ACADEMIC PORTFOLIO ARCHITECTURE NEWCASTLE UNIVERSITY STAGE 3 HEATHER O’MARA 170298926 STUDIO 2 ORDINARY RESILIENCE ‘CITY RELIEF’
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‘CITY RELIEF’
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CONTENTS CRITICAL REFLECTION STUDIO INTRODUCTION PRIMER STAGING REALISATION SYNTHESIS CULTURAL BIBLIOGRAPHY CASE STUDY REPORT CHARETTE WEEK LITERARY BIBLIOGRAPHY LIST OF ILLUSTRATIONS
ORANGE CIRCLE LOCATED ON THE LEFT HAND SIDE OF ANY DOUBLE PAGE SPREAD - Represents new work, changes or alterations to work included on that double spread.
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CRITICAL REFLECTION ‘CITY RELIEF’ design proposal of the Keelman’s Centre for Musical and Theatrical Arts, Newcastle University. ‘To provide meaningful architecture is not to parody history, but to articulate it.’ Daniel Libeskind This text is a critical reflection of the academic year and project development that has contributed to the final design of my building proposal, KEELMAN’S CENTRE FOR MUSICAL AND THEATRICAL ARTS - Keelman’s Music Campus, Theatre and Bar. The architectural proposal is a mixed development building for the use of Newcastle University music and theatre students to learn, practice and perform in various spaces; with the addition of theatre spaces and a café/bar for use by the public, fitting the architecture into the wider public realm of the city. Whilst the latter half of the year has been challenging, overall my academic year has been an absolutely wonderful one. I am so grateful to my tutors Jack and Harriet who have introduced and opened my eyes to so many new ways of designing, thinking, creating and curating in many different forms and mediums. One of the most significant studio themes that has enhanced and carried my development, has been the blending of art and architecture. The relationship of the two fields has enlightened my design process, lending a narrative to my work that combines qualities of art and architecture, whilst interweaving this narrative into the cultural and historical fragments of a city. I feel it is the assemblage of these components (art, architecture, historical and cultural context) that has shaped the final output and design of the ‘KEELMAN’S CENTRE FOR MUSICAL AND THEATRICAL ARTS’, ensuring the design has a rich programme of thought and is therefore sympathetic to the surrounding culture and history of the site, whilst also impacting the wider context of the city and becoming a part of the city rather than an addition. PRIMER Arguably, the most important stage of my design process. The journey began by exploring the city of Newcastle from a sketcher’s perspective. I analysed the city by observing its shapes, forms and patterns through the medium of sketching, this enabled me to get a feeling of the city’s historical narrative before concerning myself with any technical or environmental details, therefore maximising my personal opportunities for creativity. I then combined my sketchers perspective with an external artistic perspective, this came in the form of many research studies of precedent art works. Artists that I found of particular interest included Eduardo Paolozzi, Rachel Whiteread and Man Ray. The works of the above artists led my design development onto the motif of releif. RELEIF After researching various artists and works, in particular the ‘Sculptural Elements of Emptiness’ that Rachel Whiteread explores in her cast sculptures, I became fascinated with the idea of creating something from negative or ‘ignored’ space. I took this artistic inspiration
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and planted it into my own analysis of a city - Newcastle. Consequently, producing a line of enquiry into how the empty spaces within the city of Newcastle could produce an art form, which could then become the catalyst for producing an architectural form. This artist analysis and research that I immersed myself into was an invaluable contribution to the next stage of my project; in this primer period, I produced the sculpture named ‘Skyline Abstractions’ also light-heartedly known as ‘The Pig’. The surprising success of this sculpture and the theories behind it, sparked many of the design processes of the entire project, forming an interesting and exciting line of enquiry for the rest of the year. INSPIRATION The field trip to Germany was key to the creative process of my year. Primarily the material and textural use, for example Peter Zumthor’s Bruder Klaus Field Chapel in Cologne opened my eyes to alternative casting mediums. Whilst programmatic and ergonomic elements of the Ernst Busch Academy of Dramatic Arts designed by O&O Baukunst in Berlin enlightened the spatial development of my floor plans, as I was able to hear about and witness the pros and cons of the space from a primary day to day user of the building. Thus; inspiring me to do further research into the programmatic needs for my proposed Newcastle music school by interviewing a music student currently studying at the University, to get a prospective user perspective for my design. The combination of both these personal accounts were key to the rationale behind the spatial development of the building. ARCHITECTURE ROOTED IN PLACE Another motif I was enlightened by on the field trip, was the historical perspective involved in the design of a building. I witnessed this through the integration of modern architecture into the historic elements and fragments of a city. This was achieved so beautifully in buildings such as the Kolumba Museum by Peter Zumthor and many other architectural restorations across the city of Cologne, that it highlighted to me, the importance of celebrating a city’s historical fragments and cultural narrative in order to produce an architectural sustainability within a location. The understanding of this importance aided the sympathetic design development of the integration of the disused Keelman’s Hospital located on my site. I thought it was important to celebrate the historical building and make it become part of the new proposal rather than disregarding it and pushing it to the side of the proposed scheme, the same way my analysis has led the design to become part of the city rather than an addition. Consequently, enthusing the idea of the architecture becoming a space to guide a user’s route through the historical city, both literally and metaphorically. SYNTHESIS OF ELEMENTS As my design developed through the mediums of casting volumes, sketching and programme iterations, I introduced my research into the technological enhancements of the design. The technology assignment enhanced my understanding of the positive and negative impacts of a concrete building, I learnt that although not the most sustainable from an environmental perspective,
it has many other fantastic qualities such a high thermal mass performance, varying acoustic qualities and due to its material durability and tectonic aesthetics it can provide a thoughtful addition to a city, proving its alternative sustainable qualities in the form of performance, versatility and durability.
