Ben Franklin Portfolio by PDF Uploads

ben f r ank l i n ar ch i t ec t ure po r t f o l i o s t age I I I we a v i n g i n wa l l s e n d 1

contents Illustrated Reflective Diary

4-7

Project Framing

8 - 45

Project Testing

46 - 81

Project Synthesis

82 - 107

Cultural Bibliography

108 - 111

Bibliography

112

List of Illustrations

114 - 115

Appendices

116 - 121

Content added since formative submissions is marked with a red tab: 2

illustrated reflective diary This past year, as tiring, frustrating, and isolating as it has been, has seen my interest in architecture develop considerably. That is not to say there haven’t been days where I have hated architecture and everything that it encompasses, a feeling sometimes not helped by the fact that I’ve lived with two other architecture students. On the most part, however, having lived with other architecture students has given me a far deeper appreciation for architecture and for engaging in architectural discourse. We have shared problems, propositions, questions, and ideas about our work, about architecture, and about the society to which it is inextricably linked. This relationship between architecture and its societal context has been one of most inspiring and enjoyable themes that I have taken from the Weaving in Wallsend studio. Reading into the context of Wallsend has revealed to me more about the society within which we live. The way that the year has been arranged has allowed me to pursue these inquisitions, with broad themes ranging from austerity to sustainability to disenfranchisement having informed much of the work I produced. I have tried to encompass this within my final building; I wanted to design an architectural response to these social, cultural, political, economic and environmental factors.

This approach has informed much of my thinking over the past year and is a recurring theme in much of my other work. My dissertation, ‘The Isokon Building: A Modernist Ideology and the Vision of Domestic liberation’, explores the emergence of the British Modern Movement and its undermining of architectural style in the pursuit of improving standards of living. The study was centred around the Isokon Building (Lawn Road Flats) in London, one of Britain’s first buildings to conform to the European Modernist ideology. Closely studying the movement naturally had implications on my work, with Modernist design features such as standardisation, economical design, and pre-fabrication present in my finalised project.

Isokon Building Wells Coates Figure 3

two images that summarise the impacts of deindustrialisation in Wallsend. These photographs have been at the forefront of my project. Figures 1 + 2 4

However, since working on the Theory into Practice essay, I have increasingly adopted the attitude that standardisation, economical design and pre-fabrication ‘doesn’t have to be boring, it can be quite romantic’ (Cook, 2019). In the essay, I discussed my perception of architecture as being primarily functional, but not to the extent that it shouldn’t be more than that. I was, ultimately, tired of the Modernist ideology, and in trying to contextualise and justify my position I began to further question it. Traces of this emerged in the essay, but it was afterwards that I became interested in the Archigram movement of the 1960s and the architects that the movement inspired, most notably the work of Richard Rogers. They have demonstrated to me the potential in celebrating the functional components of a building, components that have to be there – boring or not! My Testing and Synthesis work has looked to explore these ideas, with an industrial context equally encouraging me to expose and celebrate the technical components of the building. I established a vibrant colour scheme, and in hindsight I would have liked to further translate this into the finalised building.

Instant City Peter Cook Figure 4 Archigram was an avant-garde architecture movement in the 1960s that produced vivid, neo-futuristic concepts and imagery

My practice had been liberated, in that I have grown to embrace and enjoy the pragmatic elements of architecture, as opposed to dreading them. Throughout Testing, I was designing very much through the lens of technology. The principle of Retrofitting was a positive constraint, in that it provided me with a strict structural grid to work with. Once I had developed a programmatic composition, I then refined the technical strategy in regard to structure, environmental performance and regulation compliance. Working in this way hugely informed my design proposal, and many of the key concepts seen in the Synthesis chapter originated from technical studies. This meant that I was able to enjoy the Integrated Construction module, and incorporate the lessons learned from it back into the design. For instance, the concept of creating smaller insulated studio pods emerged from difficulties in trying to insulate the car park structure. Building within the structure was a rational, low-tech response to the challenges faced, but also one that worked well spatially. Perhaps the most important thing I have learned this year is that, in progressing as a designer, it is important to not settle; not to settle on a particular style, a way of doing things, or an attitude to design. It is important to embrace new ideas and influences, and to absorb the positive elements of different approaches. With this in mind, I look forward to continuing my journey of architectural education and design practice – without trying to pre-define what my position will be and how it is I will get there.

STUDIO 6

insulated studio pod - informed by technology

exposure + highlighting of components in co-working studios 7

project framing

Wallsend

Good transport connections (A193 + Metro) allow for easy reach to Newcastle. Whilst this has its obvious benefits, it continues to diminish the urban fabric of Wallsend. M M M

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Wallsend has increasingly become a satellite town/suburb of Newcastle, meaning much of the potential has been drawn to the city.

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Whilst I still believe the Framing stage to have been a generally accurate investigation into Wallsend and one that resulted in an appropriate brief, I would have liked to further delve into the lives of those that the project would impact. The fact that I had only been able to visit the town once (during the height of the pandemic) naturally has implications on my perception of Wallsend, and perhaps a more intimate study into the context would have strengthened my justifications for the scheme and for the architectural narrative later established in Testing and Synthesis.

The Framing stage was largely centred around developing an understanding of the Wallsend Forum and its role within the local community, with a view to proposing an urban common for the site. Initial readings into Wallsend revealed to me a town deprived, in both the traditional socio-economical sense and also in terms of its identity. Tracing the roots of this became much of my focus, and my research largely suggested that this deprivation stemmed from Wallsend’s radical de-industrialisation during the latter parts of the 20th Century. The decline of industry resulted in the decline of the town, all evidenced by the changing relationship between Wallsend and the Forum. From this, a narrative centred around restoring the identity of the community emerged, and subsequently I developed a brief for a co-workshop facility.

stle a c w e N o m t e t u u o r r n Fo i a m d n a t › e t s e a r t o C S ig h e H n M i L 3 o r t A19 e M ow l l e Y e l t s a c w e ‹N

Wallsend is a large town, situated approximately 5 kilometres to the east of Newcastle upon Tyne and is one of the most significant urban centres in North Tyneside.

