Beth Rungay Portfolio by PDF Uploads

BETHANY RUNGAY City Ruins

Academic Portfolio 170391261 Jack Mutton & Harriet Sutcliffe

Stage III 2020/2021 Newcastle University 1

School of Architecture, Planning and Landscape

Contents Illustrated Reflective Diary

4-5

Project Framing

6-43

Project Testing

44-81

Thinking Through Making

62-65

Project Synthesis

82-115

Bibliography and List of Figures

117-119

Cultural Bibliography

121-127

Appendix Process work

129-135

RCA Sackler Building Case Sudy

136-241

Thematic Case Study Report

143-191

Other modules submitted separately: ARC3013 Architectural Technology - Integrated Construction ARC3014 Professional Practice and Management ARC3015 Theory into Practice ARC3060 Dissertation in Architectural Studies ARC2001 Architectural Design - Academic Portfolio

Additional work from after the review Collaborative / group work Taken from ARC3013 Architectural Technology module

Illustrated Reflective Diary Upon reflection of my final year of study at Newcastle Univer- myself going back to in both the Testing and Synthesis stages to sity, the studio ‘City Ruins’ and the themes associated with it en- help inspire development. abled me to push my final outputs into the direction where they sat in a professional and theoretical context. City Ruins is heavily

A more studio specific objective was the focus on tectonics and

focused on the surrounding context of Newcastle-Upon-Tyne and façade studies. Although in discussion throughout the academic its historical narrative that creates the architecture that we are sur- year, this was looked at more specifically in the Synthesis stage of rounded by today. Highlighting the importance of process through

the year. It involved the process of using our initial observations

research and the exploration of materials, we were able to create to create unique facades upon our building through models and schemes that are contemporary yet not isolated in time.

diagrams. I feel my project expresses these objectives; however, I am aware that this area of work needs development. Creating a

A key objective for both the studio and the wider Stage Three brief

1:20 model rather than a drawing would’ve enabled me to develop

was a focus on sustainability and context. Through City Ruins,

a deeper understanding of the connection between the façade and

ARC3015 Theory into Practice and ARC3013 Architectural Tech- the spatial qualities of my project. Alongside this, looking back nology, I was able to consider the place of ruins within Newcastle

through my work I think continuing to produce more abstract art-

and evaluate the theory of preservation. These design decisions work in relation to ruins could have been a helpful tool in order were then adjusted to the needs of creating a more sustainable to have new forms of inspiration to drive my project into more design through the process of re-use and adaptation. As a result, specific directions. and a combination of these modules specifically, the outcomes of my graduation project have led to a creation of rich architecture, The additional modules undertaken this year were all challenging layered with history and instilled with a sense of place.

in their own way. Having to apply knowledge to our own buildings has not been as extensively covered prior to this year, but I

Most noticeably in the Framing stage of the year, the Ruin Lust

feel that this pushed me into having a much better understand-

assignment essentially became the driving point for my project. ing of the wider industry of architecture. The ARC3015 Theory Having the site in close proximity meant that explorations could

into Practice was considerably helpful in understanding the theory

be taken to document parts of the city that possessed ruinous qual- of preservation. More extensive research around our studio topities. Alongside this, a heavy focus was put on studying artist’s work

ic inspired me to consider new ways of re-designing a building

to inspire and enable me to create my own understanding of ru- to accommodate for the new scheme yet still respecting the ruin ins and architecture in a more conceptual form. Initial studies of

from before. The ARC3013 Architectural Technology was daunt-

textile artists Anni Albers and Peter Collingwood pushed me into

ing at first, since our designs had to be altered to accommodate for

creating conceptual pieces of art that responded to my preliminary

the technology requirements. However, I found this a helpful task

interpretations of both ruin and ruin lust. These artists were espe- since I feel my approach to design since considers all factors rather cially helpful in the process of producing two outcomes that both than solely on how the building looks aesthetically. focused on old and new architecture coming together seamlessly as one form. The produced model and prints provided a rich source Despite this year being challenging due to the COVID-19 panof work that was used continuously throughout my graduation

demic, it has continued to push me out of my comfort zone and

project. As such, the narrative of the scheme evolves and progress, show resourcefulness throughout my time at Newcastle University. yet still maintains a direct link to the initial observations made of

I am looking forward to the next stage of my architectural career

the studio and wider context at the start of the year. I feel this was

and feel that I am ready to apply everything I have learnt over the

a successful part of my graduation project and something I found

last three years.

Project Framing Ruin Lust three-dimensional outcome Within the City Ruins studio, Project Framing was approached from a more abstract and artistic perspective. The Ruin Lust project was a rewarding exercise as it pushed me out of my comfort zone into creating abstract pieces of art that encapsulated my interpretation of architecture that possessed ruinous qualities. A helpful tool of this exercise was the extensive studying of various artists, and more specifically Anni Albers and Peter Collingwood. Artist inspiration was a large part of the framing as it enabled me to create both my two-dimensional and three-dimensional outcomes. The Ruin Lust outcomes have been a large part of my project as I have been able to refer back to them at each stage of the project and also apply them to other modules. They allow for the constant link back to my initial observations of the

Ruin Lust two-dimensional outcome

studio key themes. Framing also involved the very early stages of the design process, and was a fun and experimental part of the project since this stage is informal. Reflecting on this stage, I think I could’ve experimented more with placing the Ruin Lust outcome into the site to try and get different massings and therefore creating more choice, as I feel I look at the site in 2-dimension for longer than was needed.