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The research carried out in the technology assignment resulted in the detailed proposal of my buildings modular precast panel façade system, whilst increasing my understanding in the construction sequencing and process. Furthermore, I carried out acoustic quality research in conjunction with my Thinking Through Making piece, inspired by an acoustic diffuser panel. The synthesising of material studies and technological studies through the medium of ‘making’ further enhanced my overall design process and development. The Thinking Through Making week was a valuable and enjoyable week which I used as a vehicle to synthesise various aspects of my project. ARCHITECTURE PLACE IN THE WIDER REALM I have also developed an understanding of how my design fits into the wider context of both site location and the wider architectural profession. The research carried out in my Theory into Practice Essay improved my understanding of collage as an architectural representation technique used to convey not only aesthetic and tectonic qualities of a design but also the social, political, environmental and geographical qualities of a design. The valuable understanding of collage that I developed in this essay has later been reflected in the realisation and synthesis chapters of my project, used to convey various qualities of my final design. Whilst the Professional, Practice and Management essay developed my awareness of the need to respect and sympathise with the heritage surrounding my site. In this case, detailed and special attention was made in ensuring the proposed architecture celebrated and provided opportunities for the existing history of the site which included fascinating building’s such as the disused Keelman’s hospital, Old industrial workers dwellings and even remnants of Hadrian’s Wall. Again, this essay was an incredibly valuable exercise in both the designing of my project and also the understanding of how my project fits into the wider city and social context. Throughout the design process I have continued a constant research and analysis into the artistic theories that have framed and motivated many aspects of my design, whilst developing a rich relationship with the city in which I have immersed myself. This has meant I have established a deep connection with the contextual needs and surroundings of my site and design.
From primer to synthesis, I have thoroughly enjoyed the experience and journey of my project this year. Again, I am incredibly grateful to both of my studio tutors Jack Mutton and Harriet Sutcliffe for encouraging me to push my thinking to next levels of creativity, provide me with a rich and exciting year of learning and most importantly having faith in my ‘Pig’ sculpture!
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This year studio 2 is engaged in ideas concerning context, historical narrative and materials that create enduring architecture in search of a wider intelligibility. Working through a process of research, rather than invention, we are looking to create architecture that is rooted in place and explores the experiential potential of materials, carefully pieced together in a celebration of craft and construction. We are looking to create architecture that is contemporary yet not isolated in time.
ORDINARY RESILIENCE
Artist observations will form the basis of our proposals and in search of delight in the everyday city we will look to create enduring buildings with a resilient character and sense of permanence. Working on large, urban sites we will be investigating how to create a new piece of city that will become home to a range of university buildings.
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PRIMER The primer stage of my design development was an enlightening start to the year. Through various mediums of sculptural, artistic and print work, I began a rich analysis of Newcastle’s context. After exploring the city through sketches and photography, I researched various artists to spark inspiration for representing these findings. From these primer peices, an architectural line of enquiry was formed: CELEBRATION OF UNUSED SPACE - RELEIF CASTING
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PRIMER CITY RESEARCH
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PHOTOGRAPHS OF ARCHITECTURAL ELEMENTS THAT I WAS INITIALLY INTERESTED BY. THIS INCLUDED THE SHAPES CREATED BY GAPS BETWEEN BUILDINGS, SKYLINES ROOFS
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CITY RESEARCH A SKETCHERS PERSPECTIVE OF NEWCASTLE CITY CENTRE
Sketch of a dutch gable building, the 1880 soup kitchen
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Mixed media sketch of Architecture on Grey Street charcoal rubbings, ink
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Urban grain textures charcoal rubbings of static textures on the city’s walls and memorials.
