Weaving in Wallsend Stage 3
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Content Page
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Page Reflective Diary & Cultural Bibliography Framing Thematic Case Study Testing Synthesis Bibliography List of Illustrations Appendix
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4-8 9-32 33-37 38-51 52-105 106 107 108
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Reflective Diary & Cultural Bibliography _________________________________ 19 October 2020- 27 May 2021
Reflection: The Reflective Diary is a summary of what my design project have been like and what measures I took to improve and develop it while the Cultural bibliography records what I have been learning out of the curriculum, which mainly includes films, books, and talks which is accessible online due to strict safety measures during times of the pandemic.
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Reflective Diary
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Academic Year 2020/2021 has been a difficult year due to the Covid-19 pandemic. This
resulted in me being in my home country (Singapore) where I lacked access to teaching facilities and resources. This pandemic leads me into rethinking my working ways and pushed me out of my comfort zone.
If you asked the old me (before 2020) on what was my next steps for my project are, I would
certainly reply with the old routine of hand-sketching drawings, hand-drawing plans and sections, and hand-making models. At that time, I do believe that doing everything by hand allows me to fully understand what my project was. But there is also another factor that prevented me from expanding my skills: the fear of using digital software because I am not familiar with its usage and functions.
Despite how horrible the pandemic was, a part of me was grateful that these new
circumstances forced me to change my habits and explore new ways of representing my ideas digitally. With local non-essential stores (book/stationary stores) being closed since the start of the academic year, I was unable to get many materials to create my usual drawings. Hence, I start learning how to create plans, sections, elevations, and models digitally. This started my new journey in incorporating both digital software and hand-drawn methods in my project.
During the initial exploration the Urban Commons in Framing, I used Sketch Up 2020 to
recreate an Axonometric Model of a precedent study. However, the model was made imprecisely as I had to scale down the plans onto an A4 paper, print it from my home’s printer, and then measure the estimated dimension later. The model’s aesthetics did not fulfill my expectation as the software’s textures did not give the effect I wanted: the colour of the model was too intense and the grass texture I used gave a very artificial look. The entire process was a troublesome, and I took a long time to create the model with many guesswork. However, upon further discussion and seeking advice from my peers, they recommended me to directly import the available plans onto
Fig 1: My usual working routine changed to facing the desktop for long hours as I try to search online for ways to create the styles I want.
Adobe photoshop and I can use the tools to get a measurement. They also advice that I can export the finished digital model back into photoshop where I can add-on layers on the model reach my expectations. This made me realized that I could interchange between different software so that I can get information or render my model. I learnt to be flexible in my ways of working, mixing
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different software for my outputs and to seek advice from people around me as I can get good advice from them. This new skill has further broadened my digital knowledge as I have applied similar techniques later in my project (plans, sections, elevations and more).
Even though I focus on honing my digital skills this year, I have not forgotten my traditional
working methods. I continued to hand-draw plans and sections during my initial stages of Testing when I was developing my brief. I do agree that digital software have their attractive points such as: precision, easy to modify corrections, and easy preparations and saving up. However, the main advantage of drawing plans, sections and elevations by hand bring about creativity as it allows ideas to be penned down quickly, especially during Testing where iterations are important in developing the project. However, with my new knowledge gained from using digital software, the sketched plans, sections, and elevations I have made were later digitalized with Vectorworks. Reflecting upon my year two outputs, I should had used my digitalized my sketched plans and sections with building software. In the future, I would adopt using the digital formats because they create a more precise measurement that everyone will understand.
I felt that hand-drawn illustrations bring about a more personal touch to my project, allowing
it to stand out among my peers. For my interior and exterior perspectives, I have used watercolors to highlight the materially, colour palette and the desired atmosphere for my project wanted to relay to the users. Initially, my paintings were very abstract. Yet, I have improved on these watercolour paintings by adding a more architectural approach, such as adding wall thickness. By the time I reached Synthesis, I have also incorporated my digital skills by outlining the interior perspectives digitally, while adding the watercolours techniques so that viewers are able to understand the images’ spatial qualities fully. This was effective as I managed to leave an impression on people who viewed my work, hence, it become part of my celebratory pieces during the reviews.
For this year long project, I have learnt various new techniques (Digital software, sketching
and watercolouring) that I would bring to my future projects. I have also learnt to be open to suggestions, inquisitive about the unknown and be resilient in times of difficulties, so that I am able to change for the better as an Architect.
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Fig 2: I also still go back to using traditional method of sketching, colouring and painting during the course of the project. My desk is always messy from all the materials I try out during the framing and testing stage.
Cultural Bibliography
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David Bollier - The City as a Commons By: Smart City Expo World Congress, 14 Dec 2016 Medium: Talk Platform: Youtube
American Writer Bollier talks about a new type of citizen economy is emerging known as the City as a Commons. He explained about the bold re-imagining of the city as a living social organism that invites everyone to co-create, open-source style. He emphasised innovative urban commons (with co-operatives and many participatory system) are transforming city governance, commerce, design, social services, and everyday life which is highly relevant to my studio’s theme. This is a good online video that introduced me to the topic of the Urban Commons. Fig 3: Screenshot of “The City As a Commons”
Link: https://www.youtube.com/watch?v=z3itmhDuem8 The Urban Commons By: CITIES ESS, 7 Sep 2019 Medium: Video Platform: Youtube
This video talks about the many perspectives on what is an Urban Commons based in Barcenola. This has allowed me to gather as much information as possible on the types of urban common definition and determined my definition of the Urban Commons : Any form of architecture that has the participation of the citizens in its management of public goods. A democratic space: for the community, by the community. Fig 4: Screenshot of “The Urban Commons”
Link: https://www.youtube.com/watch?v=sQCahsTLaD0 What Do Coffeeshops Means To You? By: Our Grandfather Story, 3 Nov 2020 Medium: Video Platform: Youtube
This video introduces the coffeeshop culture in Singapore where people come together to consume food. Unlike the coffeeshops observed in the European setting, the coffeeshops (Known as Kopitiam) in Singapore is always buzzing with life. Hence, this video was able to capture the loud yet vibrant setting of the Kopitiam where families, couples and friends meet for a meal, making kopitiams in Singapore a unique location where everyone visited before and had memories of it. Hence, it became one of our national identity. This video has inspired me to use Kopitiam as my Ritual of Civic Life Example in Framing. Fig 5: Screenshot of “What do Coffeeshops Means To You”
Link: https://www.youtube.com/watch?v=e1NrfQ9K2_4 7
Urban Commons - Rethinking the City By: Christian Borch & Martin Kornberger, 2015 Medium: Book This book reanalyzes the city by understanding its various collectivity methods. The book explored about the city’s atmospheres, modes of exclusion and self-organization. They also look at the organization level by how they are governed which started a critical discussion on what is an Urban Common. The Urban Commons: Rethinking the City book creates a new perspective for readers to reconsider what a city might be by studying how the notion of the commons opens up new understandings of urban collectivities. The book addresses a range of questions about urban diversity, urban governance, urban belonging and more. Hence, this book made me reflect on how the project can be designed to deliver a new insight about how collective urban life is formed and governed in Wallsend.
Fig 6: Urban Commons - Rethinking the City Book Cover.
Steven Holl Watercolors By: Steven Holl, 2020 Medium: Book Steven Holl is an American architect who is internationally recognized for his ability to blend space and light with great contextual sensitivity. In practice, Holl achieves his award-winning designs by beginning each project with a small watercolor exploring light, color, and form. Therefore, this book contains a collection of his watercolors, many were art pieces and was part of his projects, from the JFK Center for the Performing Arts expansion and Hunters Point Public Library to University College Dublin. His watercolour work on the Maggie’s Centre Barts attracted my attention as it contains both watercolour qualities (Highlights its playful atmosphere) and architectural senses (Gives careful spatial arrangements) in his artwork. Holl’s approach in representing his architectural approach has inspired my final output where I used watercolors heavily to convey spatial and atmospheric qualities of my project in Wallsend.
