P O RT F O L I O
ba architecture Newcastle University, 2017 - 2018 Jordan Paige Ince
Thank you ... First of all, thank you to my design tutors, Cara and Mags, for both incredibly supportive throughout the year. Thank you for your guidance, inspiration and patience. Thank you to everyone in the Culture & Legacy studio, without all of you, the studio would not be the same. Thank you for making it a fun final year and being a support system. Thank you to Bahram and Tanya, I honestly don't know what I would do without you both. And finally, to my parents. It is fair to say there have been some rollercoasters, but without you I would not have made it here. Thank you for all you have done for my education, I will be forever grateful.
Contents
PART ONE
Introduction
8 Reflective Essay 9 The Studio: Culture & Legacy
PART TWO
Pre-Project
15 Charrette Week 19 Primer 35 Pavilion Design 39 Field Trip
PART THREE
The Project
49 Staging 73 Refinement and Realisation
PART FOUR
Integrating
119 Thinking Through Making 123 Tectonic Integration Part One 143 Tectonic Integration Part Two
PART FIVE
Bibliography & List of Images
148 Bibliography 149 List of Illustrations
New work
Edited work
Part One:
Introduction
Reflection on the Stage Three
This year has definitley proved to be the most challenging with a few bumps in the road, however the year proved to me that I have the strength to move forward and achieve what I set out to do. During semester one, we focused on primer. The entire stage I found a fun one, delving into areas relating to architecture, and would improve our design skills by understanding the key themes of our studio. The stage definitely allowed our studio to become close with the vast amount of group work and the field trip. Designing and building the contraption I really enjoyed, especially taking a story and conceptualising it in the form of the interactive boxes. Even though the outcome wasn't exactly what I had in mind, I was still proud of the final product. Onto staging, where developing the concepts of my design was something I really enjoyed and easily came to me. However, the programme and design process was something which I initially struggled with. Taking a while to return to the that frame of mind, which I admit at the time hindered my design.
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On the other side, the conversations and theory which went behind my project was something I found very interesting and a discussion which I would have loved to carry on. Although, the design process started off initially slow, compared to second year the standard of my work I feel has improved dramatically. Whilst initially I hand drawn everything, this year I set a challenge of utilising the computer. As a result, I now have confidence with using technology for design, especially with sofware such as SketchUp, AutoCAD and Photoshop. With some of my perspectives I have produced even surprising myself with the outcome. Furthermore, the year allowed me to improve my graphics and is something which I feel is one of the stronger aspects as a designer, and is something which I would love to continue to grow and explore the different avenues in relation to this. Overall, I have loved my final year studying architecture, and am excited to see what will happen in the future, exploring and learing more about design.
The Studio: Culture & Legacy
Culture & Legacy explores the themes of the themes of culture/legacy/ change/identity/narrative, in relation to the cities Sunderland and Stokeon-Trent. Both cities were nominated for 'City of Culture 2021', but lost to Coventry for the title. The studio brief for the design project was to create a cultural hub, however to bear in mind that the building should invite a level of interaction. The programme of the building should bear something which is short-term, for instance an event for the city's bid. Also, building should provide a temporary base and has the ability to be adapatable for the future. Creating a building which mark an everlasting memory within the
community. The building should provide a temporary base and has the ability to be adapatable for the future. Creating a building which mark an everlasting memory within the community. The architecture is to fundamentally bear in mind throughout the entirety of the design project about people. inviting them to interact with the building and their perspectives of place. Culture & Legacy was broad in the sense that it allowed people to explore different avenues that were of interest to them. For instance, the designs created at the end of year ranged from theatres, a brewery, transportation hub and workshops.
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Graduate Project Overview
My graduate project is a loose collaboration between a storage facility and archive. The brief of the programme is that items are donated by the people of Stoke-onTrent to the archive, where it is then stored. These items are then on rotation as to what is displayed within the archive. The building is a celebration of
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everyday life, and for people to gather an appreciation for the quotidian through everyday objects. Furthermore, it also provides a space to learn about the people of Stoke-on-Trent. This portfolio aims to provide an indepth presentation of how this project developed from primer to realisation.
