Aurelia Thompson Portfolio

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CREATIVE SYNERGIES - STUDIO 7 Aurelia Thompson 180298462 Stage 3 Academic Year 2020/21

Contents

Reflective Diary

4..5

Cultural Bibliography

6..13

Project Framing 14..53

Pavilion Exercise

36..53

Testing Phase 54..99

2

Synthesis

100..146

Thematic Case Study

147..182

Bibliography

183..184

Appendix

185..198

3

Reflective Diary

A t the beginning of the academic year I was compelled by

cept the Pavilion Exercise) I was very enthusiastic about be-

important to me – after all I believe it is our obligation as

able to work in the studio would bring a lot of challenges,

the studio’s brief. Laying an emphasise on inhabitation is very architects to always use the human experience as a starting point. Therefore engaging with the community and under-

standing their demands was also essential. I enjoyed how this became a central theme of this year’s project. Being lucky

enough to be able to return to Newcastle for the academic

year and therefore being in close proximity to the Ouseburn made the exploration of the context and engaging with the

community more tangible. After all being on site and explor-

ing the Ouseburn first hand was a welcomed change to digital learning experience that we have now all had to go through for more than a year.

Further I was excited about the opportunity to develop our

own individual briefs. I truly appreciate the individuality it gave all our projects. Working on a project, that is more personal to me, definitely made the work more enjoyable.

In early October I had my first meeting with my new tutors

Stella and Craig. Going through my second year portfolio we set key aims for me to focus more on for my final year. One of them being context. Yes, context had not really been my

fortet, especially after having worked in a hypothetical imag-

ginning my individual work in Testing. I knew that not being as although working individually, being surrounded by oth-

er fellow students has always helped a lot with my work flow

and creativity. Nevertheless, we found ways (partly out of own initiative, other times encouraged by out tutors) to meet up

regularly online and share our progress. Afterall the pandemic has been a rather isolating experience for us all. So with what was at hand in our flat I tried to make the most of the Testing Phase, after all my idea of exploring architecture further than

just superficially visually has been ripening since beginning my

research for my dissertation. Developing conceptual ideas was probably the most enjoyable part of the project.

Beginning to explore enquiries in their details and bringing

concrete material to paper was more of a challenge for me.

The end of Testing moving into Synthesis was the most difficult for me. I grew tired of especially the digital learning we had to

do. I realised, that throughout this pandemic all I had done for

the last months was to work towards this degree. Work and my progress was all I would share, and I became rather anxious

about it. I know that the university has tried its best to make

our experience this last year as enjoyable as possible, but digi-

inative context in the first semester of year 2. All the more, I

tal learning cannot replace face to face learning. I would show

ing my individual brief this also played a key role, as exploring

conscious about it, we are now probably all just the work that

made contextualising my proposal a priority. When developthe soundscape of architecture made it inevitable for me to

dive deep into the context of the Ouseburn. Accompanying

the extensive group research I added my own layer of sound to the analysis of the context. I appreciate the way that both

Stella and Craig would encourage us to go the extra length at the beginning of Framing, to further understand the context of the Ouseburn. This also encouraged me to pick up street

photography again – laying an emphasise on the community I thought it would be a great opportunity to actually hear what people we met in the Ouseburn had to say. It turns out that

with a little bit of courage, approaching people is not too scary at all, and talking about a hypothetical cultural centre you are proposing just around the corner also seems to be a good conversation starter.

Having worked in groups for the entire time of Framing (ex-

4

ACADEMIC YEAR 2020/21

up to a tutorial show my work and leave, without being all to we present to each other.

Nevertheless, I found joy in my process. Struggling with de-

tailing made the integration of technology a challenge. I ex-

panded my AutoCad skills a lot, which then also helped with my final outputs for design. What I learnt though was that

drawing on CAD could never replace my experience of draw-

ing by hand. It makes me feel more free and I have much more control over what I want to show. It is the illustrative side of

my project, with which I believe I have been able to convey my strengths most.

Overall my learning experience this year has prepared me well for the years to come, in the way that it has manifested where my strengths lay and what interests I would like to explore further.

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jaro Mountain is a home, that aims to support young children,

who have not had an easy start in life. This proposal focuses on creating a safe and nurturing environment, in which each child finds the happiness and freedom to develop in its own way.

CULTURAL BIBLIOGRAPHY ‘extra cirricular’ activities

Tanzania

ACADEMIC YEAR 2020/21

Programm 1. Entrance + Gathering Area 2. Teachers Office 3. Storage

4. Boys/ Girls Bathroom 5. Adult Bathroom For the past year I had always worked with sketchbooks from a series called ‘about

blanks’. Old book covers are recycled and

given a new life. Sadly I had to find out at the

beginning of the year that my local bookstore did not have them in stock any longer. So to commemorate my last year of the degree I

made my own sketchbook, recycling a larger

A4 sketchbook that I had not used in the last two years.

6. Wash Basins

7. Open Kitchen 8. Pantry

9. Rain Water Harvesting

10. Dining/ Gathering Area 11. Garden

12. Multipurpose Area 13. Classroom

Conceptual Visualisation

CN71062020 - Blossom

*Centre Courtyard with Kilimanjaro

+ Open Classroom

for Playing, Resting and Learning

Corigated Metal Roofing

Roof flushing

Exterior Gutter

Wooden Trusses

Interior Gutter

In September 2020 I took part in the Cre-aid

Earth Architecture Competition. As part of this Concrete Ring Beam

Secondary Beams

CEB Wall Wooden Pillars

Wooven Fence

Water Tanks

I handed in a proposal for a school and nursery for children of a nearby orphanage near the Kilimanjaro in Tanzania. I am personally

attached to Tanzania - I wanted to see how I would work on an architectural task that I

set myself out of own choice. It was a great

chance to gain real life experience, as it was an open competition.

In the process I taught myself to use photo-

shop and AutoCad, which both were skills that turned out to be incredibly helpful for my final year in this degree.

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CULTURAL BIBLIOGRAPHY

ACADEMIC YEAR 2020/21

Cultural entertainment

Through the pandemic I have missed cultural entertainment a lot.

It is really not comparable to a real life

experience but in connection with my re-

search into sound performances I found it enjoyable to watch performances on youtube.

Janet Cardiff and Tarek Atoui are both in-

stallation artists, that work with space and sound. Both of the artists became great

inspirations for my final year’s project, in

the way that they relate sound to space and context.

Cirque du Soleil has always fascinated me. Now watching

their performances digitally, has been a source of creativity

throughout the year. Although it may not have informed my design directly, it has definetely encouraged me to be a bit more bold with the use of colour in my project.

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CULTURAL BIBLIOGRAPHY

ACADEMIC YEAR 2020/21

‘extra cirricular’ activities

This may not be a factor that necessarily benefit my studies theoretically, but has

This April the holy month of Ramadan began. Living pretty

In November last year I adopted my dog Iggy from Hungary. I had gotten involved

offering to join her on this spiritual journey.

carried me mentally through the last year of my degree.

in an animal welfare organisation previously that summer and started working volontarily with their social media team. Occasionally I would accompany a trip to Hungary.

Having a dog has taught me a great sense of responsibility. Being with the organisation gives me a great sense of fulfillment, as I am directly taking action and witnessing wonderful outcomes from it.

As little as this may have to do with architecture, it was important for me to incorporate this, as it has created a great balance to all the theoretical often intangible work that is connected with our degree (all the more now during the pandemic).

10

isolated with only one friend, she herself Muslim, I found myself I took a different approach though - as I am not religious my-

self I decided to turn the five prayers a day into five meditations a day, increasing in duration. The experience of fasting com-

bined with intensive meditational practice was truly enriching.

The biggest lesson I learnt was the feeling of time passing. This may sound strange at first, but if there is one thing I learnt it was that one day has a lot of hours, in which I could achieve

a whole lot. In this period of my life where time seemed to be slipping through my fingers, this was truly precious.

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CULTURAL BIBLIOGRAPHY

ACADEMIC YEAR 2020/21

‘extra cirricular’ readings A book that I have been reading

This reading informed my first

language which is used.

designing a pavilion in which

for a while now. I utterly love the

semester’s work, when we were

One of the main characters, a

we’d test our design proposti-

blind girl, describes the world

tion. Installation art informed

through her ‘eyes’. Beautiful de-

the staging of sound and an

scriptive language.

immersive experience within my

The Eyes of the skin is a book

proposed pavilion.

that has been reoccuring

throughout my studies. It was

a valuable book for my disser-

tation and helped manifest my own ethical approach to architecture.

Vision creates distance, sound creates closeness.

Mary Aiken is a psychologist,

whose work has directly influ-

enced my dissertation this year.

My great interest in psychology

has directly influenced my graduation project. I was encour-

aged to detach myself from the

“Music can be defined by sound

visual approach to architecture

in time, while sound art may

and view it from a more psy-

be defined by sound in space”

chosomatic angle.

(p.23)

Our experience of space is inextricable from our experience of sound.

A Gorilla teaches his student

why the human race is doomed, starting right at the beginning with Adam and Eve.

A book that encourages you to

think critically about our position in the world, or more the position that human kind claims. I

would recommend this to any-

one who is courageous enough to look the truth straight in the eye...

12

The expressive Portraitpho-

tographie presented in ‘People

of London’ was a great reminder, why I should get back into streetphotography.

13

The North East of England

Framing The Academy, The Ouseburn, The Synergy We find ourselves in the North East of England,

tle for their studies due to the pandemic.

of Newcastle City Centre.

would all move on to developing our own indi-

in the small Valley of Ouseburn just to the East

For the first part of our projects we worked col-

On the basis of the contextual research we vidual brief based on a chosen specialism.

lectively gathering an extensive amount of re- My experience was that this led to a great search. The importance of working as a group depth of contextual research, from which to was even more evident this year as not every

group member was able to return to Newcas-

draw inspiration from in the following stages.

Newcastle City Centre River Tyne The Ouseburn Valley

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In the North of the Ouseburn a trio of bridges towers over the Valley (here Bykerbridge)

Historic layers of the Ouseburn meet creative Communities

left the bigger area of taller buildings across the Tyne. When we then entred into

little Ouseburn Valley, it was like a whole different kind of bubble, seperated from

the city. It feels super cozy - tucked into

the valley, is this little creative hub. A very different character to the whole of New-

castle. We are so close to the city centre, you would not expect this little community there.”

- I describing Ouseburn in our first group discussion recorded in a podcast.

Link to Podcast-Recording (Studio 7 Subgroup 2) 16

View along River Ouse in the Area around the Toffee Factory

The Ouseburn Valley Approaching from Quayside

“We approached from the city centre and

New Residential Developments line the river, New Communities are forming as the Valley grows attraction 17

Studio 7 - Brief

CREATIVE SYNERGIES

Establishing the studio context

The three collages show my initial personal responses to the studio’s themes.

THE OUSEBURN

THE ACADEMY

THE SYNERGY

Escape into a small Oasis

Architectural Practice as a Mulitdisciplinary Dialogue encouraging Engagement and Participation

Understanding, engaging with and responding to context

Within our studio we were asked to develop a scheme, that through the throrough analysis of both the Context of the Ouseburn Valley and the Academy manages a Synergy. - ‘What role can the institution of education and the

spaces it takes place in, play in mediating between transient and established communities?’ (Framing Celebration December 2020)

Within this contextualised proposal we are encourages to critically think about the architectural practice.

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The Academy

PROJECT FRAMING

The role of the institution of education

“Bursting the Bubble”

“Multidisciplinarity is key in what we do. We work across Faculties to apply data science and software engineering expertise.”

Student Community

The Community acts a catalyst for for individual creative growth in offering different perspectives and encourg-

ing engagement and collaboration within a supportive environment. Further societies such as the Newcastle University Architecture Society (nuas) aims to provide students with opportunities beyond what the Academy offers, broadening yet again collaborative approaches to the practice.

Teaching

Research

dents for architectural practice. In doing so the Academy emphasises the importance and need for a practical/

importance to economic and scientific topics.

Looking specifically into architectural education the Academy sees its function in preparing and training stuhands-on approach in teaching in order to ‘burst the bubble’ and encourage crossdisciplinary collaborations.

Architectural education faces the task of preparing students for an ‘unknowable future’. In order to succeed curiosity must always be inspired. Afterall uncertain times ask for flexibility and new ideas.The aim must to shape people that will bring critical thinking and the courage to reinvent architectural practice to the table.

The University conducts research in numerous departments, covering many themes, from social and cultural Collaboration as a means of research is highly encouraged. Within the Architecture Research Collabotive bridging the gap between theory and practice is prioritised.

With University’s increasingly being valued as breeding ground for research the Academy is ever more con-

cerned with alternative approaches, catalising positive engagement in bringing forward new ideas and interventions.

We as students are encouraged to contribute in a participatory process.

