Stage 3 Portfolio BA (Hons) Architecture by Fin Orme

FIN JOHN ORME ACADEMIC PORTFOLIO

BA (Hons) Architecture, 2015/2016

Contents

Learning summary

Studio overview

Why concrete?

3-4

Primer

5 - 28

Staging

31 - 44

Dissertation

45 - 48

Thinking through making

49 - 54

Realisation

55 - 106

Final design proposal

107 - 146

Non Design

147 - 199

Learning summary ‘If the design of human shelter and infrastructure is a key role of architecture, then it could be said to have failed miserably.’ The research undergone during my dissertation comparing disaster mitigation in Haiti and Chile prompted me to question why as a current architectural student, the inclusion of humanitarian architecture or design for those in the greatest need appears to have been forgotten. This frustrated me, why are we not learning how to design for the majority rather than the elitist minority? I was intent on integrating this desire into my design process, exploring the idea of design for wider a wider context, whether this be in the form of a program, design, site, or investigation. In addition, I was influenced by my research into designing through scarcity (Principles and Theories), exploring the creation of excess with architecture and how this has contributed to the creation of buildings that have become the most magnified commodities in the production of desire of any object in the world. Throughout my design process, I have attempted to critically challenge and contextualise scarcity within the built environment by asking what happens if we accept scarcity as a given condition to work with rather than a something to escape from, putting a focus on either designing with current scarcities, or designing with potential future scarcities in mind. Through a year long iterative process which privileged making I have developed a consistent approach to material which was expressed in the varied elements of our final design, from site, to programme, strategy, form, fabric and detail. I selected concrete as my chosen material, exploring the layers of material potential through hands on investigation into this material. I have found the process of making as an effective way of thinking about how to from design decisions. My material exploration process expressed precision and accuracy with an emphasis of testing and prototyping, culminated into a proposal for a prototype live/work unit for an individual craft maker during the Staging project. The proposed design explored the possibility of integrating material investigation into the design, creating an ‘open system structure’ in the form of concrete columns that exhibit a range of pigments and textures. I was particularly interested in the opportunity to design for change, creating an architecture that in constantly evolving. Transferring the concepts from primer and staging, the final design proposal forms the design of a University material exploration facility that focuses on sustainable construction and application of concrete and bamboo. The design regenerates a derelict site, creating additional green infrastructure within the central core of Newcastle Upon Tyne. I found the continued process of material exploration a useful technique to inform the design and create a direct relationship between material detail and the sensory qualities of the building. I particularly enjoyed the connection to disaster mitigation through the investigation into a range of material prototypes that aim to provide sustainable alternative to safe construction within developing countries and high risk disaster zones.

Studio Overview Working with a broad range of materials, architects are constantly exploring their performative, aesthetic and structural potentials, to support distinct functions, produce new aesthetic and spatial experiences, and enable particular environmental conditions. The process of testing, modelling, and prototyping new material assembles, allow for a process of designing which retains contact with material qualities. The direct material engagement provides architects with a layer of thinking about the assembly of architecture as a material composition, composing of weights, surfaces, thickness and junctions. The Material Poetics Studio asked us to engage with a chosen material as the ‘stuff’ of architecture, real, rather than rendered, the thickness, thinness, density, weight of building elements, and then effect these qualities on the sensory experience of occupation. Through a year long iterative process which privileged making we were asked to develop a consistent approach to material which was expressed in the varied elements of our final design, from site, to programme, strategy, form, fabric and detail. I selected concrete as my chosen material, aiming to explore the layers of material potential through hands on investigation into this material, using the process of making as a way of thinking about building detailing; a thoughtful and critical process of material assembly which emerges out of specific material properties. The process of model making allows the architect to explore the 3 dimensional implications of their designs, forming the basis for exploration. ‘No honest craftsman or maker knows in the process of working whether he making it creating, the first, the second, and the last reality for him is the work itself, the very process of working, The process takes precedence over the result, if only because the latter is impossible within the former.’1 Letting the process set the agenda and lead my investigations of my design proposals, by engaging with this hands-on material approach, in the form of models, fragments, and prototypes, I have explored the pedagogic potential of looking to develop a more embodied understanding of material properties, imbuing the process of design with an awareness of material concern. ‘Mastering one craft personally helps the designer and architect to grasp the nuances of other crafts and, before all , to respect the special skill and experience of the craftsman executing his design.’2

Joseph Brodsky, quoted in Garmer, G and Stacey, M, 2012. In the Making; Pedagogies from Mars. Architecture Research Quatrrly, 16(4) 2 Pallasmaa, J, 2009. The Thinking Hand. London; Wiley 1

Why Concrete? My interest in working with concrete was sparked over the summer of 2015, during which I had the opportunity to travel to Palestine to help design and build a concrete skate park in Asira Al-Shamaliya, a town in the north of the West Bank. Despite the on-going political and religious struggles and the years of war and turmoil within this part of the world, a team of volunteers from all over the world â&#x20AC;&#x201C; all of different ages, levels of building experience united to physically build a concrete skate park for a local community who lack the resources and opportunity to skate. The process of making, mixing and shaping concrete were all new experiences to me, gaining a level of understanding into the techniques and patience required to manipulate the form of concrete to such detail and texture. The majority of our work consisted of constructing form work to cast the concrete into and repeatedly troweling the concrete to ensure a level of curvature and texture. The experience I gained from the process undoubtedly sparked a desire to develop a further understanding of designing and building with concrete.

