Z5P15

Mirza Imtyaz

Portfolio Newcastle University, Stage 3 Architecture Mirza Imtyaz 170274148

Rituals Blyth

CONTENTS Charette Primer Field Trip Staging TTM Realisation & Synthesis Cultural Bibliography Bibliography

______________________________ ______________________________ ______________________________ ______________________________ ______________________________ ______________________________ ______________________________ ______________________________

1-4 5 - 27 28 - 35 36 - 58 59 - 64 65 - 107 108 109

Reflective Anaylsis Now that stage 3 is coming to an end, I am looking back at all the things that I have learnt, overcame and went through this year. This has truly been a very demanding and stressful year and something that I am proud to have to made to the end. I have gained so many skills this year, and comparing myself to first year it is a huge improvement. I have finally learnt how to use Photoshop to its fullest to help represent my work and even went back to hand drawings, which I wasn’t keen on at the start of the year. Overall I think I have come out as a much better version of myself and ready to take on my next challenge.

The start of the year didn’t really go my way and it forced me to get out my comfort zone and push through. The support of my tutors Kati and Craig, with their positive reinforcements and advice has really helped my confidence in architecture and allowed me to try different approaches that I would have never thought off.

My studio choice of Rituals was something very different to the rest of my options, the more I learnt about it and its deeper meaning it grew on me. Rituals taught me that architectural spaces and a ritual are equivalent forms that belong together but, sometimes forms continue appearing even if the ritual and action which informed the space and consequent shapes are long forgotten.

Although I could not make the trip to Finland with my group, I feel like going to the Edinburgh Sculpture Workshop gave me a fantastic opportunity to see how a programme is built within its architecture. I really enjoyed the tour around the building with its long corridors and maze like routes to different entry and exit points. This trip has really helped in shaping my final design with its programme.

My key moment from rituals has to be my primer, this is where I truly feel like I grasped the meaning of this studio and what it entails. The primer showed me that when I analyse a ritual via a model or drawing, the translation process continues to concentrate on the material end product of the analysis. This detaches me from the ritual itself and opens another parallel ritual. This can be seen in the process of ‘making and preparing’ fish for my primer to ‘making’ fish/water related equipment for my graduation. Building my primer around realisation and synthesis has formed a great understanding of rituals and its unconscious approach. Doing this has also informed my concepts which I then used to inform my design strategy and ultimately my final design. It helped me in manifesting my concept and different crafts reflective of Blyth heritage.

To conclude, third year has massively developed my architectural approach and understanding. I have developed many skills, understanding of materials and how they work in the real world as well as representational styles and themes. With this, I would like to thank my tutors Craig and Kati for all their guidance for me and my group. Working from home in unprecedent times with a global pandemic has shown our perseverance to strive forward as a studio. I am excited to have finished this chapter in my life and am looking forward to the future, taking these new skills I have learnt an applying them in practice .

Rituals Introduction

Rituals and architectural spaces are equivalent forms that belong together but sometimes forms continue appearing even if the ritual and action which informed the space and consequent shape are long forgotten. In Rituals we studied a ritual/chain of actions/habitual process critically and question its logic and meaning of the traditional typology (schools, restaurants, factories etc.) connected to the process we are interested in.

In Rituals we first designed a small scale non-insulated structure for a Blyth ritual in a site in Blyth harbour or city centre, choosing one of three sites in offer. This small scale intervention was an adaptation or interpretation of Japanese tea ceremony, its process and its envelope, the house itself and the gardens surrounding it.

After developing spatial themes and landscape / site strategies from this intervention, we continued to design a larger ritual and craft based facility for contemporary challenges using either the previous sites, or moving into Blyth centre.

Charrette

1

SOFT STUDIO Led by Mags & Lesley Campbell We were asked to explore what a ‘softer ’ working environment might mean – this could be ‘furniture’ based – i.e. an alternative workstation – or more spatial – soft walls / floor treatment. But all with emphasis of being able to ‘work’.

It may blur the boundaries between work, rest and play. We also explored material possibilities and questioning classical architectural design approaches around how much control we can exert / non-static environments. We were also introduced to fashion / clothing design processes.

Our aim was to create a ‘soft studio space’ by the end of the week with circa 8 identifiable ‘workstations’

2

Exploring the different forms of a materials quality, in this case a hard potato and how we can change its form. Using a paper to represent the shape of it.

3

We explored what a ‘softer ’ working environment might mean by primarily exploring through the medium of soft filled bags and surfaces – exploring a variety of materials and fills, ranging from beans and foam to beach and balloons.

