Gloria Hii Portfolio

GLORIA HII STUDIO 07 - CREATIVE SYNERGIES 2020/21 STAGE 3

PORTFOLIO

ARCHITECTURE

architecture

portfolio

CONTENT

ILLUSTRATED REFLECTIVE DIARY

002

FRAMING CHAPTER

006

TESTING CHAPTER

048

THINKING THROUGH MAKING Key changes made to my ARC3001 work, since each review / formative assessment

SYNTHESIS CHAPTER

102

CULTURAL BIBLIOGRAPHY

137

REFERENCE, APPENDIX, BIBLIOGRAPHY AND ILLUSTRATION LIST

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THEMATIC CASE STUDY

151

001

A REFLECTION

What

Compared to the last two academic years, I found myself focusing less on the outer appearance of my project as the core of my design process. Instead, I find myself consciously making more decisions of material choices and spatial arrangements based on researched investigation rather than pure visuals.

Architecture is not just a comfortable or bespoke-quality space for inhabitation.

It moves past beyond the physical aesthetics, past the breath-taking effect it might have visually on passers-by or users.

a journey in 2020/2021 Stage lll. Architecture has never been more refined as a tool for contextual responses. Context could range from the site’s topography to deeper layers, such as social agendas or economic matters risen from the pandemic— which is a whole other backdrop itself.

Reflecting on my development and learning this year, I have found myself to be discovering architecture as a way of research; to generate opportunities to address current context. A dynamic, animated space for open forum.

As part of Creative Synergies studio 07, the word synergy has formed basis for the foundation of my line of enquiry throughout the year. This branched out to ideas of how I can spark synergies between different elements, resulting in the proposal of The Theatre Arts and Performance Institute. Throughout my learning process, notion of participation and community has shaped my narrative and development tremendously. What initially started to be collaboration and research as part of studio culture has seeped into my theoretical thinking.

In ARC3015 Theory Into Practice, I looked at how synergy between users and the structure through materiality can be curated sustainably. In the everyday performance, to offer creative encounters and spatial experiments through flexibility and participation.

Also influenced by my Thematic Case Study, my work started to generate a dialogue with the Malings’ community, along with economical aspects of gentrification. This was based on research of Ouseburn’s existing fabric, formed during the Framing Chapter.

Where my reading of the currents occurring in the area had developed into theoretical ideas based on contingent response, this could have been further enriched with more engagement with the Malings’ thoughts and exploration of the impermanence and permanent.

My learning approach also intends to reflect a close engagement with ‘critical friend’ conversations and additional academic readings, turned towards the site. As a reflection, such method of exploration embodies the proposed theory of participation and research.

002

A collage to capture my line of enquiry at the start of the project. A synergy between Ouseburn & the Academy

Exploring ways to embed philosophy of participation and flexibility.

Scaffolding, in Bo Bardi, Teatro Oficina , 1984

Throughout this academic year, sustainability and context have been the two main factors constantly influencing my work. This was developed in the investigation of both ARC3014 Professional Practice and ARC3013 Integrated Construction. The former have helped me understand how my project sits within a wider context of the architectural and construction profession. The transition from design to construction was eye-opening as an architecture student. It was a process of grasping how my design ideas in reality are more than just sketches on paper and visual imageries in a verbal presentation. My awareness of professionally managing this graduation project increased, particularly in view of climate crisis. I realised there is so much more consideration from an ethical, regulatory and monetary point of view. Overall, it shaped my design to be more accommodating to the site, programme and users.

Procurement strategy.

A new aspect to my part 1 education, (Extract from Hii, ARC3014, 2021)

to the site’s sloped topography, construction disturbance to surrounding neighbourhood, and my design intention to re-use an existing building in light of sustainability.

However, one technical perspective of this adaptability could be explored further. In the design’s kinetic wall.

The project’s openable shutter facade was to allow performative engagement between the building and the site—an attempt to demonstrate the bespoke material and experiential qualities of the proposal. Yet, perhaps its depth of tectonic exploration lies buried in the advancement of my design process.

Above all, ARC3013 refined my thinking skill of understanding the site’s context, and then being able to Furthermore, the project’s integration of apply that to respond to particular issues technology has developed later design within my design. stages of my work. For example, one technical aspect would be the choice of timber in CLT and glulam structure.

The exploration of timber was spurred on by my Thinking Through Making Overall, my portfolio collates more than piece of recycled wood. Investigating just my ideas that traversed between timber in its properties and construction design and its different strands. It is a further developed my initial ideas of visual stage to present my skill-set of flexibility and sustainability in material. responding to and with architecture. A For example, a timber construction celebration of how I, as a designer, have strategy could promote the building’s explored my own personal journey ability to grow or dismantle, without during this extraordinary year. contributing immensely to waste. Thus, a semi-prefabricated building system was proposed; similarly in response

Detailing construction and structure (Extract from Hii, ARC3013, 2021)

Performance of the kinetic facade (Extract from Hii, ARC3013, 2021)

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CREATIVE SYNERGIES Studio Brief

Key Themes

The central question asked of us: Community engagement

“What role the institution of education, and the spaces in which it takes place, can play in consolidating and mediating between transient and established communities?

And if, when aligned with the aforementioned considerations, it can be used as an appropriate template for a more contextual and sustainable, contemporary community architecture?”

Inhabitation

Craft

Process

Architectural and cultural context

Making/fabrication

Research

Sustainability

-Studio 07

The Academy

004 TESTING & SYNTHESIS CHAPTER

Creative Synergies

Ouseburn

005

FRAMING CHAPTER: A SYNERGY BETWEEN OUSEBURN & THE ACADEMY

THE THEATRE ARTS & PERFORMANCE INSTITUTE

006

FRAMING CHAPTER

FRAMING CHAPTER

ILLUSTRATED REFLECTIVE DIARY The framing period has provided an opportunity for me to understand Ouseburn in its many layers. Through site visits and conversations with the locals, it revealed Ouseburn’s rich identity to be in constant change. Reflecting on this framing chapter, my interpretation of an area’s identity and character has come to be founded in the local community and their ‘everyday performance’.

This realization would have never surfaced without the depth and range of studio research. In the spirit of Creative Synergies, I have been able to conduct immense research both in groups and individually; allowing architecture to be much more than just an abstraction of ideas inspired by historical events.

Embracing many discussions, readings and collaboration, I consider what an ‘academy’ is, and in relation to Ouseburn and its wider context. This has critically enriched my thinking—breaching into the realms of ARC3015 Theory Into Practice.

To further establish a relationship with Ouseburn and the academy, I engaged with the local community. A term that appeared often in conversations was ‘gentrification’. Understanding what gentrification is and considering how it might unfold itself in future Ouseburn had steered my line of enquiry.

Researching issues of gentrification in Ouseburn led to focus on participation, community engagement and urban intervention. This was hugely informed with readings and encounters with my studio, critical friend, and tutors. It bred ideas on what it meant for architects to intervene in a process of change. Should we be the one to preserve an area’s identity? And where does that responsibility end?

All these led to and moulded into ideas of participation and performance— practices and theories. This took form in the pavilion project, as a small segment and conclusion to framing.

My interpretation of Framing research

My interest in the Academy

Mapping the locals’ thoughts on Ouseburn FRAMING CHAPTER

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FRAMING CHAPTER

WHERE? LOCATION OF OUSEBURN AS A SITE

Newcastle, UK

FRAMING CHAPTER

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Ouseburn, Newcastle

Maling Street, Ouseburn

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FRAMING CHAPTER

KNOWING OUSEBURN

South of Ouseburn River

RIVER ROUTE

From Quayside into Ouseburn

CONNECTING ROUTES

‘THE HEART OF OUSEBURN.’ Capturing the site visually and through sounds. A podcast documenting our first impressions and thoughts on walking through Ouseburn.1 Relaying the character to a group member who have not visited in person.

Rich, scenic and telling corners

HISTORIC ROUTE FRAMING CHAPTER

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FRAMING CHAPTER

CREATIVE SYNERGIES IN OUSEBURN The site of Ouseburn is a soothing yet vibrant hub, acting as an alternative to escape the city of Newcastle. Its quirky character trails throughout the buildings along the river and surroundings of the valley, reflecting the creative communities it hosts.

The idea of community is cogent in Ouseburn, although site visits prove that many in the community do not actually live in the vicinity. It is therefore intriguing to explore the attraction and pull—particularly towards the heart of Ouseburn in the north-side. Is there then a deeper level beneath the tranquil harmony of Ouseburn’s community? Does the separateness between Ouseburn and the outside carry into the bubble of Ouseburn itself in the north and south?

Potentially, this introduces the academy as an extension of Ouseburn’s character, beginning to think of its role in continuing the flow down south.

Informed by local interviews and conversations, the south of Ouseburn-where The Malings currently resides-is progressively transforming through developmental projects. Gentrification is blossoming. The construction of Lower Steenberg’s Yard, plans of erecting a hotel on derelict site, the Whey Aye Wheel and Igloo’s phase 3 Malmo Quay invites us to take a stance—either to settle with what is unfolding ahead, or to intervene along with the voices of dissent.

Effectively, will the colourful, independent characteristics of Ouseburn by dulled down by gentrification? Taking into consideration the future of Ouseburn, this process and result of such transformation cannot be determined as wholly negative or positive. What can be definite in the exploration is the line of enquiry engaging in the role of residents and locals, mediating various thoughts behind individuals and the community. This reflects the participatory aspect within the academy, and hence carries on formulating the synergy between this creative place and its contingent future.

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FRAMING CHAPTER

CAPTURING OUSEBURN BY HAND SKETCHES FROM SITE VISITS

Overlapping bridges in the valley, Byker Bridge

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Warehouse turned into shops near Riverside Walk. Curves and outlines reminscent of water surroundings: river leading to the Quayside

Post-industrial vibes of Ouseburn.

Noticeable ongoing ‘regeneration’.

Building’s cascading stairs near Ouseburn River, same way historical buildings snakes around the river.

