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S A S H A S WA N N E L L Stage 3 Academic Portfolio Rituals - 2020

CONTENTS

Illustrated Reflective Report

Primer

Staging

Realisation and Synthesis

Charrette

140

Field Trip Case Study Report

144

Appendix

180

Illustrated Cultural Bibliography

190

References and List of Illustrations

194

Centre for Environmental Stability Sasha O.E. Swannell

Key for Amended Work :

Regular Portfolio Pages: 2 Amended Portfolio Pages: 2

170222013 Stage 3 Academic Portfolio Rituals School of Architecture Planning and Landscape Newcastle University 2019-20 S. Swannell Stage 3 Portfolio

My graduation project reflects an ardent conviction that the profession has a responsibility to have a net zero carbon footprint by 2050. This will need a profound change in how architects design, procure and refurbish existing buildings. As such, this project seeks to establish a mode of thinking that could lead to delivering this challenge. A recent document published by the London Energy Transport Initiative discussed, quite simply, that to reduce the whole life carbon footprint of buildings, we must reduce their embodied carbon and operational carbon (LETI, 2020). Therefore, due to the somewhat finite nature of this year, I focused primarily on reducing the project’s embodied carbon by either inhabiting or reclaiming the materials from large scale post-industrial structures on my site; a process also known as adaptive and transformative reuse (Arup, 2020). The Professional Practice module (AR3014) provided an opportunity to test these ideas in to a written format, which was no doubt invaluable.

I L L U S T R AT E D R E F L E C T I V E R E P O RT

During Stage 3, the critical skill that I have developed, is the ability to consider design as a holistic process; one which is strengthened by simultaneously working at a variety of scales, focusing on technical principles at early stages of design and the use of alternative media to communicate an idea. I believe this method of working has certainly been reflected in the way the academic year has been structured, which I have enjoyed greatly. For instance, by switching from in-depth precedent studies to literary dissertation reviews, to Thinking Through Making, allowed me to enrichen my learning and broaden my perspective on the subject. To this end, I have acknowledged the importance, to take time out and resource inspiration from outside the profession, or in fact, make, draw or create something which is not strictly relevant to the design process itself. For example, when I reached an obstacle in the nascent stages of Realisation , I was encouraged to take a step back and produce a drawing which reflected my core theoretical objectives (image top right). In discussing the importance of the ‘ threshold ’ realm, I used an image from Aldo van Eyck’s, Municipal Orphanage (1960), to explore the plethora of ways a simple door connection could be depicted (orthographic and perspectival). Whilst, only a sketch, its benefits were twofold; it not only allowed me to refocus my intentions but also upon reflection, became a turning point in informing my design process. 4

S. Swannell Stage 3 Portfolio

Subsequently, the subtext to this proposal is that architecture in a 'green economy’, as it is often currently referred to (Roberts, 2020), does not restrain architectural creativity, but can be the source of profound atmospheric and experiential conditions.

Ill. v: Towards Net Zero Carbon (LETI, 2020a)

Formative threshold drawing

Ill. i: Aldo van Eyck, Municipal Orphanage, Amsterdam

(Architectuur Centrum Amsterdam n.d..)

Ill. ii: Transform & Reuse Report (Arup, 2020)

Ill. iii: LETI Climate Emergency Design Guide (LETI, 2020)

Ill. iv: Poster from Architects' Journal Retro First campaign (AJ, 2020)

However, whilst the focus on adaptive reuse was a source of great personal intrigue, I often found it easy to divert my attention away from the design realisation, especially during early stages. My theoretical and practical intentions certainly became the kernel to this scheme but as the year progressed, I focused on trying to strike a balance between these aspects as well as careful design interrogation. Upon reflection, over the course of the year I certainly developed this balance, however, my time management could be more effective if my attention were more evenly distributed between the two.

S. Swannell Stage 3 Portfolio

In trying to visualise the design project as a holistic process, I tried to make sure both technical integration (ARC3013) and representation theories (ARC3015), were not neglected but assimilated into the heart of the scheme. Specifically, the main challenge was to exhibit my theories of “oppositions”established at Primer - in the primary structure of my building and in the way in which it was visualised. The former saw a tectonic investigation, which was greatly inspired by the model made in Thinking Through Making Week , that communicated the connection between timber and reclaimed steel. However, ultimately the intention was to devise a structural strategy that enhanced the architectural richness of my spaces, as well as communicating this underlying concept. At its core, I believe this was achieved most successfully in the main auditorium and lobby spaces, in the steel silo. Adaptive reuse: a model for the future of the profession

Depicting 'oppositions' in representation Escaping the Commodification of Housing Towards a Usefulness in Design

Embedding the notion of “oppositions” into representation (ARC3015), was not only an opportunity to pursue my theoretical interests in drawn form. It was an extension of a number of ideas I established while writing my dissertation and at its heart, it encouraged me to take a critical stance on how I represented my work. In this vein, it has been the first time over the duration of the course, where I have taken such a position and one which entirely shaped the impression of my building. Without it, I believe the strength of the project’s conceptual underpinnings would have been significantly reduced. Not least, the use of hand-drawings was pivotal in responding to the post-industrial atmospheric qualities of my site and thus, from a broader perspective, I intended it to stand as an effective alternative to the often homogenous quality of digitised modes of representation. Pivotal Thinking Through Making Model

S. Swannell Stage 3 Portfolio

Sasha Swannell

Consequently, I reflect that the backbone of the theory, thinking and approach to this year, has derived from my dissertation piece. It was entitled, Escaping the Commodification of Housing: Towards a Usefulness in Design , and was almost a year-long piece of research. Whilst the topic is not directly linked to my graduation project, the essence of the piece was to challenge the paradigms of architectural practice. Following a summer of research and reading around the subject, this core belief had become embedded into my thought processes when I embarked on the final year of the course. The graduation project is therefore a reflection of a critical approach to the profession. Even though there are some gaps in the realisation of my design intentions, and it could be improved, I seek to use it as an antecedent idea which informs the direction of my career.

Front cover of dissertation piece (ARC 3060) S. Swannell Stage 3 Portfolio

PRIMER 8

S. Swannell Stage 3 Portfolio

REFLECTION Fundamentally, the Primer stage was a pilot scheme for the entirety of the graduation project. By way of interrogating the site and deriving a concept that rigorously responded to its context, I was able to test initial ideas in three-dimensional form. As such, I would reflect that the tea house project became the backbone of the scheme with all future design moves grounding themselves in it, to some extent. Its significance to the scheme, therefore, is undisputed. Specifically, it allowed me to discern what the term, ritual , meant to me. Throughout this phase I

questioned whether it was as simple as the ritual of approach, the ritual of a tea ceremony or the ritual of the everyday, for example. However, I believed it was deeper than that. In conjunction with my dissertation studies, Primer helped me to understand that ritual is the kernel to all spatial design; a space is governed by the rituals of the activities that exist within its realms. Therefore, when considering design, one can only confront design realisation once the processes of the ritual are fully comprehended. This personal reflection has not only been a valuable lesson for the graduation project but has informed the way I think about architecture.

S. Swannell Stage 3 Portfolio

Japanese Tea Ceremony

TEA CEREMONY: THE CONFLUENCE BETWEEN GUEST AND HOST The traditional Japanese ceremony revolves around an ancient ritual. It was once used as the meeting place between enemies of war, a space of diplomacy and respectful conversation (Cross, 2009). As such, the different roles, routes and rituals of host and guest are unique. This elevates the act of exchanging tea as the meeting point or confluence between two parties. In other forms of daily life the ritual of purchasing a coffee in a market bears similarities with this ancient notion. The exchange of coffee becomes the product and pinnacle of two distinctly different rituals.

1. Guest Entrance - Guests crawl into the tea

house as a symbol of respect towards the host

2. Separate Host Entrance - Alternative

entrance to the space is used for the host

3. Host Preparations - Host prepares the tea

1. Customer Approach - Cafe set back from

2. Barista Conversation - Dialogue between

3. Coffee Production - Barista prepares coffee

main path providing a more private space

customer and barista is first stage of interaction

whilst the guests wait to be welcomed in

in the cafeâ&#x20AC;&#x2122;s private area behind the counter

Coffee at Pumphreys in Grainger Market

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T H E P O S T- I N D U S T R I A L T O W N O F B LY T H , N O RT H U M B E R L A N D

Q U AY S I D E A

Source: Google Maps, 2019

Industrial Buildings B

TOW N C E N T R E

Commercial and Residential Area B

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OBVIOUS DIVISIONS: A R E A D I N G O F B LY T H S P AT I A L

DIVISION

H I S TO R I C A L

The eeriness of this post-industrial townscape holds a history that seems to lurk on every street, on every corner of this seemingly vacuous place. The essence of its beating heart has but sailed some time ago, leaving an imprint of what was rather, than what is.