Additonal work produced after the Staging Review Collaborative work Programmatic summary diagram layering Ruin Lust oucome

Ruin Lust Project Framing - An inquiry into understanding City Ruins within Newcastle-upon-Tyne Throughout Semester 1 and the framing phase of the project, as a studio we analysed and depicted our own understanding of what ruins defines as. The project Ruin Lust involved a two-dimensional and three-dimensional outcome that responds to our own interpretations of the term. This was done by initially observing the city through sketching and photography.

Before analysing the wider city of Newcastle-upon-Tyne and it’s ruinous qualities, I produced a sketch to inform my very first initial respone to the studio brief.

This initial observation studied Ouseburn Viaduct from different periods of time, overlayed, to see if there were any contrasts or similarities. Differences such as surrounding infrastructure and typography have changed, however the bridge remains and is still seen as an iconic monument within Newcastle.

This sketch began to inform my inquiry into architecture overtime, and the interconnection between ruins and modern day architecture throughout the larger scale of the city.

Ruin Lust Project Framing - An inquiry into understanding City Ruins within Newcastle-upon-Tyne These sketches highlight my initial reponse to ruins within the wider context of Newcastle. Although these sketches have been drawn in different locations within the city, they all capture the contrast between architectural languages. However, when observing these areas intially, I found that the different forms are difficult to distinguis unless looked at closesly. This is because the architecture that displays ruinous qualities and the more modern architecture seamlessly intertwine to create one form. This task allowed me to create an understanding of our studio brief within a wider context.

These drawings used a combination of pencil, charcoal and pen to highlight the contrast between architectural languages.

Sketch drawn of Newcastle Quayside

Sketch drawn of connection between Hadrian’s Wall and China Town

Sketch drawn of connection between Hadrian’s Wall and terrace houses

Ruin Lust / Peter Collingwood Project Framing - Artist inspiration “His technical and aesthetic innovations have been appreciated around the world, most notably in his Macrogauze wall-hangings, in which his traditional skill and visual abstraction work in perfect harmony” - The Guardian, 2008

Figure 2: Peter Collingwood / Microgauze installation

Figure 1: Peter Collingwood Following the initial observations of ruins within Newcastle, studying the work of artists pushed us into creating unique abstract outcomes that would guide us through the project and be used to inspire design descisions.

Peter Collingwood was the pe-eminent British artist weaver of the past 50 years. His technical and aesthetic innovations have been appreciated around the world, most notably in his Macrogauze wall-hanging, in which his traditional skill and visual abstraction work in perfect harmony.

In response to this, I created a three-dimensional outcome inspired by Peter Collingwood. The contrasting cross-stitch thread intertwined with eachother represents the juxtaposition between old and new. The black thread symbolises the ruin and the white thread depicts how the city has been constrcuted around the pre-existing language. Figure 3: Peter Collingwood / Microgauze installation

Ruin Lust / Anni Albers Project Framing - Artist inspiration “Hers was a fight against restrictions and restraints: being forced into weaving, having to work within the narrow lines of the loom, living in the shadow of her husband. And at every turn, she weaved her own magic and triumphed.” - Time Out

Figure 5: Diagram relating to modified and composite weaves, c.1965. Black masking tape and pencil on gridded paper, 21.7 x 27.9 cm

Figure 4: Anni Albers

Another influence upon my Ruin Lust outcomes was the work of Anni Albers. Anni was a

Figure 6: Image courtesy of the Josef and Anni Albers Foundation/Art-

textile designer, weaver, writer, and printmaker who inspired a reconsideration of fabrics as

ists Rights Society (ARS), New York/DACS, London

an art form, both in their functional roles and as wall hangings. She uses striaght lines and solid colours to make works on paper and wall hanging devoid of representation.

In response to this, I created a two-dimensional outcome that continues to analyse the ideas of old and new interconnecting. This series of prints uses various line weights to create simple and verticle lines at varied spacing. When layering the lines, it becomes harder to distinguis a specific form, leaving the reader up to their own interpretation of the message. The sharp border represents how the build-up of forms, or in the case of my inital observations, the build up of architectural languages, creates one form overall.

Figure 7: City, 1949, by Anni Albers. Photography: Tim Nighswander / Imaging4Art. Courtesy of The Josef and Anni Albers Foundation, Bethany CT. © The Josef and Anni Albers Foundation, VEGAP, Bilbao, 2017

Ruin Lust / Three-dimensional outcome inspired by Peter Collingwood Project Framing - An inquiry into understanding City Ruins within Newcastle-upon-Tyne

In response to Peter Collingwood’s artwork, I created a three-dimensional outcome inspired by Peter Collingwood. The contrasting cross-stitch thread intertwined with eachother represents the juxtaposition between old and new. The black thread symbolises the ruin and the white thread depicts how the city has been constrcuted around the pre-existing language.

Ruin Lust / Two-dimensional outcome inspired by Anni Albers Project Framing - An inquiry into understanding City Ruins within Newcastle-upon-Tyne

Homework / RCA Painting School Project Framing - Investigation into the nature of spaces for living and working

The Sackler Building Haworth Tompkins London, 2009

1:1250 Site Plan

The new Painting School is the first phase of a major new campus for the Royal College

Site

of Art in Battersea and provides new purpose-made accommodation for all the Painting

Residential

students at the Royal College of Art to work together under one roof for the first time

Education

in over 10 years.

Retail Green space

The project is a conversion of a single-storey factory building, which has been

Brownfield

transformed into a series of new daylit spaces under a dramatic new roof form. The

Mixed use

new inserted structure provides the dual role of bracing the existing perimeter walls, as well as providing the free spans necessary for the large studios, and sits above the datum created by the existing brick walls. Shiny, metallic and industrial it contrasts storngly with the brickwork of the base. * Text referenced from https://www.haworthtompkins.com/work/rca-painting-school

Homework / RCA Painting School

The new roof expresses the form of the northfacing roof lights but is predominately mute,

Project Framing - Investigation into the nature of spaces for living and working

revealing little secondary scale or articulation. A metal profile was chosen to reinforce this concept, to capture light in a uniform way, and to enable the suppression of panel joint lines into a uniform homogenous surface.

