Newcastle University Stage 3 Architecture Portfolio 2019

ARCHITECTURE P ORTFOLIO STAG E III - 20 1 8 - 20 1 9 ST U D IO 2: C IT Y A SSEM B L AG E A RC 3 0 0 1 : A RC H IT ECT U RA L D E S I G N EWA N M A R K SM IT H 1 602491 1 6

STAG E I I I ACA D E M I C P ORT FO LIO A RC3 0 0 1 : A RCH I T ECT U RA L D ESIGN ST U D I O 2 : CI T Y A SS E M BLAGE N EWCA ST L E U N I V E R SIT Y

EWA N M A R K S M I T H 1 6 0249 1 1 6

TA BLE OF CON T E N TS

I LLUSTRATED REF LECT IVE R EP O RT 6 CH A RRETTE 8 ST UDIO INTRO DUCT ION 12 P R I MER 14 FI E LD TRIP 30 STAG ING 34 R E AL ISATION 5 8 T H INKING THROUG H M A K ING W EEK 7 8 R E FINEMENT 8 4 I LLUSTRATED C ULT U RA L B IB LIO G RA P H Y 110 BI BLIO GRAPHY 112 AP PENDIX 114 CASE STUDY 116 NON -DESIGN WO R K 134 ARC 3013 INTEG RAT ED CON ST RUCT ION 136 ARC 3014 PRO F ESSIONA L P RACT IC E 14 4 ARC 301 5 THEO RY INTO P RACT IC E 146

NEW/REVISED WORK OTHERS WORK/GROUP WORK

ILLUSTRATED REFLECTIVE REP ORT

For me this year has been the most challenging year of my architectural education, however it must also be said that it has been the most rewarding compared to my previous years. It is great that we have been able spend a whole year dedicated to one project as this has allowed me to really look into the finer details of my design. It has been really great that other modules have worked closely with the architectural design module as this has allowed me to draw in the research from these modules which in turn produced a richer project.

The studio that I am part of is called City Assemblage, the studio is engaged with ideas concerning context, materials and also the historical narrative that can be found in the city. We used thorough research of the city to pick out recurring themes, working through this process of research rather than invention we aimed to create architecture that is rooted in place but is experiential due to their creative use of materials. The year started off with Primer and our observations of the city, I picked up on two elements of the city which both attracted my attention for similar reasons, doorways and corner buildings. These doorways attracted my attention because of their grand nature and elaborate stone carvings which surround them, their grandness is something which I went to investigate further on in the project. Corner buildings attracted my attention because of their bold architectural styles.

After primer came the staging part of the project. Staging really allowed me to engage with the historical narrative of the city. During my historical research of our site and the surroundings I found out that there used to be large country house with a large formal garden, at the same time I had recently finished a dissertation looking at English country house landscape design and so I thought it would be interesting to reintroduce an urban country house landscape on my site. Our studio theme is all about assemblage and the assemblage theory and so it started to become a really interesting project due to the fact I was assembling many historical links together to inform the design of my building.

After writing my dissertation I had become even more passionate about country house landscapes and this is why I want to reintroduce a landscape garden back to the centre of Newcastle, I feel it is important to give something back to the community and to the corner of the city which has been vacant for so long. I developed a brief based on the rich industrial heritage of the city and created a centre for traditional crafts. My building developed as I assembled research from the dissertation and the theory into practice essay in which I investigated the work of Eduardo Paolozzi and how he assembles found objects, creating sculptures and prints that create a commentary of a place or an idea.

Using my knowledge gained from the essay it helped me to think about my building design in a different light. I began to look at my design as creating a commentary on the history of Newcastle. Neighbouring buildings became my inspiration for columns and window placement, whereas the meandering corridors in my plans were inspired by the historic industrial streets of the city as well as the winding paths of formal parterres.

I like the fact that we had a technology module that ran alongside the design work, it is often too easy to forget about how the building will actually stand up, however this module allowed me to integrate both together and helped me to work out a structural strategy for my irregular zig-zag plan. The professional practice report tied both the integrated technology module and the design module together quite well because I had to think of how the building was going to be constructed so that I could evaluate the health and safety risks and a suitable procurement strategy for the project. Seeing my project from a practice point of view changed my perspective on the project and allowed me to consider real life problems and questions that may be asked.

During thinking through making week I wound my memory back to my primer observations. In particular, the large grand doorways, around this time I was experimenting with the idea of having an open courtyard in the centre of my building, a courtyard of the size I was planning needed a large grand entrance to accompany this and this is what my building received. In the thinking through making week I experimented with metal weathering and ways of texturing metal, in the end I produced a prototype steel panel which could be used for a bi-fold door to close off the grand entrance when it is desirable. Overall this year has been a really enjoyable experience and I have learnt many new skills which I can now carry through into my career as an architect.

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CHARRETTE Charrette week starts off the academic year by bringing the whole School of Architecture, Planning and Landscape together to participate in a series of week-long projects. This years charrette related to three common themes- Spectacular, Failure and Help. The charrette I was allocated was called Re-Use Is In The Air, Re-Claremont Tower. Claremont Tower is a university building that is currently undergoing a major renovation project. The task was to give Newcastle University a new impulse over the re-use in the building industry. The concept of waste is perceived more and more of as a FAILURE of modernity. Materials from demolition should be seen as resources for new buildings. HELPing the construction industry to modify their current practices and grasp new ones should be here and now. As Claremont Tower is being refurbished, we worked with a team of 4 MArch students on their project called More than Once. The project explored the deconstruction of Claremont Tower by cataloguing and evaluating the potential reuse, recycle or up-cycling of building materials that were destined for landfill. The task was to take the materials salvaged from Claremont Tower and create a SPECTACULAR prototype for an installation and/or furniture. For the installation we made boxes from recycled materials and then assembled them into a Claremont ‘like’ tower. The idea was that these boxes could then be reused, I decided to take some of the scrap oak worktop and make a couple of chairs to show the potential for the scrap materials.

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INTRODUCTION

“This year studio 2 is engaged with the ideas concerning context, historical narrative and materials that create enduring architecture in search of a wider intelligibility. Working through a process of research, rather than invention, we are looking to create architecture that is rooted in place and explores the experiential potential of materials, carefully pieced together in a celebration of craftsmanship. We are looking to create architecture that is contemporary yet not isolated in time.�- Extract from the studio brief.

My project this year had to create a centre for from the large amount practiced around our site

a rich historic underpinning, I proposed traditional crafts. The inspiration came of traditional skills which were being and the wider city in the 20th century.

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PRIMER During the primer we worked in the spirit of assemblage. Assemblage theory was essentially an art movement where artists took everyday objects and ‘assembled’ them into artwork. During this stage, I was introduced to the work of Eduardo Paolozzi, who I later investigated further in my Theory into Practice essay. We started by examining the identity of the city, buildings can be rich in character and personality, we aimed to investigate this through close observations of the city, is the architecture trying to communicate a message? I chose to investigate corner buildings and doorways in the city and the effect they have on the public as they pass by. Starting with sketches and photography we documented the nature of our surroundings. Through close observation of the surrounding city I spotted things that I would normally overlook. My observations were then used as references to inspire my sculptural piece and my lino prints. The sculpture and the prints I produced looked to tease out the language of the city, exploring forms, patterns and textures.

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COM E ON IN:

An Assemblage of Door ways

During my initial observations of the city, I noticed that doorways of historic buildings where very grand in their architectural style, the oversized doors and the elaborate stone work invites you to take a closer look and welcomes you in to explore what lies behind.

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I chose to further investigate the doorways by drawing them, by doing this I find you notice many things that you would not normally notice. Elements that I have discovered can be used to later inspire my work.

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SIR EDUA R DO PAO LOZZI

Sir Eduardo Paolozzi: 1958 1

Experience: Sir Eduardo Paolozzi: 1964 2

Konsul: Sir Eduardo Paolozzi, 1962 3

Sir Eduardo Paolozzi was a Scottish born sculptor and artist. Paolozzi was a key contributor to the Assemblage movement that we have investigated as a studio. His work is often an assemblage of ideas and inspiration that he has seen and collected from around the world. His print, Experience shown above is inspired by the work of the Austrian philosopher Ludwig Wittgenstein. His print demonstrates an assemblage of different motifs, arranged in a pattern to create an experience. Later on in his life, his sculptures followed the same methodology. Cast out of bronze, his work Konsul was made from pressing found electrical components into the clay mould. In the next stage of Primer, I began to look at how I could introduce Paolozzi’s methodology into my work. Text influenced by my ARC3015 essay.

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LO O K AT ME:

Corner Buildings

One recurring theme that I noticed in the city was the style of the corner buildings, most of these buildings were either rounded or chamfered. I found that my eye was drawn to these buildings, as if they were shouting at me to look at them. Walking down the street these buildings stand out and catch your eye.

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CH ARACTER OF T H E C I T Y

I produced some quick sketches of the corner buildings to investigate their form and how this form could influence my assemblage sculpture. I also produced several pencil rubbings of masonry textures that I found in the city, I find that these succinctly represent the character of the masonry in the city.

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SCU LP TURE:

A Celebration of the Cit y

Using the form of the corner buildings as my inspiration, I began to assemble different forms to create towering sculptures. My inspiration was also taken from Eduardo Paolozzi’s sculptures.

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MY FINISHED S C U LP T U R E

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My final sculpture was an assemblage of forms constructed out of timber and weathered mild steel. The forms represented my observations of the corner buildings in Newcastle, inspired by the work of Eduardo Paolozzi and his assemblage sculptures. The textures on my sculpture represent a commentary of the masonry textures I found in the city.

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PR INT DEVELO PME N T

Above: I aimed to look at ways in which my observations of the city and my sculpture could be assembled in a way which is inspired by Paolozzi’s prints.

Right: Here are two test lino prints that I produced. They represent an assemblage of corner building form with patterns inspired by my rubbings.

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PR IM ER EXHIB I T I ON

Above: Here is a couple of photos of the primer exhibition that we curated, it was a joy to see the months worth of work come together into what was essentially a celebration of the city.

Right: This is my finished lino print which I printed on fabric. The forms in the print are taken from looking at my sculpture in plan, these essentially create a commentary and assemblage of the corner buildings in Newcastle.

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ART IST STUDI O T YP O LO GY ST U DY

RCA Sackler Building- London

Ozenfant House/ Studio- Paris

Juergen Teller Studio- London

Arranz- Bravo artist studio- Spain

This spread shows a series of axonometric drawings of artist studio typologies produced by myself and my studio, these typology studies proved to be invaluable when it came to designing our own galleries.

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Millwall Ironworks- London

Antony Gormley studio- London

Edmund de Waal Studio- London

Yardhouse- London

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FIELD TRIP SWITZERLAND

Early in the year we travelled to Basel and Zurich in Switzerland. The trip was an awesome experience and it really helped us to gain some valuable precedents to inspire our proposals when we returned home. First we went to Basel which is known internationally for its museum. Basel is home to the Kustmuseum which was the first public art museum in Europe.

Switzerland has a very varied range of architectural styles, from the bright colourful historic buildings to the monolithic concrete forms of the modern architecture.

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STAGING

The city of Newcastle upon Tyne has a rich industrial past, pioneering inventions such as the Davy lamp and the steam turbine can be credited to the town. We have seen industries come and go with the advancement in technologies and manufacturing processes, crafts and skills lost in the process. For my site in Newcastle I propose to create a ‘Centre for Traditional Crafts’, the centre will be a place where traditional crafts and skills can be practised again, crafts such as the art of blacksmithing, glass blowing and joinery. The site is an ideal location for this new centre, close to major transport links and two big universities making it easily accessible.

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SIT E LOCATION

Newcastle upon Tyne

My site is based in the heart of Newcastle on Worswick Street, the site currently houses a disused bus station. The location is near to Pilgrim Street and the well known historic Grey Street. From the map you can see the location sits at the centre of the city, surrounding the site is a host of art galleries and historic buildings that can be used to inform my work.

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My Site Grey’s Monument Art Galleries Historic Buildings

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SIT E A NA LYS I S SOUTH

EAST

WEST

A167 (M)

ARE SQU OL

LI CAR IM

GR PIL T

EE

R ST

Site Boundary

Views onto the Site

Prevailing Wind

Road Noise

Potential Area for Landscaping or Redevelopment

This site analysis drawing was taken from my ARC3013 Integrated Construction submission.

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SIT E PHOTOS

Photos of buildings from around my site and views from and onto my site. The architectural style from around my site is varied but there is many recurring themes that can be picked out and used as inspiration. The regular positioning of the windows and the string courses for example are two consistent themes which could be carried across into my building.

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H ISTOR IC S ITE P H OTO S

Photos of my site late 1900’s: Top left: From the corner5, top right: Looking down the street c.19706 Above: Photos of our site today, the old bus station is still present

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H ISTORIC M AP P I N G

My site in 1860

My site in 1890

My Site Industrial Buildings Traditional Crafts

These three historic maps show my site from 1860-1900. Although this is only a short period of time we can see that the site changed and was surrounded by different industrial buildings, including timber yards and pipe works. From these maps I have found that on and around my site there used to be a hat manufactory and very near by were two smithy’s. It seems appropriate that given the sites close ties to blacksmithing and other traditional crafts that I should include them in my Centre for Traditional Crafts.

My site in 1900 7

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COU NTRY HOU S E S :

What can we reintroduce from the past?

My Site Location of Greyfriars House/ Anderson Place

Map from Digimap8

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Anderson Place, Newcastle as engraved by Knyff in 1733 9

Right: A map highlighting my site boundary and the location of where Anderson Place was. Anderson Place was an 18th century country house which dated back to the 16th century but was demolished in 1835 to make space for Grey Street. The house was built inside the city walls and it featured an extensive formal garden as can be seen in the 1733 engraving above. Its a shame that we lost such a magnificent house and garden from the centre of the city. Due to the large vacant space at the rear of my site and the close proximity of my site to where Anderson House was situated I would like to see if I can reintroduce a landscape inspired by those of country houses. I have also recently written a dissertation on English country house gardens so I am keen to see if I can introduce an English country house landscape to the urban environment.

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B U ILDING US E S

Commercial Shops, Restaurants, Offices Residential Housing, Hostel, Hotel Culture & Entertainment Library, Nightclub, Theatre Transport Bus & Metro Stations Religious Other Car Parks

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M AT ER IA L IT Y

A map showing the types of materials used on and around our site.

Photos of the different types of materials surrounding and our site, the surrounding materials could inspire my choice.

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ACCESS:

To and from the site

Pedestrian Access Vehicle Access Potential Vehicle Access

Our site highlighted in orange, showing pedestrian access, vehicular access and potential vehicular access.

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A CENTRE FO R T RADI T I ONAL CRA F TS: Bringing back Newcastle’s Making

Heritage

LARGE SPACE FOR ASSEMBLY BLACKSMITHS WORKSHOP WOOD WORKSHOP CERAMICS WORKSHOP ARTISTS STUDIOS GLASS WORKSHOP STONE MASONS

MA K IN G

LIBRARY/BREAKOUT SPACES

AUDITORIUMS

LEISURE DEMONSTRATION SPACES

L E A R N IN G

CAFE

EVENTS SPACES/ EXHIBITION SPACE GALLERY SPACES ENTRANCE FOYER

TEACHING STUDIOS

OFFICES

Bringing Back Newcastle’s Making Heritage Newcastle has a long industrial history, many traditional skills have been practised here for centuries, from glass blowing to barrel making and shipbuilding to pottery making. The advancements in technology and cost of manufacture caused these industries to decline all over the country. I believe it is important not to forget about the traditional crafts of the past and this is why I propose to design A Centre for Traditional Crafts.