DIVISION

Excerpt from Sketchbook

It lacks something. It exists in a transient state: of progress perhaps. Inertia. A disconnect between the centre and the docks makes everything seem a little out of place. A new town born out of the erection of a wind turbine, perhaps to bring some identity in an area left wandering. The rituals of the tide seem to have no effect on the town itself. It ebbs and flows in a constant state of movement, but this place is stagnant. Why? What do the people say? It has been left to decay in some places while other have been injected with some hopeful life. There is a profound historic ritual here. But the present one is uncertain.

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1:2500 MODEL: MAPPING B LY T H ’ S S P AT I A L OPPOSITES

By way of material, coloured and textured contrasts, I used this model to express the divide between Blyth’s town centre and quayside. It also symbolises a disconnect between Blyth’s past and present activities. The seemingly vacuous megastructures of the post-industrial quayside lie dormant, whilst the smaller commercial developments in the centre are the more active areas in the town.

S. Swannell Stage 3 Portfolio

T E A R O O M S I T E : S I T U AT I N G B LY T H ’ S P R E S E N T I N T H E H E A RT O F I T S PA S T I sought to translate my theoretical thinking of ‘oppositions’ to my choice of site for the tea room. This took place on two levels. The first premise was observing Blyth’s disconnect between its past and present. As such I believed this would be suitably communicated by situating the tea room in the histrocially rich coal staithes on site. The truncated timber structure - which once carried coal to docked ships (Ill. 1.2) - exists as a symbol to the town’s industrial past. Secondly, Deleuze and Guattari discuss space as a complex mixture of two opposing states (Ballantyne, 2007). As such, I addressed the oppositions in the positive and negative spaces of the coal staithe itself. By consciously placing the tea room in the negative space the notion of opposites are grounded in the design of the tea room.

PA S T

PRESENT

LAND

W AT E R

POSITIVE S PAC E

N E G AT I V E S PAC E

Proposed Site for Tea Room in Negative Space of Coal Staithe

PA S T

PRESENT

PA S T

PRESENT

OLD

NEW

OLD

NEW

S I LO

NEWBUILD

S I LO

NEWBUILD Ill. 1.2: Original Coal Staithes (n.d.), Fraser, 2017.

LITY

S. Swannell Stage 3 Portfolio

LITY

Ill. 1.1: Google Maps, 2020

Coal Staithes in October 2019

Coal Staites in October 2019 S. Swannell Stage 3 Portfolio

1. Past and Present: Disalignment

CONCEPT MODEL DERIVED F R O M C O A L S TA I T H E J O I N I used the timber-steel joinery observed in the truncated coal staithe to expose the primary concept of my tea house - exposing opposites. The white central piece of this model and the plywood wings perpendicular to it, symbolise Blythâ&#x20AC;&#x2122;s past and present epoch, respectively. In the first instance these two parts lie out of sync and disaligned. As the model rotates, the wings become parallel to each other reconciling their current opposing nature. The tea room, symbolised by the dowel, binds these opposing parts, as if to reconcile Blythâ&#x20AC;&#x2122;s prominent divide.

2. Past and Present: In Parallel

Past

Present

3. Past and Present: Bound by the Tea House

Tea House 20

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E X P LO R I N G O P P O S I T I O N S I N J A P A N E S E J O I N E RY Following my research into oppositions, I sought to construct a timber joinery model to explore this concept further by using the motif of the coal staithe join (previous page). Further, to continue the studioâ&#x20AC;&#x2122;s theme of timber craftwork, I tried to create this model using traditional Japanese methods. It focused on creating a model largely by hand and thus was important to incorporate and work with the natural imperfections. It however, must be acknowledged the extrusions for the connection pieces were made using a pillar drill and this is not true to the traditional craft. As such if repeated, I would aim to solely develop my carpentry abilities.

Cutting Gauge Small Chisel

Bevel-Edged Chisel Japanese Pull-Saw Surform Planer File Try Square Spirit Level

S. Swannell Stage 3 Portfolio

JOIN AS THE CONNECTION BETWEEN OPPOSITES With the white and pine timber pieces representing Blythâ&#x20AC;&#x2122;s past and present respectively, this model draws attention to the significance of the connection in reconciling oppositions. I recognised that the critical point in reconciling too opposing forms is the connection between them. This was a critical point in my line of thinking and had significant architectural implications for the graduation project. While the joinery does not fit perfectly (as seen below), I believe the model is successful in communicating the intended concept. If to be repeated, I would refine my technique in cutting the areas where the join takes place.

S. Swannell Stage 3 Portfolio

JOIN AS THE THRESHOLD B E T W E E N S PAC E S This image explores and realises the theoretical thinking that underpins this project. In confronting opposites, the join which connects the form and counterform is the critical feature. This connection exists in a constant dialectic between the two opposites. Architecturally, as often referred to by Aldo van Eyck (McCarter, 2015, p. 118) this manifests itself as a threshold, the space in-between spaces. As such, it would seem an architecture born out of the in-between - one that articualtes the threshold realm - would be suitable to this line of thought.

Ill. 1.3: Aldo van Eyck, Municipal Orphanage, Amsterdam

(Architectuur Centrum Amsterdam n.d..)

S. Swannell Stage 3 Portfolio

Exaggerated threshold at start of journey to recognise entry to new space

P R E C E D E N T : S A U N A AT M U U R AT S A L O B Y A L V A R A A LT O ( 1 9 5 3 )

Ill. 1.4 (top): Sauna, Elevations and Foundation Rocks (Alvar Aalto Museum, n.d.) Ill. 1.5 (left): Sauna, Floor Plans, (Ibid.)

Boardwalk built into existing staithe construction Garden roof to immerse architecture into forested setting

Alvar Aaltoâ&#x20AC;&#x2122;s Sauna at Muuratsalo is situated on the shores of Lake Paijanne, Finland. Constructed from locally harvested timber, Aaltoâ&#x20AC;&#x2122;s out-building works to fully immerse it in its natural setting. The structure revolves around the native Finnish vernacular of the log house, yet I was really interested in how, structurally and architecturally, the sauna becomes seamlessly part of the landscape. For example, the manner in which the building is raised above the ground level gives the impression that the building is not a harsh obstruction but a temporary addition (Alvar Aalto Foundation, 2020). Further, the use of the garden roof and local timber makes the building seem born out of its context. In applying these ideas to my tea room, I reflected on how it could be fully assimilated into the coal staithes on site. 28

S. Swannell Stage 3 Portfolio

T E A H O U S E P R E L I M I N A RY S K E TC H E S

Structural and exposed timber logs harvested from forest

Descend into staithes to feel immersed into historic structure

Structure positioned on local stones and raised above the ground

Ill. 11.6: Sauna (Makinen n.d.) S. Swannell Stage 3 Portfolio

Host entrance accessed by boat and separate to guest entrance

1:50 Tea House Plan 0

TEA HOUSE IMMERSED IN T H E H E A R T O F B LY T H â&#x20AC;&#x2122; S H I S T O RY The journey through the staithes was designed to encourage users to engage and reflect on Blythâ&#x20AC;&#x2122;s industrial past at every stage. The design of the tea house is based around spatial opposites. Playing with themes of darkness and light, smooth and striated surfaces, the theme of exposing opposites is exhibited in the architecture as well as on a conceptual level. The individual must almost crawl into the tea house; the entrance is a space with no natural light. As they proceed through the building, the height of the rooms and amount of natural light entering them increases proportionally. 30

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1:50 Tea House Section A-A 0

2m S. Swannell Stage 3 Portfolio

1:100 TEA HOUSE MODEL

DESCENT

THRESHOLD

This model not only exhibits the relationship of the tea house to the staithes but also the intricate journey towards it. The white solid form of the architecture directly contrasts with the repeated nature of the staithes, intended to evoke a dialectical relationship between the two. As such, the tea house attempts to expose opposites at each scale in design. I believe this model is successful in communicating the design in concept however, the idea of opposites could be translated into its materiality better. For example, the tea house and the approach to it could be modelled from a material that directly contrasted with the pine which makes up the coal staithe.

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EMBEDDING OPPOSITIONS I N T O R E P R E S E N TAT I O N Upon critical refelction, the representation style used for the inhabited section does not effectively communicate the idea of opposing elements and spaces. As such I sought to explore how I could simultaneously communicate spatial qualities of my building as well as the theory that underpins it. I turned to neo-avant garde architect, Peter Eisenman. Whilst his axonometrics are intentionally meant as autonomous objects (Eisenman, 1987), their rigid, contrasting composition stands as a useful precedent in communicating opposites. I explored this in greater depth in ARC3015.

