Max Blythe Portfolio

STAGE 3 PORTFOLIO BA (HONS) ARCHITECTURE MAX BLYTHE

Architecture K100 - Newcastle University Architecture Portfolio submitted towards Architecture BA Honours Degree, Newcastle University Tutors: Luke Rigg, Sophie Baldwin & Kieran Connolly | Weaving in Wallsend Copyright © Max Blythe Max Blythe | 180297731 | Newcastle University

ACKNOWLEDGMENTS I would like to thank my design tutors, Luke Rigg, Sophie Baldwin and Kieran Connolly, for not only providing an interesting an engaging studio brief, but also for their continued support throughout the year and willingness to help. I have thoroughly enjoyed being a part of the Weaving in Wallsend Studio.

I would also like to thank my personal tutor, Martyn Dade -Robertson, who has given up his time to speak to me on a regular basis, without his help and guidance, I wouldnt have improved as much as I feel I have throughout the degree.

AMENDED WORK AFTER REVIEW

NEW WORK COMPLETED AFTER REVIEW

CONTENTS 6

REFLECTIVE REPORT

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FRAMING

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TESTING

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SYNTHESIS

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ILLUSTRATED CULTURAL BIBLIOGRAPHY

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BIBLIOGRAPHY

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LIST OF FIGURES

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APPENDIX

REFLECTIVE REPORT Stage 3 has been a tough, but enjoyable learning experience.

Entering the year I wanted to greatly improve my graphic skills, something which I lacked even entering the degree in Year 1, this is something I feel has greatly improved over the year, with my sketching ability also following this pattern.

Enhancing these skills has been an enjoyable and fulfilling experience and something that will carry forward for many years to come. Prior to university, I had a keen interest in photography, this was an area that I found particular success throughout the entire degree, not just in the literal sense, but also as part of imagining the spaces within designs. Framing views and images is something that had great importance in the representation of my proposals across the 3 years, it can help sell your ideas and concepts with images becoming more pleasing on the eye, alongside a great presentation, this can really persuade clients and critics. Presentation and vocal skills is also something I think I have greatly improved throughout the duration of the degree, while there is always room for improvement, I felt entering the degree this was one of my weaker areas. However, since then, this has improved greatly, with frequent presentations and reviews meaning I can now comfortably present in front of large groups and have frequent input in studio and peer to peer discussion.

Amongst the wider architectural context my final year project represents a type of architecture that I think should be more commonly adopted in the urban environment. Too often new construction is done with economic gain at the centre, trying to maximise the profits of a site, overlooking the user entirely.

Coming from a geography background, I have an immense interest in the user, on an individual level but also in a group setting, how people interact with one another, whether it's familiar interactions or new fresh ones with complete strangers.

I believe this user-centric design should be adopted within the UK building industry, with popularity in Scandinavia and the Netherlands, this type of architecture can add immense benefits to a vast scale of people, in my view much better than a specific targeted user group. My project has also challenged the ideas of public and private boundaries. Set in a privately owned shopping centre I experienced first hand on site visits how the privatisation of architecture can create unnecessary conflict. As established in my proposal and in the ARC3015 essay, the shopping centre alongside my building should be made public, with more freedom for users, regulated by the 6

community, ensuring their interests are best served, rather than large corporations who have a economically centred approach.

The ARC3015 Essay was closely linked to the design process as previously mentioned, it was essential in understanding my the theme of Urban Commons. In the essay, I established a design framework with the ideas of Urban Commons at the centre, while also assessing my current design framework. This not only allowed me to evolve my design strategies in a personal sense, but also improving them with the users of the site in mind. I carried this new framework through the entire design process, which ensured that not only the final outcome but also the process embodied the themes of Urban Commoning and Advocacy. It was also important to explore Urban Common theory in depth here, with the theory being subjective, it was essential I formed my own perspective on it, informed by texts, lectures and precedents to come to a conclusion.

The ARC3014 module also tied neatly in with my design process, this time on a more realistic level. Researching regulations and Procurement Strategies was a refreshing insight into how my project may be designed, had it been constructed. Using the RIBA Plan of work was key to this, as it gave me an understanding of how many iterations, as well as the timespan my project would have needed in practice.

The most influential module outside of ARC3001 was undoubtedly the ARC3013 module. This was challenging for me because of its close ties with the design process. It meant resolving the detailed construction of the building long before my final drawings were ready. Moreover, the proposal features a theatre, which requires great attention to detail in the construction, to ensure effective sound isolation and retain atmosphere. Here, I researched specific products and aimed to apply them to a construction I was familiar with, a highly useful exercise, with these specialist products being common in a real world setting, where subcontractors will relay with the architect and structural engineer to integrate these products into the building. Although challenging, I thoroughly enjoyed this module.

Overall, the integration of other modules as part of the design process enabled me to bring different focuses to my design process, looking at theory, regulation and technology to design the building at a variety of scales. These all culminate into the main space of my proposal, the theatre, which aims to provide a function that residents are engaged with, drawing from much loved local buildings to create an engaging space that create interaction and community throughout Wallsend.

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PART 1: FRAMING THE BRIEF During Framing we were tasked with creating a brief for our future design proposals through in depth research into the Wallsend’s historic and current context. My framing had a distinct focus on the social focus of the site , informed by the studio theme’s of Urban Commons, Advocacy and Critical Spatial Practice.

Understanding who I am designing for is integral to alligning with these themes and as such, my research was heavily focused on this., looking at people’s behaviours, their visions for the town and issues they see with the ste of our future devlopments: The Forum Shopping Centre. By completing a Case Study on Lina Bo Bardi, an architect known for rooting her designs deep in their social context this helped me understand how locals deal with major social interventions in their hometown.

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CASE STUDY: LINA BO BARDI During framing I created a Case Study on Teatro Oficina , a low budget theatre designed by Lina Bo Bardi. As part of this group task I researched Lina’s core theories and where Teatro Oficina sat amongst these ideas. This was a great exercise for me, engaging not only with the studio themes of commoning during this research, but also researching different theories that later formed part of my Brief construction process. Namely, Critical Regionalism, a theory which I personally deem incredibly important to Modern Architecture, drawing from contextual infromation to inform the design process, from the wider form of the building to the micro scale, such as material choice. The following pages are taken from the Thematic Case Study submission, with my contribution towards the group submission featured here (see appendix for full document)

T E A T R O

Contents Lina Bo Bardi: An Introduction Teatro Oficina: Building in Context How does the case study relate to the Architect’s theoretical position and how does it explore their ideas/preoccupations?

Max Blythe How does the case study relate to other buildings of its type?

Polly Chiddicks

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O F I C I N A 4

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How does the case study relate to its environmental/climate crisis contect?

Stella Chukwu

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How does the case study demonstate Critical Spatial Practice?

Ameerah Kasmirhan

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How does the case study demonstrate Advocacy?

Lorand Nagy

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Teatro Oficina: Building in Context Teatro Oficina is a theatre and performance venue located in Sao Paulo, Brazil in the Bela Vista neighbourhood. The redevelopment of the theatre was completed in the 1990’s by Lina Bo Bardi and Edson Elito and has been argued to be a revolutionary, experimental and “territorial” land mark of Sao Paulo. 1,2

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Theoretical Position: Lina Bo Bardi’s position amongst architecural thery draws from many different areas, with some elements relating heavily towards elements of Critical Regionalism, estabilished largely by well known theorist Kenneth Frampton. This draws on ideas of using the local venacular and sense of place to form the new architecture. With one of Lina’s main works, SESC Pompeia, Sao Paulo drawing being a great example to demonstrate this relationship.

The Leisure Centre demonstrates Bo Bardi’s interest in this theory by making use of the existing building frame of the disused barrel factory1, rather than demolishing it entirely and starting over. The same thing can be said for the feature example in this booklet: Teatro Oficina.

Figure 1: Plan of SESC Pompeia with existing shell highlighted

Figure 2: Photograph of seating which has been installed seperate to the existing building frame.

However, Bo Bardi also has her own identity outside of this theory, merging “modernism with regionalism and the vernacular, melting it in her personal project of reclamation”2 SESC Pompeia also draws comparisons to Urban Common Theory, with a particular focus of Bo Bardi’s architectural process being on the inhabitation of spaces where she has a focus on “spaces created by our occupation rather than inert spaces that we occupy”3 . Hence, Figure _ , where we can see a main route of the building being dominated by people sunbathing, definitely not the intended use, but one which Bo Bardi was likely understanding of.

1 https://www.sciencedirect.com/ science/article/pii/S1877916616300017 2 I.bid 3 http://thisisrealarchitecture.blogspot. com/2013/08/lina-bo-bardi-with-people-atheart.html 12

Figure 3: “Sunny Sunday at SESC Pompeia” with Social Use highlighted

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Figure 4: Sketch of SESC Pompeia highlighting the social interactions beneath.

São Paulo Museum of Art (MASP) - Focusing on Social Interaction.

A prime example of Bo Bardi’s attention towards Social Interactions comes from her designing of MASP, In this project she decided to make space for a huge social space beneath the vast museum, which as invisioned is used for all kinds of social activities, from protesting and general gatherings to more organised events associated with the museum above and beneath this space. The simple design move highlights her focus on social interaction when designing, thinking about the wider use of the building amongst the city scape, even to people who arent making use of the architecture’s primary function.1 The MASP also highlights Bo Bardi’s modernist influence, this was some of her earlier work and at the time was International trend, it was in her later projects like SESC Pompeia, that she began to come “increasingly inflected towards the vernacular”2. With the use of huge concrete elements in the floor and structural pillars either side of the raised structure, Bo Bardi chose to emphasise these elements, using red paint as the tool, showing she was not afraid of utalising this man-made material, like many others of her time. The concrete also helps to create a boundary for the space beneath the museum and contribute to the vastness and weight of the space, drawing attention to these was key to this rather than shying away from this contradiction to her other ideas.3 1 https://www.archdaily.com/941823/linabo-bardi-and-the-generosity-of-the-streets 2 Condello, A. & Lehmann, S. (2016) Sustainable Lina Lina Bo Bardi’s adaptive reuse projects. Switzerland: Springer. p.66 3 https://www.archdaily.com/537063/adclassics-sao-paulo-museum-of-art-masp-linabo-bardi

Figure 5: Photograph of the MASP, highlighting the red concrete supports

Figure 7: Photograph showing crowd of protestors gathered underneath the MASP

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Figure 6: Sketch showing how the MASP would look without the public space beneath it, and how few people can now interact around the museum.

