Loretta So Academic Portfolio BA (Hons) Architecture 2015/16
Contents Design Report 5 3 Elements House 9 Primer Chamber Beatrix Potter’s Show/Store 31 Potter’s Botanical and Fictional Artwork Incubator Masterplan Show/Store
New work that was not shown in the final review is indicated by a red dot
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Design Report This year has been particularly challenging in terms of the complexity and the need to be highly coherent in projects. In our specific studio, Variations, thematic coherence across projects was key and I truly feel that my understanding, methods and approach to architecture has matured and deepened over this year as a result.
the rigours of the subject. I have also seen that the more I delve into architecture, the less I feel that I know since there is always more to learn. However, the individualism and excitement of engaging with your own process, for me, this year has produced a long term passion for this subject that has so far spanned through late nights, failures and successes.
I have been priviledged to be in the Variations studio because I was not able to explore hand modelling and drawing as intensely in the past. The studio’s strict reliance on model making and on exploration of our own process has propelled me to be much more rigorous with my ideas and a fruit of this methodolgy has caused me to feel less stagnant when designing.
I have so enjoyed my dissertation, the writing as much as the research. So much so that I was slightly disappointed to have to stop writing about Aldo van Eyck’s postwar playgrounds in Amsterdam. Due to this interest, I have included a children’s play area in the style of Van Eyck in my graduation project. Architecture for children is something that I think that I am very interested to pursue in the future, given the opportunity.
In this intense year of learning and producing a great deal of new work, I have learnt the importance of prioritisation. I cannot claim to be great at this but my work has become less random and I have generally been more focused.
I would be lying if I said that I am not thoroughly looking forward to life after my undergraduate degree and this is in regards to both the rest but also to the exciting prospects of working within a team, of understanding architecture in even greater depth and seeing projects become reality.
I have thoroughly enjoyed the way the Variations studio was one large project. This is because I think this is more reflective of real projects but also in terms of my own learning, the time allowed me to explore continuously. There are points of assessment during the year but the design work is constantly evolving and in a perpetual state of refinement. It has been a joy to do and solve at different scales. I think that the maturity I feel in my designing this year is eveident to myself in terms of understanding my own thinking and process more intricately. Although it still needs much unpacking at times, I think I can track my own jumps in design steps better now and as a result move forward more strongly. It has been both highly satisfying and difficult to have given over so much of my time and efforts to architecture this year. In the challenges, it really has produced a zeal and joy in
At times when architecture became overwhelming and very testing this year, it has been hard to find inspiration to carry on. But it is this intense rigour that the subject provides and demands, has spilled into my personal life and there is joy in perserverance and I am far from being finished- I have much more I want to learn and experience in architecture.
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Studio Variations A brief overview of the aims and methods of the studio This studio focuses on the developing of the idea that is all coherent but shows clear progression and refinement. Emphasis is put on the individual and the intuitive skills that can be harnessed for design. Choosing a collection of our choice for the graduation project allows a personal appreciation and attachment to the project that generates more thoughtful design.
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Three Elements House A music hall and accommodation for musicians
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Primer Finding principles across disciplines
The Primer is a design exercise without a site and is purely conceptual to define the sentences that will define furture projects. They help establish links between various disciplines. In the Primer the focus is the relationship is between music and architecture.
Conceptual Prtototype
"...The score CONCEALS as much as it REVEALS, so that performers have a creative and not merely reproductive role in musical culture..." Nicholas Cook Music Theorist
“It has to do with the way architecture involves movement.. it was incredibly important to induce a SENSE OF FREEDOM OF MOVEMENT, more to do with directing people than seducing them.� Peter Zumthor Architect Spatial Prototype
Working with 3 prototypes all invovled intuitively designing through the sentences to create principles that could be more broadly applied in these 3 categories but the amount of exploration of these prototypes was dependent on the design exercise.
