Xinrui Lin Portfolio by PDF Uploads

ARC 3001 PORTFOLIO CREATIVE SYNERGY 170737229

Contents Illustrated Reflective Diary

Cultural Bibliography

Project Framing

Project Testing

Thinking Through Making

Project Synthesis

Thematic Case Study

101

Bibliography

126

List of Figure

126

Appendix

127

Illustrated Reflective Diary

Our design studio is called ‘ Creative Synergy’. The studio has focuesed on the relationships between the academic field and local community site of Ouseburn. Our studio has placed significant importance on the eight themes of Community Engagement, Architectural & Cultural Context, Process, Inhabitation, Making / Fabrication, Craft, Research and sustainability throughout each design stages (3 stages). By using both the individual and collective as a means, we were aim to coupled with an emphasis upon each individual determining and developing the specifics of our own design proposal. This illustrated reflective report will first outline the learning and design process of the year, then explain how my design project is supported by other modules.

My essay on ARC 3015 Thoery into Practice focused on the essential role of historic preservation on architecture aspects of sustainablilty and materiality. The preservation and the green architecture movements can tap synergies and develop new ways of working together to solve problems like climate change, which is a fundamental consideration in the our design approach. My focus on structural and material specification will approach to apply a suitable method into the sustainablity, adaptability and longevity, such as passive cooling system and material chosen of recycled bricks to lower the carbon footprint. In ARC 3014 Professional Practice and Management coursework report, i learned how design projects come to reality, how they are built in practice and we need to consider the city’s development plan. One of the planning priorities in Ouseburn Sub-Area is to develop leisure, culture and tourism development that complements existing uses. My design responds it by creating a supplement institute to the existing new Ouseburn Cultural and Heritage Hub that is planned by the local authority Ouseburn Trust, which is a community-focused, heritage and environmental activity programme.

Due to the pandemics, our study and life styles effectively changed. It required us a better time management and a balance between study and life at home. This makes an architecture student’ life more difficult as i used to work with coursemates as a group in the studio. All of our lectures, tutorials, group meetings and reviews are online via Zoom, Miro and Microsoft Teams softwares. However, i had more opportunities to improve and learn digital softwares as the design presentation needs to be conveyed in a higher quality online. This year, i have had continued conversation between coursemates and guidence from all modules tutors which is a different impressive experience of academic year in architecture.

The report of ARC 3013 Architectural Technology Integrated Construction explored a detailed understanding of building’s structural, material and environmental strategies. One of my interests on material and structural is to use reinforced concrete infilled frame structures and exposed brick walls as an infill material. Porous brick walls are designedly arranged in the concrete frames response to different necessities of lighting and atomsphere. Learning the construction details could address some technical problem during the design process, such as how different structures connect and support to each other.

This year, we examined the various functions, materials, skills and process involved in an architectural craft and tactile appreciation of spatial quality. This performative and process-based approach will integrate with the Academy which questioning the role of the education institution and the space on site that can mediate between past, present and future stages of Ouseburn Community. Fortunately, i hace visited Ouseburn once in the beginning of the academic year and i had the chance to feel the atomsphere and the characteristics of the vibrant Ouseburn. The site of Ouseburn seem to be an unqiue area where it has a rich cultural heritage from industrial revolution to a self-sustaining community with residential conversions and arts or craft workshops at present, and continue to develop into a more positive and sustainable environment.

To conclude, although Stage 3 is a challenge year for me, but i still had a great experience of learning and gaining comphresive skills and knowlege. I would like to thank all module tutors specially our studio leaders Craig Gray and Stella Mygdali for giving advice on my design project and guiding us throughout the year. I also appreciate to our studio members and other coursemates who has supported me during this difficult time, offering me an unforgettable academic year of stage three.