Figure 8: Sketch showing the design move which created the important public space beneath the MASP

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Teatro Oficina - Bringing it all together Tetro Oficina is the project which best demostrates her values as an architect and the one which shows her theoritical position the best. Being one of her later works, she had already made the two previous examples, learning from both of them. This theatre, turn nightclub or event space lies in the popular Bela Vista neighbourhood in São Paulo. In this project, there is a clear link to Bo Bardi’s understanding of Frampton’s Critical Regionalism theory, whether she was aware of it or not. The main premise of the Teatro Oficina is the utalising of an disused warehouse, filling it with old scaffold to create a incredible vertical theatre with seating an many different views although basic, “Bo Bardi’s concept is quite simple: retaining as much of the existing building fabric as possible, working within the original envelope, providing new insertions such as staircases, to improve the circulation.”1.This is hugely relevant to Frampton’s ideas in Critical Regionalism of creating an architecture of the vernacular, with the building envelope being unchanged from it’s previous use and the interior being made from entirely local resources, made special by local people. It couldn’t be closer to the defintions outlined by Frampton. This leads onto it’s capabilities as a social space, with the varying functions of the space, it gives locals the opportunity to craft the space themselves and it’s become a space which is clearly important to them. With an affluent local buisinessman (Silvio Santos)’s wish to build on adjacent land being denied on numerous occasions after local’s sought to retain the theatre in it’s best state.2

1 https://www.sciencedirect.com/science/ article/pii/S1877916616300017 2 https://www.theguardian.com/ cities/2017/nov/29/teatro-oficina-theatre-saopaulo-counterculture-silvio-santos 14

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Teatro Oficina - Lina Bo Bardi

The treasured piece of architecture is undoubtably a great example of an integrated social space into a local community. This defintely classes as a form of urban common and as such elements of this space should definetely be considered for the desinging of our own individual commons.

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“An Urban Common provides a shared resource, with a non-discriminative agenda and access. It can be public or private, with no drive for economic gain or profit.”

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Summary Drawing of Design Framework created during research on Urban Commons (image taken from ARC3015)

STUDIO THEMES: URBAN COMMONS “An Urban Common provides a shared resource, with a non discriminative agenda and access. It can be public or private with no drive for economic gain or profit”. This is the key takeaway from my urban commons research. Discovering that the theory was incredibly subjective meant forming a definition was essential before I could try to understand the theory further. Using the ARC3015 Essay to establish a Framework for designing with the theory in mind. Among others there were two key texts which aided my understanding of Urban Commoning which are seen above.

Urban Commons Research Page where I was understanding the theory and applying the research to the Forum.

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CASE STUDY: SKIP GARDEN, Jan Kattein Architects To understand this more required the research of a precedent. The Skip Garden + Kitchen was a shared space in the heart of Kings Cross, London. It offered educational experiences while being a private hire venue, that can accomodate bands, meetings, dinners, weddings just to name a few. It was closed in 2019 and relocated to the British Library after a rebrand. But its creators, Global Generation, a non profit orgaanisation plan for it to be reintroduced on a permenant basis to the KIngs Cross Site in 2022.

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Urban Commons Studies as part of group work by Ben Franklin and Chris Hegg respectively

Urban Commons Study as part of group work by Lorand Nagy

Urban Commons Study as part of group work by Charlie Kay

Adaptability of Scheme

By creating the piece seen previous, I gained a detailed understanding of the ideas and features that make the Skip Garden such a successful Urban Common. It’s incredible scope for adaptability means that the common can become a “resource” for the widest range of users . Alongside its detailed connection to nature is the key takeaway from this study for my final proposition in Forum Shopping Centre, which could also benefit from both of these themes. The drawing was completed as part of a studio wide Atlas of Commons, with some additonal examples seen top right. The task was useful as it meant I could later draw from elements of these commons for my proposal.

Connection with Nature.

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UNDERSTANDING THE INDIVIDUAL. Understanding the behaviours of the individual are key to the success of an Urban Common and my Rituals of Civic Life drawing focuses on the daily encounters which take place at a supermarket. These unintentional conversations that often take place in these environments are something which I wanted to replicate within my intervention. These kinds of interactions are ones which I think makes people feel part of a circle, where they can go into a shop or building in their local area and bump into people they know, or meet new people at these places. These undoubtably give a greater community feel to a building or any given environment, and if these can be promoted, then this is key to the realisation of an Urban Common on a social level.

The Rituals of Civic life drawing was completed as part of a studio wide task similar to the Atlas of Commons. Alongside my own research, many of the drawings represent spaces which later ended up in my final proposal, with these drawings aiding my understanding of the atmosphere in these places.

Study on Civic life in a Cafe. Part of Studio group work.(Original Author: Chris Hegg)

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Civic Life in a supermarket

Study on Civic life in a Market. Part of Studio group work.(Original Author: Zoe Ingram)

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SITE: WALLSEND - AN INDUSTRIAL HERITAGE My final Year project is set in Wallsend, a historically industrial town, suburb to Newcastle. It’s industrial history is of note, with an prominent shipbuilding history, providing vessels for both World War 1 and 2, aswell as producing a ship which saved passengers of the titanic. The Town was once one of Newcastle’s most prized assets, in recent decades this has seen a decline, with the closure of the shipyards alongside the 2008 financial crisis, some would argue the town has been left behind with major investment in the city. Wallsend has been forgotten.

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Principal Routes

Public Green Space

Sun Path

Pedestrian Gathering Wallsend with Key Buildings Highlighted

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SITE DECLARATION

The site is located in Wallsend, a suburb town of Newcastle Upon Tyne, within the town, the site more specifically is the Wallsend Forum Shopping Centre, a retail focused building that sits directly adjacent to the high street in the town. The centre has a lot of heritage being built in 1966 and has been an integral part of the town for many decades. However, with the rise of the internet shop, the centre, as with most physical shops, has begun to show signs of struggle and with the close proximity and ease of access to Newcastle City centre, the forum receives few visitors. My intervention aims to tackle this, injecting new life into the forum to spark more frequent and consitent social interaction and conversation in Wallsend.

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GROUP SITE READING: SOCIO HISTORIC CONTEXT

Socio-Historic Context of Wallsend. Part of Studio group work. (Original Author: Stella Chukwu & Ameerah Kasmirhan)

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Understanding the social context in a historical sense is important when trying to understand how it may behave in the future. Historically, Wallsend was an industrial town, being one of the many key shipyards in the country, with access to the tyne estuary making it possible. People were united as a unit, and through thick and thin, the Wallsend Community was strong as a result. But with the decline of the Shipbuilding industry as a result of the recession during the 1970s, houses were demolished and the shipyard closed, and that sense of community was lost. This along with the investment into Newcastle city, is likely what sparked major lack of community prescence in Wallsend.

Now, the community is defintely still there but with no mass local employer and nowhere as an established place for meeting and engaging, this is less apparent.

They need a space to house this, so the community can become stronger and more vocal once again.

GROUP SITE READING: MATERIAL Material context of Wallsend. Part of Studio group work. (Original Author: Luca Philo, Milly London, Dan Bennett, Polly Chiddicks )

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The material strategy for the site can be looked at face value, but also engrained in the history of place. Here one group elected to display the industrial materiality of wallsend through a conceptual sketch, which takes a section cut through a ship to represent the atmosphere that is so commonly associated with Wallsend.

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Richardson Dees Park 1:1000 Nature

Leisure

GROUP SITE READING: ECOLOGY

Foreground of Hawthorn Villas & Park Villas, and to the Hallís foreground 1:1000

Ecological Context of Wallsend. Part of Studio group work.

(Original Author: Janeen Seah, Xindi Cheng, Jane Li & Peng Yin)

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Nature

Leisure

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The studio also focused on the ecology of Wallsend, in particular Richardson Dees Park. This is the largest of the parks within Wallsend and also houses the Hawthorn and Park Villas, a small holiday park. Looking in depth at this site is important with the need for more green space in the town centre, around the forum shopping centre.

Looking at what is successful in this well established public space, presents a precedent for me to later draw from in my proposal, where I aim to create a public garden that is part of the Forum Shopping Centre.

Urban Context of Wallsend. Part of Studio group work. (Original Author: Lorand Nagy, Chris Hegg, Ben Franklin & Charlie Kay)

GROUP SITE READING: URBAN FABRIC Additional group work focused on the Urban Fabric of Wallsend, more specifically, the site of our projects, The Forum Shopping Centre. Here a group site model was made alongside a series of elevations seen here.

These would later proved important for my proposals, in order to assess how influential my proposal is on the surrounding context and skyline, given wallsend housing typology, a height of 1-3 stories is preferred.

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SOCIAL MEDIA SITE MAPPING Understanding individual behaviours is one part of the strategy to make a successful Urban Common. I also needed to establish what residents actually felt The Forum shopping centre and Wallsend actually needed. With COVID-19 creating an inability to personally interview people who were at the site, I used social media to get an understanding of what residents wanted for Wallsend

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DEMOGRAPHIC STUDY Who were these people? I needed to understand the audience which my proposal would serve. Conducting some base level population analysis enabled me to build a good picture of who the residents of Wallsend are. It is worth noting that the map below describes the most abundant age range in the given areas in Wallsend.

In reality the data is more on a house by house basis, however, mapping this would make the trends more difficult to identify.

Full-Time Employment Part-Time Employment Un-Employed

Age 55+ Age 35 - 54

Employment Percentage, Wallsend Source: Census 2011 Owned

Age 16 - 34

Mortgage Shared

Not Residential

Social Rented (Council) Social Rented (Housing Assoc) Private Rented Other Rent Free

Tenure Types, Wallsend Source: Census 2011 AB C1/C2 DE

Social Grades, Wallsend Source: Census 2011

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Buddle Arts Centre, Wallsend (Closed)

People’s Theatre, Heaton

THEATRE AND ARTS SCARCITY With mention of new arts venues needed for Wallsed, I needed to establish the current frequency of venues in the area.

