Bella Jahoda Portfolio by PDF Uploads

PORTFOLIO. Paola Isabella Jahoda 170352491

Stage 5 - Semester 2

Design

CONTENTS. Critical introduction

p. 6

The pre-show

p. 8

The Protagonist & The programme

p. 14

The stage

p. 22

Casting the stage

p. 34

Living & acting

p. 48

The material cast

p. 56

The final play

p. 76

Reflective conclusion

p. 107

Appendix / Back stories: Floorplan development

p. 108

Bibliography

p. 114

List of figures

p. 116

Revised work Amendments and new additions since the final review have been marked on each page with this following conventions:

Studio: Edge conditions

New

Amended

ARC8052

ARB CRITERIA. Each section within this portfolio has been referenced with the relevant ARB criteria. This process has allowed me to recognise and understand the skills and knowledge expected from the ARB, as well as, to track what criteria I have met, and the ones I need focus upon next semester. GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. 1. Prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media,and in response to a brief; 2. Understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; 3. Develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user. GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. 1. The cultural, social and intellectual histories, theories and technologies that influence the design of buildings; 2. The influence of history and theory on the spatial, social, and technological aspects of architecture; 3. The application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

GC3 Knowledge of the fine arts as an influence on the quality of architectural design.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design.

1. How the theories, practices and technologies of the arts influence architectural design; 2. The creative application of the fine arts and their relevance and impact on architecture; 3. The creative application of such work to studio design projects, in terms of their conceptualisation and representation.

1. The investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; 2. Strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; 3. The physical properties and characteristics of building materials, components and systems, and the environmental impact of Specification choices.

GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process.

GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

1. Theories of urban design and the planning of communities; 2. The influence of the design and development of cities, past and present on the contemporary built environment; 3. Current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

1. Principles associated with designing optimum visual, thermal and acoustic environments; 2. Systems for environmental comfort realised within relevant precepts of sustainable design; 3. Strategies for building services, and ability to integrate these in a design project.

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

1. The needs and aspirations of building users; 2. The impact of buildings on the environment, and the precepts of sustainable design; 3. The way in which buildings fit in to their local context.

1. Critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 2. Understand the cost control mechanisms which operate during the development of a project; 3. Prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. 1. The nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society 2. The role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; 3. The potential impact of building projects on existing and proposed Communities.

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. 1. The fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; 2. The professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; 3. The basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

GC7 Understanding of the methods of investigation and preparation of the brief for a design project. 1. The need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; 2. The need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; 3. The contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

S E L F - F U L F I L L M E NT NEEDS SelfActualisation Ach ty iev ivi ful ing Creat le e Es potentisat Selfe-ptanc tee l acc

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PSYCH SaO L O G I C A L NEEDS

Ach m Res ievem pec ent t

BASIC NEEDS

Be lo n

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& Sen ove s L con e of nec tion Sa fet y yn rit eed cu s s Se eed h al n alt c e i g H olo

CRITICAL INTRODUCTION. [ Creating a seed stage ]

In Newcastle, 65 people on average sleep rough every night. 12,500 people in the north east were threatened with homelessness in the last year alone. With headlines appearing every day on the papers mentioning the skyrocketing statistics of individuals being threatened with homelessness and homeless individuals struggling to end the cycle, we look around and we think: what can we do to help? Performing arts and theatre has been found to be an effective form of healing and recovery for people who have suffered from homelessness and the trauma surrounding it. This semester’s project focuses on creating a seed stage that will act as a place of refuge, inspiring its inhabitants and encouraging them to seek help in overcoming homelessness. The building is located in an area of Newcastle which has a critical mass of similar support services, where homeless people take refuge, within a very close radius. In addition, the neighbourhood where the proposal is located has a rich Performing arts culture, allowing the building to be situated in an area where it is most needed and connected to its surroundings. Creating spaces for a performing arts program encourages community integration and provides important avenues that allows homeless individuals to see themselves as important members of society and for society to benefit from their skills and talents. Theatre can be a space for better understanding of ourselves and who we could be, and the world we live in and what it could be like. It initiates debates, creates opinions and stimulates change. (Cardboard Citizens, 2020)

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The site as a stage analitique

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Maslow hierarchy of needs

The brief for the ‘Edge conditions’ studio suggested that we focused on “unpicking edge conditions in a social and cultural manner”. Taking into consideration that the brief required the provision of living accommodation, as well as, a variety of cross-programming that could enrich the life of its residents; the ‘Westgate’ Performing arts community centre and residential housing” will include multipurpose performing spaces located throughout the building, with the addition of rehearsing spaces, workshops rooms and residential mid-term and long-term units. The living units and shared private facilities have been carefully designed to accommodate the needs of homeless individuals.

Residential Unit layout

In terms of interior material surfaces, the performing spaces have been designed to work as multipurpose spaces which required the development of acoustic panels. Taking reference from a case study developed this semester, I investigated the different materials that can be used to produce sound absorbing panels. In addition, the buildings timber frame structure, has been left exposed providing a rich natural palette within the building. I have organised my project into different sections. From ‘The pre-show’ which presents the foundations upon which the project is based, to ‘The final play’ which shows the final celebrations pieces of the project.

This semester’s project carries on the work produced previously were I focused on producing a masterplan that put forward a series of interventions across the area of Westgate Road, allowing the site to become the stage for a programme centred around the mission of re-integrating the disregarded members of society back into the community. This was achieved through the implementation of smallscale interventions presented as small stages and workshop spaces which could be seen as a place to rest, to perform and to take shelter.

For a better understanding of the narrative of the project, several development floor-plans have been incorporated on the appendix, with the intention of presenting the rigorous process that went into their development.

In addition, the project takes careful consideration to its material surroundings, as well as, its interior material surfaces. I have dedicated an extensive part of the semester investigating different brick bonds, fenestration details and brick alignments with the intention of positioning the building harmoniously on its site and allowing the viewers to differentiate the private and public areas through exterior details.

