ACADEMIC PORTFOLIO
LYDIA MILLS
BA (Hons) Architecture 2015/16
*
ALL ADDITIONAL OR IMPROVED WORK HAS BEEN MARKED WITH A RED ASTERISK
R E F L E C T I V E L E A R N I N G S U M M A RY
4
Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis nostrum exercitationem ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur? Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil molestiae consequatur, vel illum qui dolorem eum fugiat quo voluptas nulla pariatur? At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis praesentium voluptatum deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati cupiditate non provident, similique sunt in culpa qui officia deserunt mollitia animi, id est laborum et dolorum fuga. Et
5
harum quidem rerum facilis est et expedita distinctio. Nam libero tempore, cum soluta nobis est eligendi optio cumque nihil impedit quo minus id quod maxime placeat facere possimus, omnis voluptas assumenda est, omnis dolor repellendus. Temporibus autem quibusdam et aut officiis debitis aut rerum necessitatibus saepe eveniet ut et voluptates repudiandae sint et molestiae non recusandae. Itaque earum rerum hic tenetur a sapiente delectus, ut aut reiciendis voluptatibus maiores alias consequatur aut perferendis doloribus asperiores repellat. Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis nostrum exercitationem ullam corporis
suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur? Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil molestiae consequatur, vel illum qui dolorem eum fugiat quo voluptas nulla pariatur? At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis praesentium voluptatum deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati cupiditate non provident, similique sunt in culpa qui officia deserunt mollitia animi, id est laborum et dolorum fuga. Et harum quidem rerum facilis est et expedita distinctio. Nam libero tempore, cum soluta nobis est eligendi optio cumque nihil impedit quo minus id quod maxime placeat facere possimus, omnis voluptas assumenda est, omnis dolor repellendus. Temporibus autem quibusdam et aut officiis debitis aut rerum necessitatibus saepe eveniet ut et voluptates repudiandae sint et molestiae non recusandae. Itaque earum rerum hic tenetur a sapiente delectus, ut aut reiciendis voluptatibus maiores alias consequatur aut perferendis doloribus asperiores repellat.Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque
laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis nostrum exercitationem ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur? Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil molestiae consequatur, vel illum qui dolorem eum fugiat quo voluptas nulla pariatur? At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis praesentium voluptatum deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati cupiditate non provident, similique sunt in culpa qui officia deserunt mollitia animi, id est laborum et dolorum fuga. Et harum quidem rerum facilis est et expedita distinctio.
‘Lace is More’ ARC3060: Dissertation in Architectural Studies
‘LACE IS MORE’ Dissertation in Architectural Studies
ABSTRACT This dissertation provides a theoretical framework which aims at identifying lace as a design concept and the benefits which arise from applying it to the architectural design process. The research begins by looking at the implications of lace as we know it today and its connection to architecture within a historical context. The dissertation continues by proposing the notion of lace as an architectural boundary. By introducing lace to the design of architectural boundaries, a sense of connectivity between architecture and the beings with which it coexists become apparent within the designed space. The exploration of lace boundaries is followed by an exploration of three styles of ‘lace’ architecture -‘surface’, ‘skin’ and ‘transfiguration’. In these chapters, the notion of lace as a design concept will be discussed and exemplified through the use of eight case studies.
8
9
The brief for the graduation project required the design of two buildings- a music chamber and a ‘show/store’, which were to be situated together in one masterplan of a site in Newcastle. The theme, ‘variations’, exists in the design process of the two buildings and the masterplan. The project has been subdivided into four ‘variations’- A, B, C and D. Variations A (the Primer project) and B form the design of the music chamber. Variations C and D form the design of the Show/Store and the masterplan. Each variation activity was used to test design principles and develop a set of ‘design rules’ for the latter variations. Each variation has been approached and designed from three perspectives: conceptual, spatial and structural.
THE JOURNEY THROUGH A SEQUENCE OF SPACES ARC3001: ARCHITECTURAL DESIGN GRADUATION PROJECT
12
THE JOURNEY THROUGH A SEQUENCE OF...
DISTRICTS
13
TAROT CARDS
J U X T A P O S I N G S PAC E S
The Masterplan was heavily inspired by Kevin Lynch’s Image of the City. This was combined with inspiration from the Show/Store and the Tarot.
A SEQUENCE OF DISTRICTS VARIATION D: THE MASTERPLAN
16
THE SITE Situated in the centre of Newcastle Upon Tyne, between the ancient Pilgrim Street and the modern 55 Degrees North (formerly known as Swan House), the site is located at the centre of a collection of juxtaposing elements within the landscape- ancient and modern, public and private, loud and quiet. The chamber itself reflects the nature of the city through the theme of counterpoint, expressed in the materiality, acoustics and narrative of the building. Sun Path
Sound Pollution
Wind Direction and Wind Tunnels
Existing paths through site VARIATION D: THE MASTERPLAN
17
18
SITE ANALYSIS K e v i n L y n c h ’s I m a g e o f t h e C i t y The design process for the masterplan began with an analysis of the site according to the elements of the city described by Kevin Lynch in his book Images of the City.
