Hannah Grace Fordon Portfolio

•SALTAIRE• REPERTORY THEATRE

Hannah Fordon 170384562 Academic Portfolio 20/21 Newcastle University • Architecture, Planning and Landscape Studio 08 • Curating the City

•SCENES• Illustrated Reflective diary Framing Thematic Case Study Report Testing Synthesis Thinking Through Making Cultural Bibliography Bibliography Appendix

New / improved work

Group work

p2 p6 p28 p34 p52 p82 p86 p92 p94

•ILLUSTRATED• REFLECTIVE•DIARY

• Personal development • Being part of the Curating the City studio, with tutors Andrew Ballantyne, Jianfei Zhu and Neil Burford, my knowledge and approach to the cultural, social, and historical aspects of Architecture and design has hugely developed throughout the academic year. During first and second year I largely focused on the aesthetic aspects of my projects, be it whether they form well with the site, materiality, or exterior appearance, with user experience a product of this. Whereas my third-year project has challenged me to focus theoretically on user experience and Corbusier’s theory of promenade architecturale by using this as the central focus, letting my physical scheme develop alongside. My design process started with a public rooftop plaza, and the Theatrical aspects developed alongside this. The change in design approach highlights how my skills have enhanced during the past 3 challenging yet brilliant years at Newcastle University Architecture.

The opportunity to work with the UNESCO World Heritage Site of Saltaire meant that a remarkable amount of history and protected buildings had to be considered largely within design, as well as the wider reputation of Saltaire and what it means to be a World Heritage Site. The in-depth site analysis exploring themes of visuality framed my whole scheme and was an extraordinarily strong pivot for the beginning of my project, despite contradicting the main ethos being user experience. This will be remembered throughout my career as this project has made the importance of in-depth site analysis very apparent.

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I have realised that physical models hugely help me understand my work, and that having a working model throughout the year has played a large role in the design processes undertaken. This will also be carried forward into my career and future education.

One of the studio focuses was using a key text to kickstart our project. The Tourist Gaze by John Urry was a catalyst for themes of experience and perspective which run consistently through my project.

The text compares and captures the experience of place through mobile images and also through physical experience and ‘seeing’. In an increasingly globalised world, the latter is less common, and people view things through their mobile phones and cameras more than through the lens of their own – the eye. The idea of social media shaping a prescribed user experience highlighted the need for individual experience, which I believe is achieved through my project of Saltaire Repertory Theatre.

The influences of material and lighting aspects also shape the user experience / promenade architecturale and are used in my project to reflect the emotions a performer would feel when walking out onto stage for the first time. The material exploration for Thinking Through Making developed this idea, with a fabric façade cast from glass reinforced concrete representing a stage curtain. This wall is the first view upon entering the theatre and will hopefully resonate and link material qualities to the experience of the scheme.

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• Integration with other modules • The other modules of this academic year, ARC3013 Integrated Construction, ARC3014 Professional Practice and Management, ARC3015 Theory into Practice and ARC3060 Dissertation in Architectural Studies have interestingly all had the same theme throughout, though for some modules this was not a conscious decision, which even made me realise some of my personal interests within Architecture. The synthesis of these modules allowed me to apply different techniques to my project throughout the academic year.

My dissertation: ‘Spitalfields: Replacing what is lost. An exploration into the physical sense of Home for Migrants in their host country.’ Explores the impact of the physical environment on emotion, and how this creates connectedness and relationships between people, places, and buildings. The argument throughout is whether feelings of home and belonging will be enhanced or deprived in a more globalised planet, as the world veers towards sameness. In a similar way my design project aims to create an individual relationship between the user and Saltaire Repertory theatre, so that the whole experience of the tourist hotspot Saltaire is not completely prescribed.

•ACKNOWLEDGEMENTS •

I would like to thank my studio tutors: Andrew Ballantyne, Neil Burford and Jianfei Zhu, fot their support and guidance throughout the year.

This year has been challenging yet extremely rewarding and would not have been possible without the support of tutors, peers, friends and family.

Thank you

ARC3013 Integrated Construction significantly helped my understanding of how construction can be integrated into the design and interior aspects of a building. My scheme uses exposes structural columns to provide partitions between open plan spaces. The timber framed auditorium has huge acoustic and aesthetic benefits, highlighting how construction should be celebrated and is actually a huge part of the design process, not a solely separate concept.

An important module was ARC 3015 Theory into Practice as it clarified the main theoretical design intentions and made me question if just ‘seeing’ is enough to sustain tourism. This developed the rooftop plaza and porous North facing façade intentions.

Overall, being part of Curating the City studio and Newcastle University APL has positively challenged me, so looking forward I am hugely excited to develop my skills within Architecture and beyond. I feel well prepared for the next steps in Architecture with thanks to the support, skills and wisdom received from my tutors, peers, and academics.

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01.

F

RAMING

• Framing Reflection • The framing stage of this project involved in depth site analysis of Saltaire across the 4 main studio themes: visuality, eco-assemblage, urban form and memory. I chose to study visuality and took a theoretical approach to the topic by looking at visuals of tourism and the other senses which play a part in place connectedness of the tourism industry and user experience. I chose to read a text relative to visuality: The Tourist Gaze by John Urry, who’s theories on tourism significantly influenced my design concept.

The theme of visuality lead onto studying the representation of Saltaire in the media, and how it is visually presented to tourists and locals before and after the rebranding of the village in 2011.

The difference between the representation of prescribed heritage sites opposed to arts and cultural events was clear, concluding that the newer arty identity gave flare to Saltaire, and a want to re-visit.

The brief of a Repertory Theatre was the product of Framing research, with the main aims to create an alternative experience to Saltaire than just ‘seeing’ heritage. It additionally creates more hospitality to the village with a restaurant and café, of which the locals can benefit from.

This stage also included general site analysis, looking at the history of Saltaire and what it means to be declared a UNESCO World Heritage Site. Framing was an essential pivot for this project, and ensured a gentle approach to reflecting a protected Heritage whilst creating a newer design and scheme for the area.

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Saltaire WHS was nominated with a buffer zone to ensure proper coservation of the site and its setting. The Buffer Zone includes all of the visible surrounding landscape from within the World Heritage Site.

- Saltaire Buffer zone

World Heritage is the designation for places in the World that are of outstanding universal value to humanity, form part of the common heritage of mankind and as such, have been inscribed on the United Nations Educational Scientific and Cultural Organization (UNESCO) World Heritage List to be protected for future generations to appreciate and enjoy.

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SITE

- Saltaire World Heritage Site boundary

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1993 - instead of being in decline, the Salts Mill had become a very exciting place showcasting Hockneys work. Over 90,000 visitors were recorded in 1993.

Salt and his family moved from Bradford, and Salt found an interest in health. His father encouraged him to learn the family wool stapling business. He soon moved back to Bradford to focus on the textile industry.

In 1833 Titus spotted a consignment of alpaca wool stored in a Liverpool warehouse. He thought this was worth experimenting on.

Maintaining a rural setting, houses were built for his workers, each with a supply of fresh water, sanitation and a gas supply. The community became self sufficient with its own shops, hospital, school, library, park and church. There were alms houses for the poor and elderly, public baths and wash houses.

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1870

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1890

1900

1910

The Salts Mill closed in 1986.

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Sir Titus Salt passed away on 29th December 1876.

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The village was sold to the Bradford Property Trust in 1933 thus enabling houses to be bought by their occupiers for the first time in the village’s history.

Salts Mill and textile industires were in decline.

By the late 1940’s Titus had 5 seperate textile mills. in 1844 Benjamin Disraeli published Coningsby, a novel about a factory owner who improved the lives of his workers by building them a church and a school. The following year, Disraeli published another book which described a purpose built village built for workers in Bingley, near Bradford by William Bushfield Ferrand, which greatly improved their living conditions.

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2000

2010

2020

1987 The 1853 Gallery was opened in the Mill

Four Bradford businessmen, John Rhodes, John Maddocks, Isaac Smith and James Roberts took over the mill and village in June 1893.

20th September 1853 - the opening of The Satls Mill,.

WHS - “a natural or man-made site, area, or structure recognized as being of outstanding international importance and therefore as deserving special protection. Sites are nominated to and designated by the World Heritage Convention (an organization of UNESCO).”

Salts Mill dyehouse, 1920’s.

Titus was created a baronet by Queen Victoria in 1869.

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2001 - Saltaire was declared a World Heritage Site.

1971- Saltaire Conservation Area was designated.

2450 people of Saltaire were working in the mill by 1970.

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KEY DATES

In 1958 Illingworth Morris & Company Limited purchased the Salt Mill complex for over four and half million pounds.