Outside the city centre and the bustling ouseburn and byker. there is a distinct lack of Theatre and Arts Venues. The most local to Wallsend, the Buddle Arts Centre closed down in 2011 with plans to turn it into office space approved in 2020. Wallsend is without somewhere to house creative talent, the city has left wallsend behind in arts investment.

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Star and Shadow, Shieldfield

SA Performing Arts Centre, Byker

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WALLSEND: A JOURNEY THROUGH FILM

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As part of further site analysis, I created a short film shwcasing a route through the Forum Shopping Centre and Wallsend. This helped me understand the atmosphere of the place, who was around at what times and where they might be going. From the video I established a series of profiles (see next) to give personality to the potential users of my building, which would normally come across with an in person interview.

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Name: Dave Age: 67 Ethnicity: White Occupation: Retired Notes: Dave has lived in wallsend all his life. He runs some errands in the Forum before he meets his friend for a drink.

Name: Mark Age: 41 Ethnicity: White Occupation: Chef at chain restaurant in the Eldon Square Shopping Centre.

Notes: Mark travels to work on the Metro, the wait for the trains are a feature of his daily commute.

Dave’s House

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Runs Errands in the forum Meets friend at pub

Name: Sophie Age: 19 Ethnicity: White Occupation: Student, Part Time Shop Assistant Notes: Sophie heads to work in Poundland, the largest store in the Forum. She longs for local entertainment venues.

Mark’s House

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Western Community Primary School

Name: Nadia Age: 36 Ethnicity: British Pakistani Occupation: Part Time HR Officer Notes: Lisa visits the local mosque in Heaton. Although a minority in Wallsend, she feels comfortable living here, having recently started a family. She believes Wallsend needs a space to house the community she has recently found belonging to.

Smith Family Home

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Name: The Smith Family Age: 6, 8,12 and 38 Ethnicity: White Occupation: N/a, Market Stall Owner Notes: The kids attend the struggling Western Community Primary. Single Parent Jenny’s low household income means the kids benefit from free school meals. She begins to worry for her eldest’s future employment with unskilled opportunities in Wallsend very limited.

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Name:Buena Vida Buisiness Type: Deli Takeaway Independant Current Status: Open For Buisiness Notes: Family run Buena Vida recieves a steady flow of customer, making a small profit each year. More pedestrians arriving to Wallsend via metro would really boost their sales.

Name: Children’s Play Bus Buisiness Type: Amusement Current Status: Out of Order Notes: Lack of demand has resulted in delayed repair of this small amusement.

Local children are more interested in recreational areas, something unavailable around the site of the Forum.

Name: Air Products Ltd Buisiness Type: Compressed Air factory - Large Scale Industrial Current Status: Operational Notes: Stable workforce and a healthy demand in applications means this buisiness is thriving. Lots of locals apply themselves to work of this kind. Drawing from heavy industrial structures links a new development to the context.

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WALLSEND: UNDERSTANDING THE LOCALS Establishing a series of profiles and buisinesses helped me to understand the individual fiurther. Where to they spend their free time? How to they travel to work?

How is their financial situation? By understanding the individual, it means I can directly cater to their needs.

As for the buisinesses, do they need help? What could increase the success of their buisiness further? Can my proposal act as a catalyst for these buisinesses, propelling them to greater success year on year.

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THE FORUM: ITS CURRENT STATE

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The forum certainly functions as an Urban Common for Wallsend currently, however to varying degrees of success.

The building is unloved and beginning to fall apart, with the market empty during my visit, it shouldve been bustling with life and the frequent bartering of prices being had. It’s exterior is wearing away, seen on Image 6, it is in need of work. The band stand at the front entrance to the Forum has been taken over by a local pigeon gang, with locals unable to use it and displace the birds. This is an area with buskers and perfomances, which currently isnt being used at all. There are pockets of potential however, the independant barbers providing a comforting coverstion amongst the eerie silence in the rest of the Forum.

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ENTRANCE STUDY. After Visiting the site I identified the West Entrance to the Forum as a weak are in its design. The long, narrow corridor is not fit to serve the kind of visitor numbers the Forum should recieve. Un-inspiring decor is masked by images of Wallsend’s history, a reminder to locals of how the town used to be, for many long standing residents this is important.

However, with the adjacent car park being one of the main routes to the Forum, it is important that this entrance is altered or moved, in order to make it a more inviting and noticable threshold without the obvious signage. I chose to further understand the entrance through the use of a perspective section, this not only communicate atmosphere, but also the confined nature of the space.

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RESEARCH REFLECTION Reflecting on my Framing Research some key responses to the studio themes emerged, which are all closely linked.

The Studio’s core themes are: Critical Spatial Practice, Advocacy, Commoning by Design and Retrofit. One which I have looked in more depth to is Commoning. By researching the theory of Urban Commons aswell as examples of these in practice helped me understand what research was needed in order to produce an effective Urban Common, namely the Social Media Site Mapping, Theatre and Arts research and User Profiles. This leads directly into the Advocacy theme, by understanding what people want for their town, I can advocate for those interests in my design. Effective client and user research is key to being an advocate for the community needs. The Social Media Site mapping is a great tool for this, especially during COVID-19 when interviews/focus groups are unlikely to take place. These also tie neatly with the themes of Critical Spatial Practice, with the aim here to solve a specfic need for Wallsend through meaningful iterative design and development. Although this is something that comes largely later in the project, the identification of a need and the thorough research seen here shapes my ability to achieve this effectively. Finally the theme of RetroFit, although the specifics are unrealised at this stage, the Forum presents immense opportunity for RetroFit, using the materials already existing in and around the site to furnish and shape my proposal. With the Car Park site on the Forum identified as a site for my proposal, this would mean some demolishion has to take place.

With the main material here being concrete, this presents opportunity to reharvest any demolished sections for aggregate etc. However, during Thinking Through Making (p70), I explored how I could carve into this concrete to create artwork, a mural for the site that keeps reappearing as columns which remain recall the sites former use.

The following pages show a summary of my research in various forms, showing how I intially wanted to intervene with the Forum.

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VISUAL BRIEF 1. Non-Profit Agenda - based on Urban Common Research 2. Blank Canvas - The Current State of the Forum is a ‘blank canvas’ being placeless to the local area, this must change.

3. Entrances - Many of the entrances are poor designed and not very inviting, this is something I plan to change.

4. Light - The Forum needs additional natural lighting to make the space more attractive for human interaction.

5. “Cant Breath” - the ceilings are far too low and do not promote interaction with the forum.

6. Catalyst for future Growth - The intervention needs to be a catalyst for future growth of both the forum and the wallsend community.

7. People - The opinions of the locals need to be at the centre of the intervention, falling in line with the commons definition outlined.

8. Greenery - The forum needs additional green space to increase pedestrian traffic in and around the forum.

9. Flexible - The intervention needs to be adaptable in order to accomodate for future growth of the community with the forum at the center.

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Seen right is my site declaration for the forum site, with annotation describing the moves.

Overall, my aim is so offer more dynamic and interesting opportunities for socialising, both indoors and outdoors. With the goal to attract more visitors to the forum and as a result, increase the spending in the area, benefiting local buisinesses and residents in turn. The building will be a catalyst for growth.

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SECTIONAL PROPOSITION - Current State of the Forum

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SECTIONAL PROPOSITION

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MOMENTS

FLEXIBLE SOCIAL SPACES A visualisation of how I think the intervention may look , with flexible social spaces being key to promoting the buidling as a place for conversation, with the forum becoming a place for social meetings, whether these are in a casual or formal setting. The flexible spaces mean that these types of interactions can happen anywhere in the building. These spaces need to be well lit with consistent views to or nearby greenery, as this is likely to make people feel comfortable, again promoting interactions.

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FOCUS: SPONTANEOUS CONVERSATION Spontaneous interactions between strangers, this is one of the major things I want my intervention to promote. The current state of the Forum is not promoting these sorts of encounters, if more people engage which eachother in a given community, the sense of community becomes stronger, you feel involved and included. With spaces which promote these conversations, a question, a compliment, a healthy debate, the forum will naturally become the centre of wallsend, where people want to meet.

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MARKET CHANGES The forum market lacks character, drawing from many other successful markets throughout the UK, I hope to draw alot more people to this space that it yet to be fully utalised in my view. This may be done by increasing the available space for stalls and renting them at a cheaper price, with floor space available for use also. The increase in space height will hopefully make the market alot more inviting in combination with a new threshold to the market at the ‘front entrance’ to the forum.

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Framing

THRESHOLDS The thresholds within the forum for me aren’t enticing enough, they need to make you want to enter the building, the 3 thresholds that exist on the ‘back’ side of the forum, dont do this successfully in my view. The thresholds to my intervention must engage with passing people, in doing this, the forum will attract more visitors as they seek to see what is inside. The building is a journey and it starts at the entrance. The design’s thresholds must be large, a spectacle physically and functionally. This is arguably the key area to develop when it comes to solidifying the forum as a successful Urban Common Framing

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“Urban Commons put the focus on the practical,everyday value of the resource for its users instead of treating it as a commodity from which profit can be derived.”

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PART 2: TESTING ON SITE After outlining the brief for the project, I moved onto realising the design itself. Using largely sketch iteration in the abscence of workshop access, I felt this was the method that offered me the least restrictions when designing.

I drew from the concepts and research material established in Framing, which helped shape calculated, justified design decisions.

T E ST I N G

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1950s Wallsend Town Centre - 4 Cinema’s Gaumont Cinema

1960s Wallsend Town Centre - Addition of the Forum, but removal of 3 Cinema’s

CHOOSING A FUNCTION Choosing a function for my proposal was supported not only by the research I had done, namely the Social Media site analysis. But also by researching building use throughout Wallsend’s history. During the 1950s, the Cinema and Film industry was thriving and a popular attraction amongst locals, with many citing their experiences in my research. However, by the 1960s, these venues had been bought out or demolished leaving only the Ritz Cinema remaining. With my research supporting these venues as places of huge cultural significance, I initially elected to design a Cinema .

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Testing

The function was also informed by a pedestrian study, which was conducted throughout the day on a site visit. The study clearly highlighted a drop in footfall around 5pm, the closing time of the forum. I felt this limited the type of user who can make use of the forum as a resource, with most adults working throughout the day.

