Louis Duvoisin Portfolio

ARC3001

ACADEMIC PORTFOLIO

LOUIS DUVOISIN

1

ILLUSTRATED REFLECTIVE DIARY

INTRODUCTION

Looking back on our final year as undergraduates at the Newcastle School of Architecture, I realise how much I have learnt and developed as an architectural designer, and I believe I have grown my various technical, social and design skills to the absolute best of my ability.

CONTENTS

ILLUSTRATED REFLECTIVE DIARY

3

INTRODUCTION

7

FRAMING

9

TESTING

58

SYNTHESIS

111

ILLUSTRATED CULTURAL BIBLIOGRAPHY

184

THEMATIC CASE STUDIES

189

APPENDIX

198

EXAMINERS NOTE:

Red dots used throughout the portfolio indicate pages that have been, developed, improved or created post reviews.

All unlisted figures, drawings and diagrams are the authors own. Referenced sources and images are indicated in the captions below by ”FIG. 1”

2

Working throughout the pandemic has been difficult for everyone, though I have found it exceptionally difficult at times, having suffered a personal tragedy at the beginning of the pandemic. I am a group worker, who finds inspiration and motivation from the communal design process that studio culture encourages. Without this studio culture, I have really struggled to remain connected to and grounded within the course. I feel at times that my project development veered off course as a result of working in isolation without my fellow peers.

Despite the restrictions to facilities this year, I have remained determined to continue exploring my hands on, analogue methods of working. My design process is lively and multifaceted and I quickly find myself jumping between 2D and 3D sketches, alongside physical iterative models. This has been more difficult than I anticipated, however; my tiny ‘home studio’ has restricted me from being able to make more larger more complex testing models as a result of the limited resources, space and equipment I have at home. The effects of delays and online communication in a COVID-19 world have however presented me with new communication and planning skills. Continuing to explore 3D process models as part of my design process (whilst meeting the deadlines provided) has entailed an exponentially higher level of collaboration, planning, and foresight.

Whilst these inefficiencies and time delays have slowed progress, I have developed a close working relationship with the Architecture workshop staff and have learnt a great deal about time management and problem solving as a result of this increased communication.

‘HOME STUDIO’ AND MODEL PLANNING, PROCESS PHOTO

3

CONTEXT RELATION

I have also benefitted from a close proximity to my site’s location.

Being within cycling distance to the project location has allowed me to connect with the area and its people in a more holistic manner, and I believe my architectural response has been much richer throughout the year than it might otherwise have been.

DEVELOPMENT AND LEARNING

I have really enjoyed the structure and process of learning this year, and have been particularly engaged by the creative and explorative research-based approach to Creative Synergies. Being able to spend a full year on a single brief has allowed me to explore their individual stages of development more broadly, which I believe has contributed to my own progression as a thoughtful designer.

I find a great deal of my inspiration from contemporary examples of sustainable architecture and research projects, which I use as a lens to curate, inform and shape my own lens as an architectural designer. These research precedents are interlaced and embedded throughout my portfolio in a fluid manner, representing my process of discovery as I encountered them, whilst also connecting different facets of the project to one another - representing the holistic nature of my design process.

Much of my research, site analysis, and even project direction has been guided by the in-person site investigations I have conducted.

Regular visits to my site and the area in general have not only informed my understanding of the architectural vernacular of Ouseburn, but with time and persistence, I have gradually uncovered less exposed social aspects to the structure of the community.

The fabric of Ouseburn has many social and physical layers, and gradually unveiling each of them has been thoroughly enjoyable, and I believe has made a tangible difference to my understanding of ‘what a site’ is today. I think most importantly, it has reminded me that architecture is first and foremost about serving people.

SITE INVESTIGATION AND DISCOVERY

PRECEDENT INSPIRATION: URBAN HOUSE INSTALLATION, MYCC (OTT, 2020)

4

5

HOW HAVE OTHER MODULES HAVE INFORMED MY PROGRESS? The integrated nature to design with the other technical and theory modules has presented me with opportunities along the journey to pause, reflect and consider what it is that really matters with me, and where I should focus. The Theory Into Practice essay was a particularly key step in refining my line of enquiry and theoretical context. Along with the critical friend discussions, the essay gave me a chance to research the issues of gentrification more broadly, allowing me to understand how the problems faced by Ouseburn today are representative of a national, and perhaps even an international issue. Connecting the dots between the theories of these issues and the architectural responses being practiced today has inspired my own approach to design and understanding of the power architecture possesses in mediating against current social issues.

WHO

ARE

WE

DESIGNING

FOR

The integrated technology report was also key in the development of my project. The assessment highlighted tectonic issues to do with the modularity and stability of my structure and gave me a chance to explore my environmental response better. If anything, I wish technology and design were developed in tandem sooner on, as the design changes I had to make to respond to the technology report consumed much of my project’s synthesis. The deeper and larger scale investigations within this design process also made me realise how difficult it is to make large open spaces look simple and clean, whilst concealing their inner workings involves a great deal of intelligent problem solving. Again, the process was hugely informative, and although challenging, the interconnected nature of the modules has certainly progressed my ability to multitask and interlink different skillsets in the way that the multifaceted nature of architecture requires.

?

COMBATING GENTRIFICATION - A REFLECTION OF THE MALINGS. THEORY INTO PRACTICE ESSAY (SOUTH OUSEBURN)

6

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FOOD FOR THOUGHT As we draw towards the end of the first step of our architectural education, and the lines between Theory and Practice start to blur, we students must ask ourselves, what kind of buildings do we want to design, and more importantly, who are we designing for?

(Original source - ARC3015)

FRAMING

FIG 1.1

1

Edited image from. Anthony Dunne and

Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming (Cambridge, Massachusetts ; London: The MIT Press, 2013), preface.

FIG. 1 8

FRAMING GROUPWORK PHOTOGRAPH

9

WHAT IS CREATIVE SYNERGIES?

FRAMING REFLECTION

SYNERGY

The framing semester has been a hugely informative process of research and discovery, which formed the basis of my theoretical and cultural context, and the refinement of my line of enquiry. The Creative Synergies studio specific context is also investigated, as I gradually uncover my own response to the themes of ‘specialist inhabitation’ and ‘a relationship between the Academy and City’. The academic context, research lenses and social theories studied in Framing are projected through Testing and Synthesis and have been crucial in guiding the direction of my project development and even more broadly, my perspective of architecture.

My studio ‘Creative Synergies’ explores the event horizon where these two communities meet.: The aim is to design a building which fuses academic led research with the Ouseburn community, and harnesses, nurtures and inspires the synergy between these two entities.

The chapter also follows my processes of inquisition, investigation and discovery throughout my various local site investigations. These site investigations have been thoroughly enlightening and have influenced my perspective of how to conduct site analysis, approaching it from a more humancentric position. The vibrant and eclectic atmosphere of the area is difficult to capture. To do so, I have attempted to instil its essence into my range of physical and digital collages, created from moments or scenes within Ouseburn that have inspired me.

The pavilion design towards the end of Framing was an enjoyable and insightful design exercise. It allowed me to explore some of these research threads I had been studying and test them within my own design context. The themes relating to simple methods of timber construction and a more holistic interpretation of community engagement are built upon and developed throughout the following stages of the portfolio.

THE ACADEMY FRAMING CONCEPT ARTWORK

‘The Academy represents cutting edge architectural research within the institution of education, and its role in tackling the current ‘sustainability crisis’ (both social, and environmental). How might the academy be able to positively benefit existing communities on an urban scale? ‘.1

1 10

OUSEBURN Ouseburn represents the physical region that exists within Newcastle, as well as the longstanding community bonds that have been forged throughout the generations that have resided there. This community is now characterised by its vibrant, creative, quirky and charming nature.

How might they be able to exist in harmony, and benefit eachother, whilst working towards more sustainable and holistic practices, both within architecture and beyond?

Craig Gray and Stella Mygdali, ‘Creative Synergies,

Studio Brief’ (Newcastle University, 2020).

11

PROJECT LOCATION

WORLD AND REGION LOCATION

12

OUSEBURN INTRODUCTION

OUSEBURN ALIGNING THE RIVER OUSE (EDITED IMAGES, GOOGLE EARTH, 2021)

A personal artwork depicting a poetic wall mural located in ouseburn, portraying its colourful and dynamic heritage.

13

FRAMING

INDUSTRIAL HISTORY The group artwork depicts the changing vernacular, land use and development of Ouseburn throughout the ages. This history is still etched on the fabric of the area, conveyed in the digital artwork that follows.

AGRICULTURAL AREA

INDUSTRIAL ERA BEGINS

POST INDUSTRIAL REVOLUTION BEGINS

EDITED GROUPWORK, (FRAMING, 2020)

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PAST CHARACTER VISUAL SUMMARY

15

CREATIVE PRESCENCE

This productive essence of Industrial riverside development has been instillled into Ouseburn today, as the area is now characterised by its diversity of independant businesses and venues, and the local creative population. I created a collage to embody this eclectic atmosphere.

CURRENT

CHARACTER

VISUAL SUMMARY

“Up until now I see a positive Gentrification...

All the small independant businesses that get attracted to the area. We dont need a weaterspoons here.. That would be bad.”

NORTH OUSEBURN PHOTOGRAPH

- LOCAL RESIDENT (FRAMING, SITE INVESTIGATION, GROUPWORK)

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HIGH BIODIVERSITY

Ouseburn is one of the few areas remaining in Newcastle to have such a high quantity of its natural landscape remaining.

In the 21st century, this landscape is becoming threatened by overdevelopment.

Its citizens are becoming increasingly concerned over the preservation of this land as a result.

Any development aiming to positively inforce sustainable change must work with this landscape, and not against it.

RIVERSIDE WALK, NORTH OUSEBURN

RIVER TOPOGRAPHY

18

GROUP ARTWORK

19

21th century Late

20th century Business

CHANGING LAND USE ...

Notably, it has recently seen a large rise in residential developments and business led activity in the area, whilst its creative industries and local businesses have suffered.

Bar Graphs and Land use maps conveying the changing industries in Ouseburn over the last century.

21th century

Business

Residence

Business Late 20th century

Business

Residence

Residence

Attraction

Attraction

Attraction

Residence

Late 20th century Industrial

Industrial

CHANGING LAND USE MAPS BETWEEN 1910 - 2020 (GROUOPWORK, FRAMING, 2020) KEY

LAND USE PROPORTION GRAPH 1970 (GROUPWORK)

LAND USE PROPORTION GRAPH 2010 (GROUPWORK)

BUSINESS

Business RESIDENTIAL INDUSTRIAL ATTRACTION 20

Industrial

Attraction 21

MAPPING GENTRIFICATION

FRAMING

RESULTS FROM THE 2017 PUBLIC OUSEBURN CONSULTATION ANALYSIS

80%

Of the residents are against current forms of redevelopment

The results of this survey demonstrate the Population of Newcastle are not against ‘redevelopment’ in itself, but they are greatly concerned by the types of redevelopment currently being applied, and the subsequent consequences this will have on Ouseburn’s character1.

1

(Newcastle City Council, ‘Conserving the

THE MALINGS, SOUTH OUSEBURN (GROUPWORK FRAMING PHOTO, 2020)

Ouseburn Valley: Report of Consultation Carried out about Buildings in and beside the Ouseburn Conservation Area in Early 2017’ (Newcastle City Council, 2017)

THEMATIC MAPPING OF THE CURRENT AND PROPOSED DEVELOPMENTS IN OUSEBURN (NEWCASTLE CITY COUNCIL, 2020) 22

23

FUTURE CHARACTER VISUAL SUMMARY

FRAMING

A FORKED PATH

“it is crucial to ensure that independent businesses have the ability to operate without the threat of aggressive redevelopment, because this would change the nature of the area and squeeze out facilities who cannot compete.” “New development by all means but give protection to what is already there.”

“We need to make sure this has some integrity and is not just a liberal middle class version of gentrification. Working class heritage must be retained.”

“I love the Ouseburn area and feel it forms part of Newcastle’s heritage. It should be protected at all costs.”

EXTRACTS FROM THE 2017 SURVEY

Resident quotes cited in Newcastle City Council, ‘Conserving the Ouseburn Valley: Report of Consultation Carried out about Buildings in and beside the Ouseburn Conservation Area in Early 2017’ (Newcastle City Council, 2017) 24

A FORKED PATH

The group artwork depicts the uncertainty of Ouseburn’s future. The landsacpe has been defined by its local creatives and the diversity of their local enterprises and activities, which are at risk of being stifled and forced out, through a process of over gentrification.

25

A COMMUNITY UNDER THREAT?

Ben Campkin warns us of the danger of this ‘regeneration’. He believes these developments threaten the very communities they are proposed to ‘regenerate’...

This is a a great threat to our cultural identity in the 21st century, both in Ouseburn, and more widely, Nationally and Internationally.

“The rhetoric of planners and Politicians current”have hijacked the term. “Regeneration has become clouded and is often used misleadingly to describe practices that many argue to degenerate, in social and environmental terms.”1

CURRENT ON SITE CONSTRUCTION AT STEENSBURG’S YARD, OUSEBURN

FIG 2. PROPOSAL

RENDER

FOR

STEENSBURGS

YARD,

OUSEBURN

1

(OUSEBURN

Ben Campkin, ‘On Regeneration’. A Chapter in Iain

Borden, Murray Fraser, and Barbara Penner, eds., Forty Ways to

COMMONPLACE, 2018)

Think about Architecture: Architectural History and Theory Today (Chichester: Wiley, 2014), 55.

ACADEMIC SOURCE BOOK COVER

26

27

SOCIAL THEORY

My Proposal?

Artermis’ Ladder depicts the varying degrees of community participation in the process of architectural development.

HOW CAN ARCHITECTURAL

The higher up the ladder you move, the more ‘participative’ the approaches become...

Restoring autonomoy and empowering the community.

re-

DESIGN SOLUTIONS MEDIATE THIS ISSUE?

FIG

2.

PROPOSAL

RENDER

FOR

STEENSBURGS YARD, OUSEBURN (OUSEBURN COMMONPLACE, 2018)

28

ARTEMIS’ LADDER OF PARTICIPATION (ARNSTEIN, 2019)

29

COMMUNITY EMPOWERING ARCHITECTURE POPPENBUTTEL COMMUNITY CENTRE - ASSEMBLE

Assemble architects have recieved recognition for their ability to overcome these issues. By utilising a range of both transient and physical design strategies, they are able to empower the people they are designing for by involving them in the process.

Designing with the community, rather than second guessing their best interests.

PERSONAL SKETCH

FIG 4.

CURRENT DEVELOPMENTAL PRACTICE

The construction chain as it functions today. A top down, elite driven process controlled by the few.

INTERIOR INHABITATION PROPOSAL RENDER (ASSEMBLE, 2017)

THE FUTURE GOAL

Communities need to be empowered. Only by working alongside expertise, will we build stronger and more sustainable communities.

FIG 3.

EXTERIOR

FORM

PROPOSAL

RENDER (ASSEMBLE, 2017)

30

31

COLLABORATIVE INVOLVEMENT

AUTONOMOUS DESIGN

Assemble invited Five practices to partake in collaborative workshops with newly settled refugeses as well as architecture, industrial design and construction students to develop proposals for the new Community Centre.

The simple modular construction enclosed by prefabricated insulated panels removes the need for onsite specialists - allowing the building to be built by the community.

It also allows tenants to adapt the spatial programme to suit their practice, granting them true autonomy over their own spaces.

SIMPLE CONSTRUCTION AND SELF BUILD PROCESS

Community directly involved in collaborative workshops

Involvement enfranchises new and deeper community bonds

Moving further up Artemis’ Ladder of Participation

SPATIAL ADAPABILITY 32

33

SITE MAPPING

In order to understand where a new architectural proposition might be best positioned to stimulate new connections throughout Ouseburn and influence positive community change, we needed to map the areas activities / land use and infrastrcutre.

WHICH SITE IN

OUSEBURN IS BEST POSITIONED TO

STIMULATE POSITIVE COMMUNITY

DEVELOPMENTAL PRACTICE?

INFRASTRUCTURE AND LAND USE MAPPING DIAGRAM (GROUPWORK, 2020) 34

35

SITES OF INTEREST

SITE MAPPING

SITE REFINEMENT

NORTH ZONE

SITES OF INTEREST

Arch 2

NORTH ZONE

Ship Inn

36 Lime Street Ouseburn Trust Seven Stories

A

ms

ms

BYKER

C

B

Cluny

Cumberland Arms

Crescent Fifty One

B

BYKER C

Victoria Tunnel

RIVESIDE WALK OUSEBURN RIVER OUSEBURN RIVER

MAIN ROADS SITES OF INTEREST MAIN ROADS

chool

POSITIVE COMMUNAL SITES INTEREST HUBS SITES OFOFINTEREST COMMUNAL ZONES HUBS POSITIVE COMMUNAL POSITIVE COMMUNAL HUBS THE ‘HEART’ZONES OF OUSEBURN COMMUNAL COMMUNAL ZONES

D

Ouseburn School

Tyne Bar

36

WHICH SITES ARE BEST ABLE TO STIMULATE

OUSEBURN’S CHARACTER THROUGHOUT THE

POSITIVE CONNECTIONS BETWEEN THE TWO

PAST, PRESENT, AND FUTURE?

ZONES?

WHICH SITES ARE BESTWHICH ABLE TOSITES STIMULATE POSITIVE ARE BEST ABLE TO STIMULATE POSITIVE WHAT HAS REMAINEDWHAT NETGRAL OUSEBURNS HASTO REMAINED NETGRAL TO OUSEBURNS CONNECTIONS BETWEEN THE TWO ZONES ?

CONNECTIONS BETWEEN THE TWO ZONES ?

CHARACTER THROUGHOUT THE PAST, PRESENT AND CHARACTER THROUGHOUT THE PAST, PRESENT AND FUTURE? FUTURE?

This conversational Q and A helped me refine the potential site options for development.

A

I realised that I wanted to opt for a site connected to the river.

THE RIVER

THE RIVER

A

B

B

C

SITES CONNECTED TO THERIVER SITES CONNECTED TO THERIVER

C

STEENSB

SITES OF INTEREST POSITIVE COMMUNAL HUBS

Free Trade

SOUTH ZONE

COMMUNAL ZONES

A

THE ‘HEART’ OF OUSEBURN Cycle Hub

CONNECTIONS

CONNECTIONS CITY CONNECTIONS THE ‘HEART’ OF OUSEBURN CONNECTIONS

TO

This is something I wanted

Toffee Factory

SOUTH ZONE

INTEGRAL

MAIN ROADS to address.

MAIN ROADS RIVERSIDE WALK RIVESIDE WALK

chool

REMAINED

It has been integral to the character and even fruition OUSEBURN RIVER of the community, though it is less celebrated in today’s RIVESIDE narrative WALK of Ouseburn.

Kiln

OUSEBURN RIVER

HAS

BYKER

Climbing Centre

KEY

SITES OF INTEREST SITES OF INTEREST C

A

CONNECTIOCNOSNNECTIONS

Any proposal aiming to tackle the issues of gentrification must B A first have a broad understanding of the existing social ecosystem.

B C

Q

Ouseburn Farm

Woods Pottery

WHAT CONNECTIONS

Although the group artwork was SITES OF INTEREST informative, I was more interested in the social structures, and points of positive communal interaction within the area.

A

COMMUNITY MAPPING DIAGRAM

THE RIVER

SITES CONNECTED TO THE RIVER WHICH ZONE DO I FEEL IS BETTER SUITED TO STIMULATE WHICH ZONE DO I FEEL IS BETTER SUITED TO STIMULATE CONNECTION BETWEEN NORTH AND SOUTH? CONNECTION BETWEEN NORTH AND SOUTH?

NORTH ZONE

NORTH ZONE NORTH ZONE

37

SITE A - CHOSEN

SITE B - NOT CHOSEN

- Organic natural riverfront landcape

- Open and connected surroundings

- Difficult restricted site access

- Grand contextual architectural vernacular

- Singular site entrance with no connection

- Connected to the Riverside Walk

- Currently used as a boat docking area

- Multiple site entrances

- Has a distinct unique character

- Currently the only site I felt that is not contributing to the vibrant character of the area.

- Connected to the public riverside walk - a highly protected and sought after route for the lcocal residents...

- As a result of these factors, I felt that Site A would provide greater scope for a community development.

- Any development would be in conflict with this.

ORTH ZONE

B B

ABSTRACTED SITE MAP

38

A

SITE PHOTOS

ABSTRACTED SITE MAP

SITE PHOTOS

39

DESIGN PRECEDENT

PAVILION DESIGN

An introductory design exercise in the realisation of my Creative Synergy. The Pavilion design brief stipulates that it should be a temporary structure that houses my academic line of enquiry and forms the first physical connection with the Ouseburn Community.

FIG 5.