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Ouseburn Valley

PROJECT FRAMING

Past / Present / Future Timeline showing the Ouseburn’s development from a dominantly industrial area, to being mostly derilict up to the area’s regeneration credits to Liza Nadeem from ‘Past Present FUture’-Subgroup

due to contamination

Crafts, Music and Multimedia.

brant community which was left derilict after second world war

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was culture led and soon attracted micro businesses, Arts and

Three collages capturing the Valley’s key characteristics over time credits to Louis Duvoisin from ‘Past Present Future’-subgroup

PAST

Supported through public funding the Valley’s regeneration

FUTURE

PRESENT

As a desirable industrial location the area developed into a vi-

As the creative community grew within the valley, the area of Ouseburn has increasingly attracted developers and its rough character is being re-

modeled with commercial and more residential

developments in plan. The Ouseburn is threatened

by Gentrification.

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Ouseburn Valley

PROJECT FRAMING

Mapping the development over the last century credits to Amanda Yeong from ‘Past Present Future’- subgroup

Future - Gentrification

‘Developers vs Community’ credits to Rosie Reeves from ‘Past Present Future’-subgroup

Late 20th Century

21st Century

The Ouseburn has over the last 40 years been consist-

Business

ently regenerated. The redevelopment was undertak-

Residential

adapted to the unique character of the Valley.

Attraction Industrial

en slowly carefully assuring each development to be Whereas developments used to focus on creating

spaces for artists, music venues and other community

serving purposes, in the last decade the character has shifted to private schemes, such as hotels, offices and apartments.

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The community fears the diverse community will fall victim to the econ-

omy and developer’s interests. The fear of Gentrification is evident in the Community’s Feedback on the Development of the Ouseburn.

Questions arise: What changes will the future bring? What change is good? Which is bad?

It is a concern that with more and more money flowing into ‘regeneration’ the valley will over time turn more and more generic.How do we counteract gentrification? - and which role does the Academy play in this? Which impact can it have?

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Ouseburn Valley Faces of the Community

Map created by author an analysis of the existing rhythms within spaces in the Ouseburn contribution to ‘Community’-subgroup

PROJECT FRAMING Portrait Photographs taken by author (all with consent of the Individual) as part of a series of interviews with members of the community

The Ouseburn with its tranquil nature is home to a large variety of wildlife. This should be considered by all new developments as the wildlife forms another layer to the existing community. credits to Ren You from ‘Community’-subgroup

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Ouseburn Valley

PROJECT FRAMING

Voices from the Community

Method: Our Groupwork on Site Engaging with the Community

As a subgroup we were lucky enough to all be in Newcas-

tle, so we took the chance to go on several site visits to the Ouseburn.

When exploring the area we felt that simply observing the happenings in the Ouseburn, sketching and documenting in photographs would not be sufficient. Led by our studio

themes COMMUNITY ENGAGEMENT and CULTURAL CONTEXT we wanted to get involved. I myself had done street photography before so I felt fairly confident to approach

strangers in the Valley and get stuck into conversation. The whole group joined in and we were positively surprised at how open and willing people were to talk to us.

We wanted to find out why people visit the Ouseburn,

whether they live in the area, whether they have been there for long. Most importanlty we wanted to know what they thought about the ongoing changes.

What stood out was a general enthusiasm about the Ouse-

burn as a social hub, with people of all kind all enjoying the surrounding nature.

People describe the free spirit of the area back in the day and recognise changes. Gentrification seems to be a great concern for the future.

This particular conversation stuck in mind. Two residents tell us about their own experience of observing the changes in the Ouseburn. (04.11.2020)

“Could you describe Ouseburn in one word?”

This piece developed by Gloria Hii originated from Talks our ‘Community Subgroup’ conducted in the Ouseburn with members of the community

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Community of Ouseburn

PROJECT FRAMING

Voices from the Community - Interviews

“I just came to quickly escape work and

“It’s soo lovely now.. Remember when

“It is so tucked away.. Like a little hide-

my head.”

nowhere else to go. [...] It was all aban-

- sixth form students from Tynemouth

grab a coffee.. This is were I go to clear - works around Ouseburn, met him on a coffee break

we were groovin’ over there? We had

doned.. So free. Now it’s all been torn down”

- resident since 1970s

out. Very calming and so mellow.”

“It’s magic! I have been coming here

“Up until now I see a positive gentrifica-

“ Yeah 40 odd years I’ve been here. [...]

cialise and enjoy the beautiful nature”

nesses that get attracted to the area..

revived and bohemian.. That’s yous say

That would be bad.”

- In the area since 1970s

since the 1970s. Everyone comes to so- resident since 1970s

tion.. All the small independent busi-

We don’t need a Whetherspoons here..

Everything is always in flux. [...] Yeah nowadays”

- Lives and near but not in Ouseburn, comes for social activities

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Ouseburn Valley

PROJECT FRAMING

The Landscape of Ouseburn

Main Transport Routes across the Valley

Routes on different levels credits to ‘Landscape’-subgroup

River Ouse feeding into the Valley

Collage Illustrating the Conservation Area around the River Ouse Emphasised is the topography of the site, with its significant level changes credits to ‘Landscape’-subgroup

Underground Historic Tunnels

Artificial vs Natural: Textures and seasonal colour pallet within zones credits to Nicholas Stubbs from ‘Landscape’-subgroup Bridges Artificial Natural

The Ouseburn Valley being a conservation area needs to be taken into

consideration when analysing the site.

The restoration of the river as the heart of the valley aims to improve the surrounding ecology. Therefore

the connection between the river and the natural as well as built envi-

ronment is of great importance when proposing an intervention.

Listed Buildings

The Ouseburns unique topography, nestled into the valley, is a rather tricky though

Hadrian’s Wall

perhaps very interesting feature of the site.

River

may offer a lot of opportunity too.

Conservation Area

Whilst it may be restricting in some ways it

Site Section drawn in early stages of Framing by members of our studio 32

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The Synergy

PROJECT FRAMING

Own Reflection on Site Analysis

Promoting a diverse Community will help

Are new developments in the Ouseburn

Over the last decade Ouseburn has

resist Gentrification

Inclusive or Exclusive?

turned into a building site

The Ouseburn Valley has many faces. People seek the valley for

many different reasons. Kids find a small oasis at the farm or dream

away at seven Stories. Many people are attracted by the popular pubs. They turn into exciting social hubs at night. A great number

The Valley Ouseburn is in a flux.

Layers of History line the River Bank.

of visitors though comes simply to enjoy an escape from the city. I

Mellow like the stream change wonders through.

character. How can new developments placed within the Valley be

Where money rules history is lost.

believe it needs to be a priority, to respect and preserve the areas as little intrusive as possible – Respect the area’s heritage.

How do we counteract gentrification? - and which role does the Academy play in this? Which impact can it have?

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Gentrification has laid it’s hand on the valley.

Change has been forced.

Can the valley not lie untouched?

The Ouseburn - An Unexpected Oasis

Like Alice through the Looking Glass I discovered the Valley’s unexpected beauty - as if I stumbled into a small bubble.

The tranquility is what draws me to the area. It is special, to be able to enjoy such calmness right in the city.

Through revisiting the valley and talking to members of the community I experienced the Ouseburn as this small Oasis so close to the City and yet secluded.

What makes it an Oasis and how do we preserve it?

- poem by author (08.11.2020)

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Framing Immersive Sound Pavilion

As part of Framing we were asked to design a The ideas explored in the Pavilion exercise Pavilion. This exercise would help as a catalyst would then be further considered and taken of ideas. The Testing of a line of enquiry for

forward into the development of a brief at the

here. At this stage I chose my site within the

I have found this exercise to be very helpful in

the final graduation project begins to manifest

beginning of Testing.

Narrative of immersion

Ouseburn Valley where I would begin to test developing a strong narrative that carries on not only a conceptual line of equiry but also through the entire project. begin to test the qualities of the physical context.

When I think of an Oasis, my first instinct is to close my eyes. The experience of an oasis is close, it goes further than the visual. An

Oasis to me cannot be described as a place or a location. It is an

Atmosphere that you get enveloped in. An Atmosphere involving all our senses.

In an Oasis I feel close to the environment, and simultaneously close to myself. I think of a state of oneness and harmony. I feel balanced, focused on the immersion in the atmosphere I am experiencing.

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Sound Pavilion

PROJECT FRAMING

Pause and Focus

The existing Boatclub along the river The River as a tranquil oasis, which is often overshadowed by the busy social hubs at each end of the river.

The River Ouse as site for the proposed pavilion

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Through visits to Ouseburn I identified the area around the Farm on one end and the Malings plus the Tyne Bar as the main busy hubs in Ouseburn where people go and socialise.

The Ouseburn River with a narrow little pathway running along side it creates a connecting route from one to the other. It is a beautiful tranquil route - it is as if it asks for you to stop and pause for a moment to take in this quiet moment. Because of its narrowness the pathway does not allow for such a moment of immersion. - With a porposal for a pavilion I would like to bring forward the calm character of the site and allow people passing to perhaps take this in for the first time. Through creating a pavilion that floats on the river, it allows you to physically dive into the scenery and focus.

Soundscape Ouseburn

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Sound Pavilion

PROJECT FRAMING

Inspiration

Forty Part Motet - Janet Cardiff

Osaka Symphony - Janet Cardiff

A three-dimensional sound experience

An audio installation specific to the location

Video Walk - Janet Cardiff A participatory experience

The Poetry Machine - Janet Cardiff, at Musée d’art contemporain de Montréal 2018

In 2018 I had the pleasure to see one of Janet Cardiff’s

Installations in Montreal as part of the Leonard Cohen

exhibition. I had no idea at the time who the artist was but through this research stumbled across this piece “Sound affects us physiologically, Psychologically, cognitively, and behavioral, all the time” -Julian Treasure

again.

It was rather surprising to me how prominent the experience still was in my memory.

The interaction, sitting down, pressing the keys of the

piano, placing yourself in the centre of the installation as an audience was truly powerful.

Installation Art is supposed to trigger ones imagination, but in doing so, a connection to reality is vital.

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The Pavilion creates an immersive experience through interactive elements, and concentrating on the sense of hearing, blocking out views to enhance the focus on the soundscape.

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Sound Pavilion

PROJECT FRAMING

Inspiration

A difficulty for me was to visualise an immersive experience. Using charcoal as a loose medium helped me overcome a blockage and make sense of what I was hearing.

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Exploration - How to visualise an immersive sound experience?

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Sound Pavilion

PROJECT FRAMING

Developing Process

External simplicity, explore inner acoustics

Creating a new route across the river, forming a connection from the narrow walkway to Limestreet, encourages to newly discover the river Ouse Cork as sustainable sound insulating material

Thinking about the approach as an experience of gradual immersion

Focusing and narrowing down visual distraction - Heads (temporary installation in NL)

The pavilion explores the sites proximity to the river. As a floating pod it will rise and fall with the tide. This tidal change will create varying experiences emphasising the context of the natural environment. Depending on the tide the acoustic experience will also change due to the enclosing sides of the riverbed.

Movement through the pavilion, encourage movement or stillness

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Sound Pavilion

PROJECT FRAMING

Narrative of immersion

The Pavilion aims to gradually lead one into the immersion of sound. A walkway onto the river reinstates the idea of narrative. The sensual experience is brought Creating an intimate experience

more and more into focus. The visual experience will be gradually phased out,

until one arrives in the intimate enclosed space. This space should invite one to sit and pause, evoking an intimate experience. Connections to the surrounding are solely made through a skylight and an opening in the floor. One is encouraged to listen in. One is left with oneself and the tranquil sound of flowing water.

The idea of creating atmospheres + spaces through acoustics in order to stimulate the senses has been increasingly interesting to me, as one can observe that architecture as an increasingly visual form of art.

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Sound Pavilion

PROJECT FRAMING Plan drawn at 1:100 (to scale)

0

2

4m

Site Plan drawn at 1:1000 (to scale)

Site Section drawn at 1:1000 (to scale)

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Project Framing

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Sound Pavilion

0

PROJECT FRAMING

2

4m

Long Section drawn at 1:100 (to Scale)

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0

2

4m

Short Section drawn at 1:100 (to Scale)

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Sound Pavilion

PROJECT FRAMING

Representing the experience

sectional experiential exploration of the user experience

The immersive Pavilion bridges the river.

The walkway decreasing the field of vision to the point where

the pod itself solely allows in light at the top and allows to peak through an opening at the flowing river below. The audience is placed in the centre immersed in the sound installation.

Water reflections playing on the interior of the Pavilion

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Testing Exploring the architectural soundscape For my architectural proposal I wanted to take nomenological and holistic approach towards the key ideas introduced in the Pavilion project architecture. further.

To begin the Testing Phase I commenced

One of the key themes of our studio being context, I lay an emphasise on exploring the

to refine the key enquiries, laying an ethical layer of soundscape, relevant to my proposal, groundwork. This groundwork was strongly

influenced by my Dissertation exploring a phe-

to further contextualise my project.

Music, as well balanced sound, harmonies appeal to our

human emotions. In the same way thtat music evokes feelings and orchestrates a mood, architecture can appeal to

our emothions through shaping, distorting or even creating sound itself.

