Banuchichak Imamaliyeva Portfolio

Banuchichak Imamaliyeva 190305985 Stage III Newcastle University 2020-2021

contents city ruins

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ruin lust

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home work

28

thematic case study

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city grain

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testing

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thinking through making

100

synthesis

104

illustrated reflective diary

126

cultural bibliography

132

appendix

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lilustration list

136

bibliography

138

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city ruins 4 framing city ruins

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Considering the architectural environment in which modern man is immersed, one should pay attention to such an essential component as ruins. Defined by exceptional diachronic invariance (stability of content over time), the phenomenon of architectural ruins undergoes a constant succession of states and meanings that are synchronous to the context.

Unlike everyday things, whose age, with rare exceptions, is relatively short, architectural objects survive. The degree of capitalization of buildings and structures is so high that the calendar duration of their service, limited by physical wear and tear, is multiples of the individual’s life expectancy (obsolescence can occur much faster).

Ruins should be recognized as remains of buildings and structures for various purposes and tangible monuments of the past.

Provided previously to merciless destruction, used only as a source of materials for new buildings, the ruins began to acquire numerous additional meanings, to become a source of idealized ideas about the past and related experiences.

Today, the world has finally established the understanding that the ruin is both our history and heritage, a source of knowledge and inspiration, and an object requiring architectural and construction intervention, a platform for solving today’s practical problems, and a capacious artistic and philosophical metaphor that expresses the frailty of things.

A kind of “dilapidated aesthetics” was formed, which was reflected in the images of architectural ruins in literature, painting, landscape architecture. The ruins really “thicken the sense of the past, the fluidity of being.” The presence in the subject of ideas about the history and symbolism of the ruins in advance already partly forms the symbolic experience, which makes it a specific experience of the individual. Therefore, acquaintance with the history of now destroyed architectural structures, intensive focus on their symbolic content are the conditions for them to acquire the status of personal value.

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Exploring materials around the city

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At the beginning of the semester, we were given the task of taking a walk, taking a closer look at the old destroyed objects around us, paying attention to the materials and remnants of the old ruins. I captured some interesting parts of buildings, walls, converted and abandoned buildings on camera or in a sketchbook to get a closer feel of the materials.

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You can often see how the materials used in old and new buildings are similar, but at the same time, old buildings transmit some other energy of time. After all, these walls have seen history, different eras; these buildings had different values and functions over time.

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ruin lust Cold Dark Matter: An Exploded View,

Cornelia Parker

Subconscious of a Monument

Cornelia Parker explores various materials and creates her amazing sculptures from them. Her installation consists of many pieces of an exploded wooden shed suspended together,rocks. The works create the impression of an explosion that tore apart the object from the inside, the fragments of which are now scattering in different directions and casting shadows on the walls of the museum. Parker explains this by the desire to portray something simple and close to all people. In life, we practically do keep old and unnecessary things. Here, after his symbolic death, the object begins a new life as an object of art.

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15 Dimitris Lempesis. “ART-PRESENTATION: Cornelia Parker.” Dreamideamachine, 2019, www.dreamideamachine.com/en/?p=52348.

framing ruin lust

Autunno

Psycho Buildings: Artists Take On Architecture

Mike Nelson Cy Twombly

Untitled (Bacchus) Most often,Cy Twombly’s scribbles are not isolated into letters at all, but look as if someone was painting a pen. This is a letter that has not yet become a text, but does not aspire to become one either. His gesture is self-sufficient, which distinguishes Twombly’s paintings from children’s drawings. Children try to imitate adults, strive to bring out the outlines of a new world for them as believably as possible.

Twombly’s manner is relaxed and light, there is no pressure and aggressive desire to push the canvas.

He puts the process above the result.

Gang of Seven

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Nelson, Mike. “Aesthetica Magazine - Re-Examined Territories: The British Council Present Mike Nelson, Venice Biennale.” Aesthetica Magazine, 5 June 2011, aestheticamagazine.com/re-examined-territories-the-british-council-present-mike-nelson-venice-biennale/. Accessed 6 June 2021.

17 Tate. “Cy Twombly 1928–2011.” Tate, www.tate.org.uk/art/artists/cy-twombly-2079.

In this work, I wanted to recreate the mess that the ruins primarily represent. Each color is a material or layer that eventually becomes one whole even in a destroyed state.

After all, no matter how different the materials, in the end they still become one picture of different contrasts. Each ruin is primarily a story, and each story is a memory.It’s a human urge to express emotion through the medium of mark-making. We all carry with us memories of our past experiences.

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Here, trying to transfer the same idea into a form, conveying the thought more objectively, materials were used that are close to what can imitate a part of the ruin. 2 completely different textures become one and create an inseparable layer of the wall. When buildings are destroyed or looking at the ruins, you can see how different materials become one and the same layer. What was once different and difficult to connect, has become one inseparable whole.

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The main idea for this project was to represent the understanding of what is a ruin.Ruin is a representation of the history, not only in architecture , but also the history and changes of the social life and how it developed through the years.

How time changes something that was new and fresh one day to something we get rid of years and centuries later to create something different. In this speci c example I took a rock that represents ruins here, paint and white paper.White paper is the new, modern architecture and the paint is time.The idea is to show how time changes everything we call new today that will eventually become something old.

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The final result of the “process” work

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Photography Studio for Jurgen Teller Studio, 6a Architects, London, 2016

home work

group work

Group work

Author’s work

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29 “6a Architects . Juergen Teller Studio . London Afasia (4).” AFASIAARCHZINE.COM, afasiaarchzine.com/2019/01/6a-architects-15/6a-architects-juergen-teller-studio-london-afasia-4/. Accessed 7 June 2021.

6a Architects strives to create architectural collages, inserting objects into one or another building that fall out of the surrounding building context, but one way or another different from it. This “collage” involves the multi-level interaction of different materials and allows you to create a new architectural story in old and decaying areas.

