Hereward Leathart Portfolio

YEAR 3 PORTFOLIO 17079898 Newcastle University 2020-2021 Hereward Leathart Creative Synergies

CONTENTS ILLUSTRATED REFLECTIVE DIARY

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FRAMING

SYNERGY

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“The interaction or cooperation of two or more organizations, substances, or other agents to produce a combined effect greater than the sum of their separate effects.”

The following two headings contain the specific additional criteria against which we are assessed in Creative Synergies.

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TESTING

“Inhabitation and Spatial Relationships of chosen Specialism.

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

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SYNTHESIS

CULTURAL BIBLIOGRAPHY APPENDIX

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GROUP WORK

Contextual Response: Between the Academy and the City.

Students will be required to demonstrate a thorough knowledge of existing contextual conditions, both topographical and architectural, and evidence their proposals extensively within this setting. Additionally they should be able to declare clearly how their intervention integrates and benefits an existing local community group, identified and researched through detailed site reading and analysis, while establishing a strong link with an academic research / teaching agenda.”

- Studio Brief

NEW/AMENDED

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0.1 ILLUSTRATIVE REFLECTIVE DIARY

We first have to acknowledge that the climate is in fact relative. When I was young, we all still assumed that the climate was a constant, that it was something outside of human reach.

Now, we understand that the climate is not something natural but something cultural; we are co-responsible for it and we have to manage our climate….If we can understand the relationship we have with the climate – then we can also start to develop a sense of responsibility, a felt feeling of responsibility. - Eliasson (De Gruyter, 2014)

Completing this year has been more of a mental struggle than anticipated. The topics that we undertook as a studio were initially extremely interesting and engaging. The synthesis of the ‘city’ – Ouseburn, and the ‘academy’ – any research area, was a unique and interesting perspective on architecture. Looking at the city engaged me into graffiti which then led me to read some articles on the role of art in urban regeneration. This later informed my theory into practice module which looked at atmospheres within the city and how graffiti becomes a voice for the people in the city, which speaks out about the inner atmospheres and mood of the city. Not only this but art is used as a way of regenerating an area by adding aesthetic appeal and bringing in capital. This can have negative affects due to the added appeal, which brings in a different social class of people as capital rises. This has to be properly controlled by the council by communicating with the community. This ideology became a key driver for my design project. By creating a facility that tied in to the history of the place, and worked with the concerns and wants of the community, rather than ignoring them, I have hoped to mitigate the negative affects that art can have on an area, and provide only the positive aesthetical appeal.

‘Water is endlessly appealing. We are compelled to stare at a river flowing under a bridge, to feel water as it sheets over the marble rim of a fountain, and to sit for hours transfixed by the sound of a gurgling stream or waves at the beach.’

(Moore, 1994)

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0.2 ILLUSTRATIVE REFLECTIVE DIARY

Another reading that greatly informed some of my design decisions was Architectural Atmospheres, On the Experience and Politics of Architecture by Gernot Böhme, Christian Borch, Olafur Eliasson, Juhani Pallasmaa. All the artists and architects discuss the idea of atmospheres and space and the affect they can have on the user as well as discussing concerns about the climate. This led me to read further ecological articles. Thinking Big by Timothy Morton and the quote by Haas and Hahn “If your idea is ridiculously big, it is easier to get people to along with this”, led me to think of my project not just on the local scale with its artists, but on a much larger scale in terms of the academic research behind it. With Ouseburn, and Newcastle’s inherent connection to water, choosing water as a route to go down for academic research seemed the obvious choice.

Having looked at the serious problems with the current climate crisis leading to water shortages in a large number of places in the world, due to agriculture and over population, I narrowed down my research to water conversation and decontamination.

Although we consider water to be fairly abundant in the UK due to our climate, there is a still a concern locally and globally about the amount of drinking water we will have in the future.

This concern is also highlighted in a number of Olafur Eliasson’s public sculptures to bring awareness to the climate crisis and the melting of ice sheets. Looking at Eliasson’s studio ideology and structure helped greatly in creating a link between quite varied topics – collaboration, water and art.

0.3 ILLUSTRATIVE REFLECTIVE DIARY

With all these readings and references in mind, my design quickly tried to look at connecting people to nature and art – two main characteristics of the northern part of Ouseburn.

The southern part of Ouseburn however was historically more heavily industrial, and due to dereliction has now become a place for new housing developments. Inspired by Granby Winter Garden project by Assemble, I envisaged a garden centre with artistic sculptures or art being displayed there, with a deeper environmental message to the community. Tying in water to art then became an easier task, although the exact message of water conversation was still unclear.

Learning about hydroponics as a food production method to reduce water consumption helped bring water conversation into my scheme. With Eliasson’s ideology of collaborative eating as a way for people to commune about ideas of art and science, an eating area was already ingrained into my programme. The hydroponics within my facility brought a tangible element to the user and cooks within my scheme, allowing the people within my facility to farm their own produce and reconnect to nature.

All these concerns for the climate and thinking deeper about the community and our collective existence on the Earth have had a huge affect on me, enough to make me go vegan, due to the water demand animal agriculture has on our planet. In future my designs will be extremely considerate towards this climate crisis, which explains my choice of using a glulam and clt framed building over steel and concrete, which have immense uses of water and degrading effects on the environment. I also hope that this design of integrating smaller local water treatment plants which greatly benefit the surrounding community through the use of local produce and ecological enhancement will be adapted to the wider architectural profession.

Fig. 1 Olafur Eliasson Studio’s water sculptures

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STUDIO THEMES Our studio looked at creating a synthesis between the city and the academy. The city in this case refers to Ouseburn, located in Newcastle upon Tyne. The academy is therefore a link to Newcastle University or further afield.

When visiting Ouseburn I found graffiti/murals to be the first striking aspect of the area. This was situated very closely together with nature in the northern part of Ouseburn. From further site analysis we found that there were two distinct areas of Ouseburn, divided by north and south via a bridge. Tying these different areas together is the Ouseburn river.

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PERSONAL VIEW ON THE STUDIO THEMES

FRAMING SYNTHESIS

This key natural feature provided inspiration for tying the link between graffiti and water, topics that are quite contrasting physically, but cognitively are very ephemeral. The river is a constant on the landscape, but the water within it has a passing state. The buildings in Ouseburn are constant within a certain time frame, but the graffiti is forever changing. This perception is something we don’t notice or perhaps appreciate as a bystander in Ouseburn.

From looking at the academy, collaboration and water usage were some key ideas that I researched and followed which ties in with the city characteristics. This led me to look at artists that used water and had the philosophy of collaborative working.

Olafur Eliasson Studio looks at a collaboration between art and science, something that is similar to my academy interests. By eating communally artists can share ideas and work together on pieces of work. The studio additionally hosts talks with scientists coming in to provide informative talks and help inspire and educate the artists about their area of expertise. These ideologies became drivers for my project.

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Ouseburn

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Part 1:Framing

FRAMING

1.1 LOCATION MAP OF OUSEBURN AND MY SITE

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1.2 THE CITY

OUSEBURN ZONING MAP Group Diagram showing some initial characteristics of Ouseburn.

FRAMING

1.3 THE CITY

NATURE AND DEVELOPMENTS MAPS Group Work

Fig. 3 This map highlights the green spaces in Ouseburn whilst outlining the proposed developments for Ouseburn.

Fig. 4 This map shows the diversity of nature in Ouseburn. The majority of nature is situated in the north due to recent developments in the south. Created by Anna Toft

Fig. 2 Some of the key features I noticed was the large singular housing/gentrification area, contrasting with the night time rhyhtms of the place and being on a previous industrial site.

Fig. 5 This map highlights all the developments that are present or planned in Ouseburn.

These maps highlight the amount of greenery in the northern part of Ouseburn, and the more developed southern Ouseburn. The river provides a natural connection to these spaces, so perhaps my building could try to encourage more nature in the south of Ouseburn.

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1.4 OUSEBURN HISTORY

1.5 OUSEBURN ANALYSIS

TIMELINE OF OUSEBURNS CHARACTER Group work exploring

OUSEBURN KEY CHARACTERISTICS MAP Group work originally by Max Mingxuan Ge edited by author

FRAMING

Fig. 6 Timeline of Ouseburn The Ouseburn river has been key to the areas development, firstly being used for water irrigation, then as a passage for transport. With the contamination caused to the area, it is now reverting back to a natural aesthetical feature.

Late 20th century

21th century

Business

Business

Residence

Residence

Attraction

Attraction

Industrial

Industrial

Fig. 7 Building diagram of Ouseburn Like much of Newcastle, Ouseburn has changed from an industrial area to a business area, but also with a large attraction aspect to it. My building could try and utilise this attraction aspect.

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Fig. 8 Conservation map of Ouseburn edited by author Some of Ouseburns architecture celebrates its history by renovating the buildings rather than demolishing them.

Ouseburns history is quite rich and so my building should try and celebrate this.

Due to Ouseburn sitting in a valley I overlayed the topography on this map to highlight another key consideration for the area. A lot of the conservation points follow the natural topographical lines.

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1.7 NATURE OF OUSEBURN

PRESERVATION OF OUSEBURN Identifying and responding the concerns of the locals

"It's soo lovely now.. Remember when we were groovin' over there?

We had nowhere else to go. [...] It was all abandoned.. So free. Now it's all been torn down"

FRAMING

1.8 ART

ART IN OUSEBURN Identifying the areas of art

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

Yeah revived and bohemian.. That's yous say nowadays"

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

Collage of Ouseburns graffiti

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“It’s a nice environment and community. An unusual interesting community rather than a traditional residential area.

“It’s an oasis, a nursery and a beacon of hope.”

“It’s a lovely industrial architecture with a lot of attraction and nature. But I hate Ouseburn to be redeveloped again, I fear developers come and decided ot build another office or student’s block. I’m not sure if these things are needed or not, but I just don’t want to see Ouseburn being changed from the mixes at the moment”

“I would describe it as unbelievable and you need to come and see.”

“It hasn’t been polished, it’s still quite gritty and rough...”

“The theme of Ouseburn is that people come and enjoy their activities like to have a chat, listening to music...”

“It’s a place for creative people and it makes for a much better atmosphere and community.”

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Ouseburn Graffiti Wall Toffee Factory Foundry Lane Workshops Ford Street Studio 36 Lime Street Jim Edwards Studio/ Navada Studios Painted bollards The Ship Inn Mural

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Location diagram of Ouseburns areas Theres a tight art community in Ouseburn, and the increase in developments has damaged part of this character. I should focus on not making my project like one of

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these modern developments.

The character of Ouseburn seems to have changed a lot, but art is something that is quite engrained into its history.

Having examined existing areas/features of Ouseburn in more detail I have realised there aren’t many pure artistic or craft studios in the south of Ouseburn.

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FRAMING

1.9 THE ACADEMY

COLLOBORATION Newcastle University student Kielder Pavilions

Having gauged the character and art within Ouseburn I wanted to look at the connection and similarities that this might have with the academy.

Fig. 9 Stonehaugh pavilion There is also a strong sense that all these structures wanted to encourage conversion between people as most pavilions create a cooperative communal space for people to chat as they stargaze.

Fig. 10 Stonehaugh pavilion

Fig. 11 Rochester Roundhouse

Fig. 12 The Nick

Material use is local and sustainable.

Like Ouseburn there is consideration to its surroundings and past.

Movement is simple and guides you to a destination, often with a view whether its a view out or inwards.

Fig. 13 The Nick

In all the projects there is consideration to the environment and setting it is in. They all try and create a communal atmosphere within their structure.

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FRAMING

1.10 THE ACADEMY

MATERIAL USE / SUSTAINABILITY Newcaslte University tutors projects

Fig. 14 Earthships, Taos, New Mexico Earthships are mainly constructed using recyclable materials such as tires, glass bottles, cans and other natural materials that can be found on site, in order to create off-the-grid sustainable self-sufficient homes.

Fig. 15 Earthships, Taos, New Mexico

Fig. 16 Yygradsil. The Living Vessel

Fig. 17 Hygromorph

The Living Vessel harnesses rainwater, generates electricity, manages its waste and grows food to serve the market, educational facilities, a food court and communal living accommodation.

Hygromorph by Ben Bridgens looks at using woods hygromorphic properties to create adaptable cladding specfic to certain weather conditions. The more humid a region the more ‘closed up’ the system is.

Fig. 18 Hygromorph concept use

From looking at these projects I have realised that water is a key material, alongside local sustainable materials.

As Ouseburn has a river running through I think I should explore this idea of water as a material.

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FRAMING

1.11 OVERRIDING THEMES THEMES OF THE CITY AND THE ACADEMY

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City work City + Colloboration Academy work Academy + Colloboration Collage showing the more natural north, and the more developed south

Diagram finalising my thoughts behind the City and the Academy Preservation of nature and art in Ouseburn is key to my brief, possibly by reconnecting people to nature in southern Ouseburn in the form of water.

By colloborating with the community it can negate the negative affects artistic areas can have.

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1.13 READINGS

1.12 ART ARTS CLASSIFICATION

HAAS AND HAHN Looking at a real life example of street art improving an area, both the positives and negatives

Art can be defined into 3 categories; Representation, Expression, and Form

REPRESENTATION

Mimesis

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Knowledge

Practice

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Fig. 19 Rio

FORM

EXPRESSION

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Fig. 20 Haiti

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Romantic

Representation or Mimesis was first developed by Plato the idea of art as “mimesis,” which, in Greek, means copying or imitation. This form of art was based off skill as the result of knowledge and practice.

Expression focused on the emotional audience reponse to pieces, often glorifiying nature with connotations of spirituality and encouraging free expression. Art began to be described as not just being something done with skill, but something that was also created in the pursuit of beauty and to express the artist’s emotions. The Romantic movement is a good example of this.

m

alis

re sur

Form pushed the boundaries of ideas and creativity in art. Balance, rhythm, harmony, and unity became the principles that were used to define and assess art and design. This removed previous ideas of aesthetic interest and focused on the formal qualities within paintings and sculpture. Early examples of this are realism, cubism, futurism, surrealism and modernism.

Sculpture in particular nowadays is predominantly focused on this.

“Art can be thought of as a symbol of what it means to be human, manifested in physical form for others to see and interpret. It can serve as a symbol for something that is tangible, or for a thought, an emotion, a feeling, or a concept.

Through peaceful means, it can convey the full spectrum of the human experience. Perhaps that is why it is so important.”

The idea of originality in art persists, leading to more genres and manifestations of art, such as digital art, performance art, conceptual art, environmental art, electronic art, etc.

Although ancient in nature graffiti and street art is one of these modern forms of art due to the advancement in painting techniques and political focus. With the ideologies and aesthetics of graffiti in mind, I wanted to look at sculpture that could respond to graffiti whilst being less frowned upon and more permanent to stop developments in Ouseburn.

I wanted to explore the meaning behind art further in order to gauge how it is used, so that I could utilise art in a way to explore how art could be linked to the community enhance some of the key drivers to my project.

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Haas and Hahn are are Dutch artists that travel the world creating art. When visiting Rio de Janeiro they noticed the tight communities that were created there amongst makeshift/diy houses and decided to add some art to the area whilst listening to the communities concerns and comments on their art, constantly improving each design.

This large scale use of graffiti adds a unique character to the area and could be applied in Ouseburn, without the negative affects of class tourism.

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1.14 READINGS

1.15 LOCAL ARTISTS

IDENTIFYING THE STYLE OF THE LOCAL ARTISTS

THE ROLE OF ART IN URBAN REGENERATION Looking at graffiti and street art within the urban context and its role within the city

JUDITH DAVIES

FRAMING

HANNAH SCULLY

FIONA GRAY BOTANY

MARIA SEARS

SUMMARY

Art meant that people were more likely to stay in an area due to the aesthetical improvement that it offered.

This aesthetic encouraged the middle class to join this community.

The increase in interest of the area led to development from the council, which with success then branched beyond the public sector, to the private sector.

This caused a negative impact on the cost of housing

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in the area and meant that social and community benefits were forgotten about.

The added commerce and wealth in the area has encouraged more diversity and could be related to the long term improvement of more affordable housing to the original locals. Therefore if the system is managed properly the orginal locals can benefit from the increase in art within the area. I believe this is more likely happening in Ouseburn today due to it being in a more developed area than previous examples.

JIM EDWARDS

FIONA GRAY - SCULPTURES

Looking at the local artists allowed me to see if there were any styles that matched the brief I was working with. Judith Davies is the main artist that is inspired by the Northumberland coast, so matching my programme to her more specifically would narrow down my line of enquiry.

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FRAMING

1.16 CLIENT ARTIST

OLAFUR ELIASON Although Eliason is an international artist, his use of water and consideration to the climate make him a good clent to accompany the water research aspect

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Fig. 21 Olafur Eliasson Studio

BEAUTY

THE WEATHER PROJECT

BEAUTY

Replicated in several musuems worldwide, this piece creates a unique experience for each viewer, as the interplay with the fine mist curtain and light changes in reponse to the visitors position, creating a unique rainbow effect each time.

This piece is again something tangible and changing for each separate viewer. “It is a community piece, created to allow multiple users to interact and experience the space together” - 1993

Created for the Turbine Hall of Tate Modern, this piece was designed to create the illusion of the sun.

Using alluminium with mirror foil, Eliason doubled the perceived height of the room, and created the appearance of a sunset with added haze machines. Through this there were discussions about weather, time space, and freak weather events. - 2003

Created in the Lousiana Musuem, this piece of work allows viewers to walk over and experience a piece of work reconnecting people to nature. The river in this piece acts a guide though the space the same way they used to in older times. 2014

MATERIALS

MATERIALS

MATERIALS

MATERIALS

Spotlight, water, nozzles, wood, hose, pump

Monofrequency lights, projection foil, haze machines, mirror foil, aluminium, scaffolding

Water, Icelandic rocks, wood, steel, plastic sheeting, hose, pumps, cooling unit

Water, strobe light, pump, nozzle, stainless steel, wood, foam, plastic, control unit, dye

BIG BANG FOUNTAIN Water is pumped up in quick bursts and illuminated with a strobe light, catching the bursts at their apex.

Eliason has done various works with water and strobes, and each question the nature of time - whether it is “something we observe passing outside us or something intrinsic to what and where we are” - 2014

ICE WATCH

WATERFALL

STILL RIVER

SYMBIOTIC SEEING

Installed firstly in Copenhagen in 2014, then in Paris in 2015, and finally in London on two occasions in 2018/19, this piece of art tries to connect people directly to the Greenland ice sheet and the impact of climate change in a more tangible way.

The visuble infrastucture of the waterfall bring attention to the constructed nature and surrounding gardens, while the falling water highlights a greater natural force that changes with light and wind conditions. This piece is “a way of measuring space and time...giving the city a sense of dimension” 2016

Comprising of 5 blocks of ice, at different stages of melting, this piece is constantly changing and being replaced with new blocks, with the water being taken from a neighbouring river. The time it takes for it to melt depends on the temperature and humidity in the musuem - 2016

Miniature vortices, currents and curlices of laser lit fog swirl around visitors heads, reacting to their body heat and motion involving them directly in the production of their surroundings - 2020

MATERIALS

MATERIALS

MATERIALS

MATERIALS

12 or more blocks of glacial ice

Crane tower, water, stainless steel, pump system, hoses, ballast

Ice, stainless steel, plastic sheet, wood

Lasers (cyan, yellow), fog machine, air ventilation system, audio

“Eliasson’s art is driven by his interests in perception, movement, embodied experience, and feelings of self. He strives to make the concerns of art relevant to society at large. Art, for him, is a crucial means for turning thinking into doing in the world. Eliasson’s works span sculpture, painting, photography, film, and installation.

