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Katie Flower 160255058 ARC3001: Architectural Design 3.1 (19/20)

WARMING UP THE BALTIC TRIANGLE

CONTENTS REFLECTIVE REPORT

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PRIMER

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STAGING

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REALISATON & REFINEMENT

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SYNTHESIS

118

CULTURAL BIIBLIOGRAPHY

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FIGURE LIST

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BIBLIOGRAPHY

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APPENDIX

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REFLECTIVE REPORT

Stage 3 has been a particularly challenging year,

Our Primer was a crucial beginning to this project,

both personally and academically, but it has been

kickstarting our individual research. We were split

a challenge that I have enjoyed rising to. The

into different scenarios to research within, mine being

Future City studio brief required us to engage with

Working in the City, which ultimately guided my project

flexible workspaces, exploring their materiality

towards the multi-function studios spaces I

and the way they function, and to establish our

designed. Having only ever had one office job, I have

regards to idea development and, although we were

what I wanted to achieve and it helped shape my

own architectural style and brief within this.

not had a huge array of co-working experience however

all taking different routes for our projects, we were

project through simple and snappy words/phrases.

through my exemplar, and the variety of buildings we

often working within the same design circles and

visited on our studio trips, I was able to criticise and

site constraints. This allowed us to question each

celebrate different aspects of the typical office space.

other, ultimately strengthening our narratives and

have

encouraging each other to develop our work further.

Our Primer trip to the Baltic Triangle, where all of our sites were based, included visiting successful

During the subsequent Staging process, I was able to

examples of co-working spaces. This gave me a deeper

explore the context of the Baltic Triangle and challenge

understanding of innovate ways to create flexibility

myself to think about the social, economic, and

in often unconventional spaces, including large

physical framework of my site. Within this contextual

warehouse such as Hinterlands, pictured left. This

analysis I began to establish narrative principles that

focus on rennovation and recycling ultimately became

worked well within the location, site history and wider

a driving force behind my project development. This

community and was eventually able to set myself a

trip, alongside the Primer task, enabled us to have

brief to work within, something I had not done before.

a greater understanding of the way these multifunctioning spaces work and, conjoined with my own

My two early celebratory pieces were sewn pieces

individual research, invoked ideas for my project.

about the gentrification of Liverpool and sewn perspectives, both were a creative way to explore

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Visiting the site and spending time around the city helped

the world of sewing that I wanted my building

further my understanding of site analysis, learning

to be a part of. By spending time going through

beyond just the typical wind and sun diagrams of a site

magazines, not always in the most conventional of

and exploring the wider impact. The group tutorials

spaces (pictured right), to find the words to sew onto

throughout this process were equally as valuable with

these perspectives, I was implored to think about

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This reimaging of perspectives was heavily influenced

nature of my art-based project, the clean, “perfect”

To reach these synthesised drawings I underwent a

by my ARC3015 essay which focused on different

renders did not represent the creative spaces the way

series of processes that I had never tried before. The

ways of representing perspectives. Within this I

I idealised, leading me to still include these but shrink

plaster cast workshop is a major example whereby

discovered the timeline of perspectival drawings, with

them in the hierarchy of my final Synthesis drawings.

I was given the confidence to, in the same way with

us currently undergoing a move away from “perfect” renders into a post-digital movement (below).

This was something that we discussed within our Translations workshop back in February alongside the

Whilst solely using digitally rendered perspectives

idea that perspectives are an idealistic representation of

in second year, I used this essay as a way for me

space and form. The curator of this workshop suggested I

to also move away from this digitalisation and to

read Robin Evans’ Translation from Drawing to Building

broaden my perspectival horizons, leading me to

in which he explores drawings role in architecture and

the two final perspective styles within this portfolio.

discusses the ‘rediscovery of the architectural drawing’

These include the sewn perspectives, as mentioned

(Evans, 1997). Within this he suggests that a ‘suspension

previously, which I mainly used for narrative, and

of critical belief is necessary in order to enable architects

then a marriage between real photos of people

to perform their task’ (Evans, 1997) which is something

layered onto post-digital style perspectives. These

I have taken through my work whilst creating these

allowed me to have more ownership over the

argubly “less accurate” perspectival drawings through

material properties, something that render softwares

both the sewing and post-digital type medium.

the perspectives, move away from digital modelling.

It gave me the skills to create my own plaster cast models for 1:200 roof exploration modelling as well as in Thinking Through Making Week to explore my materiality. By again moving away from my typically digital-based work, these physical models allowed me to explore my roofscapes, an important part of the Liverpool-based project, to scale.

By working physically rather than digitally, I was given the self-confidence to make mistakes and learn from them, something I often lost through digital modelling as everything is required to look more “perfect” even at initial stages. The photos

often do not allow you to have. Particularly with the Although my sewn perspectives are slightly lost within the digital portfolio due to their interactive nature and physical detailing, I still value the way they

represent

my

project.

(Author, ARC3015)

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included of my plaster cast modelling process shows how when things go wrong (below, oops!), they can often inspire other ideas, such as this overflown plaster cast looking quite fabric-like and inspiring me further about the use of fabric within my building.

As this developed into my final massing and final design, the synthesising phase quickly became my favourite part, enjoying the challenge of portraying how all of the other chapters have come together into clear, stylised drawings.

I have thoroughly enjoyed the journey of this year, seeing how all of the other modules feed into ARC3001 and have especially valued curating my work into this portfolio to show how my project has flowed from chapter to chapter. Thank you to my tutors, Kieran and Luke, for supporting me throughout the process.

CHARRETTE

Charrette week consisted of our group meeting with a fashion designer and being given a dress from her wesbite (pictured right). Each group then had to create an installation that recreated/respresented the dress.

(Figure 1 left and 2 right)

Our group tackled this by each member creating their own idea and then compiling these onto a large mood board which personally was great for kickstarting my creativity for the year. We decided to create an interactive installation whereby people could walk through (or babies, pictured left!) and experience the dress in a more architectural form. We achieved this by filiming Anna (above) and projecting these animations onto the installation.

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PRIMER “IKEA’s research lab Space10 has traded in the “chaotic” open-plan design of its head office in Copenhagen for a more flexible workspace divided with mobile partitions, by local studio Spacon & X” (Dezeen) Figure 6 Figure 7 The building I chose for my primer exemplar is a renovation of a small fish market building. It is located within the old meat packing district in Copenhagen, Denmark and, as one can see from the site photo below, the surrounding buildings all still retain the original qualities. The building would have previously looked something like one of the other fish factories shown in Figure 7..

Within my exemplar I explore building to be redesigned into a

Figures 3, 4 and 5 above When researching about Space10, I came across their there was a highlight title ‘Copenhagen’ which contained they created the building the way they did, something I

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instagram page, on which their manifestos and why use my primer to explore.

the design innovation that allowed this protected functional workspace with pockets of smaller spaces.

Figure 8

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"Get rid of the open-plan office" says Space10 co-founder Simon Caspersen (Dezeen) Offices have become completely open with the idea of “hot-desking” and Caspersen believes that this layout "simply wasn't working”, hence the Space10 layout with many pockets of space.

Figure 10 and 11 below

Figures 12, 13 and 14 above show how the pods within the Space10 building can be changed to suit the needs of the users.

Figures 17 and 18 above Space10’s whole ethos is about creating and investigating life-style related wellness within their labs and so they wanted to make sure the architecture of their offices followed suit with these peaceful but communal pods.

Figure 9

The co-founder of Space10 goes against the typical modern day workspace and endeavours to move away from open plan working, suggesting that smaller spaces and boundaries are what drives creativity.

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Figures15 and 16 above

10

“The coloured panels also used in the customisable cubicles are not just for aesthetics, but are sound absorbing too – a huge benefit to creating privacy” (Dezeen)

Figure 19

Space10’s ideas of well-being and creative spaces is something we saw a lot of within the Baltic Triangle, as I go on to discuss in the next spread.

The open plan layout with the series of cubes within it allows the space to remain structurally unchanged, therefore not affecting the protected building, whilst creating safe spaces for people to create.

The protection of the building entailed the team working around regulations, making them have to think outside the box.

“While he sees the open-plan office as distracting and stress-inducing, he believes it is important to maintain the sense of collectivity that it offers, but in a healthier way” (Dezeen)

As my final exploration to Space10’s pocketed workspaces, I looked into how to office adapted to returning to this open plan space Caspersen rejected in my initial pages.

For larger meetings or lectures, the space can adapt from axonometric 1 to 2, showing just how flexible smaller spaces can be, something I hope to take forward in my project.

1

The creation of the studios without changing anything structurally was a task that, as seen in their publication (bottom left) they would have seen as a challenge rather than as chaos.

2 Figure 23 and 24 above

Figures 21 and 22 axonometrics showing how the space changes Both book spreads grouped under Figure 20

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"This gives the team more privacy when doing work that requires a lot of concentration, leading to more productivity, or allows them to open their space up to the rest of the office to feel more social" (Dezeen)

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PRIMER SITE VISIT: LIVERPOOL OCT 2019

Constellations, left, had well-lit spaces that were decorated with honest materials and were very welcoming. They stated themselves that the “DIY ethic and laid back atmosphere that has influenced this urban retreat“ (Constellations, 2020), something that is being evermore seen in the Baltic Triangle. These spaces comprised of and “Event space, garden, eatery and bar. An intersection of art, music, food and drink” (Constellations, 2020).

Constellations (above and right)

This intersection of the arts was very present throughout our trip and is something that is becoming ever-present within the Baltic Triangle.

Hinterlands, below, was the Constellations larger sister venue and it had a lot more space for their events. As we visited the space it had just been used as a wedding venue (photos below) and it was just being cleared up and re-decorated for another event shortly after, highlighting the major flexibility of these spaces.

Our first visit to Liverpool included visiting both Constellations and Hinterlands, two sister venues which are community spaces and have large rentable areas for events.

In light of my primer research, it was particularly interesting to see how flexible spaces, like Space10, actually functioned and how this was achieved on a larger scale.