Photos of the site Ouseburn

Technical Study Sketches

Cultural Bibliography Beside university works, I’ve visited the art exhibition in Baltic Centre for Contemporary Art in the beginnning of the academic year. When I was in the exhibition space, I considered the different roles of natural and artificial light and the relationship between public and most private spaces. It made me think about the connection between the architecture and arts, for example, if the users perceive space by determining material intensity in an exhibition room and the choice of art pieces or objects in the area, a synchronised conception between the architect and the artist needs to be considered to approach a suitable artistic exhibition at a particular building. At the end of last November, I went back to Namibia and had the opportunity to explore in the city centre of Windhoek and the coastal town of Swakopmund in the country. In the following paragraph, I will summaries the history and style of architecture that I have experienced and learned in Namibia. Namibia was colonied by Germany in 1884 then fell under South African rule in the early 1900s. (Peter, 1983) Therefore, the style of German architecture influenced the development in Namibia. Several buildings in the country captures a Romanesque and Gothic look of arches, high ceilings, and many castle-like facades. One significant place is the iconic landmark of Christ’s Church in central Windhoek, designed by German architect and engineer Gottlieb Redecker who was responsible to a number of important buildings in Namibia. The town by the sea where I’ve visited, it felt like a picturesque tourist town that merges a Renaissance style with a local Namibian style and some of the housing are featured as minimalist achitecture. However, the style of local Namibian buidings are featured as vernacular architecture by using local materials sourced locally employing local people with local skills. If using bricks, most of them will be hand made on site with local stones and river sand. If using wood, it is mostly sourced from local Kiaat and Rhodesian teak. (Peter, 1983) The common structure of vernacular Namibian architecture consists of a skeleton of hand bent steel bar that’s thatched with reed sustainably harvested in Northern Namibia. Both the interior and exterior walls are thatched which creates a very unique shape and ambience.Moreover, the structure is raised of the ground so the wind flowing under the building will help to cool down and the hot air can also be reflected out of the buidling. To summaries, the characteristics of past and present in the country allowed the place to develop and shape the best environment into existence of contemporary Namibian style in the future. It somehow related to Ouseburn in the way of their complicated history and mixture of past, present and future characteristics. Apart from the tours to Baltic (UK) and Namibia, I have also read and learned eight case studies from other studios. Reading the case studies as precedents help me to develop and think in a different creative way, learning how different architects react to particualr site context and finalise a project. Photos taken at Baltic Art Centre

Windhoek, the capital city of Namibia

Swakopmund, the coastal town

Figure 1-8: 8 Case Studies are all from the reports by other groups of studios

Material Archive and Heritage Institute Project Framing (Stage 1) In the early stage of framing, we were divided into small groups and began to collect and research on the academic and Ouseburn community engagement information. The information gathering then formed the basis of a shared studio resource to produce a synthetic arrangement of physical and analytical data base for later stages of individual design development. Synergies refer to mutually reinforcing, dynamic interactions, that embody the essence of ‘working together’. The studio asks us to critically explore the research and learning condition outside the academic architectural studio, in a structure that will enable and forge connections across the city and its university. From my observations and research on site, my impression of Ouseburn is the rich cultural heritage and creative communties of crafting, specially the exisiting program of the new Ouseburn Cultural Heritage Centre. My Academy targets are collaboration and participation. My project will offers collaboration within univeristy and communities which would create sense of a different experience of educational learning environment for users to involve in the heritage and crafting projects.

Diagram of site interests and design direction

OUSEBURN is a sustainable and vibrant environment developed from an agricultural land and heavy industrial area. It contains a self-sustaining community and developed with residential conversions and the development of arts and craft workshops. These characteristics allowed this area to continue to develop into a more positive and sustainable environment without losing the element from cultural heritage and landscape.

PAST

Timeline

A Collage of expression

PRESENT

Voices from the Ouseburn Valley

FUTURE

Summary of 6 discussion themes of group works

Figure 9 : Past, Present and Future from groupwork

1: THE NATURAL ENVIRONMENT

2: THE ARTIFICIAL ENVIRONMENT

3: ROUTES AND RHYTHMS

www.highspeedtraining.co.uk

Disposing of Construction Waste | Different Types & What to Do Our article looks at the waste hierarchy so that you can understand the best way to manage your construction site waste sustainably and legally.

www.pureplanetrecycling.co.uk

EWC codes | List Of Waste | European Waste Codes A useful list of waste, EWC Codes (European Waste Codes) for classifying waste. Search for your required code or manually browse the list.