Not limited to the confines of the museum and gallery, his practice engages the broader public sphere through architectural projects, interventions in civic space, arts education, policy-making, and issues of sustainability and climate change.”

- Eliasson,

“Every colour influences us in a different way. This is what art is: you are the co- author along with me. You are the lead character. What you see depends on you.”

- Eliasson

REQUIREMENTS: Large studio spaces/communal areas to work and share ideas or eat Model making area - wood working/ casting potentially Large structural workshop area double height Exhibition area

Eliasson understands cooking as an “act of caring for others, […] a gesture of generosity that functions as a social glue.”

HIERACHY OF SPACES Not to scale

The team at Studio Olafur Eliasson consists of craftsmen and specialized technicians, architects, archivists and art historians, web and graphic designers, filmmakers, cooks, and administrators.

They work with Eliasson to develop, produce, and install artworks, projects, and exhibitions, as well as on experimentation, archiving, research, publishing, and communications. In addition to realizing artworks in-house, Eliasson and the studio work with structural engineers and other specialists and collaborate worldwide with cultural practitioners, policymakers, and scientists. The studio hosts workshops and events in order to further artistic and intellectual exchanges with people and institutions outside the art world.

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Well Being

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Mist

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Liquid

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Steam Solid EFFECTS Confusion

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Depression

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Relaxation Cooling Refreshing

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- Maintains urban village aesthetic - Green roofs provide additional congregation spaces and water attentuation for water collection

Rain

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Water between time and space.

- Schneider, 2018

5 Fig. 22 Dallas - Fountain place Fig. 23 Dandelion 2B RGb Fig. 24 Salk Institute

Amentities

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- Naturally reduces solar gain in summer - Deciduous planting allows solar gain in winter

Snow

Hail

5 2 connects people

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Thermal Comfort

STATES

...

Like the weather, atmospheres change all the time and that’s what makes the concept so important” - Eliasson

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ction To e n

- Natural elements as mediators between spaces and users - Acoustic absorbtion enhances privacy and allows for a more open plan layout

“Spatially water flows in one direction forming a line that orients the space...

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- Cleanses air - Natural ventilation strategy - Biofiltration - Natural material use

- Natural shading - Natural partitions allow light to pass through more than a solid wall

Acoustics

relationship to place: promote place attachment, point out the ecological and cultural values, and generate dialogue and imagination about the future” - Antonio José García Cano Murcia

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Air Quality

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3“Art 5 can lead us to reflect on our

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Daylighting

- Improves mental health - Aids physical health - Enhances productivity - Creates places of congregation

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ture Na

Water is ubiquitous. On a global scale it fills the oceans, humidifies our air, erodes our canyons, and in cold conditions, covers the soil in fluffy or brittle crystals.

On a micro scale water dissolves and conducts nutrients to feed the cells of 25 plants and animals.

30 - Luft,2018

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1.17 WATER AND ATMOSPHERES

Burning Numbing

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1.18 WATER RESEARCH WATER CONTAMINATION Looking at the potential causes for water contamination and repsonses to it

FRAMING

1.19 WATER RESEARCH WATER FILTRATION METHODS

Efficient

Varied

Slow Flow

£££

Small

Moderate Flow

£

Reverse Osmosis Systems

Ultrafiltration System

£

Inefficient

Efficient Moderate Flow

Moderate

Small

Paper Bed Filters

Slow Moderate Flow

£ - ££

Solids

Oils/ Liquids

Solid Bowl Centrifuges

££

Tramp Oil Separators

Moderate

Fig. 25 Water contamination diagram

Ultraviolet water purifier

Micromolecules

Fast Flow

Vacuum Filters

Vacuum Evaporation and Distillation

Fast Flow

Large ££ - £££

Slow Flow

££ - £££

Varied

Fast Flow

£ - ££

Varied

Efficient

Fig. 26 Newcastle Engineering Research Water Group Agriculture is the biggest consumer of water and is one of the largest contributors to water contamination. Considering the Ouseburn starts outside of Newcastle around a large number of farms, the water that reaches the city for people to enjoy is most likely contaminated. This then feeds in to the River Tyne and affects its water contamination.

Managing the water supply would be done by Newcastle University Water Research Group (School of Engineering).

The facility would also act as an additional base for their water research conducted in Ouseburn and internationally.

The water research is used in conjunction with art with the idea that art is used to promote water awareness and sustainablilty to the ever growing climate crisis. The facility acts as a beacon for this.

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Wick

Air-Gap

Due to the relatively cheaper costs of vacuum filters and the size of the water filtration I needed for my facility I would predominantly use vacuum filters to filter the water.

Raft

Ebb and Flow

Nutrient Film Technique (NFT)

This water would then be purified by ultraviolet water purification to kill any pathogens that might damage plants.

Top Feeder

Aeroponics

Finally the water would be pumped into the hydroponics for further filtration of some micromolecules. The hydroponics then supply fresh food or flowers to the facility for whatever use they need.

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1.20 WATER USE WITHIN MY BUILDING HYDROPONIC FILTRATION AND USE FURTHER AFIELD

SYNERGY

FACILITIES WATER TREATMENT CYCLE

Nutrient film technique

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FRAMING

1.21 FRAMING IDEOLOGIES

Algae filtration and fertiliser

PERCEPTION

ADAPTATION

PRESERVATION

How we perceive the character of a place changes with each person, but there are two key things Ouseburn has - art and environment.

I have always thought of grafitti as beautiful art rather than a politic statement that terrorizes disused buildings. I therefore want to change peoples perception on this whilst bringing some sculptural forms into Ouseburn with a focus on the climate crisis. The pavilions seen in the academy, and the ideologies from the precedent artits, fit with this topic as they look to create ways in which you perceive your environment, whether it is looking outwards or upwards.

Grafitti like the very fabric of Ouseburn is constantly changing, and to respond to this idea I believe I should have some thoughts about the adaptability of my scheme. The climate crisis itself, and the response to urban farming, off grid housing, and passive humidity responsive cladding are adaptation of existing technology used in response to the climate crisis. If my scheme is also more adaptable then it would also allow for the community to engage with the project and develop in future with the community

The people within Ouseburn recognise the importance of maintaining the nature and art within Ouseburn as it is a key characteristic.

Unfortunately developments have continued due to the previous deprivation in the area and although some are considerate to Ouseburn there are future proposals that appear quite destructive. Due to this I want to create an area that preserves and enhances the nature, art and community of the area, with a focus on water and light.

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1.22 FRAMING COMMUNITY GROUPS

Diagram showing the types of people that might utilise my building. The international communities will probably be more transient clients, and therefore I will utilise my programme to this, using their ideologies of practice and applying it to the local scale.

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Part 2:Framing

SITE RESEARCH

Understanding my specific site and context, both physical and human, I believe is key to developing a well structured building that is for the people and time in which it sits. Researching into the history of the my site specifically allowed me to identify key moments and characteristics in history which highlighted a natural journey and flow of movement through my site. Previous group research helped confirm some design decisions of maintaining these site characteristics.

MATERIAL RESEARCH

MASSING AND PROGRAMME STUDY

To test my ideas of water research and art as a medium for emphasising this message, I first explored the atmospheric qualities of water and art through a pavilion. This then led me onto explore the various states and affects that water can have on their environment, or how the environment affects water.

Understanding water and the journey through my site made creating various massing iterations easy and contextual to the site.

Although a large number of these started out with just a basic understanding of water movement in external landscaping, the proposal kept developing throughout the project, even into the synthesis phase of design, where water really became ingrained within the project and created a direct flow of movement through the programme.

The addition of the winter garden fixed the narrative and idea of congregation of different user groups into my scheme.

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TESTING

2.1 OUSEBURN SITE ANALYSIS SITE CHOICES

SITES 1a - Flat site, river access, part of the existing industrial area, historic, existing craft area, small amounts of graffiti, low risk moderate reward 1b - Smaller aspect is good for pavilion, stand out advert as near a main road, arty, run-down mechanics area, low risk moderate reward 1c - Challenging topography, narrow site, river access, stand out on river walk, run-down, high risk high reward

Connection to Art

2a - Connection between areas of Ouseburn, tucked away, used existing buildings, surroundings are similar to use - industrial, moderate risk little reward

Connection to greenery/park

2b - River access, proposal being built, flat open site, strong connection to areas of Ouseburn, little risk good reward 2c - River views, views to main city, quite far out of the way but the closest connection to the River Tyne, existing graffiti, steep topography, high risk high reward

Connection to Malings for water treatment

3a - Greenery, close to Ouseburn, open but steep topography, destroys farmland, challenging access, negative impact moderate reward

Social Areas

3b - Greenery, steep topography, close enough to Ouseburn, river views 3c - Greenery, distant from Ouseburn (potentially positive), existing graffiti, contrasting vernacular, river access, quiet/tranquil, row risk high reward

Connection to river (water treatment)

nt

ista d t r Sho s view

There are 2 main social hubs in Ouseburn.

The southern part of the site has less greenery and bars, but the quayside provides good idyllic views towards other parts of the city and the few shops/ cafes bring in people.

32

Noise from road

t

n ista

The northern part contains a large amount of bars as well as Ouseburn farm which provides an attachment to the environment.

Connection to Social hub

gd n Lo ws vie

I chose site 2 due to its proximity to both the River Tyne and the Ouseburn. Its long distance views towards Tyne Bridge also supply areas for key moments within my scheme.

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2.2 SITE 2C

CURRENT SITUATION Views to and from the site

TESTING WEST ELEVATION OF SITE I think the grafitti is an attraction to many in Ouseburn, and therefore this is the key elevation on the site.

I would like to preserve this frontage as much as possible.

PAST/ PAVILION PRESENT/ MAIN PROPOSAL FUTURE/ NATURE RECLAIMS

When visiting the site I identified that there were 3 areas that all had a different atmosphere and materiality to them as well as different ways in which you accessed them.

PAST

KEY VIEW FROM THE TOP OF THE SITE

PRESENT

FUTURE

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35

TESTING

2.3 OUSEBURN GRAFFITI WALL

PICTURES SHOWING THE EMPHEMERAL NATURE OF GRAFFITI These pictures show the journey through time of the site in its current state

FIRST VISIT

36

SECOND VISIT

THIRD VISIT

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2.4 INITIAL PAVILION PROPOSAL

TESTING

2.5 PAVILION EXPLORATIONS

ITERATION 2 My pavilion aimed to test out my themes of colloboration art and water.

FIRST ITERATION 1:1000

To existing site greenery

INITIAL MASSING CONCEPT

To old graveyard

Main view to Newcastle

INITIAL CONCEPT SKETCHES

The initial proposal came from the idea of leading someone through the site on a journey of different materials and atmospheres.

This led to this corridor like design.

Predominant wind barrier

Noise barrier

1:500 0 INITIAL CONCEPT SKETCHES

The journey started in a natural curved timber arched frame, before moving to a steel and rainbow glass structure which sat on top of the existing building. It finished by walking through the existing brick building which would have a winter garden based of Granby’s Winter garden.

Although this idea had some interesting ideas, there were too many conflicting elements to the piece.

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SITE PLAN

INITIAL SKETCH CONCEPT

MATERIAL TESTING

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Images showing my initial exploration. The chocolate penny wrappings provided intersesting unique and structural forms to play with.

VISUALISATION INTEGRATING WATER INTO THE PAVILION

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2.6 PAVILION PROPOSED PLAN

TESTING

2.7 PROPOSED PAVILION SECTION

SECTION AA AND PERSPECTIVE VIEW

Brinkburn Street Bar and Kitchen

Old Graveyard Maling Street

The Malings (Residential)

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My pavilion aims ot extend on the existing graffiti wall by providing a sheltered refuge for artists to come and paint on the curved brick walls. The curved brick walls provide a challenge for the artists to paint, whilst the water reflects the art emphasising its meaning.

This pavilion allowed me to test out using water atmopsherically by reflecting art and nature within it. Creating a corridor and a journey for the user I think helps bring in people to scheme and engage with all the openings in it.

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TESTING

2.8 JOURNEY OF THE SITE THROUGH TIME

PAST AND FUTURE OF THE SITE Trying to identify the site characteristics through its history and future Iron works Pubs Brickworks Pottery

1860’s Map Predominantly used by artisans Ouseburn used to be on the edge of the city with a close connection to nature.

© Landmark Information Group Ltd and Crown copyright 2021. FOR EDUCATIONAL USE ONLY.

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Hereward Leathart University of Newcastle

Projection: British National Grid

Iron works Pubs Glass works Brickworks Pottery

1910’s Map The uses within the area became more industrial, although there were still a large amount of artisans in the area.

© Landmark Information Group Ltd and Crown copyright 2021. FOR EDUCATIONAL USE ONLY.

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Hereward Leathart University of Newcastle

Projection: British National Grid

Iron works Pubs h ac Co

Glass works s

k or w )

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(19

1970’s Map A large amount of industry and artisans declined and the area became quite derelict.

© Landmark Information Group Ltd and Crown copyright 2021. FOR EDUCATIONAL USE ONLY.

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Jan 03, 2021 18:36 Hereward Leathart University of Newcastle

MATERIAL CHOICES DIAGRAM

Due to the intention of maintaining the existing building on site to preserve the character of Ouseburn I looked at material choices before exploring the form of my building. To negate the rise of modern developments I am maintaining the existing building. I am also using glass brick as a material to tie in with the history of the area. Glass brick also mimics my theme of water.

43

TESTING

2.9 MOOD BOARD

GLASS BRICK Precedent studies of the different lighting qualities of glass brick

1 Project: Greenhouse Year: 2018 Site: Pirque, Santiago (Chile) Architect: Max Núñez Arquitectos Photos: Marcos Zegers 2 Reception Centre Popjing Year: 2007 Site: Taichung(Taiwan) Architects: Moneo Brock

2c

3 Atocha Monument Memorial Year: 2007 SIte: Madrid (Spain) Architects: Estudio FAM

3 a

4 Maison Hermes Year: 2001 Site: Tokyo (Japan) Architect: Renzo Piano 5 The Beagle Year: 2013 Site: Hoxton, London Architects: Dunmore Studios

2b 8.

and

1 .

Fabled

6 Ports 1961 Shanghai Façade Year: 2015 Site: Shanghai Façade (China) Architects: UUfie

2 a 8 .

7 Chinese Opera Base Year: 2019 Site: Qingyun Hutong, Beijing (China) Architects: Origin Architect

9 .

6 .

8 University of Deusto, Library in Bilbao Year: 1986 Site: Bilbao (Spain) Architect: Rafael Moneo

4b

9 Termas de Tiberio Year: 2007 Site: Panticosa, Valle del Tena of Aragon (Spain) Architects: Moneo Brock

7 a

3b 5b 4 a

3b 7b

5 a

Fig. 27 Collage of Glass brick precedents 44

45

2.10 GLASS BRICK LIGHTING EXPERIMENT

2.11 WATER LIGHT STUDIES

SUGAR GLASS EXPERIMENT

To explore the lighting qualities of glass brick I tried to make a 1:200 model of my main circulation stairs out of sugar glass.

46

THE PHYSICS OF WATER Photographs looking at how water can diffract, refract and reflect light

Due to the heat and viscosity of the sugar it was hard to create a clean model, however the the texture texture and caustics that were created were similar to that of Seves wave pattern.

TESTING

Using steam to apply water to a surface creates tiny droplets of water, which can refract the light creating a rainbow effect.

47

TESTING

2.12 THINKING THROUGH MAKING SEVES GLASS BLOCK RANGE Light emittance

48

80%

61%

80%

70%

80%

80%

80%

80%

MODEL WORK

Different affects applied to the glass brick allow for different light transmissions creating different atmospheres and lighting conditions. The wave pattern pictured (top left) allows as much as the clearview blocks (top right) but also diffracts the light going through distorting the image and allowing some privacy, therefore for the majority of my scheme I will use the wave design.

49

TESTING

2.13 MASSING ITERATIONS

EXPLORATIONS OF FORM TO FIT WITH SITE ANALYSIS

ITERATIONS

PROCESS

IDEA 1 Axonometric Sketch

ffi ra G ti W l al ti

ffi ra G W ls al W er

t in en

d ar G

Link to river

This idea tries to utilise the existing topography and create natural water features within the site.

EXISTING BUILDING Preserving the existing building is key to the narrative of the scheme

ITERATION 1 Adding a building at the top of the site provides good views across Newcastle.

ITERATION 2 Connecting the public and private buildings allows for greater colloboration within the building.

ITERATION 3 Utilising the archway connects the building more directly to Tyne Bar and its social hub.

IDEA 2 Axonometric Sketch

Hygromorph pergola Solar panels and water collection system

G ti ffi

ra

PROPOSED BRICK BUILDING ( PARTIALLY GRAFFITI COVERED)

ls

al

W

Maintains route to Tyne Bar

G

Connection to nature with a courtyard

s

all

iW

fit raf

Noise from road

EXISTING BRICK BUILDING (GRAFFITI COVERED) Existing building form is preserved and public and private realms become more apparent within the scheme, allowing for more privacy for the artists.

IDEA 3 Axonometric Sketch

GLASS BRICK Light well - water collection system implemented whilst providing light to the lower floors

ti

ffi

ra

G W s

all

Curves are added to the building bringing on the idea of water. This massing was an attempt to explore multiple ideas at once.

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FINAL MASSING This iteration ties my building into my theme of water more. The circulation through the building meanders more and the form

itself expresses curves and the idea of water. The glass materiality reminds the users of the existence of Back Maling Street.

51

2.14 THEMATIC CASE STUDY

2.15 THEMATIC CASE STUDY

GRANBY FOUR STREETS BY ASSEMBLE STUDIOS Authors own work on the Thematic case study, Question 2 - Contextual Conditions

GRANBY WINTER GARDEN BY ASSEMBLE STUDIOS Winter Garden photos and collage

TESTING

TIMELINE OF EVENTS IN GRANBY FOUR STREETS

Winter Garden is south facing for maximised sunlight and use all year around

et

ld Stre

onsfie

Beac

CLT Workshop

reet

Future plans are to utilise all the corner buildings on this street for shops

10 Houses on Cairn Street

t aby S

Gran

Main buildings are central to the whole site

et

yn Stre

Jerm

Duc

et ie Stre

Area has been focused initially to one aspect of the wider site to create a base for future projects

Fig. 28 Granby Winter Garden Images

SITE ANALYSIS Granby’s history of dereliction and recent regeneration is a similar story to the Ouseburn.

52

The winter garden provides a warm natural space for the community to come together relax and host small events.

53

2.16 COMMUNITY ACCESS

TESTING

2.17 COMMUNITY RECONNECTON TO NATURE

ROUTES CONNECTING MY BUILDING TO VARIOUS SOCIAL HUBS

EXPLORING THE COMBINATION OF WATER, ART AND NATURE.

Ceramic Workshop The Kiln Cafe Brickburn Street bar and Kitchen

The Malings residency

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Multipurpose Offices and University Centre

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Creating an indoor garden would mean that visitors would be more protected even in winter when it is significantly colder. This could create a space that people might enjoy visiting.

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Fig. 29 ASCOG HALL FERNERY - SCOTLAND

SEATON DELAVAL

To fit with the local climate and planting, using ferns would be the best option for indoor use.

Sketch of Ferns growing in the basement, showing the resilience of ferns.

55

TESTING

2.18 PROGRAMME OF ACCOMODATION PROGRAMME DIAGRAM AND ITERATIVE STUDIES 1:1000 FULL PLAN ITERATION 1

PROGRAMME DIAGRAM

Large excavation No access to void from this floor Better circulation and programme

Restricted access to cafe for goods Views into workshop from glass forum

Potential for space to be cold due to openness Open access into glass forum

Void restricts useable floor area too much Arrival area has a greater connection to nature

Meeting room more closed off Toilets accessible from cafe Views into research area could educate public Cafe access opens up possibility of a roof terrace

Studio removes storage for exhibition Glass forum more intimate Mezzanine workshop maximises space

Removes area of graffiti wall next to road Meeting room private for research and workshop element Access from main road

FULL PLAN ITERATION 2

SECTION ITERATIONS

Large excavation into the site Circular void creates circulation and space issues Spacious glass forum

56

Ramped entrance reduces spaces and atmospheres whilst providing challenging disabled circulation.