This type of user would massively benefit the forum if utalised effectively. As such, the Cinema function fits perfectly, providing this user group with a leisure facility to help them unwind after a long days work.

Testing

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INITIAl SKETCHING Intially sketching, I had one key concept in mind, the cinema should be central to the proposal with the support functions shaped around the eventually dramatic space. Sketching in plan, section and perspective enabled me to imagine how this might take shape. The entrance was the secondary focus of these drawings, with the aim to juxtapose the current entrance with a larger, more effectively lit entrance.

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Testing

Testing

Further Sketching led to further clarification of the rooftop garden along with the support function’s size and position. The garden will house an external auditorium which will function for both film, community debate aswell as performances.

However the spatial arrangement still needed work.

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The design takes shape for the interim review, its main feature is the theatre space which sits central to whole building , being the focal point for a series of supporting functions which rap the edges of the site.

These functions consist of an arcade, cafe, community room, vending to name a few. The original west entrance has been juxtaposed by a large atrium, providing much needed light to the space. The south side of the ground floor opens up to create a much larger central space in the forum. The rooftop garden is shown, which houses viewing platforms, an external auditorium while being a public park.

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- Think more about the internal experience and add more fun / playfulness to it - Needs a reduction in scale and addition of another programme to support it.

- Consider the massing scale in comparison to the houses opposite. reduce is mass towards the houses.

RECORD PEER/TUTOR COMMENTS: - Think ofOF more day / night uses, what happens during the day - an extension of the forum space? threshold between the two.

- Express your cinema pod more - material interest and extrusion. Is there where you incorporate the metal studies and how it according to light. into patternated / dimpled metal how it looksofdifferent underbox/ different lighting -changes Need more ambition withinLook the design, be bravermetal with your moves and and the expression this cinema conditions - Clarify your critique of the forum and then do not replicate its spaces - your atrium is an extension of what is there, you need - add smaller pavillion that reads from the expressed cinema pod. One on CF roof, cinema pod & then green space, to be challenging these/ folly spaces thismore linearabout axis of 'pods' experience and add more fun / playfulness to it -see Think thethe internal -- Needs Insteadaofreduction the atrium perhaps it - scoop the entrance out to support it. in scale andinvert addition of another programme - Consider the massing scale in comparison to the houses opposite. reduce is mass towards the houses.

- Think of more day / night uses, what happens during the day - an extension of the forum space? threshold between the two.

- Express your cinema pod more - material interest and extrusion. Is there where you incorporate the metal studies and how it changes according to light. Look into patternated metal / dimpled metal and how it looks different under different lighting conditions - add smaller pavillion / folly that reads from the expressed cinema pod. One on CF roof, cinema pod & then green space, see this linear axis of the 'pods' - Instead of the atrium perhaps invert it - scoop the entrance out

al quality thesis

ality onal

al quality thesis

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YOUR KEY NEXT STEPS: 1.

Look at the massing and scale of your proposal - overall it is too large which dilutes your programme. How do you want to address the houses opposite? Internally, what spaces are required and how can you introduce another programme to supplment the cinema - thinking of day and night. Look into the ideas of axis of your 'pods' changing scale in different locations.

YOUR KEY NEXT STEPS: 2.

1.

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The atrium - do you want to do an inverse of the forum and instead scoop the entrance out, more intimate and well Look at the massing and scale of your proposal - overall it is too large which dilutes your programme. How do you want detailed entrance space? Think of all the threshold points, entrance to your proposal and how it links through to the to address the houses opposite? Internally, what spaces are required and how can you introduce another programme forum. to supplment the cinema - thinking of day and night. Look into the ideas of axis of your 'pods' changing scale in different locations.

Materiality - how might you express the cinema pod and add interest. Is this a contrasting material and recreated at The - dopoints? you want to do an inverse of the forum and instead scoop the entrance out, more intimate and well otheratrium folly pod detailed entrance space? Think of all the threshold points, entrance to your proposal and how it links through to the forum.

Materiality - how might you express the cinema pod and add interest. Is this a contrasting material and recreated at other folly pod points?

ITERATIVE PROCESS Overall , this iteration was not successful, the review highlighted many key areas I had not addressed or ignored. With the main problem being the scale of the building.

The feedback highlighted the need to revisit the core concepts of my scheme.

REVISITING THE CONCEPT

Testing

Extracting the core concepts from my design process was done using an exercise with a time constraint and restricted drawing space. The times see on the sheets help the drawings to become expressive and unrefined.

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Revisiting the concept is essential to the process, this exercise highlights the core principles of my design, with the sketches displaying these as in graphic form. It also led to revising the function of my building, turning it to a theatre with cinema capabilities, alongside a supporting film school. This would provide a more wide demographic and further meets the need of the locals , allowing my building to act as an effective social resource.

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Testing

Testing

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PRECEDENT RESEARCH

LEWES DEPOT, BURRELL FOLEY FISCHER Looking at precedent was key for me to effectively gauge the appropriate size and organisational elements to a Cinema and Theatre. The Lewes Depot by Burrell Foley Fischer was a key precedent for me to understand the dimensions of a successful, independant cinema. It behaves as an Urban Common to the Lewes community, which has a similar demographic structure to Wallsend.

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Testing

The Cinema sits amongst dense residential context similarly to the forum. The Depot takes advantage of the local sun path using a courtyard, presenting external social opportunities for users. This is support function that I later utalise in my proposal.

Testing

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Bridge Theatre: Journey & Shape The Bridge Theatre by Haworth Thompkins was another key precedant for my design. I felt the entrance and journey towards the main theatre was hugely successful, with the spatial qualities of this journey being the main driver for its success. I chose to investigate this through drawing a perspective joruney through the building, using photos and imagery to imagine what it may look like travelling through the building. I also took note of the theatre shape itself, with this being one the earlier precedants for what would become the primary space in my building. The 4 tiered seating that the bridge theatre has would not be something I can replicate, but the subtle angles in the form of the space drive the user viewing to the centre stage.

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Testing

End Stage

3/2 Thrust

Arena

Recitial

Stadium Seating

Cabaret

THEATRE DESIGN The theatre was the first area of design, with this being the main space of the building, it is important that this is treated as such, with the most attention to detail and careful decision making. I researched different types of theatre stages and used sketch to brainstorm which would function best. I chose an end stage setup, with the multi-use function in mind, this would provide the most drama for the space while also being function for film screenings and other performance types.Looking at sound design was key too, which I drew from the Cave Theatre, Fertőrákos. The natural form of the theatre was something that highlighted alternative ways to shape the sound outside of modern isolation techniques.

Testing

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THEATRE DESIGN ITERATION Usingthe shape of the Bridge Theatre as a starting point, I began to design the form of my theatre, I opted for a 2 tiered theatre, with end stage viewing. This, as previously mentioned, would serve the multi use function of the space appropriately. The form of the theatre guides the users viewing further, with the fanned seating allowing users to also see eachother during performances, making for a more intimate viewing experience.

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Testing

AN ITERATIVE PROCESS: SKETCHING With the shape and size of the main theatre established, I moved to designing the remainder of the building. Working in plan helped me organise the spaces, beginning to visualise how these space may look in perspective. The main key moves at this stage, was the creation of the courtyard, which was formed using a softening of the North edge, then flipped to create the new west entrance to the forum.

Testing

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1pm January

10am July

ITERATIONS: EXPLORING THE COURTYARD

2pm October

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Having established the courtyard as a key design move, I began testing it using shadow simulations. Using times I imagined users visiting the building, this proved the courtyard would be well lit, providing the south side of my building with much needed natural lighting. I also experimented with some solar shading elements, looking at how this effected the courtyard in both axonometric and perspective. I opted to not use solar shading here, electing the space as a truely external environment.

7pm July

Testing

REFINEMENT: FURTHER COURTYARD TESTING Further iteration to the form and shape of the building was followed by additional shadow testing. I chose to refine the building in plan, with this being the easiest way for me to understand the spatial qualities of the spaces similarly to the early process.

Further shadow testing at new times showed that the courtyard can be completely shaded at times. However, with the restrictions of the site, I felt the courtyard was successful in its context.

Summer Solstice: 9am 1

Winter Solstice: 9am

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Testing

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Winter Solstice: 5pm

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(page taken from ARC3013 Submission)

LOOKING IN DETAIL: THEATRE NATURAL VENTILATION STRATEGY

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It was at this stage that I needed to work out the details of my main theatre. using the Everyman Theatre by Haworth Thompkins as a precedent, I came up with this strategy: 1. Cool Air is drawn from the North Side of the building, with the dirty air (coming from traffic on the adjacent road) being cleaned by a tree line on the north side of the building.

2. Air is pushed slowly down a large concrete duct (0.5m in depth and 8m wide) across the entire length of the theatre. Being cooled if necessary during summer months. The duct also houses noise cancelling attentuators to remove any external noise that may be coming through the vent.

3. Cool air then flows out of the vents behind the seats 4. Body heat generated by the theatres 300 occupants warms the air, increasing its buoyancy, causing it to rise.

5. The air is further warmed by the lighting and sound equipment within the theatre, further increasing its buoyancy.

6. The air rises out of the theatre into an exhaust plenum, more attenuators remove any noise.

7. The air leaves the theatre via a set of 3 chimney louvres. Cycle repeats.

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Testing

(images taken from ARC3013 Submission)

THEATRE IN DETAIL - TECHNICALITIES Bracket attached to mid railing, attaching it to the ‘structural grid’.

Mid height railing allows user something to retain balance when adjusting lights.

As part of the ARC3013 Module I was require to understand my building in more techical deatil. This was a key development for my theatre, with the natural ventilation strategy aswell as the structural and health and safety elements for the space designed here. I research specific products for my floor and wall detailing, with the goal of making this space highly sound insulted, to protect the atmosphere of the surrounding spaces.

600mm

Small Lip at edges of Walk prevent feet from slipping off.

SkyDeck Tension Wire Grid.

Stage Light - easy access from railing for cable adjustment and modifications when necessary

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Railing at 1.1m in height in line with regulations on preventing falling.

