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Ethan James Medd Newcastle University Part I Portfolio ‘St James’ Station’ 2019-2020 [UG]

CONTENTS CHARRETTE PRIMER

6-11 12-37

Tate Modern - Exemplar Study Baltic Life - Development Aesthetic Baltic Life Graphic Novel Thanks to Luke Rigg and Kieran Connolly for spending the time to get to know us and to work through obstacles throughout the year. I’ve really appreciated it.

FIELD TRIP

38-41

Field Diary CASE STUDY

42-47

Building Case Study: Everyman Theatre, Liverpool STAGING

48-91

‘Excess’ Magazine TTMW

92-99

Thinking Through Making Week Project REALISATION

100-121

Language Development ‘Dicke’s’ Material Catalogue Precedent Study: ZKM Competition (1989) Theory into Practice (ARC3015) Early Design Development Precedent Study: Foundazione PRADA (2015) SYNTHESIS BIBLIOGRAPHY

158

CULTURAL BIBLIOGRAPHY

159-165

APPENDIX

166-167

New/Improved Work

122-157

ST JAMESâ&#x20AC;&#x2122; STATI BALTIC BALTIC LIFE LIFE

50 40

3.61

This raises the question, in an area so cynically designed, where is oneâ&#x20AC;&#x2122;s identity in this place, and how do they feel a sense of purpose here.

65 45

There is a Japanese concept and philosophy known as Ikigai, which means â&#x20AC;&#x2DC;reason for beingâ&#x20AC;&#x2122;, and translates as â&#x20AC;&#x2DC;thing that you live forâ&#x20AC;&#x2122;. It is the parts of oneâ&#x20AC;&#x2122;s life that makes it worthwhile. It is the reason why none gets up in the morning, and gives them a sense of purpose in their lives. Ikigai is not based on the financial circumstances, it is independant, and concerns oneâ&#x20AC;&#x2122;s spritiual and emotional state: even if someone is not in the emotional or spiritual space they want to be, there is an aim guided by Ikigai that pushes them on.

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How much does the Baltic Triangle manage to fulfill oneâ&#x20AC;&#x2122;s purpose?

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In the creative hub of Liverpoolâ&#x20AC;&#x2122;s Baltic Triangle, Cargo Building...

The Baltic Triangle is the creative artisan district of Liverpool. It is home to some of Liverpoolâ&#x20AC;&#x2122;s newest hoising and community developments, some public, most not. The area has been somewhat seized by neo-liberal planning agendas, and profitably overpriced developments. In order to attract the creatives and artisans to the area, developers have constructed a designers paradise of OSB cladded interiors, with unshaded hanging lights and recycled stools.

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The grind never ends

Enjoy an enriching culture at the local independant music venue

How many times have you seen them?

Seen â&#x20AC;&#x2DC;em live

Whatâ&#x20AC;&#x2122;s that?

Itâ&#x20AC;&#x2122;s an independant music venue in a reused warehouse! Read 20:09

Twice, but they were rubbish the first

iPhone 11 128GB, Black ÂŁ779.00

IKEA FEJKA Plant ÂŁ4 for 2

Seychelles

â&#x20AC;&#x2DC;Land on the west side of Sefton Street, Liverpoolâ&#x20AC;&#x2122; [2007] RODDINGTON INVESTMENTS Ltd. ÂŁ1,909,375 incVAT

Belize

â&#x20AC;&#x2DC;Land and buildings on the west side of Jamaica Streetâ&#x20AC;&#x2122; [2010] CABAL Ltd

Isle of Man

â&#x20AC;&#x2DC;Land on the tsouth west side of St James Street, and the north east side of Jamaica Streetâ&#x20AC;&#x2122; [2011] FRINGEWOOD Ltd. ÂŁ225,000 exVAT

IKEA MALM Bed ÂŁ400

John Lewis Alarm Carky Green ÂŁ10

Duenelm Fulton 2 Drawer Bedside Table ÂŁ79

IKEA MALM Draws ÂŁ200

WHAT YOU LOVE MISSION

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...I worked there when we made clothes, not sold them!

Audi A1 Sportback Firmament Blue ÂŁ18,435

-3.04

The project had three key focuses, that were researched and understood over the year, and it was the purpose of the building to take these ideas and to apply them to a building.

The SYNTHESIS of this project is forged out of these investigations and research and is where the three meet. It sits at the precipice of the triad: it is built out of the aesthetic vernacular of the area; filled with the privately funded junk programs of the area, with fictional themes; and fits in with the illusion of giving people a lifestyle to buy into. The project emphasises and specifies what the triangle already is by building in the vernacular it has defined for itself.

-3.0

AREA LANGUAGE [REALISATION] The area has a specific language, it is torn between an old Victorian Gothic Heritage and a rustic start-up style. I wanted to focus the research into these two styles and spent time looking into the material palette that the start-up style thrives on as well as the historical sense that the area has capitalised on. There is a clear dichotemy between the two but the area attempts to marry them in an unfriendly sense. This material palette became the CLADDING for the building.

30 33 .9

21 20 .5

In order to study these ideas in depth, I looked initially at Jean Baudrillardâ&#x20AC;&#x2122;s writings on simulation and Hyper-reality, specifically at his seminal book on the matter, â&#x20AC;&#x2DC;Simulation and Simulacraâ&#x20AC;&#x2122;. This was helpful in understanding the site, but in retrospect it was useful for the site, but not as useful for designing. I looked also into Bernard Tschumiâ&#x20AC;&#x2122;s writings and thought about how to create a series of â&#x20AC;&#x2DC;eventsâ&#x20AC;&#x2122; to make up a building. That lead me to look at the Zentrum fur Kunst und Medientechnologie (ZKM) and the proposals for this project by OMA and Bernard Tschumi. I had intended for the ideas of Events and Hyper Reality to come together and use the typology of the competition as a key for this. This research was beneficial to researching the site, but not so helpful in designing. Looking into OMAâ&#x20AC;&#x2122;s Prada Foundation was key to the direction I decided to make, and buildings such as Villa Dallâ&#x20AC;&#x2122;Ava, by Rem Koolhaas were helpful in thinking about how material properties and traits can portray an area and how these simulative qualities of materials can lead to betray the message they wish to communicate. The signifier of what certain materials said to someone are vastly different to that which they actually mean or what is signified. This confusion between signifier and signified is ultimately at the heart of Baudrillardâ&#x20AC;&#x2122;s ideas, and so the project was able to link back to those ideas and the site.

INWARD INVESTMENT [STAGING] The area is almost completely artificial, relying on investment from external sources to prop it up, and it is sold as such. The area is nearly completely reliant on off-shore investors, who never come to the area to look at it, leading to buildings being built and neglected or half constructed due to lack of funding. This was an interesting situation, and so for Staging I created a magazine that would look into the inward investment of the area, including off-shore investment as well as building programs like restaurants and bars that were disguised under fictional events, like a â&#x20AC;&#x2DC;Yellow Submarineâ&#x20AC;&#x2122; and â&#x20AC;&#x2DC;Black Pearlâ&#x20AC;&#x2122; bars. This investment became the PROGRAM of the building

-3.0

LIFESTYLE [PRIMER] For Primer, I focused on the Japanese idea Ikigai, which seeks to look at how ones identity can be fulfilled, and how well the Baltic Triangle as an area supplies this idea of fulfilment to a place. The Baltic Triangle sells a lifestyle to people that they can consume and have. I looked at how the area does this through a graphic novel, following the day in the life of its residents to fully examine the lifestyle that is sold to them. This lifestyle became the selling point of the building.

he project over this last year has been centred in Liverpoolâ&#x20AC;&#x2122;s Baltic Triangle, and has fundamentally focused on looking beneath the surface of this area, and attempted to identify its character and dissect the qualities of the area to study them and design something out of the area. My research into the area has taken me down a lot of disperse paths, some with dead-ends and some with interesting results. The key focus of the project has always been to research why the area of the Baltic Triangle has a cold, empty and almost isolating feel to it. It was my ambition with this project to design a building thatâ&#x20AC;&#x2122;s sole purpose was to look at the properties of the site and use the vehicle to greater understand the way the area works.

â&#x20AC;&#x2DC;The Artisanâ&#x20AC;&#x2122;, Jamaica Street is so lively and creative

REFLECTIVE REPORT

20 16

Isle of Man

â&#x20AC;&#x2DC;Land on the south-west side of Grenville Street Southâ&#x20AC;&#x2122; [2012] ILIAD COSGROVE Ltd.

Guernsey

â&#x20AC;&#x2DC;Downing Student Accommodation [2013] DOWNING STUDENTS (SCANDINAVIAN LIVERPOOL) NOMINEE LIMITED ÂŁ2,000,000

Isle of Man â&#x20AC;&#x2DC;153, and 155 Duke Street and 70 Liverpoolâ&#x20AC;&#x2122; [2007] MONTAGUE VENTURES LIMITED ÂŁ1,300,000

Seychelles â&#x20AC;&#x2DC;55 Henry Street, Liverpoolâ&#x20AC;&#x2122; [2006] CIRCLE DEVELOPMENTS LIMITED Gibraltar â&#x20AC;&#x2DC;West side of Argyle Street, Liverpoolâ&#x20AC;&#x2122; [2010] ZAGORA MANAGEMENT LIMITED Isle of Man â&#x20AC;&#x2DC;The IBIS Hotelâ&#x20AC;&#x2122; [2009] EQUIOM TRUST COMPANY Ltd.

ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO

ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO

ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH • ECO BENCH

Charrette is a week that takes place annually at Newcastle University in the Architecture School. Stages are split up between years to work collaboratively on projects that look at the broader discipline of architecture and art. It’s an unassessed project that encourages students to work in ways they wouldn’t have previously thought about, with stages that they wouldn’t normally get the chance to work with, and develop ideas for the year ahead. It is a good chance to come up with designs that there is no pressure on working well with, as well as building using the workshop, assisting with future building and construction skills. It also helps with building on teamwork skills. This year, I was in a group focusing on garden furniture, particularly garden furniture a local school. I was in a group with other years and worked together to design and build a bench that could be used practically. Chillingham Road Primary School in Newcastle is situated next to a busy road that produces vast amounts of pollution. The task was to come up with a piece of garden furniture that might mitigate some of the oncoming pollution in the area and make something that the pupils at the Primary School to use.

The design that we came up with involved a bench that would be a place for the pupils to sit, but with a back that would have the capacity to hold plants that might protect students from the busy road parallel to the school. The idea was that having a back to the bench that is filled with plants, might reduce the pollution that passes through the air into the school. I have done Charette every year at Newcastle, and it is a great way to have a go at designing and building in the school without an end: just to build skills. It is a really helpful way start to the year.

DESIGN & BUILD

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1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 1 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 • 2 •

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TE & DEVELOP • SITE & DEVELOP • SITE & DEVELOP • SITE & DEVELOP • SITE & DEVELOP • SITE & DEVELOP • SITE & DEVELOP • SITE & DEVELOP • SITE & DEVELOP • SITE & DEVELOP

3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 3 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4 • 4

MADE FOR CHILLINGHAM ROAD PRIMARY

ECO OUTDOOR FURNITURE 10

PRIMER

TATE • TATE • TATE • TATE • TATE • TATE • TATE • TATE • TATE •

生き甲斐

any character or identity, as it tries to plagiarise the cities culture and pass it off for financial gain. Taking this theme of a place which lacks character and identity, my Primer focused around a way of illustrating this social situation. I chose to create a comic strip, that might satirise the key features of the Baltic Triangle and attempt to criticise its lack of place. This involved looking at the key bars and cafés that are dotted around the Baltic Triangle, and recreate them in a comic style. The Baltic Triangle’s Yellow Submarine Bar, featured in the comic highlights this concept particularly well, as it attempts to literally translate an aspect of Liverpool’s culture into a built form, and use that as financial gain.

There was two key tasks that were asked to look into for Primer in our specific studio. First, we were asked to investigate a current building, and to think about the key qualities of a certain space in that building. I Chose to look at the qualities of the Tate Modern in London Southbank. Secondly, we were asked to come up with a celebratory piece that would look into a particular aspect of the Baltic Triangle that we wanted to look into. I wanted to look into the idea of lifestyle, and wanted to look at making a graphic novel to study this, using representation used in the Tate study. I felt from our first visit during Primer that the place lacked substance of character, it cynically takes Liverpool’s rich and developed culture and attempts to monetise it. This has meant that the area itself doesn’t have

In so studying the socio-economic effect of the Baltic Triangle via this narrative, it gave me a springboard to pursue study into other ways to look at the place and see it (and criticise it) from different angles.