Fig 7: Images from Steven Holl’s Watercolours 8
Framing
_________________________________ 19 October 2020- 20 December 2020 Reflection: Framing was extended over Semester One where we get to explore the studio theme. Exploring the studio theme through Atlas of Commons, the Ritual of Civic Life and Reading Wallsend, these series of activities has allowed me to research on the site, understand its users, identify my particular interest, and develop my individual brief. Over the weeks, I manage to produce works that is uploaded to the studio’s Miro Boards where anyone can see. This is then I realized that our actions collectively generated a form of Commons where everyone has access to various information that is managed by ourselves. The framing process also have developed my interest in creating a representative technique for my output: Watercolours. The initial steps in framing, Especially Atlas of Commons and Ritual of Civic Life, has led to my discussion in Theory in Practice where I also looked into more detail into Steven Holl’s method of representation in his watercolour works. The end of framing stage shared our output with other studios during our review where we explain to our peers an overview of our Studio’s exploration and development of the Urban Commons. We have gathered informative feedback that cast our outlook of the urban commons in a different light such as how do we balance our commercialized spaces with the urban commons. After we had the time to interact with studios and visit their boards, I am impressed by other studios (Such as Creative Synergies) where they have gathered much information about their site. They also placed a lot of emphasis on creating a narrative so that their listeners could follow and understand their train of thoughts. This is Narrative idea is something I would like to carry onto my project.
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The Completed Atlas of Commons: Exploring Different Key Themes in an Urban Commons.
Contributed by the Weaving in Wallsend Studio: Rachel, Peng, Xindi, Eloise, Max, Julian, Zoe, Jehyun, Ameerah, Stella, Chris, Lorand, Ben, Charlie, Milly, Dan, Polly and Luca.
Fig 8: Atlas of Commons 10
Atlas of Commons
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In the Atlas of Urban Commons, we were asked to select a precedent Urban Commons. From then we will develop our drawings and explore different ways to represent them. I have selected the Open Air Library by KAROS Architekten located in Germany. I focused on the precedents’ key themes of Community, Participation and Education where it benefited the local community and was known as the “Bookmark” of the site. Initially it stated off as a 1:1 intervention made with beer crates gathered from the neighborhood. Due to it popularity, it became a permanent project as the residents loved it and took ownership to maintain and contribute books for anyone to read. Other than a library, it can also become a venue for community activities and a place for people to gather. Hence, it was able to instill a sense of ownership among the locals to care for it.
Fig 9: Axon diagram of Open Air Library. Made using Sketchup and Adobe photoshop.
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I have created a axonometric diagram to show the spatial qualities of the library. I also used text on the façade to pay homage to the infrastructure being a library and also stated the materials the initial intervention was made of – Beer crates. I have also continued with the library narrative and created a comic to show how people interacted with the structure, highlighting the relationship the infrastructure have with its people. This would also be a sneak peek into the next part of Framing: Ritual of Civic Life.
Fig 10 : A comic to show how the Open-air library is used by the community. 12
The Completed Ritual of Civic Life: Understanding how people inhabit and interact with the Urban Commons.
Contributed by the Weaving in Wallsend Studio: Rachel, Peng, Xindi, Eloise, Max, Julian, Zoe, Jehyun, Ameerah, Stella, Chris, Lorand, Ben, Charlie, Milly, Dan, Polly and Luca.
Fig 11 :Ritual of Civic Life 13
Ritual of Civic Life
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For the ritual of Civic Life, we were given a choice to select one of the following venues the studio have provides for us.
For me, I have chosen the Coffeeshop to showcase its ritual of civic life. The reason why I choose the coffeeshop is because I am currently back in Singapore where we have a unique coffeeshop culture that dates back to history. In Singapore, we call our coffeeshops as Kopitiam where various food and drinks (including our coffees) are served. To many families, it is a venue where we all ate before. Therefore, I would like to use this opportunity to bring in some foreign influences into the collection of Ritual of Civic Life, bring in a more different approach in interpreting the venue from an international student perspective.
For this Case study, I decided to visit Heap Seng Leong- One of Singapore’s Oldest Kopitiams that is still operating today. It was said that Heap Seng Leong’s interior was an accurate depiction of the retro aesthetics 1970s when it started its business. Other than the interior, the methods of them preparing their coffees and food also follows the tradition method which brings out a taste that is popular among people. Many people come down to visit this place, including nearby residents, office workers and even tourists.
Fig 12: Axon diagram of Heap Seng Leong (Kopitiam). Made using Sketchup and Adobe photoshop.
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Hence, I decided to use Sketch Up 2020 to show the interior model of the coffeeshop, indicating the kitchen area, ordering line and the seating area. Other than that, I also used watercolors to draw out the food I have ordered and found a short vignette to descript the impact of Kopitiams on the locals. I also used series of watercolor images to observe how the owner as he works around the shop on a normal day, and how customers gather around the Kopitiam. The watercolours brought out the vibrancy of the civic life that is going on in the Kopitiam.
Fig 13:Sketchbook drawing of Heap Seng Leong (Kopitiam). Handdrawn images with watercolours. 15
Fig 14 a: Entrance Way to enter the Kopitam. A watercolour drawing showing the how people interact within Heap Seng Leong (Kopitiam). The vibrant colours from the watercolour highlights the life, inhabitation and materiality around the case study.
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Fig 14 b: Seating Area where customers find a seat for their meals. A watercolour drawing showing how people interact within Heap Seng Leong (Kopitiam). The vibrant colours from the watercolour highlights the life, inhabitation and materiality around the case study.
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Fig 14 c: Kitchen with the Boss making the Coffee. A watercolour drawing showing the how people interact within Heap Seng Leong (Kopitiam). The vibrant colours from the watercolour highlights the life, inhabitation and materiality around the case study.
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Fig 14 d: Seating Area with the Boss searching for utensils to clear. A watercolour drawing showing how people interact within Heap Seng Leong (Kopitiam). The vibrant colours from the watercolour highlights the life, inhabitation and materiality around the case study.
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The Finalised Site Reading of Wallsend.
Contributed by the Weaving in Wallsend Studio: Ecology - Rachel, Peng, Xindi and Janeen. Social & Economic- Eloise, Max, Julian, Zoe and Jehyun . Historic- Ameerah and Stella. Urban/Physical- Chris, Lorand, Ben and Charlie. Materiality- Milly, Dan, Polly and Luca.
Fig 15: Reading Wallsend
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Reading Wallsend
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At this stage, this is a studio effort in trying to understand Wallsend. We were divided into 5 sections: Ecology, Social and Economic, Urban/ Physical, Historic and Materiality. At the end of this activities, we presented our findings to each other and the sharing of such knowledge being condensed by our peers makes understanding the site easier as all the resources are in bite size forms that is easy to understand. For this task, I am part of the ecology team.
Fig 16: Reading Wallsend’s nearby green spaces- Richardson Dee Park. Studied the topography, potential wildlifes and the images of site to understand Wallsend better.
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We are tasked to understand the ecological aspect of Wallsend that includes the greenspaces and the natural attributes of the site such as the weather, topography and the types of wildlife at site. I developed a long site section that cuts along the neighborhood urban areas and the green spaces of the site. Due to remote studying, I was unable to visit the site. Hence, I looked at News articles about the possible wildlife in the area and possible tree species that can be found in the United Kingdom. I also used google maps to understand the site virtually and looked a images and videos contributed by our studio’s members to further refine my understanding of the site. Hence, I was able to visualise the ecological journey to our site location: The Forum Shopping Centre in Wallsend.
Fig 17: Reading Wallsend’s potential wildlife that we might need to take note of. 22
Fig 18: Reading Wallsend’s Long section that is broken down into 4 parts. Shows Topography changes from Urban areas to greenspaces and to the Forum (site).