PRIMER

Introduction The first semester comprised of a series of inter-related material and spatial explorations, demanding a hands-on approach into concrete investigation. My intention was to foster a close familiarity with material qualities and properties, as well as an understanding of the practices by which concrete is handled, manipulated and deployed. An initial series of tasks, exercise, and research questions provided a framework for my initial exploration into the possibilities of concrete. The intention was to discover environmental, pragmatic, poetic, political, and site based explorations to direct my personal line of enquiry moving through the year. The main focus was to develop a direct relationships to architectural applications through researching of the social and physical qualities of concrete including; mix, form manipulation, form-work, pigments, aggregates, texture and weight.

Mix exploration On the small scale I was casting into, I concluded the inclusion of aggregate restricted the formation of a smooth finish and left the concrete open to crumbling. I identified an optimum mix ratio of 2:1:0.5 of Sand:Cement:Water. In addition I explored the use of alternative aggregate, including screws, plastic and glass with the intention of cracking the cast concrete to explore the aggregate creating an interesting aesthetic. The results suggested the use of alternative aggregates significantly reduced the strength of concrete.

Texture exploration With the intention of creating a contrast in the surface texture of concrete I identified acrylic as a material to use as form-work to create a polished finish. Inserting a variety of gravel onto the surface of the concrete whilst it had set to a firm consistency created a sharp texture one side of the concrete, in contrast to the smooth finish on the other side created by the acrylic form-work. This exploration identified that the texture of concrete can play an important role in the sensory experience of a materiel within architecture.

Curvature Exploration Replicating techniques of shaping concrete that I had leant when building the skate park in Palestine, I constructed timber form-work that implements the exact angel of the ramp to permit the process of shaping the concrete to a smooth finish. Next the concrete is screed to remove air bubbles and then trowelled with a timber trowel of the exact opposing angle to the form work, allowing the angle of the curve to be consistent throughout. The final step was to use a metal trial to work on the concrete once it has set to a firm consistency, creating a smooth finish. The result of this exploration demonstrates that with the right process concrete can be successfully shaped into a curved form.

Furthering my investigating into curvature of concrete, I used an old section of carpet that had been weathered into a curved shaped to cast into. During my first casting attempt I found it challenging to ensure the mix filled the gaps of the deep curves of the carpet, resulting in a form that failed to adopt the desired form. I underwent a second cast, this time implementing a wetter mix which produced a smoother, more complete finish. The exploration demonstrates the unpredictability to the surface finish of concrete.

Form Manipulation After identifying an optimum mix of concrete the next step was to investigate how far the boundaries of form could be stretched. The first series of explorations used plastic water bottles as a form-work creating an extremely smooth finish whilst permitting the concrete to take almost any form if cast with a fluid mix. The importance of the continually adding water to the concrete for at least 3/4 days became apparent to significantly reduced cracking and improved the strength of the concrete.

Sensory Exploration This exploration investigates the sensory influence that texture can play within architecture. I produced a series of door handle casts, investigating how slender and detailed I could cast concrete without it cracking. A vacuum forming machine was utilised to create a negative form to cast into. In addition I tested the idea of casting a metal door handle into a concrete form, questioning how these varying textures would impact the atmospheric qualities of a space. I was particularly interested in testing the use of vacuum forming in more detail.

Form Manipulation Aiming to further my investigation of casting concrete into plastic, my intention was to identify how far the manipulation of form could be stretched. It was difficult to identify the material best suited to use as the primary model to cast the plastic from. The first sample used polystyrene, as it was easy the shape and cut, however the heat of the plastic forming machine melted the polystyrene, loosing the smooth texture. The second sample used a timber model to cast from, solving the issue of melting, however when extracting the concrete from the plastic from-work, cracking within the concrete occurred.

Leigh Cameron I contacted Leigh Cameron, a professional concrete designer who explores concrete and the possibility of radically changing our perception, working with an age-old material in an innovatory manner to develop and explore the proletariat tactile information hidden in a 2000 year history. Developing a new context and aesthetic dialogue, considering concrete as a material; investigating its diversity, structural strengths and limitations; its weight, adaptability and content, exploring texture, colour, shape and ultimately the relationship to other materials. I was particularly interested in his use of colour within concrete design, intrigued how individual concrete mixes can create such a vast range of outcomes. Leigh sent me a selection of aggregates, pigments, and cement powder to further my exploration into concrete

Pigment exploration Ordering a range of pigments, gave me the opportunity to experiment with different colours of concrete. I was surprised at how strong the pigments were, requiring only 8% of the total mix to completely transform the colour. The precise measurements needed to create the correct mixes meant that mixing with a bucket stick wasnâ&#x20AC;&#x2122;t a sufficient method anymore, creating a shift in my material process and techniques to a much more controlled environment, using digital weighing scales and measuring jugs to ensure the level of accuracy needed.

GWG [green glass]

FS concrete

WTC Concrete

PG concrete

GWG [clear quatz] Concrete

Filite Concrete

Refined mix measurement Pigments - mix up to 8% with CP (cement powder) PG (grout) - mix 40% water with 100% CP FS (concrete) - mix 10% water with 100% CP SP (paint) - can use like paint on most surfaces - mix 10% water with 100% CP UWP (putty) - mix 24% water with 100% CP - form into balls & allow to sand / gel to from like clay GWG - quick set / self levelling / polymer enhanced - measure out 50/50 with clear quatz or green glass - mix 20% water with 100% CP Filite (light weight aggregate) - mix 10% with GWG - mix 33% water with 100% CP

Architectural Application Exploring the potential architectural application of my early material investigations, I created a concrete stool. The concrete is made from a mixture of GWG, sand, and CP powder. The addition of the GWG means that the concrete sets within 40 minutes, compared to an standard setting time of 2 days.