The textile industry in Bradford started in the 1700’s. Working conditions were very poor - exploited labour meant poor health and low life expectancy. Smog surrounded the mills in Bradford having a further negative effect on health.

1853 Gallery David Hockney Salts Mill is home to one of the largest collections of David Hockney’s art.

Gallery 2 and the Saltaire Exhibition On the second floor beyond is Gallery 2 and the Saltaire Exhibition. Gallery 2 has a collection of work by Henry Marvell Carr R.A entitled “The Textile Process” and Simon Palmer’s collection of Saltaire paintings and drawings. At the rear of the gallery is the Saltaire Exhibition which is a fascinating exhibition which explores Saltaires history from 1853 to present.

2011 - Saltaire was rebranded through Arts and Culture.

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2001

20th September 1858 was the opening of the Salts Mill, which is now a symbol of Yorkshire heritage and influence.

Saltaire was declared a UNESCO World Heritage Site in 2001. Protecting its universal value whilst developing socio - culturally and economically is now a challenge, and any development design must meet this balance.

The mill created many jobs and was the core player in developing a comminity for Saltaire.

2011 As a result of a decline in tousirm, ubran rebranding of Saltaire occured in 2011, where an arts and cultural approach was taken.

This included arts fesivals and trails, and a boost in visits to The Salts Mill art gallery.

Perspectives of Saltaire were positively flipped as more personal user experiences were gained.

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Saltaire Grade II listed buildings -

Saltaire key views from Appendix 7 Saltaire URC

The Salts Mill

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3.2

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3.1 18 16

6 5 11.3 7.1

Terraced Housing

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12.2

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7.2

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Victoria Hall Salts Building Shipley College

15.2 9.2 15.5

9.1 23

15.6

Salts Hospital Building

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13.1 25 12.1

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Views from and across the site

Distant views to the site -

Local views to the site -

Critical views

Almshouses

Important views Contributory views

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ARC3015 Theory Into Practice - ‘Challenging the Mundane’ is what my project intends to do for Saltaire.

“Someone who has travelled to another place for a brief sojourn, an experience that necessarily entails a distinct period of transition and discontinuity from the everyday world” (p. 11). Urry (2002)

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The studio reading of The Tourist Gaze highlighted theories on the visuality of tourism.

Challenges defined within the text, such as a lack of ‘seeing’ and more just recording experience on smartphones / cameras, are resolved within my design.

Challenging the

mundane

Would people visit Saltaire if they couldn’t take pictures?

Is Saltaire lacking in experience, such as the Salts Mill gallery?

Would Saltaire benefit from a boost in tourism?

How would the local community benefit from this?

How can the heritage be remembered whilst creating a new, current experience in Saltaire?

Once somewhere has been seen, why would a person want to see it again?

Is Saltaire lacking in facilities to support the tourism industry?

Is Saltaire clinging onto its heritage identity?

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REALISATION OF BRIEF

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HERITAGE TOURISM

1000BC - 146BC Ancient Greek Theatre - The emergence of the ampitheatre. They were usually cut into a hillside with tiered seating in a semicircular shape. The famous work of famous Greek playwriters are still performed today.

753BC - AD476 Ancient Roman Theatre The difference to Greek amiptheatres is that the romans built on their own foundations. The colluseum in Rome is an example of a traditional Roman theatre.

900 - 1500s Medival Theatre Theatre died out soon after the Romans left Britain. Through religion, it was reintroduced.

Plays taught Christian stories and messages to chose who can not read.

1500’s Commedia del’Arte Plays were free for all and performed with props and costumes. They were performed on raised platforms in public squares. Usually performing a love story / tragedy. this type of play weaved its way into English and French Theatre.

1558 - 1603 Elizabethan Theatre William Shakespeare was heavily linked to theatre during the reign of Elizabeth I. Plays were staged in wooden playhouses. The majority of the audience stood, whereas richer members had seats.

1600’s - Present Kabuki Theatres (Japan) Famous for its extravagant costumes and makeup. Only male actors play. Females used to play both roles. Performances are usually about historical events. Freatures include trapdoors, a footbridge and a rotating section.

The National Trust defines heritage tourism as “traveling to experience the places, artifacts, and activities that authentically represent the stories and people of the past and present. It includes cultural, historic and natural resources” (National Trust for Historic Preservation, 2008).

The brief of a repertory theatre will create a brand new experience for Saltaire whilst boosting heritage tourism, and will enjoyed by locals and visitors. A repertory theatre is more community lead, and so reflects the ethos of Sir Titus Salt.

The site is situated on the main high street of Saltaire, next to the Salts Mill, and so should positively contribute to a lively area in Saltaire to be enjoyed by all.

1660 - 1714 Restorican Theatre Stage performances were banned after the English Civil War, reopened in 1660.

Audiences were made up of servants, the middle class and rich people. Women were permitted on stage.

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1800’s - 1900’s American Vaudeville Inexpensive. Ivolved dance, music, comedy, magic, singing, sketches, animals and acrobatics.

1837 - 1901 Victorian Theatres Industrial revolution brought technical breakthroughs which had a huge impact on the world and theatres. Huge advancements in ligting and audio. Plays set in living rooms became populat ‘cup and saucer plays’.

1900’s Repertoty Theatre A resident theatre company performs work on rotation. The shorter runs of work each week reate a community and visitor routine, where people and families would visit the weekly ‘rep’.

21st Century Modern Theatre Theatre is very broad in the modern day. It is almost a combination of all past forms of theatre. With the highest advancements in technology, lighting and audio. Theatres now showcase exciting modern design.

REALISATION OF BRIEF

The theatre will boost the hospitatlity industry by having a restaurant and cafe with direct pedestrian access.

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REPERTORY THEATRE

SITE SKETCHES

- The performance of various plays, operas, or ballets by a company at regular short intervals.

- A resident acting company keeps a repertory of plays that are always ready for performance, often presenting a different one each night of the week, supplemented by the preparation and rehearsal of new plays.

- Hold performances by visiting production companies and local production companies.

- Site sketch of The Salts Mill to the North of the site.

- Saltaire theatre groups

- Site sketch of Caroline Street to the South of the site.

- Early programme ideas

- Bradford theatre groups

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SITE SLOPE

East to West slope

North to South slope

North to South slope

One of the main site characteristics is the slope.

To integrate this into my scheme I reflected the slope incline with the rooftop plaza. It enabled an opportunity to create an extruded landscape within my scheme.

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SITE SLOPE

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The most significant slope is the one running North - South. It shapes the valley of Saltaire and runs down to the river edge, where it is reflected upon the North side of the valley.

This proposed a setting to frame the views of the valley infront within my project.

- Natural Features

- Summer sun path 23

- Noise

- Winter sun path

- Pedestrian access

- Vehicle access 24

Immediate Site

Site 5 Key Views

1.1 View towards the North Roberts Park and Baildon Moor.

1.2 View towards the South Moorhead and Northcliffe Park.

1.1

The Salts Mill 1853 Gallery Salts Diner

Early Music Shop Yorkshire Music School

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2 View towards the East Site 5 and The Salts Mill.

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Surrounding Site Car park

Public toilets Car park

Caroline Street social club

Car park

Victoria Road

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Allotments

3 View towards the North Caroline St Social Club and The Salts Mill.

Shops & pub

Caroline Street Terraced housing Shipley College Johnathan Silver Building

4 View towards the East Caroline St towards Shipley.

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- Refined site boundary

02.

T

HEMATIC

CASE-STUDY REPORT • Case Study Reflection •

The was the by

thematic case study research significantly influenced my design choices, and the influence behind some of the main aspects of my design. For my section of booklet I compared the design, tectonic and theoretical intentions of 3 projects Grafton Architects to The London School of Economics Marshall Building.

An ethos carried across their design of publc buildings was the creation of a ‘porous facade’ which draws the public into the building despite the building use not being the primary attraction. This was very sucessful in educational buildings, where people would perhaps not enter by choice - the pourous facade invites users inside.

I have taken this into my design by creating a North facing porous facade / restaurant terrace, with hopes it will have similar affects.

Grafton celebrate exposed structures and open plan areas which were also considered widely within my design of Saltaire Repertory Theatre.

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University Campus UTEC Lima

How does the Marshall Building relate to others of its type?

