Tyne Theatre & Opera House by Karan Haveliwala

TYNE THEATRE & OPERA HOUSE

Karan Haveliwala (13005301) - Architectural Design (BE0623) Workbook

Introduction + Site Analysis

Tyne Theatre & Opera House 3 Key Factors 5 Constraints + Potential 9 Views 10

Research + Concept Concept Community Projects Degrees of Separation Industrial Newcastle Transparency & Facade

14 15 17 18 19

Design Development Revisiting the Brief Form Development Thornton Street Language Layout Development Plans Flexible Theatre Space

21 22 24 25 26 27 33

Final Proposal

Site Plan Elevations Final Plans Design Sections Perspectives

35 36 37 43 44

Technical Details

Structural Axo 51 Lighting 52 Tech Section 54

CONTENTS T Y N E T H E AT R E & O P E R A H O U S E

INTRODUCTION + SITE ANALYSIS T Y N E T H E AT R E & O P E R A H O U S E

T Y N E T H E AT R E & O P E R A H O U S E

TYNE THEATRE & OPERA HOUSE BRIEF SUMMARY & HISTORY

1867

1919

1960s

1977

1985

1986>

In the North East of England lies The Tyne Theatre & Opera House. It is located in between the West End and City Centre of Newcastle-upon-Tyne. Built in 1867, the theatre has a wealth of history. Its primary use has changed through its existence, but its most recent change (1977) saw the building do a full circle and return to its original state of a theatre. In between, its uses included a cinema (1919) ran by Oswald Stoll's national company. In the 1960s, the theatre entered its darkest era and began screening x-rated movies. This represented the decline of this particular area of Newcastle and the rise of the city centre as we know it today. The Theatre has many aspects of historical significance including Grade 1 listed status and one of the few theatres in Europe that still has its original stage mechanics from the Victorian era. Its everchanging presence in its history can be outlined on the exterior of the building. In 1985, a fire broke out backstage, luckily the fire curtain prevented any significant damage to the main auditorium but the roof was badly damaged and had to be replaced. It can be said that the fire defined the era the theatre is in now and the changing of the roof was the start of a major change to restore this theatre to its eccentric beginnings. The project attempts to address the current problems within the theatre and create a more closed area within the site of the building creating a more vibrant theatre experience. At present there are many different occupiers of the site creating a staggered effect immediately. Creating a site purely for the theatre will not only make a more enjoyable experience for theatre-goers, but also see an increase in revenue for the operator, and (potentially) once again bring this drab area of Newcastle back to life.

C H A P T E R 1 | I N T R O D U C T I O N & S I T E A N A LY S I S

KEY FACTORS PRODUCTIVITY MAP Lying in between the west end and the city centre seems to be a problem for the theatre. On the edge of a large residential area the site doesn't gain as much footfall as the city centre. This could be due to the lack of a large public attraction within the immediate vicinity. Although there are a lot of smaller attractions of social context, unfortunately it is not a general route for the population. We can see from the productivity map that there are a few creative sites neighbouring the theatre. This could suggest that with the right attention, this area could become a thriving artistic hub of Newcastle, much like London's Camden or Manchester's Northern Quarter. The residential blocks neighbouring are high and of a metropolitan feel. However, the low activity of the area means that metropolitan feel is somewhat lost, and the area becomes lifeless and grey.

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KEY FACTORS WALKING ROUTES + TRANSPORT LINKS Kevin Lynch's Image of the City, speaks of a desired walking time for the public. This time limit of a 10 minute walking distance is taken into account in this diagram and the general approaches for the public. The majority of locals are assumed to be using the Tyne & Wear metro system or the National Rail links if arriving from further.

C H A P T E R 1 | I N T R O D U C T I O N & S I T E A N A LY S I S

KEY FACTORS SUN PATHS + WIND DIRECTION The main facade of the theatre is primarily North Facing, with a slight rotation to the East. This orientation exposes the public realm (Thornton Street) to a large amount of daylight. The fact that the wind is diverted away from this particular area through the theatre and its neighbouring building gives the space fantastic potential for a lively public area.

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KEY FACTORS MEASUREMENTS The site for the project covers a ground footprint of roughly 2160 square metres a fairly large area to work with and. Even greater potential is added to the project with the height available to work with. The theatre itself rises approximately 22 metres giving the possibility of working on up to 5 floors. The ground slopes slightly from west to east resulting on different ground heights for different areas within the building.