THE PLUG-IN! PAVILION, A COLLABORATION BETWEEN STUDENTS AND REFUGEES (BALDWIN, 2018)

FIG 6. CODE DEPARTMENT COLLABORATION, TU BERLIN (BALDWIN, 2018)

1. SELF BUILD

2. REDUCED

3. COMMUNITY INVOLVEMENT

ENVIRONMENTAL IMPACT

4. SUSTAINABLE LONG TERM USE

MODEL ATMOSPHERE

The PLUG-IN is a modular timber construction conceived upon the principles of self-build.

40

The materials used are cheap and available in any construction store.

The pavilion was designed and built by students of the TU Berlin together with refugees

After, it was implemented as a community pavilion inside a refugee shelter in Berlin and offers both the inhabitants as well as its neighbourhood a meeting place.

41

LOCAL RESEARCH PRECEDENT

CONCEPT SKETCHES

Led by the Newcastle Architecture Department, Fenham Pocket Park is an example of a research led community engagement process. The act of creating physical and flexible public spaces, leads to new and increased local interaction, and helps restimulate community engagement.

1. Research informs temporary ubranism trial practices

KEY ACADEMIC EXTRACTS DIY STREETS FENHAM

“The research sought to reflect on engagement practice and propose a co prodcution framework based on inspirational participation...”

Daniel Mallo Architecture 2020

, Newcastle professsor,

Research threads helped refine my specific strategies.

I was interested in applying an open visual language which would encourage both internal collaboration and co working, which would also reinforce the interconnectedness to the sites context, and the eclectic surroundings of Ouseburn.

2. Which in turn leads to the design of more permananent social spaces

(ARQ EDITORS, ON DANIEL MALLO, 2020) THE CRAFT OF PARTICIPATORY DESIGN

...Participatory design emerged out of the conviction and baed on the evidence ‘that the environment works better if its citizens are active and involved in its creation and management instead of being treated as passive consumers” (BANKS, 2019) 42

Banks, 2019.

3. Serving as a catalyst for social interaction CONCEPT SKETCHES INSPIRED BY

FIG 7. FENHAM MALLO

PHOTOGRAPHS,

DEPARTMENT, 2017)

POCKET

PARK

NEWCASTLE

(DANIEL

ARCHITECTURE

ASSEMBLE’S FLEXIBLE MODULAR DESIGNS 43

CONCEPT MODELS

SPATIAL DEVELOPMENT Sketches conveying the spatial experience of my pavilion, and the flow through the spaces. Each zone is intended to be fluid, and they should communicate and crosspollinate.

Experimenting with iterations of a conceptual construction model of my developing pavilion design. .

Starting with a simple basic timber frame, individual beam lengths are altered by specific respective ratios to produce a more dynamic form.

ITERATION 1

The form is inspired from the rivers flow, and the activity within is intended to mirror that flow.

ITERATION 2

ITERATION 3

SKETCHBOOK DEVELOPMENT 44

DEVELOPING PLAN SKETCH 45

CONTEXTUAL CONSIDERATION

COMMUNITY INVOLVEMENT Phases of Construction, and the level of community participation at each stage of the phases of construction that the self build process will encourage.

The relation between the open pavilion and its vibrant landscape is explored further in this sketch format. The positioning of the form aligns the public riverside walk, enabling the public to connect with the internal activity, whilst the form itself maximises the views up towards the bridge and the cluny.

PHASE 1

Temporary shelter erected around the pavilion site to waterproof it.

CNC machine and 3D Printer installed, along with a temporary generator capable of powering the equipment.

The timber collaborators (Mushroom Works and Crescent Fifty One) relocated to the pavilion, ensuring technical expertise is on site first.

Engagement Level

PHASE 2

Using the Segal Method of construction System of Joists and Beams conprising the main structure.

Architecture students are invited to take part in the on site construction, pushing the ‘learning through making’ educational aspect.

Engagement Level

PHASE 3

PHASE 4

construction process shifts to the CNC building method for the rest of the structure.

The Pavilion will host an open design workshop.

The CNC machine on site is making the timber modular panels.

Final ‘Sculptural’ part of the Pavilion will be designed.

The open invitation is extended to members of the public (as well as the students) to take part in the construction and fitting of the rest of the pavilion.

Further exploring the possibilities of CNC design.

Engagement Level

An inclusive collaboration between the craftsmen, students, and the public.

Engagement Level

SKETCHBOOK DEVELOPMENT

46

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COLLABORATION WITH TIMBER CRATSMEN...

During a site visit, I met with Crescent Fifty one timber designers.

PAVILION PROPOSAL

Connecting with the local craftsman has been a great inspiration in framing my line of enquiry. Speaking to and connecting with people is central to my research process, as I attempt to better understand how my proposal might be able to synergise with the existing community and social structures.

The pavilion is an open access workshop space, which provides a creative workspace with access to affordable tools and technical expertise, allowing members of the community to learn and work together. This physical making / building / repairing approach is synoynmous with the adaptive, creative and self-sustaining essence of Ouseburn.

MOCK INVITATION

MODEL PHOTOGRAPH

SITE INVESTIGATION PHOTOGRAPHS FIG 8.

48

BUSINESS

FIFTY ONE, 2020)

LOGO

(CRESCENT 49

1:50 PAVILION PROPOSAL MODEL

OPEN LANGUAGE

Professional Workshop with CNC Router

The Pavilion utilisese off the shelf local materials and a simple frame construction which massively reduces its enrivonmental impact.

Inspired by Assemble, the community involvement both throughout the build process and in its realisation encourages wider definitions of sustainability.

Threshold

The spatial diagrams indicate the visual and spatial connection between the pavilion users and the site, which also highlights the multidisciplinary nature of different program functions happening within such a small space.

Threshold

Communal Public Workshop

Professional Workshop with CNC Router

Ouseburn River Communal Public Workshop

Nature

Ouseburn River Nature

Kids Zone

Conversation / Learning Space

Kids Zone Conversation / Learning Space

THEMATIC CONNECETIVITY

Ou

se

bu

rn

Fa rm

Professional Workshop with CNC Router

Nature

To combat the temporary nature of “Pop-up’s”, the pavilion will be offered to the Ouseburn Farm Charity in the future, to be used as an extension of their site, whose simple timber construction may be adapted to suit their needs.

50

Threshold

Conversation / Learning Space Communal Public Workshop

Kids Zone

Ouseburn River

Nature SPATIAL CONNECTIVITY

Professional Workshop wi Threshold

51

INHABITATION

LIGHT TECHTONICS

The pavilion has been designed with an intentionally dichotomous language. The river side is fully glazed to allow for the views up towards the Ouseburn Farm and Bridge.

Inspired by my Thematic Case Study, I applied an open visual language in my pavilion, as it can stimulate collaboration, increases the possibility for multi-disciplinary learning - creating a community atmosphere in the process.

The other facade contains inbuilt shelving for the workshops, and is clad with polycarbonate cladding, to allow filtered light to permeate both ways,, whilst obscurring the view of the car park behind.

Professional Workshop with CNC Router

Threshold

Communal Public Workshop

Ouseburn River Nature

Kids Zone

Conversation / Learning Space

CAR PARK FACADE (POLYCARBONATE CLADDING)

OPEN LANGUAGE DIAGRAM COMPARISON

GERRIT RIETVELD ACADEMY Nature (GONZÁLEZ, 2019)

COLLABORATIVE INHABITATION

Professional Workshop with CNC Router

Threshold

RIVERSIDE FACADE (GLASS CLADDING)

Conversation / Learning Space Communal Public Workshop

Kids Zone

SKETCHBOOK PROCESS Ouseburn River

52

53

SITE MAP 1:1000

SITE SECTION 1:1000 Jes m

By ke r

on

d

Shi e

By ke r

KEY

ldfi eld

PAVILION SITE

THE SHIP INN OUSEBURN FARM

FUTURE SITE

PAVILION PROPOSAL

ROADS PATHS PAVILION CRESCENT FIFTY ONE (COLLABORATORS) Byk er

ond Jesm

OUSEBURN FARM

Sou

ond Jesm

Byk er

th O use

n bur

54

55

PLAN - 1:100

SECTION - 1:100

Professional Workshop with CNC Router

Threshold

Communal Public Workshop

Ouseburn River Nature

Kids Zone

Nature

56

Conversation / Learning Space

Professional Workshop with CNC Router Threshold

Ouseburn River

Conversation / Learning Space Communal Public Workshop

Kids Zone

57

Testing was particularly challenging for me, as I felt the lack of studio resources had a profound impact on my creative and explorative processes of development. Nonetheless, I was determined not to be deterred from the hands-on methods of working which I find so informative.

TESTING REFLECTION

TESTING

The line of enquiry introduced in Framing is refined and developed into a thoughtful program brief which aims to respond to both the social issues of gentrification, and the environmental issues of climate change. The multifaceted nature of my testing is conveyed in the fluid structure of the section, which develops the spatial programming of my design alongside more creative atmospheric studies and processes. This development continues in tandem with sustainably minded architectural precedents which continued to guide and inspire my design process. I have been particularly interested by the possibilities of timber as a construction material, and the potential of current architectural innovation in responding to the environmental threats today.

As well as this, further site investigations enlightened me as to how I would realise the synergy between the existing community and the Academy, which is embodied through the different types of architectural synergy (spatial relation) explored in the later stages.

TESTING MODEL PHOTO

58

Materiality is also investigated more thoroughly as a method of expression and as a way to induce experiences and atmospheres. These explorations range from studies of tactility and haptic perception, to physical models and digital collages, which were all principle in shaping the approach to my future synthesis.

59

SITE PHOTOS

The sites context is grand, full of history, culture, industrial architecture and natural vegetation. A new development would need to respect the surrounding context if it hopes to provide a space that positively reinforces the existing community bonds.

SITE PHOTOGRAPHS

THE SITE

SITE MAP (EDITED IMAGE - GOOGLE EARTH, 2021)

MAIN SPACE CAR PARK - SITE LOCATION 60

61

SITE CONSIDERATIONS

Axonometric study of the sites context, highlighting key considerations which I wanted to use as a lens to guide my following testing process.

KEY VIEWS

RIVER

SUN PATH

KEY SITE CONTEXT (OFF QUAY BUILDING)

RIVER WALKWAY RELATIONSHIP AN EXPANSIVE LANDSCAPE HANDDRAWN SITE AXONOMETRIC

62

63

A TEXTURAL HISTORY CONCEPT ARTWORK

SITE TEXTURES

Abstract mapping of the layered, dyanmic and creative architectural fabric of Ouseburn and my site in particular.

I was motivated to work with this fabric, and not against it.

“The tactile sense connects us with time and tradition; through

impressions

of

touch we shake the hands of countless generations”1.

1 Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses, 3. ed (Chichester: Wiley, 2012), 62.

64

65

INITIAL SPATIAL RESPONSE

MODULAR TIMBER CONSTUCTION RESEARCH Reinvestigating modular timber structures made me realise the incompatability of such a ‘bespoke’ shaped design with flexible modular constructions.

This would lead to increasing specialism on site... eliminating community involvement through self build.

My initial site response involved massing potential forms on site in plan. I started responding to the site spatially, in a similar way to my pavilion design.

FIG 9.

LONGFU LIFE EXPERIENCE CENTER (SHUANG, 2019)

FIG 10. PARTY AND PUBLIC SERVICE CENTER OF YUANHEGUAN VILLAGE (SHUANG,

ARCHDAILY, 2019)

Adaptive Re-use

ITERATION 1

The building has potential for a wide range of possible usages, because it has been designed without functional constraints so that it can be adapted in the future.

ITERATION 2

Cost-effective

ITERATION 3

66

Small scale general timber materials were maximised to create large scale spaces. square logs in the length of 3m, 4m or 6m, with a 200mm cross-section.

To build a large solid space and maximize its possible functions, “clustered column” (Shuang, 2019) pillars were used.

prefabricated construction.

Materials required in the subsequent construction process were prepared in advance, so the on-site work was mainly just installation and assembly.

The building has an open langauge. Within the open space, seating, reading and communication areas were created.

67

SQUARE CONCEPT

FIG 11. 4 POINT BEAM CONSTRUCTION SYSTEM

‘SQUARE CONCEPT’ SPATIAL MASSING

- LUO STUDIO’S YUANHEGUAN PROJECT (SHUANG, 2019)

PRORAM BREAKDOWN

INITIAL BUBBLE DIAGRAM OF KEY SPACES

INITIAL MASSING OF KEY SPACES

CONCEPTS REFLECTED IN MY SKETCHBOOK

68

69

MODULAR CLT RESEARCH

SPATIAL DEVELOPMENT

Whilst I was testing these initial ideas involving key spaces and massing, I was researching new technlogies regarding modular CLT based designs. U - Build is a simple construction system designed by Studio Bark which enables prefabricated panels to slot together, which allows the user to be involved in the construction.

(Studio Bark, 2019).

This is something I was hugely motivated by exploring, and would guide the methods of my followng testing development.

BUILDINGS, USERS AND BUSINESSES

FIG

12.

U-BUILD

HOUSE

PRECEDENT (STUDIO BARK, 2019) 70

FIG 13.

MODULAR

CLT

DIRECTLY INVOLVED WITH THE PROPOSAL

PANEL

CONSTRUCTION (STUDIO BARK, 2O19)

1:5OO PLAN ITERATIONS FIG 14.

71

SPATIAL CONNECTION

CONCEPTUAL VIEW RENDER

A conceptual digital collage, which is meant to capture the open expansive vernacular of the main atrium space I wanted to design. The space would aim to connect the primary orientation space to the key views towards the Cluny building and Ouseburn bridge.

Concept sketches highlighting the visual and spatial connection I watned to capture both in relation to the interior spaces, and the wider context of the site.

SKETCHING CONTEXTUAL RELATIONSHIPS ON SITE

EXPLORING THE IDEA OF SPATIAL CONNECTIVITY BETWEEN PUBLIC AND RESEARCH FACILITIES

CONSIDERATION FOCUS

72

CONCEPTUAL COLLAGE

73

SITE CONTEXT: THE OFF QUAY BUILDING

SITE VISIT Tony, the owner of RiotBoxing allowed me in to the premises - I learned all of my information on this extremely unknown creative facilitiy through him.

I was yet to fully explore the existing site building.

Until now I had assumed it was a derelict building and had not paid it much attention. However, on a site visit, I made an enlightening discovery that would shift the focus of my project development throughout testing...

The building currently contains 35 units, which are widely unused, although there are several small businesses and creative individuals. They are in danger of losing their tenancy’s as a result of council led large scale residential proposals posing both a short and long term threat of gentrification.

Tony also regularly collaborates with some of the music artists upstairs, producing electronic mix tapes for his gym members and the general public to enjoy - serving as a very real demonstration on the multidisciplinary collaboration already in full swing on site.

”Most of my boxers are females... we try to push the female empowerement kind of thing, you know?

Getting girls into boxing is a great way of doing that”.

- Tony, RiotBoxing Owner. (Personal Interview)

RIOT BOXING - INTERIOR PHOTO

OFF QUAY BUILDING NORTH FACADE

PERSONAL INTERVIEW

COL

N

ATIO

OR LAB

FIG 15. (RIOTBOXING MIXTAPE COLLABORATION

INSTAGRAM, 2O2O)

FIG 16. RIOT BOXING - FEMALE EMPOWEREMENT (RIOTBOXING INSTAGRAM, 2020)

CONSIDERATION FOCUS 74

75

CURRENT FACILITIES The spatial program of the building is divided into compartmentalised units. The building has no communal facilities. As a result, connection and collaboration between the different individuals is stifled.

I was not permitted to take any photos of the interior apart from Tony’s Gym out of respect for the residents.

THE RESIDENTS “It FLOOR would GROUND

be a shame if the artistic vibe we have here

were to dissapear, its a cool quirky kind of place, and Cookhouse

everyone knows everyone”.

Upstairs is characterised by music rehearsal studios and artist workshops. Downstairs business led activity includes TV casting agencies, Coffee shops, a photography studio and a progressive Gym.

TONY - OWNER OF RIOTBOXING (PERSONAL INTERVIEW)

GROUND FLOOR

25

29 26

PHOTOGRAPH,

2020)

34

A bookable photography studios and events space, located at the end of the building.

33

32

31

30

(AUTHORS

20

21

22

23

24

UNIT 27 - PHOTO STUDIOS

Cookhouse

28

GROUND FLOOR

27

FIG 27 & 28.

Cookhouse

23

24

25

FIRST FLOOR

28

27 24

25

30

29 26

RESTAURANT, 2021) An award winning restuarant, which just recieved official recognition as one of the restaurants in the Michelon Guide, 2021.

34 33

32

31

Cookhouse

FIG 23 & 24

28

27

FIRST FLOOR

GROUND FLOOR ACTIVITY MAP

UNIT 29- TOM FRENCH (ARTSY, 2020)

Cookhouse

FIG 19 & 20.

FIRST FLOOR

19

7

12 11

9

6

13

10

12

13

11

17

15

16

18

UNIT 16 - EMPTY AVACADO

17

(EMPTYAVACADO

FACEBOOK

PAGE, 2020)

9

FIRST FLOOR ACTIVITY MAP

INSTAGRAM,

2O20)

FIG 17 & 18.

19

5 14

18

1

2

3

16

15

14

13

4

7

76

2

11

9

17

Newcaslte born and bred, and highly celebrated artist Tom French practices combinations of photorealism and abstraction.

RIOTBOXING

(RIOTBOXING

1

5

12

10

16

3

15 4

14

6

OFF QUAY BUILDING MAP (RED LINE INDICATES SITE BOUNDARY)

UNIT 26 -

Cookhouse 19

7

8

8

18

5

6

10

1

2

3

4

8

(COOKHOUSE

33

20

21

22

23

34

32

31

30

29 26

COOKHOUSE

20

21

22

An independant female empowerement boxing club and gym which hosts social clubs and music collaborations.

UNIT

21

-

TICBOX

(TICBOX, 2021) FIG 21 & 22) OFFQUAY COLLECTIVE

A professional, locally run record label and recording studio, equiped to deal with a large range of groups and solo artists.

FIG 25 & 26

(FACEBOOK PAGE, 2O20) A Twitter and Facebook run community of musicians who practice, work and perform with eachother.

“Television casting for all” Ticbox specialies in providing TV casting and support for disabled actors and industry beginners.

I was captured by this social ecosystem, and the new opportunity to integrate the existing community into my proposal.

77

SYNERGY POTENTIAL

OFF QUAY RENOVATION INSPIRATION PRECEDENT GERRIT

RIETVELD

ACADEMY

PROGRAM

RENOVATION

(THEMATIC CASE STUDY)

HOOTSMAN A

A

S

IO PAULINE B D R TU

1. The Institute felt that its existing facilities were too segregated; stifling cross department communication and resulting in inefficiencies.

HOOTSMAN

PA

SAND

LUC

OT

MAZ

OT

TIECTS H RC

S

LUC

MAZ

PA

SAND

INT

RIET VEL DA CAS DM FED LEV D

E

LUC

PA

SAND

RIET SM VEL DA CA D FED LEV D

RIET VEL DA CA D FED LEV D

AU

S

CA

AIM ED

AU

S

INT

TO P RO MO TE S

CA

AIM ED

E

AL ATTIT ITIC UD CR

AU

S

AL ATTIT ITIC UD CR

INT

CREATIVE SPACE (GONZÁLEZ, 2019)

MER EM

CTS HTIE C R

IO PAULINE B D R TU MULTIDISCIPLINARY

R DESIGN HE

MER EM

CA

S ER

R DESIGN HE

S ER

TO P RO MO TE S

ER

I

ER

E BOER ED

INE BREMM L U

FIG 29.

INE BREMM L U

I

INE BREMM L U

ER

ARBON AC

I

DE BOER

ARBON AC

TE NY

ETS E M

E BOER ED

INCLUSION DIAGRAM

ETS E M

ISSION M O NC G I ES D Y L SIZED EM L A EAM T N RA STANIO G I S LEIC B PU

UB PSPATIAL

TE NY

CO N SIG E YD SIZED LM ALE EAM T N RA STANIO G I ES LIC

ARBON AC

TE NY

NATIONA ER

CEPT ON

CEPT ON

IVIDUAL IND AU T A

NOM US C O T

NATIONA ER

L

CEPT ON

L

78

E

HIP AND ORS A TH

ND INTERDISCIPLI A N NAR IO S E YW OH C OR L K IA C O S ELECTIVE U P NOMOUS C O T M

P M

Lead Architect Pauline Bremmer. Specialising in architecture and research projects, responsible for NFEDLEV design team (Gonzalez, 2019) initiating MISSIOthe

L

new opportunities The new, open spatial INTERDISCCreating D N I A PLIN N they between program will exploreSIhow O ARY the existing Off Quay E community, might be better WOthe general public, OH integrated C ID NDIV UAL A and the institution of education.

L with eachother: stimulating TI U R A A K I heightened collaboration OC TIVE betwen their various LEC US disciplines.

