Harriet Allen Portfolio by PDF Uploads

C i t y Harrie 1 8 0 3 Stage 3

R u i n s t Allen 7 3 8 1 7 Portfolio

C o n t e n t s : Illustrated Reflective Diary Framing

6 - 51

Testing

52 - 93

Synthesis

Group Work

Work completed since review

4-5

94 - 121

Appendice - Process Work - Florrplan Iterations - Model Iterations

124 - 125 126 - 127 128 - 133

Cultural Bibliography

134 - 139

‘Homework’ Case Study

140 - 141

Thematic Case Study

142 - 151

List of Illustrations

152

Bibliography

153

Arch3031 Work 2

IllustratedTReflective

Diary: As well as reading articles and manifestos on the theory of architecture, I actually found social media to be a great way to stay up to date with recent projects throughout lockdown. I was particularly influenced by the work of Ash Sakula, after following them on Instagram. I was already aware of their project ‘The Mailings’ just down the road from my site, but what really inspired me was their way of developing their projects through user analysis, particularly their animated sketches of everyday activities. I thought this was a great idea of bringing art explorations back into the world of rather serious architecture. I designed quick GIF animations that explored the different users of the building, and therefore helping inform my buildings spatial requirements.

I have found this year of Architecture to be the most challenging but also most rewarding of the three years. Working in isolation has been tough these year, both from lack of facilities and working space, as well as mentally. However, living with other Stage 3 architects, has helped maintain the ‘studio atmosphere’, pushing each others explorations and bouncing ideas off each other. Perhaps the most helpful activity, was presenting our work to each other at the end of the day, helping maintain the ‘critical reflection’ more prevalent in other years. In previous years, I have struggled with finishing a project to a standard I am happy with, wishing at the end of every project I had a bit more time to finalise the project. Although I think I will always hope for extra time, having a year to work out all the details of this proposal has been really satisfying. This has allowed me to think across a range of scales, I haven’t had time to investigate in other years. ‘Let us build a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist. Together let us conceive and create the new building of the future, which will embrace architecture and sculpture and painting in one unity.’

Work Home Project, Ash Sakula

Gropius, (1919, Page 3)

The technology module most notably allowed me to reflect on the appropriate materiality of the design, both contextually and sustainably. Having had the privilege to know the site previously before embarking on the project, I was aware of my place in designing a proposal with appropriate materiality. However, I knew less on designing sustainably, and so I made a conscious effort to improve my knowledge, watching documentaries and listening to podcasts on the importance of retrofitting and the use of sustainable materials. Probably most impactful, was reading the book ‘Solid wood: Case Studies in Mass Timber Architecture’ by Joseph Mayo, which really widened my knowledge on sustainable practice, and introduced me to using Cross-Laminated Timber as my main structure.

My design proposal this year grew from my love and fascination with the Bauhaus, and the unity of all art forms. Stemming from my previous art education, I have always been really interested in the overlap between art and architecture and how each pathway may inspire the other. I explored this relationship in my Dissertation Module, researching the correlation between Herbert Bayer’s graphic design and typography, and Walter Gropius’ Architecture. Through these explorations I uncovered the direct links between abstract modules used in both typography and architecture, developing skills in analysing forms that I used later in my design project.

Ruin Lust Print, Authors Own

Throughout testing I then began to turn these somewhat abstract ideas, into architectural systems, which was particularly helped by both the Professional Practice Module, as well as the Integrated Construction Module. Both modules made me start to develop my design as a realistic proposal and think about problems of the design I may have overlooked. While in previous years I have found the technology module to be a secondary addition to my design, this year I tried to use the module as a way of helping my project work as a realistic proposal. Although not as enjoyable as the concept explorations, I did find this exercise to be really useful in realising the next stages of my design.

As I reflect on my work since I started my architectural education, I have noticed that my projects are usually stronger throughout the ‘process’ stages, where I love the freedom to be expressive through concept collages and sketch models. Before embarking on my celebration piece, I looked back at my strongest work during Framing and Testing, using these explorations as a basis. This resulted in a final model that although refined and scaled, still celebrated the ‘craft’ of making. It is this passion for art and crafts that I will carry through with me to the next stages of my architectural journey. I will always refer back to the world of art for inspiration, unifying art and architecture as one craft.

This love for art, was a continuous inspiration throughout my project, informing my design decisions. I wrote on the importance of artistic precedents, both historic and modern, in my Theory into Practice essay, reflecting on how abstract ways of working may evoke concrete and refined ideas. As a result of lockdown, I was limited to visiting these pieces of art in the flesh, as I would usually do. Instead, I relied on historic databases such as the Tate Archives, as well as the smaller Ouseburn Trust Archive, to explore precedents, as well as having some great conversations with my tutor on relevant artists.

Final Model, Authors Own

F r a m i n g : "In wild and romantic scenes "[Wrote Thomas Whately in 1770]" maybe introduced a ruined stone bridge, of which some arches maybe still standing, and the loss of those which are fallen maybe supplied by a few planks, with a rail, thrown over the vacancy. It is a picturesque object: it suits the situation; and the antiquity of the passage, the care taken to keep it still open, though the original building is decayed [...] give it an imposing air of reality." Maccaulay, (1953, Page 26) The City Ruins studio focuses on celebrating the ruins of the city, drawing on historic pieces of art and architecture to direct our explorations. ‘Ruin lust’ explores the deep-rooted emotions felt for items falling into disrepair. In my explorations, I tried to capture the feelings of nostalgia, using contextual forms that I found across my site. Referencing the Bauhuas in my process, I used printing to transgress forms into abstract shapes. This resulted in pieces that evoked a sense of memory of the site, celebrating the past while highlighting the opportunities of the present.