C H A P T E R 1 | I N T R O D U C T I O N & S I T E A N A LY S I S

CONSTRAINTS SURROUNDING CONTEXT + POTENTIAL The North and East elevations of the site are exposed where as the South and West elevations are locked in by surrounding buildings (red). The block of accommodation (blue) is demolish-able and reworkable for the new scheme, whilst the public realm (green) can be landscaped as long as it doesn't affect the build that opposes the site. As previously mentioned, the current state of the public realm is drab. Its has a lack of colour and life. With not many pedestrians passing through it has become a place for bin storage. The area has huge potential to be a thriving public place but of present there is nothing. The demolish-able block of accommodation blends far too heavily with its surroundings. The use of heavyweight brick adds to the closed feeling of what is a fairly large space (Thornton Street). The North elevation is limited in terms of work due to Westgate road a main entrance way to the city of Newcastle. Its a one way road but heavily used, and at present the narrow pavement in front is an issue when 1117 people could potentially be exiting the theatre at once, causing danger to the users of the building. Inside of the theatre is very staggered. The dividing walls and different floor heights turn quite a large interior space into multiple closed spaces. Opening up these spaces would allow for better circulation and a more grand experience overall.

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VIEWS CULTURAL SITES The immediate context hosts a plethora of historic and cultural sites. These are mapped out in this image (left). Light Blue: Sculpture Green: City Wall Magenta: Stain Glass Window on theatre facade Orange: Hadrian's Wall heritage site, public artwork representing this on Thornton Street Blue: "Stoll Tyneside's Talkie Theatre" Ghost Poster from the theatre's time as a picture house Pink: Grade 1 listed facade of Tyne Theatre These particular bits of culture could be framed within the new scheme, respecting and highlighting the historic context the architecture sits within.

C H A P T E R 1 | I N T R O D U C T I O N & S I T E A N A LY S I S

VIEWS THE SITE This map shows views on approach to the site and away from it. Views that are currently available to the user. Yellow: West on Westgate Road Light Green: Views towards Sculpture and City Wall Green: East on Westgate Road Blue: South Thornton Street Lilac: Opposing Context Purple: View on to Waterloo Street & Thornton Crescent Pink: Panorama of site on Westgate Road Orange: Panorama of site on Thornton Street These views already familiar to the users of the site, may alter with exterior landscaping, and new heights being added in.

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RESEARCH + CONCEPT T Y N E T H E AT R E & O P E R A H O U S E

CHAPTER 2 | RESEARCH & CONCEPT

community noun

1. a group of people living in the same place or having a particular characteristic in common. 2. the condition of sharing or having certain attitudes and interests in common. 3. different people coming together to create something greater.

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CONCEPT The following words represent a relation to the theatre, the site or the area in general. These words could be incorporated into the scheme from an early stage, driving the idea, form, language and narrative. The four words below resonated with the scheme in mind. The existing symmetry of the facade is prominent in the existing language of the site. The theatre facade is the main attraction of the exterior and therefore has to be the main driver of the new scheme. Repetition is closely related to the symmetrical values of the sites. Illusion relates strongly back to the production of theatre,with subtle trickery being used in shows to add a magical element. This idea can be said to already existent in the existing architecture. The existing architecture, from the outside, looks like 3 different buildings, but through closer inspection, we find they are all interlinked. Finally, community. Something that is currently lacking in this area. A lack of engagement not only to the area but with the public too. The main driver of the scheme is to reconnect the community to this area and make it lively again as it once was. There is a definition of community stated earlier; "different people coming together to create something greater" The creation of a community friendly scheme is the first step to reinvigorating the people into this area and thus being the start of a complete uplift of this particular area.

Symmetry

Repetition

Illusion

Community

CHAPTER 2 | RESEARCH & CONCEPT

COMMUNITY PROJECTS Bringing people together is a difficult task. In this case it can be valuable to the people involved, bringing more awareness to the groups. Highlighted West of the site is DanceCity. A group that specialises in the practice, teaching and performing of many styles. The users of DanceCity could even expand to the Theatre providing a more Classical backdrop. Classes and smaller performances could extend into a multi use space within the studio theatre and drive the idea of a new community space that would not just accommodate dance but a variety of things. Highlighted North of the site is ISIS arts. The Theatre can work with this group to create a whole host of new artwork for the theatre, that encompasses its heritage and the area. The theatre can access ISIS arts' database of regional artists to create something spectacular such as mural on Thornton Street to bring some colour and life to the currently dry streetscape. This idea of togetherness is vital in order to bring this area to life.