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Wallsend Co-Workshop Wallsend Site Plan 0

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Scale - 1:500 when printed at A2

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WALLSEND WALLS | END END | OF | HADRIAN’S | WALL The town and its name derives from the Roman settlement of Segedunum, built in 122 AD to defend the eastern end of Hadrian’s wall. The fort stood for over 300 years, and is still celebrated at the Segedunum Roman Fort & Museum in the town centre.

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‹ Tyne Pride being built in Wallsend, 1970s Figure 5

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Modern Wallsend then developed in parallel with Newcastle’s emergence as a powerhouse of the industrial revolution. Wallsend developed a strong economy based on coal-mining, and later its strategic location on the north bank of the Tyne allowed the area to become one of the World’s most significant shipbuilding centres.

A collage celebrating Wallsend and its rich heritage. The image references the Roman settlement, Wallsend's once innovative infrastructure and the historic Wallsend Boys Club, which has produced dozens of professional footballers including Alan Shearer, Peter Beardsley, Michael Carrick and Steve Bruce. Football is an important part of life in Wallsend!

photographs of Wallsend town centre

Wallsend High Street

Wallsend Town Hall Chambers

The Ritz Wallsend a former cinema converted into a Weatherspoons

Wallsend Memorial Hall

Remains of Wallsend’s industrial heritage

Typical Victorian terraced housing in Wallsend

‹ Group Site Analysis Graphical representation of the recent history of Wallsend, focusing on the impacts of the closing of the mines and the shipyards.

Two photographs of Wallsend. Figure 6 (left) was taken in 1975, figure 7 (right) was taken in 1977 - from the same location. The images show the cataclysmal effects of deindustrialisation in Wallsend and much of the North East. Figures 6 + 7 ›

1975

1977 "DON'T VOTE. PREPARE FOR REVOLUTION"

decline in industry = decline in town

High Street West - late1950s Figure 8

High Street West - 2014 Figure 9

the pull of Newcastle disenfranchisement economic decentralisation political centralisation COVID-19 Wallsend, suffering from austerity policies inequality privatisation outsourcing neo-liberalism deindustrialisation 17

the Wallsend Forum Index of Deprivation Statistic

Overall Deprivation

Ward

Spending/resident (£) on publicly funded infrastructure Spending/resident (£) on publicly funded infrastructure

8/10

Crime Deprivation

9/10

London North-West East of England Yorkshire South-East South-West East Midlands West Midlands North-East

Barriers to Housing and Services

3/10

North-East public funding vs other parts of England

Inside Environment Deprivation (quality of housing)

4/10

DESIGN PRIORITY

Outside Environment Deprivation (air quality + pollution)

2/10

VIABLE + S LLY US A T IC M

Income Deprivation

8/10

Employment Deprivation

8/10

Health Deprivation and Disability

7/10 8/10

1248 614 581 502 474 438 389

The Wallsend Forum exterior Figure 10

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(The Guardian, 2014)

Statistics showing deprivation in Wallsend and its percentile vs other UK wards. (Ministry for Housing, Communities and Local Government, 2019)

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Education, Skills and Training Deprivation

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... And at the centre of it all is the Wallsend Forum, a large retail complex in the centre of the town. Since first opening in1966, the Forum has grown to replace the High Street directly to the South, and while it was once the space around which daily life for Wallsenders revolved, the Forum and its influence has declined. 19

annotated site plan of Wallsend Forum + immediate context 2 8

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Segedunum Way - main shopping route Customer First Centre Shops lining Segedunum Way Forum Marketplace Plaza outside Forum Main shopping streets (East-West axis is main High Street) Car Parking + primary approach Single story car park structure

2 Segedunum Way - main shopping route Customer First Centre 1 Shops lining Segedunum Way Forum Marketplace Plaza outside Forum 3 Main shopping streets (East-West axis is main High Street) 4 Car Parking + primary approach 5 5 Single story car park structure

The1 Forum is located in the centre of Chosen site 2 Customerand First Centre Wallsend, it occupies a "block" that is 3 Segedunum Way defined by roads on three of the four sides. 4 Forum Marketplace To 5theShops North is Elton Street, with housing lining Segedunum Way on the other side of the road. East is Station Road, a busy shopping street and public Wallsend Co-Workshop transport link. To the South is High Street Existing Ground FloorWallsend's Site Plan West, original high street, and to the West in an abundance of car parking, as Scale - 1:750 when printed at A2 well as an Aldi superstore and green space.

Aerial views of the Forum within the urban context Figures 11 + 12

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the development of the Wallsend Forum

Artist’s impression - 1960s Figure 13

1970s Figure 14

1981 Figure 15

1996 Figure 16

2000s Figure 17

2016 Figure 18

the urban common hope for Wallsend The socio-economical decline of Wallsend relates largely to the national shift towards free-market dystopia. Neo-Liberalism has eroded much of what was publicly owned, to the point in which the town square is a regimented entity. The commercialisation of what was once shared has placed it in the hands of a few, and many of our communities have been left behind.

However, the paradigm is changing; a change epitomised by the URBAN COMMON. The notion of the urban common has emerged out of revolt, and it looks to re-empower communities. Sustainability, accessibility, inclusivity, and opportunity are at the heart of the urban common. An urban common might just save Wallsend.

› The Community Bakery drawing is largely based on Big River Bakery in Shieldfield, Newcastle, a small institution integrated into the community through its emphasis on providing training opportunities for young people in the area.

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Hidden Homeless Morris + Company

The Hidden Homeless project embodies the principles of the urban common, and presented to me new ideas of the public sphere. The scheme is mixed-use, opening the building up to be used by more of the community. Co-working and coliving for the homeless are the two primary functions of the building. This flexibility allows the Hidden Homeless scheme to be shaped by the natural processes of the community. Much of the focus of this image is on the relationship between spaces of differing functions and levels of privacy. The ground floor of the building is entirely public, whilst the floors above are essentially domestic.