Here I hope that makers will work alongside the public in organised workshops to teach locals and people from further afield to teach them skills which are in decline, celebrating our country’s heritage so that the legacy is not lost. Artists, makers and craftspeople can rent spaces and/or work in residence, with the potential of being able to exhibit their work in the galleries.

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B U ILDING PROGRAMME

Breakout/ Library Spaces Glass Studio

Blacksmiths Workshop Teaching Spaces/ Auditoriums

Studios

Programme

Stone Masons Workshop

Entrance Lobby Kitchens

W/C Entrance Foyer

Assemblage Spaces

Cafe

Offices Ceramics Studio

Gallery/Exhibition Spaces

Steam Bending

Plant Rooms

Semi-Private

Public Connections

Wood Workshop

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Stone Masons Workshop

80

Blacksmiths Workshop

150

Ceramics Studio

100

Public

Private Connections

Private

Ventilation and Extraction Essential

200

Offices

200

Assemblage Spaces

200 50

Plant Rooms

50

Cafe

50

Kitchens

50 100 50

Teaching Spaces/Auditoriums

300

Gallery/Exhibition Spaces

300

Approximate total area

Building Programme and Requirements Diagram. Size of boxes relative to space size.

Both of these drawings have been extracted out of the ARC3013 Integrated Construction coursework.

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50

Store Rooms

Toilets

Noisy Spaces

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Steam Bending Workshop Studio Spaces

Breakout/Library Spaces

Store Rooms

100

Workshops

Glass Studio

Wood Workshop

Approximate Floor Area (m2)

2160 m2

H ISTORIC INDU ST RY

Hoults Yard Pottery: Walker, Newcastle upon Tyne10

Armstrong Gun works: Newcastle upon Tyne 185911

Sinclairs Cooperage: Croft Stairs, Newcastle upon Tyne, 198312

Baltic Flour Mills: Newcastle upon Tyne, 195713

The city of Newcastle upon Tyne has a rich industrial heritage, its location on the river Tyne made it an ideal base for building ships and steam trains which powered the industrial revolution. These four pictures show the style of buildings that were around during the industrial revolution, at a time when traditional crafts were common and well practiced. Using my observations of the city, our studio typologies, country houses and these precedents I will design a building which ties together the nature of the city.

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COU RT YA RD R E S E ARC H

House plan Open Courtyard Formal Gardens Natural Landscape

Chatsworth House: House and Landscape in plan, taken from ARC3015, Theory into Practice

Before I started my massing I knew that I wanted to use the country house typology as my starting point, this is due to the fact that my site is located close to the site of where a large country house once stood. When Anderson Place was demolished, Newcastle lost some of its urban green space and my proposal sets to bring back a public green space inspired by English landscape gardens and formal gardens. Part of the reason for doing this is because I have recently written a dissertation on the gardens at Chatsworth House and I learnt some valuable qualities of landscapes that can be carried across to the urban setting. I will be using country house design as my starting point for my massing, in particular the central courtyard. I will split the site in two, creating a central courtyard, this will create a major route from Worswick street through to the large area of landscaping at the rear.

Formal gardens were often planted next to country houses, we can see this with the case of Anderson Place and Chatsworth House. These formal gardens were often described as an extension of the house. On the page opposite, I have drawn some examples of formal parterres, and in the spirit of assemblage, I have taken elements from these and arranged them to explore courtyard forms. Also in the spirit of assemblage, I will be using inspiration from country houses, industrial buildings from the past and my observations of the city to create a building which is an assemblage of different ideas.

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M ASS ING

1:500 scale site model showing my site and the existing building.

Idea number 1: Investigating the effects of ‘building corners’ taken from my primer work and how the shape of the courtyard can draw people in.

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Idea number 2: 3 separate buildings but connected by link buildings and underground.

Idea number 3: 3 separate buildings which would be connected by glass link structures so that they appear separate.

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M ASS ING

Idea number 4: Experimenting with the corner building idea again, looking at how the building can attract attention to the corners. The forms are also inspired by the motifs I extracted from formal garden typologies.

Above: Idea number 5, developing on the ideas investigated in design number 4. I like how the courtyard form of this building only creates a view through when you get to certain location.

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D EVELOPMENT O F B U I LDI N G FO R M

After testing out massing, I chose to develop idea number 4, taking inspiration from idea number 1 by adding a large opening in the ground and first floor, allowing the building to remain connected at the second floor. My initial forms for the roof are inspired by the typology studies we produced as a studio, as they allow for roof windows to introduce consistent light into the gallery spaces. The form also has a warehouse aesthetic which seems appropriate due to the history of my site which I investigated earlier.

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U RBA N GRA IN P LAN

Vehicular Access

Car Parking

This urban grain plan shows vehicular access onto my site from many directions, as well as highlighting where possible car parking could be.

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Pedestrian Routes

Pedestrian Access

This urban grain plan shows pedestrian walking routes and also where building entrances may be.

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REALISATION

During the realisation phase of the project I set about developing my building, bringing together all of the work I had done in the previous stage to a create a building which is widely influenced by historic research. My Building is a Centre for Traditional Crafts, my building will hold a host of workshops, studios, galleries and teaching spaces. I first set about bringing my massing to life, creating internal spaces which have atmosphere and are planned to create a journey as you walk through them, a journey back in time you could say, through windows and carefully planned voids you will catch glimpses of highly skilled craftspeople practicing their crafts. The meandering corridors I set to create are also reminiscent of small streets through the industrial city of the past.

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COU RT YA RD DEVE LO PME N T

Here I was playing with different courtyard forms, seeing if I could open up the courtyard from the initial massing development. Approach roads up to country houses often meandered through the landscape, the routes would allow to catch a glimpse of the house before hiding it again as you wove through the route. I then began to look how I could use this technique to inform my route through my landscape.

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LANDSCA PE D EVE LO PME N T:

An urban oasis

This is an initial plan of my landscape, clusters of trees are planted in the manner adopted by the landscape architect Lancelot ‘Capability’ Brown, these clusters help to hide and reveal views of the building to the person walking through.

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FLO O R PL A N D EVE LO PME N T

My initial floor plans are strongly routed to the work I produced during the primer stage. Looking at my primer print as if it was a floor plan helped to inspire my forms.

My print can be looked at as if the patterned ‘zones’ are the rooms and the solid black area is the corridor that meanders through like a street. The staggered geometric form of the floor plans is also inspired by formal parterre planted that I looked at earlier.

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1:500 SCA L E DEVE LO PME N T MO D E L

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FLO O R PL A N D EVE LO PME N T

Formal garden design has had a huge influence on my designs. Its many configurations have become the basis for many of the forms in my work.

As I developed my floor plans my focus of how to lay the rooms out changed. Many of the rooms in my plan will be studios and workshops, by staggering the rooms further, they impede on the corridor. The idea is to arrange the historic crafts around an internal street. The winding street harking back to the old narrow industrial streets and also reminding you of the meandering paths through box hedging of formal parterres.

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1:2O O SCA L E DEVE LO PME N T MOD E L

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1:2O O SCA L E DEVE LO PME N T MO D E L

In 3D you can really see how the internal walls have been arranged. The internal courtyard is made up of two overlapping rectangles that have been cut out of the plan, a large exposed staircase cuts through the void, creating a statement. This staircase is designed to allow the user to gain views out over the landscape, much in the same way you country houses had elevated terraces at the front to enable you to look out over the landscape. The angled plan has allowed me to create interesting breakout spaces as shown to the right.

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R EFINED PL A N S

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FACA DE DEV ELO PME N T

Part of the inspiration for my building structure/ facade comes from the old bus shelter that exists on the site, I am aiming to create a regular steel frame like what is there, creating bays, similar to bays that the buses would have once occupied.

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PR ECEDENT I N S P I RAT I ON

Newport Street Gallery by Caruso St. John14

Floor plan showing the mix of the old and new structures

The Newport Street Gallery is located in Vauxhall, London and is the private gallery of Damien Hirst. The gallery extends along the whole street and the ‘[...] gallery occupies three century-old red brick warehouses [...]’15. Two extensions were built in a style in keeping with the listed Victorian buildings which were converted. In response to its site location, the new bricks for the extensions were colour matched with the old structure. A traditional lime mortar was used and this also meant that expansion gaps were not needed, thus creating a seamless facade. The sawtooth roof on one of the new extensions is also a nod to the industrial past. The new extension fits in with the surrounding buildings, this is something which I wish to do. I would like my facade to be inspired by the surrounding buildings and by industrial buildings.

Images and text extracted from ARC3013, Integrated Construction

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1:100 MODEL

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1:100 MODEL

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B U ILDING SECT I ON

This section is cut through my initial proposal, it shows quite well the large atrium in the centre of my building with the criss crossing staircases. The section also shows he level changes that are present on the ground floor. Above the atrium I have added a large light well to let light deep into the plan, this section was also an experiment in creating a closed courtyard, one of the next things I did is experiment with creating an open courtyard with external staircases.

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THINK ING THROUGH MAKING WEEK Thinking through making week was a week long project where we could experiment at a 1:1 scale. It gave us the chance to work with materials other than card and explore their qualities and how they could be used in real life applications. The week was a great opportunity to get a head start on work that will help to enrich the refinement stage of the project. We were tasked with choosing one material to create an experimental facade test that could be used for a host of different applications. I chose to use metal as my material of choice, I experimented with textures and weathering it to see how it would react should it be used on a facade. From this investigative work I made a large metal panel which could be used for many different applications such as a bi-fold screen, cladding or a ventilation panel.

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M AT ERIA L EXPE R I ME N TAT I ON

Above is a selection of textured metal tests that I produced. I rusted the ones on this page to see what they would look like as weathered facade panels.

On the page opposite, I tested out some metal forming techniques. I also experimented with a piece of copper and cast some textures in to plaster, this was to represent cast metal. The two black plaster casts were inspired by the work of Eduardo Paolozzi as I did what he did which was press found objects into a clay mould before casting a positive of the impressions. For my final exhibition piece, I produced a metal panel which could be used as a bi-fold screen or as a facade panel. I incorporated a textured weathered finish with a zig zag form which was dimensionally the same as a brick, it could therefore be used next to bricks and it would blend in very well.

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FINIS HED M ETAL PAN E L

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During the next stage of the project which is refinement, I will look to see how this panel could be used in real life.

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REFINEMENT

Following on from thinking through making week into the refinement stage of the project we began to look closer at materials and how they could be assembled. Externally we will look at the facade and how this can be influenced by the surrounding architecture. We will also be looking at how we can tie our facade’s back to earlier investigations and to the assemblage theory, to create a facade proposal which contributes to the wider historical narrative of the city. Following on from my technology coursework I made a 1:20 scale model, consisting of a steel frame, with a metal roof and a shaped timber facade to represent bricks.

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ELEVATION DEVE LO PME N T

When designing my facade I looked closely at the adjacent building (above left) and the building directly across the street (above right). One of the key elements of the adjacent building is the repeating form of the brick columns, this is something I have incorporated into my design, also the repeating pattern of both windows is again repeated in my design. The purpose of this is so that the facade of my building fits in with the street scape. At the rear, the window placement becomes a little bit more irregular and playful.

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LANDS CA PING P RO P O SAL

Pictured above is my finished landscape proposal, I took my initial sketch from the realisation stage and developed it to follow the plan of the building.

My floor plan represents a series of workshops and studios joined together by a series of angular corridors. I therefore developed the landscape, making the planting less natural and instead using the geometric formal planting method, I straightened out the paths to follow this same methodology however I kept the topography very natural and flowing like the English country house landscape is.

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6 10

FINISHED PL AN S 3

5

19

14

14

3 6

7

20

20

18

3 7

6

14 3

6

19 5

10 14

3

20

7 18

3

20

7

6 10

5

20

7 18

14 3

20

3

14

6 7

3 6

16

13

10 14 15

3

14

3 6

12

7

7

17 3

16

13

6

3

1410

3

14 6

7 15

3

17

12

7 16

13

6 10

15

17

12

7

3

6

11

5

3 7

6 8

3

1

4 2 5

10

20

9

6

11

3

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Key 1. Reception/ Foyer 2. Stone Masons 3. Store 3 Cupboard 4. Open Teaching Space 5. Wood Workshop 6. W/C

7. Studio 8. Blacksmiths Workshop 9. Plant Room 10. Kitchen 11. Art 4 Studio 12. Library/ Breakout5Space

13. Gallery/ Teaching Space 14. Balcony 15. Leather Workshop 6 16. Glass Studio 17. Pottery Workshop 18. Learning2Centre

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1. Reception/ Foyer 2. Stone Masons 3. Store Cupboard 4. Open Teaching Space

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19. Cafe 20. Semi-external Courtyard

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13. Gallery/ Teaching Space 14. Balcony 15. Leather Workshop 2 16. Glass Studio

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8 7. Studio 8. Blacksmiths Workshop 4 Room 9. Plant 10. Kitchen

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19. Cafe 20. Semi-external Courtyard 1

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B U ILDING MO DE L I N T H E LAN D SCA P E

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B U ILDING MO DE L I N T H E LAN D SCA PE

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B U ILDING SECT I ON

From my last section quite a few things have changed, instead of having a stepped ground floor, I have now sloped it to match the slope of the path outside, this also creates helps to create a meandering landscape inside the building as well as outside in the landscape. I have also opened the courtyard to the elements, following on from my thinking through making week experiment, I have decided to use a large metal bi-fold screen which mean that the courtyard can be opened up throughout the day and then be closed at night. There is now a reduced need to introduce light into this courtyard from the roof and do I have therefore removed the light well and added a series of roof windows to create a soft light across the whole of the second floor.

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1:20 SECTIONA L MO DE L

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1:20 TEC HNICAL S ECT I ON

Roof Construction Zinc Standing Standing Seam Roof Breather Membrane 100mm Rigid Insulation Roof Deck (SMD SR35+) Cold Rolled Steel Purlins (BW Industies)

Wall Construction 2 layers 12.5mm Vapour Check Plasterboard Vapour Barrier Metsec Stud and Track Galvanised Steel Infill Panels, 600mm centres between studs filled with Rockwool Y-wall Fire Rated Sheathing Board Breather Membrane 100mm Foil Faced Rigid Insulation (GA4100 (FF)) Ancon 25/14mm Brick Channel and Wall Ties spaced vertically at 600mm centres, screwed through the insulation into the studs Ancon Nexus Masonry Support System bolted to plates which are welded to the primary beams 50mm Ventilated Cavity Non Loadbearing outer Brickwork Skin Ancon Nexus Suspended Brickwork Soffit System

1:20 Technical section taken from the ARC3013 Integrated Construction coursework. My building consists of a steel frame as can be seen in my sectional model. A lightweight steel infill panel system is then added and the bricks are suspended off of the structure.