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FRAMING CHAPTER

THE ACADEMY WHAT DOES THAT CONSTITUTE? 2

RESEARCH

TEACHING

Researching the idea of an academy and institution as a studio. This allows a range of ideas and research to surface. Particularly looking at the school of APL within Newcastle University as a starting point.

Further to researching as one studio, we have split up into three sub-groups to research in-depth Ouseburn.

A new era of an ‘academy’.

New methods(online space) of working in collaboration, participation and conversations.

OUSEBURN PAST, PRESENT, FUTURE OUSEBURN LANDSCAPE OUSEBURN COMMUNITY

STUDENT COMMUNITY

FRAMING CHAPTER

Within these three groupings, I participated in the subgroup Ouseburn Community my line of enquiry emerges from as a result.

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FRAMING CHAPTER

INSTITUTIONS AROUND OUSEBURN

EXPLORING OTHER INSTITUTIONS

what does the present ‘academy’ look like in ouseburn?

extract from thematic case study, question 3 How does the GERRIT RIETVELD ACADEMY & SANDBERG INSTITUTE relate to it’s environmental/ climate crisis context?

Fig.16 Folded screens to merge outdoors & indoors

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

This extract takes one aspect of the exploration in the Thematic Case Study, that has influenced my design thinking to align my institute with sustainability.

Considering how an institute can encourage interaction through movement of the building. The Rietveld Academy has foldable screens of woven steel and

glass facade that opens up spaces for integration and participation. This allows natural ventilation and vast lighting into the building. Such reduction on energy consumption for cooling and lighting is thought against the need for heating expenditure in winter, as tripleglazed windows and concrete floors help retain heat.

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

Overview of Ouseburn’s institutions.

Highlighting particular ones that caught my interest when visiting.

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In the winter:

Documenting manually the creative arts and crafts industry I visited, that involves a process of making/fabrication.

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

(Full document provided at the end.)

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AN INSTITUTION forming a link between ouseburn & the academy

HOW CAN THE PROPOSED INSTITUTE SHAPE THE FUTURE OF OUSEBURN’S DIRECTION?

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Based on research and my immersion in the idea of academy, I consolidated key ideas behind what drives an academy. Two of the most important elements being participation and dialogue.

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FRAMING CHAPTER

COMMUNITIES OF OUSEBURN ENGAGING WITH THE PEOPLE

“It’s magic! I have been coming here since the 1970s. Everyone comes to socialise and enjoy the beautiful nature” -resident since 1970s

"Man the area has changed! Now that these residential areas are coming up it's simply not what it used to be! We used to have the best parties and events here but now.. too much noise!"

“It reminds me a bit of London..like Hackney” -university students

-local graffiti artist

“Yeah we have facebook and whatsapp groups and we (normally) meet up and have smaller events.”

-residents of the Malings

"It's soo lovely now.. Remember when we were groovin' over there? We had nowhere else to go. [...] It was all abandoned.. So free.

Now it's all been torn down" -in the area since 1970s

FRAMING CHAPTER

"Yeah just came to grab a couple of drinks.. Great vibe around here! ...

[Oh heyy How are you!?]"

-university students, come frequently to enjoy events and pubs

‘PEOPLE OF OUSEBURN’ Understanding different voices of the area. A series of portraits taken as a group, whilst I interviewed them about their impressions and relationship with Ouseburn.4 021

FRAMING CHAPTER

COMMUNITIES OF OUSEBURN ENGAGING WITH THE WILDLIFE

“I like to play and splash about on land and in the river, but I don’t like pollution or losing my habitat.”

-Otters

“Bah – we are timid, herd animals that lack the capability of protecting ourselves from predators and our grazing has reduced plant diversity in some areas of Ouseburn. Bah – but we help educate you youngsters.”

-Sheeps

A SYNERGY BETWEEN OUSEBURN AND ITS WILDLIFE As part of Studio 07’s sub-group Ouseburn Community, our research acknowledges that the community does not stop at the people. We explore the element of biodiversity in Ouseburn, and the inclusion of wildlife in the realm of community. It was an observation to the area that we find these animals and wildlife dotted around our site visits. Thus, this spurred the idea of documenting them by hand and identifying where they locate on a map. Particularly, we focus on mapping Ouseburn’s particular area where gentrification may be more prominent and what the impact of gentrification may have on the wildlife. This was accompanied by research of Ouseburn’s daily rhythms and forms building spaces, where communities meet.

“My family has been increasing over recent years but I’m losing relatives to foxes, pollution of freshwater and over-head power cables. Thankfully, Ouseburn doesn’t have these problems though but there have been more reports of foxes in the area.”

-Swans

Wildlife of Ouseburn and informative mapping.6 FRAMING CHAPTER

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FRAMING CHAPTER

IDENTITYING OUSEBURN’S CHARACTER THROUGH ENGAGEMENT

IDENTITYING GENTRIFICATION THROUGH CONVERSATIONS PEOPLE OF OUSEBURN5

“ Yeah 40 odd years I’ve been here. [...] Everything is always in flux. [...]

Yeah revived and bohemian.. That’s yous say nowadays” - resident since 1970s

MAP OF OUSEBURN’S CHARACTER

“Up until now, I see a positive gentrification..all the small independent businesses that get attracted to the area. We don’t need a Wetherspoons here. That would be bad.”

- lives near but not in Ouseburn, comes for social activities

“What I am more concerned about is this London Eye thing going up right down there by the Tyne. The Whey Aye I think it will be called.”

- resident working in local pub

In this collage, I took the responses from the interview question: ‘How would you describe Ouseburn in one word?’of Ouseburn’s locals, and materialised it into one map. Made from all reused and recyclable materials, these words are dotted and pinned agaisnt the location from where the interview of each individuals took place. It helps to visualise and get an overall sense of the present character of Ouseburn.

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SITE RESEARCH IMPACT OF CHANGE, GENTRIFICATION

A transition of Ouseburn, from past to present.7

OUSEBURN’S PAST, PRESENT & FUTURE Identifying and understanding what Ouseburn was like, how it has come about today, and where it will head towards- and if so is it somewhere/ something as architects we can direct towards or stop its becoming? What will the impact of Ouseburn’s current context, focusing on gentrification, be amongst the community. How can I first understand and contribute in shaping Ouseburn’s future appropriately?

From past to present, and envisioning the future8

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FRAMING CHAPTER

GENTRIFICATION IN OUSEBURN UNDERSTANDING THE CONTEXT

What is ‘Gentrification’? “the process whereby the character of a poor urban area is changed by wealthier people moving in, improving housing, and attracting new businesses, often displacing current inhabitants in the process. /the process of making someone or something more refined, polite, or respectable.”

Prominent developments in Lower Ouseburn, signs of gentrification.9

Using Miro Board as a method to collate research in a new academic setting.10

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SPARKING MY LINE OF ENQUIRY a synergy between ouseburn & the academy

Recreational space for exchanging ideas and admiring scenery, across river near Toffee Factory.

FRAMING CHAPTER

Preserve creative aspects of Ouseburn, amongst gentrification. Provide space and allow synergy between artists and the environment (graffiti artists, independent coffee brewers, free-lance artists etc.)

Community and activities to take place and expand through participation. Use of Ouseburn River.

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FRAMING CHAPTER

A CHAPTER WITHIN A CHAPTER...

PAVILION PROJECT A personal line of enquiry: an internal dialogue within Ouseburn.

Creating a synergy and dialogue between- and withinthe Malings community and this temporary structure.

Merging research towards the fabrication of Ouseburn.

Scale 1:1250 0m

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50

100 m

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FRAMING CHAPTER

EXPLORING THE PAVILION

POSSIBLE LAYOUT ON SITE

PAVILION ON A HILL. COMMUNAL SPACE HALF-SHELTERED UNDULATING

Idea sketches derived from Serpentine Gallery’s series of Pavilions.11

-STAGESTracing paper and light.

Testing different arrangements of the pavilion

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PROCESS IDEAS BEHIND PAVILION

GENTRIFICATION ENDANGERING CHARACTER OF OUSEBURN.

THEATRE

STAGE

PERFORMATIVE

RELATIONSHIP BETWEEN PUBLIC ART AND ARCHITECTURE

Is Theatre a dying art form?

Made worse by COVID?

DISPLACEMENT?

ARTISTIC INTERVENTION OF SITE Many stages of process to actually produce a performance on stage. Behind the scenes whether the staging of spaces or practice and flow of movements.

Recent news of UK’s theatre industry’s economic status due to the pandemic.

Keeping updated in current context through news.12

So, why Theatre?13 1. Community 2. Creativity 3. Social Development 4. History 5. Expression

Architectural scene: “an enduring fixed structural edifice upon which performers, light and objects moved to signal shifts in dramatic location” -Doritah Hannah14 Dramatic elements.

Programme idea for future building? Dance Academy?

“...she placed emphasis not on the aesthetics of the outcome but on how the process of working with the various participants had produced a social space at the heart of the project.”

-Jane Rendell15

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SCAFFOLDINGS SITE SURROUNDINGS: LOWER STEENBERG YARD

Dotted around the Malings area where gentrification is brewing, scaffolding is a conspicuous sight of the site.

Constructed to support the Lower Steenberg project, this concept can be borrowed for the fabrication of the pavilion idea. A characteristic of ‘regeneration’ and gentrificaion that can be used positively for the locals.

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LINEAR & MODULAR DESIGN COMPARTMENTALIZE

BOXED A space for perfomance and spectating, inspired by The Container Globe.16 Spectators in ‘viewing gallery’/leisure space.

‘Temporality’ This experimental model explores my idea of a scaffolding structure. Made out of balsa wood and origami tracing paper box, I wanted to visualise the concept of hosting ‘spectators’ in separate compartments for a performance/public art installation. The temporality of the scaffolding allows flexibility in a time of COVID, and boxed spaces presents the possibility of being together yet distanced at the same time. However, this poses a challenge in enriching the idea of community and engagement. Thus, an open-air platform might be more suitable for the free exchange of ideas and dialogue.

