Liza Nadeem Stage 3 Portfolio by PDF Uploads

LIZA NADEEM 180141032

ARCHITECTURAL PORTFOLIO

ARC2001 ARC3001 2020-2021 2019-2020

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CONTENTS REFLECTIVE REPORT

CREATIVE SYNERGY

THE ACADEMY AND THE CITY

FRAMING

LAYERS OF OUSEBURN PAST PRESENT AND FUTURE SECOND LIFE- PAVILION

TESTING

GLASS RECYCLING RESEARCH THINKING THROUGH MAKING PROGRAMME SITE TESTING

SYNTHESIS

ITERATIONS DYNAMIC GLASS GALLERY SECOND LIFE- GLASS RESEARCH AND RECYCLE CENTRE

ILLUSTRATED CULTURAL BIBLIOGRAPHY

158

OTHER THEMATIC CASE STUDIES

THEMATIC CASE STUDY

168

BAUHAUS DESSAU

ARCHITECTURAL PORTFOLIO NEWCASTLE UNIVERSITY SCHOOL OF PLANNING LANDSCAPE & ARCHITECTURE

APPENDIX

188

LIST OF ILLUSTRATIONS

220

BIBLIOGRAPHY

222

CREATIVE SYNERGIES 2020 | 2021 STAGE 3 Student No. 180141032

Liza Nadeem 2 | Creative Synergies

NEW/ EDITED WORK GROUP WORK

ARC3013 / ARC3015 WORK

REFLECTIVE REPORT attitude, now when I reflect I have definitely come a long way from where i stood at the beginning to where I am standing right now. Last year, around the same time, when i was reflecting on my Stage 2 progress I wished to use the workshop more often and learn to use 3D printers in Stage 3 which looked like an essential skill that needed to be ticked off my checklist. Unfortunately, now when I am reflecting on my third year, I feel disappointed that due to unprecedented circumstances i wasn’t even able to step inside the architecture building let alone the workshop and using 3D printers. After reading the studio brief for the first time and attending the design tutorial, I was left confused and even thought that I am not fit for this studio which focused more on appreciating physical model making and hand drawings. However, over the 8 months I realized that every individual has got their own comfort medium and the tutors respected that which was very reassuring.

ooking back at my Stage 3 progress, I realized that it is also worth reflecting on my progress from before the BA course started until now when it is coming to an end. Coming from a non-architectural background and relying on few skills learned in A-levels IT, I was surely very intimidated during the beginning of the programme. It was also very toxic at the beginning when i was still learning and accepting to not compare my skills and pace with other amazing peers around. However, I felt more challenged to improve myself and my skill sets rather than feel disadvantageous. Thanks to this positive

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Sticking to one project through out the year and seeing it develop from ‘Framing’ to ‘Synthesis’ along with ARC3013 module felt like seeing a real life project from RIBA stage 1 to stage 4. Although, I am aware that my project still has many unresolved parts due to time constraints that need further improvements but I can start imagining it getting built on site and seamlessly adding to

the character of site. The studio, Creative Synergies, focuses on directing us to create Architecture binded in thought of positively impacting the community; Architecture focused on place making and the people. My choice of Zaha Hadid’s Architecture being my personal favorite before entering into the programme- like most other students who aspire to become an architectwas very much reflected upon as well. The studio and the Theory into Practice module helped carve my architectural practice and principles that align with the interests of the community and which focus on respecting the history, culture and context of the site. So, after every decision making i weighed it against these thresholds. Therefore, it is satisfying to see the theme running clearly from the inception of the concept, to the Pavilion in Framing stage and finally evident in the final graduate design project as well. Where i feel that my work ticks the ethical framework for all three stages, unfortunately, I am aware that it lacked communication and representation in the first two stages: Framing and Testing. Being aware of where I lack helped me focus more to improve myself in that area. Therefore, practicing rendering software

and Photoshop through freelance work significantly helped me overcome this disadvantage to better communicate my intentions and atmosphere of the project renders in the final phase of the project: Synthesis. Moreover, i regret not being able to render my final sections due to time constraints after months of practicing but i am still satisfied that they communicate the intentions and information in detail even in much simpler line drawing representation style.

be helpful in informing my ARC3013 Studio Specific Research section which in return benefited my design proposal by implementation of the experiment at a larger scale that became the highlight of the project.

The Thinking Through Making was an informative yet creative task that challenged us to think outside the box. However, the lock down made it even more challenging to achieve the outcome that I intended to as it was only possible in a glass blowing workshop. After much struggle and connections (right before I gave up) I was finally able to convince a small scale glass factory to perform my glass fusing experiment. The experiment proved to

I would like to thank my tutors, Craig Gray and Stella Mygdali, for their valuable guidance through out this journey and their support specially in the last month that proved to be rather unbearable due Covid-19. I am also grateful to be part of this studio which also helped me find my hidden interest in creating meaningful Architecture.

Learning through all this process and modules focused on different aspects helped me get engaged with the project thoroughly by viewing it through different lenses and reflecting on it constructively.

<< Concept Grounded by Studio Perspective < Framing Pavilion Output ^ Synthesis Graduate Project Output > Thinking Through Making Experiment Reflective Report | 5

CREATIVE SYNERGIESSTUDIO PERSPECTIVE

he core theme of the studio demands to investigate the significant role that an academy or an institution can play within the community which also questions the role of an architect and the developers. The proposed synergy between the academy and the city helps us understand the importance of a communitarian based society which promotes inclusivity. We will test this relationship beginning by creating a synergy between a pavilion and the community of Ouseburn which should lead us to forming a template fit for building sustainable and socially oriented architecture; Architecture serving as a transient between the Academy and the city. The brief also guides one to be mindful of the voice of the community and the history of the city, thus expects us to provide a highly contextual response to this stimulating brief through meticulous research and thorough testing.

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Studio Perspective | 7

FRAMING REFLECTION

he project initiates with the ‘Framing’ stage in which the foundation of the project was set through a thorough investigation of the site: context, history, community and materiality etc. The research began as a group work that allowed us to share and exchange a mixture of information and perspectives that was then sorted under three main themes relevant to the site: ‘Past, Present & Future’, ‘Community’ and ‘Landscape’. The relevant information was then further filtered and investigated as an individual that branched out to become our unique line of enquiry which was tested through designing a pavilion.

FRAMING

The overwhelming amount of information is reflected in my pavilion. I unintentionally try to cater many aspects at the same time which helped me realize and narrow my line of enquiry further for the ‘Testing’ phase. After considering the many interesting aspects of the site I was more inclined towards excavating the historical layers of the site and its connection with the community. This natural inclination also helped me narrow down the list of type of Architecture that i would like to persue in the future.

THEME: CREATIVE SYNERGY, ACADEMY AND CITY, SUSTAINABILITY

FRAMING

OUTPUTS: SITE ANALYSIS, LINE OF ENQUIRY, PAVILION

SITE REVEAL

‘

Second Life’ is a glass research and recycling centre located in Tyne and Wear. Within Tyne and Wear it is located in Ouseburn Valley. The valley is a small tributary of River Tyne hosting small businesses, workshops, cafes and pubs. It is known for its rich and long history starting from the myths of presence of Roman Wall, to Victoria tunnels and until the regeneration of the Toffee Factory. Ouseburn has been developing and evolving ever since it came into being- from agricultural, to industrial, and now a mixed residential -commercial area due to which it is also under threat of losing its character owing to endless regeneration. Ouseburn displays a strong essence of a vibrant communitarian based society while also being the centre of creativity which is home to artists, musicians, designers, printmakers, brewers and even wild life. Ouseburn is a thriving community that attracts an eclectic crowd. As it is promised on Ouseburn Trust ‘s website, “Something for everyone.” (“Ouseburn Trust,” n.d.)

