Z4P10

Lanna de Buitlear

Portfolio 19/20

CONTENTS PREFACE Illustrated Reflective Report

- 6

Charette

- 10

PART ONE 1.1 De School

- 14

1.2 Exploring Baltic Themes

- 24

PART TWO 2.1 Local Research

- 34

2.2 Site Introduction

- 52

2.3 Programme Concept

- 58

2.4 Field Trip Inspiration

- 80

2

PART THREE 3.1 Process

- 88

3.2 The Building

- 116

3.3 In Use

- 136

PART FOUR Illustrated Cultural Bibliography -

154

Bibliography

- 162

Figure List

- 163

3

PREFACE

4

Illustrated Reflective Report Charette Week 5

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Illustrated Reflective Report

My initial attraction to the Future City brief was because of its location in Liverpool’s Baltic Triangle. Being from the Wirral, I am very familiar with this area and have observed how quickly and interestingly it has developed. Currently, it is known as the ‘creative quarter’. The brief recognised the number of commercial developments, which are unaffordable for the locals, but are beginning to dominate the area.

This threatens the continued existence of the current ‘creative’ spaces. I already had a critical stance on the developments, as it is threatening some of the spaces I love the most in Liverpool, by either taking over their sites or complaining of noise. For example, clubs and event spaces such as Constellations and 24 Kitchen Street are being forced to close due to this. The brief offered an opportunity to create an alternative ‘future’ for the Baltic Triangle which allowed an architectural response with an emphasis on local people.

Example of converted warehouse, Baltic Triangle

I don’t currently intend on continuing a career in traditional architectural practice. Thus, I was interested in the opportunities the brief offered for social research and emphasis on experiential qualities rather than focussing on the technical features of a building, which is what I previously found difficult to resolve during my degree.

I began using embroidery as a medium to explore themes of the Baltic Triangle in Primer. Initially, it was an intricate way of representation that forced me to carefully analyse what was existing. It then represented contrasting themes together. I explored the experience of the site as a whole through moments of spaces that I had taken photos of. By using neon wire as a light in a piece exploring nightlife, I now recognise I had begun to develop the aspects of spatial design that I would convey into my building design, like advanced lighting systems. This started the theme of layering and using physical materials to represent the narrative of my project, which I have carried through each stage of the year. I really enjoyed being able to represent and explore concepts through embroidery.

I think it more was effective for my development of design than traditional sketching, due to the extended time and resolution of an idea each piece needed to make sense of the space, such as in staging. This helped me to create a clear narrative for the programme, and in turn meant I developed my building from a place of research rather than a basis of immediately incorporating dimensions. This allowed me to better respond to the social and economic context of the Baltic Triangle. The ‘golden threads’ of my project have literally been represented by thread and materials to convey lighting, people and programme.

Primer night time piece and integration of neon wire

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The method of embroidery representation became better resolved during Theory in to Practice where I took inspiration from Archigram and Richard Hamilton by incorporating real people in to the perspective scenes which gave a better sense of realistic scale to the spaces pictured. This addition was important for the architectural comprehension of the perspectives, because it gave a familiar, comparable element as embroidery isn’t a common method in architectural practice.

Figure 1 - The Batiment, Monte Carlo, Archigram

ARC3015 Theory into Practice Final Collage

I used alternative types of research to develop the programme through staging and primer, such as interviewing local businesses key to the Baltic Triangle, and spatially analysing my experience in existing spaces. For much of my project, I have reflected on my own experience of architectural precedents, such as De School which offers a 24/7 programme and the integration of art with club nights. This year, I have thoroughly enjoyed extensively researching a wide range of creative material such as building precedents, local people/businesses, exhibitions and set designers such as Bureau Betak. This allowed me to develop informed and interesting concepts for both programme and space. I was strongly interested in providing opportunity for local people in music and the arts, unusual lighting in space with the availability of installation and developing a programme which occupied through night and day while having some cultural significance to the city of Liverpool, rather than just another entertainment venue for the Baltic Triangle. I enjoyed the initial process of designing space for programme conceptually.

From my research, I learnt of protection schemes in Liverpool such as the ‘Agent of Change’ scheme, which seeks to protect small venues and music locations. I believe it is additions like this which prove how the programme could sit well in the reality of the city and exemplify that there is a need for them.

I found bringing the concept and research into a reality of a complete set of working drawings more challenging. I had a strong feeling of what the space should emulate, such as having options for flexibility of expansion or closure, and providing day and night time activities within the same building. I was initially less interested in how this could be resolved, however the narrative I had created through perspectives in staging helped me to create a set of plans, which could then be arranged in to functionality. Through development of this, I have learned how important it is to work across plan and section in different scales simultaneously to bring a building form to realisation.

Creating narrative and programme through embroidery in Staging

Previously, I have been less interested in the construction and detail drawings of my designs, and

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LED luminous ceiling design upon entry

have struggled to understand how a building is constructed. However, this year I have improved my understanding in this area. I have enjoyed making key material decisions, such as using rammed earth instead of concrete as a sustainable choice, and understanding how this material works with heating and other primary structures such as a concrete frame.

I have learnt that it is crucial choices like this that place your building well in the industry and allows it to become convincing, rather than previously focussing too much attention on the appearance.

Also, I have enjoyed designing intricacies such as luminous ceilings, and then understanding how this can be formed in reality through studies of precedents such as the Union Carbide Building followed by development of 1:10 drawings to achieve this.

Overall, I feel this year has by far been the most enjoyable out of all of my degree. I have enjoyed being able to use alternative methods of representation, and focus on things such as lighting, research into programme and focus the project around my personal interests. This has made me had much more of an interest in architecture and therefore I feel like I have improved a lot. I have felt we have had the freedom this year to be much more creative and have been supported fully in these pursuits, and for this I can’t thank Kieran and Luke enough!

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After being assigned the brief of ‘What Lies Behind’, we explored how we could utilise the themes of fashion and re-use. We walked around Newcastle visiting tailors and material shops to collect fabric off cuts, to ensure we had minimal waste in the construction of the garment.

Photo of Newcastle back streets

By using metal chicken wire offcuts, this formed the structural base for the jacket. It was key for allowing easy construction and build up of tying the linear scraps of fabric on to it to create a full and interesting garment.

Charette

Group Photo - Building up garment on the model

The chicken wire allowed the different lengths of material to flow fall off the garment at alternating levels. This added to the ‘messy’ feel of the piece.

Group Photo - Finished garment in situ

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The name for the project was 'A Royal Mess'.

This was referring to the problems of the problems of the fast fashion industry, exemplifying how it is one of the biggest contributors to both waste and CO2 emissions in the world.

By ensuring our garment was made entirely by recycled offcuts of fabric, we pledged not to add to this statistic through production.

Group Photos - 'A Royal Mess' on the catwalk

'A Royal Mess' was represented through traditional crown and neck scruff which emulated the luxury and glamour which is sought after in the fashion industry. However, the materials used don't reflect this luxury, such as nylon netting and tissue paper. This shows that the garments can still be made by re-using fabric, so this needs to become common practice in the fast fashion industry where waste is so rife.

Group Photo - 'A Royal Mess' final touches

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PART ONE

I PRIMER 12

EXPLORING

Future City explored a possibility of three different scenarios during primer; ‘A Place for Community’, ‘Working in the City’ and ‘City Living’. I chose to explore ‘A Place for Community’ as this was the theme I could identify with most. I can see the problems with how the existing facilities are inaccessible to local people, and how there are a multitude of social groups who would benefit from a safe space near to them.

During Primer, I explored De School in Amsterdam as a precedent who represents community. It offers a programme of a club, gym, restaurant, cafe, cinema and concert space as well as using spaces as galleries for local artists. I visited in November of 2018, and I was amazed by how unique the experience was to any other form of night life I'd been to before. There was an extended journey from the mystery of entering the building which was lit up by colourful lights, which allowed the interior to be hidden behind curtains. An extended journey through creatively lit spaces allowed the building to be distorted, and was very different to the usual night club experience of immediately arriving at the dance floor upon entry. I was fascinated by the integration of art and installation which allowed milling spaces which otherwise would have been uninteresting. While waiting for receival of official plans of the building, I attempted at drawing them from memory. I was surprised at how well I remembered the sequence of spaces in comparison to the original plans. This shows how successful De School was in creating a memorable and insightful experience, still spatially unforgettable two years later.

PRIMER 13

1.1 DE SCHOOL

Photography of De School, Amsterdam

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Render of De School exterior, Amsterdam

Through my photography and renders of De School, it became apparent how important colour is in accentuating the elements which allow the building to become exciting. It is architectural finishes like this which cleverly draw people in from exterior to the interior space.