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THE MALINGS WHO ARE THEY? EXPLORING PAVILION FOR THE MALINGS’ RESIDENTS

“The Malings is shaped by the River Ouseburn and all the people who choose to make their home or place of work in its valley”17 A physical manifestation of the Malings’ community.

The Malings is a new neighbourhood of seventy-six homes on the site of the former Malings Pottery in Ouseburn, Newcastle. It is located on the bank of the River Ouseburn, in a steep-sided, exindustrial valley. Ash Sakula Architects appropriately blends traditional terraced street typologies with a combination of courtyard dwellings, back-to-backs and six-storey tower houses. Notably, outdoor and communal spaces are a main feature. Research illustrates that these areas are intended to be opportunities to promote informal encounters between people. This further promotes shared resources such as communal allotments.

Designed to nurture a genuine sense of cohesion and engagement among the residents, the allegedly 146 inhabitants seemed to have fostered a convivial community.

Perhaps the question here is, has this group of fascinating community synergised with the wider neighbourhood around them? Does the idea of nurturing a lively, diverse and creative-minded community stop at the doors of these contoured brick structures?

Organic interaction between residents

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Local businesses nearby- gelato place

Living with the Malings’ community

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FRAMING CHAPTER

PERFORMANCE OF EVERYDAY LIFE AN EXTENSION TO THE MALINGS AND EXISTING ELEMENTS

People of the Malings

INTRODUCING NEW ELEMENTS - PERFORMANCE(EVERYDAY LIFE) -TEMPORARY INSTITUTION & STAGE -DRAMATIC -PLATFORM FOR EXCHANGE/GATHERINGS -PARTICIPATION -LEISURE/’LUNCHBREAK’ SPOT

EXTENSION OF EXISTING ELEMENTS -COMMUNITY -SELF-SUSTAINABILITY -EVERYDAY LIFE -PEOPLE ORIENTATED -DYNAMIC ACTOR: MALINGS RESIDENTS EXISTING ELEMENTS -GENTRIFICATION -VIBRANT -SPEED OF CHANGE Residents gathering on steps of communal space.

Taking a break from leisure activities

A public space that allows people in the everyday to create own stage: everyday-life is a performance.This spurs the concept of a theatrical public installation for the Malings’ residents’ everyday rhythms. An extension of the site instead of an intervention; direct relationship between pavilion and existing structures/community.

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AN EXTENSION TO THE MALINGS

IDEA 1

IDEA 2

Residents can directly access pavilion through existing pathway, embedded in the residential block.

The initial idea of pavilion is based on a communal platform with large steps to sit on. This space will act as a resting spot or leisure spot for the residents. For example, activities of gardening and communal gatherings.

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Use of scaffolding structure for the lowest intervention of site. Able to erect and take down by the residents after some form of training. Parts can be returned/recycled back into surrounding construction projects or taken back home by residents for reuse. Modular design in horizontal layout alternative to vertical. Pavilion is almost like an extension of the Malings through a boxed structurebuildable like Lego. A temporary space for gathering.

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FRAMING CHAPTER

SITE OF PROPOSED PAVILION A ‘STAGE’ FOR THE MALINGS

CONTEXTUAL SITE PLAN

A

B

CONTEXTUAL SECTION AA B

A

Scale 1:1000 0m

50

100m

CONTEXTUAL SECTION BB

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PAVILION’S MATERIALITY & STRUCTURE STRATEGY

STEEL SCAFFOLDING STRUCTURE In the exploration of a “DIY flat-pack” structure, I’ve decided to go with the original steel structure of a scaffolding. Building on past precedents such as R128 House and Walter Segal’s method(see appendix)reference, the idea for the pavilion’s construction will be consolidated on a recyclable, self-assemblage frame that can easily be disassembled by the locals. It will encourage participation and collaboration amongst the Malings. This idea was later supported by Colab19’s work--. Steel structure erected in the nature of a scaffolding allows flexible, mindful spaces. This is particularly responsive to the current context of COVID, and in line with the temporality of this intervention next to the Malings.

SHADE/SAFETY MESH

Site’s colourful vibrancy, impacts choice of material.

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Within the pavilion’s vicinity, there is a derelict building. It is turned into a graffiti wall by many. The colourful visuals and vibrancy of this surrounding will translate into the material used for the pavilion’s roof and partitions. This aids the idea of temporarility and recyclable use in future construction/for residents, whilst keeping in context.

An architectural response to contingency and needs.18

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OVERVIEW OF THE PAVILION

STRUCTURE PLAN 1:100

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FLOOR PLAN 1:100

ROOF PLAN 1:100

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THE PAVILION AN INDIVIDUAL PAVILION DESIGN An adaptable, unobstrusive space for the Malings’ community to gather and hang leisurely. Flexible spot for conversations,

LONG SECTION

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FRAMING CHAPTER

TESTING IDEAS: PARTICIPATION & PERFORMANCE

THE THEATRE ARTS & PERFORMANCE INSTITUTE

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TESTING & SYNTHESIS CHAPTER

TESTING CHAPTER

ILLUSTRATED REFLECTIVE DIARY Throughout the testing phase, my work focused on laying the appropriate foundation for the project’s future refinement. I started researching programmatic spaces needed for the Performance Institute, and to test out possible arrangements and layouts on the site. Soon, an experimental ‘space’ was created in my method of working—yet this was not without limitations.

Bounded by restrictions of physicality in workshops and access to materials, I find myself questioning my own methods of practicing architecture.

In the context of non-physical academic experience, how could I use my circumstances and resources at home, to synergise with the thoughts and ideas I produce in the online-academy?

This chapter of testing became a collaboration of my efforts to explore what the Performance Institute could become, and my own approach in representing this exploration.

Personally, this was manifested in sketches and precedent research.

Particularly, my series of rough models and Thinking Through Making piece were a personal triumph in exploring the building’s feasibility of height, lighting and relation to site and programme. The rough models were tactile reminders to me that architecture should not be restricted nor fixed to uncontrollable boundaries. For example, in exploring the concept of chimneys and viewing towers through recycled cardboard and paper.

Likewise, I learnt to make use of existing resources. The dancer’s shoe rack was made in the agenda of sustainability and response to my surroundings.

It was an insightful endeavour in exploration of the project in closer detail, when the grand scheme of it was not fully conceived. This is something to practice further in my future learning. To ‘trust in the process’, not in the outcome.

Sketching- a vital skill in testing, documenting and relaying my project ideas

Rough models with domestic waste

Thinking Through Making- dancers’ shoe rack TESTING & SYNTHESIS CHAPTER

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TESTING & SYNTHESIS CHAPTER

BEARINGS OF SITE

UK

Newcastle

Malings Street, Ouseburn

Narrowing down to my chosen site, it is situated more to the south of river running down through Ouseburn. I’ve chosen this spot not only for its interesting topography but as a response to my line of enquiry formed during the framing period. During my site visits and research, I’ve noticed the south of Ouseburn to be more prominent in development projects and the manifestation of gentrification.

For example, the ongoing Lower Steenberg’s Yard, proposed plans for the Whey Aye and talks about the Quayside West. In relation to my studio’s research, this has naturally formed a direction towards exploring the maintenance Ouseburn’s character that may be endangered by such advancement.

Site Map

TESTING & SYNTHESIS CHAPTER

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Site Section

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TESTING & SYNTHESIS CHAPTER

A PEEK OF THE SITE A few snippets of the chosen site to embody Ouseburn’s vibrant, post-industrial character. A strong culture of arts fostered in the area. Thus, when choosing the institute’s programme of a theatre arts and performance, it is befitting for the artistic community in Ouseburn.

CLOSE PROXIMITY TO MALINGS

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VISIBLE LANDMARKS

VIBRANT, POST-INDUSTRIAL

EXISTING DERELICT BUILDING

ON A SLOPE, EXISTING ACCESSIBLE PATHWAYS

MATERIALITY OF SITE

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TESTING & SYNTHESIS CHAPTER

DOODLING IDEAS FOR THE SITE

PARTICIPATION & FLEXIBILITY

Exploring the establishment of alternate forms of education, on sustainability, gentrification, and Ouseburn’s culture.

In Ouseburn and its community, how can the Performance Institute similarly meet contingency and change?

The below diagram illustrates the flexibility of space, through N. John Habraken’s model: the 6‘S’. User flexibility and multi-purpose space develops to be at the core of my design framework.

Flexibility of previously designed pavilion, through scaffolding.

Referring to the Framing Chapter, the idea where participation proves to be vital in a time of contingency and change persists. The pavilion was designed to enhance the everyday life performance around the Malings. It focuses on participation and flexibility as the core of building and process, something which I aim to carry into Testing. This is something to be explored in structural arrangements and materiality.

PRECEDENT

EXPLORING PARTICIPATION/ENGAGEMENT/ADAPTABILTY THROUGH THE THEATRE SPACE

Lina Bo Bardi & Edson Elito’s Teatro Oficina Linking performance with the idea of temporality and flexibility manifests itself in the contemporary theatre, Teatro Oficina.19 Architects Bardi and Elito sought to bridge the scenic stage space with the idea of streets in the everyday life performance. Bardi takes it a step further. Through hybridity of the theatre’s programmatic structure, audience and actors come together in the gathering and making of a performance. Fundamentally, the stage’s arrangement process becomes part of the performance.

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REVISITING FRAMING RESEARCH ON GENTRIFICATION AND THE THEATRE

Based on research, I initially questioned the impact of both gentrification and COVID when choosing a programme. One that could stimulate and generate both learning and creative encounters, and one that Ouseburn does not already have. As a result, this led to the idea of theatre and the performance.

In recent news, the theatre industry is increasingly at stake due to socio-economic situations by COVID- just as gentrification may be changing or endangering elements of Ouseburn and its community. This shapes my line of enquiry. A place for the people to fully express themselves in the everyday and staged, through sustainable means.

A character change?

The future of Ouseburn impacted by gentrification.20

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A process of performance

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A SYNERGY BETWEEN NEIGHBOURHOODS.

The Performance Institute serve as a mediator between existing communities.

