Rosabella Reeves Portfolio by PDF Uploads

Portfolio. . .

Creative Synergies

Rosabella Reeves

Stage Three

Contents: *

Work which has not been seen previously in a review, submission or has been revised in response to feedback is marked with a red asterisk in the top left corner of the page:

Illustrated Reflective Report

Framing

Testing

Synthesis

109

Illustrated Cultural Bibliography

134

List of Figures

142

Bibliography

143

Appendice

144

Illustrated Reflective Report: Over the course of the year I feel my attitudes and questioning of architecture have developed into a richer appreciation. The wider themes associated with the Creative Synergies brief, such as the emphasis on context and exploring architecture for educational spaces, have led me to investigate themes of my own personal interest, allowing me to really enjoy wider reading and architectural theory. This, I feel, has been instrumental to my design work, as it has not only pushed me to think about spatial qualities and aesthetics on a deeper level, but also given me the confidence to apply this to my architectural practice.

With hindsight, the Theory Into Practice essay was a turning point in my architectural thinking. I found it difficult to write, but because it was writing

something which holds up a building, it can be representative of ideas. Through the designing of my structure in the Integrated Technology Module, I aimed to develop a structure which was unique and contextual and in doing so, my structure encapsulated my narrative.

Both the Creative Synergies’ theme of inhabitation and the Professional Practice and Management essay compelled me to consider the everyday realities of the users and clients of the building, which really helped me design in a more usercentric manner. This aspect I thought of both spatially as well as aesthetically, In the Theory Into Practice essay, I read questioning how a building can be more many texts and interviews with Peter visually accessible to users. Cook, previously of Archigram. Visually, his work is influential to me because of The Thinking Through Making exercise the bold use of colour, but his belief was enjoyable, particularly considering about current architecture also seems our over-reliance on working digitally true; “In the light of what I honestly throughout the pandemic. It allowed feel is a rather dull period in British me to explore colour outside of Adobe architecture”(Cook, 2016). This made Illustrator, and test sustainable methods me think about the images of developer’s of creating colourful architecture, proposals for Ouseburn; ‘Rather dull’. I through the use of natural indigo dye. delved into the world of Postmodernism, This was a rewarding process and I which made me completely rethink the referred to the outcomes repeatedly aesthetics of architecture. Is less really through the rest of my design process. more? ‘Bland simplification means bland architecture’ (Venturi, 1966). Overall, this year has allowed me to Such a simplification can be seen in realise the type of architecture which developer led regeneration; context is I am passionate about designing, that reduced to the physical appearance, which is joyful and makes you smile. I such as brick in Ouseburn, and in feel such a type of architecture should doing so real context, the character of be taken seriously, which it perhaps isn’t a place, is eradicated. This realisation currently. I feel proud of my progress has developed my thinking about what over the course of my undergraduate context should actually be responded to studies; both my way of thinking and with architecture. It should go beyond architectural work as improved greatly. physical observations of the site and This has made me feel more confident delve right into the heart of the area. about the next stage in the process, as The future of the building should be well as excited for what’s to come. considered, once it itself becomes the context; is that new context better or worse off?

about my own work in relation to architectural theory, it was automatically theories which I was very interested in and passionate about. It was through writing this essay that my project’s main theme was realised; Colourful design, using colourful in both of its definitions; referring . The essays of William Morris helped me develop my ideas about how an educational institution should be; creating a beautiful environment is important to the creativity of those who inhabit it. This idea was my inspiration for the Integrated Technology Module; how can I create a beautiful structure which is also appropriate to the current climate crisis. The structure itself became an educational tool, colour coding the different elements to allow users to understand and identify each piece more easily. Exploring this idea helped me appreciate that structure is more than

The Structure of the Building Contributes to the Design.

Natural Indigo Dyed Dovetail Joint, Thinking Through Making.

West Elevation of The Wood Testing Lab.

The Wood Testing Lab 5m

10m

1:100 on A1 West Elevation on Maling Street

Ground Floor Exhibition Space

5 GSEducationalVersion

Framing.

Durning Framing, we began exploring the themes of community and academy through extensive research. Our project is situated in Ouseburn, an area which I have visited many times previously. Through the reading of Ouseburn’s past and present we examined the area’s future. Like many areas with an edgy, creative presence, the area is at a turning point, of either emerging fully as a creative centre or that character being lost to generic, luxury apartment blocks. Because I myself am fond of Ouseburn’s character, I felt passionate about responding to the potential loss of it.

From this research, we developed our project’s narrative and tested our chosen sites through the pavilion exercise, which allowed me to consider the dual aspects of the studio’s brief. I explored this idea by designing a multipurpose pavilion which has flexible elements, allowing it to be used by both the community, for people to sit and enjoy the view over Ouseburn, and the academy, providing With this in mind, I developed my creative a space for small talks and lectures. synergy, drawing largely from William Morris’ belief that craft is a unifier of the people. Combining Ouseburn’s character with mass timber, my synergy focuses on a cross-discipline approach to learning, through craft and collaboration. Regarding the Academy, we examined problems of the architecture education system, as well as new areas of research which would form the heart of our project’s programme. I took this opportunity to further my knowledge of my interest in the sustainability of mass timber, developing my narrative around renewable materials.

Creative Synergies

Micro: Ouseburn

“From micro to macro.”

Our studio investigates the relationship between two scales, in regards to both physical space and research aims. Initially, the micro scale addresses the situation of the project; Ouseburn, Newcastle, and the imediate impact of our proposals on the area. The macro addresses the institution of education, the academy, and how our proposals respond to the wider issues related to the education system. Through the realisation of this project, we have realised that both are integral to one another. The ethos for our studio is encapsulated in themes which include: Creating spaces which encourage COMMUNITY ENGAGEMENT. Intergrating both the ARCHITECTURAL and CULTURAL CONTEXT into our projects.

Located a 10 minute walk East of Newcastle city centre, Ouseburn is small community with a strong sense of character. A character which is made up of likeminded people of different occupations, ranging from construction work to craft, cafe and pub owners, and those who work at Ouseburn farm. The creative spirit is strongly present in the community, which welcomes small businesses and individuality. Unfortunately, this, along with Ouseburn’s many green spaces, means it is vunerable to gentrication and mass development, which the residents strongly oppose.

Testing the designs of user-centred spaces through rigorous INHABITATION. The role of CRAFT, in both the architectural process as well as the community of Ouseburn. Using RESEARCH to arrive at informed design decisions.

Proposing designs which respond to SUSTAINABILITY; both SOCIALLY and ENVIRONMENTALLY.

History

Ouseburn: History Landscape Community

The timeline displays Ouseburn’s rich history, from a industrialised place of production, to its current state as a place rife with cultural activity. With the construction of many generic student accomodation blocks, Ouseburn is once again at a turning point.

