Portfolio
Frederick Jackson
2012
Architecture + Design
Frederick Jackson
design-portfolio. architecture art design
Contents 17.06.2012
1
Grainger Town Acoustic Chambers Nominated for the 2012 RIBA Hadrian’s Medal Final Graduation project to design a music school for Newcastle’s Grainger Town.
2
Middlesbrough Film Archive A five week project to design a film archive building for Middlesbrough.
3
Jesmond Dene Banqueting Hall A project to design an extension and sensitive restoration of the ruin of Lord Armstrong’s Banquetting Hall.
4
Art Work + External Competitions Born - Harrogate, North Yorkshire. 1991 Lived - Cawood, York School - Leeds University - Newcastle Worked - Züblin, Mercedes-Benz Sindelfingen, Germany Film Archive - Middlesbrough Dissertation - Camden, London Grad Project - Grainger Town
1
30.05.2012
Grainger Town Acoustic Chambers Nominated for the 2012 RIBA Hadrian’s Medal the Unseen Process The project looks into how spaces and architecture can be tuned like musical instruments. Taking music back to its roots as an acoustic art form, the music school re-interprets a traditional music settlement within the urban context of Newcastle’s Grainger Town, employing the modular form of a cluster of music chambers that sit upon the site’s existing typography whilst utilising features such as the old basement that is left, as a fragment of the now demolished Westgate House. Working mostly with models and sectional studies, I explored how non-orthogonal volumes could be tuned like musical instruments to manipulate the acoustic qualities of a space, as well as how sound could be allowed to escape from the chambers and resonate between the neighbouring buildings and chares. For the room schedule, that included practice rooms, a brasserie, library, performance chambers and an instrument repair workshop, I utilised the piano key mechanism to inform the layout and organisation. From the acousmatic nature of the key, to the collaboration of parts that control the release of the hammer; each chamber was themed and given its function relative to the mechanism and the process of music making. There is a particular scale appropriate to the nature of a music school, and for that reason the community of chambers that flank an internal sunken plaza are set back from the grand formal facades of Westgate Road. They instead belong to a network of chares and alleyways that characterise the vibrancy that can be found in this area of Newcastle that exists behind the grandeur.
The Earl Grey Monument
N
The Site
John Dobson’s Railway Station
The now demolished Westgate House previously occupied the site.
The context of Grainger Town.
The immediate context of the site.
The Musical Fields The initial phase of the project was to look at the site’s raw potential as a musical landscape with out a building.
Right: Field model studies Far Right: ‘Tunable Pavilion’
ambers
hments each ent repairs
site in the nowledge to “Crossover” s. aspects
of
s a musical
between the the site’s andscape is
The Users It struck me that there are many musical establishments in Grainger Town, each with their own niche of expertise and interest, from instrument repairs and building, to venues such as the jazz cafe. Based on the already existing Cross-Over scheme, I was interested in exploring how collaboration between musicians, genres and interests could occur on the site, and how this shared knowledge could be passed on to community centres and new musicians. The Agenda Music is losing its identity as an acoustic artform, becoming a product to be consumed and disposed. Problems of plagiarism and illegal downloads exist only as a result of music becoming a degraded artform. I want the music school to be a place for live music, which celebrates and returns to the art and process of music making.
ic and nd how sound.
I explored ideas about how spaces can be tuned, I liked the idea musical collaboration on the The Rooms that phase of the project looked site could This unite around this new process of tuning into the ideas and themes and learning about properties of a room. of the spatail requirements. I the continued my study from the tunable pavilion of the fields exercise and modelled different ideas about how space could be tuned acoustically.
Above: Concert atmospheric Right: A rehersal room Far Right: Piano Key Model
tu
na
ma ke rs
-
bl
e
so
un
so un d
s
nd
em
it
- w ide r
ta
nc
e
imp
ha mm er
sou
d
-
ng
sh an k
ri
+
st
act
ts
par
t
ora
lab
col
of ion
pivot ca pstain
y ad
le s t st
ju
ad le
ab rt
pa
acoustmatic sou nd
rs
fi
key top - human input
-
I considered how these parts might translate into a room schedule, informing the layout and function of the different components.
ke
The Unseen Process Whilst persueing my interest in the similarities between instrument mechanisms and how spaces and architecture could be tuned, I modelled the piano key mechanism - that has a hidden process behind its shell, where parts collaborate and can be individually tuned to control the final sound.
screw
As I am taking Music back to its roots as an acoustic artform, I aimed to reinterpret tradtional music settlements and create a community of buildings nestled in this urban context, as opposed to a large mass block as the now demolished Westgate House had once been on the site.