O

There is a huge potential to bring these minds together.

NATIONA ER

“Experimentation is key at the academy.

SSION I M T E R N I D O ISCIPL C AND N N I N O G I I This essentially means looking across ARY ES ES H D W O Y ORand disciplines” borders LC M A K E I EAM T C N RA STANIO O G I V I T E C S ELE ES OMOUS C PU N PAULIEN BREMMER TO M

HIP AND ORS A TH

Due to the Buildings poor spatial programme (no communal spaces) these businesses are mostly operating isolated and independant from eahother.

TO P RO MO TE S

OFF QUAY RENOVATION INSPIRATION PRECEDENT

2. The new Building was designed as an open, autonomous structure, housing teaching and student facilities for all departments under one roof.

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

79

A NEW SYNERGY: OFFQUAY STUDIOS AND THE MAKING CENTRE

FIG 31.

ADAPTABLE MODULAR RESEARCH

OFF QUAY’S INVOVEMENT

Based on ‘A pattern language’ by Christopher Alexander & ‘How buildings learn’ by Stewart Brand, Autarkytecture proposes flexible constructions that can adapt and change over time. It consists of a catalogue of building components that can be added or subtracted according to the varying needs of its inhabitants.

26.

Open Workshop

The program development and design process that follows is developed in tandem with these existing businesses and people, as I aim to treat this project as a live build.

By doing so, it enables me to refine my design skills through a user based lens, rather than a purely hypothetical one. Creative synergies encourages a connection between the existing community and our proposals, and the discovery of the Off Quay community has provided me with the perfect opportunity to explore this synergy more deeply, and less theoretically.

22.

PUBLIC

This reminded me of my previous research, and also ties in to my dissertation. .

C.

GROUND FLOOR Cookhouse

21.

Community Workshops 25

26

34 33

32

31

30

29

20

21

22

23

24

28

27

FIRST FLOOR

VOID

Cookhouse

VOID

19

7

12 10

8

18

5

6

13

14

29.

1

2

3

4

Children’s Workshops

COMMERICAL

15

16

17

11

9

27.

FF. 16.

RESEARCH

FIG 30. EXHIBITION 2020)

PHOTOGRAPH

(OPENSTRCUTRES.NET,

“[as] Brand advocates in How Buildings Learn, the house only gets better after it’s built, when it’s inhabited and moulded by its residents. […] things are always in evolution, and now we are starting to understand that.”1

EXPLORING THE POTENTIAL OPPORTUNITIES FOR COLLABORATION BETWEEN THE EXSITING FACILITIY AND NEW PROGRAM 80

1

‘OpenStructures. Interview with Thomas Lommée’, Z33.

81

NEIGHTBOURHOOD MASSING MODEL

EVOLVING POTENTIAL

Inspired by the ‘every building is a prediction and every prediction is wrong’ exhbition I started exploring the idea of neighbourhood spaces within an umbrella modular structure.

1. A PREFABRICATED FRAME MULTIDISCIPLINARY SPACE CONCEPT SKETCH

1:200 PROGRAMMATIC MASSING MODEL

MODULAR TIMBER

2. CONTAINING VILLAGE UNITS

SMALLER MODULAR TMBER

3. WHICH CAN BE ADAPTED, MOULDED, AND

4.

CREATING

A

MORE

REPURPOSED OVER TIME

COMMUNITY AND ENVIRONMENT

SUSTAINABLE

MODEL KEY RESEARCH PUBLIC SERVICES COMMERCIAL UTILITIES

82

83

ITERATIONS

COURTYARD PLAN DEVELOPMENT

HOW TO BRING THE DIFFERENT USERS TOGETHER INTO ONE CENTRAL SPACE?

I wanted to design one central community space that would connect and unite the different building users, providing a physical space dedicated to serving the sole purpose of uniting the two building communities.

A COURTYARD WITHIN A COURTYARD CONCEPT

COURTYARD PLAN DEVELOPMENT ITERATIONS

TESTING DIFFERENT SPATIAL DYNAMICS, RELATIONSHIPS AND CONFIGURATIONS BETWEEN THE DIFFERENT MODULAR TIMBER VILLAGE UNITS

84

85

SPATIAL DEVELOPMENT

CYLINDRICAL COURTYARD?

I decided to explore this spatial programming more thoroougly, in axonometric form. The 3D sketch investigation demonstrates the multifacated nature of the program, and the way in which the spaces are organised around the central courtyard.

FIG 32. INSPIRED BY SANA DIAGRAMS (PINTEREST, 2020)

SKETCHBOOK PROCESS

86

87

COURTYARD ATMOSPHERIC EXPLORATION

1:200 COURTYARD MODEL EXPLORATION

Realising the Courtyard form options through physical model making, developed in tandem with a digitial study of transparency and translucency through the techtonic properties of glass and polycarbonate.

FIG 33. PRECEDENT: ‘LAYERING YARD’ MULTI-FUNCTIONAL COMMERCIAL SPACE. BEIJING. (MONTES, 2018)

MODEL EXPERIMENTATION: TRACING PAPER = POLYCARBONATE CLADDING

ATMOSPHERIC MATERIAL MAPPING DIAGRAM

COURTYARD LEVEL CHANGE IN SECTION?

Ultimately I veered away from this idea as I wanted people to be able to travel through the courtyard as a regular building route connecting the different spaces to eachother.

MODEL TESTING: CYLINDRICAL?

CUBIC?

TRANSPARENT VIEW

88

TRANSLUSCENT POLYCARBONATE

VIEW

89

MODULAR RAIL SYSTEM DESIGN @ 1:10 SCALE

THINKING

Sketch development of a modular rail cross joint system I designed which would enable removable polycarbonate screens to be adapted and controlled by the inhabitants.

THROUGH

SECTION

MAKING 90

PROCESS

SLIDING RAIL DESIGN

MODULAR CROSS JOINT DESIGN

91

FLEXIBLE COURTYARD APPLICATION

REALISATION

The interactive design would enable the users to shape the spatial and visual atmosphere of the courtyard within the Making Centre through plays of translucency as a result of the diffracting properties of Polycarbonate.

DAYTIME STUDY

COURTYARD ADAPTABILIITY SKETCH

5MM THICK TWINWALL POLYCARBONATE

BESPOKE MODULAR CROSS JOINT DESIGN

ADAPTABLE MODULAR TIMBER FRAME

92

NIGHT STUDY

93

USER EXPERIENCE

A KEY CONSIDERATION

OFF QUAY STUDIOS

MAKING CENTRE

HOW WOULD THE USER TOUCH AND INTERACT WITH THE SLIDING SCREENS?

1. The fusing boundary where

2.

Is

possibly

the

defining

the Off Quay building meets the

architectural intervention on my

Making Centre

site.

3. Where the existing community

4. An appropriate architectural

meets the new...

strategy would be essential to the success of the community development.

94

95

HOW DO THESE BUILDINGS SYNERGISE?

1. MATERIAL SYNERGY

KEY ROUTES OF EXPLORATION:

An inspiring example of embedding contemporary architecture within a tradition context. The newly engineered timber appears to grow out of its stone predecessor - something I wanted to capture in my own development.

1. MATERIAL SYNERGY 2. SPATIAL SYNERGY

3D SKETCHES

MAKING CENTRE

SYNERGY SKETCH SECTION CUT

FIG 34 & 35. MATERIAL PRECEDENT: ST ALBERT CHAPEL,

OFF QUAY STUDIOS

SYNERGY CONCEPT ARTWORK

EDINBURGH (ARCHDAILY, 2013)

96

97

MATERIAL MAPPING “The average life of a conventionally built stud house is 75 years. The life of a timber frame is at least 300 years, and some over 1000 survive.” -

I started gathering and collating the physical materials in order to develop a better visual and haptic understanding of the materials I wanted to use.

I believe it is important to recognise, feel and even touch in order to understand how the haptic qualities of physical materials can affect us as humans.

(LOGSDON, LOW MAINTANCE HOUSE. 1987)

SMOOTH, FRESH | YOUNG AND FULL OF FUTURE POSSIBILITY

STRUCTURE

BRICK CONTEXT CLT PLYWOOD TEXTURED, ROUGH | AGED WITH TIME AND HISTORY,

MATERIAL CONVERSATION

(BRAND, HOW

OFF QUAY

PHYSICAL SWATCH

98

BUILDINGS LEARN.

INTERIOR

“Bricks manage time beautifully.

They can last nearly forever. Their rough surface takes on a handsome patina that keeps improving for centuries.”

1995) MATERIAL SYNERGY CONCEPT ARTWORK

99

SYNERGY INSPIRATION

OFF QUAY

2. SPATIAL SYNERGY

PROPOSAL

COMMENSAL? Biological Synergy means the two organisms can no longer exist without eachother, forming the creation of a new hybrid biological ecosystem...

PARASITIC?

I felt that this perfectly described the relationship I am trying to create between Off Quay Studios and the Making Centre, and wanted to use these loosely connected theories to my architectural snergy development.

SYMBIOTIC...

TYPES OF ARCHITECTURAL SYNERGY

ATMOSPHERE

FIG 36. NATURAL SYMBIOSIS

FIG 37. MICROBIAL SYNERGY

FIG 38. ARCHITECTURAL

SYNERGY

PRECEDENT

(HEATHERWICK BOMBAY SAPPHIRE DISTILLERY, 2014) 100

101

SYNERGY EXPLORATION

SOUTH FACING LIGHT STUDY

2 different sectional models exploring this event horizon or meeting point, through the lens of these different architectural themes.

The model explores a section of the main space of the Making centre, enclosing the internal courtyard.

PARASITIC?

SYMBIOTIC?

The enveloping nature of the parasitic option hugely reduces quantity of daylight reaching the space connecting the two buildings, detracting from the atmsophere of the space.

The Symbiotic approach is also potentially a more appropriate abnd respectful approach for the existing building users, who would remain empowered by the autonomy of their own space.

I also believe this appraoch is more synonymous with the thoughtful community based design philosophy of Creative Synergies.

PARASITIC LIGHT STUDY

RELATIONSHIP?

IN SECTION

CONSIDERATION FOCUS

SECTION CUT SYMBIOTIC LIGHT STUDY 102

103

KEY DETAIL

I was also particularly inspired by this idea of a ‘synergy corridor,’ which maximises the expressivity of the meeting point between the two different buildings, fusing the two different vernaculars together in a similar style to the Layering Yard in Beijing.

FIG 39. LAYERING

YARD,

BEIJING

SYNERGY CORRIDOR MODEL PHOTOGRAPH

(MONTES, 2018)

104

SYNERGY CORRIDOR MODEL PHOTOGRAPH

105

POST REVIEW

RIVER WALKWAY MODEL

After exploring several options, I felt that the majority of the walkway and natural treeline should remain protected, with the exception of a lookout tower reaching out and connecting to the public footpath users.

The model exploration highlights the way in which a new lookout space would connect the new build with the riverside walk and river, without compromising the vibrant character and protected nature of the public walkway.

Following my testing review, one of the gaps within my testing development that had been highlighted was the lack of investigation regarding my sites connetion to the river, and the way in which I would formulate an architectural response.

The model that follows explores a potential solution that looks to respond and reach out to the richness of this river profile, without destroying the natural beauty of the landscape.

CONSIDERATION FOCUS

FIG 40. RIVERSIDE

WALK

PHOTOGRAPH

(WANDERING

RIVERSIDE WALK WAY CONNECTION

GROUP, 2020)

106

107

CONSTRUCTION

TUDIO SPECIFIC HNICAL RESEARCH Celebratory views towards the Ouseburn bridge and across

the river form the connection towards the surrounding context. Landscape integration is achieved through the part excavation, allowing the building to sink into the natural embankment - almost as if it had grown as naturally as the trees that put it there.

I also wanted to explore the construction process and material design language through a more physical lens, in order to understand how the different timber components would join together, through the primary construction phase right through to tertiary details and glazing.

LANDSCAPE CONNECTION FOCUS

MODEL COMPONENTS MODEL PHOTOGRAPH

PRIMARY CONSTRUCTION PHASE

PRIMARY CONSTRUCTION PRIMARY CONSTRUCTION PHASE PHASE

SECONDARY CONSTRUCTION PHASE

SECONDARY CONSTRUCTION SECONDARY CONSTRUCTION PHASE PHA

EXPLORATORY CONSTRUCTION MODEL MODEL CONCEPT SKETCH 108

109

KEY DETAIL

The integrated design of the glulam seat detail of the main space would provide natural resting spots and a way to enjoy the internal space, framing the view towards the riverside walk and surrounding buildings.

FIGURE 41.

INSPIRATION PRECEDENT

FREEMAN’S POOL, HAWKINS BROWN

110

(ARCHDAILY, 2017)

SYNTHESIS

SYNTHESIS MODELS

111

SITE OVERVIEW

My synthesis stage is potentially my least satisfied area of my project, which remains perhaps less resolved than I was aiming for. In truth, given more time I would love to explore the final details of the building in greater detail, which I felt I may have neglected by potentially thinking about the bigger picture slightly too much.

SYNTHESIS REFLECTION

I encountered a range of technical difficulties and design hiccups regarding my (CNC) model which caused unimaginable delays – inevitably halting my progression. The transfer over from hand drawings and models to digital modelling software on Sketch up and Autocad was extremely difficult, as I have never done it before, but felt that it would be necessary due to the complexity of the resolutions required in 3rd year. Despite these issues, I am hugely glad to have pushed myself away from the comforts of 3D modelling and hand drawn plans and have learnt invaluable technical skills before I’m able to synthesise them in real practice.

The overall synthesis of the building is conveyed and explained, including the spatial arrangements and synergies between the new build and the Off Quay building, and the following connections that are stimulated between the different building users as a result. Design and technology is intertwined more deeply, as a result of the integrated construction assessment. Key environmental and structural aspects to the building are also highlighted, as they have shaped the tectonic, structural and spatial design of my synthesis stage.

The journey of research, testing and exploration that I have embarked upon over the year is synthesised, leading the various thematic strands tested throughout to their architectural conclusions, whilst highlighting key stages of the journey that have been reflected in the final design.

112

CONTEXTUAL VIEW FROM THE OUSEBURN BRIDGE

113

CONSTRUCTION OVERVIEW

1. SITE

SURVEY AND CONSERVATION

A site survey will be conducted prior to any consruction works.

This will ensure the trees the site are accurately mapped, so that they can be protected and designed around, ensuring the maximum environmental conservation possible.

2. RENOVATION

3. PREFABRICATED NEW BUILD CONSTRUCTION

The site will be excavated to a depth of 1.5m, removing the existing concrete car park and top soil levels. A concrete retainer wall will mark the site boundary. The interior of the Off Quay building will be completely demolished and redesigned to provide upgraded working facilities and new shared community spaces. This will commence before the new build to ensure the disruption to the Off Quay residents is minimised.

The prefabricated Glulam frame of the new build will then be erected and installed on site, before the smaller prefabricated CLT interior spaces are built, with the aid of the community via a self build process reminiscient of Segal’s Way. 4. REALISATION The entire interior will be constructed from modular CLT wall panels using simple methods of construction, utilising non permanent bolts and fixings. The Making Centre is a self build process, whereby community regeneration is encouraged through the process of self build, empowering the end users, whilst providing them with the capabilities, opportunities and on site expertise, to allow the building to evolve and adoat as its needs and users change in the future.

114

115

AC A

MODUL A

MULT ID

INVOLVEM ITY E UN

Timber Craftsmen and Research Branch AC A

IPLINARY ISC

COM M

SM

TO P RO MO TE S KEY TH EM

DE

AIM ED

INT

CA

AU

S

Workshop

VE EATI SPAC CR

INVOLVEM ITY N E U

MULT ID

MODUL A

Public space

IMBER TECH T R

NT

COM M

TO P RO MO TE S KEY TH EM

LA ITICA TTITU CR

Bubble Diagrams of Key Activities

Research

IPLINARY ISC

General Public

Teaching & Learning

Social

MMUNITY CO

MY DE

E

MMUNITY O C

ILD U B ILD U NEW B NEW URE T C TRUCTURE S G TING STRU S I X E ISTIN EX

AC A

AU

ETS ME

Off Quay Studios

VE EATI SPAC CR

SM

BLIC PU

E

Research

L SIZED AL

LOGY NO

TS

IVIDUAL IND AU AT

LOGY NO

BLIC PU

NATIONA ER

ND INTERDISCIPLI N ABubble NAR O I Diagrams of Key Users S E YW H O C OR L K IA C O IMBER TECH RT ES

NT

L L SIZED AL

ES

Bubble Diagrams of Key program functions

CEPT ON

NA

ND INTERDISCIPLI A N NAR ESIO YW H O C OR L A K I C O

KEY PROGRAM FUNCTIONS

L

Engineer Engineer

CEPT ON

NOMOUS C TO

THEMATIC SUMMARY

A new multidisciplinary community building with research facilities and an integrated renovation of Off Quay studios. The program contains a local commercial village, private studios as well as coworkingServices wood workshop facilities, designed to Building Engineer function in collaboration with applied research Building Services Engineeron modular timber constructions focusing and the potential of flexible modular design components in both full-scale housing projects and smaller scale joinery... as we strive towards a more sustainable, adaptable future.

AND INTERDISCIPLIN ION ARY HES WO O C RK AL I OC TIVE C S E EL PU NOMOUS C TO M

HIP AND ORS A TH

INTERDISCIP LINA RY WO RK

TO P RO MO TE S

PROJECT DECLARATION

MY DE

Bubble Diagrams of Key program functions

MY DE

Research

Public space New Build - Roughly 1300m2 2 NEW BUILD - 1300M New Build - Roughly 1300m2

e Diagrams of Key program functions

Off Quay Renovation - 1065m2 Bubble Diagrams of Key Users OFF QUAY RENOVATION - 1065M2 Off Quay Renovation - 1065m2

Workshop

KEY BUILDING USERS Bubble Diagrams of Key Users

Off Quay Studios

Timber Craftsmen and Research Branch

General Public

Bubble Diagrams of Key Activities

Research

Teaching & Learning

Social

Bubble Diagrams of Key Activities

1st Floor 1st Floor 116

Research

Spatial Connectivity Spatial Connectivity

Off Quay

Research

1:100 SYNTHESIS MODEL PHOTOGRAPH

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1:100 PROPOSAL MODEL

MODEL OVERVIEW PHOTOS HIGHLIGHTING: MATERIAL AND SPATIAL CHARACTERISTICS

ENTRANCE AND SYNERGY CORRIDOR

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VIEW INSIDE THE OFF QUAY RECEPTION AREA

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PROGRAM LAYOUT The program of the Making Centre has a loose interconnected structure, which aims to connect different programmatic activities and their resulting building users, into one multidisciplinary institute, stimulating potential for new collaboration between different factions of the community.

PROGRAM LAYOUT MODEL PHOTO

PUBLIC WORKSHOP

PROGRAM CONTEXT

CIRCULATION

Whilst the Off Quay building retains its private spaces, the boundaries between this and pubic activity within the new build are blurred and connected.

MULTIDISCIPLINARY SPACE

PUBLIC

RETAINED LOCAL COMMERCIAL BUSINESSES

LEARNING SPACES

PROGRAM CONTEXT KEY

Main directions of travel Main entrance 1:100 MODEL PROGRAM LAYOUT

Riverside Walk Average solar direction 122

RESEARCH OFFICES

WORKSHOPS

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RETAINED ARTIST WORKSHOPS / MUSIC STUDIOS

PLANT ROOM SERVICES

/

W.C. 123

FULL SECTION

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GROUND FLOOR PLAN

FIRST FLOOR PLAN

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INHABITATION

TO ENJOY

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JOURNEYS THROUGH THE BUILDING

CRAFT

WORK

MODEL PHOTO

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CONTACT

NORTH BAKERY - 1:50 PLAN EXTRACT

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DISCOVERY

LEARNING

PLAY MODEL PHOTO

JUNIOR MAKERS ZONE - 1:50 PLAN EXTRACT 132

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KEY COLLABORATIVE SPACES

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AN OPEN COMMUNITY WORKSHOP RESEARCH, DISPLAY AREA

DAY ON THE FIRST FLOOR

GROUND FLOOR CO WORKING SPACE

MODEL PHOTOGRAPH - USER INHABITATION WITHIN THE SPECIALIST FACILITIES OF THE NEW BUILD

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135

ON SITE PRODUCTION PRECEDENT STUDY

ON SITE PRODUCTION PRECEDENT STUDY YARDHOUSE - ASSEMBLE - COMMUNITY EMPOWEREMENT

A FACTORY AS IT MIGHT BE - ASSEMBLE - SUSTAINABLE PROCESS

Yardhouse was another example of Assemble’s on site production. The end building users were involved in the creation of the colourful concrete tiles which were handmade on site - encouraging people to work together.

The following study originating from my framing research highlights the methods of community involvement I have synthesised as a result of my research journey.