BALTIC LIFE • BALTIC LIFE • BALTIC LIFE • BALTIC LIFE • BALTIC 12 12

BALTIC LIFE • BALTIC LIFE • BALTIC LIFE • BALTIC LIFE • BALTIC

For Primer, we were asked to focus on our site in Liverpool’s Baltic Triangle, and find an avenue to analyse its features. The Baltic Triangle itself is modelled on Brixton’s regentrification, and with a rise in developments in the area, and its close proximity to the Albert Docks, it is quickly becoming one of the most expensive places in Liverpool to both live and visit.

BALTIC LIFE • BALTIC LIFE • BALTIC LIFE • BALTIC LIFE • BALTIC

TATE

TATE • TATE • TATE • TATE • TATE • TATE • TATE • TATE • TATE •

TATE

TATE • TATE • TATE • TATE • TATE • TATE • TATE • TATE • TATE •

TATE

TANK • TANK • TANK • TANK • TANK • TANK • TANK

INSTALLATION & PERFORMANCE

The tanks provide a permanent gallery for live art, er or a e a l at t e ate. rev o ly, t e ta a ee e to tore o l w e t e gallery wa a ower tat o . ey reta t e r r t , raw, tr al eel g. e tra t o al or wor t at wa t ere e ore reta e a eve t e ar g o t e r ll w ere wall ave ee e te . a a e t ey are art larly tere t g a t ey are large a o e a ay e e or lt le ro e . ey are ar a t ate e a e o t e concrete and history, yet they are also incredibally large w reate a tere t g xta o t o w ere yo o t te eel t e ze o t e a e e a e o t e e l g e g t a ater al ty o t e a e.

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THE TANKS

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AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO • AXO

PRIMER

LIFE BALTIC

BALTIC BALTIC BALTIC LIFE LIFE LIFE 生き甲斐 SAMSUNG UA49K5570AU 49”LED HD TV £489

IKEA: SMÅRASSEL Box with lid, White £1.50

IKEA: JOKKMOKK Table and 4 chairs £90

In the creative hub of Liverpool’s Baltic Triangle, Cargo Building...

Yeah, its such a great cultural reference, I heard John and Paul worked here

Coca-Cola 1 Pint £5

Which of these things best defines me?

IKEA 3-seat sofa, Gräsbo black-blue £595

The grind never ends

a IKEA: STOENSE Rug, low pile £35

‘The Artisan’, Jamaica Street is so lively and creative

Love the authentic and rustic SB vibe of this place

You just don’t get coffee like this anywhere else

...I worked there when we made clothes, not sold them!

Estate Espresso Single-origin Sidamo Guji region of Ethiopia £9.89 (M)

That’s what makes us so uni ue

Healthy, low-fat, carb free diets

a Lo-Carb

Vegan

Low MSG Gluten Free

IKEA FEJKA Plant ÂŁ4 for 2

Creative

John Lewis Alarm Carky Green ÂŁ10

IKEA MALM Bed ÂŁ400 Duenelm Fulton 2 Drawer Bedside Table ÂŁ79

Locally Sourced

Apple Watch Series 5, 40mm Stainless Steel Sport Band ÂŁ699

How many times have you seen them?

Seen â&#x20AC;&#x2DC;em live

IKEA MALM Draws ÂŁ200

Whatâ&#x20AC;&#x2122;s that? Itâ&#x20AC;&#x2122;s an independant music venue in a reused warehouse! Read 20:09

Twice, but they were rubbish the first

iPhone 11 128GB, Black ÂŁ779.00 WHAT YOU LOVE

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Zoe gets ready in her apartment of things that she feels best express her personality and creativity.

SAMSUNG UA49K5570AU 49â&#x20AC;?LED HD TV ÂŁ489

IKEA: SMĂ&#x2026;RASSEL Box with lid, White ÂŁ1.50

IKEA:VIMLE 3-seat sofa, GrĂ¤sbo black-blue ÂŁ595

IKEA: JOKKMOKK Table and 4 chairs ÂŁ90

In the creative hub of Liverpoolâ&#x20AC;&#x2122;s Baltic Triangle, Cargo Building...

EVELOPMENT

The Cargo Building

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BALTIC LIFE

9:28am in the creative hub of Liverpool, Baltic Traingle.

IKEA: STOENSE Rug, low pile ÂŁ35

SAMSUNG UA49K5570AU 49â&#x20AC;?LED HD TV ÂŁ489

Which of these things best defines me? IKEA:VIMLE 3-seat sofa, GrĂ¤sbo black-blue ÂŁ595

IKEA: JOKKMOKK Table and 4 chairs ÂŁ90

IKEA: SMĂ&#x2026;RASSEL Box with lid, White ÂŁ1.50

IKEA: STOENSE Rug, low pile ÂŁ35

â&#x20AC;&#x2DC;The Artisanâ&#x20AC;&#x2122;, Jamaica Street is so lively and creative

alking down the street thereâ&#x20AC;&#x2122;s such a bu of energy and creativity. Itâ&#x20AC;&#x2122;s all so uni ue and independant.

Audi A1 Sportback Firmament Blue ÂŁ18,435 You just donâ&#x20AC;&#x2122;t get coffee like this anywhere else

...I worked there when we made clothes, not sold them!

Estate Espresso Single-origin Sidamo Guji region of Ethiopia ÂŁ9.89 (M)

Yeah, its such a great cultural reference, I heard John and Paul worked here Coca-Cola 1 Pint ÂŁ5

Healthy, low-fat, carb free diets Lo-Carb

Vegan

Low MSG

ÂŁ699

Caro Building GYM ÂŁ35.00 p/month The grind never ends

Enjoy an enriching culture at the local independant music venue

iPhone 11 128GB, Black ÂŁ779.00

How many times have you seen them?

Twice, but they were rubbish the first

iPhone 11 128GB, Black ÂŁ779.00

IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI •

IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI

IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI •

LIFESTYLE In order to examine the lifestyle of the area, the focus of the graphic novel was around fulfilment and the idea of Ikigai; a Japanese idea that centres around ones purpose, love and enjoyment, and supposedly once these things line up then the person is finally fulfilled. I lined these ideas up against different parts of the Baltic Triangle area, placing their ‘home’ in the infamous Cargo Building of the area: a basitan of offshore investment and low quality building. Their purpose loosely revolved around getting coffee and attending concerts, questioning at the end of it all how good that really was. This idea slightly played off the 1996 Danny Boyle film, ‘Trainspotting’ and its slogan, ‘Choose Life’ which would seek to demonize the banality of typical day to day activities that ultimately lead to death. This is where the title of the piece came from, ‘Baltic Life’.

IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI • IKIGAI

The graphic novel was a way to experiment with different mediums of architectural representation and examination, and so the goal was to use typical architectural methods and use them to communicate the graphic novel. I spent time thinking about which would communicate an idea best, and experimented with scale of the relationship between these events with maps beside them. Each window ranging from a 1:1250 view, to a 1:5 view, and this variation in scale and style vary the view of the place and shows a diverse range of actions without focusing on any specifically.

SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH •

SICK BOY (T2) 32

SE LI E.

SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH •

REPRESENT

SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH • SKETCH •

PRIMER Section Study In the early phases developing the graphic novel, the focus was on using a variety of architectural styles (axos, plans, sections, perspectives) to show the different scenes, with ranging variety and over different scales. This meant that I was able to practice drawing and developing a more detailed style to help with later development outputs. The example to the right illustrates a section, looking into someone’s room; on a deeper level, it almost examines the intimacy of a section, and how it can both reveal use that is wanted to be seen but also use that people would wish to be left out.

SECTION • SECTION • SECTION • SECTION • SECTION • SECTION • SECTION • SECTION •

REPRESENTATIONAL DEVELOPMENT

SECTION • SECTION • SECTION • SECTION • SECTION • SECTION • SECTION • SECTION •

SECTION • SECTION • SECTION • SECTION • SECTION • SECTION • SECTION • SECTION • SE COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR •

Draft Drawn Development

Initial Computer Draft

COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR •

Colour Study Colour was strongly experimented with until an ideal set of tones was found that could work together. This image to the left and the experimentation to the left were part of the same draft which used sickly overly exacerbated colours which were sore on the eyes and didn’t have the technical impression that would have been desired in my design. The goal was to keep the sections and elevations the same as they worked well illustrating scenes I needed, without too much change or improvement. The stark issues were that of colour, lighting and inhabitation.

COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • COLOUR • LIGHT • LIGHT • LIGHT • LIGHT • LIGHT • LIGHT • LIGHT • LIGHT • LIGHT • LIGHT • LIG

Estate Espresso Single-origin Sidamo Guji region of Ethiopia £9.89 (M)

Lighting Study

Experiment in Colour

Final Design Style

By the final style, colour had more or less been ironed out, with dark blues, muted greys and a single tone of red and a single tone of yellow. These yellow and red contrasted well with each other and against the dark blue. Lighting was important, as the goal of this graphic novel was to fully study the site and the spaces in it, and how light entered was a key part of that. This scene was based in the Cargo Building, with long corridors and small windows, close to busy docks, so capturing this was important part of the studies. The yellow glow against her face resembles the light off a screen.

LIGHT • LIGHT • LIGHT • LIGHT • LIGHT • LIGHT • LIGHT • LIGHT • LIGHT • LIGHT •

BALTIC BALTIC LIFE LIFE

ç&#x201D;&#x; ă ? ç&#x201D;˛ ć&#x2013;?

CONCLUSION AND EXHIBITION

In the creative hub of Liverpoolâ&#x20AC;&#x2122;s Baltic Triangle, Cargo Building...

This raises the question, in an area so cynically designed, where is oneâ&#x20AC;&#x2122;s identity in this place, and how do they feel a sense of purpose here. There is a Japanese concept and philosophy known as Ikigai, which means â&#x20AC;&#x2DC;reason for beingâ&#x20AC;&#x2122;, and translates as â&#x20AC;&#x2DC;thing that you live forâ&#x20AC;&#x2122;. It is the parts of oneâ&#x20AC;&#x2122;s life that makes it worthwhile. It is the reason why none gets up in the morning, and gives them a sense of purpose in their lives. Ikigai is not based on the financial circumstances, it is independant, and concerns oneâ&#x20AC;&#x2122;s spritiual and emotional state: even if someone is not in the emotional or spiritual space they want to be, there is an aim guided by Ikigai that pushes them on. How much does the Baltic Triangle manage to fulfill oneâ&#x20AC;&#x2122;s purpose?

Which of these things best defines me?

SAMSUNG UA49K5570AU 49â&#x20AC;?LED HD TV ÂŁ489

IKEA:VIMLE 3-seat sofa, GrĂ¤sbo black-blue ÂŁ595

IKEA: JOKKMOKK Table and 4 chairs ÂŁ90

IKEA: SMĂ&#x2026;RASSEL Box with lid, White ÂŁ1.50

IKEA: STOENSE Rug, low pile ÂŁ35

PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT

PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT â&#x20AC;˘ PRESENT

â&#x20AC;&#x2DC;The Artisanâ&#x20AC;&#x2122;, Jamaica Street is so lively and creative

Audi A1 Sportback Firmament Blue ÂŁ18,435 You just donâ&#x20AC;&#x2122;t get coffee like this anywhere else

...I worked there when we made clothes, not sold them!

Love the authentic and rustic OSB vibe of this place

Thatâ&#x20AC;&#x2122;s what makes us so unique

Yeah, its such a great cultural reference, I heard John and Paul worked here Coca-Cola 1 Pint ÂŁ5

Healthy, low-fat, carb free diets

a Lo-Carb

Vegan

Low MSG

Gluten Free

a Apple Watch Series 5, 40mm Stainless Steel Sport Band ÂŁ699

Caro Building GYM ÂŁ35.00 p/month

The grind never ends

Enjoy an enriching culture at the local independant music venue

How many times have you seen them?

Seen â&#x20AC;&#x2DC;em live

Whatâ&#x20AC;&#x2122;s that? Itâ&#x20AC;&#x2122;s an independant music venue in a reused warehouse! Read 20:09

Twice, but they were rubbish the first

at the site as a whole, and choose to zoom in and focus on a specific area. It also gave me scope to look into most areas at a later date that I might find interesting.

iPhone 11 128GB, Black ÂŁ779.00

The focus on lifestyle was key to this project, and the use of multiple tiles was important to create a series of vignettes that culminate to tell a story.