Inhabited Section pertains a largely graphic aesthetic

EMBEDDING OPPOSITES I N TO S T RU C T U R E It was important that the notion of oppositions which had defined my primer project, was exhibited in the structure of the tea house as well as the design. As shown (right), the original staithe join is maintained in the new building, thus continuing the existing structure. As such the alternate join (below) which has remained core to my line of thinking is exposed on the interior of the tea house. The axonometric (right) experimented with showing the original staithe members with thick black ends and the new timber elements exhibited only as a line drawing.

Peter Eisenmann axonometrics as a language for communicating the notion of â&#x20AC;&#x2DC;oppositesâ&#x20AC;&#x2122;

Ill. 1.7 (left): House VI Axonometric (Eisenman, 1972) Ill. 1.8 (bottom): House VI: Colour Axonometric (Eisenman, 1972)

S. Swannell Stage 3 Portfolio

S TA G I N G

S. Swannell Stage 3 Portfolio

REFLECTION Upon reflection, constructing a brief during the Staging process was one of the most challenging phases of this year. Moving on from Primer, I believe I struggled to differentiate the theoretical intentions of my scheme for the more programmatic ones. I have learnt that whilst there is great value in theory behind a project, it must be balanced with a responsive and relevant brief. On the other hand, since the site had been declared during Primer, I used Staging as an opportunity to conduct in-depth research towards deriving the brief. Specifically, the response to Blythâ&#x20AC;&#x2122;s history played a major role in the project. Throughout

this stage I reflected on the relevance of history to an architectural project. Instead of it being used incidentally, as a distant reference, I tried to actively assimilate it into the main body of my brief, or as Stan Allen discusses (in response to his drawing, Campo Marzio figures overlaid on the Nolli Plan of Rome (1987), the importance of working with a more â&#x20AC;&#x153;instrumental idea of historyâ&#x20AC;? (Allen, 2018). This not only roots a project firmly in it social and economic context but allows space for an architecture to flourish with an intrinsic connection to its past.

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Three decomissioned steel silo structures

Disused railway line

Site

A port of rich industrial history

Steep shoreline bank

Ill. 2.1: Blyth chain ferry (Craven, 1960)

Disused ferry terminal

Single onshore wind turbine

Ill. 2.2: High Ferry (Blyth News Photo Archive, n.d.)

S. Swannell Stage 3 Portfolio

1923 North Blyth coal staithe erected for the loading of coal on to docked ships

North Blyth coal staithe truncated after collapse of coal mining industry

1963 Ill. 2.3: Author unknown, n.d. (approx 1970)

Blyth Train Station and surrounding network was pivotal in the distrbution of coal during the town’s prime

1961

Ill. 2.4 : Get Carter, n.d.

Ill. 2.7 (top): The Chronicle Live, n.d. (approx 1970)

Ill. 2.6 (right): Dean, 1963

B LY T H ’ S H I S T O R Y O F EPHEMERAL INDUSTRIES In developing the themes established at Primer I sought to explore Blyth’s modern history in more detail. Specifically, I observed the great change in the fabric of the town and region following the proliferation of the industrial revolution. Between the 18th and 20th century, the area played a huge role in the UK’s salt trade, ship-building, and coal mining industry. However, due to the changing nature of economic demand in the UK and overseas, many industries have only remained for a short period of time and now cease to exist. In the space of 200 years Blyth has seen the coming and going of a great number of industries and the quayside remains to be the setting for such evolutions. 42

S. Swannell Stage 3 Portfolio

1971

Power Plant demolished. (Image taken in 2019.)

Blackhall Colliery conveyor - as seen in Get Carter (1971) - was used to expel mine waste into the sea. Colliery closed, conveyor removed and beaches cleaned of coal remnants. (Image taken in 2018.)

1= date built = date demolished

Blyth coal power plant built at the north of the harbour (Image taken c. 1975.)

Ill. 2.5 (top): Get Carter, n.d.

Blyth train station demolished along with all railway lines in the town. (Image taken on site adjacent to station in 2019.)

7S it

R es

7 21

6 7

22 23 24

is h

9 10 11 12 13

in ema R es

7S it

14 15

ish

3 1 Si t e s Demolished

S. Swannell Stage 3 Portfolio

25 26 27 28 29 30 31 32 33 34

10 11 12 13 14 15 16 17 18 19 20

23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38

Onshore Wind Turbine 7 years (2012-Present) Onshore Wind Farm 20 years (1992-2012) Cowpens Colliery 35 years (1855-1890) Turbine Training Facility Announced in 2019 Gloria Colliery 16 years (1935-1951) Hartley Colliery 129 years (1830-1959)

35 36 37

Exis�ng

Source: Durham Mining Museum, 2020

8 9

This 1:20000 model maps the duration of existence for industries in Blyth and the surrounding region. By mapping major industrial sites that have existed since 1821 the data shows that out of the 38 datapoints, only 7 key sites still remain or are in development (see below). It can therefore be concluded that whilst Blyth has been home to a vast e m largely been D number of industrial areas, they have s e Si t unsustainable and only3 1exist for a short period of time. However, the majority of the industrial sites Demolished that are still active (and those Exis�ng in development) are in the offshore renewable energy sector - a sustainable industry by nature.

Years (1 year to 2 mm)

M A P P I N G B LY T H ’ S E P H E M EemRaiAn L I N D U S T R I E S

Newbiggin Colliery 59 years (1908-1967) Woodhorn Colliery 87 years (1894-1981) North Seaton Colliery 105 years (1855-1961) Cambois Colliery 100 years (1868-1962) West Sleekburn Colliery 105 years (1855-1961) Blyth Power Plant Regeneration Planning Approved in 2017 Blyth Power Plant 41 years (1961-2001) Battleship Wharf 13 years (2006-Present) Offshore Wind Farm 19 years (2000-2019) (Two Turbines) Blyth Aluminium Silos 39 years (c. 1980-Present) Offshore Wind Farm 2 years (2017-Present) (Five Turbines) North Coal Staithe 72 years (1923-1995)

In Planning

Relative Size

Still in existence

Ellington Colliery 95 years (1910-2005) Linton Colliery 74 years (1894-1968) Ashington Colliery 119 years (1867-1986) Longhirst Colliery 25 years (1870-1895) Pegswood Colliery 101 years (1868-1969) Morpeth Banks Colliery 5 years (1860-1865) Barrington Colliery 127 years (1821-1948) Choppington Colliery 109 years (1857-1966) Barmoor Colliery 62 years (1900-1962) Hepscott Colliery 29 years (1896-1925) Catchburn Colliery 3 years (1918-1921) Bedlington Colliery 133 years (1838-1971) Bedlington Iron Works 131 years (1736-1867) Bebside Colliery 68 years (1858-1926) Bates Colliery 51 years (1935-1986) Hartford Colliery 68 years (1893-1961) Seaton Deleval Colliery 122 years (1838-1960) Lynemouth Colliery 70 years (1927-1994) Lynemouth Power Plant 47 years (1972-Present) (Currently Biomass) Lynemouth Aluminium Smelter 40 years (1974-2012)

Demolished

38 S. Swannell Stage 3 Portfolio

4 Q n

Offshore Wind Farms (completed and proposed)

Aberdeen

E K U

Firth and Forth Levenmouth Beatrice

Hywind Scotland Pilot Park

Aberdeen

Blyth Demonstration Facility Blyth

g r e n

e ion ( G y at

UK En erg yG en

Aberdeen (EOWDC)

Levenmouth

tio urce) Q a r 4 20 ne by so

Key Offshore Support Facilities

Hywind Scotland Pilot Park

9 1 0 2

OFFSHORE WIND: A L E A D I N G S E C TO R I N U K E N E R G Y G E N E R AT I O N

Aberdeen (EOWDC) Firth and Forth

Levenmouth

Dogger Bank

Beatrice

Teeside Blyth Demonstration Facility Blyth

Lincs

Hornsea

Hull

Sheringham Shoal

Dogger Bank

Teeside

Humber Gateway

Hull

Dudgeon

Lincs Inner Dowsing

Inner Dowsing

Hornsea

Inner Dowsing

Inner Dowsing Scroby Sands

Greater Gabbard

Lowestoft

London Array Kentish Flats Thanet

a bles 3 6.9 %

Renewable Energy Generation Q4 2019

31.9% ind W

Lowestoft

Dudgeon

new

Offsh ore

Sheringham Shoal

Humber Gateway Scroby Sands

Hornsea

The UK is world-leading in harnessing offshore wind energy (Renewable UK, 2020). In providing almost a third of all renewable energy in Q4 of 2019 (see right), this sector is set to be the largest provider of renewable electricity this year (Department of Business, Energy and Industrial Strategy, 2020). As such, the demand for research and manufacturing in offshore energy is vastly increasing. As shown (left), a large proportion of existing and planned sites for offshore wind farms are located on the east coast of the British Isles. Due to its geographical location Blyth is a vital support facility and thus at the very core of this national movement.