Figure 1. Timeline of Ouseburn created in group site analysis

Late 20th century

Landscape

21th century

Business

Residence

Attraction

Industrial

Figure 2.1. Building Uses in Ouseburn: 1900s. Groupwork

Part of the unique character of Ouseburn is routed in its abundance of both green space and old industrial buildings, which coexist seamlessly. It feels simultaneously rural and urban.

Figure 2.2. Building Uses in Ouseburn: 2000s. Groupwork

Industry Terraced Housing Production

Attraction Apartments Business

Green Space Past 12

Figure 3. Maps of Building Uses. Groupwork.

Post- Industrial

Present 13

Landscape

The Byker Wall: The physical appearance of Ouseburn is laced with vibrant colours which sit well against the red brick of the former industrial buildings. Graffiti covers many of the walls which changes with each new visit to the site. The colourful nature of Ouseburn adds to creative and interesting character already present.

Colour 14

Figure 4. The Byker Wall Apartments.

Figure 5. Tom Collins House, Byker, Newcastle upon Tyne.

The Byker Wall, Ralph Erskine. Despite its negative associations, the Byker Wall is a residential estate with a tight-knit community. With its own community centre, which helps struggling residents with food as well as running arts classes, residents of Byker look out for eachother despite problems faced. Despite its close proximity to Ouseburn,

Figure 6. Aerial photograph of the Byker Wall, Newcastle upon Tyne.

it doesn’t feel integrated into the Ouseburn arty scene, which in the future, could result in Byker being left out of the positive regeneration of Ouseburn. Therefore, my proposal will strive to visually incorporate the aesthetics of the Byker Wall, to create a more cohesive area. 15

Community

Figure 7. Ouseburn Resident. Groupwork.

“It’s magic! I have been coming here since the 1970s, Everyone comes to socialise and enjoy the beautiful nature.”

Figure 8. Residents of The Malings, a housing development completed in 2015, designed by Ash Sakula. Groupwork.

“Yeah we have facebook and whatsapp groups and we (normally) meet up and have smaller events.”

“It’s a strong community here... Everyone helps eachother! But what

is really lacking is parking spaces.”

Fig 9. Ouseburn visitor. Groupwork.

Fig 10. Ouseburn visitor. Groupwork.

Fig 11. Ouseburn visitor. Groupwork.

Fig 12. Ouseburn visitor. Groupwork.

“Yeah just came to grab a couple drinks... Great vibe around here!”

“Up

“Man the area has changed! Now that these

“It’s soo lovely now... Remember when we were groovin’ over there? We had no where else to go... it was all abandoned... so free. Now it’s all been torn down.”

until now I see a positive gentrification... All the small independant businesses that get attracted to the area.. We don’t need a Wetherspoons here. That would be bad.”

residential areas are coming up it’s simply not what it used to be! We used to have the best events and parties here but now... too much noise!”

Fig 13. Ouseburn visitors. Groupwork.

“It reminds me a bit of London.”

Fig 14. Ouseburn visitors. Groupwork.

“It is so tucked away... Like a little hideout. Very calming and so mellow.”

*Case Study: Cobalt Studios

Art Venues in Ouseburn: Craft Focus

The Biscuit Factory: Independent art galley with prints, ceramics, jewellery and glass.

Star and Shadow Cinema: Film, live music, craft fairs and workshops. Colours: Paint Shop.

Cobalt Studios: Multi-diciplinary creative studio space for artists and craftspeople.

Biscuit Studios

Northern Print: not-for-profit gallery and printmaking studio which anyone can register. 36 Lime Street Studios: Large, diverse creative studios.

Seven Stories: Children’s book collection

Chilli Studios: Creative studios for those experiencing mental health issues.

Crescent Studios: Bespoke furniture shop

Recycle your Furniture: Buy and sell used furniture.

The Brick Works: Studio space for creatives.

Figure 15. Map of Ouseburn. Figure 16. About Cobalt Studios.

Ouseburn is home to many craft and creative studios, many of which run workshops. The creative spaces are accessible, which from observations could be attributed to their focus on craft and interactive arts.

Figure 17. Cobalt Studios Weekly Timetable.

Cobalt Studios is a not for profit, community interest company, who run a diverse creative programme of activities for the Newcastle community. Monday to Saturday, they have a timetable which provides different, affordable, creative workshops and events. They also rent

out affordable artists studios for those with limited income. Having attended Cobalt’s workshops in the past, I felt the Studios embodied the character of Ouseburn which the residents valued so much. 19

Gentrification: Definition

The Future of Ouseburn During the interviews with different people in the community revealed different attitudes about the position of Ouseburn; Most enjoyed the atmosphere, and appreciated Ouseburn as an oasis from the city. Some raised the concern that Ouseburn was changing because of the housing developments.

The process by which a place, especially part of a city, changes from being a poor area to a richer one, where people from a higher social class live. (Cambridge Dictionary, 2021)

Positive Gentrification

Currently, Ouseburn is a place which allows people from all backgrounds to engage in creative activities. The community fears that this will be lost to the swarm of developer led housing developments which push out both current lower income residents, as well as the accessible creative presence.

Further research into current development proposals revealed that Ouseburn’s future is at a turning point:

Ousebur n 2 0 2 1 20

2 0 3 1

Negative Gentrification

Like many affordable areas of cities in the UK, cheaper housing is being significantly reduced, with brownfield sites and old industrial buildings being snatched up by developers. This creates soars in housing prices and drives out those on a lower income.

Figure 18. Guardian Article About Ouseburn Figure 19. Gentrification, Grayson Perry

*Developer Proposals

*The Future of Ouseburn: Negative Gentrification

The Malings Extension: Ash Sakula’s designs for The Malings, despite material homogeneity, are centred around community engagement. The same cannot be said for the extension, which consists of a 51 flat high rise aparment block. The initial plans submitted by developers was even higher, and so anything submitted afterwards would feel like a compromise, despite it not in keeping with surrounding building heights. (Holland, 2018)

Shoreditchification

The majority of proposals for developments in Ouseburn were clad in brick, in an attempt to adhere to the physical context.

The eventual influx of large corporations, drives out independent small businesses. The character of Ouseburn is reduced to a small, white walled art gallery.

Much like Balfron Tower in Poplar, the social housing in the Byker Wall are developed into apartments for professionals.

Lower Steenberg’s Yard: The process of the development of Steensberg’s Yard follows a similar pattern. The initial proposals included a housing with a tall tower block, clad in black, at one end. This was rejected. Changes were made; with the tower removed, shops incorporated on the ground floor and a decrease in the density of homes on site. However, the proposal is visually quite generic. (Holland, 2020)

Generic apartment blocks are justified with a ground floor coffee shop and pitched roof.