Intermediate Floor

100Wood Floor Boards Concrete Screed

Ancon Nexus Masonry Support System bolted to plates which are welded to the primary beams 50mm Ventilated Cavity Non Loadbearing outer Brickwork Skin Ancon Nexus Suspended Brickwork Soffit System

Intermediate Floor Wood Floor Boards Concrete Screed Hollowcore Pre-cast Floor Slabs 1200mm wide, 200mm deep Primary Perforated Universal Beam bolted to the vertical UC Services running through the perforated beam

Foundations and Ground Floor Concrete with 50mm Concrete Screed Foil Faced Ridid Insulation Damp Proof Membrane overlapping into the external brickwork 50mm Sand Blinding Compacted Hardcore Steel Universal Column sat on shims and bolted down, then grouted to fill the voids beneath the base plate Steel Holding Down Bolts Insulated Pre-cast Ground Beam Pile Cap Cast in-situ Concrete Pile Damp Proof course 150mm above fround level with a cavity tray and weep holes

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NORTH EL EVAT I ON

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SOU TH EL EVAT I ON

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LAN DS CA P E PA RK

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INT ER NA L GALLE RY

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G ROUND FLOO R CO R R I DO R

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ILLU STRATED C U LT U RAL B I B LI O G RA P H Y

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Outside of architecture I like to get outdoors. I have many different hobbies, a few of which are highlighted on these pages. One of them is blacksmithing, I am a very keen blacksmith and items I have made include all of the door hinges in our house, as well as many other things. Joinery is another craft I have a love for. I have a real passion for building but also for the restoration and conservation of existing historic buildings, to the left you can see a stone arch that I helped to build and there is also a couple of pictures of some Georgian chimney stacks that I re-pointed. As well as the conservation of buildings I also have an interest in the restoration of vintage vehicles, here are a couple of 50 year old American lawn tractors that I restored back to working order. I feel that having knowledge of the way things are made and the way buildings are constructed puts me in good stead in the field of architecture.

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BIBLIOGRAPHY ‘Sir Eduardo Paolozzi 1958’, Ida Kar, Photographs Collection, National Portrait Gallery, <https://www.npg.org.uk/collections/search/portrait/ mw18655/Sir-Eduardo-Paolozzi?search=sp&sText=sir+eduardo+paolozzi&wPage=1&rNo=22> [accessed 19 February 2019].

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2

‘Sir Eduardo Paolozzi: Experience, 1964’ <https://www.tate.org.uk/art/artworks/paolozzi-experience-p04759> [accessed 20 February 2019].

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‘Konsul, 1962’ Klass Vermaas, 2014, <https://www.flickr.com/photos/klaasfotocollectie/15247323567> [accessed 20 February 2019].

4

Tate Gallery, Eduardo Paolozzi (London: Tate Gallery Publications Department, 1971), p. 5.

http://www.old-bus-photos.co.uk/wp-content/themes/Old-Bus-Photos/galleries/newcastle_bus_stations/newcastle_bus_stations_ws.php [accessed 3 February 2019].

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https://www.chroniclelive.co.uk/lifestyle/nostalgia/remember---newcastles-worswick-street-7761573 [accessed 3 January 2019].

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https://digimap.edina.ac.uk/roam/map/historic [accessed 21 May 2019].

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https://digimap.edina.ac.uk/roam/map/os [accessed 21 May 2019].

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http://landedfamilies.blogspot.com/2014/07/130-anderson-of-newcastle-and-little.html [accessed 21 May 2019].

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https://www.skyscrapercity.com/showthread.php?t=982536&page=150 [accessed 3 May 2019].

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http://www.antiqueprints.com/proddetail.php?prod=g4464 [accessed 20 May 2019].

http://viewfinder.english-heritage.org.uk/search/reference.aspx?uid=1662&index=48&mainQuery=newcastle&searchType=all&form=home [accessed 22 May 2019].

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http://www.hhtandn.org/relatedimages/778/irish-maple-2 [accessed 22 May 2019].

‘Caruso St John wins Stirling Prize 2016 for Damien Hirst’s Newport Street Gallery, n.d.’ Dezeen, <https://www.dezeen.com/2015/09/29/newport-street-gallery-damien-hirst-caruso-st-john-first-pictures/> [accessed 18th April 2019].

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Dezeen, Caruso St John wins Stirling Prize 2016 for Damien Hirst’s Newport Street Gallery <https://www.dezeen.com/2015/09/29/newportstreet-gallery-damien-hirst-caruso-st-john-first-pictures/> [accessed 19th April 2019].

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APPENDIX

For the case study slides, the work should be assumed it is not mine unless it is marked with an orange square, in which case it is mine.

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CASE STUDY

Landesmuseum Zurich, Switzerland Christ and Gantenbein 2012-2016

Rachel Clark (RC) Megan Nightingale (MN) Ewan Smith (ES) Ruth Vidal-Hall (RVH) Wen Ying Ooi (WY)

CONTENTS INTRODUCTION ............................................................... pg. 1 CONTEXT A: Architect/Designer (MN) .......................................... pg. 2 - 4 B: Typology (RVH) ........................................................ pg. 5 - 7 C: Site (WY) ................................................................... pg. 8 - 9 D: Programme (RC) ...................................................... pg. 10 - 13 E: Concept and Design Development (ES) .................... pg. 14 - 15 STRATEGY/DETAIL G: Spatial Sequence (MN) ............................................ pg. 16 -18 H: Structural Strategy (ES) ............................................. pg. 19- 22 J: Atmosphere (RC) ....................................................... pg. 23 - 25 K: Materiality (WY) ......................................................... pg. 26 - 28 L: Threshold (RVH) ........................................................ pg. 29 - 31 BIBLIOGRAPHY ............................................................. pg. 32 LIST OF ILLUSTRATIONS ............................................ pg. 33

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INTRODUCTION

Built in 2016, Christ and Gantenbein’s extension to the 1898 Gustav Gull building sits in the Platzpitz Park between the Sihl and Limmat rivers and opposite the main train station in Zurich, Switzerland. The extension provides further space for temporary exhibitions, a library, workshop, auditorium and a large courtyard between the two buildings. The Landemuseum houses art and artefacts from prehistory up until the 18th century, with some more modern temporary exhibitions in the extension, for example the current (December 2018) exhibition of the 1918 General Strike. The intention was to create a sculptural form, as Christ said ‘we are contemporary, and we leave traces, and we don’t go underground’.

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A. ARCHITECTS / DESIGNERS. CHRIST & GANTENBEIN. 1998 - 2018.

The Swiss architects who graduated ETH (Swiss Federal Institute of technology) together, have since created some of Switzerland’s most abstract architecture. Working primarily with concrete, they achieve a very unique aesthetic which has landed them many prestigious awards including Deezen “Architecture of the year award” 2018.

“The best Swiss architecture isn’t buildings. It is the tunnels and fans and bridges in the Alps. That’s where it is at its most powerful” - Christoph Gantenbien.

The two have successfully contributed to the identity of Swiss architecture which is evident in their strong use of concrete. The precision in their angular style creates an atmospheric interior which is like no other.

In respects to the Swiss National Museum extension the alien form is the echo of its 19th century neighbour, creating evocative spaces which in turn creates unique experiences of both the building and the exhibition inside.

The same could be said for the rest of their buildings, the unique forms being seemingly linked to ‘experience’ and journey inside. Playing around with light, form, space and proportion has successfully translated into identity which is unique to Christ and Gantenbein.

Both architects clearly enjoy their architectural language they have come to master, and over the last nine-teen years each public and private commission has caused a great body of work to come into focus, which has translated in the many awards they’ve won.

ABSTRACT. Christ and Gantenbein architectural style is modern, this can be seen through their use of abstract forms and consistency in material choices. They have worked together for twenty years and have designed over thirty buildings; mainly in Switzerland and Europe.

Their practice which is based in Basel, Switzerland has grown over the years into just under 60 architects and designers. While their style has clearly been recognized throughout the architecture community, they still stay true to their aesthetic, developing it each time they begin a new pro ject, successfully echoing their unique style.

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A. ARCHITECTS / DESIGNERS. SELECTED WORKS 2001 - 2018.

As we move through previous works from the architects (below) we can see that their aesthetic has remained relatively the same. Concrete being using throughout all the projects and muted tones dominating their appearances.

KUNTSMUSEUM, BASEL 2010-2016.

The geometric concrete structure is an extension to original museum built in the early 20th century.

Featuring various shades of grey in its brick facade and monumental staircase inside.

HOUSE EXTENSION, ARLESHIEM 2001-2002.

The ‘folded waved concrete walls’ of this extension to a 1920s house was designed to respond to its ‘natural’ surroundings. The interior walls adopt a botanical pattern and large areas of glazing to connect with the exterior nature.

LIST CUSTOMER CENTRE, ARISTORF 2010-2015.

LANDESMUSEUM, ZURICH. 2012-2016.

The geometric concrete extension incorporates some of the features found in the existing building. The volumetric U-shape form causes an intended circulation when walking around the museum.

Positioned on a subtle slope are five buildings which accommodate different uses; offices, meeting rooms and a auditorium. The metal facade sits on a concrete base.

[Fig 1]

Own pictures used for Kuntsmuseum & Landesmuseum.

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A. ARCHITECTS / DESIGNERS.

Above: Image of bridge, the “Rubik snake” - most prominent feature of the building which echo’s their aesthetic.

Above: Collage combining ground floor plans of projects shown in ‘selected works’ to show the consistency in their abstract forms. The consistent use of harsh angles and elongated façades is what stands out most in their architectural style.

Below: Axonometric showing form of building.

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B: TYPOLOGY

Kunstmuseum, Basel Christ and Gantbein, 2010-2016 ABSTRACT I have explored a typology of museum extensions, looking at Daniel Liebeskind’s Royal Ontario Museum, Rogers Stirk and Harbour’s British Museum and another Christ and Gantbein, the Kunstmuseum in Basel. As well as looking at how other designers tackled this type of building, I chose to look at how the same designer tackled a similar building type in such a different way and why this may be. Each typology has a similar programme of exhibition space, while including some other purposes. The four buildings tackle the brief using different forms as well as having different internal focusses and relationships with the historical buildings they are extending. Each extension compliments the historic building in a different way.

Kunstmuseum

Like the Landesmuseum, Christ and Gantbein’s design for the Kunstmuseum includes a large feature staircase and a largely concrete palette. The plain grey concrete works well in a gallery by allowing the artwork to stand out.

However, it can create a cold atmosphere as there are no warmer elements that stand out. In contrast to the concrete circulation spaces, the gallery spaces in the Kunstmuseum are painted white to give a warmer feeling when combined with warm white ceiling lighting. Christ and Gantbein do not employ this technique in the Landesmuseum and the concrete walls remain unfinished throughout the museum.

Landesmuseum

Relationship between old and new buildings

The two extensions each have a different relationship with the old building.

Above the surface the two buildings of the Kunstmuseum appear separate, but are connected by an underground gallery and passage. The Kunstmuseum is fundamentally two separate buildings linked by an underground gallery while the Landesmuseum aims to create one sole building. The Landesmuseum creates a direct relationship between the two buildings by creating a courtyard. If we imagine the courtyard as a new room it is almost as if the two buildings create one continuous wall.

It is interesting to compare two buildings by the same architect, in the same country with the same purpose. The two buildings have clear differences as well as similarities. While the Kunstmuseum in Basel takes a more obvious inspiration from the main museum, in the Lansemuseum Christ and Gantenbein appear to take a more abstract approach to associating the new and old buildings.

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B: TYPOLOGY

Royal Ontario Museum, Ontario Daniel Liebeskind, 2002-2007

Similar to the Landesmuseum, Libeskind used jutting shapes to design the new extension to the Royal Ontario Museum, contrasting the historic 1912 building.

While the Landesmuseum has a clear linear structure, the Royal Ontario Museum is built in the deconstructivist style of elements that appear fragmented.

However, the internal space is unified into a large three storey atrium and the ground floor is unified as one space from wall to wall.

The historical building wraps around the extension so that from the outside the two buildings look to envelop each other. However, the buildings appear more separate inside as the corridors between the buildings are a relatively small portion of the adjacent walls.

Fig. 2 Royal Ontario Museum, Daniel Libeskind

Landesmuseum Corridor

Unlike the Landesmuseum, the Royal Ontario appears to celebrate light as it floods the space through large glass elements in the facade. In comparison there is minimal natural light in the Landesmuseum due to the small porthole windows and deep concrete walls. The atmosphere in the Landesmuseum is much darker with much less natural and artificial lighting. Instead of light flooding the space, spotlights create bright moments in a generally dark space.

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Fig. 3 Royal Ontario Museum, Daniel Libeskind

Relationship between old and new building

B: TYPOLOGY

British Museum, London Rogers, Stirk and Harbour, 2007-2014

Whereas the main staircase in the Landesmuseum is a striking feature in the building, in the British Museum a simple stair core services the building. It is entirely functional whereas the Landesmuseum makes a statement with the large staircase that informs the bridge like form of the building. Each designer takes a different stance on the idea of ‘form over function’.

RSH prioritise function while Christ and Gantenbein celebrate form.

South West Facing Cross Section showing basement

Fig. 4 British Museum, Rogers, Stirk and Harbour

As it is placed within a busy urban context, the form of the building is considerate of the surrounding 18th century architecture of a smaller scale. This contrasts the large imposing form the Landesmuseum which, although in the urban context of Zurich, is not surrounded by the large number of other buildings that the British Museum is in a bustling London. To combat the problem of space and visibility of the building, four of the nine storeys of the British museum are completely underground and a further one is partially buried. The British museum is a more modest use of space whereas the Landesmuseum takes full advantage of space with a large and striking extension.

Fig. 5 British Museum, Rogers, Stirk and Harbour

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C. SITE

secondary winds

Fig. 6

summer sun path

winter sun path

primary winds

Fig. 7

ABSTRACT

PHYSICAL NEIGHBOURHOOD The landesmuseum is located between the rivers Shil and Limmat and surrounded by a field of greenery on one end due to its proximity to Park Platzspitz, and traffic on the other end due to its adjency to the main train station - Zurich HB. The massing of infrastructures and roads surrounding the original landesmuseum naturally leads to the construction of the extension being limited towards the area between the original building and Park Platzspitz to ensure minimal disruption to the visual flow as well as praticality of the original building.

noise

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above: diagram showing natural environment site analysis

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As the extension would be constructed between Park Plitzspitz and the original building, considerations of surrounding views into and out of the building would have to be reconsidered, especially with the massing of the extension taking on the shape of a stone sculpture.

This hence led to the ‘bridge’ sculpture extension which allows people to circulate in and out of the courtyard and keep the visual disturbances to a minimum, allowing the extension to exist as part of the building’s whole.

5 min 10 min above: diagram showing average walking time to site

train station

roads

tram

building access

above: key showing types of vehicular transports surrounding the site

TRANSPORT / ACCESS The landesmuseum is easily accessible by both public and private transport due to its proximity to a major train station - Zurich HB, as well as its accessibility to surrounding transport networks. The existance of overlapping tram and road lines over individual transport roads suggests that traffic in the surrounding site is relatively orderly in spite of the road networks being found in such close proximity to a major transport hub.

Pedestrain access to the site is also very convenient with the siteâ&#x20AC;&#x2122;s proximity to the train station. Walking is most probably the most convenient way to access the site with the lack of parking spaces surrounding the site. With the point of building access facing the train station, the site is probably quite easily recognised by both locals and foreigners, making the site and altogether convenient and accessible site.

above: diagram showing connectivity of transport methods surrounding site

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D: PROGRAMME ABSTRACT The programme of the building largely consists of exhibition and circulation spaces. With several different staircases, the more public and private areas are separated, with the library and office spaces being reached through a separate staircase. The exhibition part of the programme is linearly arranged, starting at the ground floor of the right hand segment of the building and continuing over the grand staircase for two storeys and then back down to the ground floor on the left hand side of the building. The programme caters largely to user experience as it creates a clear path that guides the public through the spaces.