DIRECT RELATIONSHIP WITH THE MALINGS. Continuing my line of enquiry, ideas of participation and the community has impacted hugely on my design choices. As a result, I’ve honed specifically into the Malings community which resides next to the site. My design would investigate how it could engage this, in partnership to contribute to the overall notion of the everyday performance in the life of Ouseburn.

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USERS OF THE PERFORMANCE INSTITUTE

Maintaining Ouseburn + the Maling’s character. =Community driven The main users of the Performance Institute will be the Malings residents. They can use the space to host community events, and together explore spatially what could be an extension to their everyday lives along with the wider Ouseburn community.

Of course, the building will also be inhabited by the performing arts community. This crosses both on a smaller scale of Ouseburn and the wider scale of the city. It invites small companies that requires space to grow, and students from Newcastle and Northumbria universities in the interest of performing arts. Such forms a strong creative synergy in exploring together what a staged performance could be like, for the wider city of Newcastle to spectate.

Teaching and learning will take place in the institute through dancing and theatrical workshops. The building also doubles to be a creative learning and interactive environment, sparking discussions around sustainability and the impact of gentrification in Ouseburn’s everyday life.

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A SYNERGY: Teaching/Learning

The Malings

Wider Ouseburn

Performance arts /theatre companies

Students

Participation/ Engaging

Existing community

Community events

coexist

New community

bonding

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INHABITANTS’ RITUALS A PROCESS Routine of performers

Process of audience attending the show

Everyday Performance

MALINGS RESIDENTS’ DAILY LIFE ON THE STEPS. In the interest of the Malings’ residents as users, I’ve taken huge inspiration in their daily rituals. One moment that stood out to me most was the casual gathering of the residents on their communal steps, in the presence of sunshine and sunflowers.

Where gardening is big factor that pulls the community together, I wish to emulate this warm scene in my design. This staging of their daily lives unfolds to me the idea of everyday platforms, where life can take place nonchalantly. An informal encounter.

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Staged Performance 064

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PROGRAMME PLANNING FOR THE PERFORMING ARTS

“Design is a plan for arranging elements in such a way as best to accomplish a particular purpose” -Charles Eames

What is needed in the Performance Institute?

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TESTING IDEAS EXPERIMENTAL MODELS- INITIAL MASSINGS

CYLINDER TOWERS + BRIDGE WALKWAYS

Mirroring surrounding landscape: Toffee Factory

HEIGHT beneficial for sounds during performance

Toffee Factory, symbolic of post-industrial character

TESTING INITIAL CONCEPTS AND IDEAS, along with massing and programme

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‘TELESCOPIC’ FORM

Viewing tower, Building following slant of site and to capture most sunlight.

Underground passage-way connecting between buildings.

LIGHT + DARK

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Back stage room/ Workshop 2 Toilets Auditorium 1 Plant room

Studio 1 Dressing room Classroom

Studio 2

Workshop 1 Auditorium 2

Office

Layout Iteration 1

Workshop 2 Studio 1

Auditorium 1/ Stage

Studio 2 Bridgeway & Cafe Plant room Office

Workshop 1

Classroom

Toilets/Dressing room Auditorium 2 Reception/Lounge area

Splitting up building mass according to site topography.

Layout Iteration 2

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COMMUNAL OUTDOOR SPACES

‘Double-life’ of the steps as an everyday stage.

Reflecting the moment of Malings’ residents on the steps in sunshine and sunflowers.

Inspired by the Malings’ residents’ rituals and characteristics to meet organically in communal outdoor spaces.

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LAYOUT PROCESS Testing ideas on site: using existing walkway as community street life

Hallway/ Lounge Viewing Platform

Toilets Outdoor stairs

Workshop 1

Studio 1

Auditorium 2

Studio 2

Reception

Scale 1:200

Key

Massing iteration for the Performance Institute

1:200 Ground Floor Studio 2

Existing Structure Existing Greenery River

Dresssing room

Cafe/Bar/ Lounge area

Auditorium 1/ Stage

Storage/ Plant room

Scale 1:200

1:200 First Floor

Studio 2 Multi-purpose roof terrace

Scale 1:200

Building around the walkway above the existing building.

To keep site’s existing walkway for a vibrant second street.

1:200 Second Floor

Layout iterations

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EXISTING BUILDING ON SITE THOUGHTS ON MATERIALITY (FOR SUSTAINABILITY)

Young Centre for the Performing Arts, KPMB Architects, Toronto, Canada21

SITE: MALING STREET, OUSEBURN Existing Structure Existing Greenery

Brick- reclaimed?

Timber

Triple-glazed glass Plant fibres (acoustic absorbers)

Retaining existing building for character and sustainability, whilst adding new build on top. Material palette to omit a ‘raw warm industrial’ aesthetic.

Existing derelict brick warehouse at bottom of the site

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PRECEDENT

EXPLORING SUSTAINABILITY

LUO Studio’s community centre, Yuanheguan, China22 I looked at this precedent to explore sustainability of the Performance Institute. The existing building on the site poses as a challenge, or perhaps a beneficial design element. The fragmented looking brick building lies derelict as a former recycling company warehouse. Instead of demolishing this structure as gentrification might do to an area, I decided to give nod to Ouseburn’s history and character. This simultaneously contributes to the agenda of sustainability and advocating environmentally friendly methods by reusing the building. More than ever, this approach shows that instead of increasing waste, the ‘new’ change brings could sustainably meet the ‘old’.

Thus, in keeping the existing foundation and structure, ideas of reinhabiting the building with timber structures are formed: to extend whilst integrating the new build of the theatre institute.

A relationship between two different structures: a spectacle and performance.

Existing building with added timber structure.

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THINKING THROUGH MAKING RECYCLED WOOD SHOERACK, for the dancers’ shoes.

Recycling wood pieces found around the neighbourhood.

Exploring concept of timber joints for users’ daily rituals.

In response to timber structures and a material’s sustainability through recycling, my Thinking Through Making piece explores the two together through making a shoe rack. Intended as a space for the dancers’ shoes and equipments, this piece is recyclable and completely reused through and through. I had found these pieces of wood thrown outside houses and along my neighbourhood streets. With what facilities and materials available to me in the pandemic, I then used a very simple timber joint, crossed between the Dado joint and Lap joint.

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TESTING ITERATION ON SITE MODEL REUSING EXISTING BRICK BUILDING WITH TIMBER STRUCTURES.

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Envisioning the interior, foyer with timber frames

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PRECEDENT

EXPLORING THE THEATRE SPACE

REX/OMA’S WYLY THEATRE

VERTICALITY ADAPTABILITY INCLUSION Thoughts on the inclusion of a scenic view in the theatre space. Instead of having one main theatre space to accomodate to all uses like Wyly Theatre, to have two theatre stages for different uses. They can still be adaptable within the design intention of user-control. This could be the control of including Ouseburn’s scenic view on stage or not. Furthermore, these spaces could be stacked on top of each other to allow better use of the site and scenery.

Flexibility, re-thinking a theatre stage REX’s Wyly Theatre had challenged my thinking in redefining the design of a theatre space.23 The contemporary theatre allows its main performance space to adapt and transform into multiple types of venue space—according to the audience and type of performance. This is achieved by a fly system and implementing a vertical structure instead of a traditional theatre building layout. As a result, looking at this precedent had prodded me into considering what if elements of the programme are designed vertically, and the double life of a space. Furthermore, it led to the idea of incorporating the building’s urban surroundings as part of the theatre stage.

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PERFORMATIVE LANDSCAPE OUSEBURN’S EXISTING VIEWS

NEWCASTLE CITY LANDSCAPE VISIBLE FROM TOP OF THE SITE. The institute intends to capture exclusive view from site, adding a unique element to the theatre space’s drama.

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TESTING PROCESS

Layout iteration for building using walkway.

Testing ideas on site: using existing walkway as ‘CENTRAL SPINE’ (SERVICE/BACKSTAGE SPINE)

Embodying post-industrial nature of site with performative landscape.

Further layout iteration: Institute to be a connector, not limited to a typical ‘front and back’ structure.

Middle of building to function as vital ‘organs’.

All these iterations and process have finally led me to this last overarching theme of using the middle walkway as a central spine. It would entail the building to be split into three main sections, (as shown above). In the following pages, I tested out height and verticality; inspired by both the site’s roofscape-manifested by the Malings and the Toffee Factory-and Wyly Theatre’s concept to circulate vertically. These chimneylike models allow Ouseburn’s industrial heritage and brick aesthetic of the site to come through. Additionally, it further plays on the concept of light and dark initially explored.

For example, the chimneys could direct a natural spotlight onto the actors, increasing the dramatic flare of the space. It could also help direct the audience’s gaze towards the skylight and stage.

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THOUGHTS ON...

ALTERING BUILDING HEIGHT

TO KEEP?

TO ADD?

View across the river

View visible above existing building.

Iteration: to not have building/tower’s height block surrounding views+light.

Testing out additions/extensions to the structure.

Modelling possible building mass, with reduced height.

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Performance Institute to match height and language of the Malings next to it.

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ITERATION DEVELOPMENT

START OF LATEST ITERATION

Imposing a ‘chimney’ silhouette

Preserve views at the top, by shifting position of tower.

Front long section 1:200

Right short section 1:200

Front elevation sketch (view across the river)

Back long section 1:200

Left short section 1:200

Left section sketch (building facing towards river+the Malings) 0m

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20m

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SKETCHING OUT OVERALL BUILDING

THROUGH FLOOR PLANS

GF

FF

SF

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CONCLUDING ITERATION LATEST PROGRAMME LAYOUT (FLOOR PLANS)

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THE THEATRE ARTS & PERFORMANCE INSTITUTE. The proposed building will be an institute, specialising its research towards the performance arts theatre. Identified as the Performance Institute, the overall size currently lies around 2800m2. This entails private and public spaces for the making process of experimental theatre performances. As the building lies on a three-level slope, so will the programme be split into three components. At the bottom of the slope features a courtyard garden leading through into the box office, café, and community theatre. On the same level but built into the site are offices, classrooms, rehearsal studios, and amenities for a more communal, organic inhabitation of the institute. The middle section of the slope acts as a central spine for the building’s functioning. This includes the backstage, drop off points, plant, toilets, and vertical circulation for both the private and public. A tower will arise from this middle section, hosting more practice studios, costume and prop workshops, and a balcony. Lastly, at the top of the hill features a viewing platform and two theatre halls that connects to the backstage. Entrance from the top street level would lead to a foyer, box office and bar prior to entering the theatre space. The Community Theatre would be more relaxed and flexible, whilst the City Theatre would be the institute’s grand highlight, spotlighting professional, paid performances.

