Polly Chiddicks Portfolio by PDF Uploads

P O L LY ANN CHIDDICKS

1 7 0 0 8 7 4 5 6

STAGE 3 ARCHITECTURE STUDIO 05 WEAVING IN WALLSEND 2020/2021

CONTENTS

INTRODUCTION (including illustrated reflective diary and cultural bibliography)

FRAMING

TESTING

SYNTHESIS

APPENDIX (including thematic case study)

111

LIST OF FIGURES

126

BIBLIOGRAPHY

137

altered / new since final review

I N T R O D U C T I O N

studio 05 WEAVING IN WALLSEND an urban commons for tyneside

INTRODUCTION

This

academic

year,

however

challenging it has been, has allowed

It encouraged me to really think about and investigate the influence architecture has on people, feelings, and behaviour, and therefore understand the significant impact an architect can have on societies.

me to really engage with and reflect

R E F L E C T I V E D I A R Y

on my own interests. Through the

However daunting the idea of a year-long project was, the time meant I could to delve deeper into the areas I was interested in. In addition, the integration

progression of our projects and the

of the additional three modules with the design project allowed me to develop my project from a multitude of perspectives. Through these, I have

‘academic freedom’ established

explored aspects of the architectural process that have influenced my design that I would not have otherwise looked at through just design.

through

own

My final project, ‘Wallsend Cultural Arts Hub’, is focused on the integration of community. I have investigated ways in which built form can guide human

briefs, I feel I have gained a greater

behaviour to create a more meaningful space, and community in general. Through looking at the theoretical background behind my proposed ideas, and

understanding of my interests and

the representational styles of my project in ARC3015 Theory into Practice, I feel I was encouraged to really analyse the way I illustrate my work and my

‘issues’ I am passionate about. Prior

intentions. This has led to my development of a representational ‘style’ throughout the year.

developing

our

to this year, I felt I still did not have a clear answer when asked “what ‘type’ of architecture” I was most interested in and what I would ideally pursue. However, I now feel I have more of a solid comprehension of where my passions lie. Looking back at my work over the year, there is a continued focus towards current social issues, with an active exploration into the ways architects can advocate for the needs of people, the environment, and the community. My dissertation, ‘a feeling of home for the displaced: a search for familiarity’ focused on the refugee crisis and the ways a sense of home and belonging can be re-established post displacement. Although focused on a certain demographic and a very prevalent social issue, the project encouraged me to build my understanding of the interconnection of architecture and people in more general terms.

INTRODUCTION

“he has learned more about the built environment by personally observing and drawing places and how people engage with them than he could have through a r c h i t e c t u r e s c h o o l a l o n e ” (Crosbie, 2018)

With the entirety of stage 3 obviously being online due the COVID-19 pandemic, I wanted to

The ARC3013 technical report, completed during synthesis, again informed design decisions which I would not otherwise have thought about in such depth.

maintain an aspect of physicality

It encouraged me to relate each decision I made back

within my work. Through hand

to my key intentions.

drawing and sketching, I felt I was able to maintain the connection between

the

physical

human

experience and architecture. This is something I felt was missing from my academic experience this year, not only due to the lack of studio culture, but also the inability to

The establishment of a representational that I felt fit well with my project definitely

visit architecture and gain physical

helped in both the framing and testing phases of the year. Since the representation of

inspiration. I was concerned that this

user centricity and experience is so central to my project, the combination of this with

would reflect in my representational

more complex architectural theories, such as Jane Rendell’s ‘critical spatial practice’,

techniques, but I feel I was able to

encouraged me to concentrate on how my proposal will impact the existing society.

combat this by concentrating on

I was encouraged to look at what currently works within the Forum, where and what

integrating

needed ‘changing’, where needed intervention and enhancement. All in all, this led me

physical

handdrawn

to develop a wider masterplan, rather than just one building.

representational techniques with digital techniques. “architecture

the

art

articulating

spaces

but

has

the

ability

m o r e ” (Chambers and Haley, 2016) In summary, this year has been challenging, but I believe this has encouraged me to develop my own personal attitudes in a way which has positively impacted my work. The combination of COVID-19, multiple lockdowns and the final stage of architecture, encouraged me to consider the significance of physical spaces and how they connect to the human experience.

INTRODUCTION

C U L T U R A L B I B L I O G R A P H Y

The Enchanted Interior Laing Gallery The Enchanted Interior exhibition located at the Laing

INTRODUCTION

Yinka Shonibare The British Library Ta t e M o d e r n

Gallery explored “the sinister implications of a popular

Due to the COVID-19 pandemic, it has obviously been difficult to

physically

visit

inspirational

places. For me, the solidarity of this past year, as well as seeing urban commons and public spaces empty and ‘abandoned’ has made me appreciate public spaces and the impact they can have on our wellbeing and daily life. I have had to think about past source of inspiration, as well as turn to external sourcea, such as documentaries and online sources.

theme in 19th-century painting: the depiction of the

The British Library is an exhibition by Yinka Shonibare,

interior as a ‘gilded cage’ in which women are pictured as

The British Library I viewed in August 2020 at the Tate

ornamental objects.”. I attended this exhibition during

Modern, London. The exhibition, as a celebration of

the initial research stages of the dissertation process,

cultural diversity and immigration within Britain, was

although I did not continiue with this topic, I found the

central to my inspiration to explore the relationship

exhibition very inspiring and I was encouraged to look

between the displaced and their meaning of home

deeper into the theoretical background of the home.

within a host country.

Manningtree Highstreet This photograph was taken on 7th January 2021, just after the third UK lockdown was announced. This space would usually be a bustling hub of the town, busy with the movements of the community.

I p s w i c h To w n C e n t r e To w n H a l l a n d C o r n Exchange Square This photograph was also taken during the January lockdown, this space is a recently renovated urban common. The town felt like a ghost town, it made me realise the stark contrast between how the once animated public space and the solitary atmosphere once the community is removed.