Memory of Pub Ruin, Photograph 7

Fr a m i n g : T I n i t i a l TO b s e r v a t i o n s

Paint Peeling on Modern Ruin

Haymarket Modern Ruin

Remains of the Lime Street Chimney

Blots On The Landscape, Newcastle Chronicle (2013)

Framing:TExploringTForms

To start my explorations in my Ruin Lust project, I visited the site in Ouseburn valley. I roughly sketched the buildings and infrastructure that I felt represented Ouseburn the best and from these sketches began simplifying the forms. This resulted in a series of transgressing forms which became more abstract and minimal through each iteration. The new abstracted forms still kept the initial site specific shapes, creating a sense of familiarity within the shapes. I used these structures to create a digital collage to celebrate the history of Ouseburn. However, I felt that some of the forms got lost in this exploration, as well as the buildings being to clean and linear and not representative of the history these buildings had. I decided to take this exploration further and use the forms as stencils to create layered prints, allowing mistakes to inform my design decisions, to create textured and layered images, focusing how I could overlay shapes to create depth and inform new spaces. Shapes of Ouseburn, Forms Grid

Ouseburn Valley Structures Collage

Framing:TArtistTReference

Fr a m i n g : T I n i t i a l T P r i n t i n g T I t e r a t i o n

Three Profiles, Oskar Schlemmer (1923), Lithograph In order to push my explorations further, I looked at the work of Bauhaus artist and performer Oskar Schlemmer. I really enjoyed how Schlemmer built up depth and tone in his prints, by layering forms on top of each other to create almost three dimensional forms. This inspired me to create my own set of prints that portrayed this same level of depth as seen in Schlemmer’s prints.

Shapes of Ouseburn, Inital exploration

Fr a m i n g : T S h a p e s To f T O u s e b u r n T P r i n t s

Framing:T3DTExploration I drew on the work of Eduardo Paolozzi, looking particularity at his ‘Konsul’, a piece that explores industrial forms through a three dimensional collage. This informed my own design decisions, where I abstractly assembled the objects I found to create a cohesive sculpture.

Konsul, Eduardo Paolozzi (1962)

Walking round the Ouseburn Valley, I collected ‘ruined’ and forgotten objects, thinking about how I could explore the historic narrative of the site context.

By spray painting the object surfaces black, it allows the eye to focus on the form instead of the actual objects themselves, creating new exciting shapes and spaces. I found both the 2D and 3D explorations of the site helped formulate my intial site proposal in the next stage of the project. This abstract and free way of working , allowed me to explore the boundaries of the site context and helped define my intial massing.

Fr a m i n g : T O u s e b u r n T R u i n T P h o t o s

Fr a m i n g : T O u s e b u r n T D i s t r i c t T M a p

Ouseburn Site Photos

Map of Newcastle showing the proximity of Ouseburn

Framing:TOuseburnTHistoricTPhotos

This collection of old photos shows life in the Ouseburn Valley between the 1930’s - 1960’s. Until the 1960’s Ouseburn and Byker were a working class area of densely built terraced houses. At the end of 1960’s the terraced were demolished with residents moved to the Byker estate. Ouseburn regeneration project commenced.

(Right) Photos of locals posing infront of Uptin House when it was a school and then later research laborities.

Framing: Ouseburn ArtTStrategyTMap

Fr a m i n g : O u s e b u r n A r t T S t r a t e g y

Cobalt

Studios

Kiln

Print Works

Since 2008, ‘Renew Newcastle’, a local non-profit organisation, has been filling vacant and derlict spaces in Newcastle with creative people. (Renew Newcastle, [2021])This scheme benefits both parties, as artists can rent out cheap spcaes, while activley regenerating the derlict areas, bring life back to Newcastle’s cityscape. In the heart of Ouseburn, creative spaces such as Cobalt Studios, Kiln, Northern Print and the Biscuit Factory are revitalising the area with vibrant art spaces. Once an industrial valley, Ouseburn has been positvely regenrated through artist-led schemes resulting in a vibrant ‘creative hub’ within Newcastle city. I intend to add to the art scene with a live/work space centred around the community, while attracting artists and creatives. The Biscuit Factory

Framing: Local ArtTStudiosTPrecedent

Framing: Influential ArtTStudiosTPrecedent

36 Lime Street, Ouseburn

Bauhaus, Dessau

Nearby artists studios, 36 Lime Street have been a great contextual precedent, just down the road from my site. Like Uptin House, Lime Street Studios took advanatge of a space ‘the mainstream market did not want and in areas which were at the time written off as the economically and socially redundant.’ (Rooke, 2014) In doing so, the founding group ‘rescued a historic building and made it the hub for the creative and subsequent economic regeneration of an entire district.’ (Rooke, 2014)

On a larger scale, I looked out how larger artist studios/schools worked such as the Bauhaus in Dessau. The Bauhaus founded by Walter Gropius sort to unify all art forms, in order to define a universal design language. (Gropius, 1919) As an avid believer in Bauhaus philosophies, I found referring to the schools methods of working, helped inform my design explorations both spatially and aesthetically.

