Academic Architectural Portfolio: Stage 3 by Kushi Lai

ARCHITECTURAL DESIGN PORTFOLIO Rituals Studio 07 Stage 3 KUSHI LAI 170208464

CONTENTS

ARC3001 Architectural Design 04 Primer 18 Staging 38 Thinking Through Making Week 46 Realisation 70 Synthesis 100 Synthesis II 136 Case Study N/A ARC3013 Architectural Technology 3: Integrating Construction 142 ARC3014 Professional Practice Management 144 ARC3015 Theory Into Practice 148 ARC3060 Dissertation in Architectural Studies

P r im e r / S t ag i n g / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

PRIMER

Primer asked us to challenge our usual ways of doing things, for this phase we began designing by define aspects of the site that should be celebrate its beauty by the application of a craft disciplines or ritualistic experiences that related to it. These studies were based on the design principles of Japanese tea-house when have spaces that fluctuates and reveals unseen elements at curated moments. It was our task to create such moments sculpturally and architecturally that demonstrate a feeling of anticipation and suspense.

P r im e r / S t ag i n g / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

PRIMER

Ritual To begin, we each were tasked with selecting an abstract concept inspired by the site visit that strikes us to be intrinsically connected to the landscape or infrastructure of our site. I chose the Cambois Peninsula as it presents a unique and remote environment with existing be decommissioned industrial infrastructure. We then explored in what kinds of media could express or represent the concept we decided to investigate through rudimentary concept models. In my case I was interested in the perpetual turning and toiling of the sea against the shoreline, and so I looked into the art of Marbling in different countries and the tools which they use to dye paper and fabrics and to manipulate pigment in water. I also took interest in the groups natural tendency to stand at the crest of the grassy hill to watch the sea.This is an element of my project I will continue to make use of in future spatial organisation and model making. The architecture and structural choices are then informed by the unique requirement of the art. The air must be still in order to move the pigments on viscous liquid or water consistently without disturbance. Once that is done however, the space needs to be well ventilated and airy for the fabrics or paper to dry. On the right is my own first attempt at Suminigashi which is the Japanese version of marbling using only sumi ink and water and whatever was available to me from home. Details on my marbling process is documented in the craft logbook.

P r im e r / S t ag i n g / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Concept model for Primer This was the 3rd iteration concept model further exploring the relationship between moving bodies in perpetuity. This was a interact-able model with free moving balsa plates with which I could manipulate to see which angle of rotation was most striking and dynamic. At this point in Primer, there was a slight change from the focus being taking a snapshot of a moment to having physical objects/ volumes transition through space in incremental steps, thus leaving occupiable spaces where they last were for the imaginary user.

P r im e r / S t ag i n g / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

This is the final model produced for the Primer show. Before I figured out how the plates could physically be integrated with a functional building, I deviated slightly from the required output as I was more interest in how tension would allow me complete control over where and how the plates are individually suspended in the air. The strings on the left and right functions just as expected. Unexpectedly the string which connected it to ground allowed me to constrict and tension the string by coiling the end around itself, when in turn stabilised the plate and anchoring it to ground, which made the model sturdy as a whole than anticipated.

P r im e r / S t ag i n g / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Summary Responses to feedback and evaluation Resolved Building For what I lacked in a resolved functional building, I made up for with a strong concept. After the Primer show my main objective was the transform this sculptural pavilion into an inhabitable space. By investigating how the building will sit in the landscape and what aspects of the peninsula justifies its location on site. In staging I respond to this by investigating deeper into the opportunities Blyth presented by understanding the desires and needs of its demographic, history, and relationship with nearby cities around the UK and with other countries. Then lastly making use of existing landscape elements and existing infrastructures on the peninsula. Generative Engagement While the ritual of marbling was well represented and supported by rich evidence and reflection in process. The primer as it stood in the review was an inert kinetic sculpture, which celebrated and embraced the beauty of marbling fully but has yet to transition into a space which generates it. Thus staging shifted the project towards a more narrative spatial sequence and specifying its program.

14 15 P r im e r / S t ag i n g / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

STAGING

Staging focuses on developing a foundation with a strong relationship to studio themes by combining the sculptural concepts from Primer and Hugh’s workshop with a generative program appropriate to Blyth Peninsula. The staging presentation included a site declaration, functional brief, preliminary spatial analysis and experimentation, potential structural techniques and material strategies, along with initial concept and massing studies. At this phase I attempted to knit the various aspects in which Blyth could develop together, which was a good exercise in determining the most valuable programs determined by the number of way it supports its other elements. Staging was productive in that I was able to discard ideas which failed to mutually support and benefit the other core aspects of the design as a whole.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Apologia

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Blyth has a rich history in trade and maritime history, its cultural identity can be in decline however as coal exports and ship building companies became defunct after the war. Since then Blyth has perpetually seeked opportunities to evolve and adapt, one of those chief way are currently being a pioneer in renewable energies and turbine handling. The collective identity of Blyth is constantly in transition fuelled by the want of cultural depth and a yearning to create.