Water Collection and better light circulation Studio has good views

Glass forum height reduced for saving excavaction costs Lighter void as light travels less to the bottom Less excavation

57

TESTING

2.19 TESTING REVIEW PLANS 1:500

TESTING REVIEW

POST TESTING REVIEW

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The main circulation stairs is central to the scheme, and was originally central in the plans to bring light to the lower levels but then moved to the front of the building to encourage public access to the building.

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2.20 SECTION DEVELOPMENT

TESTING

2.21 SECTION DEVELOPMENT

FIRST ITERATION

ARC 3013 ENVIRONMENTAL STRATEGY

1:500

Outside temperature 4°C MVHR

Earth temperature 7°C

KEY Private

Other

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Circulation

Fig. 30 Winter ventilation and heating strategy

MVHR

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Fig. 31 Summer ventilation and heating strategy

Fig. 32 Glass brick windows

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Due to the extensive use of glazing in my scheme in the form of glass brick and the use of a winter garden within my scheme adding humidity to the air, I had to design my building to properly ventilate certain the building for user comfort. Luckily glass bricks can have window openings, however the use of natural cross ventilation and the stack affect from stair wells should provide

good natural ventilation. The extensive use of water within my scheme also ensures passive cooling and a natural fire break.

Having a large amount of my building underground also ensures a fairly constant temperature throughout.

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TESTING

2.22 PROGRAMME OF ACCOMODATION

PROPOSEV

KEY

62

Studio

Cafe

Public

Green/Hydroponic Space

Kitchen

Private

Meeting Room

Workshop

Semi Private

Toilets

Exhibition

Circulation

Circulation

Reception

Services

Circulation Core

The mix of public and private zones within my scheme is with the intention of integrating the public views and opinions into the private aspect of the scheme, for both education and also colloborative work to try and create a project that caters to the community and doesn’t degrade its exisintg character.

3

Part 2:g

Part 3:Synthesis

ENVIRONMENTAL STRATEGY

REALISATION

Due to the brief of my project, the natural elements within my scheme have been considered throughout. Exploring this both through the technology module and through plant and hydroponic research helped structure a contextual realisation of the planting plan throughout my site in order to create a variety of atmospheres and spaces that engage the user in different ways. Understanding the flow of greywater from the surrounding context, and the collection of rain water within my scheme helped develop the internal flow of water and hence users within my scheme which is highlighted in all my plans.

The development of the planting for hydroponics also provided inspiration for my tectonic language within my main space to create a unique arched form that reflects both the surrounding context and the future development of woven structures.

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3.1 HYDROPONIC PLANTING REALISATION

SYNTHESIS

3.2 HYDROPONIC PLANTING PROPOSAL

EXPLORATION OF RECONNECTING PEOPLE TO NATURE THOUGH HYDROPONICS

WATER

Hydroponics

Public/Private Public Private

Fig. 34 Terrarium

Fig. 33 Thanet Earth - The UK’s largest hydroponic produce facility

Fig. 32 Diagram of algae cladding system used in architecture to produce biofuel and passive solar shading

Produce

Food

Produce

Weaving Plants

Exterior Furniture/ Sculptures

Flowers

Tourism

Art/Inspiration

ART

PRODUCE My facility will mainly produce herbs and salad goods for consumption for the artists and local community.

Flowers will also be be grown in the main circulation stairs for selling.

Due to the nature of hydroponics you can grow anything hydroponically as it is replacing the minerals soil and using it within the water.

Due to facility treating water and receiving nutrients and fertiliser from the grey water there is less of a demand for adding nutrients to the water.

These terrariums seal plants in a controlled glass container and due to this the evapotranspiration that occurs within the container allows the plants to last a lot longer without the need for watering.

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COMMON HYDROPONIC PRODUCE AND FLOWERS

TROMBE WALL (ARC 3013)

Basil (and purple basil) Chilli peppers Mint Lettuce Rosemary Strawberries Thyme Parsley Dill Tomatoes

Hydroponic trombe wall used for natural ventilation for the upper floor. Algae cladding is used to provide passive shading to the plants to prevent the plants from dying. The algae can be converted into biofuel which can then be used at the facility to supplement its energy demand.

This wall will supply the majority of produce for the facility in a controlled environment next to the water treatment specialists.

Snapdragons Tulips Water Hyacinth

65

SYNTHESIS

3.3 EXTERIOR LANDSCAPING DEVELOPMENT

MASTER PLAN DEVELOPMENT To fit with my initial ideas on reconnecting the southern part of Ouseburn with nature I developed both the exterior and interior planting plan for my building.

EXTERIOR LANDSCAPING DEVELOPMENT

M eado w

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PROPOSED EXTERIOR LANDSCAPING Not to scale 66

My final plan utilises the topography to create a stepped landscape allowing privacy between each level as well as a meandering flow for the user.

PROPOSED INTERNAL GARDEN PLANTING Not to scale

Starting on top of the waterfall the user decsends to either the studio level on the second floor, or the eating area, following the flow of water within the scheme.

The reflective pool in the centre of the garden provides a peaceful view of water which is emphasised by the gentle sound of the waterfall.

67

SYNTHESIS

3.4 PROPOSED SITE MAP

SITE MAP AND WATER COLLECTION PROPOSAL Looking at the water and sustainability strategy of my building.

Water Pipes Greywater from surrounding businesses and residential areas pumped into the facility. Water is collected from roofs.

Water is treated in the facility with standard mechanised methods, alongside hydroponic filtration.

Ceramic Workshop

Ceramic Workshop

Clean water is used in the facility and pumped back into surroundings areas. Hydroponic produce is used or sold in a market.

Kiln Cafe

Kiln Cafe

Brinkburn Street Bar and Kitchen

Brinkburn Street Bar and Kitchen

Service Rooms

Hy dr op

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Underfloor Heating

Multi Purpose Offices and University Centre

For

Multi Purpose Offices and University Centre

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Electrical Pipes

Maling Street

Maling Street

The Malings (Residential)

For

Ou

Ventilation

To supply the amount of electricity needed for the hydroponics an offsite hydro turbine is used in the Tyne River asHillwell Ballast Parkas the Ouseburn which supplies continous energy.

Ballast Hill Park

The Malings (Residential)

Vertical Heating

Toffee Factory

Toffee Factory

Glasshouse Bridge

Glasshouse Bridge

The Tyne Bar

The Tyne Bar

ATES e

FACILITIES WATER TREATMENT CYCLE

Key

KEY

Full Proposal

Off Site Water Collection

Proposed addition to Existing Building

On Site Water Collection

rag r sto Wate

Nutrient film technique

Hydro-electric cable

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SITE MAP

WATER COLLECTION STRATEGY (ARC 3013)

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SYNTHESIS

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3.5 PROPOSED WEST ELEVATION

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This elevation shows maintenance of the existing building and its graffiti wall. The use of glass brick for the adjacent facade accentuates the graffiti by providing a contrasting and single

material. The glass brick tower complements with the brick listed building behind, whilst providing a beacon of light at night to make the building stand out from the Tyne Bridge.

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SYNTHESIS

3.6 CIRCULATION PLANNING

ANALYSING THE FLOW OF PEOPLE WITHIN MY BUILDING AS IT IS AND APPLYING IT TO MY PLANS

Originally the circulation within my plans was too disjointed and perpendicular with each other.

I then thought about how water flows in nature and tried about mimic the flow of water to the flow of people within my building.

I have tried to do this both vertically and horizontally.

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Creating a reflective pool heightens the glass brick form on on the landscape.

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Moving the kitchen to the centre of the scheme allows the inhabitants to see the food they are eating, which is enhanced with hydroponic pods in the garden area, demonstrating the facilities secondary function.

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Due to the height of the arch in the bridge it would have been possible to create a small mezzanine floor from the studio. However this would cause privacy issues and would create problems for disabled people accessing the building as floor heights would have to be manipulated to integrate this. It would also damage the design and form of the cafe on the floor below.

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Creating a new top form for my studio space was the most important change to alter the flow of people to meander throught the building.

The toilets within the scheme are positioned near the service void to reduce the cost of additional piping.

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SYNTHESIS

3.7 GROUND FLOOR

ITERATIONS AND FINAL PROPOSED PLAN Iterations @ 1:500 Proposed @ 1:200

4.

5.

2.

3.

1.

1. Main Circulation stairs 2. Water Filtration plant room 3. Specialist wood working workshop 4. Metal welding workshop 5. Main workshop 6. Fire escape stairs 7. Secondary plant room 8. Public Toilets 9. Exhibition spaces 10. Public classes workshop

8.

9.

7.

6.

10.

The use of water in this plan is to reflect the primary building heightening its mass on the landscape.

The opening creates a clear division in this form encouraging entry and exploration of the space.

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SYNTHESIS

3.8 FIRST FLOOR

ITERATIONS AND FINAL PROPOSED PLAN Iterations @ 1:500 Proposed @ 1:200

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

Cafe Cafe Kitchen Main Kitchen Pantry Toilets Main Eating Area/Larger presentation room Garden Area with fountain and large water storage at the end Atmospheric Exhibition/Presentation Room Rooftop Eating Area Rooftop Exhbition area

15.

11.

17.

16.

13.

Water is used in this plan to guide the user through this space and direct the eye from the cafe entrance as well as the top entrance (pictured in the 2F plan).

12.

14.

18.

The streams are used to signify the faster user flow within the corridors.

The congregation areas make the users reflect on the space, by using pools which slow down the flow of water and the people within the space.

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3.9 EXHIBITION PROPOSAL

SYNTHESIS

The pottery for the water conveyor belt could be made either by the nearby pottery workshop, or in the facility with the local artists.

The idea of this was to create a tangibility between the user and water. The user manually controls the conveyor belt which feeds into a bucket and therefore a mister which in turns creates a mist over the room. With the right lighting this can create a rainbow affect to enhance the exhibits. All paintings would be covered in glass to prevent damage to the art.

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SYNTHESIS

3.10 SECOND FLOOR

ITERATIONS AND FINAL PROPOSED PLAN Iterations @ 1:500 Proposed @ 1:200

21. Reception 22. Subsidary Studio Space 23. Subsidary Studio Space

23.

21.

The double height space in the main room adds height and importance to the fountain at the end of building and the use of the space. it also provides better ventilation for the plants and building.

The small waterfall represents the vertical movement between spaces providing a link between studios and other areas of the building.

22.

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SYNTHESIS

3.11 THIRD FLOOR

ITERATIONS AND FINAL PROPOSED PLAN Iterations @ 1:500 Proposed @ 1:200

24.

30.

26.

24. Main Studio Space 25. Staff Kitchen Area 26. Conference Room 27. Water Research Facility 28. Hydroponic Trombe Wall 29. Toilets 30. Outdoor Exhibit Area Viewing platform 31. Solar Paneled roof

27.

25.

28.

and

29.

Water is used here to reflect the greenery and art on the walls of the courtyard, demonstrating the internal function of the building.

An added pool extension shows the start of the internal waterfall and vertical journey of water. This brings consideration to the water collection system on the roofs.

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3.12 STUDIO PROPOSAL

SYNTHESIS

By exposing the CLT and using predominantly wooden furniture the occupants are reconnected to nature through the natural aesthetic.

This studio is directly connected to the water research labatory allowing for direct interaction between the two groups, outside of eating hours.

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SYNTHESIS

3.13 MAIN EATING AREA SECTION 1:100 NORTH FACING

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3.14 TOP TERRACE VIEW

SYNTHESIS

The floor is made of structural glass to allow users to view into the cafe area and see the flow of water down from the sculpture on the left. The water is filtered through a ceramic water filter system through the cafe space to bring awareness to the technology integrated into the proposal.

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SYNTHESIS

3.15 1:20 TECHNICAL SECTION + PART ELEVATION STUDY A0 BOARD SUBMISSION (ARC 3013) @1:50

Roof Details 1a. Tescon Water Proof tape 120mm/60mm timber batten Triple-glazed window 300/160mm glulam beams Steel tension Cables

Axonometric diagram highlighting technical areas

Secondary (CLT) and Tertiary (glass brick, brick and solar panels and blue roofs as additional components) structure is joined to a glulam frame.

Primary glulam beams CLT Moisture barrier

Steel bracket

Concrete Foundations

Guide Rail

Screws Concrete Floor Slab

Diagram showing how the glulam beams and CLT panelsare joined to the concrete foundations.

1b.

Galvanised steel bracket Mastic seal Expansion foam Colmef Vetromix Glass brick mortar Steel rods Waterproof bitumen membrane Galvanised steel gutter 120mm/20mm wooden panel 1c. 150mm Soil substrate Gravel and Geotextile filter Alu 250 inspection chamber Vapour control layer 100mm Bauder Attenuation layer Damp proof membrane Bauder bitumen outlet 180mm CLT panel Glulam web joists 250mm Insulation 30mm Plywood Internal Details 3a. 25mm ceramic tiles 100mm Screed Underfloor heating 240mm CLT - Half lap joined 150mm Insulation 2x13mm Panelvent 26mm Foamglas Perinsul insulation

90

2a. 190/160mm Seves 90F Clearview Glass block Steel rods Steel fitting 350mm/200mm glulam Columns

1a

1c

1b

2b. External Drain Steel flashing Timber batten 120mm Farrat Verlimber polyurethane foam (vibration resistant) 150mm rigid insulation Foamglas Perinsul insulation Panelvent sheating board 150mm/30mm wood batten Steel Fitting 190/80mm Seves Glass Block 30F Clearview Glass block and buildup (refer to 1b for details) 2c. 100mm Concrete slab Underfloor heating 150mm Rigid insulation 150/80m timber batten 150/70mm Foamglas Perinsul insulation Damp proof course 300mm Concrete foundation Internal steel supports Drain pipe 150mm External rigid insulation Antiheave Sand blinding 2d. Steel anchors

2a

2b

3b

3a

3c

3b. 25mm ceramic tiles 100mm Screed Underfloor heating 240mm CLT - Half lap joined Suspended ceiling for services 2 x 10mm gypsum board 3c. 360mm CLT floor Steel glass balustrade connector Glass balustrade 340/25mm Timber board 200mm CLT Staircase

Underpinning foundations diagram

External Details

2d

2c

3b. 25mm ceramic tiles 100mm Screed Underfloor heating 240mm CLT - Half lap joined Suspended ceiling for services 2 x 10mm gypsum board

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3.16 BUILDING EXPLODED AXONOMETRIC

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3.17 EXPLODED AXONOMETRIC

1

VIEW FROM BRICKBURN BREWERY

2

VIEW OF TROMBE WALL FROM GLASSHOUSE BRIDGE

SYNTHESIS

3

BALCONY VIEW OF HYDROPONIC CIRCULATION STAIRS

4

VIEW FROM CAFE ENTRANCE

5

JOURNEY BETWEEN THE EATING AREAS

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6

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SECONDARY EXHIBITION VIEW - CONVERTED INTO A PRESENTATION ROOM

SYNTHESIS

2

3.18 DAY TIME VIEWS

3

6

SYNTHESIS

5 4

PHOTO TAKEN FROM TYNE BRIDGE

VISUALISATION FROM ALONG THE OUSEBURN This long distant view was a key consideration from the start of the project, for both views out and for views to the site.

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3.19 NIGHT TIME VIEWS

SYNTHESIS

NIGHT VISUALISATION TAKEN FROM TYNE BRIDGE

NIGHT VISUALISATION TAKEN ALONG THE OUSEBURN

Due to the evening informative talks from academics or artists the building will be used, in part, at night. This means the glass brick light well acts as a beacon for people from afar and from the existing social hub around Tyne Bar adding appeal and intrigue to the building.

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3.20 ARCH DEVELOPMENT

USING THE HYDROPONIC AS A TECTONIC LANGUAGE

SYNTHESIS

As my facility is about water research and uses hydroponics for both inspiration for the artists and for the chefs in the kitchen then utlilising other aspects of hydroponics and the forms that can be created led to these iterations of arches.

Plants such as water hyacinths can be grown hydroponically and then woven into sculptural forms, something that could be used by the artists.

With the idea of weaving in mind I looked at how I coud make my arches both a significant feature but also elequent.

Fig. 35 Woven Structure

Fig. 36 Woven Shelter

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SYNTHESIS

3.21 WINTER GARDEN DEVELOPMENT

UNDERSTANDIND THE PLANTING FOR THE INTERNAL ENVIRONMENT

Ilex - Silver Queen Holly

Sorbus - Mountain Ash Rowan Tree

Elderflower

Clematis Montana rubens

Asplenium Trichomanes

Asplenium Scolopendrium

Dryopteris Filix Mas

Hedera Helix

Polystichum Setiferum

Athyrium Filix-Femina

Dryopteris Affinis

Hedera Hibernica

Due to colder climate of Newcastle understanding what plants would work internally and externally was vital. Each of the plants pictured have their own specific conditions to grow, dependant on light and competition from neighbouring plants. All these would be included in my winter garden and most are pictured in the render below (next page).

Clematis Montana rubens, Hedera helix, Hedera Hibernica are all climber plants so after a few years they would be able to grow up the beams within the eating area. They would have be carefully managed to not grow too large and impede the structure of the building.

The visualisation shows how the building could look at 3-5 years in early summer.

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3.22 MAIN EATING AREA VISUALISATION

SYNTHESIS

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Part 2:Appendix Part 3:Synthesis

Part 4:Appendix

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4.1 ICELANDIC COMPETITION BEEBREEDERS INTERNATIONALCOMPETITION

Completed by Author, Otto Jaax, NIgel Wong, NIcholas stubbs

106

CULTURAL BIBLIOGRAPHY

107

4.2 ICELANDIC COMPETITION BEEBREEDERS INTERNATIONALCOMPETITION

Completed by Author, Otto Jaax, NIgel Wong, NIcholas stubbs

108

CULTURAL BIBLIOGRAPHY

109

4.3 ICELANDIC COMPETITION BEEBREEDERS INTERNATIONALCOMPETITION

Completed by Author, Otto Jaax, NIgel Wong, NIcholas stubbs

110

CULTURAL BIBLIOGRAPHY

111

4.4 ICELANDIC COMPETITION BEEBREEDERS INTERNATIONALCOMPETITION

Completed by Author, Otto Jaax, NIgel Wong, NIcholas stubbs

112

CULTURAL BIBLIOGRAPHY

113

4.5 KENT LIFE MAGAZINE PHOTOGRAHPY SHOOT FLOWER PHOTOGRAPHY TAKEN BY AUTHOR

To help my mum with an article that she was providing inspiration for, I took the photographs of my mum’s flower arrangements

CULTURAL BIBLIOGRAPHY

Fig. 37 Kent Life Magazine article on Constance Spry

Kent Life Magazine

Learning about photographing flowers helped me understand the power of lighting and captivating beauty that flowers have on the user. This helped me understand my hydroponic tulip planting plan, as well as the wider planting plan 114

115

4.6 VIRUTAL GALLERY SPACE WORK EXPERIENCE WITH MAKE ARCHITECTS Model Development

https://www.tadp.gallery/gallery

CULTURAL BIBLIOGRAPHY

Changi Airport

Sandgate Egg Portal and Star Wars Grand Convocation Chamber

Initial Sketches

Graphical Realisation

Over the summer between my second year and third year at university I had work experience at Make Architects in London.