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Part Two:
Pre-Project
Charrette Week
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curating apl
For my third year of Charrette Week, I was working with the group in charge of recording and curating the entire week. As a group we wanted to create a space where everyone could celebrate their own work and others though pictures, recording both the final product and their processes. As to recording the week, we chose to primarily use polaroids - to create ‘instant memories’ - displaying pictures which are pure and unedited. Along with these images, we also collated hundreds more photos from DSLR cameras and a video. The video, similar to that of the current popular “one second a day” concept, recorded all fifteen groups throughout charrette working to produce their final product. 17
Primer
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the stormy petrel
“The Stormy Petrel� is a nickname for the maritime hero, Joseph Ray Hodgson, who saved the lives of individuals and the crew members of fifteen ships in sixteen years. The nickname is derived from the seabird with the same name, which was rumoured to be the last species to return to land when stormy weather was brewing out at sea. My contraption is based on the calm and chaotic element that water creates, this resulted in a piece made from primarily three layers. The top layer, loosely based on a pinball machine, contains a spring plunger which fires the ball across the board to trigger movement in the suspended glass objects, replicating the chaos. Through the projection of the central layer, made from PVA and string, what was initially calm has now turned into a scene of chaos. 21
Experiments with string and PVA glue 22
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Above: Trial with PVA and string across a frame before the final. Right: Final contraption. 24
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Details of the contraption at primer show 26
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The studio contraptions ready for the primer show
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dismantled object
For this exercise as part of Primer, we all had to choose an object. Something which was smaller than a carry-on suitcase but larger than the palm of your hand. Something which was not digital but analogue. The role of the exercise was to explore and understand how the object operates. This was to inspire us when designing and constructing our interactive contraption, to begin thinking about the contraption’s movement. For my dismantled object, I chose an alarm clock. Watch the dismantling video at: https://vimeo.com/270396242 30
learning about legacy
As one of the key themes of our studio, it was important to gather an understanding of the topic. For instance, how long does something, or a building need to last? Therefore, as a studio we studied the likes of Liverpool, and the impact that the title of 'European Capital of Culture' had on the city. The European Capital of Culture aims to allow failing cities to host 365 days of cultural events to help boost the social involvement and the economy. Winning the title aims to improve the city’s image and make it internationally well-known, as well as highlight the cities diversity, culture, and history. The first city to win was Athens in 1985, since then one city or more has gained the title every year, following Liverpool’s win in 2008, the
UK began its own national competition with cities winning every four years. Not only did the year of celebration see 9.7million visitors, an increase of 34%, it also generated £753.8m for the economy. Notably, 85% of local residents agreed after the event, Liverpool was a better place to live in. Some notable events of 2008 include: opening of Kings Dock Arena, festivals for food, music, dance, comedy and poetry, a world premier, European sports events, exhibitions celebrating Liverpool’s culture and history, as well as many more. Ten years on in 2018, Liverpool is again celebrating its former title with another year full of events bringing the city together, increasing tourism and including more of its residents. 31
mapping
As a studio we all collaborated to make a collation of maps relating to both Stoke and Sunderland, enabling us to gather knowledge about the two cities for both tangible and intangible elements. The map that was particularly useful for my design project was the one labelling the tourist hotspots 32
throughout Stoke-on-Trent. Noting that the city holds only one tourist information spot, enforcing my project to be a useful asset to the city especially with my location contained within a honeypot site, being near to the station. For the primer show, each map was printed on tracing map so it could be layered on one another and compared, on top of a lightboard.
Mapping display at the primer show 33
Pavilion Design
Daytime and nightime renders of pavilion 36
The Dancing Hut
For my pavilion I wanted to have a design which celebrated particular types of dance movements in Sunderland and Stoke-on-Trent. Sunderland: The North East has a fairly prominent Swing dance scene, with the likes of Swing Tyne and Shag Tyne and jazz cafes and nights located throughout the area. Stoke-on-Trent: Northern Soul was a large dance and music movement which arised during the 1960s throughout Northern England. Particular dance moves and fashions that grew from the rhythm and soul scene, which spread to nightclubs. In particular ‘The Golden Circle’ in Stoke-on-Trent. The pavilion in both these locations would
host workshop/classes, along with social dancing and a pop-up bar. Although the pavilion mainly celebrates the particular dance/music genre, both types of dance encourage socialising and interaction within the community. Live music will also play a vital role in the pavilion. After visiting the Durham Lumiere festival, one of the installations (pictured to the left) had coloured film which was then projected onto the ground. Although quite a simple idea, many people interacted with the colours on the floor in some way. With this inspiration I discovered the artist Tom Fruin who creates these installations (pictured to the left) made from a steel frame and coloured perspex. The projections created by his pieces is what I would like to be simulated with my pavilion.
Top: Kolonihavehus, 2010 Steel and found plexiglass 12 x 12 x 14 feet by tom fruin
Bottom: Exhibition at Durham Lumiere Festival
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Field Trip
Field Trip
Hull ... Rotterdam ... Delft Starting off in Hull, the UK’s current City of Culture, leading onto Rotterdam, Delft and then Amsterdam. Being in Hull enabled the studio to discover the impact what the title as the UK’s current ‘City of Culture’ has on city. With the numerous events on throughout the city, such as holding the Turner Prize. An area, which particularly caught my attention, was Humber Street. This space was ultimately destined to be the heart and soul for ‘Hull, City of Culture 2017’, therefore a lot of work was taken to re-use the old warehouses for creative industries and independent restaurants and shops, for example. Although this area has now become an attractive site, it feels as though there are lot of areas within Hull which were still left neglected. Furthermore, with such a sudden amount available to enable gentrifying the area, it felt unclear as to what the future holds for the city and whether they it continue to grow in a sustainable manner.
Onto Rotterdam, where we were able to observe the aftermath of when the city was ‘European Capital of Culture’. The city has achieved the status of becoming a land for modern architecture, with inspiring architecture by the likes of OMA and mvrdv. However, the city is still an unknown one with the majority maybe having heard of its name but with very little knowledge about the city itself. As a result, there is little tourism within the city but its’ a factor which adds to the uniqueness of being an architectural utopian. The end of the official fieldtrip was Delft, with its vast canals, similar to that of Stoke-onTrent. Whilst we only spent a day there, the majority of which was spent at TU Delft, here we were able to see the infamous library and the awe-inspiring and vast Architecture department. The architectural department was a true demonstartion to how architecture was able to create dynamic spaces to encourage and aid education.