INTRODUCTION

The Art of Architecture Sky Arts Series 2, Episode 4

The Art of Architecture Sky Arts Series 2, Episode 5

K i n g ’s C o l l e g e S c h o o l Wimbledon Music School Hopkins Architects 2018

Andermatt Concert Hall Studio Seilern Architects 2019

INTRODUCTION

National Theatre at Home

Online Musical Performances

During the first lockdown in March 2020, the National

Similarly to the NT streaming service, local musicians

Theatre released an archive of British Theatre, available

from my area set up a streaming service named ‘tales

to stream from home. Although rentable for a fee now,

from the green’ during the first lockdown. These were

these were free at the time. I watched ‘Swan Lake’, a

weekly performances streamed via youtube from

recorded version of the 2018 live performance. My

their own living room. The experience of watching

own experience of this, as well as widespread popu-

live streams created a sense of community within

“New Music School, King’s College School, Wimbledon:

“Concert Hall, Andermatt, Switzerland: Swiss-British

larity and appreciation of this service made me real-

an otherwise solitary time. Again, this helped me

Sir Michael Hopkins and his wife detail their latest

architect Christina Seilern reflects on her commis-

ise how highly valued these performances and spaces

acknowledge the need for community engagement

project - a stunning choir school in Wimbledon” (The

sion to create a world class concert hall in the Swiss

are. People cannot live without them even when they

in the maintenence of a meaningful life, a key theme

Art of Architecture, episode 4, 2021)

Alps.”(The Art of Architecture, episode 5, 2021)

cannot go to them.

behind the development of my proposal.

figure 10

figure 4

figure 1

figure 7

figure 8 figure 2

figure 3

figure 5

figure 6

figure 9 figure 11

INTRODUCTION

Thematic Case Studies group work from other studios

Joanneumsviertal Graz, Austria Nieto Sobejano museum extension

The Hill House The Hill House Box Helensburgh, Scotland Charles Rennie Mackintosh and Carmody Groarke an experimental preservation for the national trust scotland

F o n d a c o D e i Te s c h i Venice OMA Architects a shopping centre in a historic building

The Rietveld Academie and Sandberg Instituut FedLev Extension Amsterdam F e d L e v, S t u d i o P a u l i e n , Bremmer and Hootsman Architects academic / education multifunctional space

Bauhaus Dessua Dessau, Germany Walter Gropius art and craft school

Ta i K w u n - C e n Heritage and Central, Hong Herzog and Meuron

tre for Arts Kong de

culture and arts cenre

The Paul Marshall Building, LSE London Grafton Architects

AgroCite Colombes, Paris Atelier Architecture, Autogeree

multipurpose academic and research

community centre

F R A M I N G

Through framing, I used my general understanding and research of our studio brief to establish areas of focus within the site reading and analysis stage. By using this initial line of enquiry to guide my later research, I was able to secure a focus to guide my development. This included physical analysis, as well as theoretical readings and brief development. Looking at both sides of Wallsend, successful and unsuccessful, allowed me to establish a brief that sensitively enhances Wallsend. I heavily focused my research and brief development on the community and user centricity and ensured my proposal worked with the existing site and communities. By initially developing a masterplan for the scheme, I was able to consider how I could broaden the scope of my brief and impact the site and community as a whole.

FRAMING

U R B A N C O M M O N S

FRAMING

Through the act of commoning,

a space to create a meaningful community An urban common is a space which encourages

engagement

and

interaction through the networking of

communities,

exchange.

culture

and

An urban common facilitates the act of ‘commoning’. Commoning can be described as the “deepening of social relations, the forging of

our studio has investigated ways

connections between people who are not tied by tradition or family”, it is described as “social glue”. (Dellenbaugh-Losse, Zimmermann, de

in which an architect can act as

Vries, 2020)

an ‘advocate’. I have focused on

Urban commons, as spaces that facilitate social interaction between local members of society, therefore act as spaces that promote social cohesion, resulting in social capital and assisting in the formation of a community. Social capital refers to the interactions and connections established between “social groups in heterogeneous societies” (Cutieru, 2020) resulting in a positive outcome. According to Dovey in the

how can an architect operate as as an advocate?

the ways in which an architect can provoke social change and advocate for community needs.

‘silent complicity of architecture’, “social capital is embedded in the built environment where it is sustained and reproduced by architectural

An architect plays a vital role

programmes as spatially structured patterns of social encounter”. (Dovey, 2005) She expresses that buildings and neighbourhoods form and

within the community, having the

establish these social networks. The concept of social capital in relation to the act of commoning affirms the importance of public space and

ability to design a space that both

urban commons in the creation of a meaningful community.

promotes and facilitates community sustainment.

By ensuring an element of social conciousness is considered in each stage of decision making within the design process, it is possible for architecture and the built environment to transform the social ambience of an area.

FRAMING

PRACA DAS ARTES S A O PA U L O BRASIL ARQUITETURA 2012

rituals of civic

Praca Das Artes is a centre for

life

performing arts in Sao Paulo, Brazil. The

arrangement

concrete

‘The post office’, at a micro scale,

volumes allows the urban common

investigates how individuals may

space to permeate through the

interact on a daily basis as part of a

complex and interact with the

regular routine within a community

surrounding built form to create

post office. This study allowed

public community space.

me to begin thinking about how interactions and engagements can

The exploded axonometric diagram

be mapped within the mundane

lifts the built form and demonstrates

routines which take place within the

how

Forum shopping centre as visitors

the

architecture

guides

interactions between passersby by

are

creating routes through specific

negotiating

their

everyday

errands.

sites of engagement. Here, it is the built form and physical structure which informs the how the remaining negative space is used. Community interactions at a micro scale - ‘The Post Office’

Community interactions at a macro scale - ‘Praca Das Artes’

FRAMING

Wallsend

W A L L S E N D

Wallsend is a small town located in the North East of England. It is situated 3 and a half miles East of Newcastle-upon-Tyne.

figure 12

figure 13

FRAMING

group work

FRAMING

group work

NORTH housing

arson pub grill

the forum

the ritz wetherspoon

carpark

take aways

the ship co - op pub funeral care

burger king

aldi

EAST

st lukes church

tattoo shop

cafe

take away

high street

arson pub grill

the forum

trinity methodist church

abandoned / disused premises

housing

SOUTH housing

burger king

aldi

co - op funeral care

take aways

the ritz wetherspoon

pizza

william hill betting

vape shop

the forum

arson pub grill

key cutting currency nation-wideestate exchange agents

WEST

housing

green space

carpark

the forum

the ritz burger co-op high take wetherspoon king funeral street aways care

fishing shop

st lukes church

housing / flats

furniture

hair dressers

cash housing converters

materiality testing

FRAMING

group work

BRICK - post war houses RESIDENTIAL

WALLSEND FORUM EXTERNAL

Emissions of gas pollutants and ash into the environment Brick firing is an energy intensive process, brick industry is one of the largest consumers of coal (24 million tonnes / year) in the country

PRE RENDERED COATING

Long life expectancy, durable and weather testing Environmentally sustainable PIR insulation core, low global warming potential Minumum threat of loose fibres into external environment

PLASTIC COMPOSITE CLADDING Long life expectancy, will not rot, warp or spliter. Low maintenance

axo with labelled materials? (material info from framing?)

