Juan Lopez Stage 5 MArch Urban Intervention Portfolio

NEWCASTLE FORUM URBAN CATALYST INTERVENTION

Juan Lopez (B4016558) Material Change / 2020-2021 / Semester 1 Portfolio

CONTENTS NEWCASTLE FORUM

1.

ARB GENERAL CRITERIA

4

2.

CRITICAL INTRODUCTION

6

3.

INITIAL RESEARCH

10

3.1 / Site Location & Analysis

10

3.2 / Historical & Cultural Context

22

3.3 / Economic & Temporal Context

26

3.4 / Themes & Thesis Development

28

OVERVIEW

30

4.1 / Urban Context

30

4.2 / Site & Scope

32

4.3 / Key Urban Moves

34

URBAN INTERVENTION

40

5.1 / Masterplan Development

40

5.2 / Overview & Precedents

46

5.3 / Performance Pavilions

48

5.4 / Forum Gateways

54

5.5 / Information Hub & Docking Station

58

5.6 / Blackett Boulevard

66

5.7 / Forum Market Square

70

5.8 / Visuals

76

4.

5.

6.

REFLECTIVE CONCLUSION

80

7.

APPENDIX

82

A / Architectural Derive B / Group Work C / Sketchbook Development

REVISED WORK Amended Piece New Piece

82 84 86

ARB GENERAL CRITERIA

Overview Each chapter within this portfolio has been referenced the relevant ARB criteria along the base of the page. This has allowed me to gain an understanding of the knowledge and skills expected from the ARB allowed me to track which criteria I have met, and those which I need to focus upon next semester.

GC1 / Ability to create architectural designs that satisfy both aesthetic and technical requirements.

1. Prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; 2. Understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; 3. Develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

GC2 / Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

1. The cultural, social and intellectual histories, theories and technologies that influence the design of buildings; 2. The influence of history and theory on the spatial, social, and technological aspects of architecture; 3. The application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

GC3 / Knowledge of the fine arts as an influence on the quality of architectural design.

1. How the theories, practices and technologies of the arts influence architectural design; 2. The creative application of the fine arts and their relevance and impact on architecture; 3. The creative application of such work to studio design projects, in terms of their conceptualisation and representation.

4

GC4 / Adequate knowledge of urban design, planning and the skills involved in the planning process.

1. Theories of urban design and the planning of communities; 2. The influence of the design and development of cities, past and present on the contemporary built environment; 3. Current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

GC5 / Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

1. The needs and aspirations of building users; 2. The impact of buildings on the environment, and the precepts of sustainable design; 3. The way in which buildings fit in to their local context.

GC6 / Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

1. The nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society 2. The role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; 3. The potential impact of building projects on existing and proposed communities.

GC7 / Understanding of the methods of investigation and preparation of the brief for a design project.

1. The need to critically review precedents relevant to the function, organisation and technological strategy of design proposals;

Example - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

2. The need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; 3. The contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC8 / Understanding of the structural design, constructional and engineering problems associated with building design.

1. The investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; 2. Strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; 3. The physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

GC9 / Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

1. Principles associated with designing optimum visual, thermal and acoustic environments; 2. Systems for environmental comfort realised within relevant precepts of sustainable design; 3. Strategies for building services, and ability to integrate these in a design project.

GC10 / The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

1. Critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 2. Understand the cost control mechanisms which operate during the development of a project;

3. Prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

GC11 / Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

1. The fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; 2. The professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; 3. The basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

Example - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

5

2.0 / CRITICAL INTRODUCTION “Cities exist for citizens, and if they do not work for citizens, they die.”

Cedric Price

Sustainable Cities Material Change focussed on developing projects that would introduce alternative city centre models that suggest an innovative approach to how these are used and inhabited. The studio focussed to provide answers in response to two key themes.

The first of these being “How can we reinvent our cities as places of exchange relevant to the wants and needs of future communities?” Urban centres present an opportunity for interaction between people of different demographics and backgrounds. Through this social mix dynamic, where under harmonious circumstances, can help to strengthen a sense of community and place through the provision of opportunities for positive social congregation. It is people that activate a city and turn it into a place that draws and engages positively with its surroundings and inhabitants. However, the places which once enabled this much needed dynamic to occur (cafes, restaurants, co-working spaces, urban parks, theatres, cinemas and other performance venues) have been forced to either suspend or stop operations. At best, they’ve experienced a significant decrease in footfall, lessening their desired impact as result of their inability to comply with social distancing measures. My proposal will seek to reinstate the opportunity for social mixing to happen in the heart of the city in a thematically creative, architecturally sustainable and temporally sympathetic manner. The latter of which will take into consideration the recent regulation for gathering ‘rule of six’. This will help to begin to reanimate the city once more and allow the community to engage with each other and the urban fabric in a safe way.

The second theme that the studio explored was “how can our cities reinvent themselves in response to the global climate emergency?” Centres have historically presented a stage where the social and economic factions of a city coexist and interrelate. They provide an insight into the character and prosperity of a place. In March 2020, the COVID-19 pandemic immediately transformed once vibrant centres into desolate realms; this had the knock-on effect of accelerating and exacerbating the decline of the British high street which has been struggling for the past decade. The move towards an online

offer for shops and de-centralised working from home model for businesses has driven thousands of people away from the centre of a city and town; with footfall being the very sustenance that these urban communities rely on to thrive. The current health crisis highlighted the pre-existing issues in so many established and accepted urban models; thereby throwing into question the viability and longevity of the current adopted approach which holds an over reliance on retail and office spaces to ensure the success of the heart of a city.

“to design a space of exchange in the heart of the city that caters for a wide demographic in all seasons and at all times of day and night; creating a meaningful interactive experience.” The following pages detail my line of enquiry that led to my thesis and personal themes which informed the realisation of a masterplan and the ensuing design development of my urban intervention.

Situated in Newcastle; the scheme will hopefully present a new model that can be adopted and incorporated into other cities and towns that have been impacted in a similar way. Newcastle is the most-populous city in North East England; forming the core of the Tyneside conurbation and is one of the UK Core Cities. These attributes place it as an appropriate representative of a typical large town or small city in the United Kingdom to act as a test chamber for these proposals. The studio looked at an urban block in the city centre encompassed by the intu Eldon Square retail development as this particular block typifies development within Newcastle city core. By analysing the block and its context in terms of history, use, character and needs; it helped to situate my response in a physical, social and cultural manner that ensured a relevance to place. Additionally, adopting an approach of architectural derive (see: Appendix A) when familiarising myself with the site helped to reveal a characteristic of the city unique to Newcastle; at its nucleus, the architecture serves to disconnect and promote an insular experience of the city at a human level. My proposal will directly respond to and seek to rectify this; further grounding my scheme to its location.

Architecture should respond accordingly to the shifting socio-economic demands of a time; with a conscious eye on the future to ensure that whatever is posed has the longevity to still function by factoring inbuilt adaptability to mitigate the impact felt by unforeseen circumstances such as presented by the pandemic. Optimistically, COVID-19 presents a unique opportunity to look at a broader picture and engage with creative and alternative methods to propose an innovative approach towards tackling the functionality and purpose of a city centre - both architecturally and socially. The challenge therefore; was GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

7

8

Opposite - Cedric Price’s ever adapting unbuilt Fun Palace (1961). Its relentless transformation and inbuilt adaptability are aspects which have inspired and carried forward into my own work this Semester.

The Fun Palace has been reinvented as a series of temporary pavilions offering pop-up community interaction through teaching and playing. These support local people to co-create their own cultural and community events, across the UK and worldwide, sharing and celebrating the genius in everyone.

9

INITIAL RESEARCH 3.1 / SITE LOCATION & ANALYSIS

4

2

Site Location & Photographic Study Located at the heart of the city centre, the site is completely encompassed by intu Eldon Square; Bounded by Blackett street to the North, Percy Street to the West and with Greys Monument.

3

The location plan opposite highlights the urban block that was studied as well as the key outcomes from the analysis that have informed the work carried out in Semester 1.

For a full collective report of the site analysis; please refer to Appendix B.

5

1

List of Key Outcomes

10

N

1 / Perceived West and East Barrier

3 / Historic Urban Grain

2 / Blackett Street

4 / Old Eldon Square

5 /Environmental Factors

Scale 1:2500 GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

Urban Block Proposed Demolition (Rear)

Urban Block Proposed Demolition (Front)

Old Eldon Square

Blackett Street

Intu Eldon Square Inactive Colonnade

Blackett Street Underpass from Eastern Approach

Blackett Street Underpass

Western Approach to Site

Aerial View

11

INITIAL RESEARCH

LIST OF LOCATIONS

3.1 / SITE LOCATION & ANALYSIS

1 / Old Eldon Square 2 / Grey’s Monument 3 / Grainger Market 4 / St Andrew’s Church 5 / The Gate Foyer 6 / Grainger Street 7 / Clayton Street

8 / Original Site of Green Market 1

2 4 6

Perceived West and East Barrier 6

Following studies of how the immediate context responded and was used in relation to the urban block throughout various points in the day, week and year; it became evident that the expansion of intu Eldon Square over the years had caused the Western part of the city centre to become isolated with little to no acknowledgment or incorporation into the activities and offers found towards the eastern parts. This created a perceived barrier in terms of activity, movement and atmosphere along Newgate Street. This resulted in the western gateway to the city as feeling neglected and not well recognised.

8 7

Perhaps the key relationship to note is that all of the passively or declining used sites of congregation are found to the west of the site. It can be inferred that the centre acts not only as a physical but a social barrier to the city centre; inhibiting any potential for congregation or social mixing. This is particularly interesting as in this area, both St Andrew’s Church ‘4’ and The Gate ‘5’ (modern retail and leisure complex) are expected places of active congregation.

3

5

The impact of COVID-19 is also evident here as new and unexpected places of congregation have begun to emerge, in particular along Clayton Street ‘7’; where in an effort to maintain social distancing within stores, queues of people have become a common sight along this once transitional space.

On the other hand, a few of the once popular congregation spaces have disappeared; at least temporarily as vacant units offering outdoor seating onto the pedestrianised streets ‘6’ have shut as a result of the economic slump brought on by the pandemic.