A Traditional Music Settlement As I am taking music back to its routes as an acoustic artform, I aimed to reinterpret a traditional music settlement on the site. This is a direct contrast to the block mass of Westgate House that used to impose itself on both the site and its surroundings. The music settlement I felt to be a more appropriate scale to the nature of a music school - where individual chambers have a connection to interstices and outdoor space.
page_19
Building model in the context of the group site model
Early painted study of interstices
Basement Floor Plan -4.5m
Entry Level Floor Plan
Entry Level
Circulation to use
Performance Spaces
Performance Views
Existing Excavation
First Floor Plan
Proposed Excavation
page_23
Sketch exploring facadism, inner + outer skins
overlay
study
drawings
An impromptu rehersal inside the Horowitz Performance Chamber
Piano Dampner Opening in Chamber
Horowitz Performance Chamber study models
Section close-ups
North - South Section
East - West Section
Seating provides a place to sit and watch a lunchtime performance
Existing, Exposed Westgate House Basement
the sunken performance chamber has circular openings in its roof to allow curious onlookers a view
The sunken plaza is flanked my a wall of practice rooms, imitating the surreal verticality and vibrant openings that can be found behind the facades of Grainger Town
Busking boothes are stacked and can perform in the building, or taken away to perform around the North East
seNorth ction -
South reverse section page_35
ii
North - South reverse relief section
page_17
Westgate Road Elevation
2
Proposal A new solid core for Middlesbrough
28.11.2011
Middlesbrough Film Archive Set in Middlesbrough, the Film Archive is a place where people can watch films about the industrial heritage of the town. My design proposed a variety of atmospheric sequences that could be created through variations of intimacy, light and texture, based on mark cousin’s notion that “film is a dark place where light matters.” I also looked into how salvaged materials could be used within the building from neighbouring demolitions.
proposal
The final scheme also proposed an idea about casting heat resistant concrete around towers made of timber and objects donated by the people of Middlesbrough that could be burnt away once the concrete was set, leaving a charred inprint within the core of the building, and fixing the building within the mind and memory framework of the town’s community. After the community has been united around this ritual burning, people could enter these spaces and look in at different levels to identify objects they had donated. I produced a sequence of images that imagined the towers when lit to look like chimneys with the flames of Middlesbroughs industrial heritage emerging from the top. The Middlesbrough Film Archive brief provided a platform upon which architectural ideas about light, depth and materiality could be explored. I used this opportunity to look into my interest in the work of Louis Kahn Preservation and Peter Zumthor that formed at the end of second year. My design philosophy was based around the idea of thoughtfull demolition where necessary, responding to the brief’s requirement of a “new shop front” with a sensitive indication of the archive’s presence.
Middlesbrough is a fragmented patchwork town Satellite Image - most towns ‘hug’ their river banks, Middlesbrough’s riverside territory has been cleared to make way for large scale developments, many of which the local residents do not understand as they have no level of involvement. They are relatively alien & commercial visions that do not relate to the context & history of the town
Middlesbrough College
Boho 1
with Young People’s Learning Agency and Skills Funding Agency
enterprise & development scheme
Train Station
Film Archive site
Bus Station
MIMA
Library
Middlesbrough Institute of Modern Art
University
scale 1:1000
Northern Regional Film & Television Archive
A tired and derelict urban area
A ‘landlocked’ site between the railway platform and historic square
front sketch
back sketch
page_43
site context plan
page_42
Site Plan
Proposal A new solid core for Middlesbrough
proposal
Preservat
My design philo olition where ne “new shop front
Preservation My design philosophy was based around the idea of thoughtfull demolition where necessary, responding to the brief’s requirement of a “new shop front” with a sensitive indication of the archive’s presence.
Building model showing facade intervention and railway platform link to cafe via a raised deck
key
14
10d
13
existing
tunnel re
-used
10e
a-d. group screening 1. reception area 2. gallery with projection installations 3. lightwell-tower 4. lightwell- tower 5. open space toplit with a view of the lattice of staircases that draws the viewers attention upwards 6. view to projection on wall 7. services 8. circulation for educational-archive use with original columns preserved 9. ict + video editing 10. individual boothes 11. teaching space 11a. meeting room 11b. locker/changing
lway retain ing
9 8
12a 12
17
11
21
20
16
19
11b
void
void
11a
b
d
2
void
15
4
sion to platform acts as an extension to the public domain and an outdoor
22
23 void
void
a
void
c
void
1 15a
Exchange Square
18
landing + 1.5m
cafe
5
3
10a 10b 10c
void
24 void
landing +1.28m
7
void
6
front for Middlehaven/college 15. open gallery for installation 15a. views down to reception and framed view of Exchange square monument 16. reclaimed timber cafe seating boothe 17. kitchen 18. service 19. main auditorium 20. calm space to sit/wait/read/think 21. viewing deck to transporter bridge 22. calm seating area 23. formal art gallery space existing used as feature
RAILWAY PLATFORM
wall
view of platform
existing rai
13. archive boothes set into ground cut through vaulted tunnel walls 14. outdoor seating with projection showing
East-West Section
The structural concept was to encase reclaimed page_49 materials between the concrete frame of the building. The materials are re-used as a textural and atmospheric addition without any structural requirements meaning they could be salvaged directly from neighbouring demolitions. I created a number of 1:5 scale studies to explore this idea and found it interesting that they could be arranged as sculptural forms themselves.