Onsite production can massively reduce the environmental impact of a proposal. As well as this, the nature of on site production ensures that the production chain is sustainably and ethically sourced.

The result of this type of on site production through community involvement has created a sociable and collaborative environment that has reinforced the social sustainability of the area, exhibited in the photo below.

COMMUNITY TILE MAKING PROCESS SKETCH

COMMUNITY INVOLVED IN ON SITE PRODUCTION SKETCH

FIG 41. COMMUNITY MADE WORKSHOP FACADE (ASSEMBLE, 2017) 136

COMMUNITY CLADDING THE FACADE

FIG 42. SOCIAL SUSTAINABILITY (ASSEMBLE, 2014)

FIG 43. COMMUNTITY CLADDING THE BUILDING (ASSEMBLE. 2014) SOCIAL SUSTAINABILITY

137

SUSTAINABLE ENERGY CONVERSION

SYNTHESISING ON SITE PRODUCTION PLANT ROOM REDESIGN

On site production During construction, a temporary site workshop will be installed on site in the location of the eventual permanent workshop. This will be fully equiped with CNC routers, and other machinery, allowing the smaller CLT design components to be cut to the required specifiations on site. The small scale interior spaces, such as the modular retail units, joinery and other finishing details can be made and fitted with the community, much like Assembles work..

Initally it was designed within the new build, however the large size of the volume which needed ‘concealing’ comrpomised the open design language of the Making Centre.

It was relocated to the Off Quay building, selected due to the close proximity to the river, and private access to the workshop. It was also important to be located as far away from public space as possible.

.

Evolving possibility

The environmental strategy capitalises on the buildings function, through the use of a Wood Chip BioMass Boiler, as a method for recycling the waste material from the Workshops. It also capitalises on the sites close proximity to the river through the use of a Water Source Heat Pump.

Timber waste material is converted into wood pellets before being burned in the biomass boiler in the adjacent Off Quay Plant Room.

This massively reduces the overall energy consumption of the proposal by converting it into a reusable energy source, providing thermal heating for the building.

PLANT ROOM SUSTAINABLE ENERGY SOURCES:

WATER SOURCE HEAT PUMP WATER SOURCE HEAT PUMP EXTRACTION PROCESS

Capitsalising on the vast quantities of timber waste material that will be generated in the workshop.

The nature of the on site production allows the facilitiy to adapt, and evolve as its users and needs develop into the future. This idea is reinforced through the simple non permanent methods of timber construction.

BIOMASS BOILER

PLANT ROOM BUILDING LOCATION FIG 44. ON SITE PRODUCTION SCHREINEREI BEI FREISING CNC (PRECEDENT) 138

AT THE WORKSHOP

TEMPORARY CNC WORKSHOP (TECH REPORT, AUTHOR 2021)

WOOD CHIP BIOMASS BOILER CARBON CYCLE DIAGRAM

FLOOR PLAN EXTRACT (SEE PLANS FOR FULL PLANT ROOM ARRANGEMENT)

139

THE JOURNEY OF TIMBER

1. DELIVERIES

140

2. TIMBER STORAGE

3. SPECIALIST TIMBER USE

4. PUBLIC TIMBER USE

5. WASTE COLLECTION AND RECYCLING

141

WORKSHOP MODEL PHOTO

WHO WORKS THERE?

The synergy between the two buildings is reinforced through the punched archways in the brick facade, allowing the Off quay users to remain connected to the activity, whilst maintaining their own spaces.

Nick James is a local skilled craftsman. specialising in CNC design. During an interview where I was discussing my proposal, nick mentioned that he would be open to the idea of becoming a research resident in the Making Centre.

“I have my own woodland

Although hypothetical, exploring the synthesis of my project by talking to real potential inhabitants has allowed me to envisage how the Making Centre could relate to and benefit the current Ouseburn population.

plant a tree as this helps

He is also known for setting up the Mushroom Works, a collaborative artist collective, recognised internationally for its unique environment and creative network... I could tangibly imagine similar creative networking within the Making Centre.

WORKSHOP VIEW FROM OFF QUAY BUILDING

142

MAIN VIEW INSIDE THE WORKSHOP

and nurture and cultivate some of the wood I use [...] each piece I make I helps to complete the circle.”

-NICK JAMES, PROPOSED RESEARCH RESIDENT (JAMESDESIGN, 2020)

FIG 45. SUSTAINABLE RESOURCE - NICK JAMES’ LOCAL WOODLAND (JAMESDESIGN, 2020)

143

CO WORKING WOOD WORKSHOP PRECEDENT

WORKSHOP REFLECTION

GRANBY WORKSHOP ASSEMBLE My design approach to the specialist facilities has been guided by Assemble’s Granby workshop.

The program layout encourages collaboration between specialists and the public through ineteractive communal workshop facilities, which in turn guides sustainable architectural processes.

Spending a large amount of time in the architecture workshop this year has been hugely a hugely informative part of my workshop design research. Crucially, it has made me realise the importance of an open design langauage. This improves safety, and the feeling of a productive work environment, but also I have often found that I need to ask one of the staff members for a quick bit of technical expertise. Being able to see eachother allows for a more seamless experience.

In turn, I have been able to pass on this knowledge, at times assisiting students younger than myself. The spatial design of the workshop is key in allowing these interactions to take place.

FIG 46. CO WORKING WORKSHOP SPACE

The synthesis of these ideas is the result of my own experiences closely collaborating with the Newcastle Architecture workshop.

FIG 49.

WORKSHOP ASSISTANCE - PRECEDENT IMAGE (ASSEMBLE, 2018)

FIG 47. CO WORKING RESEARCH SPACE 144

FIG 48.

145

43m 33m 44m WORKSHOP SPATIAL ARRANGEMENT

WORKSHOP INHABITATION KEY

The specialist facilities have been designed to enable a spacious workshop which conceals the inner workings of the private storage and services facilities through the appropriation Safe Zone of the end section Off Quay building.

40m

16m 54m

35m

30m

The red zone markates the private workshop facilities, containing timber storage, eqcuipment and services zone.

29m

25m

20m

19m

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The space maintains the proposal’s open interconnected vernacular, placing specialist research area’s adjacent to public co-working spaces, divided by open modular shelving units made in house.

GLASS BRICK LIGHTWELL

Not only does this promote the idea of collaborative and interdisciplinary working, but it also enables the workshop specialists to be able to work with, assist, guide and supervise the public workshop users.

The public enter the workshop via the main entrance and induction space. A seperate entrance through the Off Quay plant room allows large timber deliveries to be transported away from the public, allowing the main workshop space to appear light and uncluttered.

SYNERGY

All public parts of the specialism are located within the new build of the Making centre, allowing the CLT and glulam architectural vernacular to inspire the timber workers, whilst connecting them to the external natural landscape.

6

Professional Workshop with CNC Router

Threshold

Communal Public Workshop

Ouseburn River Nature

Kids Zone

Nature

FLOAT GLASS WORKSHOP PLAN (ARC3013) The high performance Pyrostop float glass ensures safe seperation of the public space purpose groups, from the workshop zone, in the event of a fire.

146

Conversation / Learning Space

Professional Workshop with CNC Router Threshold

Conversation / Learning Space Communal Public Workshop

Kids Zone

Ouseburn River

1:100 SPECIALISM SPATIAL ARRANGEMENT PLAN

SPATIAL LANGUAGE INSPIRATION (PAVILION DESIGN)

1:50 WORKSHOP PLAN EXTRACT - OPEN VISUAL LANGUAGE 147

OFF QUAY RENOVATION DECLERATION

OFF QUAY MODEL PHOTOS

The overall environmental strategy of the proposal seeks to utilise the Off Quay building as a metaphorical ‘battery pack’ for the new build. The south facing flat roof has a length of over 60m, making it ideal for a large array of solar panels, providing extra sustainable energy for the new facility.

The new build footprint is reduced by 1065m2 due to the strategic renovation of the Off Quay building, which reduces both the material and the construction costs.

Furthermore, “the Empty Homes Agency (EHA) has demonstrated the feasibility, cost-effectiveness and energy gains of renovation” (Power, 2008), as opposed to demolition - which accounts for the biggest source of landfill by volume (30%).

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OFF QUAY FACADE - EXISTING NORTH ELEVATION (AUTHOR, 2020)

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1:100 MODEL PHOTOGRAPHS

OFF QUAY FACADE - PROPOSED NORTH ELEVATION (AUTHOR, 2020) 146

CONCEPTUAL BATTERY GRAPHIC

RENOVATION INSPIRATION

147

SPATIAL ARRANGEMENT

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MODEL PHOTOS 148

1:20 SECTION EXTRACT - OFF QUAY INHABITATION 149

STRUCTURAL SYNTHESIS Original source - ARC3013)

MAKING CENTRE MODULARITY

2.5m

2.5m

The entire building footprint is divisible by 2.5m, maximising the potential for the building to adapt and evolve in the future, in addition to reducing variations in prefabricated components, which is both cost saving and environmentally efficient.

OFF QUAY FLOOR PLAN EXTRACT OPERATING UPSTAIRS

PREFABRICATED PRIMARY GLULAM FRAME PLAN

RIOTBOXING

150

NE.TV DISABLED CASTING

Q COFFEE

NORTH BAKERY

MAKERS SHOP

BRONWEN’S JEWELLERY

TOM FRENCH FIG 50. STRUCTURAL DESIGN PRECEDENT: HAWKINS BROWN. (ARCHDAILY, NO DATE)

FREEMAN’S

POOL, 151

VERTICAL FRAME CONSTRUCTION

MODULAR ROOF LATTICE DESIGN

Original source - ARC3013)

Original source - ARC3013) m

800m

Both the connection to the concrete footing and the roof beams benefit from butt join bolt connections to conealed steel plates, allowing the timber structure to remain the sole visible material.

A 20mm shadow gap is created through the design of the steel plate, allowing the beams to apear as if they are floating, elevating the appearance of the timber structure.

20

0m

0mm

The tech report highlighted a bracing issue of my roof structure - resulting in instability within the existing design proposal

m

80 20

600mm

0m

m

600mm

mm

1000

m

m

800m 20

mm

1000

600m

400mm

0m

m

The force arrows demonstrate the diretions of instability within my frame.

m

600m

400mm

600mm

PREVIOUS ROOF STRUCTURE DESIGN

800mm

12

mm

00

1000

m

800mm mm

1200

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EXPLODED STRUCTURAL DETAILS

m

m

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LATERAL FRAME INSTABILITY FORCE DIAGRAM mm

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MAIN FRAME CONSTRUCTION 152

STRUCTURAL BEAM IN 1:20 SECTION

FIG 51. BTALU CONCEALED BEAM HANGER STEEL PLATE (BTALU, NO DATE)

FIG 58. DIAGONAL PITCHED ROOF SYSTEM AT THE IBSTOCK REFECTORY, DESIGNED BY MACCREANOR LAVINGTON. (MACCREANOR LAVINGTON, 2019) 153

MODULAR REDESIGN LOGIC

STRUCTURAL CONCEALMENT

Original source - ARC3013)

Original source - ARC3013) The construction of the newly designed diagonal lattice provides cross bracing stability throughout the roof form, whilst minimising the size of the individual glulam components.

I wanted to address the issue using the same modular lens that has guided my design process. I found a geometric pattern that would break up the parallel nature of the design.

It follows the same technical language as the glulam stud connection: steel plates which secured via a concealed butt joined bolting method.

The individual components would be constructed on site and lifted via a crane into the assigned positions.

800mm

https://www.tra

STEEL PLATE CONCEALMENT: VIEW FROM BELOW

2300

mm

600mm 300m

m

SIMPLIFED DESIGN APPROACH GRAPHIC.

GLULAM ROOF LATTICE PLAN

MODEL PROCESS PHOTOGRAPH

https://w

A 200mm3 extension of every other prefabricated beam enables the 600mm deep Beam Hanger to be concealed, creating a flush joint that allows the individual glulam beams to appear connected, further exemplifying the technical grace of engineered timber as a modern sustainable construction method.

m

m 00

200m

25 m

MODULAR LATTICE CONSTRUCTION - EXPLODED AXONONMETRIC 154

https://www.trada.co.uk/case-studies/peter-hall-performing-arts FIG 52. P R E F A B R I C A T E D https://www.pollmeier.com/references/perse-school#gref GLULAM BEAM MANUFACTION (POLLMEIER, NO DATE) 155

MODULAR ELEVATION DESIGN Original source - ARC3013)

NATURAL LIGHTING DESIGN

ELEVATION REDESIGN LANGUAGE

Earlier on I designed irregular horizonal beams the primary frame to break the repetitive nature of the vertical elements. However, this wasteful design element detracts from the overall principles of the proposal.

I wanted to preserve the ‘broken’ nature of the horizontal beams, whilst finding a repetitive rhythym which would enable modularity. I opted for an alternating 1/3 ratio of glazing panels to preserve the effect of the design language whilst reducing the overall prefabricated requirements.

Original source - ARC3013)

Due to large expansive nature of the design, I needed to design large roof lights which would draw light into the northern part of the main space, without compromising the visual aesthetic of the newly designed roof lattice.

PREVIOUS ELEVATION DESIGN

ROOF LIGHTS PLAN

SIMPLIFIED DESIGN LANDUAGE

UPDATED ELEVATION DESIGN

VIEW FROM BELOW - RENDERED LIGHT STUDY

CONSIDERATION FOCUS 156

157

8

ARTIFICIAL LIGHTING DESIGN

9

Original source - ARC3013) 2 Light specification 1. Electric cabling 2. electrical hanging cord 3. 500mm diameter orbital

4. 300mm diameter orbital

1

7 8

3

Roof Build up 5. 200mm Kinspan PIR rigid insulation

9

7. Timber battens creating services void

MATERIAL SYNTHESIS

4

8. 100 x 500mm stop battens 2

PINE

6. Timber furrings @ 1:60 fall

WALNUT

6

light bulb

OAK

5

light bulb.

ACCOYA

Inspired by the lighting design at Freemans Pool, I designed my own bespoke lighting system integrated into the structure of the ceiling. The orbital shape of these lights would add to the creative atmosphere of the interior, whilst visually breaking up the repetitive parallel nature of the design.

attached to ply ceiling finish 9. Exposed structural joist

3

PHYSICAL SAMPLES 4

LIGHTING INTERGRATION DETAIL AT 1:20 158

ORB LIGHTING EFFECT

FIG 53. LIGHTING DESIGN PRECEDENT: FREEMAN’S POOL, HAWKINS BROWN. (ARCHDAILY, NO DATE)

159

Original source - ARC3013)

MATERIAL SYNERGY PRECEDENT

1 Roof

(Top to Bottom)

- New Tyvek Waterproofing Membrane fitted New 150mm KingspanLONDON PIR Insulation fitted for improved THE- FORGE, EMRYS ARCHITECTS, thermal performance - New Dupoint Vapour Industrial warehouse buildings haveControl large, openLayer and added spacious vernacular.

For this reason they are perfect - 18mm Ply deck for public, marketxstyle lot conversions.

- 100mm 30mm timber battens creating service void - lined with 100mm Rockwool sound insulation As well as this, the precedent below has been - 18mm deck selected for thePly timber / brick material synergy, and 12mmrustic Magply A1thatEuroclass the -modern, character it embodies,non whichcombustible fireboard is synonymous with the creative ex - 18mm Marine Gradeconversions ply deckofceiling finish

1

BRICK

GLUED LAMINATED TIMBER

The Off Quay building harnesses the bricks dismantled during the punched inteventions on the front facade, and reuses them on the interior wall. As a result, no new bricks are required for the proposal. The graphs below demonstrate the difference in global warming potential and energy use of recycled brick versus new brick, which is exponentially higher than the former.

Glulam is recyclable and renewable, unlike other primary construction materials (Brand, 1995). Embodied energy, global warming potential are also much lower than concrete and steel, (Trada, 2021).

industrial buildings that have established Ouseburn’s current vibrant architectural vernacular.

2 Interior wall

(Left to right)

- 10mm Twinwall Polycarbonate Panel with bolt fixing - 200mm x 50mm timber battens - 10mm Twinwall Polycarbonate panel with both fixing

2

Whilst it is acknowledged that to achieve maximum acoustic performance this wall would be acoustically insulated, the designer feels that this need is outweighed by the desired illumination / light perforation effect of the polycarbonate glazing as a design feature for the artist and music rehearsal studios.

FIG 54. EXTERIOR PHOTO (RAVENSCROFT, 2018)

3 First Floor (Top to Bottom) 160

TESTING MODEL PHOTO

FIG 55. INTERIOR PHOTO (RAVENSCROFT, 2018)

- 18mm marine grade Ply deck floor finish - 18mm Ply deck - 400mm x 80mm exposed glulam beams (spaced 500mm apart)

FIG 56. NEW AND RECYCLED BRICK ENVIRONMENTAL STATISTICS. (LEWIS, 2017)

3

FIG 57. ENVIRONMNETAL PRODUCTION, (SWEDISHWOOD, 2020) 161

MATERIAL SYNTHESIS ELEVATION DISCOVERY Original source - ARC3013)

I had specified using powder coated aluminium frames for the window details, roop copings and other small features. .

However, upon rendering these two materials together, I realised that there was a textural and colour clash between the light structural glulam beams and the finer aluminium detail, detracting from the projects ambition: to celebrate timber as a sustainable, but also beautiful building material for the future.

MATERIAL SYNTHESIS REALISATION FIG 58. POWDER COATED ALUMINIUM FRAME EXAMPLE (PINTEREST, 2020) 162

PREVIOUS ELEVATION DESIGN

163

MATERIAL ELEVATION REDESIGN Original source - ARC3013) I discovered a much more sustainable alternative - Accoya timber, a high performance durable modified wood.

It is currently the only construction material in the world to achieve FSC and Cradle to Cradle (C2C) Platinum certification™ for its sustainable process and low carbon footprint (Accoya, 2021).

SYNERGY SYNTHESIS

Accoya timber will be used throughout the new build and renovation, cladding smaller details such as the window frames, and balustrades.

The elevation redesign serves as a strong example of the way that my design and technlogy have informed eachother, and developing them in tandem has led to an even greater focus on sustainability.

TO PONDER

FIG 59. ACCOYA TIMBER CLADDING - A SUSTAINABLE HARDWOOD ALTERNATIVE (ACCOYA, 2021) 164

ELEVATION REDESIGN

165

SPATIAL SYNERGY - 1:20 SECTION Original source - ARC3013)

4

1. PRIVATE STUDIO (EXISTING OFF QUAY TENANT) 2. NORTH BAKERY (EXISTING OFF QUAY TENANT) 3. SYNERGY CORDDIOR 4. CORRIDOR LEADING TO RESEARCH FACILITIES 5.

ATMOSPHERIC ENCLOSED COURTYARD

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167

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COMMUNAL SYNERGY SPACS

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169

Relisation renders conveying examples of public synergy spaces, where the different building users may meet and connect with eachother

They also demonstrate the way in which their expansive nature of the curtain wall facades invites views out towards nature and the Ouseburn bridge.

READY

170

171

1:400 CNC SITE MODEL PROCESS AND REFLECTION

I have always been fascinated by Computer Numerically Controlled (CNC) modelling technology, and the presicion that engineered timber and CNC routers can create. I wanted to explore the physical process of CNC modelling in order to gain a better understanding of my sites topography and context, but also as a method of architectural expression. Working with physical materials and samples throughout the year has been thoroughly enjoyable, and I wanted to push this skillset even further with a celebratory model.

However, the process was much more complicated than I anticipated.

I encountered a huge range of technical difficulties relating to the digital Sketch up model file, which needed to be designed perfectly and without fault in order for the CNC router to be able to read the file.

In total, the process involved a test MDF base, 2 tablet tests of the building imprints (following the painful discovery that they were all 1mm too large to fit the model), several reproductions of the buildings, 3 separate attempts at 3D printing my proposal, various and a huge amount of experimentation, regarding the typology of the river, trees, and people (which were difficult to represent at this scale).

172

SIMPLIFIED JOURNEY PROCESS PHOTOS

173

As well as this, the model involved weekly meetings over a 4 month period with the workshop staff member Nathan Hudson, as limited workshop access has resulted in a great deal of collaboration throughout these processes. I had not anticipated the level of communication and planning that would be involved, and although it was immensely challenging at times (and I truly felt out of my depth) I am glad to have embarked on the journey, which has taught me a great deal about working with CNC technology. It also involved personally sourcing the selected hardwoods from local timber experts, embodying the processes that would be applied within the Making Centre.

SITE MODEL

The finalised model conveys the sites natural landscape in oak, whilst the surrounding contextual buildings are cut from a darker walnut.

The choice of these materials is intended to metaphorically embody the existing site vernacular, which has grown and aged naturally over time, represented by the visible layered and textural fabric of the hardwoods. The Ouseburn Bridge and my proposal have been 3D printed. This was to achieve a level of accuracy and precision that would not be possible by hand at this scale, but also to represent the newly engineered properties of these entities. The bridge, a revolutionary industrial landmark at the time, and the Making Centre, a new prefabricated sustainable development -which shines like a beacon and connects different parts of the community.