The elements include nodes, a point where two paths meet; landmarks, an element of significance when experienced externally; paths, a linear element for circulatory purposes; edges, a line that defines the boundary of an area; and districts, a 2 dimensional section of a city. Once I had analysed the site, I added paths which the split the site into four districts, which can be seen above. The districts were then sub-divided to create spaces which could be easily inhabited VARIATION D: THE MASTERPLAN
Nodes
Edges
19
Paths
Districts
Landmarks
20
SITE SYNTHESIS B e n e b e l l We n ’s H o l i s t i c T a r o t In chapter entitled ‘Anatomy of the Rider-Waite-Smith Tarot’, Benebell Wen has created series of tables that describe the structure of the Tarot, concepts that have been related to the suits of the Minor Arcana and the relationship between the suits.
WILLPOWER
COLLECTIVE
INDIVIDUAL
TAROT
SWORDS
EXTERNAL
INTERNAL
PERCEPTION
PENTACLES
CUPS
MATTER
FORCE
WANDS
MATTER
I combined this principle to the site by applying two suits to each district within the site, in relation to the existing ‘landmarks’ of the site. This then formed the uses of each district within the site.
FORCE
According to the table, two suits can combine to form an element which is individual, collective, internal or external.
WILLPOWER
PERCEPTION Simplified interpretation of the ‘correspondance table’ ‘Holistic Tarot’ p. 35 Benebell Wen
VARIATION D: THE MASTERPLAN
21
COLLECTIVE
INTERNAL
INDIVIDUAL
EXTERNAL
22
SITE MASTERPLAN Scale 1:500 Paved area with flower beds place in space which is enclosed by the bus shelter and bar walls
Abandoned bus station is renovated and used as a sheltered market
Outdoor theatre and seating area- films may be projected on exterior wall of the music chamber
Building next to the bus station is knocked down to create a wide path that allows delivery vehicles into the site Public bicycle storage Internal district is mostly built up of existing buildings
The Masterplan responds to the local development plan for the East Pilgrim Street area by providing a ‘meaningful public space’. The paths through the site take the public through a sequence of districts that vary in level, function and character.
The most southerly district is left open to allow sunlight into the site The former Bank of England site is shaped to meet the street
Green roof on Chamber allows for more public space in site
VARIATION D: THE MASTERPLAN
Void formed to create highly enclosed outdoor dining space Restaurants mimic the roof pitch of the existing pub
23
C O L L E C T I V E
I N T E R N A L
E X T E R N A L
I N D I V I D U A L
24
S I T E P AV I N G Movement and stillness The paving in the site emphasises the theme of continuous movement throughout the sequence of spaces within the site and also the music chamber and Tarot Institute.
Movement
This paving will line the paths between each district. The paths will be a light grey stone colour. Some may be engraved with icons of the tarot suits that each district is based on.
Stillness
The stillness paving is long and thin, invoking a sense of fluid movement in order to emphasise the theme of journeys. VARIATION D: THE MASTERPLAN
Influenced by Gonçalo Byrne’s Centro de Interpretação da Batalha de Atoleiros in Lisbon
25
FIELD TRIP TO PORTUGAL
26
27
HIERONYMITES MONASTERY BelĂŠm, Lisbon
INHABITED WALLS I read the monastery as a series of inhabited walls, which I attempted to capture in the section. The walls existed between two large, open spaces- the church and the exterior courtyard. The space that I found to be most intriguing was the confession rooms, which were placed underneath an enclosed staircase. The space appeared to have been carved out of a thick stone wall.
28
29
TENNIS PAVILION Fernando Tรกvora Porto
JOINTED ELEMENTS The tennis pavilion is formed of a number of elements which have been connected by visible joints. I found this method of attachment to be intriguing, and so drew the section with a focus on them. Furthermore, I was interested in the use of materiality in order to express the function of architectural elements, such as white concrete that expressed a wall, and metal that expressed a joining element.
Variations C and D form the second project of the year- the Show/store. Having tested architectural ideas and design rules in the previous project (the Primer and Music Chamber), I continued the themes of ‘Journeys’ and ‘sequence of spaces’ onto the next phase of the graduation project. The brief for Variation C was to choose an object or a collection of objects- called the ‘Compendium’which was to be housed in the Show/Store. The second phase of Variation C was to find a site in the centre of Newcastle and design a means to store part of the Compendium in the site. The brief for Variation D was to design a building for the purpose of housing the Compendium and create a Masterplan for the site. The concept of ‘juxtaposition’ was replaced with the notion of the ‘journey to the castle- a common theme in Tarot cards.
A SEQUENCE OF TAROT CARDS Variation C: Incubator Variation D: The Show/Store
VARIATION C: THE COMPENDIUM
THE COMPENDIUM
A collection of objects to be housed within the Show/Store
34
EXHIBITED COLLECTION The Light Grey Tarot: 78 artists 78 prints 1 deck of Tarot cards
In 2011, the Light Grey Art Lab formed a deck of tarot cards which was formed by 78 collaborating artists, who each designed a card for the deck. The cards were exhibited as a series of prints, which are to be housed in the Show/Store.
VARIATION C: THE COMPENDIUM
35
The Original Rider Waite Tarot:
The Original Rider Waite Tarot is often used by beginner tarot readers because of its readable symbolism. Many of the Light Grey cards were influenced by the Rider Waite set, therefore I have used the symbolism within each card as a source of inspiration to the design.
LIGHT GREY TAROT
RIDER WAITE TAROT
DESIGN STRATEGY
36
*
The flow diagram to the right explains and demonstrates my design strategy for the Institute of Tarot. Each phase has been implemented at every stage of the design process and at multiple scales (from 1:10 000 to 1:20).