Hinterlands (both photos above)

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STAGING Early manifesto of my scheme: “Upcycling materials to contribute to society and discover talents within a community as well as working with the homeless of Liverpool. Regenerating the building whilst still reflecting the history and culture of its origins. Working to rebrand the normal idea of a studio in addition to being a concept that displays how local community groups can shape and have a significant influence on the place they live in.�

The flow of green showcasing my portfolio is intended to be a neutral colour to encourage any gender/age to engage with the building, especially as men are often disengaged with the fashion/ sewing industry and I wanted to try and move away from this. In addition to this, green is obviously a very prevalent colour within the reuse system which is integral to the purpose of my building.

In light of my primer and with an greater engagement into flexible spaces and their impact on their community, the Staging process enabled me to explore this within my developing themes. In this chapter I explore the Baltic Triangle, what difference I could make to the immediate and wider community and how I can do this without being impactful on the surrounding context as I begin to develop my building narrative.

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FUTURE CITY L

ool rp ive 17

Our studio sites are situated within Liverpool, very fitting to the title Future City, especially as it is known for its ever-growing presence within the UK and worldwide.

It is a vibrant city on the West coast of England which became a major city as early as the 1600s and it became a “hive “hive of cargo from all over the world and by the late 19th century, 40% of the world’s trade was passing through” (Visit Liverpool, 2020) It became the world leader for cotton production throughout the Industrial Revolution, as well as thriving in other industries such as slavery. In 1830, Liverpool again “showed how ahead-ofits-time it was by linking itself to Manchester by railway, with the world’s first inter-city rail link” (Encyclopedia Britannica, 2020). Slavery was abolished by British Colonies in 1833 but they

In the primer exemplar brief the subheading of Future City is ‘Spaces of Transformation’ which is something that resonated with me through to the end of my project. The brief for this included a discussion about the Development Framework and how:

“whilst it at times makes useful observations about the character and qualities of the Baltic Triangle, current and future developments mooted for the area seemingly ignore these considerations. Instead these transformative schemes favour and follow mostly generic design principles and practices, lacking a rootedness to their place and the community which resides in the Triangle or within its vicinity”.

continued to boom in all other trades until WW1.

This is something that has really set the core values of this project and has encouraged the whole cohort to really think about why they are doing what they are doing, and the impacts beyond the decision.

Liverpool won the City of Culture in 2008 and has only continued to thrive since, being one of the leading cities in England after London.

Particularly in the Baltic Triangle, as I go on to explore further through Staging, it is a hub of culture and is being evermore developed on.

Within the broader title of Future City, I have chosen the Working in the City scenario. Within this I will develop on the work I researched in my primer and will focus on flexible work spaces within the Baltic Triangle on our site trip, subsequently hoping to create an innovative work space myself further along the project.

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The Everyman

SITE VISIT CONT:

OCT/LIVERPOOL NOV 2019 Our second trip to Liverpool consisted of a range of spaces, all united in the same community function.

Granby Street (below and left)

We visited The Everyman Theatre which was founded in 1964 and then rebuilt during 2011-2014, winning the Stirling prize only months after its reopening. It combines honest architecture, exposed concrete and exposed ceiling electrics, with dramatic open spaces.

Bluecoats, bottom left, has an even deeper level of history to it, with the building itself existing since 1716 and having been rented out by the Sandon Studios Society since 1907. Again it was filled with dramatic spaces and honesty, particularly in the far left photo where three types of construction meet.

The Granby Street Workshop, although a lot newer and smaller than the other two buildings, was equally as impactful. It was set up to try and regenerate the immediate surrounding area through entering into community land ownership in 2011, The graffiti surrounding Granby Street and the rest of the city provoked my initial ideas about unheard creativity within every community.

Bluecoats (below)

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My celebratory piece focused upon the gentrification of Liverpool. It is comprised of two sewn “drawings” with this one lying underneath representing the gorgeous red brick buildings with the magazine cut-outs representing the voices people who being left behind as the city becomes newer and glossier.

CELEBRATORY OF LIVERPOOL: This represnts the high rise flats being built around the Baltic Triangle area, selling “luxury flats” that the surrounding are unable to afford. The magazine cut-outs represent how these would be sold to the public and the billboards on either side were actual photos I took on our site visit of a development company trying to sell similar luxury apartments to the public.

As shown in the strip of photos along the bottom, this is revealed under the other piece as though these historical and characterful redbrick buildings are being eradicated.

Creating these in this style allowed me to not only show the voices of the public through sewn on magazine lettering but it also allowed me to start to think about my project that was developing and the power of fabric.

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SITE VISIT

TURIN NOV 2019 Turin gave us an opportunity to learn outside of the studio, with the trip itinerary including a range of public spaces, both with varying community aspects or unique compilations of materiality. It enabled us to explore architecture beyond just our site in Liverpool and definitely gave myself and others a fresher view on the project we were about to undertake as well as uniting us a studio (as shown below!).

Above photo taken by Leo Fieldhouse

Toolbox Torino (above left) and abandonded space (above)

The Fondazione Prada Milan was a personal highlight of the trip (above). I have used it as a material precedent later in my work and will discuss more about it, and its influence on my project, there instead.

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Teatro Regio di Torino (below left) and Lingotto Fiat Factory (below right)

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BALTIC TRIANGLE

“Our historic architecture is a symbol of our past and an essential part of our city’s future” (Bowery, L., 2020) The map below explores the most highly regarded and iconic buildings surrounding the Baltic Triangle.

Albion House

Municipal Offices

Liverpool Town Hall

Stt George’s Hall

Victoria Building

“If you look down just for a moment while walking through Liverpool, chances are you’ll miss something amazing. The city is home to a vast number of stunning and historic buildings. It actually houses over 2,500 listed buildings and 27 of these are Grade I” (Visit Liverpool,2020)

The graphic below shows the site mapped into the surrounding context, showing the surrounding transport links and major surrounding areas, particularly the Knowledge Quarter for my project.

The site has great surrounding access, especially with it being ust of the A562 making it a prime development spot in terms of construction access too.

Royal Liver Building Port of Liverpool Building India Buildings

Bluecoat Chambers

Liverpool Cathedral

Albert Dock

(Author, ARC3013 report)

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BALTIC TRIANGLE The Baltic triangle is deemed to be “one of the hippest places in Liverpool, if not the UK” (Baltic View, 2020). It is a very up and coming area and is a hive of events and colour. Figure 27 shows the Hinterlands building, which I discussed earlier, in stark contrast the red brick behind, a regular trait within the Baltic.

With nicknames including “the creative quarter” and “the creative playground”, this are of Liverpool is really thriving in small businesses and quirky bars.

CONT:

“Imagine an area where musicians rub shoulders with photographers, artists, fashion designers, digital agencies, architects, film-makers, young entrepreneurs, recording studios and there’s a bunch of drinking holes and eateries, nightlife venues, internationally acclaimed arts festivals and galleries to drop-by on.

That’s us…” (Baltic Triangle Liverpool, 2020)

Figures 25 and 26 above

The above maps are from the Baltic Triangle Development Framework, something that i have used throughout the project to refer back to and to check my building is remaining within their guidelines other the surrounding area. By looking at the heritage assets and the land use around the site, I am able to establish the context of the surroundnig buildings, their uses and what heritage they fall under.

Figure 27

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66 BRIDGEWATER ST I chose this site because I have not attempted any renovation work throughout my degree and thought it would be an exciting challenge to incorporate this into a design.

The site is in a great location and so the large car park being left unused seems wasted, especially with there already being a large car park adjacent next to the KFC. I want to bring life back to this area, and visiting the successfully renovated Love Lane bar besides it reinforced this. The exposed car park enables me to building something on the site without having to demolish anything and impacting the site further.

Although the site has an overall slope, the site is generally quite flat which also allows for ease of design. My initial site section below shows the site, denoted by the green strip, and how little impact a development here would have with regards to the sky rise cityscape.

Above are images that put the site within its immediate context. It is a large abandoned building which brings about both challenges and benefits. Below are some images I created for tech that explore the constraints and positives ofthe site.

KFC

Challenges, left two, and advantages, right three (Author, ARC3013 report)

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CURRENT VS HISTORY Upon visiting the site and researching the history behind the building, as well as reading other pepoles views on it and discovering:

Above are site photos, exploring the site both in the day (above left) as well as in the evening (above right) where the site becomes less welcoming.

Someone was able to visit the inside of the abandoned building and released these photos of the interiors.

They visited in July 2017 and I can imagine nothing has changed now still.

“I was told by the adjacent construction team after my visit, this factory closed down in the early 1980’s. It is categorized under the Manufacture of other Containers and use to supply paper and textile products and equipment for the shipping industry including such items as life jackets” (Derelictplaces, 2017) Learning about the history and seeing these photos as a snippet into the past of this building, I was inspired to continue this heritage and rich history through my redevelopment.

Figure 30

All surrounding images of building history labelled as Figure 28

In the next few pages, in light of site and building, I set myself a brief. Within this I endeavour to bring the building back to life, mirroring its original purpose as well as “remaining sympathetic to the surrounding character” (Regeneratingliverpool.com. 2017). it is protected under ‘Buildings not listed by which contribute to the character of the Baltic’, as shown above.

Figure 29

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Existing site section

SELF-SET BRIEF: hdj Alledgedly a manufacturer of containers and supplying paper/ textile products as well as equipment for the shipping industry including life jackets. The painted sign on the store brickwork states that it was a ships chandlers and sailmakers.

1930

In light of the building history, the brief proposal should incorporate recycling the building purpose and retaining some of the original architectural elements.

The proposal should create a University building, being on the outskirts of the Knowledge Quarter, that includes co-working spaces for fashion students, a versatile event space to accomodate fashion-related talks and degree show catwalks as well as including a chosen community aspect of some sort.

1980

2020 Factory shut down in the 1980s. Since then the building has been spared many times from demolition and redevelopment into housing.

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The University is giving creative freedom, particularly to the community side of the building, requiring only that the spaces are bright, welcoming and inspiring.