IKEA MALM Bed ÂŁ400

This raises the question, in an area so cynically designed, where is oneâ&#x20AC;&#x2122;s identity in this place, and how do they feel a sense of purpose here.

Carky Green ÂŁ10

Duenelm Fulton 2 Drawer Bedside Table ÂŁ79

IKEA MALM Draws ÂŁ200

Ikigai is not based on the financial circumstances, it is independant, and concerns oneâ&#x20AC;&#x2122;s spritiual and emotional state: even if someone is not in the emotional or spiritual space they want to be, there is an aim guided by Ikigai that pushes them on. Something that is counter-cultural to the circumstance of the area. The final graphic novel was printed on a 420mmx1800mm banner that was part of an exhibition with the rest of the Primer presentations of the studio, all researching and looking into an aspect of the Baltic Triangle that they found interesting at whatever scale and across whatever medium they chose. I was interested in using the medium of a graphic novel since it gave me the ability to look

WHAT YOU LOVE MISSION

PASSION

Estate Espresso Single-origin Sidamo Guji region of Ethiopia ÂŁ9.89 (M)

ç&#x201D;&#x;ă ? ç&#x201D;˛ć&#x2013;? PROFESSION

VOCATION

WHAT YOUâ&#x20AC;&#x2122;RE PAID FOR

BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUE

WINTER GARDEN • WINTER GARDEN • WINTER GARDEN • WINTER GARDEN • WINTER GARDEN • WIN

PADDY’S WIGWAM • PADDY’S WIGWAM • PADDY’S WIGWAM • PADDY’S WIGWAM • PADDY’S WIGWAM

This not only included looking at the styles and way these buildings were made, but also examining how they functioned as places. Some were run from local business sources, taking money from charity and local interest in order to run as community projects, while others were corporately owned and ran multiple conglomerates working under a shared roof. We were asked to examine these places and think about how we could include the way these places were run and created and to think about how they can be made and included in our own projects.

PADDY’S WIGWAM • PADDY’S WIGWAM • PADDY’S WIGWAM • PADDY’S WIGWAM • PADDY’S WIGWAM

PADDY’S WIGWAM • PADDY’S WIGWAM • PADDY’S WIGWAM • PADDY’S WIGWAM • PADDY’S WIGWAM •

As part of the year we went on a course trip as studios to our site, in Liverpool as well as to Turin in Italy. Two industrial cities which have been a part of the backbone to their countries modern success. This trip involved looking at the different architecturally significant places that the cities had and had a focus on looking at buildings not normally looked at by tourists and examining their qualities.

WINTER GARDEN • WINTER GARDEN • WINTER GARDEN • WINTER GARDEN • WINTER GARDEN •

We left Newcastle early Sunday morning to arrive in Liverpool and have a look around our sites and the Baltic Triangle specifically. We then spent Monday looking at Liverpool as a wider city and looking at small new projects as well as bigger and older projects. On the Monday we looked at Assemble‘s Winter Garden and the Liverpool Catholic Cathedral, often dubbed ‘Paddy’s Wigwam’ and the Bluecoat museum and workspace that had previously operated as a school and orphanage.

BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUE WINTER GARDEN • WINTER GARDEN • WINTER GARDEN • WINTER GARDEN • WINTER GARDEN •

WINTER GARDEN • WINTER GARDEN • WINTER GARDEN • WINTER GARDEN • WINTER GARDEN •

MONDAY 25TH

BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUECOAT • BLUE

TUESDAY 26TH

Tuesday was dedicated to getting to Turin from Liverpool, we travelled to Manchester to fly to Turin, to get to Milan Bergamo airport and then get to Turin from there.

VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA

THURSDAY 28

On the Thursday we had a tour guide from the Turin Polytechnic around the architectural significant places and buildings that Turin has. This included the Teatro Regio Turin’s Theatre, Torino Esposizioni a former Fiat showroom and the old Fiat factory, where we were able to sit on the roof.

TORINO ESPOSIZIONI • TORINO ESPOSIZIONI • TORINO ESPOSIZIONI • TORINO ESPOSIZIONI • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FAC

FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FAC FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FAC TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO •

PARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO

PARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO •

BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO •

ALPES • ALPES • ALPES • ALPES • ALPES • ALPES • ALPES • ALPES • ALPES • ALPES • ALP BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGPARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO

TORINO ESPOSIZIONI • TORINO ESPOSIZIONI • TORINO ESPOSIZIONI • TORINO ESPOSIZIONI • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FAC FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FAC

On the Wednesday of arriving in Turin, we looked at various start up businesses and community projects and were given tours around them to look at how they operate and work.

TORINO ESPOSIZIONI • TORINO ESPOSIZIONI • TORINO ESPOSIZIONI • TORINO ESPOSIZIONI •

TORINO ESPOSIZIONI • TORINO ESPOSIZIONI • TORINO ESPOSIZIONI • TORINO ESPOSIZIONI • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA

WEDNESDAY 27TH

VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA BALTIA • VIA

ALPES • ALPES • ALPES • ALPES • ALPES • ALPES • ALPES • ALPES • ALPES • ALPES •

BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERG

LIVERPOOL & TURIN

TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO •

BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO •

BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERG PARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO DORA • PARCO FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FAC BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERGAMO • BERG TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FACTORY • FIAT FAC

TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO REGIO • TEATRO •

EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERY

frontage, encouraging guests to come off the street. The new facde allowed it to stand independantly from the surrounding buildings, and was very descript in its appearence, having the name of the cinema branded on the front facade. As this was a renevation, it kept a lot of the short space on the inside, with a small foye and basement bar, with stairs up to the auditorium.

As part of a Case Study, we were asked to look at a specific building on the field trip that we would later investigate and present. The purpose of this case study was to work in groups, and each focus on two aspects of the project to study, I looked into the design and history of the building and the structure of it. The Everyman in Liverpool was built in 2014 by Howarth Tompkins to replace the out of use Everyman had been there previously. It later won the 2014 RIBA Sterling Prize.

The rebuild design intentions took the best aspects of Hope Hall and the old Everyman and attempted to take them and reuse them to represent Liverpool. The foye was larger and more open, with an open staircase and lift all the way up. It also moved the bar to the upstairs of the building, above the foye to make it more a part of the building and less isolated. It also retained the frontage of the building, with the name, and flat face facade, however, included people on the panels to allow for ventilation which the previous Everyman didn’t have.

Built in 1837 on Hope Street, Liverpool, Hope Hall was designed as a dissenter’s chapel, but was then used as a theatre and public hall and finally a cinema. The entrance to Hope Hall was short and cramped with a staircase leading either to the downstairs bistro or the upstairs auditorium and a small foye annex. This did not provide much space for guests to wait in before a showing, and resulted in people coming off the street to drink and leave rather than using it as a theatre venue. In 1977, the hall was repopend as the Everyman Cinema, a renevated Hope Hall. It had a more opening and modern

EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERY EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERY

EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERY

The 1975 Everyman theatre sign was most likley designed and made by a neon tube manufacturer, and therefore has no font. However, the use of the font is integral to integrating the Everyman back into the community from the rebuild. Typography designer to design a font that could be used for the everyman that would fit in with the old. Jake Tilson took the original signage and developed his own font, ‘Merseyside Neon’ which emplyed the glasscased-electrodes that were used to power the original sign in the serifs.

EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERYMAN • EVERY

OUTER PANELS

1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 •

CASE STUDY

The panels act as sun barriers to the glass enclosed space behind. The panels are operated manually with a stick, and have different rotations based on the height of the panel. The top layer can be most easily operated between 22˚, while the middle just 45˚ and the bottom is capable of a full 90˚rotation.

lighting

lighting The photos were taken by local Liverpool photographer, Dan Kenyon, who took 4,000 photos of local residents and workers around Liverpool. No one who was asked to take auditorium part was famous or special, they were normal people: they ‘Everyman’. The idea was conceived by Steve Tompkins, lead architect, who took inspiration from Gothic and renaissance cathedrals which had saints and craftsmen in the carvings above the entrance to the cathedral. This was taken to the next step by having the local people of Liverpool upon the front facade. entrance

facilities

entrance

foye

street

basement and bar

44 street

foye

lighting facilities

entrance street

auditorium

foye

street basement and bistro

auditorium balcony

bar

foye

1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 •

auditorium balcony

2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 •

foye

1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 •

2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 •

auditorium

2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 •

2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • 2014 • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUT-

SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUT-

SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS • SHUTTERS •

lighting

foye

street

basement and bistro

entrance

auditorium

entrance

1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 •

PANELS

auditorium

1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 • 1977 •

1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 • 1837 •

lighting

bar

foye

The structure is made up of steel and concrete, both of which exposed throughout the building to show off the structure. The main bar and foye uses reinforced concrete and column beams which supply the main structure with the steel facade and windows providing cross bracing support. The main support of the building is in the core staircase and lift shaft, which provides the core insitu reinforced concrete, which provides stability of the building.

E LAYO

TUR STRUC

CASE STUDY

The main column and beams of the bar and foye hold up steel reinforced concrete floors. The main supports rest on the two ends of the building, while the beams between provide an atmospheric tunnel feeling to the space.

Structural Structural

The facade is made of an anodised steel frame which provides secondary structure. This houses the pivot panels. The facade is attatched to the body of the building from the top, with attatchments to each floor. The system is held by a fixed cantelerver structure of i-beams, held above and bolw the facade. By having the main structure of the facade, the forces are passed from one to the next, and the load is shared because of the amount of mullions there are to take the load. This provides cross bracing for the building, to prevent twisting and warping in the structure between floors.

1 2

Core Strucutre Primary Strucutre Secondary Structure

Tertiary Strucutre

4 10 9 5 1 Extraction Ventilation System 2 Pre-cast Concrete Drain 3 Brick Facade 4 Facade to Concrete Hooked 5 Insulation 6 Concrete Blockwork 7 Air Cavity 8 Ventilation Shaft 9 Steel i-beam in-situ reinforced Concrete 10 Exposed i-beam

3 2

6 8

Concrete Structure: Plan

Concrete Structure: Section

TRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE

1 Painted Steel UC i-beam Fixed to Cantelever Brackets 2 Aluminuim Rainscreen Panels wand Coping Fixed to Concrete Parapete 3 8mm Aluminium Shutter Panel, Bearing Frame - Bronze Anodised (in 0˚ position). 4 Damp Proof Roofing Membrane Around Rigid Insulation 5 In Situ Concrete Formwork Structure 6 Pivot Arm part of Lower Shutter Bracket

STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE

STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE •S

STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE • STRUCTURE •

Cains Brewey Village, where there are many bars and cafés that perfectly fit into the ideas I wanted to look into and with many more proposed to come. I took strong inspiration from Rem Koolhaas’ book, ‘CONTENT’ which was intended to be a temporary, current book that examines how the world works in the early 21st century - the temporary and throwaway age.

The focus of my Staging study was based around the French Sociologist, Jean Baudrillard, and his book ‘Simulation and Simulacrum’ and its ideas on simulation simulacra and the Hyper-Reality. Fundamentally, the idea was around how the Baltic Triangle, specifically the area of Cains Brewery Village simulated popular culture to propel its economy, and to the extent that by doing this it creates a Disneyland like Hyper-Real microcosm.

The purpose of the EXCESS magazine was to examine similar ideas in the context of the Baltic Triangle and to the backdrop of ideas around Baudrillard and critique of inward investment. To do an alternative site analysis in the form of a magazine that investigates what makes the Baltic Triangle the way it is, and how I would later be able to build in that space.

Cains Brewery Village replaces true heritage in the form of a 19th century bastian of the Victorian Gothic style, with a simulated culture. A culture that was once used to understand history is now that which replaces history and becomes its own history. At its core, it is this flip which creates this Cains Hyper Reality. With Staging, I wanted to look at how inward investment had overtaken the area and become its thriving force. I examined how it occupied in the area from a philosophical angle (with Baudrillard) as well as from a wider societal angle looking at the property ownership of the area, and finally looking closely at the actual buildings and programs that occupy the area, specifically the area of

HYPER REAL • HYPER REAL • HYPER REAL • HYPER REAL • HYPER REAL • HYPER REAL • HYPER

STAGING

EXCESS

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EXCESS 50

Excess “ mega zine

jean Baudrillard

As representations of reality move further and further away from a traditional sense of the word, it is increasingly becoming more and more important to highlight the inconsistencies and issues with an unrepresentative reality. Do not believe the reality we construct for you, only believe the reality of that which you see. The world is a stage. War, News, Media, Famine, Starvation, Bankruptcy, Terror are plays and shows waiting to be watched by you. Reality is slowly becoming more ambiguous because of how it is presented to us. This raises the question of how does a hyper reality present itself in modern culture as well as asking how far can this go in a direction that has no grounding in reality. Why stop at the door of where we are now with photo realistic glossy renders when this is only the beginning.