(statement by author introducing the line of enquiry)

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Brief Development

TESTING PHASE

Ethical Framework

‘Sound Matters’

68% of the world’s population is projected to live in urban areas by 2050, according to the UN. You could say our

lives are getting noisier – surrounded by an overloaded

soundscape it is increasingly difficult to focus on what we actually want to hear. As architects, creators of the this

physical world we live in, we have an obligation to recognise and tackle this issue. It is therefore essential to ded-

icate attention not only to the shell of a building, but the

space it encloses. This is when a building turns into archi-

“Sight isolated, whereas sound incorporates; vision is directional whereas sound is omni-directional” -Juhani Pallasmaa

tecture (Libeskind).

Architects need to learn to see their practice through more than just the isolated lens of vision. The holistic sensual experience need to be considered, walking in the occupants shoes.

(ethical framework stated by author in ‘architecture, an instrument -

Sound becomes Architecture

inspired by ‘Lullaby Factory’ Studio Weave

making the invisible visible’ submitted in ‘ARC 3015’) 56

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Brief Development

PROJECT FRAMING

Involving the Community

The Ouseburn is often described as the heart of the al-

ternative music scene in Newcastle. The stages offered to music and artists are mostly temporary though. In close

collaboration with the architectural practice I propose ‘The Centre for the acoustic exploration of architecture’ in the heart of the Ouseburn.

The Centre would become a cultural hub for music lovers and musicians.

I invite musicians and sound artists to use the space ex-

ploring sound and acoustics hand in hand with members of the Academy.

Existing venues within the Ouseburn

Involving the Creative Community of the Ouseburn

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In the North of the Ouseburn one finds another social hub including pubs and the Ouseburn Farm, three bridges towering over them in the background

Past the site in the north historic architeture lines the river, currently occupied by Seven Stories, an interactive Museum for childrens books

Historic slipway running down the site forming a route to the river

The narrow site running along the river sloping down towards the Ouse

60 Boat Club existing in the South of the Site

Approach to the site via small walkway along the river

The route along the river Ouse The Mailings, new residential development in the South of the Ouseburn

At the top of the site the slipway meets Limestreet, home to many creative studios, inculding dancers, craftsmen and other artists

Site Context TESTING PHASE

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Site Context

TESTING PHASE

Site Model built at 1:500

Long narrow site adjacent to the river View from above overlooking the Ouseburn from the Tyne towards the North

Site Plan (to scale), beginning to look at possible access points

(to scale), emphasising the valley’s topography.

The Site lies adjacent to the river, at the lowest part of the Valley.

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Initial thoughts on how the physical context may inform a design

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Site Context

TESTING PHASE

Exploring the Ouseburn’s Soundscape

Development of Soundmap

Listening rather than watching Soundmap no.1: identifying noisy and calmer areas The strip of the river itself being a rather calm area, surrounded by louder sound sources

Naruseviciute’s creative narrative alongsinde her visualisation became an inspiration for the following soundmaps

DAY

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NIGHT

‘Think of the world that does not exist’

by Paulina Naruseviciute “[...] Now she found herself talk-

ing to a guy who was a musician. [...] .He asked her to walk around city, listen and think what the sound is trying to tell her.

What is the soundtrack of the landscape?”

I found other ways to document

and ‘draw’ the site, accompanying the studio’s previous research.

I had found that sound was inex-

tricable from my experience of the Ouseburn. What had been unconscious at first, became a conscious

exploration, discovering the power of sound.

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Site Context

TESTING PHASE

Exploring the Ouseburn’s Soundscape

Characterising prominent sounds surrounding the site

Sound formed by the physical properties around the site

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calm / peaceful

trotting

bustling (at times)

chaotic / disturbing

echoing

flowing / babbling

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Site Context

TESTING PHASE

Initial diagrammatic response to Site Analysis

Plan overlay responding to analysis of Soundmaps

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Sectional diagram, massing spaces, and identifying levels and routes

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Programming Understanding spatial needs

TESTING PHASE Connection to the environement less to more importance

Special Acoustic needs less to more importance

Need for Natural light less to more controllable environment

Occupants - making ihabitation a priority

Social and intimate spaces social to intimate

When developing the programme I had in

mind all the different uses of the centre. As a cultural centre including a research programme in connection with the academy spaces vary from workshop and meeting spaces to open spaces that invite social

gatherings to more intimate spaces including recording studios and a meditation

facility emphasising the impact sound has on our mental wellbeing.

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Importance of connections between spaces

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Programming

TESTING PHASE Experimenting with zoning and grouping spaces together

Organisation on Site

Noisier spaces to the south of the site

Eventspace dug into site - isolated like bubble ISSUE: Adataptable studios need proximity to workshop

Too clustered to north of site? - Zoning needs to be guaranteed vertically.. bufferzones required!

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Architectural Moves

TESTING PHASE

How to respond to the sites typography?

Leaving the Slope itself untouched, by building on stilts

Nottingham Contemporary using the sloped typography, arranging spaces according to need for natural light and controllability

Issue with natural light reaching to lower spaces?

Using the typography, tucking spaces into and extruding from the slope

I made the choice to use the sloping

typography to my advantage. The level

changes provide a greater variety of spaces. Tucking spaces into the slope would also have the advantage of being able to acoustically distance them from the

environment, whereas other spaces would move forward, embracing the soundscape.

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spatial arrangement adapted to typographical context, analysis in plan and section 75

Architectural Moves

TESTING PHASE

Developing an architectural language

Lightening the structure towards the river with a more volumetric language sunk into the slope

Hong-Hyun Bukchon Information Office and Facilities by Interkerd Architects Playing with contrasting heavy vs light elements Introducing a beacon of light (night life of the building)

Zinc Mine Museum, stilt structure by Peter Zumthor The light construction contrasts the heavy backdrop of volumetric elements and the massive cliffs

Historic Slipway preserved, serving as an access route down from Limestreet, accessible also for vehicles

Cross Section through Eventspace across river

Suggesting a controlled environment

underground for the Eventspace, giving it a ‘bubble like’-feeling.

This also minimises disturbance to the outside and vice versa.

Inspiration Brunel Museum, UK an underground eventspace with unique acoustics 76

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Architectural Moves

TESTING PHASE

Staging every day life and performance

Floating Music Hub by NLE Architects including multipurpose performance-, recording spaces, a lounge and a public placa Inspiration for cultural hub

Relating back to my own experience of the site and its surroundings being a strictly linear route from one hub in the Ouseburn to another, I felt strongly about implementing a break here.

Creating open spaces, that lend themselves to the life of the community.

Platforms support unexpected social encounters, encouraging social exchange between Academy and Community

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Architectural Moves

TESTING PHASE

Introducing a break

Concept drawing made during ‘Framing Phase’ highlighting the linear movement through the Ouseburn and the aim to create a break

Public space More Restricted Area Circulation Private

Model Iteration exploring large seating staircase as platform for social interaction, setting a place to rest against the linearity of the river.

Prominent routes across the site resist the linearity of the river and the narrow walkway, introducing a break in the heart of the Ouseburn

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Programme Uses of the Centre for acoustic exploration

The Research building becomes a testing ground for exploring shapes and materials in their acoustic properties. Musicians and the Academy work hand in hand gaining real life experience.

The cafe forms a space for social encounter, bringing all user groups together The eventspace underground brings together music lovers and offers a space for a wide range of events

Programme diagram locating key spaces, giving a first overview

Workshop for the creation of sound installations and equipping the music studios acoustically

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The meditation facility highlights the impact that sound has on our mental health

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Architectural Moves

TESTING PHASE

Staging Acoustics

The Jewish Museum in Berlin by Daniel Libeskind Exploring Bufferzones as acoustic stages On the basis of the sound analysis the soundscape is embraced in places whereas other areas block it out.

Inspired by Libeskind’s approach

to staging acoustics, my aim was to create large open spaces, that stage the existing soundscape

encouraging the visitors to interact with their environment in an unexpected way.

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Architectural Moves

TESTING PHASE

Staging Acoustics

Spaces with special acoustic character

Public space More Restricted Area Circulation Private

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Architectural Moves

TESTING PHASE

Staging Acoustics

Thematic Case Study: Gerrit Rietveld Academie and Sandberg Instituut

by FedLev/ Studio Paulien Bremmer + Hootsman Architects

List Of Figures: Figures 1, 5 - 8, 11, 12, 14, 19, 21, 23: by author Figure 1: Gerrit Rietveld, < https://www.sikkensprize.org/en/winner/gerrit-rietveld-2/> Figure 2: Library, < https://oldschool.rietveldacademie.nl/en/library>

Suggested ‘Music Bridge’ creating an interactive experience, that guides the visitor across the river (architecture literally becomes music)

Suggested installation, allowing soundartists to share their work to the outdoor spaces, creating a sense of closeness through sound

Figures 3, 4, 13, 24, 25: Photography:Franziska Mueller Schmidt, Johannes Schwartz, Jeroen Verrecht, < https://paulienbremmer.org/projects/new-building-gerrit-rietveld-academie-and-sandberg-instituut> Figure 9: The Rietveld Academy, < https://www.themethodcase.com/gerrit-rietveld-academie/> Figure 10: The Sandberg Instituut, <https://www.themethodcase.com/gerrit-rietveld-academie/>

Rietveld Academy by FedLEV concept: blank canvas

Figure 15: Luca Carboni, <https://dutchartinstitute.eu/page/12785/2016---2018-luca-carboni> Figure 16: Sandra Stanionyte, <http://stanionyte.com/> (illustrations from Thematic Case study) Figure 17: Maze de Boer, <https://www.mistermotley.nl/content/kunst-lang-73> Figure 18: Paulien Bremmer, <https://nl.linkedin.com/in/paulien-bremmer-63594120?trk=people-guest_people_search-card> Figure 20: The art academy is shaped by it’s users, <https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf> Figure 22: A Perfect Day, <https://paulienbremmer.org/>

Bibliography: Studio Paulien Bremmer <https://paulienbremmer.org/> [Accessed 1 December 2020] Gerrit Rietveld Academie <https://rietveldacademie.nl/> [Accessed 1 December 2020] Oldschool.Rietveldacademie.Nl <https://oldschool.rietveldacademie.nl/nl/Gerrit-Willem-Do-It-Yourself> [Accessed 6 December 2020] “2016 - 2018 Luca Carboni”, Dai <https://dutchartinstitute.eu/page/12785/2016---2018-luca-carboni> [Accessed 1 December 2020] De Boer, Maze, Maze De Boer <http://www.mazedeboer.com/> [Accessed 1 December 2020] FedLev, Fedlev’s Design For The New Gerrit + Willem (Amsterdam: The Gerrit Rietveld Academie, 2012) <https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf> [Accessed 5 December 2020] Gerrit Rietveld Academie, Team 2 Fedlev, Gerrit Willem Do It Yourself, 2011 <https://vimeo.com/34759461> [Accessed 6 December 2020]

stage for musicians andRietveld sound- The artists, grounding this<https://vimeo.com/91362513> [Accessed 6 December 2020] GerritARietveld Academie, The New Fedlev Building, 2014 part of the existing community in the Ouseburn

McEwen, Michelle, “Gerrit Rietveld - The Netherlands 1888-1964”, More Space, 2011 <https://michelle-mcewen.squarespace.com/latest-news/2011/07/08/gerrit-rietveld-the-netherlands-1888-1964> [Accessed 9 December 2020] Puluj, Jesco, “Destijl: Niederlandischer Aufruf Zu Puristischer Abstraktion”, Architekten Scout, 2016 <https://architekten-scout.com/allgemein/de-stijl> [Accessed 9 December 2020] Stanionyte, Sandra, Sandra Stanionyte <http://stanionyte.com/> [Accessed 1 December 2020]

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Wessely, Heide, “DETAIL - Magazin Für Architektur + Baudetail - Start”, Detail, 2020 <https://www.detail.de/zuwachs-fuer-die-kunsthochschule-erweiterungsbau-der-rietveld-academy-in-amsterdam-35411/> [Accessed 3 December 2020]

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Research into Specialism

TESTING PHASE

Spaces shape sound ADAPTING ACOUSTICS TO THE USE OF SPACE

FORMING A CONNECTION WITH THE CONTEXT

ADAPT SONOROUS MUSEUM, DENMARK

FOREST MEGAPHONES, ESTONIA

TVISONGUR, ICELAND

Music studios in plan and section with timber cladding variations

The four sound regulated studios are acousti-

cally adapted to a specific instrumental group:

Strings, brass, percussion and mixed instruments

A place to listen, to browse the audio book of nature

Five domes combine to form a network of vaults. Each is designed to amplify a resonance distinct from one another, so the overall space echoes the Islandic Musical Tradition.

Early exploration of sound absorbing and reflecting surfaces in model form 90

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Research into Specialism

TESTING PHASE

Spaces shape sound

Already in the 1920s the Swiss re-

searcher Max Osswald set up a series

of experiments serving the purpose of

photographing sound waves and their movement in space. Through sound photography Osswald found a rep-

resentational style of visualising how

the shape of the room shapes sound.

He documented the sonic character of space for the sole purpose of proving

something he had long before known already – architecture affects sound.

Sectional variations of spaces cut outs placed on site section applied to use of space

This research made the importance of the sectional drawing clear to me.

In the further development in Synthesis my sections become centrepieces.