Critical Reflection My early explorations were focussed on the testing of different mixes of concrete, in the search for an optimum mix that permitted the multiplication of concrete to a desired form. These early phases taught me a lesson that has remained consistent throughout the exploration process, patience is important, explorations that may seem to be unsuccessful are valuable learning curves in the process. After identifying an optimum mix I began to explore how refined the concrete could be cast, how much detail and slenderness can the concrete be cast to? Plastic Water bottles were a successful material to cast into, as they are easily manipulated into a required shape and they produce an interesting variety of surface textures. These explorations led me to further investigate working with plastic as a cast for concrete, I used a plastic forming machine allowing the plastic to take almost any form, widening the possibilities of working with concrete and plastic. However this was an expensive process that ran into the issues of abstracting the plastic mould from its primary model without causing damage to the plastic. These issues haltered my investigation into plastic moulds, but I intend to revisit these materials. I then began to revisit the type of mix, looking at specific and unique mixes of concrete that produce a variety of aesthetics, textures and shapes. The defined mixes require a level of precision and detail that had not previously been required, meaning the location and style of making I was undergoing became similar to working in a lab then a casting room.

Possible Direction Moving Forward 1. Bamboo & Concrete Testing Lab This idea originated from the level of precision and accuracy that was required to make the specific mixes of concrete to create a specific samples of concrete. My explorations began with a relaxed process of making concrete, in the style of â&#x20AC;&#x2DC;chuck it in a see what happensâ&#x20AC;&#x2122; with little measurement of ingredients or casting lengths. As my explorations have evolved, the mixing/making process had also done so, moving away from the relaxed process towards a more specific process centred on precise accuracy. This change in process and style led me to the idea of applying my explorations to a research/testing centre, with the concept of maximising the accuracy of the concrete. Although my exploration havenâ&#x20AC;&#x2122;t as yet investigated the combination of concrete and bamboo, this is an idea I intend to work with in future explorations. Bamboo caries very high strength when applied in the right way, especially when used as an alternative to steel reinforcement in concrete. The Testing/result Lab could be design around undergoing a series of investigations into the possibilities of these two materials working together. Precedent

What interesting about this concrete & bamboo testing centre is the level of refinement that everything employs, the use of pristine machines and microscopes to achieve a high level of performance. These themes closely relate to the f highly refined samples of concrete that I have been focusing on in my exploration.

2. Plastic & Concrete Workshop This concept surfaced as a result of my explorations using plastic as a mould to cast concrete into. The range of textures and finishes the plastic can provide ho the concrete is what excited me about these explorations, giving me the opportunity to create smooth and rough finishes in the same sample of concrete. The concept of the workshop revolves around the collection of a range of recycled plastics and then converting the plastic into a variety of moulds to cast concrete into. The output go the concrete could range from detailed small scale work to larger scale work that could be utilised in a more structural sense. The exciting element of this idea for me is the possibility of making large scale building elements that can be manipulated into any form you wish, for example an interior wall that may have gaps in the cast to incorporate a door or window into the cast. The texture of these elements would also be an integral aspect of the output, the potential for a variety of textures within the same cast is something I am interested in exploring in greater detail.

STAG I N G

Introduction The staging project, asks the architectural application of the material investigations undergone during the Primer exercise, culminating into a proposal for a prototype live/work unit for an individual craft-maker who is working with concrete. As well as providing the context for this material practice, the brief asked the layout and form of the prototype to also be closely drawn from my experiences of working with concrete. The workshop should be designed around the specific needs of the maker, with a compact 1-2 room living unit of 35-45m2, incorporating space for sleeping, resting, cooking, eating and washing. The intention is to translate my material investigating into architectural application, details, and sensory qualities, thus giving the proposed design whereby the material processes are clearly apparent.

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Site The site for the staging project is the site of the former Hare and Hounds pub on Raby street in the Byker Redevelopment, Newcastle Upon Tyne. The development of the prototype offers a re-construction of the local hobby rooms, and a way of re-including a culture of craft practices into the Byker area. Byker developed rapidly during the early 19th Century, to provide housing to a growing population employing in craft based industries. Ralph Erskine was appointed to design and oversee new proposals for the area, which was completed in 1982. Erskine was successful in realising the hobby practices, which were dotted across the development, woven into the pattern of the housing. The staging project explores a way of extending these craft practices into the Byker area, realising Erskineâ&#x20AC;&#x2122;s vision for local workshop and restoring skilled craft practice to local residents.

Renzo Piano Kimbell Museum Walls made of soft, light grey concrete with tie holes appearing in the concrete walls at only 30-foot intervals, which is unusual for architectural concrete. The resulting uninterrupted wall surfaces are ideal for the display of works of art. The design of the smooth concrete columns that form a peppermint to the building creates an opportunity for sensory interaction with the materiality of the columns, an aspect I was intend of implementing into my design process.