EARTH OFFICES/ STAFF ROOM HUMAN SCALE TEXTURED/ROUGH
TAROT ANALYSIS
ARCHITECTURAL SYNTHESIS
Analysing the structure,
Translation of Tarot elements
symbolism and
into architectural qualities,
numerology of the Tarot for
relation to scale and building
the purpose of conceptual
programme.
development
VARIATION C: THE COMPENDIUM
37
LOCATION + CONTEXT
TECHNICAL DETAIL
SPATIAL DESIGN
Placement of architectural
Designing technical detail
Designing a space/ spatial
element according to
according to architectural
detail according to previous
corresponding Tarot element
synthesis of Tarot element
stages of the design strategy
G I B S O N ’ S T H E O RY O F A F F O R DA N C E S For mation of a Design strateg y My design process was heavily influenced by J.J. Gibson’s Theory of Affordances, as described in ‘The Ecological Approach to Visual Perception’ (1979). The world is perceived in terms of the possible actions offered by surfaces and objects in the environment- Gibson refers to these possibilities as ‘affordances’ that may be processed by humans in certain ways. Humans and animals measure affordances in relation to the body. For example, a wooden block that is the height of a person’s knee affords humans to sit on it, however it may also afford a person to stand on it in order to gain height. My design process involves designing a series of affordances in the ‘Architectural Synthesis’ stage which respond to the information collected in the ‘Tarot Analysis’ stage. The Theory of Affordances also influenced the design of the timber cladding designed for the music chamber.
VARIATION C: THE COMPENDIUM
38
39
VARIATION C: THEINCUBATOR
THE INCUBATOR
A site in the centre of Newcastle chosen to house a section of the compendium
42
THE INCUBATOR: The Journey to the Castle
CONTEXT AND NARRATIVE The Incubator allowed me to create the narrative for the project. Situated in a staircase that leads up to Newcastle’s Castle Keep, the space refers to a common theme in the Rider Waite Tarot- the Castle. Usually depicted as a symbol of achievement, the castle can be viewed in several cards. Sometimes it appears to be close, other times, far away.
VARIATION C: THEINCUBATOR
43
44
FORM The Incubator also generated the form for the design. The building can be described as two main masses- the , in which the building is entered, and the the , which allows building users to ascend through the building towards the castle.
tower
staircase
VARIATION C: THEINCUBATOR
45
S PA T I A L Q UA L I T I E S O F T H E T A R O T T he Four Natural Elements
46
*
VARIATION C: THEINCUBATOR
OPEN ROOF
CHIMNEY-LIKE
THIN
SPACIOUS
UNSHELTERED (ALLOWS RAIN IN)
UNSHELTERED AND UNENCLOSED
TALL
VERTICALITY
ENCLOSED IN WALLS
OPEN
FIRE
ALLOWS AIR TO FLOW THROUGH
WATER
AIR
EMBEDDED IN GROUND
CARVED OUT
ENCLOSED
EARTH
VARIES
MAJOR ARCANA
47
48
DISPLAY Traditionally, Tarot cards are wrapped in black silk as it is believed to protect the cards from negative energies. This inspired the display of the prints, which are framed by smooth, black metal rectangles.
I designed the form of the frames by studying the way metal folds (figure 1). In order to fold the metal I clamped the metal sheet to the table and hammered it to create a sharper fold. Originally, I intended on creating sharp, 90 degree folds in the metal, however I was itnterested by the curved nature of the metal study. and so incorporated this into my design.
VARIATION C: THEINCUBATOR
1. Folded Metal Study- Scale 1:2
49
INCUBATOR CONCEPT SECTION (ORIGINAL SCALE 1:50)
THE SHOW/STORE
The Institute of Tarot
SITE SYNTHESIS The ‘Castles’ of Newcastle
VARIATION C: THE INCUBATOR
52
THE CASTLES: The Civic Centre, Grey’s Monument, St James’ Park Stadium, St Nicholas’ Catherdal, 55° North, Tyne Bridge, Castle Keep
53
The map to the left is a study of the relationships between architectural landmarks in Newcastle and the site. Each landmark is considered a ‘castle’ because it is, in some way, a symbol of achievement and can be seen from the Institute of Tarot.
1
2 3
The dotted red line marks the journey that pilgrims used to take across the Tyne Bridge and through Pilgrim Street, past the site.
4
1. Music Chamber
2. The Institute of Tarot
3. 55 degrees North
4. The Tyne Bridge
54
THE INSTITUTE OF TAROT 55° NORTH BELL’S COURT
WORSWICK ST
VARIATION D: THE SHOW/STORE
55
THE TYNE BRIDGE
*
Pilgrim Street Elevation
Original Scale- 1:500
56
THE CASTLE OF THE SITE 55° N o r t h
1
55° North, providing luxury accomodation in the centre of Newcastle, is a symbol of achievement from its time. The building towers over the site as a castle towers over a city.
VARIATION D: THE SHOW/STORE
2 1. Architect’s drawing of 55° North Pilgrim Street elevation2. Relationship between site and 55° North
57
FORM AND CIRCULATION The Journey to the Castle
1
The form and circulation of the Tarot Institute was taken from the Incubator model and adapted to the site. Users journey through the building in order to view the ‘castle’. Diagram ‘1’ portrays the primary circulation of the building. Users of the building will usually follow this line, ascending through the building towards the castle. Along the journey, the user will pass a sequence of spaces influenced by the tarot cards.