Section through eventspace with vaulted ceiling The vaulted ceiling reflects sound evenly

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Researcher Max Osswald: making the invisible visible

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Research into Specialism

TESTING PHASE

Experimenting in adaptable music studios

suspended ceiling diagram, with acoustically insulating components

Box-in-a-box-construction

Music Studios adaptable in shape and interior materiality

Inspired by my research into acoustics I wanted to allow the centre to become a testing ground.

I therefore suggest adaptable studios, which musi-

cians and soundartists will be able to adapt to their individual needs. Hand in hand with the Academy

experiences in how spatial changes transform sounds can be made in a real life setting.

Wanting to create a soundproof space in which to test acoustics my research led me to the so called ‘box in a box’ construction. It is used to minimise the trans-

mission of sound and vibration from one space to another, by detaching a second structure from the main structure. I wanted to further develop this in order to Red Bull Music Academy / Madrid by Langarita Navarro providing recording studios and spaces for soundartists within an academic setting

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apply it to the ‘soundpods’.

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Material choices

TESTING PHASE

Acoustic and sustainable factors

A way to produce cork panels is by EOAcoustics research into sustainable materials for soundpanels Used here are Conifer needles. The more fiberous the panel is the better their soundinsulating performance.

recycling natural wine-corks

The Centre for Acoustic Exploration could

support a wide range of research. Not always does a space have to be fully acoustically in-

sulated. More corse materials could be experimented with to experience their atmospheric performance, creating soundscapes.

Korkenzieher Haus, Berlin by RundZwei Architekten using Cork from the wine industry as thermally efficient cladding

Cork study in London by Surman Weston provides a wheatherproof, acoustic and thermally insulated space Redshank artist cabin in sensitive marsh environment by Lisa Shell on the British East Coast as a careful approach to sensitive environment

most and for all for its acoustic insulating

properties. But it is an overall an extremely versatile and eco-friendly material.

The raw material is both biodegradable

and renewable, as it is harvested from the

outside bark of cork trees (trees are not cut

down in the process!). The material is hyperallergenic and toxic free, great to fit into the sensitive environment.

‘Pulsierende Stille’ sound installation by Bernhard Leitner using the soundtransmitting properties of metal sheets filling the space with vibration 96

Metal Scrap Yard in the Ouseburn could be a source for recycled materials

Cork is a natural material, which I chose

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Thinking through Making

TESTING PHASE

Sound healing

My Thinking through Making piece explores the use of cork as a natural material further.

We are constantly exposed to noise and disturbances. We as architects have a responsibility to respond to this environment - bearing in mind that we are not solely designing for the eye. The choices we make in terms of materiality and shape affect the visitors experience directly.

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Animated GIF

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Hand-drawings have always been essential to me to convey individuality

Synthesis Stepping through the looking glass

Synthesis as the last part of the project became Nevertheless I found a happy medium for myone of the hardest periods for me. Through-

out my degree I have recognised, that I very

self of combining digital images with handdrawings, and I grew to enjoy this way of ex-

much enjoy developing concepts, going with pressing my working methods.

the processes in my mind, putting pen to pa- Synthesis became an exciting step in the proper. Being very much against the overuse of

ject. Turning my conceptual ideas into detailed

technology I was rather resistant to start to rely drawings was rather a challange but thinking

on my laptop. The pandemic and having to rely about all the time and work that went into the on digital communication only increased this feeling.

100

project in order to reach that point left me proud.

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Translation into Architectural Drawings

SYNTHESIS

thoughts on circulation

working out important relationships in section

My Approach to creating architectural drawings is

usually a rather messy one. A line of thought will de-

velop in my head and while it is still difficult for me to properly make sense of it in an accurate architectural drawing, my sketchbook gets filled with sketches like

these. I pour my strang of thought onto paper, usually a rather quick process, as I fear to lose momentum.

102

making drawings increasingly accurate , pencil on trace

103

Translation into Architectural Drawings

SYNTHESIS

Developing three key sections

sketch section through research building

sketch section through eventspace and public staircase

Public space More Restricted Area Circulation

sketch section through meditation facility and the river 104

Private

105

Translation into Architectural Drawings

SYNTHESIS

Public and Private relationships

Ground Floor

Section through public cafe and private meditationspace

106

First Floor

Second Floor

Section through research building

Section through underground eventspace and public staircase

107

The Centre for the acoustic Exploration of Architecture

SYNTHESIS

in the heart of the Ouseburn

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109

Choice of Materiality

SYNTHESIS

Architectural Structure Diagram previously submitted in ‘ARC3013’ as part of Section 3.2 Structual Strategy and Construction Sequencing

Partial Elevation Study previously submitted in ‘ARC3013’ as part of Section 2 1:20 Technical Section and Partial Elevation Study

110

The dark recycled wood contrasts The use of the different parts of the centre is

the light polycarbonate double skin

The Research part is clad with cork panels a new

The meditation facillity is to be vis-

but also because of it’s unique acoustic proper-

through the timber stilt structure,

The Eventspace is sunk into the slope, giving the

Granite Plates (evident in 1:20 section p.x) cover

bance from outside and vice versa.

an intimate outdoor space below.

lic, accessible on all levels.

soundscape.

reflected in its construction and materiality.

facade of the meditation space.

experimental material used for its sustainability

ually the lightest part, emphasised

ties, muffling the disturbing noise from the street.

floating on the banks of the river.

space a controllable character, minimising distur-

the building underneith, creating

The Cafe turns into an open access for the pub-

The corse plates reflecting the rivers

111

a - Public Cafe b - Workshop c - Groupwork space d - Public Eventspace e - Group Meditation space f - Sound Bathing g - Gallery space h - Meeting spaces for Academy i - Experimental Studio Spaces j - Public staircase as Recreationalor Performance Space k - Kitchen l - Laveratory/ Changing m - Storage space n - Reception o - Fire Escape p - Plantroom r - Roofterrace

a

k d p

c

b

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113

1:20 S e

l

r

j

n g

i

h o

114

115

Assuming you come to

visit in the evening for an

event the lower level of the

cafe turns into a bar area. It

forms the threshold between casual cafe setting to underground eventspace, which it TREET LIMES

connects to over a ramp

On street level the cafe

opens its doors to the public, expanding down to the floor

below. The space bridges the level changes on site.

116

117

Eventspace during a DJ event The modelled wooden panels, diffuse the sound evenly, softening deep bass sounds.

118

Jazz night The wooden panels take out irritating echos giving the space a warm atmosphere.

119

On the other side the Event-

120

space connects to the work-

On the level above the

be ammended according to

meeting spaces in a more

simple as building a stage

Secluded from more public

panels.

ing has it’s on back entrance.

shop, allowing the space to

academy is provided with

the event, whether it is as

restricted area.

fitting the space with sound

spaces, this part of the build-

121

Interior View Music Studios, the space is accessible through large sliding doors, this allows the space to open completely when changing configurations of the studios.

View from the rooftop over the river with the Mailings in the background

Briding over the public stairs the roof of the cafe forms a blank

canvas for soundartists and the public to take over.

Visitors may peer down from here onto a performance happening on the platform below.

122

123

SECTION 1

124

Inhabited Section through public Cafe and private Meditation facility

125

SECTION 2

126

Inhabited Section through Eventspace and Public Staircase

127

SECTION 3

128

Research building

SYNTHESIS

Multidisciplinary setting.

Multidisciplinary collaboration at the heart of the centre (author’s graphic from Thematic case study)

Inhabited Section through Research building

129

130

Sound Pods

SYNTHESIS

Adaptability strategy OSB BOARD PANELS

ACOUSTIC INSULATION (CEILING)

SUSPENDED CEILING ON ACOUSTIC INSULATING CEILING HANGERS

OSB BOARD INTERIOR ACOUSTIC INSULATED VENTILATION DUCT ON DUCT HANGERS

ACOUSTIC INSULATION (WALLS)

STUD WALL (FRAME)

CORK FLOOR PANELS

RECYCLED LUMBER BOARDS

TIMBER FLOOR FRAME ON SPRING FOOTING WITH CORK PADDING Axonometric build up of a soundpod The timber frame allowing fro easy construction, deconstruction and reconstruction Floor- as well as wall-cladding exchangable

131

132

Meditation Facility

SYNTHESIS

Stages of immersion - exploring the power of sound

Picking up on the concept of gradual immersion introduced in ‘Framing’ applied to

the sound pavillion, the three meditation pods explore three stages of immersion. The openable facade to the north makes the threshold between interior and exterior blurr and allows for the total immersion through an interplay of visual and auditory per-

ception. Corse metal sheets are installed in the second pod, directly connected to the exterior transmitting the soundscape in form of vibration into the space.

A ‘Box in a Box’ Construction is applied in the third pod, detaching it from any exterior disturbance allowing for intensive meditational practices.`

three stages of immersion

133

134

Louise Wagner (choreographer): “In the case of these large

metal sheets, it is really as if the sound enters the skin and then

gradually withdraws. An overpowering sensation is the result: a

strong sense of being acoustically invaded, which is then followed

by a gradual acoustic emptying out.”

Inspiration drawn from Bernhard Leitner’s Tuba Architektur (1999, Berlin)

Framing the View - Immersion through an interplay of visual and auditory

The curved walls di-

vert the the therapeutic sound evenly and Osswald sound wave photograph

Osswald sound wave photograph

create a well balanced soundscape.

The singing bowls

openable face blurring the threshold

135

the river soundscape

The slightly angled

typically used in the

vibration back to the

ing produce a rich deep

reverberates and lin-

panels mimic their

wall panels reflect the

practive of soundbath-

audience. The sound

vibration. the curved

gers for longer.

shape.

136

137

1:20 Technical Section through Meditation space and Cafe

previously submitted in ‘ARC3013’ as part of Section 2 1:20 Technical Section and Partial Elevation Study

0

1

2

3m

138

Becoming part of the soundscape

SYNTHESIS

SUMMER The centre for the acoustic exploration of architecture becomes part of the

In winter the Ouseburn often feels as if it lies in a light slumber.

In Summer, with windows wide open, soundexperiments and installations pour

tp its interior spaces. The natural environment of the Ouseburn

existing soundscape, finding its place within the Ouseburn Valley.

out into the surroundings, mixing with the soundscape of the Ouse.

The openair stages are being used and the centre forms a lively cultural hub in the heart of the Ouseburn.

139

WINTER With outdoor spaces closed the liveliness of the Ouseburn shift exudes piecefulness.

The centre’s activity and its events shift to the interior. The environments piecefulness envelops the buildings.

140

A space for communities to meet

141

142

Elevation public staircase

Staging every day life and performance

143

144

Thank You for your attention!

I believe the proposed centre for the acoustic exploration of architecture could become and

exciting opportunity for the Ouseburn, its local and wider community to come together, step through the Looking Glass and experience sound + music more consciously.

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146

THEMATIC CASE STUDY

Thematic Case Study The Rietveld Academie and Sandberg Instituut - FedLev Extension

GERRIT RIETVELD ACADEMY AND SANDBERG INSTITUTE Studio Paulien Bremmer + Hootsmans Architects

1

147

My contribution to the Study: Question no.4

148

HOW DOES THE CASE STUDY RELATE TO THE STUDIO SPECIFIC CRITERIA 0.1?

SPECIFIC CRITERIA 0.1 Students will need to display a detailed understanding of the specific processes, relationships and facilities required to accommodate and support their chosen specialism, as well as demonstrate physically and visually how these elementsinhabit, inhabit, influence and inform the daily rituals of their users.

BY AMANDA YEONG

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2

1

150

INHABITATION AND SPACIAL RELATIONSHIPS

Fig. 1 The main extension building

QUESTION 1

CIRCULATION AND ACCESS TO THE BUILDING

QUESTION 1

Fig. 2 Connection bridge between the extension and Benthem Crouwel building.

As the intake number of students and staffs grows constantly, the Gerrit Rietveld Academy held a contest amongst students, staffs and alumni to design an extension for the school. The competition was won by the Paulien Bremmer alongside with Hootsman Architects.

The building they designed for the academy focus a lot on the interaction between the students and stuff. Not limited to that, it also involves the public with the glass walls and doors surrounding the building to allow passerbys to have a sight of the activities carrying out in the building.

Fig. 3 Benthem Crouwel building

The diagrams above and on the left shows the relationship of the extention and the original buildings in their massing forms.

The extension is entented horizontally to provide more activity space for the worshops. With a bridge connecting the second floor of the extension and the third floor of Benthem Crouwel building, larger involvement of circulation is encouraged with the convenience of it.

Fig. 8 Circulation of teachers before extension.

Fig. 9 Circulation of students before extension.

Fig. 10 Overall circulation before extension.

Circulation before the extension The architect team made a survey on a few teaching staffs and students regarding their circulations and pausings on their journey. The opacity of the circles on the diagrams above shows the frequency of their stops. It appears that the students and teachers stops the most at exhibition space and the balcony of the entrance to converse with others. These places are clearly not efficient enought to work as communication space and therefore propel the idea of creating interactive spaces in the extension.

Fig. 4 Gerrit Rietveld main building

Fig. 6 North facade of the extension.

Fig. 11 Circulation of teachers before extension.

Fig. 12 Circulation of students before extension.