4: OUSEBURN'S TOPOGRAPHY

5: CLIMATE

LINKS TO STUDIO THEMES: This work built up a body of work to cover the two main themes of our studio. By focussing on both of these themes early on in the design process, it allowed us to identify specific aspects we were interested in for our individual design work and create our own synergy between the two.

KEY CONSIDERATIONS FOR THE NEXT STAGE OF DESIGN: Social and physical connection between the river and the natural and built environment Levels of the surrounding infrastructure and nature The materiality of the buildings and how they work within the conservation area, whilst trying to be as sustainable as possible affecting the site in a minimal way The environment and climate - thinking about designing sustainably (with the possibility of using renewable energy) to try to use as much passive energy as possible Developments near the river will have to be aware of construction effecting water flow and quality. Consider the amount of people/cars that enter and go through the site on a daily basis, in order to not disrupt their daily rhythms and rituals.

Figure 10: Ouseburn Community from group work

Figure 11: Landscape from group work

Figure 12: Refurbishment by Winnie from group work

Figure t13: Transition by Winnie from groupwork

Late 20th century

21th century

Business

Residence

Attraction

Industrial

Figure 14: Diagrams of building types and comparison of quantity by Amanda from group work

Observational sketches of Ouseburn

Collage of an impression in Ouseburn

Figure 15: Timeline of different characteristics of each period by Liza and Author from group work

Academy The design approach with participation and communication between developers and the community, where the architects need to establish a working relationship with the inhabitants in the area to be able to develop a better neighbourhood. Thus, my interests on Academy are collaboration and participation. These impacts improve the economy, health, and cultural richness of the places, we can discover and share knowledge and practice to enable sustainable development within the society. Projects on collaboration and participation on heritage engagement, would raise public awareness of the historic time period of the landscape, providing a sense of place for local residents, and further provide a platform from which future research into the dynamic landscape can be launched. Specifically, my project will collaborate with amounts of partnerships of local authority Ouseburn Trust, Newcastle City Council, Newcastle University, Northumbria University, Byker Community and other communities. This project offers collaboration within schools and communities which would create a sense of an educational learning environment for learners and residents and visitor to involve and engage in the heritage project.

Collage of an impression of traditional Academy reseach realm

Collage of first impression of Ouseburn Collage of crisis on heritage perservation (right)

North East England

Ouseburn River

Sun Path & Wind Direction

Project Site Ouseburn Area

Masterplan 1:1250 at A4

Top view of chosen site

Illustrated Masterplan Ouseburn

Material Research on Ouseburn area

Figure 16: Historical mappings

My SYNERGY interests on an area-based community project on heritage. It is important to engage more people to be involved in the heritage. This project would provide space to meet and learn about the history and improve visitor’s experience with a management of heritage projects to connect the past industry to the current crafting activity, specifically material exploration of bricks. Learning and teaching through making and practive are one of important point of the institute. This approaches with participation and communication between developers and the community, where the architects need to establish a working relationship with the inhabitants in the area to be able to develop a better neighborhood. Initial Line of Enquiry To build a relationship between the local and their HERITAGE. - Workshops: hand making bricks and recycled plastic as eco-bricks - Exhibition space: to present historical artefacts and multi-media artworks that are inspired by the history of Ouseburn from local artists -Display rooms: due to social distancing, an online event to invite members of the public to send their favourite quotes, handwritings, recorded voice memos, and thoughts of the history or anything that related to Ouseburn.

Figure 17 : Historical site photos 32

Material Archive and Heritage Institute Project Testing (Stage 2) During this stage, we were developing and interrogating our individual approach from group work to address own programmatic specialism and design solution. We were testing our inital design ideas in a larger detail and scales to think about the specific necessities and human requirements of the proposals unique inhabitants. In our studio, we had ‘The Pavilion’ testing project worked as a pilot study for the institute as a way of thinking throught our own line of enquiry. Chosen Site

Section 1

Section 2

Section 3 Site Section 3 from group work (Figure 18)

Section 4 Site plan

Figure 18: Site plans and secitons from group work

Brief History of my Chosen Site 2 from Figure:

Why chose site 2 (in site section 3)?