The Baltic Triangle is not yet a Hyper Reality. It’s simulative features such as yellow submarine, peaky blinders and development renders are all false, yet are so weak in their convictions that they aren’t able to successfully emulate the environment they want to inhabit and render themselves unsuccessful in their conquests. Therefore, the Baltic Triangle isn’t a Hyper Reality as its attempts to confuse the victim of fact and fiction are so feeble that it does neither. The simulation that these things do has an end because it is so weakly done. They are simply simulacra.

“The simulacrum is never what hides the truth - it is truth that hides the fact that there is none. The simulacrum is true.” -Ecclesiastes KJV

Above quote is not in Ecclesiastes KJV

“

Fundamentally, the job of an architect is to sell a vision of the future to a set of clients and promise a prospect of what could be. The architect must therefore exaggerate, translate what will be into what is now. The tools they are channelled into using tend to be scale models, and renders which give a pretty, glossy depiction of what they want their design to be, communicated to clients that won’t understand relatively more grounded translations of information such as floor plans and sections. As technology moves forward, the architects ability to communicate these realities in alternative ways allows clients to be given an impression of a world that is promised by an established class of designers and developers with unquestionable power. As everything is seen through a screen, it becomes ever more important to question what we do not see.

Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyper real. BAUDRILLARD

ABSTRACT REPRESENTATION TO A POINT WHERE IT IS A SYMBOL OF NOTHING BUT ITSELF. PEOPLE BELIEVE THE ABSTRACTION AND THAT BECOMES THE TRUTH. A SIMULACRUM. 53

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SIMU� LATION & SIMU� LACRUM Arists, cartographers, writers have translated a sort of reality via representations or simulations of reality. Mapping, paintings, photographs and sculptures have been a representative way of relating the world through symbols and abstractions. They are not recreating reality. By taking the symbol or abstraction of reality and distorting it, such as painting or sculpture: you distort the reality underwhich they occupy and represent a representation; the simulation becomes a simulacrum. By distorting simulations of reality, such as statues, a simulacrum is designed. By creating a simulacrum, the bounds of reality change as the simulation becomes the ‘reality’, and the simulacrum becomes the ‘representation’ of ‘reality’. This allows for reality to be distorted and changed, as the limits upon which the simulation operates are no longer under the scrutiny of reality, it is the reality: leaving the simulacrum to be the representation (and only representation) of this reality. And the laws or the real are no more. Taken to its extreme, Baudrillard argues that this constant deterritorialized spiral of simulations of simulations eventually resolves itself in something that is indistinguishable from the real

Fundamentally, sources of virtual reality and augmented reality are the ways in which the hyper-real presents iteslf, as these manifestations create a simulation of reality, that people confuse with reality itself. It is this confusion between the truth and the fiction that simulations of simulations cause, and what creates this hyper reality. Additionally, renders and photorealistic renders mean that a false impression of the world is given through technology. These are representations presented as truth. They are not true. However, the simulacrum doesn’ doesn’t have to be part of the hyper real. For Baudrillard, there are four stages that make up the simulacrum. 1. 2. 3. 4.

A faithful copy image of reality (a drawing or sketch). A preservation of reality (a photo). A sign that pretends to be a faithful copy of something that does not exist (a constructed photo). A simulacrum: no relation to reality. It only pertains to what has pretended to be reality.

Drawings and sculptures attempt to relate to the truth but are not attempting to simulate it, while photographs attempt to capture it, but are still mere abstractions. It is when something pertains to be a faithful copy, but is not, that a simulacrum begins; and once abstraction is based on the construction of reality, truth is gone. The following warped paintings and sculptures illustrate Baudillard’s process: a faithful copy if reality (a statue), a preservation (a photo of the statue), a construction of the preservation (photo of a statue, edited and taken out of context) and then finally, by being put into this magazine they are being presented as though they are real: the simulacrum.

NOT TITIAN

LIVERPOOL’S CHINATOWN FEEDING MA THE LOCAL ECONOMY BO 63

REVIEW

“I’ve been going to Ma Bo for over three decades and I’ll always remember the advice given to me by a good Chinese friend when I first visited. He told me that if you want flash decor, a non-genuine menu and linen tablecloths the MaBo is not going to suit you BUT, if on the other hand, you want to enjoy tasty freshly cooked genuine Chinese food served in clean and non-flashy surroundings; it’s got to be MaBo. We went for one of our regular family visits and, as usual we received a warm welcome and ordered the dishes we wanted (Won Ton noodles with separate Car Sui and Salt and Pepper chicken and their wonderful sliced Duck a pile of Chinese Vegetables in Oyster Sauce bowls of super Chili Oil and Sweet Chili Sauce.) Watching the food (except the chicken which is produced from the kitchen) being prepared 64

theatrically in front of you heightens the expectation and appetite. As always we were not disappointed. Remember you’re not going to this place for decor (you can’t eat that) but for a genuine culinary experience its got to be the traditions at the MaBo. Oh! and when the bill comes there are no shocks just good value!” VictorM_11, Trip Advisor

3.61

OFFSHORE BALTIC TRIANGLE INVESTMENTS 45

46 4.8 5

-3.04

40 30

5 3.61

40 35

25 45

-3

15 16 .8

25 45

3.61

15 24 20

30 33 .9

20 16

.0 -3

4 -3.0

21 20 .5

-3.0

3.61

-3.0 4

4 -3.0

-3.0 4

20 40

1 3.6

40 5.8

-3.04

4 -3.0 -3

-3.0

35 .1

3.61

15 25

-3.04

5 10 10 20 15

15 30

Grow your Investments

Join thousands of others who are choosing to invest in the Baltic Triangle. Promises of up to 17% returns on developments that are still waiting to be built. Help to make these developments come true and build up community where there is non by investing here. We are encouraging non-domeciled investments from far off investments, in the middle-east and asia, and are guaranteeing a 3% increase on returns on any overseas investments above £130,000. By investing in the Baltic Triangle, we are assuring that your money is secure by choosing to invest in Britain’s 3rd most developing city.

+0151 54464 466, www.balticinvestments.co.uk info@balticinvestments.co.uk

Seychelles

‘Land on the west side of Sefton Street, Liverpool’ [2007] RODDINGTON INVESTMENTS Ltd. £1,909,375 incVAT

Belize

‘Land and buildings on the west side of Jamaica Street’ [2010] CABAL Ltd

Isle of Man

‘Land on the tsouth west side of St James Street, and the north east side of Jamaica Street’ [2011] FRINGEWOOD Ltd. £225,000 exVAT

Isle of Man

‘Land on the south-west side of Grenville Street South’ [2012] ILIAD COSGROVE Ltd.

Guernsey

‘Downing Student Accommodation [2013] DOWNING STUDENTS (SCANDINAVIAN LIVERPOOL) NOMINEE LIMITED £2,000,000

Isle of Man ‘153, and 155 Duke Street and 70 Liverpool’ [2007] MONTAGUE VENTURES LIMITED 68 £1,300,000

Seychelles ‘55 Henry Street, Liverpool’ [2006] CIRCLE DEVELOPMENTS LIMITED Gibraltar ‘West side of Argyle Street, Liverpool’ [2010] ZAGORA MANAGEMENT LIMITED Isle of Man ‘The IBIS Hotel’ [2009] EQUIOM TRUST COMPANY Ltd.

CONSTELLATIONS “Without a doubt, there is always an event happening in the Baltic area. Whether it“s celebrating an occasion, throwing a weekend“ long festival, students always gravitate towards the amazing events Baltic Triangle has on offer.“

FIND OUT MORE AT WWW.BALTICDEVELOPER.TV 69

That’s another great point, you really do like this area? What developments do you think could make it better?

‣ Are you [redacted] listening to me?! I liked this place 3 years ago when it

INTERVIEW

was a collection of independent hipster pubs and clubs; it wasn’t perfect but it had a taste to it that I enjoyed, and ever since then it has really gone down hill and it is slowly becoming my least favourite place in Liverpool. It’s really beyond me how anyone can promote it when its in such a state. Constellations probably hasn’t got long left and will most likely be out as soon as developers can collect the money to build it. That’s all it is at the end of the day. How much money can developers make and build before it becomes bankrupt. Then they can go and build elsewhere while we’re left with this. Its not their backyard.

This was an interview taken by EXCESS journalist, John Morris, next Thursday. Morris wanted to discover the cause and attraction of Constellations and the general area of the Baltic Triangle.

What a great and positive interview. Thank you so much!

What is it that attracts you to here?

‣ I enjoy the nights out here, they’re really good, don’t get me wrong, but £13 for a night out is steep. £5 per pint isn’t that bad but it starts to really rack up when you look at your Monzo at the end of the night and see how much you’ve spent. I’d only really come here for the night out, nothing else would particularly attract me, there’s little community, and only seems to be contractors and workers that are here. None of my friends are here.

That sounds great, looks like a gret place for a night out, are you looking to move into one of the many local apartments?

£13

ENTRY

‣ Probably not, because like I said, there’s just not enough of a community to build a life around here. It would make more sense to get a 3 bed in Toxteth for half the price of a single flat in the Baltic Triangle. It worries me to be honest, I see all of these developments going up, and there’s a lot of good land being bought up for the sake of new housing and we just can’t afford to live there. I don’t even know anyone that does live there, like I said, and so I don’t know what it would take to get people to move in because they’ve buit them now, and they’ll need to make their money back somehow so I just can’t see where it’s going to come from. I seriously give it 5 years tops before we see a lot more abandoned modern buildings that no-one wants to live in. It’ll be detrimental to the investors and to the developer’s investors. If I was them I’d be really worried, because that money is going to have to come from somewhere.

Well, if you’re interested in the apartments around here, then there are some great places like the Cargo Building, L1 and others that offer great views of the surrounding area.

‣ I’m really not, because again, I just can’t justify anything about it. My friend’s brother paid [redacted] a month for a flat in the Baltic Triangle when he was a student. It half financially crippled his parents. It’s just beyond me how the developers can justufy the prices of these places, or even justify building them: no-one’s living here, and no-one will, so why they are putting so much money into it is just amazing.

That’s really fascinating, you enjoy coming to places like Constellations?

‣ I do like the people at Constellations and many of the other clubs in the area, but they are always under threat of losing business because of larger developments that want to buy up more land and build more property. It’s such a shame because the people at Constellations try so hard to keep the place running and they’re being forced to sell their land so there can be a better development built later. It’s eating itself, it wants to make housing because it is seeminlgy an attractive area, but it’s taking away all of the things that make it attractive. What’s the point in living in a place that is about to be knocked down? 71

“NOBODY WANTS TO LIVE HERE. THATS IT.”

+66.952

+58.365

+46.793

+32.153

+28.903

+26.613

CAINS BREWERY VILLAGE 73

ALWAYS GOING UPWARD

Cains is a former brewery in Liverpool, which was founded in 1958 by entrepreneur, Robert Cain. The brewery itself was sold and handed over between businesses, from Cain to Peter Walker & Son in 1921, renaming it Walker Cains, to then being sold in 1923 to Higsons and was reopened by GB Breweries, who became part of Royal Uni Brew in 1991. Despite being passed around a lot, and a number of these names making it on to the building itself, it is known as Cains Brewery. In 2000 construction on a new tourism, leisure and retail attraction in Liverpool will start within a year after councillors approved plans for the

ÂŁ150m development of Cains Brewery Village. The first phase of the new one million square feet development, which will secure the cityâ&#x20AC;&#x2122;s iconic beer brand and grade II listed brewery for generations to come, is expected to be complete by summer 2016. In doing this, the Cains brewery became home of the Cains brewery village, which overtook the area of Stanhope Street and stretched across the entire wasteland, which had been populated by warehouses from the early 20th to 21st centuries.

site and context 75

BUILDING SUCCESS NEAR YOU.. Craft Minded

ockleaf

An independant bar a re ta ra t w t a e selling point, of lo ally rewe a e e e tly ow e eer. reat la e that completes the Cains Village rewery et,

eel el e ware o e, a bars of Cains er e t a go

Craft Minded is a local independent bar a rewery, serving locallly rewe a lager to a thirsty o ty e r t alo g y t e re e e g a o g t e e Village, it is the t.

o al otor g garage. ow to overcharge and rip-off local motort . t al o oe t t to t e lo al v e o t e area, e to t rro g o a tr al eel, t la g a y a t al try, t re er a tr e lo al tr al e o t o y w t t e area t el .