Town House, Kingston University London Grafton Architects

SITE DIFFERENCES REFLECTED IN DESIGN

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EXPOSED STRUCTURES

University Campus in Lima is situated right on the Peruvian coast. The unique condition of Lima and its relationship to the Pacific, with cliffs defining the boundary between the city and the sea, was a starting point in the conception of this project. The almost brutalist form represents the cliff edges seen on the site. The UTEC Campus is seen as a cliff edge. These site influences create huge differences in aesthetic. The architectural languages for both projects are completely different, LSE is quite planar whereas the Lima campus is very volumetric. 1

The geometry of the structural plates with an “A” section and the composition of the volumes responds to the search of Grafton Architects to create a “man-made cliff ”, a topography that is integrated with the surrounding environment. The structure of UTEC Lima is used on the interior and on the exterior to portray the feeling on a ‘manmade cliff ’. The material choice of concrete reflects this image too. This contrasts to The Marshall Building where structure is expressed primarily through the interior and is not as exposed on the interior.

University Campus, UTEC Lima Grafton Architects Comparing The Marshall Building to the three chosen precedents highlights how different buildings of the same type can be, despite having the same function.

The buildings chosen are all designed

by Grafton Architects and all relate in terms of their use - an educational building as part of a University Campus.

The locations of each are different and perhaps this influences the differences in design.

Concept development - Grafton Architects

1 - Milan, Italy 2 - London, United Kingdom 3 - Lima, Peru

Each building differs either spatially.

Tectonically and aesthetically, yet show similarities in one of these areas. This is most likely due to the contrasting sites and conditions that the buildings are in, and although they are all University Campus buildings, they are used for different functions and subject so hold different spaces and atmospheres.

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Entrance Hall of The Marshall Building, LSE

Interior Image of University Campus, UTEC Lima

INTERIORS

The Marshall Building, London School of Economics Grafton Architects Universita Luigi Bocconi, Milan Grafton Architects

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Floor 1 Plan - Lima Campus

University Campus, UTEC Lima in relation to the surrounding coastal site

Considering both buildings use the exposed concrete structure within the interiors, the spaces look and are intended to be experienced very differently. The interior space of The Marshall Building is very open and free which juxtaposes the feeling of the dense concrete. Whereas the volumes and spaces within the University Campus in Lima are very constricted and confined. This implies that the interiors of the Lima campus are more literal and functional than that of the Marshall Building.

Exampled of the restricted and constrained interiors can be seen on all floor plans, but Floor 1 and Floor 9 show these significantly. 2

Similarities to The Marshall Building - Exposure of interior structure - Concrete as a primary building material - Use (University Campus Building) Differences to The Marshall Building - Architectural language - Concept - Exterior appearance - Feeling and type of interior spaces - The use of structure

Floor 9 Plan - Lima Campus

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Town House, Kingston University London

Universita Luigi Bocconi Milan SITE DIFFERENCES REFLECTED IN DESIGN Different to the previous two buildings, the Luigi Bocconi University is situated in the busy Italian city of Milan. The northern edge of the site fronts onto the artery of Viale Bligny, with the clatter of trams, the rush of buses, general traffic, people passing. It addresses the throbbing urban life of Milan, weaves into the mesh of the city. This frontage becomes the architectural opportunity to have a ‘window’ to Milan, a memorable image to confirm the important cultural contribution that the Bocconi University plays in the life of this city. For this reason, the public space of the aula magna occupies this frontage, asserting a symbolic presence and a register of the prestigious status of the University. In a similar way the entrance hall of the Marshall Building is a well for light. 6

SITE DIFFERENCES REFLECTED IN DESIGN The exterior colonnade is open for the full height and depth of the building, establishing a civic presence which complements Surrey County Hall opposite. The new colonnade provides a covered thoroughfare which is three metres wide.

The Town House is in a more residential environment in London as opposed to The Marshall Building, which is why it is necessary to heavily engage the community through wide open terraces showing life and vitality in the University. The Marshall Building is in Central London which is not so residential, the wide terraces may almost be seen as a waste in the city centre, where everyone is very busy and may not have time to reflect upon a University Building. 3

PROGRAMME Both the Marshall Building and the Town House have a wide open performance space / entrance hall followed by smaller but still open spaces on the upper levels.

CONCEPT

EXTERIORS

Small volumes for offices are placed on top of a boulder like hole in the ground which creates the auditorium, the centre of the building.

EXTERIORS LSE Marshall BuildingPorous Facade The inverted section where the entrance of The Marshall Building is draws people into the building, but still creates a more formal image and sense by the regimented columns on the third level. 4

COLONNADE STRUCTURE

– Grafton Architects

Similar Ethos to LSE Marshall Building The ethos behind the Town House and Marshall building is quite similar - to provide ‘openness’, and create an open door environment for its users and visitors.

The Marshall Building achieves this more from the interior, perhaps making its users feel a sense of inclusiveness. Grafton used exterior colonnades to create the sense of openness even for passers by. 50% of the Town House is open plan, which again creates this atmosphere on the inside.

This approach reflects the uses of the buildings. The Marshall Building is used for Philanthropy and Social Entrepreneurship and the Town House is used primarily for reading, dance and performance - much more fluid and expressive topics as a whole which is shown through the flexibility in design through the colonnades.

The Town House has a sense of openness throughout which is conveyed heavily by its structure right from the exterior, whereas the Marshall Building conveys this more from the interior spaces.

The intent of the colonnade structure and the balconies was to create a free environment and attract visitors inside. This is also reflected in the Marshall Building where the exterior s described as being ‘porous’. The Marshall Building does welcome and invite people through the exterior aesthetic, but perhaps more formally then the Town House Campus, the completely open terraces seem even more approachable than the porous facade of the Marshall Building. This concept follows the classical tradition of the “portico”, emphasising a primary frontal relationship with this most public thoroughfare connecting to Kingston Town Centre.5

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The exteriors and language of The Marshall Building and Universita Luigi Bocconi contrast greatly. Universita Luigi Bocconi shows similarities with the Lima University Campus in that they are both very volumetric, almost brutal structures that play on this concept with the use of natural light. The Marshall Building is a lighter, planar building.

Perhaps this difference comes from the aim to attract the public and create a welcoming aesthetic with the Marshall Building.

“We saw this brief as an opportunity for the Luigi Bocconi University to make a space at the scale of the city. To this end we have built at the scale of the site, 80 m x 160 m. Inside, our building is thought of as a large market hall or place of exchange. The Building’s hall acts as a filter between the city and the university.”

INTERIORS Similar interior intentions The Town House and The Marshall Building have very similar interior aesthetics, open, tall and fluid. They differ in materiality slightly with the Town House showing a timber floor and less raw exposed concrete.

Interior of Town House

Both designs are centred round the staircase and have the same ethos of ‘openness’. The use of such an open staircase ensures that people never feel lost as they can centralise to the staircase, and therefore highlights this sense of openness.

INTERIORS

GRAFTON DESIGN ETHOS

‘The anchor for the totality of the building’

By looking at multiple projects by Grafton Architects, an ethos which is widespread throughout all of their designs is the sense of ‘openness’ and providing an open door experience for all of the buildings users. Farrell and McNamara (directors of Grafton Architects) were selected as curators for the Venice Biennale 2018, the largest architecture festival in the world. They chose the theme of FREESPACE, a theme which evokes a generosity of spirit, and the free gifts which architecture can offer. This highly refelcts the ethos presented and interpreted throughout the designs we have looked at.

There is a heavy focus on public space and the use of this through the projects. Due to grafton designing mainly educational buuildings, there’s a pivot on attracting people to the bulding not just for educational purposes - but to have an experience through the public realm and interiors too. This is achieved through the vast entrance halls and porus facades.

The main function of this University building is the underground auditorium. This creates a confined and enclosed feeling to the space despite being flooded with light from above. Contrasting to the main spaces of The Marshall Building, which are very open, light and free.

The access to light from above carves out geometric shapes in the ceilings of the auditorium, whereas the Marshall Building is generally planar and only has rectangular forms. In order to make this grand place of exchange they designed the research offices as beams of space, suspended to form a grand canopy which filters light to all levels.

The offices form an inhabited roof scape and serve a purpose to the auditorium. This almost creates a ‘cave like’ feeling.7

Similarities to The Marshall Building - Concrete as a primary building material - Use (University Campus Building) Differences to The Marshall Building - Architectural language - Concept - Exterior appearance - Feeling and type of interior spaces - The use of structure - Using separate volumes

Entrance of The Marshall Building

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03.

T

ESTING

• Testing Reflection • The testing stage of this project involved multiple working models which helped refine the rooftop plaza slope and how the massing sits on site. I developed the plans around the main auditorium, by designing this first. The main challenge with the testing phase was allowing enough circulation and open space and creating accessible entrances whilst using a sloping site.

