Stage 3 Portfolio, BA Architecture by José Figueira

JosĂŠ Figueira Stage III - Final Project

Final Portfolio BA Architecture Student Number: 150366542

Final Portfolio BA Architecture

Table of Contents

Ă&#x2DC; Introduction

Act I Primer

Act II Narrative

Act III Project

IV (Epilogue) Other Work

2 Foreword 4 Charrette

10 Prologue - Atmospheres 16 Manifesto - Protagonist

40 Readings - Setting the Stage

100 Climax - Refinement

206 Epilogue n/a Appendix

Searching for a Theme Interpretation of the Theme Defining the Protagonist

26 Artefacts - Tectonics & Outcome Museo Romano, Rafael Moneo Thinking Through Making, Tiling 6 Cells and a Space, Primer Outcome

Lower Steenberg Yard Plunging into the Burn

64 Alignments - Constraints St.Mary of Egypt Grids and Lines Digging the Tomb

Fauna, Flora and the Tomb - Aerial Cuts Newcastle Christian Centre - Plans Church of the Penitents - Axonometrics Ouseburn Mushrooms - Axonometrics Ouseburn Social Centre Deep Section Shallow Section

Dissertation (Annex 1) Layers - ARC3015 (Annex 2) Report - ARC3014 (Annex 3) Case Study - ARC3013 (Annex 4) Feasability Study - ARC3013 (Annex 5) Integrated Technology - ARC3013 (Annex 6) Feedback Sheets (Annex 7) Stage 2 Portfolio (Annex 8)

Prologue

Foreword

The final project itself, within the Enclosed Order studio, was a labour of love. Above all, I worked with the goal of creating a project I was truly proud of necessarily pushing me above and beyond (in terms of time, mental strain, creativity and conceptual+spatial complexity). As the final year of my BA education, this was an exciting and demanding time for me. Not only did I develop a dissertation project (first year that theyâ&#x20AC;&#x2122;re done in this school) that really pushed me to explore the concepts of turistification, gentrification and participative housing, and the architect as a maker of programmes, it was also a time of learning about myself, developing an essay on my creative proccess, and the way it works by a multi-natured proccess of layering. This document is, essentially, a digitally-formatted scrapbook of my work - like with my sketchbook (Annex 8, and perhaps as important as this document), I take advantage of layering (of concepts, pieces of paper, levels...) to make a point. As a highly complex project - both conceptually and pysically - the intricacies of the spaces and the theological metaphors need necessarily to be understood together, and this document, divided into 3 Acts, tries to explain them through its characters (the drawings, the concepts, the spaces). So while the sketchbook is the tool of curation for my own use (see Annex 2), this document has become the tool of curation for the benefit of others.

4 | Introduction

Charrette - The Writingâ&#x20AC;&#x2122;s on the Wall

Taking as a starting point the period of political flux advent from the Brexit Referendum, we explore three themes - Flux (should a wall be a barrier or a filter), Flex (should the wall be formed continuously, should it be straight to divide a space, or bend to capture a space) and Flux (should it be hard or soft), thinking of how such a wall would look like, both physically and metaphorically.

Charrette - The Writing’s on the Wall | 5

Cover Side A with reflective surfaces

Divided in teams, we explored what hour team’s philosophy was, conceiving a 1m section of wall, designing an instruction manual of how our own section of the wall would be constructed - the intended output the joining of the different sections of wall to form the “New Hadrian’s Wall” on campus, officially opening the Charrette Exhibition.

6 | Introduction

Charrette - The Writingâ&#x20AC;&#x2122;s on the Wall | 7

C#9 - Movit

Primer

Prologue

Enclosed Order, a studio looking into monastic traditions and the relationship between atmospheres and rituals, had initially attracted me while repelling, the themes in my mind too constricting... but that was not the case at all. I managed to be able to use my imagination to its fullest. The apparently narrow theme revealed itself a boundless beast that just kept getting bigger as I worked, designed, inquired more. // Primer isnâ&#x20AC;&#x2122;t just the first chronological Act, but also the one that introduces the story as a whole. That might mean flash forwards (for example, Thinking Through Making) that distort the chronology in order to offer a better understanding of the themes, and the story Iâ&#x20AC;&#x2122;m trying to tell. Starting with a look into monastic atmospheres, it quickly led us to develop a manifesto (or programme) from either existing or invented religious (or not) orders. Following that, inserting the protagonists borne of it in a tectonic-based, but site-less spatial study prepared us for the next Act in the play.

Ă&#x2DC; Introduction

Act I Primer

Act II Narrative

Act III Project

IV (Epilogue) Other Work

3 Foreword 3 Charrette

10 Prologue - Atmospheres 16 Manifesto - Protagonist

40 Readings - Setting the Stage

154 Climax - Refinement

154 Epilogue - Learning Statement 154 Appendix

Searching for a Theme Interpretation of the Theme Defining the Protagonist

24 Artefacts - Tectonics & Outcome Museo Romano, Rafael Moneo Thinking Through Making, Tiling 6 Cells and a Space, Primer Outcome

Lower Steenberg Yard Plunging into the Burn

40 Alignments - Constraints St.Mary of Egypt Grids and Lines Digging the Tomb

Fauna, Flora and the Tomb - Aerial Cuts Newcastle Christian Centre - Plans Church of the Penitents - Axonometrics Ouseburn Mushrooms - Axonometrics Ouseburn Social Centre Deep Section Shallow Section

“(...) What is a ‘sacred space’? What are the conditions that make it sacred, or at least different from the profane? How clear are the boundaries between the sacred and the profane? To what extent does tradition inform the design of a sacred place? How are methods of form production connected to the meaning of a sacred place? The bodily experience of space plays a key role in the consecration of a place and needs to be taken into consideration during the design. Rituals, reading, shared meals, individual and communal worship, but even planting and walking give meaning to a space through their connection to the sacred. (...) Atmospheres can be realised as both the intangible components of a building as well as what we call the “mood” of this place, its character and meaning directly related to our phenomenological experience as well as thoughts, memories, feelings and so forth. (...) Sound, light, smells, traces of movements are all included (...) directly influenced by our design and organically connected to the sacred connotations of the place...” in Enclosed Order Project Brief (Kakalis & Munoz, 2017)

I - Atmospheres | 11

I - serehpsomtA Starting from a group of pictures depicting, in my view, “monastic atmospheres”, Álvaro Siza’s Marco de Canaveses Church, in Portugal, and in particular its baptistery, gave way to a material and visual research inspired by it. The austerity of materials of the church, and the use of the typical portuguese tile, lent itself to an experimentation of light propagation, creating several spaces (digitally and physically) that played with those notions while furthering a theological impulse. htped-ni ot hcraeser tnedecerp morF nA - sreyaL nI ;noitarolpxe dna sisylana I ,)2 xennA( ”s)d(ohte)m( ym fo sisylanA ot tnerehni ,ssecorp cfiiceps siht dezylana detneiro-tseretniP eht fo ,stcejorp ym lla retfa ylno ,si taht hcraeser tnedecerp yllacitirc ,yregami wolloh eht gnimusnoc hcae gnizylana dna gnitsegid“ ,dessessa ot )...( erutcetihcra wols sa tnedecerp egalloc a sa ti esu naht rehtar ti dnatsrednu .)2 xennA ees( ”tnemele

The church, possibly Siza’s understated magnus opus, has its baptistery occupying one full tower, covering its inside with yellow tiles. As we cross a threshold (the step drop, the archway, the transition from plaster) into the cold marble flooring, the baptismal font is directly illuminated by a lower window, facing the main entrance of the church; to the back, a drawing by the architect of the baptism of Christ both denotes the space’s function, but also turns it into an altar to John the Baptist.

12 | Primer - Act I

Atmospheres - I “(...) What is a ‘sacred space’? What are the conditions that make it sacred, or at least different from the profane? How clear are the boundaries between the sacred and the profane? To what extent does tradition inform the design of a sacred place? How are methods of form production connected to the meaning of a sacred place? The bodily experience of space plays a key role in the consecration of a place and needs to be taken into consideration during the design. Rituals, reading, shared meals, individual and communal worship, but even planting and walking give meaning to a space through their connection to the sacred. (...) Atmospheres can be realised as both the intangible components of a building as well as what we call the “mood” of this place, its character and meaning directly related to our phenomenological experience as well as thoughts, memories, feelings and so forth. (...) Sound, light, smells, traces of movements are all included (...) directly influenced by our design and organically connected to the sacred connotations of the place...”

From precedent research to in-depth analysis and exploration; In Layers - An Analysis of my (m)etho(d)s” (Annex 2), I analyzed this specific process, inherent to all my projects, of the Pinterest-oriented precedent research that is, only after consuming the hollow imagery, critically assessed, “digesting and analyzing each precedent as slow architecture (...) to understand it rather than use it as a collage element” (see Annex 2).

in Enclosed Order Project Brief (Kakalis & Munoz, 2017)

I - Atmospheres | 13

Starting from a group of pictures depicting, in my view, “monastic atmospheres”, Álvaro Siza’s Marco de Canaveses Church, in Portugal, and in particular its baptistery, gave way to a material and visual research inspired by it. The austerity of materials of the church, and the use of the typical portuguese tile, lent itself to an experimentation of light propagation, creating several spaces (digitally and physically) that played with those notions while furthering a theological impulse.

14 | Primer - Act I

Reflecting, then, not only on the baptistery alone but on the relationship with the main nave, this sectional model intended to show the experience (this time ignoring materials) of the church, particularly the wall slowly bulging over our heads while cuts in the curve let the sunlight fill the monumental void. It also managed to compare the vertical void, its experience different due to its footprint and window positioning, with the threshold (here represented by the depressed floor and wall separating the spaces) giving to the vertical void the qualities of an altar, imagined below in the context of a monastic procession.

Clockwise, from left| View of the vertical space window, and the sunlight entering it; Modeling of the clay curve before casting; Detail of the bulding curve and the light orifices (and the constrasting warm and cold lights); Reconstruction of the model;

20m

I - Atmospheres | 15

Further into the vertical space, both as a place of passage and a dead end, I experimented with a tower, with 7 doors/windows corresponding to the traditional 7 Christian virtues, the circular nature leading us back to the sacred. In an attempt at purifying the space through its austerity (here, again through the use of materials that are not usually used in an austere way, such as marble), but still wanting to integrate imagery, the corresponding virtues are written above the doors in Arabic - recognizably decorative, that coincidently emerged as the lingua franca of a religion that heavily relies on decorative motifs as a substitute for the representation of sacred figures (Islam).

Above| It still very much emulates the use of tile in the Portuguese vernacular, with the light from the 7 clerestory windows being diffused at it hits the white tiles, the imperfections of the glazed surfaces mirroring at points the space. Right| Final Render depicting the imagined space;

10m

16 | Primer - Act I

Manifesto - II Search for a Protagonist The atmospheric research created an interesting starting point for the theoretical and theological base. Thinking and making the previous spaces and atmospheres beforehand allowed me to not latch on to cultural-religiously influenced preconceptions. This backward process led then to the search for a series of spiritual, ritualistic or even just secular beliefs - ranging from Tolstoyism, LGBT refuges and Wiccaninspired religions (subverting in the latter abrahamic notions of sacredness with sex and sexuality as spiritual rituals) that fit into early ritualistic, spiritual and atmospheric intentions I had for the project.

Background| L’Annunciazione della Beata Vergine Maria - Mosaic, Basilica Di San Marco, Venice

Temptations of Christ (…) {1:16} And Jacob conceived Joseph, the husband of Mary, of whom was born Jesus, who is called Christ. (...) Despite that attempt at distancing myself from pre-established and mainstream religions, I was attracted above all to Christianity, due to the cultural and religious factors that have influenced me up to now.

The story of Jesus’s time in the Judean desert interested me particularly. The potential for interpretation in the story, and his retreat into penance and selfisolation, as well as the symbolism, led me to then, out of all of the previous options, to choose it. One of the most aspirational, if fantastical, stories in the Gospel, it talks about Christ’s self-exile and fasting for 40 days after being baptised by John, and the subsequent temptations Satan enticed Jesus with.

{Gospel of Matthew]

Above| Excerpt from the sketchbook, with several opportunities for developing a manifesto.

[4:1} Then Jesus was led by the Spirit into the desert, in order to be tempted by the devil. {4:2} And when he had fasted for forty days and forty nights, afterwards he was hungry. {4:3} And approaching, the tempter said to him, “If you are the Son of God, tell these stones to become bread.” {4:4} And in response he said, “It has been written: ‘Not by bread alone shall man live, but by every word that proceeds from the mouth of God.’ ” {4:5} Then the devil took him up, into the holy city, and set him on the pinnacle of the temple, {4:6} and said to him: “If you are the Son of God, cast yourself down. For it has been written: ‘For he has given charge of you

to his angels, and they shall take you into their hands, lest perhaps you may hurt your foot against a stone.’ ” {4:7} Jesus said to him, “Again, it has been written: ‘You shall not tempt the Lord your God.’ ” {4:8} Again, the devil took him up, onto a very high mountain, and showed him all the kingdoms of the world and their glory, {4:9} and said to him, “All these things I will give to you, if you will fall down and adore me.” {4:10} Then Jesus said to him: “Go away, Satan. For it has been written: ‘You shall adore the Lord your God, and him only shall you serve.’ ” {4:11} Then the devil left him. And behold, Angels approached and ministered to him.