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INITIAL EXPLORATION INTO THE ROLE OF A UNIVERSITY WITHIN A COMMUNITY: exploring the role of a University within a community

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“It is unacceptable that in the 21st century we are forced to dedicate so many of our resources tackling rough sleeping and homelessness but we refuse to sit back and do nothing while people take to the streets” (Liverpool Echo)

Giving a voice to those unheard

“t’s unforgivable that 320,000 people in Britain have been swept up by the housing crisis and now have no place to call home” (England Shelter)

“This figure lays bare the true scale of Britain’s worsening housing crisis, despite repeated government pledges to tackle the problem” (England Shelter)

“Homelessness is everyone’s issue and not something that can be tackled in isolation” (Liverpool Express)

WHICH COMMUNITY COULD A UNIVERSITY HELP? The idea of the University playing an important role in “community development An article from 2018 and empowerment” (University Role, 2020) on the previous page led me to explains how almost think about who within the community would need the support the most. 5,000 people came through to their charity On the site visit I was shocked by how many homeless people were in the city that year. As the and being walked by and completely ignored. This sparked my interest into Liverpool population creating a building that would help the homeless and would work towards around is 550,000., this giving them a voice as well as raising both awareness and funds to help them. would suggest that at least 1% of Liverpudlians This would mean giving some responsibility to the students within my building but are experiencing according to (Universitiesuk.ac.uk. 2020), “31% of all those in higher education” h o m e l e s s n e s s . volunteer gives faith to me that my developing scheme idea would be successful.

“What have we learnt from the past? What kind of society do we want to live in tomorrow?

(Tate Modern)

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Mayor Joe Anderson stated that they “have adopted a partnership approach which has seen some great work from a host of organisations, volunteer groups and residents of the city” (Liverpool Express, 2020), something that ideally my building would contribute to.

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HELPING VIA THE ARTS: Figure 33

The Museum of Homeless (below) was established by people who had experienced homelessness themselves and now share stories and exhibit projects such as The Dying Homeless Project. This project was started to raise awareness of those who died from homeless in the UK, as from October 2017 to March 2019, “a shocking 800 people died whilst homeless” (Hudak, T., 2020).

The Tate formed an association with the Museum of Homelessness to create the State of the Nation whereby they exhbited Exchanges on Homelessness. It was a weekly occurance that provoked “a meaningful dialogue that will explore some of the causes of homelessness” (Tate, 2020).

This is not the only thing the Tate bodies across England have done with regards to homelessness, and the exhibtion (above) displayed art by former rough sleepers to raise awareness and de-stigmatise homelessness.

Both above grouped as Figure 32

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CHARITIES ALREADY HELPING THE HOMELESS IN LIVERPOOL:

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Figure 34

MAIN FASHION ASPECT: The move of the British Style Collective from Birmingham to Liverpool in 2017 was a very large move with regards to fashion and putting Liverpool on the map. This is not a new move towards fashion for Liverpool though and, as seen in a 2014 article:

“Liverpool is the unofficial UK capital of fashion” (BBC, 2014)

“Did you know Liverpool has more museums and galleries than any other UK city outside of the capital?” (Visit Liverpool, 2020)

I wanted to follow this through into my narrative of studios and try and build upon this idea of fashion within the community. In light of this, I want my project to have a side to it that ecourages people to embrace their creative side through the form of lessons or interactive lectures/talks on fashion.

For a while Liverpool has been becoming a creative hub at an exponential rate. There are already many artsy spaces, as depicted in the image above, and they are ever-increasing, especially within the Baltic Trianle.

“Culture is Liverpool’s lifeblood, with many considering the city to be the UK’s creative capital” (Liverpool 2020)

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Figure 35: British Style Collective 2017

“Liverpoolisfamousforseveralthings;onethingitsparticularlypopular for is its massive commitment to looking good. Our people aren’t afraid to don something new, try out the latest trends, rework some old ones and absolutely work it in the process.” (Visit Liverpool, 2020)

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WHAT I WANT TO MY BUILDING TO DO?

STUDENTS

PUBLIC

CHARITY

I would want to create a bright, spacious environment for students to feel comfortable enough in to explore their creativity. It must have resources they would require for their work.

My main goal for the public aspect of my building is to give people of all ages and all skill sets the resources to be educated in all things sewing and fashion.

I want my building to further the work of those already helping the homeless community within Liverpool. They would be able to book out the event space free of charge for their charity events to save them wasting valuable funds on an event space and the proceeds from those events will go straight to them.

The additional aspects of the building, such as the charity shop and reworking of the clothes within the building would be part of their course. They would be heavily taught about the impacts of fast fashion in an attempt to create a new generation of environmentlaly concious designers.

This would include various sewing lessons, knitting lessons, tie dye sessions, talks on fast-fashion and the environment, catwalks of the students work as well as external bodies being able to rent out the space for their own shows.

REWORKING I would want people to be able to bring broken clothes back to the charity shop. They would be fixed by the students or volunteers and returned to the customer to encourage no waste and long wear.

This is inspired by Patagonia as they have “long offered repairs–if a shirt you bought in 1983 tears in 2017, they’ll fix it ... in line with the company’s aim to limit environmental harm” (Fast Company, 2017) Similarly, the charity shop would accept all scraps and broken clothes, making it unique as in most charity shops broken clothes cannot be donated and they are just discarded which I want this building to combat.

There will be a work space where they can host meetings for these events and in general if they need a functioning work space.

Patagonia refurbishment scheme (Fast company, 2017)

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INTERVIEWS These interbiews occured as primary research to supplement my earlier secondary research and to try and discover what other school/university buildings have within their establishments and how existing courses, if at all, tackle both the environmental side of fashion as well as any charitable aspects.

I hope this will spark ideas for the spaces within my building and what they should include, as well as any inspiration for linking my building to the community.

“the easier the access, the more inclined people will be to use things” “helped [homeless people] develop sewing skills so they have a career opportunity” “our café is sh*t and too expensive and the printers never f*cking work”

JANET HENDERSON, 56

CHARLOTTE BANKS, 22

ELLIE SIBLEY, 25

Retired secondary school textiles teacher:

Current fashion student at Manchester Metropolitan Uni:

Ex-fashion student from Leicester and current fashion buyer at John Lewis:

Studying fashion full-time so

Studied fashin with buying at

Worked in this career for 25 years so I thought she would have a good understanding of the way the course works/ what she would want in a studio/how textiles could help with the charity aspect.

I thought she would have a great and current perspective on the requirements of studios and how the courses run with regards to charities/sustaibility.

Leicester De Montfort and has since worked as a fashion buyer at Topshop and John Lewis. I thought on top of her perspective of the studio, she would have a more business aspect to add to the conversation too.

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JANET HENDERSON SECONDARY SCHOOL TEXTILES TEACHER

Did your course teach about fast fashion and the environmental impacts of clothing? And/or the sustainability fabrics?

What did you have in your studios? What did you like the most?

Yes! We definitely did for GCSEs as it was part of their curriculum, and even for other years it was integral to us teaching textiles really. Also in terms of cost, it made the course more affordable as it would not have been feasible to buy lots of new fabrics especially as our course was not really deemed essential teaching, it made it easier on the school budget to use recycled fabrics. We did projects where they would bring in an old t-shirt and we would give them an hour to refashion it, lots of projects started by people bringing in old clothes and us seeing how it would work. We also taught them more literally about how fibres were made/decomposed and the impact of reusing, I guess it was making them understand their responsibility within the world of reuse and making them

In my classroom I had tables of different heights for standing to cut fabrics and sitting to work at, and these also had the right height stools to go with them. I had work benches around the outside of the room so all the children had an individual space to work at with their own plug sockets and there were storage units underneath so that it was close to where they were sat and could encourage them to keep it tidy. Two over-locking stations sat in a set place within the classroom so that although we did not have that much equipment, the children always knew where they could find it and this was the same with the permanently placed ironing and pressing station. I had a walk-in store cupboard and within that everything was labelled so that it could be accessed quickly and safely, and this also had large baskets in for material scraps so that nothing was wasted and so the kids could reuse them for new projects.

question their choices.

What would your ideal studio be? What do you feel was missing from your studios?

How do you think your course could have been integrated to help the homeless population?

I would want lots of natural light as this was definitely missing from my classroom, probably because the school was lacking in space really, but also still lots of artificial light as well. I also would want a big store cupboard for coats and bags so that you aren’t tripping over them and the classroom is clear.

I would have also loved loads of display space for pupil’s work and inspiration, maybe even cabinets to showcase and celebrate the children’s work. I think movement around the space is really important too and there should always be an access route around the tables, especially for disabled children or elderly teachers who visit and struggle to get round, something that did happen sometimes. It was hard keeping it spacious with 20 children, or sometimes even more than that, so maybe I would have preferred a smaller group of people to teach with really. I think it’s all about access to be honest, the easier the access, the more inclined people will be to use things.

I am not sure this would have suited the majority of my early teen pupils as, although on the edge of Doncaster, it was within a rural community and so actually the pupils in that area probably would not have been exposed to much homelessness in person. In saying this, maybe the course could have tackled the awareness side of homelessness even if unable to directly help them.

I do think that it would be different with university students as you are proposing though and it could have a great impact. As a teacher we had a lot less freedom in directing where the course went whereas I feel a university body and students are much more independent and able to make wider choices without safeguarding issues perhaps.

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CHARLOTTE BANKS CURRENT FASHION STUDENT

What do you have in your studios at uni? What do you like the most about this?

One thing that is so necessary is having big tables like really wide one. Also natural light is super great to have in the studios as well as loads of space and what is especially helpful is having storage underneath the desks.

Coming off the studio we have a machine room with all the sewing machines and ironing boards and then another room for knitting machines which I guess is a bit more specialised. You would definitely need a machine room though if you are making clothes, on the whole fashion course we have roughly 20 standard sewing machines for probably 120 students so 1 per 6 students roughly. The other really helpful space was the print room which was for screen printing with like a 10m long print room as well as a big digital printer to print out our work.

What do you feel is missing from your studios or that you would personally want?