Due to the development of the government regulations on Covid-19 the Architecture Drawing Prize hosted by Make wasn’t able to happen in Sir John Soane Musuem where it is normally hosted.

When working there I was tasked with developing and exploring a virtual gallery space as an alternative to host the competitions pieces of work.

Due to funding budgets at the end, this full proposal wasn’t the finished product used for the Architecture Drawing Prize, however this proposal might be developed further and used for larger exhibition shows, or to show several years worth of Drawing prizes.

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4.7 VIRUTAL GALLERY SPACE WORK EXPERIENCE WITH MAKE ARCHITECTS Internal atmospheric studies

CULTURAL BIBLIOGRAPHY

Working on 3ds Max not only helped me improve my digital skills but also helped me appreciate lighting more and how it can change the mood and tone of a space.

118

119

4.8 BIBLIOGRAPHY

(941) Pinterest [WWW Document], n.d. .

Pinterest.

URL https://www.pinterest.co.uk/ pin/20547742025826014/ (accessed 6.2.21).

About, 2021. . Salk Inst. Biol. Stud. URL https://www. salk.edu/about/ (accessed 6.2.21).

Artist Crafts Nature-Inspired Outdoor Sculptures from Woven Willow [WWW Document], n.d. URL https://mymodernmet.com/outdoor-sculpturesanna-and-the-willow/ (accessed 6.2.21).

Artists in Conversation with Water in Cities – The Nature of Cities [WWW Document], 2018. URL https://www.thenatureofcities.com/2018/07/14/ artists-conversation-water/ (accessed 6.2.21).

Ascog Hall Gardens and Victorian Fernery - Picture of Ascog Hall Fernery and Garden - Tripadvisor [WWW Document], n.d. URL https://www.tripadvisor. com/LocationPhotoDirectLink-g551925-d1887215i262418101-Ascog_Hall_Fernery_and_GardenAscog_Isle_of_Bute_Argyll_and_Bute_Scotlan.html (accessed 6.2.21).

Moore, C.W., Lidz, J., 1994. Water and architecture.

H.N. Abrams, New York.

Olafur Eliasson and climate change [WWW Document], 2020. URL https://www.iguzzini.com/ lighthinking/olafur-eliasson-and-climate-change/ (accessed 6.2.21).

Palermo, L., 2014. The role of art in urban gentrifi cation and regeneration: aesthetic, social and economic developments. JOURNAL OF THE SECTION OF CULTURAL HERITAGE, Volume 10.

Photos and Diagrams | Responsive Materials Research, 2016. URL https://blogs.ncl.ac.uk/ responsive-materials/photos-and-diagrams/ (accessed 6.2.21).

BOATS, GOATS AND YUPPIE FLATS [WWW Document], 1986. . Yorks. Film Arch. URL https://www.yfanefa. com/record/15721 (accessed 6.2.21).

Böhme, G., Ólafur Elíasson, Pallasmaa, J., Borch, C., 2014. Architectural atmospheres: on the experience and politics of architecture. Birkhäuser, Basel.

Research Group: Water [WWW Document], n.d.

URL https://www.ncl.ac.uk/engineering/research/ civil-engineering/water/ (accessed 6.2.21).

Cameron, S. & Coaffee, J., 2005. Art, Gentrification and Regeneration - From Artist as Pioneer to Public Arts. European Journal of Housing Policy, 5(1), pp.

39 - 58.

Rochester Roundhouse | AJ Buildings Library [WWW Document], 2016. URL https://www. ajbuildingslibrary.co.uk/projects/display/id/7430 (accessed 6.2.21).

Campkin, B., 2014. On Regeneration. In: I. Borden,, .

M. Fraser & B. Penner, eds. Forty Ways to Think about Architecture. Chichester: John Wileys and Sons Ltd., pp. 54-59.

Seawater-Distilling House Installment Also Provides No-Cost Lighting [WWW Document], 2021. URL https://interestingengineering.com/clean-no-costskylight-makes-drinkable-seawater (accessed 6.2.21).

Favela painting | Haas & Hahn - Arch2O.com, n.d. URL https://www.arch2o.com/favela-paintinghaas-hahn/ (accessed 6.2.21).

Glass Design Basic Line, n.d. . Seves Glas. URL https:// www.sevesglassblock.com/basic-line/ (accessed 6.2.21).

Hall, T. & Robertson, I., 2001. Public Art and Urban Regeneration: advocacy, claims and critical debates. Landscape Research, 26(1), pp. 5-26.

120

How to Detail Windows Within Glass Block Constructions - Architizer Journal [WWW Document], 2017. . ET J. URL https://architizer.com/blog/ practice/details/how-to-detail-windows-withinglass-block-constructions/ (accessed 6.2.21).

Presidents Medals: Yggdrasil, The Hybrid Living Vessel [WWW Document], 2014. URL http://www. presidentsmedals.com/Entry-36471 (accessed 6.2.21).

Earthship internship [WWW Document], 2015. .

Thora HA. URL https://www.thoraha.com/earthshipinternship (accessed 6.2.21).

APPENDIX

4.9 LIST FIGURES

Stonehaugh Stargazing Pavilion | AJ Buildings Library [WWW Document], 2015. URL https://www. ajbuildingslibrary.co.uk/projects/display/id/7044 (accessed 6.2.21).

Studio Olafur Eliasson [WWW Document], 2021. URL https://olafureliasson.net/biography (accessed 6.2.21).

Talaei, M., Mahdavinejad, M., Azari, R., 2020. Thermal and energy performance of algae bioreactive façades: A review. J. Build. Eng. 28, 101011. https:// doi.org/10.1016/j.jobe.2019.101011

Talozi, S., 2016. DRASTIC Vulnerability of Groundwater Aquifers in the Jordan River Valley. https://doi. org/10.13140/RG.2.1.4623.7843 Thanet Earth: The UK’s largest hydroponics farm, 2018. . Hydromag. URL https://hydromag.co.uk/ industry-insider/thanet-earth/ (accessed 6.2.21).

The beautiful waterfalls/fountains - Picture of Fountain Place, Dallas - Tripadvisor [WWW Document], 2019. URL https://www.tripadvisor. com/LocationPhotoDirectLink-g55711-d104012i47793198-Fountain_Place-Dallas_Texas.html (accessed 6.2.21).

The Nick - Kielder Art & Architecture [WWW Document], 2018. URL http://kielderartandarchitecture.com/ art-architecture/the-nick.html (accessed 6.2.21).

Water as Science and Art, 2018. . Magazine. URL https://magazine.libarts.colostate.edu/article/ water-as-science-and-art/ (accessed 6.2.21).

Fig. 1 Olafur Eliasson Studio’s water sculptures.

Found at: https://www.olafureliasson.net 6 Fig. 2 Some of the key features I noticed was the large singular housing/gentrification area, contrasting with the night time rhyhtms of the place and being on a previous industrial site.

Group work 6 Fig. 3 This map highlights the green spaces in Ouseburn whilst outlining the proposed developments for Ouseburn. Group work 7 Fig. 4 This map shows the diversity of nature in Ouseburn. The majority of nature is situated in the north due to recent developments in the south.

Group work, created by Anna Toft 7 Fig. 5 This map highlights all the developments that are present or planned in Ouseburn.

Group work 7

8

Water Wise: working across disciplines to solve problems of scarcity and contamination, 2018. .

Magazine. URL https://magazine.libarts.colostate. edu/article/water-wise-working-together-acrossdisciplines-solve-problems-scarcity-contamination/ (accessed 6.2.21).

Fig. 6 Timeline of Ouseburn. Group work

Watt, H., 2019. Academic Project: Aqua Architecture - Water the spirit of Architecture [WWW Document].

Issuu. URL https://issuu.com/kundanikaadkuloo/ docs/aqua_architecture_-_4th_yr_dissertation_ project_fi (accessed 6.2.21).

Fig. 9 Stonehaugh pavilion. Found at: https://www. ajbuildingslibrary.co.uk/projects/display/id/7044 (accessed 6.2.21). 12

Yggdrasil [WWW Document], 2014. . Thora HA. URL https://www.thoraha.com/yggdrasil (accessed 6.2.21).

Fig. 7 Building diagram of Ouseburn. Group work 8 Fig. 8 Conservation map of Ouseburn edited by author. Group work 9

Fig. 10 Stonehaugh pavilion. Found at: https:// www.ajbuildingslibrary.co.uk/projects/display/ id/7044 (accessed 6.2.21).

12 Fig. 11 Rochester Roundhouse. Found at: https:// www.ajbuildingslibrary.co.uk/projects/display/ id/7430 (accessed 6.2.21).

12 Fig. 12 The Nick.

Found at: http:// kielderartandarchitecture.com/art-architecture/ the-nick.html (accessed 6.2.21).

13 Fig. 13 The Nick.

Found at: http:// kielderartandarchitecture.com/art-architecture/ the-nick.html (accessed 6.2.21).

13 Fig. 14 Earthships, Taos, New Mexico. Found at: https://www.thoraha.com/earthship-internship (accessed 6.2.21). 14 Fig. 15 Earthships, Taos, New Mexico. Found at: https://www.thoraha.com/earthship-internship (accessed 6.2.21). 14

Fig. 16 Yygradsil. The Living Vessel .

Found at: http://www.presidentsmedals.com/Entry-36471 (accessed 6.2.21). 14 Fig. 17 Hygromorph. Found at: https://blogs.ncl. ac.uk/responsive-materials/photos-and-diagrams/ (accessed 6.2.21). 15

Fig. 31 Glass brick windows. Found at: https:// architizer.com/blog/practice/details/how-todetail-windows-within-glass-block-constructions/ (accessed 6.2.21). 61 Fig. 34 Terrarium. Found at: https://www.pinterest. co.uk/pin/20547742025826014/ 64

Fig. 18 Hygromorph concept use. Found at: https:// blogs.ncl.ac.uk/responsive-materials/photos-anddiagrams/ (accessed 6.2.21).

15

Fig. 33 Thanet Earth - The UK’s largest hydroponic produce facility. Found at: https://hydromag.co.uk/ industry-insider/thanet-earth/ (accessed 6.2.21). 64

Fig. 19 Rio. Found at: https://www.arch2o.com/ favela-painting-haas-hahn/ (accessed 6.2.21). 19

Fig. 32 Diagram of algae cladding system used in architecture to produce biofuel and passive solar shading. Found at: https://doi.org/10.1016/j. jobe.2019.101011 64

Fig. 20 Haiti. Found at: https://www.arch2o.com/ favela-painting-haas-hahn/ (accessed 6.2.21). 19 Fig. 21 Olafur Eliasson Studio. Collection of photos.

Found at: https://www.olafureliasson.net 23 Fig. 22 Dallas - Fountain place. Found at : https:// www.tripadvisor.com/LocationPhotoDirectLinkg55711-d104012-i47793198-Fountain_Place-Dallas_ Texas.html (accessed 6.2.21).

24

Fig. 35 Woven Structure. Found at: https:// mymodernmet.com/outdoor-sculptures-annaand-the-willow/ (accessed 6.2.21).

102 Fig. 36 Woven Shelter. Found at: https:// mymodernmet.com/outdoor-sculptures-annaand-the-willow/ (accessed 6.2.21).

102

Fig. 23 Dandelion 2B RGb. Found at: https:// gardematicfountains.com/fountain-products/ fountain-set-dandelion-2b-rgb-led-lighting/ 24

Fig. 37 An algae cladding solution which utilises the suns power to produce algae and therefore biofuel.

Found at: https://doi.org/10.1016/j. jobe.2019.101011 168

Fig. 24 Salk Institute. Found at: https://www.salk. edu/about/ (accessed 6.2.21).

24

Fig. 38 Solar Desalination Skylight. Found at: https:// interestingengineering.com/clean-no-cost-skylightmakes-drinkable-seawater. 168

Fig. 25 Water contamination diagram. Found at: https://doi.org/10.13140/RG.2.1.4623.7843 26 Fig. 26 Newcastle Engineering Research Water Group.

Found at: https://www.ncl.ac.uk/ engineering/research/civil-engineering/water/ (accessed 6.2.21). 26 Fig. 27 Collage of Glass brick precedents. Various Sources 44 Fig. 28 Ascog Hall Fernery - Scotland. Found at: https:// www.tripadvisor.com/LocationPhotoDirectLinkg551925-d1887215-i262418101-Ascog_Hall_Fernery_ and_Garden-Ascog_Isle_of_Bute_Argyll_and_Bute_ Scotlan.html (accessed 6.2.21).

55 Fig. 29 Winter ventilation and heating strategy.

Authors work, from ARC 3013 Module 61 Fig. 30 Summer ventilation and heating strategy.

Authors work, from ARC 3013 Module 61

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4.10 IDEOLOGY

THE USE OF WATER THROUGHOUT HISTORY Looking at how water has been used historically and how with current technology it is treated more atmospherically due to improvements in water technology

TTM

APPENDIX

As time has gone on fountains have gone from functionality to form. The improvement in water technology has meant that fountains are used for atmospheric value and nature is now humanised more, possibly dragging us away from nature. I want this water feature to make a statement of that. Using the glass blocks to create a ice prison like environment, which will contrast with exterior outside water features.

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4.11 PROCESS

EXPLORATIONS OF BRICK POSITIONING AND ITS APPLICATION IN MY BUILDING I initially made a model of my atmospheric piece that I would have at the bottom of my light well. The addition of a reflective pool would magnify the atmosphere

4.12 TESTING

LIGHTING EXPLORATION

TTM

After getting the basic form I explored different opacities, densities and colours to see what it did to the atmosphere.

From all these explorations I learnt that there wasnt much difference in lighting qualities when altering the bump effect of the glass and in fact the bump effect probably added more to the atmosphere than plain glass.

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TTM

4.13 OUTPUT

RAINBOW OUTPUT SHOWING THE TRANSITION OF COLOURS AND LIGHT

One thing to consider for application into my building is the depth of the bricks and positioning of the sun which minimises the atmosphere created.

THEMATIC CASE STUDY

Granby Four Streets Project

By Assemble

Although not a final exploration of what it would look like in my final building, this exploration shows all the different colours and how they could affect the atmospheres of places. I will develop this idea further when my building is more complete.

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THEMATIC CASE STUDY

4.14 GROUP WORK

BY AUTHOR

Contextual Conditions

Integration into the Community

Migration of people from the Commonwealth to Liverpool after WWII

Riots of 1981 in the Granby area

Shared spaces were reimagined by residents into green and or artistic spaces

i mch i K an

Kore

ea ca T

Kombucha Tea

bu Kom

Key Communal Artist Residency Glazing

Granby Street was home to ethnically diverse businesses

Granby Residents Association was established to try and prevent the demolition of houses

Working alongside Assemble the CLT (Community Land Trust) proposed the renovation of 10 affordable homes on Cairn Street, set up an indoor Winter Garden, and Granby Workshop

By Hereward Leathart

Roof The Granby Winter Garden sits at the heart of the Granby neighbourhood, housing a communal indoor garden, a meeting and events space and accommodation for artist residencies.

Granby Market was set up by the CLT before Assembles intervention but was helped made successful with the introduction of the Assembles workshop drawing in a large amount of craft to the market. The stalls range from bric-a-brac, vintage clothes and memorabilia to handmade soaps, arts and crafts. There also also food stalls, selling hot international cuisine, and home cooked health foods.

Research/Teaching

Site Analysis

The locals encouraged art greenery and craft to the area to add more aesthetical value to the area whilst also supplying skills that could then be used to help the unemployed.

Winter Garden is south facing for maximised sunlight and use all year around

313°

46°

Products from the workshop gained are continued to be used in ongoing local renovations as well as being sold in the local market and beyond.

Ceramic graduates working with locals

eet

ld Str

onsfie

Beac

229°

130°

Winter Garden

Main buildings are central to dral athe iew to C theVwhole site

Local artist George in front of his house paintings in Ducie Street

t

tree airn S

CLT Workshop

C

A visiting Honduran painter and muralist, Javier Espinal, had worked with the local community to paint a mural on the side of the Methodist Youth Centre, while local resident Joe Farrag had adorned the area with brightly painted pigeons from Patrick Murphy’s Liverpool Biennial installation at the Walker Art Gallery.

eet

yn Str

Jerm

treet

10 Houses on Cairn Street

aby S

Gran

Future plans are to utilise all the corner buildings on this street for shops

Ducie

t

Stree

Area has been focused initially to one aspect of the wider site to create a base for future projects

Locals directly involved in the designs 1:1250 @ A3 0

128

From this you can see the artist residency is closely integrated into the building, with the bedroom seemingly being the only fully private area.

By Hereward Leathart

25

50

100

200

View

Provides apprenticeships and jobs

es Park to Princ

Offers residents a way of shaping the areas development

Specialists educate locals and students to allow for expansion of the workshop

By Hereward Leathart

By Hereward Leathart

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THEMATIC CASE STUDY

4.15 GROUP WORK

BY REN YOU

REN YOU

Project location over view

REN YOU

Daily rituals of their Ceramics Workshop users

Ceramics Workshop

REN YOU

Winter Garden Special relationship

Winter garden propagation space Artist studio bed room

Fig 8

Fig 1

Granby winter garden project

At the centre of the Winter Garden there is a space for full-height trees to grow, and at the rear of the building a potting and propagation space serves the garden, the street and the wider neighbourhood of Granby.

retail

10-houses project

Ceramics workshop

From whole project consideration, The Granby four street project is renovation project based on abanded terraces, contains three different programs including ten two-beds room affordable/low rent 2-bed terraced houses, one winter garden, and one ceramics workshop.Tree individual project interactive with each others increase the local community living/ social quality.

The isometric diagram shows the three individual different projects locations in the whole area site.

The architects demolished origin masonry structure and used the steel structure to Winter Garden rebuild the open space for fullheight plants . Meanwhile, the Stair case architects rebuild a platform that offers the visitors and Viewing platform residents a unique view to enjoy Propagation indoor plants

Fig 7

The Workshop developed a distinctive model of designer-led- manufacturing - making high quality products,whilst retaining variety in their design, so that each product is different.

Products combine craft techniques with an experimental sensibility to develop new architectural materials and finishes.The Workshop has since grown considerably, and now undertakes a wide range of commissions, supplying its distinctivearchitectural ceramics worldwide. These have been widely exhibited, and are held in the permanent collections of the V&A and the Crafts Council

The yellow lines building represent the 10-houses project location.There are renovation project based Victorian terraced house.

The green line building shows the Granby winter garden project, located at the heart of the whole community, indicating that could be a place which offers local community gathering and communication and participation.

space

Accessibility

The Workshop provide eplyments and architectectural materils for the local nearberhoods and retail them to winder via they own website.

The red line building is the ceramics workshop, offers a place that making recycled architectural materials for the 10-houses project and local community, and provides/sells creativity crafting and architectural materials for the 10-houses project and local community.

1

REN YOU

10 Houses on Cairns Street

Fig 9

Assemble architects also considered assessability for disabled people and older in the winter garden project, and they designed folding door , ramp and an accessible restroom for the local community and visitors who have the difficulty of moveability.

Fig 10

4

5

REN YOU

Ceramics Workshop

REN YOU

Daily rituals of Winter Garden users

Special relationship

Winter Garden

Daily rituals of Ganby community

REN YOU

Main Entrance public/shared area Semi-public/ shared ara

Privaite area

Special relationship

Show Room

Fig 2 Hall

Crafting space

Undefined Space

Fig 6

Granby Workshop is a manufacturer of architectural ceramics. The workshop is part of Assemble's ongoing involvement with the Granby Four Streets neighbourhood.

neighbourhood of Granby

Ceramics workshop regularly hosts visitors to share their experiences with others.

For example they run workshops for planning, architectural and social science students to influence place making and creating spaces.