II - Manifesto | 17

“Hear, O Israel! The Lord our God, The Lord is One; Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind.” (Mt 22:35–40 and Mk 12:28–34) 31 | Adapted and Abridged [Mt 22, 37] Divine Virtues: Cardinal Sin: Human...: Philosophy: Ideal: Field:

Heart Love Gluttony Feelings Ethics Goodness Religion

Soul Hope Avarice Wishes Aestetics Beauty Art

Mind Faith Hubris Thoughts Logic Truth Science

Interpretation Mind, Soul and Heart translate into what is traditionally viewed as the 3 sins (part of the Cardinal Sins) that Satan tempted Christ with during his self-exile (led by God) in the Judean Desert. These include : - Gluttony (related to heart and the temptation that Jesus felt before refusing to turn stone into bread); - Avarice (related to the soul, the wealth he might have gained had he waged a Holy War after “seeing all the kingdoms of the world”; - Hubris (related to mind, Jesus’ role as the inherently human son of God). For the purpose of translating these, and the related monastic voews, into some basic rules and rituals, I’ve divided them between 3 ways of loving God - in no order of importance.

{4:8} Again, the devil took him up, onto a very high mountain, and showed him all the kingdoms of the world and their glory, {4:9} and said to him, “All these things I will give to you, if you will fall down and adore me.” {4:10} Then Jesus said to him: “Go away, Satan. For it has been written: ‘You shall adore the Lord your God, and him only shall you serve.’ ” {4:11} Then the devil left him. And behold, Angels approached and ministered to him.

14| Christ in the Wilderness, Ivan Kramskoy Above| Le Tentazioni Di Cristo - Mosaic, eL |evobA Basilica Di San Marco, Venice iD acilisaB ,ciasoM - otsirC iD inoizatneT ecineV ,ocraM naS

Search for a Protagonist The atmospheric research created an interesting starting point for the theoretical and theological base. Thinking and making the previous spaces and atmospheres beforehand allowed me to not latch on to cultural-religiously influenced preconceptions. This backward process led then to the search for a series of spiritual, ritualistic or even just secular beliefs - ranging from Tolstoyism, LGBT refuges and Wiccaninspired religions (subverting here abrahamic notions of sacredness with sex and sexuality as spiritual rituals) that fit into early ritualistic, spiritual and atmospheric intentions I had for the project.

,ciasoM - otsirC iD inoizatneT eL |evobA Above| Le ecineV ,ocraM naS iD acilisaB Tentazioni Di Cristo - Mosaic, Basilica Di San Marco, Venice

II - Manifesto | 19

Heart Love Gluttony Feelings Ethics Goodness Religion

Soul Hope Avarice Wishes Aesthetics Beauty Art

Mind Faith Hubris Thoughts Logic Truth Science

Monastic Vows:

Purity; Mercy; Suffering

Poverty; Sufficiency; Giving

Obedience; Humility; Servitude

Interpretation Mind, Soul and Heart translate into what is traditionally viewed as the 3 sins (part of the Cardinal Sins) that Satan tempted Christ with during his self-exile (led by God) in the Judean Desert. These include : - Gluttony (related to heart and the temptation that Jesus felt before refusing to turn stone into bread); - Avarice (related to the soul, the wealth he might have gained had he waged a Holy War after “seeing all the kingdoms of the world”; - Hubris (related to mind, Jesus’ role as the inherently human son of God). For the purpose of translating these, and the related monastic vows, into some basic rules and rituals, I’ve divided them between 3 ways of loving God - in no order of importance.

14| Christ in the Wilderness, Ivan Kramskoy

20 | Primer - Act I

Search for a Protagonist This led to the creation of a regimented schedule of rituals, work and thought, in order to take penance - taking into account not only self-inflicted, â&#x20AC;&#x153;outwardâ&#x20AC;? works such as self-flagellation (physical or psychological), but most of all charity and community-sustaining work. Its schedule, from dusk to dawn, was integrated from the start the idea being that itâ&#x20AC;&#x2122;s adaptable to both the winter and summer solar solstice. This translates into a morning ritual in which a first prayer is situated during the summer solstice sunrise, and a second prayer during the winter solstice sunrise. For the evening, the schedule leads to a breaking of the fast where natural light can always be used - throughout the year, the spaces used will then be witness to the natural movement of the time, (for example) the artificial lights in the baths slowly substituting the natural light, and vice-versa.

Winter Solstice (dawn to dusk)

Summer Solstice (dawn to dusk) Income Related Activities Morning and Evening Ritual

Waking ritual (4-4:30)

Mass(es) (throughout the day)

First Prayer (4:30 - 5) followed by first refreshment Income Related Activities

Liturgy towards refectory (17:00) followed by breaking of the fast (17:0018:00) Free non-segregated time (18:00 20:00)

Second Prayer (8-8:30) followed by second refreshment

Bathing (20:00-21:00) with small confessionals open from 20:30) Sleep (22:00)

Undress, wash, dress, dry, repeat; Morning Ritual

Above all, a manifesto of cleansing

Evening Ritual

II - Manifesto | 21

The cell becomes, then, the basic unit of the retreat . Inherently a voluntary confinement, the cell lends itself well for isolation, but also personal penance, hidden from sight. Silence, or the lack of it, needs then to be facilitated, and the cells need then to be aucustically isolated from eachother (leading to thick, well insulated walls). The singular window (visible in most of the initial atmospheric studies) is a powerful thing, distinguishing the individuality of the cellular experience, and the personal character of the cellbased penance.

2m )lautirips dna lacisyhp( gnisnaelc fo aedi ehT ni - llec eht htiw gnorts yllaicepse semoceb :yrassecen syawla era stniop 3 ,siht nialecrop a htiw ,utis ni tsac( aera tew ehT ,smeti eneigih cisab rof ecaps ,nisabhsaw )selit dezalg etihw yb dednuorrus htiw ,ksed a htiw noitcnujnoc ni( deb ehT esab doow a evoba decalp sserttam eht )ybraen xfiicurc a htiw dna retaeh a ot eud rehtie( aera mraw ehT gnignah woleb decalp ,teltuo ria mraw ro ot gnidael roofl gnipols a htiw dna ,skoon )niard a sehtolc sâ&#x20AC;&#x2122;eno hsaw ylsuounitnoc ot redro ni hcae )smrofinu lausac dna htab ,krow eht( .esu retfa yad

22 |

Search for a Protagonist This led to the creation of a regimented schedule of rituals, work and thought, in order to take penance - taking into account not only self-inflicted, “outward” works such as self-flagellation (physical or psychological), but most of all charity and community-sustaining work. Its schedule, from dusk to dawn, was integrated from the start the idea being that it’s adaptable to both the winter and summer solar solstice. This translates into a morning ritual in which a first prayer is situated during the summer solstice sunrise, and a second prayer during the winter solstice sunrise. For the evening, the schedule leads to a breaking of the fast where natural light can always be used - throughout the year, the spaces used will then be witness to the natural movement of the time, (for example) the artificial lights in the baths slowly substituting the natural light, and vice-versa. The idea of cleansing (physical and spiritual) becomes especially strong with the cell - in this, 3 points are always necessary: - The wet area (cast in situ, with a porcelain washbasin, space for basic higiene items, surrounded by white glazed tiles) - The bed (in conjunction with a desk, with the mattress placed above a wood base and with a crucifix nearby) - The warm area (either due to a heater or warm air outlet, placed below hanging nooks, and with a sloping floor leading to a drain) in order to continuously wash one’s clothes (the work, bath and casual uniforms) each day after use.

Winter Solstice (dawn to dusk)

Summer Solstice (dawn to dusk) Income Related Activities Morning and Evening Ritual

Waking ritual (4-4:30)

Mass(es) (throughout the day)

First Prayer (4:30 - 5) followed by first refreshment Income Related Activities

Liturgy towards refectory (17:00) followed by breaking of the fast (17:0018:00) Free non-segregated time (18:00 20:00)

Second Prayer (8-8:30) followed by second refreshment

Bathing (20:00-21:00) with small confessionals open from 20:30) Sleep (22:00)

Undress, wash, dress, dry, repeat; Morning Ritual

Above all, a manifesto of cleansing

Evening Ritual

II - Manifesto | 23

The cell becomes, then, the basic unit of the retreat . Inherently a voluntary confinement, the cell lends itself well for isolation, but also personal penance, hidden from sight. Silence, or the lack of it, needs then to be facilitated, and the cells need then to be acoustically isolated from each other (leading to thick, well insulated walls). The singular window (visible in most of the initial atmospheric studies) is a powerful thing, distinguishing the individuality of the cellular experience, and the personal character of the cellbased penance.

2m Above| Bringing in atmospheric qualities to a sterile drawing

Left| Series of atmospheric studies on the concept of the 3-point cell, organized as a complex in itself

24 | Primer - Act I

1:50 Model One of the initial idea for the cell, the washbasin is placed almost in an altar, surrounded by the tiles and the drop that defines it as a wet space. Itâ&#x20AC;&#x2122;s the main organizational approach if the final project leads to independent cell clusters.

II - Manifesto | 25

1:50 Model In this approach, the thin singular window aligns with the door, developing a connected for the actual functions to the side. Itâ&#x20AC;&#x2122;s the main organizational approach if the final project leads to a corridor-based arrangement

26 | Primer - Act I

Artefacts - III Tectonic Study: Tiling as Formwork Tectonic studies continued from the initial tiling research. Taking plaster as a quick and humble medium, I tried to develop the concept of â&#x20AC;&#x2DC;tiling as formworkâ&#x20AC;&#x2122;. With this Iâ&#x20AC;&#x2122;ve tried to bring the qualities of the Portuguese tile (as used in contemporary architecture) to a project-specific context and a desire to reduce the materials without reducing materiality (making it simpler, but not simplistic by relying on tropes of all flush, all concrete walls).

III - Artefacts | 27

Integrating Technology: These studies lend themselves well to a concept of vertical, tiled (or not) spaces I have been developing, capable of â&#x20AC;&#x153;pullingâ&#x20AC;? air from the multi-levelled spaces (following Hertzbergerâ&#x20AC;&#x2122;s idea of architecture as overlapping planes as opposed to volumes) I intend to create. The material, either way (formwork or tile) is characterized by its high thermal mass, leading to colder, but more thermally stable spaces punctuated by wooden details.

28 | Primer - Act I

Tectonic Study: Museo Romano Rafael Moneo’s museum in Mérida, Spain, served as the next top tectonic and conceptual precedent. Its deceiving monumentality is managed along (relatively) thin grandiose arches, a sequence of walls that support the thin floor plates above the ruins below. The precise multi-shaded brickwork provides a texture onto which the (mostly) white plaster, marble and stone sculptures and artefacts hang to - a twist on the typical “white canvas” gallery.

III - Artefacts | 29

This led me and another person to explore, above all, the rhythmic qualities of the building. Personally, I took particular interest at how Moneo handled the ruins below, and so, using previous fragments from unsuccessful experimentations, created the undercroft from the ruins of my own projects. In the main floorplate of the model, the old floorplans of the area are represented in 1:1 scale, mimicking the ruins in the real project below that floorplate. The light qualities throughout the model, and its interaction with the repeating elements have influenced both of us repeatedly throughout the rest of the project.

Above| The tenuous border between over and underworld is exemplified here; notice as well the effect of the skylights above.

30 | Primer - Act I

revo neewteb redrob suounet ehT |evobA eciton ;ereh defiilpmexe si dlrowrednu dna .evoba sthgilyks eht fo tceffe eht llew sa

III - Artefacts | 31

32 | Primer - Act I

Artefacts - III Primer Outcome Following the cell, the search for the common space - cells “around” a communal use - started. With the liberty of being able to think of the primer outcome as either an isolated complex, or part of a bigger one, I started to think of which of the predetermined parts of the protagonist’s rituals could be more useful, and interesting at this point to explore. Reading into the studio’s definition, “around” could then be physical or programmatic - in a sense the cells are physically built around a couple of potential spaces, but they are programatically linked to all communal spaces/uses.

On the right| Isometric representations of the three studied concepts; note their semblance to the respective symbol - the heart shaped zigurat, the interconnected stairwell brain, and the arched baths (which, considering the formless concept of “Soul”, is not connectible)

Common Room

Baths

Church

4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

Zigurat | Cloister

Crypt / Cistern

- Heart; Stone into Bread; Gluttony Here, the “common room” - seen as all those circulation spaces, dedicated or not to socializing, that end up taking the role of the “common room”. With this concept, I’ve tried to imagine the multilevelled interior “stepping” down, which meant pushing each of the cells a bit out with each level.

- Avarice (related to the soul, the wealth he might have gained had he waged a Holy War after “seeing all the kingdoms of the world”; Baths are inherently a place of nakedness, of relaxation, in many cultures, as much of the soul as of the body. But their propensity to be used for luxurious means immediately makes one think of a spa (inherently decadent as a luxury creation) , instead of their original purpose.

Tower | Stairwell Hubris (related to mind and faith) is here represented by the intermingling routes towards the church before first prayer. It’s inherently an exaggeration of a ritual, which can be seen as morally ambiguous, and even, in the case of their designer, as David Chipperfield put it, an “application of genius willy-nilly” an exercise in arrogance.

III - Artefacts | 33

Roman Baths Below, the “Baths of Caracalla” show the typical scene of the baths in the Roman Empire; although embellished and with added modesty (Christian painter), it still presents and insightful view into the uses of the baths. The Baths of Caracalla by Lawrence Alma-Tadema (1899)

Japanese Sento Below, the “Bathhouse Women” shows the typical scene of the baths in the Japanese archipelago; presenting a view without western moral and sexual codes.