Ground Floor First Floor

Second Floor

Key Exhibition Spaces

Facilities e.g Toilets

The large staircase unifies the exhibition spaces over the angular threshold below, creating a unique gallery experience and guiding the public from the old building and back to the old building with the new building in-between.

Library and Office

Circulation

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D: PROGRAMME User Experience Through Gallery Spaces

The exhibition spaces are highlighted, indicating the layout of exhibition spaces in relation to the rest of the building.

The diagram below shows a conceptual route through the building

Re-enter old building

Enter from old building

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D: PROGRAMME Daylighting and Ventilation Strategies

The library space makes use of natural daylighting, having large glazing which is angled to the north, in order to avoid direct sunlight, a suitable environment for working.

The large-span windows also provide a good source of natural ventilation, as they can be easily slid open.

The circular windows are placed on most of the faรงades of the building, meaning each set of windows has a different orientation in relation to sunlight. The diagram shows how the southern windows on the large staircase make a larger use of sun throughout the day

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D: PROGRAMME External Programme A large courtyard space is created between the new extension and the old museum through the use of the sculptural stairway bridge. This creates a key route through the building to the old building and relationship to the external environment. Without this bridged threshold, this relationship and creation of a new external space would be less effectively exercised.

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E: CONCEPT AND DESIGN DEVELOPMENT

ABSTRACT For the new extension the architects were strongly influenced by the old building by Gustav Gull. The building was laid out in such a way as to accommodate the existing trees and paths in the historic park. One of the most striking parts of the new buildings design is the roofscape. The roofscape of Gulls building sets the volumetric theme for the new building. As can be seen in this diagram, you can clearly see the relation between the old and the new. The expressive folds in the new buildings roof can be taken as a modern interpretation of Gullâ&#x20AC;&#x2122;s articulated historicism. The design for the new is therefore inconceivable without the old but is still unmistakably modern.

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E: CONCEPT AND DESIGN DEVELOPMENT

As part of the joint-less facade concept there are few windows. Ribbon windows are placed only at the north-eastern corner of the building. The exhibition rooms require hardly any natural light hence the sparseness of windows. Around 70 round windows are arranged in clusters or individually on each facade. These round windows were core drilled into the facade after the structure was cast, the result is carefully placed windows allowing for selective views. They are mostly placed in circulation spaces as shown by these images I took on this page, the windows allow you to get your bearings and avoid you becoming disorientated. The windows are positioned to create views from the inside to the out rather than the outside in.

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G. SPATIAL SEQUENCE. ABSTRACT. The journey of the museum is a vital part of the experience, the staircase being a focal part of this. The form of the building also adds to this journey, as it guides you around the exhibitions which vary from double height space to single height. The heavy use of concrete throughout the whole building creates a unique atmosphere that is expanded through the use of various lights.

The harsh angles of the building are mirrored in the interior temporary walls, which leave you wondering what’s around the corner; this is taken advantage of by the exhibitions that respond to the building.

CIRCULATION The circulation of the building is key to the uniqueness of the museums design.

The slight U-shaped form causes a directional flow throughout the building as well as specifically placed staircases. The monumental core staircase stretching to all three floors (see primary circulation diagram) is a response to the journey purposely designed by Christ and Gantenbien to add to the ‘industrial-like atmosphere’ of the large concrete form.

The experience of both the exhibit and the building go hand in hand, and the circulation of the building is at the core of this.

Staircase

Gallery space Toilets / storage.

Library / Office space Pre-exsisting building

Primary Route.

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Secondary Route

Second floor

G. SPATIAL SEQUENCE.

Section - Circulation.

First floor

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Ground floor

Access points & exits.

Main entrance / ground floor.

Lift shaft.

Circulation.

01

Density of people.

General circulation / active areas.

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G. SPATIAL SEQUENCE. EXPLORING THE ‘JOURNEY’ ON SECOND FLOOR. Fig B

Fig A

Fig A - Stairwell on the west side of the extension; highlighting harsh angular forms in areas which aren’t necessarily important to the exhibitions / building.

Fig B - Exhibition on east side. Art works / aesthetic of works work well with the interior. Own personal experience; I felt as though this exhibition and the building itself worked hand in hand, the interactive exhibition played well with the geometric form of the concrete walls.

Fig C - View down main staircase. North wall with fixed light becoming the focal point to the stairwell.

Fig D - View up the main staircase. Exhibition at the top of the staircase made it seem more monumental; double height space added to this atmosphere.

Fig E - Presentation held at the top of the staircase; showing versatility and scale of the stairs.

Fig C

Fig D Fig E

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H: STRUCTURAL STRATEGY ABSTRACT The mix of old and new became an engineering challenge, the new extension needed to be joined to the existing building but in such a way that it didn’t place any stress on the existing structure or foundations as the original building was not designed to carry additional loads. The extension docks to the new building like a jetty, the structure cantilevers as shown here where it buts up to the west wing.

The structure is cast in-situ concrete and it relies on compressive and tensile forces to hold the cantilever, the huge mass of concrete behind also helps to hold the structure up. The new building ‘cuddles’ the existing building and the forces are relayed from the cantilevered overhang into the supporting elements behind it. The use of cast in-situ concrete allows for the structures organic form .

COMPRESSION TENSION LOAD

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H: STRUCTURAL STRATEGY The structural diagram on the right shows the bridge structure. The bridge structure functions as a tripod does. The area highlighted in dark grey is the ceiling above the basement, this is made of a piece of prestressed concrete.

There are pretensioned cables laid within are laid out so that the deflection forces support and cancel each other out. The bridge creates an archway through into the courtyard, the roof of this arch consists of a pressurestressed plate which acts as the bearing for the walls shown directly to the right. The bridge is 46m wide, the archway consists of two plates, one at 45 degrees and one at 27 degrees, they are connected at their peak and are then connected at their bases to the prestressed basement ceiling.

COMPRESSION TENSION LOAD

Folded, Pressure-Stressed Plate

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H: STRUCTURAL STRATEGY

For large concrete façades you would normally add dilation joints at regular intervals to absorb any deformation that may occur in the walls. To make the façades of the Landesmuseum appear monolithic and therefore seamless a sophisticated construction method was used. For a wall surface of 162m at its largest on the side facing the park and a wall length of 103m on the museum side (facing into the courtyard) there would be a lot of expansion and contraction at extreme temperatures. The outer skin of the building is self supporting and at a thickness of 21cm it is anchored by the 33cm thick insulation layer which is supported by the 25-40cm thick inner wall. Due to the location the Landesmuseum has to withstand temperature fluctuations from -10 to +30 degrees Celsius, this creates quite a lot of expansion and contraction of the concrete, the facade allows for this movement as the outer skin shifts horizontally on plain bearings. The facade is only fixed in specific locations, the facade ‘pumps’ on the interior and exterior of the facade corners as the concrete expands and contracts. The insulation layer at the corners is 6cm thinner to ensure the freedom of movement. The diagrams on this page demonstrate the shrinkage and creep that can happen and the micro fractures which are created.

Expansion

Contraction 21

H: STRUCTURAL STRATEGY

This diagram shows the south facade I have detailed part of it showing how the facade is tied and anchored to the insulation and the internal structure. The blue crosses show where the facade is tied by tie rods and these areas are suspended. The areas in purple are anchored to the internal structure and are on fixed bearings at fixed points shown as the wide orange box. The thin orange columns represent the piles, these are placed at the facade corners, here the engineers didn’t incorporate any anchors so to allow the necessary freedom of movement in the expansion and contraction of the facade. The areas in white between the yellow and purple sections are the areas that don’t have the anchors.

Facade Suspended by Tie Rods

Facade attached by Wall Anchors 22

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J: ATMOSPHERE ABSTRACT The atmospheric qualities of the Landesmuseum extension are largely defined its integration of circular windows. These can be found on each facade of the building, breaking up its solid form and juxtaposing with the angular shapes employed in the main language of the building. The architects strategically placed these circular windows to create a narrative in relation to the external environment, making sure that visitors to the gallery would have an awareness of their position in relation to the outside. Whilst providing natural lighting, other methods have been used to provide light in the evening, affecting the internal atmosphere throughout the day.

The circular windows are arranged in different compositions around the periphery of the building in order to frame different views of the outside when inside the building. The windows continue vertically in stairwells for example in order to prolong views of the outside whilst ascending the stairs.

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J: ATMOSPHERE Placement of Windows

Ground Floor

First Floor

Second Floor

These diagrams illustrate the linear route taken through the buildingâ&#x20AC;&#x2122;s public exhibition spaces in relation to the placement of windows. The windows are placed intentionally mainly in the circulation spaces in order to not distract from the exhibition spaces which are left largely without windows. This creates the experience of moving from mainly dark spaces to lighter spaces.

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J: ATMOSPHERE

Night-time and Day-time Strategies

Night-time Strategy

Floor

Artificial lighting creates an even distribution of light in darker areas of the museum Day-time Strategy

At night-time, both the spaces with windows and devoid of windows are artificially lit, with some areas using indirect lighting. This creates a glowing aura which guides the way from the darker areas to the light.

During the day, the circular windows provide the majority of the lighting, particularly in the circulation spaces. This creates circular patterns on the floors and walls which contrasts with the harshness of the concrete and the angular forms of the building.

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K. MATERIALITY

ABSTRACT

ARCHITECTURAL AND URBAN ENSEMBLE With the striking difference in massing of the old and new building, there is a need to ensure an alternative form of visual similarity in order to ensure that the buidling reads as a natural extension of the old building through the use of material palettes that closely relate to the original building in terms of colour and texture, as well as concept development. Through the study of the tuff stone façades and terrazzo floor tiles of the old building, Christ and Gantenbein were able to reinterpret the visual properties of these materials into concrete so as to create a monolithic contemporary assemblage of materiality.

The general colour palette for the new extension includes similar shades of grey with alternative textured aggregates in order to ensure minimal visual distraction when users are viewing the exhibits within. Due to the angle and massing of the sloped roof surfaces, the roof too becomes part of the visible façade to the public and has hence also been given much thought to its texture and materiality. The use of Eternit roof is a reference to the classic roofing groves found in most sheds in the country as part of Christ and Gantenbein’s attempts at bringing an industrial yet contextualised addition to the original museum.

EXTENSION: raw reinforced concrete ceiling and walls, polished concrete terrazzo floors

BUILDING EXTERIOR: corrugated Eternit roof, tuff concrete, coarse gravel

RENOVATED ORIGINAL BUILD: smooth concrete walls and pillars, tri-coloured terrazzo tiles

ORIGINAL BUILDING ENTRANCE: tilled roof, tuff stone walls, terrazzo floot tiles

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Fig. 8: photos of internal and external textures of connection between the new and old wing; corridoor shows the success of material composition

Fig. 10: photos showing the transition of material composition from the exterior of entrance into the renovated reception interior

KEY EXTERIOR AND INTERIOR SPACES (1) connection; (2) extension; (3) renovated reception

Fig.9: photos showing the difference of internal and external concrete finishing with the use of specific aggregates

The walls of the new connection is composed entirely of board-formed concrete, leaving with the walls the mark of its original structure. This is deliberate of Christ and Gantenbein in their pursuit for and interest in swiss engineering and craftsmenship as they strove to follow in the language of ‘technical buildings’ such as dams, roadways and ridges in the swiss alps where emphasis was on maintaining the integrity of the material as well as pushing the existing properties of said material. The general composition of materials used moves from less noticible reinforced concrete pillars found in (3) to dramatic spaces with higher ceilings are large verticle industrial-like board marks on the interior walls in (2), then again to a more modest and long corridoor which successfully shows the full composition of concrete terrazzo flooring, polished concrete walls and board-formed ceilings in (1).

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REINTERPRETING CONCRETE External Walls: Tuff Stone Concrete Historically, the walls of the original building were constructed with tuff stone from the quarry Engel Schwandstrasse, which was the material of choice for churches and secular buildings between the period 1880 - 1899. In order to ensure visual continuity between this original building and the new extension, Christ and Gantenbein decided on the addition of tuff stone into the concrete mix for the exterior wall construction, so as to ensure that the transition of colour and texture between the old and new wing remains subtle and readable as a whole and not simply as another contemporary addition to a historic building.

However, while the porous property of tuff stone was a useful building property due to its insulating properties in the old building, it is difficult to process as a concrete mix as tuff is highly absorbent, leading to an unpredictable resultant ratio of water-cement mix with its addition, which could lead to lines of weaknesses and cracking. Besides that, the mixing process of tuff in cement mix leads of lots of abrasion and shrinkage of aggregate sizes, making the production of concrete volumes with well graded frameworks near impossible and difficult to employ across a monolithic façade design proposal such as that of the landesmuseum extension.

Heinrich Schnetzer of Schnetzer Puskas engineers, with his years of experience in construction and experience in concrete materials research in ETH Zurich was able to develop a way around the absorbent property of tuff by first saturating the stones in water before its addition to the concrete mix in order to prevent shrinkage and reduce aggravation of particles during the mixing process. The right final concrete mix was settled as a tuff concrete C 25/30 by composition.

Internal Floors: Terrazzo Flooring The abundant use of highly decorative terrazzo flooring in the original building is reflected not only in the flooring of the new extension but in its stairs as well, making it a striking feature of the museum.

In an attempt to echo the typology of the original building’s flooring where terrazzo might have been used due to its practicality as both a decorative element which naturally showcases the grandeur of the museum, as well as an affordable and hardy material when it comes to constant transport of potentially large and heavy museum pieces in and out of the museum.

The stairs of the new extension, too, uses terrazzo as one of its highlighting features of the 60 thread stairs. The risers of each stair has been left as it was following the mould of its original cast with only its threads being scraped back and polished in order to show the grains of the concrete that has been made to look and hence echo the terrazzo tiles of its original building. The use of this ‘terrazzo concrete’ surface allows for a smooth transition between old and new spaces as people walk through the museum’s exhibitions.

Fig. 11: photo showing the seamless dialogue of original and new building materiality

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130

L: THRESHOLD External/Entrances

Some of the most interesting thresholds for this building are between the building and the ground. Instead of entering the courtyard through the building, the form itself creates an entrance to the courtyard where you must walk underneath the building as the internal staircase creates a bridge like structure. This creates a dramatic threshold that is an alternative to a simple door in the facade, it is a grand archway to cross into the courtyard.

Crossing the threshold of the building into the courtyard

New entrance linking historic building and extension

The main entrance to the museum was moved to a spot where the old and new museum wings meet. Along with the relocation of the entrance a new foyer with reception and cloakroom was built. We must therefore consider the threshold between old and new. Although from the outside there appears to be a successful threshold between the two buildings by creating a courtyard , when inside the link between the two is less clear. Once inside you must turn either left into the historical building or right into the extension. Although they share an entrance the internal space is less well linked as you must return to the entrance before entering the exhibits in the other portion of the museum.

ABSTRACT The Landesmuseum has a variety of interesting thresholds even though the main window form remains the same throughout the majority of the building. The building explores threshold through the form of the structure, as it zigzags in elevation, as well as more common thresholds of doors and windows.

The form of the building creates a threshold between the park and the courtyard enclosed by the old and new buildings. The main entrance to the museum was reconfigured to join the old and new buildings via a new main entrance.