Fr a m i n g : O u s e b u r n G l a s s T I n d u s t r y

The first known industry in Ouseburn was glass making, dating back to the 17th century, with 3 glass houses established in 1619. (Ouseburn Trust, 2021) Evidence of the past can still be seen in the valley such as the Glass-works furnace ruins (pictured opposite), based at the bottom of the River Ouse. Currently they are a few local artists working in the area that specialise in glass, such as Sue Woolhouse based in 36 Lime Street, and Pat Marvell who exhibits in the Biscuit Factory. However, compared to other artistry’s in the area such as pottery and printing, glass-work is fairly disestablished and Ouseburn’s past history with glass is largely forgotten.

Ouseburn Glass-works Furnace Ruins

Sue Woolhouse 28

Pat Marvell 29

Framing:

1:500

SiteTMap

Framing: Situating ProposalTinTContext

3D Massing Axonometric This axonometric view of my proposal shows how the building would be situated in the surrounding context. From this view one can see the correspondence to the urban geometric roofscapes of the proposed buildings and the existing buildings around the site.

Fr a m i n g : I n t r o d u c i n g U p t i n T H o u s e

Site Photos of Uptin House Uptin House, the building the Localism Google Earth

affectionately known as ’the Tower’ by the local community, is situated at the front of the site, bordering Stepney Road. Once an established boarding school, now houses 17 small local business, including a gym, pizzeria, mechanics and artist studios. The site is recognised as ‘an asset of community interest’ under Act in 2011, and remains dearly loved by the locals. Although an important feature in the community, the building is falling into disrepair and ruin. These images of the site highlight the immediate surroundings around the Tower, and show the state of disrepair particularity seen at the back of the building.

Fr a m i n g : S i t e R e a d i n g s

Although strongly opposed by the community, the ‘Tower’ is set to be demolished as part of Newcastle councils ‘City Deal’ to make way for more student accommodation. This is due to the area becoming more gentrified and with a higher demand for housing in this arty and ‘edgy’ area.

The Chronicle, Newcastle (2016)

Framing:

The

Importatance

Retrofit

Fr a m i n g : R e t r o f i t n o t G e n t r i f y !

My building analysis through the Integrated Construction Module, made me aware of the impact new builds are on the environment. By reusing and retrofitting Uptin House, the embodied energy and carbon footprint remains low, as there is little to no manufacturing and transporting of new materials and resources.

Stages of Gentrification, Grayson Perry This graphic, by Grayson perry illustrates the stages of gentrification to a once arty area. Ouseburn can be seen going though the same stages of development Perry recognised, with the valley in danger of shifting to the final gentrified stage, as the area becomes more popular and developers take over the valley.

The rain-screen cladding of the new proposed buildings will use recycled bricks from the site as well as recycled bricks from company StoneCycling. This will be used in conjunction with a sustainably-sourced CLT as the primary structure, used for its high embodied carbon.

In order to combat the developer take over, and slow the process of gentrification, I want to look back at the past history of the area, and celebrate the past local industry. This reference to the cultural heritage of the site (as pictured as stage 1 and 2 in the graphic), is extremely important in my design process in order to design for the community and not for the developer.

Fr a m i n g :

Ouseburn

Issues

Fr a m i n g : O u s e b u r n S o l u t i o n

Put simply, this graphic shows the issues Ouseburn Valley faces in the last few years. My proposal aims to stop the area becoming gentrified and losing its identity by celebrating the past local history with the glass industry in Newcastle borough. The Towers is a live/work space in the valley, specialised for prospective glass artists in Newcastle.

Fr a m i n g : U s e r - c e n t r i c A n a l y s i s

To begin my design proposal I looked specifically at who would use my building, relying on user-centric design to realise the needs of the users, and therefore the spaces they would require. This was really important to my proposal and design development, in order to design specialised spaces that met the requirements for the glass makers. I began my user analysis by thinking about how the glass artists would use the workshop and living spaces, creating short GIF animations that explored the everyday activities of a prospective glass artist.

Stained Glass Artist - Work

The next stage of my explorations was thinking about the other users of my building. I thought about how the local community and public may use the building, creating a new set of GIF’s to show how the proposal may be used as a socialising space, as well as an art gallery. This exercise helped me split the users into 3 main roups; the artists, the community, and the public. This informed the next stage of massing, where I using the 3 groups as a way to defne new spces, I designed general massing forms that were spilt into 3 parts.

Stained Glass Artist - Live

Community

P u b l i c

Fr a m i n g : M a s s i n g P r i n t s T P r e c e d e n t

‘Context is always the starting point for the work I make, it informs my ideas and the choice of materials, and provides the framework around which the artwork evolves.’ (Barclay, 2018) Using my previous methods of printing, during Ruin Lust, I began printing massing iterations, to experiment with overlapping forms, composition, and scale. The forms I used were taken from the same simplified contextual forms I found in my initial explorations of the site. This created forms that were taken directly from the ruins of Ouseburn, relying on the context to inform my design proposal. The prints of artist Claire Barclay, really helped develop my printing process. Barclay explores spaces by relying on abstract objects to create ‘concrete things’ that are specific to the context in which she presents her work. This abstracted but contextual approach was a philosophy that I continuously referred back to during my printing process.