Onna yu (“Bathhouse Women”) by Torii Kiyonaga (1752–1815)

,meht dna su neewteb noitcnitsid on edam eH - 9:51 tcA .htiaf yb straeh rieht gninaelc

Baths as social spaces My first experience in a sento - a typical, practical Japanese typology of bathhouse and shower - in a capsule hotel, led me to engage and converse with several Japanese teenagers - sexuality removed from the moment an intimate place is coopted by all parties as a place of socialization, rest and cleansing. This has led me to, on a personal note, develop a project which took part of this to heart.

34 | Primer - Act I

otneS esenapaJ Common Room ”nemoW esuohhtaB“ eht ,woleB fo enecs lacipyt eht swohs 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 esenapaJ eht ni shtab eht weiv a gnitneserp ;ogalepihcra lauxes dna larom nretsew tuohtiw .sedoc Zigurat | Cloyster - Heart; Stone into Bread; yb )”nemoW esuohhtaBGluttony “( uy annHere, O the “common )5181–2571( aganoyiKroom” iiroT - seen as all those circulation spaces, dedicated or not to socializing, that end up taking the role of the “common room”. With this concept, I’ve tried to imagine the multileveled interior “stepping” down, which meant pushing each of the cells a bit out with each level.

Baths 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22

Crypt / Cistern - Avarice (related to the soul, the wealth he might have gained had he waged a Holy War after “seeing all the kingdoms of the world”; Baths are inherently a place of nakedness, of relaxation, in many cultures, as much of the soul as of the body. But their propensity to be used for luxurious means immediately makes one think of a spa (inherently decadent as a luxury creation) , instead of their original purpose.

Church

shtaB namoR ”allacaraC fo shtaB“ eht ,woleB eht fo enecs lacipyt eht wohs 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 ;eripmE namoR eht ni shtab dna dehsillebme hguohtla naitsirhC( ytsedom dedda htiw Tower | Stairwell dna stneserp llits ti ,)retniap Hubris (related toehmind t fo sand esu eht otni weiv lufthgisni faith) is here represented by the .shtab intermingling routes towards the church before firstyb prayer. allacaraC fo shtaB ehT It’s inherently an exageration )9981( amof edaT-amlA ecnerwaL a ritual, which can be seen as morally ambiguous, and even, in the case of their designer, as David Chipperfield put it, an “application of genius willy-nilly” an exercise in arrogance.

Act 15:9 - He made no distinction between us and them, cleaning their hearts by faith.

III - Artefacts | 35

36 | Primer - Act I

6 Cells and a Bath The bite-sized complex created revolves around segregated baths, imagining the details, form and formfinding process to be applied in the main project. A thin corridor, with stairwells at its ends, connects the cells, with the imagined procession dividing men and women down into the respective bathhouse.

1:50 Sectional Model

III - Artefacts | 37 8

a8 6

Christian/Western notions of modesty are, here, criticized and subverted. On the female side, the steps continue down into 4m depth, hiding the female section (pictured in the sectional model) from view of someone swimming. On the male side, the pool lane has a smaller depth, removing that degree of privacy. The fact that even there are two sides inherently creates a sexual issue, being a symptom of the sexual codes that have passed, culturally (as opposed to spiritually) through generations. As a building, it was the opportunity as well for me to start defining the kind of spaces and atmosphere I was going to explore further - notice, for example, the processional steps leading into the female baths, and the way the ecapsslightly. lleC - 1 inside wall is angled ever spets lanoissecorP - 2 thgilyks dna llaw delit detnalS - a2 rewohS - 3 llaH htaB - 4 shtaB mraW - 5 sevoclA - a5 esruoc retaw taes kcaB - b5 hcra retawrednU - c5 niatruc retaW - d5 egarotS - 6 telioT - 7 anuaS - 8 lausiv( wodniw wol anuaS - a8 )noitcennoc pag wodniw gniliec ot roolF - 9 loop paL - 01 edislooP - a01 lanoissecorp retawrednU - b01 spets relioB - 11

11 2

b01

1 b5

a2 3

a01

5 )elameF(

a8 8

7 9

38 | Primer - Act I 7

8 8a 6

11 2

10b

1 2a

1 - Cell space 2 - Processional steps 2a - Slanted tiled wall and skylight 3 - Shower 4 - Bath Hall 5 - Warm Baths 5a - Alcoves 5b - Back seat water course 5c - Underwater arch 5d - Water curtain 6 - Storage 7 - Toilet 8 - Sauna 8a - Sauna low window (visual connection) 9 - Floor to ceiling window gap 10 - Lap pool 10a - Poolside 10b - Underwater processional steps 11 - Boiler

5 (Female)

5a 8a

14| Lâ&#x20AC;&#x2122;Annunciazione della Beata Vergine 7 - Mosaic, Basilica Di San Marco, Maria Venice

10a

III - Artefacts | 39

Above| Excerpt from sketchbook showing the protection of the baths privacy in relation to the unisex pool.

Narrative

Post-Primer, the story is one of costant development. The narrative developed here is one of constant addition, both in terms of concepts and spaces. Following the study trip to monastic communities in Athens and Meteora, Greece, we jumped into a site, spending until Christmas reading it. Coming back, I had set the stage for finding out what were the constraints I needed - alignments that I enjoyed, concepts that I needed, details that from the start I knew I wanted. Constantly imagining, constantly visualizing the atmospheric qualities afforded by the spaces that in my sketchbook and in my Sketchup slowly came to be.

Ă&#x2DC; Introduction

Act I Primer

Act II Narrative

Act III Project

IV (Epilogue) Other Work

2 Foreword 4 Charrette

10 Prologue - Atmospheres 16 Manifesto - Protagonist

40 Readings - Setting the Stage

100 Climax - Refinement

206 Epilogue n/a Appendix

Searching for a Theme Interpretation of the Theme Defining the Protagonist

26 Artefacts - Tectonics & Outcome Museo Romano, Rafael Moneo Thinking Through Making, Tiling 6 Cells and a Space, Primer Outcome

Lower Steenberg Yard Plunging into the Burn

64 Alignments - Constraints St.Mary of Egypt Grids and Lines Digging the Tomb

Fauna, Flora and the Tomb - Aerial Cuts Newcastle Christian Centre - Plans Church of the Penitents - Axonometrics Ouseburn Mushrooms - Axonometrics Ouseburn Social Centre Deep Section Shallow Section

42 | Narrative - Act II

Readings // Setting the Stage Lower Steenberg Yards â&#x20AC;&#x153;The site, located in the Lower Ouseburn valley, is characterized by large height differences (infrastructure creating level planes) , and its relation to both industrial and natural heritage. The burn is affected by ocean tides, filling up emptying twice daily, but its damming provokes high sediment

accumulation in the long term (admittedly filled for aesthetics Ouseburn Trust, 2018) A low rumble is felt constantly (scrapyard), and there is an abundance of space for pedestrian and vehicular circulation that can be reduced in the case of the latter, but better articulated in the former.â&#x20AC;? (in Annex 5)

10m

Readings - Setting the Stage | 43

Massing| Plan of site surroundings, with all built structures in black, and roads/walls with visual impact (bridges, retaining walls, etc) in a b&w gradient. The site (boundaries in blue) is characterized by being sliced by the river: the west bank being almost entirely flat, surrounded to the north and west by retaining walls, to the south by ruins and an access road and to the east by the Ouseburn; and the east bank surrounded by level road to the north and east, a slopping road to the south, and a path at the same level as the west bank to the west, bordering the river. Publicly accessible land | Plan of site surroundings, with all publicly accessible land in blue; stripped are POPS (privately owned public spaces) that act, if not seem, public. This is useful to have a sense of what kind of accesses are possible - for example, the access road to the site would be owned by both the Toffee Factory and the project’s inhabitants, as it is de facto gated. Circulation | Mapping the routes taken by vehicles (ligth brown) and people (dark brown), the prevalence and intensity of East-West routes into the city centre (typical of a city that stretches 12km up till the sea, much like the Tyne), particularly in terms of vehicular use, is obvious. This creates the opportunity to pedestrianize or share certain north-south routes, particularly as they are redundant for the amount of nonlocal traffic that uses them (with the circled junction capable of carrying all that traffic). In terms of sites, there’s the matter of wether to keep the west bank a dead-end, or to fully integrate it into another north-south, or vertical, route, as currently, the detours to reach the Toffee Factory entrance,, from the Hotel Du Vin (12m distance) for example, range from 400-600m

Building Uses | • Residential (Dense / Single) • Hospitality / Shops • Offices / Industry • Institutional • Abandoned / Vacant

10m

50m

0m 0m 0m

What are the qualities I want to map? 0m

0m 0m

0m 0m 0m

What are the qualities that specifically relate to my work so far? 0m

0m 0m

0m (mean) -1.2m (max.tide) -3m (riverbed)

4444 | e|gNarrative atS eht g-niAct tteSII- sgnidaeR

Readings // Setting the Stage Lower Steenberg Yards â&#x20AC;&#x153;The site, located in the Lower Ouseburn valley, is characterized m0 by large height differences m0 m0 (infrastructure creating level planes) , and its relation to both industrial and natural heritage. The burn is affected by ocean tides, filling up emptying twice daily, but its damming provokes high sediment m0

accumulation in the long term 0 (admittedly filled for maesthetics Ouseburn Trust, 2018) m0 A low rumble m0 is felt constantly (scrapyard), and m0 there is an abundance of space for pedestrian and vehicular circulation m0 that can be reduced in the case of the latter, but better articulated in the former.â&#x20AC;? (in Annex 5)

m0 m0

m0 m0 m0

m0 m0

)naem( m0 )edit.xam( m2.1)debrevir( m3-

2mm05

10m m01

Readings - Setting the Stage | 45

Climate | Inherently, climate is a major factor for the atmospheric qualities of the building. The breeze incoming from the Tyne, flows below the bridges and between the brick buildings, becoming almost inconveniently strong above the retaining walls. In warm summer days, due to the pollution and litter in the riverbed, localized smells affect the banks nearest to the site. The burn excells, then, when downpours wash away the debris and excess dirt, and the smell of wet and fresh flora fills the air.

What are the qualities I want to map? Publicly accessible land | Plan of site surroundings, with all publicly accessible land in blue; stripped are POPS (privately owned public spaces) that act, if not seem, public. This is useful to have a sense of what kind of accesses are possible - for example, the access road to the site would be owned by both the Toffee Factory and the project’s inhabitants, as it is de facto gated. Circulation | Mapping the routes taken by vehicles (ligth brown) and people (dark brown), the prevalence and intensity of East-West routes into the city centre (typical of a city that stretches 12km up till the sea, much like the Tyne), particularly in terms of vehicular use, is obvious. This creates the opportunity to pedestrianize or share certain north-south routes, particularly as they are redundant for the amount of nonlocal traffic that uses them (with the circled junction capable of carrying all that traffic). In terms of sites, there’s the matter of wether to keep the west bank a dead-end, or to fully integrate it into another north-south, or vertical, route, as currently, the detours to reach the Toffee Factory entrance,, from the Hotel Du Vin (12m distance) for example, range from 400-600m

Building Uses | • Residential (Dense / Single) • Hospitality / Shops • Offices / Industry • Institutional • Abandoned / Vacant

10m 10m 10m 2m

NN 50m 50m 50m 10m

Winter Solstice

What are the qualities that specifically relate to my work so far? Summer Solstice

6446 | e|gNarrative atS eht g-niAct tteSII- sgnidaeR

Readings // Setting the Stage Lower Steenberg Yards “The site, located in the Lower Ouseburn valley, is characterized m0 by large height differences m0 m0 (infrastructure creating level planes) , and its relation to both industrial and natural heritage. The burn is affected by ocean tides, filling up emptying twice daily, but its damming provokes high sediment m0

m0 m0

m0 m0 m0

ecitsloS retniW

m0 m0

)naem( m0 )edit.xam( m2.1)debrevir( m3-

ecitsloS remmuS

2mm05

10m m01

Readings - Setting the Stage | 47

What are the qualities I want to map?

Circulation | Mapping the routes taken by vehicles (ligth brown) and people (dark brown), the prevalence and intensity of East-West routes into the city centre (typical of a city that stretches 12km up till the sea, much like the Tyne), particularly in terms of vehicular use, is obvious. This creates the opportunity to pedestrianize or share certain north-south routes, particularly as they are redundant for the amount of nonlocal traffic that uses them (with the circled junction capable of carrying all that traffic). In terms of sites, there’s the matter of wether to keep the west bank a dead-end, or to fully integrate it into another north-south, or vertical, route, as currently, the detours to reach the Toffee Factory entrance,, from the Hotel Du Vin (12m distance) for example, range from 400-600m

Building Uses | • Residential (Dense / Single) • Hospitality / Shops • Offices / Industry • Institutional • Abandoned / Vacant

10m

10m 2m

50m

N 50m 10m

What are the qualities that specifically relate to my work so far?