4

Primer The primer project was crucial in helping me identifying my methodology to my design over the rest of the year. The structure of our primer was a small project on the same site as our graduation project, this gave me an opportunity to develop concepts and carry a solid foundation on from early in the year all the way to the graduation project.

5

Primer Everyday Rituals and Japanese Tea Cermonies The ceremonial tea ritual of Japan was one that we analysed as a group, understanding the social relationship between the hosts and the guests of the ceremony and how the Japanese culture produces anticipation through the use of a walk.

As a group we analysed the ceremonial tea ritual of Japan to help us understand its ritual and how with material externalisation it is an example of a highly ritualised habit with a strict implications of how outdoors and indoors are designed for a specific cultural use.

This also taught us how a space and activity of a typology corresponds, allowing them to become intimately and holistically, one.

6

Site Visit The Blyth Peninsula, South East of Northumberland Before our primer we took a site visit to Blyth, going from the Market square/city centre to the peninsula.

North West from Blyth city centre opposite the Port of Blyth sits a peninsula. The surrounding context is mainly industrial, with facilities that handle bulk cargoes (coal, grain) and three silos also known as the Alcan Silos, which are currently used as an aluminium unloading ore facility by vessels. In-between, the area is made up of a small residential area of terrace houses with a large green space. The area was quiet and tranquil with only the sound of the ocean and seagulls, blocking out any noise from the busy city centre.

7

City Centre

Peninsula

8

Primer Exhbition Site Analysis The primer exhibition was a way for all studios groups to showcase the work that they had been working on over semester one. It was way to ensure work was to a finalised standard which could be exhibited to the rest of the year group. The diversity of each studio was inevitably clear, ranging from studios such as Legacies of Modernism to Future Cities.

Our primer exhibition started of by showing a mapping of the site including analysis throughout the three sites. Research was done on the sounds, air quality, routes and so on. We represented through the section of the site. Followed a by a presentation by each one of us talking about our ritual to be put into Blyth.

9

Site Analysis - Public transport routes, Pedestrian routes etc with the sound level

10

Site Analysis - Vehicle movement across the site with sound level.

11

This understanding of the site analysis done by the group allowed us to further comprehend the area our typology will sit upon and what suitable ritual can be used for each site.

12

Vehicle Movement My site analysis for the primer looked into the movement of vehicles going along the site. From Blyth market square to the peninsula. The ritual I had in mind for my typology was something to do with business and markets. So looking for a site with the most amount of people with hussle and bustle was key.

These four drawings show the vehicle movement from the bus station, the road leading to the peninsula and the quayside facing the peninsula. The more striation of red indicate more movement and busyness.

Bus Station

13

Road leading to roundabout

14

Roundabout

15

Road to quayside opposite the peninsula

16

Process of Primer The Ritual & Developing concepts RITUAL: Process of making and teaching about local seafood.

The design process started off with the basic idea of the surrounding markets in the area under a canopy. It later evolved to design related to fishing and the sea. This where the lobsterpot idea came from, using the netting around it to relate to the fishing of the local langoustine caught in the shores of Blyth. The netting was used in the canopy as a sort of fish net providing shelter to the people in the stall.

17

Structural Exploration

Exploring a structure that represent the movement of water contrasting with the ritual.

18

* Tensile Canopy Exploration

Exploring the material for the canopy to give the unconscious a spatial feeling of being under a fish net from the materiality and light coming through the tensile fabric.

19

Massing Site Model of Marke Square

Location of the Fish Stall

20

Fish Stall In most localities, fishing is part of a pluri-active local economy, where the industry may represent a relatively small but nevertheless important part of the local economic profile.

Blyth has a rich history of fisheries supplying Fish all over the North East of England as well as to countries in Europe. Contributing to the 512,400 tonnes of seafood worth ÂŁ1.33 billion being exported from the UK every year.

My aim with the Fish stall is to bring together the community of Blyth with local fish caught from the area. The process of preparing a fish will give a connection between the specialist and the customer.

Design The Structure of the design reflects the movement and flow of water on top of this will be the netting with a tensile fabric, representing the fishing of the local langoustine caught in the shores of Blyth.

The concept of the design is to represent the movement of the fishing nets in the water which is embodied in the shape of twisted canopy. The canopy is meant to capture the specialist and the consumer into one place as well protecting them from the exterior elements. Making the main focus the food and the one to one connection with consumer and specialist.