St Lawrence Luxury Apartments: Proposed development, with a mix of 50 one to four bedroom apartments with onsite parking, which would cause more traffic in the valley. The luxury name feels indicates exclusivity. (Holland, 2021) 22

Green space is lost to car parks.

Q. What will protect 24

Ouseburn?

A. Colour 25

Protection from Gentrification: For the Love of Low Art

Colourful

1 2

In the sense of bright with bright or richly varied colours.

(adjective) in the sense of interesting vivid or distinctive in character.

The creative cultural venues in Ouseburn bridge the gap between high and low art, making the contemplation of fine art accessible to the masses through craft and community workshops. The strong presence of CRAFT, considered low art because of its functionality, is how Ouseburn’s creative culture remains accessible. It allows the MAJORITY to sustain creative lives and those from lower incomes to socially and culturally flourish, by making art everyday. William Morris, The Lesser Arts of Life, 1882

(Cambridge Dictionary, 2021)

The character of Ouseburn is colourful, in both senses of the word. It is this character which is threatened by negative gentrification. I explored the need for colourful architecture through the Theory into Practice essay. Colour became the theme which guided my project’s response to both issues of Ouseburn and of the academy.

O u s e b u r n

“If our houses, our clothes, our household furniture and utensils are not works of art, they are either wretched makeshifts or, what is worse, degrading shams of better things.” (Morris, 1882) Morris describes the importance of craft and beautiful functional objects. The strong belief, which stood at the centre of the Arts & Crafts movement, that integrating craft into production would create creatively satisfactory lives for society. Ouseburn can be seen as a microcosm of this belief, which I something I wanted to be central to my programme. This is essential to protecting Ouseburn from exclusive, developer-led regeneration.

Figure 20. Entrance at Wightwick Manor, incorporating Arts + Crafts elements

CONTEXT = CRAFT 26

Thematic Case Study: Granby Four Streets, Assemble In many of their projects, assemble have rehabilitated disused spaces, to provide new uses which service surrounding communities. The studio’s first project, the Cineroleum, examples their idea to “make, not make do”, in which they repurpose an abandoned petrol station into a temporary cinema. This project symbolises the studio’s aims to improve derelict space, through community

collaboration, to provide an alternate use. Assemble’s many projects in Toxteth, including Granby Four Streets, required them to work closely with the community, in order to understand their contextual needs and what would benefit the community long term. Their work, and this project in particular, became key precedents for developing my project’s narrative and programme.

Thematic Case Study: Granby Four Streets, Assemble Assemble’s work responds to issues, through architecture, both environmentally and socially sustainably.

Assemble can be described as a practice which is truly collaborative, both within their studio and people they are involved in through the course of a project. Their studio consists of some members who are not architecturally trained and are instead artists and creatives. This cross-discipline method of working could be said to help them address a wide range of topics in their work questions. This collaborative nature of their studio aids them in their collaboration with members of 28

communities, as they are are equip with ideas that are not purely from an architectural background, which makes them accessible.

presence of craft and architectural details. The locally crafted elements used in the refurbishment of the 10 houses on Cairn St made art into something everyday, which therefore The Granby Workshop allowed makes it accessible. This idea for more collaboration between correlates with the programme of architects, artists and the community. Ouseburn’s Cobalt Studios. Craft The workshop produced architectural enables communities to finishes for the refurbishment of the sustain an accessible, homes of Granby Four Streets. The importance of accessible art is creative presence. evident in Assemble’s work in Granby, and was implemented by a strong

‘Assemble brought art into everybody’s lives. Art should not just be for posh houses but accessible to everybody. You can see the pride this has instilled in the people of our community. It is a story of humanity, and if art isn’t about humanity I don’t know what is.’ -Granby resident

*Macro: The Academy

As a studio, we researched the current architectural education system in the UK, finding problems which were felt by needed to change. The current system performs mostly in isolation 30

from professional practice, as well as society. Within academia itself, there is a separation between diciplines, which arguably does not reflect practice.

The Academy: Aims

Creating a collaborative institution, both with society and practice, as well is in academia itself creates a dynamic environment to learn in.

Cross Discipline

Collaborative

Developing a programme which allows different disciplines help and learn from eachother, creating a richer knowledge.

Creating a learning environment which encourages collaboration between different users of the space (students, professionals, community), in both both a casual and formal way.

Learn + Make

1:1 models

A combination of learning through talks and readings, with ideas then tested through model making.

Creating 1:1 scale architectural models to understand construction. 31

The Academy: Sustainability

The Academy: Joinery in Architecrue

Figure 21. Traditional Japanese Timber Joinery

Figure 22. The Tamedia Office Building, Shigeru Ban

The Tamedia Office Building, designed by Shigeru Ban, stood out to me when reading ‘Solid Wood: The Rise of Mass Timber Architecture’ (Mayo, 2015). This building both looks to the past, taking inspiration from traditional Japanese joinery, whilst looking to the future; designing a structure which is innovative in its use of glualm. The structure is exposed both internally and externally, contributing to the atmoshphere of the building.

Figure 23. The Tamedia Office Building, Shigeru Ban

Figure 24. The Tamedia Office Building, Shigeru Ban

The idea of using traditional joinery with innovative timber products is central to my academy’s focus. This is both aesthetically interesting, but also has a sustainable motive; it reduces the use of steel in timber construction.

The Academy: Renewable Materials

The Academy: Research Focus

Figure 25. Pulpit Rock Mountain Lodge, Norway: Helen & Hard. The lodge uses DLT for its entire structure. Much like Ban’s Tamedia Office Building, the structure uses mass timber in an innovative way. The DLT is used to create ribs, allowing it to span the building. This is left exposted internally, allowing the wood to add to the building’s atmosphere.

Figure 26. Model of DLT Structure in Pulpit Rock Mountain Lodge.

Furthering the resarch and use of Dowel Laminated Timber is another element of my academy. It uses hardwood dowels to frictionfit softwooden boards together, producing a 100% timber, and therefore 100% renewable building material. Because there are no nails or glue used in its fabrication, the wood can be reused or recycled more easily at the end of the building’s life cycle.

Figure 27. Dowel Laminated Timber

Another renewable aspect of my academy involves experimenting with natural dyes to create finishes on the wood. The use of blue, natural indigo dye, which my project focuses on, is contextual to Ouseburn. The use of dyes is creative, and provides an outlet for the community of Ouseburn. Additionally, the colour blue itself is a visual reference to the iconic blue roof of the Byker Wall.

Figure 28. Indigo Natural Dye

SCALE: Creating a space in which furniture joins are applied to architecture creates an interesting interaction between scales. It also makes projects applicable to different diciplines, for example, joiners could help on architectural projects and vice versa.