Tower Casting TOWERS CLAD IN TOPROC HEAT RESISTANT CONCRETE
The brief asked us to look into the potential of re-using materials from derelect sites around Middlesbrough. It struck me that many materials could not be used in the fabric of the building, but may still be of interest if used in work of Zumthor and Rachael Whiteread for ideas of casting imprints in concrete.
PEOPLE OF MIDDLESBROUGH DONATE OLD OBJECTS AND MATERIALS OF INTEREST
SITE IS CLEARED AND TIMBER TOWERS ERECTED
The towers are clad in junk objects donated by the Middlesbrough community. Salvaged materials, buckled bike wheels, broken furnature and ornaments - all useless objects but carry with them a degree of sentiment and memory.
A sculptural intervention that acts as a ‘stitch’ of varying scales and textures between Exchange Square and th
After the event, people can enter the towers and look inwards THE WASTE CONTENT OF TOWERS BURNT AWAY
The ritual burning of the waste content provides an opportunity for the community to gather in the square and furnaces and Middlesbrough’s industrial past.
as dramatic lightwells allowing people to identify objects that they donated to the project. an initial memory and sense of attatchment to the building engaging with the local residents of the town.
THE CHARRED INPRINT OF THIS COMMUNITY EVENT REMAINS IN THE CORE OF THE BUILDING
1.
2.
SCALE 1:50
SCALE 1:20
Detail Drawings Parapet roof to including door frame
RED DENOTES STRUCTURAL BAY DETAILING LOCATION
page_106
3.
4. SCALE 1:50
Detail Drawings Cladding systems & deck section
3.
SCALE 1:20
SCALE 1:50
4.
page_109
3
25.05.2010
Jesmond Dene Banqueting Hall The project was to design a modern extension to the existing ruin of the Jesmond Dene Banqueting Hall. The brief specified the need for a victorian cook school, an exhibition outlining the history of the Dene as well as a recording studio and offices for the ‘Living History North’ organisation, who record memories of World War II Veterans. This brief made us consider disabled access to the hall down the 10m drop of the slope, as well as the landscaping strategy that gave us to opportunity to shape the Dene’s already dynamic landscape. I intended to create an extension that avoided pastiche and contrasted with the existing building fabric, making obvious any new intervention to this romantic Victorian ruin. I felt a largey degree of sensitivity and the appropriate use of materials would be essential to this project.
tle. Sometimes referred to as ‘The Green Wedge’, the Ouse Burne Valley spans from Jesmond to the River Tyne - a large, man-made Victorian landscape which can be attributed to the wealth and fortune of Lord Armstrong. This rare landscape has strong links with the city, with many opportunities to introduce highly populated areas such as Jesmond to any project or activities taking place within this area. There is also the opportunity to create educational links between the Victorian Landscape and the surrounding schools such as Heaton Manor. The Dene itself is an extremely beautiful setting. Mature trees line both sides of the steep banks water falls. This project is set in Lord Armstrong’s Banquetting Hall. The Hall itself is a ruin, with the gatehouse and reception space inhabited by local artists. The burnt down kitchen block on the North side of the Hall provides the site for a new extension. an extremely sensitive approach was needed. It became clear that any modern extension should contrast with the heavy rough existing stone, but regress into the landscape in order to preserve the dominance and importance of the Hall.
Site Section showing South Facade
tle. Sometimes referred to as ‘The Green Wedge’, the Ouse Burne Valley spans from Jesmond to the River Tyne - a large, man-made Victorian landscape which can be attributed to the wealth and fortune of Lord Armstrong. This rare landscape has strong links with the city, with many opportunities to introduce highly populated areas such as Jesmond to any project or activities taking place within this area. There is also the opportunity to create educational links between the Victorian Landscape and the surrounding schools such as Heaton Manor. The Dene itself is an extremely beautiful setting. Mature trees line both sides of the steep banks water falls. This project is set in Lord Armstrong’s Banquetting Hall. The Hall itself is a ruin, with the gatehouse and reception space inhabited by local artists. The burnt down kitchen block on the North side of the Hall provides the site for a new extension. an extremely sensitive approach was needed. It became clear that any modern extension should contrast with the heavy rough existing stone, but regress into the landscape in order to preserve the dominance and importance of the Hall.
Site Section showing South Facade
First Floor Plan
Ground Floor Plan
Visual impression of the new extension at ground is obscured by dark zinc panels inset as a screen behind the stone, that directs the visitor into the smaller stone arched entrance which I observed from the site visits had a quality that drew people towards it.
frame to the historic masonry, and only has a glazed connection to it. The bridge leading to the lift encourages people to lean over and observe the planting in this area. invertibrates can be observed from the bridge.
Elevation - East facing facade The slate roof on the Hall sits above the original stone with a glazed connection between the two. The imposed steel frame allowing for two elements to be separate.page_66
page_67
4
varied work
Artwork + External Competitions A selection of work outside of architecture.
Oil on canvas 2009
Oil on canvas 2007
Oil on canvas 2007
Oil on canvas 2008
Oil on canva