Fig 19: Reading Wallsend’s Long section with photographs to support the understanding of nearby buildings. Used Leaves of native plant/tree species to highlight the ecological aspect of the site. (Refer Appendix for Full Image) 23
The Finalised Individual Visual brief
Contributed by the Weaving in Wallsend Studio: Rachel, Peng, Xindi, Eloise, Max, Julian, Zoe, Jehyun, Ameerah, Stella, Chris, Lorand, Ben, Charlie, Milly, Dan, Polly and Luca.
Fig 20: Individual Visual Brief 24
Individual Visual Brief
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Fig 21: Location of Site indicated in Red (Wallsend: The Forum Shopping Centre) (NTS)
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After the general exchange of information regarding the site in Wallsend, I decided to research more about the residents using available data. From the Wallsend ward Profile, I managed to analyzed and had a few take away that I would be able to further refine. This is so that my programme would benefit the community and address they needs. From the data, - The Community is concerned with the following: 1. Lack of Job Prospects 2. Worried about Food Supplies 3. Difficulties in Affording Education
- The community also highlighted the follow points they want to see in Wallsend: 1.
Job Prospects
2.
Education
3.
Green Spaces
Therefore, putting together my knowledge gained from the initial framing stage, I have decided the following to be my main focus for this project: The Celebration of Food.
Fig 22: A complied data of the Wallsend Ward- Showing issues that can be tackled for the community. 26
To celebrate around food, I have to know what the Food situation in Wallsend is. From the previous data compiled, residents are worried about food supplies. Therefore, I decided to check if Wallsend received enough support to tackle the issue of food accessibility. I went to check on possible food charities and food banks to realized that in Newcastle alone there is only 8 outlets I was able to find (as compared to the 52 outlets in London). I went to further investigate the nearest food bank in Wallsend and calculated that the closest food banks the residents could get access to is 2.6km away from the Forum Shopping mall, which means that the Wallsend residents are required to take 20 minutes one-way walk each time they need food.
Fig 23: A map showing the number of Food Banks avaliable in the UK. There is only 8 available outlets in the entire Newcastle-Upon Tyne. 27
In the UK, there are many innovative urban farms and food charity that is unique to its neighbourhood (Such as Sufra: Food Bank and Kitchen that is based in London for its London Community). However, as it reaches the North East, these organisations are lesser. Within Wallsend I could only find 1 of such organisations that is unique to the Wallsend (Rising Sun Farm). Therefore, this made me reflect the endless possibilities that the creation of a new local agriculture infrastructure that is managed by the Wallsend community can help to strengthen community ties and create a sense of belonging among the locals.
Therefore, the lack of support to provide an adequate supply of food to the residents further strengthened my design’s reasoning to create agricultural facilities that could allow residents to: 1.
Generate Employment (Job Prospects)
2.
Provide food (Food Supply)
3.
Gain knowledge about food growth and nutrition (Qualifications)
4.
The community is able to unify together and aid disadvantaged families during
difficult times (External aid)
Fig 24: A summarized diagram on the types of food banks and charities available. With the number of organisations decrease as I zoomed into studying from the entire United Kingdom, to North East England, and to Wallsend (Site).
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Our studio brief explores creating Urban Commons in Civic Spaces. The urban common refers to a network of sites woven into the city fabric that contains shared community resources and facilities where it challenges the boundaries between public and private spaces. Therefore, our project involves us developing a contemporary civic center with an urban common in Wallsend, so that the location will promote meaningful civic exchange, inclusivity over exclusivity, public over private and the community over the individual. Our challenge is to retrofit the exiting Site enhance local spaces and regenerate the economy. For my project’s programmes, I decided to explore the world of food. The oldest example of Urban Commons involves agriculture related activities. For me, food have many potentials. It can be grown, cooked, eat and recycled to produce environmentally friendly energy. This forms a cycle that can be adapted into the Wallsend Community. The facilities I would like to include are the followings: - Providing Community Green Spaces that can be used by professionals and the neighborhood to grow produce for consumption and to beautify the hard landscape with nature. - A Culinary School can be used an education facility to teach locals how to cook food and gained knowledge in terms of food nutrition. My design aims to green and sensitive to its context. And I hope it enhances the locals sense of ownership to the area, feels welcome to gather for large events and to offer job opportunities in the field of agriculture and culinary. Therefore, this creates a self-sustainable circular economy.
Fig 25: A series of sketches I drew digitally to understand the needs of a Greenhouse (Greenspace), Culinary Kitchen (School) and an Outdoor Garden (Greenspaces) in general. 29
Fig 26: A diagram showing how the celebration of food (in terms of growing and cooking) could create a circular form of economy where residents can be selfsustainble with the food they produce. 30
At the end of Framing, I am refined my brief for my project. For my project I would like to create an Agriculture and Education Centre where it is accessible to anyone during operational hours. It serves as a place for people (professionals and novice) to grow food supplies (Vegetations) and a place to learn more about food nutrition with like-minded people. The project should cover the following themes: 1.
Urban Commons: A place where it is led by the community, for the community.
2.
Retrofit Project: To preserve, modify and upgrade as much existing building for energy efficiency.
3.
Sustainability: Using design strategies to reduce negative environmental impact from the built
environment. The above themes are also my advocacy point as an architect where I promote democracy among communities and encouraging both people and buildings to gear towards a greener future.
The comic shows how I hope the new addition of the building can benefit the members of the community by following the life of Tim. Tim lives alone. He is able to pursue a new hobby after retiring at Wallsend the Forum. Through his hobby, he manages to meet new and old friends. This allows inter-age mingling among the other residents in Wallsend. He can enjoy the maintained greenspaces, collect food items and contribute back to the community by being a part-time teacher, sharing his recipes with other like-minded foodies. At the end of the day. Tim can have a hearty meal with the other members of the community. And he went home feeling fulfilled and happy.
Fig 27: A comics following the life of Tim. It also shows my advocacy to create a space where the residents in Wallsend could benefit from the Agriculture and Education building. encouraging intergeneration mingling and unifies the community as they bond over their love for food. It is to be managed by the commmunity, for the community. 31
Thematic Case Study _________________________________ 19 October 2020- 20 December 2020
Reflection: The thematic case study was given by our studio and as a group we had to analyses the case study with regards to our studio themes. My group was given Ty Pawb by Featherstone Young. For the first 3 pages, we documented our task with existing material about your case study about our chosen question. As for the final page we would create an original piece that explores the themes that I have identified within the first 3 pages. For my task, I was given question 4: How does the case study relate to the Architect’s theoretical position / how does it explore their ideas / preoccupations? Therefore, I Explored the practices and methods of the architect by looking at their past projects. From then, I learn that Featherstone Young Architects: 1. keep challenging themselves to overcome problems faced in a project creatively, such as site constraints, materials, and budget. 2. Inhabitation. They considered the end-user’s experience using their building. Featherstone young wanted to empower users by creating optimum interior spaces. 3. They also treated their sites with the utmost respect as most of their projects involved restoration works in historical sites. Hence, their building must be sensitive to its context. Hence, these 3 Factors are what I have learnt from the Case Study and I hope to develop this level of thinking about how my design strategy could impact users and its environment in the long run.
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Fig 28: Thematic Case Study The Thematic Case Study
Contributed by the Weaving in Wallsend Studio: Rachel, Peng, Xindi, Eloise, Max, Julian, Zoe, Jehyun, Ameerah, Stella, Chris, Lorand, Ben, Charlie, Milly, Dan, Polly and Luca.
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In summary, there are five different questions given to each group:
1. How does the case study relate to the Studio Specific Criteria 01 (Demonstrating critical spatial practice)?
2. How does the case study relate to the Studio Specific Criteria 02 (Demonstrating advocacy)?
3. How does the case study relate to its environmental / climate crisis context?
4. How does the case study relate to the Architect’s theoretical position / how does it explore their ideas / preoccupations?
5. How does the case study relate to other buildings of its type?
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Fig 29: My group’s completed Case Study on Ty Pawb.
Featherstone Young Architect (FYA) is an award winning architectural practice based in England and Wales. From the arts, community, education, residential and heritage projects, design quality is fundamental and observed in all FYA’s work.