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Framing | 11

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Framing | 13

he Ouseburn river has played a significant role in establishing the importance of the valley and attracting the industries due to convenient material import/export which eventually lead to the industrial revolution which is seen embedded into the present character of the valley.

Ouseburn Valley

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Framing | 15

TIMELINE

“

From Hadrian’s Wall to the industrial revolution, from urban desolation to creative regeneration, from wonderful bridges to underground wonders, Ouseburn has a fascinating heritage that gives the valley a unique and treasured character.” (“Ouseburn heritage,” n.d.)

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Framing | 17

THE LAYERS

nitially it was believed that the Roman wall went through the Ouseburn Valley and that it was an agricultural area before it went through industrial revolution. The valley slowly started to gain attention, specially for industrial point of view as the presence of river was the major factor attracting industrial development which served as a means of transport of goods on wherries. At the time there were several wagon-ways running through Ouseburn to transport coal as well. Glass works was the first industry to settle followed by pottery and other many industries. Thus Ouseburn reached its epitome of industrial revolution between 1750-1850 with a fully developed trade network.

he Ouseburn today shows a dramatic transformation from post-industrial wasteland into becoming a cultural, social and creative quarter. It hosts many annual festivals which provides a platform to promote local artists, musicians and craftsmen. It is a juxtaposition of old structure refurbished into forming creative hubs. Ouseburn is a combination of mixed used buildings with street art and graffiti situated within steep slopes and derelict land.

he site has attracted many new regeneration projects which have imposed both negative and positive effects. Some of the positive developments and schemes include The Malings, Lime street and Malmo Quay. The continuous regeneration has imposed serious threats to the character of Ouseburn and the wellbeing of the community.

I consider all these layers equally essential in making the given character of Ouseburn. They later form part of my line of enquiry and are celebrated in my project.

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<^^ Ouseburn’s Past Collage <^ Ouseburn’s Present Collage < Ouseburn’s Future Collage >Ouseburns Character Juxtaposition Collage- This dramatic transformation underpinned with the many historical layers of Ouseburn shows off a distinct character of the valley. Framing | 19

URBAN FABRIC

ost of the industrial buildings and warehouses were eventually abandoned but have been re-purposed creatively following the creative regeneration. Therefore, the valley is a juxtaposition of the old and the new urban fabric which gives it its unique character; Toffee factory being one exemplary example in the area. Although the after effects of industrial revolution still remain e.g. toxic and leaded soil. Therefore, my project takes the common theme of re-purposing, refurbishing and recycling forward which is first tested in form of a pavilion and then the Second Life- Glass Research and Recycling Centre itself.

< Abandoned buildings and warehouse post industrialization. ^ Creative Regeneration of Ouseburn

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Framing | 21

THEN & NOW

WHAT’S LEFT WHAT’S THERE

Late 20th century

Business

Residence

Attraction

he historical industrial traces can still be found in Ouseburn that reminisce its past. The Waymarkers of Ouseburn makes such attempt by placing painted bottles and sculptures around Ouseburn. “They’re made from steel and glass, and each one celebrates a different aspect of the industrial past and culture of the area.”(Davidson, 2016). They also celebrate the glass works industry which was the first industry to settle in the valley.

These glass works traces also become an important factor that helps shape my line of enquiry.

Industrial

21th century

Business

Residence

^ Liddle, Henzell, & Co.- Major glass works industry in Ouseburn. > Waymarkers in Ouseburn

Attraction

Industrial

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Framing | 23

MATERIALITY

he continuous regeneration has resulted in creating a collage of material palette. The palette is a combination of materials of different age but it is dominantly a juxtaposition of old and new red bricks painted with graffiti which helps maintain the outer look of the valley.

Therefore, the material palette of the project has been carefully considered later in order to create a highly contextual response.

>Material Palette >>Materiality Collage 24 | Creative Synergies

Framing | 25

TWO VISIONS

useburn has landed with many development projects. The concern is

that these schemes are purely focused on raising the land value and so their design choices has no concern for the existing urban fabric of Ouseburn and also fails to engage with the community. Thus, what we get is two contrasting visions for the future of Ouseburn: based on the aspirations of the people which recreates a sense of community versus the vision of selfish developers whose absolute aim is city branding in order to attract investments at the cost of dissociating community from their own neighborhood. Thus, it is yet to see if the regeneration will focus on preserving and honoring the past or on increasing the land value.

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Framing | 27

T G

his also points out that the ongoing gentrification in Ouseburn can contribute positively as well by increasing the local economy by attracting more businesses. However, at the same time can have detrimental effects on the small scaled businesses. It can also cause high rents and displacement of residents living there since generations which is altogether a loss for Ouseburn.

< Gentrification Mapping v Present Character of Ouseburn

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he on going gentrification in Ouseburn, made me question the role of architects and the role that education and architecture can play in harmonizing the society and pace of development which encouraged me to hear the perspective of the architects involved directly in redevelopment of Ouseburn e.g. Xsite Architecture. The question directed at them asked about their role as an architect and their responsibility towards the client and the community. The response was that “The Ouseburn will be developed whether we are involved or not, but by being involved we hopefully can help maintain/ create space for all the people, business and activities.” (Nadeem and Hayes, 2020) Therefore, the answer lies in getting involved.

Framing | 29

CREATIVE SYNERGY

he concern is also expressed by the community of Ouseburn. Therefore, the core theme of the studio demands to investigate the significant role that my project, Second Life, can play to re-connect people to Ouseburn, its past and to each other. The synergy proposes importance of a communitarian based society which promotes inclusivity.

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Framing | 31

TESTING REFLECTION uring the ‘Testing’ phase I reflected on the output of the pavilion that served as a mock-up model of the glass recycling and research centre. As realized before, I had to narrow down and further develop my line of enquiry by choosing a specific specialism based on the previous site analysis and research. My brief realigns and focuses on researching and recycling glass specifically and the use of recycled glass as a building material. I realized that the specialism itself helps one keep connected with the history of Ouseburn.

FRAMING

Although, the ‘Testing’ phase required one to test the site through an iterative process, however, I realized that I wasn’t able to do so until the ‘Synthesis’ phase began. This is because the complex nature of the recycling glass process and requirements of the programme were new and unfamiliar to myself which required a thorough investigation and research in order to provide an appropriate design solution. Therefore, I mostly used this phase for researching and understanding the programme. Visiting three different Glass factories, focused on different aspects of glass, aided in developing the programme significantly. During this phase, I also considered the environmental impact of the design and ways to reduce carbon footprint. Moreover, i also looked at how the centre can benefit the wider society and form wider networks e.g. with Newcastle University and the National Glass Centre in Sunderland.

TESTING

Finally, performing the glass fusing (recycling) experiment myself, for Thinking Through Making, helped me shape individual spaces and workshops based on the process and requirement of individual recycling method.

THEME: RE-PURPOSE, RECYCLE, HISTORY ,CONTEXT, COMMUNITY ENGAGEMENT OUTPUTS: RESEARCH, PROGRAMME, PROCESS, THINKING THROUGH MAKING

LINE OF ENQUIRY

WHY GLASS?