The Floor plan is based on the ritual of preparing a fish and creating a connection between the specialist and the customer. (Page 25)

21

Final model

22

23

1:50 Plan and Site Plan

24

*

The Ritual This diagram of the plan shows the ritual of ordering a food from the fish stall. The process links to the three key words: exchange, intimacy, and connection.

3

The ritual starts off with the arrival (1) of the customer to the where they’re greeted. Then there is the initial exchange (2) which is what food the customer wants from the specialist and also the exchange of money to the specialists. It is then followed by the preparation (3) which is the specialist going back, getting the equipment and cooking the food. After this is, it is taken to the presentation stage getting the food ready and bringing it over to the customer who will consume it (5).

This is all taking place while the specialist and the customer keep connection by communicating and the always facing the each other (green).

(1) Arrival (2) Initial Exchange (3) Preparation (4) Presentation (5) Consumption

2

4

5

1

25

*

1:50 section

26

*

These three words represent the key concept of my primer design.

Exchange, this is the exchange of words between the consumer and the specialist when they are ordering the food, it is also the exchange of money to the hand.

Connection, this is the connection that the Blyth locals have to their fishing heritage and the certain fish that are being served. It is also the connection, once again with the specialists.

Intimacy, this is the relationship that the specialists has with the customer and how they maintain eye contact and a conversation throughout the process of making the food. From the customer ordering to how they want it to the little bits of chat in between.

27

Field Trip My Field trip to Edinburgh Sculpture Workshop allowed me to enhance my understanding the different types of rituals that take place in a typology and how the architecture of a building captures the temporal space. This trip gave me a good idea on what I wanted an aspect of my graduation project to be focused on and how it would work.

28

*

Edinburgh Sculpture Workshop Field Trip Understanding typologies, spaces in contrast with rituals.

Edinburgh Sculpture Workshop was designed by Suther- land Hussey Harris created in 2015. It is Located in the community of Newhaven, providing subsidised studios, open access to affordable workspaces and specialist facilities as well as training and professional development for artist to help make and develop their work.

I found my inspiration for the spaces to include in my graduation how to integrate them into one. This trip helped me to understand the importance of scale for a ritual and how to position different typologies to accommodate them but still keep them all as one.

29

Sketches of courtyard and Watch Tower

30

View on to courtyard and Watch Tower

31

32

High spaces were very common through the building, it was something that grabbed my attention. My view towards material in these high spaces took a more natural mixed with industrial approach from this trip.

33

Threshold, inside the Watch Tower

34

Metal Workshop

Sculpting Workshop

Meeting Room/ Studio space with partition

The sculpture workshops spatial arrangement was very versatile, spaces could be split up with partition and used for different occasions. All the spaces have light flooding into them from the workshops to the studio spaces.

35

Staging Staging was a very difficult and intense time. Running alongside our dissertation it was difficult to balance the two. It was a key part in form time my initial graduation project with the massing and programme development.

Brining in parts of my primer into my water sports activity centre for Blyth. I planned on including key ideas such as the canopy and the rituals of making and teaching between consumer and specialist.

36

*

Regional Tourism in the North East

Developing Concept Tourism and Circular Economy The concept for my graduation project improve the tourist/ community by devloping a hub for coaching & teaching about water related activity as well as Blyths fishing heritage, to improve regional tourism for Blyth. Continuing the concepts from the primer where a specialist and consumer can have the one to one connection, in this case it is teaching and making.

I wanted my graduation to support Blyth socially and economically, so I began looking at tourism, from the UK to Blyth.

The aim was to improve its circular economy with tourism and investments whilst also bringing attention to Blyth’s fishing heritage and its rich history. As well as this I want the centre to employee local fishermen and water sports instructors who are specialists that will be able to teach the consumers boat husbandry to creel basket making as well as canoeing and paddle boarding all in the facilities of the centre.

Northumberland

1200 MILES OF 31 BEACHES 80 MILES OF BEACH WALKING ROUTES

BLYTH

NEWCASTLE

7 CASTLES

37

Figure 1: Holidays were the most frequent reason for visiting the UK between 1998 and 2018 - The Chronicle, 2018

UK

- BusinessLive, 2019

39.2m overseas visitors came to the UK in 2017, up 4% from the year before.

Overseas residents spent £24.5bn on visits to the UK in 2017, an increase of 9% compared with 2016.

North East The tourism industry brings in more than £4bn to the North East.

Newcastle and Gateshead continued to benefit the most from the tourism industry with 18m visitors spending more than £1.6bn last year.