The architects’ digital representation of the entrance to the co-working space on the ground floor. The building has been retrofitted and originally served as the York Road Tube Station. Figure 19

An exterior view of the repurposed station in London. As well as retaining the existing building, the architects added to it with a vertical extension. Figure 20

COMMUNITY

G Progressive SHOP E XCLUSIVE? CO-WORKING N Financial incentive? S H A R E D T FACILITIES Public Service R Desk space: is it NEEDED? I Multi-functional EDUCATIONAL F Economically OPPORTUNITIES Sustainable I This isn’t London, this is Wallsend E catalyst for change D reflecting on precedent studies + their appropriateness 28 in regard to creating an urban common for Wallsend

response to studies + visual29brief for the design project

research into co-workshop facilities

initial programmatic brief Open Workshop Network, London The organisation promotes London’s open workspaces, which range from ceramics to robotics. The workspaces are aimed to cater for professionals as well as amateurs, and they all attempt to implement a sense of community. The workshops largely identify with the MakerSpace movement, as well as the more technological Hackerspace movement. Figure 21

CO-WORKSHOP for Wallsend is informed by the

Wood Workshop

An open, flexible workshop with the provision of heavy machinery, worktables and light tools. The workshop should be light, comfortable and sociably arranged.

Small Reception

A small reception at the entrance is necessary for the running of the institution. The reception will have a record of bookings, where full-time members can oversee proceedings and distribute keys.

successful aspects of the two major precedent studies, whilst providing a communal facility that relates to the social, economic and historical context of Wallsend.

Working Area

An alternative to the workshop, used as a co-working space either related to or seperate from ongoing projects in the community workshop. The space is quiet, tidy and open.

Communal Lounge

The lounge is fundamental in establishing relationships between members, who come togethor in the lounge as a space for breaks, with a small kitchenette provided.

Storage

A collection of small units, for the storing of ongoing projects in the workshop. Units and lockers are free to use, but most be booked first and are on a first come first serve basis.

Open Exhibition

Both on-going and completed works may be hosted in an open exhibition, acting largely as additional storage space. The space may encourage new members and have a view of the workshop.

Authentic wood carved furnitur e

BUY O NE GET ONE FREE

The NewBridge Project in NewcastleGateshead, an artist led collective workspace for creatives in the region. Figure 22

Your Workshop North East, A traditional, fullyequipped workshop for those who want to make, mend and learn. Figure 23 30

Photography Room

Products may be photographed for members wanting to sell work and financially support themselves. Photographs may also promote the workshop.

Market and Store

A shop selling completed work will provide capital for the organisation and its members, with a weekly market inside the Forum that helps to broaden out to the wider community.

Materials Shop

Within the Forum, materials can be purchased from a dedicated store. A store credit system makes materials more affordable, and vouchers can be obtained by hosting classes.

site specific readings

Site specific section + annotations

1 2 3 4 5 6 7 8

2 1

The car park was chosen for development as it was a largely disused site with high potential. It sits directly to the North of a critical intersection in the shopping centre, and there is an opportunity to integrate with and improve the 'square'. It is also on the side of the primary approach to the Forum, with all parking located on the West. The current entrance to the Forum from the West is uninviting. Green space to the West of the site could be well utilised by any intervention, which should also be considerate of housing directly to the North.

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Chosen Site - currently a one storey car park Customer First Centre Critical intersection in Segedunum Way Forum Marketplace Shops lining Segedunum Way Green space outside site Housing to North of site Primary approach to Forum

Elton Street East

Existing Car Park - (1)

Existing shops - (5)

Atrium - (3)

Unused parking, with 300 x 300mm steel reinforced concrete columns that can be built upon. Structural grid shown in testing*

Retaining shops important in any intervention

Critical intersection

photographs of the specific site

West elevational photograph of site

West elevational photograph of site / Forum entrance

First floor of car park photograph

Ground floor of car park photograph

THEMATIC CASE STUDY a reference on regenerating the post-industrial landscape Hammer-head crane in Wallsend, 1958. Despite being Grade II listed and widely regarded as a local landmark, the crane was demolished for scrap metal in the early 2000s. ‹ Figure 24

FRAC - Lacaton & Vassal how does the case study relate to studio specific criteria 01 (critical spatial practice) Figure 25

informative elements of the FRAC's desin *full report in appendice

emphasis on the public realm

freedom from constraints + adaptable architecture

site specific design

retrofirst

The FRAC has been considerately curated as to allow for a series of public and semi-public spaces, connected through significant thresholds and transitions. The original Halle AP2 building (a converted shipbuilding warehouse) has been almost entirely preserved, but converted into an interior extension of the public realm. Whilst the other spaces are also “public”, the difference is in that the Halle AP2 is not operated by a private entity and is free to be used as the community intends.

In designing the FRAC, the architects Lacaton & Vassal placed emphasis on creating flexible, dynamic spaces, ultimately free from physical constraints. The architects had chosen to preserve the Halle AP2, and rejected the competition’s assumption that the programme of the FRAC would be contained within the building. Lacaton & Vassal, however, considered that working within the building would destroy its most exceptional quality; its sheer openness and flexibility.

Lacaton & Vassal designed the FRAC largely through responding to the possibilities of the site. The form of the FRAC is a replica of the AP2, celebrating the scale and mass of what had become locally known as “the cathedral”. In terms of its arrangement, the two buildings are divided by an “interior street”, which connects the FRAC to the Dunkirk waterfront and utilises the existing bridge as a significant element of the circulation.

In working with and retaining an existing building, Lacaton & Vassal were able to contribute to the growing Retrofirst movement. Whilst the adjoining structure has its own embodied energy related to the production and transport of materials needed for its construction, the preservation of the AP2 makes the building an advocate for environmental sustainability in architecture.

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retrofirst movement

Retrofirst has soared to prominence in architectural discourse in recent years. The movement promotes the re-use of existing buildings, over demolition and reconstruction. This negates the environmental impacts associated with demolition, and reduces that of newbuild construction.

Despite the potential of retrofirst, the approach has not become widely implemented and is still in its infancy. Any project that is able to demonstrate the environmental and economical advantages of retrofitting is advocating for sustainable design.

2/3 of all waste produced in Britain is from construction + demolition*

1/3 - 1/2 of a building’s lifetime CO2 emissions are emitted upon completion*

20% VAT applied to retrofit work 0% VAT applied to new-build construction*

minimising demolition and new-build construction would massively reduce the volume of waste produced by the construction industry

re-using existing buildings (which have already emitted high amounts of C02) instead of demolishing and re-constructing them will cut greenhouse gas emissions

retrofit schemes should be economically incentivised, but current tax models deter the approach. The movement is pushing the UK government to re-evaluate this

*(Architects' Journal, 2019)

framing conceptual design proposal Please note, this is not part of the final output

Please note, this is not part of the final output

framing section

framing masterplan

The long section was a key outcome of the framing stage and provided a basis for the beginning of testing. Whilst the design changed heavily, many of the principles have continued into the forthcoming chapters.