• Ouseburn was once a major area of glass industry. • Glass works was the first industry to settle in Ouseburn. • Remnants of Liddle, Henzell & Co. can still be found in Ouseburn. • 200,000 tonnes of glass is disposed from pubs/restaurants annually where Ouseburn is home to pubs, bars and cafes. • There is no recycling facility specifically dedicated to recycling glass in Newcastle. • The site, warehouse, was also previously used by a recycling company • Glass is 100% recyclable and can be recycled infinite amount of times. • The recycling process doesn’t require any harmful waste disposal or drainage.

he ‘Second Life’ is a Glass Recycling and Research Center. It endeavors to reminisce the lost glass industry of Ouseburn valley by catering both artistic and industrial aspect of glass. The centre acts as a catalyst between the past and the present and aims to create a journey through all the historical layers of Ouseburn through the lens of sustainability. It forms a synergy with the community of Ouseburn by valuing its history and context. The idea is to repurpose the shell of the existing warehouse to maintain the character of Ouseburn both during the day and at night as well while ensuring that none of the views to and from the Toffee Factory- local historical landmarkare obstructed.

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Testing | 53

MATERIAL STREAM

he mapping on the most left shows the different kinds of recycling facilities around the city, however, none of them is dedicated to recycling glass. As a result tonnes of glass is disposed of to landfill sites and is never decomposed. Whereas the other mapping shows the numerous pubs and bars around the site that be potential suppliers of waste glass for recycling. The centre also aims to provide an initiative for the residents of Ousburn called Click & Collect.

The line of enquiry focuses on wider society and environmental benefits along with the impact on the community and context of Ouseburn.

<< Type of Recycling Facilities around Ouseburn < Potential Supplier of Waste Glass

The Click & Collect service is an idea drawn from the pavilion that required community’s engagement by collecting glass bottles through collection pods. In order to encourage people to recycle, the Second Life, will provide a small incentive in form of points and an up-cycling service in exchange of the points. 54 | Creative Synergies

Testing | 55

RECYCLING PROCESS

HISTORY

t is important to understand the recycling process of glass from input to output. By doing so I was further enlightened by the space machinery, space and services required in the design proposal. The cycle from input to output is also celebrated in the design proposal.

he images and diagrams represent the timeline of glass making. It shows the evolution of the kiln from a mud structure to ovens and ceramic furnaces. Although the method and technique for glass blowing is still conventional. However, there are many more branches of glass making found over time, besides glass blowing, from artistic to industrial making of glass.

With the intervention of new technology and services the tall chimneys for the furnaces are also no longer required.

^ Glass Recycling Unit > Glass Recycling Process

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Testing | 57

MICRO VS MACRO

he idea of recycling glass can be applied at both micro and macro scale.

Starting with DIY (Do it Yourself) projects at home to upscaling them to increase the value of material through various techniques.

Common techniques: • • • • •

Molding/casting Slumping Fusing Hand blowing 3d printing etc.

The programme also caters different scales of glass making from artist’s glass blowing, fusing and 3D printing workshops to industrial recycling plants in the factory.

^^ Hand Blowing ^ 3D Printing > Fusing >> Casting

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Testing | 59

COMMUNITY

INDUSTRIAL

Similarly, the Second Life forms an extension to the programme of the National Glass Centre by providing an opportunity for the Newcastle and Northumbria University students.

After being restricted to access the factory I realized that the proposal should aim to make this boundary between public and private more permeable and transparent. The 24/7 activity of the recycling plant and the linear space requirement has been taken into consideration while designing the proposal as well.

y visit to the Sunderland National Glass Centre with family helped me realize the significant impact that a recycling centre can bring to the community besides recycling as well. The programme includes public workshops, galleries and exhibition halls and souvenir shop etc. that promotes inclusivity and community participation. Along with providing workshop spaces to artists the National Glass Centre also collaborates with the Sunderland University and provides glass making programme.

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y visit to Ghani Glass, biggest glass works industry in my country, was although limited to a meeting with the General Manager due to restricted access to the factory. However, the briefing by the representative helped me understand the industrial process of glass manufacturing including the line of production and space requirements. I also learned that the first batch is produced after a continuous 24/7 activity of furnaces for 21days.

Testing | 61

ARTISTIC

THINKING THROUGH MAKING

fter performing the ‘Glass Fusing’ experiment using waste glass helped me realize the unpredictable nature of glass as well. It taught me that inappropriate room temperature can lead to shattering and cracking. The glass waste was upcycled to become a beautiful coffee table which helped support the idea of Click & Collect as well.

n order to understand the artistic side of glass making I visited a small scale glass factory, Qadri Glass, where I also experimented with the glass for Thinking Through Making. It allowed me more freedom to explore the process of glass making as well as the Architecture of the factory. Doing so not only enlightened me with the services and spatial requirement of the workshops but also made me aware of how mechanical shafts can be used in order to transport material vertically.

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Testing | 63

^ Dynamic Glass Shadows Video >Glass Shadow Studies 64 | Creative Synergies

Testing | 65

he glass shadow study on previous spread is performed using this unsuccessful glass fusing-first attempt. Although the glass fusing failed due to incorrect temperature settings and timing, however, the shadows casted through it were surprisingly more interesting.

This shadow study later helps form the bases of Dynamic Glass Gallery.

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PROGRAMME

herefore, the objective is to design a glass recycling factory that also provides workshop and research spaces for local glass artists and students of University; allowing them to practice glass making and recycling. The center endeavors to reminisce the forgotten glass industry of Ouseburn and further aims to bridge the gap between the residents and the history of Ouseburn by providing a Click & Collect service for the community, pubs and bars to encourage recycling, improve community engagement and appreciate the art of making valuable material from waste. Thus will also serves as a cultural building, catering gallery spaces and a café for the community.

Testing | 67

SITE ANALYSIS

he programme was then tested on the chosen site next to the river bank(very rare chances of flooding in next 100 years). The site has an existing abandoned warehouse painted with graffiti that is supposed to be repurposed in order to maintain the character of the area. It sits on a steep slope of overall 10m height difference with three different level changes and the Back Maling street crossing from the middle of the site. The steep topography of the site in combination to the adjacent Glasshouse bridge makes the site heavily shaded during winter periods as the south light is blocked. The site sits opposite to the Toffee Factory, therefore, it is essential to protect views to and from the Toffee Factory.

SITE Existing abandoned warehouse + derelict land/carpark

THE MALINGS

TOFFEE FACTORY

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Testing | 69

Site Features

Access Routes

Surface Run-off

Views of Toffee Factory and the residents of the Malings should not be obstructed

10m Level Change

Slope Direction 70 | Creative Synergies

Sun Path and Wind Direction Testing | 71

MATERIAL PALETTE

n order to create a highly contextual response to the brief it was important to adopt the material palette from the site and use materials that blends well into the context. Red brick has been used around the valley most dominantly giving a unique cohesive character to it. The graffiti holds a special meaning in the hearts of the residents although is a popular tourist attraction as well. Therefore, I have decided to preserve the shell of the warehouse in order to preserve the graffiti, that serves as a tribute to the artist Ewan Brown, and to overall maintain the character of Ouseburn.

would like to express the same juxtaposition of materials in the project as well in conjunction with use of glazing, corten steel and crushed glass aggregate concrete. The materials will not only help the building to blend into the context but will also help create a distinction between the public, semi-public and private zones.

Red Brick: It has been commonly used in the are so in order to maintain the character of Ouseburn the project will continue using them for the semi public zone of the programme.