North facing sky lights The brief was to create contemporary purpose-built studios that matched the quality and character of the very best traditional painting studios in London, such as generous Victorian studios at the Victoria and Albert Museum (V&A) which were previously occupied by the RCA, and the inspirational spaces by Sydney Smirke and Norman Shaw at the Royal Academy.

Connection of materiality

*Edited for portfolio by author.

City Grain / Site analysis

Routes Common pedestrian routes

Project Framing - Understanding the surrounding context of Ouseburn, Newcastle

Main road A193 Metro / Newcastle - Coast Railway / Newcastle - Edinburgh Common vehicular routes

Green Space Green space

Materiality Stone Brick Other

Historic Buildings Grade II listed

First Floor Plan, 1:200 1:5000 Site Plan

1:200

13; Private Studios 14; Exhibition 15; Two-bedroom ﬂat 16; One-bedroom ﬂat *All diagrams at 1:2500 scale

City Grain / Functional Brief

After studying the work of both Peter Collingwood and Anni Albers, it inspired me to create a textiles based studio. In discussion

Project Framing - Considering the requirements for a textiles weaving centre in Ouseburn

provide live-work spaces for a community of textile-based artists along Stepney Bank, in Ouseburn. It will offer a series of studio,

it was brought up that there was limited access to textile facilities and workshops within Newcastle. Therefore, the building will

workshop and exhibition spaces alongside residential units that offer affordable, long term accommodation. The building also

This series of small drawings highlight the key spaces needed in order to fit the brief.

features a cafe and spaces for the artists to teach and educate members from the general public. This integration will create a sense of community and will contine to contribute to the creative industries of Ouseburn.

a space to work and collaborate

a space to exhibit

a space to teach

a space to relax and dine

a space to live

an outdoor space

*Edited for portfolio by author.

City Grain / Stepney Bank Project Framing - Analysing the site and “ruin”

Connection between masonry and steel

South facade

‘Peeking’ into the external courtyard

Main entrance on curved masonry wall

Masonry wall and pitched aluminium roof

Mural

My site for this project is situated along Stepney Bank. The site boundary consists of a building that covers the entirety of the site itself. It combines a masonry brick facade with an industrial roof that connects to the masonry wall and covers the remaining of the site. The building was last used by the Star and Shadow Cinema but is now derelict and is showing a degree of dilapidation.

1:500 Site Plan

*Edited for portfolio by author.

City Grain / Stepney Bank Project Framing - Analysing the ruin

Ouseburn valley

The Victoria Tunnel / passing directly under our site

Ouseburn Valley has been a key industrial area of Newcastle since the early 1600s but became a much more prominent part of the coal, shipbuilding and the 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 artists and musicians.

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.

City Grain / Stepney Bank Project Framing - Iterative process of developing the scheme

To continue to respond to the studio brief, I experiemented by placing my Ruin Lust two-dimensional print onto the Stepney Bank site plan. This was done to see whether any potential forms could be brough out to help influence the programme summary.

I found this a significant tast going

Concept 1 / chosen concept

forward since the early process enable me to experiment with the form of the building whilst also connecting it back to my initial understanding of ‘City Ruins’.

2D Ruin lust outcome

Concept 2

Concept 3

Simplified Ruin Lust outcome into site

City Grain / Stepney Bank Project Framing - Iterative process of developing the scheme To try and bring out these shapes, I simplified these diagrams which then became the driving force for my programme summary. The initial programme summary shows the entrance of the building at the curved masonry wall, where the entrance of the pre-existing building originally was. The studios are situated at the north of the site to allow for maximum natural day light. The residential units are at the south of the site to allow for bright open living spaces.

Programme Summary - iteration one

First Floor Plan, 1:200 0

Programme Summary - iteration two

The ‘Masterplan’ 1:200

13; Private Studios 14; Exhibition 15; Two-bedroom ﬂat 16; One-bedroom ﬂat

City Grain / Stepney Bank Project Framing - Iterative process of developing the scheme Following the chosen master plan of the site, I developed a 1:1000 initial ground floor of the building to try and understand how the spaces would connect internally.

The ‘Masterplan’

First Floor Plan, 1:200 1:1000 Initial massing masterplan

6 1:200

13; Private Studios 14; Exhibition 15; Two-bedroom ﬂat

City Grain / Stepney Bank Project Framing - Diagrammatic analysis of framing stage programme

Zoning Private Semi-private Public

1:1000 Urban grain diagram

Routes Routes towards building Routes inside building

‘an outdoor space’

‘a space to teach’

‘a space to live’

- public workshops to teach members

- residential units for craftspeople

of the public

- north-south facing

- ground floor access

- views onto courtyard

- views onto the courtyard

- large comfortable spaces

- large courtyard - planted to enhance local ecosystem - areas to sit and take a break from

‘a space to relax and dine’

urban surroundings

- large open space - views onto courtyard - enclosed from the ‘city’

‘a space to work and collaborate’ - textile design studios for craftspeople

‘a space to exhibit’

- north facing for optimum daylight

- approachable curved masonry wall

- distinct private and collaborative spaces

entrance

- views onto courtyard

- large open space to exhibit tapestries

- utilising existing roof of building

- tall ceilings - access to cafe - roof undecided at this stage

Axonometric of initial massing responding to the requirements of the functional brief