Developing a site masterplan at the end of framing that highlights specific areas targetted and the desire to create a positive interaction with the Forum.

suggesting at spatial / massing volumes, as well as materials and architectural languages

suggesting at priorities in developing a programme

Please note, this is not part of the final output

› Moment of transition between the extended atrium space in the Forum and the workshop should be an area of focus. A material upgrade to the Forum will establish it as a place to meet, as opposed to one for passing through. ‹ An early study into the potential of retrofitting the car park, with an external superstructure + facade visible from inside the converted car park.

- varied programme - non-discriminatory design / circulation - spatial relationships to encourage joining - unpretentious architectural expressionism - self-buildable elements - adaptable in future

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- materiality - retrofitting - self-buildable elements - high performance to reduce running costs - adaptable in future - exposure of services for easy maintainance

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- materiality - exposure of services - exposure of structure - use of celebrated bespoke fixtures - references to industrial building typologies - celebration of contemporary technology

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This tech-centric approach to designing then lent itself to particular modes of working. The design process consisted largely of overlaying tracing paper onto a precise plan and section, and working within the framework; constantly re-considering, re-tweaking and refining. The same structural grid was then applied to the levels above, with columns positioned directly above the existing ones. Whilst other modes of exploration were used, the majority of work produced is these scrappy, crinkled pieces of paper (some of which has unfortunately been lost throughout the year). It is because of this that the Testing chapter has been sub-divided into more manageable components, which roughly translate to; testing a concept, testing spatial compositions, testing a massing, and testing through technology. It should also be noted that the majority of process work has not been included in testing, rather the key moves have been diagrammed to give the reader clarity as to the process.

GE ITA ER

The Wallsend Co-Workshop has been largely designed through responses; to the site, to the brief, and to the non-physical context. Building on the explorations made in Framing, the Testing phase initially prioritised the development of an architectural language, with the emphasis on Retrofit dictating much of the design process. The principle of retaining the structure was contextualised largely by Turner.works’ Peckham Levels, a low-tech retrofit precedent in which a car park has been transformed using vibrant colours and soft materials to create a welcoming (if not a little edgy) atmosphere. I then explored the potential for building upwards from the structure, contrasting the crude ground floor with a lighter, more celebratory vertical extension. The contrast and connection (both technical and spatial) between these two elements would later be explored and turned into a prominent feature.

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project testing

- materiality - high performance (heat, lighting etc.) - retrofitting - discourage commuting to Newcastle - adaptable in future (re-retrofittable) - power generation using workshop waste

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In mind of sustainability, suitability and economy, it was a logical move to retain the majority of the existing structure and work within it. Many of the early design iterations revolved around using the car park as a neutral backdrop, adding softer materials and bolder colours.

Peckham Levels Turner.works Figures 26 + 27

RetroFirst Campaign Architects’ Journal Figure 28

Early Response to site Car park structure retained to host industrial spaces, with elements of the floor slab removed to create double height spaces.

Initial precedent + reference point for an architectural language + retrofit approach. 48

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work within + celebrate the existing structure

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concept testing + developing an architectural language

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It was important to create something industrial and in that sense contextual, but to do this with a view to the future, not the past. Working with exposed engineered timber was a key decision, as it provided a suitable, contemporary response to the physical + non-physical context.

Vitsoe Factory Waugh Thistleton Architects Figure 29

Initial response to the site Retention and re-working of the car park to host more industrial spaces, with more public spaces hosted in the vertical glu-lam extension.

Initial precedent as to the architectural language in the vertical extension. The use and exposure of glue-laminated timber as the primary structural element was something I looked to reproduce and celebrate as a contemporary response to the site and to Wallsend’s industrial heritage.

The connections between the existing columns/floor slab and the glu-lam ones was an area of interest and there was an opportunity for this to be celebratory of the transition to a new structural expressionism.

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expand upwards + contrast with a new architectural language

thinking through making 1:10 scale model of the junction between the concrete floor slab and the glu-lam structure. I chose to model this to explore and express the contrasting qualities of two of the main materials of the building. Whilst the spatial and material qualities are representative of the design language realised in the finalised building, the connections + details developed significantly since the thinking through making process.

initial stages of construction sequence

an accessible and unpretenious interpretation of the high-tech movement

Isometric demonstrating the tech-centric concept; to retain the majority of the existing structure, except for removing elements of the floor slab to create double height spaces (primarily the main workshop). The structural grid is then continued upwards in the form of glue-laminated timber columns + beams.

building services

interactive components such as doors

window + door frames

steel connections

minimial demolition

continue upwards with glu-lam celebrate connections between old + new

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Illustrating the principle of using a refined colour palette to highlight + celebrate connections and details. The main colour coding for the Pompidou is; blue = ventilation, yellow = electrics, green = water, red = celebrated circulation.

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Centre Pompidou Rogers + Piano Figure 30 ECO NO

existing site

A refined, saturated colour palette stems largely from the aesthetics and intentions of the Archigram movement. This project has adopted an approach toned down from this, with a greater emphasis on expressing the natural textures of materials.

testing spatial compositions references to existing site plan and section, with dimensions calculated for structural grid EXISTING ADDITION

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- structural grid retained - appropriate scale for housing to North - desired spatial volumes achieved

Forum atrium

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- Cut through to Forum Services + shops retained

- Forum + Expanded atrium -

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Much of the Testing phase revolved around the existing ground floor plan, the existing section and a roll of tracing paper. The following section of Testing summarises the most significant programmatic iterations that contributed to the development of the final spatial composition. These iterations were tested through physical + digital sketches, as well as physical + digital massing models.