884448 | |eeg |gNarrative aattSSeehhttggn-nitiAct tteeSSII--ssggnnid idaaeeRR

m0 m0

m0 m0 m0

ecitsloS retniW

m0 m0

ecitsloS remmuS

)naem( m0 )edit.xam( m2.1)debrevir( m3-

lla htiw ,sgnidnuorrus etis fo nalP |gnissaM sllaw/sdaor dna ,kcalb ni serutcurts tliub ,sllaw gniniater ,segdirb( tcapmi lausiv htiw seiradnuob( etis ehT .tneidarg w&b a ni )cte decils gnieb yb deziretcarahc si )eulb ni tsomla gnieb knab tsew eht :revir eht yb htron eht ot dednuorrus ,tafl yleritne htuos eht ot ,sllaw gniniater yb tsew dna eht ot dna daor ssecca na dna sniur yb knab tsae eht dna ;nrubesuO eht yb tsae dna htron eht ot daor level yb dednuorrus a dna ,htuos eht ot daor gnippols a ,tsae ot knab tsew eht sa level emas eht ta htap .revir eht gniredrob ,tsew eht etis fo nalP | dnal elbissecca ylcilbuP elbissecca ylcilbup lla htiw ,sgnidnuorrus yletavirp( SPOP era deppirts ;eulb ni dnal ,mees ton fi ,tca taht )secaps cilbup denwo fo esnes a evah ot lufesu si sihT .cilbup rof - elbissop era sessecca fo dnik tahw dluow etis eht ot daor ssecca eht ,elpmaxe dna yrotcaF eeffoT eht htob yb denwo eb otcaf ed si ti sa ,stnatibahni s’tcejorp eht .detag yb nekat setuor eht gnippaM | noitalucriC krad( elpoep dna )nworb htgil( selcihev fo ytisnetni dna ecnelaverp eht ,)nworb lacipyt( ertnec ytic eht otni setuor tseW-tsaE ,aes eht llit pu mk21 sehcterts taht ytic a fo smret ni ylralucitrap ,)enyT eht ekil hcum setaerc sihT .suoivbo si ,esu ralucihev fo erahs ro ezinairtsedep ot ytinutroppo eht sa ylralucitrap ,setuor htuos-htron niatrec -non fo tnuoma eht rof tnadnuder era yeht delcric eht htiw( meht sesu taht cffiart lacol .)cffiart taht lla gniyrrac fo elbapac noitcnuj rehtew fo rettam eht s’ereht ,setis fo smret nI ot ro ,dne-daed a knab tsew eht peek ot ,htuos-htron rehtona otni ti etargetni ylluf sruoted eht ,yltnerruc sa ,etuor ,lacitrev ro ,,ecnartne yrotcaF eeffoT eht hcaer ot rof )ecnatsid m21( niV uD letoH eht morf m006-004 morf egnar ,elpmaxe

2mm m0055

10m m m0011

Readings - Setting the Stage | 49

What are the qualities I want to map?

What are the qualities that specifically relate to my work so far? Building Uses | • Residential (Dense / Single) • Hospitality / Shops • Offices / Industry • Institutional • Abandoned / Vacant

10m 2m

50m 10m

Nature Corridor | The site is the only missing piece of a green corridor running from the Tyne northwards.

005550 | |eeg |gNarrative aattSSeehhttggn-nitiAct tteeSSII--ssggnnid idaaeeRR

m0 m0

m0 m0 m0

ecitsloS retniW

m0 m0

ecitsloS remmuS

)naem( m0 )edit.xam( m2.1)debrevir( m3-

| sesU gnidliuB )elgniS / esneD( laitnediseR • spohS / ytilatipsoH • yrtsudnI / secffiO • lanoitutitsnI • tnacaV / denodnabA •

m0055 m2m 05 m

m0011 m010m 1m

Readings - Setting the Stage | 51

What are the qualities I want to map?

What are the qualities that specifically relate to my work so far?

10m

52 | Narrative - Act II

River analysis The river, and its tidal qualities, were something that interested me immensely. This view, from the Byker Bank bridge, exemplifies the idea of temporality that the concept of a retreat - particularly in my case, considering its focus on penance and rehabilitation of the soul - immediately relates to. The calm waters of the high tide Ouseburn slowly give way, every day, to a complex and storied panorama underneath the water.

Readings - Setting the Stage | 53

W es t

Ba n

sit e)

Hotel du Vin

St re

Byker Bank

llings

The Ma

s Ea k

To ffe e

Fa c

tor y

54 | Narrative - Act II

Mapping the river, I came to realize that, despite the accumulation of mud, the river still flows, one could say in a more natural way, eg: pre-embankment. There are opportunities to ally the necessary boat passage and this aspect of the river, specifically when it comes to the siteâ&#x20AC;&#x2122;s current, and possibly future inhabitants.

Taken at night, the Swans of the Tyne regularly go up the Ouseburn when the tide is high; they are even known to nest upstream

The Ouseburn barrage, created purely as a speculative project to increase land prices, has led to the increased accumulation of mud deposits when closed, as it stops the natural flow of the burn, and the tides taking the deposits downstream..

Remnant of the canalization of the natural river, most of the accesses to the riverbed are through several metal steps;

Floating planters are part of a plan to develop the areaâ&#x20AC;&#x2122;s biodiversity, connecting the Tyne to the Upper Ouseburn in what was until recently a very urbanized area.

Readings - Setting the Stage | 55

The old buildingâ&#x20AC;&#x2122;s water discharge outlet is still in the site, as are other relics of the Ouseburnâ&#x20AC;&#x2122;s industrial past

m05

56 | Narrative - Act II

Taken at night, the Swans of the Tyne regularly go up the Ouseburn when the tide is high; they are even known to nest upstream

Remnant of the canalization of the natural river, most of the accesses to the riverbed are through several metal steps;

Floating planters are part of a plan to develop the areaâ&#x20AC;&#x2122;s biodiversity, connecting the Tyne to the Upper Ouseburn in what was until recently a very urbanized area. 5m

50m

Readings - Setting the Stage | 57

The old buildingâ&#x20AC;&#x2122;s water discharge outlet is still in the site, as are other relics of the Ouseburnâ&#x20AC;&#x2122;s industrial past

58 | Narrative - Act II

Taken at night, the Swans of the Tyne regularly go up the Ouseburn when the tide is high; they are even known to nest upstream

Remnant of the canalization of the natural river, most of the accesses to the riverbed are through several metal steps;

Floating planters are part of a plan to develop the areaâ&#x20AC;&#x2122;s biodiversity, connecting the Tyne to the Upper Ouseburn in what was until recently a very urbanized area. 5m

50m

Readings - Setting the Stage | 59

The old buildingâ&#x20AC;&#x2122;s water discharge outlet is still in the site, as are other relics of the Ouseburnâ&#x20AC;&#x2122;s industrial past

60 | Narrative - Act II

1:10 Model

Readings - Setting the Stage | 61

It lent itself, in my imagination, to temporary uses of the highly textured riverbed, twice daily exposed to reveal the mudbanks, vegetation, trash and rock/ concrete formations. The deceptively shallow maximum depth was also something I noticed, and that was keen on exploring - left, Adolphe-William Bouguereauâ&#x20AC;&#x2122;s Venus evocatively shows the goddesses arriving at shore after her birth.

62 | Narrative - Act II

Alignments // Con(strain)ts St Mary of Egypt With this in mind, St. Mary of Egyptâ&#x20AC;&#x2122;s story of penance and 47year long retreat in the desert (much like Christ), was highly reminescent of both my manifesto and the chosen site. A prostitute from a tender age, she decided to visit the Holy Sepulchre, in Jerusalem, remorsefully crying as each time she tried to enter, a forced stopped her in her tracks. Propelled by the Virgin Mary to go into a 47 year retreat in the desert (much like Jesus), she is found, naked, by St. Zozimas. The Ouseburn evoques her miracle - walking over the surface of the river Jordan after agreeing to meet Zozimas once again.

Born in 344 A.D., Mary of Egypt moved to the city of Alexandria when she was 12 years old and worked as a prostitute. With the intention of continuing her trade, she joined a large group that was making a pilgrimage to Jerusalem for the Feast of the Exaltation of the Holy Cross.

On the feast day itself, she joined the crowd as it was headed to the church in order to venerate the relic of the True Cross, again with the intention of luring others into sin. When she got to the door of the church, (...) a miraculous force propelled her away from the door each time she approached. (...) (she) moved to a corner of the churchyard and began to cry tears of remorse. Then she saw a statue of the Blessed Virgin. She prayed to the Holy Mother for permission

to enter the church for (...) venerating the relic. She promised the Virgin Mother that if she were allowed to enter the church, she would renounce the world and its ways. Mary of Egypt entered the church, venerated the relic and returned to the statue outside to pray for guidance. She heard a voice telling her to cross the Jordan River and find rest. She set out and in the evening, arrived at the Jordan and received communion in a church dedicated to St. John the Baptist.

The next day, she crossed the river and went into the desert, where she lived alone for 47 years. (...) while making his Lenten retreat, a priest named Zosimus found the hermitess. She asked him to return to the banks of the Jordan on Holy Thursday of the following year and to bring her Communion. The priest was true to his word and returned bearing the Eucharist. Mary told him to come back again the next year, but to the place where he had originally met her.

When Zosimus returned in a yearâ&#x20AC;&#x2122;s time, he found Maryâ&#x20AC;&#x2122;s corpse. On the ground beside it was a written request that she be buried accompanied by a statement that she had died one year ago, in 421 A.D., on the very night she had received Holy Communion.

Alignments - Constraints | 63

One of the biggest intentions though, is a sectional and elevational one - the â&#x20AC;&#x153;breaking apartâ&#x20AC;? of the bank (as if the Malings, the development opposite the river had ripped it apart), softening the transition between land and water, temporary and pernanent, high and low tide. The painting in trace exemplifies the two concepts (theological and spatial) together.

1:50 Model I also start exploring the underground spaces here, starting to imagine how the two opposing qualities - under and above ground - can interact.

64 | Narrative - Act II

Alignments - Constraints | 65

1:50 Model I also start exploring the underground spaces here, starting to imagine how the two opposing qualities - under and above ground - can interact.

66 | Narrative - Act II

Grids, Lines and Constraints With this in mind, I started developing my intentions in relation to the site. Positioning the church volumes (opening up a new dead-end plaza in the Portuguese urban tradition) to the south, and the social services to the north, It started with simple decisions: connecting those two volumes with the cells, aligning grids perpendicular to the river with the arches in the retaining walls, defining St. Mary of Egyptâ&#x20AC;&#x2122;s day (April 1st) as the angle for the church volume grid, and adapting a third grid for the northern volume. This happened hand in hand with massing experiences, getting to know the site boundaries and exploring the relationships that could be found in the immediate and distant proximity.

Views The conflict between lower and higher levels provides, around the site, great views over it , either towards inland (views above) or towars the Tyne (views below). The roofscape of the building will then be incredibly important, as well as the crafting of the facades turned to the Mallings and the Toffee Factory (the “public” faces).

gnitsixe eht swollof yltcirts evoba enil ehT .llaw gniniater ni elgna taht stcerroc woleb enil ehT eht sdrawot weiv a edivorp tsuj ot redro .yenmihc yrotcaf eeffoT

tsomla era sgnillaM eht ,erofeb nees sA knaB tseW eht otni gniggid sregnfi ekil ,dna stnemngila rieht yb elbisiv si safo sretsulc raenil 5 eht ,yltnedicnioc .sgnidliub

St. Mary of Egypt The first spatial grid to come about is the one relating to St. Mary of Egypt’s day, and the angle at which the sun rises that day (April 1st). Situated more towards the Toffee Factory (due to the desire of making that the “public” facade.), it’s the start of the base onto which the building will be planned. The Arches The second spatial grid, and the most impactful, relates to the arches in the western retaining wall. Perpendicular to the riverbank, the lines meet the arches and provide the framework for the elevated 1st floor, as imagined before hand. The Corner The final grids consist of the slow adaptation of the arches grid perpendicular to the river, to an arches grid perpendicular to the arches and then to one perpendicular to the far wall of the site. This accompanies also the area where the river bank curves to meet the Byker Bank bridge. The idea is that, between these grids, the previously imagined alignments, and those that will eventually come halfway through the design proccess, there will be a mediation, between the most pertinent views, the most pertinent alignments, spaces, people, materials or concepts.

The line above strictly follows the existing retaining wall. The line below corrects that angle in order to just provide a view towards the Toffee factory chimney.

tsomla era sgnillaM eht ,erofeb nees sA knaB tseW eht otni gniggid sregnfi ekil ,dna stnemngila rieht yb elbisiv si safo sretsulc raenil 5 eht ,yltnedicnioc .sgnidliub

The line above strictly follows the existing retaining wall. The line below corrects that angle in order to just provide a view towards the Toffee factory chimney.

As seen before, the Mallings are almost like fingers digging into the West Bank -as is visible by their alignments and, coincidently, the 5 linear clusters of buildings.

76 | Narrative - Act II

Grids, Lines and Constraints With this in mind, I started developing my intentions in relation to the site. Positioning the church volumes (opening up a new dead-end plaza in the Portuguese urban tradition) to the south, and the social services to the north, It started with simple decisions: connecting those two volumes with the cells, aligning grids perpendicular to the river with the arches in the retaining walls, defining St. Mary of Egypt’s day (April 1st) as the angle for the church volume grid, and adapting a third grid for the northern volume. This happened hand in hand with massing experiences, getting to know the site boundaries and exploring the relationships that could be found in the immediate and distant proximity.