The project of the architects is a studio for the eminent and scandalous fashion photographer Jurgen Teller, who became famous for his work “uncut”. Designed on a long and narrow stretch of West London, the studio consists of three buildings, including an office, archive, photo studio, kitchen, library and a number of ancillary facilities.

The gardens adjacent to the buildings, designed by Dan Pearson Studio, are the border zone, connecting the street background with the studio’s private space. The inspiration for landscape design was the green spaces that spontaneously appear in the abandoned corners of London, in particular, those that are considered in the classic edition of London’s Natural History, edited by R. S. Fitter.

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“6a Architects . Juergen Teller Studio . London Afasia (4).” AFASIAARCHZINE.COM, afasiaarchzine.com/2019/01/6a-architects-15/6a-architects-juergen-teller-studio-london-afasia-4/. Accessed 7 June 2021.

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Roof

Site Section

Second Floor

First Floor

Ground Floor 0

2m

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Sergison Bates Architects, Suburban Housing, Zurich, 2019

Group work

thematic case study

group work

Author’s work

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39 Anon, (n.d.). Sergison Bates > Suburban Housing, Zürich | HIC Arquitectura. [online] Available at: http://hicarquitectura.com/2019/10/sergison-bates-suburban-housing-zurich/ [Accessed 7 Jun. 2021].

The buildings around the site are residential. Sergison Bates maintained similar architectural qualities from around the site within his “Suburban housing, Zurich, 2019” project to continue the language of the surroundings. The same height was maintained so as to not dominate the other residential buildings, and the greenery was protected and not tampered with. The top illustration the area of the site to emphasize the greenery and amount of residential buildings, while the bottom photograph shows the case study on site made by the architects.

The issue of social housing was prominent not only in the district of the case study, Seebach, but was a city-wide issue across Zurich. After the Global Financial Crisis, buildings were made unsustainable and low cost to accommodate for those of lower socio-economic status, but these houses compromised the architectural quality of Zurich as well as their infrastructure. The housing market in Zurich, due to economic growth, immigration and developed interests in urban living, was tightened as the growth was not complemented with proper housing.

Starting 2002, housing provision has increased to meet the demands for them, but they were still a bit costly due to high living costs and their accessibility nancially. They did not seem like a good investment due to the lack of social interaction they provided as well as the inadequate quality of their residential areas.

The case study site Seebach, the location of the case study, was always known to be of lower socio- economic background. It was re-built under a new building code developed during the “red Zurich” period by urban planner Alber Heinrich Steiner. It involved completely changing the district through more green spots and greater availability of housing. This is because after WW1, the economy in Zurich was in dire straits and lots of people were forced into tenement buildings with highly unsanitary conditions.

Housing focused more on ef ciency, greenery and greater social interactions for a sense of community within the area. To help with this, the “Minergie Standard” was developed as a label for low energy consumption buildings and to guarantee high grade building.

Aerial view (1947)

Left, red brick building from case study.

Seebach (1898)

Following the local typology, Bates built two contemporary interpretations of the villas that used to take up the site rather than a commercial building.

While surrounding buildings seem independent of one another, Bates took an approach where both buildings complement one another. A lot of residential buildings within the city often get demolished and rebuilt after a few years. Bates designed this anticipating long-term occupations, and can adapt depending on the user’s needs, making the design “intergenerational.”

Bates kept in consideration the slightly high cost of housing in Zurich into account and those of low socio-economic background. The architect, therefore, built according to the Minergie standard and at low cost. The buildings are designed in a way that allows them to easily be recycled and to be maintained at relatively low costs. The interplay of both buildings shapes the communal interaction through social spaces formed in the negative space, shown below. Incorporating social spaces within the building provides a sense of community, an issue from its historical context that needed to be addressed.

“The project explores the unique condition of this place... [and] the way apartment plans anticipate long- term occupation by residents and are designed to adapt to the changing needs of the users” - Sergison Bates Right, grey brick building from case study

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Materiality study, brick + concrete detail

Construction study:

Copper gutters

Pre-cast concrete elements

Tectonic study, brick + concrete detail Flush brick cladding

Protruding brick cladding

In-situ concrete foundations

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Light

Ventilation

Heating

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Building A

Building B

North 1

2

1. Bricks 2. Concrete 3. Concrete sill 4. Glazing

East

3

4

South

Rain

West

Views

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Suburban Housing South Elevation Sergison Bates are drawn towards the normative program of housing. The architects cosider the formal and digni ed proportioning of Chandos House in London as a principle inspiration and instructive model for thinking about proportion and the image of their buildings. Chandos House displays a careful series of adjustments to convention that give the building a unique character, for example the offset entrance porch to the unequal window spacing, not immediately apparent but adding to the feeling of looseness. This is given precedence for the Zurich housing project, from the very subtle irregular placement of the precast concrete, to the breaking up of regular window spacing.

Thresholds from Living space

Second Floor Plan

In de Witte’s painting the room doesn’t depict any clear function, it could be a bedroom or a music room; its a room in a series of interconnected doors. The architects are interested in this process of moving between and through thresholds but also designing spaces that are adaptable and have no set purpose. Within the Zurich housing, each apartment has an open plan kitchen living room with a serious of smaller rooms connected, they are purposefully orthogonal and adaptable to suit the needs of the current user.

Interior with a Woman Playing a Virginal, 1665 Emanuel de Witte ‘The setting out of horizontal bands relating to proportional representa- tion is at odds with the convention of classical or- dering.’ - Lecture: Jonathan Sergison and Stephen Bates, “On Continuity” Harvard GSD, 2014 This idea has been further employed to the Zurich housing, using precast concrete slabs.