FYA’s work emphasises on the desire to render the architectural process simple and transparent, and to encourage a collaborative approach to design and build. Reflected in thier client satisfaction, winning numerous awards, holding exhibitions and obtaining extensive media coverage, the practice’s work is widely acknowledged as effective, innovative and distinctive.
A Diagram Showing Themes around Ty Pawb and FYA Explaination for Each Theme
Based on FYA’s Infomation, they classified their completed projects into 11 themes in total. These themes talk about their firm’s ideas towards architecture. For Ty Pawb, they classied the project as having 7 of their studio’s characteristic. To understand more about the firm’s approach towards Ty Pawb, I have looked into their previous projects to examine how does these examples relate to the FYA’s design rules, and how does they explore their preoccupations, translating these ideas into our Case Study of Ty Pawb.
Other than Designing Buildings, FYA is Involved in Other Events such as Exhibitions, Competitions and Teachings.
A Diagram Showing Different Projects done by FYA, arranging based on the number of overlaping themes of Ty Pawb from Least to Most Materiality- Aluminium “Pop-ups”
Jeremy is an architect and co-Director of FYA and is particularly interested in the design and detailed delivery of buildings. He has a wealth of technical and compliancy knowledge built up over the years working on all scales of projects from high-rise residential and offices through to small self-build projects. He has been instrumental in providing technical expertise and detailing in order to enable FYA to deliver some very complex and bespoke elements, like the Corten metal facade at Waddington Studios and complex structural coordination at Ty Hedfan. Previously Jeremy was an Associate at Allford Hall Monaghan Morris Architects for 7 years where, amongst other projects he was instrumental in the design for the Barbican Arts Centre Redevelopment and was project architect on the Liverpool Unity Development which was a mixed-use residential and commercial scheme. Jeremy studied Architecture at Cambridge University from 1991-1998.
Sarah is an architect and co-Director of FYA, and has expertise in place-making and social engagement. She is interested in how architecture can capture the character and identity of a place and stimulate, rather than dictate, social interaction. Her approach has informed the practices ‘baggy space’ concept for Ty Pawb (Everybody’s House), a new model for an arts venue in Wrexham which is also embodied in the community centre and boxing club at Grenfell Tower which was the result of a collaboration with the BBC’s DIY SOS team. Sarah is currently working within a multi-disciplinary all-women team developing VeloCity, the re-imagining of the village for the 21C, creating new homes and working environments in healthy and socially cohesive places. Sarah studied architecture at Kingston University, The Architectural Association and the Bartlett, UCL. She currently teaches at Central St Martins and the Welsh School of Architecture and has been a visiting critic and external examiner at various UK architecture schools. Sarah is currently on the Islington, Southwark, St Albans and Camden Design Review panels. Information Obtained From FYA Website : About Us- People
Front & Side Views
Back View
Site Section
Sarah Featherstone BA Hons Dip Arch (UCL) ARB
Interior Spaces - Timber Beams & Brick Walls
Jeremy Young BA Hons Dip Arch (Cantab) ARB
FYA was commissioned to work with the English Heritage, the Society for the Protection of Ancient Buildings, the Campaign to Protect Rural England and the South Downs National Park to redevelop the granary and restore Grade II* Jack and Jill Windmills as a tourist destination, home and a wedding chapel. Working with a heritage consultant and windmill experts, FYA gained planning approval to implement a strategy of renewal, retention and replacement. FYA has effectively ‘encased’ parts of the house and granary. FYA added ‘pop-ups’ with punched aluminium forms which slot over the existing structures along the Jack/Jill axis. Most of the original structure has been kept within the new shell, with old, worn timbers suggesting the previous low ceiling heights. This is one of the major re-use/ heritage projects FYA have done. In this project, they understood how this historical site was wellloved by its community and therefore consulted professional conservation authorities so that they approach the site carefully, repurposing it for future use. They preserved old structures while adding on a new extension, improving the building’s condition. This sensitive and careful nature of analysing the site and its people can be seen in the development of Ty Pawb where they also took in concerns of the building users (Traders from the previous Wrexham People Market) around the site, working around it to satisfy the needs of the community.
Historical Site
RESTORATION & NEW BUILD PUBLIC / CULTURAL
A Photograph of FYA Founders Jeremy Young (Left) and Sarah Featherstone (Right).
A Combination
Facade
Example 1: JACK WINDMILL, SUSSEX (2016)
Fig 30a: My contribution to the group’s Case Study on Ty Pawb.
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Main Door Opening
Single-aspect Angular Façade
Process
Lights VS Dark
Rooflight Interior Spaces - Art / Actvity Spaces
Plans
Interior SpacesDouble Height Studios & Skylights
CourtyardMaximising Sunlight
NEW BUILD PUBLIC / CULTURAL, LOCAL / SPECIFIC & COMMERCIAL / LEISURE
Site Plan
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Playful
Example 3: WADDINGTON STUDIOS, LONDON (2012)
Site Section
Corton Steel Panels - Effects
Transparency - Interior+Street
PVC Strip Curtains
Materiality- Timber BrickFurniture by Tim Denton
Site Section
FYS was in charged of the development of a new building on a heavily overlooked urban site. Once was the factory of a board game and card manufacturer Waddington Games, the architects included an artist gallery, photographic studios, office accommodation, flats, garaging and storage, plus a courtyard house within a 190 square metre of site space. The use of patterned Corten steel façade and a projecting ‘hoisting box’ to mimic the industrial aesthetic of the surrounding context. The creation of the swirling pattern on steel sheet was formed by punched holes, follows the patterns at the back of Waddington Games playing cards. The Corten panels allow varying the degree of natural light inside the double-height artists’ studios. Shadows are formed through the perforations, showcasing the pattern. The complex also has a green saw-tooth roof to go with the clerestory windows, further maximising light shining into interior spaces and addresses the overlooking issue. The level of transparency between the Exterior street & Interior spaces and between different levels within the building is also reflected in the design of Ty Pawb, especially its interior areas, large glazing windows and the use of roof lights. This results in more visual connections and natural lighting within the infrastructure and between the streets, a noticable characteristic that is also seen in Ty Pawb’s final design.
- Metal
Exterior Façade - Steel Panels & Cantilever Structure
FYA designs and builds an art and activity building for a local charity Providence Row. The site is located opposite from the charity’s headquarters and is landlocked with three of its sides being surrounded by tall neighbouring buildings. The facade is constructed using perforated cladding screens which views out from the north. Solid panels are used as shields while providing views to the south and west through large areas of glazed windows. The upper floor has a zig-zagging terrace that follows the facade shape and the bright yellow, irregular-shaped skylight provides a fun and lively aspect for those working in the surrounding higher buildings. The centre houses a Bike workshop, Art/ Activity space and Office areas. Internally spaces are created flexibly by inserting timber floors as continuous horizontal barriers between spaces for functions. These are the early development of the “Baggy Space” concept which FYA would include into Ty Pawb’s interior space organisation to allow maximum flexibility for any events or purposes.
Human Interaction
Interior Spaces - Bike Workshop
NEW BUILD PUBLIC / CULTURAL, COMMUNITY / HEALTH & PEOPLE / STORIES
Site Section
Example 2: DELLOW ARTS & ACTIVITY CENTRE, LONDON (2011)
Case Study: TY PAWB, ARTS, MARKET & COMMUNITY CENTRE, WREXHAM, WALES (2018) REFURBISHMENT
- perforated cladding panels
Exterior Views of Ty Pawb
A Collage showing my Exploration of the Themes used the Previous 3 Examples, Implementing them into the Case Study of Ty Pawb
Other than their founders’ manifesto towards architecture, Ty Pawb contains several design rules that were observed in their studio’s motto and previous works. These features can be seen in the physical design forms and practices FYA explored and maintains in all its projects, such as the following: 1. Transparency between Indoor/Outdoor areas and between levels within a building. This can be done through the common use of glazed windows. Other than achieving visual connectivity, the use of glass in roof lights and windows also allow natural lighting to illuminate the room. 2. Various levels and volumes of spaces within the infrastructure. This results in more dynamic and playful atmosphere for individuals to think creatively while in the comforts of the interior space. 3. Flexible spaces in the form of “Baggy Space”, allowing the purpose of the room to be versatile. Room functions are determined by using temporary furniture and materials to divide and declare spaces.