2
1. axonometric primary circulation diagram 2. Relationship between circulation and 55° North
58
THE PROGRAMME T he Str ucture of the Tarot MAJOR ARCANA TAROT ANALYSIS AND ARCHITECTURAL SYNTHESIS The programme of the building was inspired by the three ways in which tarot cards might be used- fortune telling, academia and art. This allowed me to consider the users of the building and the possible spaces they might need. In order to organise the building, I applied the users of the building to the structure of the Tarot, which can be seen in the table. The Tarot is divided into two sections- the ‘Major Arcana’ and the ‘Minor Arcana’. The latter is then subdivided into four suits, which are connected to the four natural elements.
CUPS
Emotions Clerg y Intuition
PUBLIC
FORTUNE TELLERS
For tune Telling Rooms
Residential Spaces
Galler y Spaces
VARIATION D: THE SHOW/STORE
59
MINOR ARCANA
P E N TA C L E S
SWORDS
WA N D S
Matter
Intellect
Passion
Body
Mind
Creativity
EMPLOYEES
SCHOLARS
ARTISTS
Offices
Archive
Ar tists’ Workshop
Staff Room
Librar y
Conser vation/Preser vation
Physical Resources
THE PLANS (Original scale- 1:100) The diagram to the left shows the corresponding suit of each space. In the plans I have outlined which specific Major Arcana cards correspond with specific spaces Major Arcana Cups (Water) Swords (Air) Wands (Fire) Pentacles (Earth) Circulation
VARIATION D: THE SHOW/STORE
60
61
18.
17.
13.
14.
15.
12.
16.
1. 9 2.
3.
4. 5.
5.
5.
6.
1. Entrance- The Fool (0) 2. Reception- The Magician (1) 3. Fire Secured Staircase 4. Staff Storage/ First Aid 5. Offices 6. Managers’ Offices 7. Board Room 8. Workshop Storage 9. Designer’s Office 10. Workshop- insulated in order to absorb sound.
6.
7.
8.
11.
10.
11. Archive Storage 12. Plant Room 13. Mens Toilets 14. Womens Toilets 15. Sheltered Public Walkway 16. Staff Room 17. Permanent Exhibition- Fire- Fireplace which is visible from inside and outside heats the space 18. Permanent Exhibition- Earth
Ground Level Scale 1:200
*
62 10.
11. 16.
15.
14.
9.
8.
12.
13.
17. 18. 1.
4.
3. 2.
7.
5.
6.
4.
1. Accomodation storage 2. Fire Safe Staircase 3. Library 4. Scholar’s Research Rooms 5. Archive Reception 6. Conservation Room 7. Archive Storage 8. Mens Toilets 9. Disabled Toilets 10. Womens Toilets
Second Level Scale 1:200
11. Viewing Platform- View of the Tyne Bridge- a ‘castle’ of the city 12. Permanent Exhibition- Air 13. Permanent Exhibition- Water 14. Permanent Exhibition- Fire 15. Accomodation Kitchen 16. Accomodation Dining Room 17. Accomodation Guest Bathroom 18. Accomodation Entrance
6.
10. 9.
*
5.
7.
8. 3. 2.
2.
4.
1.
1. The Hermit’s Bedroom 2. Temporary Exhibition Space 3. Balconies overlooking ‘Air’ Section of Permanent Exhibition 4. Roof Terrace- The Lovers (6) 5. The High Priestess’ Reading Room- The High Priestess (2) 6. The Hierophant’s Reading Room - The Hierophant (5) 7. Permanent Exhibition- Major Arcana
VARIATION D: THE SHOW/STORE
8. Permanent Exhibition- Air 9. The High Priestess and Hierophant’s Quarter 10. Accomodation Storage
First Level Scale 1:200
*
63
1.
1. Hermit’s Reading Room- The Hermit (9)
Third Level Scale 1:200
*
Four th Level Scale 1:200
*
1.
1. The Cafe- The World (10)
64
PIGMENTED CONCRETE* Materiality COLOUR Green pigmented concrete forms the structural shell of the Tarot Institute. Intergral pigment is added to the cement mixture in order to colour the concrete before it is poured. The form of the building suits a concrete structure, however I was reluctant to extend the grey district that surrounds 55 degrees north. The warm, green colour is an attempt to move away from the cold, machine- made feel of the surrounding area. I also wanted to create a warmer environment within the building through the use of materiality. The concrete panelling that create the inner leaf of each wall is mostly green as well, however the cafe space, the northern wall of the roof terrace and the viewing platform are white.
Level 3- Polished
Level 2- Light Sandblast
TEXTURE The concrete is cast floor by floor. Each floor is then sandblasted or polished in order to represent the transition from the earthly realm to the divine realm, which takes place within the narrative of the Major Arcana. The diagram to the right portrays the transition from textured concrete on the ground level to smooth, polished concrete on the fourth level.
Level 1- Heavy SandblastUnexposed Aggregate
Ground Level- SandblastedExposed Low Aggregate
VARIATION D: THE SHOW/STORE
65
The cafe walls have white concrete panels which represents the destination of the building. The users of the space have journeyed from the earthly to the divine and have reached a space where they may closely view 55 degree North- the ‘castle’.
White Polished
The viewing platform and the roof terrace have white concrete inner leafs in order to reflect sunlight into the building.