Chandos House, London Robert Adam, 1771

Farmhouse Kitchen near Palma Scienti c Autobiography by Aldo Rossi

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The farmhouse kitchen has a materiality that brings great softness to the space - the spacial variety and character, the setting, the hierarchy of space over use. The generosity of the farmhouse kitchen is represented in the same spacial generosity of the kitchen living area in the Zurich housing.

‘By the 20th century function dominated house planning’ - Lecture: Jonathan Sergison and Stephen Bates, “On Continuity” Harvard GSD, 2014 What Sergison Bates are striving for in all their work as well as their Zurich Housing is this richness of space.

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Second Floor Plan, Highlighting hall/lobby spaces

View looking out from inside the living/dining room of a second oor appartment.

A Boy Bringing Bread, 1663 Pieter De Hooch

Sketches of the elevations, House Sugden,1955 Alison & Peter Smithson

The architects describe their process of construction as ‘careful carelessness’3, which they believe is adopted by the building, giving its form a uniqueness. Sergison Bates fa- vour the brick as a material, for both its ability to be exact but at the same time inexact. Their thoughts being this brings a further softness and unpredictability to their buildings. Through this inexactness in material exploration they hope to mirror the inexactness of daily life by ‘blurring the boundaries between time and place’4.

As a practice their main concern is how to engage cultural signi cance in construction. They start by observing place, by mediating and transferring memory into the initiators of form making. They have inherited how the Smithson’s refer to the ordinary with tenderness. The condensing of simple elements in the Zurich housing project magni es the everyday experience with a sensitivity to the past. This is summed up well in their reference given in their lec- ture at Harvard GSD to Heinrich Tessenow’s theory that ‘the more we recognise the uniformity of our work and the less we require our work to be entirely new, the more re ned it will be- come’5. He showed how the simple house could be elevated to the simple type, a window becom- ing emblematic. This exploration is a central idea in this suburban housing type.

3 + 4 - Lecture: Jonathan Sergison and Stephen Bates, “On Continuity” Harvard GSD, 2014 5 - Heinrich Tessenow, House Building and such Things

Ground Floor Plan, The Red House in Douglas, 1893 Mackay Hugh Baillie Scott

Second Floor Plan, Mansion Block, London, Sergison Bates

Sergison Bates explore the idea of the quality of the room and moving through deep and del- icate thresholds by transferring ideas of the 19th century and the work of Pieter De Hooch in the Dutch golden age of painting. The painting creates a series of thresholds moving from foreground to background, creating a feeling great depth. The architects also refer- ence Baillie Scott’s own home ‘The Red House’ in their thinking behind the value of the middle room. Baillie Scott describes his plan as an ‘unfolding story’1, a laying of rooms. By utilising a room with no immediate obvious use, a private lobby or hall space, it cre- ates ‘spacial luxury’2 and an interconnection through the lateral living space. Even in the smallest studio apartments in the Zurich housing project, the architects have deepened the threshold between the semi-public to private space.

These ideas are carried throughout their work. In a similar project in London, the apartments have multiple interconnected spaces, these have an adaptability of use to suit the users needs. This instinctive forming of space from the inside creates a casual but highly controlled layout.

1 - Houses and Gardens, by M. H. Baillie Scott 2 - Lecture by Stephen Bates, Sergison Bates architects, Centre for Fine Arts, Brussels, 07.10.2015

Heinrich Tessenow Project for a Single family house, 1913

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Ground Floor External Brick

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Comparing the project to a very similar building and analysing the common moments:

Locations

Urban villas, London, UK, 2008

Both buildings are located in outstanding areas of the cities in which they are settled. They are both placed in residential areas, which also has a lot of other dwellings around.The locations are very convenient.Some transport lines pass near this place, and it is not far from the city centre. There are also many green spaces around: parks,small gardens.

Sergison Bates architects This design required the entire redevelopment of a civil part of the site in north London on the corner of Finsbury Park.

Three different urban dwellings of varying height are designed around the distributed location, extending the typology of villas on Seven Sisters Road, moreover presenting forty-four one- to four-bedroom apartments for different occupants.

The constructions hold firm and stable: brick walls are designed in landings connecting full-height window arrangements with the construction of concrete slab and columns.

The gentle styles of windows and setbacks advise awareness with the surroundings and give the buildings an insight of stability implicative of the nineteenth-century villas that live in this region of London.

This building is a great example to compare with the precedent study: the same architectural company and very similar designs and functions.

But there is always a difference. The climate and the surrounding areas in Zurich and London are very similar, so that might be the reason for using similar materials and shapes of the building to fir into the neighbourhood.

Bahnhaldenstrasse 29,Seeback,Zurich,Switzerland.

Urban Housing Finsbury Park,Seven Sisters Road, London,UK.

Plans and circulations in the building

Circulation in the building Living spaces

As can be seen from the plans, the circulations of the buildings take place in the centre. According to the plans of the buildings in Zurich, it is clear that the structures are different, one is slightly smaller than the other one, and they seem to look in other directions. At the same time, the buildings in London are almost identical and somewhat little different in volume. Both of these projects are very similar in their layouts and volumes,in the ways they are organised from the outside and inside, tho the projects are located in different countries,they represent similar architecture and planning ideology.

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Bahnhaldenstrasse 29,Seeback,Zurich,Switzerland.

Urban Housing Finsbury Park,Seven Sisters Road, London,UK.

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Stepney bank

city grain

group work

Group work

Author’s work

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1:2500 SCALE Greenspace

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1:2500 SCALE

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Common pedestrain routes

Main road A193

Common vehicular routes

Metro Newcastle -Coast

Railway Newcastle-Edinburgh Bricks

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Stone

Other

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Stepney Bank - Historical Site Research

Ouseburn Valley has been a key industrial area of Newcastle since the early 1600s but became a much more prominent part of thecoal, shipbuilding and milling industries in the latter half of the 19th century. In recent decades the area has become a hub of culture and creatives with spaces for musicians and artists.