In one instance, the shopping centre itself has in fact engulfed and eradicated a past congregation place, the site of the Green Market ‘8’; without any intention to replace or relocate the offer within the new site itself.

KEY

12

N

Active Congregation /

In-Flux Congregation /

Declining or Passive Congregation /

Historic Congregation / Scale 1:2500

GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

1 / Old Eldon Square

2 / Grey’s Monument

3 / Grainger Market

6 / Grainger Street

4 / St Andrew’s Church

7 / Clayton Street

5 / The Gate Foyer

8 / Original Site of Green Market

13

INITIAL RESEARCH 3.1 / SITE LOCATION & ANALYSIS

Pedestrian movement interrupted by bus route.

Blackett Street Blackett Street is a key lateral route running east to west connecting one side of the city to the other. It follows the line of the Old Town Wall, demolished in 1826 as part of the construction of Eldon Square. In its place today is Eldon Square Shopping Centre, which stands as an imposing structure, much larger than the original wall. Blackett Street, as well as being a primary pedestrian route, is also a main bus route, and observation of the street points to a sense that the buses dominate the street-scape.

The research showed that there is a strong public sentiment that supports the pedestrianisation of Blackett Street. The high bus traffic has a profound negative impact on air quality as well as pedestrian safety. The former of which derives as a result of the high concentration of bus routes and stops that traverse the length of the street. While the latter occurs due to this being a key movement and desire line through the city centre, attracting heavy footfall from various nearby fully pedestrianised zones; the lack of appropriate crossings; in conjunction with the narrow width of the street means that many people cross spontaneously which has resulted in various collisions.

Pinch points created by limited crossing points.

Experimental Closures Of Blackett Street 2018 The majority of comments were positive and highlighted the improved experience for pedestrians along the street, albeit there was an event on at the time with attractions and seating areas which provided additional interest/benefit. Many felt that the area seemed like it should be pedestrianised anyway and doing so could improve the atmosphere and safety of the area. The negative comments focussed around the inconvenience of the altered bus locations, reduced access to the town centre especially for the elderly and disabled and the extra strain placed on the existing road network, bus services and taxi stopping points.

This suggests that if these perceived negatives were properly mitigated against, closing Blackett Street permanently could be a positive intervention.

Other opposition to the scheme came from businesses and bus companies, who argued that it would result in a loss of custom and revenue.

People cross the street at natural crossing points vs established crossings.

Blackett Street Pedestrianisation Use Analysis Diagram.

Courtesy of Mireille Patrick, Group 2.

14

GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

Blackett Street Bus Traffic

Blackett Street Pedestrianisation Proposal

Blackett Street Experimental Closures

Blackett Street Injury Map The casualty map locates the areas where people have been involved in collisions with vehicles. Blackett Street and Newgate Street have some of the largest areas of collisions. Blackett Street is only accessible to buses and taxis.

The street is meant to be pedestrian priority but the buses and taxis control the movement of people. Unfortunately a few people have been either injured or killed due to a collision with a bus or taxi on this street.

Newcastle Air Quality Map The current legal level for pollution in cities is 40 µg/m3. Each area around out site that pollution levels were studied showed a higher than legal level of pollution. The worst area is Old Eldon Square with 71 40 µg/m3. This is mainly were the bus stops are located in this area. As Eldon Square is one of the only green areas in the surrounding context, it is alarming the levels of pollution.

For public inquiry interactive map please visit: blackettstreetbustrial.commonplace.is/ comments/5b851b06e2c1ea000e97b92d Blackett Street Injury Map

Newcastle Air Quality Map GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

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INITIAL RESEARCH

1920s Aerial View

3.1 / SITE LOCATION & ANALYSIS

Historic Urban Grain The continuous expansion of the shopping centre led to the loss of many established urban blocks and through-routes in favour of an indoor passageway through the retail complex. While pedestrian permeability is retained during day-times, at night, it becomes a physical barrier because historic desire lines through to Old Eldon Square have been lost. Furthermore, as well as breaking up the monotony of a long facade; this provided a much more public frontage area and visual interest at the corner.

2020 Aerial View

The project will explore the possibilities to reopen some of these routes in order to provide a more permeable movement through the city centre at all times through a historic awareness of the centre’s urban grain in order to reinstate a sense of place.

The plan on the following page shows the development of the studied urban block in and how this has shaped the urban grain of the city centre. (This work has been significantly adapted from the collective site research & analysis; originals courtesy of Group 1.)

16

GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

1960s

1970-2020s

Old Eldon Square

Old Eldon Square

BLACKETT STREET

STREET

FRIARS HIGH

LSO

Greys Monument

NE

LSO

TRE

ET

NS

TRE

ET

Housing

GR

Green Market

TRE ark et

RS

er M

GE

ing

GR

ark et

AIN

Gra

RS

er M

GE

ing

AIN

Gra

TRE

ET

NS

St Andrew’s Church

ET

NE ST ANDREWS STR EET

Greys Monument

NEWG ATE S TREET

St Andrew’s Church

NEWG ATE S TREET

BLACKETT STREET

ET

ET

Market TRE NS

NS

TRE

Retail

AY TO

Market

CL

CL

AY TO

Hospitality

Retail

Religious N

Services

Urban Block, pre-Eldon Square Expansion

N

Warehouse

Hospitality Services

Urban Block, Eldon Square Expansion

Town Wall St Andrew’s Church

St Andrew’s Church

Greys Monument

St Andrew’s Church

Greys Monument

GREYS COURT

Gra

ing

The Nun’s Garden

Gra ark et

N

Urban Block, Pre-Industrial Revolution / 1780s

ing

er M

er M

ark et

N

Urban Block, Industrial Revolution / 1880s GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

Urban Block, Post-Industrial Revolution / 1910s

17

INITIAL RESEARCH 3.1 / SITE LOCATION & ANALYSIS

Retained John Dobson Facades

Old Eldon Square Old Eldon Square, designed by John Dobson, has undergone considerable transformation since its construction in 1826, part of which involved the destruction of a section of the Old Town Wall. The square was originally bounded on the north, west and east sides, but now only the east terrace remains. The north and west terraces made way for the Eldon Square Shopping development in 1976.

Since the construction of the war memorial in 1923 following WWI, the Square took on the role of a place of remembrance and respect. Yearly events like the Remembrance Day Parade and ‘Screen on the Green’ have taken place over a number of years, the last being in 2019. This could not happen in 2020 due to the Covid-19 crisis. However, some also perceive that there is a conflict between this informal use of the square and the formal wartime remembrance in the latter.

Remembrance Day

The atmosphere and ‘social ownership’ of the square has changed over the years from the Hippy Green era and social hangout spot of the 1970s; to the trouble-free days of the alternative sub-cultures in the 1990s and early 2000s; to latter day problems with legal high users and drinkers. However, this has lessened since the introduction of the bus concourse at Eldon Square, the 2008 refurbishment of the square and the Shopping Centre (2010) and the increased footfall this brought with it. The square once again appears to posses a more formal character, although this may be seasonal, as people are more likely to use to grass areas in the summer. It’s changing yet again with an influx of families, attracted by the ‘Screen on the Green’.

This has been a historically significant and constantly used congregation space in the city centre. Presently it stands as one of the few remaining open green spaces in the area and the space has been a cultural signpost held in high regards by the locals. However, its use and layout may need to be adapted in order to to better adjust and accommodate to the shifting needs of an urban civic space.

Screen on the Green

18

Including Next Page - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

Old Eldon Square Constructed Identity Collage.

Courtesy of Mireille Patrick, Group 2.

REMEMBRANCE ‘HIPPY GREEN’ SCREEN ON THE GREEN

MEETING PLACE FORMAL / INFORMAL

EXCHANGE

EVENTS

INITIAL RESEARCH

Urban Block Current Condition

3.1 / SITE LOCATION & ANALYSIS

Environmental Factors Old Eldon Square Solar Modelling, Courtesy of Group 3

Sunlight Previous to the intu Eldon Square development, Clayton Street led all the way through to Old Eldon Square; breaking up the large block of mass which is now the current condition. This had the impact of reducing much favourable sunheating and lighting during winter months as well as providing a very pleasant environment during summer months in Old Eldon Square. Consequentially, the large mass now shadows this popular area, creating an uncomfortable environment for passers-by.

Urban Block Explorative Intervention

The project will explore the possibilities to bringing in more sunlight into Old Eldon Square and Blackett Street throughout a greater proportion of the year.

W/SW Prevailing Wind The prevailing wind from the West / South West is forced under the intu Eldon Square bridge that crosses over Blackett Street and the colonnade along intu Eldon’s northern edge. This acts as a channel, funnelling wind and forcing it through at a high speed. With the lack of sun, this makes for a cold and uncomfortable place for pedestrians.

One of the aims of the proposal will be to mitigate this effect in order to encourage pedestrian movement through the space with the intention to investigate the appropriateness of providing an offer to work as part of a pedestrianised Blackett Street.

Old Eldon Square Solar Modelling, Courtesy of Group 3

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GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

Through Route/Increased Wind Speed Under Raised Building

Blackett Street Flyover Wind Condition.

Courtesy of Group 3

Raised bridge over Blackett street turns colonnade into channel for wind.

Blackett Street Wind Rose Diagram.

intu Eldon Square Colonnade Wind Condition.

Courtesy of Group 3

GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

21

INITIAL RESEARCH 3.2 / HISTORICAL & CULTURAL CONTEXT

January March

Chinese New Year Fesitval

NewcastleGateshead Comedy Festival Newcastle ScienceFest AV Festival

April Newcastle Beer Fesitval

May This Is Tomorrow Fesitval

The History of Performance in Newcastle THEATRE Since the late 1700s, performance in the city has had a prominent influence in the culture of the city and its people.

The original Theatre Royal opened in 1788 and held many successful seasons before moving from its location in Mosley Street to its present location on Grey Street in 1837 where it has had continued success. Since the introduction of the formal theatre venue, many more locations have since been built such as, Alphabetti Theatre, Live Theatre and Northern Stage. These not only host performances but also have their own production companies for in house works that also tour nationally across the UK. In addition, the latter two offer bursaries to artists in order to help develop new work. Other theatres include the Tyne Theatre & Opera House and the Jubilee Theatre.