I don’t know if you would have this in yours actually, but we would love a better café! I’m student rep and the two things everyone always complains about is that our café is sh*t and too expensive and the printers never f*cking work. We would ideally want way better normal paper printers for our portfolio stuff, specifically ones that we can slot our own thicker art paper into because we are always printing out body templates on to draw our designs over. We always scan in our materials and then use them on photoshop so definitely would want better scanners for that, and anything we make on photoshop we would need to print out for our reviews and stuff. There are some computers round the edge of the studio rooms that are helpful and if not we can technically go and use the other courses computer rooms but it is a bit annoying really.

What did you require for your catwalk shows/degree shows to run smoothly?

The first thing is a good location to have them – our art school has a huge empty gallery space and so we use this for all our shows. You need a whole team of people really such as makeup artists, models, and people to get the models ready. You would need a backstage area, like our gallery has an adjoining wing place that the models come in and out of. I think the university just owns an excessive number of chairs so they don’t need to rent those and then the models we would get from an agency but I guess you could use volunteers or students instead.

A good sound system is a really great thing to have and to be honest we don’t really use lighting as it is too expensive, so we just do our catwalks within the natural light in the day. Every seat has a brochure on it explaining whose work was what which was quite useful and then that’s it really!

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Does your course teach you about fast fashion and the environmental impacts of this? And/or the sustainability of fabric choices?

It has never been formally integrated into the course and there were never any lectures on it but it was very informally integrated. Like all of the tutors give a lot of advice about it but it mostly comes from the students ourselves being interested in and caring about it, the students have to initiate it themselves really.

There are lots of external sustainability awards though that lots of us would enter through the university. It was bad though that we didn’t get taught about it but we all seem to know about it through the internet and stuff I guess. They should have definitely at least in the first year of the course given us lectures and stuff as a part of the academic side of the course.

How do you think your course or building could be integrated to help the charity/homeless?

We definitely could do events that raise money for issues like that and they could maybe set a few days or a week for all of the fashion students to make useful things for the homeless such as clothes or sleeping bags? Especially the fashion shows and catwalks could have collection pots at the end of each show and as I mentioned earlier about the brochures, they could all have awareness and places donate or help on the back. We could always make things for them physically too actually, as well as maybe using our art skills to raise awareness around the city perhaps?

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ELLIE SIBLEY

FASHION BUYER AT JOHN LEWIS What did you have in your studios at uni? What did you like the most about this?

They had sewing rooms coming off the studios and we all had really huge wide tables for pattern cutting and basically just loads of space around you. Slightly less importantly but there were huge sofas to chill on and desks in the corridor in case you wanted to do work not in the studio. Also outside of the classrooms there were computer stations in case you needed to print things and didn’t have a laptop or didn’t have it with you or something.

Were you in the same space for the whole course?

No we weren’t, I moved into different building in my second year, it was brand new at the time and it’s called the Vijay Patel Building! It was amazing! It was state of the art really, they were huge rooms with sewing machines all over the place. It was such an improvement because the pattern cutting huge pieces requires loads of room. In the new building there was loads of glass down one side with huge windows which as a fashion student you would be in there all day so it was amazing to have really bright spaces, whereas the old building had really dark spaces. It also had a design technology or woodwork courses in it too which meant there were like lasercutters and other courses studios which kind of brought together the creative courses.

What did you feel was missing from your studios?

As I said, in the old building it was so cramped, but the new building was literally perfect so definitely look that up! There was always a sewing technician which was so helpful, and you could literally pop in and ask her anything.

What did you require for your catwalk shows/degree shows to run smoothly?

They were more like exhibitions and they took all the tables out of the studios and then you all had your own space with clothing rails/blocks to put your work on as well as a section to put massive posters and

print outs of your final designs. Because there were so many of us there wasn’t really enough room for them just to take place in the auditoriums but it worked quite well anyway because there were signs moving you around the building and different studios. The people who did just fashion rather than fashion buying as well had big fashion shows in the big auditorium on campus which they made into a fashion show space a

Did your course teach you about fast fashion and the environmental impacts of this? And/or the sustainability of fabric choices?

Yeah definitely, I was doing modules in fashion buying as well so I learnt a lot about buying sustainably too in lectures. Actually my final project was all about gender neutrality and I did this completely with sustainable materials and they really encouraged this. I feel like there were definitely more marks if you did it sustainably which is great I guess! Especially from working in the industry now, I know its such a big part of where the future of fashion is going and so it really should be taught on those kinds of course.

How do you think your course could be integrated to help the homeless? Or for charity?

I know Meghan Markle worked with a fashion brand, I think it might have even been John Lewis, and its all about giving homeless people shirts/smart clothes to go to interviews with as well as giving them coaching too to help them present themselves. We could maybe have done a similar thing and made clothes for them or something or maybe helped them develop sewing skills so they have a career opportunity perhaps? We learnt a lot about UK manufacturing and how they are in need of people so perhaps they could have been taught the skills to be able to work in one of those.

How does your current job at John Lewis and your previous at Topshop, working at both as a fashion buyer, help charities?

What were their methods, if any?

John Lewis are so great at being green whereas Topshop were noticeably worse so that has been interesting for me to see the difference. John Lewis, similarly to what Meghan Markle did, has their own initiative where they also help to dress homeless people as well as always doing fundraisers for charities such as Mind. As a fashion buyer we have a lot of spare samples which we then take to shelters or charities ourselves, I guess that is less of the business and more of us but still!

few times throughout the year.

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ect) p s a er g r a (l g din l i Bu For the students: Bright and large studios Large desks to work on Computer/print spaces Large storage spaces Catwalk spaces Studio kitchens Sewing rooms Student cafĂŠ Teaching youths Safe for students Recycling fabrics Helping the community Sharing skills and knowledge Raising fast fashion awareness

Comm unit y (s ma lle r Helping the public: Places to socialisie Places to eat/drink Places to shop Places to learn Places to attend events

Event space Office spaces Charity shop CafĂŠ/kitchen Raising awareness Helping others Teaching youths Safety

) cts pe as

Unive rsity Fa shi on

IN LIGHT OF MY RESEARCH

To feel like they are helping the community Feel like they are bettering themselves: by skills or by becoming more aware

HOW CAN I JOIN THE TWO? MARRYING A UNIVERSITY ESTABLISHMENT WITH A CHARITY BUILDING In light of my primary and secondary research, I created the venn diagram (left) to explore what I had learnt, what I took from my research and what would be required to make my building function well.

Within this, I use the same photo below as I did earlier to reflect on how a University can, and should, help their surrounding community and with this I recognise the positive impact my building could have.

Helping homeless charities: Place for meetings/occasional events Way to provide food/drink Safe space Want to help Want donations Teaching youths Raising awareness and money

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INITIAL BUILDING REQUIREMENTS By looking through my research and deciding on common themes from the interviews and earlier visuals, I created the inital spatial requirements below, outlining vaguely what they may contain.

DEVELOPED FROM Storage VENN DIAGRAM Cleaning

Display space Clothes racks Changing rooms Staff till Storage adjacent

Events

Moveable chairs Moveable catwak Flexible space Changing rooms Toilet Public access

Storage

For studios For shop For event For sewing Easy road access

Sewing

Large desks Sewing machines Storage Toilets Public access

PUBLIC

Large desks Mannequins Spacious Storage Toilets

Shop

SEMIPUBLIC

Studio

PRIVATE

After developing my inital spatial ideas and building requirements, I began to compartmentalise these into private, semi-public and public as this would help me begin to think about which spaces would need to be adjacent to each other.

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Cleaning

Storage

Cleaning

Storage

Studios

Sewing

Studios

Sewing

Studios

Sewing

Charity shop

Café Event space

Charity shop

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Café Event space

Event

I beg each an to ro u the c other, w ghly lay entr i e of th the li out wha g all o f the ht gree t may li n en spac es. storage ext to sittin g in

Place to clean donations

The darkest and lightest greens represent the cafe and the sewing rooms, both of which would require public access.

INITIAL SPATIAL RELATIONSHIPS

Place for materials/ student work

The storage spaces would also be situated on the outside of the square to represent them requiring roadside access.

(do tru es no es ize t repr /po ese siti nt on )

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The oranges, both the event space and the shop would be situated on the outside of the square because I would want them to be public facing to draw people in.

Place for public to go before/after shopping

Place for donations

Storage space for event space, dressing area and studios

Place to adjoin to event space for beverages

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Place to hold sewing lessons for public

CHARITY SHOP SPACE By creating this SketchUp model without walls, I was able to explore my idea of the space without defining the true size or shape this early on. It allowed me to explore the qualities it would include: relatively small, characteristically chaotic and shielding the further chaos of the storage room behind it.

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CELEBRATORY OF CHARITY SHOP: Exploring the charity shop space through sewing to show recycling/environmental elements I would like it to have.

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STUDIO SPACE Thinking about what my studio spaces would require made me reflect on my own studio experiences as well as those from my earlier interviews. I began to create large open spaces that had a desk and mannequin per person, with kitchen area adjacent to it for the students to go for lunch in and take breaks.

CELEBRATORY OF STUDIO SPACE:

Exploring the studio space through sewing, highlighting the welcoming/sharing elements I would like it to have.

This initial idea had a smaller studio scale, with only six or so people per room but I late developed this into a larger scale so that people were more encouraged to socialise and share ideas. As shown below, the studios work on a “hot-desking� type system where people can use them for a day and then others can use after.

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FLEXIBLE EVENT SPACE OPTION 1

CELEBRATORY OF EVENT SPACE: Exploring the event space through sewing, highlighting the exhibiting/public-facing side it would have.

Influenced by my primer research and seeing how they documented their flexible spaces, I created a SketchUp model to explore how the event space could transform from having a temporary stage and theatre-like properties into the space below.

This would be for the fashion talks/lectures.

FLEXIBLE EVENT SPACE OPTION 2 The other version of the space would bring in the large studio tables and the moveable chairs would be positioned either side. This would turn the focus into the centre of the room and allow it to become a catwalk space for the external shows and degree shows.