Project Testing

For Project Testing, the urban proposal that had been identified within the framing part of the project were developed to create a building that accommodates a programme of housing, creative studios, shared resources and a public gallery space. Through an iterative process, the design of the building developed more specifically to form and function. Using what I had learnt in framing ensured that my design was consistently referring back to my Thinking Through Making outcome

initial observations whilst developing the scheme so it acknowledges the social and political context. Dovecot studios and Newport Street Gallery were heavily influential precedents that I referred back to and these helped making design decisions. During the testing phase of the project, I also carried out my ARC3013 technology report which continued to shift my design to accommodate aspects of the scheme that we had not yet considered prior. This ensured that my building was understood structurally and would be safe in an emergency. An area of development throughout this stage of the project would have been to be more experimental in the “developing the function” stage of the project. The studios and exhibition spaces are large and could have been split up even more to create interesting atmospheres.

Additonal work produced after the Testing Review Work taken from ARC3013 Architectural Technology - Integrated Construction

Approach towards the building entrance

City Building / The Ruin Project Testing - Developing a scheme that accommodates the craft, yet respects the ruin

Starting the Testing project and taking into consideration the progress made within the Framing stage of the project, I went back to analyse the pre-exsiting builidng that currently occupies the site.

Anlaysing the pre-exsiting building and key areas which I aim interested in restoring/reusing enabled me to start considering how I could develop the form and the function of the building whilst still respecting the ruin.

First Floor Plan, 1:200 0

1:1000 Initial massing masterplan 6

1:200

13; Private Studios 14; Exhibition 15; Two-bedroom ﬂat 16; One-bedroom ﬂat

City Building / Developing the function Project Testing - Analysing architecture that accommodates the craft, yet respects the ruin

Dovecot Studios Malcolm Fraser Architects Edinburgh, 2006

Figure 8: Large open space studios with double-height ceiling and mezzanine floor

Figure 7: Exterior perspective A main precedent for helping to design for the function of the building was Dovecot Studi-

Figure 9: Studio space before renovation

os in Edinburgh. Dovecot studioes was initially the Infirmary Street Baths, in which is was converted into a tapestry weaving centre.

The architects had the challenge of preserving the pre-existing building and enhacing the building’s historical significant. The new building configures to the previous forms of the building whilst accommodating for the craft in a more suitable manner.

Figure 10: Infirmary baths before renovation

City Building / Developing the function

Project Testing - Developing the floor plans of my proposal

Through the analysis of precedents and starting to configure what will be kept from the

1. Entrance foyer

pre-existing building I was able to develop the floor plans of my building.

2. Collaborative studios

Entering the building, the exhbition space is situated at the west of the site and the studios at

3. Exhibition

the north. Both spaces consist of a double height space. The studios are made up of a series

4. Public cafe

of private studio pods alongside collaborative studio spaces that look out onto the courtyard

5. W.C.

so members of the public can see into the making process.

7. Staff room 8. Meeting room

behind the textile’s studio and is joined to a public cafe that had outdoor seating onto the

9. Public workshops

couryard.

10. Residential

6. Shop

The exhbition spaces are divided up so each semi-space can respond to different themes

Testing Review / 1:200 Initial ground floor plan

The building is split into two forms, with the residential block at the south of the site made up of a mix of 1,2 and 3 bedrrom flats which all have their own stairwwells. The ground floor of this block sees a semi-private space made up of meeting rooms and a public workshop.

Testing Review / 1:200 Initial first floor plan

The ‘Masterplan’

RCA Sackler Building The RCA Sackler Building influenced the design behind the studios. Since this space is approxiamtely 30m long, the Sackler Building

First Floor Plan, 1:200

design helped split the spaces up accordingly. Testing Review / 1:200 Initial second floor plan

10 1:200

13; Private Studios 14; Exhibition 15; Two-bedroom ﬂat 16; One-bedroom ﬂat

City Building / Developing the function Project Testing - Adapting to the orientation

Sun path / Re-thinking the south facade After the testing review, I went back to adjust the plans in order to develop them accordingly. When looking back over the sun path, it was brought to question that the south side of the site, where the residential block is situated, could have high levels of solar gain and cast a large shadow onto the courtyard.

In response to this, I rotated the block around so that the apartments would become eastwest facing, reducing the constraint of large solar gain. This would in turn create a large south facing courtyard and thus a much more enjoyable outdoor space.

First Floor Plan, 1:200

Second iteration / 1:200 ground floor plan 0

51:200

13; Private Studios 14; Exhibition 15; Two-bedroom ﬂat 16; One-bedroom ﬂat

City Building / Developing the function Project Testing - Landscaping

With the orientation of the site changing, a large south facing courtyard is created. Although this creates a more open approachable space, it brought up the issue of solar gain within the textile studios.

To mitigate this issue, landscaping of the courtyard was important. Decidious trees will be used to diffuse light into the studios without completely blocking the sunlight off. Using decidious tress would also mean in winter months when the leaves fall, sunglight could be used as a passive heating strategy for the north-south studios.

Alongisde this, flowers and shrubs will be chosen to accommodate for local wildlife all year round. For example tulips, agapanthas and evergreen shrubs will ensure that there are flowers in bud year round.

Diagrammatic section through south facading facade / Decidious trees mitigating solar gain *Diagram used for ARC3013 module and edited for ARC3001

City Building / Developing the form Project Testing - Analysing architecture that is created around a ‘ruin’

Newport Street Gallery Caruso St John Architects London, 2004-15

Figure 12: Interior exhibition space showing saw-tooth roof design

Figure 11: Exterior perspectiveof of Newport Street Gallery The conversion of a terrace of listed buildings that were formely theatre carpentry and scenery painting workshops.