Nicholas Cook talks about the fullness of a static score of music and how the stationary can inform and reveal just as much information as the music score played. This is complemented by Peter Zumthor's quote describing how discoveries can be made by the architect through directed movement through a building which inspired a key elements of the building. Structural Prototype
Primer sentences from music theory and architectural theory
3 design protoypes
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This early conceptual model informed me spacitally and also initiated my use of the curve motif that features all throughtout my year. The curve is highly suggestive and shows direction and has the capacity to separate spaces by varying the wall type opacities and materials. The diagrams and models indicate a distinction of 2 spaces that invite you into the next space creating a sense of anticipation
Different types of walls changes the mood
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Cur ves Their multiple uses
“In other words, we prefer curves because they signal lack of threat, i.e. safety.” Turns out people looking at curved design had significantly more activity in a brain area called the anterior cingulate cortex, which indicates its involvement in emotion.” - Vartanian, psychologist The idea behind each of these works is not only to engage and entertain an audience the way funhouse mirrors do, but to also remind viewers about perspective. - Anish kapoor, Artist and Sculptor The use of curves in my graduation project helped to challenege the visitors perspective of a space but also to enclose them in a place of safety.
Image: C-Curve by Anish Kapoor
The tension between between 2 elements show movement or induce movement, The form allows you to explore and the direction around the curve can be made more intersting with the addition of a second curve or 2 spaces that are divded by the curve. An intersting addition would be to change the level of the 2 spaces so that there is a clear distinction of program. While most architecture is rectilineal, the design of curves can soften a building’s impact and help the structure meld into the surrounding landscape.
Initial diagrams of the conceptual model to show more variations
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Chamber A music hall and accommodation for musicians
A question of acoustics was raised during this project. A very simple and effective way of diffusing and acoustically insulating spaces is by buffer spaces. This inspired the concept of separating spaces - the performance space to the accommodation by a buffer space with another program.
Relationship between the separated 3 elements: dwelling, transitional space and performance space
Separation by walls but also by of light. The light guides you to the next space beyond.
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Separating spaces through different types of walls
Chamber separating blocks which is shown by route through
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Tadao Ando Koshino House and Meditation Space
The way Ando seamlessly integrates light into his buildings was desirable in the Chamber due to the simple junctions and the ability to enhance the shapes that they illuminated. This meant that the window shape would be important as well as the junction that joined the window to the wall.
Ando’s light style
The inhabitied wall can provide acoustic separation and also house functions
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Cast model iterations explore the way Ando plays with light with the structure. The light can illuminte a key wall or spaces. Light and curves can guide and they should complement each other.
Light studies that falls on the curve
The differnet patterns in the roof can cause a different element of the room to be highlighted. The light shows that is not only can separate spaces but connect them.
The roof diagram and a plaster cast model to show the texture that can be illuminated and the how window openings can be formed as well as the supports that are needed
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The site can be analsyed through the spatial models and using the same spatial rules. The gentle curving wall is emphasised by the heavy straight wwall that runs alongside it. This was useful in placing the Chamber on the site because there is a large existing wall that runs behind the bus stop. The corner of the road is a curve which was useful in the performance hall location The level changes inform the public and private parts of the building
Develpoment from diagrammatic plans to hand drawn accurate plans to ensure that the main diagram is not lost in translation and that the concept of separating is still evident.
The curved wall which was the first element is now offset by a thicker heavy wall that emphasises the curve
Chamber development through diagrammatic floor plan organisation
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The 3 parts of the building, performance hall, inhabited wall which is a public space and the accommodation sits on 2 different levels creating an even clearer distinction between the 3 programs.
Situated on the corner of the site it echoes the curve of the block of the site that no longer exists
Sections describe and show how it relates to the distinct, natural level changes on site
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Alvaro Aalto Studio
The space outside the building in the surrounding area is proposed to be an open air cinema/performance space so that performances can spill out to there during summer nights and so that the building is more related to the site it is in.
Aalto uses the building to create and enclose outdoor spaces
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B eatr ix Potter ’s Show/S to re A cultural centre to celebrate her life’s artwork and her inspirations
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My Show/Store project is titled FUSION. The interlocking of curves represent 2 opposing yet complementary elements - the scientific accuracy of the botanical art and the imagination of fictional illustration by Beatrix Potter. Her early botanical artwork and her later fictional illustrated work displays a fusion that the building aims to celebrate. These drawings defined Beatrix’s early works and were formative in her illustrations of animal stories.