My chosen site positioned on the Lower Ouseburn Valley along Ouse Street and Byker Bank roads. Early history of the site is a cattle sanatorium built in 1876 to act as a quarantine area for the live animals that were brought into Newcastle port from Scandinavian. By the late 19th Century, the Cattle Sanatorium closed in 1893 and demolished in 2005 because there was no longer necessary to import live animals. It is then constructed and occupied by warehouses for confectionary works and oil works in late 1980s. The location derives its name of Lower Steenberg’s Yard by a storage and warehousing company. The site is shared by the highly successful Toffee Factory development, which has been a vital part of the recent influx of creative and digital businesses.

The reason why chosen site 2 is to active the area of lower Ouseburn. The site is at a lower level than the street level so it can be accessed only other the South entry from Toffee Factory. My proposal it to solve this issue by creating a public entrance from the street of Byker Road and a social public realm of pedestrian walkway from the street to the riverside level. This idea is well tested in ‘The Pavilion’ exercise, could futher develop in the proposal. The site presents as linear shape and a wall approximately 4 to 8 metres high on the East side, this means all East facing side on Ground floor of the building will be blocked.

Section 6 37

Design Process of The Pavilion

The Pavilion Models

Line of Enquiry

REBRICK

The project is to create a practical and supplement institute to the new Ouseburn Cultural and Heritage Hub that is currently developed by the local authority Ouseburn Trust at 26 Lime Street, Ouseburn, Newcastle upon Tyne. The client for this project will be the client from the New Ouseburn Cultural and Heritage Hub which will be Ouseburn Trust and architects, urban planners and landscape developers from Newcastle University and Northumbria University, who require spaces like material archives, library, workshops and meeting rooms to discuss projects specially with heritage engagement. It also provides an entrance, exhibition hall and café for the public which will be more likely for local residents from Ouseburn and the surrounding Byker Community. This material archive and heritage institute encourages participation and collaboration between different communities to be involved in academy of heritage project and engagement.

Reusing old bricks is a way of making waste into a resource. A Danish company called GamleMursten ApS turns what used to be waste into a resource and demonstrates that reusing old bricks is a feasible, sustainable, and fashionable way for building new or restoring existing buildings. (Simon, 2014) This European funded project is called REBRICK and has demonstrated that an old brick is not “just a brick” for it allows to save grams of CO2 for every reused brick; 98 percent energy consumption required to burn new bricks is saved by reducing old bricks; Hanke Mursten’s solution to a sustainable development is to reuse building and demolition materials. (Simon, 2014)

The process of brick making

Figure 19: A rendering of the Ouseburn Cultural and Heritage Hub at 26 Lime Street | by Xsite Architecture Figure 20: Recycle Bricks

Precedents of Recycling Brick Construction

An arched and elongated structure carries a protruding volume that belongs to a family residence, which is the main part that differentiates the functions. Designed by Vietnamese architecture firm Tropical Space, the building shows a strong presence in Da Nang, Vietnam with its large arched openings and brick structure. (Ott, 2020) Called Cuckoo House, the house is designed for 4 people (parents and 2 kids) combining with a coffee shop located in Da Nang, Vietnam. The project is made up of the local clay brick which brings a familiar feeling to the user and has the architectural shape reminding about the Cuckoo Clock. (Ott, 2020)

A retaining and abandoned wall between the chosen site and Toffee Factory

Figure 21: Cadence King’s Cross, London

Cadence King’s Cross, London With its strategic position in the masterplan to the north of Lewis Cubitt Park, and at the apex of York Way and Canal Reach, Cadence is a landmark structure that will reinforce King’s Cross unique sense of place and celebrate its emerging and historic contexts. (Harrouk, 2020) In response to its prominent siting, our concept’s central architectural and urban gesture is its arcaded base and top. The arches of Kings Cross & St Pancras stations are reinterpreted in a contemporary bézier curve form, so that the building appears to sit lightly upon its urban landscape. (Harrouk, 2020)