Car Park ea y l er t e e ar, t at erve t e lo al o ty w t a et o a eer t at a e yo eel a o g t t e r g a ga g . Yo e o e a ea y l er.

Yellow Submarine Bar Fall a to t e a t w t eorge, go, a l a o t e eatle t e e , serving drinks and cocktails t at w ll wa t to a e yo g ey oa all t e way o e. o e o oar , gt e er

GARAGE/WAREHOUSE OFFICES, KITCHEN, STORE ROOM, WC.

TO LET 5,696 Sq.Ft (529.2m)

0151282 1234 07927 766 515

Â© Apple Maps Inc. 77

Yellow Submarine A truly unique bar like no other, bringing the Sixties back with retro vibes to the Baltic Triangle. A truly unique bar, with a retro decor, 60’s music, Beatles inspired cocktails & an atmosphere like no other! So what’s stopping you? Come along to our 60’s feel good party where we will transport you back to the best era that there ever was! The Cains Brewery bar site opened its latest bar to add to the collection last week, and it is a belter. With a hit collection of cultural classic references and ‘easter eggs’ that every keen Liverpudlian would appreciate: The Yellow Submarine Bar. Its a tight yet spacious bar that really makes you feel that you are there with the Beatles when you walk in: its like John and Ringo are singing into your ear the whole time. The bar attempts to simulate the Beatles legacy in a manifestation of one of their best selling songs in a hope to relate it to Liverpool. Yet beyond the exterior and mild ‘50-60’s cultural references on the inside of the building, there is little else to refer it to the culture of Liverpool, and in this way, it acts as a leech that mocks the culture of Liverpool in its attempt to try and simulate an aspect of it.

WE ALL LIVE IN A YELLOW SUBMARINE

Heineken in Liverpool

https://www.drinkaware.co.uk

peaky blinders Inspired by the hit TV series, the Peaky Blinders pub is one of many to have graced the land of ‘independant’ stylistic pubs. The goal of the pub serves to simulate the TV series in the form of a pub, despite the story being based in Birmingham, and the original name being ‘The Garrison’, the pub attempts to simulate and sell an experience inspired by a TV show. In so doing, it follows the same formula set out by Baudrillard of representation, to distortion to simulacrum, in that it is based on TV that is a distorted relation to reality, which is then translated into a manifestation, that doesn’t reflect the distorted reality, it interprets and bastardises a distortion by attempting to translate it into a real form. The Peaky Blinders bar mistakes its legacy in that, rather than adopting the natural legacy of the original brewery it was part of - and that being part of the wider identity of the place - it chooses to focus and concentrate its identity into a false representation in an attempt to simulate something untrue. By doing this, it fails to translate an identity beyond itself and doesn’t successfully simulate the original intentions of the TV show. It is a simulacrum.

BY ORDER OF THE PEAKY BLINDERS

content New proposed site development, Content, on the Cains brewery village site, has been backed by Bongo Bingos exec, Joshua Burke, who is behind the planned development on Stanhope Street. Content is proposed to function as comprised of fifteen shipping containers, placed onto a currently used car park, that will be demolished. There will be seven containers on the ground level, which will be held on concrete pillar foundations and are earmarked for retail/leisure use. The design is intended to add to the existing site, made up of already exciting and up and coming bars and pubs that can become part of the Baltic Triangle experience. Content will be split up into three uses, commercial, leisure and office as well as a Bongo Bingos which is currently on the site. The ingenious design itself has been headed up by Carl Turner Architects, their revolutionary design revolves around a series of shipping containers stacked ontop of each other. Criss-crossed across each other it housing a series of shopping and leisure industry to add to the already saturated shopping and food courts that occupy the area. Recycling such a readily available material is genius and really fits in with the areas ties to the Mersey as a port. Carl Turner Architects have refused to specify whether they will be using used shipping containers, especially since they have found some cheaper facades from China, but we can all agree that its pretty contextual and its the thought that counts.

Carl Turner Architects

CONTENT CONTENT CONTENT

+23.891 First Floor FFL

+21.100 Ground Floor FFL

+20.300 +19.890 +19.640

ST JAMES STATION 87

On 1 January 1917, St James station closed after it had been running since March 1874. In 1913, six people lost their lives in an accident at the station when a train ran into the back of a train standing at the southbound platform and later calls asked that the station be decomissioned. The station is no longer in use, however, the line is part of Merseyrailâ&#x20AC;&#x2122;s Northern Line.

St James Station was located below ground level. The station itself was an imposing sandstone building at street level on the south side of Parliament Street, west of the line. The single-storey building had four arched windows and, at its western end, an arched entrance doorway. The building contained a booking office and circulating area.

The station operated below ground on a platform that was underneath a bridge, leaving a set of short staircases being the only way to get down to the platform. This dropped area meant that there was only one way down and worse, there was only one way to traverse platforms, by crossing the train tracks. More recently, there have been plans to re-open the platform and reconnect the station to Cains Brewery Village and bring a functioning transport station to the area. Proposals such as this require that the platforms are rebuilt, and proper access is added to the area.

HYPER-REAL

Get behind the future, before it gets behind you The AMG-specific radiator grill alone arouses curiosity. Begin your journey of discovery with the AMG performance steering wheel you have the city at your fingertips, while the spontaneous response of the AMG SPEEDSHIFT DCT 8G builds your spirit of discovery with every metre traveled. The AMG SPEEDSHIFT DCT 8G transmission converts the spontaneous response behavior of the AMG turbo engine into pure driving pleasure.

THINKING

THROUGH MAKING

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‘

AME A

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ACA E’

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In January, we were asked to look at making a small modelling study that would be influence on our final building designs. I chose to develop a sort of light shade that would use materials that I might tie into my project. I had intended to make something that would experiment with how the materials could be used as façades, and how well they would let light through. The materials that I specifically chose were timber, steel sheet and acrylic (sanded). I used the timber as a frame and then layered up the materials over the top, with the intention of placing a light behind it in the exhibition. In order to take this experimentation in light further, I created a stencil for light to shine through the acrylic, so that it would show a shape on the other side. I cut out a pattern of the Liver Bird in the style of William Morris’ Strawberry Thief. Additionally, I spent time welding and metal cutting in order to look at how to mould metal and to make it into pretty patterns.

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STRAWBERRY THIEF

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THE FRAME First began building the frame of the form; the initial ideal was to build a light shade, and think about how to layer up a series of façades to see how light travels through. The frame is two 40cm x 40cm that are held together by a hinge. In order to cross-brace the frame to keep it together, there is a cross that is connected with a mortise-tenon joint and a further bolt through the middle to keep them together. This wood is taken from cut down and sanded wood palettes and cut at angles to connect together. Originally, the idea was to have a four wall facade, rather than just the two, however, time limited the extent of façades.

One side is layered from frame, laser cut Liver Birds, acrylic. On the other side is the frame, acrylic and steel strip facade. This steel facade is created through strip cut steel with an industrial guillotine, and spot welded together across the top and bottom. In order to get the ripple in the middle there is to be longer, which meant that it had to be bent beforehand and spot welded on together.

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In order to get the William Morris Strawberry Thief affect, I put together Liver Birds that I would laser cut out. The intention was that the light would shine through the outline and the perspex, so that the other side would reveal a highlighted Liver Bird.

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The facade is built up beyond the frame with sanded acrylic to get a frosted affect two both 40cm x 40cm. On top of this is a strip steel facade, like the Liebskind Jewish Museum, with ripples in the middle to let light through. This is then connected to the wooden frame, with a bolt through each corner.

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SILHOUETTE

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FACADE

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LIVER THIEF

LIGHT FRAME FACADE 98

REALISATION

Realisation is the process prior to our final design, where we experiment with massing and ideas to develop our final design. This was time where we could study precedents and think about the framework of ideas that I would later be designing in.

listic and material qualities of the area. Since I wanted to do a project that would be completely built out of the vernacular of the area, it was important to spend time analysing the existing stylistic and material palette of the place. I would then apply the this palette to the building that I would later develop. This is where the area language of the Baltic Triangle was studied and worked into the building.

I wanted to take ideas that I had developed in Staging, and wanted to think about how I could integrate some of the Baudrillardian ideas into my project. Alongside these ideas, I was looking at Bernard Tschumi’s ideas on ‘Events’ and how I could include these things in my building. This proved to be difficult, as I was attempting to build a building out of two very abstract ideas, that I was struggling to materialise in a building. This left me with an initial design that was based around empty spaces that I didn’t know how to fill. I spent the Theory Into Practice essay attempting to reconcile these ideas, but really struggled to make them work. It was therefore important to rework this framework into something that was tangible and understandable and use the research from Staging and apply it to the building. I began developing this framework by looking at the sty-

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SIGNIFIER & SIGNIFIED As part of the wider project I designed a fake facade, that might appear to be contextual to the local architectural style of the area, but is not real or accurate to the actual area of the site. The facade itself was fundamentally inspired by the original St James station design, which was less detailed, but retained the same Victorian deep four arches as an entrance. The purpose of this design is to act as a facade, to deceive the viewer and to mislead them as to what the building is: old or new, traditional or modern. It is conceived on the back of the research from Staging into Baudrillard and the Signifier and Signified, and what this, as a piece of architecture signifies about the building. Whether what it signified is true or not is irrelevant.

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NOTHING IS REAL

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THE BEATLES 103

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REAL AND FAKE

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I looked into creating a train station styled facade, which might resemble the traditional station typology of the North West in Manchester and Liverpool. Again, however, the purpose of this design is to mislead the viewer and to appear to be one thing which is not as it appears.

NEW FACADE • NEW FACADE • NEW FACADE • NEW FACADE • NEW FACADE • NEW FACADE • NEW

In the early developing of these ideas, I attempted to create a series of spaces where the vernacular if the place would appear, and marked spaces for it to exist. In this way, I had doped to line up the ideas around Tschumi with the material vernacular. I had also hoped to have this long portal frame of trusses (right) that would sit on a 1:7 slope towards ground level from the station.

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GARAGE/WAREHOUSE OFFICES, KITCHEN, STORE ROOM, WC.

TO LET 5,696 Sq.Ft (529.2m)

0151282 1234 07927 766 515

EXISTING • EXISTING • EXISTING • EXISTING • EXISTING • EXISTING • EXISTING

LAYOUT

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NEW FACADE • NEW FACADE • NEW FACADE • NEW FACADE • NEW FACADE • NEW FACADE • NEW

REPLACE

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S E als IC r i R te P Ma R E ew Wd N n LBOra

Itâ&#x20AC;&#x2122;s got our name on it, Dickes

Baltic Furnishings 0330 123 4123

www.dickes.co.uk 106

June 2020 In-Store

Constellations

Material Palette

£13.50

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£18

OSB Board TG4 DULUX WHITE H2400xW600xD18mm

£21.38

£9.40 per/tile

Prefabricated Diagrid Kiln Dried C16 Timber H4800xW170xD45mm

£60

Reclaimed Ceramic Tiles

Glu-lam Beam (GL24c) H6000xW200xD50mm

3445859402 (Grouting not included) H190xW260xD5mm

£28 per/m2

OSB Board untreated 271948473840 H2400xW600xD18mm

Visit diy.com/gentrify £15.60

Green Oak Bench top W1400xH40xD25mm

Photo Curtsey of Hugh Miller Furniture www.hughmillerfurniture.co.uk

Constellations is a local events club in the Baltic Triangle, that includes evening and day events. It sits in a disused warehouse, and has a courtyard outside with a large timber canopy that can house a bar and seating area and used as a outdoor DJ area during Summer. The timber canopy sits in a courtyard that had previously been occupied by a warehouse, so industrial doors and tired brick fill the walls of the main courtyard, which allows the timber to play off well with this pre-existing aesthetic. The design for the outdoor canopy was developed by Hugh Millar Furniture company a local company that fabricated off-site and built in-situ. The structure of the canopy is built up of a series of materials that are synonymous with the Baltic Triangle, including varnished OSB (painted), green oak timber, and exposed structures and bolts. This

gives the canopy an appearance of being an almost self-build project and to seamlessly fit in with the area.