Parking + public space

Wallsend Forum Internal

WALLSEND FORUM INTERNAL

FOAM ACOUSTIC CEILING TILES

Benefit sound absorption Can recycle after use, and can recycle off cuts throughout the production and instillation process which diverts waste and limits what goes into landfill

CONCRETE PA R K I N G A N D P U B L I C S PA C E

Production results in high levels of Co2 output 4-5% of the worldwide total of co2 emissions is caused by concrete production (although reflects universal importance of concrete throughout the construction industry, and how reliable and useful it is in construction and landscaping)

HIGH IMPACT ACRYLIC - shop signs PRIVATE OWNERSHIP

High energy requirement for acrylonitrile production, with 16% being on human health and 2% on ecosystem quality Easy to reuse and make into other things, therefore an eco-friendly choice

POLLUTION P U B L I C E X T E R N A L S PA C E

Private ownership

M A T E R I A L I T Y

Wallsend Forum External

Residential

FRAMING

Plastic bags are difficult and costly to recycle

TREES IN URBAN AREAS

Health and environmental benefits Protect cities from flooding - this is important when a large proportion of the ground is an impermeable material such as concrete

Wallsend Wallsend Wallsend Forum Forum Internal Wallsend Forum Internal Wallsend Internal Forum Forum Wallsend Internal Wallsend Internal Wallsend Forum Forum External Wallsend Forum External Wallsend External Forum Forum External External Public External space Public Public External External Public space Public space External External Private space Private space ownership Private ownership ownership Private Private ownership ownership Parking Parking +Parking public + public space +Parking public space Parking space + public +space public space space Residential Residential Residential Residential Residential Wallsend Forum Internal Wallsend Forum External Public External space Private ownership Parking + public Residential

FRAMING

group work

During the industrial revolution, Wallsend thrived from the growing ship building and coal mining industry. Colliery Houses were built close to the many pit shafts. Waggonways were built to transport the coal to the River Tyne where it could be loaded on to ships. Industry dominated the town as terraced

H I S T O R Y

streets were developed to house the

expanding

production

workforce. marine

The

supplies

remained significant, coal mining ceased and traditional industries gave way to light manufactures and service activities. This made engineering an important activity in Wallsend. The forum shopping centre was opened in 1966, a symbol of the swinging sixties and the growing retail luxeries of the time. By 1968, Wallsend was a thriving township with a population of 6,000 people, at the time equalling the population of Newcastle. There were eight churches, two public schools, several friendly societies, one denominational school, one co-operative society and a bank.

figure 14.

artists impression of the forum, 1960s

FRAMING

group work

FRAMING

group work

NAME AGE ETHNICITY

L I F E I N W A L L S E N D

based on the most prevelant demographics of the area. These profiles will help me to develop a scheme integrating elements aimed

each

demographic,

allowing for inclusivity of Wallsend as a whole.

White British Christian

HOUSING

Owned 2 bed house

NOTES

imagined resident of Wallsend,

9 & 11

RELIGION

EMPLOYMENT

Each of the profiles describe an

Tom and Sam

NAME AGE ETHNICITY

N/A Eligible for free school meals

Irene 72 White British

RELIGION

Christian

HOUSING

Owned 2 bungalow

EMPLOYMENT NOTES

NAME AGE ETHNICITY

Retired Lived in the area all her life

Daniel 38 White British

RELIGION

None

HOUSING

Rented 2 bed flat

EMPLOYMENT NOTES

Office Job in Newcastle Travels on the metro to work in Newcastle city centre

FRAMING

group work

FRAMING

A L O S S

The

Buddle

Arts

Centre

was

formerly a vital hub for art, drama and events within the community. Activities,

plays,

exhibitions,

O F

workshops and music perfomances

A R T S

cultural art and a celebration of

A N D

The site has now been redeveloped

C U L T U R E

were hosted there. Following its closure in 2008, Wallsend now lacks a hub for local individuality within the community. The Ritz opened in 1939 as an art deco cinema before being reformed into a bingo hall in 1962.

figures 17 and 18.

into a Wetherspoons pub, an vital piece of Wallsends cultural history taken over by a generic chain. conducted

research

through

facebook community groups, and found there was a real longing for

the buddle arts centre today

a community space that celebrated

figure 19.

culture and arts. figures 14, 15 and 16.

comments from members of ‘Wallsend Memories and Photographs’ (original post located in appendix)

FRAMING

T H E

The Forum shopping centre sits

F O R U M

belonging. Although a generally

FRAMING

at the heart of the town. It has the potential to be the hub of the community and a space to build and strengthen community bright space, the Wallsend Forum is overwhelmed by discount stores with bright shop signs and savings posters. There is a lack of local identity and civic celebration within the site.

the forum arcade

the ‘generic’ forum

FRAMING

figure 20. the forum 1996

Through research from facebook community

groups,

such

‘Wallsend Past and Present Times’, I found there was a realisation that the Forum shopping centre has changed, many feel the selection of shops has deteriorated. There is a wish for it to return to the ‘bustling’ hub many believe it once was.

“I feel as though the whole of Wallsend has been abandoned actually”

Introducing an urban common which

focuses

community

engagement and civic celebration will facilitate the development of a meaningful environment in which a community can thrive during daily routines.

the forum today

comments from members of ‘Wallsend Memories and Photographs’ (original post located in appendix)

FRAMING

extract from arc3015 By

translating

ideas

into

atmospheric sketches, collages and an

perspectives and engaging with

understanding of the way local

the process of design, an element

residents negotiate the Forum, I

of “fragmentation” (Evans, 1984)

began by sketching areas of site,

is introduced. According to Evans,

noting down the actions of people

“whatever is renounced in the

I saw.

drawings… would be excluded from

S I T E R E A D I N G

order

establish

architecture’s

central

concerns”

I observed that although there is

(Evans, 1984). Essentially, Evans is

in a clear state of decline, it is still

arguing that through drawing, an

an important community space for

architect is able to pick, choose

local residents. There are aspects

and control the key aspects which

that are evidently a vital part of

represent the concept behind a

their civic life and daily routines.

design. He writes “fragmentation

I therefore recognised that it was

assumes the possibility, theoretical

crucial to ensure these areas and

if not practical, of reconstructing

elements of the Forum are not

an original that has been broken,

removed, and must be integrated

of putting together the busted

and enhanced within my scheme.

vase” (Evans, 1984. This theoretical ‘restoration’ reflects the role the architect plays through design, an advocate for enhancement – in the case of my proposal, an advocate for the needs of the community. 1. Seating outside the Forum. Locals sitting on benches eating food from Greggs.

2. The approach to the Forum. Residents shopping alone. Sign advertises the ‘new wallsend market’.

3. The interior of the Forum. Visitors with shopping bags from Heron Foods. Local fruit and flowers stall in central arcade.