1:2500 SCALE Grade I listed building Grade II listed building

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Stepney Bank - Historical Site Research

Our site was part of the Brown Jug Yard, names after the public house “The Brown Jug” that stood there before it. The Brown Jug yard homed families as well as shops and businesses. The Families who occupied the yard were reportedly very poor and lived in less than ideal living conditions.

This building was used as a warehouse space for a few decades before becoming vacant. In 2006 a community bassed cinema “The Star And Shadow” took over the premise before moving on to a new location in 2015.

There are currently plans for demolition of the entire site to make way for an apartment building houing 138 flats. This has would match the trend in the area of former industrial sites making way for student and private accommodations. However the project seems to be currently halted as planning permission was denied.

“Demolition of vacant commercial and industrial buildings and erection of 138 residential apartments (Class C3) with communal spaces, landscaped courtyard and below ground level car parking (68 spaces)

One of the businesses was a small shop owned by a Bella Charlton, she used to sell groceries and secondhand furniture, however as many of the locals were in financial difficulty, she would sell many good “on tick” and the money owed by customers would be noted down in a ledger. In the last few decades before its demolition part of the yard was used as a saw mill.

Site Bounded By Crawhall Road, Stepney Bank And Coquet Street Newcastle upon Tyne Application Received - Tue 01 Mar 2016 Application Validated - Fri 18 Mar 2016” Our site lies on an area believed to be part of the route Hadrian’s wall took when built in the 2nd century. Extensive testing and reports done as part of the planning process for the new build confirm this as well as investigating the proximity of the Victoria Tunnel which also lies under the site.

“10.0 CONCLUSIONS CONCLUSIONSAND RECOMMENDATIONS AND RECOMMENDATIONS AND RECOMMENDATIONS 10.1 The archaeological evaluation carried out at Crawhall Road, Byker, Newcastle upon Tyne has shown the potential for significant archaeological remains to survive within the site, including denuded remains of the Wall itself and a well-preserved section of the associated defensive ditch. Other possibly early features included a pit which conceivably formed part of the defensive complex, and a slot of uncertain function or date.

Victoria Tunnel 3e have completed detailed discussion with Newcastle City’s Retained Engineers for the Tunnel, Patrick Parsons Ltd and gained a detailed and clear understanding of the constraints imposed on the proposed piling works adjacent to the tunnel. The current proposed layout incorporates Patrick Parson’s guidelines, and involves significant ground beams to span over the tunnel. It is anticipated that these can be reduced during the detailed design process.

Much of the industry in the area revolved around the transportation of goods to and from the Quayside docks Horse drawn carriages were used which would often wake up the residents of the neighboring tenements on early morning deliveries. The Brown Jug Yard was demolished in the late 1930s and made way for the building which we see remnants of today.

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Urban proposal

Victoria Tunnel Built between 1839 and 1842 the Victoria Tunnel went from the Town Moor to the River Tyne. Leazes Main and Spital Tongues were two of the main coal pits in the area and with the industrial revolution in full swing there was a large demand for coal both locally and nationally. Before the tunnel was built coal was pulled on carts through the streets of Newcastle which was inefficient and slow. Therefore the 2.4-mile tunnel was constructed to improve the efficiency of transport of coal between the pits and the river where it could be loaded onto ships. The downhill gradient of the tunnel allowed a train of loaded wagons to roll from the pits along the tracks and, once emptied, for them to be hauled back up the tunnel by a stationary steam engine. The tunnel was used for just 18 years due to the imminent closure of the pits. In 1939 the tunnel, which had remained intact and unused, was converted for use as an air raid shelter with electrical lights, chemical toilets and bunkbeds installed.

The Victoria tunnel passes directly under our site.

LNER Quayside Branch Railway The Quayside Branch was a ¾ mile freight only section of railway that connected Manors towards the city centre to Hamburg Wharf at the quayside. The curved length of track travelled through a tunnel from manors, coming above ground is Ouseburn and through another tunnel under St Anne’s yard, crossing above the Victoria tunnel before emerging onto the quayside. The Line was eventually closed in 1970 due to a lack of river trade.

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testing 66 testing

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The location of the site is close to the city centre while being close to the local attractions of the city. To be more precise, it is located in Ouseburn Valley, which used to be the Industrial part of the city, and today it is a new modern part of the city where the most creative minds live and work, people of various creative professions and crafts work in this part of the city.

It is a place full of underground and local artists and as I think is a perfect place not only for the building’s functional location, but socially important issues too.

Site

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The zone of the site is located in a very mixed part of the Ouseburn. On one hand we most of the buildings around are student accommodations and local small places, on the other the city stadium, which is the one of the greenest locations of the city is located right behind.Due to that the site is quite and not busy, but still is very close to all attractions of the city.Also the green space behind the site gives the building another meaning and more options of how it can connect people who will be the end users and the nature.

City stadium/ Greenspace

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6

5 3

1

4 2

The site

Sun path

1. Stephenson building 2.The buscuit factory 3.Nido - Stepney Yard - Student Accommodation 4.Ouseburn viaduct with accommodation arc 5.Abodus Portland Green Student Village 6.City stadium

Wind path

Stepney road/Main street

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It is very obvious when walking around Newcastle that mostly there is only one material using in all the buildings which is brick.For centuries and till this day brick is one of the most practical and long lasting material for buildings specifically with the climate of the city.So here in the process of researching more about the site I did a research about the materials around the site and took some photos around the site and did some sketches to again go through the materiality for my project’s future structure and material use.

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Historical function of the site: Shieldfield Board School (1896-1937)- Accommodation for 800-900 scholarsOpened in 1896 with 807 children, 12 classrooms, and infants and juniors separated by floor.Very poor area: Children would take a penny to school everyday for a fund to destitute families in need. School closed in 1937.