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COMMUNITY PROJECTS REINVIGORATING THE COMMUNITY The renovation and landscaping of Thornton Street holds significance to the scheme. Creating a pleasant area for users of the theatre not only to pass through but to enter too. Highlighted below is an existing passage way into the theatre, currently only used in emergencies. This space could be used as an entrance, eliminating the narrow pavement leading into the theatre at present, and moving to the wide streetscape on Thornton. A possibility of a tree line running through Thornton Street adds some nature and life into the area building a welcoming approach to the site.

CHAPTER 2 | RESEARCH & CONCEPT

DEGREES OF SEPARATION ARCHITECTURE As mentioned before, there are already degrees of separation through the existing architecture on Westgate Road. On the left is the demolish-able block of accommodation, which currently hold the more social aspect of the area, with a bar, cafe and local business running through. Therefore a logical approach can made into making this linear path the new social aspect of the theatre. The right represents a more private part of the theatre, currently holding a bistro on the ground floor (part of the theatre) as well as local business. Above there are practice rooms and the dressing rooms. It generally represents a quieter area. And of course, the middle is the Theatre itself, the existing main entrance and backstage area in that linear path.

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INDUSTRIAL NEWCASTLE Newcastle has a rich heritage in the industry work. Being a major city during the Industrial Revolution and many of the populous today working in the industry sector. There is potential to take these Industrial values of the city and taking it to mould the form. Hopefully the idea of taking the values of the city will engage the people of the city in a positive way. Allowing them to interact with scheme and allow the people to drive the regeneration of the area.

CHAPTER 2 | RESEARCH & CONCEPT

TRANSPARENCY & FACADE To not take away from the grand facade of the theatre, a lightweight structure should be considered for the new build. A transparent facade would be preferable as to allow views of the internals of the theatre and create a stage like presence from the outside. Revealing the theatre's facade from the inside is an intriguing idea. It allows a new views for everyone involved in the theatre and brings a sense of exploration to the historic part of the building. The reveal of the whole facade also means that a void running up the back of the facade would be present allowing for a buzzing pretheatre atmosphere.

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DESIGN DEVELOPMENT T Y N E T H E AT R E & O P E R A H O U S E

CHAPTER 3 | DESIGN DEVELOPMENT

REVISITING BRIEF Through development of the concept, key areas were addressed that add to the brief. Since the driving idea is reconnecting the community, this needed to be addressed on two levels. The refurbishment of the theatre as well as the public realm which is Thornton Street. The theatre needed something that can connect with the public that is more than just a restaurant/bar. Something that can be properly used. The studio theatre is the perfect opportunity to host a range of activities, so creating in a way where it is accessible and flexible is a requirement for the narrative. Thornton Street needs a complete reinvention. As it is, it does not work. It does nothing to engage the community, and is used for nothing other than passing by and occasionally outdoor seating for the Settle Down Cafe in the warmer months. Bringing life in to it is vital to the success of the scheme. This can be done by making it as usable as possible, not just a seating area. As the theatre progresses into a new area, its only suitable that something new represents it. A new contemporary logo to accompany the classical one (pictured below and above respectively). This logo is created from the negative space of 'Tyne Theatre Opera House" then shaped into the silhouettes of the comedy/tragedy masks often used to represent the theatre. This is an abstract representation of the definition of community mentioned earlier.

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FORM DEVELOPMENT The underlying form came from extrusion of existing spaces. The Studio Theatre space being pulled out from the existing theatre, and giving the younger performers that sense of really being one step away from the main stage and allowing them to feel part of the whole scheme rather than just a side attraction. The social aspect is pulled up out of the existing footprint of Tilley's Bar and then pulled across and over the studio theatre to accommodate to create a whole volume. The space in between is reminiscent of the out of use passage way. This now becomes a sheltered open space underneath the extruded form.

