Wallington Heritage Estate. by Karan Haveliwala

Wallington Heritage ESTATE.

KARAN HAVELIWALA 13005301 BE0623: ARCHITECTURAL DESIGN "LEAPING THE FENCE:" PROJECT WORKBOOK

WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BRO TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE.

Contents.

OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. INTRO.BOATING. 04 ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN.14COAL. WINE. GREENHOUSE. BOATING. ART. CONCEPT. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART.DEVELOPMENT. WALLINGTON. BROWN. 24 BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE.FINAL GREENHOUSE. SCHEME.BOATING. 44 ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. OWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT COAL. WINE. GREENHOUSE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. BOATING. ART. WALLINGTON. BROWN. BLACKETT. TREVELYAN. COAL. WINE. GREENHOUSE. BOATING. ART.

04.

INTRO.

CLIENT. The National Trust own and operate the historic Wallington Hall in the county of Northumberland. The organisation desire a centre to celebrate Lancelot ‘Capability’ Brown’s works as one of the best (if not the best) British landscaper of his generation. The centre will host an archive to preserve Brown’s work amongst key

documents for the hall and its historic past. A secondary experiential art gallery will compliment the scheme and the grounds it lies within. This will create a journey to truly appreciate the Brown landscape in all its glory and unify the connection between the Brown landscape and the

hall’s history. The centre will also house educational facilities to allow people of all ages to further their knowledge on horticulture and local history. Successfully creating this scheme will add new depth to the grounds of Wallington Hall and its surrounding context.

HISTORY. The hall has a long history that spans centuries, over few families. The Blacketts and Trevelyans had the most influence on how the grounds look today, creating the hall as it is today and employing Brown to work on the landscape respectively. The families, spanning over a long period, had several interests and hobbies. But what funded

COAL. their lavish lifestyle and allowed them to reside in such a large estate? Walter Blackett made his fortune through the coal mining industry, funding his ownership of the estate and allowing him to throw lavish parties where the wine was highly regarded. Once he passed his estate

on to his sister’s family (The Trevelyans), the Brown landscape arrived where exotic plants were collected, the children enjoyed boating and Lady Trevelyan enjoyed life as an amateur painter, and played a key part in influencing the Arts + Crafts Movement.

WINE.

GREENHOUSE.

BOATING.

ARTS.

LOCATION. Wallington Estate and the wider demesne, lies in the heart of Englandâ&#x20AC;&#x2122;s most northern county, Northumberland (North East). Northumberland borders Scotland, Cumberland and County Durham, as well as the metropolitan county of Newcastle Upon Tyne. 1.3 miles south-west of

the estate lies Kirkharle, the birthplace of Lancelot â&#x20AC;&#x2DC;Capabilityâ&#x20AC;&#x2122; Brown. Famous for his natural landscapes around England, Wallington Estate is believed to be one his earlier works. Currently, the estate is ran by the National Trust. Who have implemented several changes around the site, the services

currently available in the site are detailed in the sitemap (right). The greater demesne, covers a large area, approximately 20 square miles. There is plenty to do on the site currently, but there are no intermediate points, for the hikers around the grounds. The proposed site, lies approximately

half way on the river walk, which is nearly an hour walk around. Providing an intermediary stopping point and acts as a gatehouse to the Brown landscape.

23 16

18 2 4

5 9

11 14 7 13 12

PROPOSED SITE. 8

55.1527, -1.9668

200m

1. 2. 3. 4. 5. 6. 7. 8.

Entrance Clocktower Courtyard Facilities Clocktower Cafe Courtyard Wallington Hall Adventure Playground Play Train

9. 10. 11. 12. 13. 14. 15. 16.

Top Pond Wildlife Hide Middle Pond Boathouse Pond Ice House Play Fort Dragonsâ&#x20AC;&#x2122; Heads China Pond

17. 18. 19. 20. 21. 22. 23.