Crushed Glass Aggregate Concrete: This sustainable concrete made of crushed glass aggregate will be used for the private part of the new build which is dominantly the factory. Concrete will help create longer spans with double height ceiling space required for the recycling plant.

^ Materiality Collage (Group Work) > Site Photos- taken during site visit

^ Nilaya- The Cliff House- represents the juxtaposition and layering of materials. > Material Palette for the Second Life

Corten Steel: Corten steel will used for cladding purposes as well as for circulation as well. Its vibrant color will help guide one during the journey created in the centre while also complimenting the context.

Glass: Glazing or glass panels are going to be used for the public parts of the building. Its transparency will ensure that views are not obstructed, will reflect the programme as well and will solve the sunlight issue during winters. 72 | Creative Synergies

Testing | 73

Design Thinking

hus, the research on chosen specialism, context, history and people of Ouseburn is combined into the design of Second Life Glass Recycling and Research Centre which will take one onto an interesting journey through all the layers of Ouseburn as well as the literal second life of glass.

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History/ Layers

Protect Views

Journey/Circulation

Through the Lens of Sustainability

Maintain the Character/Repurpose

Community Engagement Testing | 75

Environmental Strategy

esides considering sustainable materials the project also adopts many other mentioned environmental and sustainability strategies to respond to the climate emergency and help in carbon sink. To help reduce carbon footprint energy efficiency has also been kept in mind.

Re-purpose Warehouse The warehouse will be refurbished and re-purposed as glass making workshops as said by Carl Elefante, “The greenest building is the one that already exists.” (“Architects Journal,” 2019)

Click and Collect Heat Recovery Extra heat produced in the factory will be recovered and used to heat the rest of the floors above ensuring energy efficiency.

As mentioned before, the Click & Collect service will encourage the local community to recycle waste glass which will help reduce waste disposal to landfill sites.

Deciduous Trees Courtyard/ Roof garden Multiple courtyards are part of the design to allow natural ventilation across the factory in the basement. The roof garden will also help reduce the surrounding temperature and carbon footprint.

Basement The basement is designed to not only prevent obstruction of views but also because basement will help absorb the unnecessary heat and noise produced from the recycling plant. 80 | Creative Synergies

Skylights/ Glazed Roof Skylights and glazed roofs will help bring natural light into the spaces as most of the sunlight is blocked by the bridge and steep slope. This will help save power during the day.

Bus Stop A bus stop has also been accommodated in the design which will encourage the workers, artists and visitors to use public transport and help reduce carbon emissions.

The courtyards are going to be planted with deciduous trees commonly found in the local area. They will be used to provide natural solar shading for the studios during summers and will allow sunlight to pass through during winters as they shed their leaves during that period.

Crushed Glass Aggregate Concrete Using crushed glass as an aggregate in the concrete will considerably make it sustainable and long lasting which doesn’t require maintenance. Testing | 81

SYNTHESIS REFLECTION

FRAMING

evisiting the ‘Testing’ phase made me realize that unintentionally I have been more focused on the symbolic and theoretical concept of the design and have neglected the flow of material itself which is more important. Therefore, in ‘Synthesis’ phase the design went under a rearrangement keeping the previous design principals and concept intact. Before doing the reformation of the project, it was almost unavoidable to not visit the site any longer. After experiencing the site myself I was better informed with the context, materiality and routes mostly used by public on foot and by transport which further informed my design. It also helped resolve and confirm all the speculations and assumptions I have made during the ‘Testing’ phase by viewing the site virtually only. In this stage, I also moved from working from a larger scale to a more user scale in order to create an interesting journey for the user. Moreover, this phase is more focused on the internal arrangement of spaces, zoning, inhabitation and circulation. Doing so came together to become an improved and more suitable design proposal for the Second Life- Glass Recycling and Research Centre.

THEME: GLASS RECYCLING, PAST-PRESENTFUTURE, JOURNEY

SYNTHESIS

OUTPUTS: SECOND LIFE GLASS RECYCLING AND RESEARCH CENTRE

REARRANGEMENT

he rearrangement of spaces was to create a central circulation ramp( keeping in mind the user experience of a wheelchair user) which will guide one during the journey. There are multiple entrances provided depending on if you are a user or worker/ artist. The spaces are also arranged keeping the warm (workshops and factory) and cold (cold shop) in mind for better flow of material. Moreover, more space was allocated for community engagement including multiple galleries. Another floor was added to engage with the top most level of site as well with the introduction of a bus stop to the scheme as well.

The factory was moved to ensure better ventilation and light penetration. It also went from being a double height basement to partial basement to decrease the engineering required for the tall and challenging retaining wall.

This floor acts as a mezzanine floor giving insight of the recycling process happening in the basement on the right which made the public and private zone more permeable.

The roof of the factory or the partial first level hosts a gallery space and roof garden. The roof garden will help lower the temperature in the basement and is a sustainability strategy too.

The top most floor is a gallery space which occupies minimal floor area and uses glass as structural material to ensure views are not hindered. It also provides access to the public from Ford street and a new bus stop.

^ Macquarie’s Ropemaker : The precedent shows use of colored circulation path to better guide the user through the building.

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Synthesis | 89

hese sections particularly highlights how the building sits within the context and its topography. It further shows how the proposed design maintains a low profile, only 5m above ground from the top most level of site. This ensure visual connectivity from the Toffee Factory and clear views for the residents of The Malings as well. The section below also shows the extensive use of vaulted structure that proves to be more structurally stable for a double height space and also provides extra support to the tall retaining wall.

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20m Synthesis | 91

CONTEXT AND MATERIALITY

his quick and rough renders of the centre within the context tries to reflect the material palette that responds to the context which helps maintain the character of Ouseburn. The transparency of the glass also tries to cause least distraction keep our focus on the existing graffiti shell that has been re-purposed.

^ Precedent showing juxtaposition of materials > North elevation Render >> South-West Elevation Render

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Synthesis | 93

PUBLIC VS PRIVATE

hese diagrams try to capture the essence of the private and public parts of the building and also show where the both overlap and become permeable. Doing so helped me develop the scheme from a user perspective to enrich the experience of one while also designing from the perspective of a worker.

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Public Entrance/ Open Sculpture Gallery

Private Shafts

Central Circulation Ramp/ Mezzanine

Partial Basement/ Factory

Entrance/

Mechanical

Synthesis | 95

IMPROVED FIRE STRATEGY

he new arrangement of the spaces worked more efficiently and was more suitable for the programme, however, I overlooked the fire strategy. Therefore, in this iteration during the preparation for the ARC3013 submission I improved the fire strategy by introducing fire protected staircases and lobby that comply with the Document B and ensures user safety in case of an emergency.

Protected fire escape staircase.

Protected fire escape stairs leading to emergency exit door through protected corridor/lobby.

Protected fire escape stairs.

External fire escape staircase explicitly for basement and factory workers.

External fire escape stairs for the roof garden and the gallery.

^^ Long Section ^ Short Section >Plans Scale 1:200

10m

Basement Plan Scale 1:200 96 | Creative Synergies

Maling St. Level Plan Scale 1:200

Back Maling St. Level Plan Scale 1:200

Ford St. Level Plan Scale Level 2 PlanFord1:200 Street

Level

Scale 1:200 Synthesis | 97

ZONING

he exploded axonometric shows public, semipublic and private zones. It helps one get a clear sense of the circulation within the building. I also revisited the glass fusing experiment from the Thinking Through Making Week which made me realize that it is essential to show and celebrate the output of the recycling of the glass to show a complete journey of second life of glass from input to output. Hence, i converted the mere glass gallery into Dynamic Glass Gallery.