66
T H E E X H I B I T I O N S PAC E Ascension The prints are exhibited permanently in the Tarot Institute’s central staircase. The spatial qualities of from the Incubator model have recreated in each segment according to their corresponding elements.
EARTH
Lowest level- ground level Low ceiling height Gravel beside the path Crooked path makes users more aware of where they are walking
*
VARIATION D: THE SHOW/STORE
FIRE
Heated by fireplace in wall Tall, thin semi- enclosed like a chimney Tall, thin window
WATER
Enclosed by walls High ceiling creates feeling of being unsheltered
AIR
Opening to viewing platform allows light into the space Viewing platform on level 2 allows users to view the space from the gallery
67
MAJOR ARCANA
The end of the journey through the gallery Leading up to the 2nd floor- transitioning from the earthly to the divine
1:100 Plan
VARIATION D: THE SHOW/STORE
The Minor Arcana
Collections of Spaces
70
THE SWORDS T he Tarot Scholars
TAROT ANALYSIS The swords symbolise intellect and the mind. The corresponding element is air.
ARCHITECTURAL SYNTHESIS Air fills a room, taking the scale of the room, rather than the human. The panels and windows relate to this. Furthermore, the large windows relate to the theme of intellect by creating large views of the outside world. Through observation of the world, the user of the space gains knowledge.
VARIATION D: THE SHOW/STORE
SPATIAL DESIGN Large, polished panels that relate to the scale of the room.
71
TECHNICAL DETAIL
Views/ Sight Gaining knowledge from the outside world
72
THE CUPS T h e Re s i d e n t Fo r t u n e Te l l e r s
TAROT ANALYSIS The cups symbolise emotions and intuition. The corresponding element is water.
ARCHITECTURAL SYNTHESIS Water is fluid and takes the shaped of the space it fills, however unlike air, it has a tactical quality. We need water for nourishment and hydration. The panels an window are thin and vertical. This is based on the idea of introspection and nourishing the soul.
VARIATION D: THE SHOW/STORE
SPATIAL DESIGN The panelling is constructed of timber blocks the size of bricks. The fluid pattern is carved by following the grain of the wood, just as water often follows the shape or pattern of its container.
73
TECHNICAL DETAIL
Instrospection Limited views Allows light in
74
T H E WA N D S The Artists
TAROT ANALYSIS The wands symbolise passion and creativity. The corresponding element is fire. ARCHITECTURAL SYNTHESIS Fire creates heat that rises. In the built environment, fire is usually associated with fire places and chimneys. The verticality of chimneys and wands influenced the panelling and windows of these spaces.
SPATIAL DESIGN The panelling is constructed of tall, thin wooden strips that resemble wands.
VARIATION D: THE SHOW/STORE
75
TECHNICAL DETAIL
Ver ticality Chimney/Wand
76
THE PENTACLES The Members of Staff
TAROT ANALYSIS The pentacles symbolise the body, matter and physical resources. The corresponding element is earth.
ARCHITECTURAL SYNTHESIS We perceive earth with our bodies, using all five senses. We can dig into it and build on it in order to create inhabitable spaces. The panels and window have been related to the size of the body and specifically the sense of touch.
SPATIAL DESIGN Taken from the music chamber, a series of square panels that vary in thickness create a series of ‘affordances’, such as a panel that creates a sitting space or a panel that creates a shelf space. The panels appear to have been carved out of the thick wall.
VARIATION D: THE SHOW/STORE
77
TECHNICAL DETAIL
Shape based on body measurements. Car ved out of the wall.
THE STAFF ROOM* Section 1:20
VARIATION D: THE SHOW/STORE
78
79
VARIATION D: THE SHOW/STORE
The Major Arcana
Individual Spaces
82
THE TOWER A Sudden Fall From Grace
ANALYSIS This card depicts the nightmarish scene of a tower being struck by lightning. A crown, symbolising power, is violently knocked off the top of the structure as those residing in the tower fall to the jagged rocks below. The Tower card symbolises a sudden ‘fall from grace’, which becomes a large turning point in the Fool’s life. From this stage, the Fool undergoes a period of slow, steady growth from which he will become stronger and wiser than before. From this card, I have taken the form of the tower and the sense of movement that comes with the card. The spatial qualities of the tower indicates a sudden change through the creation of juxtaposing spaces, similar to those within the Music Chamber.
VARIATION D: THE SHOW/STORE
* ARCHITECTURAL SYNTHESIS Form The form of the Institute, as previously mentioned comes from the Incubator. The tower has been reformed to appear to have been struck by lightning- crooked and leaning over the corner of Pilgrim Street. At the top of the tower, sits a lightning rod, forcing the scene to be replayed whenever lightning strikes Newcastle.
LOCATION AND CONTEXT The Tower in the Masterplan
The tower is placed on the corner of the former Bank of England site.Within the masterplan, this responds to the radical difference in height between 55 degrees North and the surrounding buildings. With a height of 22 metresbetween the 40m 55 degrees North and the 15m average height of the surrounding buildings, the tower reduces the severity of this height difference.
83
Ground Level Draft Plan Scale 1:100 SPATIAL DESIGN
The Sudden Fall From Grace Light and ceiling height is used inside the entrance to the tower in order to disorientate the Fool as he begins his journey through the building. In spaces, people are drawn towards light, so the Fool becomes confused by the space. Directly in front of him there is a shady entrance, which is not closed off, but appears to be out of bounds. To either side of the fool, light sources come from the reception desk and the entrance to the permanent exhibition space. The Fool is forced to stop and turn one way or the other before continuing his journey.