The linear composition is headed off by an elongated new shed-roof structure. The architects took pains to match the existing structures; for example, they chose brick masonry with a similar hue to that of the neighbours and continued the row of windows at the base of the building. *Text referenced from https://inspiration-detail-de.libproxy.ncl.ac.uk/Download/document/id/58b67df74568e/lang/ en/project/586ce1cb53b17

Figure 13: Contrast in materiality - refurbished v grade II listed

Figure 14: Newport Street Gallery in context

City Building / Developing the form Project Testing - Newport Street Gallery, Caruso St. John The north facing studios were a guide to help design for my own scheme which was very useful. Alongside this, I was also interested in the contrast of roofs, seen 2D Ruin lust outcome

in elevation as this linked back to my ruin lust project of multiple forms coming together to create one.

Analysis of Newport Street Gallery elecvation and section

Newport Street GallerySectional study / analysis of roof form

City Building / Developing the form Project Testing - Developing the scheme in section and elevation

Initial section and elevations were created to start combining the forms. At this stage of the project the roof form was still under development but you can start to see the pitched roofs forming.

1:200 Testing Review section a-a / initial roof form exploration 5 0 2

Initial textile studio perspective sketch showing saw-tooth roof

1:200 Testing Review north elevation b-b/ initial roof form exploration 5 0 2

Initial exhbition perspective sketch showing saw-tooth roof

Roof light study through pitched roof

Thinking Through Making Project Framing - Roof light study using existing building

Analysis of using pitched roofs to create appropriate atmosphere

The brief of my building is to respond to the requirements of craftspeople and therefore a key obligation is to design for sufficient lighting which is needed for the studios and exhbition spaces.

Since my roof plan was not developed fully at this stage of the project, I used the pitched roof of the pre-existing building to make a light study.

This roof light study experiments with how light would enter the building throughout the day. Although the light used for this model was more concentrated and direct, it was interesting to see how it could make the spaces feel in response to where light is entering.

I found this model a really helpful tool in guiding me into making a decision on the buildings roof form. After Thinking Through Making I was keen to keep and restore some of the pitched roof from the pre-existing building.

Thinking Through Making - Roof light study using existing building

Sun Path diagram explaining how shadows were made

Daylight study - east sun path

Diagram to show internal structure of roof in detail

The process Due to the COVID-19 pandemic, resources for this project were difficult to obtain. Using left over balsa wood I was able to create this model at home. The process of building with scarce resources meant that I had to contstuct the model meticulously. Drawing diagrams helped me have a focused approach leading to a clean outcome.

Daylight study - west sun path

City Building / Developing the form Project Testing -Re-visiting and re-purposing the ruin

1. Brick wall panel cut out of existing building in one piece (cement in mortar remains strength)

Recycled brickwork

0 0

2 4 6 15 20 5 10 1:200 1:500

Brackets

Construction

Finished assembly

2. Panel with 3. Mounted on 4. Panel hung 5. Fitted with frame surround- welded steel frame from load-bearing brackets, panel is attatched to interof ‘I’ profiles profile brackets ing brick nal wall and insulation

First Floor Plan, 1:200 Aspects of the pre-existing building that have been incorporated / repurposed

Initial assembly

13; Private Studios In order to respect the ruin on site, the 1:500 existing building diagram which lables aspects14; of the pre-existing building Exhibition 15; Two-bedroom ﬂat that I want to preserve and re-use. 16; One-bedroom ﬂat

6. Masonry elements can be produced in varying sizes according to same principle

Harvesting Brickwork diagram *Diagram used for ARC3013 module and edited for ARC3001

The sky lights were a significant aspect which have remained prominent and are a key aspect to my design. Retaining the corrugated steel for some ares of the builidng, I have also re-designed the sky lights feature into saw tooth roofs to accommodate for the craft.

The masorny facade is also something I want to resuse. Although the majority of the building will be demolshed, some areas of brick are in good condition and seem structurally stable so can be incorporated into the new design.

1 Corregated steel pitched roof re-purposed

3D view showing re-purposed aspects

City Building / Developing the form Project Testing - Final iteration of south section and north elevation at testing stage The Thinking Through Making project was a helpful task in deciding the final roof form for my design. Incorporating a combination of pitched, saw-tooth and flat roofs creates interesting levels in both section and elevation. Furthermore, in both section and elevation building heights are all the same creating an illusion that the building is of one form, however upon coming closer the building starts to fragment up into separate forms.

1:200 South Section / finalised roof concept 5 0 2

2D Ruin lust outcome

1:200 North Elevation / finalised roof concept 5 0 2

City Building / Developing the form Project Testing - Approach to a more sustainable design

A key theme of wider stage three brief is sustainability and taking our own approach to enviornmental design. MVHR System

Openable Saw Tooth Roof

This was a large focus within the ARC3013 module, and this diagram summarises the environmental strategies of my design.

Photovoltaic Panels

Ground Source Heat Pump

Rain Water Harvesting

Underfloor Heating

*Diagram used for ARC3013

City Building / Developing the form Project Testing - Materiality and structure

Figure 15: Materiality Precedent / Newport Street Gallery

Primary Structure

Secondary Structure

Tertiary Structure

- Concrete foundation and cores - Steel grid frame - Steel truss roof - Saw tooth roof

- Timber beams - Timber stud wall - Aluminium roof

- Glazing - Red masonry brick facade - Re-purposed corregated steel roof - Aluminium saw tooth roof *Diagram used for ARC3013

City Building / Programme Summary Project Testing - Final iteration of the prorgramme summary The final programme summary of the building has been adapted to the ARC3013 module and incorporates the changes made since the testing review. Fire cores have been added into main areas of the building to provide a safe zone for occupants. Alongside this, a plant room has been added to the residential block ensuring the building can be heated and ventilated efficiently.