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THE IMPORTANCE OF NEGATIVE SPACE FIGURE 5 FIGURE 8
PRIMER
Rachel Whiteread, a sculptural artist from London, creates sculptural cast models from the negative relief of ordinary objects. I was inspired by the idea of giving purpose to the ignored space of an object, i thought the same would work with giving purpose to the ‘ignored’ space in a city. This was the catalyst the progression of my primer pieces ‘Skyline Abstractions’ and ‘The Perfect Gap’
ARTIST RESEARCH RACHEL WHITEREAD FIGURE 6
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“Casting it in Plaster Monumentalized a Space That is Ignored” (Whiteread, R. 2018)
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PRIMER CITY SCALE SCULPTURE ‘SKYLINE ABSTRACTIONS’
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FLORIAN ROITHMAYR ‘THE HUMILIATION OF PLASTER’
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THE INSPIRATION FOR MY ‘SKYLINE ABSTRACTIONS’ SCULPTURE DERIVES FROM CITY RESEARCH OF NEWCASTLE. FROM MY SKETCH OBSERVATIONS OF THE CITY I CREATED ONE-PEN-LINE SKYLINES. I THEN COLLAGED THESE WITH TRACE TO FORM A NEW ABSTRACT SHAPE, WHICH WAS THEN THE BASE SHAPE OF MY SCULPTURE. THE SCULPTURE IS MADE FROM PLASTER CAST, CHALK AND INK. INFLUENCED BY MY ARTIST RESEARCH OF RACHEL WHITEREAD AND FLORIAN ROITHMAYR, I ATTEMPTED TO CREATE A TERRACOTTA COLOUR. CHOSEN TO MIRROR THE TERRACOTTA AND RED BRICK MATERIALITY FOUND AROUND NEWCASTLE IN MY OBSERVATIONS.
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RACHEL WHITEREAD THE IMPORTANCE OF NEGATIVE SPACE
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PRIMER ROOM SCALE SCULPTURE ‘THE PERFECT GAP’
THE INSPIRATION FOR MY SCULPTURE ‘THE PERFECT GAP’ CAME FROM OBSERVATIONS OF THE CITY. WITH A SIMILAR INTENT TO MY CITY SCALE SCULPTURE, I CREATED ABSTRACT SHAPES FROM MY OBSERVATIONS. THIS TIME THE SHAPES WERE ABSTRACTED FROM GAPS INBETWEEN BUILDINGS AND STRUCTURAL ELEMENTS AT A ROOM SCALE IN THE CITY. I THEN PRODUCED A SERIES OF ABSTRACT SHAPES TO SIT TOGETHER IN A CLUSTER. EVERY ANGLE OF THIS SCULPTURE PRESENTS A DIFFERENT SERIES OF GAPS INBETWEEN THE SHAPES. THE GAPS IN THE SCLUPTURE REPRESENT GAPS I OBSERVED IN THE CITY.
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CY TOMBLEY SCULPTURE
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PRIMER ARTIST RESEARCH MAN RAY RAYOGRAPHS 25
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The term ‘Rayographs’ was coined after Artist Man Ray produced an iconic series of photograms of everyday objects. Similarly to Rachel Whiteread, he gives purpose to every day objects that would perhaps ordinarily be ignored. The photographic negatives inspired my design process of some black and white lino prints
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PRIMER ARTIST RESEARCH EDUARDO PAOLOZZI ‘HAMMER PRINTS COLLECTION’
Eduardo Paolozzi, a scottish artist and sculptur, produced a series of prints in the ‘Hammer Prints’ collection, which included a series of diagrams of objects and vehicles found around the city. The black and white negative pattern inspired my work, whilst the narrative of a city reflected the themes explored in our studio.
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LINO PRINTS I produces a series of lino prints, inspired by the techniques of Man Ray, Eduardo Paulozzi and Rachel Whiteread. I employed the techniques of producing shapes and forms from the reliefs and negatives of a city, whilst also giving purpose and narrative to the everyday objects, buildings and shapes found around the city.
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PRIMER DETAIL FINAL PRINT ‘THE BEAUTY OF NEGATIVE SPACE’ Inspired by an earlier sketch from my city observations
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ORDINARY RESILIENCE PRIMER EXHIBITION TABLE
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FIELD TRIP
CAST FORMS CONCRETE RELEIF TEXTURE LIGHT CIRCULATION NEGATIVES ATMOSPHERIC SPACES On our studio’s field trip to Germany, we visited The Bruder Klaus Field Chapel by architect Peter Zumthor. The concrete cast void formed from the concrete releif of 112 tree trunks (which were then burnt to reveal the space) inspired and enhanced my interest in the posibilities of casting concrete. I found further interest in oppurtunities of naturally sky lit spaces using voids and windows in the ceiling.
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PETER ZUMTHOR PETER BUSMANN - LUDWIG MUSEUM RUDOLF SCHWARZ - MAKK ROLF GUTBROD - UNIVERSITY AND CITY LIBRARY
CITY RESILIENCE HISTORIC SUSTAINABILITY ARCHITECTURAL STABILITY CONTRAST JUXTAPOSITION RICH CULTURE OLD NEW One of the most beautiful aspects of Cologne’s architecture is the inclusion of the city’s gothic and medieval ruins within the new architectiural forms. The city suffered from extensive bombing in World War ll, leaving little of its architectural and historical narrative, but these city fragments have been celebrated and enhanced by modern architects, creating a stunning juxtaposition of textures, ages, atmospheres, forms and structures. Seeing the contrast of old and new enhanced my knowledge of the sustainable importance that architecture holds within a city’s culture, and in fact the architecture has a duty to cary and celebrate a city’s history and form with grace and respect; thus, continuing the historical narrative into the today. PETER ZUMTHOR KOLUMBA MUSEUM RUDOLF SCHWARZ - MAKK OSWALD MATHIAS UNGERS
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STAGING The staging process of my design was key to the understanding of the site for my proposed Music campus design. I carried out research and analysis of the site, and its surrounding cultural, historical and geographical context. This enabled me to make design decisions that took advantage of solar potential, environmental atmosphere, city views and routes the urban grain.