Public Zone Public Workshop Glass Blowing Workshop Glass Fusing Workshop Click&Collect and Souvenir Shop Temporary Gallery The View Cafe Glass Sculpture Open Gallery Toilets Semi-Private Zone Cold shop Recycling Material Storage Artist Studio Computer Cluster Laboratory Kitchen Private Zone Glass Recycling Plant Admin Office Staff Room Plant Room/Heat Recovery Unit

Greenery Courtyards Roof Garden Circulation 98 | Creative Synergies

Synthesis | 99

DYNAMIC GLASS GALLERY

he Dynamic Glass Gallery is originated from the Glass Fusing experiment performed during the Thinking Through Making Week. The ‘Dynamic’ reflects the changing shadows projected with the change of light source direction. Similarly, glass fusing on the roof will create shadows on the floor which will change from sunrise to sunset due to rotation of Earth. To make it even more meaningful like the Graffiti Wall few verses from a poem about Ouseburn on Ouseburn Trust’s website have been selected for the Dynamic Glass Gallery. Moreover, in order to support the glass structure glass fins have been used instead of mullions that provide more structural stability and rigidity .

“In a city that’s changing every time you look Ouseburn; it’s your turn to step into the light Open up this valley and read it like a book. Each chapter writes itself as tomorrow’s taking flight; Here’s a biscuit factory packed with brand new art, Here’s a late night venue with an urban groove, Here’s a set of buildings with culture at the heart A confident culture with nothing left to prove. The Holy Biscuit, Mustang S Alley, look and eat and drink Hire a bike at the Cycle Hub then off you go explore All of Seven Stories make you stop and think But the stories here are endless, there’s always more and more. Ouseburn; top example of just how to turn things round With food and film and beer and bikes, laughter, tales and sound.” (Henderson, 2016) ^ Poem by Ian McMillan on Ouseburn >Exploded Axonometric- shows the structural buildup of Dynamic Glass Gallery.

^ Precedent for Glass Fins >Fused Glass Shadow Study

100 | Creative Synergies

Synthesis | 101

SHADOW SIMULATION

THE DUALITY

n order to ensure that the idea worked successfully a shadow simulation study was done using real time sun settings. It shows how the casted shadows change during the day.

B Morning

y doing the shadow simulation, it made me aware that the shadows casted during winter period were barely readable due to low sun angle. Therefore, the concept evolved further. The strategy is that the Glass Gallery will serve as a Dynamic Glass Gallery during summers when the sun angle is ideal and it will be used as an Exhibition Gallery by the Artists during the winters.

Noon

^ Installation at Sidney & Berne Davis Art Center- lit from inside >Shadow Simulation

Afternoon

Evening 102 | Creative Synergies

^ Summers- Dynamic Glass Gallery >Winters- Exhibition Gallery Synthesis | 103

BEACON OF LIGHT

s mentioned before in the ‘Testing’ phase, the centre will serve as a beacon of light at night which reflects the 24/7 activity of the glass recycling plant as well as is a contextual response. The color of the lights has been carefully selected which complements the Toffee Factory lit up night. It also emphasizes on the relationship created between the Second Life and the Toffee Factory.

Day time Elevation

Day time Dynamic Glass Galley ^ Nestle Factory, Brazil- A subtle beacon of light >Second Life at Night >>Toffee Factory at Night

Nigh time Elevation

Night time Dynamic Glass Gallery 104 | Creative Synergies

Synthesis | 105

VISITOR VS WORKER

nalyzing the exploded axonometric diagram that highlighted the circulation, I realized that a better circulation and private access is required for the workers and the artists. This iteration also focused on showing inhabitation and further developing the roof garden. This iteration also focused on showing inhabitation and usage of the spaces.

Workers will access the basement using this dedicated staircase to access the factory or the admin office. The tunnel also reminisces the Victoria tunnels. It is directly connected to the staff room and changing room. After changing and relaxing the staff can go further down the tunnel towards the courtyard to access the factory or the admin office.

This private staircase can also be used by the artists to access the studios and lab instead of using the central circulation ramp.

Workers and Artists will now use this dedicated private entrance with Card Access System. Depending if you are a worker or an artist you will either go down to the factory or right directly into the workshops.

The roof garden, one of the sustainability strategy, becomes an extension of the temporary gallery. It will host podiums to exhibit glass sculptures. The zigzag path will guide ones movement towards each podium and will keep one away from the edges. Wild bushes commonly found in the area have been planted to reflect to the context as well.

^^ Long Section ^ Short Section >Plans Scale 1:100

106 | Creative Synergies

Synthesis | 107

USER VS MATERIAL CIRCULATION

Level 2: 150m2

he exploded axonometric summarizes the minimal floor area occupied on the top most level to prevent obstruction of views by the efficient use of the basement and highlights the circulation of a user and worker within this scheme. Level 1: 1320m2

Wheres as the diagram on the far right summarizes the material circulation from the city to and through the recycling centre. It most importantly highlights the cycle of input, process and output and the phases of glass recycling.

Level 0: 1130m2

Level -1: 1460m2

108 | Creative Synergies

SECOND LIFE Glass Research and Recycle Centre

Public Entrance at Night 110 | Creative Synergies

“

112 | Creative Synergies

Synthesis | 113

useburn Valley, known for its rich industrial history, exhibits a unique character which is a juxtaposition of old, abandoned, refurbished, new buildings and materials. Ouseburn displays a strong essence of a vibrant communitarian based society while also being the centre of creativity which is home to artists, musicians, craftsmen and wildlife etc.

Context

History

Community

Culture

Site Panoramic

114 | Creative Synergies

Synthesis | 115

^Typology Diagrams < Second Life Blended within Context 116 | Creative Synergies

Synthesis | 117

Low Rise

Clear Views

Allow Room for Skylights

Double Height Partial Basement

Basement

Delivery Point

Cafe with Views

Existing Abandoned Warehouse

Re-purpose Warehouse + New Built

Clear Views + Sky Lights

Other Spaces + Roof Garden

Circulation

Key Design Diagrams 118 | Creative Synergies

Synthesis | 119

19 19

11 17 16 15 19

Key

Section Line Perspective View

Fire Escape Enterance 14

Legend

1. Glass Recycling Plant 2. Courtyard 3. Admin Office 4. Glass Sculpture Open Gallery 5. Staff Room 6. Toilets/Changing Room 7. Plant Room/Heat Recovery Unit 8. Mechanical Shafts 9. Lift 10. Public Enterance 11. Artists & Workers Enterance 12. Reception 13. Waiting Area 14. Public Workshop 15. Glass Blowing Workshop 120 | Creative Synergies

16. Glass Fusing Workshop 17. Coldshop 18. Click and Collect/Souvenir Shop 19. Recycling Material Storage 20. Temporary Gallery 21. Roof Garden 22. The View Cafe 23. Kitchen 24. Artist Studio 25. Computer Cluster 26. Laboratory 27. Loading/Unloading Point 28. Dynamic Gallery 29. Upper Level Enterance 30. Bus Stop