Key: Private textile studios Concrete cores Entrance foyer Exhibition Public cafe W.C. Shop Public workshop Staff and meeting room Plant room Residential flats

Exploded axonometric of programme summary 74

City Building Project Site Testing - Developing a scheme that accommodates the craft, yet respects the ruin South Elevation, 1:1250 00

10 10

20 20

30 30

40 40

50 50

1:1250

South Site Elevation, 1:1250 0

1:1250

South site elevation 1:1250

City Building Project Testing - Developing a scheme that accommodates the craft, yet respects the ruin

Approach to building perspective

City Building Project Testing - Developing a scheme that accommodates the craft, yet respects the ruin

Axonometric showing proposal in context

Project Synthesis Tapestry Court Ousburn, Newcastle Project Synthesis was a really exciting part of the project and the curation of the project coming together was rewarding. Although in previous years we have touched on creating more detailed drawings, project synthesis enabled me to develop my own style for the celebration pieces. Creating these pieces were a challenging yet rewarding experience. Where the pieces are hand drawn, every design decision had to be understood therefore pushing me into continuing to make design decisions even during the process of drawing them. Further to this, a studio specific aspect is the focus on façade study and how it can create interesting thresholds throughout our designs. Linking back to my initial artist studies was helpful in providing a reason behind why the façade had been curated in that way, and in turn became a metaphor for the craft within the building. Going forward, I would be keen to continue to develop my façade and explorative brick patterns in other places of the building more extensively..

Additonal work produced after the Synthesis Review Work taken from ARC3013 Architectural Technology - Integrated Construction

Tapestry Court Project Synthesis - 1:2000 Site Plan

First Floor Plan, 1:200 0

1:200

1:2000

13; Private Studios 14; Exhibition 15; Two-bedroom ﬂat 16; One-bedroom ﬂat

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Project Synthesis - Entrance perspective

Tapestry Court

First Floor Plan, 1:200

Project Synthesis - 1:200 Ground Floor Plan 0

4 1:200 6 8

1:200 13; Private Studios 14;Entrance Exhibition 1. foyer 15; Two-bedroom ﬂat 2. studios 16;Collaborative One-bedroom ﬂat 3. Exhibition 4. Public cafe 5. W.C. 6. Shop 7. Staff room

8. Meeting room 9. Plant room

10. Public workshop - crafts room

11. Public workshop - loom room 12. Storage

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Project Synthesis - Collaborative Studio perspective

Tapestry Court

First Floor Plan, 1:200

Project Synthesis - 1:200 First Floor Plan 0

4 1:200 6

1:200 13; Private Studios 13. Private studio pods 14; Exhibition 15; Exhbition Two-bedroom ﬂat 14. 16; One-bedroom ﬂat 15. Two-bedroom apartment 16. One-bedroom apartment

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Project Synthesis - Studio pod perspective

Tapestry Court

First Floor Plan, 1:200

Project Synthesis - 1:200 Second Floor Plan 0

4 1:200 6

1:200 13; Private Studios 14; Exhibition 17. Three-bedroom apartment 15; Two-bedroom ﬂat 18. Four-bedroomﬂapartment 16; One-bedroom at

Project Synthesis - External courtyard perspective

Tapestry Court Project Synthesis - Long Section D-D 0

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Tapestry Court Project Synthesis - 1:200 Inhabited Section a-a 0

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Tapestry Court Project Synthesis - 1:200 North Elevation b-b 0

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Tapestry Court

Project Synthesis - 1:20 Section and part elevation 1. Double glazing, 6mm + 14mm cavity + 6mm Aluminium framing 2. Steel grating drainage channel Insulated aluminium door frame Rigid insulation, 150mm Damp proof membrane Reinforced conrete slab, 500mm Reinforced pile foundation 3. Exposed polished concrete flooring Screed floor finish, 150mm Underfloor heating pipes, 20mm diameter Damp proof membrane Reinforced concrete slab, 500mm

8. Double glazing, 6mm + 14mm cavity + 6mm Open-able window Aluminium framing 9. Parquet wooden flooring, 15mm Chipboard, 22mm Acoustic insulation, 125mm Plywood layer, 18mm Timber joists, intumescent finish, 117 x 75mm at 400mm spacing Plywood layer, 18mm

10. Steel railing Hollow domestic grade composite decking board, 10mm Roofing felt layer Mineral wool insulation, 150mm

4. Steel lintel Box gutter, 125mm x 100mm

11. Double glazing, 6mm + 14mm cavity + 6mm Bi-fold door system, closed

5. IPE 270 steel beam Timber joists, intumescent finish, 235mm x 75mm at 400mm spacing Services LED strip lights

12. Steel lintel 110mm red brick, english bonded, concave jointing Cavity Roofing felt layer Drainage channel Aluminium roofing, dark grey finish

6. Parquet wooden flooring, 15mm Chipboard, 22mm Acoustic insulation, 125mm Plywood layer, 18mm

6 7

7. 110mm red brick, english bonded, concave jointing Concave Damp proof membrane Back insulation, 19mm Cavity, 20mm Gypsum fibreboard, 9mm Mineral wool insulation, 150mm Mineral wool insulation, 75mm Vapour control barrier Timber joists, 135mm x 67mm Wooden battens, 50 x 50mm Plasterboard, 13mm

5 4

1 1:20

*Drawing used for ARC3013

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Tapestry Court / Weaving Bricks Project Synthesis - Facade exploration Although briefly shwon in the ARC3013 1.20 sectiona and elevatiom, I was particularly interested in developing the facade of my building further. Referring back to my initial observations and artist reference Anni Albers, I was interested in experiementing with how the craft could be used into the building.