Church Orientation General plan of possible church alignments. A church’s orientation, up until the Renaissance, often correlated with the sunrise of its honoured saint. In this site, it’s interesting to extrapolate how this might be achieved - particularly with the angular, east-west nature of the Mailings plan, and also by departing from a gridded structural approach, It will be interesting to see how these breaks in the grid affect the overhaul experience. The way the sunrise alignments can be played with in relation to roads across the river, creating valleys of angelic sunlight is something that will also influence the final design - much like the “fingers” of the Mallings, these East-West fingers will ensure an ever changing morning atmosphere. (in Annex 5, adapted and abridged)

20th March - Good Friday (earliest)

24th June - Nativity of St. John the Baptist 4th April - St. Zosimas / 1st April - St. Mary of Egypt 23th April - Good Friday (latest)

8th December - Immaculate Conception of Mary

Judas’ Iscariot alignment ignoring theological canons Easter’s undefined day would mean, in this specific case that two directions were taken into account, creating a curved, angular space - the intention to subvert the expected notions of Christianity in order to produce a fairer, more benevolent view (like with the manifesto), leading, despite (or in line) with the attempt at depoliticizing the retreat, to affirm that someone like Judas, either is deserving of forgiveness (an argument for non-predestination sects like Catholicism), or due to all actions being willed by God, is actually already in heaven, with his betrayal in essence, something good and necessary for the crucification.

Alignments - Constraints | 77

78 | Narrative - Act II

south, and the social services to the north, It started with simple decisions: connecting those two volumes with the cells, aligning grids perpendicular to the river with the arches in the retaining walls, defining St. Mary of Egypt’s day (April 1st) as the angle for the church volume grid, and adapting a third grid for the northern volume. This happened hand in hand with massing experiences, getting to know the site boundaries and exploring the relationships that could be found in the immediate and distant proximity.

20th March - Good Friday (earliest)

24th June - Nativity of St. John the Baptist 4th April - St. Zosimas / 1st April - St. Mary of Egypt 23th April - Good Friday (latest)

8th December - Immaculate Conception of Mary

Alignments - Constraints | 79

The Arches The second spatial grid, and the most impactful, relates to the arches in the western retaining wall. Perpendicular to the riverbank, the lines meet the arches and provide the framework for the elevated 1st floor, as imagined before hand. The Corner The final grids consist of the slow adaptation of the arches grid perpendicular to the river, to an arches grid perpendicular to the arches and then to one perpendicular to the far wall of the site. This accompanies also the area where the river bank curves to meet the Byker Bank bridge. The idea is that, between these grids, the previously imagined alignments, and those that will eventually come halfway through the design proccess, there will be a mediation, between the most pertinent views, the most pertinent alignments, spaces, people, materials or concepts.

tpygE fo yraM .tS Grids, Lines and Constraints eht si tuoba emoc ot dirg laitaps tsrfi ehT With this in mind, I started ,yad s’tpygE fo yraM .tS ot gnitaler eno tdeveloping aht sesir nus ehtmy hcihw intentions ta elgna eht dnin a e h t s d r a w o t e r o m d e t a u t ts1 lirpA( yad relation to the site.iS .)Positioning gnikam fo erised eht ot eud( yrotcaF eeffoT the church volumes (opening fo trats eht s’ti ,).edacaf ”cilbup“ eht taht up e b lla iw new gnidliudead-end b eht hcihw plaza otno esin ab the eht ennthe alp Portuguese urban tradition).dto sehcrA eh south, and the social services toT tsom eht dna ,dirg laitaps dnoces ehT the north, It started with simple eht ni sehcra eht ot setaler ,luftcapmi decisions: e ht ot ralucidnconnecting epreP .llaw gninthose iater nrettwo sew d na sehcra with eht teethe m secells, nil eht aligning ,knabrevir volumes ts1 detavele eht rof krowemarf eht edivorp grids perpendicular to the river .dnah erofeb denigami sa ,roofl

with the arches in the retaining walls, defining St. Mary of Egypt’s day (April 1st) as the angle for the church volume grid, and adapting a third grid for the northern volume. This happened hand in hand with massing experiences, getting to know the site boundaries and exploring the relationships that could be found in the immediate and distant proximity.

20th March - Good Friday (earliest)

24th June - Nativity of St. John the Baptist 4th April - St. Zosimas / 1st April - St. Mary of Egypt 23th April - Good Friday (latest)

8th December - Immaculate Conception of Mary

The Corner The final grids consist of the slow adaptation of the arches grid perpendicular to the river, to an arches grid perpendicular to the arches and then to one perpendicular to the far wall of the site. This accompanies also the area where the river bank curves to meet the Byker Bank bridge. The idea is that, between these grids, the previously imagined alignments, and those that will eventually come halfway through the design proccess, there will be a mediation, between the most pertinent views, the most pertinent alignments, spaces, people, materials or concepts.

with the arches in the retaining renroC ehT walls, ofirgEgypt’s n oitatpadefining da wols ehtSt. fo tsMary isnoc sd lanfi ehT e ht o(April t raluci1st) dnepas repthe dirgangle sehcrafor ehthe t fo day ot ralucidneprep dirg sehcra na ot ,revir church volume grid, and adapting ralucidneprep eno ot neht dna sehcra eht saethird inapmgrid occafor sihTthe .etisnorthern eht fo llawvolume. raf eht ot sThis evruchappened knab revir ehhand t erehw era ehtwith osla inahand gdirb knaB rekyB eht teem ot massing .eexperiences, getting to know the site boundaries and exploring the relationships that could be found in the immediate and distant proximity.

20th March - Good Friday (earliest)

24th June - Nativity of St. John the Baptist 4th April - St. Zosimas / 1st April - St. Mary of Egypt 23th April - Good Friday (latest)

8th December - Immaculate Conception of Mary

The idea is that, between these grids, the previously imagined alignments, and those that will eventually come halfway through the design process, there will be a mediation, between the most pertinent views, the most pertinent alignments, spaces, people, materials or concepts. Below, for example, the two grids led to a conflict that had to be resolved by adapting the grid with a asymmetrical stairwell that led from one angle to another.

84 | Narrative - Act II

Alignments - Constraints | 85

86 | Narrative - Act II

Alignments - Constraints | 87

Underground Exploration //

30m

88 | Narrative - Act II

Underground Exploration //

30m

90 | Narrative - Act II

noitarolpxE dnuorgrednU //

m03

Above and Left | Before being able to dig further, a shear wall capable of holding back the riverbank and water intrusion (especially as itâ&#x20AC;&#x2122;s so below the water table) is the defacto limiter of the underground

Underground Exploration //

30m

exploration, being key for manipulating the relationship between the wet, temporarily usable spaces and the dry, permanently usable spaces.

92 | Narrative - Act II

gid ot elba gnieb erofeB | tfeL dna evobA gnidloh fo elbapac llaw raehs a ,rehtruf noisurtni retaw dna knabrevir eht kcab )elbat retaw eht woleb os s’ti sa yllaicepse( dnuorgrednu eht fo retimil otcafed eht si

noitarolpxE dnuorgrednU //

m03

Underground Exploration //

30m

94 | Narrative - Act II

noitarolpxE dnuorgrednU //

m03

Underground Exploration //

30m

96 | Narrative - Act II

noitarolpxE dnuorgrednU //

m03

Above and Left | Structurally, the walls continuing the grid below ground are pushing the temporary retaining walls and shear walls (read Annex 6) out again, relieving tension in the metal beams and

Underground Exploration //

30m

the concrete (which will be covered by a waterproof membrane). This model will allow me the same flexibility as above to advance the project.

98 | Narrative - Act II

Digging the Tomb As increasingly the project took Christ’s and Mary’s life’s at heart, so too grew the need to start imagining how a potential dig (much like with the Holy Sepulchre) could reveal the spaces below. Slowly but surely, half a basement became a room, a room became a cut and cover floor, and a floor soon became a fantastical interpretation of what the project could be (Right). With Christ’s Tomb (or the metaphorical version of it) as the certain end bpoint, it became a e a hytbgndie tare luvpoicnaem rlolifwyehkcighnwie( bet,n eo rcitnaoro clpexhet lymatter lliw irarloepdm om eof t ,steideveloping hwT e.h )etnnaerb em wteem bthe pfiohosrrituals nporietatalewr y o lttneevnoabatmospheres m a rseap y,tyilrid bixeehflt edm naaas sseecha t pesmelw bo alslu a and technical .tcejor.speechatpescenlb avad su a solutions were researched.

g slildaw ot eehlbt a,ygllnaireubtceurrotS feB| |tftefeLL ddnnaa evobA e grnaidld on huo forgelw baopleabc ld lairw g ra ee hh t s ganiu,rn eihtntroucf n slolaiswurtn ginin reiatatewr dyn raarokpnm ae btreveih r t ehgtnih kc su ap b ,)n eilabgaat rteuto aw)6exhet nwnoAledbaoesr( ss’tlilasw a yrlalaeihcsepdsnea( dna uosrm graeedbnulae tehm t fo ehrtetnim i niloo istnceatfegdnievhetilesri

noitarolpxE dnuorgrednU //

m03

Alignments - Constraints | 99

Above | In the end, the majority of the underground exploration will have to be contained within this protective structure - although Iâ&#x20AC;&#x2122;m allowing this project to be increasingly speculative, thereâ&#x20AC;&#x2122;s still a base in realistic, cost-effective methods.

Underground Exploration /Ventilation will be forced due to pressure /See More: changes Annex (cold 6/ air underground creating an air flow from smaller openings to a large stack-effect based heat chimney)/ 5m

30m

Above | The underground walls though, do not necessarily have to be so bulky. Although there is a need to provide bracing for the structure underneath, that can be done through the use of arches, thicker floor plates or brick infill between the continuation of the columns above ground.

100 | Narrative - Act II

Digging the Tomb As increasingly the project took Christ’s and Mary’s life’s at heart, so too grew the need to start imagining how a potential dig (much like with the Holy Sepulchre) could reveal the spaces below. Slowly but surely, half a basement became a room, a room became a cut and cover floor, and a floor soon became ,a hguohtfantastical sllaw dnuorgredinterpretation nu ehT | evobA .of yklub os ebthe ot evproject ah ylirassecould cen ton be od what gnicarb edivorp ot deen a si ereht hguohtlA (Right). With Christ’s Tomb (or the eb nac taht ,htaenrednu erutcurts eht rof rmetaphorical ekciht ,sehcra foversion esu eht of hguit) orhas t ethe nod e h t n e e w t e b l l fi n i k c i r b r o s e t a l p rooa fl certain end point, it became e bgond ie taree lu pob icnaaesm b rloliufwlyoeh eo ritciatnu aorno citln peo xhe .adhnytu rg vvo nm ckceigh hnw tife(obent,n o ct lymatter lliw irarloepdm om eof t ,steideveloping hwT e.h )etnnaerb em wteem bthe pfiohosrrituals nporietatalewr y o lttneevnoabatmospheres m a rseap y,tyilrid bixeehflt edm naaas sseecha t pesmelw bo alslu a and technical .tcejor.speechatpescenlb avad su a solutions were researched.

eht fo ytirojam eht ,dne eht nI | evobA eb ot evah lliw noitarolpxe dnuorgrednu erutcurts evitcetorp siht nihtiw deniatnoc eb ot tcejorp siht gniwolla m’I hguohtla esab a llits s’ereht ,evitaluceps ylgnisaercni .sdohtem evitceffe-tsoc ,citsilaer ni g slildaw ot eehlbt a,ygllnaireubtceurrotS feB| |tftefeLL ddnnaa evobA e grnaidld on huo forgelw baopleabc ld lairw g ra ee hh t s ganiu,rn eihtntroucf n slolaiswurtn ginin reiatatewr dyn raarokpnm ae btreveih r t ehgtnih kc su ap b ,)n eilabgaat rteuto aw)6exhet nwnoAledbaoesr( ss’tlilasw a yrlalaeihcsepdsnea( dna uosrm graeedbnulae tehm t fo ehrtetnim i niloo istnceatfegdnievhetilesri

noitarolpxE dnuorgrednU wofl ria na gnitaerc dnuorgrednu ria dloc( segn //ahc erusserp ot eud decrof eb lliw noitalitneV/ /)yenmihc taeh desab tceffe-kcats egral a ot sgninepo rellams morf N

m03

Alignments - Constraints | 101

Underground Exploration /See More: Annex 6/

30m

Project This last Act, the Swan Song consists of, essentially “finished” pieces that bridge the gap between creative proccess and “finished” project whitout turning into an over-extended story. It’s the chapter that could be continued even further. The amount that even now seems unexplained to others both unnerves and assures me that, at it’s heart, it’s a good project.

Ă&#x2DC; Introduction

Act I Primer

Act II Narrative

Act III Project

IV (Epilogue) Other Work

2 Foreword 4 Charrette

10 Prologue - Atmospheres 16 Manifesto - Protagonist

40 Readings - Setting the Stage

100 Climax - Refinement

206 Epilogue n/a Appendix

Searching for a Theme Interpretation of the Theme Defining the Protagonist

26 Artefacts - Tectonics & Outcome Museo Romano, Rafael Moneo Thinking Through Making, Tiling 6 Cells and a Space, Primer Outcome

Lower Steenberg Yard Plunging into the Burn

64 Alignments - Constraints St.Mary of Egypt Grids and Lines Digging the Tomb

Fauna, Flora and the Tomb - Aerial Cuts Newcastle Christian Centre - Plans Church of the Penitents - Axonometrics Ouseburn Mushrooms - Axonometrics Ouseburn Social Centre Deep Section Shallow Section

104 | Climax - Act III

Climax // Refinement Fauna, Flora and the Tomb (Fungi) The project strives to be perceived as a “living building”. Essentially, what this translates into, is the active role Fauna, such as Kittiwakes, and Flora, such as Lavander, has in the experience of the building. The “tearing” of the bank has developed into a complex crochet of moments, places, details for both humans and animals, activating further the temporality of the riverside with the presence of these animals, with their own rituals and habits, much like the retreatees.