Garden Pond Walled Garden Entrance Seasonal Garden Kiosk Conservatory Toilets Compost Works Portico House

Owlhouse

Wallington Hall

Bridge

Proposed Site

Walking Route

Wind

River Flow

Summer Sunpath Winter Sunpath

PAINE'S BRIDGE

MUD PATH

RIVER crossing

SITE CONDITIONS. The site as is, feels unfinished. The existing path isnâ&#x20AC;&#x2122;t consistent to the rest of the river walk. The muddy trail, can be a disaster for those not wearing appropriate footwear. The stepping stones that allow for the river walk to be connected to the walled garden can be submerged on days where the river is fast

and flowing. However, the bridge signifies the approach to Wallington Hall. The River Wansbeck, acts as a divider between the public trail and the graze land that sits opposite, the rising trees that surround allow the user to connect with nature, but the open feeling that is created with the intersecting

road, creates a feeling of void. The rising trees shade the area in the early hours of the morning whilst the afternoon and evening sun can bathe the area in swathes of light. However, days with large quantities of sunlight are limited in the area. The proposal of this site would aim to fill the feeling of

void, following the flow of the river and frame the Brown landscape whilst creating an addition to the view from the Owlhouse (in the Walled Garden) to Paineâ&#x20AC;&#x2122;s Bridge, adjacent to the proposed site.

Brown. Lancelot ‘Capability’ Brown. Born in 1716 (died 1783) in the hamlet of Kirkharle, Northumberland, is the most notable son of the settlement, he is known as ‘England’s Greatest Gardener’. From humble beginnings at Kirkharle Estate as a young gardener to Hampton Court as Royal Gardener. Capability

Brown designed around 250 landscapes with some of them taking up to 30 years to complete. Brown received the name ‘Capability’ because he told his client their estate had “Great Capability.” His popularity gained through his alternative approach to landscape design.

Pre-Brown, formal gardens were the trend for the wealthy. However, Brown preferred the natural landscape approach, and implemented it exceedingly well, framing views, creating lakes and making use of the ha-ha. His approach to the natural design, was also technically brilliant with smart engineering built in.

Although Brown was born and raised in Northumberland, his trips to his hometown were rare. His work is still highly regarded, and so well done, that many of his works are still in a good condition today, including Wallington Estate.

ARTS + CRAFTS. The Arts + Crafts movement began in 1880, but the movement had its approach in the time before. Wallington Estate is said to have played a heavy part in the movement in these times before the movement. The Trevelyans were the occupiers of the estate at the time. With Lady Pauline

Trevelyan having a strong interest in the finer arts, and was, herself, a painter. Lady Pauline, was good friends with John Ruskin, a key mover in the movement. But her friendship with the arts didnâ&#x20AC;&#x2122;t end there, her friendships with John Millais and William Bell Scott were also noted. This strong link

of friendships and artists, is linked into Wallington strongly, with many artists staying at the hall for periods of time. This link to the arts + crafts movement will be further explored in the scheme.

14.

CONCEPT.

ATMOSPHERE. Capturing the atmosphere of the site, breaking down the visuals across a range of mediums. From photography, to digital art, to a simple line sketch. The visuals aim to represent the forest-like feeling of the immediate context of the proposed site and break the site down to its most intrinsic

elements. Moody sky, skinny trees and marshy lands, create an almost haunting feeling, with nothing to compliment it. However, on a clearer day, the land can change, becoming more vibrant and serene, following the calm flow of the River Wansbeck which so elegantly passes by and

creates a feeling of serenity and peace. The feeling of loneliness can be eradicated when cars pass over the bridge, some beeping their horns to alert invisible traffic, but the beeps are few and far between, keeping the countryside setting of the site well balanced. The dip of the site creates a secluded feel

to the land and adds to the haunting feeling on the many greyer days in the immediate area. The addition(s) to the site should attempt to compliment both ends of the spectrum and maintain the natural scape.

NATURAL. Nature is all around the site, urbanisation is left behind, and the human is made to feel small again, dwarfed. The scheme will attempt to make an integration with the elemental values of the site. Following the river, and elongated trees, in a way that isnâ&#x20AC;&#x2122;t destructive to these natural qualities. The use

of the natural approach is in-keeping with Capability Brown and his work, and creates ties to the heritage of site in an appropriate fashion. When around the trees, the human can re-imagine the scale, with the slender form, falsifying the sense of height. This is something that the scheme will aim to replicate

in a fashion that doesnâ&#x20AC;&#x2122;t take away from this false sense of height.