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L: THRESHOLD Windows

‘Typologically, this kind of museum doesn’t need windows. Curators just want a box.’

- Emanuel Christ

The windows are placed like binoculars to give glimpses to the landscape outside in order to locate yourself within the environment. Throughout the building this same simple porthole shape is used.

The holes were milled into the walls after the concrete walls had been poured and set.

Although the museum can appear dark inside, the deep setback of the windows means that no sun screening is needed. The need for sun screening is important as the museum houses some artefacts from early as prehistory.

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131

L: THRESHOLD External Openings

Looking out onto Platzpitz Park and the Limmat river, the balcony outside the library creates an intermediary space between the building and the outside. The first threshold is between the building and the balcony, and then between the balcony and the exterior.

The dynamic facade allows the balcony to be enclosed. The floor to ceiling glazing is the largest glazed area in the museum, providing light for the library throughout the day.

External Intermediary Internal

An interesting feature of this building are the strategically placed fire fighter access doors, marked with an ‘F’ on the facade. Due to the large continuous nature of the internal spaces additional access was needed to comply with regulations. They allow fire services to access spaces directly without having to follow the flow of the museum.

Transition from Internal to External Space

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BIBLIOGRAPHY Afasia Archzine, ‘Christ + Gantenbein’, Afasia Archzine, (6 Feb 2016) <https://afasiaarchzine.com/2016/02/christ-gantenbein-20/> [9 Dec 2018] Arch Daily, ‘List Customer Center / Christ & Gantenbein’ Arch Daily (Text provided by architect, 7 March 2018) <https://www.archdaily.com/890200/list-customer-center-christ-and-gantenbein> [9 Dec 2018] Arch Daily, ‘Swiss National Museum / Christ and Gantenbein’, Arch Daily, (1 Feb 2016) <https://www.archdaily.com/781176/swiss-national-museum-christ-and-gantenbein> [10 Dec 2018] Architect Magazine, ‘National Museum Zurich’, Architect Magazine (Selin Ashaboglu, 27 Jan 2016) <https://www.architectmagazine.com/project-gallery/national-museum-zurich_o> [11 Dec 2018] Architectural Record, ‘Extension of the Swiss National Museum: A modern addition to a 19th-century museum uses bold geometry to connect old and new’, Architectural Record (Fred Bernstein, 1 Nov 2016) <https://www.architecturalrecord.com/articles/11966-extension-of-the-swiss-national-museum> [ 11 Dec 2018] Breitschmid, Markus & Easton, Victoria, Christ & Gantenbein: Around the Corner (Ostfildern: Hatje Cantz, 2012) Christ & Gantenbein, Christ & Gantenbein, <http://christgantenbein.com/index.php/main/projects>[11 Dec 2018] Dezeen, ‘Christ & Gantenbein adds raw concrete extension to National Museum Zurich’ Dezeen, (Amy Frearson, 21 Jan 2016) <https://www.dezeen.com/2016/01/21/christ-gantenbein-national-museum-zurich-extension-raw-concrete/> [10 Dec 2018] Dezeen, ‘Christ & Gantenbein completes new monochrome building for Kunstmuseum Basel’, Dezeen (Amy Frearson, 19 April 2016) <https://www.dezeen.com/2016/04/19/christ-gantenbein-monochrome-extension-kunstmuseum-basel-switzerland-cultural-architecture/> [11 Dec 2018] Dezeen, ‘Christ & Gantenbein’s concrete extension to National Museum Zurich photographed by Rory Gardiner’, Dezeen (Jessica Mairs, 19 July 2017) <https://www.dezeen.com/2017/07/19/rory-gardiner-photography-christ-gantenbein-concrete-extension-swiss-national-museum-extension-zurich-switzerland/> [10 Dec 2018] Dezeen, ‘Daniel Libeskind at Royal Ontario Museum’, Dezeen (Marcus Fairs, 14 May 2007) https://www.dezeen.com/2007/05/14/daniel-libeskind-at-royal-ontario-musem/ [23 Nov 2018] Federal Office for Buildings and Logistics BBL, ‘Swiss National Museum, Zurich: Extension and redevelopment of the school of applied arts (stage B)’ Federal Office for Buildings and Logistics BBL (3 June 2015) <https://www.bbl.admin.ch/bbl/de/home/themen/bauwesen/archiv/fruehere-beitraege-bauprojekte/kultur-und-denkmaeler/schweizerisches-landesmuseum--zuerich.html> [11 December 2018] Floornature, ‘Christ & Gantenbein: expansion of the Landesmuseum in Zurich’ Floornature: Architecture & Surfaces (Mara Corradi, 7 March 2018) <https://www.floornature.com/christ-gantenbein-expansion-landesmuseum-zurich-13528/>[11 Dec 2018] Guardian, ‘Swiss architecture’s star double act: ‘We’re all about Dinghaftigkeit!’’, The Guardian (Oliver Wainwright, 19 Apr 2016) <https://www.theguardian.com/artanddesign/2016/apr/19/architecture-switzerland-christ-and-gantenbein-basel-zurich> [10 Dec 2018] Icon, ‘Landesmuseum Zurich’, Icon (Andrew Ayers, 30 Nov 2016) <https://www.iconeye.com/architecture/features/item/12579-landesmuseum-zurich> [11 Dec 2018] Rogers Stirk Harbour + Partners, ‘British Museum WCEC’, Rogers Stirk Harbour + Partners, <https://www.rsh-p.com/projects/british-museum-wcec/> [23 Nov 2018] Studio Libeskind, ‘Royal Ontario Museum’, Studio Libeskind <https://libeskind.com/work/royal-ontario-museum/> [23 Nov 2018] Keller, Jenny, Loderer, Benedikt, Schweizerisches Landesmuseum Zurich Erweiterung, (Bern: Verkauf Bundespublikationen, 2016) Pinterest, Pinterest, <https://www.pinterest.co.uk/pin/21040323238110902/> [11 Dec 2018] Tec21, ‘Folded Monolith’, Espazium (Clementine Hegner Van Rooden, 17 March 2017) < https://www.espazium.ch/gefalteter-monolith> [9 Dec 2018] Wallpaper, ‘Grand opening: Christ & Gantenbein completes Swiss National Museum additions’, Wallpaper (Ellie Stathaki, 18 Aug 2016) <https://www.wallpaper.com/architecture/christ-and-gantenbein-create-sculptural-addition-for-swiss-national-museum> [11 December 2018] Wind Finder ‘Wind and Weather Statistics: Zurich-Kloten’, Windfinder <https://www.windfinder.com/windstatistics/zuerich-kloten> [11 December 2018]

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LIST OF ILLUSTRATIONS All photos taken by group unless stated otherwise.

Fig. 1- Collage: https://afasiaarchzine.com/2016/02/christ-gantenbein-20/ https://www.archdaily.com/890200/list-customer-center-christ-and-gantenbein https://www.dezeen.com/2016/04/19/christ-gantenbein-monochrome-extension-kunstmuseum-basel-switzerland-cultural-architecture/ https://www.pinterest.co.uk/pin/21040323238110902/ https://www.theguardian.com/artanddesign/2016/apr/19/architecture-switzerland-christ-and-gantenbein-basel-zurich Fig. 2 - Royal Ontario Museum Exterior: https://libeskind.com/work/royal-ontario-museum/ Fig. 3 - Royal Ontario Museum Lobby: https://libeskind.com/work/royal-ontario-museum/ Fig. 4 - British Museum Exterior: https://www.rsh-p.com/projects/british-museum-wcec/ Fig. 5 - British Museum Staircase Construction: https://www.rsh-p.com/projects/british-museum-wcec/ Fig. 6 - Bridge Windows: https://www.wallpaper.com/architecture/christ-and-gantenbein-create-sculptural-addition-for-swiss-national-museum Fig. 7 - Landesmuseum Courtyard: https://www.architonic.com/en/project/eternit-landesmuseum-zurich/5104975 Fig. 8 - Internal and External Connections: https://www.bmiaa.com/national-museum-zurich-extension-by-christ-gantenbein/ Fig. 9 - Concrete Finishes: https://www.bmiaa.com/national-museum-zurich-extension-by-christ-gantenbein/ Fig. 10 - Material Composition: https://walo.ch/projekte/national-museum-zurich/ Fig. 11 - Old and new building: https://www.floornature.com/christ-gantenbein-expansion-landesmuseum-zurich-13528/

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NON-DESIGN WORK

134

ARC3013:

Integrated Construction

Ewan Smith / 160249116 City Assemblage / Jack Mutton + Samuel Austin A Centre for Traditional Crafts Integrated Construction

ABSTRACT Bringing Back Newcastleâ&#x20AC;&#x2122;s Making Heritage Newcastle has a long industrial history, many traditional skills have been practised here for centuries, from glass blowing to barrel making and shipbuilding to pottery making. The advancements in technology and cost of manufacture caused these industries to decline all over the country. I believe it is important not to forget about the traditional crafts of the past and this is why I have designed A Centre for Traditional Crafts.

Here I hope that makers will work alongside the public in organised workshops to teach others in the area and from further afield to teach them skills which are in decline, celebrating our countryâ&#x20AC;&#x2122;s heritage so that the legacy is not lost. Artists, makers and craftspeople can rent spaces and/or work in residence, with the potential of being able to exhibit their work in the galleries.

I have opted for an open plan approach for the galleries and teaching space, workshops and studios are placed around the perimeter of the building in a geometric pattern, creating meandering corridor like gallery spaces. As you walk through these spaces different views are revealed and concealed creating a journey. My Centre for Traditional Crafts is split into two blocks with a connecting second floor. In between the two blocks there is an external courtyard with 3 large statement staircases. From these stairs you can capture new and exciting views out onto the large area of landscaping that accompanies my building to the rear.

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CONTENTS

LIST OF FIGURES All drawings are authors own unless referenced in the end notes Figure

A. Site Analysis + Strategy

4

B. Programme Analysis + Strategy

5

C. Precedent Analysis

6

D. Sustainability + Construction Sequencing

7

E. Material, Construction + Detail

8

F. Structural Strategy

9

G. Environmental Strategy

10

H. Fire Compliance

12

I. Accessibility Study

13

J. Critical Reflective Analysis

14

End Notes

15

K. Bibliography

16

A: SITE ANALYSIS & STRATEGY EAST

WEST A167 (M)

LIOL

CAR LG PI

ARE SQU

M RI T

E RE ST

Due to the large open area at the rear, there is a lot of room for construction vehicles and cranes. This means that cranes and heavy plant can be used without the danger of lifting objects over existing buildings.

However care will still need to be taken to adjacent buildings which butt up to mine..

4 4 4 4 4 5 5 6 6 6 6 6 6 6 7 7 7 8 9 9 9 9 9 10 10 10 10 11 11 12 12 12 12 12 12 12 12 13 13 13 13 13 13 13 13 13

SOUTH

Just behind my site there is a large area of waste land, currently being used as a car park. To make use of this old industrial land I propose an area of landscaping, the use of trees and planting will be beneficial in a number of ways. Including creating a pleasant place for the public to visit and walk through, but more importantly it will dampen the road loud noise from the A167 (M), A186 and surrounding small streets.

Figure 4 shows my some of the site analysis I carried out, from this site analysis I looked at different ways of massing my building on the site, as can be seen in figure 5. I decided to split the site into two buildings, that would be joined on an upper floor, this split created views onto the landscaping at the rear of the building.

Page

1: Material categorisation around the site 2: Building use map 3: Vehicular and pedestrian access (red) Prime construction access (blue) 4: Axonometric site analysis 5: 1:500 Massing ideas responding to site analysis and constraints 6: Building Programme and Requirements Diagram. Size of boxes relative to space size 7: Building Programme Diagram 8: Newport Street Gallery by Caruso St. John1 9: Newport Street Gallery by Caruso St. John2 10: Site plan by Caruso St. John4 11: Diagram showing new and old structure 12: Simplified ground floor plan with stairwells highlighted 13: Floor plan showing the mix of the old and new structures 14: Heating and ventilation diagram 15: Construction Sequencing 16: Sustainability diagram 17: Brick Pattern 18: 1:20 Scale Technical Section 19: Isometric view of structural bay 20: Top view of structural bay 21: Exploded view of structural bay defining primary, secondary and tertiary structure 22: Bolted beam connection diagram 23: Bolted column connection diagram 24: Summer day heating and ventilation strategy 25: Winter day heating and ventilation strategy 26: Summer night heating and ventilation strategy 27: Winter night heating and ventilation strategy 28: Brick, window and ventilation panel detail 29: Energy, heating and rainwater harvesting drawing 30: First Floor Plan 31: Ground Floor Plan 32: Travel distance table from Approved Document B5 33: Escape route table from Approved Doc B6 34: Escape route widths from Approved Doc B7 35: Stair Capacity table from Approved Doc B8 36: Refuge in a protected stairwell table from Approved Doc B9 37: Compartmented protected stairwell 38: Principle staircase connecting the courtyard to the first floor 39: Section of the principle staircase connecting the courtyard to the first floor 40: Principle staircase section with dimensions 41: Rise and going table from Approved Document K11 42: Minimum headroom dimensions from Approved Doc K12 43: Maximum number of risers information from Approved Doc K13 44: Handrail dimensions from Approved Document K14 45: Handrail design from Approved Document K15 46: A section through my handrail on the principle stairs

Figure 1: Material categorisation around the site

Figure 4: Axonometric site analysis

Site Boundary

Views onto the Site

Prevailing Wind

Road Noise

Potential Area for Landscaping or Redevelopment

Figure 2: Building use map

Figure 5: 1:500 Massing ideas responding to site analysis and constraints

Figure 3: Vehicular and pedestrian access (red) Prime construction access (blue) 4

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B: PROGRAMME ANALYSIS & STRATEGY

Programme Entrance Lobby

Breakout/ Library Spaces

100

Workshops

Glass Studio

Wood Workshop Stone Masons Workshop

Blacksmiths Workshop Teaching Spaces/ Auditoriums

Studios

Stone Masons Workshop

Kitchens

W/C

Ceramics Studio

100

200

Offices

200

Assemblage Spaces

50

200

Store Rooms

50

Plant Rooms

50

Cafe

50

Toilets

Wood Workshop

50

Steam Bending Workshop Studio Spaces

Breakout/Library Spaces Cafe

80 150

Kitchens

Entrance Foyer

80

Blacksmiths Workshop Glass Studio

Assemblage Spaces

Approximate Floor Area (m2)

50 100 50

Teaching Spaces/Auditoriums

300

Gallery/Exhibition Spaces

300

Approximate total area

2160 m2

Offices Ceramics Studio

Gallery/Exhibition Spaces

Steam Bending

Plant Rooms

Semi-Private

Public Connections

Public

Private Connections

Private

Ventilation and Extraction Essential

Store Rooms

Noisy Spaces

Figure 6: Building Programme and Requirements Diagram. Size of boxes relative to space size

All Workshop spaces, gallery and studio spaces require good natural light if possible, large windows and roof windows will be utilised, the use of light-wells will help let light penetrate deep into the plan. It is important that the workshops have good ventilation and extraction, the spaces that require essential extraction are highlighted in figure 6. It is important to note that all of the spaces will receive very good natural ventilation by the use of attenuated automatic ventilation panels next to the windows. Roof windows will also automatically open to allow warm air to exit the building if it is required.