A 13

Maling Street Level

Maling Street Level Scale Scale 1:100 1:100

10m

Synthesis | 121

Key 9

Section Line Perspective View

6 4

Fire Escape

Enterance Legend 2

A 3

River Bed Level

River Bed Level Scale Scale1:100 1:100

10m

Synthesis | 123

26 8

Key

Section Line Perspective View 21

Fire Escape 22

Enterance Legend

Back Maling Street Level Scale 1:100 0

10m

Synthesis | 125

29 12

Key

Section Line Perspective View Fire Escape Enterance Legend 1. Glass Recycling Plant 2. Courtyard 3. Admin Office 4. Glass Sculpture Open Gallery 5. Staff Room 6. Toilets/Changing Room 7. Plant Room/Heat Recovery Unit 8. Mechanical Shafts 9. Lift 10. Public Enterance 11. Artists & Workers Enterance 12. Reception 13. Waiting Area 14. Public Workshop 15. Glass Blowing Workshop 126 | Creative Synergies

Ford Street Level Scale 1:100 0

10m

Synthesis | 127

Site Section A-A Scale 1:500 128 | Creative Synergies

20m Synthesis | 129

View from a Resident’s House in The Malings The render emphasizes on how the proposal endeavors to maintain the character of the place and ensures that none of the views are obstructed or are unsightly for any resident of the community. The transparency of the Glass Gallery further helps it camouflage within the context. 130 | Creative Synergies

Synthesis | 131

Section B-B Scale 1:100 132 | Creative Synergies

Synthesis | 133

>Exploded Axonometric- shows the internal spatial arrangement and circulation 134 | Creative Synergies

Synthesis | 135

he section emphasizes on how the proposal deals with the topography and level changes. Moreover, it represents the journey of glass from input as a raw material to output in form of a Glass Gallery itself

136 | Creative Synergies

Section C-C Scale 1:100

“

The section is carefully chosen which shows three significant spaces: Workshops on the ground floor, Artists’ Studio on the first floor and Glass Gallery on the top floor. It highlights the process of glass recycling from input to output. The section celebrates the refurbishment of the old warehouse into creative spaces which endeavors to preserve the character of Ouseburn” (“ARC3013,” 2021)

Material Catalogue 1 Foundation Bed Rock Soft Soil d=300mm Underpinned Concrete Pile Foundation 420mm Existing Concrete Foundation 2 Ground Floor- Workshop Ground Soil 140mm Concrete Raft Waterproof Membrane (DPM) 100mm Rigid Insulation 60mm Rigid Insulation Vapour Control Layer

112.5mm Red Brick-10mm Mortar Joint 50mm Air Cavity/ Concrete Fill 112.5mm Red Brick-10mm Mortar Joint Metal Tie 25mm Air Cavity/Concrete Fill Breather Membrane 9mm Sheathing 60mm Rigid Insulation Vapour Control Layer 25x38mm Timber Battens 12.5mm Fireproof Plasterboard 18x160mm Skirting 9a Universal Steel Column 10 Intermediate Floor- Artists’ Studio Composite Floor Decking

Raised Floor (Service Zone) 300mm Galvanised Steel Pedestals Air Distribution Ducts/Air Diffuser RAF Bracket Warmafloor UFH Pipe 20mm Raised Access Panel- Recycled Crushed Glass Panels Non-slip Finish

Note: The section is not the most updated section as a tunnel was added in the basement in the final plan iteration.

3 Ground Floor Exterior Wall Paint 112.5mm Red Brick-10mm Mortar Joint 50mm Air Cavity/ Concrete Fill 112.5mm Red Brick-10mm Mortar Joint Metal Tie 25mm Air Cavity/Concrete Fill Breather Membrane 9mm Sheathing 60mm Rigid Insulation Vapour Control Layer 25x38mm Timber Battens 12.5mm Fireproof Plasterboard 18x160mm Skirting Damp Proof Course (DPC)-170mm above Ground Level 4 Glazing Aluminium Metal Flashing Aluminium Glazing Channel Silicone Bond 21.5mm Recycled Float Glass 15x400mm Triple-ply Glass Fins Stainless Steel Splice Plate

Universal Steel Beam- Bolted Connection Cofraplus® 220 Steel Deck (Service Zone) Reinforcement Bars in Ribs 70mm In-situ Concrete Slab Metal Reinforcement Mesh Raised Floor (Service Zone) 300mm Galvanised Steel Pedestals Air Distribution Ducts/Air Diffuser RAF Bracket Warmafloor UFH Pipe 20mm Raised Access Panel- Recycled Crushed Glass Panels Non-slip Finish 10a Fixed LED Rod Light 10b Heat Extraction System 11 Floating Steps 10mm Corten Steel Sheet 20mm Steel Support Light Holder LED Rope Light 12 Balcony Outrigger Steel Beam 45mm Recycled Crushed Glass Concrete Slab 75mm Timber Joists 10mm Corten Steel Sheet Bolted 10mm Corten Steel Railing Fabrication Light Holder Led Rope Light

5 Glazing 13 Intermediate Floor Wall Aluminium Glass Connector Silicone Bond Glass to Glass Corner Connector 21.5mm Recycled Float Glass 6 Glazing Stainless Steel Splice Plate 4-way Glass Spider Connector 15x400mm Triple-ply Glass Fins

50mm Timber Frame- Aluminium Lining 250x300mm Reinforced Concrete Lintel 25mm Air Cavity/Concrete Fill Breather Membrane 9mm Sheathing Varying Rigid Insulation Vapour Control Layer 13a Mechanical Insulated Rolling Shutter

7 Stainless Steel Splice Plate 8 Gutter Sealant Aluminium Metal Flashing Aluminium Glazing Channel Silicone Bond 21.5mm Recycled Float Glass Metal Tie Aluminium Insulated Gutter- Bolted and supported by glass fins 15mm Triple-ply Glass Fins Stainless Steel Splice Plate

14 Top Floor- Gallery Aluminium Flashing 200x320mm Recycled Crushed Glass Concrete Breather Membrane 9mm Sheathing 50mm Rigid Insulation 15 Glass Sculpture

9 Interior Wall

< Part Elevation Render > Technical Section Scale 1:20

Scale 1:20

18x160mm Skirting 12.5mm Fireproof Plasterboard 25x38mm Timber Battens Paint

Synthesis | 139

ANNUAL FACTORY VISIT

ach year on Global Recycling Day, 18th March, the private section of Second Life, which includes the factory, Artists Workshops and Research spaces, are going to be opened for a public tour. This will help spread awareness for recycling and climate emergency within the society.

Night Render of East Elevation Shows workers and visitors waiting for the bus at the end of the day. 140 | Creative Synergies

Click & Collect Concept Diagram

142 | Creative Synergies

Click & Collect

Victoria Tunnel 2.0

The render celebrates the use of Click & Collect Service next to the factory and workshop entrance.

The render shows the use of tunnel by workers to access the staff room and the factory, Admin can also use this although they have their own access near the reception and waiting area.

Synthesis | 143

ods for the working class.

hich was certainly unusual for Germany. Bauhaus furniture, interior fittings and lighting made in its own workshop

The city of Dessau financed the Bauhaus project and also provided the building plot. It was designed by Bauhaus in his own office. He thoughtfully laid out the notion of Gesamtkunstwerk which considered formal and practical education equally important. It emphasized on process over product. The programme provided opportunities of hands on experience to the apprentices. The products were made to standard which were fit for industrial prposes. The very first opportunity being making the interior finishes, furniture and lighting of Bauhaus in its own workshops, hence learning by doing. It highlighted the scholastic function of a workshop. The concept of workshop was vital in Bauhaus as Gropius’ writes in his manifesto, “The school is the servant of the workshop.” The workshop-based education yet again served as new model for the society, that became a revolution in art education system and modern architecture.