THE PRESHOW [ Finding the protagonist, creating the programme and developing the masterplan ]

During semester 1 the project focused on producing a master plan that would put forward a series of interventions at an urban scale. Focusing on the area located near Westgate road that borders the town wall in Newcastle upon Tyne. The chosen site became the stage for a programme centred around the mission of re-integrating the disregarded members of society back into the community. The proposal involved working with two different stakeholders of the area, those being The Tyne Theatre & Opera House and Dance City, and various homeless support centres. The development of a performing arts program fosters healing, re-integration and skill learning for homeless individuals and the community. Creating spaces for performing arts allows members of the community to take part in activities that can create change, promote healing, recovery and help individuals develop new skills. The next pages present some key elements extracted from last semesters portfolio to represent the foundations upon which this semesters work was developed. All figures from this section have been taken from semester 1 portfolio.

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Mapping showing proximity to support services

Homeless man, Newcastle

Performing Arts & homelessness

Wall pockets (1:50)

Stairs with resting areas

Mobile studio

Key design elements

The mapping diagram presents the surrounding support services and performing arts (leisure) centres, highlighting the proximity of each of them to the chosen site. The different collaged images present the news on similar programs being developed in other parts of the U.K. by different charities. One of the most known one is called ‘Cardboard Citizens’, it is an initiative that works with homeless and ex-homeless people to create a theatre that makes social change.

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Stairs with stage and facilities

Collage of similar performing arts programs

After developing each intervention site last semester, it was clear that certain similar elements repeated themselves through all proposals. One of the most important one is the incorporation of stairs seating. The intention behind was to give people a reason to stay, watch and participate any activity happening around them. The seating spaces can also become a place of relaxation, with the incorporation of areas to lay down. As well as, the space below the stairs can be used to place certain basic facilities.

The mobile studios presented the opportunity of being placed in other areas around the site. They can be used as pop-up workshop spaces. They include compartment where people can leave their belongings whilst they join a class or watch a performance. Finally, seating spaces within a building’s façade to provide shelter and resting spaces around the area.

The Masterplan Creating nodes The mapping presented on this page shows the movement and pattern routes created by the incorporation of the different intervention proposals. Looking back at Lynches book, ‘The image of the city’, the new interventions create nodes within the community, places for gathering and concentration of people. The red lines, represent the flow of traffic. The green cut lines represent the new pedestrian flow created by the proposals. With the green circles highlighting how each proposal creates spaces where nodes emerge. The yellow circle is dedicated to the site that has been carried forward this semester.

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THE PROTAGONIST & THE PROGRAMME. [ Performing arts as a medium of recovery, community reintegration & skill learning] Performing arts and theatre has been found to be an effective form of healing and recovery for people who have suffered from homelessness and the trauma surrounding it. Creating spaces for a performing arts program encourages community integration and provides important avenues that allows homeless individuals to see themselves as important members of society and for society to benefit from their skills and talents. Theatre can be a space for better understanding of ourselves and who we could be, and the world we live in and what it could be like. It initiates debates, creates opinions and stimulates change. The programme within the building aims to use the performing arts as a tool in aiding individuals who have suffered from the trauma surrounding homelessness. The next area of the project focuses on presenting how a performing arts programme will positively influence the homeless individuals. I will present a breakdown of the building’s users, the programs proposal and outreach aim, with the addition of a diagrammatic description as to the: What? Where? Who? And when? Of the project.

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Building users

Users proximity to site

Residents Ma

This user will live within the building in the various residential units provided. They will have access to all public areas as well as shared residential spaces.

Resident

Building boundary

Daily user

Neighbouring support centres

Daily Users Daily users will come from neighbouring homeless support services and will have access to the shared public areas by taking parts in different drama classes or workshops.

Occasional Visitors / users

Occasional users could be individuals visiting from homeless centres outside the immediate radius, as well as, family members and friend of residents. These users, will have access to most shared public areas.

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Occasional visitor

Resident’s friend

Areas further away

Performing arts teacher

Residents keeper

Newcastle area / building boundary

Staff Staff members will mostly arrive from other areas of the city; however, resident’s keeper will live within the building. Staff will have access to shared public spaces as well as certain shared residential areas.

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CREATING CHANGE Theatre can be a space for better understanding of ourselves and who we could be, and the world we live in and what it could be. It initiates debates, creates opinions and stimulates change.

ADVOCACY

1 What

It can be used as a tool to amplify their voices in order to help decision-makers understand their experiences and invest in solutions.

TRUST

Trust is a key element, that allows people struggling with homelessness to improve their well-being, as well as develop new friendships.

EDUCATION Taking part in various performing arts programs can lead to many moving on to employment, to take up education and training courses.

HEALING & RECOVERY Given all the trauma involved with homelessness, various studies have shown that arts-based programs can foster healing and recovery.

NEW SKILLS Art based programs allow its part takers to develop different skills that can be applied in every day life.

TEAMWORK

Drama can many involve working together as a group, which encourages teamwork.

BUILDING SOCIAL SUPPORT & CONNECTIONS

Performing arts can provide important avenues, allowing homeless people to see themselves as important members of society, for society to benefit from their skills and talents.

Where

COMMUNITY INTEGRATION

Given the social isolation experienced by many homeless people, performing arts can provide an important opportunity to connect with others, build friendships, and establish support systems.

SELF-ESTEEM Having fun and enjoying new activities, as well as, having a safe space to express themselves can improve confidence and self-esteem.

Taken from Semester 1 - Diagram showing how performing arts create a positive impact

Who

Creating connections What

Community Performing Arts Centre for Drama Therapy and Skill learning.

Where

Why

New building development dedicated to the performing arts and long term temporary residence.

Who

The seed stage

The drawing above represents a conceptual understanding of how the building will be seen as the seed stage for this performing art programme. It presents Newcastle as the backdrop.