Powerlift - Motorised rigging system

Pulley

Lift Line

SkyDeck Tension Wire Grid

Scene

Maintenance Gallery/ Lighting Grid Loft Block - Holds the pulley in position.

Lift Line - Part of the pulley mechanism, moves through the pulley.

Turnbuckle - Holds the Lift Line in position to the scene.

Batten Clamp - Connection between Lift Line and Pipe Batten, easily unattached to swap scenes when necessary.

Pipe Batten - Attached to the scene itself.

Smoke Pocket - increases fire resistance

Scene - the backdrop to the performance.

Testing

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Final refinements to the plan simplified the form slightly as well as the addition of the pavillions in the courtyard, although these would be developed further later on. The third floor also received some ammendment, with many unknowns about the functions of these spaces prior to this point.

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Testing

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“Commons projects are united by their prosocial, “Commoning is the participatory social practice of coparticipatory, and cooperative approach. The process of governence which forms the basis for making a resource commoning creates added social benefits for the commoners, accessible, as well as maintaining, sharing or speading it.” the city, and the society as a whole.”

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THINKING THROUGH MAKING - THE PROCESS Smart Materials are becoming increasingly more popular in the the built environement.

For thinking through making, I chose to test out thermochromic pigment on a range of materials, as well as a prototype mural, which would be carved into the existing car parks concrete columns, retrofitting the columns for a new purpose. Users would interact with these columns by touching them. The pigment would allow the mural to become visible to the user, who would benefit from a different experience with each visit..

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Testing

THINKING THROUGH MAKING THERMOCHROMIC MATERIAL. Applying the thermochromic material to the mural revives the columns use.

Here a red thermochromic paint was used with a activation temperature of 27°C. I anticipated this activation point would result the material changing at the touch of a hand, this was not the case in practice and a lower activation temperature would need to be achieved in order to make the idea function properly. Furthermore, the red paint would not be used in my design, an opaque pigment would create the desired effect. With many other environmentally activated materials available, I planned to utalise a few of these in my design to create interesting, modern atmosphere.

Testing

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MASSING DEVELOPMENT.

The starting mass takes up the entire car park site, With all the necessary functions comfortably fitting within a two story mass.

The mass is pushed back to meet the street plane created by the Customer First Centre. This creates are more distinct street.

The mass is pushed back further to soften the buildings impression on the homes to the North. This also creates an eternal space, making the approach to the building more welcoming.

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Testing

The form is flipped to create a courtyard between the existing and the new. The building can utalise views into this courtyard, while the private functions can take advantage of the north frontage. The courtyard becomes the new western entrance to the forum.

The Form is pushed back from the site boundary to allow sight of the courtyard from the northern approaches.

The courtyard becomes larger, nearly taking up as much ground surface area as the building itself.

The courtyard is softened by making the form more natural in shape. The curve is informed by the shape of the theatre, which sits centrally in the form. The user is now guided to the forum by the form of the intervention.

The upper floor of the form is pushed out to allow for circulation around the theatre. It creates view points to the courtyard from inside the building.

A terrace is carved out of the second floor mass, creating an external space which takes advantage of the lower courtyard.

Users of the courtyard catch glimpses of conversation on this floor becoming curious as to what this space is.

The eastern mass of the form is extruded, mediating the height between the intervention and the Customer First Centre.

The theatre is raised up to the first floor. It now petrudes out of the building, giving it presence in the form. It now reads as its own mass, creating the concept image established.

Testing

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DETAILED DEVELOPMENT - ENTRANCES Refining the entrance in crucial to the success of the common, users must feel welcomed on their approach to the building. Using several precedants ; Filmburg Kronach, Tyneside Cinema and the Floating Cinema by Duggan Morris. Employing elements of both of these into my design, leads to a welcoming, inviting entrance. Imagined through sketch (seen left) a projection of tonights showing lights up the corrugated metal facade.

Thermochromic pigment treatment creates a dynamic facade. Names of Wallsend Alumni engrave the front, embodying the venue as a true community hub of Wallsend.

Floating Cinema, Duggan Morris

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Testing

DETAILED DEVELOPMENT NORTH ELEVATION As a consequence of some key design moves, the north elevation for the proposal was not engaging with the homes opposite. For me, this large facade would only be an issue for residents if they were to see an uninspiring facade.

In the abscence of green areas and habitats for wildlife around the forum, I experimented with a green wall. Using a modular system which sits away from the main structure of the building, this habitat would house birds and other types of organic wildlife. Giving the residents an improved viewing experience in comparison to the current car park.

Testing

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DETAILED DEVELOPMENT CHIMNEYS Detailing the chimneys that serve the natural venitilation inside the theatre presented an opportunity to closely link the building to its industrial heritage. The cylindrical shape aims to mimic the former funnels of the RMS Carpathia, a famous vessel built in the wallsend shipyards which was used to save passengers of the titanic. The Everyman, Liverpool by Haworth Thompkins utalises a similar approach, with similar route in the shipping industry. The greyed out material choice is dated back to World War 2 , where the funnels were painted grey on many of the major vessels, disguising the ships.

RMS Carpathia

Wallsend Shipyard: Carpathia under construction

Painting of RMS Carpathia

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Everyman Theatre, Liverpool

Testing

FORUM DEVELOPMENT ALTERATIONS IN PLAN The forum also needed improvement, the plan for the building had remained largely unchanged for decades and needed improvement to create a better flow of users within the centre. Using sketch I showed my intention to knock through the Market into the main square, which in turn created a better connection between my building and the market. I also created a new plan for the market, using a modular and adaptable system, which I imagined in perspectives seen right.

Compact

Sprawl.

Testing

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Boxpark, London

Old Spitalfields Market, London

FORUM DEVELOPMENT MARKET ROOF The now open air market now sprawls out into the main square, a roof was necessary to provide shelter to these stalls. I opted for a traditional hanger style structure, with exposed trusses, using Boxpark, London as a precedent for these moves. The roof gives the market greater prescence in the form of the forum, promoting local independant stores that are housed within. The markets expansion into the main square will also make the entrance to the forum more inviting, with the chatter of users muffled behind the noises of a busker on the opposite band stand drawing users in.

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FORUM DEVELOPMENT MARKET MODULARITY It was important to rationalise the market units, as such I created 6 types of stalls, which serve a variety of buisiness levels throughout the market. From the resident wanting to flog their own possessions on a floor unit, mimicing the car boot setting which is so popular in the UK, to the established local buisiness which commands the market in the larger stall with the most foot traffic. This will create a diverse and inclusive market environment, improving the community spirit, as locals barter with eachother for their products or possessions.

Testing

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TESTING REFLECTION Throughout testing I aimed to meet the studio themes as closely as possible. With the strong connnections established in Framing, this layed the foundations for me to manifest the criteria into spatial qualities.

By this stage I have begun to manifest my Urban Common, with the intentions of locals rooted in the buildings function and spatial qualities, the courtyard addresses the need for green space in the urban grain, the film school presents a new opportunity for young people to recieve extra curricular education which is engaging and rewarding.

Interventions into the market establish a greater community connection, with positions in the market open to all kinds of seller. This inclusivity is key to the creation of a common, an established criteria in a major reading: “The Urban Commons Cookbook” by Mary DellenbaughLosse. Similarly to Framing, this closely links to the themes of Advocacy, with my role as the architect throughout testing to facilitate the interests of the locals, manifesting their needs into a spatially engaging environment. Testing was where my retrofitting took shape. Detailed in the thinking through making, the concrete columns of the car park have been repurposed to create an engaging and changing mural that draws users back the not only the previous use of the site but also the historical context of the forum, which is engraved into the columns.

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PART 3: CURATING THE DESIGN After extensive process and iteration, I began to realise my design in graphic form. While this had a focus on representing the design effectively, there was still an element of iteration to this process, thinking about the building in a detail series of perspectives highlighted areas that needed modification. Here I would resort back to an iterative process, usually through sketch to make modifications to the design.

The detailed inhabitation of my proposal was especially important as a result of the user-centric focus my research stems from.

SY N T H E S I S 85

SITE PLAN The site plan shows my proposal in the context of the Forum and the surrounding context, the opening up of the main square gives it more prominance in the plan and circulation of the building, with all route leading to this focal point. The external market is shown, where the overhanding roof draws the users into the Forum.

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SITE AXONOMETRIC The site axonometric highlights the areas of intervention in the Forum, also detailing the areas that have been left as they are currently. I felt that retaining some of the old character of the forum would ensure that it remains a familiar and approachable environment for residents of Wallsend.

Synthesis

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BUILDING IN CONTEXT AXONOMETRIC

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Synthesis

A more detailed look at my main proposal in its context, it emphasises the significance of the courtyard. With this open-air space providing a visual break between my proposal and the Forum.

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PRINCIPAL SECTION This drawing shows my principal section, which goes through the primary space within my building: the theatre. It emphasises the relationship between this impermeable space and the highly permeable courtyard and ground floor cafe/bar. It was important to detail this relationship, as while the two space are completely different, they support one another. Users might stay for a drink after a show, or see a show after bumping into a friend in the cafe.

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NORTH ELEVATION The drawing below details my North Elevation.

Shown alongside the Customer First Centre, I wanted to focus on the verticle relationship my building has with the Customer First Centre, mediating the height between this and the ground level. The Theatre form has prominance in this elevation, softened by a green wall, it reads differently to the rest of the elevation, a change in material changes the rhythm of the facade.

Synthesis

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1:20 Detail and Elevation

(page taken from ARC3013 Submission)

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20mm Beech Wood Flooring 60mm Screed 150mm expanded polystryrene thermal insulation Vapour Membrane 350mm existing concrete slab Double Glazing Unit Steel Railing with hidden join detail.

20mm Beech Wood Flooring 40mm Impact Sound Insulation 80mm Screed Shallow Decking supported on steel frame 250mm Cavity 50mm Cellulose Thermal Insulation 20mm Thermal Insulation 10mm Oriented Strand Board Vapour Membrane Sheathing Board Metsec Steel Infill Structure

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20mm Carpet 40mm Impact Sound Insulation 80mm Screed Shallow Decking supported on steel frame 250mm Cavity 12.5mm Suspended Ceiling 10mm Corrugted Iron Cladding with rustprevention coating Battens 25mm Cavity Stainless Steel Insect Mesh Vapour Membrane 25mm Thermal Insulation 150mm Cellulose thermal insulation 50mm Rock-Wool insulation 15mm Oriented-Strand Board 12.5mm Plasterboard Concealed gutter for drainage.