Russ Coleman I contacted a concrete workshop located in North Shield, Newcastle upon Tyne, with the intention of investigating the spatial and functional properties of an active concrete workshop. Speaking to Russ Coleman, who works at the practice, he explained that the workshop specialised in the production of coloured concrete text, undergoing a range of project, most significantly the design and construction of the Comedy Carpet in Blackpool. Russ explained key spatial requirements within the workshop including; a clear division between work and living spaces, a large delivery access point, appropriate storage space, and an efficient ventilation strategy.

Design Process Initial sketches question how to position the building on the site. I was particularity interested in the task of incorporating the working and living spaces into the design, should these have a direct connection or be completely separate? Following Russ Colemanâ&#x20AC;&#x2122;s suggestion to separate these two spaces, I identified a division as vital to ensure a productive working atmosphere. I produced a series of study models investigating three varying strategies to the relationship of public, private, work and living spaces. In addition the models explore the possibility of incorporating concrete columns to form the perimeter of the building. Other key considerations include access points within the building and how the design will consider its impact on the local community.

Concrete furniture prototype

CONCRETE ROOF BEAMS

OFFICE

RAW MATERIAL STORE

WORKSHOPBED ROOM

GLAZZING INSULATION CONCRETE COLUMNS

Final design proposal

BED ROOM

The focus of the proposed design was the relationship between three functional spaces; living, working, and exhibition. A concrete framed grid provides the primary structure of the predominantly glazed southern facade, hosting the exhibition, living spaces and an insight into the workshop space. The concrete columns within the structure incorporate a range of textures, finishes, aggregates, and pigments becoming part of the exhibition itself. The northern facade implements a 3000mm solid concrete wall with high thermal mass, creating heat and noise insulation. The workshop space spans east-west across the building, connecting the exhibition and living spaces together. Exterior space south of the building incorporates an outdoor exhibition space that is partially covered by the extending concrete frame. This space aims to invite the public into the building, creating an opportunity to look into workshop to gain an insight into making process. The exhibition space in continued externally, with concrete furniture exhibited outside left exposed to weathering and social interaction.

LIVING SPACE

FINISHED MATERIAL STORE

EXHIBITION SPACE

Detail fragment The detail fragment declares the intended material and atmospheric qualities of the design. The model exhibits the concrete columns that provide the structural perimeter of the proposed design. The columns are made from a variety of pigments and textures, designed to become part of the prototype itself, the idea is that the structure is an experiment itself with the concrete columns becoming part of the exhibition process. The columns are deigned to be temporary, creating the opportunity to replace them to exhibit new concrete investigations.

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D I S S E RTATI O N

Mitigating the impact of earthquakes on the built environment. Lessons from a comparative study between Haiti and Chile

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Dissertation abstract In 2010, an earthquake hit the small island of Haiti measuring 7.0 on the Richter scale (Mw), which is over 500 times less powerful than the 8.8Mw strength earthquake that struck two months later in Chile. Over 230,000 people were killed in Haiti compared to just 562 in Chile. Based on the magnitude of the earthquake alone, the death toll in Chile should have been much higher and the devastation much more complete then in Haiti. These two Earthquakes demonstrate, that the most telling factor is not necessarily the strength of an earthquake, but instead how the buildings have been designed and constructed. The impact of the earthquakes serves a timely reminder that ‘well-designed architecture and smart building codes can make ‘huge life-or-death impact.’1 We can’t prevent earthquakes, but we can mitigate their impact. This paper compares evidence from before and after the earthquakes from two case studies: 1. Haiti 2. Chile The research focuses on three topics; building codes, building materials, and community awareness. Theses three topics are examined before and after the earthquakes that hit Haiti and Chile in 2010. In the second section, the research gathered is analysed, seeking to evaluate the influence that Building Codes, Building Materials, and Community Awareness have had on determining the impact an earthquake has on the built environment.

Influence on my approach to architecture â&#x20AC;&#x2DC;If the design of human shelter and infrastructure is a key role of architecture, then it could be said to have failed miserably.â&#x20AC;&#x2122; The research undergone during my dissertation prompted me to question why as a current architectural student, the inclusion of humanitarian architecture within our educational course seems to be missing. This frustrated me, why am I not learning how to design for the majority, but rather for the elitist minority. As a result I wanted to incorporate the concept of designing for wider implications into my design narrative moving forward, whether this be in the form of a program, design, site, or investigation. Specifically I wanted to demonstrate a link to disaster mitigation in developing counties, to search for some form of solution or improvement within my architecture.

THINKING THROUGH MAKING

Introduction Following on from my research into Disaster Mitigating Architecture, discussed in my dissertation, I wanted to physically explore specific construction methods that I had previously investigated. Steel is readily available in the majority of developed economies, however in many developing countries access to steel is often unavailable due to depleted economies. Bamboo has to potential to become a sustainable, cheaper and stronger alternative to steel in these countries.

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Swiss Federal Institute of Technology, Zurich ‘Bamboo could “revolutionise the building industry” and replace steel as the dominant reinforcing material, according to a professor who is working on new applications for the grass.’ Dirk Hebel’s team uses a machine to test the tensile strength of bamboo composite material samples, which he says could replace steel as the dominant construction material. Samples of the bamboo material are examined under a microscope to determine how the fibres are responding to the adhesive used to create stronger-than-steel composite. Beams made by combining bamboo composites and concrete are tested for strength by bending them in a machine.

Bamboo & concrete prototyping I underwent a series of explorations investigating the use of bamboo as an alternative to steel as reinforcement within concrete and the viability of bamboo cast into concrete, aiming to test the durability and strength of bamboo when it is cast inside concrete. The successful results of these prototypes suggest that bamboo reinforced concrete has the potential to replace steal as concrete reinforcement, however I would like to further investigate on a larger scale to test the water absorption levels the bamboo causes when cast in concrete, that can lead to cracking.