Hornsea Greater Gabbard

London Array Kentish Flats Thanet

Sources: 4C Offshore Database, 2019 (left); Department of Business, Energy and Industrial Strategy, 2020 (right) S. Swannell Stage 3 Portfolio

B LY T H : A C R I T I C A L BASE FOR SUPPORING S U S TA I N A B L E E N E R G Y I N THE UK

The Port of Blyth is a crucial research and support facility for the renewable energy sector. With Offshore Renewable Energy (ORE) hosting a key Catapult facility in Blyth, a new turbine testing base, the port is establishing itself as a powerhouse in delivering offshore energy for the UK. It now also has large development plans to attract other supporting businesses to the region including the Northumberland Energy Park to the north of the site. Fundamentally, with the site located at the heart of this industrial area (see right), it is very important that my brief responds to this growing movement.

Bates Terminal: Development Opportunity for Renewable Sector

Northumberland Energy Park Phases 1-3 (in planning)

“

Having cemented its role as a key economic driver for the region, the Por t of Blyt h ’s status as one of the UK’s leading offshore energy bases ensures that a number of exciting potential oppor tunities should provide fur ther growth over the coming years.

Battleship Wharf: Decomissioning of Oil and Gas Support Facility

Solar Capture Technologies

Port of Blyth, 2018

Decomissioned Bauxite Storage Silos

ORE Catapult Leading Offshore Training and Research Facilitiy

Onshore Wind Turbine National Renewable Energy Centre

Blyth

Ill. 2.8: Energy Central UK, 2020

SIT E Sources: Energy Central UK, 2020; Port of Blyth, 2018

S. Swannell Stage 3 Portfolio

B LY T H ’ S H I S T O R Y O F U N S U S TA I N A B L E I N D U S T R I E S

Blyth’s History of Unsustainable Industries

RISE OF OFFSHORE R E N E WA B L E E N E RG Y B A S E

Rise of Blyth’s “UK-Leading” Renewable Energy base (Port of Blyth, 2018)

S. Swannell Stage 3 Portfolio

C L I E N T : P O R T O F B LY T H

Pioneered by client, the Port of Blyth

B R I E F : L A N D M A R K S U S TA I N A B L E EVENT CENTRE

Brief: A landmark Event This project will be an event centre to house international Centre to house conferences to mark Blythinternational and the UK’s leading offshore renewable energy sector. It will not only elevate Blyth’s status on a professional level but also catalyse the Blyth’s public face of the conferences and catalyse town’s new industry. The building must reflect the sustainable underpinnings to which this brief is constructed and should new wave of sustainable industry explore ways to reduce its whole life carbon footprint. S. Swannell Stage 3 Portfolio

EM BO D

IE D

34.1%

Transportation to Site

E R A TI

(e.g. heating and cooling)

S RE

UC STR USTRIAL

N A L

(e.g. cooking)

C A R

Plug-in Loads

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12.6%

42%

UK carbon emissions attributed to the construction industry

Operational Energy Uses

E US

39.5%

The UK construction industry faces a climate emergency. Therefore in relation to my brief, when discussing notions of “sustainability” I believe it is vital to understand how this is manifested architecturally. The LETI Climate Emergency Design Guide defines the profession’s key challenge as the reduction in a building’s whole life carbon footprint, which is equal to the sum of its embodied carbon and operational carbon (LETI, 2020). As such, to reduce the embodied carbon of my building this project intends to adaptively reuse the decommissioned silos on site as part of the brief to design a sustainable event centre.

T- I N D

New Construction

REDUCE EMBODIED C A R B O N BY A DA P T I V E REUSE

ODIED CARB O

S PO

13.8%

EMB E UC D RE

Ill. 2.9

Ill. 3.0

Sources: UK GBC, 2020 (left); LETI, 2020 (image above right); ARUP, 2020 (image above left); Architects Declare, 2019; Architects’ Journal, 2019 S. Swannell Stage 3 Portfolio

H I S T O R I C A L LY S Y M B O L I C CHOICE OF SITE Adaptively reusing the decommissioned silos not only has a practical and ecological significance but also a symbolic one. These vast post-industrial structures stand resolute on the Cambois peninsula as relics to Blythâ&#x20AC;&#x2122;s industrial past. 54

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Ill. 3.1-4 (left to right): Blyth News Archive, n.d.; Todd, c. 1967; Blyth News Archive, 1930; Ibid., 1965; S. Swannell Stage 3 Portfolio

Main auditorium located centrally with circulation around the perimeter Vast, naturally lit, ground floor entrance lobby

P R O G R A M M AT I C PRECEDENT: IFEMA PA L AC I O M U N I C I PA L , MADRID BY RIC ARDO BOFILL (1992) As a key venue for the COP25 Summit in 2019, the IFEMA Palacio Municipal is an ideal precedent for understanding the programmatic requirements of a professional event centre. Built in 1992 and designed by Richard Bofill, the building exhibits a postmodern language, showcasing grand wall and floor finishes and columns topped with capitals. Whilst this precedent not only shows key design features (such as, well lit entrance lobbies and contractions in circulation routes) it also provides an insight into the fundamental runnings of a conference buiding. Notably, the central location of the auditorium in plan, the importance of a secondary multipurpose space and general spatial flexibility. This research was crucial in constructing a programme for my scheme.

Key Programmatic Features Main Auditorium: 2810 sqm; 1812 capacity

Key building for global sustainability conference, COP25 in 2019

Suitable for entertainment as well as conference requirements; key space

Ground Floor Entrance Lobby: 1013 sqm

Open lobby leads into contractions in circulation routes

Grand open space; captures natural light; reflective floor and wall finish and large enough for stalls to be set up

Ground Floor Cafeteria Lobby: 800 sqm

Cafeteria adjacent to main entrance lobby; essential feature

Multipurpose Space/Secondary Hall: 2445 sqm Secondary space for conferences/convention events

Top Floor dining space: (area unknown)

Main auditorium with fold-out desk spaces

Secondary Multipurpose Space located two floors above auditorium

Ill. 3.5-4.0: (left to right): Auditorium, ES Madrid, 2020; COP25 Logo, UNESCO, 2019; Main Entrance Lobby, Richard Bofill, 1992; Circulation Stairs, Ibid.; Ground Floor Plan, IFEMA, 2020; Third Floor Plan, Ibid.

S. Swannell Stage 3 Portfolio

Ex it b yB

Lift to Aud.

Cafe and Lounge

Car Park to Entrance

oa t/F er ry

Admin/ Reception

Waterfront Bar

WC Networking Space

Auditorium

North Dock

950m2 approximately 300 seats

Kitchen

A MASTERPLAN BASED O N A R T I C U L AT E D CONNECTIONS AND THRESHOLDS

WC Railway through industrial site

Silo Railway Station

By adaptively reusing post-industrial structures and constructing a new scheme within and around them, an immediate relationship between the past (silos), present (newbuild) and connection between them (threshold) emerges. This directly builds off the theoretical thinking established at the Primer stage of this project and is something that I seek to take forward to realisation. As such, in response to my earlier research into Aldo van Eyck, the programme is constructed out of the major/minor connections between spaces. The project proposes a masterplan and comprehensive response to the peninsula in an effort to emphasise the ritualistic journey across the site. Furthermore, two key features to the programme are the access via boat, railway or car and the loacation of the auditorium within one of the steel silos.

Foyer

Grand Silo Lobby 950m

Restaurant/ Multipupose Space 450m

Plant

Media Room Rooms

Food Store

ar dw alk

/Pa th

Overflow Networking Space

Storage

Tr en ch

Fire Assembly W.C.

Small Foyer

Plant Room

Preservation Garden

Lift to GL Admin/ Office

External Seminar Space

Legend Reused Silos Above Ground Level

Workshop 250m2

Fire Assembly

Ground Level Sea Level Articulated Threshold Space

ss by B

t/F er

South Dock

Programme consolidating Primer themes

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Non-Articulated Threshold Space Internal Spaces S. Swannell Stage 3 Portfolio

Textural and colour contrasts between, base, contours and silos

1:500 SITE MODEL D E V E LO P M E N T Prior to any preliminary design considerations it was crucial to gather a sense of proportion and scale on site. The challenge for this model was to construct the conical forms of the silo. To reflect its weathered materiality, the original intention was to make them from rusted steel by using a net to bend into place. However, due to the small scale of the model, it was to be an impractical endeavour, so I turned to constructing them from timber on the woodturning lathe. This was an opportunity to learn a new skill in the workshop and develop the basic carpentry techniques initiated during Primer. Even though the silos were not true to their materiality I tried to communicate the different features on site using texture and colour variety. I applied a medium oak dye to a reclaimed timber board and spray painted the contours in a bold white colour. This was not only intended to offer visual contrast but also continued the model language I established during Primer.