Key building spaces/programme.

Bar

Box Office

Experimental Theatre Foyer City Theatre Backstage

Cafe/ Terrace Bar

Workshops/Classrooms Community Theatre Practice Studio

Courtyard Garden

Public Steps

Reception

Front section 1:200

Right section 1:200

Back section 1:200

Left section 1:200

0m

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20m

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A SYNTHESIS: THE STAGED AND EVERYDAY COMMUNITY PERFORMANCES

THE THEATRE ARTS & PERFORMANCE INSTITUTE

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SYNTHESIS CHAPTER

ILLUSTRATED REFLECTIVE DIARY My graduation project proposes a communal engagement, developed in relation to the research path of participatory performance. A platform to bridge between different communities of Ouseburn and the wider city. As key elements of Ouseburn’s context, the Theatre Arts and Performance Institute addresses the site’s performative landscape along with the process of change gentrification may implement on the area. Three main theatre spaces enquires the participatory making of everyday and staged performances, based on programmatic user inhabitation. This constructs a strong relationship between the building, its inhabitation and the site.

Reflecting on my pursuit of performative spaces and in light of climate crisis, my material and structural choices explored through ARC3013 has hugely informed the design. The semi-prefabricated timber structure realises the repurposing of the existing brick building. This developed the concept of ‘light on heavy’ as a sustainable construction strategy. Furthermore, it takes a step towards reducing Ouseburn’s carbon foot-print and extending the area’s postindustrial character. Focusing on the theatre space, I research how I might be able to allow an organic yet controlled relationship between the stage and its scenic surrounding. A synergy of performance, spectacle and the engagement.

Critically, this is mainly done through a kinetic facade and considered openings.

The use of this material façade has hugely developed my building’s visual, theory and purpose.

Overall, the Performance Institute doubles to be a creative learning and interactive environment. Interchangeable spaces, such as the public steps or Community Theatre, intend to generate meaningful conversations and thoughts towards sustainably shaping the future of Ouseburn in the face of urban renewal.

In this proposal, architecture as means of providing the tools and opportunities for the area to come together in exploration of their future every day.

Illustration of synergies in the outdoor space.

Dramatic, experiential space for the staged performances, engaging with Ouseburn’s cityscape.

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Refinement of building envelope

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THE PERFORMANCE INSTITUTE A CONTEXTUAL RESPONSE KEY DIAGRAMS FOR THE PERFORMANCE INSTITUTE

AXO VIEW OF SITE

QUAYSIDE ENTERPRISE CENTRE

THE MALINGS

TYNE BAR

OUSEBURN RIVER

GLASSHOUSE BRIDGE

TYNE RIVER

IMMEDIATE SITE CONTEXT

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SITE PLAN

SITE SECTION

B

A

A

B

0m

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10

20

30

40

50

60

70

80

90

100m

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ACROSS THE RIVER EXTERNAL VIEW OF PERFORMANCE INSTITUTE

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‘L I G H T O N H E AV Y’

reuses existing materials e.g. bricks

REUSING THE EXISTING WITH NEW 1. Primary

reduce material waste

2. Primary

3. Secondary

Social sustainability: historic and communal identity

NEW TIMBER ADDED

retains building’s original embodied energy

Essential excavation + building retaining wall. Existing building intact.

4. Secondary

Laying of new foundation for adaptive reuse of existing building + steel screw pile foundations for semi-prefab timber structure

5. Secondary

Semi-prefab modular Glulam frame + supporting roof structure (Diagrid Roof)

6. Tertiary

EXISTING BRICK BUILDING

WHY KEEP THE EXISTING BUILDING?

reduces energy consumption, (on demolition and rebuilding)

7. Tertiary

Economic sustainability saves money

Sustainability and structural strategy of the Performance Institute: The construction sequence highlights the use of an existing building on the site along with the erection of a lighter structure with timber on top. A semi-prefab timber structure with CLT panels is employed for the institute’s new build.

Such material choices is shaped by the research direction of Creative Synergies as a studio, sustainability being a strong theme. Particularly, to consider how the Performance Institute can assimilate parts and respond to specific elements of the existing structure on site. More so, this integrating the old with the new forms a natural proposition of ‘creative synergies’, adding an extra dimension to the project.

Additionally, the material strategy is also shaped by the project’s environmental thinking/proposition towards climate emergency. A semi-prefabricated timber structure contains less embodied carbon. The institute also considers the future scenario, where perhaps users look to expand or dismantle the building. This then can be done more sustainably with the proposed timber strategy.

CLT modular structure, for protected vertical circulation+Services

Pre-fab CLT panels: wall, floor and roof

Glazing+ cladding (timber & brick)

Internal and courtyard finishes

Structural & construction sequence illustration24 TESTING & SYNTHESIS CHAPTER

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PRECEDENTS REALISATION OF BESPOKE PERFORMANCE INSTITUTE SPACES

EXPLORING THE FACADE

Origin Architect’s reformation of an offset printing factory, 2014.26

Exciting moments of reveal, and use of lighting interaction. Drama and cultural life are no longer limited in a fixed space with openable facades.

Herzog & de Meuron's repurposing of an historic building.27

1:20 Facade Elevation.25

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The CaixaForum Madrid highlights re-use of existing buildingas seen in preservation of classified brick wall. Its re-inhabitation includes purposeful openings for framed views towards outside, and a coherent overall aesthetic of combining the new and old elements.

This inspired my design process, to be carried and moulded into the Performance Institute.

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3 THEATRES + 5 ENTRANCES

Entrances into Performance Institute.

Colour coded with same key as Vertical Circulation.

Vertical Circulation: Semi-private, for staff and backstage use Public

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THREE THEATRES, ONE BUILDING

COMMUNITY THEATRE The Community theatre inhabitants an organic programme set by the Malings and users of the Performance Institute. For example, community events or parties, informative seminars on local sustainability, and informal theatre performances. This flexible and adaptable use of the space encourages creative encounters and collaboration.

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CITY THEATRE The City Theatre sits at the top of the site.

This top theatre is grander and more formal for the professionally rehearsed theatre. It is a place to synergise and present the process and practice of performers, that have taken place in the institute’s dance studios.

EXPERIMENTAL THEATRE The word ‘experimental’ itself in the name suggests alternative exploration of the theatre space. The Experimental Theatre will entail the audience and performers alike to experiment with the space through exploratory means of making a performance. For example, this may reflect on how dance performances may look like in current context of maintaining social distancing, which features individual cubicles around the ‘stage’.

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COMMUNITY THEATRE Situated at ground level facing the Ouseburn River. The theatre engages with a timber space, inhabited inside the existing brick building. The Community Theatre opens towards the institute’s café and outdoor courtyard. Placing it at the bottom of the building is a design intention, to welcome more interaction with the people and public foot-flow. This inspiration, a free flow between the outside and the building, is developed from my Thematic Case study.

Gerrit Rietveld Academy & Sandberg Institute 28 TESTING & SYNTHESIS CHAPTER

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CITY THEATRE Adapting Wyly Theatre’s concept into the Performance Institute’s City Theatre.

Liberating the performance space’s perimeter to allow direct contact with Ouseburn’s urban surroundings. The height and topography of the hill leads to a performative landscape towards the view of Ouseburn and Newcastle City’s landscape. This gives it a unique feature none like other theatres. A scenic backdrop exclusive to the site of Ouseburn, Newcastle. This can be controlled manually by openable timber facades.

Wyly Theatre auditorium29 TESTING & SYNTHESIS CHAPTER

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EXPERIMENTAL THEATRE

Inspired by Tsukiakari Theatre’s Peeping Garden. An architectural response to COVID within the theatre industry. Through employing this circular structure, it allows spectators to watch dance performances, while maintaining social distancing, with dancers performing in the centre of it. Sitting on stools in separated cubicles around the stage almost gives it an intimate and avantgarde experience. The Performance Institute employs this in the Experimental Theatre space, which models a black box theatre. This provides spatial means for different groups of users to adapt the space creatively.

A circular wooden scenographic structure30 TESTING & SYNTHESIS CHAPTER

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PRECEDENTS REALISATION OF BESPOKE PERFORMANCE INSTITUTE SPACES

PERFORMANCE INSTITUTE’S DANCE STUDIO: AN INTERPRETATION

Wigglesworth Architect’s exploration of bespoke dance studios.31

MOVEMENT AND LIGHTING OF THE SPACE.

Asymmetrical Diffused Interaction Panache Silhouette

An asymmetrical space for movement, lighting and interaction. Dance studio featuring inhabitation detail explored in the Thinking Through Making piece.

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1:100 SHORT SECTIONS

TWO BACKBONES: Cutting through the Performance Institute to show inhabitaion, vertical circulation-and the accomodation of enclosed fire escape stairs informed by ARC3013.

1:100 Section AA

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1. Garden courtyard 2. Café 3. Reception 4. Staffroom 5. Toilets/Shower rooms 6. Backstage/Dressing room 7. Community Theatre 8. Discussion space 9. Pin-up room 10. Dance studio

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Communal synergies in outdoor spaces.

Providing a place in the Performance Institute where users and the wider Ouseburn can hang out, have informal encounters and spark interaction. A continuation of the Malings’ characteristic.

Public steps next to courtyard café, refer to Ground Floor Plan

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1. Storage 2. Theatre prop(costume) workshop

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Looking up towards the theatre props workshop. An interaction between levels of space in the building. Visibility through the mezzanine’s glazed window encourages engagement between users. Internal finishes with CLT panels for warm atmosphere.