Even though there is significant growth to high tech businesses, these exchanges are unknown and invisible to the average local living at Blyth. While surveys such as one done in recent year by AMT suggest that mall developments will bring big flagship brands to Blyth to diversify shop variety, public opinion seems to also suggest that Blyth sorely lacks access to centers for leisure and centers with a cultural offerings. A craft center would provide just that.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Marine/Maritime industries members to UK Marine Industries Alliance and UK Maritime UK contribute over £17 billion a year via 4 main sectors and predicted to increase to £2020 in 2011 report by UKMA. Blyth has played a vital role in this development effect in contributing to green energies and component handling. Academic institutions are increasingly collaborating with companies and investors to shorten the time taken to convert an idea to a product which stimulates local and national economy. Eg. Unmanned systems as one of the fastest growing industries, following research into extracting offshore oil and gas in a more sustainable way along with renewable. Blyth has become a local powerhouse in the northeast for involvement in the energy industry. And supplying offshore stations of remote regions with fuels.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Naval history Blyth throughout history has been a valuable war asset, Blyth harbour well know for its ship building industries. During the war, it served as a submarine base and the ships listed on this timeline were all built at Blyth harbour and many more were repaired by riveting and welding on heavy armour plating before sending ships back out to sea. Historic warships have a unique silhouette with tall chimneys and thin vertical elements jutting out from the ships body. In the later parts of the project I try to maintain the broad side appearance when viewed fro particular viewpoints.

The site is very sparsely populated visually and where they do exist they are enormous and completely visual dominate their spaces making them almost explosive in their presence. At this stage the site is located on the periphery of the industrial zone.

Chosen site

Alkan Silos

Breakwater Cambois Residence

Wind turbine

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Site model and key site elements

Researching specialised equipment used marine academia Since Blyth has an existing maritime history and a working relationship with Newcastle University to enrich the studies of Marine engineers and students of fluid dynamics, it was possible that the more appropriate route for the project was a more academic and research driven program to increase traffic in the city. I looked at different basins used at different universities around the UK and I found that only about two universities have a large concentric basin for simulating scenarios at sea, one in Edinburgh and another in London. Newcastle University being located in the north east can taking advantage of Blyths unique location at the edge of the North sea to provide facilities for Newcastle and other universities or companies in its periphery.

Driving distance of Newcastle international Airport

Public library

1 Concentric Basin Diameter = 30m Operational dia = 25m Operational depth = 5m Sail boat moor

Cargo and shipping area

Alkan Silos

2 Towing Tank Length = 62m Width = 2.8m Depth = 1.25m 3 Wall-mounted wave flume Length = 60m Width = 0.3m Depth = 0 - 0.5m 4 Wide Flow Tank Length = 26.9 Width = 6.2m Depth = 1.2m 5 Coastal Flume Length = 23m Width = 0.6m Depth = 0.5 - 0.7m 6 Sediment Flume Length = 23m Width = 0.6m Depth = 0.5 - 0.7m 7 Cavitation tunnel & Flow cell Length = 3.1m Width = 1.2m Depth = 0.8

Offshore turbine farms

Rail system

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Existing NAREC facilities

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

The silos presented an obvious unique opportunity, the dilemma that the existing industrial infrastructure if left untouched was that it would entirely obscure the building situated on the coastline on the NE facing side of the peninsula. This was a problem as the Craft center is intended to develop into a place with enough gravity to tempt the curiosity of the public. The comparatively low profile building is completely dominated by the presence of the industrial area making it an odd site for a program of poetic craft based urban escapism. Hence the endeavour to create a mutually benefiting relationship between the two.

The proposed program was tenuous at this stage but is further developed upon in Realisation. Marbling and ritualistic arts and craft was almost abandoned entirely in favour for a more practical proposal. Realising the location of blyth harbour in relation to other major ports and education centres in the UK. A marine sciences school or recreational education center seemed appropriate, working along side existing ties with NAREC and Newcastle University

Atrium

Reception

Towing tank

Hanger

Workshop

Studios and digital workspace

Sauna

Museum

Concentric basin

These massing diagrams illustrate the first and only time where all three silos are connected as one large structure which would theoretically serve as a marine engineering and environmental sciences research center that co-depended upon the Craft building as a kind of extracurricular liaison and fostering young enthusiasts to get involved in the field. This was Influenced by the contextual research of Blyth’s maritime history and the anatomy of a ship, thus the visible “spine” through the center of the silos.The corridors would have contained catwalks connecting various wave basins. The main reason being that a concentric wave basin fits perfectly into one of the larger silos out of coincidence. This lead to a very utilitarian approach to the spatial sequence where they are all in immediate proximity to each other, resulting in a building with no discernible points of interest or opportunity for transitional spaces with anticipation or suspense.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Program

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

In contrast to the heavy blocky forms of the silo, the shape of craft center remains ambiguous and free form. I did not yet have a limiting principal defining where on the site the proposal was logically restricted to. At this stage, one part of the coast seemed to be as good as another. The skeleton structure model on the right was inspired by beached ships and wreckages, similar to the primer model, the floor remains at the same altitude, but varying volumes are created by shifting the frames incrementally thus creating fluctuations and constricts where thresholds are formed, and the volumes depending on the intended use.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Summary Responses to feedback and evaluation Program refinement One of the key criticisms of the early proposals meant that I needed to consolidate a more varied program from the building or complex, as in the case of staging, two disparate buildings with distinctly different functions were presented that both fit the historical and environmental context of the site. The link between the two parts were limited. I responded to this in Phase Realisation by beginning to construct a more holistic organisation of different functions and diagrammatically show how they are related to each other while maintaining the two core themes, art and environmental sciences. Both making use of their unique coastal location while catering to different age groups, this is an idea consistent throughout the project. Atmosphere and User experience Staging evidenced potential reuse of decommissioned silos on the peninsula, this prompted the exploration into how a silo might best serve a project of this size in a remote location that require complexity and depth. The craft building at this stage did not have a physical dynamic relationship to the unique coastal landscape, improving this would unify the different parts of the design by bringing the industrial infrastructure closer to the adjacent coastline. I responded to this in the upcoming phases by creating elements of the building that interacts and influences the changing shoreline of the peninsula in a meaningful way to the user whilst negotiating a transitional space between the sea and the senses.