Set Shift Series, Claire Barclay (2014)

Set Shift Series, Claire Barclay (2014) 42

Framing: ’Homework’ Case Study

Framing:

Massing

Prints

When printing I set myself guidelines to inform my design. I knew I wanted 3 main spaces, a gradient of public to private, and courtyards separating the buildings. By using printing I could play with overlapping defining new forms. I printed a series of prints, gradually making changes to the forms to allow for more sunlight and better circulation. Photography Studio for Juergen Teller, 6A Architects (2017),

6A architects designed a photography studio in North Kensington for established photographer and renowned Juergen Teller. 6A architects made use of the long narrow site, designing three individual buildings separated by courtyards, whose gardens offer a sense of peacefulness and reflection between the bustling studios. I found this precedent to have significant influence over my proposal, enjoying particularity the idea of green courtyards that separate the different spaces within the project. I took this idea with me while printing massing ideas, aware of separates forms with voids that could be later turned into courtyards.

Framing: Final Massing Iteration

Final

Massing

Concept

Fr a m i n g : M a s s i n g TS i t e TA n a l y s i s

Framing: MassingTSiteTMasterplanning

Courtyard Spaces

Green Spaces

Circulation

I drew over my massing print, thinking realistically how the overall site massing would work as a building. Drawing the circulation around the building, helped me understand how people would move through the building, and would spaces would work where. I decided to add another cut through the middle of my building to allow more access through to the green space behind.

S u n l i g h t

Views

Road Access

Framing: MassingTSketchTModel

Framing: MassingTModelTDiagrams

Inital

I then developed a massing model, to make the 2D studies inhabitable and act as a building. My previous explorations in Ruin Lust helped think of the massing as different levels that played with the slope on my site. The model helped bring attention to the tower on the existing building, and I began thinking how I could echo and celebrate this in my design.

Massing

Seperate Spaces

Remove

continous

mass

Start to think of response to Tower

T e

“The grid system is an aid, not a guarantee. It permits a number of possible uses, and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid, as it is an art that requires practice.” (Müller-Brockmann, 1999) Throughout testing I have continuously relied on the use of a grid to inform my design decisions. Artist Piet Mondrian from the Bauhaus has been a constant source of inspiration for my proposal both conceptually and spatially. For Mondrian, the grid was a resolution to the competing demands of materiality and the spirituality of a design. The grid was a system which could act as scaffolding for the composition, allowing the freedom of abstraction, while keeping the regularity of proportion. While researching the importance of the grid in essays by Mondrian, as well as ‘Grid Systems’ by Josef Muller-Brockmann, I found this approach to be the perfect way to bring back art to Ouseburn, while remaining contextually relevant. Like Mondrian had found a harmony between materiality and spirituality through the grid, I found I could bridge materiality with artistry, defining a language which was connected to the rhythms of daily life in the ‘creative hub’ of Ouseburn Valley.

Te s t i n g :

Programme

Testing: First Floor Plan Iterations

Once I had defined 3 main spaces in my proposal, I then started to think about the users needs in each building, from the artists, to the community and the public. This flowchart shows the spaces needed for each group, and how they work together as an overall proposal, informing my 1st floor plan iterations.

Initial Circulation Study

First Iteration Floor Plan

Programmatic Study

Te s t i n g :

To w e r s T Fo c u s

Testing: ChimneyTPrecedent Study

Tower Massing Diagram While working on my floorplans, I was aware of using the buildings massing to develop the towers on each of the new builds, in response to the tower on Uptin House. This was particularity important in the workshop building in the centre of the site, which needed a chimney to emit any glass fumes. I researched towers and chimneys throughout Newcastle, creating a graphic on the structures I found most captivating. (Pictured Opposite)

Te s t i n g : C r e n e l a t i o n TS k e t c h M o d e l s

Exploring

Crenelations

I developed a series of sketch models, exploring the different ways of representing the Tower’s crenelations, playing with scale and composition. Although this analysis helped my thought process, I ended up looking at artist works for inspiration, on how to modernise the ancient forms, in order to fit in with the creative atmosphere of the valley.

Te s t i n g :

CrenelationTSketches

‘The Tower’ Crenelations

Te s t i n g :

Crenelation Analysis

Concept applied spatially

C h i m n e y T To p

Design

Mondrian Inspired Shapes

Creating One Mass

Filling Voids

Final Form

Add Chimney Flute

Final Design

Concept applied aesthetically

The Tower crenelations, did not just influence my design of the aesthetics of the project, but also had an impact on the way I spatially designed my proposal. The staggered form of the tower top, inspired me to look at arranging the programme in the same way, repeating the same vernacular, from chimney tops, to room layouts throughout the buildings, and unifying the 3 separate spaces together as one. Further research into the Bauhaus, and Mondrian’s abstract ways of analysis, backed these developments and formed the basis from which I could move the project forward.

Te s t i n g :

GalleryTFocus

Te s t i n g :

GalleryTReview

These floor-plan iterations from the testing review, show how I began to separate the spaces within the existing building - Uptin House. By using the whole of the first floor as a gallery, I found the space to large and unmanageable, and taking over the site. I reduced the gallery to one side of the building in later iterations, and partitioned the building into 3 parts. The left for the public facilities and gallery, the centre for an open plan cafe and shop, and the right for private use.

Uptin House Massing Print

Te s t i n g :

WorkshopTFocus

Te s t i n g :

WorkshopTReview

Before designing the glass workshop, I researched the machinery and facilities needed, watching videos and reading blogs. This helped me divide the spaces into ‘zones’, prioritising where the machinery could go. While these floorplans derived directly from my Ruin Lust prints, I began to think how to better to design the spaces for the inhabitants. This image, shows the feedback and thoughts I had after the testing review, which I reflected on to develop my design.