Point of view from ground floor corridor, refer to Mezzanine Level Floor Plan

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1. Drop off point 2. Backstage- Green room 3. Backstage- Control room 4. Experimental Theatre 5. City Theatre 6. Foyer towards box office

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1. Practice room 2. Balcony 3. City Theatre 4. Toilets

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1. Workshop space 2. Experimental Theatre 3. City Theatre 4. Cloakroom 5. Box office 6. Bar

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Welcoming a flow of people at the top of the institute. A more formal entrance, out of the five entry points, to the Performance Institute. Mediates circulation from top of the hill towards the river front.

Formal entrance to City Theatre, at top of the hill

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1. Plant room 2. Viewing platform/ terrace bar

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SECTION CUT THROUGH COMMUNITY AND CITY THEATRE

Long Section BB 0m

5m

10m

A story of engagement, performance, process, and synergy.

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HOW WILL OUSEBURN BE INHABITED IN THE FUTURE...?

INTERACTION & SYNERGY The Performance Institute’s openable café space towards the outdoor courtyard. An outdoor communal space, echoing the Malings’ design intention to bring the community together.

...PARTICIPATION. COLLABORATION. EVERYDAY PERFORMANCE. TESTING & SYNTHESIS CHAPTER

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PERFORMANCE INSTITUTE’S CITY THEATRE FRAMING THE VIEW, WITH RETRACTABLE FACADE

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.

CULTURAL BIBLIOGRAPHY

THE THEATRE ARTS & PERFORMANCE INSTITUTE

137 CULTURAL BIBLIOGRAPHY

THEMATIC CASE STUDIES 8 OTHER THEMATIC CASE STUDY REPORTS

WHAT HAVE I LEARNT FROM OTHER STUDIOS?

CULTURAL BIBLIOGRAPHY 138

139 CULTURAL BIBLIOGRAPHY

Newcastle University APL Virtual Degree Show 2020

WEBSITE/ VIRTUAL GALLERY

RIBA North East - Future Architects Sketching Workshop

Hugely informative workshop on the skill of hand-drawing. Shaped my way of sketching technique in architecture.

Hugely informative resource throughout my academic year. In layout, representational skills, writing, theological concepts and so much more.

‘APL | Virtual Degree Show 2020 | Newcastle University’ <https://newcastleuniversity.apl.degreeshow2020.v21artspace.com/> [accessed 31 May 2021]

Bill Forsyth’s Local Hero, 1983

Canary Wharf Winter Lights 2020

ARTS & EVENT, EXHIBITION

One of the creative inspirations to me during COVID and the lack of physical studio. It helped visually excite me on thoughts of spectacle, a performance and a synergy of community brought together by urban, public installations.

‘Winter Lights’, Canary Wharf <https://canarywharf.com/ past-events/winter-lights/> [accessed 31 May 2021]

RIBA North East - Economic Breakfast seminar

‘Online Event Page | Eventbrite’ <https://www. eventbrite.co.uk/x/economic-breakfast-with-the-bankof-england-north-east-tickets-137579438805?utm_ source=eventbrite&utm_medium=email&utm_ campaign=reminder_attendees_48hour_email&utm_ term=eventname&ref=eemaileventremind> [accessed 31 May 2021]

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A FILM

Olafur Eliasson’s Institut für Raumexperimenteero, 2009-2014

RIBA seminar/talk on current context of economic , influenced by Brexit and COVID, and the impact on architecture. This expanded my knowledge when thinking about gentrification in my design project, and the current socio-economic situation+ impact it may have on Ouseburn.

CULTURAL BIBLIOGRAPHY

An exploration of magic realism.

Stemming on discussions of Ouseburn’s character, where the mystical and unusual charm of the site plays in with reality. It also influenced my thinking of representating a place and nature preservation.

An educational research project by Olafur Eliasson. A useful website to showcase examples of spatial experimental projects.

‘Institut Für Raumexperimente’, Institut Für Raumexperimente <http://raumexperimente.net/en/> [accessed 1 June 2021]

141 CULTURAL BIBLIOGRAPHY

#inktober2020 Documented @onawhim.g

A HOBBY. Embarking on a 30-day series of daily sketches, painting or any creative forms to produce an image, less than one hour a day. This has helped inform my skills, refining my hand-drawn representation. It also helped me to identify my drawing/painting strengths and weaknesses.

NUAS Small Talks

Two particular small talks that stood out to me.

CULTURAL BIBLIOGRAPHY 142

143 CULTURAL BIBLIOGRAPHY

REFERENCES 1) Left page: Podcast recorded in Studio 07 sub-group, 2020 Right page: Map diagrams extracted from Studio 07 groupwork, Ouseburn Landscape, 2020 2) Studio 07, The Academy, 2020 Documenting the online academy: Gloria Hii, ARC3015 Theory Into Practice, 2021 3) Ouseburn Landscape, Local Institutions, 2020 4) Ouseburn Community, People Portraits, 2020 Ouseburn Community, People Portraits, 2020 5) 6) Ouseburn Community, Ouseburn Wildlife, 2020 Ouseburn Past, Present, Future, Timeline of Ouseburn, 2020 7) 8) Ouseburn Past, Present, Future, Collage of Ouseburn’s changes, 2020 9) Ouseburn Past, Present, Future, Project developments in Ouseburn, 2020 10) Ouseburn Community, On Gentrification, 2020, <https://miro.com/app/board/o9J_lcAOuFU=/?moveToWidget=3074457352725788930&cot=10> , [accessed 31 May 2021]

APPENDIX

PROCESS WORK Appendix A

11) ‘Round-Up: The Serpentine Pavilion Through the Years’, ArchDaily, 2018 <https://www.archdaily.com/790106/round-up-the-serpentinepavilion-through-the-years> [accessed 2 June 2021].

12) ‘Is Theatre Still Relevant? • Navigator’, Navigator, 2017 <https://www.thenav.ca/2017/12/11/is-theatre-still-relevant/> [accessed 2 June 2021].

Lewis, Helen, ‘When Will We Want to Be in a Room Full of Strangers Again?’, The Atlantic, 2020 <https://www.theatlantic.com/international/ archive/2020/05/theater-survive-coronavirus-art-west-end-broadway/611338/> [accessed 2 June 2021] 13) Kaatje de Geest and others, Why Theatre?, 2020.

14) Dorita Hannah, Event-Space: Theatre Architecture and the Historical Avant-Garde, (Routledge: 2018) 15) Rendell, Jane, Art and Architecture: A Place Between (London: I. B. Tauris, 2006) 16) ‘The Container Globe by Perkins Eastman’, Architizer, 2017 <https://architizer.com/projects/the-container-globe/> [accessed 2 June 2021] 17) ‘People of the Malings’, People of the Malings <http://peopleofthemalings.co.uk/> [accessed 1 June 2021] 18) ‘COLAB-19’, Colab-19 <https://www.colab19.co> [accessed 2 June 2021] 19) ‘Architecture Classics: Teatro Oficina / Lina Bo Bardi & Edson Elito’, ArchDaily, 2017 <https://www.archdaily.com/878754/ad-classicsteatro-oficina-lina-bo-bardi-and-edson-elito> [accessed 10 February 2021].

20) Ouseburn Past, Present, Future, Collage of Ouseburn’s changes, 2020 21) ‘Young Centre for the Performing Arts / KPMB Architects’, ArchDaily, 2011 <https://www.archdaily.com/142776/young-centre-for-theperforming-arts-kpmb-architects> [accessed 2 June 2021] 22) Astbury, Jon, ‘LUO Studio Incorporates Abandoned Concrete Foundations in New Centre’ <https://www.dezeen.com/2020/03/17/partyand-public-service-centre-luo-studio-architecture-china/> [accessed 2 June 2021] 23) ‘AT&T Performing Arts Center Dee and Charles Wyly Theatre’, REX <https://rex-ny.com/project/wyly-theatre/> [accessed 2 June 2021] 24) Gloria Hii, ARC3013 Tech Study Report, 2021 25) Hii, ARC3013 Tech Study 26) ‘Origin Architect Transforms Beijing Factory into a Theatre Complex’, Dezeen, 2014 <https://www.dezeen.com/2014/05/25/ theatreprinting-factory-beijing-by-origin-architect/> [accessed 2 June 2021] 27) ‘CaixaForum Madrid by Herzog & de Meuron’, Dezeen, 2008 <https://www.dezeen.com/2008/05/22/caixaforum-madrid-by-herzog-demeuron/> [accessed 2 June 2021] 28) Gloria Hii, Thematic Case Study: Gerrit Rietveld Academy and Sandberg Institute, 2020 29) REX, Wyly Theatre, 2009 30) ‘Peeping Garden | blog_Blog’, 名古屋のダンスカンパニー「月灯りの移動劇場」 <https://tsukiakari-theater.jp/works/peeping_garden. html> [accessed 29 May 2021] 31) ‘Siobhan Davies Dance Studios’, Sarah Wigglesworth Architects <https://www.swarch.co.uk/work/siobhan-davies-dance-studios/> [accessed 22 May 2021]

BUSINESS AND INDUSTRY COMMUNITY Studio 7. Groupwork

Appendix B

All illustrations Author’s own, unless referenced above.

SKETCHBOOK WORK

Exploring alternatives: Mortise & Tenon joints

Appendix C

PROCESS WORK

Yellow: Public spaces Blue: Private spaces Green: Semi-public spaces Red: circulation

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Appendix C ...continued

Appendix D

EXPLODED AXO

A process illustration to indicate the building’s entrances and positioning of the three theatresthat have been pulled apart.

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BIBLIOGRAPHY

Appendix E

SHORT SECTIONS

Process work

Appendix F

Anderson, Jane, ‘What Do We Learn When We Go Outside’, aae: Charette Editorial, 5.2 (2017), 1–7.

‘APL | Virtual Degree Show 2020 | Newcastle University’ <https://newcastleuniversity.apl.degreeshow2020.v21artspace.com/> [accessed 31 May 2021] Arnstein, Sherry R., ‘A Ladder Of Citizen Participation’, Journal of the American Institute of Planners, 35.4 (1969), 216–24 <https://doi. org/10.1080/01944366908977225>.