Figure 7: Building Programme Diagram

5

C: PRECEDENT ANALYSIS

Figure 12: Simplified ground floor plan with stairwells highlighted

Figure 8: Newport Street Gallery by Caruso St. John1 Figure 10: Site plan by Caruso St. John4 Figure 10 shows the site plan with the buildings footprint. As you can see the front of the building, (the side facing the street and next to the trainline) has been designed so that it is uninterrupted, creating a smooth flowing facade like the neighbouring buildings.

Figure 9: Newport Street Gallery by Caruso St. John2

Retained structure

New basements

New steel and conrete structure

New brick facades

Figure 11: Diagram showing new and old structure The Newport Street Gallery is located in Vauxhall, London and is the private gallery of Damien Hirst. The gallery extends along the whole street and the â&#x20AC;&#x2DC;[...] gallery occupies three century-old red brick warehouses [...]â&#x20AC;&#x2122;3.

Two extensions were built in a style in keeping with the listed Victorian buildings which were converted.

In response to its site location, the new bricks for the extensions were colour matched with the old structure.

A traditional lime mortar was used and this also meant that expansion gaps were not needed, thus creating a seamless facade. The sawtooth roof on one of the new extensions is also a nod to industrial past. Figure 11 shows the new steel and concrete structure, my structure also uses steel and concrete and has a non load bearing outer skin just like the Newport Street Gallery.

Key 1. Entrance 2. Building Services 3. Foyer 4. Exhibition 5.Bicycle Parking 6. Shop

The programme of the building is a gallery showcasing the collection of Damien Hirst. It consists largely of exhibition spaces as shown in figure 10. As well as public spaces there are private spaces such as offices and conference rooms, these are placed on the 1st and 2nd floor above the shop, away from public spaces. Similar to my building design, Caruso St. John has create a number of zones that the public can walk and weave through. The amount of stairwells is also important so that it complies with Approved Document B. The stairwells all look to be in close proximity to fire escapes and fire safe corridors. Double doorways allow for easy accessibility for wheel chair users and fire safe zones for the stairwells create a refuge area for wheel chair users.

Figure 13: Floor plan showing the mix of the old and new structures

Plant Room Cool Air Warm Air MVHR System combined with trench heating Figure 14: Heating and ventilation diagram

6

138

D: SUSTAINABILITY & CONSTRUCTION SEQUENCING Construction Sequencing 1. First of all the old structure will be removed and the site levelled using heavy equipment.

Any bricks from the old construction will be crushed and used as hardcore.

2. Next a piling rig will be used to bore holes into the ground, steel cages will be dropped into the holes and then filled with concrete to create pile foundations 3. A concrete slab will then be cast on top of the piles. A crane will then be used to help assemble the prefabricated steel frame which will bolted to the concrete slab, perforated beams will be used to help with the services distribution.

4. Pre-cast hollow-core floor slabs will the be lifted into place.

5. Next prefabricated galvanised steel infill panels will be bolted into place.

6. The prefabricated roof trusses, and the cold rolled steel purlins will be craned and bolted into place.

7. The roof deck, insulation, breather membrane and zinc standing seam roof will then be installed. Insulation, fire rated sheathing board, rigid insulation and the brick channel and wall ties will be added.

The outer brickwork is then built and internal finishes and window frames can be installed.

Sustainability Strategy My building is mostly fabricated off site increasing the speed of construction. This also reduces the amount of disruption to the surrounding road network. Figure 17 shows the construction of the facade, the facade uses standard off the shelf bricks which are efficient when mass produced.

Steel frame, containing some recylced content. The sections can also be recycled at the end of the buildings life Ground floor slab- Laid on a recycled hardcore. The old structure can be reused and recycled as the bricks can be crushed up to create the hardore base for the concrete, this reduces the amount of new materials needed for the construction.

Steel infill panels- The panels contain some recycled steel and will be fully recyclable at the end of their life. The modularisation and off site manufacturing increases efficiency.

PV panels, placed on top of the zinc roof, reducing the environmental footprint of the building.

Zinc Roof Trusses and purlins

1

5

2

6

Standard off the shelf bricks will be used to clad the building, as they are mass produced they are made efficiently. They will Construction laid in an interestingRoof pattern so that they look interesting.

Zinc Standing Standing Seam Roof Breather Membrane 100mm Rigid Insulation Figure 16: Sustainability diagram Roof Deck (SMD SR35+)

3

Cold Rolled Steel Purlins (BW Industies)

7

Wall Construction 2 layers 12.5mm Vapour Check Plasterboard Vapour Barrier

4 Figure 15: Construction Sequencing

Figure 17: Brick Pattern

Metsec Stud and Track Galvanised Steel Infill Panels, 600mm centres between studs filled with Rockwool Y-wall Fire Rated Sheathing Board

7

Breather Membrane 100mm Foil Faced Rigid Insulation (GA4100 (FF)) Ancon 25/14mm Brick Channel and Wall Ties spaced vertically at 600mm centres, screwed through the insulation into the studs Ancon Nexus Masonry Support System bolted to plates which are welded to the primary beams

E: MATERIAL, CONSTRUCTION & DETAIL

50mm Ventilated Cavity Non Loadbearing outer Brickwork Skin Ancon Nexus Suspended Brickwork Soffit System

Roof Construction Zinc Standing Standing Seam Roof

Intermediate Floor

Breather Membrane

Wood Floor Boards

100mm Rigid Insulation

Concrete Screed

Roof Deck (SMD SR35+)

Hollowcore Pre-cast Floor Slabs 1200mm wide, 200mm deep

Cold Rolled Steel Purlins (BW Industies)

Primary Perforated Universal Beam bolted to the vertical UC Services running through the perforated beam

Wall Construction 2 layers 12.5mm Vapour Check Plasterboard

Foundations and Ground Floor

Vapour Barrier

Concrete with 50mm Concrete Screed

Metsec Stud and Track Galvanised Steel Infill Panels, 600mm centres between studs filled with Rockwool

Foil Faced Ridid Insulation Damp Proof Membrane overlapping into the external brickwork

Y-wall Fire Rated Sheathing Board 50mm Sand Blinding Breather Membrane Compacted Hardcore 100mm Foil Faced Rigid Insulation (GA4100 (FF)) Steel Universal Column sat on shims and bolted down, then grouted to fill the voids beneath the base plate

Ancon 25/14mm Brick Channel and Wall Ties spaced vertically at 600mm centres, screwed through the insulation into the studs

Steel Holding Down Bolts Insulated Pre-cast Ground Beam

Ancon Nexus Masonry Support System bolted to plates which are welded to the primary beams

Pile Cap 50mm Ventilated Cavity Cast in-situ Concrete Pile Non Loadbearing outer Brickwork Skin Damp Proof course 150mm above fround level with a cavity tray and weep holes

Ancon Nexus Suspended Brickwork Soffit System

Figure 18: 1:20 Scale Technical Section

8

Intermediate Floor Wood Floor Boards Concrete Screed Hollowcore Pre-cast Floor Slabs 1200mm wide, 200mm deep

139

Primary Perforated Universal Beam bolted to the vertical UC Services running through the perforated beam

F: STRUCTURAL STRATEGY

Secondary plan bracing Secondary precast hollowcore floor slabs Secondary Beams

Secondary stud and track infill panels Tertiary fire rated sheathing board

Primary Beams

Tertiary rigid insulation

Primary Beams

Tertiary brick channels and wall ties

Figure 19: Isometric view of structural bay

Figure 20: Top view of structural bay

Tertiary Brick Cladding

Primary Columns

Figure 21: Exploded view of structural bay defining primary, secondary and tertiary structure

Plate welded between the flanges on the universal column for the primary beam to bolt onto.

The universal column is welded to a base plate, the base plate is bolted down to the steel holding down bolts which are cast into the concrete, shims are placed under the base plate to level the column and then the voids beneath the base plate are grouted.

This gap is left between the primary and secondary beam to allow access for the construction workers who will be bolting the frame together.

Plate welded between the flanges on the perforated universal beam for the secondary universal beam to bolt onto.

Figure 22: Bolted beam connection diagram

The steel frame is constructed off site in a factory, it is then constructed on site starting off by bolting beams together. There are some braces in the plan as can be seen in figure 21, these help with lateral stability.

As my building plan is set out at an angle, this causes the beams joining the front and back of the building to be set at an angle as seen in the diagrams above. This helps to improve lateral stability as it harder for the building to move laterally, especially when the first secondary beam in the bay creates a triangle as triangles are stronger in frame design than rectangular. The bay is 10m wide, the brickwork would normally need expansion gaps for this distance but by using traditional lime mortar which fits in with my buildings traditional crafts programme I do not need these gaps.

Figure 23: Bolted column connection diagram

9

G: ENVIRONMENTAL STRATEGY

Cool Air UV Rays Warm Air Heating Pipes

East

West

East

West

Plant Room

Figure 24: Summer day heating and ventilation strategy

Figure 25: Winter day heating and ventilation strategy

The orientation of my building has informed the location of the roof windows. More windows have been placed on the east pitch so that the building will get sunlight through the morning, less roof windows have been placed on the west pitch to prevent overheating when the sun is at its hottest. The roof windows help the building to heat and ventilate passively. In place of the windows there is photovoltaic panels to harness the suns energy and generate electricity which can be used in the building. The suns energy is will heat up the spaces, I have left exposed concrete ceilings and I have put 2 layers of plasterboard on the walls to act as a thermal mass, absorbing the heat. Ventilation in my building happens naturally by cross and single sided ventilation, atriums help with air movement. Roof windows are fitted with automatic openers to extract warm stale air from the large open spaces. Next to each external windows there is a attenuated natural ventilation panel which allows automatically regulates the flow of air into the building, allowing cool air in and letting stale warm air out.

In the winter the suns energy needs to be harnessed as much as possible to heat the space. The heat from the sun will be absorbed into the thermal mass of the concrete ceilings/floors and the 2 layers of plasterboard. This heat will be released throughout the night to regulate the temperature. The attenuated natural ventilation panels will automatically let cool air into the building if they need to. Warm stale air can also exit the building through single sided and cross ventilation.

To accompany passive heating by the sun, the building is also heated by a wood fired biomass boiler that utilises wood waste from the wood workshops. The biomass boiler pumps hot water to the trench heaters with a feed running in a trench underground to the other building.

Plant Room

Figure 26: Summer night heating and ventilation strategy

Figure 27: Winter night heating and ventilation strategy

During the night, heat stored in the thermal mass of the plasterboard and concrete floors/ ceilings is radiated into the space. â&#x20AC;&#x2DC;In summer, thermal mass is only beneficial if night-time ventilation (or some other means of cooling) can be used to remove the heat absorbed by the building fabric during the dayâ&#x20AC;&#x2122;4 The automatic ventilation panels next to windows allows the heat to escape and cool air to enter the building if it needs to. The biomass boiler using wood waste from the wood workshops heats the space via trench heaters if it needs to. Trench heating is used instead of underfloor heating to prevent the spaces from overheating, preventing the need for mechanical cooling methods such as air-conditioning.

During the night, heat stored in the thermal mass of the plasterboard and concrete floors/ ceilings is radiated into the space, this is very efficient and reduces the amount of extra heat needed by the biomass boiler. The trench heaters can also keep the building warm if it needs to. The ventilation panels next to the windows will automatically regulate the temperature by opening to cool if required.

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G: ENVIRONMENTAL STRATEGY Close up of the brickwork, showing the glass slit windows on the south facade, these narrow windows are designed to let less light in to prevent overheating. The brickwork is designed in a â&#x20AC;&#x2DC;zig-zagâ&#x20AC;&#x2122; pattern to mimic the internal plan of my building. The windows follow the same pattern and inbetween the windows there is the ventilation panels, made from corten steel, they will eventually weather to blend with the brick work.

Photovoltaic panels placed on the roof to generate electricity for the building, lowering the carbon footprint of the building.

Figure 28: Brick, window and ventilation panel detail

Plant Room housing the Biomass boiler Rain Water Harvesting storage tank Used for W/C flushing and landscape irrigation 11

Figure 29: Energy, heating and rainwater harvesting drawing

H: FIRE COMPLIANCE

Figure 33: Escape route table from Approved Doc B6

Figure 30: First Floor Plan

Public Space

Escape Routes and Distances

Private Space

Exits and Fire Escapes

Figure 34: Escape route widths from Approved Doc B7

My building has an approximate floor area of 2160m2, using the floor space factor from table C1 in Approved Document B it can be derived that my building will have an approximate occupancy of 432 people. Figure 33 therefore states I will need at least 2 fire escapes from each floor, my building therefore complies with this regulation as can be seen in figure 30/31. Figure 34 also states that 5mm of width is needed per person for escape routes and exits giving a calculation of 2160mm, my corridors are mostly open plan and my doors are 2200mm wide therefore complying with regulations, this can be seen in the diagram below.

Figure 31: Ground Floor Plan Figure 35: Stair Capacity table from Approved Doc B 8

External Areas

My building has 3 floors and if the building was simultaneously evacuated of all 432 people then my stairs should be a minimum width of 1600mm. My building complies with this regulation and this can be seen in the drawing of the enclosed escape staircase below.

Figure 32: Travel distance table from Approved Document B5 As my building is an institutional building I have multiple fire escapes, this means that the maximum distance to a fire escape is 18m, as you can see on the plans in figures 30 & 31 nowhere is further than 18m. My building is split into 2 with a central statement staircase which also acts as an external escape staircase from the first floor. To the left of the plan is an escape staircase which has been sectioned off from the rest of the plan, there will be two 30 minute fire doors to prevent the spread of fire. At the far right of the plan is another external fire escape staircase.

1600mm

16

00

900x1400mm Refuge

mm

2200mm

Figure 37: Compartmented protected stairwell

Material Finishes The compartmented protected stairwell shown in figures 30 & 31 are constructed out of non-combustible materials. The stairwell itself is cast out of concrete and is left exposed. This will join with the concrete floorplates.

Concrete is adequate because it has a large thermal mass and so will heat up slowly. By leaving it exposed it stops the surface spread of fire. The wall which separates the stairwell from the rest of the building is constructed out of concrete blocks for the same reason as above.

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Figure 36: Refuge in a protected stairwell table from Approved Doc B9

Approved Document B states there should be a refuge spot for a wheelchair user of at least 900x1400mm and that this should not restrict the flow of people.10 Figure 37 shows that the entrance of the protected stairwell complies with table 4 and that the stair width complies with table 7 in figure 35. The diagram above also shows how the staircase is compartmented to restrict the spread of fire.

12

7: Compartmented protected stairwell

I: ACCESSIBILITY STUDY

Figure 41: Rise and going table from Approved Document K11 For my building, Approved Document K states the rise and going dimensions needed for my stairs, this is shown in figure 40. It can be seen in figure 39 that my stairs comply with this by having a going of 250mm and a rise of 170mm.

Figure 44: Handrail dimensions from Approved Document K14 Figure 44 shows the handrail dimension, I have complied with these dimensions and this can be seen on my drawing in figure 39.

Figure 38: Principle staircase connecting the courtyard to the first floor

Figure 42: Minimum headroom dimensions from Approved Doc K12 Figure 42 shows the minimum amount of headroom needed above stairs. You can see in the diagram to the left that there is nothing above my stairs as they are an open external staircase so headroom is not a problem.