Utility

Visually key elements

Accessibility

Fig 3

One open space

Visually key elements

Fig 11

Fireplaces, bookends, planters, desklamps, trivets and tables have been cast by made of “Granby Rock” which have decorative surfaces, and they made from construction waste produced by local ceramics workshop.

Fig 4

Fig 5

The planting of the indoor garden has been a collaboration with local residents, headed by local community gardener.meanwhile the plants looked after in the Granby four street by neibiurhood.

Fig 4

Granby Workshop is a manufacturer of architectural ceramics. so that the building facade decorated with It own craft tittles.

Fig 5

2

The winter garden as a hub of local communication, provides social space, increasing connections of people. Community gardening and creative action has been the foundation for positive change in the area and the Winter Garden is a space to celebrate this history and support collective culture longterm.

Two sperated space 3

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THEMATIC CASE STUDY

4.16 GROUP WORK

BY NICHOLAS STUBBS

Granby 4 Streets Project - Overview Fig. 1

Within the wider context of continuing environmental damage, deterioration of post-industrial centres and rampant consumption fuelled by a focus on immediate and short-term gain, Granby 4 Streets represents a direct reaction. It originated as a local movement among the remaining residents of Granby to beautify the undeveloped and abandoned houses while simultaneously protesting the actions of the local council and developers; they painted houses in bright colours and began planting trees and flowers on empty lots.

Fig. 2

Planting and Preservation of Nature The Granby Project originated with residents planting flowers and trees in the empty lots of abandoned houses in the wake of decades’ worth of council redevelopment and demolition.

With the formation of the Granby 4 Streets Community Land Trust, the residents are now represented by a legal body that can give or withhold contracts and control rent prices, and is the first of its kind in the United Kingdom in an urban area. The CLT states it wants a ‘low cost, community focused, long-term sustainable development strategy that empowers residents and protects the area from unwanted development and exploitation,’ with a long-term goal to have the ‘greenest quarter in the city’ of Liverpool. Granby CLT also provides a model for other neighbourhoods in similar situations to try similar green redevelopments on their own terms.

The communtiy founded the Granby 4 Streets Community Land Trust (Granby CLT) to gain control over the land of Granby and by extension rent prices and final say about any proposed developments in the neighbourhood.

In 2015, the Granby CLT hired design collective Assemble in an ongoing contract to help with Granby’s rejuvenation. Since then, Assemble have helped refurbish 10 houses (now rented at affordable rates set by the CLT), established a ceramics studio that is run by the community and sells works at the local market as well as on permanent display at the V&A, and in their most recent project have combined two Victorian terraced houses to create a winter garden and meeting space for the residents of Granby.

The trees and plants along the pavements of the neighbourhood typify the community’s awareness of nature, which also manifested in the Winter Garden project; the indoor garden was planted by the community, and coordinated by the head community gardener Andrea Ku.

The following pages will explain Assemble’s contributions to the Granby 4 Streets Project in terms of their impact on the environment and the local community through the use of local, low-embodied-energy materials, planting and preservation of nature, and recycling and adaptive reuse.

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Fig. 1

Fig. 1 - Delapidated houses on Cairns Street before renovation

Fig. 3

Fig. 2 - Interior of of the houses on Cairns Street after renovation

Fig. 8 - Photograph of Winter Garden with steel reinforcements and glass roof, an architectural reference to Victorian Glasshouses

Fig. 3 - Collage render by Assemble of Winter Garden interior Fig. 4 - Granby Architectural Ceramics Workshop exterior

Fig. 4

Nicholas Stubbs / 170488125

Fig. 9 - Photograph of residents inside the Winter Garden Fig. 10 - Photograph of Granby sidewalk with vegetation highlighted

Fig. 9

Nicholas Stubbs / 170488125

Use of Local, Low-Embodied-Energy Materials

Fig. 5

The sourcing, manufacture and transportation of materials that require energy-intensive processes is the main source of the carbon emissions released by the construction industry; most of this is due to the excavation of the raw materials that become concrete. To reduce and/or reverse the environmental damage inflicted by new buildings, architects and other construction professionals must actively choose more carbon-neutral materials and reduce the distances required to bring them to site.

Assemble managed this with the Granby Project in a way that provided the community with a new source of employment and income by establishing a ceramics workshop in the heart of the neighbourhood, and using their works in the refurbishment of abandoned houses on Cairns Street and the Granby Winter Garden.

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The Winter Garden is a meeting space and communal garden that also can act as a residence for visiting artists, and celebrates the prior efforts of the community in redeveloping the neighbourhood themselves. The two houses chosen had collapsed floors that created triple-height spaces Assemble wanted to preserve. In collaboration with engineers from Structure Workshop, Assemble reinforced the exterior walls with steel rings and replaced the roof with glazing to allow light from above to reach the indoor garden.

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By renovating the abandoned houses in Granby, Assemble maintained the existing character of the neighbourhood and were able to save on expenses they would have accrued from demolition.

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Recycling and Adaptive Reuse As principle architects on the Granby Project, Assemble’s interventions had to be highly effective on a minimal budget. Combined with their intention to preserve and celebrate the architectural and cultural heritage of the most ethnically diverse neighbourhood in the city of Liverpool, Assemble chose to retain the existing shells of Granby’s Victorian terraces in both their 10 Houses and Winter Garden projects.

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Fig. 6 Figs. 11-12 - Photographs of interiors of Winter Garden terraces before refurbishment

Fig. 5 - Diagram map showing distance from Granby workshop to houses Fig. 6 - Collage showing ceramics produced by Granby Workshop Fig. 7 - Collage showing workshop’s production process, with which it creates unique ceramics and reduces waste

Nicholas Stubbs / 170488125

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Fig. 7

Fig. 13 - Diagram of renovation of existing terraces and additional structure Fig. 14 - Photograph of Winter Garden interior with structure, nature and community use

Nicholas Stubbs / 170488125

Fig. 13

Fig. 14

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THEMATIC CASE STUDY

4.17 GROUP WORK

BY ROSIE REEVES

Rosie Reeves

Rosie Reeves

“Make, don’t make do”

Assemble

In many of their projects, assemble have rehabilitated disused spaces, to provide new uses which service surrounding communities.

‘Make, don’t make do’ refers to Assemble’s research project into the areas around Bow Interchange and Stratford High Street, in which they looked into how the area could be redeveloped, with reference to its industrial past, to provide jobs for the area, much like their project in Toxteth. The studio’s first project, the Cineroleum, examples their idea to “make, not make do”, in which they repurpose an abandoned petrol station into a temporary cinema. The project was realised with the help of volunteers, who pulled together to create the self-built space, composed of seats made of scaffolding board and a curtain of roofing membrane.

This project symbolises the studio’s aims to improve derelict space, through community collaboration, to provide an alternate use.

In 2015, a member of Assemble expressed the studio’s desire to move away from “pop up” spaces which they had become renowned for creating, in order to create something which would service a community more long term. This desire can be seen in the Granby projects, which incorporates their earlier ideas about seeing the value in things that often get forgotten, but to create something long standing. Assemble’s projects in Toxteth required them to work closely with the community, in order to understand their contextual needs and what would benefit the community long term.

Granby community

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Collaborative Assemble can be described as a practice which is truly collaborative, both within their studio and people they are involved in through the course of a project.

Their studio consists of some members who are not architecturally trained and are instead artists and creatives. This cross-discipline method of working could be said to aid them in addressing the wide range of topics their work questions. This collaborative nature of their studio aids them in their collaboration with members of communities, as they are are equip with ideas that are not purely from an architectural background, which makes them accessible.

Assemble’s projects in Granby allowed to them collaborate with a number of people, as well as allowed the studio to create opportunites for long-standing collaboration. The Granby 4 Streets Community Land Trust has long been set up, coming about in response to the government’s plan to demolish their much loved streets. Assemble worked closely with the CLT, to develop their plans, which was imperative in enabling the success of the propositions, as it is the CLT who understand their communities most.

The Granby Workshop allowed for more collaboration between architects, artists and the community. The locally produced elements for the home provide jobs for those making them, as well as something unique for the homes on Cairn St. Collaboration also allows for an element of unpredictability in work, as the reactions of others cannot be predicted, which is a theme Assemble seems to cherish. The Granby Workshop itself runs off this idea: “[Our] products need to invite chance and accident in the way that they’re made — an element where you lose control and you don’t quite know how the product will end up when you start making it.”

Granby Workshop: provides artistic job oppurtunities for the community, with the ability for it to be scaled up, which produces ceramics, tiles and door knobs.

10 Houses on Cairn St: products made in the Granby workshop, such as fireplaces, were used in the refurbishment of the Cairn St terraces.

Granby St market: allows for collaboration within the community, with members coming together to buy or sell products.

Groupwork and collaboration allows Assemble to learn through their work, with the importance of art in their projects evident by the artists who make up their team.

The Granby Workshop allowed art to be accessibly brought into people’s lives, as opposed to something reserved for the upper classes.

Rosie Reeves

Accessible art

Performative

Assemble are less concerned about the finished result of their projects but rather the processes that led them to it. In member Jane Hall’s talk at the AA, she spoke about the importance of the construction site to the studio. It is seen by them as a space in itself to learn and create, with Hall describing the disappointment she felt upon the completion of the Cineroluem, as the construction of it was over. Assemble feel that the process of construction teaches the reality of an architectural project: “those four weeks building something together there was a much more formative experience than the 3 years of formal education”.

The ‘construction space’ in the Granby Four Streets projects was the streets themselves which allowed for them to be truly collaborative, with new projects continually developing throughout. Assemble’s renovation of the terrace houses on Cairns Street led to their creation of the Granby Workshop, on Granby Street, which initially began by designing products for the homes, including tiles and fireplaces. They were designed to reflect the values of the project, with the workshop continuing to make products, providing a longstanding creative outlet for the community.

‘Assemble brought art into everybody’s lives. Art should not just be for posh houses but accessible to everybody. You can see the pride this has instilled in the people of our community. It is a story of humanity, and if art isn’t about humanity I don’t know what is.’

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-Granby resident

The subject of art is one which is at the forefront of Assemble’s work, with their winning of the 2016 Turner Prize for the Granby projects securing this connection. Reactions to this win were unexpected, with Assemble initially confused at their nomination.

They held fears that it would make their work in Granby “into something bijou”, and give them sole credit for projects which were truly a joint effort between the CLT and others. Assemble uses art in a way to make it accessible to people, as oppose to the exclusivity widely present in the art world, which is perhaps a reason for their worry about connotations that came with Turner Prize.

The importance of accessible art is evident in Assemble’s work in Granby, and was implemented by a strong presence of craft and architectural details. The locally crafted elements used in the refurbishment of the 10 houses on Cairn St made art into something everyday, which therefore makes it accessible.

Assemble’s relationship with art is evident in their network of workspaces; Sugarhouse Studios, Dome View Yard and Fabric Floor. All are spaces containing studios which Assemble rent out to other creatives and work in themselves. This evidences their idea about the importance of cross-discipline collaboration and co-working, especially in regard to creative sectors. This was idea was present throughout the Granby projects, with Assemble creating spaces which allow for art through the form of craft to be manufactured.

4 Assemble’s Turner Prize exhibition

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4.18 GROUP WORK

BY JEMMA WOODS

By Jemma Woods

By Jemma Woods Figure 1

Figure 2

Figure 16

5. How does the case study relate to other buildings of it’s type?

Figure 17

To successfully chose an appropriate comparative case study, we must first understand the key ethos and design intentions of the Granby Project.

The Granby Four Streets Community Land Trust (GFS CLT) was established to combat “dysfunctional housing policies” by creating affordable housing. The streets of Granby survive as a result of an activitist group that valiantly fought against the demolition programme.

Some of the main ideals of these activists included being architecturally rich and to re-instate a once lively community following the ideals depicted to the left. These features perfectly align this Case Study to our studio themes of Inhabitation and Contextual Response.

The Granby Project has suceeded in its aim to save the area, re-establish its place within Liverpool and re-instate a lively community.

Figure 3

Figure 4

One comparative Case Study is the Leeds community-led regeneration project LILAC (Low Impact Living Affordable Community). LILAC began in 2006 by a group of five residents who were interested in creating their houses to raise their children in a different way and was completed in 2013. LILAC, however, wanted their ethos to create new ways of thinking that would help people heal and repair the world from the bottom up. Therefore, 20 “eco-homes” were created to give residences a belief that they contribute to tackling some of the main problems within society.

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5-Disabled Toilet 6-Dinning Room 7-Deck over nature pond Figure 23

By Jemma Woods Figure 6

Figure 7

The LILAC Project is located in Leeds

The Granby Project is located in Liverpool

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Figure 9

a. b. c. d.

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a. House located on Cairns Street - the main focus street of the Granby renovations

Figure 11

b. House on Jermyn Street - a neighbouring street to Cairns Figure 14

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c. Housing block within the LILAC complex

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d. House on Lancaster Avenue - one of the streets surrounding the LILAC site Figure 15

Comparison in relation to Studio Criteria 02: Contextual Response

Figure 5 shows a minimal map of Liverpool, indicating where the Granby Project is located Figure 6 shows a location map of Liverpool and Leeds in the UK Figure 7 shows a minimal map of Leeds and LILAC location in relation to the city centre Figure 8 shows a map of the Granby neighbourhood Figure 9 shows a map of the LILAC neighbourhood Figure 10 shows a drawing of the typical house on Cairns Street - near the Winter Gardens Figure 11 shows a drawing of the typical house on Jermyn Street - showing similar contextual features Figure 12 shows a drawing of the language within LILAC Figure 13 shows a drawing of the houses surrounding the LILAC project - showing a disparity of contextual response in architectural terms Figure 14 shows what the Granby Streets were before the renovations Figure 15 shows what was situated on the LILAC site prior to the complex

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By Jemma Woods

While, the LILAC project became reality due to the teamwork between the residents that began the scheme and the architects and builders that were procured along the way, it uses nature like Granby as a catalyst to increase the sense of community. It inocrporates elements such as allotments, ponds, shared gardens and children’s play areas. Their ‘Common House’ is, however, pivotal for the community and is used for workshops, local meetings, film nights, laundry, and a communal cooking and eating facility. It includes a routine of gathering twice a week to eat together - ensuring a relaxing area that encourages residents to share and build strong links that sustain the sense of community.

Which Case Study Most Aligns With the Studio’s Key Aims of Inhabitation and Contextual Response

The Liverpool Council and housing associations considered the Toxteth area as being in their way to rid the city of the “community’s ills, poverty and unemployment” and had the mind-set to establish new homes in the whole area. The Granby activitist group resisted the total demolition of the area and their interventions provided the stepping stone to accomplish the Council’s goals, albeit, using a more considerate approach. In 2012, the GFS CLT association won a small urban garden competition which got them noticed by the Steinbeck Studio. This propelled the plans for Granby into the sights of the Council and prospective investments, and therefore, discussions began to ensure the work in the area progressed. A key part of the renovation was not to change the language of the street, therefore, the shell relates to the surroundings yet the inside has taken a modern twist on the traditional. These CLT houses are restricted to a maximum value of £99,500 when resold, linked to the median wage level of Liverpool making them more abtainable. This also reduces a profit motive in prospective buyers ensuring those that move in will stay, enhancing the sense of community.

On the other hand, LILAC aims to become a part of the “flourishing neighbourhood in West Leeds”. One of the aims was not just “a crusade for themselves, they wanted their idea to become a blueprint for others to use, adapt and develop.” Therefore, they have established strong links between the surrounding communities. This project is based on the Danish cohousing scheme and, therefore, struggles to respond to the context of the UK. Further, this project does not relate to the architectural language of its surroundings and is more eco - focused than contextually focused. LILAC, however, uses a MHOS (Mutual Home Ownership Society) scheme to ensure it is affordable, much like the ethos of the Granby Project.

To begin with, the group of activitist that saved the streets of Granby from demolition digressed from the authority of the Liverpool Council by controlling small scale interventions to improve the Granby area. These included guerrilla gardening - an act of gardening on land in which the gardener does not own - where the residents would take care of the immediate area and creatively experiment with urban landscaping. This made the area beautiful, vibrant and invited discussions on what was happening within the area.

This then led to investment that further enhanced their vision for the area. It is thought that “what the area needed was people living here, not the commodification of buildings.” The major hub of community at Granby is the Winter Garden which includes a communal indoor garden, a meeting or events space and accommodation for artist residencies. This design transforms two adjacent terraced houses into the focal point of community activity and the triple heighted space within the Winter Garden celebrates its history.

Figure 16 shows a site plan of the Granby Streets Project Figure 17 shows a site plan of the LILAC complex Figure 18 shows a site plan of the location of Assembles’ involvement within the streets of Granby Figure 19 shows a plan indicating the public and private elements of the Winter Garden community ‘hub’ Figure 20 shows a site plan indicating the communal and private aspects of the LILAC complex Figure 21 shows a plan of the common house at LILAC - including the shared dinning room Figure 22 shows a render of the Winter Gardens from Assemble website Figure 23 shows an image of the external appearance of the LILAC common house - showing its differing architectural style in comparison to the housing block, highlighting its different function

Figure 1 shows a diagram of the Key Ideals of the Granby Project Figure 2 shows an image of the LILAC compound Figure 3 shows an image of the Granby Estate Figure 4 shows a diagram of the Key Ideals of the LILAC project

Figure 5

Comparison in relation to Studio Criteria 01: Inhabitation and spatial relationships

The impressive element of the LILAC project is its design origin; the Danish co-housing model. This involves mixing the needs within private homes with those within shared facilities, thereby, encouraging social interactions. Although this provides benefits in terms of the increased sense of community, the architectural style that is the result of low impact living is not inkeeping with that of the Leeds surroundings, therefore, does not respond to its context.

The impressive element within the Granby Project is the hidden gem that is the Winter Garden. It is ingenious by providing the heart and community focal point of the project while being subtle and inkeeping with contextual response by maintaining the shell of the terraced houses in which it is based. This provides a harmony and seamless connection between community and contextual response that those within the studio of Creative Synergies should aim to achieve.

Figure 24 Project Aims

Figure 25 Criteria 01

Criteria 02

Upon reflection, both projects were established as a result of a resiliant group of residents that dreamed of a better life so took control of the area in which they were living. The LILAC project is more in favour of its sense of community than contextual response. Whereas, the outcome of the Granby Project in terms of community and contextual response is well balanced.

Therefore, the Granby Project case study is the precedent that encompasses our studio’s criteria.

Granby Project

LILAC Project

Figure 26

Figure 24 shows an image of the triple height element of the Winter Gardens Figure 25 shows an image of the communal dining opportunities of the LILAC common house both inside and outside on the deck above the pond Figure 26 shows a summary diagram - focusing on the relevance of the two projects in relation to our studio themes

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Group Bibliography Hereward Leathart:

Ren You:

Nicholas Stubbs:

https://www.artscouncil.org.uk/tales-city https://assemblestudio.co.uk/projects/10-houses https://assemblestudio.co.uk/projects/granby-winter-gardens https://assemblestudio.co.uk/projects/granby-workshop https://cooperativecity.org/2017/10/25/granby-four-streets-clt/ https://www.granby4streetsclt.co.uk/history-of-the-four-streets https://www.granby4streetsclt.co.uk/street-market https://granbyworkshop.co.uk/about/ https://static1.squarespace.com/static/543ed591e4b0a72b21da6a9b/t/5953a19d2e69cf02424fae47/1498653118055/Newsletter+Summer+2017.pdf

https://www.biennial.com/collaborations/granby-workshop https://www.architectureindevelopment.org/project.php?id=546#!prettyPhoto https://miesarch.com/work/3583 https://assemblestudio.co.uk/projects/granby-four-streets-2 http://hicarquitectura.com/2020/04/assemble-winter-garden/

https://cooperativecity.org/2017/10/25/granby-four-streets-clt/ https://www.granby4streetsclt.co.uk/housingproject https://www.granby4streetsclt.co.uk/history-of-the-four-streets https://www.granby4streetsclt.co.uk/granby-winter-garden https://www.granby4streetsclt.co.uk/whats-a-clt https://www.granby4streetsclt.co.uk/new-page-2 https://www.granby4streetsclt.co.uk/planting https://www.granby4streetsclt.co.uk/read-me https://www.granby4streetsclt.co.uk/ https://assemblestudio.co.uk/projects/granby-workshop https://assemblestudio.co.uk/projects/granby-winter-gardens https://assemblestudio.co.uk/projects/10-houses https://assemblestudio.co.uk/projects/granby-four-streets-2 https://atelier-luma.org/en/projects Wines, James, (Köln: Taschen, 2000), pp. 66-68

Rosabella Reeves: Assemble (2020) Granby Four Streets, Available at: https://assemblestudio. co.uk/projects/granby-four-streets-2 (Accessed: 29/11/20).