British Paints Limited (around 1950’s to around 1980)- The building was used for their research laboratories on the top floor, while the ground floor was a printing department and the worker’s welfare club. Fires were very common in the building due to the resin (used to make paint) boiling over and catching fire. The nearby houses were often evacuated. A large red neon sign for Luxol was exhibited on the south-facing facade and would later be replaced by an Uptin Motors sign.Following an arson attempt on the premises in 1961, the central part of the building was reconstructed as a mono-pitch roofed garage.Paint manufacturing in Newcastle stopped around 1980-1981, rendering the premises obsolete.

Uptin Motors (1988 - present)- The premises became a motor vehicle paint and body shop for Nissan Newcaslte Car Centre and was named “Uptin Motors,” which gave the building its current name “Uptin House.”

Polestar Studios (1990-2011)- Rehearsal studio and recording space for punk band “Penetration” founded under the name “Polestar Studios” housed in southern side of the premises.

Moved out in 2011.

Today, the site is home to a fitness company, a pizza business, some music rehearsal rooms and artists studios, Uptin Motors, and North Wing, which runs training courses and events for the community by the community. The premises are “about bringing people together.”Recently, student accommodation blocks were built on either side of the premises. More recently, A planning application has been approved for the destruction of Uptin House to build more student accommodation.

Many locals are against this project.

Newcastle city map, 1910 © Landmark Information Group Ltd and Crown copyright 2021. FOR EDUCATIONAL USE ONLY.

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As the main part of the project we were required to save one of the parts of the the old site and what is existing there at the moment.In my project I decided to keep 2 main as I think parts of the building; the towers on the sides.For the new building I see them as a connecting point for the old and new in-between. Ruins are a big part of sustainability in architecture.Every year thousands of buildings get totally demolished, when it can be better and more sustainable to try to reuse the parts of the structure that already exists on the place.

Also it is giving another chance to the architecture itself.

It is very important to reflect that idea of multi functional buildings.The site for the project proved through the history that it can be use in different ways.

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James-Simon-Galerie, Museum Island, Berlin

Mies Van Der Rohe

Neue Nationalgalerie,Berlin

David Chipperfield

Illinois Institute of Technology,Chicago

Seagram Building, New York

For almost half a century, the art museum, which opened in, has received visitors, the highlight of which is, first of all, the glass pavilion itself with thin steel columns.

The projects are representing the simple, but iconic, modern architecture I used as my inspiration for my future designs. The use of glass and the transparency connection of the external and internal part of the building gives the buildings another function.

This project was a specific choice as an later on inspiration for the design, as it clearly shows the boundaries or the new and old.Also clearly shows how old and modern can connect and balance between each other.

Most of the gallery is underground and is a gateway to museums on the island, which also houses ticket offices, wardrobes, shops and cafes. The underground gallery is made in a cubic style of glass and steel.

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Owens, M. (n.d.). Revisiting the Work of Architect Mies van der Rohe. [online] Architectural Digest. Available at: https://www.architecturaldigest.com/story/mies-van-der-rohe-critical-biography-book.

81 Davidchipperfield.com. (2018). David Chipperfield Architects – James-Simon-Galerie. [online] Available at: https://davidchipperfield.com/project/james_simon_galerie.

While designing this community, I was trying to connect the main idea of the function and the idea from the architectural perspective. This project gives a chance to the old ruin to develop and become a new modern architecture, and later, it becomes the place where people get opportunities to grow and find themselves. The connection between different zones of the building are planned in a way to create a circular movement inside of the community.In that way to connect the artists, the stuff, visitors of the gallery, attract people passing by the building.

New art community- will be a community for artists located in Ouseburn, Newcastle. The clients for the project are Saatchi Gallery and Art Council England. Clients require spaces for different kinds of artists(art, pottery, sculpture, photography). Those spaces include private and public areas, workshops, private studios, residence and a public gallery with a cafe/bar. The new community aims to create a support program for fresh, unexplored, underground artists to help them learn how to financially support their art and get recognition in the art community. That way, every year, 15 new artists will be chosen to live, work and present their work in the gallery.

This program will help the community to grow and accept more new unknown artists who are struggling to make their talent their main income, for people who are talented but not yet recognised, as the art business is very competitive and cruel nowadays.This project also aims to attract the community to learn more, visit the gallery help to fund the artists, visit artist’s workshops and seminars to learn and help to them at the same time.

In a way, the transparent glass gallery is attrackting the person passing by to look inside, come by to the cafe or visit the courtyard and meet the artists. The goal was to create a place that welcomes everyone to learnt develop, to just have a good time. To create a place where every single person can find themselves.

Employment status: artists and people of crafts in UK

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Site massing development process

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Project evolution

testing initial sketches,ideas

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Zoning I beam structure

The new gallery will use glass and metal I beam frame to create a unique space that connects to the tower’s side. The gallery facade will produce the effect of ‘’transparency’’; it is a sign of new contemporary architecture, The new building on the site will be divided into 3 parts- the gallery, workshops/studios/cafe for artists and residential spaces/common spaces. The central part of the building that will face the street is the gallery space connected with two towers on the sides.

The building has three main purposes that separate it into three units, but they are all related and provided with a central yard in the middle. The community gallery is facing the main street is to attract more people to go inside and get to know the space and the artists who live there. The residential and working areas face the green and quiet part in the back to create and celebrate the balance within the disordered and peaceful nature of the artists.

Massing model development process PV panel use strategies

The residential building is planned with equal spaces for life; they are big enough to have a comfortable life, but still to give the artists the feeling of a temporary place of maintenance, as the community’s program will provide them with a space to live and work only temporary. On the other hand, the working unit is divided into small personal areas to work privately and use it in the way that works for each artist.

As the community also functions as a public space, the gallery and workshops are connected with the cafe/bar between them, where visitors and artists can meet. It is another attraction to the area and the courtyard in the middle where again visitors can look at how the process of work goes and how artists create.

With isolated studio spaces, it is up to them if they want to stay private and work without any disturbance or share with the community members and its guests.