The material façade experiment represents the fibre glass concrete wall of the auditorium and main entrance, which resemble a theatre curtain – reciprocating the feeling of performing on stage. From this, an experiment into the ‘promenade architecturale’ developed - multiple different forms of promenade creating different user experiences. This helped visualise the concept of the scheme and the material palette.

From reflecting on the testing stage, the benefit of physical models is clear, and this is a skill I would like to develop in future projects. Also, a few different massing shapes could have been considered in model form rather than sketching.

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MASSING MODEL

- Testing of massing orientation - Massing perspective

PLAZA VISUALISATION 35

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- Experimenting the relationship between the drum and the plaza

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PLAN DEVELOPMENT 39

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- Stage development To create a sustainable performance space, multiple different stage layous will be possible with the orientation of the Saltaire Rep stage.

This allows a space for different functions such as weddings and events.

Newer technologies allow revolving stage floors which enable to opportunity for different layouts.

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FACADE MODEL

- Promenade 1

- Promenade 2 Refining the stage layout involved creating a small materiality model, of which ended up being my Thinking Through Making piece. I created the fabric model to visualise the ‘fabric’ facade on the drum of the auditorium.

The promenade experiments were a key point in defining the routes of users around the drum of the auditorium.The idea was to approch the theatre through a hidden opening which then exposes the large ‘fabric’ covered drum inside.

*Images taken from ARC3015 Theory Into Practice.

*Images taken from ARC3015 Theory Into Practice.

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PARTI

- Additive Subtractive

- Structure

- Circulation to Use

- Structural Grid

- Plan to Section

*All images taken from ARC3013 Technology Report

-Heirarchy 45

-Site plan

- Site Section 46

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04.

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YNTHESIS

• Synthesis Reflection • The synthesis stage of this project involved refining all aspects of the design and integrating this with the construction elements, too. The scheme developed throughout this stage and some really special moments, such as the rooftop performance space and rooftop gardens were created.

For myself the synthesis stage was extremely rewarding, seeing all of our group and individual work coming together into one project.

Using knowledge from ARC3013 Integrated Construction and ARC3015 Theory Into Practice, the project started to blossom. Interior spaces specifically developed in this stage, once all orthographic drawings were complete.

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ON SITE PERSPECTIVES

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PROGRAMME

MATERIAL DECLARATION Concrete Secondary concrete structure.

Exposed concrete structural columns.

Timber

Timber structure of the auditorium for acoustic benefits.

Parquet timber interior of the auditorium.

Locally sourced.

Stone

Repurposed stone cladding on the exterior drum of the auditorium.

Stone slabs form the roof plaza.

Reflects the materiality of Saltaire.

Steel

Primary steel frame to support the roof plaza.

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KEY SECTION

The key section shows the cut through the site slope and how my scheme responds to this with it being partially underground and partially exposed.

The entrance and lobby area are intentionally light and open, which contrasts to the darker spaces such as the auditorium and the small entrace lobbies leading into the auditorium. The idea behind this is again to reciprocate the atmospheres of being a performer on stage - entering through the dark backstage area and being ht by a bright spotlight when on stage.

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‘C E L E B R A T E THE C O R N E R’

EXPOSED STRUCTURAL COLUMNS 72

POURUS FACADE

AUDITORIUM

The auditorium is constructed unsing locally sourced timber frame elements. The interior matierality has a contrast of textures, with parquet wood flooring and fabric clad interior walls which also both serve for acoustic benefits.

The materiality is also complimented by the fibre glass reinforced concrete exterior of the auditoirum, creating a sensual experience throughout.

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EXPOSED COLUMNS

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STRUCTURAL DECLARATION

Pile foundations then primary steel frame

Timber auditorium frame

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EXPOSED COLUMNS

Vertical load elements

Flooring slabs positioned

Vertical load elements . 2

Stone walls and roof secured

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*All images taken from ARC3013 Technology Report

POURUS FACADE Natural Lighting

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Summer lighting

Winter lighting

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HINKING THROUGH MAKING

• Thinking through Making Reflection • For my Thinking through Making piece I explored the concept of a material facade. I initially started with a 1:10 model of the main entrance door, and draped material over this to create a visual concept.

This developed into casting fabric in concrete, to explore how a reinforced fibre glass conrete facade may appear. In my final design, the external interior auditorium walls are clad in this material, to reciprocate the feeling of a performer walking out onto stage.

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CASTING FABRICS

Reinforced Fibre Glass Concrete wall

• Fabric facade concept•

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ILLUSTRATED •CULTURAL• BIBLIOGRAPHY

RIBA Future Architect Events Attending these events gave me an insight into practice and working methods of those in industry.

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Small Talk

NUAS Comittee

The Small Talk events have been a hugely positive part of my experience at Newcastle University. They teach theories, ideas of representation, model making techniques - they have been hugely influential.

Following the speakers on social media has given me an insight into the process of design.

Being a part of the NUAS Comittee (formals officer) has given me a greater involvement in decisions made across the year. The discussions between the comittee also informed a lot of my design choices.

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CONDE•NAST From being a child I have always read Vogue monthly, and more recently The World of Interiors. Both magazines have given me inspiration for visual graphic layout.

The Art, Lifestyle and Home sections of Vogue always inspire my projects - perhaps more the interior side. The magazines give an insight into the lives of all different types of creatives, and this has continually motivated me throughout my studies.

The World of Interiors taught me about the psycological aspects of interiors, and that they are not purely just for aesthetic reasons. It also inpries ideas that I would not have imagined, such as putting clashing colours together and adding vibrant accessories to space.

A snippet about an open air theatre inspired my rooftop performance space.

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THEATRE•VISITS

Visiting Hull New Theatre highlighted how to celebrate traditional theatrical features in a contemporary manner. This inspired the exposed columns within the project of Saltaire Repertory Theatre.

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•TRAVEL•

In the summer of 2019 myself and 2 coursemates travelled Europe by train.

Visiting 10+ countries expanded my view of the built environment. Across Europe in places such as Vienna, the balance of contemporary and traditional architecture is apparent, and travelling allowed me to view this in reality.

These ideas of balance are translated into my project between Saltaires Victorian image and more contemporary aesthetics.

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•BIBLIOGRAPHY• Case Study References 1. Archello. 2020. University Campus UTEC Lima | Grafton Architects | Archello. [online] Available at: <https://archello.com/project/university-campus-utec-lima> [Accessed 29 November 2020].

2. ArchDaily. 2020. Engineering And Technology University - UTEC / Grafton Architects + Shell Arquitectos. [online] Available at: <https://www.archdaily.com/792814/engineering-and-technology-university-utec-grafton-architects-plus-shell-arquitectos> [Accessed 28 November 2020].

3. Graftonarchitects.ie. 2020. Town House, Kingston University London - Grafton Architects. [online] Available at: <https://www.graftonarchitects.ie/Town-House-Kingston-University-London> [Accessed 29 November 2020].

4. ArchDaily. 2020. Kingston University Town House / Grafton Architects. [online] Available at: <https://www.archdaily.com/933169/kignston-university-town-house-grafton-architects> [Accessed 27 November 2020].

5. Graftonarchitects.ie. 2020. Town House, Kingston University London - Grafton Architects. [online] Available at: <https://www.graftonarchitects.ie/Town-House-Kingston-University-London> [Accessed 28 November 2020].

6. Graftonarchitects.ie. 2020. Universita Luigi Bocconi, Milan - Grafton Architects. [online] Available at: <https://www.graftonarchitects.ie/Universita-Luigi-Bocconi-Milan> [Accessed 29 November 2020].

7. ArchDaily. 2020. Universita Luigi Bocconi / Grafton Architects. [online] Available at: <https://www.archdaily.com/874794/universita-luigi-bocconi-grafton-architects> [Accessed 29 November 2020].

Burns, Carol, and Andrea Kahn, Site Matters: Design Concepts, Histories, and Strategies (New York: Routledge, 2005) <http://site.ebrary.com/id/10094818> [accessed 14 February 2021] Burns, Peter, Cathy Palmer, and Jo-Anne Lester, eds., Tourism and Visual Culture (Wallingford, Oxfordshire [England] ; Cambridge, MA: CAB International, 2010) Corbusier, Le, When the Cathedrals Were White Encyclopedia Britannica. 2020. Repertory Theatre | Art. [online] Available at: <https://www.britannica.com/ art/repertory-theatre> [Accessed 9 December 2020].