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“dinner, drinks and dancing”

Figure 2 - Corridor

Figure 3 - Restaurant DS

Figure 4 - Installation

“24/7 license” 16

“local DJs, local artists”

Figure 5 - Gym

Figure 6 - Lighting installation

Figure 7 - Lighting installation upon entry

“outdoor, indoor, morning, night” 17

Architect's Work

Fig. 8 - Sketch investigating view points

Fig. 10 - Inspiring artwork

Fig. 11 - Concept sketches and collages

Fig. 12 - Sketch of proposed stairwell

Fig. 13 - Ideas for club readjustments

Fig. 14 - Concept collage of inhabitation in the club

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Fig. 15 - Original Entrance Facade Elevation - J.B. Ingwesern.

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11000

buitenkozijn geluidswerend maken aan binnenzijde te plaatsen; - 2x12.5mm gips - houten stijl- en regelwerk

opstelplaats bar

bouwkundige voorzetwand - toevoer lucht boven in wand afvoer lucht onder in wand - akoestische absorbtie - nissen / uitstulpingen

opstelplaat DJ-booth

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Bar

208,50 m2

Club

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vluchttrap R

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geluids portaal R

vluchtbuffer

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opvang buitentrap

opstelplaats 4 boxventilatoren mechanische ventilatie club in kelder 2 maal aanvoer / 2 maal afvoer afvoer lucht wordt buitenpands middels standleiding boven het dak van de aula afgevoerd ivm scheiding verse en 'gebruikte' lucht

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vluchttrap L

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geluids portaal L backstage 12,0 m2 4,5 m2

geluidsportaal dubbele akoestische deur waarvan 1 tevens brandwerend

schacht

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West

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B 3000

nieuwe trap - stalen trapboom - open treden, materiaal ntb - optrede 185mm (x 18) - aantrede 235mm (x17)

nieuwe trap - stalen trapboom - open treden, materiaal ntb - optrede 185mm (x 18) - aantrede 235mm (x17)

bouwkundige voorzetwand - toevoer lucht boven in wand afvoer lucht onder in wand - akoestische absorbtie - nissen / uitstulpingen

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bouwkundig 'blok' - toevoer lucht boven in wand - afvoer lucht onder in wand - akoestische absorbtie - nissen / uitstulpingen - 2 x koelcel (2m x 3m) - bar (uitgifte) nader uit te werken door architect

geluidsportaal akoestische deur

3000

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buitenkozijn geluidswerend maken - multiplex deuren 40mm dik - kozijn rondom voorzien van enkele kierdichting (deventer kaderprofiel, type S-6699

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Through being in touch with the creative director, Ernst Mertens and architect Imre van der Haag, I was luckily offered all drawings from the refurbishment of De School from the old school into the new event space. I was particularly interested in the conceptual images of the club space. The bright colours and rigid angles combined with the organic textures of concrete and metals, which were already present in the bike storage basement, were used to turn it in to a functioning club space and keep consistent representation, style and atmosphere of the space by the architect. I was also intrigued how comparing concept to existing artworks was a prominent method in portrayal of ideas.

Z

392

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1392

4000 4000 4000 4000 4000 4000 4000 4000 2000 2000 4000 4000 4000 4000 4000 4000 4000 4000 4000 4000

E

Fig. 16 - Converted Club Floor Plan - Imre Van Der Haag.

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Personal Studies 1.

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1:500 Ground Floor Plan

Render of whole building 20

20m

1:500 Section

1. Smoking room 2. Bar 3. Auditorium 4. Cloakroom 5. Unisex toilets 6. Exhbition spaces 7. Cinema 8. Restaurant 9. Cafe DS 10. Outdoor garden space with sculpture 11. Gym 1 12. Gym 2 13. Changing room 14. Showers

The entire floor plan of the building is based on a 1m x 1m grid, which is replicated throughout the interior from the grid of columns to repetitively tiled bathroom walls and location of the windows. Repetition is rife through out the building, from the colours of artwork to the doors. However, each room has adopted a different use but remains flexible, which enhances the rotation and unusual experience of the night life.

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The Club

Axonometric of club interior

De School has a 24 hour license, which the club takes full advantage of. The club has a 700 person capacity and is located in the former bike storage area. The programme focusses on local DJs who are given oppurtunity to play extended sets, but international artists are frequently invited to play.

Imagining inhabitation of the club

In an attempt to make the club experience more social, the DJ booth isn’t elevated and is just on the ground in the crowd, so only around 30 people can see the DJ. This is a new concept as it means watching the DJ and using that as entertainment is taken away from the majority, creating an unusual clubbing experience. There is minimal lighting and the ceiling is very low, while the inhabitants are encased in a grid of concrete columns. It is a very interesting dance floor.

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Restaurant DS

Render of Restaurant DS interior

Restaurant DS is located in the open workshop of De School, the former technical school in Amsterdam-West. The space provides a balance between the initial industrial function of the space and the restaurant’s linen and candlelight. The roof light windows are a prominent feature in the room. It is open five days a week and has a changing menu where guests can choose between three, five or seven courses. Vegetables play a central role on the menu.

Axonometric of Restaurant DS 23

1.2 EXPLORING BALTIC THEMES

s

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Growing up on the Wirral, I have experienced the changes in Liverpool as a local. Since the city was awarded the European Capital of Culture in 2008, the city has transformed from being run down into a hotspot for art, music, shopping, entertainment and tourism more than ever before. With a rich history of music and art, Liverpool needs to protect this as it develops further. With gentrification comes commercial attraction by investors, who are quickly taking over spaces where opportunities originally lay for local creatives.

The Baltic Triangle was once the industrial heart of Liverpool. It has since become a nucleus of converted warehouse spaces taken over by creative start up companies, night clubs, independent small eateries or art showrooms. This has been attractive for the development of many luxury blocks of flats, which are threatening the core reasons of why the Baltic Triangle was originally attractive. I have witnessed first hand the predicament between Liverpool as a whole improving, which in turn means becoming more commercialised, which then means it becomes inaccessible to local people, who made the location what it is.

As a frequent consumer of the Baltic Triangle entertainments, I realised how there is very little available if you don't want to spend money. This means that for many of the immediate communities around the Baltic Triangle, such as a council estate, the programmes that their local space offers is inaccessible to them, meaning they will quickly be pushed out if this pattern continues.

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LOCAL COMMUNITY GRAFITTI

DEVELOPMENT

THREAT INVEST BUILD

FREEDOM OF EXPRESSION

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DAY TIME

SPEND SPEND SPEND

MUSIC DANCE DRINK REPETITIVE

WEEKEND USE

NIGHT LIFE

LARGE SCALE WAREHOUSE SPACES

Upon visiting the Baltic Triangle during Primer, I was forced to quickly analyse the spaces more critically than I would have when usually visiting. I was already aware of the obvious visual themes which make the place what it is, such as the entertainment available, coloured walls which follow you as you walk and the red bricked warehouses. However, when attempting to view Baltic Triangle as a newcomer like my peers, I noticed the 'themes' are conflicting. I narrowed this down to four separate factors: graffiti done by the locals, in contrast to the rigid development of luxury flats which are inaccessible to locals and expensive, the lack of daytime activities available in contrast to the emphasis of night time entertainment at weekends which revolves around alcohol consumption and spending money.

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Celebratory Piece - The 'Patchwork City'

Three embroidered chiffon wall hangings expressing Baltic Triangle themes 28

My primer piece focussed around the themes I recognised in the Baltic Triangle. These were graffiti in contrast to the rigid developments, day and night. I used fabric and embroidery as a medium to express this because it reflects the ‘Patchwork City’ and allowed the materials to be hung together, expressing how the different angles of the Baltic Triangle accumulate to form the bigger picture.

Future City Studio exemplar booklet front cover design

Our studio had three separate scenarios which could be explored during Primer. These were 'A Place for Community', 'Working in the City' and 'City Living'. To express these in the exhibition, I designed the front cover of each project to have uniform graphics but distinguishable by alternative colours for each scenario.

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Exploring local graffiti and wall art murals

Exploring nightlife and lighting in spaces using neon lit wire

Representing the rigid grids o 30

of expensive and inaccessible luxury flats

The embroidery pieces were a direct reflection of what I have experienced during the Primer visit, and over the years from visiting Baltic Triangle. I used a collection of photographs to embroider over, while exposing or ripping away part of the material or paper in order to accentuate particular aspects.

Although the three pieces represent different themes from the site, similarities can be drawn across them showing that graffiti, night-life and developments all interfere with one another. For example, the colourful paint of wall murals is reflected in the night by the contrasting coloured threads. The flashing neon light wire accentuates how the night and weekend activities are the most active area of events in the Baltic Triangle. Graffiti is seen across all three pieces. In night time, as small etchings on the back of toilet doors and in the investment piece as a gang's symbol directly next to the inaccessible cost of investment, proving how unwelcome the luxury developments are in the area.

