ArchiGRAD 2013

URBANAMNESIA

Mariya Lapteva archiGRAD 2013

‘When architecture was interested in good things.’

Rem Koolhaas on Brutalism

Following the initial post-war depression in Britain, a modern and forward-thinking movement in architecture took over the country. Many of the new public buildings that were commissioned in the UK were designed in the Brutalist style, which at the time fitted with the excitement now taking over the country. An undeniably honest approach to architecture that demanded form follow function and avoided unnecessary flourishes. The Brutalist approach was all about showing off the materials from which the building was made (inevitably concrete), sharp angles, rough surfacing and exposed services.

Looking back to the 1950s and 60s, the undeniably modernist Brutalist style can be traced back to a number of factors; the post-war years signalled a new chapter in British history where the future was exciting, where technology was moving on apace, where the welfare state was providing care from cradle-to-grave and where rock’n’roll and fashion were dominating the headlines as Britain moved away from the war and was headed towards a brighter future. In addition to these, changes in building technology, most notably concrete technology, meant buildings could be erected swiftly and relatively cheaply compared with other more traditional construction methods.

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source of image: http://www.skyscrapercity.com/showthread.

Bank of England East Pilgrim Street, Newcastle upon Tyne

Brutalism can be recognised by its striking repetitive geometries, rough and blocky appearance, and a clear expression of the structural materials, mainly concrete, but also could be brick, glass, steel, rough-hewn stone and gabions. Very often evidence of the buildings functions can be seen from the exterior of the building.

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DECLINE

Seeing the success of Le Corbusier’s work in France, British architects took it upon themselves to revolutionize way of living.

With this revolution came problems in terms of theoretical design not translating well into practical living and working spaces and this seems to be the main issue with Brutalism over the years. Whilst offering a new, cleaner living space, the Brutalist tower blocks of the 1960s prevented human interaction that is so vital to all of us.

Another issue the style faced was the weather conditions in the UK. Contrasting the sun bathed examples of Brutalism in France, pioneered by Le Corbusier’s designs, the British concrete structures did not work well under the continual grey skies and drizzle. Structures started to look uncared for and shabby fairly quickly.

source of image: http://www.yomadic.com/communist-architecture-zagreb/

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source of image: http://en.wikipedia.org/wiki/File:GK%26C_St_Peter%27s_windows.

source of image: http://www.theguardian.com/society/2011/jul/30/rogue-landlords-housing-shortage-neglect-shelterjpg

our investigation

GROUP WALK AROUND NEWCASTLE impressions

As we walked around the Newcastle city centre, dominated mainly by Neoclassical architecture, we were looking for the concrete islands, largely ignored by the population of the city. The Brutalist architecture of Newcastle is rarely a positive topic amongst the city folk, but to us it presented unlocked potential. Following the typical Brutalist dogma: square, blocky shapes, elevation from the city level, truth to materials, they were also presenting evidence of bad weathering. Even though deemed ‘unfitting’ for the urban context and mostly destined for demolition, our group believes that even though unpopular, they can be renewed and reinvented for the new era. Taking example from the successful renovation of Swan house (now known as 55 degrees north), we believe that Brutalism in Newcastle still has a future and can be resurrected to be loved and cherished.

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A CITY OF SYNERGIES Historic Overview

During the twentieth century Newcastle witnessed a rapid expansion. Main contributors for the city’s prosperity were the shipbuilding industry and the coal industry, but between the wars, Newcastle was affected by the

The image below depicts the vision behind the All Saints Presinct building at its conception. The complex still stands today, but only 1 of the buildings is occupied.

trade depression. The inhabitants were mainly poor, and only during WWII did the city’s shipbuilding industry recover to build war machines. After the war, Newcastle witnessed the last successes of shipbuilding when overseas producers started to take over the market. During 1901 UK provided 55% of the worlds shipping, but by 1969s that percentage declined to only 15%. Employment was declining and population was growing.

The new motor traffic was presenting a problem for the city centre’s accessibility, and it was calculated that out of the 88,000 houses in the city 10,000 would have to be cleared and another 15,000 – refurbished. This created housing problems. A solution was found in the 1951 new development plan, approved in 1953. The city was to be brought up to be the regional capital. original drawing - Sir Basil Spence, http://www.skyscrapercity.com/showthread.php?t=982536&page=84

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source of image: http://www.ogs.on.ca/ogsblog/?p=3470

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3. source of image: http://www.flickriver.com/photos/uon/6356227481/ 1.

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3.

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source of image: http://www.ourworkinglives.org/archives/606

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4. source of image: http://community.newcastle.gov.uk/libraries/category/ events/local-and-family-history/

1950s view on Quayside Work at the shipyard Queen Elizabeth visits Newcastle Newcastle United 1955

A new motorway, linked to the city centre, new shops and offices, housing and education facilities were to be built. Speed was essential, and a factor was the shortage of land. This problem was seemingly solved by the technique of system built tower blocks. At the time Newcastle was described as the new Brazilia of the North. New housing, offices and roads were erected in the blink of the eye. Sandyford was cleared for a new educational ‘hub’ and became the Newcastle polytechnic, which now is Northumbria University. Only years later problems began as the new buildings started to fall out of favour. They were mainly disliked by older people, but by the late 1970s they were considered unkindly and imposing. The new image of the city was not loved.

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map: 1980s, including Brutalist buildings

MAPPING THE EXISTING

There are more than 30 remaining Brutalist buildings in Newcastle city cenre. Currently most of them are unloved and threatened with demolition. The map above depicts the period between 1970 and 1980, when most of them were built. et is a collage of various characters and ages. Its urban and built form is influenced by many different factors including historic context, topography, street patterns,

Pilgrim Street (depicted in yellow)

overview

Pilgrim street is of particular interest since in the 1960’s and 70’s there was a period of major interventions with the creation of the Swan House roundabout (depicted in green), Central Motorway East, the new Central Library, John Dobson Street and Durant Road. This involved the removal of the existing City Library and the truncation of Pilgrim Street towards the Tyne Bridge.