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Beatrix Potter’s Artwork
Beatrix Potter classified a huge array of plants, animals and insects by drawing them accurately in 1:1 scale in this stark, void of landscape and habitat style. Without a background, the focus falls on both the iterations and individual insect. It is simple in its presentation and the specimens are represented in plan and profile.
The latter part of Beatrix Potter’s life saw her spending more time on the reusing the specimens that she drew from her earlier years to animate fictional animal and insect characters. This scene is from Mrs Tittlemouse who follows the antics of a very tidy mouse.
Actual dimensions - 111mm x 177mm
The ideas from the relationship shows the fusion between the 2 types of artwork and Beatrix Potter’s ideas about playing with scale
Beatrix Potters’ study of bees, wasps and flies
This scene from Mrs Tittlemouse shows her encounter with wasps
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Brief from the compendium
The collection allowed me to develop my own brief that celebrates the inspirations, and methods of Beatrix Potter as well as raising the profile of her work and similar work. The diagram opposite shows the same curve motif being used as a tool to divide and define the 2 art forms. Programs that the centre will include are: Laboratory Artist’s studio Children’s Library Children’s Indoor Soft Play Children’s Outdoor Playground Exhbition spaces Cafe Shop Gathering spaces Garden Accomodation for one artist in residence Accomodation for one botanist in residence Archive Library to complment the archive Playing with scale The contrasting properties of the drawings include the scale in which they were drawn- the botanical artwork was always 1:1 and the fictional worlds saw Beatrix Potter playing with scale and we are transported into a small world and everything minute is enlarged. Main focus through hierarchy There is a very clear hieracrhy of lines that the botanical art follow and these informed Beatrix Potter to alter the scale at which she draws but still retaining her signature style and accurracy gained from her botanical drawings. The focus is on the plants and the process of drawing is methodical and sometimes detached from their immediate environment and isolated on paper. Her botnaical art seems to have been painted on an invisible grid. Narratives Classification of plants and animals through classification and story-telling to reimagine the classified animals and plants.
Beatrix Potters’ study of bees, wasps and flies contrasted with a scene from Mrs Tittlemouse
Developing the Show/Store brief
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Incubator
Displaying the artwork
Similar to the Primer, the Incubator acts as a test bed for concepts that could be used in the Show Store. An intervention that houses the 2 pieces of art will be created that reflects the style and inspirations of Beatrix Potter. The incubator sits in a different site to the main site, and is found through mapping of the green spaces to find the most “arid” area in Newcastle City Centre.
Taking the image of the various bees and flies and dislaying it within an intervention in the chosen location - High Friar Lane. It is key to the project that the 2 elements are clearly expressed conceptually to inform the later form of the Show/Store.
High Friar Bridge is the most “arid” point in Newcastle City Centre and is a narrow alley behind the Tyneside Cinema
Within the chosen incubator site, the incubator needed to accomodate the 2 openings of the alley for people to fill into the incubator. The middle is where the artwork will be displayed, opposite each other to symbolise their similarities and also the way they informed each other in Beatrix Potter’s career.
Originally in 1:200, a model of the incubator
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Incubator iterations that culminates in the curved wall that defines a threshold in the alley and then provides a way of experiencing both arts simultaneously. The steps that lead up to the display area indicate a change of atmosphere. From the noisy alley to a open area that does not have a roof. The pieces of art should be kept in special, waterproof cabinets. The open roof/taller area was formative to the decision of making 2 curves join together in a main taller, atrium space.
Incubator
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Cur ves
A way of dividing the site
The curves define the site
“There’s a sense of flow from one space to another . . . a subtle guidance, without realising your eye is being drawn by a curve to a view or a space within the house,” - Saaj’s Sally Anderson, architect The spatial and structural implications include using curves as a way to divide up the vast site and begin concealing and revealing areas in line with my primer concepts that have followed all the way through to the Show/Store. From the Incubator, the rules of the 2 elements uniting in the middle where they meet still applies. Therefore another incubator model was made and adapted onto the Show/Store site.