GLUE-FREE MATERIALS: Taking environmental issues into consideration, glue and nail free construction materials are important to develop, to reduce our relience on petroleum and steel. Reducing glue use also creates ‘healthier’ spaces, free from toxic adhesives.

JOINERY IN ARCHITECTURE: Exploring traditional Japanese furniture joints through modern technology, to test their architectural potential. In doing so, reducing reliance on steel in timber construction.

RENEWABLE MATERIALS: Exploring DLT as a building material, as it is 100% wood and therefore possibly more sustainable than other engineered woods. 35

The Academy: A Factory as it Might Be

Figure 29. Newcastle University’s Claremont and Daysh Buildings.

Is this a welcoming, educational building? In the Theory into Practice essay, I explored William Morris’ text ‘A Factory as it Might Be’. Morris believed the internal and external environment in which a person works must be beautiful, in order for creativity to flourish. I believe this is true, especially when the building 36

is situated in Ouseburn. The text made me question what an institution should look like. To me, it is important that educational buildings are welcoming, dynamic but also enjoyable and joyful to inhabit.

‘To add beauty to their necessary daily work will furnish outlet for the artistic aspirations of most men; but further, our factory which is externally beautiful, will not be inside like a clean jail or workhouse; the architecture will come inside in the form of such ornament as may be suitable to the special circumstances.’¹² 12. William Morris, ‘A Factory as it Might Be’, Justice, (17th May 1884) (p. 2).

Site: Mapping

Site: Sections B

Figure 30. Ouseburn in Relation to Newcastle.

C A

Figure 31. Aerial Views of Site, Ouseburn.

Figure 32. Aerial Views of Site, Ouseburn.

My site is located at the northern point of the Ouseburn valley. It is defined by three roads (two which form site boundaries with the other intersecting, each contributing to the site’s topography) and the Victorian Glasshouse bridge.

The site level has three approx 5m level changes, setting constraints for design. 38

Site: Diagrams

Maling Street.

Back Maling Street.

Ford Street.

Site Testing: Pavillion

The pavilion exercise allowed me to test both my narrative and the site. My pavilion is used as a place for people to sit and explore timber structures on large and small scale; the pavilion itself + joinery workshops. These iterations explore different uses of joinery.

Pavilion Iterations: Models

Through my iterations, I tested the use of joinery for the structure of the pavilion. This iteration tests the use of (spaghetti) dowels.

Pavilion Iterations

Pavilion Iterations: Models

In this iteration I took inspiration from the form of the bridge to create timber panels which could slot together, forming an internal dome shape.

Pavilion Iterations: Models

I began thinking about the ‘relationship between scales of joinery’ aspect of my brief, with the models representing both a 1:200 pavilion and a 1:10 seat.

Pavilion Iterations: Models

These iterations took forward the idea to use the bridge’s form into a more simplified way.

Pavilion Iterations: Models

Again, I used the form of to create seating possibilites in pavilion, establishing a relationship between scale.

Pavilion Iterations: Models

Modeling different types of traditional joints helped me incorporate joinery into my previous iterations.

Pavilion: Final Outputs

Plan

Section

Ouseburn

PUBLIC USE When not in use for talks, the wide steps of the pavilion serve as a place for anyone to sit or have lunch, with a view of Ouseburn. 58

FOR TALKS + LECTURES The pavilion adapts, with the wide steps becoming a seated auditorium, with seating created from stored panels

The Academy

THE SEATS Backs are stored underneath the deep steps, which the audience slot in and out of the T shaped holes.

I reflected on the issues raised in framing and continued with the development of my programme. Using the initial site testing carried out for the pavilion design as a starting point, I began with the site’s topography, investigating the idea of circulation as a means to respond to my narrative. This took many failed attempts, with the final iteration of my circulation realised after the testing review. The constraints of the site were what attracted me to it and although I found it challenging, it allowed me to produce a physically contextual response.

Testing Part One

bo r

o isi

fN o n

arrative:

Joi

ne r

ion

Re vi

rrative: Co ll a

n is o

Na f o

Integrate colour, in the form of natural dyes, to the interior and exterior. Academy Response: Colour coding to make understanding the building easier Ouseburn Response: Corresponds with Ouseburn’s graphic character.

of Narrativ n o i e: is v Co e R l

I aimed for my design to physically celebrate the project’s line of enquiry, which involved creating collaboration through circulation, incorporating joinery in my structure, and developing a contextual facade.

Design architecture which fosters the oppurtunity for informal interaction between users of the building, increasing the chance of collaboration.

Integrate joinery into the structure, allowing the building to become a physical representation of its use.

With the latter theme in mind, I revisited the work of one of my favourite practices; FAT. Their work, referring to both writings and designs, makes me question; How can architecture be more fun, both spatially and physically? To me, neither Ouseburn nor the idea of the Academy are or should be serious, so why would their architecture be? Postmodern Architecture: ’Less is a Bore’ by Owen Hopkins was refreshing and inspiring, giving me the confidence to respond to Ouseburn’s graphic context through my facades.

Testing.

Herman Hertzberger was a great source of inspiration for my arrangement of spaces. His observations of daily life, providing spaces and seats for informal interactions and such are apparent in his architecture. Hertzberger made me question not spaces, but the journey from space to space, in doing so celebrating life’s informalities. This was a key consideration in designing educational spaces which felt welcoming and happy, and did not alienate the community in which they are placed. 60

Further Research: Indigo Dye Process

Programme Development

Building Users

Testing: Design Process

Site Topography

Form

Circulation

Scales

Structure

Dovetail

Facade

Site Topography

Site Topography: Views

The topography of the site was my initial consideration in my design process. The three roads which form boundaries and intersect formed the three different height levels to consider, which eventually developed into the heights of different floors View From the Top of the Site.

Throughout my design process, I was keen to work with the topography, to create a form which appeared embedded in the landscape of Ouseburn.

Because of my site’s situation to the river, the lower part of the site is most suitable for the building’s public entrance. The area was the most busy part of the site, with many people sat on the steps near the river.

I positioned my studios on the top of the site because of the views the area had of Newcastle and Ouseburn. This allowed for a second entrance to the studio from the quieter road along the top of the site.

Annotated Model of Second Floor Studios: exploring timber structure + indigo dyed wooden cladding .

Developing Form Through Circulation

+ Massing on Site With Levels Dictated by Roads.

The Topography of the Site: positioning circulation at either end.

Applying the Topography to the Massing.

Massing Roof Form.

Form: Initial Model

Roof Models

The form of this massing iteration follows the directions of the roads which dictate the site. The modelled timber roof battens slope in different directions to create the appearance of a curved roof. 69

Form: Diagrams

Programme Site

These diagrams show how the form of the building zig zags from the river up to the highest point of the site. This form allows for the building to be single

height where it’s closest to the Malings, ensuring it isn’t imopsing. The height increases allowing for a double height workshop.