Anni Albers textile samples. Tate publication

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Anni Albers. Red and Blue.

Anni Albers. Open Letter, 1958.

Anni Albers, 1958. Photo cour-

Photo courtesy of The Josef

Photo courtesy of The Josef and

tesy of The Josef and Anni Al-

and Anni Albers Foundation.

Anni Albers Foundation.

bers Foundation

Tapestry Court / Weaving Bricks Project Synthesis - Facade exploration / application on residential block

Finkenau Baugruppe, Hamburg Germany

Weaving Techniques

Facade exploration on 1:20 part elevation

Adam Khan Architects

1- plain weave 2- twill 2/1 3- basket 2/1 4- twill 3/1 5- twill 2/2 6- warp satin (4 healds) 7- basket 2/2 8- warp satin (6 healds)

9- twill 5/1 1/1 1/1 1/1 10- leno 3/3 11- twill 7/1 1/1 1/1 12- twill 4/2 1/1 1/1 1/1 13- weave based on plain weave 14- diamond specular broken twill 1/1 3/2 15- diamond negative broken twill 1/1 3/2

Figure 16: Brick exploration by Adam Khan Architects

After re-visiting the work of Anni Albers, I found an interesting precedent that would help develop my “weaving bricks” analogy. Adam Khan architects created these diagrams to show how different coloured bricks could be used to create unique patterns. In response to this I experiment on my 1.20 section and elevation to see how I could develop the facade more intricately and specific to my brief.

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Tapestry Court / Weaving Bricks Project Synthesis - Facade exploration

Weaving ‘Bonds’

Plain Weave (directional)

Brick Bonds

Plain Weave

Basket Weave

(uniform)

Properly Bonded

Georgian Bond

closer header stretcher

English Bond

Various Twill Weaves

English Cross

English Garden

Header Bond

Rap-trap bond

Flemish Bond

Flemish Garden

Monk Bond

5-harness Satin Weave

Developing the idea of using the bricks as a metaphor of the craft, I wanted to create an intricate detailed entrance of my building. I began comparing weaving techniques to brick bonds and chose the most similar in comparison. I wanted to keep the reoccuring pattern simple and I wanted to continue to demonstrate the idea of only seeing the detail as you get closer, creating a seamless interconnection between new facade and old.

Flemish Bond *Drawing used for ARC3013

Rap-Trap Bond Header Bond Flemish Bond

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Tapestry Court Project Synthesis - 1:20 Elevational facade study 0

This 1:20 elevational facade study shows the connection between the studios and curved masonry entrance. The details to the facade include darker coloured bricks on the lower level to create a more street-view threshold since the building is tall. Alongside this, the bricks connect to a dark grey steel pitched roof which seamlessly connects to the entrance, merging the connection between spaces.

The curved masonry wall sees the detailed resolution of a “woven brick” inspired by Anni Albers and subtly ties the craft into the design of the building.

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Bibliography and List of Figures

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List of Figures

Bibliography

Figure 1: Peter Collingwood

Adamkhan.co.uk. 2021. Adam Khan Architects. [online] Available at: <https://adamkhan.co.uk/> [Accessed 15 May 2021].

Figure 2: Peter Collingwood / Microgauze installation Figure 3: Peter Collingwood / Microgauze installation

Caruso St John Architects. 2021. Newport Street Gallery | Caruso St John Architects. [online] Available at: <https://carusostjohn.com/pro-

Peter Collingwood. 2021. About — Peter Collingwood. [online] Available at: <https://www.petercollingwoodtextiles.com/about>

jects/newport-street-gallery/> [Accessed 2 May 2021].

[Accessed 10 May 2021]. Collingwood, Peter. 2021. About — Peter Collingwood. [online] Available at: <https://www.petercollingwoodtextiles.com/about> [AcFigure 4: Anni Albers

cessed 10 May 2021].

Figure 5: Diagram relating to modified and composite weaves, c. 1965. Black masking tape and pencil on gridded paper, 21.7 x 27.9 cm Figure 6: Image courtesy of the Josef and Anni Albers Foundation/Artists Rights Society, New York/DACS, London

Dovecot Studios. 2021. Art & Architecture with Page Park. [online] Available at: <https://dovecotstudios.com/programme/art-archi-

Figure 7: City, 1949, by Anni Albers

tecture-with-page-park> [Accessed 2 April 2021].

The Textile Atlas. 2021. Anni Albers – Weaving a discipline of resilience — The Textile Atlas. [online] Available at: <https://www. Hughes, G&L“Heritage Statement for Residentiaal Development of Crawhall Road”, G&L Hughes, Febru- ary 2016, Word Document accessed

thetextileatlas.com/craft-stories/anni-albers> [Accessed 12 May 2021].

from

<https://publicaccessapplications.newcastle.gov.uk/online-appli-

cations/applicationDetails.do?activeTab=documents&key-

Figure 7: Exterior perspective

Val=O3CM5FBSGAI00> [accessed 8 February 2021]

Figure 8: Large open space studios with double-height ceiling and mezzaine floor

Koolhaas, Rem. Preservation is Overtaking Us: GSAPP Transcripts (New York, NY: GSAPP, Columbia University, 2014)

Figure 9: Studio space before renovation Figure 10: Infirmary baths before renovation

Lawless, Kath. “Refusal of Planning Permission”, Newcastle City Council March 2016, <https://publicaccessapplications.newcastle.gov.