106 | Climax - Act III

Fauna, Flora and the Tomb - Aerial Cuts | 107

Living Rooftops Floor and Social//Centre //

108 | Climax - Act III

spotfooR //

Fauna, Flora and the Tomb - Aerial Cuts | 109

Living Floor and Social Centre //

110 | Climax - Act III

Small Cloister | This conceptual cloister, defined by the path and the visual and material contrast with both the water and the grass, had initially been revealed to me in an almost prophetic dream.

Fauna, Flora and the Tomb - Aerial Cuts | 111

Church, Gardens and Baths| Two volumes connected by two bridges above.

112 | Climax - Act III

Crypt and Cistern //

Fauna, Flora and the Tomb - Aerial Cuts | 113

114 | Climax - Act III

Crypt 2, Calvary and Tomb //

Fauna, Flora and the Tomb - Aerial Cuts | 115

116 | Climax - Act III

The project’s spaces, and particularly as we’ve seen, the underground ones, are thought of as metaphors. In a project where being political (and where several intentions, such as a sculpture of the baptism of Christ in the water, or the definition of Ecumenical both too Catholic - have had to be curtailed severely due to their politicalness) inherently goes against its non-denominational concept, what was left has been examples such as these. The mimicking of the Holy Sepulchre in Jerusalem, referenced visually several times in the portfolio, functions in the deepest floor as a representation of both the calvary (the site of Jesus’ cruficification) and the sepulchre itself, which in this project remains a purposeful unknown: only those who have been in the retreat would be able to, like Mary Magdalene, witness the empty tomb, after Christ had risen.

The underground reflective pool at the bottom of the vertical space, symbolizes the tears of Mary (which fill it, either through the discharge of heated water from the cistern, or through rainfall with the depth calculated in order to handle the maximum rainfall that the opening above could take yearly). The fact that the ossuary is located here, further deepens that connection to the afterlife. The hints of life (particularly the fungus and moss) growing here in harmony with the bonefilled boxes in the packed dirt floors would give strength to the well known Anglican burial service (in line with all Christian denominations): “Ashes to ashes, dust to dust”

Crypt 3 (Ossuary), Calvary and Tomb //

Fauna, Flora and the Tomb - Aerial Cuts | 117

118 | Climax - Act III

Newcastle Christian Centre - Plans | 119

Entrance Baptistery

Candle RackStorage

Processional Route (Funerary Mushrooms Chapel) (smoking)

Altar

Mushrooms (packaging)

“Goodbye” Multi-use Ramp Room Church Balcony

Mushrooms

Small Cloyster

Ossuary/Mushroom Ossuary

Large Cloyster

Refectory Hill “visible Calvary to passersby” (balcony) (steps)

Elevated Cloyster Processional Route

Dock 2

Kitchen Technical Social Support Offices Cistern Floor Tomb (between Cistern and Baths)

Garage/Storage

Garden of the Well

Technical Pool Hall Floor (Pool)

Supervised Injection Site

Dock 1

Public Garden

Courtyard

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These routes were not predetermined from the start. The project’s concept, complexity, details and programme grew and adapted as my understanding of the site and the space-making changed. Above, a March screenshot shows the definite development of the twin routes into the refectory (dark blue), as well as the processional route into the Crypt/Ossuary below (light blue) - (Digital Sketch dated from late March and part of the digital archive/sketchbooking of the project).

The same language has been kept from primer. In fact, it was going back to primer that helped solve this space, as an articulator of two angles, and the way the pool walls develop in relation to the river. Inside, the concrete and tiles play with each other, and the sauna a little pocket of wood. Tubular metal skylights direct light from the garden above and reflect it underneath.

The cells, outward looking, are accessed by a closed cloister. All the cloisters, plazas, light wells, they’re incredibly private things. Although the refectory is afforded a sneak peek into the corridors, it’s mostly

Cells, RoofCrypt Gardens, Crypt 3 Church, The (Ossuary), Crypt Refectory 2, Cell Calvary Gardens Baths (1:50 and Calvary Cistern &and original) Supervised andTomb and PoolTomb Injection Site ////

30m

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Crypt The first floor of the crypt is the most complex one. Its relationship with the surface, and with the rest of the building is much stronger, and so is its programmatic importance. Concrete gives way to a wood decking over a floodable packed dirt floor; A window illuminates the underground on the river side; etc.

Manifesto in Situ The cell has been, almost without a change, integrated within the project. It’s position on raised walkways, with the corridors connecting both sides, means that the morning ritual - based between the church and cell - and the ... It’s accomplishes my idea of activating these circulation spaces - of which there are many - and making them, essentially, a large, labyrinthic common room, where a silent procession may occur in the lmorning while heading l Ha l to Pchurch, but a happy chat can oo occur as people descend to the baths in their bathrobes. The programmatic separation between south and north volumes Dock 1 (but their integral relation with the cell) makes these corridors the centre of the project, where all points of interest for the main protagonist - the retreatee converge.

blocked from that more private interior courtyard, and instead is illuminated by a separate lightwell.

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Newcastle Christian Centre - Plans | 121

Entrance Baptistery

Candle RackStorage

Processional Route (Funerary Mushrooms Chapel) (smoking)

Altar

Mushrooms (packaging)

“Goodbye” Multi-use Ramp Room Church Balcony

Mushrooms

Small Cloyster

Ossuary/Mushroom

Large Cloyster

Refectory Hill “visible to passersby” (balcony) (steps)

Elevated Cloyster Processional Route

Dock 2

Kitchen Technical Social Support Offices Cistern Floor Tomb (between Cistern and Baths)

Garage/Storage

Garden of the Well

Technical Pool Hall Floor (Pool)

Supervised Injection Site

Dock 1

Public Garden

Courtyard

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Cells, Roof Gardens, Crypt Church, TheCrypt Refectory 2, Cell Calvary Gardens Baths (1:50 and Cistern &and original) Supervised andTomb Pool Injection Site ////

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blocked from that more private interior courtyard, and instead is illuminated by a separate lightwell.

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Newcastle NewcastleChristian ChristianCentre Centre--Plans Plans| |123 123

Entrance

Entrance Candle RackStorage Candle Rack Processional Storage Processional Route (Funerary Mushrooms Route Chapel) (Funerary Mushrooms Chapel) Mushrooms Mushrooms (smoking) (smoking) (packaging) (packaging)

Baptistery

BaptisteryAltar

Altar

“Goodbye” Multi-use Ramp “Goodbye” Room Multi-use Ramp Room

Church Balcony Church Balcony

Mushrooms Mushrooms

Small Cloyster Small Cloyster

Refectory Hill “visible Hill “visible to passersby” toRefectory passersby” (steps) (steps)

Kitchen Kitchen Social Social Support Support Offices Offices Technical Technical Cistern Cistern Floor Floor (between (between Cistern Cistern andand Baths) Baths)

Technical Technical Pool Pool Hall Floor Hall Floor (Pool) (Pool)

Large Cloyster Large Cloyster Elevated Elevated CloysterCloyster Dock Dock 2 Garage/Storage 2 Garage/StorageGarden Garden of the of the WellWell Supervised Supervised Injection Injection Processional Processional Route Route Site Site

Dock Dock11

Public PublicGarden Garden

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Crypt Crypt These routes Thesewere routes notwere predetermined not predetermined The same The same language language has been has been kept kept The first floor Theoffirst thefloor cryptof isthe the crypt most is the most from the from start.the Thestart. project’s The project’s concept,concept, from primer. from primer. In fact, In it fact, was itgoing was going back to back to complex one. complex Its relationship one. Its with relationship the with complexity, complexity, details and details programme and programme grew grew primer that primer helped that solve helped this solve space, thisasspace, an as surface, and the with surface, the rest of and thewith building the isrest of and the adapted and adapted as my as understanding my understanding of of the articulator an articulator of two angles, of two and angles, the way andthe the way much stronger, building and soisismuch its programmatic stronger, and so isthe its site and sitethe and space-making the space-making changed. changed. pool walls the develop pool walls in relation develop to in the relation river.to the importance. Concrete programmatic gives way importance. to a wood Concrete Above, a Above, March ascreenshot March screenshot shows the shows the Inside, the river.concrete Inside, the and concrete tiles play and with tiles play decking overgives a floodable way topacked a wood dirt decking floor; over definite a development definite development of the twin of the routes twin routes each other, with and eachthe other, sauna and a little the sauna pocketa little A window illuminates floodablethe packed underground dirt floor; on A window into the refectory into the(dark refectory blue),(dark as well blue), as the as well as of wood. pocket Tubular of wood. metalTubular skylights metal direct skylights the river side;illuminates etc. the underground on the river processional theroute processional into the Crypt/Ossuary route into the Crypt/ light from direct the light garden from above the garden and reflect above it and below (light Ossuary blue) -below (Digital(light Sketch blue) dated - (Digital underneath. reflect it underneath. from late Sketch March dated and part from of latethe March digital and part of archive/sketchbooking the digital archive/sketchbooking of the project). of the project).

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Cells, Roof Cells, Gardens, Roof Church, The Gardens, Crypt Refectory Cell Church, Gardens The Baths (1:50 and Crypt Refectory Cell Cistern &original) Gardens Supervised and Baths (1:50 andPool Cistern &original) Supervised andInjection Pool Injection Site Site // //

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Newcastle NewcastleChristian ChristianCentre Centre--Plans Plans| |125 125

Entrance

Refectory Refectory

Entrance Candle Rack Candle Rack ProcessionalProcessional Route (Funerary Route Chapel) (Funerary Chapel)

Baptistery

BaptisteryAltar

Altar

(between (between Cistern Cistern andand Baths) Baths)

“Goodbye” Multi-use Ramp “Goodbye” Room Multi-use Ramp Room

Church Balcony Church Balcony

Kitchen Kitchen Social Social Support Support Offices Offices Technical Technical Floor Floor

Small Cloyster Small Cloyster

Large Cloyster Large Cloyster Elevated Elevated CloysterCloyster

Pool Pool Hall Hall

Dock Dock 2 Garage/Storage 2 Garage/StorageGarden Garden of the of the WellWell Supervised Supervised Injection Injection Site Site

Dock Dock11

Public PublicGarden Garden

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Cells, Roof Cells, Gardens, Roof Church, The Gardens, Refectory Cell Church, Gardens The Baths (1:50 Refectory Cell &original) Gardens Supervised and Baths (1:50 Pool &original) Supervised andInjection Pool Injection Site Site // //

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Newcastle Christian Centre - Plans | 127

Entrance Baptistery

Candle Rack

Refectory Refectory

Processional Route (Funerary Chapel) Altar

“Goodbye” “Goodbye” Multi-use Ramp Ramp Room Church Church Balcony Balcony

Small Cloyster

Large Cloyster

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Dock 2

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Cells, Cells, Roof Roof Gardens, Gardens, Church, The The Refectory Cell Refectory Cell Gardens Baths (1:50 Baths (1:50 &original) & Supervised and original) Supervised Pool Injection Injection Site Site // //

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Newcastle Christian Centre - Plans | 129

Refectory “Goodbye” Ramp

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Social Support Offices

Garden of the Well

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Courtyard

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Cells, Roof Gardens, TheRefectory Cell (1:50&original) Supervised Injection Site //

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Manifesto in Situ The cell has been, almost without a change, integrated within the project. It’s position on raised walkways, with the corridors connecting both sides, means that the morning ritual - based between the church and cell - and the ... It’s accomplishes my idea of activating these circulation spaces - of which there are many - and making them, essentially, a large, labyrinthic common room, where a silent procession may occur in the morning while heading to church, but a happy chat can occur as people descend to the baths in their bathrobes. The programmatic separation between south and north volumes (but their integral relation with the cell) makes these corridors the centre of the project, where all points of interest for the main protagonist - the retreatee converge. blocked from that more private interior courtyard, and instead is illuminated by a separate lightwell.

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Newcastle Christian Centre - Plans | 131

Manifesto in Situ The cell has been, almost without a change, integrated within the project. Itâ&#x20AC;&#x2122;s position on raised walkways, with the corridors connecting both sides, means that the morning ritual - based between the church and cell - and the ... Itâ&#x20AC;&#x2122;s accomplishes my idea of activating these circulation spaces - of which there are many - and making them, essentially, a large, labyrinthic common room, where a silent procession may occur in the morning while heading to church, but a happy chat can occur as people descend to the baths in their bathrobes. The programmatic separation between south and north volumes (but their integral relation with the cell) makes these corridors the centre of the project, where all points of interest for the main protagonist - the retreatee converge.

The Cell (1:50 original) //

Right | The balcony, part of the exit towards Ouse St., offers the departing retreatees one last view of the church, and through the main curved window, particularly the Mallings and the sunlight, before coming out into the world a repentant person.

Left | Candle Rack detail; the candles are stuck on sand, which when dirty, can be pushed to the sandy floor below or disposed of by removing the metal end of the rack. The difference to a very raw flooring denotes the way this space came to be: by â&#x20AC;&#x153;pullingâ&#x20AC;? part of the wall out of the back of the church untill it met the angle of the retaining brick wall, and filling the opening with a tall glass door.