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Vapour Membrane Steel Supporting Structure Oriented Strand Board 15mm Medium-Density-Fibreboard 125mm Cellulose Thermal Insulation Metal Decking supported on steel frame 125mm Cavity 12.5mm Suspended Ceiling 10mm Corrugted Iron Cladding with rustprevention coating Battens 25mm Cavity Vapour Membrane 20mm Thermal Insulation 200mm Cellulose Thermal Insulation Metsec Steel Infill Structure 20mm Thermal Insulation 10mm Oriented Strand Board Vapour Membrane

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10mm Carpet 18mm Medium Density Fibreboard 150mm Sound Insulation 15mm Medium Density FibreBoard CineFLOOR Floor Isolator 200mm Raked Steel Structurebolted to main structral grid with CineSTEEL Acoustic Bush and CineSTEEL Acoustic Isolator Pad. Main Steel Frame 20mm Rock Wool Insulation Plasterboard Double Layer Plasterboard 30mm ProSound Soundboard4 80mm Acoustic Mineral Wool Insulation DNSB Acoustic Wall Tie 120mm Rock Wool Insulation Plasterboard

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Metsec Steel Infill Structure bolted with CineWALL Acoustic Washer to 130mm CineWALL Acoustic Isolation Strip Steel Structure

(page taken from ARC3013 Submission)

Structural Strategy My building is a steel frame structure which utalises metsec wall infills to create thresholds and windows. It is readily available and fairly inexpensive in comparison to other more bespoke methods of construction. It’s common use also means that contractors are often familiar with its construction techniques making these services more competitive and ultimately cheaper for the client.

The structure hierachy functions as follows:

Tertiary Structure: Cladding + Glazing The iron and brick slit cladding is the Tertiary structure of the building along with the glazing, these will be attached to the building last but are also key to ensure the building becomes watertight, ready for interior finishings. The theatre is not seperated from the rest of the building in this instance.

Secondary Structure: Metsec Infill The secondary structure here is the metsec infill. Similar to the Primary Structure, the theatre is isolated from the rest of the building, however, this time because of the big difference in wall and floor thicknesses necessary to approprately sound insulate and ventilate the space. Here I have shown the infill with its external sheathing attached, ready for cladding.

Primary Structure: Steel Frame + Concrete Cores The main structure and stability of the building comes from the steel frame and concrete cores, these function as standard, however, the Theatre structure is isolated from the main structural grid. This is due to the larger spans of steel in the Theatre, which is necessary to make for a dramatic viewing experience.

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(page taken from ARC3013 Submission)

Lighting Grid attached to Lightweight Steel Walking Grid to allow for easy maintenance

10mm Carpet 18mm Medium Density Fibreboard 150mm Sound Insulation 15mm Medium Density FibreBoard CineFLOOR Floor Isolator 200mm Raked Steel Structurebolted to main structral grid with CineSTEEL Acoustic Bush and CineSTEEL Acoustic Isolator Pad. Main Steel Frame 20mm Rock Wool Insulation Plasterboard Double Layer Plasterboard 30mm ProSound Soundboard4 80mm Acoustic Mineral Wool Insulation DNSB Acoustic Wall Tie 120mm Rock Wool Insulation Plasterboard

Metsec Steel Infill Structure bolted with CineWALL Acoustic Washer to 130mm CineWALL Acoustic Isolation Strip Steel Structure

Theatre Detail 98

(page taken from ARC3013 Submission)

Double Layer Plasterboard 30mm ProSound Soundboard4 80mm Acoustic Mineral Wool Insulation DNSB Acoustic Wall Tie 120mm Rock Wool Insulation Plasterboard

10mm Carpet 18mm Medium Density Fibreboard 150mm Sound Insulation 15mm Medium Density FibreBoard CineFLOOR Floor Isolator 200mm Raked Steel Structurebolted to main structral grid with CineSTEEL Acoustic Bush and CineSTEEL Acoustic Isolator Pad. Main Steel Frame 20mm Rock Wool Insulation Plasterboard

10mm Medium Desity Fibreboard (MDF) Raked Steel Structure bolted using CineSTEEL Acoustic Bush + CineSTEEL Acoustic Isolator Pad

Main Steel Frame

DNSB Acoustic Wall Tie CineWALL Acoustic Isolator Strip

CineFLOOR Floor Isolator 200mm

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MOMENT: THE PROCESS While waiting for their show to start, the users eye is caught by an opening, guiding them to the process of filmmaking.

The user can watch the process unnoticed, high above the action.

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Synthesis

MOMENT: VIEWPORT An important moment for the users. Coming from the north, the user catches a glimpse of whats inside the building. They can see all the way through to the courtyard, they must investigate.

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PERSPECTIVE JOURNEY: A USER ROUTE

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Here I depicted a route that a user might take in the forum: Starting at my proposal (1), they grab a coffee and bump into a friend who lives nearby (2). They sit in the courtyard and drink their freshly made beverage, discussing the new building and admiring the new courtyard (3). The user and their friend then head to the newly refurbished market. They look at the vast new space which is bustling with locals, selling and buying goods (4). They approach a vendor who is selling vegetables.They barter with him on the price, haggling him from £1.50 down to 80 pence, they exchange the money for the mixed vegetables (5) and both the user and their friend walk back to their homes, just a 6 minute walk from the Forum.

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SYNTHESIS REFLECTION The synthesis phase of the project was for me the most enjoyable and rewarding phase of the year. Here I was able to bring the building which had been in my imagination for so long, to life. Here, I also delved into the details of my building, finalising a Detail drawing and structural strategy alongside many other areas. This was vital in my design process for working out the placement and height of the theatre, the main space in my proposal. Working in detailed inhaitation also enabled me to effectively communicate my building as an Urban Common, with this key to the sucess of my proposal in its residents. When creating the perspectives, it forced me to think about the individual user and what actions they are undertaking inside and outside my building, using the moment drawings to highlight some specific features that create a greater community feel.

Inherantly, this also means that the design is advocating for these individuals. With research backing up the behavioural decisions made.

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ILLUSTRATIVE CULTURAL BIBLIOGRAPHY

LEKKER_MAG This was a project that I worked on with a few others on the course. With a key interest in music alongside architecture we made a series of 3 one hour videos showcasing parts of Newcastle City and Beyond. We produced, edited and made the music for all the videos, trying to capture the urban envrionment not only in the 360 degree cinematic shots, but also in the music. This was hugely beneficial for me, I gained skills in editing, animation and further developed my videography skills. Combining my interest in architecture with my interest in music to create a enticing and entertaining video.

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GRAPHIC DESIGN WORK In order to further develop my graphic design skills, I set up a small buisiness, selling digital and photo prints of hand drawn, portrait art. This was not only enjoyable, but also helped me advance my skills ready for the remainder of the year. Applying the same level of detail to my design rigour and drawings to make them much more effective.

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PHOTOGRAPHY Throughout the degree I have kept up my keen interest in photography, an incredibly useful tool in the degree.

In particular, I am fascinated by movement within a photograph and how photos dont just have to be static images, benefitting the story telling through the image.

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REVIVING STUDIO CULTURE With the closure of studio as a result of the COVID-19 pandemic, my housemates and I decided to set up our own in house studio. This was not only a benefit to our work culture but it also, like the studio emulated an office environment. We were commonly critiquing and assessing the work of eachother, a hugely beneficial quality. It also meant I looked at my own work from a more critical standpoint, which helped me further progress with my design.

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SMALL TALKS Throughout the year I atteneded a wide variety of Small Talks, a student run lecture series which invites architects from many of the leading firms to speak about their work and process.

These were incredibly useful in understanding how practicing and experienced architects at the highest level manage and design large scale projects. I particularly enjoyed the Fielden Fowles lecture, with the projects that Ingrid showed having a level of relatability to them, despite being incredibly complex.

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Creative Synergies Group 3:

NANTES SCHOOL OF ARCHITECTURE

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

LACATION & VASSAL

AgroCité atelier d’architecture autogérée AgroCite Urban Farming Case Study

Fondaco dei Tedeschi Venice

“Change is the only constant in life”

Nantes School of Architecture, Lacaton & Vassal Case Study

Fondaco dei Tedeschi, Silvia Sandor Case Study

THE HILL HOUSE

D

a

w

s

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n ’ s

H

e

i

g

h

t

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Thematic Case Study

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

The Hill House, Carmody Groarke Case Study

Kate Macintosh East Dulwich London

Dawson Heights, Kate Macintosh Case Study

SERGISON BATES ARCHITECTS SUBURBAN HOUSING ZURICH 2019

Serginson Bates Case StudyARCHITECTURAL

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THEORETICAL POSITION

SERGISON BATES ARCHITECTS SUBURBAN HOUSING ZURICH 2019 ARCHITECTURAL THEORETICAL POSITION

Granby Four Streets Project

By Assemble

Granby Four Streets, Assemble Case Study

CASE STUDY

HOUSING IN MULHOUSE

BY LACATON &VASSAL THEMATIC CASE STUDIES The thematic case studies were an incredibly useful tool at to have throughout the year, it was something I kept referring back to. They were frequently used for representational inspiration and design or strategic moves. Noteably, the Serginson Bates Case Study was great for material references, while the Granby 4 Streets Case Study was great for my studio, with close links to retrofit and Urban Commons.

Housing in Mulhouse, Lacation & Vassal Case Study

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Bibliography Books: Dellenbaugh-Losse, M., Nils-Eyk Zimmermann and Nicole De Vries (2020). The Urban Commons Cookbook Strategies and Insights for Creating and Maintaining Urban Commons. Berlin. DellenbaughLosse, Mary.

Dellenbaugh, M. and Al, E. (2018). Urban commons : moving beyond state and market. Basel: Birkhäuser.

Pezo, M. and Sofía Von Ellrichshausen (2012). Pezo von Ellrichshausen. Barcelona: G. Gili.

Borch, C. and Kornberger, M. (2016). Urban commons : rethinking the city. London ; New York: Routledge, Taylor & Francis Group.