Access to the building The building contains of three floors with a basement. Interestingly, the access to the building does not limit to the ground floor entrances but also from the basement.

The access to the basement is by stairs that are placed beside the main building, which can be accessed anytime. Other than that, it can be seen that the facility includes a ramp that is friendly to everyone.

Intentional applications of glass doors that are foldable to allow the outdoor spaces to be part of the workable space alongside with the studio. However, this has also presents a very welcoming entrance into the building besides the main entrance.

The upper level is also accessible from the flight of stairs places in the south side of the building which domains the elevation of it.

Fig. 7 Axonometric view of the extension.

Fig. 5 Connecting bridge of extension and Benthem Crouwel building.

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2

3

152

PROGRAMME AND HIERARCHY OF SPACES

QUESTION 1

INHABITATION OF SPACES

QUESTION 1 The workshop spaces are occupied with the materials, tools and machines, similar to any other workshops. With the foldable glass doors as mentioned, the workshop is able to open up to allow more light into the space, while also allows more spaces from the outdoor to work as part of the workshop.

Programme of the building The allocation of the rooms are arranged closely neighbouring with no specific corridors or circulation paths. This is to enable more spaces to be reserved to the working space.

Following the primary intention of adding extra working space for the academy while involving more interactions, the building covered in a foldable glazed shell welcomes passerby to look into or even visit the construction easily.

While the spaces are closely arranged, the “division” structures of the rooms are glass that allows an extensive vision within the building, allowing an easy exchange between interdisciplinarities. While on the upper floor, it is a space provided for Sandberg institue, which houses a few disciplines from Rietveld Academy. This cantilevered floor provides studio spaces for smaller projects differ from the working space on the ground floor.

Fig. 17 3D sketch of workshop on ground floor.

Fig. 18 Ground floor plan

What worth mentioning is the small discussion spaces placed in every floors, where students and staffs can use them to have group meetings or individual working place.

Fig. 19 Initial intention of theoritic stairs.

Fig. 20 Current inhabitation of theoritic stairs.

Workspace

The spaces might not be fully realised or used by the inhabitants of the building as planned. For example, this staircase was to be used as a place for people to stop by and have a chat, or to have a casual catch up. However, it was slowly used as a place to rest artworks and tools, which turned out to be an interesting exhibition space.

Learning resources Office Discussion space Business Store

Fig. 13 Programme of the building.

Fig. 21 Ground floor plan

Fig. 14 Hierarchy diagram of basement.

Fig. 15 Hierarchy diagram of ground floor.

Fig. 16 Hierarchy diagram of upper floor.

Fig. 22 Initial intention of basement room.

Fig. 23 Current inhabitation of basement room.

Hierarchy of the building With multiple spaces arranged within a single level, each level works balancely to enhance the user experience.

The diagrams above shows the hierarchy of the rooms by the users. On the basement, the primary rooms are the library on the bottom right and the computer room located beside one stairs away from the library.

On the ground floor, occupying the most surface area of the floor, the working space is the main focus of the whole level. The upper floor provides a sufficient amount of workable spaces which embraces different disciplines to work and collaborate with each other within. This welcoming approach attracts students and teaching staffs to inhabit this space as one of their main working space, alongside with the discussion rooms allocated within the larger spaces.

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The room in the basement was initially planned to be a cafe or a canteen for the students and staff. It was then transformed into a computer room where students can access and use the fascilities provided uniformly. It also works as a place where students can meet and create new bonds from other academic disciplines.

Fig. 24 Basement floor plan

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HOW DOES THE CASE STUDY RELATE TO THE STUDIO SPECIFIC CRITERIA 0.2?

SPECIFIC CRITERIA 0.2 Students will be required to demonstrate a thorough knowledge of existing contextual conditions, both topographical and architectural, and evidence their proposals extensively within this setting.

Additionally, they should be able to declare clearly how their intervention intergrates and benefits an existing local community group, identified and researched through detailed site reading and analysis, while establishing a strong link with the academy reseaarch research / teaching agenda.

BY LOUIS DUVOISIN

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3. Increasing the possibilities for collaboration, exchange and multidisciplinary working for all factions within the insitute.

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2. The new Building was designed as an open, autonomous structure, housing teaching and student facilities for all departments under one roof.

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1. The Institute felt that its existing facilities were too segregated; stifling cross department communication and resulting in inefficiencies.

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Benthem Crouwel Architects’ 15 year old high rise. Designed to accomodate the expansion of the academy with 9 new stories. However its isolated functional design failed to meet the physical and ND INTERDISCIPLI A N abstract needs of theSIinstitute.

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building and landscaping solution. Designed to address the poor spatial flow and independant nature of the existing facilities, through physical interventions with a design R DESIGN E H language consistent with the original bulding.

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“Experimentation is key at ION the academy. ThisERNATessentially A means looking across borders and disciplines” - Paulien L SIZED AL Bremmer

ARBON ‘FEDLEV’ Gerrit Rietveld Academy A CThe new

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The Fedlev Team Composition - Ven Diagram

The new building is intended to create a joint learning experience between students and staff, with the potential to stimulate new, innovative and unexpected solutions.

design schools, due to the influence the De Stijl and Bauhaus movements had on M E BOER A E functional and social attitudes towardsE D T N RA STANIO design education.

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Existing Academy Buildings

The new building was concieved through the institutes frustration at its indivudal departments operating as isolated entities, which stifled communication and collaboration.

N ISSIOOriginal M O Building designed by Gerrit C GN Rietveld in 1966, after the merger of 3

NATIONA ER

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The New Gerrit Rietveld Academy Building

The Gerrit Rietveld Academy and Sansberg Institute is an international university of applied sciences for Fine Arts and Design in Amsterdam. Like the city its situated in, the Institute places a strong emphasis on multidisciplinary learning and collaboration between teachers and students.

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The commission of the extension of the Academy was established through an international design competion.

Pauline Bremmer,ISSan Alumni and practicing architect M ION O C founded G a Nmultidisciplinary design team called ‘Fedlev’ ESI whichDsubsequently won the competiton.

Y M EM TEA STAto NIOdesign offered an alternative outlook N Fedlev’s Iapproach G RA S E on the process of education, where autonomous learning and collaboration were prioritised E BREMM over more rigid LIN structures. This is as a resultU of the teams composition ARBON the team encompassed a wide itself: Led by Bremmer, AC range of social sciences and artistic specialities. The collective design proposal that accumulated through this design has transformed the way the Rietveld E BOteam ER ED R DESIGN Academy functions, and provides a useful insight into HE our own studio themes. By integrating range of LINwider PAUa EB DIOprocess, R disciplines and people in the design the resulting U T architecture reflects this holistic attitude, resulting in a T C S E HTI RC more diverse and accomodating proposal.

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Site Map

QUESTION 2

Architects Narrative - Ven Diagram

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QUESTION 2

ARCHITECTURAL AND CULTURAL CONTEXT

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Maze De Boer Multidisciplinary artist working in sculpture, installation, film and photography.

Luca Carboni Freelannce designer and architect with a political focus.

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COLLABORATION

QUESTION 2

STUDENT ENGAGEMENT

QUESTION 2

Vision though the spaces

Structural Components

Ground Floor - Visual Permeability

Roots through the spaces

Visibility ‘Unaollcated’ Learning Spaces Theory/Research Spaces Practical Work Spaces R COU

The building has been designed with a deliberately open spatial programme that reinforces the academy’s emphasis on collecctive learning. There are ARY multiple entrances, no central stairwells, and no corridors. Students and teachers have LIBR to traverse both vertically and horizontally through transparent P O H RK S collaborative spaces, creating “an inspiring and communicative enrivonment”. (Bremmer).

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Storage / Fixed facilities

The entire building, and the ground floor in particular has been designed with an open adaptable functional layout that reinforces both the schools and the Alumni-led design teams philsophy. Conventional allocation of facilities has been rejected, in lieu of a ground floor layout with no affinity to specific departments. Instead, the facilites are intended to be used by anyone, providing different types of workspaces where teachers and students alike can meet to discuss, show, make work and exchange ideas.

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The design team have intentionally left parts of the building unfinished named ‘white spaces’, to be finished with a ceramic tile design competition open FU to any student, which was held and judged by the institute. After the winner was announced, 1,400 tiles were handmade in the ceramics department (further contributing to the ‘autonomous concept’ and themes of sustainabiity). The competition not only benefited to the character of the overall design, ARD but is also provided a unique opportunity for students to work on a real project, exemplifying the institutes focus on student creativity and further blurring RT Y COU D itsv relationship between theory and practice.

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ISSION M T E R N I D O I D S CIPLI AN NC N N O G I I A S RY ES D WO Y to reducd the number of (opaque) structural walls needed, This is made possible by thestrategicRmaximisation of columns, which allows the architects M K spaces and from them to the outside. TheEphysical linkingTofEthe AMprogramatic function in this way contributes increasing visibilty both through the interior TANIO N utilised: to the feeling of collective working and demonstrates the diversity of the way the new building can be the idea that that the design A Sstrengthening G R I V I T E C school is one hybrid mind.

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“These collective spaces show a more powerful design and finishing.’

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‘Theory and practice are directly linked, like a metaphor for the creative process.’

- Pauline Bremmer RT COU ARY LIBR

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Cara de Jonge’s design was chosen by the jury, and is displayed on show along with the the runner up designs of Katri Paunu and Ziynet Hidiroglu. Not only does this reinforce the insitutes celebration of student creativity, but it also serves as a metaphor for sustainable and local design. “The Gerrit Rietveld Academie is doing it self: building its own building.”

Stimulating a more informed collective miind

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HOW DOES THE CASE STUDY RELATE TO IT’S ENVIRONMENTAL/CLIMATE CRISIS CONTEXT?

BY GLORIA HII

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QUESTION 3

THE FEDLEV BUILDING AND IT’S ENVIRONMENTAL / CLIMATE CRISIS CONTEXT

SUSTAINABILITY STRATEGIES (Before & After) Diagrams

Amsterdam’s Climate/Environment

Proposed Building is located in the southwest part of the city.

An area consisting of a sizeable human-made forest, 12% of the land area made of parks and natural reserves.

The topography consists of rivers, canals with many bridges, low-lying lands enclosed by embankments, flood plains, and marshlands.

Surrounded by the North Sea- oceanic climate. Humid and rainy, with moderate sunshine.

QUESTION 3

Green façade

Wooden tower

Prefabricated building

wooden curtain wall wooden construction

Fig.1 Climate/surroundings diagrams Fig.6 Sustainability diagrams, proposed design

A green ivy façade facing the F. Roeskestraat street. Adding to the biodiversity of the surrounding environment, and contributes to natural cooling systems.

Prefabrication is often deemed as sustainable. Offsite construction uses less energy, reduces waste, uses recyclable material and reduces transportation.

Wood is a natural, renewable, and sustainable material with a lighter carbon footprint than steel or concrete. Durable and strong, good for thermal insulation, it is fire resistant with an adequate fire retardant treatment.

Not much information was given concerning the follow-up of these methods proposed. Therefore, due to the lack of information, an educated assumption can be made.

Completion Fig. 2 Academy’s Exterior

According to DETAIL, the Fedlev building was designed and built in a way so “students can pursue their creative goals in a climatically and spatially congenial environment”(Astbury, 2019). Stemming from the design aims of integration and participation, indoors and outdoors are merged with openable double glazed glass walls/windows. Open, broad flights of stairs connect the different levels, allowing a free flow of space, light, and air. The facades of the academy’s upper storey are covered with filigree expanded metal mesh in which folding elements are incorporated. This low-tech form of construction, intended by Fedlev, facilitates natural ventilation and shading-thereby reducing heat gains in summer.

Scale 1:10 000 Fig.3 Site Plan

Hence, the employment of this low-tech form of construction through openable facades means minimum amount of installations for climate control-whereby a certain fluctuation in temperature is accepted.

However, in the process of iterative design, a few aspects of the building construction have changed. The overall outcome of the design is visibly different to the one proposed, yet the revised infrastructure and system of the academy is left unclear. Nevertheless, based on the completed building visual, a judgement can be made on the existing infrastructure.

CHANGE IN INFRASTRUCTURE Proposed building’s system and function The site was previously a carpark. Thus, architects had initially proposed for an underground carpark, to retain the nature of the site and promoting the use of electric vehicles (EVs)- which are more environmentally friendly than gas cars. However, research and images show that the new site was eventually turned into a pedestrianised zone.

small wind turbines curtains for chimney ventilation

openable facade for ventilation

influx of natural daylight

collecting rainwater

heat/cold storage (perhaps STES)

In context of the nearby Zuider Amstelkanaal river, a greywater system is used to prevent water pollution and recycle water for surrounding landscape. electric charging points for cars

Greywater system

Fig.7 Sustainability diagrams, completed design

The change in design took away the tower which hosts the green façade on the Southside of FedLev’s building. Thus, the intention to function as an ecology for insects, butterflies and on the East- and Westside as an environment for bats and sparrows is no longer implemented.

Building is still prefabricated, on a smaller scale.

Wooden tower taken out and construction of building replaced by concrete. The upper floor is now articulated by concrete columns. This provides more seclusion and a space where masterclasses of the Sandberg Institute can organize things accordingly.

