P o r t f o l i o Jody Good fellow Sample of creative work
9 SITE
C o n t e x t u a l
C o l l a g e
Relationship to Context
Figure 1 - left Newcastle contextual collage inspired by Rauschenberg techniques Figure 2 - above Contextual collage of the foundations behind Safdie’s Habitat ‘67 Figure 3 - right Fold Zine for Newcastle University Architecture School, Edition 003
I find having a strong relationship to surrounding context really important in architecture and in the way that I work. Which led me to use my dissertation to research the evolution of Moshe Safdie’s works, with a commonanility being their contextual sense of place. This factor, with influence of Robert Rauschenberg’s artistic practice of collage, inspired me to start my final year project by making city observations into a contextual collage. I similarly used this technique in creating a collage regarding the autobiographical influences behind Safdie’s debut, Habitat ‘67, of which I wrote an article about its importance for Fold Magazine, a School of Architecture Zine of Newcastle University in 2019.
Figure 4 - Newcastle Skyline - Watercolour and Ink
On-site studies Inspired by Safdie’s approach, I find it neccessary to assess the surrounding context at the beginning of a project, and make studies of the environment, to get a feel for the city. My site for my final year project was situated in Newcastle and highlighted in orange (Figure 5). Watercolour was my preferred medium for this work, as I felt it captured the city’s atmosphere well with the Tyne being the main view from my site I wanted to reflect this fluidity.
Figure 5 - 1:5000 map (Original) of site and surroundings
Figure 6 and 7 - left Pen sketches of key adjacent buildings to site Figure 8 - above Pen sketch of existing building on site
The adjacent roofscapes to the site were particularly inspiring for my building’s form. They influenced my later thinking in making and testing brick form prototypes, whilst the original existing building on the site’s (Figure 8) roof inspired the form for my building’s parapet, repeating and elongating the chimney roof detail.
Milk Market Gallery and Studios
Ground floor plan 1:200 drawings and model
1:200 Model I created a 1:200 model to dimensionally show how the spaces connected and how key elements of the project work together to allow the spaces to flow coherently.
Mezzanine Floor Plan
First floor plan
The building contains 10 artist studio spaces, of roughly 3m x 3m each, and is accompanied alongside a gallery and workshop. There is a hidden courtyard at the heart of the building, and reflected across from this is a sculpture garden, to celebrate the artist’s creations. The mezzanine floor adds a social area for the artists to relax and onlook the courtyard, and has a photography room for special editing also.
The first floor introduces another entrance from the higher ground level for public flow from the city centre, as well as another floor of artists studios and public gallery space. The artists studios are able to rent in terms of months, and has no permanent residents, allowing a constant change in skill to join the collaborative. The public space also introduces a gift shop, and has private space for staff lockers, seating area and a delivery zone for art supplies/transport.
Second floor plan
Third floor plan
The second floor provides more public space creating an interactive art area to inspire younger generations and allow them to get involved with art, and express their imagination. This area can also be used to host art clubs/groups to learn new skills and sustain artists for generations to come. There is also another gallery space, with controlled lighting and a window onlooking Ouseburn, the Baltic Gallery and the Millenium Bridge.
The third floor is occupied by a cafe, optimising the best views of the River Tyne and it’s attractions with key windows and tables placed for these sights. There is a 3m x 3m circular window which reflects the dimensions of the spiral staircase at the core of this fragment, creating a poetic journey. There is a private kitchen at the north end of the block, to service the cafe demand and a public restroom area, with these services situated on all floors but first.
Figure 9 - Atmospheric watercolour showing the vibrancy of the Hidden Courtyard hub
The Hidden Courtyard Inspired by Piet Oudolf’s drawings for landscape gardening, I began experimenting with possibilities for my courtyard. It is here that I have proposed the concept of variously spaced bricks surrounded by overgrowing nature from perennial seeds, allowing the garden to be tamed by the natural flow of public and artists through the space. The spaces which are left untouched will grow further, whilst the others recess. I chose to hide the garden at the heart of the building so that it could be a celebration of the space, and a central hub of unity. The courtyard allows the resident artists to create a strong relationship with nature, which is celebrated through the building’s design. A strong relationship to nature has proved integral to many artists works, ranging from Monet to O’Keefe, to even Paul Klee who founded a strong mental relationship with the natural world.