88 testing initial sketches,ideas

89

90 testing structural startegy

91

Ground floor plan

First floor plan

1.Sculptor’s studio 2.Storage room 3.Photo-studio 4.Storage room 5.Darkroom/Editing room 6.Storage room 7.Artist’s studio 8.Storage room 9.Artist’s studio 10.Storage room 11. WC 12. WC 13.Technical room 14.Artist’s studio 15.Storage room

1.Open to below(skylight) 2.Rest room 3.Photo-studio 4.Storage room 5.Artist’s studio 6.Storage room 7.Artist’s studio 8.Storage room 9.Artist’s studio 10.Storage room 11. WC 12. WC 13.Technical room 14.Artist’s studio 15.Storage room

16.Artist’s studio 17.Storage room 18.Kitchen 19.WC 20.Storage 21.Cafe/Bar Kitchen 22.Bar 23.Cafe 24.WC 25.WC 26.Wardrobe 27.Reception 28.Hall 29.Bathroom 30.Flat

16.Artist’s studio 17.Storage room 18.Artist’s studio 19.Storage room 20.Graphic artist’s studio 21.Storage room 22.Open to below(Cafe area skylight) 23.Flat 24.Bedroom 25.Living room 26.Kitchen 27.Bathroom 28.Flat 29.Bedroom

31.Bedroom 32.Living room 33.Kitchen 34.Bathroom 35.Flat 36.Bedroom 37.Bedroom 38.Living room 39.Kitchen 40.Bathroom 41.Bathroom 42.Bathroom 43.Office space 44.Computer room 45.Waiting room

30.Bedroom 31.Living room 32.Kitchen 33.Bathroom 34.Bathroom 35.Bathroom 36.Hall 37.Storage 38.Exhibition Space 39.Meeting room 40.Staff room 41.Changing room 42.Changing room

46.Wardrobe 47.Reception 48.Exhibition Space 49.WC 50.WC 51.Server room

92 testing plans

93

Second floor plan

Third floor plan

1.Flat 2.Bedroom 3.Bedroom 4.Living room 5.Kitchen 6.Bathroom 7.Bathroom 8.Bathroom 9.Flat 10.Bedroom 11.Living room 12.Kitchen 13.Bathroom 14.Flat 15.Bedroom

1.Flat 2.Bedroom 3.Bedroom 4.Living room 5.Kitchen 6.Bathroom 7.Bathroom 8.Bathroom 9.Flat 10.Bedroom 11.Living room 12.Kitchen 13.Bathroom 14.Flat 15.Bedroom

16.Living room 17.Kitchen 18.Bathroom 19.Flat 20.Bedroom 21.Bedroom 22.Living room 23.Kitchen 24.Bathroom 25.Bathroom 26.Bathroom 27.Laundry room 28.Technical room 29.Hall 30.Storage

16.Living room 17.Kitchen 18.Bathroom 19.Common room 20.Bathroom 21.Laundry room 22.Technical room 23.Hall

31.Exhibition Space 32.WC 33.WC 34.Conference room

94 testing plans

95

Section A-A

Section B-B

96 testing sections

97

1:20 Technical Section,Elevetion

testing 1:20 section and elevation

98

99

thinking through making 100

thinking through making

101

In this part of the project, I simply wanted to represent the materials. Through the year I invested so much researching and exploring more and more about them, I got to a new level of understanding the architectural language through the building materials. In my design, I am using the brick as the local and already familiar material of the site, glass, and I beam for mainly the gallery space and some other open area of the building. So this installation is a representation of the material diversity and how they all combine with a piece of nature.

102 thinking through making work process/final result

103

synthesis 104 synthesis

105

As the most interesting part and at the same time complicated part of the project is the gallerywith the old towers.

I wanted to focus more on that part and celebrate that idea and connection of different worlds, but balancing parts of the building.Showing of this image how the exterior and interior of such a structure will connect and work together.

106 synthesis relationship from interior to exterior

107

The first issue that came to my the head is the direct sunlight that goes right inside of the gallery.Natural sun is better in some cases and some spaces, but as a gallery is a space that should be ready for kinds of transformations inside, with the use of natural light, with it too, there should be a solution.In this case the building will have a metal cable blinds system that can block the natural light or control it anytime and also will prevent the gallery space from heating up in a hot day.

108 synthesis relationship from interior to exterior

109

Residential block- living room/ Kitchen

110 synthesis internal image

111

Gallery -the diagram of the stairs and elevator system

112 synthesis internal image

113

Worskshop - sculptor’s studio

114 synthesis internal image

115

Worskshop - painter’s studio

116 synthesis internal image

117

118 synthesis external images

The main facade of the building

119

120 synthesis external images

Residential building and the main enterance to the gallery

121

122 synthesis external images

Residential building and the main enterance to the gallery

123

124

synthesis external images

The outdoor landscaping is intended to form openings of the public realm in the form of courtyards across the site. These spaces are occupied with trees, plants and potential wildlife. In these areas, I have created places to ride a bike, sit and read, meet people and simply get from A to B whilst walking in a safe atmosphere. Those places are also for artists to work outside and enjoy nature. As the community will be a place where the artists work, give lectures, have their own workshops and teach people too, they can move it outside, as the courtyard is designed to be a place to connect different people who live, work or just came to visit the gallery.

125

illustrated diary 126 illustrated diary

127

One of the most important things that happened to me last year and that taught me so much was my internship in an architectural company, “Nariman Architecture”, in Baku, Azerbaijan. Due to Covid-19, I had a chance to work from a distance with them first and moved to work from the office in the summer. While working and learning mostly, I realized how important it is the practice in architecture and how different it is from what we expect. I learned a lot about the technical parts, developed my software knowledge, visited some sites and project environments, went to many meetings with architects, engineers, designers, clients. Learned how to present and act in a professional atmosphere. This amazing experience in a professional environment improved my working skills, creativity, and general knowledge about this field and all that was very helpful this year in all of my modules.