FRAMING

seating outside the front of the forum

main entrance to the forum

FRAMING

interior of the forum, local fruit and vegetable stall

interior of the forum

FRAMING

summer solstice

winter solstice

sun path

the forum

residential

commercial

FRAMING

S I T E D E C L A R A T I O N

figure 21.

figure 22.

the existing carpark site plan 1:1250

approach to the site

approach to the site - existing parkland

the existing carpark

FRAMING

W A L L S E N D C U L T U R A L A R T S H U B

FRAMING

My visual brief summarises the key intentions behind my proposal, creating a scheme which flows into the existing Forum and focuses on the integration and strengthening of community. ‘performance journey’

My proposal aims to address the main issues I have identified

The cultural arts hub sits on the

within Wallsend, whilst ensuring to

site of the double height carpark,

celebrate and enhance the existing

it incorporates two multifunctional

Forum which continues to be a key

performance spaces, artist studios

part of many Wallsend residents

and exhibition spaces. With a

daily routines.

prominent

more fluid relationship is created

celebrate individuality and cultural

between the wide community and

creativity within Wallsend, an area

users of the building.

which is currently underrecognised.

The arts hub is connected to

By introducing elements of the

scheme into the forum as part of a

This

are able to seamlessly flow from

spaces.

masterplan, ‘performance

encourages

links

journey’. community

engagement whilst reintroducing

one to another, integrating two community

wider

wider masterplan, the two spaces

separate

connecting

the proposal with the Forum, a

The cultural arts hub is a space to

potentially

entrance

visual brief

the lost individuality of the site and the loss of arts and culture. The journey is made up by a series of civic stages, they form a route through the forum to the entrance of the arts hub.

site strategy

FRAMING

THEATRE” The

civic

stages

act

multifunctional

provoke and facilitate meaningful

could

human

social

performances, seating, exhibtion

interaction (Chambers and Haley,

spaces, or could be rented by local

2016). In

shops or businesses for pop ups.

theatre’ are examples of temporary

and acknowledged.

social

interaction.

These stages will encourage the

They are outdoor platforms for

figure 23.

users of the forum to stop, it gives

spontaneous

The Civic Stage, Swansea, Aberrant Architecture

them a reason to spend longer in

“conviviality,

activity

”

the opportunity to be promoted

impromptu

tre

stage’ and ‘the tiny travelling encourage

of temporary pop ups, and allow smaller local businesses to have

which

the forum and honour those who

and social interaction”

live in Wallsend.

(Chambers and Haley, 2016).

figure 25.

The travelling theatre, Aberant Architecture

public seating

They respond to the current culture

Aberrant Architecture’s ‘the civic

architecture

formation of a community.

figure 24.

busking,

formation of social capital and the

they et

the

tre

prompting

for

tre

“s

turn,

and

used

behaviours

Architecture has the ability to

pavilions,

C A P I T A L

ENGAGEMENT

S O C I A L

PERFORMANCE AND

“THE STREET AS A

riu

stage

A JOURNEY OF at

A R C H I T E C T U R E

FRAMING

civ

sta

gallery

T E S T I N G

Through testing, I began to develop my proposal ‘Wallsend Cultural Arts Hub’ in more detail. Following the development of the masterplan for community engagement I established during framing, ‘the performance journey’, I started to look at the spaces I needed at a micro scale. This allowed me to ensure the two aspects of my proposal remained connected and flowed with one another, integration and permeability being my key themes. Throughout each stage of testing, I ensured these themes followed my decision-making process, ensuring to relate each aspect of the design back to my brief. The iterative process of this stage, however frustrating at the time, allowed me to ensure the programmatic arrangement of my project, as well as the massing, worked for both the context and the scheme.

TESTING

group work

TESTING

group work

TEATRO OFICINA Sao Paulo, Brazil Lina Bo Bardi & Edson Elito

T H E M A T I C C A S E S T U D Y

1990 The west facade of the building

Lina Bo Bardi designed the theatre

features a 120 metre squared

in relation to its territorial context:

window, it provides an unobstructed

the street. Situating and designing

view towards the city. Not only does

the theatre in relation to its context,

the window play a crucial technical

creates a contrast to more traditional

role in the lightng of the building, it

designs of theatres. By including

also characterises the relationship

elements which reflect the essence

between the theatre and the city.

of Sao Paulo and its population,

The theatre “surpasses the limits

the setting’s culture is represented and

provides

conservative

opposition

movements

figure 26.

which

be immoral and superfluous.

Sao Paulo is well known for its street art and architecture, however

The theatre consists of a long,

due to the ongoing battle between

wooden ‘landstrip’. This directly

conservatives and artists, street art

represents the idea of the street, the

Classics: Teatro Oficina / Lina Bo Bardi & Edson Elito, 2021)

claim some artistic expression to

defragmenting

of its external walls”. (Architecture

is being removed from the streets

boundaries

of the city. The theatre thus acts as

between stage and audience. The

a beacon of ‘street’ art to both the

programmatic structure promotes

city and artists.

a democratic theatre. The flexible scaffolding seating and exposed structure creates a transparent atmosphere and allows audiences to feel a sense of ownership and

figure 28.

‘freedom’ within the theatre.

figure 27.

TESTING

group work

TESTING

group work

“the architecture was designed to ‘collaberate’ with the events” (Architecture Classics: Teatro Oficina / Lina Bo Bardi & Edson Elito, 2021) Bo Bardi further exaggerated the connection to the street through the use of flexible and retractable

Fig. 5

figure 29.

Fig. 6

structures. The retractable roof

figure 30.

opens up the space to the wider city. The ability to break apart the structure allows the theatre to become a beacon of democracy, further emphasising the relationship with the art movements of the city.

Fig. 7

Ameerah Kasmirhan

figure 31.

Fig. 8

figure 32.

19 figure 33.

TESTING

C H A L L E N G I N G

Jane Rendell’s theories of critical spatial

practice

symbiotic art,

express

relationship

architecture

TESTING

TEATRO OFICINA

THE ATTIC THEATRE

STAR AND SHADOW CINEMA

ST ANNS WAREHOUSE

Sao Paulo, Brazil

Stratford-upon-Avon

N e w c a s t l e - u p o n - Ty n e

Brooklyn, NY

the

between

and

social

change. She investigates how we should consider the role ‘objects’ “play in tracing and constructing

T H E

relationships” (Rendell, 2016). She

C O N V E N T I O N A L

people, but they can also be more

“the building is run and programmed by its audiences, which means

proactive. For example, as props

you are us - we don’t do it for you, we do it with you! WE ARE YOU!”

they can encourage play and

(Star and Shadow: FAQs, 2021)

speculation”(Rendell, 2016).