Astbury, Jon, ‘LUO Studio Incorporates Abandoned Concrete Foundations in New Centre’ <https://www.dezeen.com/2020/03/17/party-and-public-service-centre-luo-studio-architecture-china/> [accessed 2 June 2021] ‘AT&T Performing Arts Center Dee and Charles Wyly Theatre’, REX <https://rex-ny.com/project/wyly-theatre/> [accessed 2 June 2021] Blundell-Jones, Peter, Doina Petrescu, and Jeremy Till, Architecture and Participation (Taylor & Francis Group, 2005) <https://ebookcentral.proquest.com/lib/ncl/detail.action?docID=214723> [accessed 9 February 2021].

Borden, Iain, Murray Fraser, and Barbara Penner, eds., Forty Ways to Think about Architecture: Architectural History and Theory Today (Chichester: John Wiley and Sons Limited, 2014).

‘CaixaForum Madrid by Herzog & de Meuron’, Dezeen, 2008 <https://www.dezeen.com/2008/05/22/caixaforum-madrid-by-herzog-de-meuron/> [accessed 2 June 2021] Creative Synergies Studio 07, ‘Studio Brief’, 2020/21.

‘COLAB-19’, Colab-19 <https://www.colab19.co> [accessed 2 June 2021] Deamer, Peggy, ‘(Un)Free Work: Architecture, Labour and Self-Determination’, Architectural Design, 88.3 (2018), 16–23 <https://doi. org/10.1002/ad.2296>.

‘Experimental Theatre: BAUHAUS Magic Flute Playground By Zuni Icosahedron’, Zolima City Magazine <https://zolimacitymag.com/events/experimental-theatre-bauhaus-magic-flute-playground/> [accessed 27 May 2021] ‘Flow Bend Feel: A Photographic Study of Siobhan Davies Dance’, Sarah Wigglesworth Architects, 2019 <https://www.swarch.co.uk/journal/flowbend-feel-a-photographic-study-of-siobhan-davies-dance/> [accessed 22 May 2021] ‘From Japan Comes a Solution for Attending Theatre While Respecting Social Distancing’ <https://www.domusweb.it/en/art/2021/03/03/in-japanyou-can-enjoy-a-dance-show-through-a-letterbox-hole.html> [accessed 22 May 2021] ‘Gallery of Renovation Of The Aalto University Undergraduate Centre / Arkkitehdit NRT Oy - 11’, ArchDaily <https://www.archdaily. com/793140/renovation-of-the-aalto-university-undergraduate-centre-arkkitehdit-nrt-oy/57ac3bc0e58eceaff6000098-renovation-of-the-aalto-university-undergraduate-centre-arkkitehdit-nrt-oy-photo> [accessed 22 May 2021] Geest, Kaatje de, Carmen Hornbostel, Milo Rau, and Gregory Ball, Why Theatre?, 2020 Gloria Hii, ARC3013 Integrated Construction, 2021 Gloria Hii, ARC3014 Professional Practice, 2021 Gloria Hii, ARC3015, Theory Into Practice, 2021 Gloria Hii, ARC3060, Dissertation Studies, 2021 Hannah, Dorita, Event- Space: Theatre Architecture and the Historical Avant-Garde, (New York: Routledge/Taylor & Francis Group, 2019).

‘Institut Für Raumexperimente’, Institut Für Raumexperimente <http://raumexperimente.net/en/> [accessed 1 June 2021] ‘Is Theatre Still Relevant? • Navigator’, Navigator, 2017 <https://www.thenav.ca/2017/12/11/is-theatre-still-relevant/> [accessed 2 June 2021] Jon Broome, ‘Mass housing cannot be sustained’, in Architecture and Participation, ed. by Peter Blundell-Jones, Doina Petrescu, and Jeremy Till, (Taylor & Francis Group, 2005), pp. 65–75 <https://ebookcentral.proquest.com/lib/ncl/detail.action?docID=214723> [accessed 9 February 2021].

Lewis, Helen, ‘When Will We Want to Be in a Room Full of Strangers Again?’, The Atlantic, 2020 <https://www.theatlantic.com/international/archive/2020/05/theater-survive-coronavirus-art-west-end-broadway/611338/> [accessed 2 June 2021] Nordahl, Robert, ‘Stunning Oak Slats at DTU 202 - The Biosphere’, Gustafs Scandinavia <https://gustafs.com/portfolio-items/technical-university-of-denmark/> [accessed 22 May 2021] ‘Online Event Page | Eventbrite’ <https://www.eventbrite.co.uk/x/economic-breakfast-with-the-bank-of-england-north-east-tickets137579438805?utm_source=eventbrite&utm_medium=email&utm_campaign=reminder_attendees_48hour_email&utm_term=eventname&ref=eemaileventremind> [accessed 31 May 2021] ‘Origin Architect Transforms Beijing Factory into a Theatre Complex’, Dezeen, 2014 <https://www.dezeen.com/2014/05/25/theatreprinting-factory-beijing-by-origin-architect/> [accessed 2 June 2021] ‘Paulien Bremmer Wraps Addition to Gerrit Rietveld Academie in Woven-Steel Screens’, Dezeen, 2019 <https://www.dezeen.com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/> [accessed 10 February 2021].

‘Peeping Garden | blog_Blog’, 名古屋のダンスカンパニー「月灯りの移動劇場」 <https://tsukiakari-theater.jp/works/peeping_garden.html> [accessed 29 May 2021] ‘People of the Malings’, People of the Malings <http://peopleofthemalings.co.uk/> [accessed 1 June 2021] ‘Queens Road’, Sarah Wigglesworth Architects <https://www.swarch.co.uk/work/queens-road/> [accessed 22 May 2021] Rendell, Jane, Art and Architecture: A Place Between (London: I. B. Tauris, 2006) ‘Round-Up: The Serpentine Pavilion Through the Years’, ArchDaily, 2018 <https://www.archdaily.com/790106/round-up-the-serpentine-pavilionthrough-the-years> [accessed 2 June 2021] Saumarez Smith, Otto, Boom Cities: Architect Planners and the Politics of Radical Urban Renewal in 1960s Britain, 2019 <https://doi. org/10.1093/oso/9780198836407.001.0001> [accessed 9 February 2021].

‘Siobhan Davies Dance Studios’, Sarah Wigglesworth Architects <https://www.swarch.co.uk/work/siobhan-davies-dance-studios/> [accessed 22 May 2021] Sithole, Shamiso, ‘Collaborative Effects: Building, Contemporary Dance and Structuralist Thought ’ (Integrated Design in Architecture K12AH2) <https://www.designingbuildings.co.uk/w/images/e/e2/Collaborative_effects_Structuralism.pdf> Studio discussions, Zoom, 2020/21.

‘The Container Globe by Perkins Eastman’, Architizer, 2017 <https://architizer.com/projects/the-container-globe/> [accessed 2 June 2021] ‘The Malings | Ash Sakula Architects’ <https://www.ashsak.com/projects/malings> [accessed 1 June 2021] Theory in Practice seminar, critical friends discussion with Owen Hopkins, 2020 ‘The Weston Visitor Centre and Gallery / Feilden Fowles’, ArchDaily, 2019 <https://www.archdaily.com/914491/the-weston-visitor-centre-andgallery-feilden-fowles> [accessed 22 May 2021] ‘The Wyckoff Exchange Adaptive Reuse (Grace)’, ABQ Warehouse District, 2011 <https://celladdition.wordpress.com/2011/02/14/the-wyckoff-exchange-adaptive-reuse-grace/> [accessed 27 May 2021] ‘Undulating Roof of Siobhan Davies Dance Studio Echoes Movements of Its Users’, Dezeen, 2020 <https://www.dezeen.com/2020/09/24/siobhandavies-dance-studios-sarah-wigglesworth-open-house-london/> [accessed 22 May 2021] ‘Winter Lights’, Canary Wharf <https://canarywharf.com/past-events/winter-lights/> [accessed 31 May 2021] ‘Young Centre for the Performing Arts / KPMB Architects’, ArchDaily, 2011 <https://www.archdaily.com/142776/young-centre-for-the-performing-arts-kpmb-architects> [accessed 2 June 2021] ‘名古屋発 ダンスとマイムによる月灯りの移動劇場’, 名古屋のダンスカンパニー「月灯りの移動劇場」 <https://tsukiakari-theater. jp/> [accessed 29 May 2021]

SHORT SECTIONS

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THEMATIC CASE STUDY

A GROUP REPORT

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THEMATIC CASE STUDY

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

1

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

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

BY AMANDA YEONG

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INHABITATION AND SPACIAL RELATIONSHIPS

Fig. 1 The main extension building

QUESTION 1

CIRCULATION AND ACCESS TO THE BUILDING

QUESTION 1

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

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

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

Fig. 3 Benthem Crouwel building

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

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

Fig. 8 Circulation of teachers before extension.

Fig. 9 Circulation of students before extension.

Fig. 10 Overall circulation before extension.

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

Fig. 4 Gerrit Rietveld main building

Fig. 6 North facade of the extension.

Fig. 11 Circulation of teachers before extension.

Fig. 12 Circulation of students before extension.

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

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

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

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

Fig. 7 Axonometric view of the extension.

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

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PROGRAMME AND HIERARCHY OF SPACES

QUESTION 1

INHABITATION OF SPACES

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

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

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

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

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

Fig. 18 Ground floor plan

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

Fig. 19 Initial intention of theoritic stairs.

Fig. 20 Current inhabitation of theoritic stairs.

Workspace

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

Learning resources Office Discussion space Business Store

Fig. 13 Programme of the building.

Fig. 21 Ground floor plan

Fig. 14 Hierarchy diagram of basement.

Fig. 15 Hierarchy diagram of ground floor.

Fig. 16 Hierarchy diagram of upper floor.

Fig. 22 Initial intention of basement room.

Fig. 23 Current inhabitation of basement room.

