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
1.
3. source of image: http://www.flickriver.com/photos/uon/6356227481/ 1. 2. 3. 4.
source of image: http://www.ourworkinglives.org/archives/606
2.
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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