The scheme aims to helps homeless individuals.

When

The residents will use the building long term, whilst individuals joining from nearby homeless centres have the opportunity to use the facilities during business hours.

Why

The critical mass of homeless services within the area in conjunction with the sites history related to the performing arts.

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Homeless Individuals

Workshops

Large performing area

Reception

Family + Friends

Locker area

Shared kitchen & living area

Rehearsal room

Storage

3 2 Staff room & Administration

Multipurpose room

Resident keeper flat

Shower & WC

Mid-term Unis

Café & Kitchen

Long-term Units

4 WC Homeless Individuals Open Air stage

Living spaces

General Public

1 Performing Arts Building

Common facilities

2 Residential Spaces

Exterior spaces

Seating spaces

3 Homeless Individuals will live

within the residential spaces and use the Performing Arts facilities

4 Homeless Individuals living in

Neraby homeless shelters will use the use the Performing Arts facilities

5 General public may use the Cafe areas

Programme proposal & Outreach Aim

The proposal, will contain private residential units, from which a certain number of them will have shared amenities. In addition, to fulfill the needs of a performing arts programme, the building will offer: a multipurpose theatre space, workshops rooms, rehearsal rooms, basic facilities, a back of house, a café, reception and administration area. In terms of exterior spaces, the proposal will provide, open air stages with public seating areas, to allow the programme of the building to spill out.

& have access to official performances

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THE STAGE . [ Looking at Westgate ]

The site as a stage. Stages are the spaces we designate for performances. They are seen as focal points of interest for audiences. For my project I wanted to view the site on Westgate road as the seed stage where the performing arts community centre will be located. The site is situated at the junction of two busy roads, Westgate Rd. and St.James boulevard. Located directly on the site is the key sign of the Robert Sinclair tobacco building. As well as, walls from neighbouring buildings present interesting palimpsests which present the history of pre-existing buildings. As previously mentioned, the site is situated in very close proximity to various performing arts businesses.

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Looking back at site activities One of the main reasons as to why the building is situated on Westgate Road is because it is located in an area of Newcastle with a rich performing arts culture. In the previous semester I discovered the fact that the first performing arts theatre in Westgate Road opened in 1860. Currently this establishment is known as The Tyne theatre and opera house. In addition, the site is surrounded by two other known establishments, being Dance City and Alphabetti. This means that the programme does not stand alone and is located in an area where it can be connected with its surroundings.

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Alphabetti The theatre is based around the concept of creating, producing and programming new, original work from emerging artists across different performing backgrounds.

NEW OPPORTUNITIES

Dance City

The Westgate

Dance city is a place where people come together to take part, enjoy and experience dance. A place where professional and aspiring dancers meet.

The theatre is based around the concept of creating, producing and programming new, original work from emerging artists across different performing backgrounds.

COMMERCIAL & SKILL LEARNING

COMMUNITY

Tyne Theatre The theatre offers music, comedy and theatre. It initially opened in 1867, making it the oldest building dedicated to the performing arts in the area.

COMMERCIAL

Summer daylight

4:41 am

9:30 pm

Summ

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Wind & Sun analysis

The front area of the site, as previously mentioned, is located at the junction of two busy roads. The predominant wind directions are West and South-west. The south facing area of the site bathes the more private areas.

28 am 8:30

3:45 pm

Winter daylight

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Blenheim House Robert Sinclair Tobacco

Dance city

Front site elevations Site

The elevations present two different views at the site. The upper elevation presents the site viewed from St. James Boulevard, whilst the other elevation presents the site viewed from Westgate road.

Elevation Along St. James boulevard - AA 1:200 @ A1 0

10 m

Fig.1

Blenheim House

St. James’ Boulevard

Blanford square Fig.2

Site

Elevation Along Westgate Road - BB 1:200 @ A1 0

10 m

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Back site Elevation The back site elevation directly cuts through the ‘Tyne Theatre’. To the left is the corner plot of the ‘Robert Sinclair Tobacco Coy’ building. The section also reveals the gentle slope of the area.

Blenheim house

Site

Tyne Theatre & Opera House B

1:500 @A2 0

50 m

CASTING THE STAGE . [ Massing + Zoning + Project strategies ]

The next area of the project presents the initial massing studies, zoning strategies and general project strategies. The initial pages present the various iterations created by the massing studies. Each iteration presents a response to different rhythms, neighbouring boundary lines, etc. Initially, only one massing was developed but with the need to expand the programme a secondary massing was included. The main massing will be located on the corner area of the site. Being located in a corner plot meant that I wanted to develop a massing that would present two different volumes coming together at this intersection. In addition, I introduced roofscapes that followed the ones from neighbouring buildings, creating a knot between the two languages. The zoning of the programme also took a lead role within the massing development, as these two volumes could represent the difference between public and private. Finally, The zoning strategies represent the journey taken by the massing development, with the addition of other elements.

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Massing iteration I

Massing iteration II

Iteration I

Iteration II

The initial iteration looks at the extruded shape of the initial site boundary, it carefully follows the height of neighbouring building. This massing presents itself as the initial phase of understanding the volume on site.

The secondary investigates the initial thoughts of softening the corner of the site. This could have been achieved by cutting the corner at angle. However, this massing was then not carried forward, nevertheless its development and study was still important.

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Massing iteration I - Close up

Massing iteration II - Close up

Massing iteration III

Massing iteration IV

Massing iteration III - Close up

Iteration III

Iteration IV

The third iteration is where I started looking at neighbouring roofscapes. This massing presents the pitch roof coming from the building behind the site (Blenheim house), and the flat roof coming from the block of flats to the right. This iteration starts to consider the different volumes that could be developed.