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REALISATION & REFINEMENT

With a solid narrative concept and my thoughts for the spatial qualities developing, the natural progression was into Realisation to conjoin an architectural form to my inital ideas. With my social relation to the site and surroundings established within Staging, the Realisation and Refinement chapter enabled me to build upon my initial Staging ideas and now respond to the site in a physical manner.

As suggested in the photo (right) this chapter entails material realisation subsequent to the initilal massing realisiation. In researching the site and buildings performing similar functions, I was able to formulate a precedent body that informed different aspects of my project development.

The ARC 3013 report was particularly important in progressing my work to the stage it is at the end of the chapter, and allowed me to refine the significant details of my overall project.

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SITE MODEL: Although unable to use the 1:200 model to its full potential due to COVID-19, whilst still at uni, a group of us got together and used the CNC router (right) for the first time. We then varnished it to make roads stand out, before making the individual housing blocks around our central site.

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INITIAL MASSING IDEAS: IDEAS Below shows the final site model with the buildings in place and with the building I am choosing to rennovate displayed in the darker wood. I have used this photo of the site model to sketch on and think about surrounding site circulation and how my building could transform this dead space.

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INITIAL MASSING CONT:

1

2

1 My initial massing idea was an early sketch thinking how I could extend the existing building outwards in order to not block the sun into the existing building but create a low impact extension of the building itself

4

2 I developed this by breaking away from the existing building to create a separate entity that would vaguely mimick the shape and height of the existing building

4 By merging the two earlier massing ideas and making one higher entity behind the lower one I was able to keep the full sun path on each entity whilst still reaching the existing building behind and in the directions of the black arrows there is only a carpark and so it will not be impactful by encroaching onto that road space .

3 In order to not block the sun path into the existing building I lowered the massing again to allow sun to roll over the smaller building throughout the day whilst still keeping the idea of a separate entity

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3

By rethinking my massing through sketch (left) I began to compartmentalise the entities into three blocks rather than the initial two. This allowed me to create the three different entities that followed through my whole project as welll as being the first hint towards the covered walkway idea mimicking a typical “highstreet�.

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FINAL MASSING MASSING: By “cutting” the existing stepped massing two I arrived at my final version of massing. By having three separate entities I was able to create a second “hightstreet” which increased the circulation around the building and the cirulation to spill onto the site from all angles as I first sketched out on the site model.

ROOF EXPLORATION: My inital roof pattern sketches were developed from looking back at the site photos from Liverpool and starting to think how I could remain sympathetic to the surrounding buildings whilst acknowledging the site contraints and light requirements within the spaces.

I used plastercasting to explore these refined massing ideas at a 1:200 scale. By recreating the roof shapes I thought might work well within the site, i was able to explore with them in context.

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PRECEDENT NEWPORT STREET GALLERY: GALLERY This gallery, which opened back in 2015, was funded by Damien Hirst for 25 million pounds. It stands in stark contrast to his usual work and the Guardian commented on how “the facade is not encrusted with dead butterflies nor diamond skulls” (The Guardian, 2020)

Saw tooth roof | Unknown

The designers extended and rennovated these listed Victorian buildings to create a series of beautiful gallery spaces. The photos, left, show how the roofscapes form these really quality bright spaces.

This inspired some sketches, I have included one right, micmicking the Newport Street roofline pattern to create the same pockets of light within my spaces.

Every image on this page apart from top left is Newport Street Gallery | Caruso St John Architects

This gallery also inspired my plastercost modelling shapes.

Looking at the elevation, bottom of the other page, I mirrored some of these shapes in my plastercast models, left.

Over the next few pages I explore how these roof shapes work, or don’t, within my site.

All images grouped as Figure 36

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ROOF SHAPE RESPONDING TO SITE: The

4

1

ultimate

massing

I

chose

as

a

result

of

these

tests

was

the

one

below.

Sun: the front building catches all of the morning sun and the left-hand building catches all the afternoon sun, and neither blocks the sun majorly for the existing building Circulation: this opens up the site to all three sides, creating a courtyard-type space inthe centre

2

5 1 This layout allows for light to flood in and over all of the roof scapes, without blocking the existing building behind 2 The lowered back of both entities allows the inner courtyard spaces to not feel too enclosed 3 Although allowing lots of light into the smaller building, the larger building would cast a large shadow 4 and 5 These are similar layouts and although getting little sun in the back building, would be great for solar panels

3

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Although I took many photos at the Via Baltea, I chose the photos below represent some of the material qualities and programatical qualities I appreciated the most.

The reused school sports hall floor, below right, and the folding down walls, shown below left, both follow the idea of reuse that I would like to emulate in my building. In particular, I would like use fabric, similarly to the way they have with their walls, to break up spaces within my building. I would like this to show the power of fabric to help match the building concet to the physical building itself.

In addition aspect was

to appreciating the material qualities of this space, the very moving and worked really well within the spaces

MASSING REFINEMENT THROUGH MATERIALS: The Fondazione Prada is great example of a building with a large array of, often “clashing�, materials. The photo, bottom left, displays multiple materials within one threshold, chaotic but powerful as the transparent material on the right standing in stark contrast to the gold leafed wall.

community they had.

The photos, left, depict the honesty of the building - although it is a gold leaf wall it is not being pretentious and is not trying to be disguised as solid as the thickness is exposed.

We were cooked a meal and we dined in their community cafe, experiencing first hand how buildings partaking in community aspects could be successful in achieving their goals.

Above photo taken by Kate Burrman

STDUIO TRIP TO TURIN NOV 2019: VIA BALTEA, MILAN BARRIER

STUDIO TRIP TO TURIN NOV 2019: FOUNDAZIONE PRADA, MILAN

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INITIAL MATERIAL REFINEMENT : The key themes from my initial materiaility were reusability and honesty, both qualities I picked up from earlier precedents Prada Foundazione and Via Baltea. I especially enjoyed the internal qualities of these spaces, and worked some of these concepts into my own design.

I knew I wanted my building to be sympathetic to its surroundings, as laid out in the Baltic Triangle Development Framework, which then made me go on to think about industrial materials and how I could incorporate these in a more contemporary manner.

This was the drive behind the next double page spread and the reason I turned towards stack bonded brick as it is not pretending to be the brick of the surroundings but still emulates it in a modern way.

The screenshot, left, shows how I ended up realising some of this materiality exploration within my technology report. I looked at the life cycle of concrete, what I would use for my building cores, the life cycle of steel, which would be used for the framing of the building, and rubber, a durable and naturally sound absoping floor.

This page displays some of my earliest material declarations. The material strip (left) and word cloud (top right) were small moodboard-type idea generators for me to begin thinking about materiality.

Slightly later in my building development I overlayed trace onto my massing sketch (above) and allocated materials to specific areas of the building.

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I go on to explore my materiality further in this chapter through facade studies and more specific precedents, once my design is more realised.

(Author, 3013 Report)

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THINKING THROUGH MAKING WEEK

For my thinking through making week project, I wanted to explore the developing materiality in my building. I took ths opportunity to develop on my newly learnt skill of plastercasting to represent the stack-bonded brick, as well as trying concrete casting for the first time to represent the existing brick.

I found a discarded brick in a skip and broke this into peieces (bottom left) before creating a wooden mould to put the bricks and the concrete in.

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Although being happy these two parts, I wanted to put a resin cast fabric-looking part across the top to show how fabric will join the old and the new in my building. Sadly, although we tried to vacuum form it a few times to create the resin mould (below), the sheets of plastic in the workshop were a faulty batch which kept splitting and so I never got to complete to top bit (the page in my sketchbook, right, shows what I orginally planned).

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PRECEDENT: GOLDSMITHS CCA “Skilfully weave themselves into a retained fabric, loosening the sector’s II-listed former Laurie Grove Baths, breathing customary aesthetic straitjacket new life into a building which has played to offer a more vivid and textural an important role locally for more than 100 years” (Assemble. 2020). This idea of giving an old building physical counterpoint” (Ijeh, I., 2020) The new Goldsmiths art gallery is a major precedent in the development of my work. It is “housed in the Grade

Figure 37

a new life is something that is particularly present within my renovating of 66 Bridgewater Street.

As shown, especially in the two photos of a model of the scheme, the spaces all differ whilst still reading across well as a whole. The designers stated how they

“wanted to make the variety and idiosyncrasy of the existing spaces their defining feature” (Wainwright, O., 2020).

Figure 38

Figure 40 This precedent is also particularly important to my project as it involves the renovation of some old buildings. The buildings still read as one even though they are many separate entities.

All not marked otherwise grouped as Figure 39

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The building provides a provocative joining of very different buildings, marrying them for a joint purpose.

The gallery space is naturally top-lit which is something I want to take forward into my building, as it creates striking gallery spaces, or in my case, studio spaces.

INITIAL FORM RESPONDING TO SITE: Within this stage of refining the massing, I also titled the nownorth-facing saw tooth roof slightly upwards to allow for even more north light to pour in. The smaller square massing has a large lantern to allow light to flood in throughout the day.

Further massing began to develop from the sketch (above) to a more realised drawing (right) before being influenced by one of my main precedents shown on the previous double page spread, Goldsmiths CCA.

Subsequently I printed off a 1:200 site map and rough spatial sizes and began to play around with them on the site before creating my first plan iterations.

It was here that I made some major architectural refinements. By completely flipping the left hand entity I was supplying the building with north light, better for studios, and in mimicking the form of the Goldsmiths CCA building led to the coloured drawing above.

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GROUND FLOOR PLAN DEVELOPMENT: When I was happy with my initial design on paper, I then worked them up digitally in Autocad which enabled me to inhabit them and begin to move away from the purely squre design PRODUCED BY AN AUTODESK STUDENT VERSION with the champhered walls, as well as beginning to figure out the heights of each floor.

0m-3.6m

To develp my plans, I used crayons on tracing paper to sketch over them (below) showing the before stating what I thought needed to change (left) and what I actually changed (right).