Heathcott, Joseph, ‘Review Essay: Curating the City: Challenges for Historic Preservation in the Twenty-First Century’, Journal of Planning History, 5.1 (2006), 75–83 <https://doi.org/10.1177/1538513205284661> Lawson, Bryan, Design in Mind (Oxford [England] ; Boston: Butterworth Architecture, 1994) LeCorbusier, and Pierre Jeanneret, Oeuvres complètes: en 8 volumes. Vol. 2: LeCorbusier et Pierre Jeanneret: oeuvre complète 1929 - 1934, 13. ed (Zurich: Ed. d’Architecture Artemis, 1995) Litvinoff, Emanuel, Journey through a Small Planet (Harmondsworth: Penguin Books, 1979) Louw, Michael, ‘The Architectural Promenade and the Perception of Time’, 31.2 (2016) Nevada Preservation Foundation. 2020. Heritage Tourism Planning - Nevada Preservation Foundation. [online] Available at: <https://nevadapreservation.org/heritage-tourism-planning/> [Accessed 7 December 2020].

Ritterfeld, Ute, and Gerald C. Cupchik, ‘Perceptions of Interior Space’, Joural of Environmental Psychology, 16 (1996), 349–60 Samuel, Flora, Le Corbusier and the Architectural Promenade (Basel: Birkhäuser, 2010) Sassen, Saskia, Sociology of Globalization, Contemporary Societies Series, 1st ed (New York: W.W. Norton, 2007) Urry, John, The Tourist Gaze, Theory, Culture & Society, 2nd ed (London ; Thousand Oaks, Calif: Sage Publications, 2002)

Wells, Karen, ‘The Material and Visual Cultures of Cities’, Space and Culture, 10.2 (2007), 136–44 <https://doi. org/10.1177/1206331206298544>

Yorkshirepost.co.uk. 2020. Vintage Video: An Inspector Calls On Saltaire For TV Revival. [online] Available at: <https://www.yorkshirepost.co.uk/arts-and-culture/theatre-and-stage/vintage-video-inspector-calls-saltaire-tvrevival-1821804> [Accessed 2 December 2020].

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•APPENDIX• A VISUALITY•BOOKLET

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•APPENDIX• B THEMATIC CASE•STUDY

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ASHER HON

ASHER HON

Grafton Architects Grafton Architects is an international architecture studio based in Dublin, Ireland. From this base, the practice has completed many significant and prestigious buildings in Ireland and internationally.

With projects spanning from Milford to Milan, and from Lima to London; Grafton Architects embeds each project, within its own unique context.

THE PAUL MARSHALL BUILDING

In 2020, because of their practice of the LSE Project, which is The Marshall Building LSE, 44 Lincoln's Inn Fields, London. The director of this practice, Yvonne Farrell and Shelley McNamara received the Pritzker Prize, considered the highest honor in the architectural profession. Grafton Architects were also laureates of the Royal Gold Medal in 2020, the Royal Institute of British Architects’ highest honor.

Farrell and McNamara were selected as curators for the Venice Biennale 2018, the largest architecture festival in the world. They chose the theme of Freespace, a theme that evokes a generosity of spirit, and the free gifts that architecture can offer.

GRAFTON ARCHITECTS

Architectural Theories, Ideas and Preoccupations

The Marshall Building LSE

The two founders of Grafton ArchitectsYvonne Farrell and Shelley Mc Namara have a deep interest in the physical reality of time and movement of Le Corbusier's Modernism, they inherited strong values from traditional modernism, they claim that those strong values become their instinct when they are designing a building.

Grafton doesn't want to upset the overall feel of the square; so they've chosen the same materials a s t h e b u i l d i n g s a n d s pa c e s around it, enabling the Marshall building to both stand out and fit into the greater sweep of London's cityscape and landscape. Which the building would be made from portland stone and glass.

FIGURE 12: Facade of Marshall Building

FIGURE 13: Render of the Marshall Building

FIGURE 14: 3D Render of the Marshall Building

Yvonne Farrell and Shelley Mc Namara value the idea of "generosity of spirit and a sense of humanity at the core of architecture's agenda", and "the opportunity to emphasize nature's free gifts of light, air, gravity, materials". Which can relate back to Le Corbusier's Five Points of Architecture "The horizontal window, which cuts the façade along its entire length, lights rooms equally". To communicate the idea of natural lighting.

In Graf ton Architects' project, they celebrate the natural free gifts, such as the public spaces at their Universidad de Ingeniería y Tecnología in Lima, Peru.

FIGURE 1: Yvonne Farrell and Shelley McNamara

VISUALITY GROUP | CURATING THE CITY

FIGURE 3: Department of Finance, Dublin

Materiality and Facade

FIGURE 8: Interior of Villa Savoye

Structure

FIGURE 9: Interior of Universidad de Ingeniería y Tecnología in Lima, Peru

They are fascinated by the immediate design of a pavilion in Hyde Park, London by Eduardo Souto de Moura with Cecil Balmond in 2005. They are interested in using computers to calculate and design a highly sophisticated structure. They are interested in turning a computerized process into a craft-like design result.

FIGURE 2: The Marshall Building LSE

ASHER HON

Y v o n n e Fa r re l l a n d S h e l l e y M c Namara then tr y to apply the advantage of computers in calculating sophisticated structures in their own project.

FIGURE 4: Universita Luigi Bocconi, Milan FIGURE 10: The Pavilion in Hyde Park, London in 2005

FIGURE 15: Digital Model Of Tree-like Column

They aim to make much of the building’s structure simple, flexible, and cost-effective; A design-led approach resulted in tree-like column structures. Due to the complexity of some of the plate geometry, they were drawn 2D in CAD so that they could be directly imported into the IDEA StatiCa models as a profile and given a thickness.

The design team of Bourne Group created models in IDEA Statica to design the connections for all the steel branches that make up the trees, applying the loads at each of the individual coupler locations.

FIGURE 16: Digital Model Of Tree-like Column

This related to their inspiration and idea from the Pavilion in Hyde Park, they use the advantage of technology in their design process, enable them to create a larger space with fewer columns.

Yvonne Farrell and Shelley Mc Namara claim that there is an obsession with space with the idea in the social implication or the urban implication of a project, but there is also the thing of trying to rediscover the word and language of architecture in terms of the material that they use.

FIGURE 5: Parnell Square Cultural Quarter,Dublin

FIGURE 6: Trinity College MME Dept.

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FIGURE 7: University of Limerick

Farrell and Mc Namara are focusing a lot on the connection between the city and the interior, they try to remove the boundaries and barriers between building and city, to provide a better experience for visitors.

FIGURE 11: Diagrams of intent, DNA of each project

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FIGURE 17: Tree-like Column on site

FIGURE 18: Tree-like Column in Actual Life

FIGURE 19: Tree-like Column in Render

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ASHER HON Grand Hall

Site

MICHAEL ZHOU

Lincolns Inn Fields will become a new gateway to the campus of LSE as a whole. This gateway can release the energy of the campus onto the square. The front face, although open and porous, will retain a cer tain formality to welcome visitors to the Paul Marshall Institute.

MICHAEL ZHOU

London to LSE

Open and Transforming

The whole building presents an open and porous by using planar architectural language.

Based on open and public experience of building, the building retains a certain formality to welcome visitors to the Paul Marshall Institute. At the same time, due to the building is divided into different parts that each part is facing one particular building or site that made the building itself becoming to be one part of the site. Yielding to a more informal world of gathering and exchange along the recesses and edges to the south and west connecting with John Watkins Plaza and the Saw Swee Hock Student Centre. In term of the context with the city, the building itself which providing an opportunity integrate the external and internal landscape of the site and also creating a new landscape transforming connectivity between existing LSE buildings and Lincoln's Inn Fields

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1. Sir John Soane's Museum

2. Lincoin's Inn Fields Chapel

3. Lincoln's Inn Fields

4. Royal Collage of Surgeous

5. Saw Swee

6. Royal Courts of Justice

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In the LSE Project, Grafton Architects saw the potential of the site, they can condition the relationship between the city and the building. As the building will contain the Marshall Institute of Philanthropy and Social Entrepreneurship, the ethos of the building and the spaces should represent a vision of diversity, openness, inclusiveness, and love of humanity.

FIGURE 20: The Grand Hall

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This related to the idea of opening to free natural elements. To the inspiration from Le Corbusier's Modernism. By having a large h o r i z o n t a l w i n d o w, to p ro ve entire.Better than the idea of Le Corbusier, those opening also open entrance for visitors and users.

MICHAEL ZHOU

The site of The Marshall Building is located at the corner of Lincoln's Inn Fields which surrounding with the Royal College of Surgeons and Saw Swee, close to Parliament, the Law Courts and the City of London. The Building is sitting on the largest public square in London flanked by superb buildings including the Sir John Soane Museum, that providing an ecological environment for people to relax and play.