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PART TWO

II STAGING 32

EXPLORING

Following on from Primer, I continued to investigate the themes I had recognised in the Baltic Triangle, but in particular night life in contrast to luxury developments which threaten small venues providing space for up and coming artists. I wanted to further understand how local people and businesses felt about the developments that threaten the existing scene in Liverpool, and also the problems with the spaces already available. I aimed to further explore and portray how night life and club culture is a cultural asset to many cities, so it is important that there is room for venues in Liverpool to grow and be protected in the same way as can be seen across Europe, such as Berlin and Amsterdam. It is essential to realise that this sector can be intertwined with artists and talented musicians, which needs to be emphasised more rather than the prevalence of alcohol and binge drinking. I am already aware that there is minimised opportunity for local people in Liverpool for extra curricular educational activities in the area, so I aimed to create a programme which combated this. Through doing excessive research in to the site, and how local people felt about it, I aimed to create a thorough and necessary programme that would be realistic for the area.

STAGING 33

2.1 LOCAL RESEARCH

34

Due to being so familiar with what Liverpool has to offer concerning music, art and night life, I was keen to learn the opinions of other people and locals who are key to the growth of the Liverpool scene. The sector is changing rapidly and I was intrigued to learn how the current model could be adapted positively for the future, to provide protection and supply of spaces that engage with local people.

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24 KITCHEN ST

Evolving Baltic Nightlife

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Fig. 17 - 24 KS dance floor

Fig. 18 - 24 KS dance floor

24 Kitchen St describes itself as a ‘music venue and creative space’ situated in the northern end of the Baltic Triangle. It has hosted a range of club type events, mainly situated in the renovated warehouse space since 2013. It is a host to events from techno, to reggae to drum and bass and has hosted some of the biggest and best up and coming DJs such as Palms Trax, Peach and Ross from Friends. 24 Kitchen St is probably the only event space in the Baltic Triangle that lets itself to the smaller DJs and local music talent of Liverpool. However, the main use of the space is at nighttimes, during term times for students and more rarely at weekends for local people. There is a lack of daytime use within the club, especially during the winter months.

Outdoor terrace area occupied mainly during the summer days

24 Kitchen Street boasts a terrace which is used for outdoor day to night parties that require a ‘Temporary Event Lisence’. 12 of these can be obtained per year.

As of 4th December 2019, a statement by Liverpool City Council was issued regarding the new development which is directly neighbouring 24 Kitchen St. They stated that the developer is installing windows which do not protect against sound pollution, meaning this will almost certainly lead to noise complaints from the new residents in September 2020.

The council have suggested that the venue seek ‘Temporary Event Licenses’ for the more bass heavy events. For a night time venue with a focus on techno, house and DnB this is a huge impact on how they can function, and unfortunately if this can’t be resolved will mean the closure of an important night time venue in the Baltic Triangle. Another loss of Liverpool’s music culture to the souless developments.

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CONSTELLATIONS

Fig. 19 - Baltic Weekender Marketing

Fig. 20 - Baltic Weekender in Constellations outdoor space

Constellations hosts an eatery, event space, garden and bar. It is a good example of how multi-use venues can survive in the Baltic. The indoor event space is large and hosts the Baltic Triangle’s large scale events such as the headlining shows at Baltic Weekender festival. Constellations describes itself as a ‘hireable blank canvas’ in which the in house team can help the event come to life. However, the eatery is mostly only popular at weekends and the event space is so large that it is more suited to helping the community in ways such as hosting weddings, rather than providing a space for local music and art talent. Constellations also charge a fee for renting out the space, meaning it is not the most accessible.

The venue is an important asset to the Baltic Triangle culture, especially during the summer months . They have been battling the developers who want to sieze the site to build more residential luxury flats for a few years, however they have finally had to let them win and Constellations is due for demolition in 2020.

Eatery in Constellations

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RAT ALLEY & KAZIMIER GARDEN

Fig. 21 - Kazimier Garden during the day

Existential Pleasures X Rat Alley Dystopia event

Kazimier Gardens is located on Seel Street, in the city centre of Liverpool. It is a bar, eatery and small event space. It also used to be joint to a small music venue, but this was demolished in 2016, along with Liverpool’s iconic venue Cream, to make way for student flats. Although it isn’t in the Baltic Triangle, it is a good example of a space that encourages the community to use it for their events. Kazimier Garden is usually always busy, whether it is the day or night, weekend or week day. This is probably due to the central location, but is an example of how a space can be used continually in Liverpool.

The alternative layout uses make shift seating out of recycled wood, boats and excess items that the team find. It is a creative approach and uses local artists and creative directors to design the space.

Existential Pleasures X Rat Alley Dystopia event

Rat Alley was a space at the back of the venue, in between two existing buildings. It was free to rent, and allowed the user to curate the space as they wished. An example of this is an event called ‘Dystopia’ run by visual jockeys ‘Existential Pleasures’, who created a Bladerunner inspired event. Existential Pleasures use projectors to create an interactive and immersive experience for club nights. Rat Alley was one of the only venues in the city that allowed growing artists and DJs to do what they wished, and change the space to suit what they wanted to do for free. Rat Alley was demolished in September 2018, to make way for student accomodation. Liverpool is missing this flexible space for smaller events, of 150-200 people.

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Interviewing Existential Pleasures

Artificial Environment event - Sheaf St, Leeds

House Party

Existential Pleasures are an interactive visual creative company from Liverpool. They specialise in creating live visuals for music based events and parties. The visuals made are almost always tailored to the event, and when running their own events, they are adjusted to their own theme.

For example, Artificial Environments, as featured above had completely new set of creations, meaning the crowd and audience remain enticed and excited by the club experience each time they go to an event.

This factor of the ‘unknown’ is what is missing in Liverpool nightlife, in comparison with counter parts in Europe, such as Berlin and Amsterdam. I believe that if the club nights were as important to Liverpool as they were in European cities, then there would be a greater protection for the nightflife as part of the income for Liverpool as a city, and therefore more revenue and tourism..

House Party

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“Baltic is losing some of it’s initial attraction” “... spaces aren’t used to the fullest ability...”

“Club nights are repetitive”

“Liverpool has world class music talent, emerging especially now...

...WHERE DO THEY SLOT IN?”

“COLD, OPEN, INDUSTRIAL SPACES” 43

Interviewing Archive Liverpool

Fig. 22

Fig. 23

Fig. 24

Archive Liverpool are an events based company who specialise in creating specific and music based nights in Liverpool. They recruite some of the best DJs, both world wide and local to provide club nights in smaller scaled venues such as 24 Kitchen St and Meraki. They have a strong interest in accomodating Liverpudlians and local people to their nights, which is alternative to other promoters who are mostly concerened with making money, and there for arrange nights for students.

Fig. 25

Fig. 26 44

“My main gripe with Liverpool nightlife currently is the saturation of big commercial club nights, i.e., LOST, Souljam”

“...promoters like Lost are completely out of touch with the whole scene anyway... they continue to book corrupt DJs like Jackmaster who has been convicted of sexual assault...”

“24 Kitchen Street and Meraki push forward underground dance music from a wealth of different backgrounds”

“...many of the current events promote just nightlife, rather than a specific DJ or event”

“... they fall short of allowing people to attend musically specific nights” 45

NIGHTLIFE IN THE BALTIC

Room Two - Eclipse

DIagram from memory to show spacial configuration of Hinterlands 46

Hanging paper decorations

Integrated seating and lighting

MIDLAND AT HINTERLANDS Hinterlands is a multi use venue in the Baltic Triangle situated in a reformed warehouse near Cains Brewery. It usually houses large scale events, such as Baltic Weekender and is frequently rented out for weddings. It has two rooms equipped with dance floors, lights, and stages. Room one is a huge space, which is cold, blank and raw. I think this would work if engaged with properly, but in this specific event, it was left plain and there weren’t enough people to fill out the room. This was exaggerated by room two being open.

This is a smaller space, named Eclipse due to the all black walls.

Hinterlands have made efforts to use resources to make seating and some interesting lighting arrangements, which does provide an alternative and makeshift feel which is wholesome for a club space. However , there is a feel of seperation between smoking area, room one and two which prevents the social feel of the night. The bar area and toilets are contained at the back of the dance floor and on another level. This movement towards the back creates an interruption to the flow of the music and dancing on the floor that effects the user. When dancing it is uncomfortable to engage with people who are stationary in queues.