Plastic bottles littering

Figure 22: Cuckoo House

The process of recycled plastic bottles into eco-brick wall

Collages of models with site

Design process during testing stage

Modelmaking for testing

Testing with physical models

The final testing model was trying to explore the brick material by construction technique and different patterns of brickwork. The idea of the arch openings are delivered from the arch-elements that found on site. They create an open space to access enought sunlight and passive cooling system. The arched roofs are composited into a perpendicular angle next to each other, creating openings to allow large amount of natural light to reflect on the specific angle and space. However, the positions of two arch roofs crossed to each other seems to be awkward and the problem of passive heating system in the building from porous brick walls. The idea of using arched elements were not enough to be an architectural language to the site context as it is a linear shape site. Futher consideration from the testing review would be a better understanding of the site context; apply own specialism within the programs; a more detailed model making and test more ideas on sites. 56

Re-thinking of design ideas within the site context

Re-visit the site at the end of academic year

Precedent of arched building

AD Classics: Indian Institute of Management / Louis Kahn The conceptual rethinking of the educational practice transformed a school into an institute, where education was a collaborative, cross-disciplinary effort occurring in and out of the classroom. (Kroll, 2010) The building incorporated local materials (brick and concrete) and large geometrical façade extractions as homage to Indian vernacular architecture. (Kroll, 2010) The large facade omissions are abstracted patterns found within the Indian culture that were positioned to act as light wells and a natural cooling system protecting the interior from India’s harsh desert climate. (Kroll, 2010) Even though the porous, geometric façade acts as filters for sunlight and ventilation, the porosity allowed for the creation of new spaces of gathering for the students and faculty to come together. (Kroll, 2010)

Figure 24: The house of Xavier Corberó

A sculptor’s labyrinth home, Xavier Corberó With a sum up of nine buildings, the estate is a labyrinthine cabinet of curiosities concealed by a heavy medieval stone fence. (Ramiro, 2018) The exteriors include geometric concrete structures stacking at different heights to create commanding sculptures amidst the wild surrounds and bodies of water. Across vine-cloaked buildings, details such as floating steps are framed by contrasting curved arches. (Ramiro, 2018) Corberó explains that the driving motivation behind his artistic creations is to create “poetry” – which is exemplified by his eccentric estate. He celebrates honesty in materiality by emphasizing the rugged textures of concrete or timber with perfect imperfection. (Ramiro, 2018) Each internal lookout in Xavier Corberó ‘s home is carefully considered to maximize views of greenery and welcome light. (Ramiro, 2018)

Figure 23: Indian Institute of Management / Louis Kahn

Chosen most suitable Massing for the site

Model sketch of the main entrance for the public from the street level to the riverside

Designing the staircase for material archive space where the stairs could divide different types of materials into different zones.

Rough Sections

Section A-A

Section B-B 70

Section C-C 71

Thinking Through Making

The exercise of Think Through Making require us to explore one part of our building construction, structure or materiality in large detail scale of 1:10. My material exploration focuses on how to make a brick arch wall without any frame support structure, but bricks and mortar only. Although it was challenged to get enough materials, I have had a great experience and really enjoyed after the wall actually stands itself.

https://newcastle-my.sharepoint.com/:v:/g/personal/b7073722_ newcastle_ac_uk/EUzYK9QTDoZJlEp6XapbXHgBR-pppud3E84sOVDk1gu6qw?e=bi8oHk Password for video link: 170737229 Technical Study Sketches

Figure 26: Example of infilled frame structure

Figure 27: Construction details of concrete frame infilled structure

Figure 25: Process of making an arch by reinforced concrete

A exploration of different brickworks Structural Strategy & Construction

Sustainability Strategy & Environment Design

Testing Section

Entrance from the street level

Material Archive and Heritage Institute Synthesis (Stage 3)

The final stage demonstrates comprehensive architectural declaration. This will include a completion of process work, testing, research, theoretical position, brief development and attitude towards context. It also constituted a considerable understanding of materiality and detailed technical information to support the individual proposal and the evidence of significant resolution and compatibility is essential in all plans, sections and elevations at this stage.