Star and Shadow is a community run, DIY performance arts and cinema space

Rendell essentially states that the

in Newcastle-upon-Tyne, UK.

built environment has the ability

The focus of the project is the creation of a collective experience through

St. Ann’s Warehouse is a redevelopment of an abandoned tobacco

to promote social change and

‘critical, active spectatorship’. 1 This cumulative attitude blurs the boundaries

storage facility, located in Brooklyn, New York.

encourage the formation of a

between spectator and performer. The redevelopment of an existing

The key concept of the spatiality of the performance venue is

certain narrative.

building allows the project to reclaim community space. This creation of a

flexibility and adapatability of space.

Using Randells ideology of critical

multifunctional venue and community space creates an engagment between

This allows performances and events that take place in the building

spatial practice, I have investigated

building and community.

to be centred around the user experience, creating an intimate and

T H E A T R E

strengthen my key themes of

states “objects can certainly be thought as a material composite of a series of interactions between

figure 36.

ways in which I can use the layout and physicality of the theatre to permeability and fluidity between the architecture and the community.

collaberative encounter between spectators, visitors, performers and

figure 35.

figure 34.

Teatro Oficina is a theatre and performance

The Attic Theatre is a small scale fringe theatre. Similarly to Teatro

venue focused on social interaction and

Oficina, the boundary between stage and audience is diluted. Due

community collaboration through active

to the scale of the space, the proximity between the performers and

spectatorship.

the spectators essentially allows the audience to become part of the

figure 38.

the architecture of the building.

show, creating an immersive theatre experience.

figure 37.

TESTING

multifunctional performance space

I N I T I A L P L A N S

I initially focused on the three separate aspects of my scheme, with separate spaces for each

increasing

the

proximity

function. I realised that these

between the performers and the

spaces would often be left empty,

audience, the boundary between

with each event only taking place

the two is blurred, creating a more

at certain times of the day.

intimate and inclusive experience. Teatro

The theatre as a street encourages

Oficina, I therefore decided to

active spectatorship and creates

incorporate

Taking

inspiration

from

multiple

functions

intimate

and

between

collaborative

into two main spaces, focusing

encounter

on flexibility and adaptability. This

visitors,

would essentially allow the building

architecture of the building.

performers

spectators, and

the

to act as a stage set, adapting for different events and performances. first iteration of ground floor plan

first iteration of first floor plan

first iteration of second floor plan

multifunctional performance space

second iteration of ground floor plan

TESTING

Garage Contemporary Arts Centre Moscow OMA, 2015

P E R M I A B I L I T Y

In order to integrate the proposal with the existing community, I focused my design process around the use of permeable façades and framed views into the spaces. By allowing views into the performance space, a stronger and more honest relationship is created between the initial ‘moment’ showing connection between forum arcade and entrance to proposal

everyday visitors to the forum and the arts hub.

figure 39.

vertical sliding doors - allow the building to be closed off or open, accessible and permeable.

initial section initial plans showing permeable facades and double height spaces

TESTING

For my thinking through making piece, I focused on the facade separating the Forum shopping

T H I N K I N G

centre, and my proposal. I knew

T H R O U G H

and views doors, which would

M A K I N G

filter through and where you could

I wanted this to be permeable, allowing passerby a view into the spaces without it being fully public all of the time. I wanted it to hint at the function of the building, giving passersby a reason to stop and acknowledge it. I investigated how I could use perforated materials to allow light provide

flexible

separation

between the spaces - the doors acting as a play on theatre curtains. I cut out a drawing and tested how that could be the glass, allowing people to look through. After that worked successfully, I used bolsa wood to mimic the panels of folding doors, to show how light would see through into the space behind. The

mural

the

ballerinas

introduces character and reflects the celebration of individuality which takes place accross the proposal. Each set of folding doors will feature a different ‘mural’ related to the programme and intentions of the building.

TESTING

I also investigated how I could use permeable

screens

throughout

the building to separate areas but avoid interfering with the fluidity between spaces, again playing on the idea of theatre curtains. The theatre space connected to the Forum has a retractable screen which encloses the performance

retractable screen during a production

space when productions are taking place, but does not interfere with the permeability of the rest of the building. It allows the set storage area behind to be visible without being on full display.

screen retracted to reveal storage space behind

TESTING

Taking

inspiration

from

Teatro

Oficina, I used the concept of extending the street into the theatre space itself. This allows the

performance

journey

continue from the street, through the Forum, into the building. The double height folding doors exaggerate the permeability of the building and allow the spaces to open up into the surroundings.

TESTING

1. Pitched roofs mimic pitch of Forum. Too overbearing, does not fit with context.

D E V E L O P M E N T

2. Flat roof allows for roof terrace. Overhang extends structure into street and invites the street and wider community to be part of the

building

and

programme.

Too overbearing for residential buildings opposite.

3. Reduced scale. Building is set back from street to create softer boundary with residential buildings. Carved out areas break up the form.

TESTING

Following the interim review and step back from street by 5m

the feedback I was given, I adapted my floor plans to ensure they were

es nc u no an ang e h ce tur uc ed to oun r t s s nn ed e - u nd a ts m fra tranc ds a even r en lboa nity bil mmu co

more compatible with the site. integrate entrance with proposal, allow views into backstage area and into spine corridor

Although connected to the Forum, a very public space, the site is located in very close proximity to residential buildings, I therefore

sal ntial o rop ide f p o res rth o t t o igh nds to N e h po s g res ildin bu

reduced the scale of larger spaces and and stepped the building back

move backstage area to allow view through entire scheme, connecting the two performance spaces

by 5m, ensuring the North façade was not overbearing. This allowed the park space opposite to be extended down the North side, creating an opportunity for existing concrete columns to remain and be used for planting and landscaping. This creates a softer boundary facing

the

opposite.

residential

houses

remove atrium, create external entrance with framed structure change main entrance to forum, a more inviting entrance

ina

d pe p te 5m is s t by e e ad ac stre f rth om no ck fr ba

o et c a sp ngs w i o all ound s r r oo sur d o ng t t ldi ou o f en op

TESTING

M A T E R I A L E X P E R I M E N T A T I O N

TESTING

alluminium

In order to continue my conceptual framework throughout my proposal, I wanted to ensure the materiality of the building carried themes of permeability and fluidity. I wanted to ensure it fit with the context, reflecting the integration with the community of Wallsend. I experimented metal cladding systems, with a combination of solid and perforated panels. In response

the

surrounding

context, I decided to use solid and

zinc

perforated corten cladding.