84
Tower Section Original Scale- 1-50
TECHNICAL DESIGN
85
T H E F O O L* The Front Door TAROT ANALYSIS The Fool, the main character of the Tarot, is depicted standing at the edge of a cliff, at the beginning of his journeyinnocent, without a care the world. The sun behind him represents the powerful and vibrant aura radiating from the Fool. The card represents beginnings, innocence and a clear conscience. As the Fool journey’s towards through the narrative of the Tarot, the users of the Tarot Institute journey through the site and building. The number of this card is 0, a circle which represents the beginning of a cycle, ARCHITECTURAL SYNTHESIS The front door to the Institute has two doors, seperated by the door frame, representing the entrance and exit- the beginning and end of the cyclical journey through the building. Above the door is a circular window, representing the numerology of the card. On a clear day, the sun shines behind the user. The door was influenced by the west entrance of Salisbury Cathedral.
VARIATION D: THE SHOW/STORE
86
87
*THE
MAGICIAN Reception
TAROT ANALYSIS The Magician stands behind a table with the objects of the four suits, surrounded by plants. He holds up a baton towards heaven and points with his other hand to the earth. The corresponding natural elements of the card are earth and air. The Magician is the second card in the Major Arcana, after the Fool. He represents the inception of an idea, before any action is taken. to move towards an achievement. ARCHITECTURAL SYNTHESIS The reception area is influenced mostly by the two corresponding natural elements- earth and air. I chose to use the ‘air’ window to create a brighter space that draws users towards it. The ‘earth’ cladding has been used to represent earth. The cladding was extended to form a desk, which represents the flowers that surround the magician. LOCATION AND CONTEXT The reception is located on the ground floor, next to the front door. it is one of the first things the user will see, which corresponds to the numerology of the card.
88
THE HERMIT Fo r t u n e Te l l i n g Ro o m SPATIAL DESIGN The window is designed to allow light in, but only permits a view outwards for one standing in the ‘reading’ space. Its sill is large, to allow the Hermit to spread his cards out on the sill to they absorb energy from the sunlight or moonlight. This is called ‘charging’ the tarot cards.
2
TAROT ANALYSIS The Hermit card depicts a tall, thin wise man in a cloak, holding a staff and a lamp to guide his way across the snowy peaks he is standing on. Often isolated from others, the wise man stands neutral in the war between good and evil. He has found peace, after travelling on a long spiritual journey. Numerologically, the card, number 9, represents nearing the end of a life cycle. ARCHITECTURAL SYNTHESIS The Hermit’s room is designed to fit his height, rather than the height of an average person. The lantern lights the fortune reading space. Those who visit the Hermit’s room must first pass through a sheltered exterior space and be partially exposed to nature (figure 1). LOCATION AND CONTEXT The Hermit’s room is located above the coffee shop at the highest point in the building, isolated, as he prefers to be, The room is situated near the end of the journey through the building, in response to the numerological significance of the card.
VARIATION D: THE SHOW/STORE
3
1
TECHNICAL DETAIL The concrete walls are cast to appear as if they have been carved out of stone and, where necessary, lined with timber. The materiality, like the Hermit, is humble. The steel beams that support the mezzanine floor have been placed within the seats of the fortune telling area in order to allow for more ceiling height in the cafe.
*
4
1. 1:100 model- exposure 2, 3, 4. 1:20 model- the reading room
89
The Hermit’s Room Scale- 1:20
THE HIGH PRIESTESS AND THE HIEROPHANT * Fo r t u n e Te l l i n g Ro o m s TAROT ANALYSIS The High Priestess and Hierophant might be decribed as the ‘divine parents’ of the Fool (card 0). There appears to be a dichotomous relationship between them. In the Original Rider Waite deck, they are the 2nd and 5th cards in the Major Arcana. The Hierophant is a holy man. The Original Rider-Waite depicts him as the Pope- one who receives authority from the divine. The card represents a father figure who rules by tradition, conventionalism and institutionalism. The High Priestess wears blue garments that seem to transform into water as they flow into the ground. Her crown depicts three phases of the moon. A curtain printed with pomegranates hangs behind her and two columns, one black and one white stand on either side of her. The card represents a mother figure who, unlike the Hierophant, rules by intuition and perception. ARCHITECTURAL SYNTHESIS Each card is full of symbolism, so I decided to use surface in order to translate the complexity of the cards into architectural form. The Hierophant’s room has been made to look like a stone temple. The High Priestess’ room has been designed in a contemporary fashion. LOCATION AND CONTEXT The reading rooms have been placed earlier in the building’s journey than the Hermit’s room, according to their numerology. The Hierophant’s room faces South West, allowing direct sunlight into the space. The High Priestess’ room faces North, allowing passive light into the space. This adds to the dichotomous nature of the spacessunlight contains masculine energy, moonlight contains feminine energy. TECHNICAL DETAIL The Hierophant’s room has been lined with concrete that has been lightly sandblasted and dyed to create the appearance of stone. The walls of the High Priestess’ room have been painted white and the floor, lined with timber. The celing materials correspond to the roofpart timber and part concrete. The columns in each room are non-structural.