In my representation collage, it shows my interpretation of FYA’s theory regarding designs that centre around: 1. Challenging themselves to overcome restrictions such as restricted site, materials and budget so that they would think to think out of the box, generating innovative design opportunities and forms. 2. Inhabitation as they consider the user experiences to empower them in achieving their goals in an optimum interior space. 3. Most of their work revolves around working in revitalising areas, getting involved in restoration works with existing historical sites that have strict regulations to preserve and respect its cultural and community values. These 3 learning lessons I have identified using past projects have they ultimately contribute to the formation of Ty Pawb’s themes and design features. It also showcases the latest vision of FYA studio of carefully bridging people, community and architecture today.
Fig 30b: My contribution to the group’s Case Study on Ty Pawb.
Testing
_________________________________ 1 Feburary 2021- 28 Feburary 2021 Reflection: After Framing comes the Testing Stage. For the testing stage, I have tested various ideas on the site. As you can see in the next few pages, I have tried out various methods to convey my ideas. Initially, I have done hand drawn diagrams to roughly develop the massing model and allocated spaces within the building in plans and sections. I later on used tracing to further improve on my previous attempts at determining the form of the new design, debating the level of retrofitting in the forum. Next, I used digital drawing software to form a more precise massing diagram to understand the volumes and shape of the building and how much my design is occupying with regards to the context. At a point of time, I even further reduced the size of my project, to only come back to the previous design after many considerations. From form explorations to materiality, I have done various trail and error to further refine my design strategies at different scales. There is a constant reminder for myself to consider how my design would work with the context. In Testing, my draft scheme is then slowly built via the various iterative testing process and the feedbacks gathered. As I reach the end of the testing scheme, I further developed my design in detail using digital software (Vectorworks). I am glad to experience the testing stage despite the retrying various concepts and different representations skills as it allowed me to further reflect critically on how my design’s form, shape, façade and materiality declare about my stance on the urban commons and my critical spatial practice. It also gave me the opportunity to try out different mediums of representation, in which I did eventually settle down with using Vectorworks due to its level of precising and clarity.
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Fig 31: My Studio’s Miro Board for Testing. As you can see, my work has been expanded beyond the given box, with ideas branching out to the nearest open space. 39
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Fig 32a : A collage of my output for Testing Week One. Tested out pencil, tracing, markers, modelling and digitals software.
Test 1
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During test 1, I tried to retrofit the Customer’s first centre fully. In my initial approach, I wanted to keep the form of the original customer first centre but re-organize the interior spaces for retail, library and retail. Afterwards, I felt that my approach was not on a scale large enough for the project and I would be missing out in designing the facade. Hence, I decided to tackle the forum’s carpark by building a new add on structure that acts as a linkway between the carpark and the customer first centre. I also tried to put agricultural facilities and culinary rooms within the building. This was my first attempt on designing my project.
Fig 32b : A collage of my output for Testing Week One. Tested out pencil, tracing, markers, modelling and digitals software.
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Fig 33a : A collage of my output for Testing Week Two - Eight. Tested out pencil, tracing, watercolouring, and digitals software (Sketchup).
Test 2-8
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In test 2-8, I furthered tried to refine my project but was met with uncertainty from my end. I felt that my approach seemed to be very restrictive, and I felt that I was misinterpreting the project task. I went back to my brief and re-read all of the requirements. Which I realized that I could demolish buildings as part of my scheme. Therefore, in test 3, I decided to restart from scratch. I decided that in order to allow more freedom in designing, I would need to employ a certain level of demolition to the site’s building. Therefore, I have decided to demolish the underused carpark partially and reused the remaining part as part of my structure for the new building I will be introducing.
My approach to demolish some parts of the building released most of the restrictions. I also tried to create new links into the market spaces within the Forum. However, I felt that the scale of this project became too large for me to handle. Therefore, by the 8th attempt at designing for the site, I have determined that the site of my design would be the Customer first centre (Demolish the Second Floor), the carpark (Demolish the first and ground floor partially) and the Greenspace (For an intervention). During my attempts, I have thought of the materiality of the project (Timber and brick) as I used watercolours to abstractly create interior perspectives I would like to achieve. The main aim of these watercolour is to explore materiality and atmosphere of the spaces created. Hence, this skill was further improved and accurately represented in the last stage of Synthesis.
Fig 33b : A collage of my output for Testing Week Two - Eight. Tested out pencil, tracing, watercolouring, and digitals software (Sketchup).
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Fig 34a : A collage of my output for Testing Week Nine. Tested out pencil, pen, marker, tracing, collage and digitals software (Adobe Photoshop and Vectorworks).
The Final Test
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Finally, in Test 9: I have finally made the decision to work on Customer first centre (Demolish the Second Floor) and the carpark (Demolish the first and ground floor partially). I have taken consideration of the side and developed the form of the building that allows green spaces to be found on the ground floor (Of the previous carpark), up onto the first floor (Of the previous carpark) and the Second Floor Customer first centre). The greenspaces are arranged so that they are able to get ample sunlight and rain for growth while ensuring that the building form remains regular in shape (like the Forum). The height of the new building will not exceed the current height limit and the difference in level is subtle as it occurs away from the highest point of the Forum’s customer first centre.
Using photoshop, I have also come up with the initial idea for the materiality (ETFE and Brick) of the design with an elevation. The use of ETFE is to indicate to people that this building is an urban agriculture centre, just like a greenhouse whereas the use of bricks helps to weave the building back into its Georgian Housing Surroundings. With these in mind, I have developed these ideas using digital software (Vectorworks) to showcase its 3D models. Slowly, I have made new modifications on the design such as the materiality on the façade which will be revealed in the next stage: Synthesis
Fig 34b : A collage of my output for Testing Week Nine. Tested out pencil, pen, marker, tracing, collage and digitals software (Adobe Photoshop and Vectorworks).
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Thinking Through Making _________________________________
Thinking through making gives me the time to digest and consolidate themes I have been trying to achieve from the Framing and Testing stage: To weave the project into Wallsend. One
Fig 35 : A drawing of Wallsend’s mining industry in the past.
way to do so is to incorporate some of Wallsend’s distinctive features into the new building so that it can be a space for the locals. For my projects, I have already considered the current urban/ physical traits of the site and have incorporated into the design so that the building exterior will be sensitive to the surrounding context. Therefore, for the thinking through making piece, I have decided to explore the historical aspect of Wallsend to find out what makes the local reminisce of the past? 1.
Coalmining was a part of its industrial revolution
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Shipbuilding was also blooming due to Wallsend’s close proximity to the sea.
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Wallsend was a Roman Fort that marked the eastern end of The Hadrian Wall.
These events have made Wallsend expanded it population and experience an influx of people into its Urban Area. As these key industries has led to Wallsend experiencing prosperity, it
Fig 36 : A photograph of Wallsend’s shipbuilding industry in the past.
became a part of the local’s identity.
Therefore, I hope that by introducing a public artwork (made by a local artist/community) that highlights the Wallsend’s glorious past would help the close the distance between the residents and the new Agriculture and Education Centre, making them feel comfortable to initiate community led activities among residents and taking more ownership in maintaining the greenspaces in the centre.
Fig 37 : A photograph of Wallsend’s Hadrian Wall. 46
Exploration of using Terra Cotta as a method to create a Community Mural Artwork to pay homage to the site’s rich history. A 1:10 Detailed model to highlighting moments of the site’s history. These tile designs could involve the residents such as inviting children from local schools to design what Wallsend mean to them. The final mural will be a collection of these tiles, being placed together to form a large community mural.
Fig 38 : A photograph of the making process of the Mural Art Piece about Wallsend’s history. Used Terra Cotta Clay and clear nail polish to seal the art piece (Due to lockdown many art materials are unavaliable hence I found old nail polish as a substitute ).