‘PREFABRICATED CONSTRUCTION’ PROCESS REPRESENTED THROUGH 3D PRINTED DESIGN 174

175

EXISTING SITE

176

PROPOSED SITE

177

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DAYLIGHT

182

DUSK

NIGHT

183

These academic sources have all been key pieces of academic writing, which have provided the main foundation of my cultural reading this year. They have all been cited throughout the portfolio and their ideas have been reflected in my own design process.

ILLUSTRATED CULTURAL BIBLIOGRAPHY

THE DANGERS OF OCULARCENTRIC (VISION BIASED) ARCHITECTURE (PALLASMAA 2012)

184

185

I attended several of the module talks over the framing semester, although I would have liked to have set aside more time to properly engage with and attend more extracurricular architectural events and talks throughout the year. Upon reflection, a lot of the time I have felt too overwhelmed and stressed by the compulsory elements of the course that I have not engaged as fully with the wider community of the architecture school as I would have liked to.

SMALL TALK INSPIRATION

However, during the framing semester I enjoyed the talk

by Ingrid Petit, and found Simone Sfriso’s talk particularly interesting. Further research following the talk founded a positive moment, as I had not yet discovered such a large practice creating large scale non-domestic multifunctional precedents with such a community empowering / involvement focus, and I felt it reassuring to know that these steps are not only possible, but can be incredibly successful.

The playful nature to BIG architect’s projects, (whom again I discovered through the extracurricular talks) is another thing that has loosely influenced me over the year. In particular their love of external green spaces, which blur the boundaries between inside and outside, nature and dwelling, are themes that have been conveyed in the external courtyard that forms the heart of my scheme.

Another limitation caused by the pandemic has been that the prolonged periods of lockdown have prevented me from attending any face-to-face events over the year. I would usually be highly involved in attending exhibitions and galleries, and I would have liked to have been able to attend more faceto-face events in Ouseburn and visit the local artists galleries and creative individuals I have spent so long studying. I feel some of the creative richness of my synthesis was potentially less fulfilled than it might otherwise have been.

Hide and Seek, by Gestalten, was a source of light reading and inspiration throughout the framing semester, as I was refining my interest in non-permanent lightweight timber structures.

The collation of architectural wooden huts made me realise the diversity of possibilities that can be achieved through simple methods of timber constructions, and the resulting natural beauty of the forms that are displayed.

COURTYARD

HEART,

WEST

57TH

STREET

B.I.G

PRECEDENT IMAGE (KEH, 2016)

HIDE AND SEEK, THE ARCHITECTURE OF CABINS AND HIDE OUTS (ARHØJ, 2018) COURTYARD HEART, 1:100 PROPOSAL MODEL

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I had planned a solo trip to Copenhagen, to study the Danish architect firm NORM. the purpose of this visit was to physically visit, photograph, and absorb some of their projects which I have admired for years. The dissertation focused on their multidisciplinary approach to design, which is beautifully elegant, clean and minimal in tone, but more importantly is centred around haptic design and materiality as a method of natural expression. I feel that the trip would have strengthened the dissertation itself, but also my progress and understanding of contemporary architecture throughout the year, as I was deeply disappointed when it was cancelled. Nevertheless, the research, interest and communication that I embarked on with the practice’s director Jonas Bjerre Poulsen over a 4-month period was hugely engaging and informative, and has undoubtedly been reflected in my own approach to materiality and expression this year. Perhaps the most important aspect to that discovery, is the emphasis on natural materials. I have always had a love of raw reinforced concrete and other industrial materials; although my study of NORM (along with other sustainably minded research) has made me question their viability as building materials in the future; compelling me to more closely investigate the haptic properties of materials, and the cognitive human responses they induce.

The Touch, a book published by NORM in collaboration with an interior design studio has been an engaging and uplifting read throughout the year, inspiring me to think more deeply about an architecture of the senses, something that seems to have been slightly forgotten by the ocular centric (vision-biased) view of architecture that Modernism encouraged. I believe this wider reading has sparked a new personal passion for environmentally minded design, as I have been inspired by NORM and enlightened by an understanding of what human-centric design really means in architecture.

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GJOVIK HOUSE, NORM (NORM, 2018)

THEMATIC CASE STUDIES

THE TOUCH, SPPACES DESIGNED FOR THE SENSES. BY NORM AND KINFOLK

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INSPIRATION 1

INSPIRATION 2

Performative

Granby Four Streets Project

By Assemble

THE HILL HOUSE

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

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

BY SAM FARD, ELEANOR METTHAM, MICHELLE MOK, CATHERINE MCCONNACHE, HANNAH BATHO AND REECE MINOTT

Assemble, who have been a great source of inspiration for me throughout the year, influencing much of the community engagement strategies I have explored. I first discovered their multidisciplinary practice with the introduction of the thematic case studies within our studios group discussions.

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The Hill House is a particularly engaging example of architectural dichotomy, where the new meets the old. The existing house has been protected and retained by the enveloping structure. I was particularly motivated by the intentional clash created between the two different vernaculars, which I believe has been very effective.

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INSPIRATION 3

INSPIRATION 4

CHING YEE JANE LI

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QUESTION 1 How does the case study elaborate on its visual, spatial and interactive relationships to its context, landmarks and landscape?

STUDIO 8 CURATING THE CITY GMIT Furniture College Letterfrack, Ireland - O’Donnell + Tuomey Ching Yee Jane Li Jamie Ryan Bone Karolina Lutterova Yuen Man Cheng

Case Study ARC3001

Studio: Curating the City Newcastle University School of Architecture, Planning and Landscape

The Tai Kwun Heritage and Arts centre sits proud and unashamedly around its context. The case study served as a useful example of a stunning piece of contemporary architceture which gains its notorioty through contrasting shades, textures and materials with its surrounding buildings... something I have pushed in my proposal throughout.

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When O’Donnell + Tuomey was selected to represent Ireland at the Venice Architecture Biennale in 2004, they showed the first-phase constructions of the college by installations based on the project. The works they exhibited have great linkage with the current furniture college structural and verbal communication.

The timber structure, the cross-braced frame containing a stairs, the red-ovide steel, the tin shed in the landscape, all these motifs first appeared in the Irish Pavilion.

In response to the theme of Metaporphosis of the biennale, Ireland’s Pavilion was a transformation of the ongoing redevelopment project of the industrial school in the past century, linking with its later incorporation within a community-generated campus, and displaying the story and changes of the institution. The works attempted to tell the story of the past, present and future of the site. From the installation, we can understand the initiative behind the architects’ design for the furniture college, which is not focused only on the architecture of the new Furniture College but also to provide an overview of the history, culture and landscape of Connemara West to provide a progressive conservation of the area.

Ta i Kw u n H e r i t a g e & A r t s C e n t r e Herzog & De Mueron

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The GMIT Furniture College was one of the first pieces of architecture that I discovered as we started refining our line of enquiry through the pavilion development and my interest shifted towards open frame timber structures. The similarities in form between the images and my own pavilion speak for themselves.

For instance, the new buildings at Letterfrack stands fofr a reconsideration of the relationship betweeen the former penal institution and the place. Ireland’s Pavilion created elements of the architectural project to introduce characteristics of confinement and release, closed institutions and frameworks for evolution. Principles of form and construction was presented in an abstract form from the built structure of the furniture college, evoking memories of chapels and shrines, lobster pots and the skeletal carcasses of upturned boats.

Open Frame (Fig 7) The timber framed structure of the Machine Hall workshops (Fig 8) was an important principle of building construction in Letterfrack. The Open Frame utilizes similar structural principles, representing an elegant economy, a leaning lattice. In the biennale, the installation of frame is put to work to support three levels of exhibition information (Fig 8); As mentioned by Donnell in Saving Letterfrack, the idea of open frame represents the new buildings, which serves as a deliberate opposition to the Scary House. By calling it the open frame, it means something about the structuring support system that the community project gives in Letterfrack.

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

It was made of two layers with one inside the other, offering the character of a lobster pot- it’s easy to get in but it’s not easy to get out, which the architects considered it as a symbolism of the character of the institution. During the construction, the architects had also refered to the form and structure of some early churches in the west of Ireland like the chapel to St. Magdaro. On the other hand, the construction of the frame relates to boat building techniques from the west of ireland for the traditional characters.

Together, these abstract installtion at the exhibition created a forecourt, a point of orientation: the old religious prison as a scary house to be remembered as nightmare of the past with its fearful tilted symmetry, and the open framework of a community college in the wild, opening to endless possibilities, telling the story of an institution transformed.

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INSPIRATION 5

INSPIRATION 6

QUESTION 3 | ENVIRONMENTAL AND CLIMATE PERFORMANCE

Translucent facades are light glazing panels used for the exterior of buildings, protecting the structure from weather damage. Its composition Figure 47: Polycarbonate panel diagram of polycarbonate microcells creates a Figure 48: Polycarbonate panel photo soft, naturally diffused light with a wide range of possible colors, brightnesses, and opacities.18

NANTES SCHOOL OF ARCHITECTURE, NANTES, FRANCE, 2009 Creative Synergies Group 3:

BY ARCHITECTS ANNE LACATON AND JEAN-PHILIPPE VASSAL

NANTES SCHOOL OF ARCHITECTURE LACATION & VASSAL

Xinrui Lin

Question 01: Ehan Halimun Question 02: Ella Freeman Question 03: Xinrui Lin Question 04: Chao Jung Chang Question 05: Anna Toft

PORT HOUSE ANTWERP ZAHA HADID ARCHITECTS

2009- 2016

18 "Nantes School Of Architecture / Lacaton & Vassal", Archdaily, 2020 <https://www.archdaily.com/254193/nantes-school-of-architecturelacaton-vassal> [Accessed 11 December 2020]

The sheet of corrugated metal and translucency of polycarbonate panelling plays an essential role in the school, with a basis of low-tech energy strategy. The panels protected intermediate climate by capture solar heat gain and minimize heat loss between the interior, programmed space (classrooms, research facilities, administrative offices), and the exterior.19 19

Stevens

Figure 49: Facade of polycarbonate panels

Figure 46: Nantes Site Plan

Sophie Henderson Benjamin Galvin Guoyi Huang

Architects Lacaton & Vassal’s work is an ideal of the multifaceted and innovative potential My interest in the Nantesofschool of architecture has wanedwith since the stages in controls, such contemporary sustainable architecture, their useearlier of natural climatic the project, as my style veered away fromnatural its vernacular. the large portions of as passive cooling, ventilation,However, and solar heat gain.17 The site is situated in a rich historical and contemporary context: Area: +/-as 5,000 squareofmeters; facades clad with polycarbonate were a source of inspiration, I learnt the duality Location: along the river Loire; of the material as a means of sculpting architectural expression and in improving the Accessiblity: from the city center by foot and bicycle or by public transportation from the overall environmental strategy suburbs, with eight bridges connecting the mainland to the Île; Neighborhood environment: comprised of wastelands, unbuilt plots, reappropriated warehouses, and new residential developments.

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Figure 50: Theses panels modulates the interior lighting

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A visual source of inspiration, regarding my experimentation with material dichotomy.

The two very different architectural styles are so different aesthetically and texturally that they complement eachother. Again, this is something I endeavoured to achieve in my own project.

Prewett Bizley

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INSPIRATION 7

JULIAN DJOPO

The Paul Marshall Building | Grafton Architects

Public Realm Connection

INSPIRATION 8 MY OWN WORK WITHIN MY GROUPS THEMATIC CASE STUDY

The main approach to design for Grafton Architects focuses on the public realm and experience, to “embedded each new project into the context uniquely through contextual relations to social and architectural rhythm.”7 To embedded the Paul Marshal Building into the site, Grafton Architects integrated a public space on the ground floor of the building.

This would create a connection to the city of London through the people where they can experience open events in the ARCHITECTS Grand Hall.

THE PAUL MARSHALL BUILDING GRAFTON

The Grand Hall is open to students and public during the day, where card access is required to research levels through the lift. They aimed VISUALITY GROUP | CURATING THE CITYto minimise security patrols and measures to create a “sense of being”8 to the city, so that citizens and students a-like feel welcome. Security measures are introduced at night.

Enhancing the experience of students, teachers and the public is achieved through the tectonic design, as Farrell and McNamara of Grafton Architects decided the structure to be of tree-like columns. This makes the public space feel bigger and welcoming, emphasising the feeling of a civic space.

16. Public access through perspective section, showing function of spaces.

The Paul Marshall Building | Grafton Architects

JULIAN DJOPO

Public Realm Connection

19. Rendering of the front north entrance by Grafton Architects.

Public realm connection has been one of my key motivators. The Paul Marshall building instilled an understanding of how architects achieve this.. Namely, the public are drawn in through a large flat and expansive ground floor, which blurs the boundaries between the exterior and interior, and ultimtately creates an inviting language for the building users.

The main approach to design for Grafton Architects focuses on the public realm and experience, to “embedded each new project into the context uniquely through contextual relations to social and architectural rhythm.”7 To embedded the Paul Marshal Building into the site, Grafton Architects integrated a public space on the ground floor of the building.

This would create a connection to the city of London through the people where they can experience open events in the 17. Grand Hall interior experience rendering by Grafton architects.

Grand Hall.

The Grand Hall is open to students and public during the day, where card access is required to research levels through the lift. They aimed to minimise security patrols and measures to create a “sense of being”8 to the city, so that citizens and students a-like feel welcome. Security measures are introduced at night.

LINCOLN’S INN FIELDS

Bicycle Parking

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Rehearsal / Performance Space

Flexible Teaching Space

Enhancing the experience of students, teachers and the public is achieved through the tectonic design, as Farrell and McNamara of Grafton Architects decided the structure to be of tree-like columns. This makes the public space feel bigger and welcoming, emphasising the feeling of a civic space.

Goods In

OPEN GROUND FLOOR SPATIAL PERMEABILITY

The Gerrit Rietveld Academy was my own thematic case study, which has been a great source of inspiration for me throughout the project. The relevant facets of the inspiration were interlaced in the portfolios framing and testing process. Although, it is worth mentioning that the most important aspect of the analysis that guided my development was the design of unallocated learning spaces, and an open and interconnected spatial layout. By placing practical research and theory spaces adjacent to eachother, the architects have successfully stimulated multidisciplinary engagement, and a more holisitc environment for the students of the academy.

Visibility

‘Unaollcated’ Learning Spaces Theory/Research Spaces Practical Work Spaces Storage / Fixed facilities

16. Public access through perspective section, showing function of spaces.

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APPENDIX

THEMATIC CASE STUDY

GROUPWORK, FRAMING SEMESTER

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INHABITATION AND SPACIAL RELATIONSHIPS

HOW DOES THE CASE STUDY RELATE TO THE STUDIO SPECIFIC CRITERIA 0.1?

Fig. 1 The main extension building

CIRCULATION AND ACCESS TO THE BUILDING

QUESTION 1

Fig. 2 Connection bridge between the extension and Benthem Crouwel building.

As the intake number of students and staffs grows constantly, the Gerrit Rietveld Academy held a contest amongst students, staffs and alumni to design an extension for the school. The competition was won by the Paulien Bremmer alongside with Hootsman Architects.

The building they designed for the academy focus a lot on the interaction between the students and stuff. Not limited to that, it also involves the public with the glass walls and doors surrounding the building to allow passerbys to have a sight of the activities carrying out in the building.

Fig. 3 Benthem Crouwel building

SPECIFIC CRITERIA 0.1 Students will need to display a detailed understanding of the specific processes, relationships and facilities required to accommodate and support their chosen specialism, as well as demonstrate physically and visually how these elementsinhabit, inhabit, influence and inform the daily rituals of their users.

QUESTION 1

The diagrams above and on the left shows the relationship of the extention and the original buildings in their massing forms.

The extension is entented horizontally to provide more activity space for the worshops. With a bridge connecting the second floor of the extension and the third floor of Benthem Crouwel building, larger involvement of circulation is encouraged with the convenience of it.

Fig. 8 Circulation of teachers before extension.

Fig. 9 Circulation of students before extension.

Fig. 10 Overall circulation before extension.

Circulation before the extension The architect team made a survey on a few teaching staffs and students regarding their circulations and pausings on their journey. The opacity of the circles on the diagrams above shows the frequency of their stops. It appears that the students and teachers stops the most at exhibition space and the balcony of the entrance to converse with others. These places are clearly not efficient enought to work as communication space and therefore propel the idea of creating interactive spaces in the extension.

Fig. 4 Gerrit Rietveld main building

BY AMANDA YEONG Fig. 6 North facade of the extension.

Fig. 11 Circulation of teachers before extension.

Fig. 12 Circulation of students before extension.

Access to the building The building contains of three floors with a basement. Interestingly, the access to the building does not limit to the ground floor entrances but also from the basement.

The access to the basement is by stairs that are placed beside the main building, which can be accessed anytime. Other than that, it can be seen that the facility includes a ramp that is friendly to everyone.

Intentional applications of glass doors that are foldable to allow the outdoor spaces to be part of the workable space alongside with the studio. However, this has also presents a very welcoming entrance into the building besides the main entrance.

The upper level is also accessible from the flight of stairs places in the south side of the building which domains the elevation of it.

Fig. 7 Axonometric view of the extension.

Fig. 5 Connecting bridge of extension and Benthem Crouwel building.

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PROGRAMME AND HIERARCHY OF SPACES

QUESTION 1

INHABITATION OF SPACES

QUESTION 1 The workshop spaces are occupied with the materials, tools and machines, similar to any other workshops. With the foldable glass doors as mentioned, the workshop is able to open up to allow more light into the space, while also allows more spaces from the outdoor to work as part of the workshop.

Programme of the building The allocation of the rooms are arranged closely neighbouring with no specific corridors or circulation paths. This is to enable more spaces to be reserved to the working space.

Following the primary intention of adding extra working space for the academy while involving more interactions, the building covered in a foldable glazed shell welcomes passerby to look into or even visit the construction easily.

While the spaces are closely arranged, the “division” structures of the rooms are glass that allows an extensive vision within the building, allowing an easy exchange between interdisciplinarities. While on the upper floor, it is a space provided for Sandberg institue, which houses a few disciplines from Rietveld Academy. This cantilevered floor provides studio spaces for smaller projects differ from the working space on the ground floor.

Fig. 17 3D sketch of workshop on ground floor.

HOW DOES THE CASE STUDY RELATE TO THE STUDIO SPECIFIC CRITERIA 0.2?

Fig. 18 Ground floor plan

What worth mentioning is the small discussion spaces placed in every floors, where students and staffs can use them to have group meetings or individual working place.

SPECIFIC CRITERIA 0.2 Fig. 19 Initial intention of theoritic stairs.

Students will be required to demonstrate a thorough knowledge of existing contextual conditions, both topographical and architectural, and evidence their proposals extensively within this setting.

Fig. 20 Current inhabitation of theoritic stairs.

Workspace

The spaces might not be fully realised or used by the inhabitants of the building as planned. For example, this staircase was to be used as a place for people to stop by and have a chat, or to have a casual catch up. However, it was slowly used as a place to rest artworks and tools, which turned out to be an interesting exhibition space.

Learning resources Office Discussion space Business Store

Fig. 13 Programme of the building.

Additionally, they should be able to declare clearly how their intervention intergrates and benefits an existing local community group, identified and researched through detailed site reading and analysis,

Fig. 21 Ground floor plan

while establishing a strong link with the academy reseaarch research / teaching agenda.

BY LOUIS DUVOISIN Fig. 14 Hierarchy diagram of basement.

Fig. 15 Hierarchy diagram of ground floor.

Fig. 16 Hierarchy diagram of upper floor.

Fig. 22 Initial intention of basement room.

Fig. 23 Current inhabitation of basement room.

Hierarchy of the building With multiple spaces arranged within a single level, each level works balancely to enhance the user experience.

The diagrams above shows the hierarchy of the rooms by the users. On the basement, the primary rooms are the library on the bottom right and the computer room located beside one stairs away from the library.

On the ground floor, occupying the most surface area of the floor, the working space is the main focus of the whole level. The upper floor provides a sufficient amount of workable spaces which embraces different disciplines to work and collaborate with each other within. This welcoming approach attracts students and teaching staffs to inhabit this space as one of their main working space, alongside with the discussion rooms allocated within the larger spaces.

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The room in the basement was initially planned to be a cafe or a canteen for the students and staff. It was then transformed into a computer room where students can access and use the fascilities provided uniformly. It also works as a place where students can meet and create new bonds from other academic disciplines.

Fig. 24 Basement floor plan

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RESEARCH CONTEXT QUESTION 2

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

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The new building is intended to create a joint learning experience between students and staff, with the potential to stimulate new, innovative and unexpected solutions.