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

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

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

4

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

Fig. 24 Basement floor plan

5

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

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

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

BY LOUIS DUVOISIN

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Alumni’s of the Rietveld Academy - leading the FEDLEV design team

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

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

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

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The Fedlev Team Composition - Ven Diagram

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

Building designed by Gerrit Rietveld in 1966, after the merger of 3 design schools, due to the influence the De Stijl and Bauhaus movements had on M E BOER functional and social attitudes towardsE D STANIO design education.

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

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The New Gerrit Rietveld Academy Building

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

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

Pauline Bremmer,ISSan Alumni and practicing architect M ION O C founded G a multidisciplinary design team called ‘Fedlev’ I N S E whichDsubsequently won the competiton.

Y M EM TEA STAto NIOdesign offered an alternative outlook N Fedlev’s Iapproach A G R S on theEprocess of education, where autonomous learning and collaboration were prioritised E BREMM over more rigid LIN U structures. This is as a result of the teams composition ARBON the team encompassed a wide itself: Led by Bremmer, AC range of social sciences and artistic specialities. The collective design proposal that accumulated through this design has transformed the way the Rietveld E BOteam ER ED R DESIGN Academy functions, and provides a useful insight into HE our own studio themes. By integrating a wider range of IO PAULINE B D R resulting disciplines and people in the design TU process, the architecture reflects this holistic attitude, resulting in a CTS HTIE C R more diverse and accomodating proposal.

Architects Narrative - Ven Diagram

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

Luca Carboni Freelannce designer and architect with a political focus.

COLLABORATION

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STUDENT ENGAGEMENT

QUESTION 2

Vision though the spaces

Structural Components

Ground Floor - Visual Permeability

Roots through the spaces

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

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

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

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

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SSION I M T E R N I D O I D SCIPL C AN N INA G SI RY E D WO Y This is made possible by thestrategic maximisation of columns, which allows the architects reducd the number of (opaque) structural walls needed, RK spaces and from them to the outside. TheEphysical M tolinking AMprogramatic function in this way contributes increasing visibilty both through the interior ofEthe T TANIO N utilised: to the feeling of collective working and demonstrates the diversity of the way the new building can be the idea that that the design Sstrengthening G RA I TIVE school is one hybrid mind.

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

- Pauline Bremmer RT COU

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

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

BY GLORIA HII

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QUESTION 3

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

SUSTAINABILITY STRATEGIES (Before & After) Diagrams

Amsterdam’s Climate/Environment

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

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

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

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

QUESTION 3

Wooden tower

Prefabricated building

Green façade

wooden curtain wall wooden construction

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

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

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

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

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

Completion Fig. 2 Academy’s Exterior

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

Scale 1:10 000 Fig.3 Site Plan

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

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

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

small wind turbines curtains for chimney ventilation

openable facade for ventilation

influx of natural daylight

collecting rainwater

heat/cold storage (perhaps STES)

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

Greywater system

Fig.7 Sustainability diagrams, completed design

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

Building is still prefabricated, on a smaller scale.

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

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

In the summer:

possible plant room curtains for chimney ventilation

collecting rainwater

Fig.4 Proposed building infrastructure influx of natural daylight

openable facade for ventilation

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

Fig.9 Ventilation diagram

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

heat/cold storage (STES) Greywater system

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Fig.5 Completed building, possible infrastructure

Fig.8 Top floor of Academy

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Fig.10 Heat+Light diagram

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

QUESTION 3

QUESTION 3 Summer

MATERIALITY OF FEDLEV BUILDING & its uses

Winter

Heat stored

Heat released

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

Thermal flywheel effect: Heat released

Glass

-Openable facade -Doors -Windows -Triple-glazed

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

450 mm reinforced concrete floor

Woven Steel

-Openable facade -Also used in stair railings

Concrete is used for its thermal mass.

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

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

Fig.14 Close up of flooring section

Wood

-Simple internal finishes -Wooden panelling

Concrete -Stairs -Walls -Floor -Columns

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

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

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

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

Fig.15 Exterior entrance to upper level

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

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

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

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

This indicates sustainability and high thermal mass.

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

Fig.16 Folded screens to merge outdoors & indoors

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

BY AURELIA THOMPSON

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QUESTION 4

FEDLEV’S THEORETICAL POSITION:

- GERRIT RIETVELD AND DE STIJL MOVEMENT

QUESTION 4

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

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

FIgure 6: Education as Dialogue

Figure 7: Theory and Practice go hand in hand

Figure 8: Encouraging individuality

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

“For us, art education is first and foremost a continuous critical dialogue between students and teachers.”

As a member of the DeStijl movement, Rietveld had a huge influence in setting out the general principles the Academie follows until today.

Figure 1: The Rietveld Acadmemie with Architect Gerrit Rietveld

~Rietveld Acadmie

KEY IDEAS OF DE STIJL

VISUAL INSPIRATION Figure 2: RIETVELD Building - Library

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

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

Figure 3: FEDLEV Building - Library

Figure 10: The Sanberg Instituut

Figure 9: The Rietveld Academie

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

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

Figure 11: Departments along side each other

Figure 12: Connection across borders

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

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

Aurelia Thompson

Figure 13: Use of the building

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Aurelia Thompson

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

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QUESTION 4

IDEAS AND PREOCCUPATIONS:

- THE ARCHITECTS: PAULIEN BREMMER + TEAM FEDLEV

QUESTION 4

IDEAS AND PREOCCUPATIONS: - BLANK CANVAS

Teamleader

Figure 16

Figure 15

Figure 17

“By studying and understanding the rituals of the place, conditions for a non dominant, engaged yet surprising use are developed.”

Figure 18

Luca Carboni

Sandra Stanionyte

Maze de Boer

Paulien Bremmer

With a Bachelor in Industrial Design, Luca was studying Graphic Design at the time of the Competition.

He later entered a Masters Degree at the Dutch Art Institute.

After having studied Interior Design and Inter-Architecture at the Rietveld Academy, Sandra found her passion in Performance Art. At the Royal College of Art she entered a Master’s Degree.

Today working as a viual arts teacher at the Rietveld, Maze de Boer began his education at the same Acadmie. He is a Multi-disciplinair artist, who works with sculpture, installation, film/ video, photography and music.

Educated not only at the University of Delft but also the Rietveld Academy Paulien Bremmer has explored art and architecture through different mediums and approaches. Besides her activity as a teacher she has her own Studio, which embrasses a multidisciplinary approach to not only architecture but art in general.

~ Studio Paulien Bremmer

Figure 21: Blank Canvas - User Experience

Figure 24: Open studio environment in FedLev Building

OPEN SOURCE PROCESS

Aiming at bridging the practice of design with political activity.

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

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

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

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

Figure 19: Every teammembers contribution is valued equally

Aurelia Thompson

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

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

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

Figure 23: Engaging environment

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

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

As Architects FedLev created the foundation.

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

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

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

Aurelia Thompson

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QUESTION 5

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

BY PENSY FONG

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QUESTION 5

The Art Institute of Chicago

QUESTION 5

Renzo Piano Building Workshop

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

Figure 4 The Modern Wing of the Art Institute of Chicago

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

Figure 1 The Gerrit Rietveld Academy and Sandberg Insitute

Gerrit Rietveld Academy and Sandberg Institute

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

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

Figure 5 The main circulation of the institute

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

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

Figure 6 The section of the Modern Wing

Figure 3 The surrounding building type

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

Figure 8 The illustration showing the path connecting to the garden

Figure 7 The overhang

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QUESTION 5

QUESTION 5

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

Figure 9 The Goethe Institute

Figure 14 The diagonal walkways

Cleveland Institute of Art, New George Gund Building

Figure 10 Georgian house of the language school and cultural programs

Stantec Architecture

The Goethe Institute

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

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

Figure 11 The circulation of the both as a loop

Figure 15 A map showing the location of the Cleveland Institute

Figure 12 The section of Goethe Institute

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Figure 16 A side view of the New George Gund building

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BIBLIOGRAPHY

LIST OF FIGURES

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

QUESTION 1

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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QUESTION 2

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

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

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

QUESTION 4 List Of Figures:

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

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QUESTION 5

QUESTION 5

List of Figures

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

Bibliography - Resources link

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

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

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

Archello. 2020. Gerrit Rietveld Academy And Sandberg Institute | Gerrit Rietveld Academie | Archello. [online] Available at: <https://archello.com/project/gerrit-rietveld-academy-and-sandberg-institute> [Accessed 5 December 2020]. designboom | architecture & design magazine. 2020. Paulien Bremmer + Hootsmans Extend Rietveld Academy & Sandberg Institute In Amsterdam. [online] Available at: <https://www.designboom.com/architecture/paulien-bremmer-hootsmans-gerrit-rietveld-academy-sandberg-institute-amsterdam-09-20-2019/> [Accessed 9 December 2020].

Wessely, H., 2020. An Addition To The Art College: Expansion Of The Rietveld Academy In Amsterdam. [online] Detail-online.com. Available at: <https://www. detail-online.com/article/an-addition-to-the-art-college-expansion-of-the-rietveld-academy-in-amsterdam-35412/> [Accessed 9 December 2020].

2020. [online] Available at: <https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf> [Accessed 11 December 2020].

Rpbw.com. 2020. RPBW Architects - Renzo Piano Building Workshop. [online] Available at: <http://www.rpbw.com/project/chicago-art-institute-the-modern-wing> [Accessed 13 December 2020].

ArchDaily. 2020. Modern Wing At The Art Institute Of Chicago / Renzo Piano. [online] Available at: <https://www.archdaily.com/24652/the-modern-wing-renzo-piano> [Accessed 14 December 2020].

ArchDaily. 2020. Refurbishment And Extension Of The Goethe Institute / Henchion Reuter Architects. [online] Available at: <https://www.archdaily. com/903778/refurbishment-and-extension-of-the-goethe-institute-henchion-reuter-architects> [Accessed 14 December 2020].

Henchion Reuter Architects. 2020. Goethe Institut Dublin - Henchion Reuter Architects. [online] Available at: <http://www.henchion-reuter.com/projects/ goethe-institute> [Accessed 16 December 2020].

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