THINKING THROUGH MAKING

TTM week was a challenge to produce a model within a 50 x 50 x 50 cm size limit.This was different to other concept models made in previous years which have been specifically worked upon in rituals, where the process of making the model as a craft needed to act as a medium to the abstract concept or phenomena inspired or observed from the experience on site. For my project I explored the potential in utilising the coastal canvas to serve as a space for a kind of performative celebration of the tenuous equilibrium between land and sea,. This task gave me more opportunities to explore craft beyond conventional studio materials and equipment and disciplines of craft applied in architecture such as pottery and lathing. Through this I applied what I felt were the most outstanding parts of the making processes into the proposal. However due to unforeseen events and working from home, the skills obtained from these studies conducted could not be applied to future models as methods of representation became limited and at odds with the Ritual studio’s encouraged method of work.

Pr i m e r / St a g in g / T T M W / R e a l i s a ti o n / S y n th e si s / F i n a l Pro p o sa l / Fe e db ac k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Apologia

Pr i m e r / St a g in g / T T M W / R e a l i s a ti o n / S y n th e si s / F i n a l Pro p o sa l / Fe e db ac k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Experimental material model A sculptural pillar originally intended to be integrable with parts of the building to maintain a consistent material language with the coastal environment.Tall grass, driftwood and beach rocks of various types and sizes were collected, cleaned, and held statically in place by epoxy resin. It explored the relationship between voids and volumes normally trapped in perpetual motion at sea. The exposed portion of the sculpture garnered the most positive feedback as the model allowed their unique details, which would have otherwise been unique and mundane, to be appreciated as part of its original context even when fully removed from the coast. The Instinctive association of fogged epoxy with ice and the glossed stone surfaces with rain water provoked reactions which were authentic and meaningful. For a detailed documentation, please see the accompanying craft logbook.

Pr i m e r / St a g in g / T T M W / R e a l i s a ti o n / S y n th e si s / F i n a l Pro p o sa l / Fe e db ac k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

1:1 railing model The previous experiment prompted my response to the feedback and the application of primitive materials in my project, which consisted of mainly stone, wood and rope. An aspect of the original concept is absent in the pillar as it said little about a dynamic relationship between volumes and voids, The pillar was inert and purely sculptural, an oak plinth was created also to celebrate this fact. This next 1:1 model of a railing addresses this by holding its parts by use of tension and traditional rigging techniques without adhesives. It is a reference to the Primer concept model. The resistance and tension bonding the wood and rope together is felt in the handrail, Providing the user a more intimate relationship through craftsmanship and structural detail. This is just one of the many rigging techniques that can be applied to create a soft and permeable screen system as opposed to glass and other standardised systems. For a detailed documentation, please see the accompanying craft logbook.

Pr i m e r / St a g in g / T T M W / R e a l i s a ti o n / S y n th e si s / F i n a l Pro p o sa l / Fe e db ac k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

I continued to explore different materials and craft disciplines to explore what can be learned from an architectural perspective. The hands-on experience of craft heavily influenced the narrative ritualistic direction taken to explore how the processes of craft can be celebrated on-site.

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REALISATION

Realisation phase consisted of a program with 3 main components, the Craft center, the silo and the research complex. After Staging, it was recommended that I explore some more on the craft center surrounding marbling and the more sensual and intimate qualities between the building and the coastal landscape rather than the research facility. Realisation was the last attempt at integrating the two realms for a productive positive outcome. Ultimately it was the right decision to effectively cut the project in half to make it more manageable. Attempting to design two separate buildings for different purposes would likely cause one to end up as a undeveloped component.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Apologia

Low tide 2000(-5)m

A race against time To make the buildings relationship with time a reality, I compiled a series of images showing the receding shoreline of the peninsula, albeit in the worse case scenario.What I discovered was that the silo sits at the peak of the peninsula, safe from the highest possible sea level predicted for as long as a thousand years. However even in 300 years time half of Blyth town center will be frequently if not permanently flooded. While the peninsula remains visible on the map, it is only the road which remains above the water line, the road will also become periodically submerged, meaning the peninsula will inevitably become an island similar to the Holy island where it can only be access at certain times of day. One of the goals of this proposal would be to reinforce a defensible shoreline to the north and help existing coastal defences retain sediment and prevent soil erosion.

2000 (+0)

2100(+1m)

2200(+2m)

2300(+3m)

2400(+4m)

2500(+5m)

2600(+6m)

2700(+7m)

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

High tide 2000(+0)m

These drawings show the silo being used as the end point of the journey as opposed to a transitional space, which was a hump I had trouble getting over due to the silo filling to role of a gateway between two areas. The craft center become staggered as it nests itself into the coastline.