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Field Trip
Sunderland ... Stoke-on-Trent Later on, we had our site visits to Sunderland and Stoke-on-Trent. This allowed us to gather an overall feeling for the cities, and understand the potential and the benefits of the site bearing in mind our programme. After visiting Stoke-on-Trent, especially with the tour around the Spode Factory, I persuaded that this would be the location for my building. Partly due to the fact that compared to Sunderland I felt Stokeon-Trent was more underdeveloped, and would be a better option for ‘City of Culture 2021’. In addition, the infamous industry of ceramics was an aspect which I wanted to incorporate within my building. The concrete forms of the Spode Factory, where the production of ceramics under the same name takes place, I found was a prime opportunity to take inspiration of and relate within the design of my cultural hub.
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Part Three:
The Project
Staging
The Site 51
macro scale
Stoke-on-Trent is made of 5 towns: Hanley, Burslem, Tunstall, Longton and Fenton. Hanley is the city’s commericial centre, with the majority of expenditure invested in this area. Around 250,000 people live across the city, with the majority aged between 3044. The city is ranked within the top 20 of the most deprived cities in the UK, hence why the area was nominated for the UK ‘City of Culture 2021’. The city came to limelight in relation to the Brexit vote, with 69% of voters wanting to leave the EU, as a result it received the nickname of ‘Britain’s Brexit Capital’.
building situated adjacent to the north side of the warehouse within exisiting car park north west facade of building facing station northern light - could be beneficial to place archive and storage facility spaces here
south west facade of building facing canal and queensway: prevailing wind - could help with natural ventilation noise and air pollution from busy A500/queensway could provide link to other side of canal use waterway to advantage - views put office and cafe spaces for advantage of s. light and use of passive solar design access opportunities: slip road off queensway further north of site into car park provide easy link from station with designing landscaping in exisitng car park not much link with south side of site and access from glebe street - however opportunity to convert exisitng warehouse as a gateway into this new sector
building adjacent to east side of warehouse and railway track north east facade of building backs onto railway track noise and air pollution from station constant passerbys therefore “free advertising� for building easy to link to station views of track provide link to industrial past of Stoke, complimenting the brief of the building
continuation of existing roof could be useful with providing simplier ways of n. light and s. light for use of renewable solar energy mechanisms
northern exposure and access as faces existing car park which is easily accessible by slip road off queensway orientation and placement is an advantage for a main entrance and drop-off/collection points
micro scale
After visiting both Sunderland and Stokeon-Trent, I decided to choose the latter, based on the ideal incorporating the local ceramic industry and the inspiration of nearby architecture.
warehouse extension into exisitng car park south of warehouse - part of building to reuse existing warehouse
existing warehouse could use for archive and storage facility exisitng services withing structure would need updating to suit programme requirements
More specifically the site is located between the city’s main railway station, the A500 and the Trent-Mersey canal. On the site there is an existing warehouse (pictured on the previous page) and a car park, utilised by those using the station.
existing car park could be utilised for same purpose or landscaped to provide a more attractive entrance good access from glebe street, easy for drop off/collecting services for archive and storage space
south west facade adjacent to canal use waterway to advantage with good access and aesthetic purposes
again improve access from station
south facades exposed to prevailing wind and s. light could use to advantage for natural ventilation southern light exposure for office and cafe spaces
Images to the left taken from ARC3013 Par t One
As part of Architectural Technology Part One, site analysis was a key part of the coursework. With such a broad site, it was important to gather a deep understanding of the site, this was achieved through mass modelling. Taking a rough site model and clay, which I shaped to the guidelines of our design to be held within 1500sqm. 55
concept
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creating a link to
the station
After the site analysis iterations, I decided to extend off the existing warehouse and connect to the the railway platform. Creating a link and a gateway from the station to the rest of Stoke-on-Trent, providing a space for visitors and also the residents to learn about the city. 57
Site model 58
1:500
with initial extension shape
Design Development
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Above: Initial programme through building, taken from Architectural Technology Par t One
relationship
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During the Architectural Technology Part One, the initial thoughts about the relationship between the programme and layout within building began. Initially the entire programme was to take place inside the extension, however with an large amount of space required
for storage it made sense to incorporate the existing warehouse with the vast space available. Furthermore, the extension containing the reception initially was shaped in a triangular format. However, with the surrounding context, it looked out of place. Therefore, it became a more rectangular shape with continuation of the roof of the archive and a canopy. 59
concept
- light as a director
This idea behind this model is the exploration of the reflection of light and the shadows that can be cast from this. Furthermore, leading to the concept of light being the director over people’s attention and focus, by the casting of light and shadow over the objects. 60
concept
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a passage of light
This model informed one of the most significant elements of my design, with natural light entering through the roof at different moments of the archive space. The idea that as the natural light filters through at these different points, the time of day is reflected within the space as the beams of light slowly travels throughout the room. 61
concept
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filtered storage
facility
Intention for the storage space to be constantly undergoing a ‘push and pull’ system, with objects regularly entering the storage boxes and taken away from the space to enter the archive. 63
Brief Development
At Staging, I began to develop the idea for the programme of my building, where it would house a collaboration between a storage facility and archive. Therefore, this unique programme required a lot of developing and understanding of the specifics to provide a thorough understanding of the scheme. After researching into the programme for Stoke-on-Trent’s bid for ‘City of Culture 2021’, I discovered ‘The Face of Stokeon-Trent’. The context behind this being that people represent the city, the artwork produced was a large face made of the faces of residents in Stoke along with a booklet featuring the faces in the artwork (picture below) and their stories. The theme that people and their stories represent the city was something I wanted to carry forward and aided with forming the programme further and the purpose of the design.