materiality of surrounding context

corten steel

TESTING

A B E A C O N F O R C O M M U N I T Y

TESTING

David Brownlow Theatre Newtown, Southeast England J o n a t h a n Tu c k e y D e s i g n , 2 0 2 0

‘portico’ structure “announces theatre from main point of arrival and activates civic square in front, it is used as a billboard to announce theatre productions” (David Brownlow Theatre / Jonathan Tuckey Design, 2021)

The entrance of the building is encases by a triple height exposed timber frame. The frame announces the entrance of the building and brings the three separate entrance ways

together,

combining

the

community spaces. It is used to hang billboards, announcing events and functions that are taking

figure 40.

figure 41.

place within the building. It acts as a beacon for the community.

timber framed entrance

The timber frame reflects the materiality of the civic stages, physically

integrating

components

the

two

scheme

together.

figure 42.

figure 43.

timber framed civic stages

TESTING

* taken from arc3013 technical report

TESTING

* taken from arc3013 technical report

In addition to acoustic glazing, the performance spaces will need acoustic treatment to ensure sufficient sound is evenly distributed throughout the space. Without acoustic treatment, sound would

In order to ensure I was able to

escape the room through glazing, reflect from hard surfaces

design a performance space that

resulting in echoing, and diffuse sound to empty areas of the

was flexible, acoustically sound

A C O U S T I C T R E A T M E N T

room. Acoustic panelling can be used to evenly diffuse sound

and responded to my key themes, I

researched

precedents

that

do not follow typical technical specifications

for

theatres

and

performance spaces.

A combination of acoustic absorbers and diffusers are required to

relationship between the general

achieve optimum acoustic performance.

Musica,

the

the use of acoustic glass. Acoustic

optimum acoustic performance. figure 44.

figure 46.

do not feature windows and are

glass features a layer of PVB (polyvinyl butyral) membrane, an acoustically insulated membrane

surrounded with large panels of

between panes of glass. Using two

acoustic treatments, however, the grand auditorium features

challenges

performance spaces, I investigated

Orchestra. It therefore requires generally

which

traditional acoustic treatment of

Portugal, houses the new National

6mm panels of acoustic glass with

glass

a 12mm cavity between provides

walls at both ends of the Grand

optimum acoustic ‘shielding’ from

Auditorium. The glass both allows

noise pollution from street

noise pollution from corridor

noise pollution from forum shopping centre

acoustic performance of theatre with no acoustic treatement

potential sites of noise pollution

external noise polluting factors, up

the public to see the contents

to 54dB reduction in comparison

and activities within the building, the

glazed façades to address the

Following my study of Casa de

Casa de Musica, located in Porto,

optimises

reverberations that would result in echoing.

issue of potential noise pollution.

OMA, 2005

and

of my proposal, I wanted to use

however this left me with the

Porto, Portugal

spaces

towards seating areas and absorb sound to avoid reflections and

public and the users of the building,

Casa De Musica

Performance

Due to the intended permeability

to a 25dB reduction from typical

acoustic

double glazing.

performance. The acoustic glass is corrugated, acting as a diffuser for sound whilst also preventing external noise pollution to enter the space.

figure 47.

plan of grand auditorium showing acoustic glazing

figure 48.

section of grand auditorium showing acoustic glazing

acoustic performance of theatre with acoustic treatement

S Y N T H E S I S

Synthesis allowed me to bring together each aspect of my proposal, integrating what I had learnt from each module and stage of the year into one thoroughly considered scheme. Following the refinement of the building itself, I was able to think about how it would be used daily in more detail. By delving deeper into my proposed programme, I broadened the scope of the building, ensuring the possibility for different functions to take place which would appeal to different people. The synthesis phase of the project expresses the fluid relationship between my proposal and the existing site, it shows how my proposal will enhance the present community and create a destination within Wallsend. It addresses the statement which stuck with me throughout my design process – “I feel as though the whole of Wallsend has been abandoned”.

SYNTHESIS

A M A S T E R P L A N F O R C O M M U N I T Y

The

exploded

axonometric

communicates the significance of the

relationship between the arts

hub and the forum by exhibiting the fluid connection between the existing Forum and my proposal. It shows the masterplan of the scheme in context and the integration of the performance journey with the arts hub.

SYNTHESIS

W A L L S E N D C U L T U R A L A R T S

SYNTHESIS

proposed

existing

section a 1:200

H U B

section b 1:200 site plan site plan 1:1250

SYNTHESIS

G R O U N D F L O O R P L A N

SYNTHESIS

1. multifunctional performance space 2.backstage area and dressing 6

rooms

3. storage 6

4. toilets 5. set and costume storage 6. enclosed core

performance space

ground floor plan 1:200

SYNTHESIS

F I R S T F L O O R P L A N

SYNTHESIS

1. roof terrace, connected to bar 2. backstage area and dressing 6

1 roof terrace,

rooms 4

connected to

3. rentable rehearsal studios

4. toilets 5. informal roof terrace

bar

6. enclosed core

3 3

first floor plan 1:200

rehearsal studio

SYNTHESIS

S E C O N D 1. rentable artist studios

F L O O R P L A N

2. costume production workshop 4

4 4 1

3. storage

4. toilets 5. set production workshop

1 1

6. enclosed core

1 2

artist studio

2 3

5 second floor plan

second floor plan 1:200

SYNTHESIS

1 : 5 0 S E C T I O N

SYNTHESIS

M A T E R I A L

The

concept

permeability

continues through the materiality and structure of my scheme. The

D E C L A R A T I O N

combination of perforated and solid corten steel cladding allows framed views into the spaces, again

emphasizing

the

honest

relationship between the building and the passerbys.

1:20 part elevation

SYNTHESIS

external visualisation in context

SYNTHESIS

* taken from arc3013 technical report

SYNTHESIS

* taken from arc3013 technical report

ter t per iary for c ate orten dd oo cladd rp ane ing a nd ls

R E T R O F I T

Retrofirst

prioritises

‘retrofitting’

existing buildings through reuse

sec

ond

rather than demolition and new

ary

build.