Assemble (2020) The Cineroleum, Available at: https://assemblestudio. co.uk/projects/the-cineroleum (Accessed: 29/11/20).

Saval, N. (2015) Assemble: Making Things Happen, New York Times Style Magazine , [Online]. Available at: https://www.nytimes. com/2015/08/19/t-magazine/assemble-architecture-collective.html?auth=login-email&login=email (Accessed: 1/12/20).

Pritchard, S. (2016) Complexity, uncertainty & scalability: How Assemble’s Granby 4 Streets won 2015 Turner Prize, Available at: https://colouringinculture.org/blog/assemble-complexity-uncertainty-scalability/ (Accessed: 1/12/20).

Wainwright, O. (2015) The street that might win the Turner prize: how Assemble are transforming Toxteth, The Guardian ,[Online]. Available at: https:// www.theguardian.com/artanddesign/architecture-design-blog/2015/ may/12/assemble-turner-prize-2015-wildcard-how-the-young-architecturecrew-assemble-rocked-the-art-world (Accessed: 1/12/20).

Moore, R. (2015) Assemble: the unfashionable art of making a difference, The Guardian , [Online]. Available at: https://www.theguardian.com/ artanddesign/2015/nov/29/assemble-architecture-collective-london-turner-prize (Accessed: 1/12/20).

Kloppenburg, J. (2020) The Other Architect§ Exhibition Examines How Architects Design Without Building, Available at: https://architizer.com/blog/ practice/details/the-other-architect/ (Accessed: 1/12/20).

Taylor, P. (2014) Built to Last, The RIBA Journal, [Online]. Available at: https:// www.ribaj.com/culture/assemble-built-to-last (Accessed: 1/12/20).

It’s Nice That (2016) How I Got Here: Joe Halligan, co-founder of architecture and art collective Assemble, Available at: https://www.itsnicethat. com/features/how-i-got-here-assemble (Accessed: 1/12/20).

Hiscott, R. (2018) Granby Workshop: Rebuilding a Neighborhood Through Creative Projects, Available at: https://www.kickstarter.com/blog/granby-workshop-rebuilding-a-neighborhood-through-creative-proje (Accessed: 1/12/20).

AA School of Architecture (2018) : AA Dialogues: Assemble’s Jane Hall with Summer Islam, Available at: https://www.youtube.com/watch?v=0HXSGTTA0AQ&t=2145s CCAchannel. (2016) An interview with Assemble, Available at: https://www. youtube.com/watch?v=Ef4uvR0u-WA List of figures 1. Assemble, NY Times 2. Granby Winter Gardens, Assemble’s website 3+4. Assemble’s exhibition for the Turner Prize, Assembles website

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Figures: Fig 1 Drawing by auther Fig 2 Photograph from Assemble, edited by author Fig 3 Tracing and edited by auther, photograph from Assemble Fig 4 Collage by auther, Photograph from Assemble Fig 5 Drawing by auther Fig 6 Collage by auther, photographs from Assemble Fig 7Collage by auther, photographs from Assemble Fig 8Collage by auther, photographs from Assemble Fig 9Collage by auther, diagram from Assemble Fig 10 Collage by auther, diagram from Assemble Fig 11Collage by auther, diagram from Assemble Fig 12Collage by auther, diagram from Assemble

Jemma Woods: Granby: https://assemblestudio.co.uk/projects/10-houses https://assemblestudio.co.uk/projects/granby-four-streets-2 https://assemblestudio.co.uk/projects/granby-winter-gardens https://assemblestudio.co.uk/projects/granby-workshop https://www.granby4streetsclt.co.uk/read-me https://www.granby4streetsclt.co.uk/whats-a-clt https://cooperativecity.org/2017/10/25/granby-four-streets-clt/ https://www.communityledhomes.org.uk/success-stories/granby-four-streets https://www.archdaily.com/778435/assemble-awarded-the-2015-turnerprize-for-granby-four-streets?ad_source=search&ad_medium=search_result_all https://www.dezeen.com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/

Figures: Fig. i. - Screenshot of Assemble’s homepage Fig. ii. - Screenshot of Granby 4 Streets CLT homepage Fig. iii. - Front cover of Green Architecture by James Wines Fig. 1 - Photograph from Assemble Fig. 2 - Photograph from Assemble Fig. 3 - Photograph from Assemble Fig. 4 - Photograph from Assemble Fig. 5 - Map by Hereward Leathart, edited by author Fig. 6 - Collage author’s own, photographs from Assemble Fig. 7 - Collage author’s own, photographs from Assemble Fig. 8 - Photograph from Assemble Fig. 9 - Photograph from Assemble Fig. 10 - Diagram author’s own, photograph from Assemble Fig. 11 - Photograph from Assemble Fig. 12 - Photograph from Assemble Fig. 13 - Diagram from Assemble, edited by author Fig. 14 - Diagram author’s own, photograph from Assemble

LILAC: https://www.lilac.coop/ https://www.communityledhomes.org.uk/success-stories/lilac http://lilac.coop/wp-content/uploads/2018/07/lilac-briefing-sheet-community.pdf https://www.lilac.coop/community/ https://www.slideshare.net/HCA_UK/quality-housing-growth-in-leeds https://www.buildup.eu/en/practices/cases/lilac-low-impact-living-affordable-community-co-housing-project-using-sustainable Presentation Video: https://makinglewes.org/2014/01/30/lilac-affordable-ecological-co-housing-project-leeds-uk/ https://drive.google.com/file/d/1tlxJrM4yUJRcgKU6ZGEYjBXhJEmrTVZF/view https://www.modcell.com/news/lilac-affordable-ecological-co-housing/

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APPENDIX

4.19 AGROCITE - THEMATIC CASE STUDY

BY ELOISE LITTLER, PENG YIN, CHARLIE KAY, LUCA PHILO

“NETWORKING • Establishes resilience networks and initiativesin neighbourhoods through a variety of active individuals and local organisations, merged with civic support.

• Networks increase the value of resourcefulness, produces a more even power distribution.

• Each hub is flexibly connected to small local networks as well as the larger R-Urban network - enables an open system.

“In this drawing I have tried to visualise the community aspect of Agrocite. The practice cannot function with out each part - architects, urban planners, residents e.t.c. - all working together harmoniously. Through this shared collaborative process, they are able to create a scheme which revolves around participation and inclusivity. There is no hierarchy, everyone works together to create a resilient city.”

Eloise Littler

PARTICIPATION • Allows citizens who choose to be involved to participate fully in the implementation of the strategy.

• This includes everything from events and training activities, to running the hubs.

• Citizens become the key agents to innovation and change, generating alternative social and economic or ganisations, collaborative projects and shared spaces, producing new forms of commons.

LOCAL ECOSYSTEMS • Generates local ecosystems of existing and new services.

• Residents are encourages to buy local products, but also make their own products.

• The spatial design processes of commons facilitates the hands-on activities of citizens.

• Long term aim - development of socio-ecosystems at local, regional and international scales.”

Eloise Littler

The Community approach to this project was something that was particularly engaging to me as my own project tried to integrate the community.

Using hydroponics within my building will hopefully encourage people to grow their own produce at home. The pods could even be rented out within my facility to draw the community into the building and let them grow

their own food.

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4.20 BAUHAUS DESSAU - THEMATIC CASE STUDY

BY YATING HE, LIZA NADEEM, MINGXUAN GE, JACK CALLAGHAN

BAUHAUS - AN UNPRECEDENTED MODEL SCHOOL FOR THE SOCIETY

THEORY AND PRACTICE- LEARNING BY DOING

“As a ‘university of design’, the Dessau Bauhaus is not an artistic, but a social phenomenon... to bring together all vitally creative forces, so as to give harmonious shape to our society.”

Bauhaus was an idea which unified first arts and craft, and later arts and industry; it aimed for Gesamtkunstwerk- total work of art. The new multi-disciplinary approach hoped to “Create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist.” Its agenda was the spiritual revival of the society through design. Bauhaus focused on providing functional and affordable consumer goods for the working class.

This was a unique and unprecedented approach in college art departments which was certainly unusual for Germany.

Bauhaus furniture, interior fittings and lighting made in its own workshop

The city of Dessau financed the Bauhaus project and also provided the building plot. It was designed by Bauhaus in his own office. He thoughtfully laid out the notion of Gesamtkunstwerk which considered formal and practical education equally important. It emphasized on process over product. The programme provided opportunities of hands on experience to the apprentices. The products were made to standard which were fit for industrial prposes. The very first opportunity being making the interior finishes, furniture and lighting of Bauhaus in its own workshops, hence learning by doing. It highlighted the scholastic function of a workshop.

The concept of workshop was vital in Bauhaus as Gropius’ writes in his manifesto, “The school is the servant of the workshop.” The workshop-based education yet again served as new model for the society, that became a revolution in art education system and modern architecture.

The panel of masters was twice as pivotal for the development of the Bauhaus’s philosophy. Gropius succeeded in getting well-known, experienced and avant-garde artists on board for the purpose. This also shows polarization and diversity in the curriculum of Bauhaus.

“The Bauhaus, whether viewed as a school, as a style, or as an idea, was radical in conception... it created a revolution of thought and action in the formation of art, architecture, and design curricula.”

MULTI-DISCIPLINARY- COOPERATIVE AND COLLABORATIVE

The agenda of the Bauhaus of unifying artists and craftsmen called for a multi-disciplinary approach. This formulated an educational model which used modern materials and methods. The objective was to train artists and craftsmen for the industry as well.

The programme was structured around providing preliminary courses to integrate theory and application. “Educational courses with this type of structure were unprecedented and had to be completely newly developed by Gropius initially.”

This pragmatic approach to design education was adopted by other design schools in many countries eg the Shillito Design School in Sydney.

Moreover, today nearly most art programmes provides foundation courses- based on the Bauhaus model- in which fundamental elements of design are taught.

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This part tried to highlight the benefits of collaborative working spaces. The open plan workshops and the open classroom learning spaces have a great impact on their daily rituals. Daily rituals are meaningful practices and are internally motivated. A daily ritual can provide energy and enjoyment along with efficiency and structure.

The open spaces promote the collaboration not only because of the more accessible feature but also because of the natural elements. The open spaces combine with the glass curtain wall maximum the sunlight directly into the rooms. It makes the spaces more comfortable and open. As an art student is important as it allows space and freedom to think, explore and create.

It improves the way they cooperate and resolve issues. It leads to more innovation, efficient processes, enhanced success and better communication.

Bauhaus open studio activity has cooperated with the different academy to highlight the work, study and inhabitation of the workshop spaces. For example, the Northumbria university in UK and the Verginia University in USA tried to explore the physical or intangible inhabitation boundaries. It illustrated the impacts of this key moment of Bauhaus, especially the freedom of education and teaching(Bauhaus Dessau 2020).

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“As a ‘university of design’, the Dessau Bauhaus is not an artistic, but a social phenomenon... to bring together all vitally creative forces, so as to give harmonious shape to our society.”

- Walter Gropius

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Bauhaus colloborative approach to design and art is a key driver to my scheme, and so this study proves that beneficial need for colloboration in art and design to create striking pieces of work that will last for decades.

Gropius’ philosophy to thinking and colloboration was the most interesting aspect of this project for me. Initially discarding the use of modern machinery he eventually adapted the artist to this new phenomenon to supply the school with enough funding due to the decreased need for the individual crafstmen.

My building in a way does this by selling its hydroponic produce and the water that is filtered on the site.

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APPENDIX

4.21 GERRIT RIETVELD ACADEMY AND SANDBERG INSTITUTE - THEMATIC CASE STUDY

BY AMANDA YEONG, LOUIS DUVOISIN, GLORIA HII, AURELIA THOMPSON

RESEARCH CONTEXT

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

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

Luca Carboni Freelannce designer and architect with a political focus.

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3. Increasing the possibilities for collaboration, exchange and multidisciplinary working for all factions within the insitute.

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Ground Floor Workshop

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ISSION ND INTERDISCIPLI COM A N N NAR SIG ESIO YW DE OH C Y O This is made possible by thestrategicRmaximisation of columns, which allows the architects to reducd the number of (opaque) structural walls needed, L M K spaces and from them to the outside. TheEphysical AMprogramatic function in this way contributes IA increasing visibilty both through the interior linking ofEthe C TANIO N Tutilised: to the feeling of collective working and demonstrates the diversity of the way the new building can be the idea that that the design Sstrengthening O G RA S ELECTIVE school is oneMhybrid mind.

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

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

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

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

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

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The open plan nature of the building creating a colloboration between different user groups within the facility was particularly inspiring for me. This was something I tried to achieve by integrating some of the studios within my facility next to the main cafe space, encouraging public and artistic

interaction.

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4.22 JOANNEUMSVIERTEL, GRAZ, AUSTRIA - THEMATIC CASE STUDY

BY SIMON TARBOX, JENNA GOODFELLOW, LEA UDRESCU

APPENDIX

The interesting forms and light affects that the cones created within this project were particularly inspiring for the early development of my project, when the light void was more central to my scheme.

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APPENDIX

4.23 THINK CORNER - THEMATIC CASE STUDY

BY ALEEMA AZIZ, OLLIE BUCKLAND, MING CHI LEUNG, JESSICA MALE

Sculptual Skylight Design

Progressive Conservation

Encouraging Interaction with the Public The skylight design is commonly used in JkMM’s architecture design. In Amos-Rex Museum, the skylight creates a public space in the rooftop where the visitors can skate and sit on the sculptual skylight structure.

Building Type

Think Corner • University of Helsinki • Finland

Provide Openess of the Space The high leveled skylight let the natural light projects wider and distribute evenly into the space. The sense of height create by the skylight provide openess in the space, such as for public area and study space in think corner.

Helsinki is commited to sustainable conservation through the cities developments and teaching on the topic. The Cities strategy for progressive conservation is being guided by becoming carbon neutral by 2035.

The strategies in place to implement this are:

Enhancing Human Comfort and Health Several studies show that natural light can improve mental health and physical health. In the study space, natural light can improve the concentration and working efficiency. Therefore, skylight design is ideal for study spaces and JKMM has widely used it in their design.

• Sustainable traffic solutions: extended electric car charging networks, raising parking fees, reducing emissions from its port operations and promoting public transport.

• More energy-efficient buildings: supplying emission-free thermal and wind energy, promoting wooden construction and steering people towards energy-efficient solutions.

• Clean energy production: Utilising waste heat, implementing heat pumps, using electricity storage facilities and research and developing energy solutions for the future.

• Smart and clean economy: developing climate-friendly products and daring to try new things and create pilots.

University campus building

The city has a strong connection to nature through its large incorporation of nature with up to 40 percent consisting of green spaces and has 123 km of shoreline. This easy access to nature has encouraged a sustainable way of living for locals and tourists.

Aleema Aziz

The circulation within the scheme was interesting and similar to my own main circulation stairs which is used with the intention to encourage the public into the building and onto various floors so that the public engage with the private.

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Oliver Buckland

Helsinki’s master plan sustainability strategy was something that was of interest due to my own projects awareness towards sustainability.

Mixed-use education

Scientific focus Wesley, Ming Chi Leung

Centrally-located

Collaborative study space

Used by students, academics and public Jessica Male

The physical programme and design of spaces for this thematic case study also followed some of the key ideas I had implemented into my scheme from the start of the project.

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APPENDIX

4.24 THE PAUL MARSHALL BUILDING - THEMATIC CASE STUDY

BY ASHER HON, MICHAEL ZHOU, JULIAN DJOPO, HANNAH FORDON

Grand Hall

Graphic Communication

Management/Finance

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.

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

4. Front view renders by Grafton Architects

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

JULIAN DJOPO

The Paul Marshall Building | Grafton Architects

Progressive Conservation

Public Realm Connection

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.

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.

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

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.

The Paul Marshall Building | Grafton Architects

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

Teaching and Learning

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

JULIAN DJOPO

The Paul Marshall Building | Grafton Architects Research/Institute

ASHER HON

Gaps between buildings maintained.

5. Uses of each floor, modified by author.

Increasing heights matching patterns

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.

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6. View from John Watkins Plaza Bicycle Parking

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FIGURE 23: Picture of Marshall Building

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

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7. Site section render by Grafton Architects.

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14. Elevation drawing with heights comparison, Grafton Architects.

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18. Grand Hall floor plan at 1:250 scale

20. Interior render by Grafton.

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APPENDIX

4.25 GMIT FURNITURE COLLEGE

BY CHING YEE JANE LI, JAMIE RYAN BONE, KAROLINA LUTTEROVA, YUEN MAN CHENG

CHING YEE JANE LI

CHING YEE JANE LI

TOWARDS A PROGRESSIVE CONSERVATION AND EMBODIED READING

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Case study in relation to other buildings of its type

RESPONSE TO THE LANDSCAPE AND ENVIRONMENT

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The building in relation to its site and surroundings 1.

‘Some buildings have savage histories. Histories that can leave a place in need of a kind of architecture exorcism, a project of redemption. In Letterfrack, life was overshadowed for much of the last century by a repressive industrial school at its heart.’ Since its closure in the 1970s, the village and the institution is being redesigned by the community to secure its future. O’Donnell + Tuomey, the architects who has long connection with Connemara, has look into to the site both practically and emotionally to provide positive conservation of the history in their design and at the same time giving it a modern and forward-looking identity, so that the proposed function and architectural design could combine to transform the outdated 19th century institutional building into an dominant educational resource for the 21st century.

After the reformatory closed in 1974, the Connemara West, a community-owned development organisation in County Galway has bought the site, with an intention to transform the site into a more positive future.

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‘There had been no intervention on the site for 100 years…We had to find some way of owning it that would protect it for the future.’

etterfrack was a poor and neglected area until the James and Mary Ellis settled there in 1849 and founded the town as a relief to the horrors visited on the locality during the Famine. Under Ellis’ goverance, the land had became a village with better living condition and vibrant social and educational development. However, when James Ellis’ health failed in 1857, he sold the land to John Hall, an advocate of the Irish Church Mission Society. Later in 1882, the Christian Brothers were asked by the Archbishop of Tuam to establish an industrial school at the site. The school opened in 1887, forming three sides of a square of 50 metres each direction, and was composed of three dormitories, aband room, five classrooms, kitchen, refectory, washroom and laundry.

The institution was built as part of a nationwide program of penal reform, providing skills training and discipline for children from the urban slums. The harshness and cruelty that became endemic in this system of incarceration is one of the social scandals of modern Irish society.