Mapping movement and weight The importance of integration into the landscape is maintained from staging but remains unsolved. Instead of mapping the buildings I began mapping movements to see where things fall. The top left image was an A1 drawing, The journey is long, and ends in a building obscured by the two large silos if not for walking parallel to the coastline.The arrival is anticipated, not immediate.

At this stage a materials were undecided but it was mostly likely going to be stone or salt water resistant concrete. These walls under girds timber structures which meander down from the crest of the hill, exposing them to the salt in the air and the sight of waves crashing against rip rap before reaching the building,

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Taking form

Inspired by the maritime history of Blyth and the ubiquitous use of rope and rigging in the area. I wanted to contrast the heavy monolithic stone walls which span in one direction, with a soft and permeable rope screen wall system which would span in the other. Rope is a versatile material as it is able to hold a moderate load whilst also acting as strong acoustic baffles when cross and layered like a panels. This can also be used with fabric to create obscure thresholds without the full separation of a door. Something that is rare even in public areas in UK.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Key development drawings

Realisation program diagram (top)

I designed the craft center around our path taken during the site visit. It felt natural and we often wondered off the beaten bath, moving across the long grass. I wanted the craft centers to celebrate the landscape by forming itself around it.

Red oriented colours are of the craft center and the blues show academic and research facilities that were kept from staging. The idea was that the first silo would serve as a exhibitionary archive that exists between the two zones.The complex as a whole relies on social programs for young people and students.Visitors would experience a linear curated experience before arriving upon the silo where it serves as a gateway containing various artefacts and works.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Site plan 1:500 with sequenced key site photographs (left)

Illustrating the use of staggered parallel walls to divide volumes against the grain of the peninsula’s contour lines. Creating volume all commonly exposed to isolated views of the sea along this axis, whilst modifying these spaces vertically and longitudinally. The stone faces and the soft underbelly presents a different character to the user during the approach and upon entry.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Conceptual axonometric graphite hand-drawing (left)

Modified parallel wall structure leading to a progressively more fanned footprint, Stone walls reach out beyond the coast line acting as Groyne structure which will increase sediment retention, thus maintaining the coastal for a longer time. Evaluation: conflicting programs, changes were made to distil essential programs and reorganise spaces so that they are contained and shown in the craft center and silo.

Upon entry on the left, the visitor is greeted by the reception with a small office tucked adjacent to it, exposed onto the sea. The plant, lift core and toilets are located at the rear for access and to anchor the building against the hill. At the front sits a lounge area, the protrusion into the sea is a platform supporting a piano space. On the right are the exhibition spaces which lead up to the cafe on the first level seen on the following plan drawing., Before finally exiting the building on the right.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Hand-drawn 1st iteration of ground floor plan - drawn 1:200

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These sections show how the building can grow and change depending on the sea level, in the drawing below the ground level of the building becomes inundated by sea water, the timber structures are reconstructed to retain its function.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

1:200 sections

The silo is an unconventional archive in the sense that it does not archive wealth and property, Its purpose is to purely preserve the material by-products of the accumulated user experiences on the peninsula. As the sedimentation around the craft center accumulates, so does the evidence of human experience within the silo. Pots and sculptures are deposited where perhaps between generations the visitor will return where its contents have since grown larger and deeper to show the weight of time concentrated in a closed space.

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

1:200 sections of Silo

Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

Summary Responses to feedback and evaluation Reconciling atmospheric conditions with program The complexity and the variety of different functions existing in the same common spaces actively conflicted with one another. The spaces each produce widely different atmospheres, the open plan layout of the building meant that the volume and liveliness of the cafe, lounge and crafting spaces blended any characteristics that existed between the different aspects of the program into a blurred whole. It worked against the strategy of utilising the large walls to stratify and divide up spaces to create individual and unique experiences as the user moves across from one side to the other. In synthesis I allowed myself more freedom in the scale of the building and went back to the drawing board on ways to create a closer and more immediately obvious relationship between the silo and craft center. The various programs become further apart and offered more breathing room between buildings of different functions. This also allowed more flexible and meaningful use of circulation space instead of doing away with it entirely for convenience at the cost of atmospheric experience. Thematic core and relationship to craft While the context of Blyth and various disciplines of craft had been researched and represented in a rich presentation consisting of physical models site analysis. The plans and sections are not reflective of the emphasis on craft and their related rituals, and did not fully illustrate how craft related to the site specific challenges presented. I responded to this by designing a series of atmospheric experiences as opposed to a series of activity spaces using perspective drawings and digital axonometric models.

68 69 Pr i m e r / S ta g i ng / TT M W / R e a l i sa t i o n / Sy n th e si s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s D i s s e r t a t i o n / P P M / Te ch n o l o g y

SYNTHESIS

Synthesis review left a lot to be desired in terms of programmatic weight and resolution, the scope and range of craft and forethought to the rituals is much less evident later than in early works. Adapting to the new project format was challenging and time consuming. The original theme relied heavily on physical models rather than renders and stylised imagery. The design needed more attention to materiality and rituals which manifest in key specific moments, as well as how the key spaces and thresholds are affected by different lighting conditions and how they would be lit. In previous iterations in the project, vigour and life was implied and imagined through actual crafted artefacts as opposed to directly shown on a drawing, hence for the continuation of synthesis and the proposal finalisation, I focused on planting specific personal moments into the upcoming digital drawings to illustrate how the viewer might feel in the users body.