Harvey, D. (2019). REBEL CITIES : from the right to the city to the urban revolution. Verso.

Allen, S., Kaufman, D., AsínL., BaylónL. and Mansilla + Tuñón Arquitectos (2012). The Mansilla. Baden: Lars Müller ; London.

Mansilla + Tuñón : obra reciente = recent work. (2003). Barcelona, Spain: Editorial Gustavo Gili.

Krause, L. and Petro, P. (2003). Global cities : cinema, architecture, and urbanism in a digital age. New Brunswick, N.J.: Rutgers University Press.

Gray, R. and Cinema Theatre Association (1996). Cinemas in Britain : one hundred years of cinema architecture. London: Lund Humphries.

Chris Van Uffelen (2009). Cinema architecture. Salenstein: Braun.

Dodd, M. (2020). Spatial practices : modes of action and engagement with the city. Abingdon, Oxon ; New York, Ny: Routledge.

Madanipour, A. (2005). Public and private spaces of the city. London: Routledge.

Minton, A. (2012). Ground control : fear and happiness in the twenty-first-century city. London: Penguin.

Stavros Stavrides (2016). Common space : the city as commons. London Zed Books.

Websites: King’s Cross. (n.d.). King’s Cross Skip Garden - a sustainable urban garden with a twist. [online] Available at: https://www.kingscross.co.uk/skip-garden.

CIBSE Journal. (n.d.). Leading man – the environmental strategy at Liverpool’s Everyman Theatre. [online] Available at: https://www.cibsejournal.com/case-studies/leading-man/.

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List of Figures Page 50: Image of Ritz Cinema, Image of Gaumont Cinema: co-curate.ncl.ac.uk. (n.d.). The Ritz, Wallsend | Co-Curate. [online] Available at: https://co-curate.ncl.ac.uk/the-ritz-wallsend/ [Accessed 27 May. 2021].

Page 60: Photographs of Lewes Depot: Burrell Foley Fischer LLP. (n.d.). Depot Lewes. [online] Available at: https://bff-architects.com/depot-lewes [Accessed 3 Mar. 2021].

Page 61: Images of Lewes Depot: Astbury, J. (2017). Burrell Foley Fischer designs community cinema in former brewery. [online] The Architects’ Journal. Available at: https://www.architectsjournal.co.uk/ buildings/burrell-foley-fischer-designs-community-cinema-in-former-brewery [Accessed 3 Mar. 2021].

Page 62: Photographs of Bridge Theatre: Tompkins, H. (2018). Bridge Theatre. [online] Haworth Tompkins. Available at: https://www.haworthtompkins.com/work/bridge-theatre [Accessed 29 Apr. 2021].

Page 73: Dellenbaugh-Losse, M., Nils-Eyk Zimmermann and Nicole De Vries (2020). The Urban Commons Cookbook Strategies and Insights for Creating and Maintaining Urban Commons. Berlin.

Dellenbaugh-Losse, Mary. p21 Page 76: Photograph of Floating Cinema: Fulcher, M. (2013). Ahoy there! Duggan Morris floating cinema launches. [online] The Architects’ Journal. Available at: https://www.architectsjournal.co.uk/ archive/ahoy-there-duggan-morris-floating-cinema-launches [Accessed 28 Apr. 2021].

Page 78: Photograph of RMS Carpathia: Wikipedia Contributors (2019). RMS Carpathia. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/RMS_Carpathia [Accessed 27 Apr. 2021] Photograph of Ship in Construction: www.tynebuiltships.co.uk. (n.d.). Carpathia 1903. [online] Available at: http://www.tynebuiltships.co.uk/C-Ships/carpathia1903.html [Accessed 27 Apr. 2021].

Painting of RMS Carpathia: www.tynebuiltships.co.uk. (n.d.). Carpathia 1903. [online] Available at: http://www.tynebuiltships.co.uk/C-Ships/carpathia1903.html [Accessed 27 Apr. 2021].

Photograph of Everyman Theatre: ArchDaily. (2014). Everyman Theatre / Haworth Tompkins. [online] Available at: https://www.archdaily.com/504031/everyman-theatre-haworth-tompkins [Accessed 20 Apr. 2021].

Page 80: Photograph of Boxpark, London: Archello. (n.d.). Boxpark Croydon | BDP. [online] Available at: https://archello.com/project/boxpark-croydon [Accessed 26 Apr. 2021].

Photograph of Old Spitalfields Market: www.fosterandpartners.com, F. + P. / (n.d.). Old Spitalfields Market | Foster + Partners. [online] www.fosterandpartners.com. Available at: https://www. fosterandpartners.com/projects/old-spitalfields-market/ [Accessed 26 Apr. 2021].

All other images are Authors Own, unless stated otherwise.

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APPENDIX

Teatro Oficina: Building in Context

Contents

T E A T R O

Lina Bo Bardi: An Introduction

3

Teatro Oficina: Building in Context

4

How does the case study relate to the Architect’s theoretical position and how does it explore their ideas/preoccupations?

Max Blythe

5

How does the case study relate to other buildings of its type?

Polly Chiddicks

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How does the case study relate to its environmental/climate crisis contect?

Stella Chukwu

13

How does the case study demonstate Critical Spatial Practice?

Ameerah Kasmirhan

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How does the case study demonstrate Advocacy?

Lorand Nagy

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Teatro Oficina is a theatre and performance venue located in Sao Paulo, Brazil in the Bela Vista neighbourhood. The redevelopment of the theatre was completed in the 1990’s by Lina Bo Bardi and Edson Elito and has been argued to be a revolutionary, experimental and “territorial” land mark of Sao Paulo. 1,2

O F I C I N A 1

Lina Bo Bardi - An Introduction

Lina Bo Bardi: An Introduction Born in Italy, 1914, Lina Bo Bardi was arguably one of the most important architects of 20th century Brazilian architecture. She was also an avid publisher, running a magazine called Habitat in which she spoke on many architectural topic of that era, and she would often incorporate her findings into her own works, learning from the mistakes of others. Living in Sao Paulo for most of her life, some of her most famous works are situated in the major Brazilian city. The building researched in this study, Teatro Oficina, is one of these famous works.

Image: Photograph of Lina Bo Bardi

Born in Italy, 1914, Lina Bo Bardi was arguably one of the most important architects of 20th century Brazilian architecture. She was also an avid publisher, running a magazine called Habitat in which she spoke on many architectural topics of that era, and she would often incorporate her findings into her own works, learning from the mistakes of others. Living in Sao Paolo for most of her life, some of her most famous works are situated in the major brazilian city. The building researched in this study ; Teatro Oficina, is one of these famous works.

3

Theoretical Position: Lina Bo Bardi’s position amongst architecural thery draws from many different areas, with some elements relating heavily towards elements of Critical Regionalism, estabilished largely by well known theorist Kenneth Frampton. This draws on ideas of using the local venacular and sense of place to form the new architecture. With one of Lina’s main works, SESC Pompeia, Sao Paulo drawing being a great example to demonstrate this relationship.

The Leisure Centre demonstrates Bo Bardi’s interest in this theory by making use of the existing building frame of the disused barrel factory1, rather than demolishing it entirely and starting over. The same thing can be said for the feature example in this booklet: Teatro Oficina.

Figure 1: Plan of SESC Pompeia with existing shell highlighted

Figure 2: Photograph of seating which has been installed seperate to the existing building frame.

However, Bo Bardi also has her own identity outside of this theory, merging “modernism with regionalism and the vernacular, melting it in her personal project of reclamation”2 SESC Pompeia also also draws draws comparisons comparisons to to SESC Pompeia Urban Common Theory, Theory, with with aa particular particular Urban Common focus of Bo Bo Bardi’s Bardi’s architectural architectural process process focus of being on the the inhabitation inhabitation of of spaces spaces where where being on she has aa focus focus on on “spaces “spaces created created by by our our she has occupation rather than than inert inert spaces spaces that that occupation rather we occupy”33 .. Hence, Hence, Figure Figure_33,, where where we we we occupy” can see a main route of the building being can see a main route of the building being dominated by people people sunbathing, sunbathing, definitely definitely dominated by not the intended use, but one which Bo Bardi not the intended use, but one which Bo Bardi was likely understanding of. was likely understanding of.

1 https://www.sciencedirect.com/ science/article/pii/S1877916616300017 2 I.bid 3 http://thisisrealarchitecture.blogspot. com/2013/08/lina-bo-bardi-with-people-atheart.html

Figure 3: “Sunny Sunday at SESC Pompeia” with Social Use highlighted

Max Blythe

Figure 4: Sketch of SESC Pompeia highlighting the social interactions beneath.

Max Blythe 5

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Fig. 9: Image highlighting the social element of stage and stands

Fig. 10: Photograph of Teatro from outside, during its night time club use

Fig. 11: Photograph highlighting the external facade of Teatro Oficina

Fig. 12: Own drawing showing the shell nature of the design by Lina Bo Bardi

Fig. 13: Own collage showing all the features of the Teatro Oficina

Max Blythe

Max Blythe

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Stella Chukwu

Stella Chukwu

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Stella Chukwu 15

Fig. 3 Fig. 1

Fig. 4

Fig. 2

Stella Chukwu

Ameerah Kasmirhan

Ameerah Kasmirhan 17

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Fig. 5

Fig. 6

Fig. 7

Fig. 8

Fig.9

Ameerah Kasmirhan

Ameerah Kasmirhan

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List of Figures Front Page Image: Drawn by author, overlayed with image from: http://lucianalevinton.com/page-works-detail.php?item_id=576 Lina Bo Bardi Image: Photograph from: www.domusweb.it. (n.d.). Lina Bo Bardi. [online] Available at: https://www.domusweb.it/en/biographies/lina-bo-bardi.html [Accessed 12. 2020].

How does the case study relate to the Architect’s theoretical position and how does it explore their ideas/preoccupations?

Fig. 1 - Diagram over image from: WikiArquitectura. (n.d.). SESC Pompeia Factory - Data, Photos & Plans. [online] Available at: https://en.wikiarquitectura.com/building/sesc-pompeia-factory/# [Accessed 27 Nov. 2020].