N ISSIOOriginal Building designed by Gerrit COM NATIONA N ER G Rietveld in 1966, after the merger of 3 SI E design schools, due to the influence the YD De Stijl and Bauhaus movements had on M E BOER A EM E T STANIO functional and social attitudes towardsE D N L SIZED L A design education.

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The New Gerrit Rietveld Academy Building

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

NATIONA ER

Vision though the spaces

TE NY

INTERDISCIP LINA N AND RY ESIO WO OH C L RK IA C O TIVE C S E EL PU NOMOUS C TO M

QUESTION 2

STUDENT ENGAGEMENT

QUESTION 2

Ground Floor - Visual Permeability

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

Pauline Bremmer,ISSan IONAlumni and practicing architect COM founded G a Nmultidisciplinary design team called ‘Fedlev’ I ES whichDsubsequently won the competiton.

Y M EM TEA NIOdesign offered an alternative outlook Fedlev’s Iapproach GN RA STAto S on theEprocess of education, where autonomous learning and collaboration were prioritised E BREMM over more rigid LIN structures. This is as a resultU of the teams composition ARBON the team encompassed a wide itself: Led by Bremmer, AC range of social sciences and artistic specialities. The collective design proposal that accumulated through this design has transformed the way the Rietveld E BOteam ER ED R DESIGN Academy functions, and provides a useful insight into HE our own studio themes. By integrating range of LINwider PAUa EB DIO R resulting disciplines and people in the design TU process, the architecture reflects this attitude, resulting in a CTholistic S HTIE RC more diverse and accomodating proposal.

Architects Narrative - Ven Diagram

SAND

Site Map

COLLABORATION

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RESEARCH CONTEXT

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QUESTION 2

ARCHITECTURAL AND CULTURAL CONTEXT

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QUESTION 3

THE FEDLEV BUILDING AND IT’S ENVIRONMENTAL / CLIMATE CRISIS CONTEXT Amsterdam’s Climate/Environment

Proposed Building is located in the southwest part of the city.

An area consisting of a sizeable human-made forest, 12% of the land area made of parks and natural reserves.

The topography consists of rivers, canals with many bridges, low-lying lands enclosed by embankments, flood plains, and marshlands.

Surrounded by the North Sea- oceanic climate. Humid and rainy, with moderate sunshine.

QUESTION 3 SUSTAINABILITY STRATEGIES (Before & After) Diagrams Green façade

Wooden tower

Prefabricated building

wooden curtain wall wooden construction

Fig.1 Climate/surroundings diagrams Fig.6 Sustainability diagrams, proposed design

A green ivy façade facing the F. Roeskestraat street. Adding to the biodiversity of the surrounding environment, and contributes to natural cooling systems.

HOW DOES THE CASE STUDY RELATE TO IT’S ENVIRONMENTAL/CLIMATE CRISIS CONTEXT?

Prefabrication is often deemed as sustainable. Offsite construction uses less energy, reduces waste, uses recyclable material and reduces transportation.

Wood is a natural, renewable, and sustainable material with a lighter carbon footprint than steel or concrete. Durable and strong, good for thermal insulation, it is fire resistant with an adequate fire retardant treatment.

Not much information was given concerning the follow-up of these methods proposed. Therefore, due to the lack of information, an educated assumption can be made.

Completion Fig. 2 Academy’s Exterior

BY GLORIA HII

According to DETAIL, the Fedlev building was designed and built in a way so “students can pursue their creative goals in a climatically and spatially congenial environment”(Astbury, 2019). Stemming from the design aims of integration and participation, indoors and outdoors are merged with openable double glazed glass walls/windows. Open, broad flights of stairs connect the different levels, allowing a free flow of space, light, and air. The facades of the academy’s upper storey are covered with filigree expanded metal mesh in which folding elements are incorporated. This low-tech form of construction, intended by Fedlev, facilitates natural ventilation and shading-thereby reducing heat gains in summer.

Scale 1:10 000 Fig.3 Site Plan

Hence, the employment of this low-tech form of construction through openable facades means minimum amount of installations for climate control-whereby a certain fluctuation in temperature is accepted.

However, in the process of iterative design, a few aspects of the building construction have changed. The overall outcome of the design is visibly different to the one proposed, yet the revised infrastructure and system of the academy is left unclear. Nevertheless, based on the completed building visual, a judgement can be made on the existing infrastructure.

CHANGE IN INFRASTRUCTURE Proposed building’s system and function The site was previously a carpark. Thus, architects had initially proposed for an underground carpark, to retain the nature of the site and promoting the use of electric vehicles (EVs)- which are more environmentally friendly than gas cars. However, research and images show that the new site was eventually turned into a pedestrianised zone.

small wind turbines curtains for chimney ventilation

openable facade for ventilation

influx of natural daylight

collecting rainwater

heat/cold storage (perhaps STES)

In context of the nearby Zuider Amstelkanaal river, a greywater system is used to prevent water pollution and recycle water for surrounding landscape. electric charging points for cars

Greywater system

Fig.7 Sustainability diagrams, completed design

The change in design took away the tower which hosts the green façade on the Southside of FedLev’s building. Thus, the intention to function as an ecology for insects, butterflies and on the East- and Westside as an environment for bats and sparrows is no longer implemented.

Building is still prefabricated, on a smaller scale.

Wooden tower taken out and construction of building replaced by concrete. The upper floor is now articulated by concrete columns. This provides more seclusion and a space where masterclasses of the Sandberg Institute can organize things accordingly.

Foldable screens of woven steel and glass facade opens up spaces for integration and participation. This allows natural ventilation and vast lighting into the building [fig. 9 & 10]. Such reduction on energy consumption for cooling and lighting is thought against the need for heating expenditure in winter, as triple-glazed windows and concrete floors [fig. 11 & 13] help retain heat.

In the summer:

possible plant room curtains for chimney ventilation

collecting rainwater

Fig.4 Proposed building infrastructure influx of natural daylight

openable facade for ventilation

Due to the oceanic and wetter climate of Amsterdam, a rainwater harvesting system is implemented throughout the construction process. The cantilevered upper floor of the new building provides protection from the rain, whilst integrating a filtering system to collect rainwater at the top.

In the winter: heat/cold storage (STES) Greywater system

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Fig.9 Ventilation diagram

>Retractable facades >Natural ventilation+cooling >Heat rises and escapes >Cantilevered floor provides shade

Fig.5 Completed building, possible infrastructure

Fig.8 Top floor of Academy

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Fig.10 Heat+Light diagram

>Sun radiation+natural lighting, even whilst woven-steel mesh drawn closed >Triple-glazed windows absorbs+traps heat >Circulation of heat

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QUESTION 3

QUESTION 3 Summer

MATERIALITY OF FEDLEV BUILDING & its uses

Winter

Heat stored

Heat released

Fig.13 Concrete floor’s thermal properties, throughout different climates & times

Thermal flywheel effect: Heat released

Glass

-Openable facade -Doors -Windows -Triple-glazed

70mm heating screed ground smooth Separating layer 20mm impact-sound insulation

450 mm reinforced concrete floor

Woven Steel

-Openable facade -Also used in stair railings

Concrete is used for its thermal mass.

The academy’s concrete flooring is embedded with underfloor heating system. This allows the building in winter to store heat both from sun and underfloor heating; in the summer it absorbs heat from the sun/ atmosphere when heating is off.

During cooler periods/overnight, the concrete flooring then releases heat keeping the building warm.

Fig.14 Close up of flooring section

Wood

HOW DOES THE CASE STUDY RELATE TO THE ARCHITECTS’ THEORETICAL POSITION/ HOW DOES IT EXPLORE THEIR IDEAS AND PREOCCUPATIONS?

-Simple internal finishes -Wooden panelling

Concrete -Stairs -Walls -Floor -Columns

Washed Gravel Tiles -Outdoor courtyard -Coarse and scattered tiles for garden to grow -Polished tiles to walk and sit on

Fig.15 Exterior entrance to upper level

BY AURELIA THOMPSON Designer Jan Konings uses a variation of the washed gravel tile inspired by Mien Yuys to design the new courtyard (seen in [fig.2]). However, Konings observed that the tiles are “now used to cover entire front gardens, whereas Ruys used it in planting schemes to make room for greenery.” The tilings have different porosities for different environmental functions such as water absorption, and polished areas for better maintenance. Yet, it limits greenery space as oppose to articulating it.

Fedlev wanted a space for interdiscplinary activities and exchange of ideas. Fig. 11 above illustrates a central feature of the design concept, multi-functional use spaces: this meeting area with wooden steps on which to sit. A simple finish on the steps accompanied by vast lighting.

Additionally, the architects employed such maFig.12 Academy’s interior terials to create a blank canvas for the 16

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Section Scale 1:50 Fig.11 Section, showing materiality

students’ creations. The materials’ simplicity allows the inhabitation of the building to shine through and feed into its character.

Notably, concrete- a common construction material- is used to help achieve that. It is long-lasting, dependable, affordable, and adaptable to the architect’s design. Thus, the academy avoids demolition and waste due to age. Concrete’s thermal stability contributes to the building being more energy-efficient, as illustrated in fig. 10.

Although, use of concrete may carry a heavy footprint, it is dependant on the type and way of utilisation, and whether it was sourced sustainably or not. The architects have indicated reinforced concrete is employed in the building with elements of precasted concrete.

This indicates sustainability and high thermal mass.

Fig.17 Section of 3D view: upper level walk-way balcony

Fig.16 Folded screens to merge outdoors & indoors

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QUESTION 4

FEDLEV’S THEORETICAL POSITION:

- GERRIT RIETVELD AND DE STIJL MOVEMENT

IDEAS AND PREOCCUPATIONS:

QUESTION 4

FEDLEV’S THEORETICAL POSITION:

QUESTION 4

- THE ARCHITECTS: PAULIEN BREMMER + TEAM FEDLEV

QUESTION 4

IDEAS AND PREOCCUPATIONS: - BLANK CANVAS

- THE PRESENT AND THE FUTURE

Teamleader

“By studying and understanding the rituals of the place, conditions for a non

As a movement, De Stijl influenced painting, decorative arts (including furniture design), typography, and architecture, but it was principally architecture that realised both De Stijl’s stylistic aims and its goal of close collaboration among the arts.

Figure 16

Figure 15

Figure 8: Encouraging individuality FIgure 6: Education as Dialogue

Figure 7: Theory and Practice go hand in hand

Figure 8: Encouraging individuality

Figure 1: The Rietveld Acadmemie with Architect Gerrit Rietveld

Maze de Boer

Paulien Bremmer

With a Bachelor in Industrial Design, Luca was study-

After having studied Inte-

Today working as a viual arts teacher at the Rietveld, Maze de Boer began

Educated not only at the

rior Design and Inter-Architecture at the Rietveld

his education at the same

Academy, Sandra found her passion in Performance

Acadmie. He is a Multi-disciplinair artist, who works with sculpture, installation, film/ video, photography and music.

Art. At the Royal College of Art she entered a Master’s Degree.

KEY IDEAS OF DE STIJL

Figure 2: RIETVELD Building - Library

Members of the De Stijl movement strive to achive ultimate simplicity, minimalism and abstraction to convey an ‘ideal’ geometry.

The use of colours is reduced to only primary colours red, yellow and blue as well as black, white and grey.

Figure 3: FEDLEV Building - Library

Figure 10: The Sanberg Instituut

Figure 9: The Rietveld Academie

In their critical anlysis the team of FedLev carefully considers the Acadmie’s philosophy and develops a concept which incoorporates these ideas architecturally.

They are especially concerned with creating spaces that encourage dialogue and form a connection between the existing departments at the Rietveld.

Figure 11: Departments along side each other

University

of

Delft

but

also the Rietveld Academy Paulien Bremmer has explored art and architecture through different mediums and approaches. Besides her activity as a teacher she has her own Studio, which embrasses a multidisciplinary approach to not only

Figure 21: Blank Canvas - User Experience

Figure 24: Open studio environment in FedLev Building

architecture but art in general.

~Rietveld Acadmie

VISUAL INSPIRATION

~ Studio Paulien Bremmer

Sandra Stanionyte

He later entered a Masters Degree at the Dutch Art Institute.

“For us, art education is first and foremost a continuous critical dialogue between students and teachers.”

As a member of the DeStijl movement, Rietveld had a huge influence in setting out the general principles the Academie follows until today.

Figure 18

Luca Carboni

ing Graphic Design at the time of the Competition.

The main building of the Academie was designed by the Dutch Architect and Furniture designer Gerrit Thomas Rietveld. It was completed in 1966.

Figure 17

dominant, engaged yet surprising use are developed.”

Figure 12: Connection across borders

OPEN SOURCE PROCESS

Aiming at bridging the practice of design with political activity.

I’m interested in the ways in which a study of space (architecture) is equivalent to a study of body in space.

The team members themselves coming from multidisciplinary backgrounds, FedLev takes a participative, user focused design approach. Within the team there is no hierarchy and every contribution is valued equally.

Emphasising their careful consideration of the users experience, the team of FedLev presents a thorough analysis of the current usage of the AcadeThe social and political associations of the space are often the point of departure for me.

Crucial in the praxis is the notion of architecture as a social space.

Figure 22: A recent project (‘A perfect Day’) of Studio Pauline Bremmer

Figure 23: Engaging environment

illustrates the quote above. This Scenography supports social encounters without dominating them, or imposing a certain use.

‘TOWARDS A COLLECTIVE ASSEMBLY’ One of the architects’ biggest concern was to

mie.

add collective spaces to the Academie, in order to reinstate the Academie’s philosophy of Education as Dialogue.

As Architects FedLev created the foundation.

Following their idea of ‘MULTIPLE AUTHOR-

SHIP’ the space lends itself to the user, to create individually and to their own needs.

In order to support social exchange and col-

laboration the team made an effort to open up

“The future of an art school is a much more hybrid than the nowadays closed department structure.”

All disciplines under one roof in the FedLev building

Aurelia Thompson

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Figure 20: Illustration by FedLev: ‘The art academy is shaped by it’s users’

Figure 19: Every teammembers contribution is valued equally Figure 13: Use of the building

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fluidity in space, encouraging social interaction, meetings and discussions across disciplines.

~ FedLev, 2012

Figure 5: Close collaboration between the arts

Figure 4: Exterior linear planar language as used by De Stijl movement

the Groundlevel as much as possible. Further through almost completely eliminating enclosed staircases and corridors they achieve a

Aurelia Thompson

Figure 25: A canvas for social exchange IN ON and AROUND it

Figure 14: Open Interiors of FedLev Building encourage co working and individualisation

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Aurelia Thompson

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QUESTION 5

QUESTION 5

The Art Institute of Chicago

QUESTION 5

Renzo Piano Building Workshop

It is an art museum and it was both a school and a museum in 1879. The aim of the institute is to “collect, preserve, and interpret works of art of the highest quality, representing the world’s diverse artistic traditions, for the inspiration and education of the public”. Although the reason for the expansion of both the Art Institute of Chicago and the Gerrit Rietveld academy is the lack of space, but they , one is to create more space for exhibition and displaying more artworks while the other is to connect two buildings together for greater interdisciplinary exchange.

Figure 4 The Modern Wing of the Art Institute of Chicago

Through looking at the site plan of the Art Institute of Chicago, the Modern Wing is built aside Michigan Avenue and Columbus Drive, at the northeast corner of the block the Art Institute of Chicago currently occupies. Therefore it could be said the expansion is attach to the institute. However, the expansion of the Gerrit Rietveld academy is joining the buildings into one building as a whole, considering the circulation base on the uses and creating interactive spaces to allow the circulation, which means the frequency of the use of the spaces, to be balanced. There is a pathway connecting the two buildings, but it is not a stairwells nor corridors, which means interdisciplinary exchange is always possible and people passing by are able to see the making process.

Figure 1 The Gerrit Rietveld Academy and Sandberg Insitute

Gerrit Rietveld Academy and Sandberg Institute

HOW DOES THE CASE STUDY RELATE TO OTHER BUILDINGS OF IT’S TYPE?

Studio Paulien Bremmer and Hootsmans Architects Since it is new building which could be said as an expansion, it connected spaces call for exploration and use and, of course, new work by art academy students. It is a type of building which ccommodates and spatially connects interaction, education, relaxation and collectivism, as a social hub that allows the users to make, meet and exchange, which inform the educational environment through changing perspectives.

BY PENSY FONG

One more similarity is that there is elements reducing the heat. The overhangs and the woven-steel façade of the Gerrit Rietveld academy limit heating by incident sunlight and so does the steel strips overhangs of the Art Institute of Chicago.

Figure 5 The main circulation of the institute

Figure 2 Green refers to the existing buildings and yellow refers to the new building

Locating on the north west of the Zuid, the area is planned to be a green area and designated with educational, housing, and cultural functions in the urban plan. Fedlev designed to combine three building into one so that it becomes visually present and easy excusable from the North and the South side of the plot. There are extra openings and entrances to connect the inside with the outside.

Figure 6 The section of the Modern Wing

Figure 3 The surrounding building type

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1. Office 2. The expansion of Gerrit Rietveld academy 3. School 4. Green space 5. School 6. School

Figure 8 The illustration showing the path connecting to the garden

Figure 7 The overhang

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QUESTION 5

QUESTION 5

BIBLIOGRAPHY

LIST OF FIGURES

1. “2016 - 2018 Luca Carboni”, Dai. Available at: <https://dutchartinstitute.eu/page/12785/2016---2018-luca-carboni> [Accessed 1 December 2020]

QUESTION 1

2. Angelopoulou, S. L. (2019) “paulien bremmer + hootsmans extend rietveld academy & sandberg institute in amsterdam” Designboom. Available at: < https://www.designboom.com/architecture/paulien-bremmer-hootsmans-gerrit-rietveld-academy-sandberg-institute-amsterdam-09-20-2019/> [Accessed 15 December 2020] 3. Astbury, J. (2019) “Paulien Bremmer wraps addition to Gerrit Rietveld Academie in woven-steel screens.” Dezeen. Available at: https://www.dezeen. com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/. [Accessed: 15 December 2020].

4. Climates to Travel: World Climate Guide. Available at: <https://www.climatestotravel.com/climate/netherlands/amsterdam> [Accessed 15 December 2020] 5. De Boer, Maze, Maze De Boer. Available at: <http://www.mazedeboer.com/> [Accessed 1 December 2020] 6. Fedlev, 2012. FEDLEV’S DESIGN FOR THE NEW GERRIT + WILLEM, Amsterdam: Gerrit Rietveld Academie and Sandberg Institute.

Figure 13 The New George Gund Building of Cleveland Institute of Art

Figure 9 The Goethe Institute

Figure 14 The diagonal walkways

Cleveland Institute of Art, New George Gund Building

Figure 10 Georgian house of the language school and cultural programs

The Goethe Institute

Henchion Reuter Architects The intention of the expansion of the Gerrit Rietveld academy is due to lack of space and aim to create an interactive space with a collective, interdisciplinary environment. As interaction is the starting point, except the first floor being earmarked for students of the Sandberg Institute others are shared space including the base of the building. One comparative case study is the Goethe Institute in Dublin. It is also an extension thus a refurbishment by Henchion Reuter Architects. Similarly to the Gerrit Rietveld academy, it is designed to create a collective, interdisciplinary educational environment. The project relocates both functions to the Merrion Square premises – the cultural programme and another Georgian house, facilitate greater interaction between the language students and the cultural programme the institute offer. They both allow the users to move around spaces and buildings and create a circulation as a loop.

Figure 11 The circulation of the both as a loop

Figure 15 A map showing the location of the Cleveland Institute

7. FedLev, Fedlev’s Design For The New Gerrit + Willem (Amsterdam: The Gerrit Rietveld Academie, 2012) . Available at: <https://oldschool. rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf> [Accessed 5 December 2020] 8. Gerrit Rietveld Academie. Available at: <https://rietveldacademie.nl/> [Accessed 1 December 2020] 9. Gerrit Rietveld Academie, Team 2 Fedlev, Gerrit Willem Do It Yourself, 2011. Available at: <https://vimeo.com/34759461> [Accessed 6 December 2020]

Stantec Architecture

10. Gerrit Rietveld Academie, The New Rietveld - The Fedlev Building, 2014. Available at: <https://vimeo.com/91362513> [Accessed 6 December 2020]

Both Cleveland Institute of Art and Gerrit Rietveld academy have the same focus, which is the encounter of invited public, faculty and students. For New George Gund Building, the main floor serves as a multi-function gathering space, including an informal teaching and learning environment, an interactive exhibition venue. While in the new building of Gerrit Rietveld academy there are project spaces on different floors and a communal roof area that is suitable for exhibitions, performances and the making of temporary constructions. In addition, academic programs are connected through diagonal walkways and bridges and it is through transparency such as glass facade and pathways.