Figure 2: Visits to the UK by oversea residents having a slight dip in 2018

Northumberland Those visiting the region increased by nearly 4.5% between 2016 and 2017 Northumberland has the 2nd biggest tourism industry, which was valued at £924.8m.

A total of 10.3m visitors travelled to the county, more than in 2016.

3% employment increase from 2016 in Northumberland to 15,481 people.

Tourism makes up 11.8% of Northumberland’s economy, 2.7% higher than the national average and contributes £665 million to the economy. (2018) - Office for National Statistics, 2017/18

38

The North East has seen some of the top results in changes for regional tourism from 2017 to 2018.

Blyth can help improve this by the attraction of the water centre.

39

Leisure Activities Availability

Top attractions in Northumberland Sea life

Bird Watching

Whales

Autumn migration

Seals

Nature

Sea Bird colonies St Oswald's Way

111 campsites and caravan sites across Northumberland

St Cuthbert’s Way

Camping

Walking

Holy Island Village Trail

*

Activities

Kite Sports Kite Surfing Power kite Kite land boarding Kite buggying Wind surfing Surfing Kayaking Canoeing Paddle boarding Launch sites

Water Sports

60 mile walkway from Creswell in South to Berwick

Cycling

Available paths all over Northumberland

Diving

Blyth Attractions include: a leisure centre and pool, the Phoenix Theatre, and Blyth Spartans one of England’s most famous amateur football clubs. The High Light Lighthouse, built in 1888. It was deactivated in 1985 and is now preserved for the nation. And finally Blyth Battery, a coastal defence artillery battery, built in 1916 to protect the Port of Blyth is now open as a Military and Local Heritage museum.

However over the years there has been a lack of tourism investment into Blyth compared to the rest of Northumberland. * But there huge potential in the watersports activities.

Chart showing the percentage of people from 802 users who are using the leisure facilities in Blyth. Split into three categories. Only 3% of tourists using Blyth facilities.

102 touris based sites 0 tourist based sites in across Northumberland Blyth

40

*

Blyths History Blyths Fishing Hertiage The main industries which helped the Blyth prosper in 1900s were coal mining and shipbuilding, with the salt trade, fishing and the railways also playing an important role. These industries have largely vanished, but the port still thrives, shipping paper and pulp from Scandinavia for the newspaper industries of England and Scotland.

However the forgotten trade of fishing is no more, now only done by small local companies. My concepts aim is to bring this rich history back and educate the tourists/community on it. This concept is also in conjuction to my primers fish stall.

41

Watercolour painting by me of Blyth Fishermen

42

*

Programme Analysis Learning, Making and Applying and link to Primer With some of the programmes being based Blyth’s fishing heritage (workshops) I want to link the concepts I used for primer- exchange, connection and intimacy to my new concepts of learning, making and applying.

Exchange - this is the exchange of words between the user and the specialist.

Connection - locals from Blyth teaching about their heritage through workshops building the connection.

Intimacy - one to one talks, demonstration between specialist and users when teaching about water sports.

This is also linked to my studio theme of Rituals, as all these programmes will have ritual involved (see table on page 45).

43

*

Primer

Exchange Connection Intimacy

Graduation

Learning Making Applying 44

* Concept

Ritual/Programme Taught by locals and specialist:

Learning

• • •

Blyth fishing heritage How to build/make creel baskets, canoe, kayak, paddles etc.

Different types of watersports

Hands on method providing:

Making

• • • •

Creel basket making Fish rod/net builds Basic Boat husbandry Canoe builds

Learning then applying how to do a variety of water sports:

Applying

• • • •

Kayaking Paddle boarding Kite/wake surfing Swimming

Description

Advantages

Local fisherman will be brought into to teach about Blyth's heritage whilst also teaching different types of builds.

• Education on Blyth’s fishing heritage • Attractive to both tourist and community

Specialist in watersports teaching different activities to the users.

Having a 2 separate workshops, one for creel basket making, Fish rod/net builds and one with Basic Boat husbandry Canoe builds.

• Attracts tourist to Blyth • Education on Blyth’s fishing heritage • Learning useful skills

Watersports taking place in the site, using the lagoon outside the peninsula for activities.

• Attract tourists to Blyth • Brining watersports to one center instead of being across different sites of Northumberland • Enjoyable • Easy access to water • Brings more attention to area (encourage investments)

Instead of travelling across the coast of Northumberland for separate activities it will be available in one place, Blyth.

Concepts relationship to studio theme

45

Programme -Workshop and Water Sports

Workshops: the heritage focused workshops will be split into two parts of the building, the first will accommodate the workshop for creel basket making and fish rod/net builds and the second will focus more on small canoe builds and boat husbandry.