Workshop Massing Print

Te s t i n g :

DwellingTFocus

Testing: Dwelling Development Sketches

Dwelling Massing Print

These series of sketches show my initial sketches of the residential building. I focused particularly on how users would enter the flats and facility area, and how I might use light to make these spaces more interesting. I found the freedom of sketching to be really liberating, compared to designing in software programmes.

Te s t i n g :

DwellingTPre-Review

Te s t i n g : D w e l l i n g T P o s t - R e v i e w

These developments resulted in designing modular ‘pod’ flats which could be repeated on both storeys. By designing modular flats, every flat would have the same dimensions, meaning construction costs would be lower and flats could be prefabricated off-site. In the centre of the flats, I originally designed two floors of residental facilities, but realised only one floor was needed, freeing up space for a residential roof terrace.

The testing review, helped me look at my development in a critical light, and revalue my main concepts. This floor plan shows key elements I started to question, most importantly, how the overall shape of the building could be developed to highlight the cubic language of the proposal. This would make the building’s footprint ‘fit’ better into the site, and also create a less impenetrable facade from the courtyard.

Te s t i n g :

DesignTDevelopment

Te s t i n g :

GridTDevelopment

In order to develop my floor plan iterations, I continuously referred back to Mondrian’s grids. The grid system allowed me to compose rooms and spaces abstractly, inspired by the crenelating tower. I used grids at different scales, both in site-wide floorplans, as well as smaller details such as as the flat entrance zoning, where the introduction of a bookcase defines the grid.

Repeating grid motif in Windows

Flat Entrance Grid

Gallery and Workshop Grid

Composition with Grid 2, Piet Mondrian (1915)

Repeating grid motif in Facade

Te s t i n g :

Te c h n i c a l T P r e c e d e n t

Te s t i n g :

Te c h n i c a l T S t u d y

5 4

4 8 7

6 3

2 6

Flat Layout

7 In the Integrated Technology Module, I researched sustainable materials that would be appropriate when designing a modular flat. As well as being highly sustainable, CLT panels can be prefabricated off site and the primary structure put up quickly, keeping costs down and the impact on Stepney Road (the road bordering the site) to a minimum. This study shows all the prefabricated panels need to make up one flat unit. It is important these panels are finished to a high standard, as they are left exposed as an interior finish.

Barretts Grove, Groupwork (2016) Looking at relevant precedents, helped me develop my technical strategy. I wanted to use bricks as a facade, to reference the local materiality, but keep the structure sustainable with minimal environmental impacts during construction. Barretts Grove by Groupwork and Amin Taha Architects, is a residential dwelling in Dalston, east London. The structural materials are celebrated and left exposed in the building. I looked at this precedent as a way of introducing CLT into my strategy.

CLT Panels for 1 Flat Unit

Testing: ContextualTMateriality Precedent

The surrounding buildings to the site, are all mostly brick buildings, with even the famous Ouseburn Viaduct made from red brick. In the area surrounding Ouseburn, the Byker Wall, a famous estate by Raplh Erskine, used brick patterns to indicate the spaces inside. While I liked this idea of maintaining the contextual materiality, I then looked further into how I could regulate the brick patterns, to create a strong language for my proposal.

Byker Wall, Ralph Erskine (1976)

Te s t i n g : Fa c a d e T M a t e r i a l i t y S k e t c h

Te s t i n g : M a t e r i a l i t y T W a l l B u i l d - U p

Initial Facade Iteration Using local brick patterns, I abstractly collaged the bricks, and overlayed them over the Dwellings facade, to test the materiality ideas.

Testing: DwellingTConstrution Sequence

Primary Structure - Pile Foundations and in-situ concrete slab

Primary Structure - CLT Wall and Floor Panels (+ roof panel not shown for the purposes of an interior view)

Primary Structure - CLT Core

Secondary Structure - CLT Stairs and Steel Window frames (Roof panel not shown for the purposes of an interior view) 78

Secondary Structure - Interior CLT Walls (Roof panel not shown for the purposes of an interior view)

Intermediate Layers - Insulation, membranes and services are installed (Roof layer is shown)

Intermediate Layers - Double glazed glass is installed in windows and roof-light

Cladding - Bricks on exterior, CLT walls left exposed on the interior. Fir floorboards and timber ceiling screens are installed 79

Te s t i n g :

FacadeTDevelopment

Te s t i n g :

Flats Facade Massing

FacadeTSketches

Mondrain Inspired Grid

I relied on different methods of representing the façades, finding these messy sketches in charcoal to be the most effective at testing different patterns on the façades. I could then refine this for my later work in synthesis, but ultimately found these iterations to be the most useful in celebrating the facade.

Introducing Windows

Playing with materiality 80

Te s t i n g : Ty n e s i d e T F l a t P r e c e d e n t

Testing: ContextualTPrecedent Study

At the bottom of the Ouseburn Valley, residential project ‘The Mailings’, designed by Ash Sakula, was a really influential precedent in my design development. The architects designed the multistorey housing, to maintain the community feel and engagement with the inhabitants. I looked at how the architects had encouraged the feeling of belonging to the area, with importantly, every user having their own front door onto the street.

Tyneside Flat typical Floor Plan Living in a Tyneside flat myself, I was naturally influenced by the historic living quarters. From the start of my project, I knew I wanted every flat to feel like a home, not just a temporary flat in order to blend newcomers into the community. Using a Tyneside flat as a reference, I designed a one up, one down flat type, each with their own front door at street level.