1. Laser-cut contours on MDF

2. Reclaimed board with dye finish

3. Reclaimed hardwood with guides marked

4. Smoothing plane used to remove edges

5. Timber fixed into wood-turning lathe

6. Timber worked into using various chisels

7. Sanded and finish applied using beeswax

8. Timber work removed from lathe

9. Silos cut, sanded and waxed

Tracing paper tests: Original idea involved cutting a steel net from plasma cutter before bending into shape

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1:500 SITE MODEL

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M A S S I N G T E S T S E X P LO R E DUAL-AXIS MASTERPLAN The massings were useful in realising how the programme could be manifested across the entire peninsula. The two main challenges were to respond to the existing silos and indeed the rounded nature of the peninsula. Through iterative massing sketches it emerged that a masterplan which exhibited a dual axes - which responded to the two features on site would be a suitable basis for design. The primary axis, as can be seen (right), is one which runs parallel with the silos and peninsula direction. The secondary axis runs directly perpendicular to the first and wraps the site topography. Upon reflection, I believe the sketches were a quick iterative means of exploring ideas, however, technically, it was not as successful. Three-dimensional massings at 1:500 (using foam, for example) would have been more beneficial in realising scale instead of just proportions alone. 64

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R E A D I N G : DAV I D N Y E A N D T H E “ T E C H N O LO G I C A L SUBLIME”

Mathematical Sublime

Humans’ feeling of superiority through the power of reason over the “encounter with extreme magnitude or vastness” (e.g. a mountain range (Nye, 1996)

IMMANUEL KANT

Ill. 4.1

(1724-1804)

Dynamic Sublime

IME

Sources: Nye, 1996; Ginsborg, 2019

L BL

TING T I B HE HA IN

The American Technological Sublime by David Nye (1994) was seminal in understanding the theoretical implications of responding to the silos on site. By way of referencing Kantian philosophy on the mathematical and dynamic sublime, Nye cites humankind’s conflicting relationship with industrial structures; simultaneously, in awe and in fear of man’s technological capabilities. By building within these post-industrial megastructures, humans are encouraged confront this relationship by physically inhabiting that which is not designed for human life.

O LO G I C N H A

Due to a removed sense of security, humans’ experience a sense of fearful awe at the sight of a “powerful natural force” (Nye, 1996) Ill. 4.2

“ (1946-)

(Nye, 1996)

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“

DAV I D E . N Y E

American Technological Sublime

The industrial sublime combined the abstraction of a man-made landscape with the dynamism of moving machinery and powerful forces. The factory district, typically viewed from a high place or from a moving train, thus evoked fear tinged with wonder. It threatened the individual with its sheer scale [...] and the superhuman power of the forces at work [...]. These landscapes forced onlookers to respect the power of the corporation and the intelligence of its engineers.

Ill. 4.3

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Adaptively reuse and upcycle steel panels from silos to be used in tertiary structure of newbuildings elsewhere on site.

Ill. 4.4

ST ED

P R I M A RY M AT E R I A L I T Y S T U DY : R U S T E D S T E E L A N D L A RC H T I M B E R

M TI

BER

Tectonic relationship

To continue the brief of reducing embodied carbon in my scheme, the primary materials will be rusted steel panels taken from the silos on site and locally sourced timber larch for newbuild parts of the masterplan. Whilst at this stage, the timber would comprise the primary structure and steel panels as cladding, there is an opportunity to explore the tectonic relationship between these two different materials; steel, a cold fabricated element, whereas timber a warm naturally occurring, carbonsequestered material.

Larch timber sourced in Newtonmore, Scotland, to support local supply chains and reduced carbon emissions via transport.

Ill. 4.5

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R E A L I S AT I O N A N D SYNTHESIS

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REFLECTION The Realisation and Synthesis stage was the culmination of a number of ideas established over the course of the last 12 months. I believe this is reflected in the variety and also scale of the scheme which I have proposed. To this end however, there was a risk that it often resulted in my project trying to achieve too many things. Especially as this phase was influenced by the lockdown measures imposed after the COVID-19 outbreak, I found it very easy to get â&#x20AC;&#x2DC;rabbit-holedâ&#x20AC;&#x2122; with a particular idea. Therefore, one of the key lessons I have learnt in in this stage is to focus my attention on a particular architectural intention and test it using a variety of means. However, I do reflect that the outbreak was a

turning point in the graduation project. Combined with the thinking established in Theory into Practice (ARC3015), my design and representation processes shifted from physical model-making to hand-drawing. It could be said that the ritual of craft which I began to develop during Primer and Staging moved towards the ritual of drawing (see Appendix). As such, in the latter parts of the project, I really focused on strengthening this skill into a way in which the drawings not only effectively communicated the architecture but also embodied the theoretical thinking that underpinned the entire scheme.

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F I E L D T R I P TO F I N L A N D : A N I N S I G H T I N TO T H E W O R K O F A LVA R A A LT O

On-site Sketches

The studio trip to Finland was a highly formative stage in the development of my graduation project. I became fascinated by the critical regionalist (Frampton, 1998) work of Alvar Aalto and specifically his noticeable relationship between rationality and irrationality in plan. In many of his buildings we visited he exhibited a uniform and repeated structural grid for the more administration or utilitarian spaces, which was contrasted directly with a larger space that manipulated this grid system. I believe this was most profoundly used in The Church of The Three Crosses in Imatra (1958).

C H U RC H O F T H E T H R E E C R O S S E S , I M AT R A , A L V A R A A LT O ( 1 9 5 8 )

Sources: Heporauta et al., 2008

Punkaharju Imatra Helsinki

Kotka

Ill. 4.6: (above left) Alvar Aalto Foundation, 2017; Ill. 4.7: (above) Ibid.

Irrationality

The church exhibits a relationship between rationality and irrationality in plan. Aalto contrasted a uniform structural grid system with an axial one that centred on a point.

Rationality

Rituals Studio Group, Finland, 2019

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L E A R N I N G F R O M A A LT O : OPPOSITIONS IN PLAN AND SECTION In applying the thinking of Aalto to my project, I sought to establish a relationship between rationality and irrationality in plan and section. In a similar way to Church of the Three Crosses, I sought to have the more utilitarian aspects of my programme to adhere to a structural grid, whereas the key space in my scheme - the auditorium - would be the irrationality. This contrast also offers potential to explore my Primer thematic of ‘opposites’. The oppositional nature of rationality-irrationality would manifest itself in the newbuild-reuse relationship (see below). These initial iterations also consolidate the idea of axis established during Staging.

OLD

NEW

S I LO

NEWBUILD

R AT I O N A L I T Y

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Rational Spaces

PRESENT

I R R AT I O N A L I T Y

PA S T

Irrational Space

Structural grid contrasted with key irregular space, similar in Aalto’s building

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FOCUS IN DESIGN: A R T I C U L AT E D THRESHOLDS Through Primer and Staging I established the importance of constructing the project out of articulated thresholds spcaes (see below) in communicating the notion of ‘opposites’. Therefore, during initial iterations I focused on the specific atmospheres and experiences of the connections between spaces. Using the image of Aldo van Eyck’s Municipal Orphanage as a basis, I created the following concept sketch (right) to communicate the idea of elevating the threshold; one that underpins my graduation project.

Key threshold idea: embedding circulation within cavity between an internal timber structure and steel silo

Programme of Articulated Thresholds

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Ill. 4.8: (Architectuur Centrum Amsterdam n.d..) S. Swannell Stage 3 Portfolio

Initial Proposal Programme

Initial Proposal: Section A-A 1:200

CRITICAL REFLECTION ON I N I T I A L P RO P O S A L

The initial proposal realised some of the key design features of my graduation project in a nascent form. Specifically, it focused on an attention to the connection between the site by altering atmospheric qualities through suppressing and expanding the spaces. This can be seen utilised in marker A and B on the plan. Another key feature, marked C on the section, is the idea of designing a new insulated timber structure 2m within the existing silo. This allows for circulation in the cavity between, which creates a cold and highly atmospheric journey up to the auditorium. However, in plan, the proportions and relationships between each building could be developed in more detail. Specifically, the ideas of rationality and irrationality are not apparent in this iteration. On a wider scale, I believe the masterplan could have a more coherent response to the three silos, instead of fully dismantling and disrupting Blythâ&#x20AC;&#x2122;s skyline. 78

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Existing Site Diagram

10m

Initial Masterplan Proposal

Masterplan involved removing smallest silo to supply cladding for most northerly addition. Note the adaption of existing railway line to be used as a station in the second silo.

Initial Proposal: 1:200 Plan

10m

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“

Instead of seeing history as a distant reference employed to legitimate new work, the project worked with a more instrumental idea of history: as material immediately available to the designer today. Drawing here serves to link remote history to the present.