FIGURE 21: Section of Marshall Building (The red arrow represents the movement of users)

Figure. Master plan of the building

Figure. View towards Kingsway

Figure. View from Lincoln's Inn Fields

Figure. Map of Lse Campus

Paul Marshall is part funding the redevelopment of 44Lincoln's Inn Fields, and this building will house the Marshall Institute for Philanthropy and Social Entrepreneurship. The building is sitting on the 'shoreline' of Lincoln's Inn Gardens to the north, which connecting with the north and south part of London. The height of the building is 53 meter, just higher than the surrounding building a little bit and lower than the landmarks in London. It makes the building which not destroying the sense of harmony of the whole London skyline and also maintain the importance of building in the site and allowing building have a better view of the landscape whether the Park on the north or the 'Shoreline' on the south.

FIGURE 23: Picture of Marshall Building

Figure. Location of the LSE

FIGURE 22: A Floor Plan of Marshall Building (The Yellow arrow represents the lighting)

FIGURE 24: Picture of Marshall Building

Lincoln's Inn Fields has a unique 'in-between' character being at the boundary of the three Boroughs: the world of Theater-land; the Lawyers' world, and the informality of Camden. The new building will play a key role in promoting the values, ethos and brand of LSE.

Figure. Sketch of context with building

The marshall building Figure. View towards Kingsway

Figure. View from John Watkin's Plaza

Figure. View from Lincoln's Inn Fields

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MICHAEL ZHOU

S t ru ct ur e

MICHAEL ZHOU

Tree one structure

MICHAEL ZHOU

Tree two structure

JULIAN DJOPO

The Paul Marshall Building | Grafton Architects

Context

Verbal Communication

The London School of Economics (LSE) launched a design competition for 44 Lincoln’s Inn Field building that achieves the values and ethos of the LSE, contemporary high quality design that will inspire future generations of students and academics. The LSE even held a mid-competition workshop with each of the teams to make sure they understood the brief.

Architect’s identity was kept anonymous.1

The concrete-framed structure mainly constructs the whole building. Still, within its frame, there are a number of integral steelwork elements called 'tree-like' structure that not only achieve the desired architectural vision but also to maintain slimmer structural profiles.

In the completion of the building, all of the steelwork will be hidden from view. By using this tree-like structure, the Marshall Building could create the open-plan areas that providing another experience in the building rather than using standard column structure. At the same time, this tree-like structure evenly transfers substantial loads to the foundations. There are two kinds of tree-like steel structure in the building called 'Tree one' and 'Tree two'. Both of them is similar in size and providing similar solutions and purpose to the building

The design of The Marshal Building by Grafton Architects is conceptualized with twelve design proposals, which framed the overall design of the building. This was exhibited to the public after they were announced winners of the competition. Based in the Strand Conservation Area (SCA) it is proposed to cause no harm to the adjacent setting and compliment Lincoln’s Inn Fields, part of the Bloomsbury Conservation Area.2

Design Proposal Framing • Location • Pivotal Position • Context • The Grand Hall • North-West Facade • Materials • Inside the Building • Building in the Round • Academic and Research Spaces

1. View of front entrance to Paul Marshal Building.

In order to pitch their ideas to the London School of Economics and public, Grafton Architects curated A1 boards which differed between the pre-submission and post-submission when they were announced winners. There are also slight rendering details that changed between before the submission and after the submission as they were posted on different websites.

Partner companies that deal with engineering and technical solutions conveyed the solutions for specific tectonic and material concepts. These included 3PM, Ideastatica and akt-II company.

2. Presentation Boards for Competition by Grafton Architects.

Figure. Tree-like structure Figure. Interior space of the building

Figure. Construction photo

Although both of the 'tree-like structure' are similar in the size and providing similar solutions and purpose to the building, there are still have some differences between tree one and tree two. The structure of tree one is supported by a column, stemming from the first floor through a secondfloor void, and supports the third floor. 'Tree one' which constructed in six pieces - a base plate, central node and four branches.

Figure. View of Great Hall

Once the steelwork was installed, the entire tree was encased in concrete.

And then Whole building will present into one visual structure language concrete language, although using two different structure. The purpose of this tree-like structure is to create a more public and open space, mainly on the ground floor that makes group floor area becoming to be a welcoming space.

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Figure. One of the tree nodes is lifted into place

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The structure of 'tree two', supports the slab at the level and is founded on a steel column that is sat on top of a transfer beam at level one. 'Tree two' which constructed in ten pieces - a column, central node, four branches and steel ring beam. The architectural intent for this tree was to have a void in the slab at level four. Therefore it was not possible to have connecting Macalloy bars between the opposite raking branches, like the other tree. As the forces are lower, the design team decided to redirect the horizontal forces around the perimeter of the void with a steel ring beam encased in concrete.

Figure. Tree two has a steel ring beam in order to create a void in the level four slab

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3. Aerial view of Strand conservation area.

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JULIAN DJOPO JULIAN DJOPO

The Paul Marshall Building | Grafton Architects

Management/Finance

Research/Institute

Graphic Communication

The Paul Marshall Building | Grafton Architects

Tectonic Approach

Progressive Conservation

Public Realm Connection

Grafton architects expressed bio-mimicry within the building, being structurally integral to the stability of the building. The steel connections and structure were designed and tested by IDEAStatiCa company to see how they behaved under different loads. In order to analyse the connections properly and being a complex structure mimicking to tree branches, the company had to draw the geometries in two dimensions, testing the loads and then adding the thickness at the end.4

The previous building, 44 Lincoln’s Inn Fields was occupied by Cancer Research until 2016. The building was regarded as a “large monolithic mid-twentieth century with little architectural quality”6 in comparison to the surrounding architecture. The new Marshal Building aims to enhance the character of the area and keeps within the construction area of previous building. Grafton architects looked to respecting the graded buildings surrounding by adapting to the site geometry in rotation and retaining the existing patterns.

The main approach to design for Grafton Architects focuses on the public realm and experience, to “embedded each new project into the context uniquely through contextual relations to social and architectural rhythm.”7 To embedded the Paul Marshal Building into the site, Grafton Architects integrated a public space on the ground floor of the building.

This would create a connection to the city of London through the people where they can experience open events in the Grand Hall.

Teaching and Learning

The steelworks are hidden from view to maintain the material textures and blend in adjacent structures on the interior. Structural designers akt-II helped to design the structural layout to keep it as simple as possible while maintaining the elevating light aesthetic as it moves up the levels. The tree-like columns rotate at two levels as the grid layout changes from a 15.2m grid on ground floor to a 10.8m grid on first second and a 7.6m grid on remaining upper floors.5

12. 44 Lincoln’s Inn Fields building facing the park and gardens with plan view.

In order to visualise the project before construction, Grafton architects produced various renders which showcases The Marshal Building in visual context with the surrounding buildings to empathise its scale, position, materiality and programme of spaces. According to planning permission WC2A-3PF the current building was monolithic with little architectural quality and this is conveyed with a before and after of the north-elevation of both buildings.3 Through doing these realistic renders in context to surrounding buildings, The Marshal Building affirms it’s position for maintaining and even “enhancing” the character of the Strand Conservation Area (SCA).

JULIAN DJOPO

The Paul Marshall Building | Grafton Architects

The Grand Hall is open to students and public during the day, where card access is required to research levels through the lift. They aimed to minimise security patrols and measures to create a “sense of being”8 to the city, so that citizens and students a-like feel welcome. Security measures are introduced at night.

Enhancing the experience of students, teachers and the public is achieved through the tectonic design, as Farrell and McNamara of Grafton Architects decided the structure to be of tree-like columns. This makes the public space feel bigger and welcoming, emphasising the feeling of a civic space.

8. Order of tree-like structures for each floor by AKT-II

Grafton Architects maintained a uniform materiality but formal expression as the building faced Lincoln’s Inn Fields gardens. The materiality composes of natural stone and reconstituted stone that will be grit blasted to reveal aggregate textures and reflect light.

16. Public access through perspective section, showing function of spaces.

15. Front view render with heights by Grafton Architects.

Existing buildings elevations and proposed height.

Sports/Public Spaces

4. Front view renders by Grafton Architects

JULIAN DJOPO

The Paul Marshall Building | Grafton Architects

Gaps between buildings maintained.

Increasing heights matching patterns

5. Uses of each floor, modified by author.

Material grain proposed to existing.

13. Proposed Paul Marshall Building facing Lincoln’s Inn Fields Park with site plan.

Comparing the elevation profiles of both buildings, the proposed Paul Marshall Building has a responsive rhythm to the surrounding buildings with both horizontal and vertical profiling, whereas the 1960s building is mainly horizontal in profile with no depth that reacts to sunlight.