Ash Sakula, The Mailings, Ouseburn

Te s t i n g :

DoorTDevelopment

Te s t i n g :

Piet Mondrian (1921)

Grid Analysis

Grid Simplification

Door Structure

D o o r T S k e t c h e s

3D Grid

Final Design

The door design of each flat was really important to celebrate, being the threshold between the social courtyard and the private flat. I referred back to Piet Mondrain’s painting, looking particularity at ‘Composition, 1921’, to use as a basis of my door design. This gave me the final design, with each flat’s door being painted a different colour to emphasise the idea of each flat having their own space on ground level, and their own front door.

Te s t i n g :

WindowTPrecedent

Te s t i n g :

WindowTDesign

Ouseburn Viaduct Arches

Flat Stained Glass Window

It is believed the first ever stained glass window, was created in Jarrow, Newcastle in the 7th Century. (Pictured Opposite) Taking the classical arch shape of the stained glass, as well as referencing the arched shapes of the Ouseburn Viaduct, I designed each flat to have their own celebration glass panel. The arch breaks up the monotonicity of the regular windows, showing that this window is the main celebration.

Jarrow, Stained Glass Window (600AD) 86

Te s t i n g : T h i n k i n g T T h r o u g h M a k i n g

Using my previous prints as a basis, I wanted to explore the narrative of stained glass, opting to make my own stained ‘glass’ panels. To do this is experimented with ingredients I had at home that could achieve the same effect as glass. I experimented with sugar, water and watercolour, but found in the end that baked boiled sweets proved the best outcome.

Thinking Through Making process photos

Final Thinking Through Making piece

Te s t i n g :

BookcaseTDetail

Te s t i n g :

BookcaseTDetail

Composition C, Piet Mondrian (1920)

As I wanted the artistic language to be reflected both in the exterior and interior, I designed a bookcase that each flat would have. The bookcase would be specifically useful in the bottom flat, where it is used to divide the entrance into zones. I referred back to Piet Mondrain’s ‘Composition C, 1920’, to inspire the composition.

Te s t i n g :

F i n a l T Te s t i n g

Massing

Te s t i n g : 3 D T A x o n o m e t r i c M a s s i n g

These final testing images show the 3 buildings, working together in the site. Although I have changed the flat roof of the central workshop since this iteration, the forms of the buildings generally stay the same, and show how the final proposal would look like behind Uptin House.

S y n t h e s i s : ‘The Ouseburn Valley is many things to many people. Whether you enjoy the Ouseburn for its bustling alternative music scene, its flourishing creative networks, or its abundant local history and heritage, the Valley has something for everyone. It is this interaction between the past and the present that gives the area its energy and charm, and makes Ouseburn such an exciting place to live, work or play.’ (Ouseburn Trust, 2021) The final synthesis stage of my project, I focused on representing the valley as the creative and bustling hub, I know Ouseburn to be. As referenced in my Theory into Practice essay, reading Tim Ingold’s book on the role of the designer, I questioned how as an architect I could be the ‘manager of imperfection’ (Ingold, 2013). I took this idea with me in my representation, relying on different methods of depicting my proposal, from quick messy sketches to rendered sections. This idea was to capture the celebration of the craft, reflecting the rich creative atmosphere in Ouseburn. I reflected on my initial explorations of the site, using previous methods of user-centric explorations to imagine how the spaces would be inhabited. Referencing my previous Ruin Lust printing methods, I chose to celebrate the Mondrian-inspired facade of my buildings. Printing allowed me to harness the imperfect, abstract way of working, while producing a refined and scaled model.

Synthesis: 1:500TSite Proposal

Synthesis: 3D Massing Axonometric

Synthesis: Stepney Road Atmospheric

S y n t h e s i s : R o o f Te r r a c e A t m o s p h e r i c

Winding down through Ouseburn, Stepney Road connects the top and bottom of the valley. This sketch captures the view from the street, where you can see the proximity of the student accommodation in the background of the image, as well as the cafe/bar opposite the proposal.

Inspired by Ash Sakula’s sketches, I drew this quick atmospheric to try and capture the lively atmosphere of the residential building. I imagine the roof terrace to be busy and full of residents socialising, perhaps having a BBQ, and enjoying the view out onto City Stadium behind them.

Synthesis: Glass Gallery Render

Attracting artists such as Brain Clarke (artwork pictured above), the glass gallery celebrates the work of established glass artists , as well as smaller artists from the workshop. Unlike typical gallery spaces, the glass gallery uses direct sunlight through the large existing windows to bring the artwork to life. Side windows allow apertures down to the double height cafe space, encouraging cafe-goers to visit the gallery.

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Synthesis: 1:200 Ground Floor Plan

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Synthesis: Glass Workshop Render

The glass workshop is a space specially designed to glass artist requirements, where stained glass can be celebrated. The workshop is split into zones, by CLT modular ‘pods’ that allow noisy, dusty and hot machines to be separated from the main working space. Above, the mezzanine allows the public a viewing platform to engage with the world of stained glass, encouraging them to learn more about this historic art form.

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Synthesis: 1:200 First Floor Plan

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S y n t h e s i s : To w e r s F l a t R e n d e r

The CLT modular dwellings, aim to provide affordable 1 bed flats for prospective glass artists, in the heart of Ouseburn. Each flat has its own front door, opening onto the residental courtyard, with all bottom floor flats accessible by wheelchair.