This later on developed into wanting to display the folk of the city through everyday objects, taking inspiration from ‘So Many Ways to Begin’ by Jon McGregor. The book is written where each chapter and, hence the story, is told through a normal, everyday object. The book reveals how an item, however insignificant it may seem, can reveal so much about a person’s ambitions, thoughts, likes etc., and therefore the worth of this ‘simple’ object is increased and valued . Furthermore, the idea that the history of the item can reveal the social context from both the person to the city. As a result, the programme developed to become a gathering of everyday objects of Stoke-on-Trent. A mixture of the quotidian, donated by the people of the city, which is collected, sorted, stored, curated and displayed.
“When Dorothy Carter was twentyseven she wrote a list, sitting at the kitchen table, tapping her pen against the side of her face while she thought of everything she wanted to include. When she’d finished she pinned it to the back of the utilityroom door, where it stayed until the day she finally moved out.” “She’d chosen colours and wallpapers for each of the room, and listed the ornaments and accessories which she’d seen in magazines and long wanted. She’d listed an electric iron, a top-loading washing machine, a vacuum cleaner, a new wireless set, an electric sewing machine. Albert [Dorothy’s husband] laughed when he saw the the list. the story went, telling her that she’d missed out the moon on a stick, but kissed her all the same and said they’d see what they could do.” “This is the sort of person his mother was, he thought whenever he looked again at the list, when he imagined her reinventing her family’s life in that way, with a new child, a new house, a new city outside waiting to be rebuilt. This was what he would tell anyone who asked, showing them the yellowed sheet of paper; my mother wanted all these things for us, and look how much of it she got. This is was what he was going to say, if there was anyone who wanted to know.” Extracts from Chapter 2: Handwritten list of household items, c1947, ‘So Many Ways to Begin’ by jon mcgregor
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“We need to think about what is happening around us, within us, each and everyday. We live on familiar terms with people in our own family, our own milieu, our own class. This constant impression of familiarity makes us think that we know them, that their outlines are defined for us, and that they see themselves as having those same outlines. We define them. and we judge them. We can identify with them or exclude them from our world. But the familiar is not the necessarily known.” - henri lefebvre, ‘the critique of everyday life’
“Objects have biographies and personalities and presence.” - susannah walker, ‘the life of stuff: a memoir out the mess we leave behind’
“In countries like Britain where consumerism prevails, we own more than ever before and our possessions form an inescapable part of not only our outer lives but our inner landscapes as well. Many people have collections; far more of us have family photographs and childhood momentos. We hide things in cupboards and never use them, rent increasing amounts of storage space for the stuff we can’t fit into our houses, and we almost all believe that it is not only right but impotant for the governemnt to keep vast stores of unused objects on our behalf in museums where they will never be thrown away.” - susannah walker, ‘the life of stuff: a memoir out the mess we leave behind’
Most influential quotes from readings which helped shape my brief 65
Why Everyday Objects?
With the majority of museums, there is no denying there is a lack of everyday objects as their main objective. Therefore, there is a lack of representation and acknowledgement for the quotidien which is something, especially with today’s society, that should be reflected and appreciated. Furthermore, there should be some record available of the everyday norm for historic purposes and establishing a true representation of the public. Something which the Mass Movement organisation attempted in 1937 in Britain, their specific aim was to ‘bridge the gap between how the media represented public opinion and what ordinary people actually felt and thought’1. The information
was recorded by volunteers keeping diaries or simply asking them for their thoughts on society for example. Although, there was conflict with hiring private investigators to record people’s conversations or behaviour at work for instance. The movement ended in the mid-60s until 1981, where the project was revived with the original stored within an archive in the University of Sussex. Especially, in the current climate of a declining economy and with homes decreasing in square metres, down-sizing has become more and more popular. Therefore, it is almost a opportunity which cannot afford to missed of collecting peoples goods as they discard due to a number of situations.
Precedents of museums with everyday objects on display top: geffrye museum of the home, london, uk middle: musuem of childhood, v&a, london, uk
(caruso st. john architects) bottom: pitt rivers museum, oxford, uk
When I moved out, and across the country, I took the toaster. that show’ll you. how are you going to toast anything now? the toaster of vindication 2006-2010 - denver, colorado
from the musuem of broken relationships, zagreb, croatia
Benjamin Jones, “Mass Observation 75 Years On: The Extraordinary In The Everyday”, The Guardian, 2012 <https://www.theguardian.com/commentisfree/2012/ apr/19/mass-observation-75-years>.