Dressing

Display

Cleaning

Event space

External covered shop space

Café Storage Shop Kitchen

Changing

0m-4.32m

(Not final plan)

0m-4.32m

PRODUCED BY AN AUTODESK STUDENT VERSION

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PRODUCED BY AN AUTODESK STUDENT VERSION

The plan layout, top left, was the initial arrangemnet of my building. with the image top right being my first drawn plan iteration. It is very square in comparison to my final outcome and in hindisght, the storage spaces were taking up some of the crucial pavement-facing spaces.

PRODUCED BY AN AUTODESK STUDENT VERSION

W.C.

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FIRST FLOOR PLAN DEVELOPMENT: The plan below was a further development of the first floor, with the large studios developing built in PRODUCED BY AN AUTODESK STUDENT VERSION storage and pockets of private space, labelled here as the “pod” as well as the chamfered balconies.

3.6m-9m

Below shows the first iteration circulation development, with the large bridge between the two new builds, the introduction of balconies to view the central “highstreet” and the viewing platform/walkway in the existing building being brought inside.

Viewing platform

Event space (double height)

lc Ba .

.

lc

Ba

Pod

Sewing 1

Studio 1

Studio 2

External bridge

Sewing 2

4.32-8.64m

(Not final plan)

4.32-8.64m

PRODUCED BY AN AUTODESK STUDENT VERSION

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PRODUCED BY AN AUTODESK STUDENT VERSION

Similarly to the previous spread, the above images were my first plan layouts and drawings, showing my initial thought of bridges between buildings and circulation around the event space.

PRODUCED BY AN AUTODESK STUDENT VERSION

Storage

SECOND FLOOR PLAN DEVELOPMENT:

Originally the second floor plan was only situated within the existing building (as shown in the sketch, right). Even though the left hand block was initially still slightly more raised than the right hand block, as displayed earlier in my final massing, they were not majorly different in height.

The plan below was a further development of the second floor, with the introduction of the second floor studios in the new building and the bridge improving circulation between the three entities. The small PRODUCED

BY AN AUTODESK STUDENT my VERSION squares along the North wall were my initial vents, before developing ventilation chimneys in ARC3013.

9m-13.5m

PRODUCED BY AN AUTODESK STUDENT VERSION

W.C.

Storage Kitchen

Studio space

PRODUCED BY AN AUTODESK STUDENT VERSION

In working up the plans, I realised that the the internal functionality would benefit from one of the buildings being significantly higher and adjoining to the second floor of the existing building, as shown in my sketches over the plans below.

Studio 3 Studio 4

(Not final plan) 8.64-12.96m

PRODUCED BY AN AUTODESK STUDENT VERSION

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SECTION DEVELOPMENT: In developing my section, I made both a functional and aesthetic architectural move. Although originally having many smaller vents, I eventually made the move to ave larger ventilation chimneys, similar to Queen’s Building, University of Leicester (below).

PRODUCED BY AN AUTODESK STUDENT VERSION

As seen in the above extract from my tech, I again micked the Queen’s Building’s ventilltions system after having read up on how celebrated this building was.

Creating these sections for my 1:20 detail and subsequently for my ventillation systems, I was able to explore how my building functioned in section, as I laterr celebrate with a 1:100 site section.

PRODUCED BY AN AUTODESK STUDENT VERSION

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Figure 41

PRODUCED BY AN AUTODESK STUDENT VERSION

By using section I explored the way light would enter the space before my later light explorations through rendering, It also allowed me to draw people over the space and begin to think about how they would use it.

(Author, ARC3013)

PRODUCED BY AN AUTODESK STUDENT VERSION

I enjoyed using section as a way to develop my project, and some of the major architectural changes can be seen through them.

ADDING GLASS ATRIUM: ATRIUM By using these line drawings and overlaying glass on Photoshop, I was able to explore how these spaces may change and benefit from a glass atrium. Sketch 1 is porbably the most useful, with catwalks being able to spill out from the existing building any time of year rather than just in summer.

1 2

Sketches 2 and 3 were less crucial but it still enabled a “covered highstreet� whereby, as shown in sketch 3, smaller events such as little markets could spill out from where they are situated.

By making these line drawnings I was able to think about how these external areas would work. In the summer months my catwalk/market ideas would work but they would be seasonal.

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ADDING GLASS ATRIUM

CONT:

The “fly on the wall” perspective below shows how the balcony spaces would work and how people would use them within the space. These three spaces on the first floor would all overlook the open area below, creating unique moments of interaction within the building.

PRODUCED BY AN AUTODESK STUDENT VERSION 3.6m-9m

Storage

Viewing platform

Event space

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(double height)

.

Sewing 1

.

Studio 2

External bridge

lc

Studio 1

Ba

Pod

Pod

Sewing 2

c.

l Ba

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lc

Ba c.

l Ba

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The snippets of my plans below show the move from the champhered edged balconies into the rounded balconies that I PRODUCED kept until my final design.

BY AN AUTODESK STUDENT VERSION

Although I this perspective is slightly more realised, I felt it was important to show now to see the contrast between my initial sketch drawing, top left, to the latest iteration, above.

PRODUCED BY AN AUTODESK STUDENT VERSION

4.32-8.64m 99 4.32-8.64m

100

GLASS PRECEDENTS: All photos of i6 Charlotte Square grouped as Figure 42 i6 Charlotte Square, Newcastle

ART INKUBATOR & I6 CHARLOTTE SQUARE

These precedents were extremely useful when deciding to put a glass atrium. They both execute infilling a glass box between two old buildings without ruining the character of it or making them look too pretentious.

Art Inkubator is my favourite of the two, with the dramatic atrium space being filled with chairs and other social spaces, something I hope my building would emulate.

As I was no longer in went to the building and

Newcastle took the

to photograph phtoos of i6

this building, my friend Charlotte Square for me.

These were both particularly helpful to me when refining my technology booklet and thinking in more detail about the join between old and new, especially in deveoping my tech from below to the final one, right.

All of Art Inkubator below grouped as Figure 43 Artphotos Inkubator, Poland

(Author, ARC3013 report)

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(Author, ARC3013 report)

102

ADDING GLASS ATRIUM

CONT:

Below us an extract from my tech that shows the main structures of the building, with the steal beams of the glass atrium joining the two as a part of the secondary structure.

Above shows a massing model exploring where the glass atrium would slot in within the building, connecting all three of the enitities and creating a covered space for internal events to occur all year round.

(Author, ARC3013 report)

By adding the glass atrium, I was faced with the challenge of making sure it did not have any impact on the environmental cycle of the building. The ARC3013 report helped me to resolve this, with the image top right showing how I would add thermal insulation between the steel connections to avoid any cold bridging.

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(Author, ARC3013 report)

104

Figure 45

Figure 46

CALLA Fiber Ceiling

Anne Kyyrö Quinn’s felt acoustical panels

Steel Curtains | Dani

Figure 44

Lisbon Offices

FABRIC EXPLORATION: WALL PRECEDENTS These innovative “curtain” ideas were some early inspirations for my ideas of curtains. I wanted to break away from the normal curtain and have something with design flare to break up my studios.

Through doing my technology research however, I saw the sucess of acoustic curtains and decided they were more appropriate for durability and every day studio life.

For my studio specific ARC3013 research, I looked into acoustics and how spaces can have both great acoustic properties and still remain aesthetic.

Figure 47

This is something that followed through my whole design, and was ultimately the way I could have such large studios but still find pockets of privacy, as shown in the perspectives overleaf.

The advantages of the use of the curtains is that they are flexible and, if desired, feature dividers of the space like these could be installed for the shows and other events that will take place in my building.

All three figures grouped as Figure 48

(Author, ARC3013 report)

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INTERNAL SPACES: FABRIC EXPLORATION Figure 49

When thinking more about the interior spaces, I wanted to continue my focus on the power of fabric, this time to transform a space. From my primer exemplar I was inspired by how Space10 created their pockets of spaces.

Figure 51 Space 10 | Copenhagen Figure 50 BBDO Offices | ZAmpone Architectuur MoyaMoya / Fumihiko Sano City Module | M3 Architects Medium Plenty | Oakland, California Figure 52 Fabric Room | Tord Boontje Figure 53

1

2

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By exploring other precdents that have used fabric or other innovative materials to transform a space, I explored through line drawings how a n acoustic curtain could split up my studios into three separate smaller “rooms”, with sketch 2 displaying how a “pod” can be formed for meetings or private work.

PERFORATED METAL EXPLORATION: The images on the left hand side of the spread are renders exploring the internal qualities of the space throughout the day and how they change with the sun path. By doing this I was able to establish that the sun light may be quite strong into the glass atrium and so I explored different methods of shading before arriving at this perforated metal cladding.

9AM

Not only does it help with the shading in the morning, above, and in the late afternoon, below, but the use of the metal cladding enables the buildings to flow better. The perforated metal conjoins the metal on both buildings horizontally.

5PM 109

110

PRODUCED BY AN AUTODESK STUDENT VERSION

dwgmodels.com

External covered

The sketch, top left, was my initial scribbles for my “donation station” and I decided that all the display space, left, was unnecessary and PRODUCED BY AN AUTODESK STUDENT VERSION with that space I could help the homeless more directly. The plan above in green shows the final version, developed from the one left.

Storage

PRODUCED BY AN AUTODESK STUDENT VERSION

Display

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PRODUCED BY AN AUTODESK STUDENT VERSION

Cleaning

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PRODUCED BY AN AUTODESK STUDENT VERSION

By stepping out my building, I gained extra space on the top, right, for and decided to put in a covered external space I had originally debated about, only losing two studio desks.

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

l na r e Ext area d ere v co

Do sta nat tio ion n

The massing model above shows how the donation station and external covered area go within the building.

The bold red arrows signify the building extending outwards above the green lines to give more room to the upper floors. I deem these to be key architectural refinements which helped strengthen my scheme.

This allows there to be a more direct helping system for the homeless people the building aims to support as well as creating more studio space and a place for fabric dying to occur which isn’t internal.

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PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Studio 4

KEY ARCHITECTURAL REFINEMENTS:

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The render, left, was an unrefined version of my building, with the brick facade looking flat and the windows looking lifeless. I set myself the challenge of finding a solution that was both environmentally friendly and still sympathetic tot the surrounding buildings.