The appearance of the canopy gives a particular feel to the place. As well as making it look new, cheap but well made. It feels fresh and original. This feeling is something that is synonymous with the original intentions of the Baltic Triangle. Constellations was one of the first start-up developments in the area, and has a specific feel that other developments have tried to copy on a cheaper and more commercial scale (still attempting to retain the start-up, fresh appeal). But ironically, the tenancy for Constellations may expire, and be replaced by a development that is a mere mimicry of what constellations stands for.

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Glu-lam Beam (GL24c) H6000xW200xD50mm

Green Oak Tripod

Bolted to Glu-lam beam and concrete base x3 H2700xW125xD70mm 8

Green Oak Table Bench top H1400xW40xD25mm

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£34 per/m2

Corrugated Steel Sheeting 17293743178 Hot Coral Red H600xW400xD1.3mm

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OMA PROPOSAL

PRECEDENT STUDY

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ZKM

In a low-rise industrial area of Karlsruhe, the ZKM is sat between trainlines with links to the autobahn. Its purpose was to hold various interactive programmes that could be used for a range of activities.

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ZKM OMA

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The Zentrum fur Kunst und Medientechnologie (ZKM) was a competition held by the Centre for Art and Media Karlsruhe in Germany in 1989. One entry was won by practice, OMA. The OMA entry began construction the same year but was stopped due to funding and over complexity in construction. The museum therefore chose to go with a different design, rendering the design to a mere product of competition.

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The original design for OMAs ZKM outlined five programmes that would operate in the building: 1. laboratories for sound and (computer and video) image, media theater 2. media museum 3. museum for contemporary art 4. library 5. lecture hall and other facilities are stacked in a single ‘tower’ - its lower half productive spaces, devoted to research; its upper half concerned with display

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Design development from precedent

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As part of the same competition, the Zentrum fur Kunst und Medientechnologie (ZKM) Bernard Tschumi proposed an alternatve ZKM building. The building itslef was “composed of four parts, including a public passageway, a core, two specialized compartment spaces, and an electronic “casing” or exterior”. It is a long strip like building, set up by a series of events within the building, which oultine different aspects in the building. Staircases, paths, rooms and voids create a series of events that create experiences of the building in each area.

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TSCHUMI ZKM

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TSCHUMI PROPOSAL

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Image: Tschumi, Bernard “Le Fresnoy, National Studio for Contemporary Arts, Tourcoing, France, Cinematic beams elevation”, https://www.moma.org/collection/works/476 (1992)

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This early design development took on some of the roles that I wanted to come out of the building; purpose being to be a structural vehicle to facilitate simulations, fakes and exhibitions fit inside modularly. This design was strongly influenced by the Bernard Tschumi ZKM competition proposal, long with rooms above, and ‘events’ taking place throughout. This largely failed, however, as I was really uncertain as to what ‘events’ would take place inside, attempting to include shapes like Tshcumi did, and have a series of travelators leading up, but purely as a means of access, rather than interest, and had little connection to the undecided program parallel. A key idea had been to retain façades along the outside of the building, and add new ones there also, so that it might become impossible to distinguish between the old and the new. The building would merely be a structure to be clad in façades. This wouldn’t work in the long term, however, since the relationship between the inside to outside is unresolved. The front facade works well since it is completely fabricated but appears to compliment the area as well as acting as entrance. Reflective Comments

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PLANS SKETCHES Baltic Life Merch

Theatre and admin

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Exhibition and Archive

Leisure

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PRECEDENT STUDY MATERIAL COLLISION

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Built by OMA, the Prada foundation was designed as a piece to explore materialism and how materials can be used. The building is situated among older parts of the city, and it is the contrast and juxtaposition of materiality that makes it interesting. The golden tower was an office block that was plated in gold leaf, while other old parts of the build were left alone.

PRADA

Things like suspended ceilings and aggregate cladding, which are seen as cheaper materials, contrasted with heritage and wealth. This raises the quality of these pre-conceived cheaper materials.

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OMA PRADA

SECTION • SECTION • SECTION • SECTION • SECTION • SECTION • SECTION • SECTION

The building sits on the grounds of an old traditional Italian factory, and attempts to fit in with this by rendering the walls of the old place, and overhanging parts of the new, peering through the apertures. What is new and what is original appears to be evident to the common eye, but as far as OMA are concerned, the whole build is new.

OMA 120

121

SYNTHESIS SYNTHESIS SYNTHESIS SYNGE A ILL V THESIS SYNTHESIS SYNTHESIS SYNTHE- INS CA SIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS SYNTHESIS C LTI A B

E GL N A I TR

A neo-liberal development interloper arrives in the area; it must become its surroundings...

Something breaks and something grows

In the area of Cains Bewery,to the bottom right of the Baltic Triangle

/BALTIC_∆

TERRAIN SETUP = LIVERPOOL/B∆ SYSTEM EXPANDING; LANGUAGE DISTORTING(); int(BALTIC_TRIANGLE) = true load(ST_JAMES_STATION)/archive

e Come to M

Material composition gathers from the triangle onto the capitalistic interloper

It is becoming its surroundings. the language of the triangle covers and wraps the interloper

People flogged to the tower on the Mersey rail station to the tower and through the 19th century Victorian Gothic gate.

SYNTHESIS

and this belief is encouraged by the language of the area: reused OSB, exposed internal structure, reclaimed historical structure, tell these users that it is a unique and independent venue, being repurposed for them; yet the truth that lies deeper is very much not the case. These materials have been reappropriated: they once meant that such a place had been cheap and setup. In this build and in the wider triangle, however, this is simply a signifier of cheap and setup: it is not true.

The building itself is intended to be a culmination of all the research that I have spent doing throughout the year. It is a building that uses the generic material palette of the area and hyperdizes it. It has a program that is set up from the junk program of the area with fictional themes and propagated by inward investment. It is the exaggerated epitome of the Baltic Triangle. In the narrative that I’ve set up, the capitalistic development interloper arrives at the site and absorbs its surroundings:

People believe that they are resenting the capitalist oppression that ties them down, and that they are living the free life, yet they are no more free from capitalistic entrapments than if they were at a Hilton.

-It takes on the material qualities of the area -Takes on the program of the area, making its it self appeal to the hipster generation to consume.

It is by people buying into these signifiers that allow for more investment in the area.

The building hails people, bringing them in to consume products that they believe to be part of their identity; the building and moreover place it occupies is part of these peoples identity. Through interpellation, the users of the building that desire to live the hipster, free lifestyle are lead to believe they are free of capitalist development and control

122 122

A tower composed of the language of the triangle towers up; the interloper has become the triangle, taking on the ‘hipster’ aesthetic of the area. It HAILS to its subjects to bring them to the tower.

A STORY OF HOW IT CAME TO BE 123

â&#x2C6;&#x2020;

124

125

TOWER DESIGN • TOWER DESIGN • TOWER DESIGN • TOWER DESIGN • TOWER DESIGN • TOWER

E .

In this set of development designs, ideas focused around a long concourse and a tower. The plan for the tower was strongly influenced from studying the Prada Foundation ‘Torre’ which had a central core with services and circulation and connected to that was a series of exhibitions. I thought this would be a good way to contain programs and experiences in the tower in a convincing way. The concourse was intended to house shops and leisure outlets as well as the station itself with platform. And like previous designs, the design was intended on taking the user up a series of ramps and slopes up towards the tower itself which would be at ground level. The tower was intended to have multiple faces and façades, with a potential Lloyds of London aesthetic on the back as well as an external lift for exhibition spaces. While other faces might use the façades of the area, and capitalise on their material qualities and use these as façades.

TOWER FORM • TOWER FORM • TOWER FORM • TOWER FORM • TOWER FORM • TOWER FORM • TOWER SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION •

TOWER FORM • TOWER FORM • TOWER FORM • TOWER FORM • TOWER FORM • TOWER FORM • TOW

TOWER DESIGN

ESIG

126

SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION •

TOWER FORM • TOWER FORM • TOWER FORM • TOWER FORM • TOWER FORM • TOWER FORM • TO SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTI

127

SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTION • SKETCH SECTI

2 8

9 11 10

6 7

1:500 SITE PLAN OF AREA

1:500

SITE PLAN

The building sits on a site with a combination of thoughtful architecture, such as Cains Brewery, as well as inevitable architecture like surrounding warehouses and sheds. In order to fit in with this aesthetic the building uses material and stylistic qualities of both. As part of the broader master plan of the space, there is a platform at the metro level, and a staircase up from the station straight up to the street level. Additionally, there is a series of warehouses that back on to the building, adjacent from the houses across from the build, in order to fill and contextualise the scheme. 1. Station Platform 2. Stairs to street 3. Station 4. Ticket Office 5. Core Stairs 6. Food Court 7. Baltic Life Merch Shop 8. Travelator to Tower 9. Tower Lobby 10. External Lift 11. Scissor Stairs up

128

129

AT THE STATION

ID:#D6ha71er Job: Peaky Blinders Bar, Manager Salary: £121,291

ID:#7Hwy&2ge Job: Finance Lawyer Salary: £201,294 ID:#6YhTwyeu Job: Receptionist Salary: £32,103

ID:#9Ioebf2 Job: Hedge Fund Overseer Salary: £211,291

ID:#36731hfue Job: Academic Librarian Salary: £22,623

ID:#UdgTWye61 Job: UNEMPLYED Salary: £12,394

ID:#Tywt5735 Job: YouTuber Salary: £80,273

ID:#6Gu3rH7 Job: Retired Salary: £42,203 ID:#Tuu3429 Job: None Salary: £190,293

ID:#&wgfei Job: None Salary: £28,190

ID:#Tuu3429 Job: Account Manager Salary: £70,294

ID:#YjwBB72f Job: Software Engineer Salary: £28,190

130

ID:#6rgHTw Job: Barista Salary: £21,100

ID:#YjwBB72f Job: UX Designer Salary: £132,303

ID:#8hUjoef Job: Water Engineer Salary: £21,203

ID:#Jkwi729e Job: Scouse House, Owner Salary: £402,190

ID:#5g178fGF Job: Record Label Manager Salary: £170,283

ID:#Hks23fr Job: Startup Bank, Manager Salary: £300,203

ID:#67fh472 Job: Instagram Influencer Salary: £108,429 ID:#Y62uehfe Job: Aeronautical Engineer

ID:#Gtj254th Job:Assistant, Scouse House Salary: £21,236

ID:#18Juw7 Job: Fashion Designer Salary: £32,389

ID:#57gh58910 Job: Web Designer Salary: £42,832

ID:#454iGHT Job: Analyst Adidas Salary: £54,901

ID:#73TFEf Job:Assistant, Scouse House Salary: £21,236

ID:#63ufHU7 Job: Operations Coordinator Salary: £82,356

ID:#6Ghdtsa78 Job: Systems Design, Citi Salary: £312,902 ID:#Hy17f64 Job: Carer Salary: £17,892

ID:#7Guwetf2 Job: None Salary: £21,236

ID:#5tHger223 Job: Operations Support Manager, Nike Salary: £192,390

ID:#GT5fehes22 Job: None Salary: £230,639

ID:#8Hajey3 Job:Interior Designer Salary: £53,172

131

1:100 BOTTOM FLOOR PLAN

CONCOURSE OF CONSUMPTION

FOOD HALL

The concourse of the station is at the level of the station platform. It is made up of a series of shops, cafés, bars and leisure places. It is a program that is purely inspired by the junk fictionally themed programs of the Baltic Triangle. Places like Peaky Blinders bar and Black Pearl and Yellow Submarine which give a false experience and use that as their selling point. Similarly, the bars and restaurants of this concourse are made up of junk programs based around Liverpudlian themes.

Shops such as ‘Scouse House’, ‘Liverpool Mini Mart’, ‘Me Bevvy’ and ‘Baltic Life Merch’ (a cameo of the Primer Graphic Novel) all use act under the guise of being part of Liverpudlian culture, without bearing any resemblance to it. The food hall itself is based on the Time Out Lisbon Market place, and exploits a copy of this idea, called Time Out Liverpool, using the same logo.