In section, the building steps down towards the river, much like the initial site topography. Building heights were raised by residentsas a key concern with the developer’s proposals and so this

was a key consideration in my designs. The design’s highest point is in keeping with the Malings. In doing so, views to the listed building behind the site are not blocked.

Working with the form, the programme Light- with the nature of earth sheltered developed adhereing to three main buildings. considerations, specific to my site: Height- different spaces require single or double height, as well as playing with the heights for reasons of atmosphere. Views- mostly, the building is oriented towards the river and cascades down. The studios were oriented at an angle to provide a better view over Newcastle.

Preliminary Design: Ground Floor Plan + Section 1

The situation of the workshop and entrance. The exhibition space is too small, considering it is combined with the main public entrance. The circulation can be more celebrated.

Preliminary Design: First Floor Plan + Section 2

The first floor plans display my early iterations at creating celebratory circulation. However, this iteration does not fully utalise the volume of the building, meaning that the spaces positioned on the circulation are small. The section shows that more natural light is needed in the back, ground floor spaces.

Preliminary Design: Second Floor Plan + Section 3

The second floor studios are oriented parallel to Ford Street, as so to get a better view over Newcastle.

This iteration devolops from initial massings to create a form which has more character. The form is to chaotic. This iteration caused me to consider a trying a different way to create character externally.

Talk Space/circulation does is limited in it’s potential to be used for multiple activites at once

Preliminary Massing

Circulation: Creating Informal Interactions

Dividing Space Through Circulation

Figure 34. Herman Hertzberger, extended primary school, Arnhem.

The topography of my site led me to consider how I could use circulation as a space in itself, in areas which were intended to be collaborative. In doing so, the amount of informal interactions is increased, as users 77

pass through the building. These informal interactions allow users of the building from different diciplines to become more familiar with one another leading to small discussions.

Throughout the development of my design, I have studied Herman Hertzberger’s work, in particular his designs for educational buildings (Hertzberger, 1991). Often present in his buildings is the use of circulation as a multipurpose space, used differently at different points of the day, with uses ranging from a place to sit with

friends to being used as a lecture space. In Hertzberger’s lectures, he describes how his designs allows for regular interaction between users of the building, by regularly positioning seating in places where people pass through often. I considered this in the designs for my circulation spaces.

Figure 33. Herman Hertzberger, NHL University Leeuwarden.

Iteration One: Continuous Blue Line of Circulation

This iteration of the exhibition space experiments with merging furniture and circulation in the exhibition space. The stairs become tables and chairs through molded plywood connenctions.

The ramps worked well in the studios, allowing the room to be open plan and divided simultaneously. The talk space is too open in this iteration to allow for multiple activites at once.

This didn’t allow for the flexibility required of my exhibition space, with the ranging sizes of models produced in the test space. In my first complete iteration for the celebratory circulation, I designed a continuous route of circulation through the building, dyed blue with indigo. This intended to allow users of the building to move through the spaces easily by following the blue path. Ramps, which

Iteration One: Merging Furniture and Circulation

take inspiration from the massing of the building, create divides in the talk space and studios, with platforms in between, taking inspiration from Hertzberger’s NHL University Leeuwarden.

NARRATIVE: Cross dicipline approach FURNITURE + ARCHITECTURE

where does architecture stop and furniture start?

CONTEXT: Building which grows out of the hill, follows topography 80

Iteration Two: Talk Space

In this iteration, I explored arrangements of platforms to create a space which could be used for The talk space needs to incorporate more of the programme, creating a more multipurpose area of the building.

*Post Testing Review: Circulation Sketch Models

*Post Testing Review: Revisiting Circulation

Figure 35. Kunsthal Elevation, OMA

After the Testing Review, I continued with the development of my circulation. Using OMA’s Kunsthal Rotterdam as a precedent, I responded to the feedback from the Testing Review by

experimenting with more celebratory styles of circulation, which could also integrate more aspects of the building’s programme.

Figure 36. Kunsthal Talk Space, OMA

*Post Testing Review: Creating a Centre

Circulation Precedent: Designing an Atrium

Figure 37. Apollo School, Amsterdam: Herman Hertzberger

I plotted each of the entrances to the building to deduce the central point, for the circulation spine to be situated.

In both the Apollo School and the Centraal Beheer, Hertzberger designs atriums with balconies, creating a heart in the building. The balconies fitted with tables to allow for little nooks where people can work or sit with friends, but can also look out into the atrium and observe other balconies. This creates a

Figure 38. Centraal Beheer, Apeldoorn: Herman Hertzberger

Figure 39. Centraal Beheer, Apeldoorn: Herman Hertzberger

dynamic space which, I took inspiration from when designing the atrium in the Wood Testing Lab. The precedents made me consider how I could use the atrium in a way specific to the needs of my building, such as creating a vertical exhibition for tall structural models.

Post Testing Review: Learning Route + Atrium

I rethought my circulation as a learning route which could connect two of the main spaces in the building: the Test Space, ground floor, and the Studios, second floor

Post Testing Review: Learning Route + Atrium

Inspired by Hertzberger’s Centraal Beheer, I designed a series of platforms which circulated around a central atrium on the ground floor, from the first to the second floor.

Post Testing Review: Learning Route + Atrium

Different colaborative spaces of the programme are positioned on each platform, physically representing the idea of a learning route, as users circulate through different educational spaces.

The atrium which the platforms circulate around serves as an extension of the exhibition space. Fitted with a crane on the ceiling, it allows for vertical exhibitions which users of the building can circulate around, viewing the exhibition at different heights. This is beneficial to the nature of the building, with tall structural models being made in the test space.

The addition of the atrium allows large amounts of natural light to enter the building’s deeper parts, which previous design iterations left too dark.

*Post Review: Revising Massing

Structure + Cladding Precedent

Figure 40. Photography Studio, FT Architects.

Figure 41. Photography Studio, FT Architects.

Figure 42. Photography Studio, FT Architects.

Initial Massing + Skylight

Photography Studio, Japan: FT Architects I incorporated the skylit atrium into my initial massing and simplified it through experimentation with paper models. The final roof form works more cohesively with the site’s topography. It is constructed fromcurved DLT panels clad in zinc. 91

Final Massing

My project’s narrative is centred around developing wood as a building material. It is important, therefore, that the structure of the building reflects this, and is exposed, allowing it to be viewed and celebrated.

The use of polycarbonate in this precedent exposes the timber structure beneath, allowing it to be viewed passersby. Initially, I experimented with this idea, using polycarbonate

Preliminary Structure: Exposed Externally

Preliminary Structure

This iteration explores the use of blue indigo dyed wood, visible externally through the polycarbonate cladding. This creates an ungeneric building with character, the opposite to developer’s proposals.