WALLINGTON TREE TRAIL - NOT WALLINGTON TREE TRAIL - NATIVE 1. Fagus Sylvatica - UK

2. Larix Decidua - Mountainaous America

6. Pseudotsuga Menziesii - North West America

3. Aesculus Hippocastanum - SE Europe

7. Sequoiadendron Giganteum- Sierra Nevada, California

4. Callitropsis Nootkatensis - North West America

uja Plicata - North West America

TREE TRAIL. The Wallington Tree Trail, takes into account a few key trees around the ground. A narrative has been created by the National Trust to add a mystical sense to the trail. The trees that are embodied within the trail were planted by the previous owners at Wallington. But the interesting approach is the

way that many of the trees, not just at Wallington but in the English landscape, are not native. Brown was a great natural landscaper, but these trees aren’t natural, not native. Only one tree in the trail is natural in its British setting. However, these trees allow a journey to be created through

the gardens of Wallington. It is impossible to appreciate a Brown landscape from a single point. Therefore, a journey must be created on a larger scale to the tree trail to fully appreciate not just the landscape, but the entirety of Wallington and the rich history that the estate has to offer. This journey aims to

not be on a scale that covers the whole estate but the key areas surrounding the Hall. This journey will embody the ‘River Walk’ that is currently a popular trail for visitors as it combines the closer estate with a stunning natural journey through the demesne.

NATIVE. The idea of native/not native was taken a step further and transformed in to an architectural sense. Looking at the native architecture of the Northumbrian landscape and the â&#x20AC;&#x2DC;Northumbrian Barn.â&#x20AC;&#x2122; This particular form can be found in frequently throughout the Northumbrian landscape, and its form

can be abstracted and deconstructed to its most elemental shapes. The triangle and rectangle. The de-construction leaves us with elongated triangular and rectangular prisms. This abstraction of the native form can be applied to the scheme to uphold the natural setting through native form.

Response. Shortly after the initial site visit and initial research, a conceptual response was imagined. The breakdown of the Northumberland Barn was applied and the idea of integration with nature was created. Through applying the concept through the route that a journey may create, the above image was drawn. The sketch starts to represent

these initial ideas in their simplest form. There is no attention to scale or depth, but rather to test the concept of embedding the response through a journey in to the nature. It starts to address the form of the trees and enhancing their heights through a natural form.

Slim Form Follows Trees

Primary

Views Through

Enhanced Height

Secondary

Tertiary

FORM. A further exploration of form was studied, creating this initial response in a threedimensional state, to test the boundaries and legitimacy of the initial form. A further abstraction of the Northumberland Barn was studied to see how the form could be applied in a range of situations, whilst applying

the conceptual form, that is essentially an a-frame structure. The 3D model has the desired effect, and still enhances the slender columns that stand around it.

Site of Coal Pavilion

Site of Wine Pavilion

Site of Greenhouse Pavilion

Site of Boat Pavilion

Site of Art Pavilion

HERITAGE. Embodying the heritage of the grounds is essential to the scheme. Tying the history in to the scheme, allows for a journey to be created. Exploring the history from the families that created Wallington as it is today (The Blacketts and Trevelyans) to the man who beautified the grounds (Brown).

A series of pavilions will be created to celebrate the familiesâ&#x20AC;&#x2122; history, tying back to rich history the estate has with the arts & crafts movement. This relationship is connected through a series of experiential art exhibitions in each pavilion. Each pavilion, having its own unique

experience. First, we begin with the generation of the Estate and the origins of the money that bought it. Coal, Dark. Moving on to the praised wines of Wallington in Cheviot. Wine, Elegant. Botanical collection becomes Greenhouse and Living. The days enjoyed in the boating pond, become Boat and Reflection. Finally,

we come back to celebrate the link to the arts & crafts movement, with the arts pavilion, and tying it back to the nature the estate lies in. The reuse of exiting buildings on site (in some cases), allows for out of use buildings to be reinvigorated and allow diversity in the pavilions.