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- only 1 shop retained - poor service access provided to shop - minimal enhancement to Forum - atrium perimeter not fully utilised - Forum entrance not really enhanced - lighting qualities not considered in workshop - lacks space for the entire programme

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existing site

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+ central workshop - more positive engagement with Forum - provision of another shop - entire programme fulfilled - better west entrance to Forum - another shop provided for Forum - better inter-spatial relationships

+ secondary workshops

+ exhibition + forum front

- atrium extension just empty space - lighting qualities not considered for workshop - existing shop removed - vertical circulation a little awkward - lighting not considered for co-working studio - entrance is widened at cost of existing shop

+ forum services + extended entrance

iteration massing model - west elevational view

+ exhibition space + circulation route

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+ co-working studios

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poor integration with Forum; extended atrium unused space

- integration with forum - retention of more shops - balcony overlooking the square - inter-spatial relationships - rational circulation

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- Double Height Workshop Lit with indirect North light

Vertical - Circulation cores

improved integration with Forum; stairs up to balcony overlooking atrium

- Forum + Expanded atrium -

- shop access needs further consideration - workshop - forum axis not welcoming - workshop studios need further refinement - refinement needed for vertical circulation

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celebrated integration with Forum; spiral staircase up to balcony

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‹Handyside Arcade Newcastle upon Tyne, 1967 Figure 31

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Research into the architecture of traditional shopping arcades, such as the Handyside Arcade which was hugely popular prior to demolition, informed many of the spatial ideas regarding integration between the co-workshop and the Forum atrium. Using a balcony helped to create a connection between the two spaces.

+2 61

testing review output please note, this is not part of the final output

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

existing stores retained co-workshop store new cafe, seating in atrium and on balcony above atrium extended new service access provided to existing shops co-workshop reception + check-out for store protected circulation cores gender-neutral wc co-workshop storage photography rooms workshop studios - subdivided double height workshop balcony with cafe seating co-workshop exhibition space communal lounge + hub bookable collaboration / meeting space service access - also serves shops below plant room open plan co-working space

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exploration of roof profiles + west elevational view

simplified progressive iterations

restricted to two levels;

- tested in plan but the removal of a second floor meant there was not enough space for the entire programme.

lack of continuity / rhythm;

- protruding the second floor through the saw-tooth roof form made the elevation feel “clunky”.

Nearby industrial building In regards to lighting, the saw-tooth roof was a logical profile to explore given its benefits in providing consistent light and warmth. The idea emerged from reading further into the industrial heritage of Wallsend, with this particular building having first inspired the idea. The building is located immediately south of the site, and this then became the basis for testing saw-tooth roof profiles.

over-bearing;

- applying the roof profile to the top of the second floor made the building too large for its context.

Industrial Building, Rozenburg Dirksen Windt Architecten Figures 32 + 33 Precedent illustrating notion of continued roof form, flush with polycarbonate cladding

David Brownlow Theatre Jonathon Tuckey Design Figure 34

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primary external material used

visual justification

Photographs demonstrating a lack of visually engaging, high quality materials in and around the Forum

The Viroc cladding panels were chosen in response to the lack of colour and of high quality materials on the exterior of the site. The earthy tones largely nod to the culture of red-brick buildings in Wallsend, as is seen on the image to the right. 68

testing review output please note, this is not part of the final output

Wallsend Co-Workshop

Newport Street Gallery

Newport Street Gallery Caruso St. John Architects Figure 35

West Elevation + Section

Notion of an elevation divided into “compartments”, yet connected through materials and rhythms in the profile 70

- entrance - entrance profile reflecting - entrance profile reflecting atrium profileatrium reflecting atrium repeating polycarbonate detail repeating polycarbonate detail repeating polycarbonate detail

repeating polycarbonate feature on the entrance stairs iteration stairs iteration stairs iteration

refined stairs refined stairs refined stairs

profile + windows profile windows painted+ on bricks profile windows painted+ on bricks painted on bricks

existing brick wall painted to reflect form of entrance + grid of openings

Forum entrance elevation development

Kiln Ouseburn Valley

Connecting the compartments with a common grid and reflecting forms on the brick wall

Simple use of paint on an existing brick wall 73

ECO NO

CELE BR A

forum entrance + extended square profile a reflection of the existing atrium

LY AL IC M

VIABLE + S US T

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post-review development of West elevation - emphasis on Forum entrance

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testing through technology testing of saw-tooth roof profile

760 mm

6075 mm Both saw-tooth roof spans are equal The roof profile was refined in accordance with research into the angles and proportions required for optimum lighting conditions, as well as research into typical structural principles for the typology. The profile was designed in both section and in elevation. Given the decision to use a refined, consistent cladding panel, it was important that they would fit seamlessly with the changing topography of the roof. As such, the saw-tooth roof was designed to fit a proportion of1:7, as is seen in the elevational study. The section was equally (if not more) significant. Working in section allowed for the consideration of lighting conditions, thermal insulation, rainwater drainage, structure (the positioning of and desire to retain existing columns informed much of the roof's design), amongst other factors.

760 mm 760 mm 6080 mm 74

Daylighting performance of sawtooth roofs of industrial buildings Francesco Asdrubali Published reports such as this were hugely informative in designing the saw-tooth roof profile, as well as studies into precedents such as the previously mentioned Vitsoe Factory.

please note, this is not part of the final output

adding to the existing structure to make the car park deck more accessible + welcoming as a public space

IN CL

post-review North elevation testing

+ ACCESSIBLE IVE TO US

3850 mm

Vehicle access Not accessible

Forum entrance

4800 mm

6800 mm

4200 mm

6800 mm

5400 mm

47500 mm Best suited position for a ramp

It was apparent that the best position for an accessible ramp would be along the North elevation. The existing access ramp (left of image) is at a gradient too steep to be accessed by all. Bearing in mind the Forum entrance beside this, the ramp would have 47.5 metres to climb 3.85 metres.