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Fig 39 a : A photograph of completed Mural on Wallsend’s Mining History.
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Fig 39 b : A photograph of completed Mural on Wallsend’s Shipbuilding History.
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Fig 39 b : A photograph of completed Mural on Wallsend’s Hadrian Wall and its History.
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Fig 40: A visualisation of the completed Murals on Walls of the Agriculture and Education Complex (Found along the Linkway between the Agriculture and Education Complex and the Forum Shopping Mall, Perspective Number 4).
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Synthesis
_________________________________ 8 March 2021- 16 May 2021 Reflection: After weeks of preparation, synthesis is the final stage where key themes and ideas explored in Framing and Testing come together in a curated form. In synthesis, a fully declared design proposal is submitted, after considering theory and technological aspect of the design strategies. The programmes and facilities available within the infrastructure (Greenhouse, Greenspaces, Café Spaces, and Study Spaces) are critical spatial practices that are places where social activities can take place as people, regardless of age, race and status can come together and celebrate with food. The technological aspect of the project plays a crucial role in showcasing my studio specific theme regarding my advocacy as an architect: to promote buildings to be retrofitted and green. There is also a series of celebratory pieces that help to inform viewers on the impact of my design on the end-users of Wallsend. Despite using the same materials and roofscapes so that the new agriculture and education complex can blend in with the surrounding context in the Forum, the overall form of the building is very different as large volume spaces and height changes (Observed in the Sections) brings about a more playful and dynamic approach in handing spaces in and around the forum (As compared to the Customer First Centre and the Georgian Houses). Therefore, the Agriculture and Education complex bring in new and bold architecture qualities to the area, making it standout in a different way. I do feel that the final outcome of the Agriculture and Education complex did capture what I wanted to achieve in both my Framing and Testing stage: a modest looking infrastructure that is sensitive to is context while exploring a more daring arrangement of interior spaces with the exiting structures. For example: in my testing, I have been trying out different ways to incorporate the old structures with the new additions. And for my representation methods, It was heavily influenced by my interest in watercolours introduced in my Framing stage. I hope my celebratory pieces is able to convey the vibrancy of future habitation by the Wallsend residents and the new atmosphere it is able to create that will lead to the regeneration of the site.
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Site Analysis
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Fig 41: Site Analysis of the Forum Shopping Centre (Indicated in Red). 53
Fig 42: A 3D Site Analysis of the Forum Shopping Centre, natural environment and context. (Indicated in Red).
Fig 43: A series of photographs around the site and inside the Forum Shoppping Centre. 54
Development
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Fig 44: A Massing Model of the new proposed design for the Agriculture and Education Complex.
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Boundaries: The perimeters of the site for the new
Courtyard: An important facility in the complex. To be placed infront
Circulation: To create a pathway into the Forum Shopping Mall. This
developement.
so that it could welcome people from the streets into the mall.
is to also regenerate the human flow to site.
Subtraction: To create a drop-off point for vehicles to drop important
Addition: To create a slanted edge to indicte to the drop off vehicles
supplies for the food growing and production process.
to U-turn to exit.
The Final From: of the Ground Floor.
Fig 45: A series of Development Images on the form of the Agriculture and Education Complex. 56
Fig 46: A Parti-diagram showing the subtraction and addition of spaces. The darkest shade on the the ground foor while the lighter shades are on the upper floors.
Fig 47: A Parti-diagram showing the plan to section.
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Fig 48: A 3D Diagram showing roofscapes of the complex. Ties into the site’s context as the pitched roofs of the complex was inspiried by the surrounding Geogian houses’ and the Forum Shopping Mall’s pitched Roofs.
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Fig 49: A 3D Diagram showing human circulation where it drawns visitors from the streets into the complex and then later into the Forum Shopping Mall, regenerating the local businesses.
Fig 50: A 3D Diagram showing the sunlight imapct on the complex. Shows that the elevated spaces on the first and second floor help greenspaces to grow better due to being able to gain ample sunlight, an important factor in plant growth.
Fig 51: A 3D Diagram showing the overall impact of environmetal effects on the Agriculture and Education Complex.
My main programme in my design involves Agriculture. Therefore, my site has to be strategically configured so that the greenhouse and greenspaces are able to get as much sunlight as possible so that plants could prosper under both natural and manmade controlled conditions. To ensure that the agricultural crops are able to get the most out of its environment, I tested out growing different species in in different spaces: a. In a greenhouse (where temperature can reach high levels) : Tropical Species Plants b. On an elevated, Open-air space (Where temperature depends on the regional Climate) : Temperate Species Plants and Herbs. This move is to maximize the quantity of spaces the building is able to generate on the site while providing a wider range of vegetation for both professionals and the community to learn from its urban landscape.
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Fig 52: A Parti Plan Diagram of the Agriculture and Education Complex
Fig 53: A Parti Section Diagram of the Agriculture and Education Complex 60
Sections
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Fig 54: A 3D Diagram showing where Section a.a and Section b.b cut through the complex.
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Fig 55: Section a.a. Showing inhabitation, the surrounding context and the sunlight effect in the interior spaces. (Originally at 1:200)
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Fig 56: Section b.b. Showing inhabitation, the surrounding context and the materiality of the interior spaces. (Originally at 1:200)
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Plans
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Fig 57: Ground Floor Plans with the surrounding Context, Greenspaces and the Green Intervention. (Originally at 1:200)
Fig 58: First Floor Plans with the surrounding Context. (Originally at 1:200) The Surrounding context gets lighter as the floor level goes up. 65
Fig 59: Second Floor Plans with the surrounding Context. (Originally at 1:200) Able to see the Forum Shopping Centre Roofscape.
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Fig 60: Roof Plans with the surrounding Context. (Originally at 1:200)
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Programmatic Strategy
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Fig 61: An Axon Diagram of the Agriculture and Education Complex. Stratigically placed all the service facilities on the ground floor where sunlight is not required while placing green spaces at areas with large amount of sunlight. 68
Green Intervention
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As my complex focuses on creating more greenspaces that is inhabitable by the residents of Wallsend, I decided to take control of the green space adjacent to my site (Refer to Site Ground Floor Plan).
Therefore, I took ownership of the plot of land by adding a playground for children to play among the greeneries. I was inspired by the Kic Park in Shanghai. It was a forgotten space that was transformed into an area where people cared about by adding an intervention. This intervention serves to allow people to gather, pause and reflect among the bustle and hustle of the city. The intervention had various levels, viewpoints and materiality which added a touch of playfulness to the park, setting it aside form the concrete surrounding and draws people into the space, encouraging activities and social engagements.
If I were to get more time to develop this green intervention, I would play with creating different levels of viewpoints that strategically directed at a certain view of the neighborhood, further emphasizing and capturing the beautiful sight the historical city of Wallsend can offer.
Fig 63:The addition of a Green intervention that acts like a playground for children to play with, among nature.
Fig 64: A photograph of Kic Park by 3GATTI in Shanghai, China.
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Facade Details
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The facade of the complex uses an intricate system of recycling Brick from Old building.
This concept was inspired by Resource Rows apartment by Lendager Group (Copenhagen, Denmark) where Square brick panels carved directly from the walls of old buildings and it works to circular economic principles within the community, benefiting the residents economically.1m by 1m brick panels were harvested from Carlsberg’s historical breweries in the city, with the rest sourced from old schools and industrial buildings around DenmarkThe Resource Row Apartment extensively reuses materials and encouraged upcycling. Other upcycled materials used in the building include windows for the allotment gardens on the roof, and reclaimed timber in the facades and interiors including apartment floors and much of it sourced from a construction site for a new metro station. It can reduce carbon emissions during construction by 50-60%.
Otherthan the recycling of bricks in theor facade, the apartments also uses heat pumps and its uses solar panels for renewable energy. Next, its residents are committed to green living where they only buy second hand or upcycled products and sharing things like gardening tools, cars and bikes.
Fig 65: A photograph of the Resource Row Apartment Facade.