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133

1:100

Holy Trail Ale 330ml 7.9% £14 American Temptress

Friend of a Friend 330ml 7.9% £14 Owners Tap

Beers Ale 330ml 7.9% £14 American Temptress

Hells Bells

£12

Pauls ALE

£12

Buck Fast

£12

YA Mum

£12

Frodos Eyes

£12

330ml 8.2%

£15.40

500ml 4.5%

Ganfelfs Urine 500ml 4.5%

134

330ml 8.2%

£15.40

500ml 4.5%

330ml 8.2%

£15.40

500ml 4.5%

Brand in the Sand Sea Man Sarrowman 500ml 4.4% £11.50 500ml 4.4% £11.50 500ml 4.4% £11.50 Holy Trail Ale Friend of a Friend Beers Ale 330ml 7.9% £14 330ml 7.9% £14 330ml 7.9% £14 American Temptress American Temptress Owners Tap 330ml 8.2%

£15.40

Hells Bells 500ml 4.5%

Ganfelfs Urine 500ml 4.5%

Brand in the Sand 500ml 4.4%

330ml 8.2%

£12

Pauls ALE

£12

YA Mum

£11.50

500ml 4.5%

Sea Man 500ml 4.4%

£15.40

330ml 8.2%

£12

Buck Fast

£12

Frodos Eyes

£11.50

500ml 4.5%

Sarrowman 500ml 4.4%

£15.40

£12

£11.50

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1:100 UPPER GROUND LEVEL

HAIL TO THE TRAIN 136

137

1:100

OLD & NEW • OLD & NEW • OLD & NEW • OLD & NEW • OLD & NEW • OLD &

INTERNAL MATERIAL Internal steel portal frame with OSB as extended material on walls as a full size screen. The Internal Steel is exposed and painted red.

INTERNAL LAYERS • INTERNAL LAYERS • INTERNAL LAYERS • INTERNAL

The roof is made up of a Zinc Seam Clad material, with sky lights. The form of the roof is a sharp sore-tooth roof which mimics the roofing style vernacular of the area. The roofing covers the train station and the concourse uses the same form and same material. The station roofing is raised above the station.

138

CORRUGATED ROOFING • CORRUGATED ROOFING • CORRUGATED ROOFING • CORRUGATED ROOFING •

ROOFING MATERIAL

CORRUGATED ROOFING • CORRUGATED ROOFING • CORRUGATED ROOFING • CORRUGATED ROOFING •

RED

INTERNAL LAYERS • INTERNAL LAYERS • INTERNAL LAYERS • INTERNAL

SECTION

Externally, the vernacular of the train station is close to a traditional train-station of the North West, yet the limestone is not fitting with the material pallet of the area. Beside that is a uPVC window to mimic the vernacular of the train station beside; in this case, the vernacular is fake while the material choices of red brick are closer to the truth of the area. This confusion of vernacular and language is there to highlight the inconsistencies of these signifiers of the building.

OLD & NEW • OLD & NEW • OLD & NEW • OLD & NEW • OLD & NEW • OLD &

EXTERNAL MATERIAL

OLD & NEW • OLD & NEW • OLD & NEW • OLD & NEW • OLD & NEW • OLD & INTERNAL LAYERS • INTERNAL LAYERS • INTERNAL LAYERS • INTERNAL

OLD & NEW • OLD & NEW • OLD & NEW • OLD & NEW • OLD & NEW • OLD &

MATERIAL PRODUCTS

1. 40mm Onduline Steel Corrugated Roof Cladding 2. 70mmx70mm Steel Hollow Battering 3. 250μm Capital Valley Polythene Vapour Barrier 4. (x2) 120mm Kingspan K118 Insulation 5. 2200mmx1000mm Double Glazed Eco-Guard Flat Rooflight with Hermetically silicone edge sealed, argon filled, 28mm double glazed unit. 6. 600mm BTS Custom Stainless Steel Flashing 7. 100mmx200mm In-Built Guttering 8. 240mmx2000mm Custom UPVC Window, 9. 240mmx240mm Triple Glazed Pilkington Pane 10.108mmx73mm 3” Reclaimed Pre-War Wire Cut Brick, Imperial Bricks 11. 115mm Brick Cavity Steel Cable Tie with Plastic Break 12. 10mm Cembrit Cement Partical Board 13. 400mmx120mm Dense Concrete Block, Thomas Armstrong 14. 3mm Zinc Aluminium Cavity Flashing Tray, Cavity Trays 15. 350mmx350m Pre-Cast Concrete Drainage Canal with 120mm wide shallow guttering 16. Compact Gravel with 72mm diameter Marley UP406 Drainage Pipe 17. 940mmx 100mm PVC wrapped Sil with tapered High Performance Insulation 18. 300mmx300mmx10000mm Steel IG I-Beam Painted in Intumescant Paint 19. 50mmx50mm Spruce Battering 20. 25mm Deep Armatherm FRR Thermal Break Resin 21. 15mm Knauf Fire Resistant Plasterboard Panel 22. 12mm OSB Internal Cladding with Formeldahyde Varnish 23. 1120mm Thick Concrete Retaining Wall 24. 540mmx200mm Steel I-Beam with Service Holes 25. 47mm Thick Corrugated Steel Flooring System with 2mm Screed Above 26. 4mm Sound Insulation, Shadbolt Int. 27. 15mm Knauf Fire Resistant Plasterboard Panel 28. V Gutter Flashing for Drainage 29. OSB Internal Cladding with Formeldahyde Varnish 30. Newton Titan Pro Waterproofing Pump for Water extraction of Water Ingress 31. 100mm Thick Screed of Cement and Sand 32. 120mm Kingspan K118 Insulation 33. 54mmPOlished Concrete Flooring 34. Exhibition Cables and Gromit attatchments 35. Service Cavity

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1 2 3 4 5

11 12 15 16

13 14

19 20 21

29 23 24 25 26 27

32 31

140

141

‫تاونسلا لالخ مامتهالا نم ريثكلا قوسلل حامسلل لوبرفيل ءارش ىقلت‬ ‫‪ ،‬ينغلا خيراتلاو ةفاقثلاب ةئيلم ةيكيمانيد ةنيدم ‪.‬ةريخألا‬ ‫ةرم ‪.‬اًراهدزا ةدحتملا ةكلمملا تاداصتقا رثكأ نم ةدحاوب لوبرفيل عتمتت‬ ‫جئاتنلا لوادج لوبرفيل يف رامثتسالا قافآ تردصت ‪ 2017 ،‬ماع يف ىرخأ‬ ‫تاروطت قالطإ عم ‪ ،‬ةنخاسلا تاراقعلا يف لوألا زكرملا يف ةنيدملا لعج امم‬ ‫‪.‬ةنيدملا ءاحنأ عيمج يف ططخملا جراخ ةديدج ةيراقع‬ ‫لهسلا نم ‪ ،‬ةعفترملا راجيإلا دئاوعو ةضفخنملا تاراقعلا راعسأ نم حبار جيزم عم‬ ‫‪ ،‬مويلا ‪.‬لوبرفيل يف رامثتسالل سانلا نم ريثكلا رايتخا ببس ةفرعم‬ ‫‪ ،‬ىرخألا ةدحتملا ةكلمملا قطانم نم ديدعلا ىلع اهقوفت ةنيدملا لصاوت‬ ‫راجيإلا تادئاع لضفأ نم ضعبب لوبرفيلل ةيديربلا زومرلا ىهابتتو‬ ‫تاراقعلا يف رامثتسالا ةيفيك ةفرعم ىلع اًصيرح تنك اذإ ‪.‬دالبلا يف‬ ‫ىلع لوبرفيل لوخدل ءارشلا نوكي نأ بجيف ‪ ،‬ةحبرم دئاوع ىلع لوصحلل‬ ‫‪.‬كتمئاق سأر‬ ‫نم ريثكب ىلعأ وهو ‪ 5.05 ٪ -‬يلاوح لوبرفيل ريجأت دئاع طسوتم غلبي‬ ‫نوتبماهثواسو ‪ 3.05 ٪ ،‬راجيإلا دئاع طسوتم غلبي يتلا ندنل لثم ندم‬ ‫ةدحتملا ةكلمملا يف ةنيدم لضفأ لوح ىرخأ ةسارد يف ‪ 3.55 ٪.‬يتلا‬ ‫راجيإلا تادئاع طسوتم ىلعأ نم دحاوب لوبرفيل عتمتت ‪ ،‬اًكلام نوكتل‬ ‫عتمتت ‪ 3.6 ٪.‬يلاوح ينطولا دئاعلا طسوتم غلبي ثيح ‪ ،‬دالبلا يف‬ ‫دجو ‪ 2.65٪.‬ةبسنب تاراجيإلا راعسأ يف ومن طسوتمب اًضيأ لوبرفيل‬ ‫كانهو ‪ ،‬ةياغلل حبرم عورشم وه لوبرفيل يف رامثتسالا نأ سانلا نم ريثكلا‬ ‫رفوي امم ‪ ،‬تادئاعلل حامسلل نومضم ءارش عم ةديدج تاراقع ءانبل ةيوق ةجاح‬ ‫‪.‬لوبرفيل يف يراقعلا كرامثتسال نيزاتمم اًرارقتساو دئاوع‬

‫مسا‬ ‫فتاه‬

‫‪Name‬‬

‫‪Phone Number‬‬ ‫‪Email Address‬‬

‫ةلاسر‬

‫‪Message‬‬

‫‪143‬‬

‫‪142‬‬

1:100 TOWER LECTURE

LECTURE SPACE 144

145

1:100

Seam Zinc Standing Roof Facade

Limestone Cladding

Shipping Container

OSB style coated glass and Pre-cast Concrete Panels

Corrugated Steel

Translucent Perspex The tower is made up of a series of modules, with an internal frame and clad with different materials externally. The modules stack on top of each other, each structurally independent. These modules are then attached to the main concrete and steel core. This means that each module can be cut at different angles, so that it is not a straight up face, there is formal difference up the tower.

TOWER EXAMINED 146

The cladding on the outside is made up of different materials, that are an absorbed style of the surrounding area. These materials are those which are synonymous with the area, but represented at an exaggerated scale. Materials such as, corrugated steel, massive brick, shipping containers as facade, OSB style coated glass with precast concrete panels, crowned with a massive zinc seam roof. The facade is a direct take from the material qualities of the area.

147

1:100 TOWER EXHIBITION 1,3

SIMULATION

TOWER OF SIMULATION 148

1:100

The tower is filled with a program of simulation. In order to take on the program of the area full of simulative programs, the tower is a series of rooms each with a simulational experience, that can be rented out and filled by developers. It is an open development space, that offers a specific rentable space for developers to directly rent out and fill to fill with any program they please. These spaces are simulative of Liverpudlian culture in a perverted way, that bares no relation to the original culture that exists. An example of this is the Eleanor Rigby exhibition, which simulates the song Eleanor Rigby in 3D, but shares no relation to actual music [See Appendix].

149

Look at all the lonely people...

...Where do they all come from?

150

151

1:100 TOWER EXHIBITION 2,4,5

PRIVATE SPACE

RENT-ASPACE 152

1:100

By renting each of the floors out to inverters, the tower optimises the rampant development culture of the area, and gives a place for them to invest and implement any program they please that serves the time. This revolving door of program is in line with market demands, as something becomes popular,the tower is able to adapt and fit into it. It it is the neo-liberal market defined interloper in form as well as program. Need a new Titanic themed cafe? Here is a place you can have it for X amount for as long as its popular. As soon as its no longer popular, it can be thrown away and replaced with something else. Arguably this relieves the street level of development, as it can be completely contained in the tower.

153

ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS •

The Adidas ‘Speedfactory’ is an Adidas pop-up factory around cities that is built to look at running technique and choose the best shoes for you. This involves labs to research the running and shops to buy the shoes you need. In order to show how the tower can be bought and used as private space. The tower can be used across a few different floors with separate running test facilities, shops and lecture space.

SPEEDFACTORY • SPEEDFACTORY • SPEEDFACTORY • SPEEDFACTORY • SPEEDFACTORY • SPEED

www.adidas.co.uk

154

SPEEDFACTORY • SPEEDFACTORY • SPEEDFACTORY • SPEEDFACTORY • SPEEDFACTORY • SPEED

ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS •

DIGITALLY CRAFTED, PERFECTED FOR THE CITY.