Bamboo Reinforced Concrete

Bamboo cast into concrete

R EALI SATI O N

Introduction The realisation phase asks the development of my material explorations and design process from the Primer and Staging projects into a proposal for a building that demonstrates a continuation of this material narrative and encapsulates my exploration of concrete. The site and program of the project were left open, with the suggestion that these elements should demonstrate a clear collaboration to my architectural line of enquiry throughout the year. The proposal must demonstrate a consideration and interact to itâ&#x20AC;&#x2122;s surrounding physical and social. I wanted to include the research undergone during my dissertation into the design proposal, to incorporate the themes that excite me as a design, rather than simple tick the boxes of what is expected.

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Program The brief asks the design of a university testing facility that investigates a variety of sustainable approaches to the use of concrete and bamboo as building materials. The centre serves a range of academic fields, uniting students studying Architecture, Architectural Technology, Architectural Engineering, Interior Architecture, Design Management, Building Design Management, Structural Engineering, and Building Information Modelling Design for Industry engineering. The design is asked to regenerate a location that is currently failing to maximise its social and functional potential. The design is advised to incorporate the following spaces: lecture theatre, workshop space, design studios, private study space, seminar rooms, gallery space, staff room, cafe , communal space, reception, toilets, lifts. The proposed design focuses on three primary concepts;:

New Technologies

The investigation into new material approaches to concrete and bamboo are specifically focussed on the identification of sustainable prototypes that can be implemented in developing countries that have limited access to structurally sound building materials. The Department will work closely with the Disaster Management and Sustainable Development department of Northumbria University, focussing on sustainable solutions to building with concrete and bamboo in high risk disaster locations such as Haiti, a nation still searching for sustainable building materials to rebuild following the 2010 earthquake.

Rainwater harvesting

The construction and function of the design will utilise large amounts of concrete, water constitutes for 18% of the ingredients that make up concrete, with a kilo of concrete containing around two litres of embedded water. The proposed design is asked to place an emphasis on rainwater harvesting on-site as well as recycling water in industrial processes, to provide a sustainable supply of water for concrete production, and domestic uses.

Showcasing

The design is asked to reflect the functional commitment to sustainable alternatives to building with concrete and bamboo, incorporating new technologies that the centre is testing. The building will act as a showcasing facility, exhibiting and implementing the material prototypes that the students are investigating, giving the students the opportunity to physically implement their work into the structure, creating a â&#x20AC;&#x2DC;open system designâ&#x20AC;&#x2122; that in constantly adapting to new material investigation.

Site Identification The site is located in the central core of Newcastle Upon Tyne, within the Northumbria University campus with multiple access routes to other key university facilities. A Submerged abandoned railway track and waste land runs underneath the A193 meeting further waste land and a car park located 3m above the railway track, next to the A67. The site is accessible from three main routes, via Manors Metro station by walking through the abandoned railway track up into the car park, via a road leading into the car-park towards the north of the site, and through the Northumbria City east campus building to the east of the site. The facility will work closely with the Disaster Management and Design Departments of Northumbria University which are located in close proximity to the site.

Disaster Mitigation school

School of Design

Site photos

Neighbouring Architecture

Northumbria University Campus

Site Access

Key site challenges I identified three prominent site challenges as a platform to initiate my initial design narrative. Firstly, the high levels of noise pollution from neighbouring roads that run along the west of the site. Secondly, the range in topography, specifically the abandoned railway level situated 3m bellow the level of the car park. Thirdly, access into the site and routes that provide a clear connection to other key university facilities.

Noise Pollution

Noise insulation

Noise reduction wall In reaction to the high levels of noise pollution transmitted from the neighbouring roads that run alongside the site, I explored the idea of implementing some form of noise reduction barrier located on the western facade of the building. Following research into existing noise reduction walls, the importance of mass, height and shape of the wall became apparent. I began to question if the wall would have breaks within it or be one consistent element?

The Petite Ceinture A unique 19-mile belt of neglected green space in the very centre of the French capital has transformed an abandoned railway into an urban phenomenon. This example has many parallels to the abandoned railway track running through the project site. Cities everywhere are struggling for space, the opportunity to increase biodiversity in prime locations is a rarity.

National library Garden, Paris The public space offers a direct and natural physical contact between the sacred institution and the person in the street. The inclusion of a sunken garden rounds off the and bother of the city. Like a cloister, this tranquil, unruffled space invites contemplation and a flowering of intellectual endeavour.

Parc de la Villette, Paris Parc de la Villette, in Paris, was the first major landscape design to draw upon de-constructionist philosophy. A staircase is lined with tiny cascades leading down to the Bamboo Garden (designed by Alexandre Chemetoff ) 6m lower than the rest of the park. Water is everywhere, falls in ribbons along a huge vertical concrete cylinder designed by Bernhard Leitner.

Abandoned railway track Identifying the abandoned railway track as key site challenge I made a decision early on to utilise rather than avoid the space. Incorporating the railway into to deign creates the opportunity to regenerate the space and contribution to the social fabric of Newcastleâ&#x20AC;&#x2122;s city centre. Following research into public green infrastructure in Paris I discussed the idea of implementing a public bamboo garden into the abandoned railway track that runs alongside the car park. This strategy would create a public connection from the site to Manors metro station whilst creating additional public green infrastructure in the central core of Newcastle. In addition bamboo would be cultivated from the garden for the use of material prototyping by students occupying the facility.