The street is a collage of various characters and ages. Its urban and built form is influenced by many different factors including historic context, topography, street patterns, block sizes and heights and public spaces.

Today it includes 1 scheduled monument (The Plummer tower), 12 listed buildings and 1 statutorily listed structure, as well as 20th century buildings, largely considered of ‘lesser or no architectural merit.’

source of image: http://www.skyscrapercity.com/showthread.php?p=64326629 View on Pilgrim Street 1965

source of image: http://www.skyscrapercity.com/showthread.php?p=28933334 original plan of the location

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Students Union

Timeline Jesmond Library

Rutherford College of Technology

Castle

Charles Trevelyan Technical College

Swan H

TTTV Studios

St Cuthbert’s Green Archibold House

Wellbar House

Hopedene Maternity Ho

Lightfoot Sports Centre

Gunner House

Percy House

Univercity Theatre Ethel Williams Halls

All Saints Office Precinct Physics Building

Newgate House

Central Library, Walsend

High Heaton Library

Ambulance Depot Agriculture Building

KEY: Commercial buildings

Montagu Court

Civic Centre

Residential buildings Public Buildings Educational Buildings demolished referbished

Kenton Estate Thompson House RH Patterson Garage

Claremont Tower

House

ome

Bank of England

Commercial Union House Newgate House Wesgate House

Manors Car Park Wesgate House

Gale Cross House

Salvations Men’s Palace

MEA house

demolishions

Leazes

Wellbar House

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BUILDING OF INTEREST

Commercial Union House, 39 Pilgrim Street

ST PIL GRI M

EET

STR

EET

KET

MAR

STR

EET

TR D S

HOO

The Commercial union house stands out with its typical Brutalist appearance amongst the neighbouring buildings. Built in 1971 it is a typical example of the era. Its prime location on a busy road right in the city centre could potentially mean a really successful and used building, but right now it is a thorn in the eye of the passer-by. The overhanging section of the Union house shelters a bus stop and entrances to commercial points, but creates an unpleasant and widely unloved space underneath. The building itself is offering office spaces for rent, but today it is mainly uninhabited, the back sections being used as storage.

COURTYARD

STORAGE

PILGRIM STREET

ST

TT

CKE

BLA

ST

STORAGE OFFICE COURTYARD

KITCHEN

PILGRIM STREET

ND RLA MBE THU NOR

DGE

BRI NEW

building of interest

The diagram above depicts the seventh floor plan from the Commercial Union House. A large part of the floor is used only as storage, and only the sunny part of the floor is occupied. page 16

Elevation of Commercial Union house in context

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A LOOK INSIDE

Apart from the art gallery located on the first floor of the building, the rest of the floors are privately occupied by people renting the spaces available. The inhabitants a solicitors office, a privately owned business and a community of artist. The building seems fragmented and separated with no communal area for all to share and enjoy, apart from improvised space arrangements on the floors occupied by the artists. A large section of each of the floors is used only as storage space, having forgotten items lying around. The ceilings are low and the plans are deep.

This creates a claustrophobic feeling for someone who is not used to the setting.

unattractive visual appearance

good location within the city

imposes on street no specific need of overhang

concrete frame, easy to modify

large unused spaces within weathering of material lack of communal events within major part of buildging faces a closed couryart no pleasant outdoor space for occupants to use

flat roof - potential for further development

When I talked with the inhabitants of the Commercial union house, one thing was apparent from all, solicitors and artists together – they all know each other, since they meet on the staircases and in the lifts, but it is also quite uncomfortable to go up and down the floors in the small spaces provided for circulation. The artists were clear about using the gallery, but it is also quite separated from the rest of the building. The need for a shared communal open and pleasant space is apparent.

spaces within

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DIAGRAMATIC SOLUTION

Following the observations on site, a need of an open and enjoyable space was established. Since the building is fragmented and gridlike, an appropriate solution would be to provide a vertical volume of light, which will break up the strict pattern of the elevation and the floors. This will give an opportunity to create shared public spaces and make a more exciting journey through the building.

Instead of the gallery, located only on one storey, it will be spread out vertically, so it provides a destination for the visitors, and will be reached by the artists on any level.

Fragmented, deep and dark

OPEN!

Conectivity/shared space

horizontality fragmentation

entrance

vertical connection a break within the grid

entrance

location of gallery

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public

private

private private

private

existing circulation movement

GALLERY

private - public

private - public

STREET

private - private

private - private

PRIVATE SECTION OF BUILDING proposed interaction spaces connection across existing private circulation proposed public circulation

The diagram above shows the proposed private-public relationship within the building. The proposal includes two types of social mixing spaces: private-private, located in the more private part, where the inhabitants have the chance to interact; and private-public, which is located on the side of the gallery, facing Pilgrim street. Since the gallery is spread out on all floors, this provides an opportunity for interaction and pleasant meetings all throughout the building not only between inhabitants, but also with the visitors.

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Model 1:200

Elevation study

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APPROACHING...

A LOOK UP

The image on the left depicts a view from ground level of the proposed atrium space. It becomes the desired connector and boundary between the public and private parts of the building. It provides room for interaction and brings light into the previously described dark and deep spaces. The public staircase provides views over the ‘vertical gallery’ and the more private part of the interaction space, which is located deeper in the building, not visible from street level.

Creating vertical visual connection between visitors and inhabitants of the building.

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PROPOSED INTERIOR SPACES

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