P ri m e r / S t ag i n g / T T MW / Re a l i sa t i o n / S y nthe s i s / F i n a l Pro p o sa l / Fe e db a c k s h e e t s / D i s s e r t a t i o n / P P M / Te ch n o l o g y

Apologia

The configuration of the 3rd iteration took shape as I wanted to create a curated journey towards the building, the large V serves as a outdoor circulation space that would connect the private offices to the cafe and lounge with workshops and craft spaces on the east wing. These changes are the first responses to the issues experiences in realisation, which will be modified further later in synthesis. The design is not yet direction integrated with the silo, through the radial configuration of the buildings components will lead to this later. At this stage I needed to cut down the convoluted program into defined and concise parts, in realisation, different spaces with no obvious connections were too close in proximity to each other. While that effectively minimised circulation space, the individual spaces lost their character and ill defined.

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Building footprint on site plan

The design was stripped of unnecessary elements that convoluted the overall design. This version was fully focus on craft and the population of artefacts within the silo. With other components to help the workshop function via public outreach and social spaces. I then considered other components which can be attached to this design on the periphery to enrich the experience of the craft center. This later lead to the additions of the outdoor pools and guest-houses/ accommodation, as well as specialised spaces for different extra curricular activities.

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Program diagram

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The section at this stage was close to completion but lacked geometric balance and did not make full use of the available spaces already present by the south west entrance. The section showed to a degree what the lighting and material conditions were, however it did not illustrate how these atmospheres were to be achieved. I progressed with this section by illustrating a more intimate relationship with the sea and the kilns structural and atmospheric relationship with the silo.

In the synthesis review, the spaces were still scarcely defined and appropriated by activity and furnishing to a high resolution. In response to the feedback, a lower level plan rightly displayed the project’s axis of configuration very dramatically, while also illustrating its physical relationship with the sea.

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The idea behind this second to last iterative plan was that the kiln being outside the silo would fit the spatial sequence of the user. The courtyard walls turns the visitor towards the building’s entrance. Upon exiting, the user is the greeted on their left hand side by the kiln room. Which could not have been identified as such when approaching from the north. This fit with the thematic principal of hidden key moments. However this put the kiln room at a great distance from the silo, this issue is resolves in Synthesis II.

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Respective elevations looking north and east, south and west. Elevations were drawn with heavy tones to illustrate the contrast in character when the buildings are viewed from different vantage points. Upon arrival the buildings have a heavy and strong presence without competing with the silo. Instead, every wall visibly converges upon it.

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Once the user reaches the main courtyard, the building appears to reveal its softer and more permeable features, as if welcoming the visitor with open arms. Due to the radial layout per the center of the silo, the orientation of the user is obvious at all times by maintaining a consistent view of the sea or silo, making the spaces easy to navigate.

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Perspective drawings of different outdoor lamp designs from the proposal to guide people from one place to another in remote darkness without requiring street lighting.This was originally planned to be the concrete material exploration similar to other models made thus far.

A hand-drawn axonometric drawing showing the ambiguity of the spaces in between, as they are liable to change and adapt when needed to just as they were intended. The organisation of the building may change with the ever developing needs of the future and these walls will provide a foundation even at the remote frontier,

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Orbital Program Diagram Diagram shows the relative distances of different programs from the defined center. Each component then has their own “moons” in orbit which compliment their functions and adds weight to the proposal as a whole. This helped me visualise the program and decide to push or pull programs closer depending on the intended occupant or function.This create a simple diagram that allowed me to recognise open areas which could be filled with a space of a certain weight without over cluttering existing ones.

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Materiality The theme of this project has skewed in many ways, but ultimately it can been a display of conflict and contrast.The silo archives and accumulates, while the sea erodes and destroys. The material language should also reflect this. Jipyungzip seaside guest-house by BCHO Architects deliberately pressure washes semi cured concrete so as to allow plants to grow on the rough crevices. Without doing so the wall would be plain grey and devoid life. I wish to do a similar thing whilst applying a concept inspired by Kostas Manolidis in his work “Erosion”. geometric crevices that appear to cut into man-made platforms to rise and fall within these sloped gaps, thus creating a space where the two forces can coexist in a neutral space which has been negotiated between man an nature. I have designed the architectural language of my project by superimposing a grid with a photo I took of the shingles located at the beach. Through doing this I was able to create a unique language of stonework, one that is neither purely mother nature nor purely manmade, it exists in-between the two extremes and as a result creates something even more meaningful.

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Developmental panoramic drawings showing one of the intermediate sub-iterations of the design postSynthesis. The design aimed to provoke a sense of introspective state of loneliness and serenity. The tensile structures state that everything is inextricably tied together even while things continue to erode away.

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The silo take on a different personality at night time and becomes a camp-fire in the woods, a lantern on a hill, a beacon on the peninsula. This is done through light fixtures affixed onto lightweight truss structures illustrated in the final section..