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returning
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dismantled objects
Reflecting back on all the work produced for the dismantled projects during primer week, I began to comprehend the importance of objects and the amount of effort it takes to produce and all the objects that were taken apart were the ideal examples of what would be display in the archive. For example: Cameras, typewriters, weighing scales, alarm clocks 67
Applying the Programme
With the programme determined, it was important to establish a thorough plan for the programme to work in conjunction with the concept of the collaboration between a storage facility and archive. Furthermore, the process of developing the brief in terms of design, would inform the architecture of the building as a whole and the details within. To gather this passage from the city to the archive, it was clear that it was to be determined through the use of plan (pictured opposite) with the aid of perspectives. This led to the sytem of the programme to be split into five main categories: 1| collected + delivered The donatorâ&#x20AC;&#x2122;s of objects from the folk of Stoke-on-Trent can either call, email or use the facilityâ&#x20AC;&#x2122;s app to apply for collection. The company provides a collection service, where their transit vans go from door-to-door to collect the objects. Or they can deliver the objects themselves to the storage facility. 2| filtered + sorted After they are delivered to the archive, the objects are carried into the warehouse to be filtered and sorted. Here a team of curators inspect the objects, recording their worth and history before adding to the vast collection of objects via the overhead conveyor belts. The waste materials or the unwanted objects, such as cardboard boxes etc., are taken to the basement where they are stored before taken to be recycled elsewhere.
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3| stored Objects are stored into specific categorised rooms: paintings, furniture, clothing, car parts, photographs, crockery, electronics, jewellery, tools, toys/games, books Therefore, each room can be uniquely ventilated for the particular objects contained within. Within the rooms the objects are stored in a chronological manner i.e. the date they entered the storage facility, with details of the history of the object itself and the history of the object to itsâ&#x20AC;&#x2122; original owner. 4| final curation The objects are on a monthly rotation between the storage facility and what is on display in the archive. Leaving the storage facility rooms via the overhead conveyor belts, they advance to the tables before the archive, and are curated. The curation team is made of volunteers, a mixture of volunteers who are experts in fields that are related to the everyday. They filter the vast selection available and what is next to be on show, they then ensure the information of the objects is correct and the detail back story is fluent and clear. 5| archive The final step is the display of the objects within the archive to the public, enabling a deep reflection of the quotidian. The display of the space is structured so that it develops from a chaotic mess, a space for interaction to an organised layout, the stereotypical norm that is expected of a gallery or museum.
Sketches of figuring the process through the building
Initial diagram of programme through building 69
Second iteration of diagram through building, within improved plan 70
Improving first floor plan at 1:200 71
Realisation + Refinement
Final of programme through building building finaldiagram diagram of programme through
For the perspectives to help portray the details of the programme, it felt appropriate to portray it through a story. Inspired by a childrenâ&#x20AC;&#x2122;s book, the story is told through a fictional character - Mr. Smith - and his object he his donating to the storage facility - a blue teapot: The Marvellous Journey of Mr. Smithâ&#x20AC;&#x2122;s Blue Teapot Each numbered description of the graphics on the next pages correlates to the stage labelled on this diagram.
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Today Mr Smithâ&#x20AC;&#x2122;s blue teapot was collected from his house, by the big white van, and was transported all around Stokeon-Trent.
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Until it finally arrived at a big warehouse along Glebe Street, next to the railway station.
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The blue teapot was taken through the doors, sorted and cleaned, so it was like new again.
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Afterwards, it was stored in a special room with crockery friends, which have been collected from all around the city.
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A few weeks later, the curation team decided Mr Smithâ&#x20AC;&#x2122;s blue teapot was to go on display in the archive.
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The blue teapot stood alongside lots and lots of other artefacts, playing an integral role in the celebration of everyday life through the folk of Stoke-on-Trent.
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1. Delivered 2. Sorting 3. Final curation zone 4. Reception/Lobby 5. Archive Storage facility containers: 6. Painting 7. Furniture 8. Clothing 9. Car parts 10. Photographs 11. Crockery 12. Electronics 13. Jewellery 14. Tools 15. Toys/Games 16. Books 82
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basement plan
Ground floor plan 1:200 at A1 83
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1. Cafe 2. Storage facility maze 3. Staff Room 4. Office 84
roof plan
First floor plan 1:200 at A1 85
Facade Development
first facade iteration
Itâ&#x20AC;&#x2122;s fair to say the facade of the extension was something I struggled with the most out of the entire design process. The first idea was for the building to be encased with glass acting as an exterior shelving unit, taking inspiration by some of the Apple stores. These would provide hints into the interior of the building by displaying everyday objects, and provide a certain amount of intrigue to those who pass by on the train. However, whilst applying this for my Architectural Technology part two coursework, I fell out of love with this idea and wanted to keep the raw quality of a concrete shed. 86
second facade iteration BALTIC Centre for Contemporary Art, Newcastle-upon-Tyne
This idea was inspired by the BALTIC in Newcastle-upon-Tyne, where temporary posters are plastered on the facade of the building overlooking the river. The murals act in two ways, either as an advertisment which provide hints to the public about an exhibition the gallery is currently holding. Or, something which is eye-catching that provides a level of intrigue and a desire to find out more. The idea for my facade was to plaster old advertisements on the side of the building that were related to everyday life, such as stereotypical adverts aimed towards women. 87
St. Brideâ&#x20AC;&#x2122;s Church - Gillespie, Kidd and Coia
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Ronchamp Chapel - Le Corbusier
Elevation of final iteration
final facade iteration
This iteration is was inspired by two precedents: St. Bride’s Church by Gillespie, Kidd & Coia and Le Corbusier’s Ronchamp Chapel. What I loved about both of these interiors are the deep inset concrete walls and the dramatic use of natural light, something which I felt connected with the design of my building. By taking inspiration of the interior of these buildings, I wanted to invert the idea so the windows were expressed on the exterior facade along the railway. Therefore, the strong use of natural light of the interior of the archive is reflected on its’ exterior facade. However, the top of the insets are lit by artifical light where the high contast occurs during the night, opposing to the building’s interior, when the building is illuminated by frames of light. This idea developed even further, by wanting to retain some ideals of the original iteration, by utilising some of the insets acting as a shelf by displaying objects. 89