VARIATION D: THE SHOW/STORE
90
91
SPATIAL DESIGN- THE HIEROPHANT The Hierophant’s room is lined almost entirely stone-like concrete, in correspondance with his card., which was inspired by stone castles and cathedrals. Three windows represent the Holy Trinity, in relation to the religious nature of the card. The windows are the same as those used in the ‘earth’ spaces, representing the Hierophant’s corresponding natural element. The back of his throne is lined with a rich, red resembling his robes, which was influenced by the tapestries that often lined stone castles.
SPATIAL DESIGN- THE HIGH PRIESTESS The High Priestess’ room was influenced by contemporary design. The walls, floor and ceiling are simple and clean-cut. I chose not to reveal the structure of the lower part of the ceiling in correspondance with this style. The throne has been created from smooth, polished marble and granite, influenced by the theme of water that runs the High Priestess’ card. The blue marble steps are influenced by her robes, that flow into the ground as water. The red granite behind her is in association with pomegranate seeds. The lighting and passive daylight from the windows is intended to give the room a cool glow, as if flooded by moonlight. The windows are the same as those used in the ‘water’ spaces, in relation to the theme of waterthe Priestess’ corresponding natural element.
92
THE WORLD The Cafe TAROT ANALYSIS The World card is the last card in the Major Arcana, bearing the number 21. It represents oneness with a person’s greater calling and the final state of cosmic consciousness. ARCHITECTURAL SYNTHESIS The cafe is white, with a tall ceiling and a large window, giving the largest, closest view of 55° North. This represents the state of cosmic consciousness. The windows allow views of the permanent exhibition, figure 1 (retrospection on the user’s journey) and the Tyne Bridge,figure 2 (another ‘castle’ to be journeyed to). In order to represent this state of oneness with the divine, the windows force a person to look down towards the earth, rather than the sky (the heavens) LOCATION AND CONTEXT The cafe is located in a high floor of the tower and is the closest room to 55° North that is accessible to the public. The high point allows extended view of the city. TECHNICAL DETAIL The cladding is designed to cover most of the structural elements of the space. White steel beams are exposed in the mezzanine floor above. The angularity of the front wall and the steel beams create a dynamic feeling in the space.
1. Retrospection- 1:20 detail
VARIATION D: THE SHOW/STORE
2. Another castle to be journeyed to- 1:20 detail
93
E N V I RO N M E N TA L S T R AT E G Y* H e a t i n g , Ve n t i l a t i o n a n d S o l a r S h a d i n g
THERMAL MASSING
Afternoon
Morning
Concrete structure is heated by sun rays throughout the day
VARIATION D: THE SHOW/STORE
Heat is released from the concrete in the evening
94
95
STACK VENTILATION
SOLAR SHADING
Summer
The central staircase and raised roof allows for stack ventilation. The cool air enters through the exterior openings in the building and passes through the openings, including doorways, balconies and wall openings on either side of the central staircase.
Winter
96
A C C E S S I B I L I T Y* D i s a b l e d A c c e s s a n d To i l e t s
Two elevators stand at each end of the building which allow the disabled to enter every section of the building with ease. Disabled toilets are situated on the ground floor and first floor of the Tarot Institute.
Disabled Routes Disabled Toilets
VARIATION D: THE SHOW/STORE
97
*
FIRE STRATEGY Fire Escapes
Three fire escapes are located on the ground floor. One in the tower (the front entrance), one in the hallway that exits onto Pilgrim Street and one in the workshop. The staircase in the tower is constructed of thick concrete walls, making it safe for use as a fire escape unit.
98
VARIATION D: THE SHOW/STORE
99
SECTION * LONG Scale- 1:100
The concept of journeying through a sequence of spaces began to form during the Primer project, which I then applied to a building design- the Music Chamber.
A sequence of juxtaposing spaces Variation A: The Primer Variation B: The Music Chamber
VARIATION A: THE PRIMER
THE PRIMER
‘Point against Point’
104
C O N C E P T UA L D E V E L O P M E N T Juxtaposition and the the ground The concepts for this project were influenced by the musical works of Karlheinz Stockhausen, who described contrapuntal music as ‘not melody against melody, but point against point’. By the word ‘point’ he was referring to a variety of musical elements, such as rhythm and texture. In the prime phase, I translated this idea of counterpoint into the common architectural term, ‘juxtaposition’ and explored this theme through a
VARIATION A: THE PRIMER
hole
in
series of models and drawings that studied certain types of juxtapositions at different scales. I mostly looked at juxtaposition in materiality, acoustics and, most importantly, narrative, which was significant to me because it includes the element of time. The model above influenced the idea for a performance space, which exists as a hole in the ground.
105
COUNTERPOINT: ‘A thing that forms a pleasing or notable contrast to something else’
CONTRAPUNTAL MUSIC:
‘Not melody against melody, but point against point’ - Karlheinz Stockhausen JUXTAPOSITION: ‘The fact of two things being placed close together or with contrasting effect’
Materiality
COUNTERPOINT
Acoustics
Narrative
106
VARIATION A: THE PRIMER
107
* S PAT I A L
D E V E L O P M E N T
Exploring Spatial Relationships After the conceptual stage, I began to test these architectural principles on two spaces- a performance space and a rehearsal space. The two rooms juxtapose by existing on different levels and containing contrasting material qualities. The model to the left describes the relationship between the performance space- which is the central inhabited space
in the model, and the related spaces, including the rehearsal space, which will inhabit the thick walls that surround the central space. The model was created by using a machince to carve a hole into a block of wood. The finished piece created a tectured, modular effect, which gave me the idea of using a timber cladding which could be inhabited.