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Baltic Mapping Analysis

1:2500 map to show proposed developments in Baltic Triangle 48

1:2500 map to show resident clubs and clubs under threat in Baltic 49

Employing Venue Protection "Liverpool City Council to adopt venue protection Agent of Change Principle" - Liverpool Echo Newspaper, September 2019

“It’s the law that any entertainment venue moving into a residential area needs to take measures to ensure they don’t cause noise problems for those nearby – so why wouldn’t the same apply for new developments that are built near established music businesses?”

- Kevin McManus, Liverpool Head of UNESCO City of Music Board

LIVERPOOL UNESCO CITY OF MUSIC FUNDING PROTECTION Existential Pleasures at Rat Alley / Kazimier Garden, 2018 50

"High Culture Club: Berghain secures same status as Berlin Concert Venues" - The Guardian, September 2017

“In Berlin, techno can now officially be considered high culture after a court decided that the legendary nightclub Berghain produces work of cultural significance and should therefore be allowed to pay a lower tax rate.”

“Berghain has branched out into midweek events, hosting classical concerts, fashion showcases, ballet performances and exhbitions by artists such as Turner prize-winning photographer Wolfgang Tillmans.”

“Berghain’s lawyer maintained that concertgoers may acheive a similar intoxicating effect from a Mahler symphony as from a DJ set.”

"HIGH ART" EXHBITIONS MIDWEEK PROTECTED SPACE Fig. 27 - People queuing outside of Berghain, Berlin.

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2.2 SITE INTRODUCTION

When coming to choose a location, I took in to account the accessibility from central Liverpool. I know from previous experience how opposite ends of the Baltic Triangle can seem miles further when walking from public transport stations. Also, from reviewing where current clubs are situated, I decided to place my building further north away from the current cumulation of entertainment venues.

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Site Analysis

Site to be aware of concerning noise 1 - Residental Council Housing

6 - McDonald’s

Access through Jamaica St and Dock Road

2 - 24 Kitchen Street Club

7 - Garage

Sun path

3 - Currently Emerging Flats

8 - Love Lane Brewery

Prevailing wind

4 - Martial Arts School / Office

9 - KFC

5 - Restaurant (Blundell St Supper Club)

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Potential noise projection and neighbouring sites affected

The site is located on Blundell Street. It is currently resident to 24 Kitchen St but flats are under construction, so the current club is threatened.

The site is further north of the Baltic Triangle, which is further away from the cumulation of night life next to Cains Brewery. This is also closer to the local council housing meaning the building will be more accessible in the day time for the programme uses during day time hours.

The immediately neighbouring buildings are used only during the day, which is a benefit for noise pollution. However the development of the block of flats next to the site will have to be taken in to consideration when designing, to minimise disruption which is a problem for 24 Kitchen Street. I will aim to make use of the ‘Agent of Change’ scheme which seeks to protect and support live music in Liverpool.

The site is easily accessed via Jamaica St or Dock Road, creating easy transport links by vehicle or foot.

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Site Elevation

View from top of Blundell St

24 Kitchen Street Terrace - development interferes and shades

24 Kitchen Street back entrace - example of scale between existing and developing 56

Blundell Street has a contrasting style of architecture. From the traditional red bricked pitched roof industrial buildings that are significant across the Baltic Triangle as a whole, to the development of sky high luxury flat developments neighbouring them, there is opportunity for either contemporary or traditional stylisation. I am critical of how the new builds seek to tower over the original buildings, meaning the original feel of the Baltic Triangle is being lost. I won't contribute to this in my design. Old buildings have been adapted with small touches to modernise them. For example, 24 Kitchen Street have added a mosaic of mirrors upon entry which creates an element of excitement .

Mirror mosaic at 24 Kitchen Street

During my visit, the top of Blundell Street was closed off due to the construction. This shows how the developments are currently seen as more important than the access through the original streets to existing buildings.

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2.3 PROGRAMME CONCEPT

Here, I begin to formulate my research into a working order, so that it would respond to the problems that I have learnt about in the Baltic Triangle. For example, lack of daytime activities and a lack of spaces for up and coming local artists. I aimed to give a programme that ensured to avoid repetitive experiences.

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DAY

Gallery and Exhibition Space

Digital and Physical Art Workshops

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LOCAL ART FOR LOCAL PEOPLE

Workshops also inspired by Digi-Gal - a Berlin based inclusive, global community who support and network women, trans and non binary people that specialise in 3D design.

Spaces for ists such

visually interactive artas Existential Pleasures.

Workshops inspired and taught by local artists such as Existential Pleasures. Also more traditional workshop styles included in programme in separate room, featuring paint, drawing and sculpture classes.

Ceramic artist in Baltic Triangle based studio. Space for exhibiting and selling local artworks of different types.

Taking this concept and initiating it in to Liverpool, I want to create a space for local people who wouldn’t get the chance or opportunity to learn and exhibit such crafts, particularly due to the disadvantaged backgrounds many locals are from meaning they can not afford the equipment to learn skills in 3D design.

By providing space in the galleries for local performers, it allows for another aspect of interactive, interesting and contemporary art. This can be transferred in to the night time space where performers appear through windows in the club space taking inspiration from traditional Italian discos, such as Plastic Milan, which can differ from the repetitive nightlife seen in Liverpool today. .

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NIGHT

Progressive Entry Space in to Club with room for installations

Interchangable Club Space with windows in to gallery space

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MUSIC / DANCE / ART / CHANGING SPACE

Fig. 28 - De School Installation

Implementation of structures such as trusses into club space to allow for easy mounting of complex hanging art and light installations.

Taking inspiration from clubs such as De School which use all areas of the building as part of the night experience. My corridors and bar areas will work as interactive exhibition spaces, featuring art produced by locals and the students in workshops during daytime.

SOCIAL INCLUSIVE SURPRISING FLEXIBLE

Photo of lighting in 3B Records, Slater St, Liverpool

Importance of interesting and surprising lighting schemes that play with perception. The space can be adaptable through art installations and light to create a different atmosphere depending on the night. The club space can be altered to be smaller through retractable walls.

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24/7 NIGHT & DAY

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elevenses

BAR

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MUSIC DANCE DJ

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HEALTH

group interaction

GALLERY local artists

IFE

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COCKTAILS HYDRATION

workout classes

IMMERSIV E NIGHTL

RE EXPLO UNIQUE

SHOWCASE EXHIBIT

DISPLAY

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refreshments

local produce local suppliers

RESPONSIBLE DRINKING

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CLUB

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research educate learn

ART DIGITAL

REVEAL

WORKSHOPS

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GALLERY

BAR

CLUB

OUTDOOR SMOKING AREA

EXISTING BUILDING

GALLERY

TOILETS

TICKETS/ COATS

Conceptual diagram exploring how the different spaces could be arranged to interact with each programme and to create an exploratory experience throughout the entire space. The pilgrimage in to the club dance floor can be extended in order to prolong the element of surprise before arriving at the main event of the club dance floor.

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1 - Bar 2 - Club space and dance floor with deployable wall to create a more compact or larger space depending on the DJ / capacity needed for the event.

It will be a feature for the DJ booth to be integrated in to centre of the dance floor to prevent the usual hierarchy of people filming the DJ at the front.

3 - Outdoor smoking area to be part of the journey to the dance floor. Plan to integrate the music further in to the social experience.

4 - Toilets Both toilets and bar kept outside of the dance floor area to remove the presence of queues and stillness on the dance floor.

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From visiting multiple events and buildings, I have become aware of the materials that I am drawn to and what I find exciting in a venue.

For example, I was drawn to the concealed lights behind polycarbonate in Fondazione Prada in contrast to the textured aluminium walls close by. I drew comparisons between this with similar effects produced by mosaic mirrors outside 24 Kitchen Street and Club Plastic in Milan. Also, I am insterested in mirrors for use in installation, which is common in Shangri La, Glastonbury.

Collage exploring materiality of inspiring precedent experiences.

Using materials such as perspex, polycarbonate and wire to contain and trap bright coloured lights in different ways is something I am keen to include in the experience of my building, both day and night.

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Understanding Light

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Undertaking personal light installation experiments to understand how the coloured lights interact with each other and what experience they provide.

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Cobalt blue and red acetates

To further understand how I would light up space in a conceptual design, I undertook some small light installations in my house. By using different coloured acetates in front of two kilowatt lights at opposing ends of the hallway, I was able to paint the room with colour and gain an insight in to how alternative colours allow you to experience one space differently. This has helped me to refine a colour pallete in to my prospective design and how the lights work with materials such as plain walls, wood and glass.

Cobalt blue and red acetates

By experimenting with colours, I noticed how different combinations were responsible for creating various atmospheres. By using blue and red, two primary colours, it created an intense and distorting effect on the space

Turquoise and magenta acetates

Changing to derivatives of primary colours, the environment feeling changed to more mellow. This colour combination was notably more calming.