The polycarbonate cladding is not the most suitable external material for the climate of Newcastle due to its thermal performance and weathering. In keeping with my building’s narrative, throughout designing I took inspiration from traditional Japanese joinery when designing my structure. Using joints often found in furniture making, I explored them at an architectural scale, again, reflecting my project’s cross dicipline approach. These initial 93

iterations explore the use of timber dowels to connect glulam columns and beams, instead of using steel connections. In order to highlight the different elements in the structure, I colour coded each element with a different shade of blue or wood left it’s natural shade.

Coloumn Beam Dowel

Preliminary Structure: Exposed Internally

Joinery in Structure Figure 43. The Tamedia Office Building, Shigeru Ban.

Testing the appearence of the exposed DLT panels against the indigo dyed structure. Using colour internally challenges the idea that an institution should be a serious place, creating instead a playful working environment. The window shapes could be more interesting and bold.

I reexplored Shigeru Ban’s Tamedia Office Building. This image in particular highlights both the simplicity and the complexity of the building’s structure; The large glulam elements are being assembled by two people with a mallet, but to design the structure required expert engineering knowledge. This encapsulated the narrative of my building, creating a space which simplicity and complexity, the novice woodworker and established engineer could work under one roof. Axo of Joinery in Structure

My designs for the structure aimed to utalise the technology of engineered wood, using the spanning capabilities of glulam, but simply constructing it with wooden dowels, a traditional technique, instead of steel connections. Coding the glulam elements with the blue indigo dye aims to help educate the users of the building about the structure;

by visually representing each element in a different colour the structure becomes diagramatic, making understanding

the role of each piece more accessible to identify to those who don’t yet know the correct terminology.

Wall Build Up: Construction of Platforms

Structure: Grid and Section DLT FLOOR PANEL

TIMBER SCREWS TO CREATE SHEAR CONNECTION TO BEAMS GLULAM BEAM

200mmx150mm Glulam Dowel

200mm Acoustically Insulated Dowel Laminated Timber Floor Panel

400mmx400mm Glulam Column 300mmx100mm Glulam Beam

Cut Out For Trench Heating System

The beam is viaible to those on the steps.

35mm Gutex Multiplex Top

200mm Acoustically Insulated Dowel Laminated Timber Wall Panel

200mm Blown Cellulose Insulation

Corrugated Indigo Dyed Larch Cladding

44mm Battens

Trench Heating

PRIMARY STRUCTURE

SECONDARY STRUCTURE

INTERMEDIATE

EXTERNAL FINISHES

Construction Sequence: From Integrated Technology Module

1. The existing buildings are demolished and the foundations and retaining walls are constructed.

2. The poured concrete protected lift core and stair core are constructed. These form the primary circulation in the building.

5. The DLT wall and roof panels are fixed, with openings for services integrated into the panels.

6. The large aluminium window frames are bolted to the DLT panels.

3. The primary glulam structure is constructed, using the system of columns, beams and dowels.

4. The DLT floor panels are fixed, creating the rising platforms of the learning route.

7. The insulation, membranes and cladding battens are attatched.

8. Indigo dyed wooden cladding, zinc roof and guttering are attatched.

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Thinking Through Making: Testing Dye Concentration 1

1:10 Model of Stair With Dovetail 1D

Concentration 2

TIME

INTENSITY OF BLUE

In Thinking Through Making, I tested wood for different amounts of time to using natural indigo to dye wood. produce shades of different levels of I experimented with using different intensity. concentrations of dye and leaving the 101

Using the different timings and The model is joined with a dovetail joint. concentrations from my research, I The blue makes the different elements of created a 1:10 model of a platform joint more apparent, as is in the structure. iteration. Each element is a different shade of either indigo or natural wood. 102

Joinery in Structure: Smaller Scale

Precedents: Exterior

I explored the use of joinery at 1:5 scale, implementing details at a scale which users can directly interact with. The design for the stairs combines the use of a dovetail joint and blue indigo dye to be both aesthetically interesting, creating a graphic quality to the stairs, as well as adhereing to the regulations; the dyed dovetail satisfies the minimum nosing dimensions.

Figure 44. A House for Essex, FAT.

I revisited the site, feeling that the exterior of my design wasn’t fully fulfilling the needed requirements to fight negative gentrification. It was a sunny day,

Figure 45. Islington Square, FAT.

Figure 46. Islington Square, FAT.

‘Less is a bore’: I read the texts of

Postmodernist architects such as Venturi and Scott Brown, and the founders of FAT. The work of FAT was a great which made the colours of the source of inspiration to me. Their work graffiti especially vivid and is graphic and fun, which I felt would bold. The street view of my design be approporiate in no place better than Ouseburn. must do the same, in order to respect this boldness, it must match it.

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*Windows: Development

Windows: Creating a Contextual Motif

2D Graphics

+ 3D Architecture

Reflection of Bridges in Water

Window Shapes

The shapes of the windows combines The wooden cladding is dyed with the two most iconic, physical aspects of indigo at different intensities, mimicking Ouseburn, The bridges + the river, and the graphic qualities of the site. converts it into an architectural motif.

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The orange aluminium window frames are large and protrude from the facade, transforming the graphic qualities of graffiti into 3D architectural elements, and also allowing for window seats. The dyeing of the

indigo enhances the protruding of the windows with a thick, graphic outline. The wooden cladding is a corrugated shape, adding more texture, created by the shadows, to the facade.

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*West Facade: Development

Colour Coding Spaces with Indigo:

Learning Route

*Finishes: Other Natural Dyes

Studios

Workshop

The initial concept aims to create a playful facade, taking inspiration from the window shapes of surrounding windows and the curves of the bridges. The windows are too large in the concept image.

Facade Concept

Entrance, Exhibition Space

Iteration 2

Windows are smaller, working with the grid of the structure. Facade seems too busy.

Structure Grid 107

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Synthesis.

Synthesis saw the realisation of my design through detailed and atmospheric imagery. I explored our studio theme of inhabitation through these images, by envisioning the different types of users, artists, architecture and engineering students and craftspeople, carrying out the processes of dyeing with indigo, making in the test space or studying on the learning route, visible in my celebratory isometric drawing. I further demonstrated this after the review, through a series of comic strips showing ‘a day in the life’ of the building’s users from different demographics. The style in which is used for my final images aims to be representative of the type of project which I have tried to design; one which is playful and colourful. I enjoyed producing these images, and was keen to communicate the welcoming atmosphere I had incorporated in the design process.