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CITY ROAD SITE ANALYSIS
GROUP SITE MODEL The City Road site is located near the quayside of Newcastle Upon Tyne, UK.
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THIS MODEL WAS PRODUCED AND COMPLETED AS A GROUP (CITY ROAD SITE ANALYSIS GROUP, STUDIO 2), WHILST THE IMAGE PHOTOGRAPHY AND EDITING IS MY OWN
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SITE LOCATION WITHIN THE URBAN GRAIN OF NEWCASTLE CITY CENTRE
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BUILDINGS OF MUSICAL INTEREST
BUILDINGS OF HISTORIC AND SIGNIFICANT INTEREST
Map showing key music and theatre venues and areas around the city, with relevent routes to and through the site
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TOPOGRAPHICAL ANALYSIS
SIGNIFICANT VIEWS FROM THE SITE ANALYSIS
SOLAR ANALYSIS
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MASSING I created a basic structural frame model with proposed cores and circulation for my design. Designing around the cores really helped the programme organisation and design progress After analysing sun paths, significant views and spatial interests on and around the site, I began to form blocks which sat on the site appropriately and considerately in relation to the context
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KEY MASSING SKETCH This shape was produced by combining site analysis with my primer piece ‘Skyline Abstractions’. The relief form seemed to lend an appropriate suggestion to voids and pathways through the site whilst providing terraces for enjoyment of the sun path and views from the site.
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FOAM MASSING MODEL
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RHYTHM FACADE To explore the music and theatrical programme requirements of the building, I decided to explore the possibilities of a ‘rhythmic facade’. The concept idea is that the window openings change in size and frequency as they move across the facade, creating a facade crecsendo.
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PAPER FACADE MASSING MODEL
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MASSING PLACED IN CONTEXT One of the key programme schemes I developed from my analysis, is the idea of having a perimeter walkway that lines the building, allowing the music students to protect their precious instruments when walking from one block to the next. The external walkways are covered from the rain yet still external, so the doorways and columns then shape the city views and context. The paper model proved this idea works well with site.
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SKETCH DEVELOPMENT
KEY FACADE SKETCH
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REALISATION The realisation stage of the design process allowed me to combine technical aspects, material explorations, programmatic analysis and tectonic details and qualities of my design development. I then produced atmospheric renders to illustrate the narratives and tectonics of the Keelman’s Centre for Musical and Theatrical Arts. Key moments include cast concrete finishes, fluted relief forms, skylit spaces, restoration work on the Keelman hospital building and acoustic performance alterations in the practice rooms.
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PROGRAMME DEVELOPMENT
INTERVIEW WITH A CURRENT MUSIC STUDENT AND PROSPECTIVE USER OF THE PROPOSED MUSIC CAMPUS DESIGN What spaces are key to your learning and performance space? Practice rooms, a big concert hall, smaller recital rooms, instrument storage spaces, classrooms, a big lecture theatre and a common room are the rooms that I use the most. I know that a lot of my friends use the recording studio quite a lot and the soundproofed practice rooms too. Are there any spaces that work well or not so well being close to one another, with regards to noise levels?
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It's best to keep practice rooms away from the recital rooms and the big concert hall because otherwise the sounds can overlap and ruin exams and performances. Social spaces don't really matter in terms of noise level, I think because people tend to be chatting and making noise anyway. Perhaps if there was a specific room allocated for silent studying in a quiet space that would avoid some issues.
MADDY LEEDHAM MUSIC STUDENT NEWCASTLE UNIVERSITY AGE 21
Any other general comments regarding the organisation of space that you notice is valuable or not in your day to day movements? The instrumental storage needs to be easily accessible by both the practice rooms and performance rooms. Because things like harps and harpsichords etc. can't be carried and so have to be wheeled into the rooms. So, ideally no stairs should be involved when going from the storage room to these spaces. PROGRAMME PRIORITIES BASED ON THE INTERVIEW: CAREFUL ARRANGEMENT OF SPACES WITH DIFFERING SOUNDS LEVELS
INITIAL SECTIONAL PROGRAMME MASSING DIAGRAM
INFOGRAPHIC PROGRAMME REQUIREMENTS DIAGRAM
ACCESIBLE INSTRUMENT STORAGE AND SUITABLE MOVEMENT OF INSTRUMENTS FROM ONE SPACE TO THE NEXT
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INFOGRAPHIC PROGRAMME PLAN DIAGRAMS These diagrams show the finalised programmatic spaces of the floor plans and their area’s in metres squared The sketches (left) show the development process of floor plan and sectional iterations.