There are a few amateur drama societies around the cities that engage with the community such as the People’s Theatre and the Little Theatre; while the Gosforth Civic Theatre has a special needs outreach programme and the production company Open Class focuses on working with women who have been victims of domestic abuse.

MUSIC The city has produced some of the world’s most prominent and successful artists such as Sting, The Animals, Dire Straits, Andy Taylor of Duran Duran and Brian Johnson of AC/DC. Furthermore, the city has created or heavily influenced genres; for example in the case of Venom, reckoned by many to be the originators of black metal and extremely influential to the extreme metal scene as a whole, formed in Newcastle in 1979 and, folk metal band Skyclad, often regarded as the first folk metal band.

Newcastle is also home to prominent record labels such as Kitchenware Records and Global Underground; the latter of which was formed as a result of the 1990s boom in progressive house music. This is just one of many examples that showcase the city’s support for underground music scenes; others include drum & bass, doom metal and post-rock.

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North East Art Expo

EAT! NewcastleGateshead

Newcastle’s leading classical music ensemble is the Royal Northern Sinfonia, which was founded in 1958 and often tours nationally and internationally; ICMuS, Newcastle University’s music department, has been a driving force for music in the region, producing innovative work, organising concerts and festivals, instigating the first degree programme in folk music in the British Isles, and engaging creatively with communities in the region.

VENUES The city offers a wide range of performance venues ranging from arenas such as St James’ Stadium; the Utilita Arena Newcastle (formerly Metro Radio Arena) to the Sage Gateshead and Newcastle City Hall which attract some of the foremost names in the entertainment industry.

Newcastle also offers supports more indie and emerging talents as the O2 Academy offers a smaller upstairs room; while The Cluny in Ouseburn Valley is one of the most important venues for breaking bands in the region. Both universities have venues on their campuses.

A few places in the city have provisions for less regularly scheduled performances such as Hoochie Coochie (a jazz and cocktail bar) and The Stand (a comedy club) while open-air concerts are held in Times Square and Stack Newcastle.

The Hoppings Newcastle Community Green Festival Newcastle Community Green Festival

July

The Ouseburn Festival

August Mela Festival

September International Arts Fair

October Design Event Festival SAMA Festival

December Christmas Markets

Including Next Page - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

Cyclone Festival of Cycling

Northern Pride Festival and Parade

INFORMAL PERFORMANCE In addition to the various ongoing theatre productions; the city hosts a vibrant Festivals and Fairs calendar throughout the year.

The largely pedestrianised city centre often has a wide array of buskers in the form of singers and street performers where the council doesn’t require a licence.

June

Not only does the city offer the spaces for a wide range of performance; but it creates some of the leading works in the arts & culture sector that have continuously influenced their respective audiences and fields. The people of Newcastle often engage with the various offers as it is renowned for being one of the most vibrant and active cultural & nightlife centres not just on a national but an international level; showing how performance is integral both to the urban character as well as a way of life in the city.

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INITIAL RESEARCH 3.2 / HISTORICAL & CULTURAL CONTEXT

The Mayfair Ballroom The Mayfair Ballroom opened in 1961. The entrance to the Mayfair was on the corner of Newgate Street and Low Friar Street (now the site of the Gate Leisure Complex). The foyer was on street level but most of the premises were below ground level. It had an oblong-shaped ballroom with a large balcony that went all around the room. There were several bars with seating areas on the balcony plus more bars downstairs in the areas surrounding the large dance floor. The venue had a maximum capacity of 1,500 people.

Over its 38 year lifespan; the venue hosted Europe’s largest and longestrunning rock club, spanning four decades; while some of the biggest acts in the world would grace the venue’s modest stage – but it would also play host to countless up-and-coming young bands. Artists that played the venue, early in their careers, include AC/DC, The Who, Free, Pink Floyd, Queen, the Police, the Prodigy, Black Grape, the Cross, Kylie Minogue, Tin Machine, U2, the Clash, Iron Maiden, Faith No More, Judas Priest, Bodycount and Nirvana.

In the sixties the venue had a resident band called Jimmy Bence and his orchestra for formal dance nights, mainly on a Saturday. The venue was also hired out for corporate events (with or without the resident band) or to local promoters for a fee. Some of the local organisations made use of the Mayfair’s facilities for their events were the Ministry (MPNI) at Longbenton, local colleges and Newcastle University for its rag week dances. Although these corporate and student events were primarily for people connected with the organisations, the dances were open to the general public and advertised in the local press.

It was a vastly popular social performance venue that is sorely missed by the local community. Nowadays, a gastro-pub has opened a next to the site of the ballroom; unfortunately the only similarity they share is in its name.

In the sixties and seventies there was a circular revolving stage, which enabled bands to set up on each side and follow on from each other without a break in the music. When a really popular band appeared there would often be a wooden barrier in front of the stage to stop over enthusiastic fans getting to their idols.

One of the hazards for band playing at the Mayfair was that the balcony overlooked the rear of the stage and was a good place for people to stand and aim abuse or even missiles at the band if they didn’t like them.

Changing with the times, it was used as Rock Disco and by the 1990s, it had become a rave venue.

The building was demolished in 1999 to be replaced by the Gate leisure complex.

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GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

Entrance / 1980s

Rotating Main Stage + Balcony / 1961

Lower Foyer / 1961

VE Day 50th Celebration / 1995

Dance Floor / 1960s

L’Oreal Colour Trophy Competition / 1983

Nightclub Days / 1990s

Sunday Sun Dance Championship / 1963

Crystal Bar / 1961

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INITIAL RESEARCH 3.3 / ECONOMIC & TEMPORAL CONTEXT

Arts & Culture Sector during the COVID-19 Pandemic One of the most deeply impacted sectors by the COVID-19 Pandemic has been the Arts & Culture Sector; and with it, the notion of entertainment, escapism and community that is so strongly associated with it.

At one point, 25% of all businesses were not trading; while 41% had their turnover halved. In conjunction with the fact that as many as 80% of those working in the arts and the wider creative industries are self-employed or work freelance and were unable to secure government support through the self-employment scheme and grants. Workers have been incredibly outspoken about the devastating psychological toll of being “forgotten” and “ignored” after falling through the cracks in government support schemes.

The proposals put forward will seek to restore the civic role of the arts. It will provide opportunity for socially distant performances as well as education and training for the community into the sector by the very industry workers who have been affected by the pandemic. With many unemployed or under furlough, it presents a unique opportunity to either develop a new skill or seek out a lifetime dream of performing. Thereby subverting the governments message of “Rethink, Reskill, Reboot” to promote the Arts & Culture Sector.

The sector is at the very brisk of collapse as a result of the pandemic. Public sentiment towards the government was not helped as many deemed the eventual announcement of the £1.57billion Culture Recovery Fund came far too late to mitigate the already massive venue closures, postponed shows and rising unemployment in the sector. This comes as a surprise considering that the sector is worth to £112billion to the Treasury, making it more significant than Agriculture or Sport - both of which have been less hard hit and better supported by the government. This perceived indifference towards the arts is further highlighted by the fact that there has been a 43% fall in local authority arts funding from 2007 to 2018; while there has been a 37 percent fall in entries for arts subjects at GCSE over the past decade.

Interestingly, for many - myself included - at a time where many individuals who were having to self-isolate or were living alone turned towards music and pre-recorded performance for a sense of company and emotional support in an effort to safeguard their mental health; it highlighted not just how integral arts and culture can be to our everyday life but also how this industry has not been built in order to allow for performances to occur with social distancing measures in place.

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Photograph taken by a photographer

Font created by a typographer

Application of cosmetics by a make-up artist

Hair by a hair stylist Message written by a copywriter Tate Protests / 2020

Clothes and Shoes designed by a fashion designer

Bench created by a furniture maker Layout by a graphic designer

Building designed by an architect

Culture Recovery Fund Campaign, UK Gov / 2020

THEATRES UNDER THREAT

LIVE MUSIC

34m

£1bn

Generated Gross Value to UK economy

£1.3bn Theatre box office income in 2018

191,000

People Employed

80%

Estimated average reduction in seats due to social distancing

25m

Audience Reached in 2019

50%

Minimum proportion of tickets a show needs to sell to break even

5m

Number of people attending festivals in 2019

70%

Proportion of theatres warning they will run out of cash by the end of the year

70%

Proportion of 290,000 theatre jobs at risk

Theatre tickets sold in 2018

Source / The Guardian

Source / UK Music

Industry Worker’s Campaign / 2020

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INITIAL RESEARCH 3.4 / THEMES & THESIS DEVELOPMENT

A NewTro City Centre Model The projects posed by the Material Change Studio will seek to reactivate the city centre by providing an alternative model that can be replicated and adopted across the country. For the past decade, the UK high street has been in decline. As shoppers move towards the convenience of online retail; this has meant that the large anchor stores that once drew people into the centre of town have had to close branches as they have become financially non-viable.

This has had a knock-on effect for the smaller independent stores that relied on the footfall brought by the chains. The recent COVID-19 Pandemic has only accelerated and exacerbated this process with many businesses being forced to shut; unable to reopen in the foreseeable future, leaving many vacant units behind with it, turning the once vibrant and bustling city centre into a desolate ghost town.

The notion of reinterpreting a forum space for modern times as a masterplan vision for the city centre as one that could be adopted and replicated; will help to ground and reconcile the proposed interventions in an architectural and spatial sense.

By shifting the high street’s established focus away from retail towards community engagement and education; this will serve as the vehicle for reactivation and reanimation of the city centre. This would have its focus on the arts and cultural sector that has been massively impacted and underfunded by the UK government throughout the pandemic.

A key theme that will be explored is the aspect of social performance, embodied by the historic Mayfair Ballroom. Its greatest success was that it not only provided places for performance but created and engaged with its patrons for the opportunity of impromptu performance. Here, its adaptability to enable a multi-purpose social place enabled the community to both experience and become part of the performance; thereby aiding the venue to be woven firmly and deeply within the urban and cultural fabric of the city.