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SYNTHESIS II

The main purpose of this extended phase was to satisfy the minimum area of Approximately 2000ft, the development of the proposal was affected by many things but one of the chief factors was the struggle between a concise and streamlined ritualistic experience with a sufficiently complex design with a diverse program. It was a challenge to modify the spatial sequence without disrupting and convoluting the program similar to older interactions in staging and realisation. However, this exercise has been a productive improvement for the project overall creating roughly three main zones of activities which all link and contribute towards each others needs. Further strengthening the concentric layout and the gravity of the silo within the project as a whole, which the project sorely lacked in Staging and Realisation, and had yet to be represented in any meaningful manner in Synthesis. In the final design, the proposal presents a finer connection with the sea, a section against the grain of the peninsula shows how the user would transition between the thresholds. The kiln gives the silo weight and combines with the silos exterior creating a dramatic display opposite Blyth city center.

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Apologia

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The silo now houses and protects the kiln room at its core. A lightweight tensile truss structure supports a gantry on which lighting fixtures can be hung. The truss also provides lateral support to the chimney. The Chimney in turn supports a halo ring which sits just above the skylight of the silo. The outer ring provides lighting to the silos orange exterior while the inner ring send light cascading down the glazed surface of the chimney tower which reflect soft ambient light to the silos interior, this is to ensure that the function of the skylight in not lost during winter openings or on a dim day.

This section is a combination of two sections that meet at the center of the silo, the surrounding structures retain the concentric fan-like arrangement, the periphery buildings have three zones. There is the zone closest to the silo dubbed ‘the battery pack’, which consist of amenities and plants oriented closest to road access. Second zone provides services to the public, and the outer most zone is kept at all times available in view to the public.

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The silo is laterally supported by a stone wall constructed about the circumference of the silo, via steel joists riveted against the silo wall. Internally the silo have a lightweight truss structure to further stabilise the silo with the top having been cut away and converted into a cone shaped skylight fixture. In the center of which protrudes a kiln chimney constructed using white glazed brickwork, as a result the light cascades down the chimney wall and in reflected by its gentle curvature. The underground kiln room is vaulted to make the structure as a whole more study due to its height. Between the silo and the chimney also exists an intermediate lateral tensile stabilisers which also serve as a gantry to suspend lighting fixtures. Above the silo externally are two halo shaped rings suspended by the top of the chimney, on which are fixed outdoor lighting fixtures which are used during winter or grey skies in order to retain the skylight’s intended functionality.

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Due to the Earth’s unique motion on one of its axis, the position of stars change year after year, which allows civilisations to navigate the oceans accurately on the longitude. This is only possible with a sophisticated understanding of astronomy. These civilisations ranging from 3000 to 130,000 years old used the position of stars to anchor themselves to time. With sufficient computing power, we can map these prehistoric structures back to their time of origin. The Kukulkan temple is located in the Mayan Chichen Itza ruin city on the Yucatán Peninsula, and on a spring equinox a shadow serpent is cast down the steps of the pyramid and joins with the head of the plume serpent. The plume serpent for their people and the Olmecs that came before is a common God shared between the Aztecs and the Mayans called Quetzal Coatl, god of peace and civilisation. Inspired by this discovery, I adapted the marker of place from synthesis, to mark the position of the setting suns on winter and summer solstice. As illustrated on the left, the setting sun on a winter solstice casts light directly into the southwest entrance to the kiln and silo. The suspended viewing platform is also oriented perfectly towards the summer sunrise on the day of a summer solstice.

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To retain one of the core aspects of this project, the subject of time. I looked to ancient monolithic architecture of the past such has the King’s chamber of Pyramids of Giza, Stonehenge in Salisbury.

The radial rule established after synthesis allowed me to consistently sequence the different areas in a way that public area are always positioned on the outer orbit.. When viewing all the plans organised this way, The orientation of these spaces is clear throughout the whole complex, regardless of where you are in the silo’s orbit, every building converges upon its center.

2 15 44

43 20

16 40

17 19

39 40

13 14

24 25

36 46

Second Floor 47 Roof garden 48 Garden storage 49 Group workrooms

9 7

50 51 52 53 54 55 56

29 10

11 50

1 2 3 4 5 6 7 8 9 10 11 12 13 14

Dock and Silo Winter solstice sunset marker Summer solstice sunset marker Storage Silo underground entrance (SW) Outdoor slope and gathering area Restaurant Service area Outdoor bar area Marbling and drying area Dyeing area (lower level) Servicing and plant room (lower level) Silo Kiln room Firewood storage

15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32

Ground floor Car parking area Secondary Plant room and ventilation systems Toilet Workshop material stowage Cleaning and chemical storage Wood working workshop Ceramic workshop Main Plant Office archive Cleaning station Outreach Office Counter and customer service Shop Lobby Social space and dance room 8 person max bunkhouse x2 Accommodation Shower and rest-room 2 person max accommodation x2

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31 32 31 31

First Floor Cafe Seating area Lounge space Breakout Terrace Open Library workspace Children materials Children play and story space Quiet workrooms Misc storage Cooking room Disabled WC/baby-change Sound-rooms Male Rest-room Female Rest-room

33 34 35 36 37 38 39 40 41 42 43 44 45 46

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Outdoor pools 63m dipping slope Shallow rock pool Main rock pool Saunas Shower space Changing space Silo entrance (NE)

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Program

Ground level plan (left)