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Blue and grass green acetates

Using two similar colours allowed gentle gradients across the space. The green and blue together made a colder atmosphere, and it meant the over all room was darker.

Hot pink and lime green acetates

A shift to brighter based colours created a more fun, warm and upbeat atmosphere.

They created shadows that cast darker colours of each shade, defining the space more interestingly across the white concrete walls.

Turquoise and magenta acetates

Two contrasting colours such as pink and blue made materials such as wood appear differently, as the shades in the timber were highlighted differently. It also highlighted glass in a range of spectrums.

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Initial Precedent Inspiration

This set by Bureau Betak is a good example of the neo - industrial interior that I like.

The rough and raw edged concrete in comparison with the clean , minimalist lighting is something I drew inspiration from.

Fig. 29 - Felipe Oliviera Baptista Exhibition, Lisbon. Bureau Betak.

I love how Dominque Coulon uses light and colour in spaces as a way to draw the user through. His use of unusual lighting on white, clean surfaces is very interesting.

Fig. 30 - Administrative Complex, Strasbourg. Dominique Coulon.

Here, the incorporation of neon light is something I wanted to carry through from my primer use of neon wire into my building. I appreciated the use of coloured lighting with the minimalist style benches.

Fig. 31 - FILA show, Hong Kong. Bureau Betak.

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The raw concrete paired with minimal furniture and precise bright lighting is alluring. It is exciting for a ceiling to have such thought put in to the design, serving both lighting and as a way of drawing the user in to the space, while the lighting remains constant and functional.

Fig 32 - 33 - Stone Art Gallery, Guangzhou. O-Office Architects. Image: ArchDaily

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Celebratory Piece - Patchwork Programme

Conceptual daytime spaces

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My celebratory piece explores the conceptual spaces and atmospheres that I want to create in my scheme. It projects the programme of both day and night. The mix of materials seeks to reflect that of the building, and uses bright colours to reflect the lights which will play a big part in the experience of the spaces. I have attempted to create a narrative from day in to night to explore the 24/7 nature of the programme, and then how you would move through a progression of rooms in the night time, to finally arrive at the crescendo of the dance floor.

Conceptual night time spaces

I have included some interactive pieces, such as lifting the organza which shows structure on roof, to reveal the room below and plan of columns which will light up, taking inspiration from De School. Also, I want to show how the spaces will be transitional, so have included a piece with poppers which allows the viewer to swap the installations from a range of pink lights to a piece with projections inspired by Existential Pleasures.

The easy transformation between the two reflects what will happen in the space by local artists.

By using a range of fabrics, I have tried to show where the contrasts between materials will be in the resolved building.

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Gallery space exhibiting local artists with views back into club space.

Digital workshop space with availability of projectors and computers for education.

Bar space by night turns to cafe by day with opportunity for socialising.

Lighting to be considered and integrated into furniture design.

Double height entry space with doors and interval spaces for cloakroom before getting in to the club

Separate installation on each popper to prove flexibility of space. Idea for recessed lighting in ceiling.

Outdoor area designed for socialising and opportunity for installations with views into gallery or back in to club.

Lift layer showing roof structure to reveal plan below of LED lighting columns across dance floor. DJ deck to be situated in the middle to enhance social interaction and take away focus from moving to front of dance floor to be in contact with DJ.

Club concept showing perspex LED columns and windows with view in to gallery where installations or performances can be held in the night time.

Pieces are hung next to each other so a narrative can be followed

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The staging narrative I had created helped to inform the plans of the building. I was able to create initial ideas of layout due to the 'journey' I wanted the user to experience as they moved through the building. The creation of conceptual perspectives initially were therefore very helpful in the process of designing my building.

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2.3 FIELD TRIP INSPIRATION

Walking up to the roof of Lingotto Factory, Turin

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In early November 2019, we visited Liverpool and Turin as a studio. I found both visits very useful as I explored Liverpool in a way I wouldn't usually as a local through having private tours of spaces, such as the Bluecoat, that I have only ever seen as a visitor. When visiting Turin, I really enjoyed the tours as I felt we got to visit and understand places that otherwise would never get to see, especially as a tourist.

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Bluecoat Gallery, Liverpool

Photography from Case Study Report

Watercolour from Case Study Report to illustrate natural light flooding into gallery

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GALLERY

OUTDOOR

Diagram to show link between windows and gallery dividing walls

The windows in the main corridor of the Bluecoat gallery marry up with the intervals of the walls segregating the gallery. This allows natural light to flood in to the gallery space, but also means the gallery can be closed off if needed. I appreciated this clever yet simple way of dissecting a large space with the option of opening or closing off. I took inspiration from this to allow for division but also flexibility in the ground floor of my plan between gallery and club space.

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Turin, Italy

Sawtooth roof inspiration from old Fiat Factory in Parco del Valentino

Incorporation of plants to work spaces - Toolbox CoWorking

When in Turin, we visited a host of different buildings. Like Liverpool, it is an industrial city and the buildings we visited reflected that. I took inspiration from the sawtooth roof of the old Fiat factory, which allowed the whole space to be brightly lit up. The large repetitive windows allowed light to flood in too.

Toolbox Co-Working offices , situated in a converted warehouse, featured various spaces that differ from the traditional and claustrophobic repetitive interiors of an office space. Through incorporating soft materials such as timber and fabric, along with plenty of natural light, the result is a space which encourages productivity. Also, I noticed the influx of coloured light paired with vegetation which is cleverly used to segregate larger spaces.

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Teatro Regio di Torino opera house

Lingotto Factory test race track

Teatro Regio had interiors with interesting lighting mounted from the ceiling which added another dimension to an already impressive space.

Walking around Turin, there was a lot of installations in the city such as light projections which were interactive. Light played a big part of interior layouts in most places, such as luminous stairs which framed the bar in an aperitvo bar, and lighting up figures for a unique addition to a cocktail lounge.

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PART THREE

III REALISATION & SYNTHESIS 86

REFINING

Here I explore the practicilaties of how to bring my programme into a reality. Through researching materials and lighting strategies that allow the theme of flexibility and installation to come a reality, I am able to develop plans around this. Through giving my building a name, Clao Chlu, I think this helps to bring the building to life both in drawing and in perspective. A large part of my programme was to incorporate local people and artists in to the building, giving them oppurtunity to exhibit, produce and learn in the space. I have enjoyed being able to reflect my research and conceptual narratives in to a space that is functional. Following this, I am glad I had opportunity to design events and posters to advertise the building more convincingly. I enjoyed exploring how the the spaces of building could be used to embody these events which explore the club space through the day time and night time, used for education, art and music. I aimed to show that Clao Chlu can offer more than the night clubs already present in the Blatic Triangle, and would have more of a cultural residence like European clubs Berghain and De School, which occupy progammes not dissimilar to mine.

REALISATION & SYNTHESIS 87

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3.1 PROCESS

The process of spatial development had already begun during staging when I imagined rooms and interiors conceptually by following a narrative through embroidery. The process next, was to reimagine this in to architectural drawings, and reform the interiors I had imagined into reality.

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Initial Spatial Iterations

Initial Ground Floor Concept

Initial massing concept

Initial First Floor Concept

I initially began plan iterations by doing quick sketches of the spaces I would need for my programme and mapping them into an arrangement of rough sizes. When I began to scale these in context, I realised that the layout was wasteful of space and inefficient, even though there was an extended journey before the dance floor. I would need to think more about how to create this effect more efficiently.

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DAY

Progressive massing model incorporating sawtooth roof

Fig. 34 - Zamora Museum, Mansilla and Tunon Architects

NIGHT

ARC3013 - Idea of separation between day and night events

The development of the massing model seeks to take the conditions of the site in to consideration more. South facing sawtooth windows take inspiration from the industrial past of the site, but will allow direct sunlight in to the space, which will create strongly contrasting light and shadows. Also, the rotation of a terrace to be south facing is better suited to the site.

I liked the effect that sawtooth roof had with lighting for the interior, but I aimed to keep the exterior as minimal as possible in order to accentuate the interesting interior. I drew inspiration from the Zamora Museum, which uses a parapet to disguise the sawtooth roof from the exterior, making the inside even more of a surprise.

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Initial east elevation

Initial south elevation

Initial west elevation

Initial north elevation

The initial elevations imagined a mostly concrete and glass building comprised of two segregated blocks. The large windows I liked the idea of, however I quickly realised that these would clash with both the old buildings and residential block developments which have small windows. Also, large windows don't function well in gallery spaces as the art can be damaged by sunlight. These large windows would also seem too interfering with the private flats on the west elevation, which the building interacts with from 8 metres up.