19. Rendering of the front north entrance by Grafton Architects.

17. Grand Hall interior experience rendering by Grafton architects.

LINCOLN’S INN LINCOLN’S FIELDS INN FIELDS

6. View from John Watkins Plaza Bicycle Parking Bicycle Parking

Thickness added to 2D drawing.

Rehearsal / Performance Space

Load testing with 2D drawings West Core

West Core Reception

Access to upper Access floors to upper floors Access to basement Access to basement

Main Core

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Main entrances Main entrances Site Boundary Site Boundary

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GRAND HALLGRAND HALL

Grand Hall Space Grand Hall Space

Goods In

Service Laneway (covered above)

Initial drawing of 2D elements in CAD

Flexible Teaching Flexible Teaching Space Space Goods In

Service Laneway (covered above)

9. Steel connection elements for tree-like structure.

Rehearsal / Performance Space

PORTUGAL STREET PORTUGAL STREET

7. Site section render by Grafton Architects.

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14. Elevation drawing with heights comparison, Grafton Architects.

10. CAD Drawings and testing of tectonic connections by IDEAStatiCa

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11. Elevation profile analysis and comparisons.

18. Grand Hall floor plan at 1:250 scale

20. Interior render by Grafton.

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HANNAH FORDON

How does the Marshall Building relate to others of its type?

The geometry of the structural plates with an “A” section and the composition of the volumes responds to the search of Grafton Architects to create a “man-made cliff”, a topography that is integrated with the surrounding environment. The structure of UTEC Lima is used on the interior and on the exterior to portray the feeling on a ‘man-made cliff’. The material choice of concrete reflects this image too. This contrasts to The Marshall Building where structure is expressed primarily through the interior and is not as exposed on the interior.

Concept development - Grafton Architects

EXPOSED STRUCTURES

The exterior colonnade is open for the full height and depth of the building, establishing a civic presence which complements Surrey County Hall opposite. The new colonnade provides a covered thoroughfare which is three metres wide.

EXTERIORS

The Town House is in a more residential environment in London as opposed to The Marshall Building, which is why it is necessary to heavily engage the community through wide open terraces showing life and vitality in the University. The Marshall Building is in Central London which is not so residential, the wide terraces may almost be seen as a waste in the city centre, where everyone is very busy and may not have time to reflect upon a University Building. 3

The exteriors and language of The Marshall Building and Uni-versita Luigi Bocconi contrast greatly. Universita Luigi Bocconi shows similarities with the Lima University Campus in that they are both very volumetric, almost brutal structures that play on this concept with the use of natural light. The Marshall Build-ing is a lighter, planar building. Perhaps this difference comes from the aim to attract the public and create a welcoming aesthetic with the Marshall Building.

PROGRAMME Both the Marshall Building and the Town House have a wide open performance space / entrance hall followed by smaller but still open spaces on the upper levels.

The Marshall Building, London School of Economics Grafton Architects

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SITE DIFFERENCES REFLECTED IN DESIGN

EXPOSED STRUCTURES

University Campus UTEC Lima

Town House, Kingston University London Grafton Architects

SITE DIFFERENCES REFLECTED IN DESIGN

COLONNADE STRUCTURE INTERIORS

Town House, Kingston University London

Considering both buildings use the exposed concrete structure within the interiors, the spaces look and are intended to be experienced very differently. The interior space of The Marshall Building is very open and free which juxtaposes the feeling of the dense concrete. Whereas the volumes and spaces within the University Campus in Lima are very constricted and confined. This implies that the interiors of the Lima campus are more literal and functional than that of the Marshall Building.

Exampled of the restricted and constrained interiors can be seen on all floor plans, but Floor 1 and Floor 9 show these significantly. 2

The Town House and The Marshall Building have very similar interior aesthetics, open, tall and fluid. They differ in materiality slightly with the Town House showing a timber floor and less raw exposed concrete.

Interior of Town House Floor 1 Plan - Lima Campus

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Floor 9 Plan - Lima Campus

Similarities to The Marshall Building - Exposure of interior structure - Concrete as a primary building material - Use (University Campus Building) Differences to The Marshall Building - Architectural language - Concept - Exterior appearance - Feeling and type of interior spaces - The use of structure

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Similar Ethos to LSE Marshall Building

Both designs are centred round the staircase and have the same ethos of ‘openness’. The use of such an open staircase ensures that people never feel lost as they can centralise to the staircase, and therefore highlights this sense of openness.

Entrance of The Marshall Building

EXTERIORS

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Small volumes for offices are placed on top of a boulder like hole in the ground which creates the auditorium, the centre of the building.

– Grafton Architects

GRAFTON DESIGN ETHOS

By looking at multiple projects by Grafton Architects, an ethos which is widespread throughout all of their designs is the sense of ‘openness’ and providing an open door experience for all of the buildings users. Farrell and McNamara (directors of Grafton Architects) were selected as curators for the Venice Biennale 2018, the largest architecture festival in the world. They chose the theme of FREESPACE, a theme which evokes a generosity of spirit, and the free gifts which architecture can offer. This highly refelcts the ethos presented and interpreted throughout the designs we have looked at.

There is a heavy focus on public space and the use of this through the projects. Due to grafton designing mainly educational buuildings, there’s a pivot on attracting people to the bulding not just for educational purposes but to have an experience through the public realm and interiors too. This is achieved through the vast entrance halls and porus facades.

INTERIORS ‘The anchor for the totality of the building’ The main function of this University building is the underground auditorium.

This creates a confined and enclosed feeling to the space despite being flooded with light from above. Contrasting to the main spaces of The Marshall Building, which are very open, light and free.

Similar interior intentions

Interior Image of University Campus, UTEC Lima

CONCEPT

“We saw this brief as an opportunity for the Luigi Bocconi University to make a space at the scale of the city. To this end we have built at the scale of the site, 80 m x 160 m. Inside, our building is thought of as a large market hall or place of exchange. The Building’s hall acts as a filter between the city and the university.”

Universita Luigi Bocconi Milan

INTERIORS

Entrance Hall of The Marshall Building, LSE

University Campus, UTEC Lima Grafton Architects

HANNAH FORDON

Different to the previous two buildings, the Luigi Bocconi University is situated in the busy Italian city of Milan. The northern edge of the site fronts onto the artery of Viale Bligny, with the clatter of trams, the rush of buses, general traffic, people passing. It addresses the throbbing urban life of Milan, weaves into the mesh of the city. This frontage be-comes the architectural opportunity to have a ‘window’ to Milan, a memorable image to confirm the important cultural contribution that the Bocconi University plays in the life of this city. For this reason, the public space of the aula magna occupies this frontage, asserting a symbolic presence and a register of the prestigious status of the University. In a similar way the entrance hall of the Marshall Building is a well for light. 6

University Campus, UTEC Lima in relation to the surrounding coastal site

1 - Milan, Italy 2 - London, United Kingdom 3 - Lima, Peru

Universita Luigi Bocconi, Milan Grafton Architects

HANNAH FORDON

University Campus in Lima is situated right on the Peruvian coast.

The unique condition of Lima and its relationship to the Pacific, with cliffs defining the boundary between the city and the sea, was a starting point in the conception of this project. The almost brutalist form represents the cliff edges seen on the site. The UTEC Campus is seen as a cliff edge. These site influences create huge differences in aesthetic. The architectural languages for both projects are completely different, LSE is quite planar whereas the Lima campus is very volumetric. 1

Comparing The Marshall Building to the three chosen precedents highlights how different buildings of the same type can be, despite having the same function.

The buildings chosen are all designed by Grafton Architects and all relate in terms of their use - an educational building as part of a University Campus. The locations of each are different and perhaps this inf uences the differences in design.

Each building differs either spatially.

Tectonically and aesthetically, yet show similarities in one of these areas. This is most likely due to the contrasting sites and conditions that the buildings are in, and although they are all University Campus buildings, they are used for different functions and subject so hold different spaces and atmospheres.

HANNAH FORDON

Site Differences Reflected in Design

LSE Marshall BuildingPorous Facade The inverted section where the entrance of The Marshall Building is draws people into the building, but still creates a more formal image and sense by the regimented columns on the third level. 4

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The ethos behind the Town House and Marshall building is quite similar - to provide ‘openness’, and create an open door environment for its users and visitors. The Marshall Building achieves this more from the interior, perhaps making its users feel a sense of inclusiveness. Grafton used exterior colonnades to create the sense of openness even for passers by. 50% of the Town House is open plan, which again creates this atmosphere on the inside.