Foldable screens of woven steel and glass facade opens up spaces for integration and participation. This allows natural ventilation and vast lighting into the building [fig. 9 & 10]. Such reduction on energy consumption for cooling and lighting is thought against the need for heating expenditure in winter, as triple-glazed windows and concrete floors [fig. 11 & 13] help retain heat.

In the summer:

possible plant room curtains for chimney ventilation

collecting rainwater

Fig.4 Proposed building infrastructure influx of natural daylight

openable facade for ventilation

Due to the oceanic and wetter climate of Amsterdam, a rainwater harvesting system is implemented throughout the construction process. The cantilevered upper floor of the new building provides protection from the rain, whilst integrating a filtering system to collect rainwater at the top.

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Fig.9 Ventilation diagram

>Retractable facades >Natural ventilation+cooling >Heat rises and escapes >Cantilevered floor provides shade In the winter:

heat/cold storage (STES) Greywater system

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Fig.5 Completed building, possible infrastructure

Fig.8 Top floor of Academy

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Fig.10 Heat+Light diagram

>Sun radiation+natural lighting, even whilst woven-steel mesh drawn closed >Triple-glazed windows absorbs+traps heat >Circulation of heat 164

QUESTION 3

QUESTION 3 Summer

MATERIALITY OF FEDLEV BUILDING & its uses

Winter

Heat stored

Heat released

Fig.13 Concrete floor’s thermal properties, throughout different climates & times

Thermal flywheel effect: Heat released

Glass

-Openable facade -Doors -Windows -Triple-glazed

70mm heating screed ground smooth Separating layer 20mm impact-sound insulation

450 mm reinforced concrete floor

Woven Steel

-Openable facade -Also used in stair railings

Concrete is used for its thermal mass.

The academy’s concrete flooring is embedded with underfloor heating system. This allows the building in winter to store heat both from sun and underfloor heating; in the summer it absorbs heat from the sun/ atmosphere when heating is off.

During cooler periods/overnight, the concrete flooring then releases heat keeping the building warm.

Fig.14 Close up of flooring section

Wood

-Simple internal finishes -Wooden panelling

Concrete -Stairs -Walls -Floor -Columns

Washed Gravel Tiles -Outdoor courtyard -Coarse and scattered tiles for garden to grow -Polished tiles to walk and sit on

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Designer Jan Konings uses a variation of the washed gravel tile inspired by Mien Yuys to design the new courtyard (seen in [fig.2]). However, Konings observed that the tiles are “now used to cover entire front gardens, whereas Ruys used it in planting schemes to make room for greenery.” The tilings have different porosities for different environmental functions such as water absorption, and polished areas for better maintenance. Yet, it limits greenery space as oppose to articulating it.

Fedlev wanted a space for interdiscplinary activities and exchange of ideas. Fig. 11 above illustrates a central feature of the design concept, multi-functional use spaces: this meeting area with wooden steps on which to sit. A simple finish on the steps accompanied by vast lighting.

Additionally, the architects employed such maFig.12 Academy’s interior terials to create a blank canvas for the 16

Fig.15 Exterior entrance to upper level

Section Scale 1:50 Fig.11 Section, showing materiality

students’ creations. The materials’ simplicity allows the inhabitation of the building to shine through and feed into its character.

Notably, concrete- a common construction material- is used to help achieve that. It is long-lasting, dependable, affordable, and adaptable to the architect’s design. Thus, the academy avoids demolition and waste due to age. Concrete’s thermal stability contributes to the building being more energy-efficient, as illustrated in fig. 10.

Although, use of concrete may carry a heavy footprint, it is dependant on the type and way of utilisation, and whether it was sourced sustainably or not. The architects have indicated reinforced concrete is employed in the building with elements of precasted concrete.

This indicates sustainability and high thermal mass.

Fig.17 Section of 3D view: upper level walk-way balcony

Fig.16 Folded screens to merge outdoors & indoors

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HOW DOES THE CASE STUDY RELATE TO THE ARCHITECTS’ THEORETICAL POSITION/ HOW DOES IT EXPLORE THEIR IDEAS AND PREOCCUPATIONS?

BY AURELIA THOMPSON

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QUESTION 4

FEDLEV’S THEORETICAL POSITION:

- GERRIT RIETVELD AND DE STIJL MOVEMENT

QUESTION 4

FEDLEV’S THEORETICAL POSITION: - THE PRESENT AND THE FUTURE

As a movement, De Stijl influenced painting, decorative arts (including furniture design), typography, and architecture, but it was principally architecture that realised both De Stijl’s stylistic aims and its goal of close collaboration among the arts.

FIgure 6: Education as Dialogue

Figure 7: Theory and Practice go hand in hand

Figure 8: Encouraging individuality

The main building of the Academie was designed by the Dutch Architect and Furniture designer Gerrit Thomas Rietveld. It was completed in 1966.

“For us, art education

As a member of the DeStijl movement, Rietveld

is first and foremost a continuous critical dialogue between students and teachers.”

had a huge influence in setting out the gener-

al principles the Academie follows until today.

Figure 1: The Rietveld Acadmemie with Architect Gerrit Rietveld

~Rietveld Acadmie

KEY IDEAS OF DE STIJL

VISUAL INSPIRATION Figure 2: RIETVELD Building - Library

Members of the De Stijl movement strive to achive ultimate simplicity, minimalism and abstraction to convey an ‘ideal’ geometry.

The use of colours is reduced to only primary colours red, yellow and blue as well as black, white and grey.

Figure 3: FEDLEV Building - Library

Figure 10: The Sanberg Instituut

Figure 9: The Rietveld Academie

In their critical anlysis the team of FedLev carefully considers the Acadmie’s philosophy and develops a concept which incoorporates these ideas architecturally.

They are especially concerned with creating spaces that encourage dialogue and form a connection between the existing departments at the Rietveld.

Figure 11: Departments along side each other

Figure 12: Connection across borders

“The future of an art school is a much more hybrid than the nowadays closed department structure.” ~ FedLev, 2012

Figure 5: Close collaboration between the arts All disciplines under one roof in the FedLev building Figure 4: Exterior linear planar language as used by De Stijl movement

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Aurelia Thompson

Figure 13: Use of the building

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Aurelia Thompson

Figure 14: Open Interiors of FedLev Building encourage co working and individualisation

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QUESTION 4

IDEAS AND PREOCCUPATIONS:

- THE ARCHITECTS: PAULIEN BREMMER + TEAM FEDLEV

QUESTION 4

IDEAS AND PREOCCUPATIONS: - BLANK CANVAS

Teamleader

“By studying and under-

standing the rituals of the place, conditions for a non

Figure 16

Figure 15

lity

Figure 17

Figure 18

Luca Carboni

Sandra Stanionyte

Maze de Boer

Paulien Bremmer

With a Bachelor in Industri-

After having studied Interior Design and Inter-Ar-

Today working as a viual

Educated not only at the University of Delft but

al Design, Luca was studying Graphic Design at the time of the Competition.

chitecture at the Rietveld Academy, Sandra found

stitute.

Art. At the Royal College of Art she entered a Master’s

He later entered a Masters Degree at the Dutch Art In-

arts teacher at the Rietveld, Maze de Boer began his education at the same Acadmie. He is a Multi-disciplinair artist, who works

her passion in Performance

with sculpture, installation,

film/ video, photography and music.

Degree.

dominant, engaged yet surprising use are developed.” ~ Studio Paulien Bremmer

also the Rietveld Academy

Paulien Bremmer has explored art and architecture through different mediums and approaches. Besides

Figure 21: Blank Canvas - User Experience

Figure 24: Open studio environment in FedLev Building

her activity as a teacher she has her own Studio, which embrasses a multidisciplinary approach to not only architecture but art in general.

OPEN SOURCE PROCESS

Aiming at bridging the practice of design with political activity.

I’m interested in the ways in which a study of space (architecture) is equivalent to a study of body in space.

The social and political associations of the space are often the point of departure for me.

Crucial in the praxis is the notion of architecture as a social space.

Figure 20: Illustration by FedLev: ‘The art academy is shaped by it’s users’

Figure 19: Every teammembers contribution is valued equally

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Aurelia Thompson

The team members themselves coming from multidisciplinary backgrounds, FedLev takes a participative, user focused design approach. Within the team there is no hierarchy and every contribution is valued equally.

Emphasising their careful consideration of the users experience, the team of FedLev presents a thorough analysis of the current usage of the Academie.

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Figure 22: A recent project (‘A perfect Day’) of Studio Pauline Bremmer

Figure 23: Engaging environment

illustrates the quote above. This Scenography supports social encounters without dominating them, or imposing a certain use.

‘TOWARDS A COLLECTIVE ASSEMBLY’ One of the architects’ biggest concern was to add collective spaces to the Academie, in order to reinstate the Academie’s philosophy of Education as Dialogue.

As Architects FedLev created the foundation.

Following their idea of ‘MULTIPLE AUTHORSHIP’ the space lends itself to the user, to create individually and to their own needs.

In order to support social exchange and collaboration the team made an effort to open up the Groundlevel as much as possible. Further through almost completely eliminating enclosed staircases and corridors they achieve a fluidity in space, encouraging social interaction, meetings and discussions across disciplines.

Figure 25: A canvas for social exchange IN ON and AROUND it

Aurelia Thompson

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QUESTION 5

HOW DOES THE CASE STUDY RELATE TO OTHER BUILDINGS OF IT’S TYPE?

BY PENSY FONG

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QUESTION 5

The Art Institute of Chicago

QUESTION 5

Renzo Piano Building Workshop

It is an art museum and it was both a school and a museum in 1879. The aim of the institute is to “collect, preserve, and interpret works of art of the highest quality, representing the world’s diverse artistic traditions, for the inspiration and education of the public”. Although the reason for the expansion of both the Art Institute of Chicago and the Gerrit Rietveld academy is the lack of space, but they , one is to create more space for exhibition and displaying more artworks while the other is to connect two buildings together for greater interdisciplinary exchange.

Figure 4 The Modern Wing of the Art Institute of Chicago

Through looking at the site plan of the Art Institute of Chicago, the Modern Wing is built aside Michigan Avenue and Columbus Drive, at the northeast corner of the block the Art Institute of Chicago currently occupies. Therefore it could be said the expansion is attach to the institute. However, the expansion of the Gerrit Rietveld academy is joining the buildings into one building as a whole, considering the circulation base on the uses and creating interactive spaces to allow the circulation, which means the frequency of the use of the spaces, to be balanced. There is a pathway connecting the two buildings, but it is not a stairwells nor corridors, which means interdisciplinary exchange is always possible and people passing by are able to see the making process.

Figure 1 The Gerrit Rietveld Academy and Sandberg Insitute

Gerrit Rietveld Academy and Sandberg Institute

Studio Paulien Bremmer and Hootsmans Architects Since it is new building which could be said as an expansion, it connected spaces call for exploration and use and, of course, new work by art academy students. It is a type of building which ccommodates and spatially connects interaction, education, relaxation and collectivism, as a social hub that allows the users to make, meet and exchange, which inform the educational environment through changing perspectives.

One more similarity is that there is elements reducing the heat. The overhangs and the woven-steel façade of the Gerrit Rietveld academy limit heating by incident sunlight and so does the steel strips overhangs of the Art Institute of Chicago.

Figure 5 The main circulation of the institute

Figure 2 Green refers to the existing buildings and yellow refers to the new building

Locating on the north west of the Zuid, the area is planned to be a green area and designated with educational, housing, and cultural functions in the urban plan. Fedlev designed to combine three building into one so that it becomes visually present and easy excusable from the North and the South side of the plot. There are extra openings and entrances to connect the inside with the outside.

Figure 6 The section of the Modern Wing

Figure 3 The surrounding building type

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1. Office 2. The expansion of Gerrit Rietveld academy 3. School 4. Green space 5. School 6. School

Figure 8 The illustration showing the path connecting to the garden

Figure 7 The overhang

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QUESTION 5

QUESTION 5

Figure 13 The New George Gund Building of Cleveland Institute of Art

Figure 9 The Goethe Institute

Figure 14 The diagonal walkways

Cleveland Institute of Art, New George Gund Building

Figure 10 Georgian house of the language school and cultural programs

Stantec Architecture

The Goethe Institute

Both Cleveland Institute of Art and Gerrit Rietveld academy have the same focus, which is the encounter of invited public, faculty and students. For New George Gund Building, the main floor serves as a multi-function gathering space, including an informal teaching and learning environment, an interactive exhibition venue. While in the new building of Gerrit Rietveld academy there are project spaces on different floors and a communal roof area that is suitable for exhibitions, performances and the making of temporary constructions. In addition, academic programs are connected through diagonal walkways and bridges and it is through transparency such as glass facade and pathways.