The fourth iteration, which was developed for the mid-term review present the finalized idea of two volumes meeting each other at a perpendicular angle, whilst at the same time follow the roofscapes of neighbouring buildings. Massing iteration IV - Close up

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Programmatic sketch of floorplan

Programmatic skecth in context

Programmatic section of primary massing

Programmatic section of secondary massing

Massing iteration V

Iteration V The fifth iteration was developed after the mid-term, for this massing iteration a secondary volume was developed at the back of the site, meaning that the main massing expands itself to the back, allowing the initial volume to present a less self-contained programme. In addition, this massing is not as tall as previous ones, however it does continue to follow the roofscape of neighbouring buildings. The secondary massing, follows the rhythms present at the back courtyard area, as shown on sketches to the right. Massing iteration V - Secondary massing

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Programmatic sketch of floorplan

Programmatic roofscape in context

Massing iteration VI

Iteration VI The last massing is very similar to the previous one, with the exception that the elements withing the main massing present a clearer view of the two interlocking volumes. In addition, minor alterations to the roofscapes have been made to allow the pitch roof to be highlighted. This was achieved by following the angle of the pitch roof from the building behind. The secondary building, has been also clearly separated into 3 different volumes, which comes from the volumes that could be developed following the rhythms on site. In addition, the roofscape of the buildings also follow the ones from around the site. Programmatic section of primary massing

Programmatic section of secondary massing

Massing iteration VI - Secondary massing

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Zoning incorporation As previously mentioned, the zoning of the building also took an important part in the development of the massing. I initially developed some simple conceptual blocks which presented the public and the private in different areas. Afterwards, I used some of my quick massing studies to represent how each of the volumes would either represent the private or the public. The final zoning study present the public areas at the front of the building, whilst the quieter private areas are located at the back.

In addition, I carried out a very similar process for the secondary massing developed later in the semester. The final result presents how the private areas would be located at the sides whilst the public one will be present at core of the building.

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Private

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Project strategies

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The following presents the different steps used to reach the final massing

1 - Site Boundary

The site boundary shows the area that will be used to develop the building within the Westgate road area.

5 - Incorporating Exterior congregational spaces

4 - Looking at neighboring roofscapes

This allows the programme of the building to spill out onto the more public areas of the site.

This step present the two different roofing languages coming together at the corner site.

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3 - Creating Rhythms

2 - Initial blocks

Following the boundaries of neighbouring buildings to create a harmonious transition from one building to another.

The initial blocks on the site present the two volumes coming together on the site and the addition of a third volume at the back of the site.

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Public

Secondary entrance

. 7 - Entrances, Nods & public circulation

6 - Letting the activities spill out towards exterior spaces

The public entrance will be located at the corner of the site, where the two public paths meet. The outdoor seating spaces create nodes where people gather.

The spaces present small seating spaces and outdoor stages, used as a place to sit, relax and enjoy.

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LIVING & ACTING. [ Design considerations + User experience ] The following section presents the initial spatial relationships within the building, it follows the zoning studies presented previously, as well as, how the circulation inside the building would work. In addition, it looks at the different incorporations to the user experience within the building, from arriving to reception to using shared common amenities. Finally, it analyses the important aspects that must be taken into considerations when designing the different residential units.

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Com Per muna l f Spaormin ce g

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Café

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Entrance

Reception

io ar r pub ea lic s

Kitchen

Residential Entrance

multi purpose performance area

Rehearsal spaces ////

Multi purpose rooms

S E L F - F U L F I L L M E NT NEEDS SelfActualisation Ach ty iev ivi ful ing Creat l e e Es potentisat Selfe-ptanc tee l acc

Spatial relationships

Ach m Res ievem e pec nt t

Sen s L con e of nec tion Sa fet yn eed s

Basic facilities lockers

PSYCH SaO L O G I C A L NEEDS

Mid-term Residential Units

BASIC NEEDS

entrance

Long term Residential Units

The initial spatial relationships present how the public areas are located on the spaces facing St.James Blvrd, for the primary building. It also presents the café of the building at the upper corner area, where the heaviest amount of movement is located. In addition, at this stage of the project I briefly looked at Maslow’s Hierarchy of needs to further aid me connect the residential with the programme, with the aim of improving the concept of the building to be a place of refuge that inspires its inhabitants and encourages them to seek help in overcoming homelessness. This could be achieved by creating clear connections attracting the inhabitants to the social performing areas.

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The key circulation through the building can be seen as linear, as shown on the right.

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Private circulation Public circulation

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Based of Maslow’s Hierarchy of needs

Exterior spaces Vertical circulation Communal / congregational Residential areas Toilets & Kitchen

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Arriving to reception

led to flat with own recognisible front door

According to research, larger reception spaces are more inviting and less intimidating, creating an ideal welcoming space to the building.

Workshops

Performing activities

Having an own front door, instead of shared bedrooms, also increases the feeling of ownerships, helping individuals to feel more independent.

They present the opportunity to learn new skills related to the performing arts but at the same can be transferable to other areas.

They work as multipurpose areas and can be used as an informal relaxing space but also can be used for formal performances.

Common facilites (laundry, cycying)

Café

Common rooms and courtyards

User Experience The user experience within the building aims to improve the living and daily activities within the porgramme.

Common residential facilities such us laundry rooms and locker room areas are essential.

The café presents a public space perfect for social encounters. Located at busiest area of the building.

Shared commons areas create spaces for social interactions.

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Larger rooms

Storage spaces

DESK

Mid- term stay unit

Long term stay

Design considerations Desk spaces

To design residential units that would create the most positive impact on its individuals there were a few things that I needed to take into consideration.

Natural sunlight

Firstly, research shows that the consideration of developing larger individual rooms helps individuals with psychological entrapment, contrary to standard practice where individuals are placed in smaller rooms creating a negative impact on the well-being of homeless individuals.