-C

LT w

By conserving existing structures retrofit

has

both

r oo d ted ld up a r o ui erf of b p o ry nd r a i t a ter nels pa ck de l a t me ry da n o sec

social

all

and

floo

ane

environmental benefits as a low carbon approach whilst preserving and

improving

the

pri

current

surroundings and community. My proposal is located on the site of a carpark, a concrete structure with supporting concrete columns.

ter pa tiary ne ls a - co nd rten roo cla f b dd uil ing du ,p p erf

roof

using additional supporting steel columns and beams. This structure will then be built upon with a glulam frame structure.

fra

ing ist x - e ck ry d de a m n pri ns a um

spaces, the scheme will preserve concrete

lam

ted

carpark to create double height surrounding

glu

ary

m pri

ora

By ‘carving’ through the roof of the

the

ry -

se c ste ond a el ov ry erh me an tal g s de up ck po an rt di

pr ep

ary

-s

fra

te cre

p -s

ra ef

SYNTHESIS

* taken from arc3013 technical report

1 : 2 0 S E C T I O N

1. - sloping sedum roof, 250mm -150mm - growing medium - filter layer - drainage layer - separating layer - waterproof membrane - rigid insulation, 150mm - metal deck - steel supporting beam

5. - sloping sedum roof, 250mm 150mm - growing medium - filter layer - drainage layer - separating layer - waterproof membrane - rigid insulation, 150mm - metal deck - 3d space frame

2. - concealed guttering drainage - rigid insulation, 50mm - metal deck - thermal break - vapour barrier - rigid insulation, 80mm - waterproof membrane - cladding rail - 6mm corten steel cladding

6. - screed floor finish with underfloor heating pipes - 100 mm rigid insulation - reinforced concrete slab, 500mm - soil, 400mm - compacted hardcore, 400mm

for

3. - 6mm corten steel cladding - cladding rail - ventilated cavity - waterproof membrane - rigid insulation, 50mm - separating layer - rigid insulation, 150mm - CLT wall panel - steel column 4. - 6mm perforated corten cladding façade - acoustic glazing, 6mm + 12mm cavity + 6mm - hidden fabric blind system

7. - concrete block - ventilation cavity - rigid insultation - concrete block - concrete slab - reinforced concrete block - rigid insulation, 20mm - vapour barrier

4 9

8. - vapour barrier - rigid insulation, 20mm - vapour barrier - concrete slab, 300mm (existing) - service cavity - CLT ceiling panel - light fitting 9. - CLT wall panel, 20mm - vapour barrier - 100mm mm rigid insulation - vapour barrier - CLT wall panel, 20mm

SYNTHESIS

E X P O S E D

SYNTHESIS

3D space frame and glulam frame * taken from arc3013 technical report

S T R U C T U R E

structural systems * taken from arc3013 technical report

The structure of the building will be left visible, this again blurs the boundary

between

architecture

and user. It accentuates the honesty of the building and integrated technical and design decisions, relating

back

design

intentions.

visible structure of performance space from roof terrace

exposed 3d space frame

100

A D A P T A B L E S T R U C T U R E

101

SYNTHESIS

temporary scaffold structure connects to permanent frame for additional staging permanent frame

Connecting glulam

the

frame,

permanent temporary

scaffolding is used for additional staging during performances and events. This allows the frame and structure of the building to become part of the theatre.

scaffolding seating

102

A D A P T A B I L I T Y

103

SYNTHESIS

The building itself acts as a stage set, adapting for different performances and events. As the theatre mainly operates at night, the retractable seating and stages allow the space to adapt for different functions and events. This not only increases the effiency of the building, ensuring the spaces are not left empty when shows are not taking place, but also expands the range of users with different events appealing to different people.

evening theatre performance The

evening

performances

will appeal to a wide range

A N D

of audiences. It will feature a

F L E X I B I L I T Y

to a wide user group, this function

combination of community shows from

local

performance

arts

groups, as well as professional performances. Although appealing is

particularly

creating

focused destination

towards which

expands the usability of the Forum and encourages people to use the site for both practicality and leisure. It will invite residents such as Daniel to use Wallsend and the Forum for leisure, rather than travelling into Newcastle city centre. evening theatre performance

interior theatre perspective

104

105

SYNTHESIS

daytime markets and pop up events The space will be used for a daily market during the daytime, with the doors allowing the room to open up to the Forum shopping centre. The stages will be retracted and the scaffolding seating will be stored. The markets will not only attract a wider range of shoppers to the Forum, but will allow for small local businesses to have ‘pop ups’. This encourages celebration of local products and reintroduces a sense of indivuality to the Forum, addressing the current generic shopping centre. The markets are focused towards current regular users of the Forum, such as Irene, creating a space which enhances existing functions rather than replacing them. daytime market and pop up street food festival

street food market perspective

106

107

SYNTHESIS

Wallsend Festival The folding doors and flexibility of the seating and stages allow the spaces to open up into the surroundings. During events such as Wallsend Festival, the stages are are extended beyond the boundaries of the building, this again allows the building to act as a stage set, adapting for the event. This allows the building to establish a stronger connection with the surroundings and the community. By physically integrating with the surrounding spaces and opening up the solid form, a more welcoming space is created, a key condition for a community hub. Although

different

events

will

have different target audiences, the Wallsend Festival is a well established

family

event.

The

flexibility of the ‘set’ allows different

Wallsend festival

areas and stages to be used for a variety of scenarios, appealing to many age groups.

wallsend festival wallsend festival perspective

108

SYNTHESIS

W A L L S E N D C U L T U R A L A R T S H U B

a scheme of civic celebration and community engagement achieved through the reintroduction of culture, arts and indivduality within wallsend

109

110

111

A P P E N D I X

112

113

APPENDIX

Theoretical Position:

T E A T R O T H E M A T I C C A S E

Contents

O F I C I N A

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

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

How does the case study demonstate Critical Spatial Practice? Ameerah Kasmirhan

How does the case study demonstrate Advocacy? Lorand Nagy

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

Figure 1: Plan of SESC Pompeia with existing shell highlighted

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 a focus on “spaces created by our our she has a focus on “spaces created by occupation rather than inert spaces that occupation rather than inert spaces that Hence, Figure Figure_33,, where where we we we occupy”33 .. Hence, we occupy” can see aa main main route route of of the the building building being being can see dominated by people people sunbathing, sunbathing, definitely definitely dominated by not intended use, use, but but one one which which Bo Bo Bardi Bardi not the the intended 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

Lina Bo Bardi - An Introduction

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

S T U D Y

Lina Bo Bardi: An Introduction

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

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

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

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

Max Blythe

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

Max Blythe

114

115

APPENDIX

116

117

APPENDIX

118

119

APPENDIX

Fig. 3 Fig. 1

Fig. 4

Fig. 2

Stella Chukwu

Ameerah Kasmirhan

Stella Chukwu

Stella Chukwu 15

Fig. 5

Fig. 6

Fig. 7

Fig. 8

Ameerah Kasmirhan

Fig.9

Ameerah Kasmirhan

120

121

APPENDIX

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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APPENDIX

A D D I T I O N A L

D E V E L O P M E N T O F S I T E S T R AT E G Y AND PERFORMANCE JOURNEY THROUGH FORUM

P R O C E S S

COMMUNITY COMMENTS FROM ‘WALLSEND MEMORIES AND PHOTOGRAPHS’