The curve is used as a tool to divide up the site and separate spaces similar to the Chamber concept. It can also connect parts of the site together. Using the access routes and connecting them together, paths were created. This is also a masterplanning method to break up the vast site first before it is able to assign programmes to particular areas.
Dividing up the site with curves by connecting the entryways
Dividing up the site with curves by connecting the entryways
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Incubator and Show/Store site Relationship between the 2 sites
Site Responses Existing elements
The existing blocks and materials may not be abundant on site but they show the remnanats of the site of what it once was. There is a desire to be sympathetic to the remains that still hint at what once was Beatrix Potter’s method was mostly resusing what was there and changing our perpsective of it. The arid parts of the site that has just been tarmacked over as a car park needs some reimagining. The incubator site is enclosed and this informed the placement and aim of the Show/Store location because it was part of the site strategy to divide the site up and enclose the new building within green spaces Map showing Incubator and Show/Store site
Existing buildings and elements
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Site Responses Levels and Slopes
The aims of this regeneration is to introduce green spaces into the area as well as raising the profile of Newcastle as a cultural centre with the introduction of teh Beatrix Potter centre. This endeavours to not only bring locals into the city centre more but also tourist from further afield. Another aim is to connect the city centre with the Quayside more since there is a slight disconnection as present. The green spaces will help diffuse the loud noise that is produced from the heavily used roads around the site but it will also provide cleaner air. A key feature of the site is its distinctive levels that have been carved and smoothed historically in particular places which informed my choices of location
Site levels and slopes
Access routes
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Masterplan Strategy Applying the principles
Chamber
Show/Store
Circulation
Proposed blocks for regeneration
The site’s only function is a car park with much dead space surrounding it. It is sloped and is surrounded by used buildings, one of which is a Grade II listed building. This plot of land has undergone many attempts at regeneration including the Royal Arcade which became unsuccessful since it failed to become the new hub of Newcastle. So it is wise to only add a few retail outlets and to use the space more creatively as gardens, open areas and a new spot that connects the Quayside and the City Centre with it’s own aims.
A few strategies were formed to do with landscaping. The slopes, due to the concept and also the desire to minimise waste and construction will be retained. The green spaces around the building that is situated in the middle is useful for noise diffusion
Landscaping the site by using the natural slopes
Show/Store and Chamber Masterplan
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Intuitive hand modelling The main mode of desiging was model making because it is a very intuitive and natural way of designing that is inkeeping with my concept and is sympathetic to Beatrix Potter and her methods of first hand experiences of nature that inspires her.
Show/Store conceptual model inspired by the Chamber conceptual model
Developing through model and extrapolating into diagrams and intial floor plans
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Kiasma, Helsinki
“None of the galleries resemble the perfect white cube envisioned by modern architects. Entrances to the galleries are not aligned on axis. The walls dividing some of them are not parallel but radiate outward from the shallow curve of the central circulation spine. Side walls echo the curve of the spine or the buildings exterior skin. The galleries are art-friendly. In each, three walls are properly perpendicular and square. But Kiasma is not an egg crate. Its interiors are continually and subtly varied.�
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Experiencing the atrium from below
Niches play with scale
Intersecting curves in conceptual model showing the atrium space that is very tall and also a line drawing over it to show textures and scale
Small niches to sit in the tall atrium to show the playing of scale that is informed by Beatrix Potter’s methods
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Intersecting curves in conceptual model showing curves and the perihery spaces
On the other side of the wall looking down into the atrium. All the spaces are connected to the atrium
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Interlocking spaces
Programme logic
“Show” including the Children’s library and cafe
Cicrulation wraps the inside of the 2 curves
The simple and effective way of organising the spaces was to have one curve to house the “show” indicating the more public areas and the other curve to house the studios and laboratories so that the footfall is indicative of the function
Designing through section informed me of the potential staggered circulation around the core
Exploded diagrammatic axonometric of Show/Store
“Store” including the laboratories, and accommodation
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Materiality Insitu concrete for the form that is revelaed in certain areas particularly the laboratories for safety fire precautions and timber that are reminiscenet of timbers from the Lake Disctrict where Beatrix Potter was from and where she drew a lot of her inspiration Show/Store development, timbers from the lake district