Table 1 - Limits for Ramp Gradients UK Approved Document M

10000 mm

7000 mm +3850

10000 mm

+3500 +3000

+2500 +2000

+1500 +1000 +500

10000 mm

North Elevation + Section

10000 mm

The design of the ramp was driven entirely by the UK Approved Building Document M, which covers the maximum gradient of ramped access to buildings. Table 1 to the right indicates these dimensions. The ramp is sub-divided into sections of 10 metres, which rise 0.5 metres. These are then divided by 1.5 x 1.5 metre landings, again conforming to approved building regulations. The half-way/turning point in the ramp then presented the opportunity to integrate with a staircase on the West Elevation, making a feature of the small terrace. 77

L AL

testing review output

understanding and communicating the process by which the car park would be retrofitted was important as not only a technical study, but also one that would inform the design process in regards to materiality, the possible scale of spaces, and even the spatial composition

existing

partial demolition

in-situ pour

steel connection + glu-lam

sip wall + floor panels

services + finishes

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retrofit detail sequence

Hidden Homeless Morris + Company Figure 36 With reference back to the Hidden Homeless scheme, the idea emerged for creating smaller, contained studios along the North end of the ground floor. This was because of challenges faced in trying to insulate the structure, as the ceiling above was exposed as an external surface. k or w d

oo W

6 r te u p

m Co Entrance

Treated space Untreated space Modular workshops

existing ground floor site plan

project synthesis The Synthesis chapter looks to communicate the final outcome of the design project. During this final stage, much of my focus was on representing the thematic and design narrative that has developed over the course of the year, without detracting from the architectural, spatial and material qualities of the proposed building. In that regard, I have looked to richly inhabit these architectural drawings, so as to show the relationship between and integration of space, materiality, structure and building services. Most significantly, I have looked to demonstrate the dynamics between the user and the building. There has been a relatively consistent approach to the architectural aesthetic of the building throughout the year, and I feel my emphasis on themes such as material contrast and the expression of structure have been demonstrated in the synthesis project. Where possible, I have looked to integrate these themes into the same images, such as in using collaged, saturated material textures within a technically accurate drawing.

In doing so, I have tried to demonstrate the approach I have taken to design this year and my view that all architectural elements are inseparable from one another. I have tried to adopt a mode of representation appropriate to the context of the building and one that rejects the over-reliance on photo (un)realistic imagery within the architectural community. Whilst I feel the representation is appropriate to the intended atmosphere, I would have liked to further enrichen the imagery with more inhabitation and better communicate more recent ideas, such as the use of vivid colours in a coded, consistent manner.

2 1

3 4 5

1 2 3 4 5

Chosen site Customer First Centre Segedunum Way Forum Marketplace Shops lining Segedunum Way

Wallsend Co-Workshop Existing Ground Floor Site Plan 0

Scale - 1:750 when printed at A2

100 Metres

proposed site plan in axonometric view

exterior view

extension of the Forum atrium + masterplan concept of material upgrade

WALLSEND COFFEE CO.

FORUM

Programme

4 4 3

Printer

Laser Cutter

9 6

1 2 3 4 5 6 7 8 9 10

Concrete protected circulation cores Toilet core Central workshop Secondary workshop spaces Storage Workshop store New cafe Existing store New access provided for shops Segedunum Way

Structural grid

Existing structural material - mostly concrete Additional structural material Concrete + Glulam beams

Wallsend Co-Workshop Floorplan: Level 0 0

20 Metres

ground floor circulation

Scale - 1:100 when printed at A0

STUDIO 6

Treated modular studio - proposed Untreated modular studio - proposed The concept for the adaptable and interchangeable modular studios emerged from challenges faced in trying to insulate the existing structure. These studios are largely positioned to the North of the ground floor plan, where the ceiling above is an external surface and not insulated. The idea emerged as a logical alternative to insulating the entirity of the area, whilst also allowing for a natural division of the space into smaller studios. The studios can be assembled, dissembled and adapted according to demand.

U-BUILD System Studio Bark Figures 37 + 38 Precedent + Informer of modular studio concept 90

modular studio 91

Programme

12 1 13

1 2 5 11 12 13 14 15 16 17

Concrete protected circulation cores Toilet core Storage Community lounge Meeting Room/Collaboration space Workshop exhibition Interior balcony overlooking square Shop storage Delivery access Plant room

Structural grid

Existing structural material - mostly concrete Additional structural material Concrete + Glulam beams

Wallsend Co-Workshop Floorplan: Level +1 0

20 Metres

community lounge

Scale - 1:100 when printed at A0

Programme

1 17

1 2 17 18

Concrete protected circulation cores Toilet core Plant room Co-working studios

Structural grid

Existing structural material - mostly concrete Additional structural material Concrete + Glulam beams

Wallsend Co-Workshop Floorplan: Level +2 0

20 Metres

co-working studios

Scale - 1:100 when printed at A0

existing North elevation

proposed North elevation

North Elevation - existing

North Elevation - proposed

b o o k s w a p

Studio 22 Studio

offcuts

waste

No through route

b o o k s w a p

Studio 22 Studio

offcuts

waste

Wallsend Co-Workshop North Section Elevation (New + Existing) 0

Scale - 1:50 when printed at A0 98

10 Metres

West WestSection Section

100

101

West Elevation

102

103

104

105

bespoke knife plate connection 12

bespoke beam to column connection

15 14

8 10 5

6 7

18 6

4 7 3

1 3 4

1 9

Primary

Secondary 106

Tertiary

1 - Glulam column - prefabricated with steel plate incision and bolt incisions. 2 - Steel carriage bolts. 3 - Washer + nut screw onto bolt. 4 - Steel knife plate - holes allign with that of the glulam column. The plate is sealed with the floor slab using an e-poxy resin. 5 - Screws into concrete floor. 6 - Bespoke galvanised steel connection plate. 7 - Glulam beam - prefabricated with bolt incisions. 107

cultural bibliography

I have been keen to diversify my architectural reading over the year, looking to take ideas from various approaches without neccesarily having to conform to sub-categories of design. I have recently been enjoying the Archigram magazines (as and when I can access them), and the more I read about a philosophy considered by many to be overly-elaborate, the more I find parallels with mainstream contemporary architectural discourse. I have also enjoyed reading about more contemporary architecture, with "Everything Needs to Change" stimulating thought in regards to not only architecture but our entire ways of living.

108

Over the course of the year I have indulged in various abstract films and novels, with dystopia and futurism having been of particular interest. Simultaneously, however, I have looked to the comforts provided by films and books that aren't really about anything in particular at all, and I have found great satisfaction in soothing musicians such as Chet Baker and other jazz players.

109

Throughout the year, I have regularly watched short documentaries about architecture and design, often presented by the Architects' Journal and Dezeen. I have often recieved them as small pieces of inspiration at the beginning of the day, whereas more substantial lectures, such as the ones hosted by NUAS, have been inspiring on a much deeper level.