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Daytime perspective 91
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Night-time perspective 93
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Facade model at 1:200
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Facade model at 1:200, imitating night effect
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Perspective Entering Perspective into of foyer ofthe Foyer entering foyer from from the thestation railway
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Storage Facility Development
Whilst the storage facility had already undergone a thorough amount of thought in relation to the unique process throughout the building, it was an area of the building which was very private and felt a prime opportunity to create another layer to the space. Futhermore, with the public only immersed within the monastic space of the building, they were missing out on a whole other dimension to the building - the chaotic. Taking inspiration by my primer contraption with layers, leading to a transition from calm to chaotic, it was something which I wanted to carry forward into architectural design. As a result, a new floor was added to the warehouse, where the height was already available to make use of. The floor is accessed from the foyer or at the back of the
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archive. Where they would enter a walkway is available, spanning across the centre of the storage facility towards the cafe, which provides views over Stoke-on-Trent. Whilst a straighforward pathway is available from â&#x20AC;&#x153;point a to bâ&#x20AC;?, there are diversions through the storage boxes arranged in a more maze-like manner. The idea that the public can walk through the organised chaos of the storaged archive, with glimpses into the labour behind achieving the archive. Becoming fully immersed with the everyday, in a far more up close and personal manner. The maze's walls are created by open shelving, which will have old ceramic tiling adhered to the service. The shelving will then be adorned with objects. The idea that this is juxtaposing the archive, and it full of chaos and colour.
Perspective of storage facility
Archive Development precedents for the archive
After researching into the Kimbell Art Gallery by Louis Kahn (pictured above right), and the history of ceramics in Stoke-on-Trent, I wanted to incorporate concrete as the main material for the extension of my building Creating a concrete shed alongside the railway, would instantly provide passersby with a hint of the historical context of the city. The boldness of the material will provide a strong landmark for Stokeon-Trent. Futhermore, another main component I wanted to incorporate was the use
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of light. Where lighting is already a neccessity within gallery spaces and museums, it was something which I wanted to explore in depth with particular focus on natural light, taking inspiration once again from Louis Kahn’s ‘Kimbell Art Museum’. The Theory into Practice essay enabled me to investigate the use of natural light and how it can be used to bring the quotidian into existence, creating a dynamic where people subconsciosuly reconsider the worth of everyday objects. This particular essay considered the theory of Tadao Ando’s work, researching into Japanese architecture and their respect for nature.
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undulating the roof
After visiting the Spode Factory in Stokeon-Trent, the warehouse in which pottery under the same name is produced. I completely adored the undulating ceiling (pictured to the left), and wanted to replicate a similar aspect in my building. In addition, having light to enter through the roof at the different angles available from itsâ&#x20AC;&#x2122; form, would create an interesting light dynamic throughout the building. The original idea (pictured above) was for the light to enter through slats stretching across the entire breadth of the ceiling. However, this proved fairly difficult with the structure of a building and the detailing to ensure no leakage. 106
Technical section of archive, original at 1:20 taken from architectural technology par t two
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1. 280mm External Reinforced Concrete 2. 20mm Sand Binding 3. 20mm Damp Proof Membrane 4. 100mm Insulation 5. 240mm Internal Concrete 6. External Domed Glass 7. Protective Zinc Plate 8. Protective Zinc Plate 9. Thermal Insulation of Flashing Plate 10. Insulation Glass 11. Insulation Layer of PolystyreneXPS 12. Insulation Glass 13. Polished Concrete Flooring 14. 20mm Damp Proof Membrane 15. 100mm Insulation 16. Steel Joists
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final product of the archive
The end result for the archive, in particular the roof, is an undulating roof with tunnel lights sporadically featuring across the span. The length of each curve of the roof spans 9 metres aligned with the pitched roof of the warehouse.
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These natural light spotlights effectively direct the light path at difference points across the whole day. Throughout the day, the lights highlight the different objects within the archive. Overall the aspect of the space is to create a monastic atmosphere, displaying the items fundamentally within a different light. The effect of this light is to create a psychological impact for the visitors, where they gather an deep appreciation for the everyday. 107
Section of archive as whole
Section through archive
need reworking
changing perspective
From the perspective on the previous page, it felt as though the the display should be developed more. It felt the archive, should have more chaotic moments reflecting the storage facility. 115
Part Four:
Integrating
Thinking Through Making
timber joinery
This workshop allowed the opportunity to create joint using timber by only using hand tools. It was particularly useful when I came to designing my primer contraption, in particular the outer frame and the central layer, which was a delicate frame using the same intelocking joint I experimented with in this workshop. 120
interactive design
This workshop involved using circuits which would be activated by light, noise, movement etc. Splitting into groups, each was in charge of a particular circuit which would create part of the contraption. Altogether, the circuits created piece which enticed the senses. The workshop provided an interesting insight into the future of architecture and the use of technology. 121
Tectonic Integration Part One
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overview of Kunsthal
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Location: Westzeedjik, Rotterdam, The Netherlands Programme: Seven auditorium spaces auditorium, alongside a cafe and shop
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Date of Construction: Opened in 1992 Designers: Rem Koolhaas in collaboration with project architect Fuminori Hoshino from OMA Other Information: Renovations from 3rd June 2013 - 30th January 2014, improving security and environmental performance
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design intent and experience
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The primary purpose of the building being a public museum, the program wanted to deal with three exhibition spaces which have the ability to either function together or separately. Also a cafe on the ground floor, for both museum and public use, and a sloping auditorium. More private and hence secondary sections, such as small offices and a press room are hidden in the southern section of the building. The circulation through the Kunstal is a unique one with the help of stairs, ramps and elevators which help people flow vertically between the two levels of the museum. Maasboulevard, an expressway upon one of Rotterdam’s largest levees’, this acts as a flood defence with its elongated mass of raised earth which runs parallel to the river.