Figure 45: Handrail design from Approved Document K15

Figure 39: Section of the principle staircase connecting the courtyard to the first floor 300mm 70mm

50mm

900mm 80mm

95mm

Figure 43: Maximum number of risers information from Approved Doc K13

170mm 250mm

1600 x 1600mm

Figure 40: Principle staircase section with dimensions

The table shown in figure 43 is from Approved Document K and it shows the maximum number of risers which are adequate for a general access stair, the maximum number of risers is 12. My stairs are therefore split into 3 runs with 3 landings which are no smaller than the width of the stairs to comply with the dimensioning set out in Approved Document K.

Figure 46: A section through my handrail on the principle stairs Figure 45 shows the handrail design and dimensions as set out in Approved Document K, figure 46 shows my handrail design on my principle staircase and how my dimensions comply with the regulations. The banister is constructed out of mild steel.

The handrail is made out of wood so that it is neither too hot or too cold with it being in the covered external courtyard.

13

J: CRITICAL REFLECTIVE ANALYSIS My building sits in an post-industrial area of the city which is marked for re-development. I wanted to create a building which is contemporary yet not isolated in time. For me it was important to respond to the historical buildings around my site and look at how they could inspire my design. This is why I chose to go with the traditional red brick as many buildings around my site are constructed of red brick and it also echoes the industrial buildings in the city.

The reason for my unusual floor plan all stems from the landscaping that I propose for the rear of the building, as this is inspired by 17th/18th formal parterres I chose to carry on the geometric style to the interior of the building. I feel that the structural strategy I chose was most appropriate for my design.

Steel frames allow me to create the large spans that I required, this also means that I won’t have columns interrupting the flow of the space. By leaving the steel frame exposed internally harks back to the industrial style of building so common in Newcastle’s past.

The environmental aspect of my building design was important to me. It is now more important than ever to lower the carbon footprint of our buildings and this is why I decided to use a biomass boiler to supply my building with hot water and heating. The wood waste from the wood workshops in my building will contribute to the fuel for the biomass boiler, creating a carbon neutral heating system. Photo voltaic panels on the roof will generate electricity to contribute to the buildings use, further lowering the carbon footprint.

The planting of trees and plants in the landscape at the rear will also offset the buildings carbon output.

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END NOTES 1 ‘Caruso St John wins Stirling Prize 2016 for Damien Hirst’s Newport Street Gallery, n.d.’ Dezeen, <https://www.dezeen.com/2015/09/29/newport-street-gallery-damien-hirst-caruso-st-john-first-pictures/> [accessed 18th April 2019]

‘Caruso St John wins Stirling Prize 2016 for Damien Hirst’s Newport Street Gallery, n.d.’ Dezeen, <https://www.dezeen.com/2015/09/29/newport-street-gallery-damien-hirst-caruso-st-john-first-pictures/> [accessed 18th April 2019]

2

3

Dezeen, Caruso St John wins Stirling Prize 2016 for Damien Hirst’s Newport Street Gallery <https://www.dezeen.com/2015/09/29/newport-street-gallery-damien-hirst-caruso-st-john-first-pictures/> [accessed 19th April 2019]

4

MPA The concrete centre, What is thermal mass? <https://www.concretecentre.com/Performance-Sustainability-(1)/Thermal-Mass.aspx> [accessed 20th April 2019]

HM Government, Approved Document B (fire safety) Volume 2: Buildings other than dwellinghouses (2006 edition incorporating 2007, 2010 and 2013 amendments) p. 33. < https://assets.publishing.service.gov.uk/government/ uploads/system/uploads/attachment_data/file/441669/BR_PDF_AD_B2_2013.pdf > [accessed 10th April 2019] 5

6

ibid. p.34.

7

ibid. p.36.

8

ibid. p.46.

9

ibid. p.44.

10

ibid. p.44.

HM Government, Approved Document K, Protection from falling, collision and impact, K1 Stairs, Ladders and Ramps (2013 edition) p. 5 <https://assets.publishing.service.gov.uk/government/uploads/system/uploads/ attachment_data/file/443181/BR_PDF_AD_K_2013.pdf> [accessed 25th April 2019] 11

12

ibid. p.7.

13

ibid. p.10.

14

ibid. p.15.

15

ibid. p.16.

15

K: BIBLIOGRAPHY Alan Baxter: Integrated Design, Newport Street Gallery <http://alanbaxter.co.uk/projects/post.php?s=2016-10-14-newport-street-gallery> [accessed 19th April 2019] Ancon, Nexus® Suspended Brickwork System <https://www.ancon.co.uk/products/masonry-support/modular-brick-faced-units> [accessed 4th April 2019] BW Industries <http://www.bw-industries.co.uk/userfiles/BW%20Purlin%20Accessories%20Detail%20Sheets(3).pdf> [accessed 3rd April 2019] Caruso St John wins Stirling Prize 2016 for Damien Hirst’s Newport Street Gallery, n.d.’ Dezeen, <https://www.dezeen.com/2015/09/29/newport-street-gallery-damien-hirst-caruso-st-john-first-pictures/> [accessed 18th April 2019] Caruso St John wins Stirling Prize 2016 for Damien Hirst’s Newport Street Gallery, n.d.’ Dezeen, <https://www.dezeen.com/2015/09/29/newport-street-gallery-damien-hirst-caruso-st-john-first-pictures/> [accessed 18th April 2019] Deplazes, Andrea (ed.) Constructing Architecture: Materials Processes Structures, A Handbook, 4th edition (Basel: Birkhauser, 2018) Dezeen, Caruso St John wins Stirling Prize 2016 for Damien Hirst’s Newport Street Gallery <https://www.dezeen.com/2015/09/29/newport-street-gallery-damien-hirst-caruso-st-john-first-pictures/> [accessed 19th April 2019] FPMCCANN, Hollowcore Flooring <https://fpmccann.co.uk/product/hollowcore-flooring/> [accessed 2nd April 2019] HM Government, Approved Document B (fire safety) Volume 2: Buildings other than dwellinghouses (2006 edition incorporating 2007, 2010 and 2013 amendments) <https://assets.publishing.service.gov.uk/government/ uploads/system/uploads/attachment_data/file/441669/BR_PDF_AD_B2_2013.pdf > [accessed 10th April 2019] Keegan Precast LTD, Precast Insulated Beam Wall <http://www.keeganprecast.com/products/precast-walls/insulated-beam-wall> [accessed 2nd April 2019] MPA The concrete centre, What is thermal mass? <https://www.concretecentre.com/Performance-Sustainability-(1)/Thermal-Mass.aspx> [accessed 20th April 2019] SMD, Structural Floor and Roof Solutions, SR35+ Roof Deck Profile <https://smdltd.co.uk/wp-content/uploads/2016/05/SMD.PDS_.536.V2-Product-Data-Sheet-SR35.pdf> [accessed 3rd April 2019] The Architectural Review, New and old are bound together at Caruso St John’s Newport Street Gallery (Ellis Woodman, 2016) <https://www.architectural-review.com/buildings/new-and-old-are-bound-together-at-caruso-stjohns-newport-street-gallery/10011947.article> [accessed 19th April 2019] The RIBA Journal, What Lies Beneath (Jan-Carlos Kucharek, 2015) <https://www.ribaj.com/buildings/what-lies-beneath> [accessed 19th April 2019]

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ARC3014:

P rofessional P ractice Section 1: Project Information My project is the Newcastle Centre for Traditional Crafts which has been commissioned by the North of England Civic Trust. The aim of the building is to function as a hub for the teaching of traditional and heritage skills and crafts. The client is the North of England Civic Trust, NECT is a charitable organisation which works across the North-East Region, North Yorkshire and Cumbria. Their charity focuses on building preservation as well as teaching the heritage skills needed for the preservation of historic buildings. The site is located in the heart of Newcastle upon Tyne, near to the River Tyne.

Newcastle has a rich history of glass making among other things which have sadly been lost, this Centre for Traditional Crafts aims to bring back some of these lost skills to preserve them for the future.

ARC3014 Professional Practice and Management Coursework Assignment, 2018-19 160249116 Word Count: 2141 Figure 1: A map of Newcastle showing my site location and well known landmarks.

Figure 2: My site in context

Currently on the site is an old steel framed bus shed which will be removed to make way for the Centre for Traditional Crafts. My building will be a complete new build; however, the building design takes inspiration from the surrounding architecture and the historic past of the city so that the building is still contemporary but doesn’t look out of place from its surroundings.

Figure 3: Colour coded building use

Figure 4: Schedule of accommodation

and safety of those who will be carrying out the construction work, and also of those who will use, maintain, clean and repair or eventually demolish the completed building.’10 My building will almost entirely be made offsite in factories, meaning that construction will be quicker, reducing the amount of time working at height and thus decreasing the risk of an accident. Furthermore, the plant room is placed on the ground floor as opposed to the roof to make maintenance less hazardous. During the construction of my building I will ensure that I continue to review the risk assessments. I will evaluate the risks and work with others to look at control measures to reduce the risks.

Planning

Office Procedures On setting up the architectural practice, a project team will first be assembled, the team will each then be allocated their roles and responsibilities, by giving each member their own role it will help to ensure that jobs are allocated equally so that each part of the project is thoroughly managed. The RIBA plan of work 2013 will be used by the office to make sure that the project is properly managed. At the setting up of the practice, an information manager will be appointed for my project, they have a few roles to assist the project. The information manager will determine the ‘roles and responsibilities of each member of the project team with regard to the BIM process and the model’.11 To help effectively manage the project the information manager will be responsible for managing the BIM model, it is important that they work closely with other consultants at each stage of the design to review and sign off the model. To help manage the project they will liaise with the contractor, subcontractors and suppliers so that their design data can be integrated into the model.

Figure 6: Newcastle Core Strategy and Urban Core Plan Policies Map6 The yellow boundary on my site is the area of East Pilgrim Street, the area ‘[…] represents one of the most strategically important City Centre regeneration areas in the north of England and provides the space for the retail, leisure and commercial core to expand.’7 A key planning priority on my site is creating a building which responds to its location. ‘Buildings and streets which date from the medieval period through to the 20th century survive and many make a strong contribution to the rich and diverse historic character of the area. Sustaining and enhancing buildings, archaeology and important historic street patterns will be vital in contributing to the creation of a distinctive high quality environment.’8

Section 3: Discussion Implications of the project on the client and users Choosing a design and build procurement strategy with the turnkey system has its advantages and disadvantages. An advantage of this system that benefits the client is the fact that the responsibility for the design and the construction is placed on the contractor, this relieves the stress and responsibility on the client. However, a disadvantage of this strategy is that the client will have little to no input on the design past stage 1 in the RIBA plan of work 2013, therefore the client must make sure to clearly specify their requirements to avoid disappointment.

To ensure my building meets this priority I have looked closely at the surrounding context, using the neighbouring buildings as references for my façade. I will be using bricks to fit in with the surrounding buildings. String brick courses from the adjoining building will also be carried across into my building and the repeated columns on the adjoining building will be repeated on my façade using bricks placed at 45o from the façade. I will thus be creating a facade which is contemporary but still fits the historic character of the area.

By designing a Centre for Traditional Crafts close to the centre of Newcastle, it affects the wider society as it creates a new place where users of the centre can learn about the rich heritage of traditional crafts. The design of the building creates a ‘journey’ or ‘experience’ for the user which is not often found in public buildings. This ‘journey’ stimulates the public, a journey where historic crafts can be experienced and tried out. The building will have a positive effect on the area and the wider society by attracting people to this relatively unused area of the city.

CDM Regulations To comply with the requirements of CDM Regulations 2015 a principal designer will be appointed before any work ‘[…] other than initial design work […]’9 has commenced, as a designer I will work up to stage 1 and appoint a principal designer at stage 2 in the 2013 RIBA plan of work. As a designer, I will ensure that I will go as far as reasonably practicable to ‘[…] avoid creating risks to the health

Reputation of architects and wider construction industry The reputation of the architect and wider construction industry is important and it is something that should be considered at all aspects of the design, construction and handover. Creating a building that does not fit in with in with its surroundings, an ‘eyesore’ if you like can damage the architect’s reputation. That is why my design works closely with the historical narrative of the city, along with the

Newcastle City Council, Core Strategy and Urban Core Plan Policies Map, < https://community.newcastle.gov.uk/ mapping/core-strategy> [accessed 26 March 2019].

Ibid.

8 Newcastle City Council, Section 5: Sub-Areas and Site Specific Policies, < https://www.newcastle.gov.uk/sites/ default/files/wwwfileroot/planning-and-buildings/planning-policy/section_5_-_site_areas_and_site_specific_policies. pdf> p. 172. [accessed 27 March 2019] 9 John Wevill, Law in Practice: The RIBA Legal Handbook, 2nd edn (London: RIBA Publishing, 2013) p. 178.

6

7

10 11

144

Wevill, p. 178.

Ostime, p. 78.

Figure 3 shows how the building is split up into its uses, the building has a total floor area of 2160m2 of which 710m2 is workshops and studios where the heritage crafts can be taught. There is a lot of large open spaces where demonstrations can be performed and where exhibitions can be held. My building is unique in its design compared to many other public buildings. This is because my building has a large covered courtyard in the middle, this houses several dramatic external staircases. The courtyard has large screen like gates which closes this area off when the building is closed. When the building is open, this area can be opened up, welcoming visitors.

Figure 5 shows the contractual relationships of my procurement strategy. It simply shows that the client (the employer) will liaise with the design-build contractor only. The design-build contractor however will speak to the employers advisors and all other consultants.

Other Consultants Landscape consultant: A landscape consultant will need to be appointed by the design-build contractor. The landscape consultant is required to assist in the design and construction of the large area of landscaping that will accompany my building. Their responsibilities are to assist with the ‘ground formations, planting and arboreal work […]’.3 It is important that the landscape consultant is employed at an early stage of the building design to make sure that services can be buried and integrated into the groundworks, including the rainwater harvesting system from my building’s roof.

At the rear of the building I have designed a large area of landscaping. The design for this has been derived from the history of country house garden design in Britain. I have used this research to develop my design approach to the internal spaces. Using geometric garden design as my focus, I have created a geometric angular building plan which can be seen in figure 3, with the aim of creating a journey that reveals certain views as you walk through the building, much in the same way as gardens reveal views to you as you walk through them.

Structural Engineer: The role of the structural engineer ‘[…] is to advise on structural design from foundations to roof […].’4 They are needed from the outset as their input will influence the outcome of the buildings design and they are there to make sure the design can be realised. For example, they will be responsible for working out the beam sizes and column positioning for each of the intermediate floors in my building and it is the column positioning that can change the internal spaces for better or for worse.

Section 2: Brief Proposals Procurement Strategy The procurement strategy that I will be using for the design and construction of my building is the ‘Design and Build’ strategy with the ‘Turnkey’ system. The design and build strategy works by placing the ‘[…] responsibility for both the design and construction in the hands of the contractor.’1 The contractor will appoint his own architect to design the Centre for Traditional Crafts and then will appoint the contractors to construct the building. This is the ideal strategy to use because it keeps the responsibility away from the charitable organisation. The Turnkey contracting system is where the ‘[…] contractor really is responsible for everything, including furniture and pictures on the walls if required.’2

Keeping to Budget Due to choosing the design and build procurement strategy, it means that the client has little involvement. This is good because it means that it is less likely they will make changes to the design as the building is being built which would cause unplanned costs. From the start a quantity surveyor will be appointed by the design-build contractor to manage all cost aspects, minimising the cost and enhancing the value for money. The Turnkey design and build strategy that I chose means that from the beginning, architects, engineers, and contractors can work together to make sure they stick to the employer’s budget. This also ties in with the RIBA plan of work, during the stages there is an element of cost planning where the quantity surveyor can work with the design team and other consultants to ‘[…] review the clients budget figures and identify the sums included for actual construction work.’5 Stage 2 is particularly important as this is the time when approximated construction costs can be ascertained, these can be worked out by looking at past built projects. My procurement strategy is useful at this point because everybody works closely together so if it is decided that a part of the design needs to be changed to keep the project on budget then this can be easily done because contact links are better established.