110

The thematic case study reports provided a good opportunity to hear other students' observations in regards to chosen pieces of architecture. There was also a nice range of content, but common themes and recurring architects was a good opportunity to learn about more practices. The thematic case study reports introduced me to some architects that I now very much admire.

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Bibliography Dezeen. (2020). Archigram's Plug-In City shows that "pre-fabrication doesn't have to be boring". [Online Video]. 12 May 2020. Available from: https://www.youtube.com/watch?v=v3HPCarhOyg. [Accessed: 27 May 2021]. Hurst, W, 'Introducing RetroFirst: a new AJ campaign championing reuse in the built environment', Architects' Journal, (2019), in <https://www.architectsjournal.co.uk/news/introducing-retrofirst-a-new-ajcampaign-championing-reuse-in-the-built-environment> [accessed 18 November 2020]. Bingham-Hall, J, (2020) Future of Cities: Commoning and collective Approaches to Urban Space, London: London School of Economics and Political Science. Michael, K, Calzada, I, (2018) Back to the 'Urban Commons'? Social innovation through new Co-operative forms in Europe, Oxford: Urban Transformations. Ministry for Housing, Communities and Local Government, (2019) Indices of Multiple Deprivation 2019: North Tyneside. [ONLINE]. Available at: https://my.northtyneside.gov.uk/sites/default/files/webpage-related-files/2019%20Indices%20of%20Deprivation%20-%20North%20Tyneside%20v2_0.pdf [Accessed 20 March 2021]. Arnett, G, (2014) 'London gets 24 times as much spent on infrastructure per resident than north-east England', The Guardian, 07 August [ONLINE] Available at: https://www.theguardian.com/news/ datablog/2014/aug/07/london-gets-24-times-as-much-infrastructure-north-east-england#:~:text=6%20years%20old-,London%20gets%2024%20times%20as%20much%20spent%20on,resident%20 than%20north%2Deast%20England&text=Other%20projects%20in%20the%20capital,over%2024%20times%20as%20much. [Accessed 23 October 2020]. Asdrubali, F (2003) 'Daylighting performance of sawtooth roofs of industrial buildings', Lighting Research and Technology, 35(4), pp. 343-359 [Online]. Available at: https://www.researchgate.net/ publication/233959827_Daylighting_performance_of_sawtooth_roofs_of_industrial_buildings (Accessed: 3 March 2021). Waugh Thistleton Architects (2018) 100 Projects UK CLT. [ONLINE]. Available at: https://www.thinkwood.com/wp-content/uploads/2019/08/Think-Wood-Publication-100-Projects-UK-CLT.pdf (Accessed: 3rd February 2021). Structural Timber Association. (2018). Structural insulated panel construction. [ONLINE] , UK: Structural Timber Association, pp.1–7. Available at: https://www.mcveighoffsite.com/wp-content/ uploads/2018/08/library_10.Structural-Insulated-Panel-Construction.pdf [Accessed 19 Mar. 2021]. Cederlöf, L., Crocetti, R. and Fonselius, M. (2013). Glulam Handbook Volume 1. [ONLINE] Translated by W. Per Hartfree. Stockholm: Skogsindustrierna. Available at: https://www.woodcampus.co.uk/wpcontent/uploads/2019/05/GLU_HAND_VOLUME-1.pdf [Accessed 12 Mar. 2021].

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List of illustrations Fig 1. Killip, C., (1975) Wallsend housing looking East, 1975. [ONLINE]. Available at: http://www.culturematters.org.uk/index.php/arts/poetry/itemlist/tag/Deindustrialisation [Accessed 16 November 2020]. Fig 2. Killip, C., (1977) Demolishing housing, Wallsend (1977). [ONLINE]. Available at: http://www.culturematters.org.uk/index.php/arts/poetry/itemlist/tag/Deindustrialisation [Accessed 16 November 2020]. Fig 3. Pritchard Papers, (1955) Residents’ cars parked outside the Lawn Road Flats, 1955. [ONLINE]. Available at: https://www.greyscape.com/isokon-and-the-bauhaus-in-britain/ [Accessed 18 January 2021]. Fig 4. Archigram, (1969) Peter Cook, Instant City, 1969. [ONLINE]. Available at: https://www.artforum.com/news/m-acquires-archive-of-experimental-architecture-collective-archigram-78547 [Accessed 1 June 2021].

Fig 19. Morris + Company, (2019) Hidden Homeless Visualisation. [ONLINE]. Available at: https://morrisand.company/work/hidden-homeless [Accessed 2 November 2020] 2020]. Fig 20. Morris + Company, (2019) Hidden Homeless Visualisation. [ONLINE]. Available at: https://morrisand.company/work/hidden-homeless [Accessed 2 November 2020] 2020]. Fig 21. Open Workshop Network, (2020) Open Workshop Network Screen Capture. [ONLINE]. Available at: https://openworkshopnetwork.com/ [Accessed 7 December 2020]. Fig 22. The NewBridge Project, (2020) The NewBridge Project Screen Capture. [ONLINE]. Available at: https://thenewbridgeproject.com/about/visit/ [Accessed 6 December 2020].

Fig 5. Loud, P., (1970s) Tankers at Swan Hunter, Wallsend, 1970s. [ONLINE]. Available at: https://www.peterloud.co.uk/photos/Newcastle/Wallsend/Tyne_Pride.html [Accessed 24 May 2021].

Fig 23. Your Workshop North East, (2020) Your Workshop North East Screen Capture. [ONLINE]. Available at: http://yourworkshopnortheast.co.uk/ [Accessed 6 December 2020].

Fig 6. Killip, C., (1975) Wallsend housing looking East, 1975. [ONLINE]. Available at: http://www.culturematters.org.uk/index.php/arts/poetry/itemlist/tag/Deindustrialisation [Accessed 16 November 2020].

Fig 24. Whalebone, T., (1958) Hammer-head crane at NEM Wallsend 1958. [ONLINE]. Available at: https://www.flickr.com/photos/terry_wha/2234804421/ [Accessed 1 June 2021].

Fig 7. Killip, C., (1977) Demolishing housing, Wallsend (1977). [ONLINE]. Available at: http://www.culturematters.org.uk/index.php/arts/poetry/itemlist/tag/Deindustrialisation [Accessed 16 November 2020]. Fig 8. North Tyneside Council, (1950s) High Street West, Wallsend, late 1950s. [ONLINE]. Available at: http://mytynesidepubs.blogspot.com/p/high-street-wallsend-in-late-1950s.html [Accessed 31 May 2021].