Residential Units

The addition of storage spaces within their own rooms is also important, as their rooms will contain all of their belongings. Other considerations such as a desk to work, windows that allow sunlight in, and direct connections to the social areas are also important aspect. Finally, each room should be individual to create a stronger sense of safety and privacy, two key needs from Maslow’s hierarchy of needs. This considerations and Maslow’s hierarchy of needs make it clear that whilst shelter is required, it is how this shelter provides self-esteem, privacy and encouragement that enables homeless individuals to heal and progress.

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Single dormitories

Connection to activities

The design of two residential units was carried out to cater different needs. A long-term residential unit, which caters for a resident staying for a longer period of time, and a mid-term residential unit which caters for residents staying for a shorter period. Both units follow the careful designed considerations previously mentioned. Long term units have a bathroom and kitchenette incorporated, meaning that they function as a small studio room. Whilst mid-term units share their amenities with each other.

Mid-stay shared residential facilities

THE MATERIAL CAST. [ Facade studies, textures & interiors ] The next section presents the material and façade analysis that I carried out. I believed it was important to take careful consideration to the material surroundings, as well as, its interior material surfaces. This section presents the different explorations of brick bonds, fenestration details and brick alignment with the intention of positioning the building harmoniously on its site and allowing the viewers to differentiate the private and public areas through exterior details. In terms of interior material surfaces, the performing spaces have been designed to work as multipurpose spaces which required the development of acoustic panels. Taking reference from a case study developed this semester, I investigated the different materials that can be used to produce sound absorbing panels. In addition, the buildings timber frame structure, has been left exposed providing a rich natural palette within the building.

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Site material analysis To start my material analysis, I looked at the different façades and their materiality. This mapping analysis allowed me to distinguish the large amount of brick facades within the area, showing that following the same materiality would create a harmonious correlation with its surroundings.

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Westgate road initial phase - Dividing buildings

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St. James Blvd. - Number of windows openings

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Westgate road - Number of windows openings 1

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St. James Blvd. initial phase - Dividing buildings 2

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Facade studies To continue the façade studies, I looked at the different patterns within neighbouring facades. In addition, I carried out a study of the rhythms and proportions from window openings and details. This study would then help me develop the fenestration within my building. The studies shown to the right present the ones for the primary building and its two key facades on Westgate road and St. James blvd.

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Westgate road - Transferring window studies to my building

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St.James Blvd. -Transferring window studies to my building

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Temple street initial phase - Dividing buildings

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Temple street initial phase - Presenting the sites

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Temple Street - Number of window openings

The rhythm studies carried on the right present the ones for the secondary building and its key façade on Temple St. at the back of the site (shown in figures as site B). To the left further studies where carried out in terms of different façade patterns.

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Facade studies

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Temple Street - Highlight area occupied by proposal

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Temple Street - Transferring window studies to my building

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Fenestration studies To continue studying the window detailing I developed two façade studies. Some of the keys aspect that I carried on from this studies was the brick detailing using different brick bonds and the use of bricks to create a frame for window opening, therefore framing the activity inside. The facade studies have been developed at a scale of 1:10.

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Red terrazo facade studies To follow the ground floor facade details coming from Westgate road, I decided to test the possibility of using red terrazzo cast on the ground floor facades of my building. The development of the terrazzo studies was carried out by placing marble chippings within a mould from where cement was poured into. The three different result present different amount and size of chippings placed into the mould. In addition, giving a slightly different materiality to the ground floor allows it to be presented as the key welcoming access to the building.

Westgate road facade iterations (Left) & St. James road facade iterations (right)

Initial facade outcomes

The sketches presented above show the different iterations based on the rhythms studies from the previous pages. At this stage I also looked at the different pattern extractions, to create a differentiation in the fenestration of public and private areas.

Temple street facade iterations (Left) & Inner courtyard facade iterations (right)

The bottom sketch on each column presents the finalised outcome. The fenestration for public areas would have large window opening with a centred brick detailed that frames the windows. Whilst the private ones present an off centred fenestration detail.

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Brick bond tests In addition to the brick façade studies, I also looked at using bricks on the exterior floor areas dedicated to performing / hang out spaces. In this way, the programme of the building is not the only one spilled onto public grounds, but also the materiality of the facades extends itself onto them. Furthermore, I am interested in using brick on the ground floor of my building, as a technique of bridging the barrier between interior and exterior spaces.

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Interior spaces palette The palette for the interior spaces of the building will follow the brick floors as previously mentioned. Certain ground floor features will showcase the raw concrete texture of the foundations of the building. The reasoning behind that is the intention of presenting an honest and simple, yet effective design. Finally, the main structure of the building will be timber, which has been proven to create calm atmospheres and improve the air within the building. (Further explanation on Tech portfolio)

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The Royal commonwealth swimming pool Case study

Architect: RMJM Year: 1970 Floor area: 13,408m2 Sector: Sports and leisure Style: Modern movement Refurbishment: Architects: S&P Architects Year: 2012 Floor area: 13,000m2

The Royal Commonwealth Pool of Edinburgh and Scotland was built in the second half of the 20th century for the Commonwealth Games. It is currently recognized a A-listed building. The building was renovated in 2012. In terms of construction the pools were excavated under the original ground level into a subsoil composed of stiff boulder clay. The construction underneath the ground floor has been moulded with in-situ reinforced concrete, with the provision to retain the water. Stepped seating spaces are supported with twin ranking steel beams. The risers and treads were formed by pre-cast concrete and reinforced concrete respectively. On the above levels, the structural framework is made of steel. The roof has been coated by a lightweight aluminum sheeting and pressed aluminum panels. At the pool level, blue-black engineering facing bricks are enclosing the plant rooms. Throughout the building and the public areas, the ceilings are composed of iroko wood panels with acoustic penetration to absorb the noises.