“

Stan Allen, 2018

Title Page taken from Theory into Practice.

T H E O RY I N T O P R A C T I C E : EXPOSING OPPOSITES IN R E P R E S E N T AT I O N The premise of my ARC3015 Theory into Practice report was to establish how to translate the notions of opposites (from Primer stage) into representation. I initially drew on the work of Michele Marchetti who designed the San Rocco magazine front covers (see right). Although used to depict famous buildings in a unique diagrammatic language, the way in which they were constructed from black volumes leaving white negative spaces offered an intriguing position on opposites. This was supported by the work of Stan Allen, specfically his plan drawing for Campo Marzio (far right). By using the original Nolli Plan of Rome as the inverse to a new design, Allen manages to incorporate a commentary on the past into an orthographic drawing. I sought to adopt these stark black-on-white contrasts when drawing the silo structures and new buildings on my site. 80

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90-degree axonometric comprised of block black volumes and white negative spaces was useful inspiration in representing oppositions.

Two drawings inverted to each other to show historic and spatial contrast

Ill. 4.9: San Rocco front cover - ‘Islands’ (San Rocco, n.d.)

Ill. 5.0: Campo Marzio figures overlaid on Nolli Plan of Rome, Stan Allen, 1987 (Allen, 1987) S. Swannell Stage 3 Portfolio

T H E O RY I N T O P R A C T I C E : EXPOSING OPPOSITES IN R E P R E S E N T AT I O N I thus tested the idea of manifesting opposites in an orthographic drawing from a previous iteration. The fundamental intention was to translate the concept established at Primer into representation. Upon reflection, the challenge with this drawing style is that it could reduce my building to that of a diagram, which is not the intention. However, I believe the textured hatching of the silo is successful in not only differentiating it from the newbuild parts of the scheme but also in depicting the decayed material quality of the steel exterior.

PA S T

PRESENT

OLD

NEW

S I LO

NEWBUILD

Axonometric from early iteration to test represation style

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Alloy made from Iron Ore extraction

Cold Highly manufactured

Non-renewable Alloy made from Iron Ore extraction

T H I N K I N G T H RO U G H MAKING WEEK: 1:1 DOOR H A N D L E D E TA I L

Non-renewable

STEEL

Cold

1. Extrusions made in two MDF pieces

2. Kerf cuts only give minor bend when dry

3. MDF pieces placed in boiling water for 30mins

4. Bent around frame to get concentric shape

5. Clamped, glued and left to dry

6. Bent wood retains its shape once dried

7. Metal roller used to create concentric form

8. Handle inserted and hold together

9. Steel inserted, bolted, glued and clamped

Highly manufactured

Thinking Through Making Week was an opportunity to test the continued theme of opposites, tectonically. This model explores the threshold between the decaying steel of Blythâ&#x20AC;&#x2122;s decommissioned storage silos and new timber intervention. By maintaining the concentric motif of the silos, I mirrored the curvature of the steel in the timber which led me to experiment with bending wood, using a kerfcutting method. The handle of the door lies deep into the model, such that the user must reach and engage with its tectonic dialectic.

Material Opposites

STEEL

TIMBER

Renewable

Sequesters carbon

TIMBER Raw-Material

Warm Sequesters carbon

Renewable Raw-Material

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STEEL

TIMBER

STEEL

TIMBER

Warm

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T H I N K I N G T H RO U G H MAKING WEEK: 1:1 DOOR H A N D L E D E TA I L At this stage in the graduation project I cite the model as essential to realising my conceptual thinking, tectonically. It holds the two opposing materials in a curved tension, held by bolts and glued MDF. This thus offers great potential in exploring a structural detail for my scheme. I also find it successful in consolidating the models developed during the Primer stage of this project (see right) into a 1:1 detail. However, I do maintain the overall form could be improved, as it somewhat appears clunky and accidental. This observation perhaps derives from the accidental drill holes and slight underlap of the MDF piece. The model might have gained a more sculptural quality to it if these inconsistencies were avoided. Nonetheless, it was a useful test during a formative week.

Tectonic development of Primer model 86

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JETTY AND WORKSHOP SEA VIEW BAR

The following drawing depicts the masterplan for the Centre for Environmental Stability. It shows an entire response to the peninsula with a particular focus on the articulated journey across the site. The use of an axonometric allows for the activities of the site to be visualised in its entirety whilst also being true to scale and proportion. As Stan Allen writes, it is "not meant to be deciphered and unpacked; instead [it is] immediately available to the viewer [...] with the intention of telling a story" (Allen, 2019). Key features of the masterplan to notice include the pominence of the dual axis: one which runs in line with the silos, and the second; perpendicular to the peninsula, an idea which originated in a nascent form during Staging. See Appendix for this process of this drawing.

DINING HALL

1:500 MASTEPRLAN A XO N O M E T R I C

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1 : 2 0 0 P RO P O S A L MASTERPLAN The masterplan primarily shows the relationship between spaces across the peninsula and the articulated thresholds that connect them. For the purposes of visual clarity, the level change in the peninsula has been incorporated into this plan. Key features include the prominence of the dual axis in plan, and indeed the proportional relationship between buildings (see below). The dining hall building is a direct response to the silos that exist on the same axis. It does not replicate them but responds to their concentric form. This not only roots this building firmly in its context but the concentric facade in the dining hall also maximises southern light into the space. Secondly, the workshop and sea view bar exist on the same axis and are in proportion with each other such that there is a consistency with the coastal buildings.

Buildings proportionally relative to each other

Dual axis in Masterplan

S. Swannell Stage 3 Portfolio

1:200 Masterplan

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1. Access to site via electric railway line 2. Train enters 'retained' silo (see silo section) 3. Partially deconstructed silo 4. Railway Station situated in silo 5. Path leads through extrusions in silo skin

6. Jetty for private boats or ferry 7. Workshop dock for loading materials 8. External workshop fire escape

R E A L I S AT I O N O F P RO G R A M M E

9. Workshop

10. Workshop main entrance 11. Reclaimed materials loading bay 12. 20m trenched staircase to silo entrance 13. Building main entrance

14. Car park for staff and visitors (if necessary) 20

15. Staff and secondary visitor entrance

16. 3m high double doors; entrance to lobby

17. Grand Lobby

3 16

19. Tapered and descending route to dining hall 20. Lift to auditorium and secondary staircase

17 11

18. Water feature lit by top light in ceiling

19 22

21. Dining Hall foyer

23 24 21

22. WC for dining hall

23. Plant Room dining hall building

24. Kitchen 25. Fridge/Food Store

First Floor Auditorium Plan

26. Table/chairs storage

27. Dining Hall/Multipurpose space

9 10 29 28

28. External Seminar spaces cast views to turbine 29. Path leads to onshore wind turbine 30. Top lit corridor to Sea View Bar 31. Drop off/Pick up taxi area 32. Public entrance to bar with balcony 33. Top floor bar foyer

Programme illustrated during Staging

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34. Sea View Bar/Restaurant 35. Jetty for private boat/ferry arrival/departure S. Swannell Stage 3 Portfolio

Activate and electrify disused rail connection to Cambois peninsula

F RO M T H E P E N I N S U L A , F O R T H E T O W N O F B LY T H Reinstate ferry connection between Blyth and the peninsula

The scheme focuses on reactivating disused access routes between Blyth and the peninsula. Namely, the railway line to the silos which remains unused will be electrified and used as a primary route to the building. This will offer development opportunities for the hospitality sector in the centre of Blyth. Likewise it will reactivate the old ferry terminal (image below) which allows access from Blythâ&#x20AC;&#x2122;s quayside to the peninsula. As such, the influence of the building extends beyond the peninsula itself, and allows for easy access for professionals and the public alike.

Bly th

Development opportunity in Newsham for the hospitality sector Ill. 5.1: High Ferry (Blyth News Photo Archive, n.d.)

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1:200 SECTION (AXIS A) This section depicts the journey through the main axis of the masterplan. The scheme has significantly focused on the ritualistic journey across the site, and the varying spatial qualities. As can be shown here, each silo has been responded to differently to evoke a different spatial and in turn atmospheric condition. There are subtle changes in the floor height at various points to elicit the feeling that one is being immersed into this post-industrial landscape and elevated as they enter the main silo space. Another, key design feature is the dining hall building to the right of the section. As it responds to the silos in plan, it also responds to them in section. This creates a continuity of language in section such that the buildings on this axis can be read as unique parts to a consistent whole.