The Link between material archive and cafe spaces

Programs by Sections

Process of brick making throughout the building

Sustainable Strategy

1:20 technical detail section from ARC 3013 Technology Report

Cross Section of Exhibition Space

Cross Section of Workshop Space

Prospective Section cutting material archive space 92

Thematical Case Study Nantes School of Architecture by Lacaton & Vassal

Figure 28: Nantes School of Architecture 100

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Thematic Case Study

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Thematic Case Study

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Bibliography

Appendix

Anderson, J. (2019) “What do we learn when we go outside”. Architecture Connects: Strategies for the Co-production of Architectural Knowledge, Charrette, Autumn: 1-7 Frichot, H. (2018) Creative Ecologies: Theorizing the practice of architecture. New York: Bloomsbury Visual Arts. Freire, P. (2015), Pedagogy of the Oppressed, New York: Bloomsbury. Harrouk, (2020), Cadence King’s cross London, https://www.archdaily.com/953242/alison-brooks-imagines-cadence-a-mixed-use-urban-block-part-of-the-kings-cross-central-masterplan-in-london?ad_medium=gallery Historic Photos, (2021) https://newcastlephotos.blogspot.com/2016/05/old-photos-of-byker.html Jones B., Peter, Petrescu, Doina, and Till, Jeremy, (eds). (2005), Architecture and Participation. London, New York: Taylor & Francis Group. Kroll, (2010), Indian Institute of Management by Louis Kahn, https://www.archdaily.com/83697/ad-classics-indian-institute-of-management-louis-kahn Lacaton & Vassal, (2012),Nantes School of Architecture, https://www.archdaily.com/254193/nantes-school-of-architecture-lacaton-vassal?ad_medium=gallery Marco, Frascari, Hale J. & Starkey B.(eds). (2007), From Models to Drawings. Oxon: Routledge. Ott (2020), Cuckoo Home, https://www.archdaily.com/913829/cuckoo-house-tropical-space#:~:text=The%20Cuckoo%20House%20is%20a%20house%20for%204,the%20architectural%20shape%20reminding%20about%20the%20Cuckoo%20Clock Ouseburn Trust, (2021), https://www.ouseburntrust.org.uk/heritage-centre. Old Maps of Newcastle, (2021)https://www.oldmapsonline.org/en/Newcastle%2C_Tyne_and_Wear Peter, W. (1983), Wilhelminian Historicism and Objectivity, https://www.namibweb.com/archit.htm Ramiro, (2018), The house of Xavier Corbero, https://morewithlessdesign.com/en/casa-laberinto-xavier-corbero/ Rendell, J. (2004) “Architectural Research and Disciplinarity”. Architectural Research Quarterly, Cambridge University Press 8, no.2: 141-147 Sennett, R. (2008) The Craftsman. New Haven, London: Yale University Press.

- Thematic Case Study full report (Attached in this portfolio) - ARC 3013 (Attached as a separated file) - ARC 3014 (Attached as a separated file) - ARC 3015 (Attached as a separated file) - ARC 3060 (Attached as a separated file) - Stage 2 Portfolio (Attached as a separated file) - 8 Case Studies Full Report, on Miro Presentation, https://miro.com/app/board/o9J_lb_FJwc=/ - Video link for thinking through making, https://newcastle-my.sharepoint.com/:v:/g/personal/b7073722_newcastle_ac_uk/EUzYK9QTDoZJlEp6XapbXHgBR-pppud3E84sOVDk1gu6qw?e=bi8oHk (Password for video link: 170737229) - Feedback Sheets of Testing and Synthesis Reviews (Attached in this file)

ARC3001 FEEDBACK SHEET STUDIO:

Creative Synergies

REVIEWERS:

Craig Gray, Jianfei Zhu, Ben Bridgens

ASSESSMENT CRITERIA:

X A B C D E

76-100 66-75 56-65 46-55 36-45 0-35

GRADE BREAKDOWN

Percentage teamwork

100

Percentage individual

TESTING 60% (inc synthesis)

RECORD OF PEER/TUTOR COMMENTS:

ARC3001 FEEDBACK SHEET

FORMATIVE LETTER GRADE

STUDENT NAME:

Xinrui Lin (170737229)

DATE:

17/18.05.21

STUDIO:

Creative Synergies

REVIEWERS:

CraigGray&SophieBaldwin

ASSESSMENT CRITERIA:

research - iteration - rigour - control - articulation of method(s) - relevance of method(s)

Context. Explain why it sits where it does?