Church The church, used for both communal and sectarian services, has a deceptive lack of imagery - the cross the only exception to this. However, there’s still a need for certain articulation, particularly here. The altar is prepared for most Christian faiths - the Bishop’s seat, the Pulpit (to the left and right), the seating, they can be adapted for each denomination’s needs. Catholics and Orthodox, for example, have storage nearby to safeguard the instruments that, through the way they are used, confer the place sacredness. There’s space for choir, to be turned to the faithful or the cross, and to ignore the marble altar completely (most protestant denominations). The simplicity of the space relies on geometry, little details and light to help spiritual connection. The profile of the thin cross as the light inundates the room through the curved window will blind the faithful as the day of the patron saint of penants arrives, reminding them of the retreat’s purpose. On the sides, large windows to the north allow soft light to come in (while the side-nave below are in pitch darkness), and to the south, smaller, foggy windows disarm the strong direct sunlight.

136 | Climax - Act III

Above| View of Baptistery, its close connection with the river and the curved corner. The Baptismal font borrows the octogonal form as a representation of the Eight Day (Christ’s rise). Left | Candle Rack detail; the candles are stuck on sand, which when dirty, can be pushed to the sandy floor below or disposed of by removing the metal end of the rack. The difference to a very raw flooring denotes the way this space came to be: by “pulling” part of the wall out of the back of the church untill it met the angle of the retaining brick wall, and filling the opening with a tall glass door.

Church of the Penitents - Axonometric | 137

Above| The Church tower, and the recycled metal cross are, essentially, the only overt Christian symbols, due to their universal acceptance among all sects. This screenshot, dating from early March, shows the secondary intended effect for the cross - simulating the 1st of Aprilâ&#x20AC;&#x2122;s afternoon, one can see the way the cross and tower shadow align perfectly at the comemorative mass time (in honour of St. Mary) with the Mailing tower. Not pictured: the way the cross actually will illuminate the living room floor of that protruding mostly glazed - window.

Church Peak //

138 | Climax - Act III

Throughout the building, the vertical connections are opportunities for interaction between planes, programmes, people and spaces. In this example, for example, as you descend the steps into the (female) baths mezzanine level (see section N-S 4 & 5) , youâ&#x20AC;&#x2122;re hanging above the corner of the processional steps leading underground - on one side, turned to a void, a discreet handrail prevents you from falling. On the other, a half wall allows you for a moment viewing the processional steps, all the way from the mezzanine level on the other (male) side of baths for a brief moment.

Mushroom Production - Axonometric | 139

Like much of the exposed exterior, the rooftops are inhabited by green roofs, reducing noise, water discharge, over-heating (while improving insulation), and heat island effect (which will come in effect as the Ouseburn densifies in terms of construction). Meant not only as an habitat for small birds and bees (as predators, like domestic cats, whill find the walls too big to scale), but also, particularly above the two cell walkways connecting the north and south (church) volume, farming of small crops of herbs, produce, etc, to be used in the kitchens (as opposed to the mushrooms, that are being produced at a much higher rate than the necessary for a single soup kitchen and retreat.)

In the undercroft gardens, supported by the crypt below, simple grass, a reflective pool and the columns and straight paths define the space as an idylic, almost utopian refuge during good weather, and a functional connections between the two volumes at ground level due to the cover provided by the elevated rooms above. Two holes, however, perforate this simple landscape, one giving light and ventilation to the “calvary”, the other exposing the mushroom growth rooms above and creating large lightwell onto which some of the growth rooms open to. The arches, however, are kept, both to provide cross-bracing to the structure, but also to increase the sense of exposed ruin intended.

The logic with the flexible spaces is that they’re adaptable to the financial needs of the centre, the capacity of the ossuary, and the number of retreatees in the project. Particularly with this last one, the way to provide an equitable and ethical source of funding is to vary the type of main mushroom to produce: lower-end products for when the population is higher, and higher-end, gourmet products when the population is lower (as the work needed per £ is much less for higher-end products).

The spaces underground, structurally are composed of concrete arches with a brick infill that is meant to provide flexibility to the space. In reality, the growth rooms, ossuary, dirt and concrete floors will blend in, a mediation happening between these programmes. Symbolism …[3] The tempter came to Him and said, “If You are the Son of God, tell these stones to become bread.” [4] But Jesus answered, “It is written: ‘Man shall not live on bread alone, but on every word that comes from the mouth of God.’” Turning stone into bread, in this context, could be argued as an ironic heresy: a subversion of the words the scriptures. However, if we are like Jesus in that we are only human while on this earth, unlike him, it is not disobedient in this case to produce mushrooms out of the figurative stone: it is simply taking advantage of natural properties of Fungi. When Jesus was tempted with physical hunger, he obeyed God. When the retreatees were tempted by whichever reason they decided to retreat, they obey God by helping those less fortunate with these very mushrooms.

140 | Climax - Act III

Mushroom Production - Axonometric | 141

142 | Climax - Act III

Mushroom Production - Axonometric | 143

144 | Climax - Act III

Mushroom Production - Axonometric | 145

Symbolism …[3] The tempter came to Him and said, “If You are the Son of God, tell these stones to become bread.” [4] But Jesus answered, “It is written: ‘Man shall not live on bread alone, but on every word that comes from the mouth of God.’” Turning stone into bread, in this context, could be argued as an ironic heresy: a subversion of the words the scriptures. However, if we are like Jesus in that we are only human while on this earth, unlike him, it is not disobedient in this case to produce mushrooms out of the figurative stone: it is simply taking advantage of natural properties of Fungi. When Jesus was tempted with physical hunger, he obeyed God. When the retreatees were tempted by whichever reason they decided to retreat, they obey God by helping those less fortunate with these very mushrooms.

146 | Climax - Act III

Selling The types of mushrooms grown will vary on the available work force (eg. retreatees). Due to their different profit/hour values, more expensive breeds (Shiitake, for example), will be chosen over less expensive ones (Button, for example) if thereâ&#x20AC;&#x2122;s less people, and vice-versa.

Storage + use + smoking The harvested mushrooms (eg: the oneâ&#x20AC;&#x2122;s grown in trays) are then either packaged in-house, smoked and then packaged, or put in store/kitchens to produce food commercially and charitably, as well as for own consumption.

Packaging, harvesting After being filled into large trays and placed in a specialised spawn growing room for 14 days, the mushrooms (after being exposed to light) can be harvested (several times over in certain cases.)

Mushroom Production - Axonometric | 147

Mixing Compost with spawn (colonization) in the trays The compost is now mixed with spawn of the growers strain and often is supplemented with a matched slow release protein source. The trays are stacked in the isolated grow rooms (one tube lamp per tray - to which the CHP provides electricity for).

Cooling Over the next 4 or 5 days the temperatures are gradually reduced down to 45-46C in the compost. Slowly, the microorganisms die off.

CHP (mulch sterilization/ pasteurization) The CHP has a central role in how the programmes in the building are organized. It heats up the baths, warms the flooring, and in the case of mushroom production, can use heat by product to boil (or help boil) water in the cistern for pasteurizing the mulch onto which the mushrooms will grow.

13 week growth cycle

148 | Climax - Act III

Shared Refectory / “Soup Kitchen” As a non-religious person, the space that programatically interest me the most when talking about this manifesto is, perhaps, the refectory - a very simple space compared to the rest of the complex - especially in terms of it’s shared use, with the disadvantged and the retreatees breaking bread together. This action, in my view, is then as important and Christian as pray, and the space subsequently, as important as the church - a “non-consecrated” temple serving a truly cross-sectional group of people.

Ouseburn Social Centre | 149

Social Centre Entrance On the corner of Ouse St. and Byker Bank, the inconspicuous volume (unlike the two other monumental facades) discreetly hides the entrance to the garden leading to both the supervised injection site and the shared refectory. The only exterior window

shows a simple corridor with the name and logo on the wall, doing away with conspicuous signage. Removing the shame component of both poverty and addiction is imperative - another reason why the retreatees contribute to these programmes.

Supervised Injection Site At the end of the main route concentrating homeless people in the council, the inclusion of a supervised injection site - run jointly by the retreat and the NHS - responds well to a need for programmes like these. Additionally, the negative consequences on the speculative housing market will ensure the affordability of the area,

â&#x20AC;&#x153;The Homeless Highwayâ&#x20AC;?, from the West to the East end passing through the city centre; along it, some of the most important organizations, places, events, etc, catering for homeless and addicts are hosted.

Deep Section pt. 1 //

150 | Climax - Act III

Deep Section | 151

Cistern Drum /Cold Rain hitting the boiling water of the cistern (used to pasteurize the mushroom mulch)/

North to South Section From the previous elevation, this section - developed as 20 individual layers (see Theory into Practice essay) - is intended as

a way of diving into the project, presenting a large part of all the intentions in a layered way, much like the concepts, creative process and actual building is.

Deep Section pt. 2 //

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| 153

The “Hill” /Here it’s possible to see how the graceful curve continuing the assymetrical facade of the cells (which are flat) eventually meets again the rising street level./

Cold Pool Light /As an example of the intermingling spaces, notice how the refectory and cold pools are separated; contributing to two distinct approaches to lighting the different spaces from the same skylight./

Deep Section pt. 3 //

Sauna & Bat Roosters Taking advantage of the lower ceilling height of the sauna space (for atmospheric and practical reasons), the hot air ventilation is integrated to provide heat for pregnant bat colonies in the void above the sauna.

451 | noitceS peeD

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| 155

Pool to River Transition One of the points of mediation of the imposed grid and the preehixisting form is the grid of the cistern and pool (which support the baths, and subsequently the hanging gardens and social programmes). The way i’ve managed to do this is to turn one corner wall into three

layers: the first, the continuation of the grid with the pool edge columns; the second one, with the windows and sliding doors offering a tighter curve that eventually meets the grid lines; and a third that simply follows the river boundary and provides covered riverside space. North Tower /Acts as a “reception”, where 3 of the programmes - Supervised Injection Site, Soup Kitchen and Retreat all meet to enter the refectory; the light qualities here are very similar to Siza’s and my own original atmospheres, with the light entering directly at around the time people enter the refectory;/ CHP fumes /Just like before with the sauna, the thermal qualities of the hot fumes are taken advantage of for another roostery in the long void (notice the ventilation tube going through it and through the North tower);/

Deep Section pt. 4 //

30m

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rewoT htroN eht fo 3 erehw ,”noitpecer“ a sa stcA/ ,etiS noitcejnI desivrepuS - semmargorp ot teem lla taerteR dna nehctiK puoS seitilauq thgil eht ;yrotcefer eht retne ym dna s’aziS ot ralimis yrev era ereh thgil eht htiw ,serehpsomta lanigiro nwo emit eht dnuora ta yltcerid gniretne /;yrotcefer eht retne elpoep semuf PHC eht ,anuas eht htiw erofeb ekil tsuJ/ era semuf toh eht fo seitilauq lamreht yretsoor rehtona rof fo egatnavda nekat noitalitnev eht eciton( diov gnol eht ni eht hguorht dna ti hguorht gniog ebut /;)rewot htroN

2 .tp noitceS peeD 3 4 //

m03

noitc isenSarhTtu reovSiRotoh t lto rooN P ,nnooititaaiv deelm e fo suo stivneiorp ee hh t t fo meonrO F 0 eh 2 t sadnd aepdoirle gveddes-opnm oiitcesht sih fot e othntifoyrdoie rghT ehet essi (msrroefyganl itla siuxd ihiveiedrnpi straopdpeudsnehtcniihw si( -lo)oypasd senaecnirtectasriP c yltneuqesbus dna ,shtab eht laicos dna snedrag gnignah eht .)semmargorp si siht od ot deganam ev’i yaw ehT eerht otni llaw renroc eno nrut ot

| 157

Roostery Entrance // Deep Section pt. 5 /Part 5 and 6 show extremely well the subtle differences in height levels, and the way these sectional views connect with the Long-Shallow sectional connections/

851 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

sretsooR taB & anuaS rewol eht fo egatnavda gnikaT ecaps anuas eht fo thgieh gnilliec ecnartnE yretsooR lacitcarp dna cirehpsom //ta rof( noitalitnev ria toh eht ,)snosaer rof taeh edivorp ot detargetni si diov eht ni seinoloc tab tnangerp .anuas eht evoba

2 .tp noitceS peeD 3 4 5 sweiv lanoitces eseht yaw eht dna ,slevel thgieh ni se/c/nereffid eltbus eht llew ylemertxe wohs 6 dna 5 traP/ /snoitcennoc lanoitces wollahS-gnoL eht htiw tcennoc

m03

| 159

Deep Section pt. 6 /Part 5 and 6 show extremely well the subtle differences in height levels, and the way these sectional views connect with the Long-Shallow sectional connections/

06 01 61| | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

65 2.tp.tpnoniotcitecSeSpepeeDeD 3 4 sw sw eievivlalnaoniotcitecseseseeshethytayw awehethdt ndana,sl,selveevletlhtghigeihehninsi escen/c/enreerfefifdfideletbltubsusehethltlellw ewyle ylm em eretxrtexeww ohoshs6 6dndana5 5tra trPa/P/ /s/nsoniotcitecnennoncoclalnaoniotcitecsesww ololallhaSh-Sg-ngonLoLehethht thiw tiwtctecnennoncoc

m03

| 161

Deep Section pt. 7 //

30m

261 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

2 3 4 5 6 .tp noitceS peeD 7 sweiv lanoitces eseht yaw eht dna ,slevel thgieh ni se/c/nereffid eltbus eht llew ylemertxe wohs 6 dna 5 traP/ /snoitcennoc lanoitces wollahS-gnoL eht htiw tcennoc

m03

East Wing /Here, each window can be shaded individually from the western sun; designed to magnify stack effect, clerestory windows can be opened from the outside/