Henchion Reuter Architects The intention of the expansion of the Gerrit Rietveld academy is due to lack of space and aim to create an interactive space with a collective, interdisciplinary environment. As interaction is the starting point, except the first floor being earmarked for students of the Sandberg Institute others are shared space including the base of the building. One comparative case study is the Goethe Institute in Dublin. It is also an extension thus a refurbishment by Henchion Reuter Architects. Similarly to the Gerrit Rietveld academy, it is designed to create a collective, interdisciplinary educational environment. The project relocates both functions to the Merrion Square premises – the cultural programme and another Georgian house, facilitate greater interaction between the language students and the cultural programme the institute offer. They both allow the users to move around spaces and buildings and create a circulation as a loop.

Figure 11 The circulation of the both as a loop

Figure 15 A map showing the location of the Cleveland Institute

Figure 12 The section of Goethe Institute

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Figure 16 A side view of the New George Gund building

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BIBLIOGRAPHY

LIST OF FIGURES

1. “2016 - 2018 Luca Carboni”, Dai. Available at: <https://dutchartinstitute.eu/page/12785/2016---2018-luca-carboni> [Accessed 1 December 2020]

QUESTION 1

2. Angelopoulou, S. L. (2019) “paulien bremmer + hootsmans extend rietveld academy & sandberg institute in amsterdam” Designboom. Available at: < https://www.designboom.com/architecture/paulien-bremmer-hootsmans-gerrit-rietveld-academy-sandberg-institute-amsterdam-09-20-2019/> [Accessed 15 December 2020] 3. Astbury, J. (2019) “Paulien Bremmer wraps addition to Gerrit Rietveld Academie in woven-steel screens.” Dezeen. Available at: https://www.dezeen. com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/. [Accessed: 15 December 2020].

4. Climates to Travel: World Climate Guide. Available at: <https://www.climatestotravel.com/climate/netherlands/amsterdam> [Accessed 15 December 2020] 5. De Boer, Maze, Maze De Boer. Available at: <http://www.mazedeboer.com/> [Accessed 1 December 2020] 6. Fedlev, 2012. FEDLEV’S DESIGN FOR THE NEW GERRIT + WILLEM, Amsterdam: Gerrit Rietveld Academie and Sandberg Institute.

7. FedLev, Fedlev’s Design For The New Gerrit + Willem (Amsterdam: The Gerrit Rietveld Academie, 2012) . Available at: <https://oldschool. rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf> [Accessed 5 December 2020] 8. Gerrit Rietveld Academie. Available at: <https://rietveldacademie.nl/> [Accessed 1 December 2020] 9. Gerrit Rietveld Academie, Team 2 Fedlev, Gerrit Willem Do It Yourself, 2011. Available at: <https://vimeo.com/34759461> [Accessed 6 December 2020] 10. Gerrit Rietveld Academie, The New Rietveld - The Fedlev Building, 2014. Available at: <https://vimeo.com/91362513> [Accessed 6 December 2020] 11. González, M.F. (2019) “Gerrit Rietveld Academy and Sandberg Institute / Studio Paulien Bremmer + Hootsmans Architects” Archdaily. Available at: <https://www.archdaily.com/924677/gerrit-rietveld-academy-and-sandberg-institute-studio-paulien-bremmer-plus-hootsmans-architects> [Accessed 15 December 2020] 12. Jonkman, R. “EXTENSION GERRIT RIETVELD ACADEMY”, Design Atelier Rosa. Available at: <https://rosajonkman.nl/inside-out> [Accessed 15 December 2020] 13. McEwen, Michelle, “Gerrit Rietveld - The Netherlands 1888-1964”, More Space, 2011. Available at: <https://michelle-mcewen.squarespace.com/latestnews/2011/07/08/gerrit-rietveld-the-netherlands-1888-1964> [Accessed 9 December 2020] 14. Minkjan, M. “New building Gerrit Rietveld Academy and Sandberg Institute” Archello. Available at: < https://archello.com/project/gerrit-rietveldacademy-and-sandberg-institute > [Accessed 15 December 2020]

Fig. 1: The main extension building, by author, Yeong Jingci.

Fig. 2: Connection bridge between the extension and Benthem Crouwel building, by Yeong Jingci.

Fig. 3: Benthem Crouwel building, by author, Yeong Jingci.

Fig. 4: Gerrit Rietveld main building, by author, Yeong Jingci.

Fig. 5: Connecting bridge of extension and Benthem Crouwel building, <https://www.dezeen.com/2019/10/12/gerrit-rietveld-academie-paulien-bremmeramsterdam-netherlands/> [Accessed: 15 December 2020] Fig. 6: North facade of the extension, <https://www.dezeen.com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/> [Accessed: 15 December 2020] Fig. 7: Axonometric view of the extension, <https://www.archdaily.com/924677/gerrit-rietveld-academy-and-sandberg-institute-studio-paulien-bremmerplus-hootsmans-architects> [Accessed: 15 December 2020] Fig. 8: Circulation of teachers before extension, by author, Yeong Jingci.

Fig. 9: Circulation of students before extension, by author, Yeong Jingci.

Fig. 10: Overall circulation before extension, by author, Yeong Jingci.

Fig. 11: Circulation of teachers before extension, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-artcollege-expansion-of-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 12: Circulation of students before extension, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-artcollege-expansion-of-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 13: Programme of the building, by author, Yeong Jingci.

Fig. 14: Hierarchy diagram of basement, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-art-collegeexpansion-of-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 15: Hierarchy diagram of ground floor, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-artcollege-expansion-of-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 16: Hierarchy diagram of upper floor, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-art-collegeexpansion-of-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 17: 3D sketch of workshop on ground floor, by author, Yeong Jingci.

Fig. 18: Ground floor plan, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-art-college-expansion-ofthe-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 19: Initial intention of theoritic stairs, by author, Yeong Jingci.

Fig. 20: Current inhabitation of theoritic stairs, by author, Yeong Jingci.

Fig. 21: Ground floor plan, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-art-college-expansion-ofthe-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 22: Initial intention of basement room, by author, Yeong Jingci.

Fig. 23: Current inhabitation of basement room, by author, Yeong Jingci.

Fig. 24: Basement floor plan, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-art-college-expansionof-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020]

15. Oldschool.Rietveldacademie.Nl. Available at: <https://oldschool.rietveldacademie.nl/nl/Gerrit-Willem-Do-It-Yourself> [Accessed 6 December 2020] 16. Puluj, Jesco, “Destijl: Niederlandischer Aufruf Zu Puristischer Abstraktion”, Architekten Scout, 2016. Available at: <https://architekten-scout.com/ allgemein/de-stijl> [Accessed 9 December 2020] 17. Sandberg Institute. Available at: <https://www.sandberg.nl/> [Accessed 15 December 2020] 18. Singhal, S. (2019) “Extension Rietveld Academy + Sandberg institute in Amsterdam, The Netherlands by Fedlev led by Paulien Bremmer in collaboration with Hootsmans architectuurbureau” AECCafe. Available at: < https://www10.aeccafe.com/blogs/arch-showcase/2019/09/24/extension-rietveld-academysandberg-institute-in-amsterdam-the-netherlands-by-fedlev-led-by-paulien-bremmer-in-collaboration-with-hootsmans-architectuurbureau/ > [Accessed 15 December 2020] 19. Stanionytė, S. “Gerrit Rietveld Academy”, Sandra Stanionytė. Available at: <http://stanionyte.com/portfolio/gerrit-rietveld-academy/> [Accessed 15 December 2020] 20. Studio Paulien Bremmer. Available at: <https://paulienbremmer.org/> [Accessed 1 December 2020] 21. Weather Atlas. Available at: <https://www.weather-atlas.com/en/netherlands/amsterdam-climate> [Accessed 15 December 2020] 22. Wessely, Heide, “DETAIL - Magazin Für Architektur + Baudetail - Start”, Detail, 2020. Available at: <https://www.detail.de/zuwachs-fuer-diekunsthochschule-erweiterungsbau-der-rietveld-academy-in-amsterdam-35411/> [Accessed 3 December 2020]

QUESTION 5 List of Figures

QUESTION 5

Figure 1 The Gerrit Rietveld Academy and Sandberg Insitute, https://www.archdaily.com/924677/gerrit-rietveld-academy-and-sandberg-institute-studio-paulien-bremmer-plus-hootsmans-architects Figure 2 Green refers to the existing buildings and yellow refers to the new building, editted by author, https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf Figure 3 The surrounding building type, https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf Figure 4 The Modern Wing of the Art Institute of Chicago, https://www.archdaily.com/24652/the-modern-wing-renzo-piano Figure 5 The main circulation of the institute, https://www.archdaily.com/24652/the-modern-wing-renzo-piano Figure 6 The section of the Modern Wing, https://www.archdaily.com/24652/the-modern-wing-renzo-piano Figure 7 The overhang, http://www.rpbw.com/project/chicago-art-institute-the-modern-wing Figure 8 The illustration showing the path connecting to the garden, https://www.archdaily.com/24652/the-modern-wing-renzo-piano Figure 9 The Goethe Institute, http://www.henchion-reuter.com/projects/goethe-institute Figure 10 Georgian house of the language school and cultural programs, https://www.archdaily.com/903778/refurbishment-and-extension-of-the-goethe-institute-henchion-reuter-architects Figure 11 The circulation of the both as a loop, created by author Figure 12 The section of Goethe Institute, http://www.henchion-reuter.com/projects/goethe-institute Figure 13 The New George Gund Building of Cleveland Institute of Art, https://architizer.com/projects/cleveland-institute-of-art-new-george-gund-building/ Figure 14 The diagonal walkways, https://architizer.com/projects/cleveland-institute-of-art-new-george-gund-building/ Figure 15 A map showing the location of the Cleveland Institute, editted by author Figure 16 A side view of the New George Gund building, https://architizer.com/projects/cleveland-institute-of-art-new-george-gund-building/

Bibliography - Resources link

2020. [online] Available at: <https://paulienbremmer.org/projects/new-building-gerrit-rietveld-academie-and-sandberg-instituut> [Accessed 1 December 2020].

ArchDaily. 2020. Gerrit Rietveld Academy And Sandberg Institute / Studio Paulien Bremmer + Hootsmans Architects. [online] Available at: <https://www.archdaily.com/924677/gerrit-rietveld-academy-and-sandberg-institute-studio-paulien-bremmer-plus-hootsmans-architects> [Accessed 1 December 2020].

Astbury, J., 2020. Paulien Bremmer Wraps Addition To Gerrit Rietveld Academie In Woven-Steel Screens. [online] Dezeen. Available at: <https://www.dezeen. com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/> [Accessed 1 December 2020].

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Archello. 2020. Gerrit Rietveld Academy And Sandberg Institute | Gerrit Rietveld Academie | Archello. [online] Available at: <https://archello.com/project/ger31 rit-rietveld-academy-and-sandberg-institute> [Accessed 5 December 2020]. designboom | architecture & design magazine. 2020. Paulien Bremmer + Hootsmans Extend Rietveld Academy & Sandberg Institute In Amsterdam. [online] Available at: <https://www.designboom.com/architecture/paulien-bremmer-hootsmans-gerrit-rietveld-academy-sandberg-institute-amsterdam-09-20-2019/>

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QUESTION 2

QUESTION 3 [All illustrations, changes and modifications made by author] Fig. 1 Author’s own illustration Fig. 2 (Studio Paulien Bremmer, 2019) Photo by Johannes Schwartz, Jeroen Verrecht. New building Gerrit Rietveld Academie and Sandberg Instituut Available at https://paulienbremmer.org/projects/new-building-gerrit-rietveld-academie-and-sandberg-instituut Fig. 3 (DETAIL, 2020) Site Plan. Modified Available at https://inspiration.detail.de/extension-of-the-academy-of-art-amsterdam-114834.html Fig. 4 (Fedlev, 2012) Modified Available at https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf Fig. 5 (Fedlev, 2012) Modified. Changes made by author Available at https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf Fig. 6 (Fedlev, 2012) Modified Available at https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf QUESTION 4 Modified. Changes made by author Fig. 7 (Fedlev, 2012) Available at https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf Bibliography: Fig. 8 (Astbury, 2019) Photo by Jeroen Verrecht. New building Gerrit Rietveld Academie and Sandberg Instituut Available at https://www.dezeen.com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/ Studio Paulien Bremmer <https://paulienbremmer.org/> [Accessed 1 December 2020] Fig. 9 (DETAIL, 2020) Modified Available at https://inspiration.detail.de/extension-of-the-academy-of-art-amsterdam-114834.html Gerrit Rietveld Academie <https://rietveldacademie.nl/> [Accessed 1 December 2020] Fig. 10 (DETAIL, 2020) Modified Oldschool.Rietveldacademie.Nl <https://oldschool.rietveldacademie.nl/nl/Gerrit-Willem-Do-It-Yourself> [Accessed 6 December 2020] Available at https://inspiration.detail.de/extension-of-the-academy-of-art-amsterdam-114834.html Fig. 11 (Astbury, 2019) Modified “2016 - 2018 Luca Carboni”, Dai <https://dutchartinstitute.eu/page/12785/2016---2018-luca-carboni> [Accessed 1 December 2020] Available at https://www.dezeen.com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/ Fig. (Astbury, 2019)