11. González, M.F. (2019) “Gerrit Rietveld Academy and Sandberg Institute / Studio Paulien Bremmer + Hootsmans Architects” Archdaily. Available at: <https://www.archdaily.com/924677/gerrit-rietveld-academy-and-sandberg-institute-studio-paulien-bremmer-plus-hootsmans-architects> [Accessed 15 December 2020] 12. Jonkman, R. “EXTENSION GERRIT RIETVELD ACADEMY”, Design Atelier Rosa. Available at: <https://rosajonkman.nl/inside-out> [Accessed 15 December 2020] 13. McEwen, Michelle, “Gerrit Rietveld - The Netherlands 1888-1964”, More Space, 2011. Available at: <https://michelle-mcewen.squarespace.com/latestnews/2011/07/08/gerrit-rietveld-the-netherlands-1888-1964> [Accessed 9 December 2020] 14. Minkjan, M. “New building Gerrit Rietveld Academy and Sandberg Institute” Archello. Available at: < https://archello.com/project/gerrit-rietveldacademy-and-sandberg-institute > [Accessed 15 December 2020]

Fig. 1: The main extension building, by author, Yeong Jingci.

Fig. 2: Connection bridge between the extension and Benthem Crouwel building, by Yeong Jingci.

Fig. 3: Benthem Crouwel building, by author, Yeong Jingci.

Fig. 4: Gerrit Rietveld main building, by author, Yeong Jingci.

Fig. 5: Connecting bridge of extension and Benthem Crouwel building, <https://www.dezeen.com/2019/10/12/gerrit-rietveld-academie-paulien-bremmeramsterdam-netherlands/> [Accessed: 15 December 2020] Fig. 6: North facade of the extension, <https://www.dezeen.com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/> [Accessed: 15 December 2020] Fig. 7: Axonometric view of the extension, <https://www.archdaily.com/924677/gerrit-rietveld-academy-and-sandberg-institute-studio-paulien-bremmerplus-hootsmans-architects> [Accessed: 15 December 2020] Fig. 8: Circulation of teachers before extension, by author, Yeong Jingci.

Fig. 9: Circulation of students before extension, by author, Yeong Jingci.

Fig. 10: Overall circulation before extension, by author, Yeong Jingci.

Fig. 11: Circulation of teachers before extension, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-artcollege-expansion-of-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 12: Circulation of students before extension, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-artcollege-expansion-of-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 13: Programme of the building, by author, Yeong Jingci.

Fig. 14: Hierarchy diagram of basement, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-art-collegeexpansion-of-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 15: Hierarchy diagram of ground floor, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-artcollege-expansion-of-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 16: Hierarchy diagram of upper floor, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-art-collegeexpansion-of-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 17: 3D sketch of workshop on ground floor, by author, Yeong Jingci.

Fig. 18: Ground floor plan, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-art-college-expansion-ofthe-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 19: Initial intention of theoritic stairs, by author, Yeong Jingci.

Fig. 20: Current inhabitation of theoritic stairs, by author, Yeong Jingci.

Fig. 21: Ground floor plan, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-art-college-expansion-ofthe-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020] Fig. 22: Initial intention of basement room, by author, Yeong Jingci.

Fig. 23: Current inhabitation of basement room, by author, Yeong Jingci.

Fig. 24: Basement floor plan, by author, Yeong Jingci. Plan traced from: <https://www.detail-online.com/article/an-addition-to-the-art-college-expansionof-the-rietveld-academy-in-amsterdam-35412/> [Accessed: 15 December 2020]

15. Oldschool.Rietveldacademie.Nl. Available at: <https://oldschool.rietveldacademie.nl/nl/Gerrit-Willem-Do-It-Yourself> [Accessed 6 December 2020] 16. Puluj, Jesco, “Destijl: Niederlandischer Aufruf Zu Puristischer Abstraktion”, Architekten Scout, 2016. Available at: <https://architekten-scout.com/ allgemein/de-stijl> [Accessed 9 December 2020] 17. Sandberg Institute. Available at: <https://www.sandberg.nl/> [Accessed 15 December 2020] 18. Singhal, S. (2019) “Extension Rietveld Academy + Sandberg institute in Amsterdam, The Netherlands by Fedlev led by Paulien Bremmer in collaboration with Hootsmans architectuurbureau” AECCafe. Available at: < https://www10.aeccafe.com/blogs/arch-showcase/2019/09/24/extension-rietveld-academysandberg-institute-in-amsterdam-the-netherlands-by-fedlev-led-by-paulien-bremmer-in-collaboration-with-hootsmans-architectuurbureau/ > [Accessed 15 December 2020] 19. Stanionytė, S. “Gerrit Rietveld Academy”, Sandra Stanionytė. Available at: <http://stanionyte.com/portfolio/gerrit-rietveld-academy/> [Accessed 15 December 2020] 20. Studio Paulien Bremmer. Available at: <https://paulienbremmer.org/> [Accessed 1 December 2020] 21. Weather Atlas. Available at: <https://www.weather-atlas.com/en/netherlands/amsterdam-climate> [Accessed 15 December 2020] 22. Wessely, Heide, “DETAIL - Magazin Für Architektur + Baudetail - Start”, Detail, 2020. Available at: <https://www.detail.de/zuwachs-fuer-diekunsthochschule-erweiterungsbau-der-rietveld-academy-in-amsterdam-35411/> [Accessed 3 December 2020]

Figure 12 The section of Goethe Institute

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Figure 16 A side view of the New George Gund building

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QUESTION 2

QUESTION 3 [All illustrations, changes and modifications made by author] Fig. 1 Author’s own illustration Fig. 2 (Studio Paulien Bremmer, 2019) Photo by Johannes Schwartz, Jeroen Verrecht. New building Gerrit Rietveld Academie and Sandberg Instituut Available at https://paulienbremmer.org/projects/new-building-gerrit-rietveld-academie-and-sandberg-instituut Fig. 3 (DETAIL, 2020) Site Plan. Modified Available at https://inspiration.detail.de/extension-of-the-academy-of-art-amsterdam-114834.html Fig. 4 (Fedlev, 2012) Modified Available at https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf Fig. 5 (Fedlev, 2012) Modified. Changes made by author Available at https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf Fig. 6 (Fedlev, 2012) Modified Available at https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf QUESTION 4 Modified. Changes made by author Fig. 7 (Fedlev, 2012) Available at https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf Bibliography: Fig. 8 (Astbury, 2019) Photo by Jeroen Verrecht. New building Gerrit Rietveld Academie and Sandberg Instituut Available at https://www.dezeen.com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/ Studio Paulien Bremmer <https://paulienbremmer.org/> [Accessed 1 December 2020] Fig. 9 (DETAIL, 2020) Modified Available at https://inspiration.detail.de/extension-of-the-academy-of-art-amsterdam-114834.html Gerrit Rietveld Academie <https://rietveldacademie.nl/> [Accessed 1 December 2020] Fig. 10 (DETAIL, 2020) Modified Oldschool.Rietveldacademie.Nl <https://oldschool.rietveldacademie.nl/nl/Gerrit-Willem-Do-It-Yourself> [Accessed 6 December 2020] Available at https://inspiration.detail.de/extension-of-the-academy-of-art-amsterdam-114834.html Fig. 11 (Astbury, 2019) Modified “2016 - 2018 Luca Carboni”, Dai <https://dutchartinstitute.eu/page/12785/2016---2018-luca-carboni> [Accessed 1 December 2020] Available at https://www.dezeen.com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/ Fig. (Astbury, 2019)

by Johannes Schwartz. New[Accessed building 1Gerrit Rietveld De 12 Boer, Maze, Maze De Photo Boer <http://www.mazedeboer.com/> December 2020]Academie and Sandberg Instituut Available at https://www.dezeen.com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/ FedLev, Fedlev’s Design The New Gerrit + Willem (Amsterdam: The Gerrit Rietveld Academie, 2012) <https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presFig. 13 (DETAIL, 2020) For Modified entation-booklet.pdf> [Accessed 5 December 2020] Available at https://inspiration.detail.de/extension-of-the-academy-of-art-amsterdam-114834.html Fig. 14 (DETAIL, 2020) Modified Gerrit Rietveld Academie, Team 2 Fedlev, Gerrit Willem Do It Yourself, 2011 <https://vimeo.com/34759461> [Accessed 6 December 2020] Available at https://inspiration.detail.de/extension-of-the-academy-of-art-amsterdam-114834.html Fig. 15 Rietveld (González, 2019) The Photo Jeroen- The Verrecht. building Gerrit Rietveld Academie and Sandberg Instituut2020] Gerrit Academie, Newby Rietveld Fedlev New Building, 2014 <https://vimeo.com/91362513> [Accessed 6 December Available at https://www.archdaily.com/924677/gerrit-rietveld-academy-and-sandberg-institute-studio-paulien-bremMcEwen, Michelle, “Gerrit Rietveld - The Netherlands 1888-1964”, More Space, 2011 <https://michelle-mcewen.squarespace.com/latest-news/2011/07/08/gerrit-rietmer-plus-hootsmans-architects veld-the-netherlands-1888-1964> [Accessed 9 December 2020] Fig. 16 (archello, 2019) Photo by Jeroen Verrecht. New building Gerrit Rietveld Academie and Sandberg Instituut Available at “Destijl: https://archello.com/project/gerrit-rietveld-academy-and-sandberg-institute Puluj, Jesco, Niederlandischer Aufruf Zu Puristischer Abstraktion”, Architekten Scout, 2016 <https://architekten-scout.com/allgemein/de-stijl> [Accessed 9 December 2020] Fig. 17 Author’s own illustration. Based on photos and information from various sources.

Stanionyte, Sandra, Sandra Stanionyte <http://stanionyte.com/> [Accessed 1 December 2020] Wessely, Heide, “DETAIL - Magazin Für Architektur + Baudetail - Start”, Detail, 2020 <https://www.detail.de/zuwachs-fuer-die-kunsthochschule-erweiterungsbau-der-rietveld-academy-in-amsterdam-35411/> [Accessed 3 December 2020]

QUESTION 5 List of Figures

QUESTION 5

Figure 1 The Gerrit Rietveld Academy and Sandberg Insitute, https://www.archdaily.com/924677/gerrit-rietveld-academy-and-sandberg-institute-studio-paulien-bremmer-plus-hootsmans-architects Figure 2 Green refers to the existing buildings and yellow refers to the new building, editted by author, https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf Figure 3 The surrounding building type, https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf Figure 4 The Modern Wing of the Art Institute of Chicago, https://www.archdaily.com/24652/the-modern-wing-renzo-piano Figure 5 The main circulation of the institute, https://www.archdaily.com/24652/the-modern-wing-renzo-piano Figure 6 The section of the Modern Wing, https://www.archdaily.com/24652/the-modern-wing-renzo-piano Figure 7 The overhang, http://www.rpbw.com/project/chicago-art-institute-the-modern-wing Figure 8 The illustration showing the path connecting to the garden, https://www.archdaily.com/24652/the-modern-wing-renzo-piano Figure 9 The Goethe Institute, http://www.henchion-reuter.com/projects/goethe-institute Figure 10 Georgian house of the language school and cultural programs, https://www.archdaily.com/903778/refurbishment-and-extension-of-the-goethe-institute-henchion-reuter-architects Figure 11 The circulation of the both as a loop, created by author Figure 12 The section of Goethe Institute, http://www.henchion-reuter.com/projects/goethe-institute Figure 13 The New George Gund Building of Cleveland Institute of Art, https://architizer.com/projects/cleveland-institute-of-art-new-george-gund-building/ Figure 14 The diagonal walkways, https://architizer.com/projects/cleveland-institute-of-art-new-george-gund-building/ Figure 15 A map showing the location of the Cleveland Institute, editted by author Figure 16 A side view of the New George Gund building, https://architizer.com/projects/cleveland-institute-of-art-new-george-gund-building/

Colomb, C. (2007) ‘Unpacking new labour’s “Urban

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reurbanization of British cities?’, Planning Practice and

Architectural Details: The Stunning Glulam Beams of

Consultants, G. (no date) Biomass Boilers | Log, Wood Chip

Available

https://architizer.com/blog/practice/details/

thegreenergroup.com/heat/biomass/ (Accessed: 26 April

Arhøj, A. (2017) Find me: a hide-and-seek book. San

COOK HOUSE (no date) COOK HOUSE. Available at:

Arnstein, S. R. (2019) ‘A Ladder of Citizen Participation’,

CoreValues - Culture - PV Solar products Manufacturer, Solar

34. doi: 10.1080/01944363.2018.1559388.

www.jasolar.com.cn/html/en/2018/4.html

at:

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Planning and Landscape’. Available at: https://blogs.ncl.

Renaissance” agenda: Towards a socially sustainable

June 2021).

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2021).

Francisco: Chronicle Books.

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Panel Suppliers India – JaSolar (no date). Available at: https://

A Factory as it might be - Assemble (no date). Available

April 2021).

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date) Crescent Fifty One. Available at: https://crescentfiftyone.

IN Collective Space for the Dutch Embassy in Berlin (2018)

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2021).

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development approach.

Digimap (no date). Available at: https://digimap.edina.

at:

https://assemblestudio.co.uk/projects/yardhouse

List Of Figures:

Figures 1, 5 - 8, 11, 12, 14, 19, 21, 23: by author Figure 1: Gerrit Rietveld, < https://www.sikkensprize.org/en/winner/gerrit-rietveld-2/> Figure 2: Library, < https://oldschool.rietveldacademie.nl/en/library> Figures 3, 4, 13, 24, 25: Photography:Franziska Mueller Schmidt, Johannes Schwartz, Jeroen Verrecht, < https://paulienbremmer.org/projects/new-building-gerrit-rietveld-academie-and-sandberg-instituut> Figure 9: The Rietveld Academy, < https://www.themethodcase.com/gerrit-rietveld-academie/> Figure 10: The Sandberg Instituut, <https://www.themethodcase.com/gerrit-rietveld-academie/>

(Accessed:

26

Baldwin, E. CODE Works with Refugees to Create PLUG-

co.uk/ (Accessed: 31 May 2021).

ArchDaily. Available at: https://www.archdaily.com/901549/

High Quality Furniture, Nick James Design. Available at:

space-for-the-dutch-embassy-in-berlin (Accessed: 2 June

Developing the Ouseburn Strategy 2020-30 (no date)

Banks, S. (2019) Co-producing research: A community

uk/News/2020-30 (Accessed: 20 March 2021).

Blackhorse Yard - Assemble (no date). Available at: https://

ac.uk/os (Accessed: 28 March 2021).

February 2021).

date).

10

Document Library Structural Timber Association (no

Bombay Sapphire Distillery / Heatherwick Studio (2014)

library/?q=glued+laminated+timber+structures&x=0&y=0

bombay-sapphire-distillery-heatherwick-studio

Dunne, A. and Raby, F. (2013) Speculative everything: design,

assemblestudio.co.uk/projects/yardhouse

QUESTION 4

(Accessed:

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ArchDaily. Available at: https://www.archdaily.com/554750/

(Accessed: 20 March 2021).

31 May 2021).

fiction, and social dreaming. Cambridge, Massachusetts ;

(Accessed:

Borden, I., Fraser, M. and Penner, B. (eds) (2014) Forty ways

London: The MIT Press.

today. Chichester: Wiley.

at:

they’re built. New York, NY: Penguin Books.

Fire Protection (no date). Available at: https://www.

https://www.metrofixings.co.uk/main/maincat/getCatitem/

fire-protection (Accessed: 8 April 2021).

(Accessed: 15 April 2021).

ArchDaily (no date). Available at: https://www.archdaily.

https://www.swedishwood.com/building-with-wood/about-

brown (Accessed: 26 April 2021).

to think about architecture: architectural history and theory

Empty Avocado Studios | Facebook (no date). Available

Brand, S. (1995) How buildings learn: what happens after

(Accessed: 2 June 2021).

BTALU Concealed Beam Hanger (no date). Available at:

pilkington.com/en/global/products/product-categories/

Bibliography - Resources link

BTALU%20Concealed%20Beam%20Hanger/2194/0/0/1

Freemen’s School Swimming Pool / Hawkins\Brown |

ArchDaily. 2020. Gerrit Rietveld Academy And Sandberg Institute / Studio Paulien Bremmer + Hootsmans Architects. [online] Available at: <https://www.archdaily.com/924677/gerrit-rietveld-academy-and-sandberg-institute-studio-paulien-bremmer-plus-hootsmans-architects> [Accessed 1 December 2020].

Choosing glulam (no date) Swedish Wood. Available at:

com/885514/freemens-school-swimming-pool-hawkins-

Figure 15: Luca Carboni, <https://dutchartinstitute.eu/page/12785/2016---2018-luca-carboni> Figure 16: Sandra Stanionyte, <http://stanionyte.com/> Figure 17: Maze de Boer, <https://www.mistermotley.nl/content/kunst-lang-73> Figure 18: Paulien Bremmer, <https://nl.linkedin.com/in/paulien-bremmer-63594120?trk=people-guest_people_search-card> Figure 20: The art academy is shaped by it’s users, <https://oldschool.rietveldacademie.nl/files/GerritWillem/team-2-presentation-booklet.pdf> Figure 22: A Perfect Day, <https://paulienbremmer.org/>

2020. [online] Available at: <https://paulienbremmer.org/projects/new-building-gerrit-rietveld-academie-and-sandberg-instituut> [Accessed 1 December 2020].

Astbury, J., 2020. Paulien Bremmer Wraps Addition To Gerrit Rietveld Academie32 In Woven-Steel Screens. [online] Dezeen. Available at: <https://www.dezeen. com/2019/10/12/gerrit-rietveld-academie-paulien-bremmer-amsterdam-netherlands/> [Accessed 1 December 2020].

Archello. 2020. Gerrit Rietveld Academy And Sandberg Institute | Gerrit Rietveld Academie | Archello. [online] Available at: <https://archello.com/project/gerrit-rietveld-academy-and-sandberg-institute> [Accessed 5 December 2020].

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219

FIG 1.

Edited Image from - Dunne, A. and Raby, F. (2013) Speculative everything: design, fiction, and

FIG 15, 16.

social dreaming. Cambridge, Massachusetts ; London: The MIT Press.

FIG 2.

What do you think about these proposals for the Lower Ouseburn Valley Masterplan? (no date).

FIG 4.

Poppenbüttel Community -Assemble (no date) Assemble. Available at: https://assemblestudio.co.uk

FIG 17, 18.

FIG 19, 20.

FIG 21, 22.

(Accessed: 13 February 2021).

FIG 23, 34.

Baldwin, E. CODE Works with Refugees to Create PLUG-IN Collective Space for the Dutch Embassy in

FIG 5.

FIG 6.

LIST OF FIGURES

FIG 25, 26.

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FIG 27, 28.

Anne (no date) ‘Fenham Pocket Park | School of Architecture, Planning and Landscape’. Available at:

FIG 7.

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FIG 8.

Crescent Fifty One - Handmade Hardwood Furniture (no date) Crescent Fifty One. Available at:

FIG 29.

Shuang, H. Gallery of Longfu Life Experience Center / LUO studio - 1 (no date) ArchDaily. Available at: https:// www.archdaily.com/906547/longfu-life-experience-center-luo-studio/5bfa845a08a5e566ee0007f8-

Shuang, H. Party and Public Service Center of Yuanheguan Village / LUO studio (2020) ArchDaily. Available

FIG 12, 13, 14

Studio Bark’s modular U-build system lets anyone self-build sustainably (no date). Available at: https://

COOK HOUSE (no date) COOK HOUSE. Available at: https://www. cookhouse.org (Accessed: 31 May 2021).

FIG 39.

FIG 40.

OpenStructures. Interview with Thomas Lommée (2014) Z33. Available

FIG 31.

OS_Studio (2013) ‘“Every building is a prediction and every prediction

is wrong” Visual Essay and Exhibition.’ Available at: https://www.

Sana Diagram. Pinterest (no date) Pinterest. Available at: https://www. pinterest.co.uk/pin/499688521153427307/ (Accessed: 2 June 2021).

Available

at:

https://www.archdaily.com/554750/bombay-sapphire-

Montes, C. (no date) ‘The layering Yard in Qianmen, Beijing, China |More

with Less|’. Available at: https://morewithlessdesign.com/en/the-layering-

Wandering (2020) [4K] Walking in England 🇬🇧 Newcastle’s Ouseburn watch?v=e57Av_jEKoE (Accessed: 25 April 2021).

FIG 41.

FIG 42, 43.

A Factory as it might be - Assemble (no date). Available at: https:// assemblestudio.co.uk/projects/yardhouse (Accessed: 10 February 2021).

Yardhouse - Assemble (no date). Available at: https://assemblestudio. co.uk/projects/yardhouse (Accessed: 10 February 2021).

Schreinerei bei Freising - DETAIL inspiration (no date). Available at: https://

FIG 44.

openstructures.net/histories/h088.

FIG 32.

Bombay Sapphire Distillery / Heatherwick Studio (2014) ArchDaily.

River | Ambient City Sounds. Available at: https://www.youtube.com/

Rietveld Academie | Archello (2019). Available at: https://archello.com/ 26

date). Available at: https://www.nationalgeographic.org/article/symbiosis-

yard/ (Accessed: 31 May 2021).