CHAPTER 3 | DESIGN DEVELOPMENT

FORM DEVELOPMENT Through the design process there was struggle with the roof. To create a positive reaction from the populous, the industrial heritage of Newcastle were taken in to account. Taking the city values and incorporating to that into a roof form was difficult with the proposed mezzanine floor level above the bar area (shown in the plan development). Eventually to keep a proportionate form without having triple height spaces in area, the mezzanine floor had to be removed and a saw tooth roof was put in place of a double pitched as pictured on the previous page (bottom-left).

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THORNTON STREET Redeveloping Thornton Street became an important factor as it would be used for the main access channel for the theatre. Going from left to right. The first iteration wasn't engaging enough, so became irrelevant rather quickly. After that an engaging space rapidly took shape. The addition of a tree line (lime trees), new outdoor seating, mini community allotments, and a community commissioned mural meant that Thornton Street actually became something other than a walk-through. After this tweaks were made to the space to follow the tapering of the realm, to make it more of a natural approach. More outdoor seating was added to accompany a new outdoor performance space just outside the stage door and successfully made this an active space that would forever be changing with natural foliage, a mural that could change every few years, and of course the community could actually change this space through what they grown in the allotment spaces.

CHAPTER 3 | DESIGN DEVELOPMENT

LANGUAGE Creating a new language for the theatre was key to link these once separate spaces and to make it uniform thus allowing an open experience for the user. Top-left: Early sketch section showing how the use of voids would allow for views within the building Middle-left: Early sketch section showing long linear circulation that runs throughout to connect spaces consistently for public areas Bottom-left: Sketch elevation showing the notion of degrees of separation through materiality to define different areas within the new extension. Top-right: Sketch section showing connection and separation of spaces Right: Diagrams Top: Linear degrees of separation, focus, performance & active Middle: Consistent void within space Bottom: Public consistently at front whilst private spaces sits at the back

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LAYOUT Whilst addressing the requirements (top-left), the accommodation can be broken down into a more elemental form and into four main areas. Exhibition Space, Staff Areas, Restaurant Areas, and Performance Areas. Through revisiting the brief this can be further refined (middle-left & bottom-left) to three key area. 1. Perform 2. Active 3. Focus Each area is defined through the nature of their spaces (i.e. focus holds staff areas and exhibition space as it is inherently of a quiet nature) and located through the degrees of separation in architecture. Top Right: Third & Fourth Layout Middle-top Right: Second Layout Middle-bottom Right: First Layout (Black space now restaurant seating) Bottom Right: Ground Layout

CHAPTER 3 | DESIGN DEVELOPMENT

DEVELOPMENT PLANS FIRST ITERATION Problems: Foyer Space too cramped Circulation still staggered Long corridors to nowhere Natural slope of site not taken into account

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DEVELOPMENT PLANS SECOND ITERATION Problems: Lots of travel and emphasis on hospitality Long corridors still exist Natural slope still not taken into account Cafe Bistro is deep in back dark area Too much void space

CHAPTER 3 | DESIGN DEVELOPMENT

DEVELOPMENT PLANS THIRD ITERATION Problems: Lots of travel and emphasis on hospitality Natural slope still not taken into account Still too much void Circulation space could be improved in areas

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DEVELOPMENT PLANS FOURTH ITERATION At this point sketch plans started to become finalised and more resolve was taken into the ground floor before moving on to the other floors. A major change in form was made in this point, lowering the overall height of the extension and adding the value of industrial heritage into the roof form. Problems: Corridor to nowhere in studio theatre area Entrance begins to address Thornton Street but has no value to concept and doesn't activate realm

CHAPTER 3 | DESIGN DEVELOPMENT

DEVELOPMENT PLANS FIFTH ITERATION Problems: Entrance much improved but still fails to activate realm Backstage doesn't take advantage of natural lighting available in that area. Spill-out area for main theatre maybe too cramped

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DEVELOPMENT PLANS SIXTH ITERATION Problems: Strange Accessible toilet in Studio Theatre Entrance finally activates realm but doesn't have natural flow to it Foyer is immediately interrupted by welcome desk, losing open feeling

CHAPTER 3 | DESIGN DEVELOPMENT

FLEXIBLE THEATRE SPACE The Studio Theatre uses a retractable seating system to enable the space for larger activities. Activities can vary from band practices to dance classes, artist workshops, fitness classes and community forums. The space can be defined on the user.