128 illustrated diary

129

This year, I developed many skills, but the one that only developed with me and helped me a lot in developing my designs and understanding my ideas better was sketching. I tried to use different techniques and technologies to improve and test myself to try more and learn more. In my design work, particularly, sketches made my connection with the design and my work development easier; it was easier for me to translate my ideas into the paper. I produced more than 200 sketches this year, from the smallest ones to the ones with details and textures. Later, when I started creating the final renderings of my project, I would see the image through my sketches, so that skill helped me a lot to see further, to keep developing my works.

130 illustrated diary

131

cultural bibliography

132 cultural bibliography

133

appendix

Ever since I can remember myself, I always wanted to become an architect, and when I was a kid it seemed like something very far and not possible.

I want to thank my parents because, without them and their support, this would never have happened.

134 appendix

135

illustration list

6a.co.uk. (2016a). 6a architects – Photography Studio for Juergen Teller. [online] Available at: http://www.6a.co.uk/projects/more/photography-studio-for-juergen-teller.

6a.co.uk. (2016b). 6a architects – Photography Studio for Juergen Teller. [online] Available at: http://www.6a.co.uk/projects/more/photography-studio-for-juergen-teller.

6a.co.uk. (2016c). 6a architects – Photography Studio for Juergen Teller. [online] Available at: http://www.6a.co.uk/projects/more/photography-studio-for-juergen-teller.

AFASIAARCHZINE.COM. (n.d.). 6a architects . Juergen Teller studio . London afasia (4). [online] Available at: https://afasiaarchzine. com/2019/01/6a-architects-15/6a-architects-juergen-teller-studio-london-afasia-4/ [Accessed 7 Jun. 2021].

Anon, (n.d.). Sergison Bates > Suburban Housing, Zürich | HIC Arquitectura. [online] Available at: http://hicarquitectura.com/2019/10/sergison-bates-suburban-housing-zurich/ [Accessed 7 Jun. 2021].

the Guardian. (2019b). Fire sale Britain: Mike Nelson on why he turned the Tate into a big salvage yard. [online] Available at: https://www. theguardian.com/artanddesign/2019/mar/18/mike-nelson-interview-tate-britain-asset-strippers-cement-mixer [Accessed 7 Jun. 2021].

Tumblr.com. (2021). [online] Available at: https://25.media.tumblr.com/7cc7d5b386580dbfc857ede492a5b59c/tumblr_mizswaNYyM1rhgbn2o3_1280.jpg [Accessed 7 Jun. 2021].

Wikipedia Contributors (2019). Cy Twombly. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Cy_Twombly. www.architecture.com. (n.d.). Photography Studio for Juergen Teller. [online] Available at: https://www.architecture.com/awards-and-competitions-landing-page/awards/riba-regional-awards/riba-london-award-winners/2017/photography-studio-for-juergen-teller [Accessed 7 Jun. 2021]. www.wikiwand.com. (n.d.). Wikiwand. [online] Available at: https://www.wikiwand.com/en/Seebach_(Z%C3%BCrich) [Accessed 7 Jun. 2021].

Anon, (n.d.). Sergison Bates > Suburban Housing, Zürich | HIC Arquitectura. [online] Available at: http://hicarquitectura.com/2019/10/sergison-bates-suburban-housing-zurich/.

Anon, (n.d.). Sergison Bates > Suburban Housing, Zürich | HIC Arquitectura. [online] Available at: http://hicarquitectura.com/2019/10/sergison-bates-suburban-housing-zurich/#gallery-3 [Accessed 7 Jun. 2021].

ArchDaily. (2008). Neue National Gallery in Berlin / Mies van der Rohe. [online] Available at: https://www.archdaily.com/3869/neue-nationalgallery-in-berlin-mies-van-der-rohe.

Davidchipperfield.com. (2018a). David Chipperfield Architects – James-Simon-Galerie. [online] Available at: https://davidchipperfield.com/ project/james_simon_galerie.

Davidchipperfield.com. (2018b). David Chipperfield Architects – James-Simon-Galerie. [online] Available at: https://davidchipperfield.com/ project/james_simon_galerie.

Dimitris Lempesis (2019). ART-PRESENTATION: Cornelia Parker. [online] dreamideamachine. Available at: http://www.dreamideamachine. com/en/?p=52348.

Fumarola, C. (2011). New York - Midtown - Seagram Building - Mies Van der Rohe. [online] Flickr. Available at: https://www.flickr.com/photos/ carlofumarola1978/5849259869 [Accessed 7 Jun. 2021].

IGNANT. (2018). Juergen Teller’s Award-Winning London Studio. [online] Available at: https://www.ignant.com/2018/07/25/juergen-tellers-award-winning-london-studio/ [Accessed 7 Jun. 2021].

Johnson, K. (2015). Mike Nelson: “Gang of Seven.” The New York Times. [online] 5 Feb. Available at: https://www.nytimes.com/2015/02/06/ arts/design/mike-nelson-gang-of-seven.html [Accessed 7 Jun. 2021].

Journal, A.S. (n.d.). JUERGEN TELLER STUDIO IN LONDON by 6A ARCHITECTS ( RIBA STIRLING PRIZE SHORTLISTED 2017). [online] Arc Street Journal. Available at: https://www.arcstreet.com/2017/11/juergen-teller-studio-in-london-by-6a-architects-shortlisted-for-riba-londonawards-2017.html [Accessed 7 Jun. 2021]. magazine, H. (n.d.). Cornelia Parker: material memories, exploded objects and sleeping Tilda Swinton. [online] HERO magazine. Available at: https://hero-magazine.com/article/172328/cornelia-parker/.

Magazine, W. (2019). David Chipperfield-designed James-Simon-Galerie opens on Museum Island in Berlin. [online] Wallpaper*. Available at: https://www.wallpaper.com/architecture/james-simon-galerie.