SPEEDFACTORY • SPEEDFACTORY • SPEEDFACTORY • SPEEDFACTORY • SPEEDFACTORY • SPEED

Find out more at: https://www.adidas.co.uk/speedfactory

155

ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS • ADIDAS •

1:100 TOWER TOP CAFE

YOUR ‘L CAL’ 156

157

1:100

BIBLIOGRAPHY PRIMER AJ Buildings Library https://www.ajbuildingslibrary.co.uk/downloads/report-205852073115711423649997.pdf Tate Modern https://www.tate.org.uk/visit/tate-modern Detail,2000,ed 7 Tate Modern London

STAGING Koolhaas, Rem., and Brendan. McGetrick. Content : Triumph of Realization. Taschen, 2004. Baudrillard, Jean, and Sheila Faria Glaser. Simulacrum and Simulation. University of Michigan Press., 1994. http://www.disused-stations.org.uk/l/liverpool_st_james/index7.shtml Eco, Umberto ‘Travels in Hyper Reality’. 1986. Harcourt Brace Jovanovich Publishers Mould, Oli. “Tactical Urbanism: The New Vernacular of the Creative City: Tactical Urbanism.” Geography Compass 8, no. 8 (August 2014): 529–39. https://doi.org/10.1111/gec3.12146.

REALISATION Cook, Peter. Drawing: The Motive Force of Architecture. Second Edition. Architectural Design Primer. Wiley-Blackwell, 2014. Tschumi, Bernard. Event Cities. Massachusetts Institute of Technology. MIT Press, 1999. Tschumi, Bernard. Event Cities 3: Concept vs. Context vs. Content. Massachusetts Institute of Technology. MIT Press, 2004. Office for Metropolitan Architecture. “Oma.Eu,” n.d. https://oma.eu. Koolhaas, Rem., et al. Small, Medium, Large, Extra-Large : Office for Metropolitan Architecture, Rem Koolhaas, and Bruce Mau. 2nd ed., Monacelli Press, 1998. Read, Gray. “Theater of Public Space: Architectural Experimentation in the Théâtre de l’espace (Theater of Space), Paris 1937.” Journal of Architectural Education 58, no. 4 (May 2005): 53–62. Sharr, Adam. Reading Architecture and Culture Researching Buildings, Spaces, and Documents. Taylor and Francis, 2012. McVicar, Mhairi. “‘God Is in the Details/The Detail Is Moot’: A Meeting between Mies and Koolhaas,” n.d., 14.

SYNTHESIS ‘Imitation of Life’ 1959, Douglas Sirk

RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL •RAPHAEL

‘Trainspotting’, 1996 UK, Danny Boyle, Film4 Productions

RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL •RAPHAEL

CULTURAL BIBLIOGRAPHY

RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL • RAPHAEL •RAPHAEL

Lewis, William, “Louis Althusser”, The Stanford Encyclopedia of Philosophy (Spring 2018 Edition), Edward N. Zalta (ed.), URL = <https://plato.stanford.edu/archives/spr2018/entries/ althusser/>. Adidas Speedfactory, https://www.adidas.co.uk/speedfactory

158

159

OLLY WAINWRIGHT • OLLY WAINWRIGHT • OLLY WAINWRIGHT • OLLY WAINWRIGHT • OLLY WAIN

SMALL TALK This year I have been part of the ‘Small Talk’ student led lecture series team. This has included talks from PLP, Carmody Groarke and Chipperfield. It works as a team, but talks that I am directly responsible for organising and hosting (alongside Joseph Caden) were Olly Wainwright and Bill Webb and Ben Stuart from MAKE architects, who came to talk about some of their projects, as well as their podcast, Architecture Den. This was a great experience since it was useful to experience public speaking as well as organising relatively large events and communicating with speakers and arranging accommodation and transport for them. Something that I particularly enjoyed about the lecture series was the ability to go for meals after they had done talks, and was really interesting to hear about projects that some of these architects had been working on and story’s that they had. The best of these cases was with Bill and Ben, where Joe and I took them to a stand-up show and then went for a meal with them.

OLLY WAINWRIGHT • OLLY WAINWRIGHT • OLLY WAINWRIGHT • OLLY WAINWRIGHT • OLLY WAIN

BILL AND BEN MAKE • BILL AND BEN MAKE • BILL AND BEN MAKE • BILL AND BEN MAKE • ARCHITECTURE DEN PODCAST • ARCHITECTURE DEN PODCAST • ARCHITECTURE DEN PODCAST • ARC

BILL AND BEN MAKE • BILL AND BEN MAKE • BILL AND BEN MAKE • BILL AND BEN MAKE •

OLLY WAINWRIGHT • OLLY WAINWRIGHT • OLLY WAINWRIGHT • OLLY WAINWRIGHT • OLLY WAIN

After Joe and I organised the Bill and Ben talk, we were invited to go on to be interviewed on their podcast, Architecture Den, to talk about how university students (particularly architecture students) had been affected by the Covid-19 crisis, and what the repercussions might be from here on for architects and architecture students. This was a good experience since it allowed us both to share our opinions and go on a podcast.

This is ethanmedd.com which I have been working on over the past year, developing skills in HTML, CSS and JavaScript as well as layout design. I’ve primarily used to show A-level and university work as well as the odd project I have done in my own time over the past few years.

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ARCHITECTURE DEN PODCAST • ARCHITECTURE DEN PODCAST • ARCHITECTURE DEN PODCAST • AR

BILL AND BEN MAKE • BILL AND BEN MAKE • BILL AND BEN MAKE • BILL AND BEN MAKE • BILL ARCHITECTURE DEN PODCAST • ARCHITECTURE DEN PODCAST • ARCHITECTURE DEN PODCAST • ARCHITECTURE DEN PODCAST • ARCHITECTURE DEN PODCAST • ARCHITECTURE DEN PODCAST ARCH

ARCHITECTURE DEN PODCAST • ARCHITECTURE DEN PODCAST • ARCHITECTURE DEN PODCAST • ARC

PROXIMITY ISLAND:2149 [COMPETITION PROJECT IN PROGRESS] Proximity Island is a project in on the eastern boarder of Italy. It is 2149 and the world has taken a turn for the worst. The world has been treated horrendously and abused by its inhabitants, and despite its best intentions, it has failed on all levels to keep together. Due to the increased carbon emissions, sea levels have risen and due to overpopulation the inhabitants of the planet are forced to live and work on man made islands in the ocean. They live and work together on the island with each island having its own micronation: own rules own laws, all that matters is they gather oil. Some nations live as anarchists, others as communes, it is a Neo-Reactionist PATCHWORK of forms that each run their own nation. Members:

Jonathan Barker Oliver Gabe Ethan Medd

POPULATION GLOBAL TMP SEA LEVELS CO2 PLASTIC

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MONT BLANC

SITE VISIT

DRAWING DETERRITORIALIZED import nervoussystem.obj.*; import peasy.*; PeasyCam cam; Table table; int i; boolean record;

This is a piece on the accelerationism and deterritorialization of architectural drawing as a machine of production; specifically, deterritorialization through computer code and algorithms. This inspection into deterritorializing architectural drawing follows the recreation of Eugene Violette-Le-Duc’s study into Mont Blanc with computer code, and will demonstrate the ways in which drawing can be deterritorialized. As we lend more of our skills to AI and machines, we sacrifice the control of man on artefacts, and at its most extreme deterritorialization, the machine becomes so far detached from its originality that it no longer resembles that which it was set out to do in the first place.

void setup(){ size(1200,600,P3D); cam = new PeasyCam(this,100); cam.setMinimumDistance(-10); cam.setMaximumDistance(800);

Eugene Violette Le Duc, Le Massif du Mont Blanc I, 1:40,000, 1876

table = loadTable(“xyz_coordinates.csv”, “header”);

}

void draw(){ background(255); beginShape(r); stroke(0);

Disk restarting KERNEL_ENTER = TRUE; Space is in temporal flux In a black wilderness They are indescribable entities In an indescribable space The ground is pixelated and uneven A storm of data and pixels pushes over them White pixels The wasteland around of numbers and symbols Reflects a terrain of mountains and fields But that is no mountain And that is no field Across the expanse is the Architect Looking down on the vapour of pixels He has the power here He waved his hand and it moved the ground Mutate Distort Corrupt 0 SHADOWS PASSING 0x00007fff35aa57f0 -[NSWindow(DATA INPUTTING) _p GET ME OUT OF THIS SPACE] + 371 1 AppKit 0x00007fff35aa2ce1 -[NSWindow _ Space is collapsing without you:] + 1416 2 AppKit 0x00007fff35aa2753 -[NSWindow init :] + 42 3 libnativewindow_macosx.jnilib 0x00000001271873fe Carole walked on pixels across to the Architect The ground began to shift so she began to run She stared at the abstraction of the Architect He stared back Neither one could speak And neither one could hear The Architect began to twist the terrain into shapes Terrain is only points Points are only vertex Distort vertex(X1,Y1,Z1) He begins to deterritorialize

if (record) { beginRecord(“nervoussystem.obj.OBJExport”, “z20.obj”); } for (int i = 0; i < table.getRowCount(); i++){ TableRow row = table.getRow(i); float X1 = row.getFloat(“x1”); float Y1 = row.getFloat(“y1”); float Z1 = row.getFloat(“z1”); vertex(X1,Y1,Z1); }

endShape();

if (record) { endRecord(); record = false; } } void keyPressed() { if(key == ‘s’){ record = true; } } {}

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JDDK PEER MENTOR • JDDK PEER MENTOR • JDDK PEER MENTOR • JDDK PEER MENTOR • JDDK

At the end of second year, a few of us attended the RIBA North-East awards ceremony, where we were able to see some of the buildings that had been proposed and chat to some of the architects that were behind them. This was an interesting networking event and was nice to see some of the RIBA operations outside of typical university life.

RIBA FUTURE ARCHITECTS • RIBA FUTURE ARCHITECTS • RIBA FUTURE ARCHITECTS • RIBA

[ME]

RIBA FUTURE ARCHITECTS • RIBA FUTURE ARCHITECTS • RIBA FUTURE ARCHITECTS • RIBA

This was a great experience, as it allowed us to become acquainted with local practices, and understand how they worked in day to day careers, and what the potential roles that we could take on might be.

RIBA NE AWARDS • RIBA NE AWARDS • RIBA NE AWARDS • RIBA NE AWARDS • RIBA NE AWARDS •

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RIBA FUTURE ARCHITECTS • RIBA FUTURE ARCHITECTS • RIBA FUTURE ARCHITECTS • RIBA

RIBA NE AWARDS • RIBA NE AWARDS • RIBA NE AWARDS • RIBA NE AWARDS • RIBA NE AWARDS •

RIBA NE AWARDS

In second year, I took part in the RIBA Peer Mentoring scheme, where I attended sessions at JDDK architects, where I would sit in on meetings and be shown around big projects that they were working on at the time, as well as Revit tutorials and a site visit.

RIBA NE AWARDS • RIBA NE AWARDS • RIBA NE AWARDS • RIBA NE AWARDS • RIBA NE AWARDS •

JDDK PEER MENTOR • JDDK PEER MENTOR • JDDK PEER MENTOR • JDDK PEER MENTOR • JDDK

RIBA PARTICIPATION

FUTURE ARCHITECTS RIBA Future Architects program was a good introduction to the RIBA operations. It was interesting to see some of the practices that exist in Newcastle, and what their attitudes are to recruitment and specific jobs at these offices. I attended the lecture as well as the CV workshop for these events, and they were both really interesting, but it was mostly good to just chat to local architects and hear their opinions on various aspects of architecture and their career paths.

APPENDIX import import

ervo y te .o ea y. ;

. ;

ea y a a ; Table ta le; int ; int ol , row ; int l = ; int = ; int w = ; boolean re or ; void

et () { ze(500, 500, ); cam = ew ea y a (this, 1 ); a . et ta e( 1 ); a . et ax ta e(1 ); ol = w l; row = l; table = loadTable(“ a . v”, “ ea er”);

} void raw() { a gro ( ); stroke( ); ll( , , ); rotateX( ); translate( w , ); if (record) { eg e or (“ ervo y te .o . x ort”,“z .o ”); } { for (int y = ; y row ; y ) beginShape( ); for (int x = ; x ol ; x ) println(x); a le ow row = ta le.get ow((y ol ) x); float Z1 = row.getFloat(“z1”); Z1= Z1 1 ; println(x,y,Z1); vertex(x l, y l, Z1); vertex(x l, (y 1) l, Z1); } endShape(); } } if (record) { e e or (); record = false; } } void ey re e () { if ( ey == ) record = tr e; } }

ELEANOR RIGBY This was a piece I developed during Staging, that I had intended to use to inspire the form of my building. It is a 3d form of Eleanor Rigby, taking from an FFT spectogram and then used the frequencies to create vertex. Ultimately, I used it for an exhibition room in my design.

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June 2020