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FINAL PROPOSAL T Y N E T H E AT R E & O P E R A H O U S E

CHAPTER 4 | FINAL PROPOSAL

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ELEVATIONS

Top: Elevation on Thornton Street Bottom: Elevation on Westgate Road

CHAPTER 4 | FINAL PROPOSAL

FINAL PLANS STUDIO THEATRE - BASEMENT 1. Wheelchair Accessible Seating (3 Capacity) 2. Retractable Seating (67 Capacity) 3. Performance Space - Flexible Use Area 4. Storage

2 3 4

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FINAL PLANS GROUND FLOOR

12 1

9 13

10 19 14

3 4

5 20

22 17

8 11

CHAPTER 4 | FINAL PROPOSAL

1. Exhibition - Foyer 2. Exhibition - Ground Floor 3. Accessible WC & Baby Change 4. Male WC 5. Female WC 6. Backstage - Practice Room 7. Backstage - Cleaner Store 8. Backstage - Warm-up Area 9. Main Theatre - Stalls Foyer & Bar 10. Main Theatre - Stalls Seating (450 Capacity) 11. Backstage Area 12. Main Foyer - Welcome Desk 13. Main Foyer - Main Entrance 14. Studio Theatre - Entrance 15. Studio Theatre - Control Room 16. Studio Theatre - Storage 17. Refuse / Plant Room 18. Stage Door Entrance 19. Outdoor - Entrance Space 20. Outdoor - Community Allotment Space 21. Outdoor - Community Commissioned Mural 22. Outdoor - Seating / Performance Area

FINAL PLANS FIRST FLOOR 1. Exhibition - First Floor 2. Exhibition - Black Box Facilities 3. Backstage - Shower Room 4. Backstage - Makeup Dressing Room 5. Main Theatre - Grand Circle Foyer 6. Main Theatre - Grand Circle Bar 7. Main Theatre - Grand Circle Seating (281 Capacity) 8. Backstage - Production Storage 9. Circulation / Grand Circle Spill-out 10. Restaurant - Host Welcome Desk 11. Restaurant - Main Seating Area 12. Female WC 13. Male WC 14. Restaurant - Storage

3 4

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13 14

FINAL PLANS SECOND FLOOR

11 1

2 4

6 8

9 16 10

17 18

CHAPTER 4 | FINAL PROPOSAL

1. Staff - Technician Desk 2. Staff - Admin Desk 3. Staff - General Meeting Area 4. Staff - Casual Discussion Area 5. Staff - Director's Office 6. Server Room 7. Staff - Kitchen 8. Staff - WC 9. Backstage - Shower Room 10. Backstage - Makeup Dressing Room 11. Main Theatre - Upper Circle Foyer 12. Main Theatre - Upper Circle Seating (197 Capacity) 13. Backstage - Link To Bar Area 14. Circulation / Upper Circle Spill-out 15. Restaurant - Main Bar Area (Casual Seating) 16. Restaurant - Kitchen 17. Restaurant - Kitchen Cool/Dry Store 18. Restaurant - Staff Quarter

FINAL PLANS THIRD FLOOR 1. Main Theatre - Gallery Foyer 2. Main Theatre - Gallery Seating (189 Capacity)

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FINAL PLANS FOURTH FLOOR 1. Main Theatre - Gallery Seating

CHAPTER 4 | FINAL PROPOSAL

DESIGN SECTIONS

Top: Section through elevation on Thornton Street Bottom: Section through elevation on Westgate Road

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INTERIOR PERSPECTIVES

CHAPTER 4 | FINAL PROPOSAL

INTERIOR PERSPECTIVES

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CHAPTER 4 | FINAL PROPOSAL

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CHAPTER 4 | FINAL PROPOSAL

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TECHNICAL DETAILS T Y N E T H E AT R E & O P E R A H O U S E

C H AP T E R 5 | T E C H N I C AL D E TAI L S

AXO

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LIGHTING NATURAL LIGHTING THROUGHOUT BUILDING

C H AP T E R 5 | T E C H N I C AL D E TAI L S

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54 C H AP T E R 5 | T E C H N I C AL D E TAI L S

Pile foundations. Pre-Cast White Concrete frame, Copper roof (double welt), Fibre-C panelling to create explicit concrete frame all around building. Glulam beams (600mm) bolted to concrete columns (300x300mm) to achieve large open spans and add warmth to structure. Curtain glazing supported with copper fins.

TECH SECTION

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