Supplementary to this, the idea of ‘Newtro’ (new + retro); an emerging cultural movement originating in Korea whereby mixing the ideals of the past with current interpretations lead into research of historic models for an effective and inclusive city centre. Perhaps the earliest and most successful was the concept and ethos of a forum. A forum is an open public space within a city; often comprised of various buildings or sites. Recognised as a gathering place of great social significance; they housed a diverse range of activities.

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‘Roman Forum, LIVE @ Night’

Reconstruction and Re-use of The Roman Forum / Gilbert Gorski

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OVERVIEW

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4.1 / URBAN CONTEXT Scale 1:7500

Cultural Centres & Performance Venues The plan shown in the following page maps the locations of theatres, concert & performance venues and art galleries in relation to the masterplan site. This illustrated the prevalence of offer and inherent demand for the Arts and Culture sector in Newcastle; not just in the immediate central core but beyond, which undoubtedly has shaped its culture and urban character. It also confirmed the appropriateness of location, as the site is in a very equidistant position in relation to all; easily accessed by foot or public transport.

Gearing the masterplan towards a space where all of the people and byindustries can once again function and form part of daily life in a city such as Newcastle will ensure that the centre will be reactivated and redeveloped in a positive and engaging way.

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Hatton Gallery Hancock Gallery Northern Stage Star and Shadow Cinema

Gallery North Newcastle City Hall Tower Art Gallery The Biscuit Factory St James’ Stadium Laing Art Gallery The Cluny Tyneside Cinema Stack Newcastle Everyman Cinema Theatre Royal

Hoochie Coochie Castle Gallery BALTIC 39 Studios The Stand

Live! Theatre BALTIC Gallery Side Cinema and Gallery

Sage Gateshead

O2 Academy Tyne Theatre Times Square Alphabetti Theatre

Utilita Arena

OVERVIEW 4.2 / SITE & SCOPE

Masterplan & Urban Intervention Site Following the site analysis and the development of the thesis; it became clear that the most appropriate location for the urban intervention was the underpass under the Blackett Street flyover and the Eastern entrance into the site. This portion of the studied urban block has a high potential for activating its urban context and re-engaging the community to bring about a significant positive change and longevity of use.

In addition to the focus sites, a high-level approach outlining the intervention strategy of the historic route through from Clayton Street across to Old Eldon Square will be proposed as it too responds in order to accommodate and complement the newly developed demise.

These will comprise the wider masterplan vision for the Newcastle Forum to be developed in its entirety throughout Semester 1 and 2. Its intended use will seek to animate and engage all major routes into the site, these will be known as ‘Influence Areas’.

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OVERVIEW 4.3 / KEY URBAN MOVES

Phased Sequence The following pages will introduce and show the various strategic changes and adaptations to the urban grain in preparation of the intervention and wider masterplan for the site and catchment area.

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1. DEMOLISH PORTION OF ELDON SQUARE - Improved permeability & sight lines. Added benefit of sun heating in winter months.

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2. EXTEND PEDESTRIAN ZONE - Improved safety and increased air quality. Promotes movement through site at all times.

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Scale 1:1000

3. ACTIVATE BLACKETT STREET UNDERPASS - Mitigates wind tunnel effect and provides a destination point to inactive west end.

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4. PROVIDE ACTIVE FRONTAGE - Acknowledges and animates facade facing Old Eldon Square and provides offer for pedestrians.

URBAN INTERVENTION 5.1 / MASTERPLAN DEVELOPMENT

LIST OF LOCATIONS 1 / Forum Amphitheatre 2 / Blackett Pedestrian Boulevard 3 / Improved and Added Green-Space 4 / Creative Sector Urban Intervention 5 / Back of House and Events Storage 6 / Start-Up and Independent Business Space

Overview & Initial Approach Analysis The preliminary vision for the Mayfair Forum was to divide the site into 6 key areas; highlighted opposite. The masterplan would be completed across the two semesters.

Semester 1 will tackle the urban intervention project looking to activate and reinvigorate the site across half of the chosen locations. Semester 2 will refine and build upon the work as well as introduce the remaining sites that will provide a complementary and well rounded offer more akin to a forum.

Shown opposite is the initial approach of how the site would be occupied following the key urban moves. Following a review of this, key main alterations would be implemented into the scheme: • Amphitheatre Relocation • Site 6 Offer Re-Evaluation • Delocalised Urban Intervention • War Memorial Relocation

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URBAN INTERVENTION 5.1 / MASTERPLAN DEVELOPMENT

LIST OF LOCATIONS 1 / Forum Amphitheatre 2 / Blackett Pedestrian Boulevard 3 / Improved and Added Green-Space 4 / Information Hub 5 / Docking Station and Performance Pavilions 6 / Arts & Creative Sector Performance and Studio Space 7 / Relocated War Memorial 8 / Forum Gateways 9 / New Public Square

Revised Masterplan Shown opposite is the revised approach towards tackling the urban block and immediate context.

AMPHITHEATRE RELOCATION The amphitheatre was originally placed in the newly opened gap site that connects Clayton Street to Blackett Street as this was not to be visually obtrusive to disrupt pedestrian flow and sight lines. However, upon analysis it seems more appropriate to place this on the site of Old Eldon Square as this will act a destination to draw people through the site. The War Memorial would be relocated within the modified urban grain following an analysis to help determine the most appropriate location. The larger site would enable a much larger and effective venue; while its layout and form would take precedent and inspiration from the Old Eldon Square.

SITE 6 OFFER RE-EVALUATION Originally destined to be Start-Up and Independent Business spaces to activate the pedestrianised Blackett Street; it was considered more favourable and conducive to the overall scheme to extend the space given to this and occupy part of the newly created urban block to which it is adjoined. This would enable the offer to remain the same at ground level but also work to include a bespoke socially distanced indoor performance and studio space.

Finalising the overall approach; it was then possible to designate the work to their respective phases which correlates to the Semester 1 and 2 respectively: Phase 1 2 / Blackett Pedestrian Boulevard 3 / Improved and Added Green Space 4 / Information Hub 5 / Docking Station and Performance Pavilions 8 / New Public Square (High-Level Approach) Phase 2 1 / Forum Amphitheatre 6 / Arts & Creative Sector Performance and Studio Space 7 / Relocated War Memorial 8 / New Public Square (Resolved Strategy)

DELOCALISED URBAN INTERVENTION The scheme will allow for breakaway structures that are allowed to be placed at key locations in order to activate the masterplan and the urban context beyond at large. These have been identified as the main pedestrian routes into the development as well as places of congregation that are being underutilised.

The number of these will therefore dictate the number of structures required. A place where the structures can be kept when not used or during re-charging, will also be developed. The location of the urban intervention will be in part under the flyover as this is will preserve key desire lines through the site; while the breakaway structures can work independently or together depending on the situation.

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Influence Areas /

Through Routes Created /

URBAN INTERVENTION 5.1 / MASTERPLAN DEVELOPMENT

War Memorial Relocation One of the key aspects to ensuring the successful function of the masterplan is to find a new appropriate location for the War Memorial located at the centre of Old Eldon Square.

War Memorial in Context

EXISTING LOCATION In its current location the memorial has a significant sphere of influence in terms of movement and use of the space. It disrupts key pedestrian routes and sight lines around it; while during special events such as Screen on the Green; the seating layout is dictated and compromised to one end of the square instead of being able to utilise the whole space.

1st ITERATION Initially, it was proposed to move the memorial to the newly created square joining the corner of Clayton Street and Nelson Street with Blackett Street.

However, upon speculating the impact of this, it became clear that this would only mimic the existing issues already present in Old Eldon Square.

2nd ITERATION It was then suggested that it act as a gateway into the site from the Eastern approach. There were a few complications with this; chief amongst which is the impact that it would have on its significance due to it placement as a key threshold into the scheme. The war memorial bears no relation to the themes of the proposal and as result it might result in a key monument in the city centre becoming disconnected and disjointed in its space.

PROPOSED RELOCATION The resulting proposition is to retain the war memorial within the bounds of its historic home in the square; but in a new location that decreases its sphere of influence and therefore alters patterns of movement and usability in a much more favourable manner. By shifting it to the southern edge of the square, it still retains visual prominence and denotes the threshold into the square; but it enables a much more versatile space for future use. The addition of two pathways into the square will help to avoid pinch points and provide alternative routes for more efficient movement into and through the space.

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Old Eldon Square Pedestrian Use Overlay.

Courtesy of Mireille Patrick, Group 2

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KEY / Sphere of Influence / Key Movement Lines / Key View Directions / Potential Event Space / Potential Pinch Points

1. Current Location

2. 1st Iteration

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4. Proposed Relocation

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Scale 1:1000

URBAN INTERVENTION 5.2 / OVERVIEW & PRECEDENTS

Concept & Design Approach The urban intervention will comprise of two aspects. The first being dual aspect Arts & Creative sector training and performance pods. Depending on their configuration they will either work to engage the community; or activating the site. The 5 movable modules can either work independently of each other at various locations throughout the larger site or, they can be arranged to work as a larger unit for a larger public performance of up to six parts. The aim behind these is to take inspiration from urban pavilions that foster human interaction and marry it with the ingenuity of small performance spaces that bring unique moments of experience and escapism into the city centre.

Internally they will have space for one ‘key-creative’ and a household bubble of up to 6 people in accordance to the COVID-19 regulations of ‘the rule of six’.

Architecturally, the concept is firmly founded on the principles of pod and modular architecture. The pod will have a small footprint, ensuring an inventive use of space through adaptability; while its modular construction ensures an streamlined assembly process with an environmental conscience. Both in terms of their design and use seek to have smaller independent working parts that can join to create a functional and cohesive greater whole.

The second aspect of the urban intervention will be to set these training and performance elements in a treated underpass that looks to engage and involve the community through artistic installations and an expandable perofrmance space. This will involve the creative re-use and adaptation of the underpass and its structure to incorporate light-touch interactive interventions.