Dovecot Studios. 2021. Art & Architecture with Page Park. [online] Available at: <https://dovecotstudios.com/programme/art-archi-

uk/online-applications/files/B58C42B622C53031F400920E715DC785/ pdf/2016_0352_01_DET-DECISION_NOTICE-978081.

tecture-with-page-park> [Accessed 2 April 2021].

pdf> [accessed 8 February 2021]

Figure 11: Exterior perspective of Newport Street Gallery

Macaulay, Rose. Pleasure of Ruins, (New York: Walker and Company 1953)

Figure 12: Interior exhibition space showing saw-tooth roof design Figure 13: Contrast in materiality - refurbished v grade II listed

Mikhailovskii, Evgenii Vasil’evich.“The Methods of Restoration Architectural Monuments: Contemporary Theoretical Conceptions,” Future Anterior

Figure 14: Newport Street Gallery in context

8, no. 1 (Summer 2011)

Figure 15: Materiality Precedent / Newport Street Gallery Caruso St John Architects. 2021. Newport Street Gallery | Caruso St John Architects. [online] Available at: <https://carusostjohn.

Newcastle City Council, ‘Planning and Development 2016’, Newcastle City Council 2016, <https://publicaccessapplications.newcastle.

com/projects/newport-street-gallery/> [Accessed 2 May 2021].

gov.uk/online-applications/applicationDetails.do?activeTab=documents&key- Val=O3CM5FBSGAI00> [accessed 8 February 2021]

Figure 16: Brick exploration by Adam Khan Architects

Tate. (2018). Anni Albers - Exhibition Guide. [online]

Adamkhan.co.uk. 2021. Adam Khan Architects. [online] Available at: <https://adamkhan.co.uk/> [Accessed 15 May 2021]. The Textile Atlas. 2021. Anni Albers – Weaving a discipline of resilience — The Textile Atlas. [online] Available at: <https://www.thetextileatlas.com/craft-stories/anni-albers> [Accessed 12 May 2021].

Williams, Alan. ‘Proposed Development at Crawhall Road, Byker, Newcastle-upon-Tyne archaeological desk-based assessment’, Alan Williams Archaeology January 2015, < https://publicaccessapplications. newcastle.gov.uk/online-applications/files/6308F5D02391671528EA21FD2CC2898A/pdf/2016_0352_01_ DET-ARCHAEOLOGICAL_DESK_BASED_ASSESSMENT-817773.pdf> [accessed 8 February 2021]

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Illustrated Cultural Bibliography

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At Home: Barn Project

Since the majority of this year academic was done at home, it provided an opportunity to be apart of a project in my local area. Plans have been put forward for this derelict barn to be converted into a dwelling. and I found this was a helpful insight into restoring architecture that can be seen as a ruin, like that of my studio brief.

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Readings Unlike previous years, extensive reading was carried out across all modules this academic year. Provided below are covers of books that have heavily influenced my design project this term. More specifically, a topic I became particuarly intrested in this year was related to my dissertation topic.

The Grenfell Tower enquiry is a topic I have been following since carrying out my dissertation. Learning about how many buildings are still unsafe after the tragic incident bring alarming concern to me, so the heavy focus of fire strategy in ARC3013 was really interesting seeing as we had to adapt our designs accordingly to fire safety.

Influential module readings

*Images taken from ARC3060 module

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Online Resources As previously mentioned, with this academic year being entirely online it has taken away the access to peer-to-peer help and has limited the face-to-face to contact within the architecture school. Alongside my tutorials , I have been watching YouTube videos to help learn new software digitally to prepare for my placement year. Alongside this, watching videos on portfolio interviews have been a really helpful tool to help prepare for applying for jobs after i’ve completed my Part 1.

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Appendix Process work Homework/ RCA Painting School

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Process Work / Framing

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Process Work / Testing

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Process Work / Synthesis Ground Floor Plan, 1:200 2

b >

1:200

1; Main Entrance 2; Private Studios 3; Exhition 4; Public Cafe 5; W.C. 6; Public Shop 7; Staff Room 8; Plant Roomt 9; Meeting Room 10; Teaching Space 11; Public Workshop/Studios b 12; Storage

4 3

10 5 5

7 8

First Floor Plan, 1:200 0

1:200

Second Floor Plan, 1:200 0

1:200

17; Three-bedroom flat 18; Three/Four-bedroom flat

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Drawn by Bethany Rungay

Homework / RCA Painting School Project Framing - Investigation into the nature of spaces for living and working The organisation of the studios is based on a simple arrangement of spaces: six double-height, top-lip studio spaces are arranged, in series, off a wide (2.6m) central corridor space, which also served a row of side-lit studio spaces; a galleried mezzanine floor overlooking the double-height studios provides access to an upper level of small top-lit studios. A secure woodworking workshop that provides support facilities for exhibitions, framing and stretcher fabrication, and an open workshop for cleaning brushes at the north-end of the corridor.

Ground Floor Plan

First Floor Plan

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Drawn by Miki Liu

Homework / RCA Painting School Project Framing - Investigation into the nature of spaces for living and working There are no internal doors in the studio area and it is therefore possible to move freely from space to space and see paintings, drawings and art objects being worked on, the sights, smells and sounds of a dynamic working environment. During term time the building is a multilayered working and teaching environment and once a year is cleaned up into a pristine gallery space for Show RCA.

Section B-B

Roof Plan

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Drawn by Benjamin Scott Osta

Homework / RCA Painting School Project Framing - Investigation into the nature of spaces for living and working

Section D-D

Materiality Collage

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Thematic Case Study

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