Map of publicly accessible urban green infrastructure (highlight green) within Newcastle Upon Tyne. 74

Parti Diagram The parti diagram explains my early design reactions to the site, integrating key design concepts and asking how these elements will interact. In particular, exploring the interaction of the bamboo garden with internal space. Will this adopt the form of an open atrium, or should these two elements remain separated?

Schedule of accommodation

Outdoor construction Studio Space Workshop space Lecture Theatre Circulation / Atrium

Volumetric massing on site The purpose of producing massing diagrams was to investigate the interaction of certain spaces in certain locations on the site. For example, workshop space would suffer minimal noise pollution impact as a result of loud machinery whereas private study space requires a great level of acoustic insulation and therefore it would be logical to locate these spaces away from the facade facing the A67(M).

Public vs Private massing Exploring the early stages of volumetric massing these study models examine the relationship between public and private spaces within the building, considering whether to integrate or separate these spaces, focussing on the domain in which public and private spaces overlap. In addition the models integrate the noise reduction wall in a range of forms and locations, examining the exterior space that is create.

Rainwater Harvesting

Bamboo guttering prototype

Butterfly roof study models

Rainwater harvesting strategy Incorporating the idea of designing a building that showcases its key principles, I explored the idea of communicating the collection of rainwater into the design aesthetic. I considered the use of a butterfly roof structure that channels rainwater into a bamboo guttering system that can then be used for concrete production in the facility. Bamboo cultivated from the garden is used for the construction of the gutters, creating a sustainable cycle of production. I constructed a bamboo guttering fragment to test the prototype. The guttering system is designed to be easily replicable with limited material resource, permitting the design to be implemented in developing courtiers across the world.

Key space development Investigating the interaction between the bamboo garden and the internal spaces within the facility, I considered the implications of a complete separation, partial interaction, or complete interaction between the two elements. I was interested in the subsequent space that would be created, exploring the potential of creating an open atrium space that encourages an interaction between internal and external elements whilst engaging public and private domains together.

Concept model

Volumetric massing model

Interim Design proposal To refine the internal layout of the design I produced a axonemetrixc drawing declaring routes through the building, circulation paths, and spatial division. The proposed design divides large span spaces and smaller private spaces, with the ground floor housing the public atrium space and prototyping workshop, with the first and second floors housing office, studio, and private study spaces. The atrium spans down to the level of the bamboo garden, inviting the public up into the building, in which a range of material prototypes are exhibited.

Critical Reflection Following the Interim review, the subsequent feedback suggested to the extention of the building along the site to maximise the synthesis with the bamboo garden and to further develop the integration of material prototypes into the design, specifically within the noise reduction wall. In addition I was advised to consider the scale of the bamboo rainwater collection system, integrate bamboo downpipes into the public garden, explore the contrast between lightweight and solid (concrete vs bamboo), and begin working in 3D to refine spatial design. I aimed to develop a series of individual pieces that connect through a series of carefully articulated junctions.

Sectional development Working in section, these sketches explore how the building will be viewed from the oncoming public and the views from within the building those occupying the facility will experience. I was particularly interested in creating a visual connection between private and public space and between internal and external spaces.

Volumetric massing on site In reaction to the suggestion to â&#x20AC;&#x2DC;begin exploring the overall form in 3D to develop a design dialogue between internal spaces and spatial relationships between the overall shape and appearance of the buildingâ&#x20AC;&#x2122; stated in the interim review feedback, theses volumetric massing models explore the spatial relationship between key internal elements and how this impacts the external spaces that are subsequently created. The lightweight butterfly roof sails past the thick concrete wall. I extended the atrium space to run past the lecture theatre, creating an carefully articulated space.

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The Scottish Parliament building The building design by Enric Miralles has been described as ‘A remarkable example of incorporating architecture into it’s surroundings.’ 60 percent of the urban site is covered in vegetation, which is but one of the democratic references made throughout the building’s design. Varnished Oak is used throughout the building, designed to look like bamboo. The “assembly area” marked by grassy banks and open to the public reveal these democratic intentions, as do the dark inglenooks found in every MSP’s office.

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House for trees - Vo Trong Nghia Architects Trees grow on top of five concrete boxes, like oversized plant pots, at this house in Ho Chi Minh City by Vietnamese studio Vo Trong Nghia Architects. The aim of this project is to bring green space back into the city, accommodating high-density dwelling with big tropical trees. Five concrete boxes are designed as â&#x20AC;&#x2DC;potsâ&#x20AC;&#x2122; to plant trees on their tops. The cladding is made from casting bamboo into concrete and removing the bamboo once the concrete has set, leaving a serrated finish

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Plan development In reaction to the suggestion to extend the building along the site, to create a longer and thinner space mentioned in the interim review, I began to work at a larger scale (1:200) on trace, repeatedly testing deign alterations and refining the spatial relationship between internal and external elements. The proposed design reduces the building from three storeys to a two storey structure, moving the northern stairwell into the private domain creating a divided between the publicly accessible atrium space and the private educational spaces. In addition the atrium space has been brought up to the car park level, integrating a stepped terrace that leads the public up through the garden to enter the atrium space. Spatial refinement of ancillary spaces such as offices, toilets, lifts, and staircases as well as the key spaces developed programmatic detail help to create a more convincing internal layout of spaces.