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1:50 Section of building showing pool areas. The section presents the daylight strategies carried out

Iroko sound absorption panels

Building analysis 1:20 Detail Section

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Wood, Felt and wood sound absorption panel

Folded felt on wood panel

Testing various sound absorbing panels

In many ways, the royal commonwealth swimming pool and my performing arts building are very different. However, they have one thing in common, they can both be considered performing spaces where sound absorbing panels may be required to deal with Echoing and reverberations within the space. I looked at the technique used for the iroko sound absorbing panels used within the pool and borrowed certain ideas such as using long wooden battens. In terms of design, I looked at different materials and tinkered with various combinations of wood, felt and cork to develop a sound absorbing panel that would be used within the performing space.

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THE FINAL PLAY. [ Floorplans, Sections, Elevations ] The following chapter presents the finalised design of ‘The Westgate’ Performing arts community centre and residential housing. It showcases the spaces which were carefully developed throughout this semester, as well as, the outcomes from the material and façade studies. ‘The Westgate’ presents itself as the seed stage that acts as a place of refuge, inspiring its inhabitants and encouraging them to seek help in overcoming homelessness. The buildings are filled with spaces where performing arts can take place in informal or formal manners. They create the opportunity for homeless individuals to take part in activities that will help see themselves as important members of society and for society to benefit from their skills and talents. Theatre can be a space for better understanding of ourselves and who we could be, and the world we live in and what it could be like. It initiates debates, creates opinions and stimulates change.

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KEY 1. Reception 2. Multipurpose performing space 3. Cafe 4. Kitchen 5. Lockers area + Basic facilities 6. Long Term storage / Bicycle 7. Workshop space 8. Multipurpose room A 9. Long term residential Units 10. Opean air stages (Seating areas) 11. Public Fire protected stairs 12. Private Fire protected stairs

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Ground floor in context

The ground floor of the building presents the different access point to its interior. The public entrance is located on the upper corner, at the crossing of both streets. The café of the building is located directly near the entrance, facing the street with the heaviest flow of traffic. In addition, the furniture of the café can be moved around closer to the main performing space, located directly under the café area. The performing space is located at the centre of the building in an atrium space, allowing individuals to observe activities happening on stage from upper floors. The stage itself is sunk in to the basement level. The performing area and seating also act as a multipurpose space, giving the opportunity for people to sit and relax.

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The residential entrance on the primary building is located at the upper right area of the building, opening onto Westgate road. This entrance is the composed by a reception space and lift/stairs access to the residential units above.

The secondary building presents its main entrance on the north facing/ private courtyard. Directly next to the entrance, the workshop space presents the opportunity to be opened up onto the public areas on summer months. To the right of the entrance, the first two longterm residential units are located.

(Plan at 1:100 on following pages)

Ground floor - Site Plan 0

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Scale 1:250

Looking at Performing spaces The section through the primary building presents the key performing space at the heart of the building. It shows the cross laminated timber staircase that goes behind the atrium and presents the view of the main space below the incorporation of seating spaces around the banister means that people could seat on upper floors and watch a performance happening below. The banisters have been designed so vegetation can be planted around it, encouraging this biophilic design, which is known to promote wellness and physical health. The atrium also provides the opportunity for natural ventilation. (Further developed on tech portfolio) In addition, this section presents the various rehearsal rooms, as well as, an exterior terrace area on the third floor of the building, used as a relaxing space or as an informal outdoor performing space. As well as on the opposite end it shows the staff and administration area. On the main atrium spaces, it is possible to appreciate the sound absorbing panels studied previously.

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(The text has been repeated so it can be read alongside the floorplan)

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The multipurpose room, located at the lower part of the primary building, can be used as a workshops space or as an open hang out / display area. To the right of this space, I have accommodated a locker area next to the toilets, creating a space where daily users can drop off their belongings. The residential entrance on the primary building is located at the upper right area of the building, opening onto Westgate road. This entrance is the composed by a reception space and lift/stairs access to the residential units above. The secondary building presents its main entrance on the north facing/ private courtyard. Directly next to the entrance, the workshop space presents the opportunity to be opened up onto the public areas on summer months. To the right of the entrance, the first two longterm residential units are located.

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2. Multipurpose performing space 11. Public Fire protected stairs 12. Private Fire protected stairs 17. Small Storage 21. Residents long term storage 22. Back of house 23. Costume an props storage 24. Laundry room 25. Plant room 26. Communal lounge 27. Large open storage area

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Basement floor plan The basement floor of the secondary building presents a laundrette and communal lounge, this allows residents to come use the laundry facilities and the same time have a space to relax whilst they wait for their clothes to be ready, in addition spaces like this can encourage interaction between residents. The same dynamic takes place on the basement floor of the primary building, on the upper right area. The bottom area of the floorplan presents the back of house, toilets, and cleaning facilities. Storage rooms for props and costume can also be found on this floor.

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KEY 2. Multipurpose performing space 9. Long-term residential Units 11. Public fire protected stairs 12. Private fire protected stairs 13. Mid-term residential Units 14. Shared amenities for Mid-term U. 15. Large rehearsal room 16. Small rehearsal room 17. Small storage

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First & Second floor plan

Looking at the primary building, this floor presents the different rehearsal rooms located at the north and south areas of the building. The rehearsal space has windows with seating areas that overlook the performance space below. The Residential areas of the primary building presents 3 mid-term units, which have shared bathroom directly next to them. The shared facilities are located down the main residential corridor, those being: common room, kitchenette and toilet facilities. The common living room on the first floor opens up to a terrace space, ideal for summer months and used as a private hang out area. Through the living there is also a connection to the public spaces of the building. In addition, there is 1 long-term residential unit these floors of the primary buildings.

The secondary building has two mid-term units located to the left and 2 long-term units to right. Allowing the space in the centre of the building to become the shared areas. The intention of slightly interconnecting the long-term and mid-term units is to buildings to create connections between residents, allowing someone living in a long-term unit, to join the shared spaces, helping them to not close themselves off within their own unit.