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During the final stage of the project, I realised the use of blue dye. Applying materiality to the structures and exteriors allowed the colour to turn from diagrammatic to tangible, allowing it to contribute to the atmosphere of the building internally and externally. After the review, I demonstrated my building’s visible relationship to the Byker Wall, from the Glasshouse bridge. This shows the visual harmony between

the Wood Testing Lab and the Byker Wall, both colourful against the many red brick buildings in Ouseburn. This image also demonstrates how passersby, who don’t use the building, can still enjoy the vertical exhibitions displayed through the atrium as they walk along the bridge.

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Ground Floor: Programme + Circulation

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Lives in: Heaton Age: 38 Occupation: Furniture Maker

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Tuesday, 8:00 Jenny arrives at the Wood Testing Lab, parks her bike and enters the staff entrance.

8:30 She showers and gets ready for her day, putting her stuff in the lockers located in the first floor.

8:45 Jenny works on making some stools using a join she developed with engineers who also use the building.

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1:00 She runs a tutorial with some architecture students about woodworking and joinery.

Primary Circulation

2:00 Jenny sits in the exhibition space to have lunch whilst observing the students assembling a joinery exhibition.

3:00 She works on some computer modelling for an upcoming collaboration with local architects from Ouseburn.

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First Floor: Programme + Circulation

Wednesday, 9:30 Joey arrives at first floor entrance and meets with friends who are sitting in the lounge area.

10:00 Joey attends a structural tutorial in the first floor crit room with a visiting architect.

11:00 An introductory lecture about mass timber in the talk space by a practicing engineer.

Lives in: Jesmond Age: 19 Occupation: Engineering Student

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1:00 Joey sits with a friend in the seating outside the talk space, both reading zines from the library.

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2:00 Working in the test space with other students on developing his structural models.

5:00 Joey leaves the Wood Testing Lab, passing through the exhibition space on his way out.

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Second Floor: Programme + Circulation

Saturday, 10:30 Julie arrives at second floor entrance.

10:35 Grabs some buckets and tools from the storage room in the second floor entrance room.

Lives in: Byker Age: 26 Occupation: Tailor and Artist

10:40 Plants some indigo dye seeds and gathers indigo leaves which are ready to soak.

3 Second Floor The Wood Testing Lab

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11:40 Soaks the indigo leaves and removes biomass from an earlier batch in the second floor studios. Then uses some dye on test patches of wood.

1:30 Meets up with a friend for lunch, sitting on step seating on ground floor, enjoying the view of Ouseburn.

2:00 Uses indigo dye to add polka dots to the facade of the building on the ground floor.

Semi Private Entrance

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The Wood Testing Lab.

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Ground Floor: This view displays the funtionality of the windows. The arched opening in the workshop has a roller door for deliveries

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First Floor: The first floor serves as an intermediate, with two entrances and a crit room.

Learning Route + Second Floor: These spaces are busy, allowing for many cross dicipline activities to take place; such as model making and indigo dyeing in the studios, as well as lectures and studying on the learning route.

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Foundation Junction:

Window Pod Junction

Roof Junction:

Intermediate Floor Junction

Eaves Detail:

Skylight Eaves Detail:

75mm Concrete Screed 300mm Rigid Insulation 150mm Compacted Hardcore Base Concrete Pedestal (With Steel Base Plate for Glulam Column) Steel Reinforced Concrete Pile Cap Concrete Pile Foundation

Window Frame: Plywood Frame + Insulated Orange Aluminium Window Casing Triple Glazed Window Insulated Aluminium Window Casing Bolted to DLT Wall Panel

Exterior to Interior Junction

Zinc Roof Sheeting Zinc Capping Piece Timber Eaves Support Stucture Zinc Drip Flashing Zinc Soffit Panel

Zinc Roof Sheeting Zinc Capping Piece Timber Eaves Support Stucture, (filled with 100mm Rigid Insulation) Zinc Drip Flashing Zinc Soffit Panel

60x150mm Indigo Dyed, Corrugated Effect Timber Cladding 44mm Battens 35mm Gutex Multiplex Top 200mm Insulation 200mm Acoustically Insulated Dowel Laminated Roof Panel

Zinc Roof Sheeting 44mm Battens Breathable Membrane 35mm Gutex Multiplex Top 200mm Insulation 200mm Acoustically Insulated Dowel Laminated Roof Panel

(ordered from cieling to floor): Strip Light Fitting Sprinkler System MVHR System Trench Heater 400x400mm Glulam Column 2 (400x100mm) Glulam Split Beams 200x150mm Glulam Dowel 200mm Acoustically Insulated DLT Floor Panel

1:20, as submitted for Integrated Technology Coursework. The interior inhabitation of the platforms has chaned since, but the structure remains the same. 127

The Wood Testing Lab 5m

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View of Wood Lab and The Byker Wall from Glasshouse Bridge

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Illustrated Cultural Bibliography.

Books:

I read this at the beginning of the year and it helped form my narrative. The book introduced me to buildings which became fundamental precedents in my project, such as Shigeru Ban’s Tam. The level of detail which the book goes into was extremley helpful for the Integrated Technology module.

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This educated me about the theories behind the aesthetics of Japanese architecture. The foreward by Kengo Kuma was inpirational to my line of enquiry.

As a fan of Studio Bark’s work, I read this because it was edited by the studio’s founder, Nick Newman. A part of the magazine discusses how sustainability should be integrated into all modules of architectural education, in order normalise it in the design process.

Reading many of William Morris’ texts has been influential to my thinking about the built environment. News from Nowhere is a classic utopian novel, which exhibits Morris’ socialist vision.

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The Yorkshire Sculpture Park: Miro Exhibition at The Weston

Books:

Reading this book made me acknowledge my love for postmodernist architecture. The essay at the beginning undermines many arguments which cast postmodernism off as an ugly blip in architectural history.

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When visiting the Yorkshire Sculpture park, I visited the Weston, designed by Feilden Fowles. The buidling consisted of two aesthetically contrasting spaces; the volumetric exhibition space constructed from layed pigmented concrete and the wooden

framed cafe. The relief of wood in the concrete of the sawtooth roof worked well with the natural surroundings of the building. The exhibition displayed Joan Miro’s lithographs. They were colourful against the natural palette of the Weston.

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Films: Stalker Throughout the lockdowns, my house watched many classic films. Below are examples of the ones which were the most visually memorable.

When watching an interview with the Adam Richards, who designed Nithurst Farm, he referenced the film, Stalker, as a precedent for the atmosphere he wanted to create in his house’s main hall. It was interesting to watch the film and draw parallels to the architecture which was inspired by it. 138

Nithurst Farm, Sussex: Adam Richards Architects

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Listening:

Thematic Case Studies:

The Paul Marshall Building, LSE: Grafton Architects.

Fondaco dei Tedeschi: OMA These were my favourite lectures which I watched on Youtube over the course of the year. The lecture by Hertzberger was influential to my design process, while the ones by Assemble helped me with my Thematic Case Study. 140

I listen to many podcasts whilst driving or rendering. Both series approach their topics in an accessible manner.