In addition to this, I wanted my building to have an architectural language that read vertically, and began exploring how I could do this through my windows.

FACADE EXPLORATION: The exploded quaternary structures below is extracted from my ARC3013 report.

The report helped me understand my cladding further and, due to the nature of the brick cladding, the patchwork brick would still work with this structure.

Figure 54 Figure 55

Figure 56

Figure 57

(Author, ARC3013 report)

The Experimental House by Alvar Alto became a major precedent in this journey and I became inspired by his patchwork brick and the way the building looks so coherent even when made up of so many elements.

It also inspired me to think about reuse and how patwork brick could use discarded bricks in the surrounding areas perhaps.

Figure 58

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FACADE EXPLORATION:

The render, below right, is a more refined version of my building facade, with the brick reading vertically up the building, vertical stack bonded brick creating a band around both of the buildings and with square windows in the intermediate floor to break up the facade.

The elevation sketches below were how I explored my final building facade.

They show my initial thoughts on patchwork brick and patchwork corrugated metal, before the final version, right.

Figure 59 and 60 Primary School | ZV Zavelput

The precedent left, similarly to Alto, has a facade of patchwork masonry, but in a slightly more clean and organied manner. They set out to re-use the demolished building materials from the building they knocked down to build this one, attempting to balance out the use of the materials from the demolished building with new ones.

I began to experiment with this by sketching over my SketchUp model, top right, and then without being able to enter the workshop I decided to try and experiment from home.

By playing with Teifoc bricks and creating these patterns, vertical stack bonded, vertical “normal� laid bricks ad horizontally stack bonded brick, I was able to lay them on top of each other physically to see what looked best. I collaged them together to show my process before formulating my elevations on the adjacent page.

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SYNTHESIS Reflecting back to the Primer and how far I have come since then, my Synthesis chapter sets out to celebrate my flexibile spaces and the way my final building design functions.

I have endeavoured to represent my building in an appropriate and fitting manner, brining together the skills I have learnt throughtout the year into a detailed depiction of my building design and its uses.

The Realisation and Refinement chapter enabled me to work through the narrative set up in Staging in both two-dimensional and three-dimensional ways.

My design sets out to formulate these architecrual moves it in a way that responds to the site and meets the needs of the social context that my brief outlined.

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SITE PLAN: The site,

adjacent with a

1:500 plan shows where three-dimensional representation

Building in site:

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building the

sits site

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PROGRAMME:

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1 12.6m ² Donation Station with changing room 2 23.6m ² storage with adjoining toilet 3 External donation boxes with 4m ² internally

accessed store 4 45.6m ² charity shop with two changing rooms 5 12.0 m ² cleaning room adjacent to storage/

Donation Station 6 153.1m ² central glass atrium space 7 15.0m ² cafe/bar kitchen area 8 59.04m ² cafe area with public toilet in adjoining lobby 9 11.6m ² two gender neutral toilets 10 22.3m ² dressing area adjacent to event space 11 119.0m ² double height event space

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12 13 14 15 16 17

18 19 20 21 22 23 24

126.6m ² dividable studio space Display space surrounding stairwell Internal bridge and balcony space 77.8m ² dividable sewing studios 17.6m ² large material/event prop store 23.3m ² social balcony space overlooking double height event space 117.0m ² dividable studio space Display space surrounding stairwell 20.1m ² external working space 11.6m ² two gender neutral toilets 22.3m ² kitchen/dining space 62.3m ² computer suite/office space 20.0m ² printing/scanning room

USER PROFILES:

UNIVERSITY

UNIVERSITY

CHARITY

STUDENTS (TOP LEFT):

CHARITY WORKERS (TOP RIGHT):

Have access to the whole building and can use the studios, sewing rooms, print rooms and computer suite for University work and personal work as well as volunteering within the charity shop/donation station to fix up clothes as part of their course. Have access to both the cafe to purchase food for lunch or the kitchen spaces to make their own.

Charity workers are able to book out the computer suite at the top of the building as an office space for their work. They can book out the event space for free and all of the money from the event can go straight to their funding. Although we have our donation station set-up, if the charities are lacking in clothing to re-distribute we can supply them. Only have access through the East public side which stops them from entering the studios or other more private spaces.

STAFF (BOTTOM LEFT):

HOMELESS (BOTTOM RIGHT):

The staff body is made up of both professors and post-graduates who would be completing their own personal work within the building and would act as technicians. They would be in charge of organising the volunteering rotas as well as teaching within the sewing rooms, advanced lessons to the students as well as weekly beginner lessons for the public.

The homeless can benefit from the building in two ways: indirectly from the charity work that will take place within the computer suite/office space and event space, as well as directly by being able to use the donation station (as I go on to explain with my sewn celebratory pieces).

COMMUNITY 123

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USER PROFILES: COMMUNITY DAY-TIME (TOP LEFT):

ALL AGES (TOP RIGHT):

The day-time users of the building would have access to the cafe and shop areas, as well as being able to attend any sewing lessons or events that are currently in the event space. They can enter the donation station or use the donation boxes to drop off old clothes/scraps. Even if not wanting to spend any more they can walk through the improved circulation on the site and experienced the enclosed “highstreet� area.

People of all ages would be able to use the building.

The sewing lessons would cater for all l talent levels and the people running them would be patient with all ages. It would encourage younger people to understand and appreciate sewing and teach them about how their clothes are created. For older people it would keep their minds engaged in an art form they otherwise might not partake in.

NIGHT-TIME (BOTTOM LEFT):

ART BODIES (BOTTOM RIGHT):

The night-time users would be able to drink at the cafe-turned-bar as well as attending any of the evening events.

External artists and collectives can pay to rent out the event space and bar for their own events, talks or catwalks. This provides local artists, as well as artists further afield, an affordable space to show their work and also provides an opportunity to put some money back into the building for the sake of the economic life-cycle.

COMMUNITY 125

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GROUND FLOOR PLAN:

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Existing building containing toilets, a dressing area adjoined to a large event space

m

dwgmodels.co

2 New build containing toilets, charity shop, large storage space with off-road access for ease of delivery, cleaning space adjoined to the storage to clean clothes and the donation station for dropping off clothes as well as those in need having their clothes cleaned/recieving clothes 3 New

build

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FIRST FLOOR PLAN:

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1 Existing building containing toilets, a large storage area and a viewing/seating area with balcony path around the edge looking down into the double height event space 2 New build containing display space around stairwell, toilets, deep storage for long fabric rolls, large studio dividible by acoustic curtains (represented by wavy lines) and adjacent computer station along South wall 3 New build containing two sewing studios, again dividible by acoustic curtains, with toilet, waiting area outside sewing rooms and adjoining bridge to other new build

2 6 West external perspective: 2

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1 Existing building containing toilets, kitchen/eating space, computer suite for students as well as rentable office space for charity workers when required and print/scanning room with computers 2 New build containing display space around stairwell, toilets, deep storage for long fabric rolls, large studio dividible by acoustic curtains (represented wavy lines), external covered area for dyeing fabrics or using any strong fabric treatments and adjoining bridge to existing building

62 South external perspective:

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ELEVATIONS: DONATION STATION

DONATION BOX

DONATION BOX

South Elevation 1:100 DONATION BOX

South Elevation 1:100 West Elevation 1:100 0

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DONATION STATION

DONATION BOX

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South Elevation 1:100

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PRODUCED BY AN AUTODESK STUDENT VERSION

I chose to colour the West elevation as I thought it would show most of the materiality and 1:100 would depict best the way that the East Elevation corrugated metal reads across the whole facade of the three buildings.

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DONATION BOX

South Elevation 1:100

West Elevation 1:100 0

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POSTERS DEPICTING BUILDING PROGRAMME: PROGRAMME

1

WARMING UP THOSE IN NEED BOTH PHYSICALY AND MENTALLY

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6 1 Explaining the aspect of helping the homeless and how we can help

4 Mockup of poster for Earth Week depicting how the buiilding would adapt to educate the community about environmental issues

2 Sister poster to 1 about the community aspect exhbiting what serivces we offer

5 Mockup of poster for lecture on charity shopping and the benefits of it

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6 Sister poster the environmental

Visual

depicting

the

studio

collective

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to 5 for lecture about impacts of fast fashion

7 Mockup poster of an event that would occur to help people with learning to charity shop efficiently and the benefits of it

9 Showing how events would occur to honour the history of the building I have rennovated and its history in the textiles industry

8 Mockup poster about “Passion for Fashion� event, challenging gender sterreotypes within the industry and any other misconeptions

10 Events to honour the history of fashion and how fashion has been shaped to what it is today, both within Liverpool and around the world

Perspective of people waiting for a meeting in the building computer suite which is transformed into empty office space for charity workers to hold meetings and plan their own events:

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9am: People from around the Baltic Triangle come to the cafe for breakfast, bathing in the morning sun that spills in through the windows on the East facade

MIXED MEDIA

DAY IN THE LIFE: LIFE 11am: People of all ages enter the sewing studio to attend the first sewing lesson of the day - situated upstairs of the smaller building to get light throughout the day as it floods in through the roof lantern

9AM

This mixed media day in the life explores how the spaces would be used throughout the day, with the more creative spaces being shown through a more creative render style.

In this day in the life I thought I would include how far it has developd from my earliest “day in the life� pictured left. My concept has remained the same though with rereating the hustle and bustle of a hightstreet.

Midday: People walking to Love Lane Brewery or KFC for lunch (below)

MIDDAY 11AM

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1pm: After lunch, people are re-fueled and ready donate the clothes they brought with them or pick up a bargain.

2pm: An early afternoon meeting is held in the empty event space to discuss the event happening later that evening.

7pm: Some of the same people here for breakfast have now to the cafe-turned-bar for a reason as they wait for the show

who sat returned different to start.

2PM

1PM

3pm: Many students are still working away in the afternoon, with the large saw tooth skylights allowing the afternoon light to pour in over them. They are creating finishing touches and final changes for the show tonight.