The insitu concrete walls that allow the curves to make their smooth form will be clad in timbers sourced from the Lake District. Primarily oak, glulam plywood for the roof and walnut
Atrium with a conceptual walkway that shows the interconnection of the 2 curves
Timbers from the Lake District - Beatrix Potter’s place of inspiration
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The 4 floor plans follow the slopes and show the natural contours of the site - 2nd Floor - 1st Floor - Ground Floor - Basement
Basement level showing the relationship between the ground and the basement entryway
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Atmospheres Left: Ground Floor of Chamber and Show/Store 3 ways of experienceing Beatrix potters work: 1. The Children’s library where readings and quieter spaces are made for children 2. The archive where her botanical drawings and sketches are held for scholars and visitors to enjoy. 3. And the main exhibition atrium space where plants will be so they show the inspiration of Beatrix Potter and places within the huge and tall atrium space will be made with small, cosy contemplative spaces so you feel the change of scales more starkly, just as Beatrix Potter did when conjuring up new worlds. The children’s play area is inspired heavily by Aldo van Eyck’s post war playgrounds in Amsterdam and the hexangonal shapes and rounded shapes are taken straight from the motifs he uses in the plans of his playgrounds.
Image of a catalogue of Aldo van Eyck’s playground structures
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First Floor
Watercolour experiential of the main atrium space showing the complementaryv timbers from the Lake District
First Floor shows breaks in the functions to create lighter spaces below and visible spaces and functions above
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Second Floor
Night view, external
Top floor, the most private floor containing the 2 self contained flats for the live-in botanist and artist
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Original at 1:50 in context
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Final model
The entrances to the building are on 2 different levels so to accommodate the natural slopes. It exposes and uses the level changes in order to empahsise and play with the changes in level because the building is very children friendly.
Opposite: the roof shows a light and airy connection with the atrium space
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Technical considerations
Intersection of curves, 1:50 partial model. How the merge of the 2 curves conceal and reveal themselves. To represent the contrast between the 2 arts and the fusion of the 2 arts that culminate in a fantastic atrium space that also acts as the exh/ibition space that shows incredible reveals and creates anticipation
Originally 1:50 section through the building
Ground source heat pumps
Timber diagrid Roof
This type of heating and cooling system was considered very early on in the design processs due to the vastness of the site and the size of the building. The masterplan shows the proposal of surrounding inhabited buildings that could also benefit from this system
Timber beams criss cross diagonally across each other to create the roof over teh atrium space. It allows light to penetrate depper into the tall space and down to where visitors willl be sitting It is connected to the insituconcrete walls by steel
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Spatial studies of the exhibition
Alvaro Siza
Porto School of Architecture
During our field trip to Portugal we visited the Porto School of Architecture which is designed by Portugese architect Alvaro Siza. The point of interest here was the ramped, double height exhibition space that was the central display location for the architecture models. This was intriguing because everything else in the school was straight so this sharp contrast was showing a clear distinction.
Originally 1:50 cast section through the building
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Modelling at 1:100 (top 2 model photos on this page) and 1:50 enabled an understanding of experiences of the spaces. The smaller scales showed more spatial relationships and they informed how I would consider concealing parts of the wall and revealing other areas. Although I include no slanting walls, the idea that the wall peelings slightly away from vertical to let light in relates to my earlier studies of how Ando lets light in.
Plaster model to show the exhibition space and it’s relationship with a circulation inhabited wall
Entrance and atrium spaces explored
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Process of modelling
Placing models in context and allowed a more useful appraoch that let the site inform the design and to use the entrances in a useful way to deal and solve the level changes to suit the building and the functions and programmes.
My process of designing both buildings was first and foremost a modelling exercise. The models were produced at all stages and at various scales simultaneouly which although seemed quite a scattered way of working allows a deeper overall understanding of both the process of modelling and the design of the building was more explorative and uncertain during the process. The most final design was not entirely unexpected but it came about after a long process.
1:200 iteration in site
Night view exterior of Show/Store
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Loretta So Academic Portfolio BA (Hons) Architecture 2015/16
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