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Estonian Megaphones / Student Project

Folk in a Box / DK-CM

The Tiny Travelling Theatre / Aberrant Architecture

CCP Pavilion / Republica Portatil

Centipede Cinema / Colin Fournier

Rounds Theatre Pavillion / SPORTS

Set the Stage, Ottowa/ Improptu Playground

The Wabash Lights, Chicago / Seth Unger and Jack C. Newell

Kosice Underpass Amphitheatre / Atrium Studio and Esterni

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URBAN INTERVENTION 5.3 / PERFORMANCE PAVILIONS

Initial Development & Research The diagrams opposite show the studies that lead to the development of the final form for the interactive pavilions.

1. Footprint Following the studio’s ‘multiples of six’ considerations, a maximum footprint of 12m2 was deemed an appropriate starting point to obtain the pavilion’s spatial proportions. Taking into account the ‘rule of six’ the space should accommodate up to 6 people on one half of the space as well as one key-creative on the other.

When drawn, this revealed a considerable amount of under-utilised space on the creative’s side.

2.Distinct Volumes through Spatial Use In order to minimise wasted space, one end of the pavilion was chamfered inwards order to create a more traditional ‘stage’ and ‘auditorium’ arrangement.

This revealed that the intended use of the module comprised of two key volumes; however the resultant form of which bared no visual correlation between them.

3. Social Bubbles By adapting the spatial volumes into circles as a stylistic translation of the concept of ‘social bubbles’; research into space requirements for a round seated arrangement of 6 people showed that 9m2 would be sufficient. This therefore meant that a ratio between ‘auditorium’ and ‘stage’ could be established at 3:1; this would allow enough movement space for any ‘performing’ that the one key-creative would do inside. Conversely, an alternate arrangement scenario can occur where the key-creatives are the group of three performing for one individual; thereby blurring the boundaries between performer and audience.

4. Form Development As the spatial volumes now have a strong geometric and scalar relation between them; a singular volume comprising of both could be determined that has a smaller overall footprint within the maximum 12m2 demise and informs a more organic rationale to its resultant form.

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5. Dual-Aspect At the moment the pavilion could only function as an insular activity, engaging with the community. In order to fulfil its other purpose of activating the site, the ‘stage’ was moved closer to the ‘auditorium’ at a distance of 2m - the minimum requirement for social distancing. This enabled the ‘stage’ to become dual aspect where there is no true front or rear - having taken inspiration from The Mayfair Ballroom.

6. Acoustic Considerations In a small internal space such as this, acoustics form an integral part to both user comfort and use success. This is why both the form and specific considerations work towards delivering an amplified and clear sound. Research shows that non-parallel edges are effective in mitigating flutter echo. The diverging walls and roof on both aspects will create a loudspeaker, enhancing the amplitude of the sound waves for a louder sound projecting into the space. A dual-skin at the rear of the ‘auditorium’ will reduce the impact of the concave rear edge by the introduction of a variously-angled sound absorption surface.

The ‘stage’ will have a retractable ‘wall break’ of a similar arrangement as the dual-skin in order to compartmentalise the space internally and avoid the same phenomenon from the other concave edge. This has the added benefit of creating a small Back of House space inside.

7. Retractable Facade The pavilion will have a section of its facade designed so that it can open or retract to allow for a public frontage where larger crowds may gather externally and performances to take place; thereby activating the site in the various locations where the pavilions are stationed.

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6m

9m2 6m

3m2 2. Spatial use begins to reveal two distinct volumes.

3. Spatial use volumes adapted to fit concept of ‘social bubbles’ in space.

6. Acoustic considerations introduced.

7. Public frontage incorporated into design.

2m

1. 12m2 footprint. Significant redundant space at one end.

5. Layout adapted to enable dualaspect functionality.

Scale 1:100

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4. Continuous form comprising of both spacial bubbles.

URBAN INTERVENTION 5.3 / PERFORMANCE PAVILIONS

The Tiny Travelling Theatre / Aberrant Architecture

3D Massing and Speculative Materiality 3D Massing & Visual Presence Once the principles in plan had been established, this helped to heavily inform the overall massing of the pavilion. In order to achieve the dual loudspeaker effect, the roof will angle upwards from the vertex at which the diverging walls meet. Acoustics determine a preferable height of 2.4m for best sound quality and propagation. This determines the minimum at the vertex with both roofs a maximum of 3m at their tallest to create an asymmetrical form that begins to reveal the dual and distinctive uses of the pavilion. As form of the pavilion is not derived from its urban context, this will draw attention to inspire a sense of curiosity and discovery from passers-by; drawing people towards the main masterplan site. The use of primary and secondary colours will help to accentuate the amorphous form.

With neither form nor colour being directly referenced elsewhere in the centre, this will reinforce the innovative approach and new direction posed by the pavilions.

Speculative Materiality Regarding materiality, this was heavily informed by selecting a range that was environmentally sustainable, low maintenance and naturally richly textured for visual honesty without the need of any superfluous added finishes.

PLYWOOD (external) Plywood is an assemblage of wood veneers bonded together to produce a flat sheet. Plywoods advantages include its increased stability due to its laminated structure as well as it high impact resistance which can handle the occasional short-term overload; up to twice the design load. The latter is particularly useful in ensuring that when moving the pavilions, any slight bumps that may occur will not damage the pod. Plywood sheets remain relatively stable under changes of temperature and moisture which is advantageous to accommodate the various seasonal changes that they will be subjected to. The high strength to weight ratio will ensure structural integrity while keeping allowing to be moved to locations with greater ease. Finally, plywood does not corrode and can be a durable material when preservative treated.

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SOLAR PANEL TILES (external) These will be included across the roof in order to create a significant portion of the energy source needed by the pavilion. Due to the inverted pitched roof and movable nature of the structure, this will ensure that sunlight capture is maximised at all times. Furthermore, the tiles are more durable than traditional solar panels.

GALVANISED STEEL (external/internal) Galvanizing is lower in first cost than many other commonly specified protective coatings for steel. Even in cases where the initial cost of galvanizing is higher than alternative coatings, galvanizing is almost invariably cheapest in the long term (because it lasts longer and needs less maintenance). The life expectancy of galvanized coatings is very high compared to other methods at about 30years plus in typical urban environments.

Torres de Satelite / Luis Barragan

OSB (internal) Beyond being a very cost-effective material; it can be made from small, fast growing trees, many of which come from tree farms rather than forests. This makes it far more environmentally sustainable than traditional timber. Due to its consistently structural rigidity, it is a very versatile material for constructing bespoke internal elements and furniture; ideal for the shape and needs of the pavilion.

GEOMETRIC CORK (internal) Cork is an extremely sustainable, light, durable and versatile material. This would be used inside to improve the acoustic performance of the pavilion in the form of sound attenuation wall using cork panels. Cork is an appropriate choice for this as its 200 million air cells per cubic inch; of which 50% is air, essentially acts as an “air cushion”, absorbing vibrations. Additionally, the introduction of coloured geometric panels; this will bring some of the external qualities into the pavilion. The punctual introduction of varying textures and patterns will help to adorn and lift the internal atmosphere and give a vibrant character maximising the limited dimensions and extreme narrowness of the space.

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URBAN INTERVENTION 5.3 / PERFORMANCE PAVILIONS

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Urban Festival of Performance By strategically placing the performance pavilions around the masterplan site and urban context; a mixed programme of simultaneously run activities is able to be introduced. The wide range events occurring will cater to both public and intimate scenarios. This will seek to engage and animate the community to further encourage interaction within the Newcastle Forum and newly revitalised city centre through a constantly changing urban festival of performance.

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URBAN INTERVENTION 5.4 / FORUM GATEWAYS

Carnaby Street Archways / London

Theory and Precedents Announce Key Threshold The introduction of an archway to hallmark the start of a pedestrian priority street is a common typology used to create a sense of arrival to a space.

This is clearly embodied by the various archways adorning all the routes into Carnaby Street in London. In my project, these will be placed at the Western and Eastern entrances, representing the run of Blackett Boulevard bookend this newly created pedestrian thoroughfare through the city centre; encouraging a stronger engagement with the Western part of town.

Landmark Creation The form of an arch has been long used as a way to create a destination drawing people to a site. Earlier examples are the Arc de Triomphe in Paris and the more contemporary Gateway Arch by Eero Saarinen. These have become emblematic and representative of a place; this is what I hope to replicate in my proposal.

Gateway Arch, St Louis / Eero Saarinen

Information Diffuser Totem poles traditionally recount stories and commemorate special occasions.

This notion of transmitting information was reinterpreted by designer Alicja Biała and architect Iwo Borkowicz who have aimed to capture the realities of climate change with these colourful Totemy towers that serve as multi-storey data visualisations. Taking inspiration from this and the Wabash Lights of Chicago; the proposed gateway will seek to engage with locals to give them an interactive platform to share their opinions, ongoing events and experiences in relation to the Arts and Performance culture in Newcastle.

Totemy, Poznań / Alicja Biała and Iwo Borkowicz

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Scale 1:500

1. Footprint determined by projecting existing Blackett Street colonnade from beneath underpass.

2. Volume extrusion defined by ensuring visual legibility when approaching Western entrance.

3. Introduction of totem motifs to announce gateway.

4. Introduction of element joining both totem poles to frame entrance and create archway motif; keeping sight lines.

5. Joint inhabited by large scale signage opportunity to welcome pedestrians into site.

6. Interactive screens and air pollution sinks create a ‘plinth’ effect to ground portal to site. This creates a sense of permanence and intention.

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URBAN INTERVENTION 5.4 / FORUM GATEWAYS

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Above / Blackett Boulevard Underpass Key Section Scale 1:100 Below / Blackett Boulevard Underpass Context Section Scale 1:200

Blackett Underpass Interactive Light Installation

Forum Gateway

Newgate Street

Blackett Pedestrian Boulevard

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Charred Accoya

Solar panels to generate clean electricity to fuel charging station

Backlit Signage

Public Wifi hotspot to engage people with screens

Vertical living wall to improve local air quality acting as air pollution sinks

Interactive / Informative OLED Screen

Public mobile device charging station

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Charred Accoya

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URBAN INTERVENTION

The Cineroleum / Assemble Architecture

5.5/ INFORMATION HUB & DOCKING STATION

Design Development

1. Underpass Layout Approach The key aim was to rationalise the irregular facades of the adjacent buildings with minimal intervention. This enabled to divide the underpass evenly between the space available to the base and the space reserved for pedestrian traffic through. The structure will be placed on the southern edge as this was the more irregular elevation which could be incorporated by the addition of the station.