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Ireland’s Pavilion, Biennale 2004 , VeniceItaly Concepts of ‘Scary House’ and ‘Open Frame’

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Sheila O’Donnell and John Tuomey, who were appointed to redesign the site, tried to learn more about the landscape forms, textures and colours, and the community’s needs on both practical and emotional aspects. Demolition was an consideration first came up, as the terrible background of the building had to be taken out of the village and be reconstructed, so that its clear and simple spaces could be free from the previous sorrow and allow a more positive and productive future.

However, after a series of public meetings the community thought that the building should be kept, as it was crucial to retain aspects of each different sides of the site’s history.

Nonetheless, the first move was to take away some of the forbidding formality of the school, along with the designs of dramatic view buildings, including the machine hall, furniture restoration hall, library and cafeteria, which are now completed and in use. They formed a second phase of development, a redemptive programme of subtraction for the previous building,

‘We don’t want to leave ghosts in the old building. We have to take the old building with us.’

- Tuomey

CHING YEE JANE LI

In Donnell and Tuomey’s design, the new furniture college for Letterfrack not only created a place for learning, but also a whole context for the story of Letterfrack and its people.

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Fig 1 - A drawing done by Donnell and Tuomey during their visit in Letterfrack, illustrating the view from mountain and their first thoughts of design strategy.

The first noticeable change in the site is the entry into the area. The once rigidly straight path leading from the village to the front door is removed (Fig 2), and the symmetry has been shifted with the axis changing into a curved line in the site, forming a softer, more circuitous approach (Fig 3), the new forecourt upon entry opens up the enclosed form of the courtyard plan, which has effectively helped with changing the atmosphere of at first sight.

On the other hand, the architects were interested in creating aspects of character and atmosphere for buildings in conserving the sense of place and different approaches had been carried out to these senses in the furniture college. They wanted the building to embody the spirit of the endeavor that the people who used the building were involved in, and some of the ways they tried to work with was by considering material, texture and color in buildings. At the same time , the context of Letterfrack had provided a particular opportunity with its significant landscape that the building is situated in.

Besideds, there are also old buildings around the site that have their own character and atmosphere, in order to link and combine them with the new college, the architects not only looked at the forms in the landscape but also at the colors and the textures. For instance, they collected stones and shells on the local beaches, and making them part of the issues to introduce for the definition of the place. They started to work more with materials which are self-colored to relate to the colours and textures of the landscape, for instance a render for the walls of the building which uses the colors of the stones instead of painted, the color comes from sand and the shells are in the aggregate of the concrete as well as the building. Other external materials like Irish green oak andterne coated stainless steel are also used. Having this kind of color and texture has close linkage with the original landscape, it registered the passage of time in that the buildings weather naturally because they’re not painted rand they’re not coated so they change in time (Fig 5).

6

7 The centre for vocational training by Durish and Nolli brigs a new function to the tourism dominated area of Lake Maggiore without disrupting its identity and similarly to GMIT furniture college it introduces a different economic model based on knowledge transfer independent from the migration to the area.

When O’Donnell + Tuomey to characOpen Frame (Fig 7) The building is built on a site in a valley, whichwas has selected a very flat represent Ireland at the Venice Architecture The timber framed structure of the Machine ter. The building responds by its linearity acting as a membrane beBiennale in 2004, they showed the first-phase Hall workshops 8) was important Uniform(Fig natural lightanprovision tween the rural and urban landscape andcollege its form is very sensitive to constructions of the by installations principle of building construction in Letterbased on the project. worksCollege they exhibited frack. the contours of the land.

Similarly to theThe GMIT it responds to The Open Frame utilizes similar struchave great linkage with the current furniture tural principles, representing an elegant the nature of the undersite by utilising concrete structure for the base college structural and verbal communication. economy, a leaning lattice. In the biennale, of the building since the is often flooded.

Furthermore, position Thesite timber structure, the cross-braced frame theofinstallation of frame is put to work to the building is affected by providing the natural light for the working containing a stairs, the red-ovide steel, the support three levels of exhibition information shed in the very landscape, all these motifs strategy (Fig 8); As mentioned by Donnell in Saving space. Furthermore ittinalso utilises distinctive material first appeared in the Irish Pavilion.

Letterfrack, the idea of open frame reprefor the metal cladding, due to which the building appears undisrupsents the new buildings, which servesas asmeans a Buildings concrete platform of flood prevention tive in its context. In terms of sustainability, wood might be a greener In response to the theme of Metaporphodeliberate opposition to the Scary House. By alternative, however, the of the vocational sis programme of the biennale, Ireland’s Paviliontraining was a centre calling it the open frame, it means something transformation of theand ongoing redevelopabout involves activities related to metal cutting joinery, which might be the structuring support system that project of the industrial school in the the community project gives in Letterfrack. a potential risk to firement safety. past century, linking with its later incorpora-

O’Donnell and Tuomey / Sandford Park School, Dublin

Drawing from the Exhibition of the Irish Pavilion in the Venice Bienale, where O’Donnel and Tuomey demonstrated and conceptualised their use of timber form as a means of expression, this approach might be characterised as an important feature of the building type in GMIT furniture college. The use of timber in a similar form as in the GMIT furniture college can be observed in other projects of O’Donnell and Tuomey as well. The way they approach the traditional material relating to the context of the site is more expressive producing a more contemporary effect as well as structural capacity. The timber acts as an evocative element that refers to the site context and history of the traditional building, however it is also means of expression of the new challenging form. This approach to the form of the structure can be observed in the Sandford Park School. Other examples of structural timber trusses communicating aesthetic value might be seen in Alvar Aalto’s Säynätsalo Town Hall.

Säynätsalo Town Hall / Alvar Aalto

3.

8.

9 9.

Scary House (Fig 9 & 10) A different kind of structure stands in contrast to the Open Frame, displaying a more intimate and complex in respond to the previous form. This smaller building is a representation of the built transformation of This case study relates to the prothe site as an industrial school in the past.

It was made of two layers with one inside gramme of the GMIT college. It is a the other, offering the character of a lobster centre for vocational training accompot- it’s easy to get in but it’s not easy to get metal workshop, woodout, which the architects considered it modating as a symbolism of the character of the instituworking workshop and building techtion. During the construction, the architects nology workshop and classrooms for For instance, the new buildings at Letterfrack had also refered to the form and structure of stands fofr a reconsideration of the relasome early churches in the west of Ireland other teaching activity. tionship betweeen the former penal institulike the chapel to St. Magdaro. On the other While this building utilises steel tion and the place. Ireland’s Pavilion created frame relates Workshop facilities hand, the construction of the 11. beams elements of the architectural project to to boat building techniques from the west of to support the large span needintroduce characteristics of confinement and ireland for the traditional characters. ed over the workshop facility withrelease, closed institutions and frameworks out additional vertical supports (see for evolution. Principles of form and construcTogether, these abstract installtion at the tion was presented in an abstract form from exhibition created a forecourt, a point offig.), ori- GMIT college, in contrast, utithe built structure of the furniture college, entation: the old religious prison as a scary lises more complex timber frame conevoking memories of chapels and shrines, house to be remembered as nightmare of struction (see fig.). lobster pots and the skeletal carcasses of the past with its fearful tilted symmetry, and upturned boats. the open framework of a community college in the wild, opening to endless possibilities, Classrooms 12. telling the story of an institution transformed.

10

tion within a community-generated campus, and displaying the story and changes of the institution. The works attempted to tell the story of the past, present and future of the site. From the installation, we can understand the initiative behind the architects’ design for the furniture college, which is not focused only on the architecture of the new Furniture College but also to provide an overview of the history, culture and landscape of Connemara West to provide a progressive conservation of the area.

WORKSHOP + TRAINING FACILITY Programme + response

4.

5.

GMIT workshop facilities

Karolina Lutterova

Building blending in with the landscape

11 12

10.

SSIC workshop facilities

Karolina Lutterova

This projects consideration to the surrounding context was worth noting down and understanding to potentially use within my own project.

Their unique timber form is also inspiring and is a more realistic and older approach to my curved glulam arches.

152

153

APPENDIX

4.26 NANTES SCHOOL OF ARCHITECTURE - THEMATIC CASE STUDY

BY EHAN HALIMUN, ELLA FREEMAN, XINRUI LIN, CHAO JUNG CHANG, ANNA TOFT

QUESTION 02 | TOPOGRAPHICAL CONTEXT

QUESTION 02 | LINK TO ACADEMIA

Ella Freeman CONTINUATION OF THE STREET:

ARCHITECTURE - AN INSULAR ACTIVITY?

Figure 2: Continuation of street Diagram

The main massing of the school is pushed up creating a multi-use space on the ground floor where tarmac runs throughout. The continuation of the asphalt street ‘dissolves the threshold between the institution and the city, entrenching it into the urban fabric.’3 This allows the school to act as a public space.

3

Ella Freeman

WORKSHOP

Within the school all processes are integrated and run alongside each other. This can be shown by the workshop doors opening onto open public space. This was designed in an act to ‘break the conventions of education as an internal and insular activity’.7 The polycarbonate sheeting allows for the public to also see the activity happening in the workshop, creating connections between the city and the academia. This allows for the work in the school to have direct presence in the life of the city.

Ibid. p.17

OPEN PUBLIC SPACE

7 Prewett Bizley, "Nantes Architecture School – Lacaton Vassal — Prewett Bizley Architects | Passivhaus | Retrofit", Prewett Bizley Architects | Passivhaus | Retrofit, 2020 <http://www.prewettbizley.com/graham-bizley-blog/2015/7/2/nantes-architecture-schoollacaton-vassal> [Accessed 11 December 2020].

Figure 3: Photograph by Lacaton and Vassal

Figure 4: Render by Lacaton and Vassal

Figure 5: Photograph by Lacaton and Vassal

THE RAMPS AND DECKS:

1:1 SCALE MODELLING:

Figure 19: Photograph by Lacaton and Vassal Figure 15: Workshop Diagram

CONCRETE SLAB AND POST CONSTRUCTION

Figure 6: Ramp Diagram

STUDIOS SPACE AVAILABLE FOR MODELING

X2 90CM

The ramp creates a gradual change in levels by the ramp allows for the building to be experienced like a city, walking from one ground to another. This continuity denotes the ‘floor plates as superimposed ground floors rather than stacked building levels.’4 The use of a ramp creates a softer interaction between the ground and the building allowing for the public to gentle enter the building.

4

Figure 1: Nantes Site Plan

QUESTION 02 | RELATIONSHIP WITH THE CITY

Figure 18: Photograph by Lacaton and Vassal

Ibid. p.36

8 9 Figure 16: Load Diagram

4

QUESTION 4 | THEORATICAL POSITION

Ella Freeman

The production of extra space more than doubled the project’s usable surface area, from 12,500 to 26,000 square meters.8 This space could then be used by the city and the school to accommodate 1:1 scale modelling.

The use of industrial construction processes has meant the building can take loads of 1 ton per square meter, 2.5 times the standard load bearing capacity.9 Like seen in the AA Visiting School, 1:1 scale modelling is seen to be an important skill to be integrated into education.

Figure 17: Modelling Diagram

Ruby and Ruby, p.13 Ibid. p.46

6

Chao Jung Chang

Figure 8: Participation Diagram

1

2nd STRUCTURE

3

SPACES ADAPT TO SUIT THE NEEDS OF THE CITY RENT SPACES - economic

PUBLIC

1. PARTICIPATION:

PARTICIPATION IN DESIGN

BENEFITS TO LOCAL COMMUNITIES

2

USE OF UNPROGRAMMED SPACES

STUDENTS

STAFF

The main communities within the school ‘played a central role in conceptualizing the new school of architecture and were able to shape the spaces they needed.’5

EVENTS - cultural

5

STRUCTURAL SOLUTION TO ENERGY EFFICIENCY

Figure 70

Ibid. p.19

these spaces provide a buffer zone between the programmed spaces, which are heated by radiant panels, and the exterior climate, allowing for the implementation of smaller heating systems.

ITECTURE

CH HOOL OF AR NANTES SC

OPENINGS

The establishment of two climatic zones integrates natural systems of thermal control into the building. (Fig.70-72) The first zone consists of the school’s programmed spaces that feature standard insulation and heating. These areas are surrounded by unprogrammed double-height volumes, which, like horticultural greenhouses, optimise climatic conditions to produce an optimal interior temperature.

Figure 7: Benefits to communities Diagram

3. ADAPTABLE AND FLEXIBLE SPACES:

The unprogrammed spaces welcome the public to use them for concerts, film screenings enhancing the cultural life of the city.

2. USE OF UNPROGRAMMED SPACES: Figure 12: Programmed vs Unprogrammed Space Diagram PROGRAMMED SPACE UNPROGRAMMED SPACE

EVENTS CONCERTS FILM SCREENINGS

Figure 10: Photography by Lacaton and Vssal

Figure 14: Photograph

by Lacaton and Vassal

5

CONCERT/EVENT

The secondary lightweight structure installed programmed spaces between floor plates to create an adaptable framework for future expansion and evolution depending on the needs of the city. These spaces can also be rented to make surplus revenue.

Figure 13: Photograph

by Lacaton and Vassal

Figure 11: Photography by Lacaton and Vassal GLASS SLIDING DOORS

Figure 9: Adaptability Diagram

Figure 74

Figure 71

The openings between the two types of spaces use floor-toceiling glass sliding doors that ‘establish an unobstructed visual relationship among spaces inside the school’6 and the immediate city context.

70. Diagram of climate system of the building in Winter 71. Diagram of climate system of the building in Spring/Autumn 72. Diagram of climate system of the building in Summer 73. Diagram of polycarbonate panel 74. Building facade Figure 72

6

Equipped with simple ventilation and shading systems, these spaces can adapt to warmer temperatures; In the winter, the polycarbonate clad double-height spaces (Fig.74) act like a greenhouse, capturing solar heat gain to minimize heat loss between the interior programmed spaces and the exterior (Fig.73); in the height of the summer, half of the façade can be opened up to passively ventilate the structure.

Figure 73

Ibid. p.36

19 The open programme of the building was designed for the public from the offset allowing a colloboration for all processes at once. Although this isn’t possible for my scheme due to the steep topography the use of circulation stairs and a central cafewithin my scheme brings the private in close contact with the public. This is also achieved by intermingling private and public spaces within floors to encourage user interaction.

154

155

4.29 INTITIAL EXPLORATION

4.28 INITIAL EXPLORATION

SYNERGY

OUSEBURN AND ACADEMIA EXPLORATION

APPENDIX

Collage looking at key characteristics of both Ouseburn and the Academia

The first thing I noticed when entering Ouseburn was the amount of art in the area, both graffiti and murals.

Another key aspect that was important for me was the river and the greenery around it.

When I first entered Ouseburn it wasn’t the bars or buildings that interested me, I thought the graffiti and street art was more striking. To expand my line of enquiry further I want to look into why Ouseburn has such a rich artistic side and what benefit this has to the community.

Thinking on a more practical sense, the other feature of Ouseburn is its topography and natural environment. As Ouseburn sits in a valley it has good views to both the quayside and the whole of Newcastle, depending on where you are. Along with this it has a idyllic river running through the centre of it enhancing the beauty of Ouseburn whilst contrasting with the bold street art that is seen on most buildings in Ouseburn. For my line of enquiry I want to explore this contrast between nature and the bright spray painted colours.

Looking at the Academy I was initially interested in the environmental projects that were taking place, in particular the research areas that looked at reducing our energy demand on our planet. This is done by using renewable energy or the exploration of using biology in design and architecture to cut down the negative effects that materials such as concrete or steel have, as well as existing methods of reducing the energy output of a building such as passive ventilation and solar gain. Collaboration was another important feature that is evident within the Academy today. Not only does collaboration increase efficiency, it also creates an outcome that suites more people in the community. From the basic level of research I have done, I know there are lots of artists in the area that have created a community within Ouseburn, which makes the idea of collaboration within this community even more prominent.

My synergy of them both tries to incorporate some of the technologies that are being explored whilst showing how they work alongside the build environment that is covered in a contrasting array of colours. The community is portrayed through this public seating area as well as the array of different street art that is see on the wall.

From the Academia I looked at two key areas - Colloboration and Sustainability. This was informed from my research of Ouseburn, knowing that there is a tight community and a large amount of greenery on the site.

156

157

ARTS CLASSIFICATION Art is defined into 3 categories; Representation, Expression, and Form

REPRESENTATION

GRAFFITI PRECEDENTS Examples of places where graffiti has been used as a way to promote the area, rather than be vandalistic

FORM

EXPRESSION

Mimesis

fut uris m

ng

ny

o arm

h

cu bi

Knowledge

Practice

sm

y

t au Be

o

C

ture

Na

i py

APPENDIX

4.31 ART

4.30 ART

bala

nce

ity

un lism

ea surr

Romantic

Representation or Mimesis was first developed by Plato the idea of art as “mimesis,” which, in Greek, means copying or imitation. This form of art was based off skill as the result of knowledge and practice.

Expression focused on the emotional audience reponse to pieces, often glorifiying nature with connotations of spirituality and encouraging free expression. Art began to be described as not just being something done with skill, but something that was also created in the pursuit of beauty and to express the artist’s emotions. The Romantic movement is a good example of this.

Form pushed the boundaries of ideas and creativity in art. Balance, rhythm, harmony, and unity became the principles that were used to define and assess art and design. This removed previous ideas of aesthetic interest and focused on the formal qualities within paintings and sculpture. Early examples of this are realism, cubism, futurism, surrealism and modernism.

Sculpture in particular nowadays is predominantly focused on this.

LUCIUS ANNAEUS SENECA​

FRANK LLOYD WRIGHT

PABLO PICASSO

All art is but imitation of nature.

JEAN SIBELIUS

Art is the signature of civilizations.

Art is a discovery and development of elementary principles of nature into beautiful forms suitable for human use.

THOMAS MERTON

Art enables us to find ourselves and lose ourselves at the same time.

The purpose of art is washing the dust of daily life off our souls.

RIO

Haas and Hahn are are Dutch artists that travel the world creating art. When visiting Rio de Janeiro they noticed the tight communities that were created there amongst makeshift/diy houses and decided to add some art to the area whilst listening to the communities concerns and comments on their art, constantly improving each design.

After witnessing the immense social divide between people living in the favela’s and other parts of the city they imagined the possibility of building a bridge of understanding through art. Their dream was to plaster and paint an entire hillside favela together with the inhabitants. The project would give the favela population an opportunity to reshape their living environment with colorful art while improving the houses. Jobs would be created and local economy stimulated.

Some papers written after this development were concerned that this doesn’t address the real problems in the favelas, such as poor infrastructure and drug gangs, and could even create a greater social divide due to the tourism. But one man says that “It gave me a different outlook on life, showing me that an honest job can be a good thing”. I believe this ideology could be carried through to Ouseburn, and try to promote craft and art in the area even more.

EDGAR DEGAS

Art is not what you see, but what you make others see.

“Art can be thought of as a symbol of what it means to be human, manifested in physical form for others to see and interpret. It can serve as a symbol for something that is tangible, or for a thought, an emotion, a feeling, or a concept. Through peaceful means, it can convey the full spectrum of the human experience.

Perhaps that is why it is so important.”

The idea of originality in art persists, leading to ever more genres and manifestations of art, such as digital art, performance art, conceptual art, environmental art, electronic art, etc. Although ancient in nature graffiti and street art is one of these modern forms of art due to the advancement in painting techniques and politcial focus. With the ideologies and aesthetics of graffiti in mind, I wanted to look at sculpture that could responsd to graffiti whilst being less frowned upon and more permanent to stop developments in Ouseburn 158

HAAS AND HAHN

LEAKE STREET ARCHES - WATERLOO LONDON The council values graffiti as a medium to promote an area, valuing the contribution the neighbourhood has to bringing activities and economy to the area with more bars and restaurants popping up nearby.

The graffiti is encouraged to be painted within the arches, but has stricter regulations outside of the area.