Water sports: the water sports activity will consist of kayaking, paddle boarding, kite surfing and swimming. This will take place lower down next to the water.

46

* Stripping Canoe

The Craft Canoe Building Building a canoe is relatively straight forward. A method known ttrip planking is will be taught to those who are on the program by a local specialist. Low cost materials will be used other than tradtional cedar. The process starts of by creating the jig for the boat which are panels of ply used as the mould for the wood. The front of the boat also requires steambending in order to arch, streamline the boat. This can be achieved with a small set up.

The workshop will build mini canoes to reduce waste. Most will not be built in a day rather built through 2-3 days. Users who are staying in the water centre can finish these and send their mini canoes back home.

Gluing the canoe

Sanding

Final product

Canoe building sketches

47

Creel Basket making Since fishing has played a large role in my concept, creel or fish basket making workshops will be available. Creel because it is very common on the shores of Blyth alongside coalfish, lobster etc.

These baskets are made by a method called slewing using locally grown willow. Willow was planted on every croft and coppiced to give a yearly supply. When stripped willow was it was readily taken up in creel making because of its superior resistance to rotting. Cane is sometimes used in the whole creel or more often in sections, such as at the start or in the base.

48

*

La

go

Po

rt yt of h

Bl

on

St

ai

th

Context Site Decleration The chosen site for this project is located North West from Blyth city centre opposite the Port of Blyth and sits on a peninsula. The surrounding context is mainly industrial, with facilities that handle bulk cargoes (coal, grain) and three silos also known as the Alcan Silos, which are currently used as an aluminium unloading ore facility by vessels.

To access the site you must go around the outskirt of Blyth.

Public transport is available to the site going around the city centre 14 minutes by bus.

re u a Sq / t e e rk Ma Centr ) y (Cit er site Prim

49

e

Si

te

N

or

Al

ca

Ri

ve

n

Si

rB

lo

s

th

Se

a

ly

th

50

*

Programme Relationships The Journey When evolving my programme for the water centre I wanted to have different spaces that have a connection to each other.

This would be done by using my 3 concept words of learning, making and applying fragmented in chronologically in different parts of the site to create a journey for the user.

The method to create an subconscious journey through the buildings, moving from learning to applying. Starting off at main building and following the slopping footpath down to the activities in the lagoon connecting them spatially and visually in regards to the sites environment (see diagram).

51

*

Main Building

Creel basket making workshop

Bedroom Specialist, accommod ation

W C

Kitchen

Car Park

WC

Journey

Learning + Making

Canoe/Boat husbandry workshop

Lagoon

Waters ports

Changing rooms

Watersports

WC/ shower

Watersports

Storage

Preparing

Lecture room

Applying

Briefing room

Spatial relationships and journey

52

*

Massing Studies To begin my design, I created a 1:500 site plan model made up of layers of card as the landscape whilst also using Sketch Up to create a visual aid. By doing these massing variations, I was quickly able to see how my design would sit within its context.

My initial approach was to have the facilities stacked on top of each buried in the site whilst also having accommodation pods spread out, however throughout more variations this changed.

1:500 Site Plan

53

Initial Massing

54

Initial Massing

55

*

Design Typologoy Canopy, Movement of Water and Materials Since my building is part water sports centre, I began to look at water centres in the UK and around the world. A particular precedent came up called Pinkston Water sports, in Glasgow Scotland. The building had a similar scale site to the lagoon in the peninsula and their responses to the site was unique.

The building reused shipping containers to house their water sports equipment and this was something that I thoroughly liked as it gave an emphasis on sustainability.

Material

28

As part of the studio brief, the main construction material for our building had to be timber and to carry on from my primer I wanted to represent the motion of water in a canopy from.

Combining these two together I decided to look at wooden canopies and how I could incorporate them into my design.

The efficiency of construction using timber is very convenient, prefabricated glulam columns and beams as well as CLT panels can be factory-made off-site, delivered and assembled on site allowing for a quick build in hard conditions such as the peninsula .

Pinket Water Sports, Glasgow

56

Different types of timber strctures to support canopy

57

DESIGN MANIFESTO & AIMS Preserve and inform Blyth’s Fishing Heritage through workshops.

– Make Blyth a part of Northumberland’s tourism industry.

– Provide craft and skills to various age groups through canoe/creel basket making workshops and water sports.

– Improve Blyth’s economic statistics in tourism and help bring positive investments into the area.

– Produce a unique and welcoming space through poetic architecture that reflects Blyth.