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Spatial refinement To further examine internal spatial refinement, this study model explores the interaction of spaces on the first floor. Having compacted the first and second floor into one storey, the proposed design alterations examine the social experience of the journey through the building. Originally the circulation ran along the noise reduction concrete wall, however a decision was made to move the circulation to the glazed facade that overlooks the bamboo garden, creating a synthesis with the external elements of the project. Offices and study clusters are offset to create seating and storage space along the circulation route, creating moments of social interaction throughout the building

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FINAL DESIGN PROPOSAL

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Introduction This chapter exhibits the final design proposal for the Northumbria University material experimentation facility. The work presented aims to explain the key design concepts, functions, material translation, architectural technology, environmental strategies, architectural language, and atmospheric qualities that form the final design proposal.

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School of Architecture and Disaster Mitigation

Site Master Plan The building is accessible via four main routes, from Manors metro station through the public bamboo garden into the atrium, from the city east campus towards the east of the site, from the Northumbria foot bridge to the north of the site, and via the A67 to the south of the site (delivery access). The schools of Disaster Mitigation and Architecture are directly accessible via the footbridge, creating a clear connection between the two facilities .

Manors Metro Station

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Ground floor plan 1:200 (original scale)

4 5

1. Prototyping Workshop 2. Material Store 3. Outdoor Construction 4. Reception 5. Atrium exhibition / Cafe space 6. Outdoor Cafe 7. Public Bamboo Garden

First floor plan 1:200 (original scale)

4 5

1. Design Studio balcony 2. Design Studios 3. Communal Coffee Bar 4. Private Study Clusters 5. Offices 6. Seminar rooms 7. Circulation walkway 8. Lecture Theatre

EXPLODED AXONOMETRIC DRAWING

Corrugated Concrete Roof Finish

Bamboo Rainwater Collection Guttering

Seel Truss Roof Structure

Toilets

LeCture Threatre

Offices Seminar Space

Communal Coffee Bar

Design Studios

Seel Truss Roof Structure

Exhibition Atrium Space Reception

Prototype Workshop

Material Store

Outdoor Contruction

Axonetetric The axo explains the internal and external function of the proposed design. The triple height atrium space, provides a connection between private and public domains in the form of a cafe and exhibition space, that exhibits a range of concrete and bamboo prototypes created from the facility. The open plan workshop space spanning 65m alongside the bamboo garden creates a large uninterrupted space to house large machinery and prototyping. The material store provides a delivery access point and connection between the workshop and the bamboo garden, enabling direct cultivation of bamboo from the garden. The first floor aims to create a journey through a series of pod spaces that create moments of social interaction. The circulation traveling along the south-east facade, seeking to create a synthesis between internal and external domains through a series of glazed pods breaching out over the garden. A butterfly roof structure is clad in corrugated concrete panels, that channels rainwater into a bamboo guttering system.

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Material Translation The following section explains the translation of my material explorations and prototypes throughout the year into architectural applications within the proposed design. Where possible material investigations produced by students occupying the facility, are implemented into the design of the building, acting as a showcasing facility for the application of sustainable alternative use of bamboo and concrete.

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Bamboo reinforced concrete As mentioned previously, the facility implements the use of bamboo as an alternative to steel as reinforcement within concrete, the prototype is exhibited in the public atrium and bamboo garden. The prototype is utilised within the majority of concrete used in the structure building, exposed bamboo reinforced concrete is used to form shelving with the noise reduction wall that forms the north-western facade.

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Bamboo guttering Bamboo guttering constructed from bamboo that has been cultivated from the garden is used on the lower side of the butterfly roof structure to collect rainwater. The guttering system is designed to be easily replicable with limited material resource, permitting the design to be implemented in developing courtiers across the world.

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Rammed concrete Rammed concrete is a method of concrete production that involves compacting multiple layers of concrete on top of each other to increased the tensile strength of the material. Each layer is compacted down and left to set, with this process being repeated until the desired construction is complete. The process uses cement, sand, aggregate, and water, creating a material that can be replicated in a wide range of environmental conditions and adapted to local resource restrictions. The prototype is applied within the 1500mm noise reduction wall that from the northwest facade of the building. A variety of aggregates and pigments are used to create a diverse aesthetic to each individual layer.

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Bamboo form work shuttering This material prototype involves casting bamboo into concrete whilst the concrete mix is reaching a firm consistency, the bamboo is then removed once the concrete has completely set, leaving a corrugated finish to the concrete. The prototype is applied both internally and externally, used as internal cladding on the first floor, and external cladding on the noise reduction wall that forms the north - west facade.

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Bamboo cast into concrete This material exploration uses the same process as bamboo form-work shuttering, with the bamboo being left within the concrete once the concrete has set. The technique is used for aesthetic-al purposes, utilised as internal cladding within office, private study, seminar and studio spaces.

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Bamboo cladding breaching out off concrete wall Bamboo cladding and concrete shuttering are utilised to form the north-west facade cladding. The facade contains one large concrete element that acts as a noise reduction barrier, with a lighter section of bamboo breaching out from the wall at the stairwells and coffee bar. The intention is to create a solid concrete elements that expresses moments of elegance in the form of curved sections of bamboo breaching out of the wall. Bamboo cladding is also implemented internally, including the underside of the lecture theatre that is left exposed within the public atrium.