With these precedents in mind, it shows that

other services in combination with art draws people to certain areas in London.

159

4.32 LOCAL ARTISTS

APPENDIX

4.33 READINGS

COLLAGE SHOWING THE VARIOUS LOCAL ARTISTS THAT CURRENTLY WORK IN OUSEBURN

GRAFFITI AND ITS ROLE IN URBAN REGENERATION Exploring the role of Graffiti in urban regeneration both the positive and negative effects.

European Journal of Housing Policy Vol. 5, No. 1, 39–58, April 2005

JUDITH DAVIES

Art, Gentrification and Regeneration -From Artist as Pioneer to Public Arts

HANNAH SCULLY

STUART CAMERON & JON COAFFEE Global Urban Research Unit, University of Newcastle, UK

ABSTRACT The role of art and the artist has played a part in both of the main long-established theories of gentrification, looking respectively at ‘culture’ and ‘capital’ as key drivers. Cultural analyses of gentrification have identified the individual artist as an important agent in the initiation of gentrification processes in old working-class neighbourhoods. Alternative theorizations have recognized a second stage where capital follows the artist into gentrified localities, commodifying its cultural assets and displacing original artists/gentrifiers. The paper will argue that more recently a third key model of gentrification can be recognized where the main driver of gentrification is ‘public policy’ which seeks to use ‘positive’ gentrification as an engine of urban renaissance. This involves the use of public art and cultural facilities as a promoter of regeneration and associated gentrification.

This will be examined in relation to the arts-led regeneration strategy adopted in Gateshead in north-east England and critique whether the linking of art, regeneration and gentrification as public policy can be extended beyond the usual ‘Docklands’-style localities of urban renaissance. In particular, it will consider whether this might play a role in the transformation of unpopular and stigmatized urban neighbourhoods and the renewal of urban housing markets.

KEY WORDS: Arts policy, regeneration, United Kingdom

Introduction The role of art and the artist has played a part in both of the main long-established theories of gentrification, looking respectively at ‘culture’ and ‘capital’ as the key driver of the process. Cultural analyses of gentrification identified the individual artist as an important agent in the initiation of gentrification processes in old workingclass neighbourhoods. Alternative theorizations, emphasizing the role of property capital, traced a second stage where capital follows the artist into gentrified localities, commodifying its cultural assets and displacing the original artist/gentrifiers.

The paper – having outlined this starting point – will argue that more recently a third key model of gentrification can be recognized and, that in this too, the link to art may

10

2014

IL CAPITALE CULTURALE

Studies on the Value of Cultural Heritage

JOURNAL OF THE SECTION OF CULTURAL HERITAGE Department of Education, Cultural Heritage and Tourism University of Macerata

Correspondence Address: Stuart Cameron, Global Urban Research Unit, School of Architecture, Planning and Landscape, Claremont Tower, University of Newcastle, Newcastle upon Tyne NE1 7RU, UK. Email: S.J.Cameron@ncl.ac.uk

eum

C 2005 Taylor & Francis Group Ltd ISSN 1461-6718 Print/1473-3629 Online 05/010039–20 DOI: 10.1080/14616710500055687

Landscape Research, Vol. 26, No. 1, 5–26, 2001

Portland State University

PDXScholar

Senior Inquiry High School Program

FIONA GRAY BOTANY

Public Art and Urban Regeneration: advocacy, claims and critical debates

University Studies

Iain Borden, Murray Fraser and Barbara Penner (eds.) Forty Ways to Think About Architecture, Chichester, John Wiley and Sons Limited, 2014, pp. 54-­‐59

Spring 2014

The Impact of Favela Painting

Chapter 5

Fariha Rahman

Westview High School, fariha@pdx.edu

On Regeneration

TIM HALL & IAIN ROBERTSON

ABSTRACT Public art has been increasingly advocated on the basis of a series of supposed contributions to urban regeneration since the 1980s. A wide range of advocates have claimed that public art can help develop senses of identity, develop senses of place, contribute to civic identity, address community needs, tackle social exclusion, possess educational value and promote social change. However, these claims have been subject to very little serious evaluation. This paper critically reviews these claims along with salient theoretical critiques of public art’s contributions to urban regeneration. It concludes by raising questions that might frame a research agenda for public art within this context.

MARIA SEARS

KEY WORDS: public art, urban regeneration, advocacy, evaluation, critique

Introduction The advocacy of artistic intervention in the public realm shifted radically during the 1980s. Public art became increasingly justi ed, not in aesthetic terms, but rather on the basis of its supposed contribution to what might broadly be termed ‘urban regeneration’. The contributions of public art, it was argued, could be economic, social, environmental and psychological. Such advocacy was in line with a broader shift towards ‘cultural’ means to address the problematic legacies of deep-seated structural adjustment in cities. While this wave of advocacy can be traced back to the Arts Council’s ‘Art into Landscape’ initiatives of the 1970s (Arts Council of Great Britain, 1974, 1977), it was not until the late 1980s that any extensive body of literature began to emerge outlining the claims of public art in this context. In uential examples of this early advocacy included the selfexplanatory Art for Architecture (Petherbridge, 1987) and The Economic Importance of the Arts in Britain (Myerscough, 1988).

In institutional and policy circles, the realization that the arts did not occupy an autonomous aesthetic realm but rather were part of the material relations and reproduction of society (Selwood, 1995a, p. 24) took hold at broadly the same time. Such beliefs underpinned much subsequent public-sector advocacy, sponTim Hall & Iain Robertson, Geography and Environmental Management Research Unit, Cheltenham and Gloucester College of Higher Education, Francis Close Hall, Swindon Road, Cheltenham GL50 4AZ, UK. Email: thall@chelt.ac.uk; irobertson@chelt.ac.uk 0142-6397 Print/1469-971 0 Online/01/010005-2 2 Ó 2001 Landscape Research Group Ltd. DOI: 10.1080/0142639012002445 7

1

Ben Campkin

With its prefix ‘re’, the word ‘regeneration’ contains a creative moment, a small addition to

the stem of ‘generation’, making a new word and meaning through this process. It therefore both defines and embodies an iterative, incremental act of building on what is there,

Let us know how access to this document benefits you.

Follow this and additional works at: http://pdxscholar.library.pdx.edu/studies_srinq Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Latin American Languages and Societies Commons Recommended Citation Rahman, Fariha, "The Impact of Favela Painting" (2014). Senior Inquiry High School Program. Paper 11. http://pdxscholar.library.pdx.edu/studies_srinq/11

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imagining and making anew. Noble and natural as the spiritual and biological connotations of regenerative growth and repair might seem -­‐ even, and perhaps especially, in a secular

age, and one heightened to biophysical processes because of concerns about environmental catastrophe -­‐ as a grand narrative and metaphor for changing cities, ‘urban regeneration’

has recently come under intense critical scrutiny in places such as London, and is suffering a crisis of meaning as a result. Its referents have become clouded and it is often used misleadingly to describe practices that many argue to be degenerate, in social and environmental terms.1

In the rhetoric of planners and politicians current aspirations for regeneration

oscillate between the social and economic, emphasising the need for economic growth, and identifying ‘opportunity areas’ for more intensive use of land and real estate. The London

SUMMARY

Plan defines regeneration areas as those ‘in greatest socioeconomic need’, on the basis of

the UK’s ‘Index of Multiple Deprivation’, a statistical dataset published by the government

Art meant that people were more likely to stay in an area due to the aesthetical improvement that it offered.

This aesthetic encouraged the middle class to join this community.

JIM EDWARDS

FIONA GRAY - SCULPTURES

The increase in interest of the area led to development from the council, which with success then branched beyond the public sector, to the private sector.

This caused a negative impact on the cost of housing in the area and meant that social and community benefits were forgotten about.

The added commerce and wealth in the area has encouraged more diversity and could be related to the long term improvement of more affordable housing to the original locals.

160

161

4.34 PRECEDENT ARTISTS WITH A FOCUS ON COLOUR

APPENDIX

4.35 WATER DEVELOPMENT

JAMES TURELL

His focus on challenging the viewers perception through the use of colour and form is what intrigued me about his work

Previously in Ouseburn the river was used for transportation of goods, as a water-road. Nowadays the riverside walks still acts like this bringing people closer to the river, but it isn’t as natural and wonderful as it could be, despite good efforts of bringing wildlife back into the area.

Daylighting

- Improves mental health - Aids physical health - Enhances productivity - Creates places of congregation

Air Quality - Cleanses air - Natural ventilation strategy - Biofiltration - Natural material use

- Natural shading - Natural partitions allow light to pass through more than a solid wall

ction To e n

ture Na

Water oriented urban design either: improves the sustainability of recycling, maintaining the growth of urban built environment, offering an enhanced emotional experience to users.

Well Being

Recon

Historically fountains and wells were places to commune as well as vital sources of hydration, while providing passive cooling to cities.

Ganzfelds - total loss of depth of perception

Thermal Comfort - Naturally reduces solar gain in summer - Deciduous planting allows solar gain in winter

Acoustics

Amentities

- Natural elements as mediators between spaces and users - Acoustic absorbtion enhances privacy and allows for a more open plan layout

Victorian Tunnels in Ouseburn Levels etc.

The skylights are symbolic of the high bridges and then these tunnels could be symbolic of the Victorian Tunnels

- Maintains urban village aesthetic - Green roofs provide additional congregation spaces and water attentuation for water collection

“A hologram is a recording of light waves on a thin layer of transparent gelatin emulsion. In the emulsion is an image that has full parallax. In other words, it appears to have depth from every vantage point.

Unlike traditional holograms that depict objects, the Turrell holograms aim to make a hologram of light itself.” - Using light as a material

ANDY GOLDSWORTHY

Negatives Positives

I first looked at Goldsworthy due to his brilliant display of colours that he manages to create in the natural environment, which is something I could perhaps replicate to create a link between nature and the bright colours seen in graffiti.

162

Storm King Wall created in 1997 I think highlights another aspect of my brief. The man made stone wall snakes between the natural trees challenging your idea and perception on man made things and making them appear less destructive than current construction.

I believe the artist has made it disappear beyond the horizon to draw you towards it, so that you follow it and find its conclusion. To captivate and educate the people in Ouseburn I should look at this idea of movement and journeys, much like the fabric of Ouseburn has gone on a journey from indsutrial to modern developments.

‘Wading Bridge’ is a artistic approach to make people recognise and reconnect to the river, helping change our perception of it. If the river was unclean people would be less likely to walk through it, creating a statement about maintaining what little nature we have in cities.

A direct interaction to water led me to develop some of my connect piecs within my proposal.

POSITIVES

NEGATIVES

SOLUTIONS

- Business - Tourism - Community engagement - Retail - Investments

- Potential for water pollution - Decline of natural resources - Designs can become outdated as people often visit - Destruction of natural flora - Decline of natural wildlife

- Ensure rubbish is left out of the river and decontaminate water in the river - Appeal for the waterway to become protected from business/sewage use - Adaptable architecture which can be updated easily to fit in with the community/times - Promote use of planting along the waterfront 163

4.36 WATER RESEARCH

4.37 PLANTING INTEGRATION DEVELOPMENT

ADDITIONAL RESEARCH CONDUCTED WHEN LOOKING AT WATER AS A MATERIAL

EXPLORING THE METHODS OF PLANTING APPLICATION TO MY PROPOSAL

APPENDIX

Algal blooms that feed on

nutrient-rich manure and fertilizer runoff can deplete oxygen in the water when they die, creating inhospitable dead zones -- but the same green scum might also serve as a preventive solution upstream.

A microbiologist with the U.S. Agricultural Research Service used algae to recover 60 to 90 percent of nitrogen and 70 to 100 percent of phosphorus from a mixture of manure and fresh water, and suggested that the dried-out algae can then act as slow-release fertilizer for farms.

Algae’s versatility has already won over scientists who see it as the biofuel of the future, and the tiny plant organisms have also been proving their worth in scrubbing carbon dioxide

and nitrous gas from industrial smokestacks. A company

called Algenol was even looked to using algae-derived plastic as a replacement for petroleumderived plastic.

Fig. 38 An algae cladding solution which utilises the suns power to produce algae and therefore biofuel

GLASS BRICK FILTRATION WALL WITH PLANTING POCKET

GREEN TROMBE WALL WITH ALGAE CLADDING BELOW

Fig. 39 Solar Desalination Skylight

Designer Henry Glogau developed a skylight that provides free lighting and drinking water.

The design stores the sun's energy during the day to light homes at night and distilling seawater into drinking water.

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My Research facility could look at preventing water contamination as well as solutions to save water. Although this is less of an issue in the UK due to good water management, the research conducted here could be useful for an international market.

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4.38 JOURNEY OF THE SITE THROUGH TIME

4.39 JOURNEY OF THE SITE THROUGH TIME

Trying to identify the site characteristics through its history

Trying to identify the site characteristics through its future

PAST

FUTURE

APPENDIX • As a large part of my earlier brief was to try and negate developments I thought it would be useful to look at any proposed developments on my site and see why they haven’t been fulfilled to learn from their mistakes.

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© Landmark Information Group Ltd and Crown copyright 2021. FOR EDUCATIONAL USE ONLY.

© Landmark Information Group Ltd and Crown copyright 2021. FOR EDUCATIONAL USE ONLY.

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1860’s Map

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The area around my site historically was mainly used for the artisan industry with a variety of pottery/ceramic works, glass works, and iron/metal works.

There is also a corn mill and timber yard, this was because just east of the burial ground and buildings south of it the city fades into complete countryside, showing the extent of the city and that it was actually a very small place 160 years ago.

In 50 years the uses within the site haven’t changed much. There is a newer building, which is presumed to be a garage at the time, as it is used for this purpose later in history. Next to the site the Glasshouse bridge has developed into a large train and coach carriage bridge to connect places further down the Tyne to the main city. Some of the housing/industrial sheds have been converted into a school.

As you can see from the difference between the previous map and this one, the effect of the wars drastically changed the uses of most of the industrial units despite still being used for industrial purposes. By 1950s most of the buildings in the eastern part of Site 2 were derelict.

This map alongside the contemporary map really shows the extent of decline of craftsman building from 1970 till present day, which has then lead to the increase in developments of the area due to the amount of unused land.

© Landmark Information Group Ltd and Crown copyright 2021. FOR EDUCATIONAL USE ONLY.

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Back Maling Street (left) and Maling Street (right), Byker c.1935. (orignally called York Street) The photographs show the tenet housing and Duke of York pub (left of the housing pictures in ‘Maling Street’) on the site.

Both are very dilapidated showing the conditions that people lived in during The Great Depression. In Newcastle much of the area didnt recover until recently, shown in the pictures below.

Photos taken during the construction of The Malings housing development (below).

Much of the area was derelict before the development took place.

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Jan 03, 2021 18:36 Hereward Leathart University of Newcastle

malingApart - Maling Street (above)

Back Maling Street Townhouses (right)

Miller Partnership Architects have designed an aparthotel within the existing building on site. This was to try and respond to the fact the site is in a conservation area. They were also concerned about the noise levels coming from The Tyne Bars “long standing live music” events

On top of the hotel development they have designed four “authentically simple, robust and utilitarian in nature” houses on Back Maling Street to capitalise on the views that the site offers over the Tyne.

Harper Perry Architects “The project invloves the refurbishment of the three buildings and adjoining terrace.

Using a series of unifying chimneys the development will conceal future kitchen vents and provide accesss to a new semi-external terrace and new roof structure. The structure will have a new roof, large shopfront windows onto Maling Street and bespoke metalwork sliding shutters. The development aims

to bring about small, incremental change to the Ouseburn Valley and to offer premices to new and existing small businesses in the area.”

This development is the most considerate to the nature and surroundings of Ouseburn and even maintains the graffiti brick wall to some extent, which is something I aim to do in my proposal.

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4.40 ROOF MASSING STUDIES

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APPENDIX

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APPENDIX

4.41 PROGRAMME EXPLORATION

PLANNING THE NECESSARY SPACES FOR THE WORKSHOP/RESEARCH CENTRE AT 1:200 STUDIO

Size: 300m2

CAFE/RESTAURANT FORUM Size: 250m

REQUIREMENTS

2

WORKSHOP Size: 200m

2

EXHIBITION SPACE Size: 200m

2

RESEARCH/OFFICES Size: 150m

2

TOILETS Size: 55m

STORAGE 2

Size: 50m

2

RECEPTION Size: 20m2

Public cubicles - 4 Female, 2 Male (2 urinals) Staff cubicles (mixed) - 3 (+10% dimensions) Disabled cubicles - 1 Public, 1 Private

Cubicle dimensions 800mm wide x 1500mm deep (+10% circulation) Disabled Cubicle Dimensions - 2220mm wide x 1500mm deep Size: 50m2

Urinals - 700mm wide x 600mm deep

Public cubicles - Female - 18m2 Male - 10m2 Staff cubicles (mixed) - 8m2 Disabled cubicles - 13m2 Total +10% (Public) - 38.5m2 Total +10% (Private) - 16.5m2

= 55m2

CHARACTERISTICS

Room space: 1325m2 ~ 12.5% for circulation - 175m2 Total Expected Floor area - 1500m2 170

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4.42 BUBBLE DIAGRAMS

4.43 PROGRAMME DIAGRAMS

1:200

1:200

INITIAL SECTIONS

APPENDIX

INITIAL SECTIONS

Views

Idea 1

Idea 3

Disconnection between studios and research facility Cafe sits facing the river and main social space Preserves existing building form and size

Building lacks any long distant views Fixed previous issues - good placement for circulation and noise, as well as central road facing cafe

Double height with north facing windows to display large sculptures

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Water collection system in roof to supply hydroponic research

Idea 2

Idea 4

Discussion forum is disconnected from the main space Good positioning of studios, workshops and research in response to circulation and noise

Research facility is a bit disconnected Interesting exploration of spaces and circulation

Sawtooth windows replicate the existing jagged roof line made from old car parts.

Allows northern light into the studios and research area.

Solar panels angled for optimum energy gain.

I decided to hand draw this section to better show some inhabitation ideas that I could carry through to the next stage

From doing these programme diagrams I learnt that I needed to explore my building in massing to get some more interesting architectural forms in response to the site.

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4.45 PROGRAMME DIAGRAMS

4.44 BUBBLE DIAGRAMS

APPENDIX

INITIAL PLANS 1:500

INITIAL PLANS 1:500

Idea 3 Idea 1

GF

Idea 2

GF

Reconnection to Nature

GF

Reconnection to Nature

Reconnection to Nature

Idea 4

GF

Reconnection to Nature

Outdoor Exhibition

Outdoor Exhibition

FF

Outdoor Exhibition

FF

Reconnection to Nature

FF

FF

Outdoor Exhibition

Outdoor Exhibition

Toffee Factory blocks long distant views of Newcastle from the workshop/Studio Ciruclation of spaces works well

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Reconnection to Nature

Reconnection to Nature

Reconnection to Nature

Outdoor Exhibition

Outdoor Exhibition

Outdoor Exhibition

Reconnection to Nature

Shaded cafe - less atmospheric Building further from the road noise Spaces more public for communication

Spaces are a bit disjointed Workshop noise away from residents Long distant views fixed

Building form could be quite block like Studios are quite far from the exhibitions Minimises circulation space

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APPENDIX

4.46 CIRCULATION PLANNING

ANALYSING THE FLOW OF PEOPLE WITHIN MY BUILDING AS IT IS AND APPLYING IT TO MY PLANS

GROUND FLOOR DEVELOPMENT

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FIRST FLOOR DEVELOPMENT

SECOND FLOOR DEVELOPMENT

THIRD FLOOR DEVELOPMENT

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APPENDIX

4.47 PREVIOUS SECTION ITERATION BEFORE THE SYNTHESIS REVIEW

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