58

Thinking Through Making Thinking through making week was an opportunity to start working with our chosen craft, there was wide variety of choices and loads of experimenting that could be done. What we made could be related to our design which meant we had a lots of different routes we could go through.

59

TTM Tectonics and Threshold Thinking through making (TTM) week was an oppurtunity for us to start working with materials we were interested in inspired by our building and to create a tectonic study with those materials.

The conceptual model I created explores the threshold between the process of creel making and fish net making. Going back the Blyth’s long fishing heritage which is mirrored in the canopy, expressive of the creel basket, that curves over with interweaving layers of the wood and the metal chicken wire over the top. The concrete floor represent the site and the white paint, a journey through it.

60

Process of making, using methods inspired creel basket making such as slewing (interweaving of wood)

61

62

63

64

REALISATION & SYNTHESIS The Realisation and Synthesis stage of the year was built around my key themes from Primer which were then developed through Staging, informing my design strategies and eventually leading to my final design.

65

Design Diary A round up of my designs and concepts from staging has allowed me to build and show the contrast in ideas from my primer reflecting on Blyth’s fishing heritage and the water sports and tourism of my staging.

I have recorded my journey in my Design Diary which was part of our studio. From February we conceptualised the process of our design in order to look at the unconscious rituals. This diary was to simply add a weekly ritual to our routines, freeing space for non-rational processes of creative work, shown as random sketches that are related to concepts of our design.

66

Image of the design diary

67

Final Massing Configuration Developing on from my initial massing at staging I decided to bring the facilities in closer together to give since of journey throughout them since this was lacking. I looked at the progression of spaces that the a person on the 1 week stay might go throughout and move from one building to another can become tedious.

Therefore I decided to add bring in 3 accommodation for specialists into the main building so they are infused in their teaching with the 2 workshops. I also decided to change to accommodation pods on the outskirt of the main building and turn them into pods that can accommodate 2 people each. I figured this would be better for young tourists who are travelling to Northumberland for a bite of water sports adventure.

68

3a ad ccom de d t dati o m on ain pod bu s ild in

g

or

ts

g n i ng a Ch oms ro

s ation pod 3 accomd 2 people. added for

W ar ate ea rs p

69

*

Design Development Plans and Sections After the massing at 1:500 I went on to 1:200 plans trying a variety of different iterations on how my facilities will be positioned on the site. The iterations were done on layers of tracing paper allowing me to change small details.

My first plan was set up higher on the peninsula spread out in its facilities (first plan drawing), I later decided to bring them together into one area and utilise the slope of the landscape more (second and third plan drawing). This provided a more natural descent towards the water sports area. Whilst also allowing me to place accommodation along the side of the main building in a similar fashion. Allowing the visitors staying to have key view out onto the lagoon overseeing the activities.

70

71

*

72

For my last plan I decided to change the main building (last plan drawing), due more added spaces and also wanting more high and open spaces.

This required me to do a grid system to get the proper fitting for the facilities such as the newly added meeting rooms. On the last drawing plan I also put the balcony at the centre of the building.

But with more iterations this did not work out as there wasn’t view out onto the lagoon like previous iterations. I decided to keep the grid system but move a few things around such as the balcony for my final plan whilst a few double height spaces.

73

*

Plans and Sections.2 One of the key elements that I developed thoroughly in my building was the connection between the building and the sloping landscape. I wanted the landscape to hide away the workshops below from one view and show the full two storey from the opposite view. The inclined site goes from 10m above sea level to 1.85m, so having the floors (4 and 5 meters) stacked on top of each other was not final. When using my new grid system method (third drawing section diagram) I decided to recess the top floor back to reveal a balcony space, as well this it allowed me to add double high spaces, giving the users views down to the bottom floor.

74

Section drawing showing the grid system and double high spaces from my design diary

75

*

Accommodation Design Study Mezzanine floor, Efficiency and Materiality Since the programme includes accommodation for both specialist and users who will stay 1-2 week it was important to keep the size as spacious and efficient as possible to fit in all the basic necessities. So creating a mezzanine floor was very important, to help separate the private (bedroom) and more open spaces (living room and kitchen) from each other.

Inital Sketches

76

Materiality of accommodation

77

*

Roof Design Study Roofs relation to TTM and Primer I wanted my roof to be feature that represent the whole programme of the water centre. so it was important to create a roof structure that does not only harmonize with the whole design, but also emphasize the chosen style and character of rest of the buildings within my programme.