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Initial section reflecting elevations

In this section, it is more evident that this design of windows seem too large and open for a space which isn't necessarily accentuating any scenic views.

Idea for sawtooth roof section and club space.

This section exemplifies my initial concept for views into the gallery from the club space through small windows, while the LED columns illuminate the space. A problem with this was that walls with windows were hard to make mobile, which made it hard to allow the space to be flexible.

Section following first full set of plans.

This shows how interval walls with sliding doors were implemented, instead of solid walls, allowing flexibility and movement between the club space and gallery, with balcony and bar on upper level to prevent interaction between people dancing and people queuing.

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Site Model and Massing

Through making a site model with a massing model of my building, I was able to properly experiment with massing in context, and analyse the appearance from street views.

From Kitchen Street, I was happy with how the south facade became flush with the existing buildings. The shorter block acts as an interval between the height of the existing buildings and the taller part of my design, allowing it to more comfortably sit in the context.

Although it is clear my building is taller than the existing building, the recessed entry from Blundell Street and the existing facades help to disguise this and iterate my design more as it's own massing, meaning the height doesn't seem as disjointed.

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I am happy with how my design lies flush with the existing perimeter of the site on Simpson Street, allowing it to seem realistic and available for pedestrianisation.

I purposely positioned the taller west elevation to neighbour the towering development of flats. This means that although my design is taller than the existing buildings to the east, it helps to act as a gradient towards the sky high block of flats and the old buildings, as it is a gentle step up to the extremely high development.

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Reviewing Realisation Plans

1. Bar storage 2. Bar 3. Toilets 4. Immersive installation / balcony space 5. Backstage

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Ground Floor

By realisation, I had mostly formatted a way of organising the spaces in to a functioning building, that held the spaces I needed for my programme.

These included; a club/event space, gallery space, bar, digital workshop and art workshop.

There were some problems with this plan, such as an awkwardness to the location of the door in to the daytime / gallery half of the plan. Also, the ticket office upon entry to club lacked space for a cloakroom. There was no easy access to a disabled toilet from the event space either, and a lack of storage.

First Mezzanine Floor

The biggest problem with this level was that the stairs leading from the gallery up to the mezzanine were awkwardly disjointed from the width of the balcony, which also meant the entry to the stair didn't comply to the regulations of stairs described in Part M of building regulations. I aimed to better organise the backstage area into more a privately furnished space with space for performers through a window with view into the event space void.

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1. Gallery storage 2. Gallery admin and ofďŹ ce space

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First Floor

Second Floor

I needed to better inhabit the digitial workshop classroom and the art workshop, to suit the activities that were held in it. Also, it was important for the art workshop to have suitable space for storage.

This meant moving dividing wall back to the lift.

The space for admin office also needed to be better organised to offer communal and more private areas. I used the other room for storage initially, however I recognised that this was a key space in the building, so moved the storage to a basement

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ARC3015 Theory into Practice club concept collage 98

Theory into Practice gave me an opportunity to develop the collage embroidery technique I had used, but with studies from professional architects such as Archigram, I realised the importance and how helpful including real people in perspective scenes can be in reflecting the scale and height of key spaces. This allows the viewer to better imagine what the club space will be like, while still continuing with the representation method I had been using. The key material choices I had decided on are reflected here, such as LED ceiling underneath the cantilevered mezzanine backstage room, and reflective surfaces on the club back wall. The continuation of representing the LED lit columns through bright chiffons reinforced the design.

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Natural Light Experiments

LIGHT

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LIGHT

The south facing sawtooth roof takes advantage of the sunlight. Usually, sawtooth roofs in factories face north in order to allow for constant passive light. However, the photo shows how direct sunlight will create strong contrasts between light and shadow which adds to the unconventional interiors. As the sun moves, the shapes and shadows will gradually move.

As the sun moves round to illuminate the west facade, it will shine through the perspex of the columns creating interesting light refractions which span across the space.

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Environmentally Designing

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ARC3013 Mechanical Ventilation Strategy

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Mechanical ventilation is required for club space to ensure it remains well ventilated as during club night events, there will be high density of people who are dancing, meaning there will be an excess of body heat, so the room will get very hot. The fans are spaced evenly throughout the dance floor and bar, allowing air temperatures and quality to be closely monitored. The fans are exposed on the interior following the industrial feel to the space.

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Air exhausts will extract hot stale air out from the space at 3 points. The main exhaust is via duct work from the fans to the end of the space, via the externally concealed plant.

3.

All windows in sawtooth roof are activated by electronically controlled actuators.

This ensures that fresh air is able to enter the space. This will mainly be used during the day time as if windows are open during night club events, this could cause noise pollution for the surrounding area.

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The sawtooth roof was also essential in creating a safe and well ventilated space, which is essential for a club and event space where a whole accumulation of people produce vast amounts of body heat. Paired with visible mechanical strategies, this creates a thorough approach ensuring the space would be comfortable and practical. Also, the visible fans and pipes would add to the industrial feel of the space and make reference to the warehouses which are prominent around the Baltic Triangle.

ARC3013 - Sunlight directly enters the workshop and terrace, providing natural light maximising productivity. The exposed windows on the sides of the building ensure light can enter the workshops all day.

The design of large windows in workshop spaces ensures maximum productivity and natural lighting. Also, the terrace will be utilised as a warm outdoor space as a break for hard working users.

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Artificial Light Experiments - Thinking Through Making Week

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My programme describes that the club nights and gallery experience will be unexpected and surprising. The spaces are designed to be flexible so that the spaces can be changed depending on the night. The materiality needs to reflect this. By incorporating mirrors, lights and perspex for the lights to be hidden behind it allows for this to happen.

This model illustrates how these aspects could interact together, with example of installation such as with plants. The mirrored mosaic as well as sheet mirror allows the space to be expanded, and exaggerates the effects of the lights as they’re reflected off the mirrors.

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Designing Light - LED Columns

Renders imagining the LED and concrete columns illuminating the space

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concrete joint 12mm plywood

5mm polycarbonate sheet metal frame 255x255mm concrete column

service panel space 5050 RGB LED strips

( 10 mm wide) 5050 RGB LED strips

ARC3013 Section of column

metal frame joint to polycarbonate with screws

50mm x 225mm aluminium frame holding LED strips 10 x 10mm 5050 RGB LED strip

ARC3013 Plan view of column

The LED columns are a key design decision for the development of the club space at night time.

In technology, I designed these into a structural reality rather than just an interior addition that was uninvolved in the construction of the building.

By using RGB LED strips, it means that the colours can be altered to what ever the night requires, enhancing the flexibility of the atmosphere of the space.

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Designing Light - Luminous Ceiling

Renders imagining the process of entry and area for queuing in to the club 108

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ARC3013 1: 10 Suspended LED ceiling detail

Fig. 35 - 36 - Union Carbide Building Illuminated Ceiling.

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1. 200mm concrete slab.

2. LED light strips held in brackets.

3. Suspended ceiling hanger. Electrical cable tray.

4. Bracket to hold reflector unit and polycarbonate sheeting.

5. Reflector unit.

6. 12mm diffusing polycarbonate sheet

Reviewing precedents such as the Union Carbide Building, and taking inspiration from modern luminous ceilings such as in Stone Art Gallery, I designed the ceiling for the entry to the club space in order to draw the user in from Blundell Street. It will also allow the area where people will queue to be more interesting,

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Designing Light - Integrated Furniture

ARC3013 Workshop Table Concept

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ARC3013 Section of table design with gap for lighting and laptop cables to plug in underneath desk surface.

I aimed to create permanent furniture fixtures which would help people be productive, by adding easy accessibility to things like plugs and lighting. Also, the addition of vegetation draws on ToolBox Co-Working who used it as a segregation of space, so I will use as a segregation of table.

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Material Decisions

Experimental plaster cast imitating effect of concrete

Through creating a conceptual and playful model out of plaster to represent concrete, I realised the finishes I would like to take forward in my design. Through creating relief in the mould I experimented with window finishes that I would include in my design.

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Fig. 37 - Ricola Centre, Herzog & de Meuron.

Ricola Centre uses a concrete frame and rammed earth panels which informed the structural strategy of my building.

Fig. 38 - Ricola Centre, Herzog & de Meuron.

Fig. 39 - Rammed earth texture

Originally I wanted to use concrete, as I liked the industrial references and the raw finish. However, after making the plaster model I liked the accidental gradient I had created. Also, I knew concrete wasn't a sustainable option, so rammed earth replaced this. Liverpool doesn't have any rammed earth buildings so it would be good for the area to start using sustainable materials.