PROCESS

research - iteration - rigour - control - articulation of method(s) - relevance of method(s)

ETHICAL FRAMEWORK

judgement - response to social, political, environmental, material, cultural, historical professional context(s) [where appropriate] - inclusivity - sustainability

Arches. What is the significance, where was it derived from?

ETHICAL FRAMEWORK

judgement - response to social, political, environmental, material, cultural, historical professional context(s) [where appropriate] - inclusivity - sustainability

DESIGN PROPOSITION TESTING

relevance - brief - consideration of user - contextual integration - spatial articulation - spatial quality - scale - functionality - experiential consideration - control - construction & materiality - synthesis

Structure / Technology. Arches - Vaults. Perhaps this could lead into an interesting structural exploration linked with your technology proposals over the next few weeks?

DESIGN PROPOSITION SYNTHESIS

COMMUNICATION & REPRESENTATION

control - accuracy - clarity - composition - detail - relevance - judgement - atmosphere inhabitation - coherence

COMMUNICATION & REPRESENTATION

control - accuracy - clarity - composition - detail - relevance - judgement - atmosphere inhabitation - coherence

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

criticality - argument - evaluation - questioning - interpretation - multiple perspectives - quality relevant sources - coherence

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

criticality - argument - evaluation - questioning - interpretation - multiple perspectives - quality relevant sources - coherence

INVENTIVENESS & CREATIVITY

experimentation - testing - risk taking

INVENTIVENESS & CREATIVITY

experimentation - testing - risk taking

STUDIO SPECIFIC 01

Inhabitation and Spatial Relationships of chosen Specialism.

STUDIO SPECIFIC 01

Inhabitation and Spatial Relationships of chosen Specialism.

STUDIO SPECIFIC 02

Contextual Response: Between the Academy and the City.

Contextual Response: Between the Academy and the City. PROCESS

- Thinkabout howyoubringlight intoyour keyspacesusingyour section,aretherepossibilitiestointroducemorerooflights, clerestory'sor highlevel windows? - Makemoreof thekeystrategicmoveof liberatingthespaceandunlockingthepotential of thepublicrealmat theriverfront,what isthat spacelike,howdoesit influenceyour arrangement of programme?Groundfloor activity,howthat influencesthelanguageof your architecture.

ER EC Ad va IA 0 IFIC nc 2 ed

ST U CR DIO S IT P

Advanced

STUDIO SPECIFIC CRITERIA 01

Advanced

ce & SS NE Y IVE IT NT TIV VE CREA

n va

Think about how you could make the architecture of the archive, as your primary volume, more interesting and expressive.

Basic

Look to create significant improvements to accessibility of public space between your "dead end"site, and the streets above. This could be a grand piece of public realm design which shares a relationship with your own design.

DESIGN PROPOSITION

Justify the location of your proposal on the site, draw wider sections through the site (both North / South as well as East / West) to show the relationship to the adjacent streets (Ouse Street & Byker Bank).

CO Ad va RE MM nc PR UN ed ES IC EN AT TA ION TI & ON

ST U CR DIO IT SP

- Thinkabout thearrangement of howyour plansarepresented,maybeshowasectionfirst?

ER E C Ad va IA 0 IFI nc C ed 2

Percentage individual

YOUR KEY NEXT STEPS:

AL K HIC OR ET MEW d e A nc FR va

Advanced

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

100

SYNTHESIS 60% (inc testing)

Percentage teamwork

Advanced

YOUR KEY NEXT STEPS:

DESIGN PROPOSITION

Advanced

PROCESS

Advanced

Basic

GRADE BREAKDOWN 76-100 66-75 56-65 46-55 36-45 0-35

- KimbleArt museumprecedent,lookat howit bringslight intothemainvolumes.