’s philosophy. The Gropius diagram succeeded taken from in the Bauhaus case study pose. This also shows polarization reflects a similar synthesisand that the Second Life aims to achieve.

ical in conception... it created a revolution ”

MULTI-DISCIPLINARY- COOPERATIVE AND COLLABORATIVE

The agenda of the Bauhaus of unifying artists and craftsmen called for a multi-disciplinary approach. This formulated an educational model which used modern materials and methods. The objective was to train artists and craftsmen for the industry as well. The programme was structured around providing preliminary courses to integrate theory and application. “Educational courses with this type of structure were unprecedented and had to be completely newly developed by Gropius initially.” This pragmatic approach to design education was adopted by other design schools in many countries eg the Shillito Design School in Sydney. Moreover, today nearly most art programmes provides foundation courses- based on the Bauhaus model- in which fundamental elements of design are taught.

144 | Creative Synergies

Cold shop

Glass Recycling Factory

A view of Artists working in the cold shop where the post production of glass pieces happens before it is exhibited.

This view of the factory not only celebrates the process of glass recycling but also shows the use of crushed glass aggregate concrete for the vaulted structure. It also shows how the courtyard helps to maintain the light quality inside the partial basement.

Synthesis | 145

A DAY ‘IN’ SECOND LIFE

he following series of renders will take one on an interesting journey that endeavors to reminisce the lost glass works industry of Ouseburn- as promised!

West Elevation 146 | Creative Synergies

Concept of creating a journey through the glass recycling programme.

148 | Creative Synergies

Concept of re-purposing and refurbishing the warehouse.

Reception + Central Circulation

Public Glass Blowing Workshop

This render shows the use of central circulation space. The visitor will begin this journey by taking an insight of the industrial process of glass recycling happening in the basement .

Then the visitor will visit the Glass Blowing Workshop which represents the Creative Regeneration of Ouseburn Valley. It also shows the use of floor ventilation system to maintain the internal environment..

Synthesis | 149

Open Glass Sculpture Gallery concept

150 | Creative Synergies

Roof Garden Environmental Strategy concept

Open Glass Sculpture Gallery

Roof Garden

The efforts of artists will come to fruition when their glass sculptures are exhibited in the Open Glass Sculpture Gallery. The render also highlights that during the winter period the deciduous trees will shed all their leaves and allow maximum sunlight penetration.

Then the visitor will access the roof garden using the central circulation ramp. The roof garden serving as an extension of the temporary galley will exhibit larger glass sculptures.

Synthesis | 151

Thinking Through Making Exhibition

152 | Creative Synergies

Thinking Through Making Glass Fusing Experiment

Temporary Gallery

Dynamic Glass Gallery

After visiting the roof garden the visitor will pass through the same gallery which holds more precious art pieces that require weather protection as well. The temporary galley also uses crushed glass aggregate concrete as a structural material. It shows how the light is reflected through the crushed glass pieces.

Finally, the journey will come to an end when the visitor reaches the top which is the Dynamic Glass Gallery. After absorbing this evocative space visitors can also enjoy the uninterrupted views of the Ouseburn and the Quayside.

Synthesis | 153

Night Render Second Life serving as a beacon of light and reflecting the 24/7 activity of the glass recycling plant. It forms a gateway and a valuable addition to the Ouseburn night-scape while ensuring that it complements the context as well, as shown on the next page. 154 | Creative Synergies

Synthesis | 155

SECOND LIFE

o summarize, my project, Second Life- Glass Recycling and Research Centre, orientates one to mend the lost connection with the heritage and the people of Ouseburn. It identifies my project , Glass Recycling and Research Centre, as a connector. The design project endeavors to reminisce the glass works industry, the first industry to settle in Ouseburn, and strengthen the connection with its history by proposing a highly contextual design through a meticulous analysis of context, history and materiality. This practice precisely mirrors the importance of building meaningful architecture that values people, place and their past.

156 | Creative Synergies

Synthesis | 157

CULTURAL BIBLIOGRAPHY Small Talks During the beginning of this academic year, I was particularly enthusiastic about virtually attending the “Small Talk” lectures series arranged by NUAS and given by representatives from practices ranging from large scale to small scale. I was more inclined towards attending the large scale practices lectures to get an insight of their design thinking and in hope to be inspired by their amazing work as during the strict lock down the means of inspiration were also limited. However, as the semester became more challenging over time, overloaded with submissions, it became impossible to attend and learn from them. Therefore, I managed to attend only five lectures from the series that were altogether added to my knowledge and made me more aware about the role of an architect towards the society and environment which are the key themes of my studio, Creative Synergies.

CULTURAL BIBLIOGRAPHY 159

Durham Trip To celebrate surviving the first semester and completion of ‘Framing’ stage I managed to visit Durham with my friends. Although creating a vaulted structure for the basement was an appropriate response to the context and brief of the recycling centre, however, it was also somehow inspired by the Durham Cathedral’s groin vaults. I learned that it is possible to create double and triple height spaces using this structural strategy which was a requirement for accommodating the recycling plant.

^ Second Life’s Vaulted Basement > Durham Cathedral’s Groin Vaults >> Durham City

160 | Creative Synergies

Cultural Bibliography | 161

Freelance Work Experience Working as a freelancer for Fabeline Horticulture proved to be the most beneficial experience for the design project. Considering the unprecedented times, where we were more or less suddenly limited to using digital tools and softwares was a challenge for me. Reflecting back at my progress from Framing to Synthesis stage I realized that my rendering skills have improved a lot. Working on the freelance projects gave me an opportunity to practice and improve which eventually helped me convey the concept and atmosphere of each space more successfully.

> Freelance Project Renders >> Second Life’s Render 162 | Creative Synergies

Cultural Bibliography | 163

LIZA NADEEM . 180141032 . CREATIVE SYNERGIES THEORY INTO PRACTICE ARC3015

ARC3014

MEANINGFUL

Non-Design Modules Submitted Separately

PROFESSIONAL PRACTICE AND MANAGEMENT COURSEWORK REPORT 2021 180141032

ARC3013 ARCHITECTURE TECHNOLOGY 3: INTEGRATED CONSTRUCTION

SECOND LIFE OUSEBURN VALLEY, TYNE AND WEAR, UK CREATIVE SYNERGIES- CRAIG GRAY AND STELLA MYGDALI

ARCHITECTURE

Newcastle University 180141032_ARC3014Coursework_20210326 Word Count: 2198 words (excluding title and bibliography page)