West Wing /Here, an uninterrupted curtain rack (with segmented pieces of curtain fabric (linen) for every window) runs up to the processional steps, with access to balconies from the 2.8m high floor to ceiling sliding doors/

Deep Section pt. 8 //

| 163

461 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

2 3 4 5 6 .tp noitceS peeD 7 8 sweiv lanoitces eseht yaw eht dna ,slevel thgieh ni se/c/nereffid eltbus eht llew ylemertxe wohs 6 dna 5 traP/ /snoitcennoc lanoitces wollahS-gnoL eht htiw tcennoc

m03

Deep Section pt. 9 //

661 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

2 3 4 5 9 6 .tp noitceS peeD 7 8 sweiv lanoitces eseht yaw eht dna ,slevel thgieh ni se/c/nereffid eltbus eht llew ylemertxe wohs 6 dna 5 traP/ /snoitcennoc lanoitces wollahS-gnoL eht htiw tcennoc

m03

Deep Section pt. 10 //

861 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

2 3 4 5 9 6 .tp noitceS peeD 7 8 sweiv lanoitces eseht yaw eht dna ,slevel thgieh ni se/c/nereffid eltbus eht llew ylemertxe wohs 6 dna 5 traP/ /snoitcennoc lanoitces wollahS-gnoL eht htiw tcennoc

m03

| 169

Deep Section pt. 11 /Section concerning the reflective pool/small cloyster, an interpretation of a nearly prophetic feeling dream/ revelation at 3.15am, Christmas Day/

071 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

19 2 3 4 5 61..ttppnnooititcceeSSppeeeeDD 7 8 /sm waeeivrdlagnnoiilteceefsceitseehhptoyrapwylerahet ndn aafo,snleovietal ttehrgpireehtnnii nsae/c,/rneetsreyo fflicd lelaltm buss/loeo hp t le levw itcyeleflm ereerthxtegw nionhresc6no dc nano 5itcraePS/ /snoitcen/ynaoD c lsaanm oittscie rhsCw,m ollaa5h1S.-3gn taon Loeih tat lh etviewr tcennoc

m03

| 171

Deep Section pt. 12 //

271 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

m03

Deep Section pt. 13 //

471 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

39 1 2 3 4 5 61..ttppnnooititcceeSSppeeeeDD 7 8 /sm waeeivrdlagnnoiilteceefsceitseehhptoyrapwylerahet ndn aafo,snleovietal ttehrgpireehtnnii nsae/c,/rneetsreyo fflicd lelaltm buss/loeo hp t le levw itcyeleflm ereerthxtegw nionhresc6no dc nano 5itcraePS/ /snoitcen/ynaoD c lsaanm oittscie rhsCw,m ollaa5h1S.-3gn taon Loeih tat lh etviewr tcennoc

m03

Deep Section pt. 14 //

671 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

39 1 4 2 3 4 5 61..ttppnnooititcceeSSppeeeeDD 7 8 /sm waeeivrdlagnnoiilteceefsceitseehhptoyrapwylerahet ndn aafo,snleovietal ttehrgpireehtnnii nsae/c,/rneetsreyo fflicd lelaltm buss/loeo hp t le levw itcyeleflm ereerthxtegw nionhresc6no dc nano 5itcraePS/ /snoitcen/ynaoD c lsaanm oittscie rhsCw,m ollaa5h1S.-3gn taon Loeih tat lh etviewr tcennoc

m03

Deep Section pt. 14 15 //

871 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

5 4 39 1 2 3 4 5 61..ttppnnooititcceeSSppeeeeDD 7 8 /sm waeeivrdlagnnoiilteceefsceitseehhptoyrapwylerahet ndn aafo,snleovietal ttehrgpireehtnnii nsae/c,/rneetsreyo fflicd lelaltm buss/loeo hp t le levw itcyeleflm ereerthxtegw nionhresc6no dc nano 5itcraePS/ /snoitcen/ynaoD c lsaanm oittscie rhsCw,m ollaa5h1S.-3gn taon Loeih tat lh etviewr tcennoc

m03

Deep Section pt. 16 //

081 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

5 4 39 1 6 2 3 4 5 61..ttppnnooititcceeSSppeeeeDD 7 8 /sm waeeivrdlagnnoiilteceefsceitseehhptoyrapwylerahet ndn aafo,snleovietal ttehrgpireehtnnii nsae/c,/rneetsreyo fflicd lelaltm buss/loeo hp t le levw itcyeleflm ereerthxtegw nionhresc6no dc nano 5itcraePS/ /snoitcen/ynaoD c lsaanm oittscie rhsCw,m ollaa5h1S.-3gn taon Loeih tat lh etviewr tcennoc

m03

| 181

Deep Section pt. 17 //

281 | noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

5 4 39 1 6 7 2 3 4 5 61..ttppnnooititcceeSSppeeeeDD 7 8 /sm waeeivrdlagnnoiilteceefsceitseehhptoyrapwylerahet ndn aafo,snleovietal ttehrgpireehtnnii nsae/c,/rneetsreyo fflicd lelaltm buss/loeo hp t le levw itcyeleflm ereerthxtegw nionhresc6no dc nano 5itcraePS/ /snoitcen/ynaoD c lsaanm oittscie rhsCw,m ollaa5h1S.-3gn taon Loeih tat lh etviewr tcennoc

m03

Deep Section | 183

Victoria Tunnel

Deep Section pt. 18 20 19 //

30m

448811 || noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

5 4 87 39 1 6 2 3 4 5 6 7 8 11...tttpppnnnoooiitittccceeeS SSpppeeeeeeD DD /sm waeeivrdlagnnoiilteceefsceitseehhptoyrapwylerahet ndn aafo,snleovietal ttehrgpireehtnnii nsae///c,/rneetsreyo fflicd lelaltm buss/loeo hp t le levw itcyeleflm ereerthxtegw nionhresc6no dc nano 5itcraePS/ /snoitcen/ynaoD c lsaanm oittscie rhsCw,m ollaa5h1S.-3gn taon Loeih tat lh etviewr tcennoc

m03

Deep Section | 185

Victoria Tunnel

Deep Section pt. 19 20 //

30m

666888111| || noitceS peeD

”lliH“ ehT woh ees ot elbissop s’ti ereH/ eht gniunitnoc evruc lufecarg eht hcihw( sllec eht fo edacaf lacirtemyssa eht niaga steem yllautneve )tafl era /.level teerts gnisir

5 4 987 39 1 6 2 3 4 5 6 7 8 11..t..tp ttpppnnnn oooo iititic ttcce ceeS eS SSpppp eeeeeeD eD DD /sm waeeivrdlagnnoiilteceefsceitseehhptoyrapwylerahet ndn aafo,snleovietal ttehrgpireehtnnii ns/ae///c,/rneetsreyo fflicd lelaltm buss/loeo hp t le levw itcyeleflm ereerthxtegw nionhresc6no dc nano 5itcraePS/ /snoitcen/ynaoD c lsaanm oittscie rhsCw,m ollaa5h1S.-3gn taon Loeih tat lh etviewr tcennoc

m03

Deep Section | 187

Victoria Tunnel

Deep Section pt. 20 //

30m

188 | Climax - Act III

Shallow Section | 189

The Monumental Facade Early during the project, two urban intentions quickly formed in the project. The first, the creation of a terreiro (a portuguese word designating a square onto which a religious buildings fronts onto), the second, the repetition of elevated cells facing the river. At the meeting of these two facades, the corner took a long time to develop. In the end, the tapering upwards, using the same structural language of the stairs but in both directions now, softens the view towards the church from the main point

of access by making proportions bettter - almost seeming as if the corner is being pulled upwards until its desired height. Here, the formwork and materiality take full protagonism, with the flush, smooth concrete giving way to plank formwork that engages the steps and visually makes the structure seem more ambitious than it really is. Right This corner was only definitely solved at the latter stages of the project. In general, the nature of this project meant that, during the processes of mediation and layering of ideas, some areas such as this were defined in the beginning up to a point where they would inform another part of the building, which in turn was defined up until a point where it needed a more precise solution in the first area to constrain it again. Left The Venturian post-modern pediment aligns with the widest road crossing the Mallings. Adittionally, it manages to articulate better the river facade with both the other facades (the curvilinear part, the corner, the church...) but also with itself, creating a centralizing point that draws your eye to it without it being too obtrusive. Itâ&#x20AC;&#x2122;s also the low rise answer to both the warehouseâ&#x20AC;&#x2122;s and the Hotel du Vin pediments.

190 | Climax - Act III

1:10 Model

194 | Climax - Act III

1:10 Model Continuing the work from the tiled experiments, I experimented with various patterns and methods of directional formwork, to using in conjuction with tiles and flush concrete in the project.

Shallow Section | 195

Shallow Section | 197

Shallow Section pt. 1 //

Shallow Section | 197

Shallow Section pt. 1 //

Shallow Section | 199

Shallow Section pt. 3 //

002 | noitceS wollahS

1 .tp noitceS wollahS 3 //

Shallow Section | 201

Shallow Section pt. 4 //

202 | noitceS wollahS

1 .tp noitceS wollahS 3 4 //

| 203

Steps, and stepped structures are very common in this project. (a building that is almost entirely cast-insitu). They are, as well, very structurally expressed, the plasticity of the concrete taken advantage of for certain angled, hanging or curved elements like the stairs below, which are viewed as cast from the outside (going well with the kind of materiality and formwork intended for usually these stepped structural â&#x20AC;&#x153;toysâ&#x20AC;?).

Shallow Section pt. 5 //

30m

402 | noitceS wollahS

serutcurts deppe s md speehtT S ntip un j ;aloo,p .tcejorp siht ni nommoc yrev era yleritne tsomla si taht gnidliub a( ,llew sa ,era yehT .)utisni-tsac eht ,desserpxe yllarutcurts yrev nekat etercnoc eht fo yticitsalp ,delgna niatrec rof fo egatnavda ekil stnemele devruc ro gnignah deweiv era hcihw ,woleb sriats eht gniog( edistuo eht morf tsac sa ytilairetam fo dnik eht htiw llew yllausu rof dednetni krowmrof dna .)â&#x20AC;?syotâ&#x20AC;&#x153; larutcurts deppets eseht

5 1 .tp noitceS wollahS 3 4 //

m03

| 205

Shallow Section pt. 6.1 //

602 | noitceS wollahS

5 1 .tp noitceS wollahS 3 4 //

m03

1.6 .tp noitceS wollahS //

| 207

Note the small candle spot in this balcony overlooking the church as one leaves the retreat. It can also be used for those unconformable participating in the open mass(es), and the candles being burned (intended for retreatees use only) would illuminate slightly the church during the night.

Shallow Section pt.6.2 //

30m

802 | noitceS wollahS

siht ni tops eldnac llams eht etoN sa hcruhc eht gnikoolrevo ynoclab osla nac tI .taerter eht sevael eno elbamrofnocnu esoht rof desu eb ,)se(ssam nepo eht ni gnitapicitrap denrub gnieb seldnac eht dna )ylno esu seetaerter rof dednetni( eht ylthgils etanimulli dluow .thgin eht gnirud hcruhc

5 1 .tp noitceS wollahS 3 4 //

m03

12..66..ttpp nnooiittcceeSS w woollllaahhSS //

35 m0m

Shallow Section pt.7 //

012 | noitceS wollahS

5 woollllaahhSS 17..ttpp nnooiittcceeSS w 3 4 //

m03

12..66..ttpp nnooiittcceeSS w woollllaahhSS //

35 m0m

Shallow Section | 211

Shallow Section pt.8 //

30m

Non-Design Work

Epilogue

The result of these three years has been great, and itâ&#x20AC;&#x2122;s led me to experiment with different typologies, materials, and structural systems in all the projects, and yet increasingly there seems to be a coherent style emerging. I grew aware of both the good and the bad: not only has this year been emotionally and psychologically draining, it has done so incessantely. However, this was, I believe, essential. The result has been a final year project that takes hours to explain, but that when put in perspective - when I finally get out of my little bubble - astounds me everytime. In the future, I want to keep aiming high.: but the next academic step will depend, intrinsically, on the way I apply this knowledge Iâ&#x20AC;&#x2122;ve earned so far, this next year. A new phase of my life awaits.

Thank you for reading;

Ă&#x2DC; Introduction

Act I Primer

Act II Narrative

Act III Project

IV (Epilogue) Other Work

2 Foreword 4 Charrette

10 Prologue - Atmospheres 16 Manifesto - Protagonist

40 Readings - Setting the Stage

100 Climax - Refinement

206 Epilogue n/a Appendix

Searching for a Theme Interpretation of the Theme Defining the Protagonist

26 Artefacts - Tectonics & Outcome Museo Romano, Rafael Moneo Thinking Through Making, Tiling 6 Cells and a Space, Primer Outcome

Lower Steenberg Yard Plunging into the Burn

64 Alignments - Constraints St.Mary of Egypt Grids and Lines Digging the Tomb

Fauna, Flora and the Tomb - Aerial Cuts Newcastle Christian Centre - Plans Church of the Penitents - Axonometrics Ouseburn Mushrooms - Axonometrics Ouseburn Social Centre Deep Section Shallow Section