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KEY 2. Multipurpose performing space 9. Long-term residential units 11. Public fire protected stairs 12. Private fire protected stairs 13. Mid-term residential units 14. Shared amenities for Mid-term U. 18. Staff room & admin area 19. Terrace (outdoor performing space)

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Third floor plan The residential spaces on the third floor are located in the same position as the floors below. In addition, this floor has terrace space located at the south area of the building, providing an outdoor space for relaxation as it could be seen on the section previously shown. To the upper part of the building the administration and staff room are located. This room has its private staircase which leads to a continuation of the staff room on the floor above.

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KEY 2. Multipurpose performing space 11. Public fire protected stairs 12. Private fire protected stairs 17. Small Storage 18. Staff room & admin area 19. Terrace (outdoor performing space) 20. Long-term unit / In-house staff unit

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Fourth floor plan The fourth floor present one Long -term residential unit and one resident keeper’s apartment. In addition, it shows the continuation of the staff room mentioned on the floor below. Finally, it is important to mention that the public fire escape stairs are located in centre of the building to minimize horizontal travel distance from each coming direction. (Further explained on tech portfolio)

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Looking at residential & communal The Section shown to the left, present the spaces withing the secondary building, showcasing the different residential units and their various furniture which provides bast amounts of storages spaces. As mentioned from the plans, the residential units are located at the left and right of the building whilst the central part od the building is used as a shared space. On the ground floor it is possible to observe the workshop space dedicated to props and costume making. The main space has similar atrium design with the vegetative plants, encouraging well-being. The spaces also showcase the natural palette of the Cross laminated timber structure. Having wood panels showcased inside are known to help individuals feel calm and relaxed.

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St.James Blvd. - Elevation The Elevation below presents the finalised façade which was developed through numerous brick studies, presented on the material cast section. This Elevation presents the hierarchy of spaces through its fenestration, showing bigger openings on areas where the main performing space/ atrium is located. In addition, it displays the finalised product from the rhythm studies. It shows the idea of using centralised brick details around each opening for window areas which showcase public activities

Blenheim House

Robert Sinclair Tobacco

Dance city

THE WESTGATE Elevation Along St. James boulevard - AA 1:200 @ A1 0

10 m

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Westgate road - Elevation The elevation below presents the finalised façade which faces Westgate Road. It shows the various centralised brick openings around windows, which determine the space behind them to be public, The Fenestration details located to the left present the private residential areas which have a off centred fenestration detail. This detailing allows a viewer to understand the composition of the interior spaces from an exterior perspective.

THE WESTGATE Elevation Along St. James boulevard - AA 1:200 @ A1 0

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Blenheim House

St. James’ Boulevard

Blanford square

THE WESTGATE

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12 1 Concrete foundation 2 Brick envelope 3 Timber structure 4 Glulam beams with

steel tensors

5 CLT roof panel 6 Front Glulam Frame structure 7

CLT stairs

8 Glulam Frame with CLT panels

9 Exploded view of structure: Glulam columns Glulam beams + Joists CLT floor Upper floor

10 Back CLT structure

Assembling the stage

11 CLT Cores 12 CLT Floor layout:

The structural axonometric diagram present the primary and secondary structure that composes the building. More information on technology portfolio.

CLT floor CLT wall panels

CONCRETE BRICK CLT FLOOR CLT WALL PANEL GLULAM BEAM

GLULAM COLUMN GLULAM JOISTS CLT CORE

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Residential spaces This section presents the interior spaces of the residential area. It specifically cuts through the long-term units which have a kitchenette included within them. 1:40 FALL 1:40 FALL 1:40 FALL

In addition this section presents the facade of the Secondary building. It presents a sitting nook on the right hand corner. More information on the technical aspects of the section can be found on the technology portfolio.

1:40 FALL

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Communal spaces This section presents the interior spaces of the communal area. It specifically cuts through the upper rehearsal rooms and the cafe area on the ground floor. The image to the above presents the interior space of the cafe and the use of the structure within the seating arrangements. Unifying programme and structure.

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Interior material studies

REFLECTIVE CONCLUSION :

Building facade

Section through performing spaces

After reading countless paragraphs regarding designing for the homeless, or how we design spaces that provide for their needs, I came to understand two important facts. Firstly, shelters must be a place of refuge that inspires its inhabitants and encourages them in overcoming homelessness. They cannot be small enclosed, stacked, boxed like units that will immediately trigger psychological entrapment issues.

it work well, however it is something I believed would have enjoyed to do at a smaller scale. Working remotely this semester presented itself as less of a challenge than it did last semester. I believe that this still is a year like no other and look forward to going into the studios where I can enjoy the vibrant and messy studio spaces. I believe that working remotely presented a challenge in terms of creativity. However, it also allowed me to fully focus on my work without getting easily distracted. Having all of our lectures online, is one of the positives that came from our new zoom era, but I must admit small tutorial will always be better in person, with a real pen to make annotations instead of struggling with Miro’s scribbly lines.

Secondly, whilst shelter is required, it is how this shelter provides privacy, self-esteem and encouragement that enables homeless individuals to heal and progress. Meaning that having a programme that encourages these qualities is key in the design of these facilities. I believe that the strongest aspects of my project are the thought process and research that went into the development of the programme and understanding why the building is necessary and inevitable. Secondly, the finalised floorplans, which took numerous attempts, show a clear and harmonious layout of spaces and the process allowed me to learn very simple plan configurations and considerations which I will re-use in the future. Finally, ‘the material cast’ one of the sections that I most enjoyed, which looked at the different material and façade studies for the exterior and interior spaces. Looking at the materiality in detail helped me take important design considerations such as the differentiation of interior spaces though exterior fenestration details. Certain aspects of the project which I would enjoy to further develop are small-scale interior details and threshold moments which allow to bridge the gap between interior and exterior spaces – an important consideration when designing for the homeless. This aspect is something that I looked at in the bigger scale and believe

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Overall, I must say that I truly enjoyed this academic year, being part of the edge conditions studio allowed me to develop a project that I very proud of. I enjoyed the research, the material studies, the re-making of the plans and I believed it made me a better and more conscious designer. In terms of what mark I would give myself; I received a grade of A for design and B for technology. I believe that the very careful and conscious approach that I took towards this project are what helped me achieve those grades. After receiving my feedback, I worked on further developing the different suggestions that were given to me. Specifically, I wanted to further develop my technological portfolio, where I resolved various environmental strategies and small-scale details. I consider that the amount of progress I made is worthy of higher mark for both portfolios.