108
STRUCTURAL DEVELOPMENT Concrete frame, timber lining
This model explored the theme of juxtaposition in several ways. First, the structural material, concrete, contrasts with the panelling, which is made of timber. The timber strips, of uneven thicknesses, was designed to absorb as much sound as possible, in contrast to the smooth, polished concrete shell, which creates an echoey
VARIATION A: THE PRIMER
space. Furthermore, I explored the idea of juxtaposition within a narrative by modelling the entrance to the space. Before entering the space, which is a deep hole in the ground, the users of the space only see the top half of the space, which has polished concrete exterior. Only when the space is entered, do the users see the full extents of the space.
109
110
VARIATION B: THE MUSIC CHAMBER
111
THE MUSIC CHAMBER
A Sequence of Juxtaposing Spaces
JUXTAPOSING ELEMENTS
THE OTANIEMI CHAPEL: HEIKKI + KAIJA SIREN The Otaniemi Chapel was my largest source of design inspiration when creating the Music chamber because of the sequence of spaces formed by careful use of materiality and scale. The chapel is entered through a small, dark space- seen in the photograph to the left.
VARIATION B: THE MUSIC CHAMBER
Once this space has been passed through, the users of the space discover a timber ceiling above walls and a large curtain wall above allows light to flood into the space.
112
113
The detailed narrative of the Otaniemi chapel served as a precedent to my design. A source of light at the end of an enclosed entrance draws the visitor into the church. Once inside, the visitor is perhaps surprised by the warm timber ceiling that forms a double-height space.
* My concept model inspired the layout of three masses that contrast in materiality and form. A surprise lies in wait within the concrete mass.
114
THE CIRCULATION
THE CHAMBER MUSIC HALL: ROBRECHT EN DA E M
VARIATION B: THE MUSIC CHAMBER
115
CIRCULATION MODEL SCALE 1:200 This sketch model explored the circulation of the chamber. All users enter the building through the reglit mass. The users then descent through the space until they reach the connecting circulation spaces that reside under the central path. The connection between the two spaces is only revealed once inside the building, or walking above the entrances.
THE CLADDING
C a r v e d f r o m a B l o c k o f Wo o d
VARIATION B: THE MUSIC CHAMBER
116
117
THE PLANS
Level 2
Scale 1:200
1
11 2
Level 1 1. Entrance Hall- Bright, open 2. Small, dark, echoey corridor 3. Music Chamber- wooden, carved, cave-like, large, tall 4. Long, thin corridor- concrete 5. Library 6. Recording Room- thick, insulated walls absorb sound 7. WC 8. Storage 9. Cloaks 10. Bar- carved, low ceiling
3
10
4 5
6
8
9
9
7
1
2
3
4
5 10 6 7 8 9
7
Level 1
Level 2 1. Entrance hall -Bright, open 2. Entrance to residency 3. Reglit wall allows views into music chamber while absorbing noise 4. Cloak Room 5. Utility Room 6. Storage 7. Study 8. Office 9. WC 10. Rehearsal Room 11. Exterior sheltered viewing platform
118
1
2
3
6
4
5
Level 3 1. Outdoor cinema- back wall is white to allow projection 2. Entrance Hall 3. Path over entrance to residential block 4. Kitchen/dining room 5. Living/ activities room 6. Green Roof creates public space
VARIATION B: THE MUSIC CHAMBER
119
1
2
3
4
Level 3 1. Bedroom 1 2. Bedroom 2 3. Bedroom 3 4. Bedroom 4
120
SECTION Scale 1:100 (Originally 1:50)
VARIATION B: THE MUSIC CHAMBER
121
REGLIT
Sound Absorption
A Day in the Life of an Architecture Student Charrette Week 2015
124
Mirror Mirror A Day in the Life of an Architecture Student Our Charrette project was based on the reflection and refraction of light. The installations created by the team formed a narrative of the life of the life of an architecture student: 1) The Inspiration Four mirrored cubes were placed around Newcastle in an attempt to reflect the skyline of the city. The architecture student sees the architecture of the city reflected in the upwards- facing surfaces of the cubes and is inspired. 2) The Process The architecture student is part of the studio’s community. Recycled offcuts of brightly coloured acrylic and objects used by this community during the processof design and production, such as UHU glue, sticky tape and stencils dangled in front of a projected video of the every-day life and the people of the architecture school. Just as all the elements of the school come together to form the department of Architecture, Planning and Landscape (APL), the light from the projector shines through the hanging objects, bringing their forms together to form the letters ‘APL’.
1) The Inspiration
2) The Process
125
3)The All-Nighter As the architecture student works laboriously through the night, cans and containers from energy drinks, junk food and the occasional can of beer accumulate as s/he brings the project together. The shadow forms of the recycled junk comes togeher to form the skyline of Newcastle, portraying the Angel of the North, St Nicholas’ cathedral, Grey’s Monument, the Sage, the Tyne Bridge, and Newcastle University’s Claremont tower. 4) The Deadline Each architecture student experiences deadlines differently. The two black boxes portray a good and a bad experience of this dreaded period of time. Mirrors have been placed inside the box, creating a sense of the infinite. Lighting and music creates ambience within each box.
3) The All-Nighter
4) The Deadline