INVITE.

CREATE.

EXHIBIT.

WORK.

INVITE.

EXPLAIN.

ARTIST HOUSE. Just like the Trevelyans invited Ruskin to Wallington Hall for a short period, the scheme will start to recapture this link to the arts through an artist house. A house, which captures the integration of nature and the journey will be created. It will enclose a studio space, and living space, so that an artist

may stay for maybe months to work on pieces that can then be exhibited within the pavilions. Integrating the house within the journey means that the artist can too have the option to invite those who pass to view and explain works in progress if the artist wishes to choose. Similar to a shop

window, where the passer can glance and choose to explore further if they wish to. This idea of integrating artists with the wider community, will aim to establish artists further, and push their success, creating links to the likeness of Lady Trevelyan and Ruskin.

MASTERPLAN. A series of studies was taken to explore masterplan ideas whilst a form began to emerge. The larger clusters is the Brown Visitor Centre, whilst the smaller clusters, represent the Artist House in both the A-series and B-series. In the A-series, the relationship to the buildings was more apparent than relationship to nature. This

is translated through the way the buildings face each other rather than orientated towards the landscape. The B-series begins to tie in the nature aspect, and moves on to then tying the buildings in with the River Walk. The artist housing is reduced from multiple to singular as further thought goes in to the usability of the accommodation.

142 ARTISTS. 186 SCHOOLS. 138,500 HOUSEHOLDS. Northumberland County Statistics

EXPLORE. 142 Artists are on the Network Artists (North East) Database. Many would be excited to work where such artistry heritage is embedded within the history of the grounds. 186 Schools are in the Northumberland area. Many

trips are already made to the site and many more in the future will be made with new facilities to learn about art history and horticulture. 135,000 Households in Northumberland. The scheme will make for a perfect family day out with

a plethora of activities to engage in around the site. Or a perfect working space for individuals and groups with the new library integrated within the scheme. A learning space for all abilities, all ages.

WORK.

LEARN.

RELAX.

ARTIST.

SCHOOL.

FAMILY.

26.

DEVELOPMENT.

INTEGRATION.

INTEGRATION OF ROUTE. Mont-Tremblant National Park Discovery Centre in Canada by Smith Vigeant Architects (2014). This Visitor Centre sits in the heart of a the national park in Canada. The appropriate use of timber to reflect the surroundings it sits in. Topography is used to its advantage where the

heavy slope of the land is, the building makes this change in levels to house its auditorium. The building itself its intended to be used as a learning space, allowing visitors to learn about the nature and culture of the National Park. What the Discovery Centre does well is integrating the

existing routes around the site. Something that can be reflected in the Wallington Heritage Estate. Integrating the river walk to the visitor centre and the sequential pavilions to the journey around the grounds. The Discovery Centre sits on a shallow concrete plinth, which although not natural

in materiality, allows the building to state that its clearly not trying to pretend to be natural. But the elegant use of timber allows it not to subtract from the nature surrounding it.

WALLINGTON.

NEW SITE.

PAVILIONS + WIDER MASTERPLAN. The Venice Biennale Gardens is a fantastic example of how different architectural styles can combine to create an intriguing area of exploration. The pavilion based aspect of the scheme will integrate this theme. Combining materiality and reuse of existing buildings to create 5 different experiences, and

house a variety of mediums just as the Biennale can host, architecture, arts, film and so on. The gardens are however just one part of the Bienalle, the Arsenale also houses exhibits, this can be reflected in the way the main part of Wallington Hall will interact with the proposed site.

Drawing parallels through different scenarios through the Biennale to the Wallington Heritage Estate, allows for good development in the scheme by taking precedent, from such a successful example.