Ad CO va nc RE MMU ed PR NIC ES A EN TIO TA N TIO & N

STUDIO SPECIFIC 02

X A B C D E

RECORD OF PEER/TUTOR COMMENTS:

PROCESS

L K CA R HI O ET MEW ed A nc FR Adva

126

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Fig 1-8: 8 Case Studies from other studios on Miro Presentation, https://miro.com/app/board/o9J_lb_FJwc=/ Fig 9-11 : Group work presentation of Framing Celebration on Miro, https://miro.com/app/board/o9J_lcAOuFU=/ Fig 12-13: Refurnishment and Transition by Winnie (Yating He) for Framing Celebration on Miro, https://miro.com/app/board/o9J_lcAOuFU=/ Fig 14: Diagram of building types & comparison of quantities by Amanda (Jinci Yeong) for Framing Celebration on Miro, https://miro.com/app/board/o9J_lcAOuFU=/ Fig 15: Timeline by Liza Nadeem and the author for Framing Celebration on Miro, https://miro.com/app/board/o9J_lcAOuFU=/ Fig 16: Historic Mappings, collaged from Old Maps of Newcastle, https://www.oldmapsonline.org/en/Newcastle%2C_Tyne_and_Wear Fig 17: Historic Photos, https://newcastlephotos.blogspot.com/2016/05/old-photos-of-byker.html Fig 18: Site plan and sections from group work for Framing Celebration on Miro, https://miro.com/app/board/o9J_lcAOuFU=/ Fig 19: Render by Xsite Architects, https://www.ouseburntrust.org.uk/heritage-centre Fig 20: Rebrick, Simon, 2014, ‘Reuse bricks to give them a new life’, https://zerowasteeurope.eu/2014/01/rebrick-reuse-bricks-to-give-them-a-new-life/ Fig 21: Cadence King’s cross London, Harrouk, 2020, https://www.archdaily.com/953242/alison-brooks-imagines-cadence-a-mixed-use-urban-block-part-of-the-kings-cross-central-masterplan-in-london?ad_medium=gallery Fig 22: Cuckoo Home, Ott, 2020, https://www.archdaily.com/913829/cuckoo-house-tropical-space#:~:text=The%20Cuckoo%20House%20is%20a%20house%20for%204,the%20architectural%20shape%20reminding%20about%20the%20Cuckoo%20Clock Fig 23: Indian Institute of Management by Louis Kahn, Kroll, 2010, https://www.archdaily.com/83697/ad-classics-indian-institute-of-management-louis-kahn Fig 24: The house of Xavier Corbero, Ramiro, 2018, https://morewithlessdesign.com/en/casa-laberinto-xavier-corbero/ Fig 25: The process of making an arch by reinforced concrete, http://mkolar.org/travel/Cechy/new-house/building-a-cross-barrel-vaulted-ceiling.html Fig 26: Example of infilled frame structure, Vada, 2020, https://www.archdaily.com/799919/grid-house-bloco-arquitetos?ad_medium=gallery Fig 27: Construction detail of concrete frame infilled structure, Allen, Charleson, Brzev, and Scawthorn,2021, https://taxonomy.openquake.org/terms/infilled-frame Fig 28: Nantes School of Architecture, Lacaton & Vassal, 2012, https://www.archdaily.com/254193/nantes-school-of-architecture-lacaton-vassal?ad_medium=gallery

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All drawings, images, and graphics are authors own, unless specified as ‘Figure...’. Illustrations from a secondary source are as follows:

Xinrui Lin (170737229)

STUDIO SPECIFIC CRITERIA 01

List of Figure

FORMATIVE LETTER GRADE

STUDENT NAME:

Addmoredetail toyour sections,includingheavy,midandlight line-weights,differentiationbetweensolidandvoid,doorsand windows,morecontext andsomeillustrationof structure.

Simplifytheinternal / external stairsgoingintoyour mainspace,andlooktoopenupyour groundfloor soit hasmoreof a relationshipwiththeriverside.

Producesomevisualswhichcelebratetheexcitingnewpublicspaceyouhavecreatedalongtheriver'sedgeandhowyour buildingrelatestoit at thislevel.

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

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