Dining Hall foyer responds to the form of the silos

Section line through 1:200 Masterplan

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V A R Y I N G AT M O S P H E R I C A P P R O A C H T H R O U G H S I L O S

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ASCE

ST VIEW

DESCE

OF LINE R A I S E D RO

DESCEND

K IN

U RB

INE

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L I G H T E N T E R S D I N I N G H A L L F OY E R

C U P O L A C A S T S L I G H T S I N TO S PAC E S

D E C O N S T RU C T E D S I LO

S I L O L E F T I N TA C T W I T H R O O F L I G H T

T H R E E R E S P O N S E S TO A DA P T I V E R E U S E The following worm eye axonometric exhibits three different approaches to the silos on site through adatpive reuse. By retaining the formal integrity of the existing structure, the first silo creates a highly atmospheric entrance to the masterplan. It is a hollow space, top lit by a roof light and allows for a great echo as the train enters it. The reasons behind deconstructing the second silo are twofold. Primarily, it frames a view towards the north sea as guests depart from the train, to remind them of the isolated nature of the site. Secondly, the deconstructed steel panels from this silo form the tertiary structure for buildings elsewhere on site (see workshop section). The final silo is fully inhabited with a timber structure that sits 2m inside the existing silo. The wormeye axonometric exposes the internal network of glue laminated beams and columns and gives an impression of what one would see if they 'looked up'. Whilst the silos here are portrayed as objects removed from their context the wormeye axonometric is successful in describing "the spatial experience of a three-dimensional enclosure" (Allen, 2019a).

Retain

Deconstruct

Inhabit

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20m

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THE RITUAL OF JOURNEY: T H RO U G H T H E F I R S T S I LO

THE RITUAL OF JOURNEY: T H E R A I L W AY S T AT I O N

For visitors attending by electric train the first space they encounter is the top-lit hollow silo. Whilst they only experience the space through a window, the lack of light will be noticed and the booming sound of the train entering it will resonate throughout the train carriages.

Visitors exit the train at a plaftorm that stands alone in the deconstructed silo. Views are cast over the sea to the north and an extruded doorway lies at the end of ramp towards the south. The small extrusion contrasts greatly with the scale of the silo to heighten the feeling of being dwarfed by vast post-industrial structures.

RUSTED STEEL INTERIOR E X I S T I N G C O N C R E T E F LO O R The extrusion in the silo fabric was a tool utilised in my precedent case study, St Lawrence Chapel (Finland). It effectively led people towards the entrance with what lay on the other side, completely concealed. 102 S. Swannell Stage 3 Portfolio

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THE RITUAL OF JOURNEY: E N T R A N C E TO M A I N S I LO

All visitors to the centre enter the silo at a tangent (as can be seen in plan). This key threshold suppresses the expansive open space into a small extrusion in the silo skin. The relatively small doorway heightens the contrast in scale between human and megastructure. Following on from the design intentions outlined in Primer and Staging this articulated threshold is a key moment in the experience of the scheme.

SU PPR ESS

E X

As the threshold between an expansive and suppressive space, this entrance directly confronts the Primer themes of oppositions by a key articulated connection. 104 S. Swannell Stage 3 Portfolio

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THE RITUAL OF JOURNEY: G RO U N D F LO O R LO B BY

THE RITUAL OF JOURNEY: RO U T E TO D I N I N G H A L L

Guests enter the grand double-height lobby space through a vast pair of double doors. The scale of this ground floor space is exaggerated by the contrast between the suppressive threshold entrance. One would be immediately drawn to the shaft of light on the internal pond in the centre of the room, surrounding by large timber columns.

After a talk or event guests would descend through the 15m hallway towards the dining hall. By descending slightly, one feels like they are being immersed into the peninsula landscape.

106 S. Swannell Stage 3 Portfolio

GL UL AM TIM BER COL UMNS

LOC AL LIMESTONE FLOOR

Key networking and gathering professionals and guests.

space for

In a similar way to the lobby space, the foyer that precedes the dining hall is also top lit. This provides a spatial and visual connection between the two spaces. S. Swannell Stage 3 Portfolio 107

1:200 SECTION (AXIS B)

This section through Axis B primarily shows the topography of the peninsula and the relationship between the workshop and sea view bar. Thererfore the ritualistic journey along this axis has an intrinsic connection to the landscape. From docking at the jetty a visitor would ascend into the lobby space (and auditorium) before descending into the sea view bar, which lies carved into the steep shoreline. In the same way that the buildings on Axis A related to each other in section, I have focused on retaining a core relationship between the workshop and sea view buildings (see below). Therefore, it would appear this section communicates the rationalirrational relationship between the coastal buildings and the silo - a theme derived from the studio field trip to Finland.

I R R AT I O N A L I T Y

R AT I O N A L I T Y

Rationality-Irrationality and proportions in section

Section B-B Section Line

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THE RITUAL OF JOURNEY: V I E W F R O M F E R RY

THE RITUAL OF JOURNEY: T R E N C H E D RO U T E TO S I LO

Visitors approaching the centre by ferry (or private boat) dock at the jetty adjacent to the workshop. They are presented with a vista of concentric megastructures in the background and smaller rectilinear forms in the fore; both bearing the same rusted steel cladding. It is a visitor's first impression of the site.

After docking, visitors make their way through a long processional path up to the silo. On their right, they catch glimpses of activities in the workshop by windows which line the journey. On their left a retaining wall clad in larch timber increases in height with the sloping landscape, giving rise to the feeling of being embedded into the topography.

L EE ST D ME AI NG I E CL RE DD UR A XT CL TE R

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Trenched staircase leads to main entrace of silo. It continues the theme of timber-clad retainining walls and articulated connections through the site.

LA WA R C H R LL C L E TA I AD NIN DI NG G

Ill. 5.1: Reactivating old ferry connection between peninsula and Blyth quayside (Blyth News Photo Archive, n.d.)

GRAVEL LINES ROUTE

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THE SEA VIEW BAR: A N E W D E S T I N AT I O N F O R B LY T H

Lateral Section of Sea View Bar

Due to nature of its postion the bar uses a recycled concrete core around the lift shaft and toilets to support the roof structure and allow for glazed facade.

As the final space on a visitor's journey across the scheme, the sea view bar projects vast views towards the offshore wind turbines a few miles out to sea. Whilst it is a core part to the ritualistic procession of the centre it is open to the public throughout the week providing a unique experience of Blyth's coastline. Tucked into the landscape its isolated setting makes for grand vistas across the ocean and can also be accessed by Blyth's reactivated ferry.

1. Fire exit stairs to Sea View Bar 2. Lift to Sea View Bar 3. Open foyer space 4. Bar 5. Concealed staff entrance and storage

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A. Public coastal path towards Sea View Bar

6. Kitchen

B. Balcony outside entrance

7. WC

C. Concentric sliding door entrance

8. Internal garden and water feature

D. Sea View Bar Foyer

9. Seated Area

E. Top lit corridor connecting dining hall to bar

10. Jetty for departure/arrival to Sea View Bar

F. Pick up/Drop off Area

11. Fire exit to ground level S. Swannell Stage 3 Portfolio 113

V I E W F RO M T H E N O RT H S E A

The Centre for Environmental Stability is a masterplan situated in an isolated a often wild context. As such, I have attempted to respond to its immediate and wider surroundings. This perspective night sketch illustrates how the centre exerts itself as a landmark on the Blyth coastline. While an event takes place in the auditorium, it casts a beam of light through the cupola and into the night sky. Likewise the artificial lighting emitted from the Sea View Bar, reflects off the water.

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S. Swannell Stage 3 Portfolio 115

THE WORKSHOP

1. Main entrance to Workshop for staff/visitors 2. Large loading bay

The workshop is not only the first building one encounters when entering from the jetty but it is also essential to the runnings of the scheme. It not only reclaims materials and maintains the upkeep of the centre but is also a space of continuous research. The building adopts a canopy-like post and beam glue laminated structure, to maximise the internal space and is toplit by roof lights. A critical part of this building is its interface with visitors as they proceed around it upon arrival. This creates a visual connection between the ritual and the craft, as it were, and reminds the visitor of its integral importance.