Being a water centre I wanted a roof to reflect the movement of water, the slop of the sight and most importantly, link to my primer and thinking through making. To start, I began to look at different precedent and one that caught my eye was the Utzon Centre by architect Jorn Utzon. I particularly liked the way his design was like draping curtain or fish net over the structure of the building.

Utzon Centre Roof sketch, below showing how light enters the building

78

*

Draping roof design concepts inspired by Jorn Utzon, from design diary

79

*

The draping affect was good, however it didn’t relate to my concept on Blyth heritage and water focus. So I decided to use the shape of my Thinking Through Making model as a concept for the roof - to unconsciously act as a net and a canopy over the different buildings on the site, unifying them in their similar designs..

Sketch showing the arch shaped inspired by TTM model and its relationship to the water sports area.

80

* Link to Primer, TTM & the Sloping site

The arch shape later changed to a show clearer integration between Primer and TTM as well representing the sloping site.

This diagram shows how this process occurred.

81

Structural Strategy CLT and Glulam The building will mainly be made from CLT with glulam structure and frames. The use of CLT walls, floor panels and Glulam columns and trusses allows a simple design with clean finishes on the exterior and interior. I chose this material because of its raw presence in an industrial site of Blyth, standing out amongst the surrounding greenery.

The interior finishes are exposed keeping the raw texture alive.

My choice of this material for the structure also allows a quick building schedule for the Blyth Water Centre. Due to the weather conditions of the location a quick construction will help cost. The CLT panels and wall assembly is also very simple and cost effective. Using HSK connections systems as well as staggered floor systems allowing services to be sorted into in the ceiling without taking up large amounts of head space.

Sketch showing the Glulam structure and beams.

82

1: Excavation begins, digging into the site and levelling it out. An extra meter will be excavated to place in the concrete foundation blocks. A safety fence will placed around as well as provisional amenities for construction workers such as toilets, offices with security measures such as lights and CCTV.

2: Foundations such as a retaining wall will be put in to keep back the soil since the ground floor is buried.

4: Buildings primary frame and structure is erected. Pitzl connectors are used to join glulam beams and columns to the frame.

5:Staggered CLT floor panels are installed alongside waterproofing and other services within the flooring. Ground floor heatpumps, water etc lines.

Construction Sequence

83

3: The lateral load resistance is primarily provided by the elevator and stair core walls, which consist of CLT panels. There shear walls are anchored to the foundation using a combination of shear brackets and hold-down anchors

7: Once the exterior is finished the zinc roof alongside the services above (lighting, ventilation etc) are then put into place.

6: The Gulam arched trusses and beams are then fitted followed by the building envelopes with curtain wall glazing and wood cladding, insulation is set in place.

84

Building in Context The two storey main building sits on a sloping site going from 10m above sea level to 1.85m looking out on to the lagoon and the one story water activity area (3m) built upon the existing staithe under a tensile canopy. This will be done by refurbishment of an existing wooden staithe.

The staithes that sit on river blyth are formerly as West Staithes, they were the last of the traditional staithes to be built on the River Blyth. Their construction began in 1910 for North Eastern Railway Company, but the First World War intervened and they were completed in 1923. The original upper two decks were demolished and the whole structure truncated in 1994-5.

Keeping these staithes on a project that has so much importance to Blyths heritage will be vital.

Site plan showing the watersports area on existing staithe.

85

West Staithes, 2019-20

West Staithes, 1923

86

*

View from Blyth City

87

*

Final Programme Axonometric Yellow - Main Building: 2,250 m2 The main building contains the, Meeting room, Creel Basket/Fish (net +rod) workshop (Firstfloor), Canoe workshop (in the ground floor), Café. This building is where the entry well be from the car park.

Red - 3 Specialist accommodation pods: 40 m2 Inside the main building will be the specialists accommodation, for those who teach in the facilities, allowing them to stay there for 1-2 weeks at a time. This space will offer a bed, washing facilities, toilet, bed, kitchen and shower.

Purple – 3 Tourist accommodation pods: 40 m2 Outside the main building will be the accommodation pods for tourists, allowing two people to stay in for 1-2 weeks. This space exactly the same as specialist pods.

Blue – Water sports centre: 1,198 m2 (including pier on the staithe) Sitting on the lagoon and the existing staithe is the water sports centre with the changing rooms, outdoor showers, WC, storage units and briefing room.

Starting off at main building and following the slopping footpath down to the activities in the lagoon. This design will increase the footprint of the building on the site, covering 80 m across North East of the site giving it a footprint of 3000+ m2.