LIZA NADEEM 180141032

218 | Creative Synergies

Other Modules | 219

LIST OF ILLUSTRATIONS Page 12-13: River Tyne Night View Watson, Graham, The Tyne Looking like a Mirror Last Night, 2020, photo <https://www.flickr.com/photos/157428055@N05/49502852576/> [accessed 10 May 2021] page 16-17: Timeline by Author and Xinrui Lin, Group Work page 18: Collages by Louis Duvoisin, Group Work page 19: Ouseburn’s Character Juxtaposition Collage by Xinrui Lin, Group Work Page 20: Top Image <https://1.bp.blogspot.com/-dUeNIJSCYCk/UmFMrOefhtI/AAAAAAAAKt4/L4Xs9XNenFo/s1600/d06-0317+Ouseburn+01.jpg> [accessed 6 June 2021] Page 20: Middle Image ‘Geograph:: Empty Buildings, Lime Street, Newcastle... © Graham Robson Cc-by-Sa/2.0’ <https://www.geograph.org.uk/photo/4817594> [accessed 6 June 2021] Page 20: Bottom Image ‘Photographs Of Newcastle: Ouseburn - Old Maynards Sweet Factory’, Photographs Of Newcastle <https:// newcastlephotos.blogspot.com/2010/03/ouseburn-old-maynards-sweet-factory.html> [accessed 6 June 2021] Page 21: Creative Regeneration of Ouseburn ‘Igloo Regeneration | Ouseburn Valley, Newcastle’ <http://www.iglooregeneration.co.uk/portfolio_page/ouseburn-valley-newcastle-upon-tyne/> [accessed 6 June 2021] Page 22: Diagrams by Amanda Yeong, Group Work Page 23, 53: Liddle, Henzell, & Co Signage ‘Geograph:: Liddle-Henzell Glassworks, Ouseburn © Ouseburn Trust’ <https://www.geograph.org.uk/photo/6538771> [accessed 6 June 2021] Page 23: Waymarkers Davidson, Jessica, ‘Photo Album: The Waymarkers of Ouseburn’, Jessica Davidson, 2016 <https://jessicadavidson.co.uk/2016/05/28/photo-album-the-waymarkers-of-ouseburn/> [accessed 6 June 2021] Page 26 and 72: Materiality Collage, Group Work Page 28: Gentrification Mapping, Group Work Page 29: Illustration from ARC3015 Page 31: Portraits by Aurelia Thompson, Group Work Page 40: Images from Charrette 2019 Page 41: Re-purposing glass bottles as building material ‘Produce No Waste: Bustan Qaraaqa’s Bottle Walls - Milkwood: Permaculture Courses, Skills + Stories’ <https://www.milkwood.net/2011/11/02/produce-no-waste-bustan-qaraaqas-bottle-walls/> [accessed 6 June 2021] Page 53: Bottom <https://www.facebook.com/iloveouseburn/photos/a.1315307148564550/1382654761829788> [accessed 6 June 2021] Page 56: Glass Recycling Unit ‘Glass Recycling Process’ <https://www.thinglink.com/scene/378330121699852289> [accessed 6 June 2021] Page 57: Top ‘History & Tradition of Cremation and Glass Urns American MemoryCraft’, American MemoryCraft <https:// americanmemorycraft.com/history-tradition/> [accessed 6 June 2021] Page 57: Middle ‘History & Tradition of Cremation and Glass Urns American MemoryCraft’, American MemoryCraft <https:// americanmemorycraft.com/history-tradition/> [accessed 6 June 2021] Page 57: Bottom ‘Glass Blowing Studio Rentals Using Landfill Gas - Dillsboro, North Carolina’ <https://www.jcgep.org/studio-glass.html> [accessed 6 June 2021] Page 58: Glass Bottle Wall Cavoto, Erin, ‘Bottoms Up! Turn Your Empty Wine Bottles Into Works of Art’, Country Living, 2019 <https:// www.countryliving.com/diy-crafts/g2534/repurpose-wine-bottles/> [accessed 6 June 2021] Page 58: Glass Bottle Wall Decor ‘The Adeline Hanging Wine Bottle Display - Hugo & Hoby’ <https://www.hugoandhoby.com/products/the-ade220 | Creative Synergies

line-hanging-wine-bottle-display> [accessed 6 June 2021] Page 58: Glass Bottle Wall Chandelier ‘Best DIY Ideas and Designs of Wine Bottle Craft - Live Enhanced’ <https://www.liveenhanced.com/ diy-ideas-of-wine-bottle-craft/> [accessed 6 June 2021] Page 58: Glass Bottle Path <https://www.pinterest.com/ pin/458663543281103986/> [accessed 6 June 2021] Page 59: Hand Blowing ‘40 Beautiful Glass Sculpture Ideas and Hand Blown Glass Sculptures - Part 2’ <https://webneel. com/glass-sculpture-art-blowing-2> [accessed 6 June 2021] Page 59: 3D Printing ‘Neri Oxman Develops Glass 3D Printing Technique’ <https://www.dezeen.com/2015/08/26/ neri-oxman-3d-printing-transparent-glass-sculptural-structures-mediated-matter-mit-media-lab/> [accessed 6 June 2021] Page 59: Fusing ‘Ernest Porcelli’, American Craft Council <https:// www.craftcouncil.org/show/artist/ernest-porcelli?show=72149> [accessed 6 June 2021] Page 59: Casting <https://www.pinterest.com/ pin/530721137308787994/> [accessed 6 June 2021] Page 61: Ghani Glass Logo <https://www.facebook.com/112238040180923/ posts/babar-glass-sole-distributor-ofghaniglass/115046323233428/> [accessed 6 June 2021] Page 66 Photos from ARC3013 Page 73: Nilaya- The Cliff House ‘FORMAKERS - Nilaya- The Cliff House / Studio Emergence’ <http://www.formakers.eu/project1407-studio-emergence-nilaya-the-cliff-house> [accessed 5 June 2021] Page 73: Brick <https://www.pinterest.com/ pin/317011261250497482/> [accessed 6 June 2021] Page 73: Concrete ‘(32) Pinterest’, Pinterest <https://www.pinterest. com.au/pin/394416879842286188/> [accessed 6 June 2021] Page 73: Corten Steel ‘(32) Pinterest’, Pinterest <https://www.pinterest. com/pin/129971139229353577/> [accessed 6 June 2021]

Page 73: Glass ‘Textures for 3D, Graphic Design and Photoshop!’ <https://www.textures.com/search?q=glass&filter=all> [accessed 6 June 2021] Page 78: Illustration from ARC3015 Page 79, 105: Toffee Factory at Night ‘Cities: Newcastle upon Tyne, England - Dyxum - Page 1’ <https://www.dyxum.com/dforum/cities-newcastle-upon-tyne-england_topic98705.html> [accessed 6 June 2021] Page 88: Macquarie’s Ropemaker ‘Ropemaker / Clive Wilkinson Architects | ArchDaily’ <https://www.archdaily.com/185185/ropemaker-clive-wilkinson-architects> [accessed 6 June 2021] Page 92:Precedent showing juxtaposition of materials Page 96-98, 100-104, 138-139: Diagrams from ARC3013 Page 100: Precedent for Glass Fins kavehglass, ‘Azur Glass’, Kaveh Glass Industrial Group, 2020 <https://kavehglass.com/?p=5739&lang=en> [accessed 6 June 2021] Page 102: Installation at Sidney & Berne Davis Art Center Boggs, Rick, Sidney & Berne Davis Art Center, 2008, photo <https://www.flickr.com/photos/boggsindustries/3064252848/> [accessed 6 June 2021] Page 104: Nestle Factory, Brazil ‘Nestlé’s Chocolate Museum / Metro Arquitetos Associados | ArchDaily’ <https://www.archdaily.com/151568/ nestle%25e2%2580%2599s-chocolate-museum-metro-arquitetos-associados> [accessed 6 June 2021] Page 164-167: Thematic Case Studies ‘Thematic Case Study B’, Miro.Com <https://miro.com/app/board/o9J_lb_FJwc=/> [accessed 6 June 2021]

Note: All the other drawings, illustrations, diagrams, renders, plans, sections, axonometrics, photos etc. are Author’s own

List of Illustrations | 221

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