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CASTING CONCRETE Stair development was explored in the form of casting concrete cores using pigments and texture.
PRECEDENT INSPIRATION: PETER ZUMTHOR, Bruder Klaus Field Chapel. I was inspired by the casting techniques on the studio field trip to Germany
Sketches and iterations of the Primer sculpture, suggesting architectural and tectonic forms.
PRECEDENT INSPIRATION: MIES VAN DER ROHE AND LILLY REICH - VELVET AND SILK CAFE, 1927, BERLIN The shapes formed from the curtains made of velvet and silk at this 1927 exhibition convey the motif of theatre and dramatic arts. This inspired the thought behind placing the fluted, curtain like shapes around the building.
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MATERIAL STUDIES THINKING THROUGH MAKING CONCRETE
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THINKING THROUGH MAKING
The Thinking Through Making Week allowed me to synthesise elements of material exploration, technical research and tectonic qualities of my design progression. I thought I would use this week as vehicle to research the technical opportunities of concrete as an acoustic performer, whilst also further exploiting the aesthetics and tectonics of concrete. After sparking the idea of producing a concrete ‘acoustic diffuser’ panel, I realised the similarities in appearance that an acoustic panel had to my earlier city analysis sketches, which explored the relief shapes of a skyline. I combined the two ideas, and produced a mould, which I then used to cast the concrete sculptural panel. Using black pigment as an attempt to show potential ageing and weathering of architectural elements. I found the peice was a success, it aided my knowledge and understanding of the characteristics of concrete, whilst producing interesting shapes to inform the next stage of design progression in my project.
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After the success of my Thinking Through Making Week investigations, I decided to produce a further series of concrete studies to explore further the qualities and characteristics of this fantastic material. The moulds produced to make the studies had a variety of internal textures, employed to create interesting shapes and patterns. Such as charcoal and recycled fibreglass for broken fragment effects, lose duct tape for a beautiful folded pattern texture and a ‘failed attempt’ at a releif shape (the white foam board was stuck in the casting). Although I still found an interest in this attempt as I liked the contrast of the foamboard and tape with the terracotta pigment. The pigmented aspect of these studies sparked an interest in my design development. The ability to pigment the concrete showed how versatile the material was, and how using this technique could allow me to fit a concrete building within the wider urban context of the city.
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PARTI SECTION DIAGRAM
CIRCULATION DIAGRAM PARTI PLAN DIAGRAM
PROGRAMMATIC DIAGRAMS
PLAN TO SECTION DIAGRAM
ADDITIVE AND SUBTRACTIVE SECTION DIAGRAM
ADDITIVE AND SUBTRACTIVE PLAN DIAGRAM
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HEIRARCHY DIAGRAM
SYMMETRY AND BALANCE SECTION DIAGRAM
SYMMETRY AND BALANCE PLAN DIAGRAM
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FINALISED FLOOR PLANS AND ATMOSPHERICS
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LANDSCAPE PLAN 1:500
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GROUND FLOOR AND BASEMENT PLANS SCALE 1:500
GROUND FLOOR (LEVEL 0) PLAN SCALE 1:500
PROGRAMMATIC / SPATIAL KEY BASEMENT LEVEL - 0 1 - Basement performance venue 2 - Musical instrument and event storage
GROUND FLOOR LEVEL 0 1 - Keelman’s bar and cafe 2 - musical and theatre student practice space 3 - toilet block (including accessible toilet) 4 - musical instrument storage 5 - seminar room 6 - ground floor reception desk and back room 7 - theatre Auditorium
8 - back stage area 9 - set design workshop 10 - theatre prop storage 11- covered seating area (external) 12 - covered perimeter walkway 13 - main public entrance to Keelman’s cafe/bar, foyer and theatre 14 - feature staircase to theatre boxes 15 - main back entrance 16 - Keelman’s courtyard
BASEMENT (LEVEL - 0) PLAN SCALE 1:500
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ATMOSPHERIC QUALITIES OF THE ‘KEELMAN’S BAR’ AND COURTYARD
Atmospheric of the Keelman Bar and Cafe courtyard. This space is a restoration of the disused Keelman’s hospital which sits on the site. The integration of this building within the whole design proposal had some inspiration from the city durability Inoticed in Cologne, on the field trip. For example the courtyard space in Peter Zumthor’s Kolumba Museum
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1ST FLOOR PLAN SCALE 1:500 PROGRAMMATIC / SPATIAL KEY 1 - Lecture theatre 2 - musical and theatre student practice space 3 - toilet block (including accessible toilet) 4 - musical instrument storage 5 - mini roof terrace 6 - 1st floor reception desk and back room 7 - main entrance,1st floor (route from city centre through site and down to quayside) 8 - enclosed corridor through Keelman block over courtyard
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9 - theatre production technician room 10 - feature staircase to theatre boxes 11 - theatre boxes 12 - back stage 13 - computer library 14 - common room - student chill out space 15 - roof terrace 16 - seminar room 17 - silent study room
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ATMOSPHERIC QUALITIES OF MUSIC PRACTICE ROOMS The practice rooms vary in materiality, using different concrete finishes, forms and textures whith acoustic diffusers, buffers and reverb panels. The varying qualities of the practice rooms allow the students to choose a room with suitable acoustic preferences according to their own personal playing style and instrument characteristics.