Figure 10, 11 & 12 - Diagrams showing the evolving paths created by the artist/public flow through the perennial seed garden
“I feel like a plant myself”
Paul Klee
Copper Details The copper roof reflects the ever changing nature of the hidden garden through it’s continually evolving taming by the natural flow of artists and public through the central space. It equally reflects the changing ability of the cherry blossom tree at the heart of the garden, which changes colour and blossoms throughout the year, giving the resident artists a source of new found inspiration. The roof and copper details highlighted throughout, allow the building to reflect the changes in the surrounding nature, creating its unity with its environment; inspired by Safdie’s ideals.
Figure 13 & 14 - above 1:200 model with details on timber site model
Figure 15 - 1:100 (Original) Section through building
Journey through circles The dramatic spiral staircase at the centre of the gallery and the large circular viewing window onlooking the Tyne on the top floor of the same dimensions, allowing the visitors to be taken on a spiralling journey to the top of the buidling, and optimise the specified Quayside views.
Figure 16 - Core spiral staircase running through the galleries to the cafe space
Highlighting Thresholds: Upcycled Brick Prototypes In creating the prototypes, I scavenged around Newcastle collecting waste materials, and used my findings to create these interesting brick tests, with their shapes inspired by key forms through roofs and bridges seen from my site; eventually choosing the curved design as my final. The prototyopes are formed from concrete and plaster, yet the chosen material would be concrete bricks for structural integrity. The idea behind the bricks is an attempt to reduce the construction waste impacts from the design, as the UK’s Construction Industry is responsible for 32% of the country’s landfill. (Network Construction Waste, 2012); using the onsite construction waste as material. With efforts of achieving a more sustainable design, the concept also allows the phsyical history of the site to live on in a new building, influenced by Rauschenberg’s theories of Availability. The specially created bricks will line the walls of the courtyard and sculpture garden, to symbolise the celebrated nature of both spaces. The courtyard itself will be lined with the bricks, encompassing the entirety of the space. The bricks will gradually disperse away, getting fewer further up from the courtyard to bring the focus onto the natural environment not of the courtyard, but instead of the wonderful views of the River Tyne and attractions found from the site.
Figure 17 - Watercolour showing the thresholds to the courtyard, highlighted by upcycled brick lining
Figure 18 - Brick Prototypes created from waste materials collected in Newcastle
Figure 19 - 1:100 (Original) Watercolour of Milk Market Gallery and Studios Design proposal in context
Figure 20 - above Pen Illustration of Old John, Bradgate Park, Leicestershire Figure 21 - right Watercolour and pen Illustration of Antoni Gaudi’s Casa Battlo, Barcelona, Spain
Freehand Illustrations In my spare time, I like to draw and paint my own responses, often of places that I love and my express my thoughts and feelings in this way. I often draw initially with an ink pen and then use watercolour to create an atmosphere within the drawings. Following teachings in Zentangle artwork that I learnt from the Young Creators Group I am a member of at Leicester’s New Walk Museum, I like to convey atmosphere through different patterns and markings, to allow the drawings to represent the places whilst giving them a personal, abstract finish.
I have found that my architectural training and experience gave me the ability to understand how the store layout could be most effective for the consumers experience, whilst also understanding how to make it work practically in a defined space.
Visual Merchandising Experience Although not working under a Visual Merchandising title, I often look for and have been given the opportunity to creatively layout areas of the store during my time working at Marks and Spencer, Leicester. I have found this really interesting to be able to put my creative eye and skills into a practical use to entice and create the most effective displays for the consumer buying process. Figure 22 & 23 - Wall Display of Ladies Nightwear Collection
Figure 24 - Mens Accessories Department Layouts
Whilst working in Menswear, I was given the responsibility of the layouts for Mens Underwear, Socks and Nightwear, with occasional free reign in the accessories departments; allowing me to test my creative abilities within a real life environment, and giving me confidence in my abilities to have those skills trusted by senior indiviuals. Figure 25 - Layout of Men’s Nightwear onto Wall
Jody Goodfellow 07817 265502 jgoodfellow@hotmail.co.uk Instagram