Port House: Zaha Hadid.

AgroCite: Atelier Architecture Autogérée

Think Corner: JKMM Architects.

The Hill House: Charles Rennie Mackintosh

The Rietveld Academie and Sandberg Instituut- FedLev Extension (2019): FedLev, Studio Paulien Bremmer and Hootsman Architects

Joanneumsviertel: Nieto Sobejano

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List of Illustrations:

Bibliography:

All images not referenced are author’s own. Figure 1. Timeline. Creative Synergies group site analysis conducted in framing.

Figure 17. Cobalt Studios Weekly Timetable, < https:// cobaltstudios.co.uk/about-us/people/>

Figure 31. Aerial of Ouseburn, < https://earth.google. com/web/>

Figure 45. Islington Square, FAT. < e-architect.com/ manchester/new-islington-fat>

Figure 2. Graph of Building Uses. Creative Synergies group site analysis conducted in framing.

Figure 18. https://www.theguardian.com/money/2018/ jun/08/lets-move-to-ouseburn-newcastle-upon-tynesshoreditch-creative

Figure 32. Aerial of Ouseburn, < https://earth.google. com/web/>

Figure 46. Islington Square, FAT. < e-architect.com/ manchester/new-islington-fat>

Figure 3. Maps of Building Uses. Creative Synergies group site analysis conducted in framing. Figure 4. Byker Wall, Byker Community Trust via <https:// www.chroniclelive.co.uk/news/north-east-news/gallery/ inside-story-how-newcastles-byker-15187009> Figure 5. Tom Collins House, Byker, Newcastle upon Tyne - This building forms the western end of the Byker Wall < https://commons.wikimedia.org/wiki/ File:Tomcollinshouse_1.jpg> Figure 6. Aerial photograph of the Byker Wall Newcastle upon Tyne < https://www.webbaviation.co.uk/aerial/ picture.php?/19161> Figure 7. Photograph of Ouseburn Resident. Taken by Creative Synergies group during Framing, Site Analysis Figure 8. Photograph of Ouseburn Visitor. Taken by Creative Synergies group during Framing, Site Analysis Figure 9. Photograph of Ouseburn Visitor. Taken by Creative Synergies group during Framing, Site Analysis Figure 10. Photograph of Ouseburn Visitor. Taken by Creative Synergies group during Framing, Site Analysis Figure 11. Photograph of Ouseburn Visitor. Taken by Creative Synergies group during Framing, Site Analysis Figure 12. Photograph of Ouseburn Visitor. Taken by Creative Synergies group during Framing, Site Analysis Figure 13. Photograph of Ouseburn Visitors. Taken by Creative Synergies group during Framing, Site Analysis Figure 14. Photograph of Ouseburn Visitors. Taken by Creative Synergies group during Framing, Site Analysis Figure 15. Map of Ouseburn, <https://www.ouseburn. co.uk/> Figure 16. About Cobalt Studios, <https://cobaltstudios. co.uk/about-us/people/>

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Figure 19. Grayson Perry, Gentrification Diagram, Playing to The Gallery, via the Guardian, < https:// www.theguardian.com/cities/gallery/2016/jan/13/fromdoonesbury-to-grayson-perry-10-of-the-best-gentrificationcartoons> Figure 20. Wightwick Manor, < https://www.nationaltrust. org.uk/wightwick-manor-and-gardens/features/discoverthe-manor-and-collections-at-wightwick> Figure 21. Japanese Timber Joiner < https://www. pinterest.co.uk/pin/135389532523005092/> Figure 22. Tamedia Office Building, Photograph: Didier Boy de la Tour, Shigeru Ban Architects < https://www. archdaily.com/478633/tamedia-office-building-shigeruban-architects Figure 23. Tamedia Office Building, Photograph: Didier Boy de la Tour, Shigeru Ban Architects < https://www. archdaily.com/478633/tamedia-office-building-shigeruban-architects Figure 24. Tamedia Office Building, Photograph: Didier Boy de la Tour, Shigeru Ban Architects < https://www. archdaily.com/478633/tamedia-office-building-shigeruban-architects Figure 25. Pulpit Rock Mountain Lodge, < https:// helenhard.no/work/pulpit-rock-mountain-lodge/> Figure 26. Model of DLT Structure in Pulpit Rock Mountain Lodge, < https://helenhard.no/work/pulpit-rock-mountainlodge/> Figure 27. Dowel Laminated Timber <https:// continuingeducation.bnpmedia.com/courses/think-wood/ mass-timber-in-north-america/3/> Figure 28. Natural Indigo Dye < https://www. threadsoflife.com/natural-dyes-v2/> Figure 29. Newcastle University’s Claremont and Daysh Buildings, < https://www.chroniclelive.co.uk/news/northeast-news/how-three-prominent-newcastle-city-15186372> Figure 30. Map of Ouseburn, < https://earth.google.com/ web/>

Figure 33. Herman Hertzberger, NHL University Leeuwarden, Photograph: John Lewis Marshall, < https:// www.dezeen.com/2011/12/06/key-projects-by-hermanhertzberger/> Figure 34. Herman Hertzberger, extended primary school, Arnhem. < https://architectureandeducation. org/2016/02/03/interview-with-herman-hertzberger/> Figure 35. Kunsthal Elevation, OMA < https://oma.eu/ projects/kunsthal> Figure 36. Kunsthal Talk Space, OMA < https://oma.eu/ projects/kunsthal> Figure 37. Apollo School, Amsterdam: Herman Hertzberger, < https://www.dezeen.com/2011/12/06/ key-projects-by-herman-hertzberger/> Figure 38. Centraal Beheer, Apeldoorn: Herman Hertzberger,< https://www.dezeen.com/2011/12/06/keyprojects-by-herman-hertzberger/> Figure 39. Centraal Beheer, Apeldoorn: Herman Hertzberger,< https://www.dezeen.com/2011/12/06/keyprojects-by-herman-hertzberger/> Figure 40. Photography Studio, FT Architects, < https:// www.archdaily.com/569542/photography-studio-ftarchitects> Figure 41. Photography Studio, FT Architects, < https:// www.archdaily.com/569542/photography-studio-ftarchitects> Figure 42. Photography Studio, FT Architects, < https:// www.archdaily.com/569542/photography-studio-ftarchitects> Figure 43. Tamedia Office Building, Photograph: Didier Boy de la Tour, Shigeru Ban Architects < https://www. archdaily.com/478633/tamedia-office-building-shigeruban-architects Figure 44. A House for Essex, FAT. < https://www.dezeen. com/2015/05/15/house-for-essex-fat-grayson-perrycharles-holland-living-architecture-alain-de-botton/>

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My contribution to Thematic Case Study.

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