The ground level is one of the two levels which connect the northeast and southwest facing sides of the peninsula with different characteristics. Upon somebody’s approach to the complex from Cambois, they are confronted by monolithic stone walls which gradually reveal its soft white underbelly (1) as the user progresses towards the entrance (2). Upon entrance the user is greeting by a minimal lobby space which provides a sheltered space with a clear view of the open sea. Behind the lobby space semi obscured by rope screening is the shop, where customers can purchase wares made by artists using the workshops, along with other educational books on the arts, crafts and the history of Blythe and wider Britain (3). The shop is then mediated by the counter and customer service area in front of the private area lived in by the outreach staff in the office and the space in the rear housing the buildings main plant (4). Once pass the shop you arrive at the main stair and lift core, which share the same experience of ascending above the sea, allowing all users to maintain some view of the sea at all times while in use of the main public areas.. On the right hand side is the access to the workshops, adjacent to a secondary staircase providing quick access to recreational and study areas above, whilst providing a fire escape route to the closest point of open ground (5).

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Ground level inhabited plans Ceramic workshop retains the design from synthesis as it orientates the window away from the viewing platform and so maximises field of view towards the sea whilst working, the rear of the building receives south and western afternoon to late evening sun A secondary plant is located on the rear left of the left hand wing to provide direct access to the car parking area for maintenance of ventilation units and recycling services. Workshop toilet and sinks are also locates at the rear and adjacent to the plant room for efficiency and access. (1)

Ceramic Workshop Axonometric Ceramic workshop retains the design from synthesis as it orientates the window away from the viewing platform and so maximises field of view towards the sea whilst working, the rear of the building receives south and western afternoon to late evening sun

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The restaurant in the area also follows a similar order with servicing at the rear, With the kitchen separating the dining space exposed to the most sunlight and most open view.

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Upon arriving to the first floor, you are greeted with the cafe serving various kinda of herbal teas using cups and teapots locally made in house whilst teased with glimpses of the sea through the rope rigging ushering you to turn the next corner into the double height lounge area or the open library space. The cafe has a breakout area which overlooks the viewing platform and rock pools. The rest-rooms are located behind the circulation space direction above the main plant, the public rest-room benefits from a wide panoramic window due to being on the first floor from ground. .

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!st floor plan

Pr i m e r / S ta g i ng / T TM W / R e a l i s a ti o n / S y n th e si s / F i nal Pro po s al / Fe e db ac k s h e e t s / D i s s e r t a t i o n / P P M / Te ch n o l o g y

Inhabited 1st floor plan (top) Inhabited 1st floor Axonometric (left) The wing on the left hand side from the lift and stair core takes the user into the open library, beyond which lies a space for soft play and learning materials for children, outfitted with a story telling area inspired by OODI library in Helsinki, Finland. This feature enables the center to provide extracurricular activities and special daycare to children whose parents are unable to supervise them during work. The other corridor leads to special purpose rooms consisting of work/quiet reading rooms, cooking room an sound rooms where instruments can be played, sounds are insulated using a combination of foam and rope screen baffles.

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Inhabited 2nd floor Axonometric (left) The top floor provides a tall aerial view of the water through an indoor atrium shared with the cafe and lounge area, the semi opaque glass hand rails create a pleasant and causal environment for classes such as yoga, knitting, or group work and meetings out fitted with white boards and projectors. A sky-garden takes advantage of the southwest oriented side of the building on the highest floor, filtering air within the building and providing small amounts of produce for cooking classes on the first floor. The garden also offer plants such as succulents paired with pots made locally, along with a library of select species of indoor plants.

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The pool spaces sits beyond the crest of the hill and fully exposed to the sea, similar to the Leca pool by Alvaro siza, the pools are constructed using a combination of concrete and existing boulders and rock in the landscape taking advantage of Blyth’s tide of 5 meters at its highest limit. The social room provides overhead cover for the outdoor shower space and changing space, which the users benefit from having shelter from western prevailing winds and being directly behind the pools and the dipping ramp. 1

The saunas need to also be in close proximity to the pools to allow users to cool off quickly, this was achieved by making use of the voids underneath the accommodations.. Due to the curvature of this part of the peninsula, each sauna room’s entrance and window retains an uninterrupted view of the rock pools and the sea, whilst also being in immediate reach of the changing space showers and accommodation.

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Unlike the Craft center, the atmosphere of the dock side is purposefully designed for more open social activities during the summer with a U shaped layout similar to an amphitheatre. (1)This is located on the dock side so as to be visible to Blyth city harbour and provides access by boat, this also means the more coveted spaces on the north east side such as the accommodation and workspaces can remain largely undisturbed.

Throwing and spinning

Mixing and glazing

The purpose of the silo is singular, inspired by my craft throughout this project, people are invited to Blyth harbour to create an artefact to deposit within the silo. Accompanied with handmade flat plinths on which the artefact would sit, they accumulate over time as the peninsula erodes. It is an expression of exercising our freedom to craft in the longest standing peace time in history.

Firing

Woodworking

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Mounting

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Kneeding

The staggered layout of the accommodation against the curvature of the peninsula is what allows both the sauna and accommodation a direct view towards the sea,

The sauna can is made available to the public when not reserved for the overnight stayers. The saunas are provided simple stepped timber elevated benches behind a panoramic window. The saunas can also use salt water to reduce carbon footprint.