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Synthesis: 1:200TSecond Floor Plan

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Synthesis: Synthesis Review Elevation

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Synthesis:

Final

Street

Elevation

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Synthesis: Existing Site Section

Synthesis: Synthesis Review Section

This existing site section shows the site in relation to its context. Portland Green student accommodation can be seen towering over the site in the background, backing into the green space of the City Stadium. The section also shows the steep topography, where previous site developments have created a sheer drop in the site profile.

In my proposed section, you can see how the sites topography has been manipulated. The top soil behind Uptin House has been excavated, and a concrete retaining wall behind the workshop, has been used to control the level changes . This allows the workshop to have two entrances/exits both on floor level, encourage the through movement of people in the building.

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Synthesis:

Final

Site

Section

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Sy n t h e s i s : 1 : 5 0 G l a s s Wo r k s h o p S e c t i o n

Synthesis:

Stained

Glass

Workshop

In reference to the existing tower on Uptin House, the workshop chimney echoes this beloved landmark. The space inside the tower is used as a boiler room, with pipes extracting toxic fumes from the furnace zone, and machinery zone, the toxic fumes are filtered and the excess air dispersed.

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Synthesis:

1:20

Flat

Section

Synthesis:

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1:20

Flat

Elevation

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S y n t h e s i s : M o d e l

P r o c e s s

P h o t o s

Synthesis:

1:20

Facade

Model

My final 1:20 model looks closer at the facade of the private flat residence, and the playful brick finish. I referred back to my Ruin Lust pieces for inspiration, and used the same method of potato printing to print bricks onto different textured paper, to convey a sense of patterned brick panels. I had fun with the black detailing of the windowsills and window frames, spray painting the minimalist hopper and drain pipe detail. The door design follows my testing explorations of a Mondrian inspired grid, and although depicted as black (due to the materials I had to hand), would be brightly coloured in real life.

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Synthesis:

Model

Inhabitation

Sy n t h e s i s : Fa c a d e M o d e l At m o s p h e r i c

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A p p e n d i c e :

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Appendice: Process Development

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Appendice:

Te s t i n g

Review

Iteration

Appendice: Testing Development Iteration

Ground Floor

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First Floor

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Appendice:

Te s t i n g

Model

Iteration

Appendice:

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Te s t i n g

Model

Iteration

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Appendice: Physical Model Iterations

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Appendice:

Extra

Reading

These images show some of the main books I have read and referred back to throughout the year. I have a selection of both art and architecture to widen my knowledge on key architecture, but also my understanding around the subject. The library was a great resource, and I was able to access many of these books in hard copy, the most useful of which was ‘Solid Wood’, which I religiously referred back to during Tech.

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C u l t u r a l

B i b l o g r a p h y :

S m a l l

Ta l k

Cultural

Although we haven’t been able to participate in the usual activities we would have done this past year, the Small Lectures have been a great way of interacting with other architects and students. I have really enjoyed learning about how different firms work and found them very inspiring in my own design approach.

Biblography:

Extra

Podcasts

I really enjoy listening to podcasts, and broadening my knowledge particularly on art. These are a few of my favourite podcasts that I listen to regularly. ‘Another Architecture Podcast’ had a great episode on ‘CLT House’ by FMD Architects, which inspired my own use of CLT.

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Cultural

Biblography:

Useful

Documentaries

C u l t u r a l

B i b l o g r a p h y :

E x t r a

F i l m s

As I have not been able to visit exhibitions this year, I have been relying on virtual resources such as YouTube to research and explore. These documentaries have been also sources of information and I particularly enjoyed the BBC Bauhaus 100 documentary- and so did my friends! Admittedly none of the above films are directly linked to architecture, but I have really enjoyed widening my film knowledge this past year. I particularly enjoyed Alien’s set design by artist H. R. Giger, with the amazing dramatic, and often grotesque scenery. Although not directly applicable to my own studies, I really liked the abstract way in which Geiger viewed the world, as if in a different reality.

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Appendice:

’Homework’

Case

Study-My

Work

Appendice:

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Case

Study

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Appendice:

Thematic

Case

Study:My

Work

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Study:My

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Thematic

Case

Study

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Study

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Thematic

Case

Study

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Study

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Thematic

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Study

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Study

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Thematic

Case

Study

Appendice: Extra Thematic Case Studies

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Walmer Yard, Peter Salter, London

FRAC Dunkerque, Lacaton & Vassal, France

Suburban Housing, Sergison Bates, Zurich

House in Vienna, Sergison Bates, Vienna

Sargfabrik, BKK-2, Vienna

St Peters Seminary, Kidd and Coia, Scotland

City Manifeste, A.Lacaton & J. Vassal, France

Dawson Heights, Kate Macintosh, London

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List

Illustrations:

B i b l i o g r a p h y : Barclay. C, An empty space between two objects, (2018), Available at: https://www.clairebarclay.net/Radio-3-Essay-Claire-Barclay