In response to the site, Koolhaas wanted to connect all North, South, East and West facades of the building, therefore designed a 6m pedestrian ramp running North to South connecting the park and expressway. Then at the bottom of the building a slightly more hidden service road lining the West and East. These two intersecting lines created four sections which aided Koolhaas with the Kunsthal’s conceptual framework and flow of the spaces.
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site appraisal
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The Kunsthal belongs to the collection of museums within Museumpark, with the main heart of the city being North and the Nieuwe Maas river flowing South. The park, which once was land belonging to the Hoboken famWWily who lived in what is now the ‘Natuurhistorisch Museum Rotterdam’ (pictured bottom left). Although a floodplain, the space started to beutitilised by the public and eventually its’ reputation became that of one Rotterdam’s main cultural hubs. The South facade of the museums faces alongside Maasboulevard, an expressway upon one of Rotterdam’s largest levees’, this acts as a flood defence with its elongated mass of raised earth which runs parallel to the river. In response to the site, Koolhaas wanted to connect all North, South, East and West facades of the building, therefore designed a 6m pedestrian ramp running North to South connecting the park and expressway. Then at the bottom of the building a slightly more hidden service road lining the West and East. These two intersecting lines created four sections which aided Koolhaas with the Kunsthal’s conceptual framework and flow of the spaces. 131
atmosphere and materiality
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The Kunsthal is compromised of a combination of expensive and inexpensive material. Classic, more expensive, materials consist of marble and parquet. The cheaper, more common materials involve corrugated plastic, bare concrete, galvanised steel gratings and rough tree trunks. The use of a bright orange colour provided clear signage. The textures present around the building provide smooth surfaces as a background for all the varying exhibitions. 133
energy and environmental strategies
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Building Form The building is split up by a pedestrian access ramp from the north to south and then by a service entrance from east to west. A service tower is added to the top of the building. Due to these tunnels though the building it has meant there is a large surface area of the building and so it is less efficient.
Passive Solar Heating The largest glazed facade faces South West and receives large amounts of solar gain. There is over 1200m2 of glazing on the building (almost 50% of building envelope). Due to this their excessive solar gain and often cooling problems in summer. Building renovation in 2013 installed new glass with a U-value of 1.1.
Flooding Strategy Under the new Museumpark car park is a large water storage tank to increase capacity for the sewage network during heavy rain, Green roof helps to absorb rain and reduces surface runoff The building is situated on the Westzeedjik dyke which is part of the greater Rotterdam flood defence network Foliage planting helps to reduce effects from heavy rain, absorbing water and reducing direct rainfall
Envelope Fabric Ventilation below windows reduces condensation due to large area of glazing U-value of 1.1
Organisational Layout During the original construction all the spaces used to be interconnected. During the refurbishment the spaces were separated to improve security and environmental efficiency. The separate rooms allow each space to be conditioned to its specific use, reducing energy requirements for some spaces.
Cooling Strategy During the summer months shading form foliage located around the building and specifically near the main auditorium helps to shade the building reducing excessive solar gain in summer. Mechanical cooling helps with this. Cold fresh air is sucked in from the service tower and used to cool the space. How air is removed via vents in the service tunnel.
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structural strategy
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auditorium
exhibition space
The museum as a variety of columns and load-bearing walls spread throughout, providing the Kunsthal with it’s complex structural system. The most complex structural section of the building is within the auditorium, where columns are placed in at a particular angle making them perpendicular to the sloping floor of the room. These concrete columns create an extreme horizontal force and produce a reinforced concrete moment frame. The moment connection of the concrete is deepest in the direction of the bending, therefore strengthening the auditorium’s structural system.
within the Kunsthal. Inspired by Le Corbusier’s development of th e free plan, Koolhaas’ design turned into a rather complex grid with different structural elements for each space, further advancing Koolhaas’ to make each space within the Kunsthal different. What appears on the outside to be a simple cube, the interior however was given much attention between the vertical and horizontal elements of the building and its’ surroundings.
Inconsistent column sizes run throughout the building due to the varying need of the type of support 137
key moments and detail s
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The glazing on the back facade epitomises the user-driven design intent of the building. The exhibition space on the right-hand side has external glazing, creating a closed envelope with a sense of inwardness and seclusion. The left-hand side housing the entrance foyer and cafe has internal glazing, creating a feeling of permeability and openness, enforcing the sense of public space.
Glass convexing out creates a skin which feels less penetrable- a space inside feeling contained and safe,and is only reachable by museum goers.