Using the design and build strategy with the Turnkey system is most appropriate for my building because the building will be funded by grants and the NECT, therefore there will only be a limited amount of money. This system will ensure that the project can be properly costed before construction begins making sure the project is kept within budget. Also, using Turnkey means that the building can be used as soon as constructed without any input required by the NECT.

Figure 5: Contractual relationships in design-build procurement strategy 1 David Chappell and Andrew Willis, The Architect in Practice, 9th edn (Oxford: Blackwell Publishing Ltd, 2005), pp. 135136.

2 Ibid., p. 136.

3

planning priority listed in section 2 to create a well-designed building that fits harmoniously with the surrounding style, something that the architect should be commended for.

Bibliography

4 5

Chappell and Willis, p.9.

Ibid., p. 9.

Nigel Ostime, RIBA Job Book, 9th edn (London: RIBA Publishing, 2013) p. 54.

Champion, Ronan, Will Hughes and John Murdoch, Construction Contracts: Law and Management 5th edn (Oxon: Routledge, 2015)

There are sometimes negative connotations associated with the construction industry, the fact that they can create noise, dust or close roads which is not always welcome. I have taken a few steps to minimise such problems, for example, offsite manufacturing will be used for all of the structural steelwork and lightweight steel infill panels. This type of construction will create minimal disruption to the surrounding roads and buildings, this is because the speed of construction is faster than onsite construction meaning that the period the contractors are on site for will be less. This small design/ construction method will help to show the construction industry in a good light, by proving that they can be efficient and not as disruptive as sometimes thought.

Chappell, David and Andrew Willis, The Architect in Practice 9th edn (Oxford: Blackwell Publishing Ltd, 2005) Collins, John and Philip Moren, Good Practice Guide: Negotiating the Planning Maze 3rd edn (London, RIBA Publishing, 2009) Design and Build Wiki, Design and build procurement route < https://www.designingbuildings. co.uk/wiki/Design_and_build_procurement_route> [accessed 27 March 2019] Newcastle City Council, Core Strategy and Urban Core Plan Policies Map, < https://community. newcastle.gov.uk/mapping/core-strategy> [accessed 26 March 2019] Newcastle City Council, Section 5: Sub-Areas and Site Specific Policies, < https://www.newcastle. gov.uk/sites/default/files/wwwfileroot/planning-and-buildings/planning-policy/section_5_-_site_ areas_and_site_specific_policies.pdf> p. 172. [accessed 27 March 2019] North of England Civic Trust <http://www.nect.org.uk/> [accessed 25 March 2019] Ostime, Nigel, RIBA Job Book 9th edn (London: RIBA Publishing, 2013) Wevill, John, Law in Practice: The RIBA Legal Handbook 2nd edn (London: RIBA Publishing, 2013)

List of Figures All images are my own unless referenced otherwise Figure 1: A map of Newcastle showing my site location and well known landmarks.

Figure 2: My site in context Figure 3: Colour coded building use Figure 4: Schedule of accommodation Figure 5: Contractual relationships in design-build procurement strategy Figure 6: ‘Newcastle Core Strategy and Urban Core Plan Policies Map’ Newcastle City Council, Core Strategy and Urban Core Plan Policies Map, < https://community.newcastle.gov.uk/mapping/corestrategy> [accessed 26 March 2019]

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ARC301 5:

Theor y into P ractice

Eduardo Paolozzi: Rubbish Turned to Art

Ewan Smith 160249116 City Assemblage

Figure 1: Sir Eduardo Paolozzi: 1958 Figure 2: Experience: Sir Eduardo Paolozzi, 1964

‘Sir Eduardo Paolozzi 1958’, Ida Kar, Photographs Collection, National Portrait Gallery, <https://www.npg.org.uk/collections/search/ portrait/mw18655/Sir-Eduardo-Paolozzi?search=sp&sText=sir+eduardo+paolozzi&wPage=1&rNo=22> [accessed 19 February 2019].

‘Sir Eduardo Paolozzi: Experience, 1964’ <https://www.tate.org.uk/art/ artworks/paolozzi-experience-p04759> [accessed 20 February 2019]

3

4

146

List of Figures

The Work of Paolozzi

1. Sir Eduardo Paolozzi: 1958

3

2. Experience: Sir Eduardo Paolozzi, 1964

4

3. Konsul: Sir Eduardo Paolozzi, 1962

6

4. Mechanik’s Bench, aluminium: 1963

8

5. Imperial War Museum, aluminium: 1962

9

6. Lino Print on Fabric

11

7. Stone Rubbing’s, Pastel on Paper

13

8. Chatsworth House Plan and Landscape Scheme

14

9. Typical Plans of Formal Parterres

14

10. Courtyard Inspiration from Formal Gardens

14

11. My Building in Plan

17

12. Façade Texture Samples

18

Eduardo Paolozzi was born near Edinburgh in 1924 to Italian parents. Paolozzi was a sculptor and artist and he was one of the most volatile sculptors of the twentieth century.1 Paolozzi is also considered to be one of the pioneers of the Pop art movement.

Paolozzi’s style of work changed a lot throughout his life, switching to different mediums and scales.

Although as Robin Spencer said: ‘Paolozzi has maintained a unity of purpose and vision, which is rare among contemporary artists. Instead of endlessly repeating a style or an image, Paolozzi has gone further to develop his refreshing view of the world and its contrasting cultures.’ 2 Early in his career Paolozzi was inspired by Avantgardes from the early twentieth century – ‘the Futurist commitment to technology; the Dadaist appropriation of collage and found objects, and the surrealist zest of the city’.3 Some of Paolozzi’s earliest work were collages, he would keep magazine cuttings of many things such as automobile advertisements and pulp science-fiction

1 Tate Gallery, Eduardo Paolozzi (London: Tate Gallery Publications Department, 1971), p. 5.

2 Robin Spencer, Eduardo Paolozzi: Recurring Themes (London: Trefoil Books Ltd, 1984), p. 6.

3 Jacquelyn Baas, The Independent Group: Postwar Britain and the Aesthetics of Plenty (Cambridge: The MIT Press, 1990), p. 6.

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2

journals. In 1947, he produced a series of collages which would be significant for the sculptures he would later create. These collages consisted of images of machinery and mechanisms torn from museum books which were pasted on top of images of classical sculptures and architecture. What I like most about Paolozzi’s work is his ability to bring two contrasting objects together to create a piece which provokes an emotional response not previously known, this became second nature to him and it became his lifelong working method.4 In the mid 1960’s he produced a series of prints using the commercial technique of screenprinting.

The series was called As Is When, ‘a masterpiece in any language.’5 The screenprints were based on the life and writings of the Austrian philosopher Ludwig Wittgenstein. An example of one of these prints called Experience is shown in figure 2. Lots of Paolozzi’s art ‘describes his experience of the world through the language of objects and pictures’6, showing through different media how the world is changing and using objects from everyday life as motifs.

A little later on, his work became less two dimensional and more sculpture orientated, many of which were constructed out of metal by the process of lost wax casting. Another one of his methods was using sheet

Figure 3: Konsul: Sir Eduardo Paolozzi, 1962

Eduardo Paolozzi: Writings and Interviews, ed. By Robin Spencer, (Oxford: Oxford University Press, 2000), p. 13.

Spencer, p. 5.

6 Spencer, p. 5.

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‘Konsul, 1962’ Klass Vermaas, 2014, <https://www.flickr.com/photos/ klaasfotocollectie/15247323567> [accessed 20 February 2019].

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metal and using simple bending techniques to shape and form the metal, these elements would then be welded together. Many of his sculptures were made out of found materials and industrial components. He would press random objects such as ‘Assorted wheels and electrical parts’7 into the clay, these imprints would later be cast out of metal. Figure 3 shows one of these sculptures cast out of bronze.

Some of Paolozzi’s life was spent in Germany, the time he spent there greatly influenced his work, ‘Despite Paolozzi’s comfortable posing between the debris of machines and industry, his stay in Hamburg presented a break from his interest in collecting the relics of civilisation as raw-material for wax-casts.’8 He became more interested in the process of assembly and he began to contact stockists to source pre-fabricated metal elements. It was at this time that Paolozzi stressed the ‘notion of the artist as [a] supervising, collaborative ‘engineer’’9, when he returned to Britain in 1962 he began a long working relationship with an engineering works who specialised in Aluminium casting. Here he had access to a store room full of prefabricated aluminium parts which he used as his ‘Meccano kit’ to produce several sculptures of assembled parts. These sculptures included the Mechaniks bench, 1963 and the Imperial War Museum, 1962 shown in figures 4 and 5.

Figure 4: Mechanik’s Bench, aluminium: 196310

But I have an African or Indian approach to what I find. I like to make use of everything. I can’t bear to throw things away - a nice wine bottle, a nice box.

Sometimes I feel like a wizard in Toytown, transforming a bunch of carrots into pomegranates.- Eduardo Paolozzi 11

7 Eduardo Paolozzi, ed. by Daniel F. Herrmann, (London: Whitechapel Gallery, 2017), p. 32.

8 Herrmann, p. 18.

9 Herrmann, p. 18.

Spencer, p. 97.

11 Jugg Art Foundation, Eduardo Paolozzi, 1989 (Suffolk: Jugg Art Foundation) < https://juggartfoundation.com/eduardo-paolozzi> [accessed 20th February 2019]

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influenced my work at the primer stage of my design project. The first task was to explore the language of the city of Newcastle, the thing that stood out to me when exploring the city was the large amount of corner buildings, grabbing your attention and inviting you in wherever you walk.

I began to explore the shape of the corner buildings and how these could be re-interpreted into a lino print which may later inspire my design work. I started to produce sketches of the buildings in plan and then investigate how these could be collaged together in a way similar to Paolozzi’s screenprint show in figure 2.

Figure 6 shows my finished print, the patterns I added to my print are inspired by masonry textures of buildings around the city (figure 7), Paolozzi would press found objects into clay, thus creating a positive cast, I have used a similar technique using the process of rubbing pastels over masonry textures to create a pattern, the range of rubbing’s I did are a kind of commentary on the construction materials in Newcastle.

Figure 2 shows an assemblage of patterns which were arranged in a way to provoke a response and create an ‘experience’. Figure 7 shows a couple of the rubbing’s that I made, using these textures as inspiration, I applied them to my print in the areas that represent the inside of the buildings. The patterns represent the

Figure 6: Lino Print on Fabric

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My Design Theories I like how Paolozzi took his inspiration from many different things, he used objects and details found in everyday life as motifs in his work. A prime example of this process is shown in figures 3 and 4, both of these sculptures are made from aluminium and contain precast elements which he brought back from Germany.

Paolozzi said ‘These works are a kind of commentary on Germany – for example they remind me of German town halls, and the circular disk comes from a cutter the German housewife still uses to cut equal slices of cake.’13 I like to use historical analysis to inform my designs, taking for example the design for a 17th century formal garden and using it to inform my building design. I am also using the history and theories of country house garden and landscape design to inform my work. In a way, I believe my way of working is similar to Paolozzi’s, he uses ready-made components, found objects and ready printed materials in his collages.

Primer Paolozzi’s cut and stick approach of his collages first

Figure 5: Imperial War Museum, aluminium: 196212 12

Spencer, p. 97.

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Spencer, p. 97.

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House plan Open Courtyard Formal Gardens Natural Landscape Figure 8: Chatsworth House Plan and Landscape Scheme

Figure 9: Typical Plans of Formal Parterres

Figure 7: Stone Rubbings, Pastel on Paper

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Figure 10: Courtyard Inspiration from Formal Gardens

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‘found’ textures and their placement in my printed assemblage is to speak for the activities and life that happens behind these corner forms.

parterre precedents as a motif, using Paolozzi’s cut and stick approach I learnt during the Primer I traced some recurring shapes, arranging them so that there was a courtyard area in the middle.

Historical Precedents as Design Theories

Figure 11 shows a model of each floor of my building in plan, the central courtyard is based on two overlapping rectangles. Using the angles created by this courtyard, I began to plan out the rooms and corridors, repeating the angles in a way that Paolozzi would press an object into his clay to create a repeat pattern.

My site is a large site based in Newcastle with an extensive area on the south side open for landscaping.

After writing a dissertation on 16-20th century country house landscape design it seemed only right to bring in some of these theories into my scheme.

I began by looking at Chatsworth House shown in figure 8, the house I wrote my dissertation on. The plan of the house is based around a large central courtyard, the rooms are then positioned around this courtyard with interlacing corridors, many rooms with 2 doors allowing you to cut in and out of rooms. Immediately around the house is formal gardens similar to those drawn in figure 9, the landscape then opens up to a more natural free flowing landscape. This method is one that I am starting to implement in my design.

Façade Experimentation

After determining that I want a central courtyard/ atrium in my building I began to look into formal gardens, as these were placed immediately next to the building. These parterres were often described as an extension of the house and so I have used these

Using Paolozzi’s technique of pressing found objects into clay, I pressed some crushed rocks that I found into some clay and then cast plaster into it. This can be seen in the bottom right of figure 12. I used plaster to replicate the properties of molten metal if it was to

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During thinking through making week I used some of Paolozzi’s mark making techniques to test out ideas. During this week, I chose to spend my time investigating how metal could be manipulated and textured to create interesting façades. Using a hammer and an angle grinder I textured several pieces of steel, to create a series of textures inspired by my primer work.

be cast.

Bibliography

The idea is to create samples for façade ideas with textures which are inspired by the rubbing’s I produced. The façade therefore being inspired by the recurring masonry textures found around Newcastle.

Paolozzi’s sculptures create a commentary of the themes he has explored, in the same way I hope that my elevations will be a modern interpretation of some historic façades, creating my own commentary on the recurring themes seen in Newcastle’s building materials.

Baas, Jacquelyn, The Independent Group: Postwar Britain and the Aesthetics of Plenty (Cambridge: The MIT Press, 1990), p. 6.

Gallery, Tate, Eduardo Paolozzi (London: Tate Gallery Publications Department, 1971), p. 5.

Herrmann, Daniel F., ed. Eduardo Paolozzi (London: Whitechapel Gallery, 2017), p. 32.

Jugg Art Foundation, Eduardo Paolozzi, 1989 (Suffolk: Jugg Art Foundation) < https://juggartfoundation. com/eduardo-paolozzi> [accessed 20th February 2019]

I hope by the end of the project to have a building which is widely inspired and influenced by the language of the city and by historical precedents. Paolozzi’s theories were about using pre-made objects and designs which he then reinterpreted and assembled to create a new work of art. In my response to this I have been taking found objects and pre-designed elements such as formal parterre styles and then reinterpreting and assembling them into my own scheme.

Spencer, Robin, Eduardo Paolozzi: Recurring Themes (London: Trefoil Books Ltd, 1984), p. 6.

Spencer, Robin, ed. Eduardo Paolozzi: Writings and Interviews (Oxford: Oxford University Press, 2000), p.

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Figure 11: My Building in Plan

Figure 12: Faรงade Texture Samples

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