Page 5: Ash Sakula, Work Home Project (2021), Available at: @ashsakulaarchitects on Instagram Page 8: Newcastle Chronicle, Blots On The Landscape (2013), Available at: >https://www.chroniclelive.co.uk/news/north-east-news/estates-blot-landscape-1530754< Page 12: Oskar Schlemmer, Three Profiles (1923), Available at: >https://www.moma.org/collection/works/117276< Page 17: Eduardo Paolozzi, Konsul (1962), Available at: > https://www.tate.org.uk/art/artworks/paolozzi-konsul-t12487< Page 22-23: Ouseburn Trust Archives, Historic Ouseburn Photos (2015), Available at: > https://www.flickr.com/photos/ouseburntrust/albums< Page 26: Ouseburn Trust Archives, 36 Lime Street Historic Photo (2015), Available at: > https://www.flickr.com/photos/ouseburntrust/albums< Page 27: Tate Archives, Bauhaus Building (1926), Available at: > https://www.tate.org.uk/art/artworks/moholy-bauhaus-building-dessau-p79916< Page 28: Ouseburn Trust archives, Glasswork Furnaces (2015), Available at: > https://www.flickr.com/photos/ouseburntrust/albums< Page 29: Sue Woolhouse, ‘Urban Roots’ Series (2013), Available at: > http://suewoolhouse.co.uk/index.php< Page 29: Pat Marvel, Barranca (2020), Available at: > https://www.patmarvellglass.co.uk/< Page 33: Google Earth, Stepney Road Birdseye (2021), Available at: > https://earth.google.com/web/@54.97641938,-1.59467816,26.39799526a,3 60.09149469d,35y,-2.61454778h,58.84708878t,0r< Page 34: The Chronicle, Uptin House, Newcastle (2016), Available at: >https://www.chroniclelive.co.uk/news/north-east-news/campaigners-devastated-after-controversial-uptin-12113546< Page 35: Kathryn Hodgkinson, Resisting Gentrification (2016), Available at: >https://www.a-n.co.uk/news/resisting-gentrification-why-we-shoul d-fight-hard-to-protect-affordable-creative-spaces/< Page 35: Dan Hancox, Never mind the Hipsters (2015), Available at: >https://www.theguardian.com/commentisfree/2015/sep/28/hipsters-property-developers-gentrification-cereal-killer-cafe< Page 36: Metropolis, Architects Pollute (2003), Available at: > https://www.metropolismag.com/architecture/architects-pollute-sustainability/< Page 36: WSP, Retrofit Poster (2020), Available at: > https://www.wsp.com/en-GB/campaigns/net-zero-buildings< Page 37: Grayson Perry, Playing to the Gallery (2015), Available at: > https://www.independent.co.uk/news/people/grayson-perry-london-needsaffordable-housing-because-rich-people-don-t-create-culture-9875422.html< Page 42: Claire Barclay, Set Shift Series (2016), Available at: > https://www.clairebarclay.net/Set-Shift< Page 44: 6A Architects, Juergen Teller’s Studio (2017), Available at: > http://www.6a.co.uk/projects/selected/photography-studio-for-juergen-teller< Page 53: CCI Archives, Stained Glass Workshop (1880), Available at: > https://www.sciencephoto.com/media/362702/view/stained-glass-workshop-19th-century< Page 59: Friends Action North East, Uptin House (2021), Available at: > https://www.friendsaction.co.uk/locations/tower-art-gallery< Page 71: Composition with Grid 2, Piet Mondrian (1915), Available at: > https://www.meisterdrucke.uk/fine-art-prints/Piet-Mondrian/706333/ Composition-with-Grid-2,-1915.html< Page 72: Groupwork, Barrett’s Grove (2016), Available at: > https://www.archdaily.com/796311/barretts-grove-groupwork< Page 74: Ralph Erskine, Byker Wall (1972), Available at: > https://www.theguardian.com/cities/2015/may/21/byker-wall-newcastles-noble-failure-of-an-estate-a-history-of-cities-in-50-buildings-day-41< Page 80: Piet Mondrian, Composition B (No.II) with Red (1935), Available at: > https://www.tate.org.uk/art/artworks/mondrian-composition-bno-ii-with-red-t07560< Page 83: Ash Sakula, The Mailings (Own Photos) Page 86: Jarrow, Stained Glass Window (600 AD), Available at: > http://www.teachinghistory100.org/objects/about_the_object/anglo_saxon_ stained_glass< Page 87: Ouseburn Trust Archives, Ouseburn Viaduct (1954), Available at: > https://www.flickr.com/photos/ouseburntrust/albums< Page 90: Composition C, Piet Mondrian (1920), Available at: > https://www.moma.org/collection/works/79300<

Droste. M, Bauhaus 1919-1933, Berlin, Bauhaus-Archiv, (2019) Eichler. D, Some thoughts on meaning, objects and abstraction in the work of Claire Barclay, (2007) Available at >https://www.clairebarclay.net/Dominic-Eichler< Gropius. W, Bauhaus Manifesto and Programme, (1919) Ingold. T, Making: Anthropology, Archaeology, Art and Architecture, (2013) Klee. P, Pedagogical Sketchbook, London, (1968) Lang. J, Moleski. W, Functionalism Revisited: Architectural Theory and Practice and the Behavioural Science, (2016) Maccaulay. R, The Pleasure of Ruins, (1953) Mayo. J, Solid Wood: Case Studies in Mass Timber Architecture, Technology and Design, (2015) Müller-Brockmann. J, Grid Systems in Graphic Design, (1999) Ouseburn Trust Archives, (2021), Available at: https://www.ouseburntrust.org.uk/ Renew Newcastle, (2021), Available at: >https://renewnewcastle.org/< Richard. P, Wabi-Sabi Simple, (2005) Rooke. M, History of 36 Lime Street, (2014), Available at: > http://36limestreet.co.uk/about-us/< Taschen, Mondrian, (2015) Whitecross. M, Bauhaus 100, (BBC Four), Available at https://www.bbc.co.uk/programmes/m0007trf

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