2. Docking Station Capacity and Provision The structure utilises the existing column colonnade to inform the arrangement of how the pavilions could be stored away when not needed or when they are charging through a series of electric charge points to be installed. A total of seven pavilions can be stored. Secondary access into the site is provided from the west; removing the need to open the larger and cumbersome portal doors to be opened every time.

3. Western Active Frontage - Information Hub By projecting the extend of the base west and out of the underpass it helps to improve the urban intervention’s visibility and begins to act as a signpost as a key threshold into the site. Additionally, it provides the opportunity for an information hub and management office space to be housed where it can interact and promote engagement with the urban context and local community by communicating the purpose of the pavilions found throughout the larger area.

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4. Collapsible Structure The hub has been designed in mind to respond to the wider needs of the existing urban condition, in particular with punctual demands for high foot traffic; as well as providing an alternate covered larger performance space as a counterpart to the newly created square at the gap site. As a result, the storage space can be vacated so that the structure can collapse into itself so that the free flowing space available is increased from 10m to 16m. However, this revealed how the fixed structure for the information hub and management space would become a movement blocker and create a pinch point; as a result the facade would be pushed in to create a continuous line along the southern edge of the underpass up to the corner of Site 5.

5. Environmental Considerations The information hub and management office will take advantage of its external facades to incorporate generators for renewable sources that can then be used to charge the pavilions. Solar panels will be placed on the roof while a wind turbine will maximise the prevailing wind from the South-West.

6. Information Hub Extension As the number of pavilions required for the site is dictated by the number of entrances into the locality; this means that only 5 spaces are required for the docking station. This enabled the information hub to be extended inwards into the underpass which enables it to be better integrated into its physical context and allows for further engagement and activation into the underpass.

All opposite drawings at 1:500 N

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Street Cinema / Omri Revesz

The rationale behind basing the intervention in the underpass is to provide a space that establishes a symbiotic relationship between the pavilions and their docking station. My approach towards its design and function was based on the concepts of Dynamic and Kinetic architecture; whereby the structures and pavilions react and adapt to external factors such as the weather, time of day and urban pedestrian conditions.

6m 22.8m

17.1m

19.9m

6m

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2

3

4

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6

7

1. Rationalising & Compartmentalising the Underpass

2. Pavilion Hub Base Capacity & Access

3. Acknowledge Western Approach & Provide Active Frontage

4. Retractable Hub Structure & Information Hub

5. Renewable Energy Generator Provisions

6. Information Hub Extension to Interact with Underpass. Docking Station Shift to East of Underpass.

URBAN INTERVENTION 5.5/ INFORMATION HUB & DOCKING STATION

A8ernA/ Koog aan de Zaan

Underpass Adaptive Use Following the Final Review, it was suggested that the Docking Station shift Westwards; out of the underpass and be combined with the space originally occupied by Site 5: Back of House and Events Storage.

This will enable the Information Hub to extend fully into the space and fully acknowledge and activate it as a performance venue which can expand and contract in terms of size depending on the needs and urban conditions.

The changes will now deliver an Urban Intervention which comprises of spaces that can provide indoor and outdoor activities irrespective of weather or time of day. Overall, the masterplan is more well rounded and resolved in line with the studio brief requirements of designing a space “of exchange in the heart of the city that caters for a wide demographic in all seasons and at all times of day and night”.

Folly for a Flyover / Assemble Architecture

The following drawings depict the schedule of accommodation of the underpass as well as how it responds to the varying demands within its urban and environmental context.

All subsequent drawings at 1:200 N

LED Lit Underpass in San Antonio, Texas / Bill FitzGibbons

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Information Hub & Forum Reception

Flexible-Use Space

Ticket Office

Renewable Energy Generator

Space for Performance

Socially Distanced Audience

Pedestrian through route Maintained

Stage B.o.H & Storage Space

Docking Station & Pavilion Charging

NEW GAT E ST REET

Forum Gateway

Person enjoys a socially-distanced performance Person continues journey through Newcastle Forum; engaging with performers and community

Person is welcomed into Newcastle Forum by passing through Gateway

Person purchases a ticket for an event Person learns about the forum and ongoing activities

Person is drawn to Forum after interacting with Performance Pavilion at The Gate

1. Typical Arrangement

NEW GAT E ST REET

Retractable facade will still allow views through space to display the ‘theatre of performance’

2. Adverse Weather & Night-Time Performance Arrangement

Weather protection and line of enclosure by polycarbonate roller shutter for unobtrusive views to encourage passer-by engagement in the future

Clear space will enable a range of staging options to allow for a range of performances to take place

Information hub remains operational for community engagement

245m2 footprint gained through retractable facade

Performance pavilions stored to maximise pedestrian thoroughfare in urban context

NEW GAT E ST REET

Gateway does not impede on heavy pedestrian traffic conditions

A

A Ref. Pg 56 Ref. Pg 64-65

B

3. Heavy Foot Traffic Arrangement (Large Scale Event at St James’ Stadium)

B

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Above / Information Hub & Docking Station Key Section (Open Configuration) Scale 1:100

Below / Information Hub & Docking Station Key Section (Closed Configuration) Scale 1:100

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URBAN INTERVENTION 5.6 / BLACKETT BOULEVARD

Buchanan Street, Glasgow

A New City Centre Link The public realm, paid for by and belonging to citizens, is often dominated by road traffic, often placing the pedestrian in a precarious and undesirable position as they journey through the city.

Repossessing the Urban Realm By selectively transforming segments of street to full pedestrian realms, it enhances the quality of life on the street and the city. It does so by providing a safer environment for people be removing the opportunity for pedestriantraffic collisions; a known issue along Blackett Street. An improved connection to existing pedestrianised routes would strengthen and encourage West-East movement in order to improve the pedestrian experience through Newcastle’s city centre.

Exhibition Road, London

Materiality Informing Spatial Use By intentionally placing contrasting materials in the paving of the boulevard; these changes in colour and texture inform how the space is to be used and inhabited by pedestrians in a subtle and unobtrusive manner. The lack of a physical boundary, prevents it from becoming a constrictive and imposing environment; instead it promotes an inclusive and social nature.

‘Green’ Street The creation of a large public realm presents the opportunity to implement sustainable credentials through integrated design. The key aim is to adopt a rain water harvesting system to benefit from the heavy rainfall experienced by Newcastle at points in the year. Finally, through addition of planted pockets, it will help to improve the air quality of the local area through CO2 sequestration as well as lifting the journey through the city.

Existing Blackett Street Pedestrianisation Proposal

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URBAN INTERVENTION 5.6 / BLACKETT BOULEVARD Light Columns Humanise the scale of the urban realm and frame the boulevard.

Mitigates ‘urban canyon’ effect.

Forum Gateway Acts as a reference point for pedestrians by retaining visual prominence Planters Provide green spine to boulevard, encouraging movement through space.

Blackett Street / Looking West

SuDS Collects surface water to be stored under a RWH and re-used

Blackett Street / Looking East

Sustainable Drainage System (SuDS) Through a sustainable approach to managing surface water it can passively reduce flood risk, improve water quality and provide temporary storage.

Views maintained across Blackett Street

The latter can be re-used for grey water purposes which can help to reduce the dependence on potable sources. By reducing or attenuating surface water runoff, SuDS generally lead to lower volumes of water in combined drainage and sewer systems, and therefore reduce flows to sewage treatment works. In pumped networks this results in savings from reduced pumping, primarily in terms of energy use, but also potentially in terms of reduced depreciation and maintenance of the required infrastructure.

Scale 1:100

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Visual hierarchy rationale establishing proportions.

Section AA depicts SuDS Implemented Principle

Red Porphyry (colour tones from intu Eldon Square)

Brushed Aluminium

Granite (colour tones from existing paving)

Vegetation

Siberian Larch

N

Sandstone (colour tones from urban context)

Scale 1:200

A

TO NORTHUMBERLAND STREET

Brushed Stainless Steel Flashing

Brushed Stainless Steel Drainage Channel

Forum Gateway

Dual-Flow Pedestrian (leisure) ACCESS TO METRO

Planter with Integrated Seating and Bike Racks

Dual-Flow Pedestrian and Cycling (movement)

Street Light Column

A

PILGRIM STREET

Single-Flow Pedestrian (retail)

Use and spatial strategy through materiality.

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URBAN INTERVENTION 5.7 / FORUM MARKET SQUARE

Meeting House Square, Dublin / Sean Harrington Architects

Operation Strategy & High-Level Design Intent Following the final review; it was suggested that the masterplan vision for Newcastle Forum would be strengthened by incorporating an element which acknowledges the Grainger Market. The market has been incredibly successful and a popular meeting place over the years with a strong brand identity and public presence. However, this is an aging demographic which makes its future somewhat uncertain. The aim is to secure the market’s longevity by investigating how its operation and offer could be adapted to appeal to a wider customer base.

Operation Strategy I have identified the gap-site created by demolishing part of the urban block to reinstate the historic route from Clayton Street through to Old Eldon Square as the most appropriate location for this part of the urban intervention. Its proximity to both the existing market and the main pedestrian route of the Forum, place it at the perfect point to bridge and connect both elements.

The intent is that this will encourage cross-pollination of movement, use and interaction between both.

The public space will operate as an outdoor market square; a typology firmly ingrained in the British urban model. This will not be in competition with Grainger Market; but instead provide a supplementary and complimentary offer to the existing.

In 2016, the Newgate Shopping Centre was demolished to make way for a £100m mixed-use scheme. The centre, which opened in 1969, housed many units and stalls which provided an offer unique to Newcastle City Centre.

Many of these tenants had been there since for decades, accruing a small but loyal customer base. Prior to demolition they were forced to disperse to new locations all over the city.

Forum Market Square would consolidate these types of traders to attract a new younger demographic by providing goods and services not found in the traditional market offer of Grainger Market and appeal to the significant international population found in the city. Between Newcastle and 70

Northumbria Universities, there are approximately 13,105 international students which is equivalent to about 20% of the entire student population.