Fig 25. Ruault, P., (2013) FRAC Nord-pas de Calais, Dunkirk. Exterior, November 2013. [ONLINE]. Available at: https://www.lacatonvassal.com/index.php?idp=61 [Accessed 1 December 2020]. Fig 26. Crocker, T., (2015) Peckham Levels. [ONLINE]. Available at: https://turner.works/works/view/peckham-levels-2/ [Accessed 6 May 2021]. Fig 27. Crocker, T., (2015) Peckham Levels. [ONLINE]. Available at: https://turner.works/works/view/peckham-levels-2/ [Accessed 6 May 2021].

Fig 9. Photographs of Newcastle, (2014) High Street West, Wallsend. [ONLINE]. Available at: https://newcastlephotos.blogspot.com/2017/03/wallsend-high-street.html [Accessed 31 May 2021].

Fig 28. Hurst, W., (2019) Architects' Journal Retrofirst Campaign Screen Capture. [ONLINE]. Available at: https://www.architectsjournal.co.uk/news/introducing-retrofirst-a-new-aj-campaign-championingreuse-in-the-built-environment [Accessed 31 May 2021].

Fig 10. Sharma, S., (2016) Wallsend Regeneration Story. [ONLINE]. Available at: https://www.chroniclelive.co.uk/news/north-east-news/changing-face-wallsend-how-area-11744934 [Accessed 26 May 2021].

Fig 29. Lindner, D., (2017) VITSOE SYSTEM THINKING - Waugh Thistleton. [ONLINE]. Available at: https://waughthistleton.com/vitsoe/ [Accessed 20 May 2021].

Fig 11. Google Earth, (2021) Google Earth Screen Capture. [ONLINE]. Available at: https://earth.google.com/web/@54.99141046,-1.53487619,26.41563643a,422.80864154d,35y,70.05067483h,55.32176278t,-0r [Accessed 28 May 2021]. Fig 12. Google Earth, (2021) Google Earth Screen Capture. [ONLINE]. Available at: https://earth.google.com/web/@54.98981508,-1.53548864,26.90360123a,514.28376565d,35y,25.66032626h,50. 87811995t,-0r [Accessed 28 May 2021]. Fig 13. Chronicle Live, (1960s) Wallsend Forum, artist's impression, 1960s. [ONLINE]. Available at: https://www.chroniclelive.co.uk/whats-on/shopping/gallery/wallsend-forum-shopping-centrecelebrates-12246821 [Accessed 21 May 2021]. Fig 14. Chronicle Live, (1970s) Wallsend Forum, 1970s. [ONLINE]. Available at: https://www.chroniclelive.co.uk/whats-on/shopping/gallery/wallsend-forum-shopping-centre-celebrates-12246821 [Accessed 21 May 2021]. Fig 15. Chronicle Live, (1981) Wallsend Forum, 1981. [ONLINE]. Available at: https://www.chroniclelive.co.uk/whats-on/shopping/gallery/wallsend-forum-shopping-centre-celebrates-12246821 [Accessed 21 May 2021]. Fig 16. Chronicle Live, (1996) Wallsend Forum, October 1996. [ONLINE]. Available at: https://www.chroniclelive.co.uk/whats-on/shopping/gallery/wallsend-forum-shopping-centre-celebrates-12246821 [Accessed 21 May 2021].

Fig 30. Noble, D., (1978) Centre Pompidou. [ONLINE]. Available at: https://www.rsh-p.com/projects/centre-pompidou/ [Accessed 23 May 2021]. Fig 31. Morton, D., (1967) Newcastle's Handyside Arcade, July 1967. [ONLINE]. Available at: https://www.chroniclelive.co.uk/news/history/newcastles-handyside-arcade-during-summer-13355655 [Accessed 1 June 2021]. Fig 32. de Wit, R., (2019) Industrial Building / derksen | windt architecten. [ONLINE]. Available at: https://www.archdaily.com/924615/industrial-building-derksen-windt-architecten [Accessed 18 May 2021]. Fig 33. de Wit, R., (2019) Industrial Building / derksen | windt architecten. [ONLINE]. Available at: https://www.archdaily.com/924615/industrial-building-derksen-windt-architecten [Accessed 18 May 2021]. Fig 34. Stephenson, J., (2021) David Brownlow Theatre by Jonathan Tuckey Design. [ONLINE]. Available at: https://www.architectsjournal.co.uk/buildings/building-study-david-brownlow-theatre-byjonathan-tuckey [Accessed 23 May 2021]. Fig 35. Scott, A., (2015) Newport Street Gallery by Caruso St John. [ONLINE]. Available at: https://www.adamscottimages.com/blog/2015/10/14/newport-street-gallery-by-caruso-st-john [Accessed 23 May 2021]. Fig 36. Morris + Company, (2019) Hidden Homeless Visualisation. [ONLINE]. Available at: https://morrisand.company/work/hidden-homeless [Accessed 2 November 2020].

Fig 17. Chronicle Live, (2000s) Wallsend Forum, 2000s. [ONLINE]. Available at: https://www.chroniclelive.co.uk/whats-on/shopping/gallery/wallsend-forum-shopping-centre-celebrates-12246821 [Accessed 21 May 2021].

Fig 37. Studio Bark, (2020) U-Build consists of flat-pack modular boxes which can easily be disassembled and reconfigured. [ONLINE]. Available at: https://www.forbes.com/sites/ roddyclarke/2020/01/23/the-modular-building-kit-you-can-have-delivered-to-your-door/?sh=6616880f1f8b [Accessed 25 May 2021].

Fig 18. Chronicle Live, (2016) Wallsend Forum, 2016. [ONLINE]. Available at: https://www.chroniclelive.co.uk/whats-on/shopping/gallery/wallsend-forum-shopping-centre-celebrates-12246821 [Accessed 21 May 2021].

Fig 38. Studio Bark, (2019) It relies on a flat pack kit that can be assembled into a variety of different building frames. [ONLINE]. Available at: https://www.dezeen.com/2019/05/10/ubuild-studio-barkmodular-architecture/ [Accessed 25 May 2021].

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Appendices - Process work

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