APPENDIX

MASSING AND ROOF SCAPE TESTING

INTERIM REVIEW

INITIAL REVIEW

INTERIM REVIEW

FINAL REVIEW

SECOND FLOOR FIRST FLOOR GROUND FLOOR

APPENDIX

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BIBLIOGRAPHY

Andreea, Cutieru, ‘The Architecture of Social Interaction’, Archdaily, 2020 <https://www.archdaily.com/945172/the-architecture-of-social-interaction> [Accessed 11 February 2021]

B I B L I O G R A P H Y

Chambers, David, and Kevin Haley, Telling Stories, Interactions and Experiences on the Civic Stage (Aberrant Architecture) Crosbie, Michael. J, ‘How the Quick Daily Drawing Puts Humanity Back into Architecture’, Common Edge, 2018 <https://commonedge.org/how-the-quick-daily-drawing-puts-humanity-back-into-architecture/> [Accessed 14 February 2021] Dascalu, Dragos, “Architecture As Tool For Building Social Capital”, Civil Engineering & Architecture, 56 (2013) Dellenbaugh-Losse, Mary, Nils-Eyk Zimmermann, and Nicole de Vries, The Urban Commons Cookbook: Strategies and Insights for Creating and Maintaining Urban Commons, 2020 Dovey, Kim, ‘The Silent Complicity of Architecture’, in Habitus: A Sense of Place (Routledge, 2005), pp. 283–96 Houlison, Sam, “Wallsend Forum Shopping Centre Celebrates 50 Years”, Chroniclelive, 2021 <https://www.chroniclelive.co.uk/whats-on/shopping/gallery/wallsend-forum-shopping-centre-celebrates-12246821> [Accessed 10 May 2021] Rendell, Jane. Art and Architecture: A Place Between, (London: IB Tauris, forthcoming September 2006), https://www.janerendell.co.uk/wp-content/uploads/2009/03/Art-and-Architecture-prepublication.pdf [Accessed 26 March 2021] Simões Aelbrecht, Patricia, ‘“Fourth Places”: The Contemporary Public Settings for Informal Social Interaction among Strangers’, Journal of Urban Design, 21.1 (2016), 124–52 <https://doi.org/10.1080/13574809.2015.1106920>

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(figures that are not authors own)

Page 50 - figure 26. Ameerah Kasmirhan, edited from: https://www.archdaily.

Page 10 - figure 1. from: https://www.sky.com/watch/title/series/9bac0e16-8db8-

com/878754/ad-classics-teatro-oficina-lina-bo-bardi-and-edson-elito?ad_figure 27.

4e6f-bac7-cc96a5d437dc/the-art-of-architecture/episodes/season-2/episode-4

Ameerah Kasmirhan, edited from: https://averyreview.com/issues/30/teatro-oficina>

figures 2 and 3. from: https://www.archdaily.com/936960/music-school-kings-

and <http://www.nelsonkon.com.br/teatro-oficina/

college-school-wimbledon-hopkins-architects figure 4. from: https://www.sky.com/watch/title/series/9bac0e16-8db8-4e6f-bac7-

Page 51 - figure 28. Ameerah Kasmirhan, collage, images from: https://

cc96a5d437dc/the-art-of-architecture/episodes/season-2/episode-5

www.theguardian.com/cities/2017/nov/29/teatro-oficina-theatre-sao-paulo-

figures 5 and 6. from: https://www.archdaily.com/919465/andermatt-concert-hall-

counterculture-silvio-santos and https://averyreview.com/issues/30/teatro-oficina

studio-seilern-architects/5d0b147d284dd13726000ba3-andermatt-concert-hall-

L I S T O F F I G U R E S

studio-seilern-architects-photo?next_project=no

Page 52 - figure 29. Ameerah Kasmirhan, edited from: https://averyreview.com/ issues/30/teatro-oficina>

Page 11 - figure 7. from: https://www.nationaltheatre.org.uk/ntathome

figure 30. Ameerah Kasmirhan, edited from: https://www.archdaily.com/878754/ad-

figures 8 and 9. from: https://ondemand.ballet.org.uk/production/swan-lake/

classics-teatro-oficina-lina-bo-bardi-and-edson-elito?ad_medium=gallery

figures 10. from: http://www.joyharps.com/tales-from-the-green1.html

figure 31. Ameerah Kasmirhan, edited from: http://www.nelsonkon.com.br/teatro-

figure 11. from: https://www.youtube.com/watch?v=kq2rtoMkH3w

oficina/ figure 32. Ameerah Kasmirhan, edited from: http://www.nelsonkon.com.br/teatro-

Page 12 and 13

oficina/

thematic case studies. from other studio group works Page 53 - figure 33. collage, images from: https://www.archdaily.com/878754/adPage 21 - figures 12 and 13. edited from: google earth

classics-teatro-oficina-lina-bo-bardi-and-edson-elito?ad_medium=gallery

Page 26 - figure 14. from: https://www.chroniclelive.co.uk/whats-on/shopping/

Page 54 - figure 34. edited from: https://www.archdaily.com/878754/ad-classics-

gallery/wallsend-forum-shopping-centre-celebrates-12246821

teatro-oficina-lina-bo-bardi-and-edson-elito?ad_medium=gallery figure 35. edited from: https://twitter.com/theatticsua

Page 30 - figures 15, 16 and 17. from: https://www.chroniclelive.co.uk/whats-on/

figure 36. edited from: https://www.ouseburn.co.uk/directory/star-and-shadow-

food-drink-news/look-inside-wallsends-former-ritz-9066252

cinema/

figures 18 and 19. from: https://co-curate.ncl.ac.uk/buddle-arts-centre-wallsend/

figure 37. original from: https://www.ribaj.com/macewen/macewen-award-2019shortlist-mawsonkerr-architects-star-and-shadow-cinema-newcastle-upon-tyne-

Page 31 - figure 20. from: ‘Wallsend Memories and Photograph’, Facebook

cinema-community-venue

Community group

figure 38. edited from: https://www.whatshouldwedo.com/blog/welcome-to-thejungle-no-not-that-one/

Page 43 - figures 21 and 22. edited from: google earth Page 72 - figures 41, 42, 43 and 44. from: https://www.archdaily.com/955879/davidPage 46 - figures 23 and 24. from: https://aberrantarchitecture.com/projects/the-

brownlow-theatre-jonathan-tuckey-design

civic-stage figure 25. from: https://aberrantarchitecture.com/projects/the-tiny-travelling-theatre

Page 74 - figues 45, 46, 47 and 48. from: https://www.google.com/search?client=sa

medium=gallery

fari&rls=en&q=casa+de+musica&ie=UTF-8&oe=UTF-8

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