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Bamboo cast into rammed concrete This prototype combines rammed concrete with bamboo form-work concrete, creating a material that is used for both structural and aesthetic-al purposes. The prototype is implemented in the noise reduction wall that forms the north-west facade of the building. Elements of the wall are cut into to create storage and seating space within the wall that has a thickness of 1500mm, designed to provide acoustic insulation from the neighbouring road.

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North-West Elevation The north-west elevation of the building is visible from the bamboo garden and the city east campus, consisting of a concrete columns that exhibit a range of pigments, and a prominently glazed facade to created a synthesis between the bamboo garden and internal spaces.

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South-East Elevation The south-east elevation of the building is visible from the A67(M) and from the rest of the majority of the university campus to the west of the site. A 1500mm thick rammed concrete wall spans along the facade, creating a heavier facade that provides acoustic insulation from the neighbouring motorway. Bamboo clad elements breach out from this wall from stairwells and coffee bar creating an interesting interaction of concrete and bamboo.

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Technical section first draft Circled in red are technical aspects that were identified for improvement following the technical review. The ventilation strategy lacked refinement, failing to ventilate the full span of the workshop. The insulation line within the thick concrete wall ran too close to the internal wall, failing to prevent cold bridging. The structural detail of the first floor included concrete slabs below the floor decking which was not necessary. These details have been rectified in a final technical section presented on the next page.

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East - West Technical Perspective Section 1:50 Scale

Original size A0

16000

Roof structure

Corrugated Concrete roof cladding Metal roof purlins DPC Insulation (150mm) Steel roof truss

13000

8400

7000

External Wall Structure

Exterior Rammed Concrete (700mm) DPC Insulation (100mm) Exterior Rammed Concrete (700mm) Inerior Rammed Concrete (300mm)

-1000

-2500

-3500

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West-East Technical Section

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Ground Floor structure

One-way concrete Floor Finish Floor Screed One-way metal decking Steel I floor beam Steel Truss

Ground Floor Structure

Exposed Concrete Floor Finish Metal Floor Beams Insulation [150mm] DPC Concrete Foundation Slab [400mm]

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Environmental Strategy

Ventilation Strategy

The design incorporates a dual ventilation system. Warm air from the workshop (G floor) is drawn along the building (via fans) into the atrium space at the south of the Ventilation Strategy -

building. Large openings in the east and west faรงades initiate cross ventilation, drawing warm air out and cool air into the building. Extractor fans are also used to assist ventilation. The first floor incorporates mechanically aided ventilation within office, seminar, and cluster spaces in to achieve a controlled temperature.

Atrium design Atrium Design

Atrium Design

The atrium located to the south of the building, spans the full height of the building, providing enhanced air movement, daylight to ground level, and circulation to upper level spaces. In addition the atrium allows hot air to rise to the top of the building via stack effect and then exit the building assisted by roof vents to enhance air movement. Rainwater Management Rainwater Management

Rainwater management

system, which draws theinto water into the (forproduction) concrete production) into the bamboo (for bamboo irrigation). Water is stored guttering system,guttering which then draws thethen water down thedown building (forbuilding concrete and into and the bamboo garden garden (for bamboo irrigation). Water is stored in in collection bellow the ground. collection tanks bellow thetanks ground.

The facility requires large qualities of water for concrete production, as a result the design incorporates a butterfly roof structure that channels rainwater into a bamboo guttering system, which then draws the water down into the building (for concrete production) and into the bamboo garden (for bamboo irrigation). Water is stored in collection tanks bellow the ground. Bamboo Garden

Bamboo Garden

Bamboo Garden The public bamboo garden running alongside the building provides storm water attenuation, enhanced biodiversity, and creates visual interest to occupants of the facility. The range of vegetation improves the air quality. Flexibility and Adaptability

Flexibility and Adaptability

Flexibility and Adaptability and changes in climate, technology, and workspace trends.

and changes in climate, technology, and workspace trends.

The simplicity of layout and design of the academic spaces within the building provides flexibility and adaptability for the changing future needs of academic departments and changes in climate, technology, and workspace trends.

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Bamboo cultivation process Bamboo is grown in the public garden and then cultivated and used for material prototyping within the facility. The bamboo is cut down, and treated in accordance to a specific prototype requirements and then stored in the material store ready for use within the facility.

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Final model 1:200

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Prototyping Workshop The workshop located on the ground floor provides a space for students to test and construct bamboo and concrete prototypes. The workshop utilises a range of large machinery in order to undergo precise and controlled material investigation. A material store located at the south of the workshop breaches down to the bamboo garden, providing direct access to bamboo for cultivation.

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First Floor Walkway Overlooking Bamboo Garden 1st floor circulation walkway â&#x20AC;&#x2DC;The connection between internal and external environments through material declaration with the natural environment.â&#x20AC;&#x2122;

The journey through the circulation walkway travels along the east of the building encouraging sensory interaction with the concrete columns that exhibit individual pigments and textures. Glazed pods breach out the facade creating a visual connection with the bamboo garden and provide spaces of social interaction between those occupying the facility.

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Public Atrium Space Overlooking Bamboo Garden

Public Atrium

â&#x20AC;&#x2DC;The threshold between public and private environments through public exhibition.â&#x20AC;&#x2122;

Entering the atrium space via a stepped terrace from the bamboo garden members of the public enter into an open cafe and exhibition space that exhibits a range of prototypes created from the facility. A viewing balustrade overlooking the workshop space, giving the public an insight into the function of the building.

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