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THINKING THROUGH MAKING CONCRETE ACOUSTIC STUDY
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2ND FLOOR PLAN SCALE 1:500 1 - Grand piano room 2 - musical and theatre student practice space 3 - toilet block (including accessible toilet) 4 - musical instrument storage 5 - silent study room 6 - office 7- costume design room 8 - sewing room
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9 - reading room 10 - sound proof recording studios 11 - music recital room 12 - balcony feature 13 - roof terrace 14 - enclosed corridor through keelman’s block over courtyard
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STUDENT READING ROOM WITH VIEWS ACROSS THE RIVER TYNE
PRECEDENT INSPIRATION: LUDWIG GALLERY, COLOGNE The use of large windows lights the room beautifully and exploits natural light through the spaces, creating lovely atmospheric qualities.
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PRECEDENT INSPIRATION: PETER ZUMTHOR, Bruder Klaus Field Chapel. I was inspired by the casting techniques on the studio field trip to Germany
CONCRETE CAST FEATURE BALCONY ATMOSPHERIC
PRIMER PEICE ‘SKYLINE ABSTRACTIONS’
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SOUTH WEST SECTION AND PART ELEVATION SHORT SECTION CUT 1 SCALE 1:200
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SOUTH WEST SECTION AND PART ELEVATION SHORT SECTION CUT 2 SCALE 1:200
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SOUTH EAST LONG SECTION SCALE 1:250
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SOUTH EAST ELEVATION SCALE 1:250
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SYNTHESIS The synthesis section of my design development allowed me to further develop the rich narrative and path that the design journey has taken me on. I went back to primer again and used the dutch gable sketch as a motif to explore tile iterations for the facade development of the building, whilst continuing the recurrent theme of fluted concrete which then inspired the iteration of fluted glass. Certain aspects of the synthesis stage allowed me to push the programme even further and exploit the site benefits including beautiful views across the River Tyne and enjoying sun trapped environments on the site. Finally, as a vehicle to celebrate the progress of the design, I enjoyed the designing, casting and building process of a concrete and timber 1:30 model. This model conveyed the architectural tectonics, materiality, thresholds, facade detail, programme detail and atmospheric qualities of the Keelman’s Centre for Musical and Theatrical Arts.
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1:20 SECTION OF STRUCTURAL COMPOSITION STRUCTURAL SEQUENCING
PRIMARY structure of floor slabs, cores and loadbearing walls cast in situ from reinforced concrete (250300mm in thickness) to form lateral stability
CONCRETE FRAME AND PRECAST CONCRETE MODULAR PANEL FACADE
SECONDARY substructure reinforced concrete (250-280mm) walls are cast in situ, followed by TERTIARY load bearing elements such as the ground floor part-decorative columns
SUB - TERTIARY structure is constructed in the form of precast concrete panel facade
FIGURE 28 - OWN WORK TAKEN FROM ARC3013 MODULE
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FIGURE 27 - OWN WORK TAKEN FROM ARC3013 MODULE
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FACADE DEVELOPMENT ADDITIONAL DECORATIVE TILES ADDED TO THE MODULAR CONCRETE PANEL FACADE SYSTEM
PRECEDENT INSPIRATION: SERGISON BATES CARE HOME IN WINGENE, BELGIUM The use of coloured tiles adds an interesting contemporary touch to the natural palette of the rest of the building.
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PRECEDENT INSPIRATION: PAUL SMITH BUILDING, LONDON by 6a ARCHITECTS The victorian context of the street in mayfair has been carefully involved in the narrative of the elegant design of this facade, without attempting to parody the classical victorian style.
TERRACOTTA TILES Various pastiche iterations of tiles were developed from the original dutch gable sketch, from primer.
TILE DECORATION Subtly placed on the edges of the external perimter walkway, framing beautiful views of the city and surrounding context
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CITY OBSERVATIONS combining the ideas of decorative tiles and historically contextual design of the above two precedents, I was inspired to use my own sketch of the local history in newcastle, and use it as inspiration for the design of a tile.
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1ST FLOOR
SOUTH FACING TERRACE Terraces placed across the building (3 above ground level and one on ground level.) all benefit from the south facing heat and light, whilst also framing beautiful views across the quayside. FIGURE 31
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PRECEDENT INSPIRATION: TOMBA BRION, CARLO SCARPA. The brightly coloured tile detailing on the tomb creates a beautiful shape and framed line, whilst the mix of bright colours and raw concrete textures encourages a contemporary feel to the architecture.
TILE PASTICHE The brightly coloured tiles used in this moment of the facade, invites the user to look closer and engage with the architecture whilst also defining the programme and key entrance to the building.