Nelson, M. (2011). Aesthetica Magazine - Re-examined Territories: the British Council present Mike Nelson, Venice Biennale. [online] Aesthetica Magazine. Available at: https://aestheticamagazine.com/re-examined-territories-the-british-council-present-mike-nelson-venice-biennale/ [Accessed 6 Jun. 2021].

Owens, M. (n.d.). Revisiting the Work of Architect Mies van der Rohe. [online] Architectural Digest. Available at: https://www.architecturaldigest.com/story/mies-van-der-rohe-critical-biography-book.

Pablo and Kathrina (2012). Architect: Ludwig Mies van der Rohe. [online] Hello, Architect. Available at: https://helloarchitect.wordpress. com/2012/04/10/architect-ludwig-mies-van-der-rohe/ [Accessed 7 Jun. 2021].

Tate (2011). “Quattro Stagioni: Autunno”, Cy Twombly, 1993-5 | Tate. [online] Tate. Available at: https://www.tate.org.uk/art/artworks/ twombly-quattro-stagioni-autunno-t07889.

Tate (n.d.). Cy Twombly 1928–2011. [online] Tate. Available at: https://www.tate.org.uk/art/artists/cy-twombly-2079. the Guardian. (2019a). David Chipperfield’s Berlin temple: “Like ascending to the realm of the gods.” [online] Available at: https://www. theguardian.com/artanddesign/2019/jul/08/david-chipperfield-james-simon-gallery-berlin-museum-island [Accessed 7 Jun. 2021].

136 Illustration list

137

bibliography

“6a Architects . Juergen Teller Studio . London Afasia (4).” AFASIAARCHZINE.COM, afasiaarchzine.com/2019/01/6a-architects-15/6a-architects-juergen-teller-studio-london-afasia-4/.

“6a Architects – Photography Studio for Juergen Teller.” 6a.co.uk, 2016, www.6a.co.uk/projects/more/photography-studio-for-juergen-teller.

“Aesthetica Magazine - Re-Examined Territories: The British Council Present Mike Nelson, Venice Biennale.” Aesthetica Magazine, aestheticamagazine.com/re-examined-territories-the-british-council-present-mike-nelson-venice-biennale/.

“Aldo Rossi: Critique of the Concept of Context.” No Place without Spirit, 14 Oct. 2016, nulluslocussinegenio.com/2016/10/14/aldo-rossicritique-of-the-concept-of-context/. Accessed 7 June 2021.

ART-PRESENTATION: Cornelia Parker. www.dreamideamachine.com/en/?p=52348.

“David Chipperfield Architects – James-Simon-Galerie.” Davidchipperfield.com, 2018, davidchipperfield.com/project/james_simon_galerie.

Hill, Jonathan. The Architecture of Ruins : Designs on the Past, Present and Future. Abingdon, Oxon ; New York, Routledge, 2019.

“How to Make a Regular & Predictable Income as an Artist.” Artwork Archive, www.artworkarchive.com/blog/how-to-make-a-regular-predictable-income-as-an-artist. Accessed 7 June 2021.

“Illinois Institute of Technology | School, Chicago, Illinois, United States.” Encyclopedia Britannica, www.britannica.com/topic/Illinois-Institute-of-Technology. Accessed 7 June 2021.

“Inside Juergen Teller’s London Studio Designed by 6a Architects.” The Spaces, 20 Oct. 2016, thespaces.com/inside-juergen-tellers-studio-designed-6a-architects/. Accessed 7 June 2021.

Irénée Scalbert, and Thomas Weaver. A Real Living Contact with the Things Themselves : Essays on Architecture. Zurich, Park Books, 2018.

Jodidio, Philip, and Taschen Gmbh. Chipperfield. Köln Taschen, 2015.

Johnson, Ken. “Mike Nelson: ‘Gang of Seven.’” The New York Times, 5 Feb. 2015, www.nytimes.com/2015/02/06/arts/design/mike-nelsongang-of-seven.html.

Macaulay, Rose. Pleasure of Ruins. Lavergne, Tn, Nabu Public Domain Reprints, 2012.

Magazine, Wallpaper*. “David Chipperfield-Designed James-Simon-Galerie Opens on Museum Island in Berlin.” Wallpaper*, 11 July 2019, www.wallpaper.com/architecture/james-simon-galerie.

Masao Furuyama, et al. Ando. Köln Taschen, 2016.

“Only a Third of Artists’ Income Comes from Their Art, Research Finds.” ArtsProfessional, www.artsprofessional.co.uk/news/only-third-artistsincome-comes-their-art-research-finds.

Owens, Mitchell. “Revisiting the Work of Architect Mies van Der Rohe.” Architectural Digest, www.architecturaldigest.com/story/mies-van-der-rohe-critical-biography-book.

“Quattro Stagioni: Autunno.” Obelisk Art History, 2021, arthistoryproject.com/artists/cy-twombly/quattro-stagioni-autunno/. Accessed 7 June 2021.

Rossi, Aldo. The Architecture of the City. Cambridge, Mass, Mit Press, 2002.

Sergison Bates > Suburban Housing, Zürich | HIC Arquitectura. hicarquitectura.com/2019/10/sergison-bates-suburban-housing-zurich/#gallery-7. Accessed 7 June 2021.

Tate. “‘Untitled (Bacchus)’, Cy Twombly, 2008.” Tate, www.tate.org.uk/art/artworks/twombly-untitled-bacchus-t14081.

“Why Retraining Isn’t the Answer for Unemployed in the Arts.” Creative Youth Network, www.creativeyouthnetwork.org.uk/blog/why-retraining-isnt-the-answer. Accessed 7 June 2021.

Zumthor, Peter, et al. A Feeling of History. Zurich Scheidegger & Spiess, 2018.

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139