Owlhouse

Wallington Hall

Brown Tree Cluster

Bridge

VIEWS. The view from the Owlhouse in the Walled Garden to Paine’s Bridge is believed to be Brown’s work. The way he framed views, can be seen in the way the Owlhouse perfectly sees over to the bridge. The Owlhouse is also believed to be one of Brown’s few architectural works. The

proposed site, sitting next to the view, creates an addition to this view, whilst creating its own view, orientated toward Wallington Hall. An intervention in this view is made from Brown, with his trademark tree clusters, adding to the Capability Brown Connection.

Proposed Site

REROUTE. At present, the River Walk loses texture once Paineâ&#x20AC;&#x2122;s Bridge is passed. The stone path turns to mud, and the walk becomes more difficult. This lack of consistency will be rectified with the scheme finishing this path, and creating a coherence with the existing on the grounds. The path will also be altered

to create a natural walkway on to a concrete plinth that the visitor centre sits on and in. Integrating the building into the river walk and allowing users to pass through the scheme without having to lose an outdoor space. The journey also accounts for the flow of the river. The

route follows the flow of the river to create a natural sense of direction that is easy to follow, and keeps the sense of serenity within the area.

COAL PAVILION

ARTIST HOUSE

VISITOR CENTRE

ARTIST HOUSE + COAL. Artist House: The separation of work and living is important to the human. Creating a clear cut divide allows for two different mindsets. This divide is created through a solid wall and a door that ensures privacy as well as domain. The studio space will act as a shop front, whilst the

back will of the building will be the stock room. Where the artist stores their personal belongings and any equipment they bring. The living space consists of kitchen, bathroom and bedroom. The essentials so that the artist can reside for long periods of time in the residence.

Coal Pavilion: The Coal Pavilion is the first stop on the journey representing the journey through time. The use of charred timber in the exterior creates a dark presence whilst the touch of the charred timber leaves the black residue on your fingers, a similar experience to handling coal,

and creating the relationships to its origins. Limited glazing creates a dark interior and once again the pavilion integrates the journey of the river walk beginning the wider journey across the grounds.

BED.

Work.

LIVING.

GREENHOUSE PAVILION

WINE PAVILION

WINE + GREENHOUSE. Wine Pavilion: The Wine Pavilion begins the revitalisation of existing buildings in the closer context of the hall. This pavilion takes the existing potting shed, and converts it into the elegant exhibition that was earlier conceptualised. The existing use of stone brickwork, gives this particular pavilion a

sense of maturity and age, such as you would inherit from a good wine. The top lighting facing towards the windowed walls creates a perfect setting for artwork to be displayed within this old potting shed.

Greenhouse Pavilion: The Greenhouse Pavilion is unconventional in its existing form. It takes the existing greenhouse and attempts to integrate art within this living space. It is envisaged that this particular pavilion is of an experimental nature, that caters to a very specific

type of artist, one that may produce temporary art (maybe through plants) or one that has a specific vision for a very particular type of display.

ARTS PAVILION

BOATING PAVILION

BOATING + ARTS. Boating Pavilion: The Boating Pavilion takes the reflective features of water and reflects it within the mirrored stainless steel cladding of the building. It also starts a clean-up of the pond to allow boats to once again be used on the pond. It is noted within the grounds that the National

Trust â&#x20AC;&#x153;are recreating some of their (the children of Wallington) adventures and games in the West Wood.â&#x20AC;? This is an opportunity to further that connection and create a new experience that was once enjoyed thoroughly by the children of Wallington.

Arts Pavilion: The Arts Pavilion brings the journey to an end, with the start of the journey (Visitor Centre) in sight. It ties in the historic links to the grounds with it reflecting materiality of the Visitor Centre and Artist House with the use of Sweet Chesnut Timber Cladding.

The location is just short of the bridge, reiterating that this bridge is a significant starting point to the Brown landscape whilst framing the Owlhouse from a direction not commonly seen.

RELAX

VIEWS TO WALLINGTON

PUBLIC

PRIVATE

TREE LINE

LEARN

WORK

CAFE SERVICE

EXHIBITION

KITCHEN CAFE

CLASSROOM AUDITORIUM

CLASSROOM

AUDITORIUM CLASSROOM