by Johannes Schwartz. New[Accessed building 1Gerrit Rietveld De 12 Boer, Maze, Maze De Photo Boer <http://www.mazedeboer.com/> December 2020]Academie and Sandberg Instituut Available at https://www.dezeen.com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/ FedLev, Fedlev’s Design The New Gerrit + Willem (Amsterdam: The Gerrit Rietveld Academie, 2012) <https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presFig. 13 (DETAIL, 2020) For Modified entation-booklet.pdf> [Accessed 5 December 2020] Available at https://inspiration.detail.de/extension-of-the-academy-of-art-amsterdam-114834.html Fig. 14 (DETAIL, 2020) Modified Gerrit Rietveld Academie, Team 2 Fedlev, Gerrit Willem Do It Yourself, 2011 <https://vimeo.com/34759461> [Accessed 6 December 2020] Available at https://inspiration.detail.de/extension-of-the-academy-of-art-amsterdam-114834.html Fig. 15 Rietveld (González, 2019) The Photo Jeroen- The Verrecht. building Gerrit Rietveld Academie and Sandberg Instituut2020] Gerrit Academie, Newby Rietveld Fedlev New Building, 2014 <https://vimeo.com/91362513> [Accessed 6 December Available at https://www.archdaily.com/924677/gerrit-rietveld-academy-and-sandberg-institute-studio-paulien-bremMcEwen, Michelle, “Gerrit Rietveld - The Netherlands 1888-1964”, More Space, 2011 <https://michelle-mcewen.squarespace.com/latest-news/2011/07/08/gerrit-rietmer-plus-hootsmans-architects veld-the-netherlands-1888-1964> [Accessed 9 December 2020] Fig. 16 (archello, 2019) Photo by Jeroen Verrecht. New building Gerrit Rietveld Academie and Sandberg Instituut Available at “Destijl: https://archello.com/project/gerrit-rietveld-academy-and-sandberg-institute Puluj, Jesco, Niederlandischer Aufruf Zu Puristischer Abstraktion”, Architekten Scout, 2016 <https://architekten-scout.com/allgemein/de-stijl> [Accessed 9 December 2020] Fig. 17 Author’s own illustration. Based on photos and information from various sources.

Stanionyte, Sandra, Sandra Stanionyte <http://stanionyte.com/> [Accessed 1 December 2020] Wessely, Heide, “DETAIL - Magazin Für Architektur + Baudetail - Start”, Detail, 2020 <https://www.detail.de/zuwachs-fuer-die-kunsthochschule-erweiterungsbau-der-rietveld-academy-in-amsterdam-35411/> [Accessed 3 December 2020]

QUESTION 4 List Of Figures:

Figures 1, 5 - 8, 11, 12, 14, 19, 21, 23: by author Figure 1: Gerrit Rietveld, < https://www.sikkensprize.org/en/winner/gerrit-rietveld-2/> Figure 2: Library, < https://oldschool.rietveldacademie.nl/en/library> Figures 3, 4, 13, 24, 25: Photography:Franziska Mueller Schmidt, Johannes Schwartz, Jeroen Verrecht, < https://paulienbremmer.org/projects/new-building-gerrit-rietveld-academie-and-sandberg-instituut> Figure 9: The Rietveld Academy, < https://www.themethodcase.com/gerrit-rietveld-academie/> Figure 10: The Sandberg Instituut, <https://www.themethodcase.com/gerrit-rietveld-academie/> Figure 15: Luca Carboni, <https://dutchartinstitute.eu/page/12785/2016---2018-luca-carboni> Figure 16: Sandra Stanionyte, <http://stanionyte.com/> Figure 17: Maze de Boer, <https://www.mistermotley.nl/content/kunst-lang-73> Figure 18: Paulien Bremmer, <https://nl.linkedin.com/in/paulien-bremmer-63594120?trk=people-guest_people_search-card> Figure 20: The art academy is shaped by it’s users, <https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf> Figure 22: A Perfect Day, <https://paulienbremmer.org/>

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LIST OF ILLUSTRATION Unless stated otherwise, all the work presented is original work by the author page 20: (from left to right) apprenticeship programme, taken from < http://apprenticeshipguide.co.uk/architectural-assistant/> Ouseburn Bandstand, taken from < https://www.ouseburntrust.org.uk/event/ouseburn-bandstand> The HUB Newcastle University, taken from < https://twitter.com/bio_buildings/status/1162710919102783489> page: 21: (From left to right, from top to bottom) nuas logo, taken from < https://www.linkedin.com/company/newcastle-university-architecture-society> apl community, taken from < https://www.ncl.ac.uk/apl/gallery/charrette2019/> small talk poster, taken from < https://www.instagram.com/p/CGf2ZCjM96p/> Research at ncl APL, taken from < https://miro.com/app/board/o9J_lcAOuFU=/> Brigding the gap, taken from < https://miro.com/app/board/o9J_lcAOuFU=/>

page 136: Tuba Architektur, taken from .P.U.L.S.E. SPaces in time by Bernhard Leitner < https://www.bernhardleitner.at/pdf/PULSE_FINAL.pdf> Max Osswald, taken from <https://www.architectmagazine.com/practice/a-visual-imprint-of-moving-air_o#jump> page 137: Max Osswald, taken from <https://www.architectmagazine.com/practice/a-visual-imprint-of-moving-air_o#jump> Tibeten singing bowls, taken from < https://www.sonicinfusion.com/upcoming-classes/event-one-j35mx>

BIBLIOGRAPHY https://thespaces.com/10-buildings-with-extraordinary-acoustics/

page 40: Forty Part Motet by Janet Cardiff, taken from < https://newlynartgallery.co.uk/activities/janet-cardiff/> Osaka Symphony by Janet Cardiff, taken from < https://cardiffmiller.com/installations/osaka-symphony/> Video Walk by Janet Cardiff, taken from < https://cardiffmiller.com/walks/alter-bahnhof-video-walk/>

Aiken, Mary, The Cyber Effect – A Pioneering Cyberpsychologist Explains How Human Behaviour Changes Online (Great Britain: John Murray, 2016 (Paperback 2017)).

page 45: Heads (temporary installation in NL), taken from < https://robsweere.com/2014/09/14/heads-at-beach-hoek-van-holland/> Cork helmet, taken from < https://www.dezeen.com/2015/04/09/pierre-emmanuel-vandeputte-cork-helmet-muffle-noise-pollution/>

Frankl, V., 2008. Man’s search for meaning. Rider.

page 64: ‘Think of the world that does not exist’ by Paulina Naruseviciute, taken from <https://medium.com/@pnaruseviciute/think-of-the-world-thatdoes-not-exists-2955a97d0589#.a1fy3b6r8> page 75: Nottingham Contemporary, taken from ARC2009 submission 2020 page 77: Hong-Hyun Bukchon Information Office and Facilities by Interkerd Architects, taken from < https://www.archdaily.com/798062/hong-hyun-bukchon-information-office-and-facilities-interkerd-architects/580ea774e58eceb2ec00006c-hong-hyun-bukchon-information-office-and-facilities-interkerd-architects-photo?next_project=no> Zinc Mine Museum stilt structure, take from < https://archeyes.com/zinc-mine-museum-project-peter-zumthor-norway/#jp-carousel-1334> Brunel Museum Uk, taken from < https://thespaces.com/10-buildings-with-extraordinary-acoustics/> FLoating Music Hub by NLE architects (author’s illustration), inspiration taken from < https://www.nleworks.com/case/floating-music-hub/> Why don’t we use it on the stairs? by RE-make/RE-model Architects Berlin, taken from <http://www.remake-remodel.de/why-dont-we-do-it-onthe-stairs/> page 88: Rietveld Academy, taken from Thematic Case Study Report page 90: ADEPT - SONOROUS MUSEUM - DK, taken from < https://thespaces.com/10-buildings-with-extraordinary-acoustics/> page 91: Forest Megaphones, Estonia, taken from < https://thespaces.com/10-buildings-with-extraordinary-acoustics/> Tvisongur, Iceland, taken from < https://thespaces.com/10-buildings-with-extraordinary-acoustics/> page 93: Max Osswald, taken from <https://www.architectmagazine.com/practice/a-visual-imprint-of-moving-air_o#jump> page 94: Red Bull Music Academy (author’s illustration), inspiration taken from < https://www.architectural-review.com/awards/ar-emerging-architecture/ red-bull-music-academy-langarita-navarro-spain)> page 95: Box in a Box (author’s illustration) inspiration taken from < https://www.mason-uk.co.uk/> page 96: Korkenzieher Haus (author’s illustration), inspiration taken from < https://www.rundzwei.de/de/content/042_Korkenzieher_Haus> Cork Study in London, taken from https://www.dezeen.com/2016/11/05/surman-weston-cork-cladding-music-sewing-studio-london/> Redshank artist studio, taken from < https://www.dezeen.com/2017/12/15/lisa-shell-redshank-artist-studio-cork-cabin-tidal-salt-marsh-seasidearchitecture-essex-uk/> page 97: EOAcoustics, taken from < https://www.eoacoustic.com/> Pulsierende Stille by Bernhard Leitner, taken from <https://www.bernhardleitner.at/works/indexLoadContend/164> 183

Bishop, C., 2005. Installation art. London: Tate Publishing.

DOERR, A., 2014. ALL THE LIGHT WE CANNOT SEE. London: FOURTH ESTATE LTD. Migone, C., 2012. Sonic somatic. Los Angeles: Errant Bodies Press.

Quinn, D., 1992. Ismael. Berlin: Goldmann.

Pallasmaa, Juhani, The Eyes of The Skin, 3rd ed., (John Wiley & Sons, 2012) Zelevski, P., 2017. People of London. London: Hoxton Mini Press.

Zamyatin, Yevgeny, We (London: The Penguin Group, 1993), pp. 3 – 15 Bohme, Gernot, ‘Atmosphere as Mindful Physical Presence in Space’, OASE, (2013), 21 – 31 Fischer, Sabine, “A Visual Imprint Of Moving Air”, Architect Magazine, 2018 <https://www.architectmagazine.com/practice/a-visual-imprint-ofmoving-air_o#jump> [Accessed 3 February 2021]

Gerrit Rietveld Academie. Available at: <https://rietveldacademie.nl/> [Accessed 1 December 2020] “Impact Of Noise In Education - A Research Summary”, Ecophon.Com <https://www.ecophon.com/uk/articles/knowledge/impact-of-noise-in-education---a-research-summary2/> [Accessed 5 February 2021]

“Impact Of Noise In Education - A Research Summary”, Ecophon.Com <https://www.ecophon.com/uk/articles/knowledge/impact-of-noise-in-education---a-research-summary2/> [Accessed 5 February 2021] Leitner, B., 2008. Bernhard Leitner. Ostfildern: Hatje Cantz.

Libeskind, Daniel, “The Walls Are Alive”, The Guardian, 2002 <https://www.theguardian.com/books/2002/jul/13/featuresreviews.guardianreview5> [Accessed 14 February 2021] Miller, J., n.d. Janet Cardiff & George Bures Miller. [online] Janet Cardiff & George Bures Miller. Available at: <https://cardiffmiller.com/> [Accessed 1 June 2021].

Naras, P., 2016. ‘Think of the world that does not exists’. [online] Medium. Available at: <https://medium.com/@pnaruseviciute/think-of-theworld-that-does-not-exists-2955a97d0589#.a1fy3b6r8> [Accessed 1 June 2021].

Ouseburn. n.d. The Ouseburn • What to Eat, Drink, See & Do in Ouseburn. [online] Available at: <https://www.ouseburn.co.uk/> [Accessed 1 June 2021].

Ouseburn Trust. n.d. Ouseburn Trust. [online] Available at: <https://www.ouseburntrust.org.uk/> [Accessed 1 June 2021].

Partridge, H., 2021. 10 buildings with extraordinary acoustics. [online] The Spaces. Available at: <https://thespaces.com/10-buildings-with-extraordinary-acoustics/> [Accessed 1 June 2021].

Tate, 2016. Tarek Atoui – ‘Sound Is a Physical Phenomenon’ | TateShots. [video] Available at: <https://www.youtube.com/watch?v=M-gIT9gCZgU> [Accessed 1 June 2021].

TEDxTalks, The Architecture Of Sound / Shea Trahan, 2015 <https://www.youtube.com/watch?v=R-BMF4e-1bg&list=PL8A1PforraxB2XYu4Img683ZXIx7qce7P&index=11> [Accessed 11 February 2021]

TED, Architecture and The Science of The Senses, online video recording, YouTube, 2016, <http://www.tedxgoodenoughcollege.com/portfolio/ stefan-behling-architecture-and-the-science-of-the-senses/> [Accessed 27 February 2020] TED, Design for All 5 Senses, online video recording, YouTube, 2013, <https://www.youtube.com/watch?v=N6wjC0sxD2o> [Accessed 1 March 2020]

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Appendix Processwork that did not make it into the main body of the document

The Making of

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Mawson + Kerr, Sunbeams Music Centre (Music Therapy

Herzog + deMeuren, Elbphilharmonie Hamburg

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Drawings presented at Synthesis Review (17.05.2021) Representation refined for final portfolio

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Elevation presented at Testing Review (02.03.2021)

Process for creating Elevation / celebrationpiece 197

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MIC DROP OVER AND OUT

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