This is in addition to the 41,500 international residents living in the city which corresponds to approximately 15% of the whole population. This demonstrates the untapped potential to attract a significant sector of the population which I believe is currently not being catered to by the current offer at Grainger Market. Examples of the types of stalls that could be placed in the outdoor market include, but not limited to, ethnic food stores and cafes (Latin American, Afro-Caribbean Eastern European), textiles, electronics repair & accessories and arts & crafts.

High-Level Design Intent These pages will outline the overall approach that this space will adopt in terms of design and layout principles to demonstrate a proof-of-concept to this element of the materplan, due to it occupying a newly created and key route into the Newcastle Forum. As explained in Chapter 5.1, the Forum Market Square will be developed in greater detail during Semester 2 with the rest of the Masterplan Locations.

Vieux Port Pavilion, Marseille / Foster + Partners

URBAN PUBLIC SQUARES - (meeting house square) Through careful design and use strategy, these gap sites can become social and activity incubators. They provide a welcoming and vibrant atmosphere, helping to diversify the city centre offer by creating adaptable spaces that can accommodate a range of situations. They also take into consideration changing weather conditions and provide solutions that allow daylight in but can shelter users under rain or snow to intensify the use of the space.

LOW PROFILE CANOPY - (vieux port pavilion) In this particular site, a key condition to its success is that the views through the site to Old Eldon Square and the War Memorial are maintained. A thin canopy will provide shelter when required but will be visually unobtrusive and minimise any cast shadows. This ensures that more sunlight is brought into Old Eldon Square and Blackett Street throughout a greater proportion of the year as originally intended. The design will be developed and defined in Semester 2.

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Kingston Ancient Market (Built) / Tonkin Liu

Existing Condition of Urban Block - Acts as a Physical and Visual Block

Proposed Demolition of Urban Block - Creates Views and Reinstates Desire Lines

MARKET STALLS / LOCK-UPS - (kingston ancient market) A series of lock-ups will allow the tenants to operate throughout the week by allowing them to trade out while being able to securely store their goods at night without having to dismantle stalls every day. They will also provide greater protection for the traders throughout changing weather conditions. Space providing, a portion of the square will be allocated to house a temporary market offer such as a flea or farmer’s on Sundays when Grainger market is closed.

Semester 2 will allow for a greater in-depth investigation to the finer design details and aesthetics of the lock-ups and stalls to allow for trader signage and personalisation.

Proposed View to be Opened

Urban Block Proposed Demolition in Context

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URBAN INTERVENTION 5.7 / FORUM MARKET SQUARE Relocated War Memorial

Old Eldon Square

Blackett Boulevard

Site 6 Building (Developed in Semester 2) Market Canopy - Allows Views Through and Potential for Solar Panel Placement

Market Lock-Ups from Reconfigured Performance Pavilions

Retained Buildings

Grainger Market

Existing Site Topography Retained - Level Floor for Market Drainage Management

Forum Market Square

Pavement

Nelson Street

Above / Diagrammatic Key Section Scale 1:250 Opposite / Diagrammatic Layout and Spatial Use Plan Scale 1:500 2 - Preston Market Hall, Outdoor Temporary Stalls / Greig & Stephenson

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5 - Public Water Feature and Integrated Seating

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6 - Interactive Community Wall / Art Mural

Pavement

Clayton Street

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BLACKETT BOULEVARD

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LIST OF LOCATIONS

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1 / Market Lock-Ups with Spill-Out Space

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5 / Public Water Feature with Public Seating

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4 / Gender Neutral Facilities

CL A Y TO

3 / Canopy to Cover Market Demise

TRE E

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2 / Temporary Outdoor Market Stalls

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6 / Interactive Community Wall & Art Mural 7 / Relocated War Memorial 8 / Grainger Market 9 / Site 6 Spill-Out Space and Active Frontage

N

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Exploratory Visual Entrance to Forum Market Square / Corner of Clayton and Nelson Street

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URBAN INTERVENTION 5.8 / VISUALS

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This Spread / View of Underpass in Expanded Facade Configuration Previous Spread / Western Approach into Newcastle Forum

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6.0 / REFLECTIVE CONCLUSION “Semester 1 was “an opportunity to gain a realistic understanding of how projects develop and evolve from a thorough understanding of the pre-existing conditions and limitations”.

Author

What are the strongest aspects of your project and what parts could be improved?

I feel that the strongest aspect of my project was my engagement with the Material Change studio brief that resulted in a very considered approach that directly sought to respond to the questions and challenges posed by the brief.

Furthermore, involving a personal passion and link to my work strengthened my bond to my work as I didn’t produce anything that I wouldn’t want to interact or engage with myself. I felt it pushed me further to better resolve my scheme not just for an abstract client, but also by designing for myself as well. Another positive quality of my work was my incorporation of interventions at a micro and macro scale. My proposal didn’t just take into consideration the city block boundary informing my masterplan; but looked to improve the urban context beyond. This allowed my proposed architecture to engage with the wider city of Newcastle and draw people back into the centre through engaging people sense of curiosity and discovery. Finally, I feel that my chosen line of inquiry on which my whole proposal stemmed off of was based off a current issue that is demands to be acknowledged in the current British climate. The fact that there exists empirical data that can underpin this claim added a sense of realism and necessity to my project.

I feel that the main way that my project could’ve been improved, was by beginning to draw in section and 3D earlier in the design process. This would help me to take into consideration the topography of the site and neighbouring building heights that would ultimately ensure an appropriate and sympathetic response to the site in terms of scale and form. Finally, perhaps the size of my masterplan led to some constraints in the in the level of resolve across the proposal within the available time. I should work to better judge what is a more feasible scope in future. This ensures that I can develop all aspects of a project through a wider range of drawings and media in order to present a more well rounded and thought-out response to the brief at the point of a Final Review.

What mark would you give to your own work?

What areas do you feel you need to focus on next semester?

If I were to mark my own work; I would probably place it somewhere on the boundary between a Pass with Merit or Distinction. I feel that beyond intensely engaging with the studio brief; my project takes into account a long-standing issue faced by the decline in importance and significance of the Arts & Culture sector in the British socio-economic landscape. This duality of responding to this condition as well as the current health crisis posed by the COVID-19 pandemic; helps to fully substantiate the importance and viability of my project as presenting a new model to be adopted as an urban catalyst in reactivating and reanimating the failing city centres not just in the UK but all over the world.

Here, the necessity of my project is not determined by one circumstance which may be resolved as quickly as it came, such as the pandemic, but by responding to a wider and broader picture.

I feel that there are two main areas that I would like to focus on next semester.

The first of these being a more integrated approach towards the implementation of renewable energy strategies into my design. I feel this is one aspect of our studio brief that I didn’t fully explore this semester. The reason behind this being that I placed a greater amount of focus into the development of a resolved masterplan approach that would serve as a framework for a phased process that could be adopted in reality. My proposed Site 6, the Arts & Creative sector performance and studio space, will allow for a more built proposal that will allow me to delve into a detail-level analysis of the building where I can consolidate my environmental response in an architectural manner. The second aspect is that I would like to produce more visuals of the scheme to help bring it to life and allow it to be seen at a human scale. Following the highlevel approach to the masterplan where I produced a series of developmental sketches and diagrams to justify my various urban moves and approach to the urban intervention; I feel the next logical step to fully resolve the proposal is to incorporate a sense of life through showing how people will experience and engage with the newly revitalised urban fabric. I hope this will give it the vibrancy and activity that I’m hoping to encourage back into the city centre.

How did you find working remotely this semester?

This semester I found working remotely to be fairly challenging. One of the most important factors of the design development process is the collaborative atmosphere that is fostered by the studio environment. Beyond being able to bounce ideas off of a colleague and allowing for some separation between home and work; it allows for cross pollination of ideas and skills between students and projects that ultimately offers an alternate perspective and helps to develop a more resolved scheme. Having said that, I was able to somewhat replicate some of these aspects by forming a small group comprised of my tutorial colleagues; via Zoom meetings and group chats we would discuss our ideas and give feedback on each other’s work. Beyond this, I was very pleased with how the Material Change studio was organised and run. I felt very well supported with a consistent tutorial schedule and advisory voice from my tutorial leader. Notwithstanding, I am looking forward to being able to return to working at the university studios in the, hopefully, not too distant future.

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APPENDIX A / ARCHITECTURAL DERIVE

Line of Curiosity / Drift Movement START 0° N / 28 paces; 90° E / 12 paces; 0° N / 23 paces; 90° E / 25 paces; 180° S / 31 paces; 210° SW / 92 paces; 273° W / 91 paces; 181° S / 16 paces; 109° E / 135 paces; 141° SE / 154 paces; 186° S / 530 paces; 260° W / 50 paces; 203° SW / 15 paces; 260° W / 95 paces; 160° S / 220 paces; 256° W / 80 paces;

The theory of architectural derive is based upon a technique of rapid passage through spaces. It began with the Situationist Movement prevalent between 1957-1972. It was believed that rules and sterilisation was making the world dull and lacking in spontaneity. They sought to have people make choices on what kind of architecture they would like to see in their cities as after all, they would be the ones living and experiencing them.

Derive involves playful and constructive behaviours with an awareness of psychogeographical effects. Psychological experiences of the city can reveal or illuminate forgotten, discarded or marginalised aspects of the urban environment. Psychogeography thrives as an interrogation of space and history.

It compels the individual to temporarily abandon our ordinary conceptions of the face value of a location.

The purpose is to be drawn by the attractions of the terrain and what they find there. There is no motif in mind, just experiencing the city open to new perceptions in the hopes of unearthing unforeseen and unexpected revelations about their urban realm.

DETOUR 207° SW / 70 paces; 240° SW / 180 paces; 183° S / 127 paces; 240° SW / 100 paces; 175° S / 127 paces; 207° SW / 153 paces;

The challenge was to draw the journey from our homes to the site. We were to join the two locations with a straight line and to follow this as closely as possible; before creating a drawing to visually represent this journey.