Fig. 2 - Image from: www.edhec.edu. (2019). SESC POMPEIA, UN ESPACE CULTUREL HYBRIDE ET ATYPIQUE. [online] Available at: https://www.edhec.edu/fr/news/sesc-pompeia-un-espace-culturel-hybride-et-atypique [Accessed 27 Nov. 2020].

Fig. 3 - Diagram over: Lina Bo Bardi Together. (2012). The Making of SESC Pompéia by Marcelo Ferraz. [online] Available at: https://linabobarditogether.com/2012/08/03/the-making-of-sesc-pompeia-by-marcelo-ferraz/. [Accessed 27 Nov. 2020] Fig. 4 - Own Sketch Fig. 5 - Photograph from: https://www.atlasobscura.com/places/museu-de-arte-de-sao-paulo Fig. 6 - Own Sketch Fig. 7 - Photograph from: Architectural Review. (2019). Electric avenue: Avenida Paulista as a microcosm of urban Brazil. [online] Available at: https://www.architectural-review.com/essays/electric-avenue-avenida-paulista-as-a-microcosm-of-urban-brazil [Accessed 26 Nov. 2020] Fig. 8 - Own Sketch Fig. 9 - Diagram over: www.metalocus.es. (n.d.). 10 Architecture Studios Led by Women [VII] | The Strength of Architecture | From 1998. [online] Available at: https://www.metalocus.es/en/news/10-architecture-studios-led-women-vii. [Accessed 26 Nov. 2020] Fig. 10 - Photograph from: www.metalocus.es. (n.d.). People theater. Teatro Oficina by Lina Bo Bardi | The Strength of Architecture | From 1998. [online] Available at: https://www.metalocus.es/en/news/people-theater-teatro-oficina-lina-bo-bardi [Accessed 26 Nov. 2020].

Fig. 11 - Photograph from: Pinterest. (n.d.). Teatro Oficina, Sao Paulo _ Lina Bo Bardi & Edson Elito, 1993 “Mr. Minister, don’t order theaters with stages and seating, leave the s… | Galerías, Oficinas, Sao. [online] Available at: https://www.pinterest.co.uk/pin/438889926172422511/ [Accessed 27 Nov.. 2020].

Fig. 12 - Own Drawing Fig. 13 - Own Drawing How does the case study relate to other buildings of its type?

Fig. 1 - programmatic summary of Star and Shadow own diagram, originally from https://www.ribaj.com/macewen/macewen-award-2019-shortlist-mawsonkerr-architects-star-and-shadow-cinema-newcastle-upon-tyne-cinema-community-venue Fig. 2 - photograph of showing collective and collaborative concept https://www.starandshadow.org.uk/toolkit/volunteer/ Fig. 3 - multifunctional venue space https://www.ribaj.com/macewen/macewen-2019-winner-star-and-shadow-cinema-newcastle-upon-tyne-mawsonkerr Fig. 4 - photograph of interior of Star and Shadow https://www.ouseburn.co.uk/directory/star-and-shadow-cinema/ Fig. 5 - photograph of cinema http://cinematreasures.org/theaters/50254 Fig. 6 - exposed structure of The Attic edited photograph, originally from https://twitter.com/theatticsua Fig. 7 - exposed structure of Teatro Oficina edited photo, originally from https://www.archdaily.com/878754/ad-classics-teatro-oficina-lina-bo-bardi-and-edson-elito Fig. 8 - diagram to show proximity between seating and stage in The Attic own diagram, original floorplan from https://www.theattictheatre.co.uk Fig. 9 - diagram to show proximity between seating and stage in Teatro Oficina own diagram, original floorpan from https://www.archdaily.com/878754/ad-classics-teatro-oficina-lina-bo-bardi-and-edson-elito Fig. 10 - The Attic - theatre performance edited photographed, originally from https://twitter.com/theatticsua Fig. 11 - Teatro Oficina - theatre performance edited photographed, originally from https://www.archdaily.com/878754/ad-classics-teatro-oficina-lina-bo-bardi-and-edson-elito Fig. 12 - St Ann’s Warehouse - theatre performance edited photograph, originally from https://www.whatshouldwedo.com/blog/welcome-to-the-jungle-no-not-that-one/ Fig. 13 - photograph of St Ann’s Warehouse https://stannswarehouse.org Fig. 14 - St Ann’s Warehouse - theatre performance https://stannswarehouse.org/show/the-jungle/the-jungle-photo-by-marc-brenner-17/ Fig. 15 - Visible historic structure of warehouse edited photograph, originally from https://www.architectmagazine.com/project-gallery/st-anns-warehouse_o Fig. 16 - St Ann’s Warehouse - redevelopment https://redshift.autodesk.com/energy-efficiency-in-historic-buildings/ Fig. 17 - visible structure of warehouse http://dumbonyc.com/blog/2013/10/31/new-home-of-st-anns-warehouse-breaks-ground/ Fig. 18 - collage How does the case study relate demonstrate critical spatial practice?

Fig. 1 - Edited image of the interior of Teatro Oficina, originally from <https://www.archdaily.com/878754/ad-classics-teatro-oficina-lina-bo-bardi-and-edson-elito?ad_medium=gallery> Fig. 2 - Deconstructed image of theatre in play, originally from <https://averyreview.com/issues/30/teatro-oficina> and <http://www.nelsonkon.com.br/teatro-oficina/> Fig. 3 - Own diagram of plans, original plans from <https://www.archdaily.com/878754/ad-classics-teatro-oficina-lina-bo-bardi-and-edson-elito?ad_medium=gallery/> Fig. 4 - Collage of Sao Paulo seen through the window, images took from <https://www.theguardian.com/cities/2017/nov/29/teatro-oficina-theatre-sao-paulo-counterculture-silvio-santos> and <https://averyreview.com/issues/30/teatro-oficina> Fig. 5 - Image of retractable roof, originally from <https://averyreview.com/issues/30/teatro-oficina> Fig. 6 - Deconstructed image of roof closed, originally from <https://www.archdaily.com/878754/ad-classics-teatro-oficina-lina-bo-bardi-and-edson-elito?ad_medium=gallery> Fig. 7 - Deconstructed image of roof open, originally from <http://www.nelsonkon.com.br/teatro-oficina/> Fig. 8 - Collage of Interior space highlighting use of roof, originally from <http://www.nelsonkon.com.br/teatro-oficina/> Fig. 9 - Own collage How does the case study relate demonstrate advocacy?

Fig. 1: 2020. [online] Available at: <https://blog.pimsleur.com/2020/09/03/history-tropicalia-music/?fbclid=IwAR09z4nEl4AvAtCQhwptdVq_PF341uSBA4mG1cVTDSZ4a-FhmXoxBPQiiVo> [Accessed 15 December 2020].

Fig. 2,3: the Guardian. 2020. Teatro Oficina: The Tycoon V The Theatre. [online] Available at: <https://www.theguardian.com/cities/2017/nov/29/teatro-oficina-theatre-sao-paulo-counterculture-silvio-santos?fbclid=IwAR1G8ak278044sb3FU6nDUZgjISw7rseYRGXlA6_tARGRBEMYxSskQCqZ9o> [Accessed 14 December 2020].

Fig. 4: The Theatre Times. 2020. “Bacantes” (The Bacchae) In The Best Theater In The World | The Theatre Times. [online] Available at: <https://thetheatretimes.com/bacantes-bacchae-best-theatre-world/> [Accessed 15 December 2020].

Fig. 5: Pinterest. 2020. A0542fe102a5f91779f0b30a3cef6bec.Jpg (736×556) | Industrial Architecture, Architecture Images, Structure Architecture. [online] Available at: <https://ro.pinterest.com/pin/338473728227186689/> [Accessed 15 December 2020].

Fig. 6: Google.com. 2020. Title: METALOCUS On Twitter: “Un Teatro De Gente. Teatro Oficina Por Lina Bo Bardi Https://T.Co/Boxfjfsq1r People Theater. Teatro Oficina By Lina Bo Bardi Https://T.Co/J1qs0zegi6 @Teatroficina… Https://T.Co/Kqsxv2ykit”. [online] Available at: <https:// www.google.com/imgres?imgurl=https%3A%2F%2Fpbs.twimg.com%2Fmedia%2FD5BmiM0WAAIRLj8.jpg&imgrefurl=https%3A%2F%2Ftwitter.com%2Fmetalocus%2Fstatus%2F1121509245860630528&tbnid=D4bC5oiKi5LPeM&vet=12ahUKEwjvtqOhkNDtAhUC1eAKHelODw0QMygHegUIARCQAQ..i&docid=swZwAKZXxQShVM&w=816&h=1200&itg=1&q=teatro%20oficina%20lina%20bo%20bardi&hl=en&ved=2ahUKEwjvtqOhkNDtAhUC1eAKHelODw0QMygHegUIARCQAQ> [Accessed 15 December 2020].

Fig. 7: The Theatre Times. 2020. “Bacantes” (The Bacchae) In The Best Theater In The World | The Theatre Times. [online] Available at: <https://thetheatretimes.com/bacantes-bacchae-best-theatre-world/> [Accessed 15 December 2020].

Fig. 8: Facebook.com. 2020. Edna Aparecida Da Silva. [online] Available at: <https://www.facebook.com/photo?fbid=2664932010193436&set=br.AbrnOXqQ9UaSbD4kJg6qCEsxSBa3JvjQqX3xJ1b0Fp2V9_A2i_3Bgkzb_pXgBHK_UYXhyEbKzKcDGYn7ydnmRbmdUBH3mgxT9dDZK43CV4Hr0DauipJxIG2DpkZHf5858NstxGt9mWXYJKnqEgy1PKYX> [Accessed 15 December 2020].

Figure 9: ArchEyes. 2020. Teatro Oficina / Lina Bo Bardi | Archeyes. [online] Available at: <https://archeyes.com/teatro-oficina/> [Accessed 15 December 2020].

Section 1,2, Ground Floor, First Floor, Second Floor Plans [modified]: ArchDaily. 2020. Architecture Classics: Teatro Oficina / Lina Bo Bardi & Edson Elito. [online] Available at: <https://www.archdaily.com/878754/ad-classics-teatro-oficina-lina-bo-bardi-and-edson-elito> [Accessed 15 December 2020].

Axonometry - Own Drawing

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