GROUND FLOOR
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PRECEDENT INSPIRATION: DRAWING FASHION EXHIBITION, CARMODY GROARKE
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GROUND FLOOR
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FLUTED GLASS The fluted elements explored throughout the project from early sketches through to final models and designs has also been mirrored in this glass staircase element. This staircase sits on the south facing side of the building, therefore, the glass allows the sunlight to shine into the building and further enhance the users ability to view frames across the city.
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GROUND FLOOR
PRECEDENT INSPIRATION: MIES VAN DER ROHE AND LILLY REICH - VELVET AND SILK CAFE, 1927, BERLIN The shapes formed from the curtains made of velvet and silk at this 1927 exhibition convey the motif of theatre and dramatic arts. This inspired the thought behind placing the fluted, curtain like shapes around the building. In particular, the facade that encloses the auditorium has this effect, to further emphasise the buildings theatrical programme. FIGURE 35
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ENVIRONMENTAL DESIGN
VENTILATION AXONOMETRIC DIAGRAM Due to the use of a mechanical ventilation system, the extracting and replacing of air happens constantly throughout the day, so the quality of air shouldn’t drop drastically or fluctuate, therefore maintaining a comfortable environment for the users.
SOUTH FACING SLOPED ROOF The long flat side of the roof is south facing and therefore collects solar energy, to help power the building’s electricity needs. Whilst the short, north facing slope holds windows for even natural light throughout the day.
SOLAR POTENTIAL
BUILDING ENVELOPE
ENVIRONMENTAL DESIGN STRATEGIES IN THE BUILDING INCLUDE: - Solar energy generating panels - saw tooth / sloped roofs to take advantage of natural daylight - concrete - high thermal mass performance, ensuring a stable transition of heating and cooling through seasons.
THERMAL MASS
FIGURE 36 - OWN WORK TAKEN FROM ARC3013 MODULE
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FIGURE 37 - OWN WORK TAKEN FROM ARC 3013 MODULE
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1:30 SCALED MODEL OF CONCRETE TECTONICS, FACADE RELEIF SHAPE AND FLUTING DETAILS
PROCESS PHOTOS OF MAKING THE MOULDS FOR CASTING THE CONCRETE SLABS. The process involved some repair work of glueing some casts that broke when coming out of the mould, the facade in particular was very fragile. The process also included creating negatives of the desired relief shape of the mould. Timber and white foam board were used to create the moulds
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BUILDING THE MODEL IN LAYERS, helped to aid the strength of the model.
MOULDS, RELEIFS AND CASTS. I produced moulds to create a releif that would hold the fluted shape. I used ‘oasis’ to create the mould as it was easy to cut and shape it. The concrete casts represent a ground floor entrance and the 2nd floor feature balcony
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1:30 TECTONIC MODEL
ELEVATION 111
SECTION
PERSPECTIVE 112
THRESHOLDS TECTONICS TEXTURES
KEY THRESHOLD BETWEEN EXTERIOR, SEMI-EXTERIOR PERIMETER WALKWAY AND FINALLY INTERIOR (left).
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INTERNAL ATMOSPHERIC PHOTOGRAPHS OF 1ST FLOOR LIBRARY SPACE (above) AND COVERED ENTRANCE (right).
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FLUTED WALL ENTRANCE
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PRECEDENT SYNTHESIS: PETER ZUMTHOR, Bruder Klaus Field Chapel
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RELEIF CAST CONCRETE FEATURE BALCONY
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CULTURAL BIBLIOGRAPHY
48 HOUR TRIP TO BARCELONA
Skylines, sculptures and artworks were enjoyed on this trip.
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SALVADOR DALI AND ANDY WARHOL EXHIBITIONS AT THE CENTRAL GALLERY, PRAGUE EVENING WALKS
around the beautiful city of Newcastle Upon Tyne, always imersing myself in the culture and history of the city.
FIGURE 38
FIGURE 39
‘SMALL TALKS’ HOSTED BY NUAS
In particular the CARMODY GROARKE small talk, was of interest to me, the architecture that inspired me included the Drawing Fashion exhibition for its elegant shapes and the Hill House Box for the blending and juxtaposing of old and new architrecture
I enjoyed the medias explored by artists through collage of water colour, ink, photography, paper, magazine cuttings etc.
HADRIANS WALL TREK!
My friend and I trekked Hadrian’s wall for charity. It was great to see the wall both in Northumberland and Newcastle city centre near my site.
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CASE STUDY REPORT
(All of my own work for the case study is presented in this portfolio, the group work and full case study report is attached seperately on blackboard.) PROGRAMME REPORT OF NEUES MUSEUM IN BERLIN - DAVID CHIPPERFIELD ARCHITECTS
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THRESHOLD REPORT OF NEUES MUSEUM IN BERLIN - DAVID CHIPPERFIELD ARCHITECTS
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CHARETTE WEEK SURFACES AND SILHOUETTES
In Charette week, our group explored the static qualities of architecture that sit amongst the ever moving high street. By taking rubbings from around the city, we captured moments and textures of the city that remain a constant throughout time. I learnt that although a space, place and atmosphere can change through time, the static qualities or architecture and the urban grain of a city tend not to change. The exercise of taking rubbings of the city’s textures and patterns, helped myself and my peer students to engage with the city’s history and architectural depth.