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20mm zinc metal roof sheet 25mm wooden battens DPM 87mm insulation 95mm glulam beam

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20mm zinc metal roof sheet 10mm wooden battens 15mm PUR rigid-foam thermal insulation DPM

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10mm bitumous waterproof covering DPM timber window frame build up 2 x 4mm laminated glass + 4mm cavity 30mm PUR rigid-foam thermal insulation 122mm rigid insulation

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20mm zinc roof capping

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20mm timber window sill and timber window frame 2 x 5mm laminated glass + 15mm cavity DPM 15mm x 15mm wooden battens 20mm PUR rigid-foam thermal insulation 200mm x 270mm concrete lintel 50mm rigid insulation

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175mm rammed earth 25mm wooden battens 75mm rigid insulation DPM 175mm rammed earth 175mm x 200mm steel I beam

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200mm concrete slab 175mm x 200mm steel I beam 570mm suspended ceiling hangers attached to hook repeated at 800mm intervals 30mm deep electrical tray held by clips attached to hanger 60mm LED strip lights with cables held by electrical tray 225mm reflector unit 10mm aluminium top holding frame 12mm polycarbonate sheet to diffuse lighting evenly 10mm aluminium bottom holding frame

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300mm structural concrete cast beam

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175mm rammed earth 25mm wooden battens 75mm rigid insulation DPM 175mm rammed earth 25mm x 25mm wooden battens 4mm glass mirror tiles

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175mm rammed earth DPM 25mm x 25mm wooden battens 20mm PUR rigid-foam thermal insulation 75mm rigid insulation DPM 175mm rammed earth 25mm x 25mm wooden battens 4mm glass mirror tiles ON TOP OF: 1200mm concrete stem wall concrete footing with 25mm steel rebar

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4mm vinyl flooring 10mm plywood 70mm screed 50mm rigid insulation VCL 125mm concrete slab DPM 75mm crushed stone base

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ARC3013 1: 20 elevation and detail

Through information from precedents like Ricola, I decided on a concrete frame and rammed earth structure. The plaster experiments helped me to undertsnad that I required a window finish which is flush with the facade in order to follow the minimalist style of exterior I had been exploring.

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3.2 THE BUILDING

The buildings follow on as a conclusion of my process work. Through situating my building on site and in context through out the drawings, I seek to make it clear how the exterior would be positioned in the site, and how the interior would be arrange and inhabited.

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claochlĂş / irish - to transform / alternate clao chlu is a building with an aim for a 24/7 programme, which holds a variety of events aiming to engage and enrich locals clao chlu seeks to adopt the European approach of nightclubs as a cultural asset for the Baltic Triangle in Liverpool

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1:500 Site Map

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1:500 Site Elevation

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Site Axonometric View

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Key Street View from Simpson Street

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1:50 Key Section 0m

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1:100 Section

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The sections show how simultaneous events can occur in multiple parts of the building at one time.

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1:100 Basement Plan

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1:100 Ground Floor Plan

1. Bar 2. Storage 3. Toilet 4. Backstage performance space 5. Backstage private space 6. Balcony space

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1:100 Mezzanine Level Plan 0m

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1. Digital workshop space 2. Art workshop space 3. Outdoor terrace area

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1:100 First Floor Plan

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1. Classroom 2. Gallery admin and ofďŹ ce space

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1:100 Second Floor Plan 0m

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The plans exemplify how the spaces are arranged both with mobile and in situ furniture that allow the rooms to be utilised.

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3.3 IN USE

Embodying locals in both running the programme of the building and using it, is key to Clao Chlu. Through perspectives, posters and diagrams I wanted to prove how this was possible to allow for utilisation of the building from weekend to weekday, and day to night.

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Wellness 09:00 02:00 alcohol free bar

09:00 19:00

05 06 21

yoga classes

20:00 02:00 dry disco - alcohol free

ground floor

09:00 02:00

09:00 18:00

Club Sรถba Presents:

digital art class

You and Yoga Class Wellness Art Therapy Dry Disco

09:00 18:00 art therapy

X Call Super 50 Blundell Street Baltic Triangle Liverpool

Tickets available on door / www.residentadvisor.net/claochlu

Support your local artists

first floor

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There is a problem with alcoholism in Liverpool, like there is in many cities with higher levels of deprivation. The glorification of alcohol in entertainment and leisure events means this problem is amplified. By incorporating wellness events, it seeks to provide both sports, with mental health benefits and enjoyment for people who may not want to drink, in a judgement free club environment.

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Sustainable Education

12 05 21

10:00 21:00

MaryMary Florals Present: Foraged Flower Workshop 10:00 18:00

Evening Education: Sustainability in our Soceity

1 hr floral workshops

18:00 21:00 sustainability lecture series

50 Blundell Street Baltic Triangle Liverpool

Book at www.claochlu.net

Support your local artists

12 05 21 to 26 05 21 exhibition of floral installations created in workshops

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Mary Mary Florals is a popular florist located in the Bluecoat. She runs workshops, which can operate in Clao Chlu in the art workshop. These installations can be exhibited in gallery space, along with lectures and educational talks about sustainability and vegetation which can be sourced locally.

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Local Performance Art

14:00 20:00

27 02 21 Seating on ground and balcony level Installation design produced from workshops in Clao Chlu

21:30 04:00

14:00 04

LIPA Present: Live Contemporary Acts

x Peach b2b Breakwave 50 Blundell Street Baltic Triangle Liverpool

Tickets available on door / www.residentadvisor.net/claochlu

Support your local artists Performers in glazed closed off gallery 'Live' installation exhbited with digital and art workshop outputs Local DJ Breakwave integrated with acclaimed DJ Peach to provide exposure to crowds

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Liverpool Institute of Performing Arts ( LIPA) is located in the Georgian Quarter. By allowing performance in Clao Chlu in the Baltic Triangle, it will create a different audience for them, enhancing their exposure and opportunities. It creates an interesting event for the building which none of the current spaces in Baltic Triangle offer. Live installations are popular across European precedents and are culturally embodied.

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14:00 20:00

BACK STAGE

Local Fashion Display

20 03 21

Central tiered collective seating establishes theme of 'together'. There is maximum social interaction between models and audience.

14:00 04:00

Models walk through lit cuboid pods made of perspex, enhancing ‘unexpected appearances’.

Rare Fashion School Presents:

21:30 04:00

Fashion Show X Club Cube X Palms Trax 50 Blundell Street Baltic Triangle Liverpool

Tickets available on door / www.residentadvisor.net/claochlu

Support your local artists

INSTALLATION SPACE

MAIN DANCE FLOOR

Exhibition and installation of clothes designed for show, curated by clao chlu workshop users.

Pods used as seating / initimate interaction spaces by user. Installation themes in each cube.

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The fashion show turn club night will explore a theme of inclusivity and intimacy in the space for a post COVID-19 experience when people can closely interact. By using perspex cube boxes to segregate the gallery from the event space, it also creates a journey between the two and can expand the moments of intimacy within the larger space. The interesting installations in each cube will provide a better feeling of 'together' and social contact as well as allowing more exhibition and exposure of Rare Fashion School student work.

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AT

Addition of Clao Chlu to festival programme

Graffiti and Wall Mural workshop with local artist Paul Curtis

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DAY

Digital workshop tutorials to make exhibitions for night time

Baltic Weekender is one of the largest festivals in Liverpool, held across multiple venues in the sector for three days and three nights. Currently, it is only music performances by mainly DJs who aren't from the city who play the time slots. By occupying Clao Chlu's facilities and resources, it allows people to create and contribute to the festival, making them feel more a part of the celebrations.

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AT

Entrance in to club

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NIGHT

View from bar into dance floor below

Having staggered set times of headline acts and local up and coming DJs exploits their talent, allowing their opportunities to be maximised.

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Exhibition of work from digital workshop in gallery space

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I enjoyed placing Clao Chlu in the current annual events of Baltic Triangle that I have previously visited, as it meant that I could create opportunities in my design for things that I noted to be missing. For example, lack of performance slots for local people and employing companies from afar when the talent is on the doorstep.

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PART FOUR

IV BIBLIOGRAPHY 152

REFERENCING

As research was a large part of my project, the inspiration that I drew from various sources and places that I had vistied also inspired the project. This section includes my general design interests and places I have visited with in the last year that has directly inspired my design work.

