/100mm support beams between timber frames 23. 30mm timber floorboards 24. 30/30mm counter battens 25. EPDM waterproofing layer 26. 200mm timber beam 27. 325mm steel counter support beam 28. steel rod for suspended cladding 29. 30mm suspended cladding 30. 10mm treated single layer plyboard 31. sheet aluminium hidden rainwater gutter

200

400

600

Original image at 1:20 on A0. Section previously used within the ARC3013 Integrated Tech Report Part II. 100

800 1000mm

32. 325mm steel column 33. concrete foundations

7200mm

FLUX

Within The Flux Project Perspective inside the entrance lobby showing the atmosphere, materiality and experience as the user enters into The Flux Project from the main entranceway. The low height of the draught lobby creates a spectacular reveal of the interior of the design. The detail section on page 102 shows the exposed timber frame within the building and how this detailing creates the appearance of the buildings ribs

exposed to the interior space. This was designed to continue the rustic and exposed atmosphere related to the coast as well as the beach hut found on Blythâ&#x20AC;&#x2122;s shoreline. The technical detail allowed the creation of the large open space and allow for a broad range of activity to occur within the building structure.

Blyth Surf Festival Perspective from the exterior of the building showing the perspective as you walk up past the wave pool towards The Flux Project. The technical aspect to the design allowed for the 3 stacked volumes to cantilever out from a central circulation core and create the illusion that the 3 volumes are cantilevering out without any assistance despite the existing storage silo providing the necessary structural support for the building.

101

The technical report also allowed for the stairs to the main entrance to be designed to utilise seating between the 1800mm wide stair design. This created an informal amphitheatre for viewing out towards the key views which were key drivers behind the building form and orientation. This was to create a hub for activity and social interaction between the users, improving the experience and atmosphere not only within the building but also the exterior.

Blyth Surf Open 2022

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Structural Strategy

Part I. Site excavation starts to allow for the buildingâ&#x20AC;&#x2122;s concrete foundations to be poured. The steel skin has been partially removed and melted in an electric arc furnace and formed into the extra steel supports required to support the parts of the building that will cantilever out from the central steel frame core.

Part II. Image Key: 1. Cantilever supported by bulked up existing structure of the existing storage silo. 2. Section of cantilever now 11.5m from the existing storage silo frame rather than 17.7m.

Construction sequence also previously used within the ARC3013 Integrated Tech Report Part II.

With the concrete foundations cast, the (primary) steel frame structure is erected on site. The frame utilises the existing siloâ&#x20AC;&#x2122;s steel frame as a support for the building as it cantilevers out from the central steel frame core, this is hidden in the final building and so appears as if the building cantilevers out 17.7m from the central core when the added support means the cantilever is only 11.5m at its maximum distance.

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Within the silo Perspective looking into the existing structure of the storage silo and how the structural strategy in the tech report has helped to create the large open void for the skate park below the cantilevered building forms. This, like previously mentioned was to create the illusion that the 3 stacked building forms were cantilevering out from a central core despite the existing storage silo providing the necessary structural support. The building technology allowed for the skate park to be implemented within around

the building and create a hub for training, research and innovation for surfers as well as skateboarders. The concrete skate park provides a clear division of architecture between the materiality of the external activity and the warm timber cladding of The Flux Project.

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Original image on 594mm x 841mm.

Blyth Surf Open 2022

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Blyth Surf Open 2022

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Beyond The Turbines

Lucy Campbell Interest: Training & Equipment Occupation: Professional Surfer Age: 23 Visit(s): Month long training schedule

Lauren Davies Interest: North East based Surfer Occupation: Writer & Film maker Age: 41 Visit(s): Year pass holder to The Flux Project

Jack Kind Interest: Tourist Occupation: Australian Traveller Age: 21 Visit(s): Two day training course

ALCAN SH

THE FLUX PROJECT

BLYTH

Blyth looks gorgeous from out here.

Original image on 297mm x 670mm. 107

Dr. G Sowman Interest: Local Surfer Occupation: Northumberland Doctor Age: n/a Visit(s): Year pass holder to The Flux Project

Sam Robinson Interest: Student at Newcastle University Occupation: Student Age: 21 Visit(s): 5 times this term

HIP UNLOADING FAC. CATAPULT RENEWABLES

Holy **** those wind turbines are big.

WOW! What a place to go surfing.

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