7PM

Above is my oldest perspective of the event space in contrast to the photo below to show how it has developed.

8PM 8pm: VoilĂ , show time! All of the hard work from the day has paid off and the show runs smoothly.

3PM

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Perspective section showing various spaces from the day in the life in action

Behind the “perfect� looking facade of this shop front is a brighter, more textured narrative which I have chosen to celebrate with some sewn perspectives.

Below narrates how people visit the donation boxes on the side of the building to drop off their unwanted scraps or clothes.

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BEHIND THE SHOP: People can also walk straight into the donation station and drop their clothes/materials off there if they visit during the day and homeless people can come to here to get their clothes washed or to get new ones.

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As narrated by the magazine cut outs, homeless people can come to the donation station to recieve a “free new wardrobe remix today” with a fresh outfit, as well as make use of the “free cleaning today” whereby the clothes they are wearing can be cleaning too. The bench and the changing room situated in the donation station allow them to change into the new clothes in private and then wait for their existing clothes to be washed.

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I am always surrrounded by architecture, even on my personal social media. I follow many archietcture accounts, with dezeen being one of the most noteble of them.

The plastercast workshop below was personally one of the most useful for my project. It helped me to learn anew skill which I took forward into my massing models and materiality studies.

CULTURAL BIBLIOGRAPHY As referenced throughout my project, the Baltic Triangle Development Framework was a crucial bit of reading for my project.

The collaging workshop was very differnt to any of the other workshops I attended, with less of an immediate conenection to architecture but challenging me to just put things onto a page without thinking about i too much, a useful skill.

The bamboo workshop belowwas a new way of viewing archtiecture for me. It made me think different about the structure of buildings and the man leading the workshop had very interesting stories to tell about architectural projects he had worked on.

Similar to instagram, my personal life is filled with favourite shows such as Your Home Made Perfect and George Clarke’s amazing spaces, especially as he too was a Newcastle Graduate.

For my dissertation I stayed in Oxford Castle, which I thought it would be worth noting as this as a huge and successful renovation project and the marriage of new and old is something that is mirrored within my project.

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Fig 1 and 2 : photos from someone in the group Fig 3, 4 and 5: https://www.instagram.com/space10_journal/ Fig 6: https://www.dezeen.com/tag/space10/ Fig 7: https://fiskebaren.dk/en/10-year-anniversary/ ( Fig 8: https://www.google.com/maps/place/SPACE10/@55.668136,12.5560913,356m/ data=!3m2!1e3!4b1!4m5!3m4!1s0x46525373922de349:0x249b34e28d8e973a!8m2!3d55.668133!4d12.55828 Fig 9: https://www.instagram.com/space10_journal/ Fig 10 and 11: https://www.dezeen.com/tag/space10/ Fig 12 to 16: https://www.designboom.com/architecture/space10-copenhagen-headquarters-spacon-xinteriors-02-27-2019/ Fig 17 and 18: https://www.dezeen.com/tag/space10/ Fig 19: https://www.instagram.com/space10_journal/ Fig 20: https://www.behance.net/gallery/57813421/SPACE10-Publication Fig 21 and 22: https://www.designboom.com/architecture/space10-copenhagen-headquarters-spacon-xinteriors-02-27-2019/ Fig 23 and 24: https://www.dezeen.com/tag/space10/ Fig 25 and 26: http://regeneratingliverpool.com/wp-content/uploads/2017/10/Baltic-Triangle-DevelopmentFramework-Document.pdf Fig 27: https://www.visitliverpool.com/things-to-do/maritime-and-heritage/history-of-liverpool Fig 28 and 29: https://www.derelictplaces.co.uk/main/industrial-sites/35294-queens-store-company-liverpool-july-17-a. html?s=13740812c4d02042878a906dc9177393&fbclid=IwAR3DfRqs6sz-XO47jlsM7C9qXw6GkyblnWYxU3Q6J0SY_9YQ BZ55K5Mmzuo Fig 30: http://regeneratingliverpool.com/wp-content/uploads/2017/10/Baltic-Triangle-Development-FrameworkDocument.pdf Fig 31: https://www.universitiesuk.ac.uk/facts-and-stats/impact-higher-education/Pages/universities-support-localcommunities.aspx Fig 32: https://museumofhomelessness.org/ Fig 33: https://www.tate.org.uk/whats-on/tate-modern/tate-exchange/workshop/state-nation-exchanges-onhomelessness Fig 34: https://liverpoolartistsnetwork.org/liverpool-art-map/ Fig 35: https://www.liverpoolecho.co.uk/all-about/british-style-collective Fig 36: https://www.newportstreetgallery.com/about/ Fig 37;: https://www.bdonline.co.uk/buildings/building-study-goldsmiths-cca-london-by-assemble/5095516.article Fig 38: https://assemblestudio.co.uk/projects/goldsmiths-centre-for-contemporary-art-2 Fig 39: https://www.archdaily.com/531949/assemble-selected-to-design-goldsmiths-college-art-gallery

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FIGURE LIST Fig 40: https://www.archdaily.com/531949/assemble-selected-to-design-goldsmiths-college-art-gallery Fig 41: https://www.le.ac.uk/emoha/leicester/chimneys.html Fig 42: All photos a friend took for me on their daily walk.

Fig 43: https://www.behance.net/gallery/17142151/ART-INKUBATOR-LODZ Fig 44: https://traderboys.com/product/acoustical-ceiling-grid-canopies/ Fig 45: https://www.modlar.com/brands/armstrong-ceiling-solutions/calla-fiber-ceiling/ Fig 46: http://www.annekyyroquinn.com/ Fig 47: https://theurbangardendecospotter.typepad.com/my_weblog/2008/12/outdoor-curtain-in-concrete-tiles.html Fig 48: https://trendland.com/steel-curtains-by-daniel-steegmann/ Fig 49: https://archello.com/project/bbdo-offices Fig 50: : https://www.dezeen.com/tag/space10/ Fig 51: https://www.instagram.com/space10_journal/ Fig 52: https://officesnapshots.com/2018/01/31/enlisted-design-offices-oakland/?utm_ source=Snapshots+Weekly+Newsletter&utm_campaign=d06c953dc2-EMAIL_CAMPAIGN_2017_12_08&utm_ medium=email&utm_term=0_82997c3ce9-d06c953dc2-91127013 Fig 53: https://tordboontje.com/fabric-room/ Fig 54: https://brickarchitecture.com/about-brick/brick-news/muuratsalo-experimental-house-by-alvar-aalto Fig 55: https://newyorkyimby.com/2019/06/187-kent-avenues-brick-facade-begins-to-show-following-topping-outin-williamsburg-brooklyn.html Fig 56: https://i.pinimg.com/originals/d9/fd/96/d9fd9611a68dc08d294081fe5fc6e32f.jpg Fig 57: https://exterior.beserakademi.com/exterior/new-buildings-built-in-traditional-architecture-style-page-176skysc-home-decor-house-exterior/ https://i.pinimg.com/originals/d9/fd/96/d9fd9611a68dc08d294081fe5fc6e32f.jpg Fig 58: https://brickarchitecture.com/about-brick/brick-news/muuratsalo-experimental-house-by-alvar-aalto Fig 59 and 60: https://brickarchitecture.com/projects/primary-school-zv-zavelput-dmva

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ArchDaily. 2020. Assemble Selected To Design Goldsmiths College Art Gallery. [online] Available at: <https://www.archdaily.com/531949/assemble-selectedto-design-goldsmiths-college-art-gallery> [Accessed 14 June 2020].

Assemble. 2020. Goldsmiths CCA. [online] Available at: <https://assemblestudio.co.uk/projects/goldsmiths-centre-for-contemporary-art-2> [Accessed 14 June 2020].

Atlasofplaces.com. 2020. Newport Street Gallery By Caruso St John Architects (114AR) — Atlas Of Places. [online] Available at: <https://www.atlasofplaces. com/architecture/newport-street-gallery/> [Accessed 14 June 2020].

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“The site is situated in a very central location in Liverpool, being surrounding by amenities, particularly shops and restaurants as demonstrated in the site plan. It is a hub of activity, surrounded by active and busy people. The noise of the immediate area is very present as you are on the site but this only adds to the character of the place.”

APPENDIX Within my appendix I am including my two sections of the case study. Frustratingly I took all of my writing and research off the slides so that it presented better and so alongside the image of each slide I have included what was originally written on the slide which I ended up presenting,

“Bluecoats resides by Liverpool Waterfront and docks, sitting just above the Baltic Triangle.

It lies in an urban setting with easy access to the highstreet.

The site analysis shows how the wind affects the courtyard and, although it is mostly sheltered, this causes a wind tunnel in the central space. In addition to this, shadows are created within the space by the midday sun, making it extremely overcast.”

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“The white within the space represents the pathways and circulation around the site. The site is surrounded by people, especially with the location so close to local shops. There are only two accesses to the site which creates issues regarding the site being used as a shortcut, something that the people running Bluecoats are trying to figure a way round.

The simpler plan, bottom left, is indicative of the remaining greenery, showing how only the two largest trees remain.”

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“The building exhibits clear a Georgian/Queen Anne style of architecture, with the front facade not having been changed since it was built in 1770, making it the oldest in the city. There have been some alterations though, with the curved wall at the back of the building being added in 1820 to accommodate more space. The top photo on this slide is the most important one I took, showing where three walls collide, exposing the history of the building.”

“The exposed and seemingly unfinished walls are suggestive of the history, being left exposed purposefully.

The mixture of old and new beams being used shows the embracing of change.

The new building is made of exposed concrete plinths with MDF details. The stack bonded brick is always facing the same way throughout as shown in the bottom left photo, something that was put there purely for aesthetic reasons.”

“The new wing was built in the 2005 to replace the one that was bombed back in World War 2. The stack bonded brick brings new light to the courtyard, being honest in its artificiality. The rear of the building was also destroyed, hence the mismatched brick around the building. The garden is also charismatically mismatched due to the old air-raid shelters being filled.

The large stone tiles represent the old parts of the building, with the smaller, neater bricks showing the new.”

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