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BACKSTORIES. [ Floorplan development] The next pages present the series of iterations that were part of the development of the floorplans. From rough sketches to semi-finalised plans.

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Initial plans & thoughts

First floor plans

The sketches presented above show some of the initial thinking. From looking at main entrance points to initial pathways and location of rooms. One of the main learning point from these plans was the decision to not create back pathways which may feel dark and tight to walk through.

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The floorplans to the right present some of the first formal layouts I developed. Some of the things learned from making these plans was the importance of a clear and simple circulation. In addition some key spaces would also best be positioned on groundfloor areas.

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Mid-term floor plans During my mid-term floor-plans, some of the key pointers from this floor-plans was the need to connect the living areas more with the activities happening within the building. In addition, after this floorplans I also made the decision to make the performing space less formal and more of a relaxed open space that could be used in a day to day.

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Illustrations. Pre-show section - Taken from: Semester 1 Portfolio. Fig. 1 Newcastle Chronicle. (2019) Former Robert Sinclair Tobacco buildings at the bottom of Westgate Road . Available at: https://www.chroniclelive. co.uk/news/north-east-news/student-flats-robert-sinclair-tobacco-16668155 (Accessed: 01 January 2021). Fig. 2 Unknown . (2019) Robert Sinclair Tobacco building. Available at: https://www.andersonproperties.co.uk/property/blenheim-house-145-147westgate-road-newcastle-tyne-and-wear-3/ (Accessed: 01 January 2021). Fig. 3 Snoek, Henk (1970) Royal commonwealth swimming pool. Available at: https://www.architecture.com/image-library/RIBApix/image-information/ poster/royal-commonwealth-pool-edinburgh-the-main-pool-hall-showing-thediving-pool/posterid/RIBA10391.html (Accessed: 25 March 2021) Fig. 4, 5 and 6: Arch daily (1970) Royal commonwealth swimming pool. Available at: https://www.archdaily.com/785133/international-firm-rmjmcelebrates-60-years (Accessed: 29 March 2021) ALL other images and pieces of work are my own.

B I B L I O G R A P H Y.

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Text. Alexander, C., Ishikawa, S. and Silverstein, M. (1977) A pattern language. New York: Oxford university press. The center for environmental structures series.

read/32700697/accommodation-available-to-the-homeless-newcastlecity-council (Accessed: 15 December 2020).

Berens, M. (2017) A review of research: Designing the built environment for recovery from homelessness. Available at: http:// designresourcesforhomelessness.org/wp-content/uploads/2015/11/ FINAL1_8_2017.pdf (Accessed: 01 February 2021).

O’Connell, B. (2019) Homelessness in Northumberland: A look behind the number as figure reveal 1,000 homeless in the North East. Available at: https://www.northumberlandgazette.co.uk/news/politics/council/ homelessness-northumberland-look-behind-numbers-figures-reveal1000-homeless-north-east-1347421 (Accessed: 1 December 2020).

Butler, P. (2018) Rough sleeper numbers in England rise for seventh year running. Available at: https://www.theguardian.com/society/2018/ jan/25/rough-sleeper-numbers-in-england-rise-for-seventh-yearrunning (Accessed: 1 December 2020).

Schwan, K (2017) Can art make a difference? Mobilizing the arts to prevent and end youth homelessness. Available at: https://www. homelesshub.ca/blog/can-art-make-difference-mobilizing-artsprevent-and-end-youth-homelessness (Accessed: 1 December 2020).

Cardboard Citizens (2020) Cardboard citizens: What we do. Available at: https://cardboardcitizens.org.uk/who-we-are/what-we-do/ (Accessed: 15 December 2020).

Street Zero. (2018) Street Zero: Ending rough sleeping in Newcastle. Available at: https://streetzero.org/ (Accessed: 1 December 2020). Tyne Theatre & Opera House (2019) The history of The Tyne Theatre & Opera House . Available at: https://tynetheatreandoperahouse.uk/ about-us/history/ (Accessed: 1 December 2020).

Ching, F. (2015) Architecture: Form,Space & Order. New Jersey: John Wiley & Sons. Fourth edition. Davies, S. (2004) Designing for the Homeless: Architecture that works. Los Angeles: University of California Press. Series and volume number if relevant.

B I B L I O G R A P H Y.

Haldipur, T., 2018. Designing the homeless city with dignity: recognising the complex needs of rough sleepers and the holistic approach required to reintegrate them back into society. Undergraduate. Newcastle University. Hertzberger, H. (2016) Lessons for students in architecture. Rotterdam: nai010. Seventh edition Homeless link (2019) Changing lives - Francis house. Available at: https://www.homeless.org.uk/homeless-england/service/changinglives-francis-house (Accessed: 15 December 2020). John McAslan + Partners (2020) ‘We are not bad kids’. Available at: https://www.mcaslan.co.uk/studio/news/’we-are-not-bad-kids’campaign-launched-calling-homeless-accommodation-designguidelines (Accessed: 11 December 2020). Levitt, D. and McCafferty, J. (2016) The housing design Handbook. London: Routledge. 2nd edition. Lynch, K. (1960) The image of the city. Cambridge: The MIT press. Newcastle city council (2010) Newcastle Homelessness Prevention project directory. Available at: https://www.yumpu.com/en/document/

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