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LIST OF FIGURES FIGURE 1 - RACHEL WHITEREAD SCULPTURE, image taken from TATE website - https://www.tate.org.uk/whats-on/tate-britain/exhibition/rachel-whiteread FIGURE 2 FIGURE 3 FIGURE 4 - RACHEL WHITEREAD SCULPTURE, image taken from TATE website - https://www.tate.org.uk/whats-on/tate-britain/exhibition/rachel-whiteread FIGURE 5 FIGURE 6FIGURE 7 FIGURE 8 - PHOTOGRAPH OF RACHEL, taken from website - https://www.brigittelacombe.com/artists FIGURE 9- RACHEL WHITEREAD SCULPTURE, image taken from TATE website - https://www.tate.org.uk/whats-on/tate-britain/exhibition/rachel-whiteread FIGURE 10 - ‘The Humiliation of Plaster’ exhibition at Cambridge University Florian Rothmyr - Images taken from website - https://www.classics.cam.ac.uk/ museum/exhibitions/exhibitions/the-humility-of-plaster FIGURE 11 FIGURE 12 - RACHEL WHITEREAD SCULPTURE, image taken from TATE website - https://www.tate.org.uk/whats-on/tate-britain/exhibition/rachel-whiteread FIGURE 13- CY TOMBLEY SCULPTURE, image taken from website - http://www. cytwombly.org/artworks/sculptures/7 FIGURE 14 - MAN RAY ‘RAYOGRAPHS’ - all images taken from MoMA website - https://www.moma.org/artists/3716 FIGURE 15 FIGURE 16 FIGURE 17 FIGURE 18 FIGURE 19- EDUARDO PAOLOZZI AND NIGEL HENDERSON - Hammer Prints collection - images taken from website - https://www.artfund.org/whats-on/exhibitions/2012/12/08/hammer-prints-exhibition FIGURE 20 FIGURE 21 - EDUARDO PAOLOZZI - photograph of artist taken from website https://www.wikiart.org/en/eduardo-paolozzi FIGURE 22 - JUSTIN LIN, Studio 2, Newcastle University, - photograph taken by Justin of all of studio 2 primer work FIGURE 23 -
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LITERARY BIBLIOGRAPHY FIGURE 24 FIGURE 25 - MADDY LEEDHAM, Music Student, Newcastle University, Photograph provided by Maddy FIGURE 26 - MIES VAN DER ROHE AND LILLY REICH, The velvet and Silk Cafe, Berlin, 1927 - image taken from http://hiddenarchitecture.net/velvetand-silk-cafe/ FIGURE 27 - AUTHOR’S OWN DIAGRAMS - images produced by myself taken from the ARC3013 Integrating Construction assignment FIGURE 28 FIGURE 29 - SERGISON BATES, Care home in Wingene, Belgium, - image taken from website - https://sergisonbates.com/en/projects/care-home-wingene FIGURE 30 - 6A ARCHITECTS, Paul Smith building in London, image taken from - http://www.6a.co.uk/projects/more/paul-smith FIGURE 31 - ELLA JOHNSON, Studio 2, Newcastle University - Ella’s photograph of the views off site FIGURE 32 - CARLO SCARPA, Tomba Brion - images taken from - http:// modernistarchitecture.blogspot.com/2018/05/my-pilgrimage-to-tomba-brion.html FIGURE 33 FIGURE 34 - CARMODY GROARKE, Drawing Fashion exhibition, image taken from website - https://www.carmodygroarke.com/drawing-fashion/ FIGURE 35 - MIES VAN DER ROHE AND LILLY REICH, The velvet and Silk Cafe, Berlin, 1927 - image taken from http://hiddenarchitecture.net/velvetand-silk-cafe/ FIGURE 36 - AUTHOR’S OWN DIAGRAMS - images produced by myself taken from the ARC3013 Integrating Construction assignment FIGURE 37 -
- ‘To provide meaningful architecture is not to parody history, but to articulate it.’ Daniel Libeskind - Libeskind. 2020. Studio Libeskind | Architecture | Design. [online] Available at: <https://libeskind.com> [Accessed 14 June 2020]. - Editors, A., 2020. “Casting It In Plaster Monumentalized A Space That Is Ignored”: Rachel Whiteread On The Sculptural Elements Of Emptiness. [online] Artspace. Available at: <https://www.artspace.com/magazine/interviews_features/book_report/rachel-whiteread-55186> [Accessed 14 June 2020]. - Paolozzi, E. and Schneede, U., 1970. Paolozzi. Stuttgart: G. Hatje.
CULTURAL BIBLIOGRAPHY LIST OF FIGURES FIGURE 38 - CARMODY GROARKE, Drawing Fashion exhibition, image taken from website - https://www.carmodygroarke.com/drawing-fashion/ FIGURE 39 - CARMODY GROARKE, The Hill House Box - https://www.carmodygroarke.com/hill-house/
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