Visually, my response to the task would consist of plotting the relation between the intended passage (line of curiosity) and the realised passage (drift movement) to show how similar or dissimilar these might be. The use of photographic vignettes would represent the atmosphere and physical qualities at key moments in my journey, when looking back through memory.

JOURNEY TRANSCRIPT

Delving Into The Soul Of The City The vignettes represent the atmosphere and physical qualities of key uses through the journey when looking back at it through memory. These differ from the key punctual moments dictated by the bridges encountered. These encapsulate the essence of Newcastle and reveal a paramount truth to its urban realm. Bridges are integral to the experience of the city; their location and journey through them reveal socioeconomic hierarchies established in Newcastle. Bridges in the city often provide desirable links - transport, spatial, education and economic. However, at its nucleus, they serve to disconnect and promote an insular experience of the city. They remove the sense of place through its anonymous architecture.

RE-COURSE 166° S / 160 paces; 114° SE / 10 paces; 178° S / 97 paces; 224° SW / 40 paces; 160° S / 138 paces; 155° SE / 45 paces; 268° W / 70 paces; 168° S / 120 paces; 178° S / 27 paces; 236° SW / 64 paces; 217° SW / 165 paces; 124° SE / 123 paces; 206° SW / 165 paces; 128° SE / 30 paces; 193° S / 420 paces; 205° SW / 80 paces; FINISH

‘DERIVE’ A technique of rapid passage through time; with the intention of creating a mental map of surroundings aiming to become lost in the city - drifting.

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Northumberland Street

APPENDIX

Percy Street

Eldon Square

Car Park

Bus Terminal

| DEVELOPMENT |

1 Queen’s Hall cinema 2 Library 3 Laing Art Gallery

B / Group Work

4 Museum’s and Art Gallery extension 5 Hotel

Proposed

u rth

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CENTRAL REDEVELOPMENT FROM THE NORTH

Blackett Street

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Ground Level

St Thomas

Church Car Park

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PEDESTRIAN CIRCULATION

UPPER LEVEL PEDESTRIAN WAY LOWER LEVEL PEDESTRIAN WAY

NORTHUMBERLAND STREET

Looking north from Prudhoe Street 15

1884

KEY EXISTING BUILDINGS AND SITE FEATURES BREAKDOWN

Collective Site Research & Analysis For the first half of the semester, the studio undertook group work investigating and analysing the site. The work was divided into four key topics were: 1. Historical Context (Archaeology) 2. Non-physical Context (Observation) 3. Physical Context (Forensics) 4. Material & Environmental These were further sub-divided into categories that related and fed into the larger topic.

Due to the length of the document I have included a series of thumbnail images of the report. For access to the full version please visit the shared drive at: drive.google.com/drive/folders/11pzAIuhdrzFOowkOddOtV9CabTjJJiNL | CHANGE OF USES |

2

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1970’s: 1 *Eldon Square Pencils The Eldon Square pencils were arranged throughout Eldon square providing a trail of entertainment for children to play on and parents to sit.

2 *Eldon Square Shopping Eldon Square introduced a mass of shopping in 1976 that eliminated the diversity of the past site and focussed on a consumerist space.

3 *Green Market Eldon Square developed on the green market forming a busy indoor market that sold food and clothing products, seeing people queue up for big brand names and local produce.

4 *Food Court Introduced with Eldon Square, the food court disrupts the scattered tradition of pubs and food places of the site and places them in a concentrated area.

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Eldon Square Presentation

Landscape:

09 November 2020

reality.

Eldon Square Presentation

The Site & Wider Surroundings

A comparison between the internal walkway

“Good buildings make and are made by their settings, and they are appropriately different in different locations. Climate, culture, topography and materials have helped create regional architectural languages that seem curiously right for their locations and for all times.” - Jaquelin T. Robertson

of the Central Arcade and the Internal walkway of the Eldon Square, which highlight

The day starts off with a trip into Newcastle City Centre. George and his mother are going to take the new double decker bus into town. He lives in Heaton and he can see the new Metro line being built. The bus enters the City Centre under the new skywalks

the difference in atmosphere and the amount of natural daylight available in both internal street. In comparison, the Central Arcade

and arrives at Durant Street. He climbs the steps of the new skywalk elevating him above the traffic and is

For the Ward of Monument which covers the majority of the city, it has been claimed there is 0Ha of accessible natural green space, and only 7.48Ha/1000 population of amenity green space. See appendix for table highlighting the amount of outdoor space within the city.

also appear to have less uses compare to

excited to go to the new shopping centre. He arrives

the internal walkway of Eldon Square and the

at Eldon Square Shopping Centre.

external street.

Material Change: Theme 04

Topography, Geology and Green Spaces

A child’s experience of Eldon Square

0Ha of accessible natural green space surrounding site Green space focuses to West of the city

This image shows the sandstone architecture around the site, due to the abundance of sandstone below ground in the area and the local quarries.

“The recognition of the quality of sandstones in Northumberland and Tyne and Wear for building purposes dates back to Roman times...

Newcastle and its present suburban areas were the sites for extensive sandstone quarries”.

George cannot believe how many people there are and giant pencils...? Georges mother takes him into Bainbridge’s. They have everything. George gets some new school shoes and a coat.

22

As they leave the store, George cannot quite believe it, standing in front of him as tall as a building is a spaceship! His mother looks down to him and says they can go for lunch there. George has never been in a spaceship before.

George leaves the spaceship and stands looking out of the window into the shopping centre. He knows he will remember this for a long time.

72° Newgate st.

Eldon Square Presentation

37°

72°

Eldon Square

37° 112°

Materiality:

09 November 2020

URBAN EXPLORATION STREET CANYONS 137°

53°

Newgate Street

Newgate st.

Clayton st.

er St .

22m

0° Grainger st.

Gra

ing

0°

30

65°64° 112° 112°

65°

Grainger st.

112° 103°

46° 103°

46°

103° 137° 137°

9m

53° 53° Clayton st.

Clayton st. st.

Newgate st. NewgateNewgate st.

0° 0°

103°

37°

ClaytonBlackett st. Blackett st.Clayton st. st.

112°46° 65° 65° 4.5m

Newgate st.

18m

diversity of spatial inhabitation

72°

Blackett st.

Blackett Street

taken on 12:30, 24/10/20

65°64°

0

53° 65° 65°

53°

Newgate Street Grainger Street Clayton st.

Nelson Street

103° Clayton st.

53°

53° 46° 64° 64°

Stanton Moor Cladding

Green Space

Concrete Deck

Brown Brick

65°

Curtain Wall

Stone Paving

Tile Roof

Tarmac

55° 65°

65° 46° 103°

Nelson Street

46° 103°

112°

137°

Nelson st.

103°

103° 50° 50°

55° 55° 65° 15.5m

15.5m

112°

50° 55°

65° 50° 55° 55° 46° 46° Nelson st.

53°

Clayton st.

Nelson Street

15.5m

103° 103° Nelson st.

16.8m

50° 137° 137° 137° Nelson st.

Blackett Street

16m

65° 0°

0°

46° 112°

0°

50°

64°

64°

15.5m

0°

Blackett st.

15m

There are also fewer people gather around socialising, this is partially due to the removal of the large temporary street furniture on Grey Street, Additionally many outdoor venues throughout the site and especially around the Central Arcade.

64°

55°

Blackett Street

16.5m

65° 65° 65° Grainger Grainger st.

137° st.

53° 53° 0° Blackett st.

Blackett st. Blackett st.

Grainger st.

Grainger st.

Clayton st.

Clayton st.

18m

There are several areas of interest around the site, the survey taken on the 24 of October records a protest, down from the main group there was also a secondary smaller and unrelated protest occurring in the streets down from the main one.

55°

50°

Nelson st.

Grainger Street

St. Cla yto n

St. gate New

72°

street survey.

37°

37°

37° 50°

Nelson st.

Grainger Street

37°

53° 72°

46°

65°

65° 64° 72°

Newgate st.

Newgate Street

53° 72°

46° 103°

65°

137° 65°

137°

17.5m

Blackett st.

Blackett st.

Newgate st.

Newgate st.

37° 0° 37° 137°

17.5m

0° Blackett st.

72° 72°

Blackett st.

St.

26.5m

son

112°

112° Newgate Street 103°

Material Density

Clayton st.

137° Nel

112°

Material Change: Theme 04

Texture Mapping

16m

Newgate st.

53°

4.5m

Blackett St.

22m

112°

37°

16m

37°

46°

46°

15.5m

72° Newgate st.

37°

Surface Texture

The map shows textural 65° the multiple 65° characteristics of the site. This includes both horizontal and vertical materials that embody the different facades.

137°

0°

15.5m

72°

9m

Newgate st.

37°

72°

0°

Blackett st.

22m

72°

5

Newgate st.

Eldon Square Presentation

Blackett st.

Grainger Market

112°

50°

64°

55°

Clayton st.

Clayton st.

Blackett Street Grainger st.

Grainger st.Clayton Street

Clayton Street

Clayton Nelson st. Street Nelson st.

Grainger st.

Clayton Street

Nelson st.

36

0 65°

Eldon Square Presentation

Combined Approaches

09 November 2020

Eldon Square Presentation

65° 50°

64° Grainger st. GraingerGrainger st. st.

Nelson st.

Grainger st.

65°

65° 64° 55°

64°

50°

64°

Nelson st.

50°

50° 55°

55°

55°

Nelson st.Nelson st.

Design Constraints

Material Change: Theme 04

Collective Analysis

TO

let

0

journey types: The ‘Browser’ / The ‘Social’ / The ‘In & Out’ / The ‘I Forgot Something!’ / The ‘Just Cutting Through’ / The ‘Weekly Shopper’ / The ‘Oh, it’s closed (AKA Sundays)’ / The ‘What’s the best entrance?’ / The ‘Let’s go for a drink after work’ /

45

N

43 Scale 1:1000

Collective Group Work N/A - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

85

APPENDIX C / SKETCHBOOK DEVELOPMENT

Design Evolution A key part of my development process has always been to write down and sketch out my initial thoughts and ideas. This aids me by documenting the choices and reasons that shaped my project direction. I have included a selection of pages from my sketchbook at key points in the design process.

86

Including Next Page - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

87