88

*

89

90

*

91

*

Exploded Axonometric

92

*

(A - A) Perspective Section

Perspective section showing the, reception, meeting room(with an oppostie veiw onto the creel/fish workshop through glass), cafÊ and the voids in the stairs where ornaments will hang down giving views from outside and inside the building. Similarly, the first floor void looks down onto the workshop table of the canoe workshop –giving the visitors a view of processes taking place.

93

*

(B - B) Section

This section is taken through the tourist accommodation, showing the kitchen/dining/living/ space, separated by the mezzanine floor with two beds opposite each other. The inverse arch roof follows the arch shape of the main building, this also allows spacious high areas with headroom for the users.

94

*

(C - C) Perspective Section

This perspective section is taken through the staithe and the briefing room of the water sports area. showing how the space is set out for the users, with a table in the middle where the specialist will brief the users on their activity.

95

Canopy The Canopy Design over the storage units reflects the Primer fish stall as well the TTM model, representitive of both the fish nets and the creel basket.

The layout of this is inspired by the primer, having the specialist in the centre, teaching the users before they head out for the activity.

96

*

Site Section

This site section goes through the lecture theatre, the stairs (showcasing the ornaments hanging from the ceiling) and the creel basket/fish rod workshop. The Alcan Silos can be seen behind the site, showing their size in comparison to the 12m high and 21m wide main building.

97

The lecture theatre was placed in a position to fit the sloping site, going well with the design in its context.

98

*

Render - Canoe Workshop

99

*

Render - Specialist Accommodation Pod

Specialist accommodation pods with a view out on to the North Sea..

100

*

Render - Tourist Accommodation Pod

101

*

Atmospheric Renders The Journey through the building I wanted to create a space with my design with a full immersion of the spaces and activity showing the journey. These atmospheric renders all relate to the key concept words with their ritual as well showcasing the feeling of each space whilst moving through them.

Learning Making Applying

102

*

This render of the entry is designed to illustrate how the user sees the space for the first time. Upon entry, they will see the hanging ornaments of the canoe boats, creel baskets and other related material going down to the ground floor, foreshadowing what will be of their experience throughout the building. The tall space is well lit, with the glulam beams and columns, spanning over them and with views out to the blue sky and the Silo in the background. the creel basket workshop is visible through the glass wall, giving them a preview of the activity. The yellow path is indication the routes they could take on their journey (e.g. going for induction in the lecture theatre).

103

*

When entering creel basket/ fish rod/net building workshop, a smell of warm willow will be in the air from the baskets being made with the sound clanging fish rods and chatter from the specialists and users learning and making. Above will be the arched beams with a fishnet hanging from it, creating the unconscious feeling of being in a net. This with a clear view through the CLT columned window, out onto the North Sea where fishing is taking place by the locals.

104

*

Going outside of the building the smell of the salty sea breeze will be inhaled, a view out to the water sports centre in front. From a far, splashing of the paddles and swimmers can be seen. With the city of Blyth in the background. The route will go straight down into the changing rooms then the briefing followed by a swift entry into the cold water. Refreshing you as you get ready to apply what you’ve learnt in the briefing.

105

1:20 Detail

106

107

Cultural Bibliography Food A hobby of mine that I started this year was making pizzas, I feel like this has impacted by design as I started making videos of the process of how I was making them. Being in a family of cooks and chefs it was inevitable for me to start some sort of cooking with food. I started to show these to friends and family to show them the new skill I learnt. Cooking is a passion of mine and making pizzas was different challenge. I learnt the process of making dough all the way to making sauces. It is now something that I am very passtionate about it and love to do.

Here are some pictures and screenshot from videos of my recent processes. Making videos of it was inspired my primer, recording the method of making food similar to my primer diagram of a food being made.

108

Bibliography Wikipedia. (2019). Blyth. [online] Available at: https://en.wikipedia. org/wiki/Blyth.

Wikipedia. (2020). Creel (basket). [online] Available at: https:// en.wikipedia.org/wiki/Creel_(basket).

Busch, A. (1991). The art of the architectural model. New York, Ny: Design Press. ‌Galindo, M. Wood Architecture & Design (2012) ‌Bachelard, G. The Poetics of Space (1969) Sennett, R. The Craftsman (2009) ‌ Images not of my own (Pinkston.co.uk, 2009) - Pinkston Image (www.thebasketcompany.com, n.d.) - Creel Basket

NOTE: DEFERRAL PERIOD DESIGN DIARY handed in seperately due to number of pages.

109

Mirza Imtyaz, Stage 3 Architecture