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Fig 66: The Facade Detail and Materiality of the complex. (Originally at 1:20 Scale) (Refer Appendix for Full Image)
Fig 67: The Roof and Gutter Detail of the complex. (Originally at 1:20 Scale) 71
Fig 68: The Second Floor Exterior Wall and Flooring Detail of the complex. (Originally at 1:20 Scale) 72
Fig 69: The First Floor Cladding and Window Detail of the complex. (Originally at 1:20 Scale) 73
Fig 70: The Ground Flooring and Foundation of the complex. (Originally at 1:20 Scale) 74
Elevations
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Fig 71: North Elevation of the Complex with surrounding context- The Customer First Centre and the Ritz. (Originally at 1:200 Scale)
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Fig 72: East Elevation of the Complex with surrounding context- The Customer First Centre, the Forum Shopping Mall and The Anson. (Originally at 1:200 Scale)
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Fig 73: South Elevation of the Complex with surrounding context- The Forum Shopping Mall and The Surrounding Shops. (Originally at 1:200 Scale)
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Fig 74: West Elevation of the Complex with surrounding context- The Forum Shopping Mall and The Surrounding Geogian Houses. (Originally at 1:200 Scale)
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Fig 75: A collage of News articles indicating that here are many plans for demolition around the site. These can be a source of recycled bricks for the Complex’s facade to be constructed.
Fig 76: A diagram to show if Charlotte Street Houses where to be demolished, the brick would under go the following process: 1. Brick Panel Removed from Exisiting Building in One Piece 2. Surround the Brick Panel with a Frame 3. Mount on I Profile Steel Frames 4. Hang the Panel from a I Profile Brackets 5. Fit the Panel to the Interior Wall and Insulation of the Complex’s Facade 6. Panel Sizes can be of Various Shapes if Followed the Above Principle Accordingly The Panel is installed onto the facade of the Argriculture and Education Complex.
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Fig 77: A conceptual diagram to show how the North Elevation would look like after years of usage. Once there is a tear and wear on the cladding, the panels can be easily replaced with any recycled brick panels avaliable (From any demolistion project during that time). Hence, giving the Agriculture and Education Complex a Unique and ever-chainging appearance.
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Perspective Journey
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Fig 78: A diagram to show where the viewpoints of each perspective was taken on the Ground Floor.
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Fig 79: Perspective 1- A View of the Agriculture and Education Complex from the Streetscape.
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Fig 80: Perspective 2- A View of the Agriculture and Education Complex Main Entrance from the Streetscape.
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Fig 81: Perspective 3- A View of the Agriculture and Education Complex Indoor Cafe Space.
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Fig 82: Perspective 4- A View of the Agriculture and Education Complex Second Main Entrance from the Forum Shopping Centre.
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Fig 83: Perspective 5- A View of the Agriculture and Education Complex Second Main Entrance from further inside the Forum Shopping Centre.
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Fig 84: A diagram to show where the viewpoints of each perspective was taken on the Second Floor.
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Fig 85: Perspective 6- A View of the Agriculture and Education Complex Second Floor Cafe Space.
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Fig 86: Perspective 7- A View of the Agriculture and Education Complex Second Floor Ourdoor Garden space.
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Fig 87: Perspective 8- A bird-eye view of the Agriculture and Education Complex with its Context.
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Environmental Design Strategies _________________________________
Construction often takes up a lot of resources and releases a lot of waste back into the environment. A part of our Studio Theme is to be an advocate. Other than being an advocate for democracy among the residents of Wallsend, I would also like to advocate to create green infrastructure to lessen the impact of global warming in the long run, generating positive effects on the environment. Therefore, it is a responsibility for Architects be careful of our design decisions so that we can lessen negative impacts on our surroundings. This can be done by using energy and resources effectively. Therefore, adopting various environmentally friendly design strategies played a major factor in my project.
My project adopts the RIBA Sustainable Outcomes Guide 2019 as a sustainability guideline. In this guideline, there is an emphasis on addressing Environmental Sustainability, Social Sustainability and Eco nomic Sustainability via building designs. On another hand, the building can also achieve Whole Life Net carbon by using Net Zero Operational Carbon and Net Zero Embodied Carbon strategies, making it more sustainable. Hence, I will be explaining briefly how my project design have address the following environmental strategies:
1. Ventilation Strategy 2. Daylight Strategy 3. Sustainable Water cycle 4. Sustainable Strategy
Fig 88: RIBA Sustainable Outcomes Guide 2019, p. 11
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1.
Ventilation Strategies.
To ensure that the interior spaces are optimal for human use, I decided to implement both natural and mechanical system of ventilation to ensure a suitable level of air circulation is obtained during the building operation hours. Natural Ventilation will be widely encouraged to be used over mechanical system as it helps to reduce the energy consumption levels during activities, which ultimately reduces the overall carbon emissions in the long run. Hence, Natural ventilation is a passive system that needs no energy input and have no added energy cost. However, due to the large volume of my design, I also propose having Mechanical ventilations systems available to further improve the indoor air quality when required during bad weather events. Taking a closer look, the building design I proposed uses natural ventilation (Stack Ventilation and Cross Ventilation) where air can enter the building via doors and windows while it can escape from the openable windows found on the ETFE roofs. Trench heating system are also found in the floor systems to further ensure optimal room temperature during the Summer and Winter. This creates a form of air circulation which makes the building more comfortable to inhabit in.
Fig 89: Sections on how the Building can adapt during Summer and Winter times . Using Openable Windows
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Fig 90: A Section showing the types of Natural Ventilation Avaliable. Benefits of Natural Ventilation Includes: Reducing Moisture, Odours and other gaeses that can accumulate in occupied spaces.
Fig 91: A Section showing Cross Ventilation (Window to Window) Effectivness depends on Air-tightness of the Building envelope
Fig 92: A Section showing Stack Ventilation (Window to Roof) Takes advantages of the substantial height in the Atrium to allow hot air to escape
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2. Daylight Strategy In terms of building design, the buildings used large surfaces of recycle polycarbonate. It is used as a replacement for Glass Curtain Walls. Polycarbonate walls is durable (up to 250 times stronger than glass), it allows light transmission which helps to naturally illuminate spaces, offers some degree of insulation (Have different forms and R-values that will meet the needs of different projects) and it offers UV Protection (prevents discoloration of the sheets, prevent them from turning yellow) Lastly, using polycarbonate makes sure that e cuttings and trimmings can be recycled, preventing further waste of construction materials in the future. I have also used Ethylene tetrafluoroethylene (ETFE) as my selected choice of roof material. ETFE is an inflatable cushion that allows high level of sunrays to light up interior spaces. Therefore, maximizing the level of natural light entering the building. This helps to keep cost of electricity down as more spaces within the complex de pends on the surrounding light rather than the light fixtures which will reduce consumption of electricity to a greater extent. My design’s purpose to design spaces with good indoor daylighting, lighting and glare further its aim to achieve “Good Health and Wellbeing” outcome as stated previously in my Ventilation strategy. Additionally, the building’s main programme to create a range of greenspaces help to create habitats to enhance the local biodiversity, landscape for urban food production and encourages Zero local pollution from its development. Hence, the complex have also achieved the “Sustainable and Use & Ecology” outcome which means it has done Social Sustainability, Economic Sustainability and Environmental Sustainability as a whole. Therefore, the following images explore how my proposed design interacts with the sun on site.
Fig 93: Sunlight Study in a detailed Building Section (Originally Drawn at 1:20) This shows the difference in light transition between the ETFE Roof, Polycarbonate Walls and the Window. 94
Fig 94: Sunlight Study within the Building Section a.a (Originally Drawn at 1:200) Depending on the angle of the sun, areas that are public accessible are well-lit by natural sunlight
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Fig 95: Sunlight Study within the Building Section b.b (Originally Drawn at 1:200) Also creates a dynamic Shadow Pattern throughout the day due to the presence of the frames to hold the structures stable.