BIBLIOGRAPHY 153

Illustrated Cultural Bibliography

PRADA FOUNDATION, MILAN

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PRADA FOUNDATION, MILAN

When visiting Prada Foundation in Milan, I was inspired by the attention to detail and surprising materials that were used across the whole of the scheme. From aluminium foam in chrome contrasted next to gold plated walls and polycarbonate allowing light to come through. Also, the use of mirrors enforced the effect of the materials so the impact was emphasised even more. I took inspiration from how unusual and surprising the material use was. We stayed for hours so was able to see it in darkness. The lighting is carefully integrated in to the structures in different temperatures which adds another contrast to the atmosphere. I was shocked to find out that the orange fencing on the vertical stairwell was a permanent fixture to make the industrial part of the scheme seem more playful. The Prada Foundation made me realise that the design of appearance of architecture and the construction are not two separate entities, as this was the most impressive and interesting space I'd ever been in. It made me realise that I do have a more subconscious appreciation for architectural design than I realised.

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CHRISTIAN DIOR: DESIGNER OF DREAMS, V & A

Before visiting the Dior exhibition, I was mostly excited for viewing the vast archive of clothes and Parisian haute couture. However, I was inspired also by the curation of exhibition and how all of the garments were carefully accentuated by the space in which they were places which used lighting and specific materials to contrast from the surroundings to the fabric. For example, for a matte black, crepe dress, a backdrop of black plastic and white lighting was use to entice shine and contradiction between the two.

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OLAFUR ELLIASON: IN REAL LIFE, TATE MODERN

Olafur Elliason created a range of atmospheres through mainly the use of lighting. The exhibition was very interactive. I found out after visiting that it was designed to allow members of the public to interact with each other, which happened when I visited as pictures taken of strangers in the fog tunnel were exchanged. The social element to the exhibition was very different and it inspired me to create a building that encouraged social contact between strangers.

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HOUSE PARTY CURATION, JESMOND

My house mates and I hosted a year 2000s theme party. I installed a UV lamp to the kitchen which allowed a wall hanging we made with UV paint to take centre stage. I also hung glow sticks from the ceiling as a DIY approach to a coloured light installation. We collected plants such as ivy which we covered the walls of the hallway corridor with along with old vinyl records and photos of Y2K. Using 3 fluorescent white tube lights coated in red acetate and situated at regular internals hidden in corners, I was able to illuminate the entire hallway which made the transition from the kitchen to lounge more interesting. In the lounge, visuals were hosted by existential pleasures. We were lucky our lounge had a high ceiling which allowed the projections to create an immersive experience. Playstation controls were passed around which controlled the visuals so the crowd could play with movement. On reflection, I can see the similarities between my aims of design in my building and the small scale installation I created in our house.

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CLUB PLASTICO, MILAN

When in Milan, I visited Club Plastico which I had heard is the city's answer to Studio 54. The vibrant neon lights, creative concepts and inclusive crowds reminded me of my aim for programme of Clao Chlu. It has three major areas: a techno dance floor, a mixed music dance floor which is coated in mirrored tiles and a Prive lounge which has a 1920s glamour theme, decorated in a mass of chandeliers and illustrative wall murals. It is easy to navigate around the club and switch between rooms and types of music.

I took inspiration from the neon signage, and intricate lighting details such as recessed lighting below the bar surface which allowed the stored glasses to be illuminated. Also, Plastic gave me the inspiration for live performances as installation in the club, as upon entry there were two men, dressed unusually and dancing in a glass box that they appeared to be trapped in. This was both surprising and confusing, but I liked the impact it had by adding another dimension to the interiors.

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DESIGNING, MAKING AND SELLING FAUX FUR BAGS

I have been making and selling faux fur bags during second year and some of third year on Depop and at markets. People can request their colour options for feather trim, lining and fur. I was hand sewing the bags initially as I didn't have a sewing machine, but this made me confident in discovering how form and pattern of material were constructed to ensure durability, especially in bags which need to hold weighted items.

This practice gave me confidence in pursuing the embroidery representation in this years work.

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DESIGNING DEGREE SHOW T SHIRTS

Inspiring Louis Vuitton design

NCLAPL APL NCL 2020202020 2020202020

NCLAPL APL NCL 2020 2020

Me and Izzie Vile collaborated together to design degree t shirts to sell to fund the degree show. We took inspiration from designers such as Off White and Louis Vuitton Special Project who have created graphic t shirts. We drew on the design of the APL school logo and the design of the degree show invitation, which used linear cut paper and an interior which was pulled out to create changing images.

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READING LIST

Bibliography

Kries, M., Rossi, C. and Eisenbrand, J., 2018. Night Fever. Designing Club Culture, 1960 - Today.

Weil am Rhein: Vitra Design Museum.

Singer, S., Deitch, J., Betak, A., Mulleavy, L. and Mulleavy, K., 2017. Betak: Fashion Show Revolution.

London: Phaidon.

- Tonkiss, Fran. 2013. Cities by Design: The Social Life of Urban Form, ( Cambridge, UK: Polity Press) Foster, Hal. 2013. The Art-Architecture Complex, ( New York: Verso Books) Hatherley, Owen. 2011. A Guide to the New Ruins of Great Britain, ( New York: Verso Books) Mould, Oli. 2018. Against Creativity, ( New York: Verso Books)

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FIGURE LIST

Figure 1 - The Batiment, Monte Carlo, Archigram. Available at https://hk.asiatatler.com/life/building-the-future-how-archigram-magazine-inspired-a-generation-of-architects CHARETTE Photos 2 to 5 GROUP WORK Figure 2 - Corridor. Available at https://www.deschoolamsterdam.nl/en/ Figure 3 - Restaurant DS. Available at https://www.deschoolamsterdam.nl/en/ Figure 4 - Installation. Available at https://www.deschoolamsterdam.nl/en/ Figure 5 - Gym. Available at https://www.deschoolamsterdam.nl/en/ Figure 6 - Lighting installation. Available at https://www.deschoolamsterdam.nl/en/ Figure 7 - Lighting installation upon entry. Available at https://www.deschoolamsterdam.nl/en/ Fig. 8 - Sketch investigating view points. Received from Imre Van der Haag's Private Collection Fig. 10 - Inspiring artwork. Received from Imre Van der Haag’s Private Collection Fig. 11 - Concept sketches and collages. Received from Imre Van der Haag’s Private Collection Fig. 12 - Sketch of proposed stairwell. Received from Imre Van der Haag’s Private Collection Fig. 13 - Ideas for club readjustments. Received from Imre Van der Haag’s Private Collection Fig. 14 - Concept collage of inhabitation in the club. Received from Imre Van der Haag’s Private Collection Fig. 15 - Original Entrance Facade Elevation - J.B. Ingwesern.Received from Imre Van der Haag’s Private Collection Fig. 16 - Converted Club Floor Plan - Imre Van Der Haag. Received from Imre Van der Haag’s Private Collection Fig. 17 - 24 KS dance floor. Available at https://www.instagram.com/24kitchenstreet/?hl=en Fig. 18 - 24 KS dance floor. Available at https://www.instagram.com/24kitchenstreet/?hl=en Fig. 19 - Baltic Weekender Marketing. Available at https://www.instagram.com/balticweekender/?hl=en Fig. 20 - Baltic Weekender in Constellations outdoor space. Available at https://www.instagram.com/constellationsliverpool/?hl=en Fig. 21 - Kazimier Garden during the day. Available at https://www.instagram.com/kazimiergarden/?hl=en Fig. 22 to 26 - Archive Liverpool event posters. Available at https://www.skiddle.com/search/keyword.php?keyword=Archive+presents&when=2&go=Filter+%BB

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Fig. 27 - People queuing outside of Berghain, Berlin. Available at https://www.ravejungle.com/2019/08/21/berghain-inside-story/ Fig. 28 - De School Installation. Available at https://www.deschoolamsterdam.nl/en/ Fig. 29 - Felipe Oliviera Baptista Exhibition, Lisbon. Bureau Betak. Available at Singer, S., Deitch, J., Betak, A., Mulleavy, L. and Mulleavy, K., 2017.Betak:Fashion Show Revolution. London: Phaidon.

Fig. 30 - Administrative Complex, Strasbourg. Dominique Coulon. Available at . Fig. 31 - FILA show, Hong Kong. Bureau Betak. Available at http://coulon-architecte.fr/projet/625/strasbourg Fig 32 - 33 - Stone Art Gallery, Guangzhou. O-Office Architects. Available at https://www.archdaily.com/566825/stone-art-gallery-o-office Fig. 34 - Zamora Museum, Mansilla and Tunon Architects. Available at http://mansilla-tunon-architects.blogspot.com/2011/10/23-zamora-museum.html Fig. 35 - 36 - Union Carbide Building Illuminated Ceiling. Photo: Ezra Stoller, Esto. Available at: http://architectuul.com/architecture/union-carbide-building Fig. 37 - 38 - Ricola Centre, Herzog zog-and-de-meuron

de Meuron. Available at https://www.archdaily.com/634724/ricola-krauterzentrum-her-

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