This approach reflects the uses of the buildings. The Marshall Building is used for Philanthropy and Social Entrepreneurship and the Town House is used primarily for reading, dance and performance - much more fluid and expressive topics as a whole which is shown through the flexibility in design through the colonnades. The Town House has a sense of openness throughout which is conveyed heavily by its structure right from the exterior, whereas the Marshall Building conveys this more from the interior spaces.

The intent of the colonnade structure and the balconies was to create a free environment and attract visitors inside. This is also reflected in the Marshall Building where the exterior s described as being ‘porous’. The Marshall Building does welcome and invite people through the exterior aesthetic, but perhaps more formally then the Town House Campus, the completely open terraces seem even more approachable than the porous facade of the Marshall Building. This concept follows the classical tradition of the “portico”, emphasising a primary frontal relationship with this most public thoroughfare connecting to Kingston Town Centre.5

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The access to light from above carves out geometric shapes in the ceilings of the auditorium, whereas the Marshall Building is generally planar and only has rectangular forms. In order to make this grand place of exchange they designed the research offices as beams of space, suspended to form a grand canopy which filters light to all levels. The offices form an inhabited roof scape and serve a purpose to the auditorium. This almost creates a ‘cave like’ feel-ing.7

Similarities to The Marshall Building - Concrete as a primary building material - Use (University Campus Building) Differences to The Marshall Building - Architectural language - Concept - Exterior appearance - Feeling and type of interior spaces - The use of structure - Using separate volumes

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References

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Figure 14. Elevation drawing with heights by Grafton Architects.

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Figure 15. Front view render with heights by Grafton Architects. .

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Figure 2. Presentation Boards for Competition by Grafton Architects, Grafton Architects, 44 LINCOLN’S INN FIELDS: The Paul Marshal Building. Available at: <https://info.lse.ac.uk/staff/divisions/estates-division/ lse-estate/development-projects/the-marshall-building > [accessed: 29 November 2020].

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5. Graftonarchitects.ie. 2020. Town House, Kingston University London - Grafton Architects. [online] Available at: <https://www. graftonarchitects.ie/Town-House-Kingston-University-London> [Accessed 28 November 2020].

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3 City of Westminster, 44 Lincoln’s Inn Fields, London, WC2A 3PF <https://committees.westminster.gov.uk/ieListDocuments. aspx?CId=167&MID=4390#AI7905 [accessed: 27 November 2020].

01.

GMIT Furniture College O’Donnel & Tuomey

05.

Think Corner JKMM Architects

06.

Bauhaus Dessau Walter Gropius

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Figure 10. CAD Drawings and testing of tectonic connections by IDEAStatiCa. The Marshal Building London. Available at: <https:// www.ideastatica.com/case-studies/the-marshall-building-london-uk > [accessed: 27 November 2020].

Figure 13. Proposed Paul Marshall Building facing Lincoln’s Inn Fields Park with site plan. Grafton Architects. Available at: <https://info.lse. ac.uk/staff/divisions/estates-division/lse-estate/development-projects/ the-marshall-building > [accessed: 29 November 2020].

Figure 1. View of front entrance to Paul Marshal Building, 3PM, LSE The Marshal Building. Available at: < https://www.3pm.uk.com/project/lse-themarshall-building/ > [accessed: 26 November 2020].

Figure. View towards Kingsway / Figure. View towards Kingsway / Figure. View from John Watkin's Plaza / Figure. View from Lincoln's Inn Fields

Figure 8. Order of tree-like structures for each floor by AKT-II. Available at: < https://www.akt-uk.com/projects/lse-marshall-building/ > [accessed: 24 November 2020].

2 City of Westminster, 44 Lincoln’s Inn Fields, London, WC2A 3PF <https://committees.westminster.gov.uk/ieListDocuments. aspx?CId=167&MID=4390#AI7905 [accessed: 27 November 2020].

8 City of Westminster, 44 Lincoln’s Inn Fields, London, WC2A 3PF <https://committees.westminster.gov.uk/ieListDocuments.aspx?CId=167&MID=4390#AI7905 > [accessed: 27 November 2020].

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Figure 7. Site-section render by Grafton Architects. Available at: < https://info.lse.ac.uk/staff/divisions/estates-division/lse-estate/ development-projects/the-marshall-building > [accessed: 29 November 2020].

Figure 11. Elevation profile analysis, edited by author. Available at: <https://www.buildington.co.uk/london-wc2/44-lincoln-39-s-inn-fields/ paul-marshall-building/id/4850 > [accessed: 27 November 2020].

7 City of Westminster, 44 Lincoln’s Inn Fields, London, WC2A 3PF <https://committees.westminster.gov.uk/ieListDocuments. aspx?CId=167&MID=4390#AI7905 > [accessed: 27 November 2020].

2. ArchDaily. 2020. Engineering And Technology University - UTEC / Grafton Architects + Shell Arquitectos. [online] Available at: <https://www.archdaily.com/792814/engineering-and-technologyuniversity-utec-grafton-architects-plus-shell-arquitectos> [Accessed 28 November 2020].

Figure 6. View from John Watkins Plaza. Available at: < https://www.aktuk.com/projects/lse-marshall-building/ > [accessed: 24 November 2020].

Julian Djopo

6 Grafton Architects, London School of Economics < https:// www.graftonarchitects.ie/London-School-of-Economics > [accessed 26 November 2020].

1. Archello. 2020. University Campus UTEC Lima | Grafton Architects | Archello. [online] Available at: <https://archello.com/ project/university-campus-utec-lima> [Accessed 29 November 2020].

Figure 5. Uses of each floor, modified by author. Available at <https:// info.lse.ac.uk/staff/divisions/estates-division/lse-estate/developmentprojects/the-marshall-building > [accessed: 29 November 2020].

Figure 9. Steel connection elements for tree-like structure. IDEAStatiCa, The Marshal Building London. Available at: <https://www.ideastatica. com/case-studies/the-marshall-building-london-uk > [accessed: 27 November 2020].

5 AKT-II UK, LSE Marshal Building < https://www.akt-uk.com/ projects/lse-marshall-building/ > [accessed: 24 November 2020].

Hannah Fordon

Figure 4. Front view renders by Grafton Architects. Available at: < https:// www.graftonarchitects.ie/London-School-of-Economics > [accessed: 24 November 2020].

Figure. One of the tree nodes is lifted into place / Figure. Tree two has a steel ring beam in order to create a void in the level four slab, "Marshall Building, London School Of Economics", Www. Steelconstruction.Info, 2020 <https://www.steelconstruction.info/ Marshall_Building,_London_School_of_Economics> [Accessed 21 November 2020]

1 Metalocus, Shortlisted Proposals for the Paul Marshal Building Competition <https://www.metalocus.es/en/news/shortlistedproposals-paul-marshall-building-competition > [accessed: 24 November 2020].

Michael Zhou

Figure 3. Aerial view of Strand conservation area, Metalocus, Shortlisted Proposals: Paul Marshal Building Competition. Available at: < https:// www.metalocus.es/en/news/shortlisted-proposals-paul-marshallbuilding-competition > [accessed: 24 November 2020].

8 ADDITIONAL STUDIES

02.

Granby Project Assemble Architects

7. ArchDaily. 2020. Universita Luigi Bocconi / Grafton Architects. [online] Available at: <https://www.archdaily.com/874794/universitaluigi-bocconi-grafton-architects> [Accessed 29 November 2020].

Figure 16. Public access through perspective section, showing function of spaces. Modified by author. Available at: <https://info.lse.ac.uk/staff/ divisions/estates-division/lse-estate/development-projects/the-marshallbuilding > [accessed: 29 November 2020].

Figure 17. Grand Hall interior experience rendering by Grafton architects. . Available at: <https://info.lse.ac.uk/staff/divisions/estatesdivision/lse-estate/development-projects/the-marshall-building > [accessed: 29 November 2020].

Figure 18. Grand Hall floor plan at 1:250 scale, by author. . Available at: <https://info.lse.ac.uk/staff/divisions/estates-division/lse-estate/ development-projects/the-marshall-building > [accessed: 29 November 2020].

Figure 19. Rendering of the front north entrance by Grafton Architects.

Available at: <https://info.lse.ac.uk/staff/divisions/estates-division/lseestate/development-projects/the-marshall-building > [accessed: 29 November 2020].

03.

AgroCite Atelier Architecture Autogérée

07.

Port House Zaha Hadid

04.

Nantes School of Architecture Lacaton & Vassal

08.

Fondaco dei Tedeschi OMA

Figure 20. Interior render by Grafton Architects. . Available at: <https:// www.metalocus.es/en/news/grafton-architects-won-paul-marshallbuilding-competition > [accessed: 26 November 2020].

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