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3. Sustainable Water cycle. According to the RIBA Sustainable Outcomes Guide 2019, sustainable water cycle is one of the most important outcomes that needs to be addressed in many parts of the world today. Furthermore, over 70% of freshwater is used for agriculture only in most countries. It is estimated that earth will be requiring around 50% more agricultural produce and would face a 15% increase in water withdrawal to feed 9 billion people by 2050. Therefore, Water is a sacred resource. My project’s agriculture programmes depend on water for irrigation, cooking and for daily use of the occupants. Hence, my design aims to manage its water resources so that it could alleviate pressure on national water
Fig 96: howing the Life Cycle of Water in my building Design
supply and drainage structure. My design takes advantage of the UK’s temperate oceanic climate that results in frequent rain falls in a year, increasing the building’s supply of water via storage. Therefore, I have included many water features on the 2nd Floor of the new infrastructure. These water feature act as a water catchment area where it accumulates Rainwater from its surrounding environment. This water source is then channeled into 2 different categories: For consumption and for programmes. For consumption, the water will undergo a filtration system in its utility room before it is stored into the separated tank that will be used for consumption and cooking where hygiene is the most important. As for the programmes, rainwater can be used to irrigate crops (in High Tech Farming) and to be used as a cleaning tool (such as flushing toilets). An example of this water feature is Bras Basah Mass Rapid Transport (MRT) Station in Singapore by WOHA Architects. The MRT’s water feature works as both a landscape feature on the Ground Floor and a Skylight for the journey to board the trains located in the basement level. Beyond the aesthetical functions, the Bras Basah water feature also help to keep the MRT station Cool. (Referring to the Newspaper Article) According to the Architects, the station had follow the strict thermal transmission regulations by using ceramic frits and multilayer glass. The water film helps to circulate the glass, removing heat that rises from the basement. The warmed water then is released through the fountain which releases the heat in a evaporative cooling manner. Therefore, the water feature in my design helps to improve the overall landscape, collect rainwater for future use and encourages the natural cooling effect on buildings, mitigating potential Urban Heat Island Effect. This allows the new building to have an independent source of water, reducing its reliance on national resources in the long run. This helps to achieve Environmental Sustainability under RIBA’s Sustainable Outcome Guide 2019
Fig 97: A Axon Diagramme to show the process of how water is travelled throughout the complex from the water feature to the water filter tank and what processes do they undergo.
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Fig 99: My attempt at making a digital model of the Water Feature Replaced the Steel Frame with Laminated Timber (CLT) Frame for a more environmentally option. Made a Section cut to show the effects it has on the walkway when people travel from the building into the Forum
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Fig 98: Precedent Study- Bras Basah MRT Station by WOHA Architect (Singapore)
4. Sustainable Strategy To achieve the Net-Zero Carbon goals, the design of my building has a range of solar panels to self-generate electricity for its own consumption. The panels are placed at an angle towards the sunpath so that as much light is absorbed by the panels as possible. This allows the building to remain off the grid, hence minimizing its use of the national electricity supply and the use of fossil fuels which contributes greatly to the carbon emissions. Furthermore, construction period of the building was mindful of its carbon footprint. As a retrofit project, the existing column of the previous carpark structure is retained. After inspecting for its safety, further work was done to it to ensure it could withstand the new additional floors. Materials are also carefully sourced from local producers such as Timber. The façade of the project also uses recycled bricks that was collected from local
Fig 100: : Renewable Energy Source- Solar energy
producers and projects that undergo demolition. These bricks can be made into panels which is used as cladding for the project. Not only does the recycled brick gain a second use, it also add character to the project aesthetics while still remaining sensitive to its brick Georgian surrounding. Recycled Polycarbonate walls are also used for this project. Therefore, reusing old structures and using locally sourced resources help to reduce material and cost of the project. This would ultimately lower its embodied carbon when it is completed as compared to newly built structures. Therefore, carbon emission during transportation of construction materials is reduced. This also generates a form of circular economy where local businesses and employment would benefit economically from this project.
Fig 101: Circular Economy Achieved when materials are locally sourced to benefit the Community Economically
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Fig 102: Construction Sequence Showing Structures that is retained from exisiting Building (Red) and New Structures (yellow)
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Fig 103: Ground Floor Plan Showing structures that are reused from the previous building (Red) and New Structures (Yellow) A Retrofit Project with Recycling Elements
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Fig 104: First Floor Plan Showing structures that are reused from the previous building (Red) and New Structures (Yellow)
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Fig 105: : Second Floor Plan Showing structures that are reused from the previous building (Red) and New Structures (Yellow)
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Fig 106: Roof Plan Showing New Structures (Yellow)
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Celebratory Piece
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Fig 107: An Exploded Axon Diagram showing inhabitation, life and vibrancy the Argriculture and Education complex can bring to the residents of Wallsend, regenerating underused spaces within the Forum Shopping Mall. (Refer Appendix for Full Image) 105
Bibliography
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Borch, C., & Kornberger, M. (2016). Urban Commons: Rethinking the City (Space, Materiality and the Normative) (1st ed.). Routledge.
CITIES ESS. (2019, September 6). The urban commons [Video]. YouTube. https://www.youtube.com/watch?v=sQCahsTLaD0. (2020). [Acessed :1 June 2021]
Holl, S. Steven Holl Watercolors. Amsterdam University Press.Land8: Landscape Architects Network. (2015, December 5).
How Kic Park Went From Forgotten Space Into a Space People Care About. Land8. https://land8.com/how-kic-park-went-from-forgotten-space-into-aspace-people-care-about/ [Acessed :1 June 2021]
Our Grandfather Story. (2020, November 3). What Do Coffeeshops Mean To You? [Video]. YouTube. https://www.youtube.com/watch?v=e1NrfQ9K2_4 [Acessed :1 June 2021]
Smart City Expo World Congress. (2016, December 14). David Bollier - The City as a Commons [Video]. YouTube. https://www.youtube.com/watch?v=z3itmhDuem8 [Acessed :1 June 2021]
Wilson, R. (2020, August 6). Old into new: Recycled bricks form facade of Copenhagen housing project. The Architects’ Journal. https://www.architectsjournal.co.uk/buildings/old-into-new-recycled-bricks-form-facade-of-copenhagen-housing-project [Acessed :1 June 2021]
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List of Illustrations _________________________________
Fig 1-2 : Author’s own Illustration, 2020. Fig 3: https://www.youtube.com/watch?v=z3itmhDuem8 Fig 4: https://www.youtube.com/watch?v=sQCahsTLaD0 Fig 5: https://www.youtube.com/watch?v=e1NrfQ9K2_4 [Acessed :1 June 2021] Fig 6: Borch, C., & Kornberger, M. (2016). Urban Commons: Rethinking the City (Space, Materiality and the Normative) (1st ed.). Routledge. Fig 7: Holl, S. Steven Holl Watercolors. Amsterdam University Press.Land8: Landscape Architects Network. (2015, December 5). Fig 8-34: Author’s own Illustration, 2020. Fig 35: https://www.jimscott.co.uk/Collieries/060_Wallsend%20Colliery.html Fig 36: https://www.culturematters.org.uk/index.php/arts/visual-art/item/2975-the-last-ships Fig 37: https://www.pinterest.com/pin/85779567877402137/ Fig 38-42: Author’s own Illustration, 2020. Fig 43: https://completelyretail.co.uk/scheme/4834, http://www.bjbconsult.co.uk/project/75910/ Fig 44-63: Author’s own Illustration, 2020. Fig 64: https://land8.com/how-kic-park-went-from-forgotten-space-into-a-space-people-care-about/ Fig 65: https://www.architectsjournal.co.uk/buildings/old-into-new-recycled-bricks-form-facade-of-copenhagen-housing-project Fig 66-87: Author’s own Illustration, 2020. Fig 88: https://www.architecture.com/-/media/GatherContent/Test-resources-page/Additional-Documents/RIBASustainableOutcomesGuide2019pdf.pdf Fig 89-106: Author’s own Illustration, 2020.
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Appendix
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