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The accommodation is location on the far side of the craft center as a quieter retreat from the urban white noise, two person suit made available to the public designed for a bed and breakfast service in a tranquil and escapist environment. Or the 8 man bunk house for nomads looking for an affordable time away to hone their skill in the workshops. As per the other spaces, every bed and sitting space within the pods have their own widest possible field of view out to sea.

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The guest-house accommodations are a quite a peaceful respite away from the hustle and bustle of city life. A simple room with a minimal furnishing, and the widest possible view towards the edge of the world.

Day time during summer

Passive ventilation from the sauna is also important as fresh air needs to be provided whilst retaining a hot temperature for short periods of time. The upper temperature of the sauna is maintained at approximately 90 degrees Celsius. A small fan located at the bottom rear of the room underneath the bench pulls sinking cool air out into a cavity which is then allowed to be ventilated due to the recessed configuration of the guest-houses above. The imbalance of air pressure then pulls small amounts of fresh cool air through a manual seal to maintain air quality when needed.

Night time during Summer

Day time during water

Night time during winter

The open plan design and atrium allows maximum air flow within the individual parts of the building separated by the stone walls. A mechanically operated roof window system will allow the building to passively vent hot air in a particularly hot day. On a normal day each pod can use an ERV (Energy recovery ventilation) system for the exchange of fresh air whilst cooling the building. This small and inexpensive system will especially effective for the building due to the site location and pressure difference between the west and east. Blyth experiences prevailing wind from south west, however, when the landmass is hot the building would benefit from the cool air coming from the north sea. Conversely as land cools during the night, the air pushes from land and due east. In the UK the water in the north sea is generally cooler than the temperature on land, therefore the building benefits from larger glazed openings on its northeast facing elevation to ventilate rooms through the ceiling.

The water consumption and carbon footprint can also be reduced by taking advantage of the buildings program. Fired clay cannot be recycled but it can be up-cycled to help the building function passively without relying on a conventional source. Clay is chemically decomposed igneous rock, once fired it becomes stone like in structure and undergoes a quartz inversion. Discarded clay works can be crushed a recycled and used as a gabion fill material, floor covering or a concrete aggregate. The aggregate can also be used to build and expand on green water filters during off peak periods where water demand is minimal. The kiln’s heat is also used to heat water that then circulates the buildings to reduce wasted heat. On a temperate day, the heat from the kiln can be simultaneously used to boil sea water into distilled water, which can be used in various applications such as marbling, where usually distilled water needs to be purchased elsewhere.

Aggregate filter

Distilled Water

Boiler

Supply

Flooring and landscaping Supply Heating Kiln

Clay

Wire mesh gabions

Ceramics

Crushed aggregate

Up-cycled jewellery

Aggregate for concrete and mortar

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The average temperature of the North Sea in UK is usually consistently lower than the temperature on land, therefore a MSHP would reduce the buildings need for transporting fuel or purely depend on conventional heating systems that are more expensive to run and maintain over time. When the heat pump is not being used on a hot day, it can be shut off. In the summer the building benefits from oncoming wind inland as the landmass causes the air above rise, pulling the cool air above the sea towards the building westward, thus ventilating the hot and humid air out of the rear.

To finish, all updated spaces have been accounted for, silo and kiln atmosphere and functions specified and when included in the total (discounting circulation spaces) exceed 2000 square meters to satisfy project complexity and area.

SQM

Plant Office space Archive for paper work Reception Shop Lobby F WC M WC 1st seating Lounge space Breakout terrace Cleaning center cer workshop area main workshop workshop restrooms Workshop plant

45 25 12 10 54 47 23 27 40 37 44 17 75 171 18 18

Bar 1 drying level/bar 2 Plant basement breakout space servicing

106 118 36 54 82 22

bunkhouse total suite total dance room shower changing space saunas total

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sound rooms cooking rooms workspaces children story space and material open readin work space 1st floor storage Library groupwork space 2nd floor storage garden

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Changing space

Dock Plant

Marbling workshop

Social/dance Room

Drying area/ Bar ext.

Dock Restaurant

2 person Suit

Paperwork Archive

Staff Office

outdoor pools total silo + Kiln

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Grand total (Excluding Circulation and tunnel)

3848

Reception Cus. service

Main lobby

First Floor

Roof garden

Cooking room

Lounge space

Second Floor

Library workspace Quiet workrooms

2nd floor Restroom

Garden storage

Chemical storage

Woodwork workshop

Main plant

Breakout Terrace

Pool

Workshop toilets

Cleaning Station

Cafe

Saunas

Ceramic workshop

Souvenir Shop

50 12 54 1854

8 person bunkhouse

Kiln Room

54 21 27 45 69 8 75

Total

Silo

Shower Space

Misc Storage

Group Workrooms

133

Sound rooms

workshop stowage workshop Plant

Children Materials

Play/story room

Pr i m e r / S ta g i ng / T TM W / R e a l i s a ti o n / S y n th e si s / F i nal Pro po s al / Fe e db ac k s h e e t s / D i s s e r t a t i o n / P P M / Te ch n o l o g y

Appendix

Programs and functions

134

135

136

137

138

139

140

141

142

143

144

145

146

147

148

149

150

151

152

153

154

155