The uncompromising design intent of Koolhaas is also apparent within the glazing. The internally-glazed cafe space was installed the wrong way around for the sake of seeing out his design, despite protest from the contractors who worried the windows could leak. Koolhaas followed his intended design, and the windows occasionally leaks.
Glass concaving inwards gives a sense of permeability and openess to the cafe and foyer- a space reachable for any member of the public. 139
bibliography
Architectmagazine.Com, 2018 <http://www.architectmagazine.com/project-gallery/the-kunsthal> Bonarrigo, Chris, “K.Thesis”, Myweb.Wit.Edu, 2009 <http://myweb.wit.edu/bonarrigoc/catalogue/K.thesis.html> Buchanan, Shannon, “Modernists And The Free Plan”, Architecture, Design And Thoughts, 2013 <https://shannonlynettebuchanan.wordpress.com/2013/03/30/modernists-and-the-free-plan/> Charleson, Andrew, Structure As Architecture (Oxford: Elsevier, 2005), pp. 124-6, 136-7, 201 Kroll, Andrew, “AD Classics: Kunsthal / OMA”, Archdaily, 2011 <https://www.archdaily.com/102825/ad-classicskunsthal-oma> Kunsthal Rotterdam”, Balmondstudio.Com <http://www.balmondstudio.com/work/kunsthal-rotterdam.php> “The Building - Kunsthal”, Kunsthal.Nl <https://www.kunsthal.nl/en/about-kunsthal/building/>
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list of illustrations
Page 106 - Photography of Kunsthal taken from kunsthal.nl Page 109 - Site within larger context by Jordan Paige Ince Page 111 - Drawing of Kunsthal by Finlay Lohoar Self, edited Page 113 - Site appraisal images by Jordan Paige Ince Page 115 - Photographs by Ellie Waugh Page 117 - Drawings by Finlay Lohoar Self Page 117 - Drawings by Finlay Lohoar Self Page 119 - Photographs by Morris Chan Page 121 - Drawings by Sam Brooke Page 121 - Photograph by Sam Brooke
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Tectonic Integration Part Two
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achieving atmosphere
From taking the technical section from technology, it was wondering how this could be represented through a perspective. The space of the archive is supposed to be a monastic one, with spotlights entering through the roof at different points. With the heavy concrete interiors, it was clear there was going to be heavy contrast between the two, enabling the light to be cast through. Fundamentally, the architecture of the building allowing the objects to be illuminated and the main focus. 145
Part Five:
Bibliography & List of Illustrations
Bibliography
Critique of Everyday Life: Volume One - Henri Lefebvre
If nobody speaks of remarkable things - Jon McGregor
So many ways to begin - Jon McGregor
Lefebvre, Henri, John Moore, and Gregory Elliott, Critique Of Everyday Life (Verso, 2008)
McGregor, Jon, If Nobody Speaks Of Remarkable Things (London: Bloomsbury Publishing, 2002)
McGregor, Jon, So Many Ways To Begin (London: Bloomsbury Publishing, 2006)
Housewife, 49 (Film)
The Life of Stuff: A memoir about the mess we leave behind - Susannah Walker
Building for Industrial Storage and Distribution - Jolyon Drury and Peter Falconer
Walker, Susannah, The Life Of Stuff: A Memoir About The Mess We Leave Behind (Doubleday, 2018)
Drury, Jolyon, and Peter Falconer, Buildings For Industrial Storage And Distribution (London: Routledge, 2003)
Millar, Gavin, Housewife, 49 (ITV, 2006)
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List of Illustrations
All images author's own, unless listed below: Page 9 - Photograph provided by Polina Morova Page 23 - Photograph taken by Polina Morova Page 25 - Map from Culture & Legacy's booklet Page 29 - Image of Tom Fruin precedent taken from: http://www.tomfruin.com/works.html Page 32-33 - Photographs provided by Mags Page 44 - Map taken from Google Earth Page 46 - Map taken from Google Earth Page 56 - Image of 'The Face of Stoke-on-Trent" taken from: https://faceofsot2021.com/theface3/ Page 58 - Precedent images taken from: https://www.artfund.org/whats-on/exhibitions/2016/11/22/christmas-past-exhibition https://www.pinterest.co.uk/pin/521362094342410872/ http://www.michaelfreemanphoto.com/media/38dd562a-cdf8-11e2-8b22-47372bf5d6eepitt-rivers-museum https://www.timeout.com/croatia/blog/objects-from-museum-of-broken-relationships-a-vengeful-toaster-071516 `Page 59 - Dismantled objects photographs provided by Arran Noble, Kiran Basi, Emma Moxon and Finlay Lohoar Self Page 80 - Precedent images taken from: http://solidspace.tumblr.com/post/27471522327 https://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/5037e71028ba0d599b000388-stringio-txt Page 93 - Precedent images taken from: https://www.pinterest.co.uk/offsite/?token=944-781&url=http%3A%2F%2Fwww.patrickeischen.com%2Fportfolio.php%3Forder%3Ddate&pin=456341374716437666&client_tracking_params=CwABAAAADDg4NTAyNjUxNzk5MQA~0 https://photorator.com/photo/22753/the-balanced-diffusion-of-light-inside-the-kimbellart-museum-in-fort-worth-texas-by-louis-kahnPage 94 - Spode Factory image taken from: https://www.apollo-magazine.com/tristram-hunt-director-va-ceramics-biennial/
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The End Thank you for reading