Gonzalez, Gerrit Rietveld Academy and Sandberg Institute | Gerrit (Accessed:

Symbiosis: The Art of Living Together | National Geographic Society (no

distillery-heatherwick-studio (Accessed: 31 May 2021).

lommee/ (Accessed: 2 February 2021).

at: https://www.archdaily.com/934732/party-and-public-service-center-of-yuanheguan-village-luo-studio (Accessed: 28 January 2021).

FIG 38.

‘Ticbox Training – Supporting Artist courses for the Film and Television

Industry’ (no date). Available at: http://46.32.240.41/ticbox.tv/ (Accessed:

Available at: https://www.archdaily.com/455429/chapel-of-st-albert-the-

art-living-together/ (Accessed: 2 June 2021).

at: https://www.z33.be/en/artikel/openstructures-interview-with-thomas-

longfu-life-experience-center-luo-studio-photo (Accessed: 28 January 2021).

FIG 10, 11.

Tom French - 45 Artworks, Bio & Shows on Artsy (no date). Available at:

March 2021).

FIG 30.

FIG 36, 37

at: https://twitter.com/offquayouseburn (Accessed: 2 June 2021).

project/gerrit-rietveld-academy-and-sandberg-institute

https://crescentfiftyone.co.uk/ (Accessed: 31 May 2021).

FIG 9.

offquaycollective (@offquayouseburn) / Twitter (no date) Twitter. Available

Chapel of St Albert the Great / Simpson & Brown (2013) ArchDaily. great-simpson-and-brown (Accessed: 31 May 2021).

RIOT (@riotboxing) • Instagram photos and videos (no date). Available at:

31 May 2021).

Baldwin, E. CODE Works with Refugees to Create PLUG-IN Collective Space for the Dutch Embassy in create-plug-in-collective-space-for-the-dutch-embassy-in-berlin (Accessed: 2 June 2021).

FIG 34, 35.

https://www.artsy.net/artist/tom-french (Accessed: 31 May 2021).

Berlin (2018) ArchDaily. Available at: https://www.archdaily.com/901549/code-works-with-refugees-tocreate-plug-in-collective-space-for-the-dutch-embassy-in-berlin (Accessed: 2 June 2021).

yard/ (Accessed: 31 May 2021).

Empty Avocado Studios | Facebook (no date). Available at: https://www. facebook.com/EmptyAvocado/about/ (Accessed: 2 June 2021).

Montes, C. (no date) ‘The layering Yard in Qianmen, Beijing, China |More

with Less|’. Available at: https://morewithlessdesign.com/en/the-layering-

https://www.instagram.com/riotboxing/ (Accessed: 26 April 2021).

(Accessed: 13 February 2021).

Poppenbüttel Community -Assemble (no date) Assemble. Available at: https://assemblestudio.co.uk

FIG 33.

https://www.instagram.com/riotboxing/ (Accessed: 26 April 2021).

Available at: https://ouseburn.commonplace.is (Accessed: 31 May 2021).

FIG 3.

RIOT (@riotboxing) • Instagram photos and videos (no date). Available at:

inspiration.detail.de/schreinerei-bei-freising-106344.html (Accessed: 24 April 2021).

Design, N. J. (no date) Nick James - Designer & Maker Of High Quality

FIG 45.

Furniture, Nick James Design. Available at: https://www.jamesdesign. co.uk/ (Accessed: 26 April 2021).

www.dezeen.com/2019/05/10/ubuild-studio-bark-modular-architecture/ (Accessed: 28 January 2021).

220

221

FIG 46, 47, 48.

Blackhorse Yard - Assemble (no date). Available at: https://

FIG 58.

co.uk/ (Accessed: 2 June 2021).

assemblestudio.co.uk/projects/yardhouse (Accessed: 10 February 2021).

FIG 49.

The Rules of Production - Assemble (no date). Available at: https:// assemblestudio.co.uk/projects/yardhouse (Accessed: 10 February

Pinterest (no date) Pinterest. Available at: https://www.pinterest.

FIG 59.

‘Sustainable woods, Sustainable wood, Wood Sustainability, Sustainability of wood’ (no date) Accoya. Available at: https://www. accoya.com/uk/sustainability/ (Accessed: 24 April 2021).

2021).

FIG 50.

Freemen’s School Swimming Pool / Hawkins\Brown | ArchDaily (no date). Available at: https://www.archdaily.

FIG 51.

BTALU Concealed Beam Hanger (no date). Available at: https://

www.metrofixings.co.uk/main/maincat/getCatitem/BTALU%20 Concealed%20Beam%20Hanger/2194/0/0/1 (Accessed: 15 April 2021).

FIG 52.

Peter Hall Performing Arts Centre (no date). Available at: https://www.pollmeier.com/references/perse-school#gref (Accessed: 26 April 2021).

FIG 53.

Freemen’s School Swimming Pool / Hawkins\Brown | ArchDaily (no

ADDITIONAL PROCESS PAGES

date). Available at: https://www.archdaily.

FIG 54, 55.

Ravenscroft, B. Emrys Architects converts east London ironworks

into studios (2018) Dezeen. Available at: https://www.dezeen.

com/2018/02/04/emrys-architects-millwall-ironworks-artist-craftstudios-wooden-framework-london-uk/ (Accessed: 2 June 2021).

FIG 56.

Lewis (2017) Substantial Reduction of CO2 Emissions with Recycled

Brick Facades. Available at: https://www.linkedin.com/pulse/ substantial-reduction-co2-emissions-recycled-brick-facades-lewis (Accessed: 24 April 2021).

FIG 57.

Glulam and the environment (no date) Swedish Wood. Available at:

https://www.swedishwood.com/building-with-wood/about-

glulam/glulam-and-the-environment/ (Accessed: 26 April 2021).

222

223

LINE OF ENQUIRY REFINEMENT

GENTRIFICATION - GROUP ARTWORK

224

225

SITE INTERVIEWS

226

227

COLLAGE

PERSONAL COLLAGES I CREATED TO CONVEY THE ECLECTIC AND VIBRANT VERNACULAR WITHIN OUSEBURN

228

AND THE INDUSTRIAL HERITAGE TO WHICH IT OWES THIS HERITAGE

229

SITE OPTIONS - MAP

230

GROUP SITE SECTIONS

231

CONCEPTUAL MASSING DEVELOPMENT

232

CONCEPTUAL VIEW RENDER

233

MATERIALITY SKETCHES

234

CONNECTING POSSIBILITY

235

JUNIOR MAKERS CONCEPT DEVELOPMENT

Seven Stories is local nursery, located on the riverbank opposite my site... which led me thinking about another possibility to integrate the community further into my proposal.

236

237

COURTYARD SKETCHES

238

COURTYARD MODEL ATMOSPHERIC PHOTO

239

ITERATIVE FLOOR PLAN DEVELOPMENT

240

241

TESTING PRESENTATION FLOOR PLANS

Artist Studio 2

29.

Artist Studio 3

30.

Artist Studio 4

31.

Photo Studios

32.

Storage and Utilities

39.

Cookhouse Restaurant

40.

21. Music Studio 1 22. Music Studio 2 23. Music Studio 3

inc new outdoor seating area.

PROGRAM LAYOUT KEY

Foundry Lane Units.

24

Public Space

25.. Music Studio 5

NEW CONTEXT

Music Studio 4

NATIONA ER

37.

38.

ETS ME

39.

Existing Tenants

41.

Mini Outdoor Courtyard

Services

.

Spaces

Utilities

PU M

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L SIZED AL

Site BLICEntrance PU

Riverside Walk Cookhouse Restaurant IN AT

TO

NATIONA ER

DIVIDUAL A U

L SIZ AL

inc new outdoor seating area.

40.

Foundry Lane Units.

AND INTERDISCIP L IA

Research Commercial

H CO

EXISTING CONTEXT S S

IVIDUAL IND AU AT

L IA OC

S

B

Existing Tenants:

NOMOUS C TO

CA

20

ECTIVE EL

SM

Riverside Walk

19.

INT

38.

18.

AIM ED

Site Entrance

17.

40

EXISTING CONTEXT 37.

16.

Performance hall 27. Commerical Office Space 2 Communal Break Room 28. Commercial Office Space 3 Stairs and Lift 29. Commercial Office Space 4 INTERDISCIP D N A LINA N Womens W.C. 30. Spare Space RArtist ESIO YW OH C OR L A K I Mens W.C. 31.

Spare artist Space OC S PU Disabled. W.C. M INTE N AND Spare Office and Utilities ESIO

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OC NEW CONTEXT US

41.

P M

ECTIVE EL

S EET

LINAM RY WO RK

NOMOUS C TO

Mini Outdoor TCourtyard IO RNA NA Spaces

IN AT

DE

28.

21

15.

Commercial Office Space 1

CEPT ON

Utilities

Artist Studio 1 - Tom French

29

14.

26.

E

DIVIDUAL A U HIP AND ORS A TH

Services

27.

26

27

28

22

24

30

Connecting Bridge

DE

NE1.4TV International Casting

A

23

13.

L

Agency

16

25

14

AU

TicBox Disabled TV Casting

38

30

19

SM

25

15

19

31

New Tenants:

L

Existing Tenants

17 13

OFF QUAY STUDIOS

18

HIP AND ORS A TH

Commercial

11

6

20

Craftsmen) Office.

HIP AND ORS A TH

Research

New Tenant B

Yoga Space

Agency

Public Space

36.

Works (Local

A

RO MO TE

New Outdoor Training and

New Tenant A

Crescent 51 and Mushroom

TO P

24

35.

Courtyard from Above

S

RiotBoxing

Making Coffee Shop

12.

12

3 7

New Tenants:

34.

Workshop.

21

8

CLT Open Shelving unit

Bakery

Kids Zone

L

23.

26.

PROGRAM LAYOUT KEY

9

41

Workshop Lift

33.

11.

INT

Existing Tenants: 40

B

32

Off Quay Reception Area

Architecture

S

25

26

28

22.

Village Cluster Roof Terraces

CA

33

OFF QUAY STUDIOS

10.

AIM ED

36

34

27

41

2

30 29

21.

Newcastle and Northumbria

6.

36

1.

31

14

15

20.

Timber Storage Facility

5.

CEPT ON

23

35

12

Synergy Corridor

19.

1

5

4

Research Workshop CNC Lab

OpenStructures Office.

Public Facilities:

AU

16

Quiet Space and Seating Area

18.

4.

39

Research Facilities 17.

Open Plan Break Room

RO MO TE

A

13

22

38

market stalls).

Lift and Stairs.

3.

SM

9

modular commercial

9.

11

10

7.

Village Cluster (adaptive

overlooking view

6

18

24

Children’s Play Zone

7

41

Workshop Lift

TO P

2

6.

8.

5

17

19

Cafe

A

20 21

5.

16.

7

Disabled W.C.

9.

2.

S

36

Reception

15

10

Mens’ W.C.

Admin and Archive

Kitchen

INT

1

4.

14.

Womens W.C.

8.

Testing Workshop

AIM ED

39

4

Public Timber and Crafting Workshop

7

3

3.

13.

Spare Office

1.

DE

41

Central Courtyard

8

Kitchen

S

7

2.

12.

Learning space

7.

CA

8

1.

Main Atrium

11.

Research Facilities

37

Lecture auditorium

RO MO TE

37

10.

TO P

Public Facilities:

MAKING CENTRE

AL AT TIT ITIC U CR

GROUND FLOOR PLAN

MAKING CENTRE

AL AT TIT ITIC U CR

B

B

FIRST FLOOR PLAN

L SIZED AL

BLIC PU

U

242

243

TESTING PRESENTATION SECTIONS SECTION A

SECTION B

RESEARCH

WORKSHOP

MAIN SPACE OFF QUAY

KIDS PLAY ZONE

MULT ID

COM M

ODUL A

COM M

MODUL A

TO P RO MO TE S KEM Y UTLTID HE M

PRO M AC OT A E S YT HE M

R

SOCIAL

RESEARCH TEACHING AND LEARNING

VE EATI SPAC CR

ES

BER TEC TIM H

LO NO

MY DE

244

IPLINARY

ISC ND INTERDISCIPLI A N NAR ESIO ITY INVOLVEM YW H N E O U C OR AL K N I U I M T Y M CO OC NT

MODULAR TIMBER TECHNOLOGY

EXAMPLE ACTIVITY

LOGY NO

NT

INVOLVEM ITY E UN

VE EATI SPAC CR

MULTIDISCIPLINARY SPACE

IS

E

MODUL A

LOGY NO

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COMMUNITY INVOLVEMENT

ES

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MOUS C

TO P RO MO TE S KEY TH EM

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SCIPL INA RY WO RK

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AND INTERDISCIPLIN ARY WO RK AND INTERDISCIPLIN BER TEC N M O I I ARY H ES RT H WO CO L RK IA C O MBER TECH INARY R TI L S P I CE

MAKING CENTRE

MMUNITY CO

OPENSTRUCTURES: CHILDRENS WORKSHOPS

SYNERGY Research Workhop

Public Workhop

245

Quay Renovation FirstCOMPOSITION Floor to Roof Detail 1:20Off SECTION STRUCTURAL PAGES

1 Roof

Off Quay Renovation Ground floor to Foundation Junction

(Top to Bottom)

- New Tyvek Waterproofing Membrane fitted - New 150mm Kingspan PIR Insulation fitted for improved thermal performance - New Dupoint Vapour Control Layer added - 18mm Ply deck - 100mm x 30mm timber battens creating service void - lined with 100mm Rockwool sound insulation - 18mm Ply deck - 12mm Magply A1 Euroclass non combustible fireboard - 18mm Marine Grade ply deck ceiling finish

2 Interior wall

1 Interior Wall 1

(Top to Bottom)

- 200mm x 150mm CLT beam - Accoya timber window frame - Double Glazing (5mm + 10mm cavity gap) - 200mm x 50mm timber beam - Double Glazing (5mm + 10mm cavity gap) - Plywood ramp providing disabled access

2 Ground Floor

(Left to right)

- 10mm Twinwall Polycarbonate Panel with bolt fixing - 200mm x 50mm timber battens - 10mm Twinwall Polycarbonate panel with both fixing

2

Whilst it is acknowledged that to achieve maximum acoustic performance this wall would be acoustically insulated, the designer feels that this need is outweighed by the desired illumination / light perforation effect of the polycarbonate glazing as a design feature for the artist and music rehearsal studios.

(Top to Bottom)

- 18mm marine grade ply deck floor finish (inside Bakery) - 75mm Polished concrete with underfloor heating pipes - Tyvek waterproofing membrane - 100mm Kingspan PIR insulation fitted - Secondary waterproofing membrane ensuring long term protection - Assumed existing reinforced concrete slab beneath the Off Quay building - Earth

1

3 First Floor (Top to Bottom) - 18mm marine grade Ply deck floor finish - 18mm Ply deck - 400mm x 80mm exposed glulam beams (spaced 500mm apart) - 100mm acoustic insulation - 70mm x 30mm stop battens screwed into glulam beams - 12mm Magply A1 Euroclass non combustible fireboard - 18mm Marine Grade ply deck ceiling finish

3

2

OFF QUAY RENOVATION - GROUND FLOOR TO FOUNDATION OFF QUAY RENOVATION - GROUND FLOOR TO FOUNDATION

246

247

Making Centre new Build Ground Floor to Foundation Junction

Making Centre new Build Roof junction

1 Parepet Detail

(top to bottom)

1 Interior Ground Floor

- Anodised Copper roof coping - Compressed against timber battens with a bolted aluminium plate - Singly ply waterproofing membrane - 50mm Kinspan rigid insulation - 18mm Plydeck - 70mm x 30mm timber battens

2 Roof

1

4

- 75mm Polished concrete with underfloor heating pipes - Waterproofing membrane - 200mm PIR Kingspan rigid insulation (selected due to high load bearing capacity) - Secondary waterproofing membrane ensuring long term protection - 300mm Reinforced Concrete slab with 600mm concrete footing - 50mm Screed blinding - 200mm Type 1 well compacted hardcore - Dotted line indicating glulam beam steel shoe connection with 1200mm x 800mm concrete foundation

(Top to Bottom)

- 20mm Bitumen layer - Singly ply waterproofing membrane - 200mm Kingspan rigid insulation - Dupoint vapour control layer (stops long term rot) - 18mm Ply deck layer - Timber furrings @ 1:60 fall (creating surface run off angle) - 150mm x 50mm timber battens creating services void for electical cables and HVAC - 100mm x 50mm Stop battens - Marine grade plywood sheet with oak slats

3 Curtain Wall

(Left to right)

2 Courtyard Wall

4 Courtyard wall

3 Courtyard Ground

(Top to Bottom)

- 40mm paving slabs - 75mm Screed - 200mm Type 1 well compacted hardcore - 50mm Screed blinding - 150mm x 250mm concrete block flush with paving (on right side providing earth containment) - Earth

(Top to Bottom)

- Anodised Copper roof coping - Hidden Aluminium gutter with drainage behind, 150mm x 300mm channel flow - Continued single ply membrane under aluminum gutter - 800mm x 200mm Glulam roof beam - 150mm x 50mm Timber battens creating void for hidden drainage system - 10mm Twinwall polycarbonate panels cladding both sides attached with bolt fixing onto battens - 200mm x 150mm CLT structural beam

2

(Top to Bottom)

- Accoya timber window frame - Double Glazing slot window 6mm + 14mm cavity gap - Powder coated aluminiumv frame sliding glass door - Waterproofing membrane (continued) - 150mm x 250mm Concrete supporting sub block

3

- Accoya timber window frame Triple glazing 6mm + 14mm cavity gap - Fixed to 400mm x 50mm CLT beams - 800mm x 200mm primary structural glulam beam in elevation and section) - Dotted line indicating concealed buttjoined bolted steel plate connecting the glulam roof lattice to the primary glulam studs

248

2

Top to Bottom)

4

1

4

3

Detail - Hidden Acco wade drain with 10mm drainage slot -Dotted line indicating hidden courtyard drainage system flowing behind

MAKING CENTRE NEW BUILD - GROUND FLOOR TO FOUNDATION JUNCTION MAKING CENTRE NEW BUILD - ROOF JUNCTION 249

Synergy Corridor - Junction between the existing structure and the new build

SPATIAL RELATIONSHIPS DIAGRAM

1 Off Quay Exterior Wall

(Top to Bottom)

- New aluminium roof coping added - Fitted to 18mm Marine grade ply - 100mm Kingspan PIR insulation - Existing brick wall facade retained and refurbished on the exterior and interior - New 150mm Kinspan PIR insulation fitted inside wall build up (internal brick layer removed, bricks kept to be reused, before being rebuilt creating reclaimed brick surface on both the exterior and the interior.

- Catnic lintel (providing structural support for the brick wall) - Internal window lining - accoya timber cladding - Powder coated aluminium window frame (external) - Accoya timber window frame (internal) - Double Glazing (6mm + 14mm cavity gap - Repeated brick wall build up beneath slot window - Catnic Lintel (providing structural support for the brick wall) - Internal punched intervention lining - powder coated aluminium plate

2 Glazed Corridor Link

3 Hidden Gutter Detail

Research Resident office 2 (Crescent 51 Joinery specialists)

Modular Resdent Artist Stalls

Reception

Main Public Atrium

Research Office 3 (NCL Architecture and Design department )

Kids learning and play area Collaborative Public and Research Workshop

Spare Office (Future Expansion)

1

Cafe Contemplation Courtyard

Archive and Storage

2

3

W.C.

Plant Room

W.C.

Timber Storage Facility

Off Quay Reception Area Stairs and Orientation Space

Commercial Village Renovation of Existing Businesses

(Top to Bottom)

- Aluminium gutter 150mm x 150mm channel flow - Waterproofing membrane - Supporting timber battens (200mm x 50mm) - Screw fixed load bearing steel bracket (green) - 18mm Ply battens with 10mm shadow gap concealing the drainage system

Entrance

Feature Staircase Research Break Room

(Top to Bottom)

- 4° Surface run off angle leading to hidden gutter - Powder coated Aluminium window frame (exterior) - Double Glazing (6mm + 14mm cavity gap) - Accoya timber window frame (interior) - 200mm x 50mm structural glulam beam

Lecture Space / Viewing Gallery

Research Resident office 1 (OpenStructures)

W.C.

Kitchen

W.C.

Private Music Rehearsal and Artist Studios

Function Room / Performance Hall Disabled W.C.

SYNERGY CORIDOR - JUNCTION BETWEEN THE EXISTING STRUCTURE AND THE NEW BUILD

ORIGINAL SOURCE - ARC3014 PROFESSIONAL PRACTICE ESSAY 250

251

CONTEXTUAL RENDERS USING THE PHYSICAL MODEL

252

253

ADDITIONAL PROCESS MODEL PHOTOGRAPHY

254

255

256

257

END.

258

259