3. Internal dock for loading materials off boats 4. Main workshop space 5. Welding space

Reclaimed Steel Cladding

6. Area for Horz Saws (machinery used for metal) 7. Area for Mill Drills 8. Worktop tables

Post and Beam Timber Structur

9. Windows for visitors to look at activities 10. Materials Storage 11. Plant Room 12. Lift to Ground Level to distribute materials 13. WC

Summer: 58.37 degrees Winter: 11.37 degrees

14. Office/Research Space 15. Stairs to cafeteria 16. External fire escape stairs to ground level 17. Lift to ground level

Enclosed Envelope derived from Silo forms

THE CENTRE FOR ENVIRONMENTAL STABILITY

sea view bar

18. Materials loading bay 19. External seating/fire refuge point Roof lights allow natural light to enter into the workshop's deep plan

Workshop Section - 1:200 Centre for Environmental Stability 0

20m

Open â&#x20AC;&#x2DC;Canopyâ&#x20AC;&#x2122; Envelope derived from truncated coal staithes Workshop exhibits a simple post and beam glue laminated timber structure to maximise internal space. The columns can be seen in plan (left). It is clad, like the rest of the masterplan in reclaimed steel panels. 116 S. Swannell Stage 3 Portfolio

S. Swannell Stage 3 Portfolio 117

A SE

H RC

FA C I L I T

PTIVE REU SE

L 5 . I N S TA L

A AD

the steel panels are transported to the workshop the first building on site

IN DD

CTION

U TR

ION

3. TIMB

1 . Initially the second silo is deconstructed and

T UC

1. D EC O

A D A P T I V E R E U S E AT T H E H E A RT O F C O N S T R U C T I O N SEQUENCING

2 . The workshop reclaims the steel panels, checks

weather proofing and structural capability.

3 . Meanwhile, sustainable sourced timber (larch from Newtonmore, Scotland) is installed to make up the primary and secondary structure for the main areas of the scheme.

7 . The workshop's primary function once the

C AN

CENTRE M AI N

SITE

RIBA Stage 7 - In Use

N S P O RT

upkeep of the masterplan, taking regular checks on the integrity of the buildings and replacing panels if necessary.

E N A

RA T 4.

6 . Once completed the workshop maintains the

RECLAIM S TE EL

strucutre of the centre's new buildings. Cladding is fixed as per a bolted panelised connection (see overleaf ).

5 . Reclaimed steel panels make up the tertiary

RIBA Stage 5 - Construction

4 . Reclaimed steel panels are transported to buildings around the masterplan. The transportation vehicles are electrically powered to maintain low embodied carbon.

building is completed is to serve as a research facility into adaptive reuse. One which draws on the Port of Blyth's sustainable agenda and which will provide the centre a legacy for adaptive reuse in the region.

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S. Swannell Stage 3 Portfolio 119

Chamber profile to supplier's specification Argon-filled triple glazed roof light

100mm reclaimed steel cladding

WORKSHOP PERSPECTIVE SECTION Timber frame to support glazing

This perspective section shows a view through the main axis of the workshop towards Blyth. Key features to notice includes the double height space to allow for natural ventilation and the movement of large materials or machinery. With regards to the latter, this allows for flexibiltiy in plan such that as research evolves over time the specific work that is carried out may change. It is important to maintain this flexibility when out conception of 'adaptive reuse' may differ.

250mm wool fibre insulation (lateral counterbeams not shown)

100mm Plasterboard finish on upstand

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Timber beams form ceiling finish

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Iron Ore extraction

Cold Highly manufactured

Non-renewable

RECLAIMED STEEL C L A D D I N G D E TA I L STEEL This panelised steel construction detail is a critical connection in the scheme. It is not only used widely across the masterplan as the wall and roof cladding but also simultaneously explores the key theories of 'oppositions' in its composition (below). Through a shiplap connection the reclaimed steel panels are bolted to timber battens which are in turn, connected to the primary structure of a building. Therefore, the exterior exposes the weathered, reclaimed steel panels where as the interior presents a warm timber finish, offering a tectonic contrast between inside and outside spaces. TIMBER

Sequesters carbon

Renewable Raw-Material

Warm

Reclaimed steel used as cladding throughout Centre for Environmental Stability STEEL

'Warm interior' - Internal larch timber cladding

Timber counter-battens fixed to internal cladding

TIMBER Timber battens fixed to external cladding Reclaimed steel panels bolted by shiplap connection joint

250mm mineral wool fibre insulation

Panelised steel cladding join derives from tectonic 'oppositional' model made during Thinking Through Making Week 122 S. Swannell Stage 3 Portfolio

Cladding Wall Detail

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A LO N G T E R M E N V I R O N M E N TA L F O C U S Whilst the centre takes a refined approach to reducing its embodied carbon through adaptive reuse it also considers the long term environmental impact of its development. Since the whole life carbon footprint of a building is equal to the sum of its operational and embodied carbon footprint (LETI, 2020), this building must also pay close attention to its operational requirements. Upon reflection, I believe this area could be developed in more detail. Nonetheless the infographic (right) depicts how the building takes critical steps towards reducing its whole life carbon cycle.

1. Reuse of Existing

Structures and Materials on site.

7. Designed for Deconstruction

Bolted Connections in the Glulam and Steel Structure (for example) allow for the building to be deconstructed and materials reused at its end of life.

Existing Steel Silo

WHOLE LIFE C A R B O N C YC L E Centre for Environmental Stability

Previous industrial sites in Blyth

Deconstructed

Steel Reused

2. Sustainable Raw Materials

EMBOD IED Embodied Carbon CARBON

L I F E Duration C YC L E Life Cycle D U R AT I O N

Embodied Carbon

6. 100% Off Grid

(E.g.) Sustainable Sourced Glue Laminated Columns.

40 Solar PV Panels on south-facing roofs of other parts of the masterplan provide sufficient energy to take the building off-grid.

3. Transport to Site via Electric Transport

Life Cycle Duration

5. Low Embodied Carbon

4. Low Waste

Life Cycle Duration EMBODIED

L I F E C YC L E

Electrification of existing railway to reduce the embodied carbon of transporting materials to site

Operational Energy

Centre for Environmental Stability

Embodied Carbon CARBON

Timber sequesters carbon thus acts as a carbon sink, reducing the buildingâ&#x20AC;&#x2122;s overall embodied carbon

Construction

Use of passive techniques (including cross ventilation, triple-glazed windows and solar shading) to reduce operational energy demand

This only lowers embodied carbon if the electricity comes from renewable source

By partial use of prefabricated CLT panels and off-site production of steel joins, there is less chance for waste on site.

Life Cycle Duration D U R AT ION

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CENTRE OF THE MASTERPLAN: THE I N H A B I T E D S I LO Double skin facade to create atmospheric cavity in-between steel silo and internal timber structure

The auditorium and lobby in the inhabited silo are the pinnacle of the masterplan. With reference to the work of Alvar Aalto it is the point of irrationality, or the key space to which creates the greatest sense of awe. As such it was vital that it housed unique atmospheric experiences but it also resonated the theoretical underpinnings of the scheme. Upon reflection, this space has been the one which I have focused most greatly on, technically and spatially.. The critical design feature is that it utilises a double skin facade to create a 2m cavity between the silo and internal timber structure. Crucially, I use this cold, uninsulated cavity space for circulation up to the auditorium (overleaf ).

1. Suppressive space in cavity beefore entering lobby

2. 3m-tall double doors to internal structure

3. Lobby/Auditorium WC

Inhabited Silo Section 1:200

4. Cavity for Services

5. Lift to Auditorium

10m

6. Floor-to-ceiling window with views over sea 7. Secondary/Fire escape staircase 8. Main staircase up to auditorium

9. Staircase enters cavity (see next pages)

10. Rotating south-facing windows

11. High tables for networking/socialising

20. First floor level entrance to auditorium

12. Quiet seating area 13. Cafe

4 disabled spaces)

24. Disabled spaces in front row

17. Glulam timber columns

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23. 'Roundhouse' seating arrangement (capacity 300 +

16. Reception/Adminitstrative Office 18. Internal water feature with seating

22. Second floor concentric walkway

15. Cloakroom

25 23

21. Staircase in cavity up to second floor level

14. Cavity for silo maintenance

19. Staircase in cavity up to auditorium

10m

Ground Floor Lobby Plan 1:200

25. Raised Stage with frosted glass centre to cast light to ground floor

22 21

First Floor Auditorium Plan 1:200 S. Swannell Stage 3 Portfolio 127

OPPOSITIONS IN T H E I N H A B I T E D S I LO STRUCTURE: D E V E LO P M E N T

Structural Precedent: Karsamaki Chuch Finland

Flitch plate adopted into all primary structural elements and tested through a maquette below

MAQUETTE TEST: TIMBERS T E E L F L I T C H P L AT E CONNECTION Taking inspiration from Karsamaki Church in Finland, I experimented with assimilating the scheme's theoretical explorations into the primary structure of the internal silo. The church's primary structure converges to a point and I originally sought to use a similar joint in the auditorium to expose the oppositional connection between steel and timber (above).

Ill. 5.2 (top): Tiainen, 2009. Ill. 5.3 (above): Lassila, 2004

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However, I believed it would be more effective if the timber-steel connection manifested itself throughout the entire primary structure instead of a single point. As such, I used this maquette to test a timber-steel flitch plate join which could be used in the primary structural elements.

As a maquette, the model was successful in realising the expressed relationship between the two opposing materials. A single bolt is of course, not structurally suffice but it shows how the column is composed tectonically. As such, I believe the model reflected both the theoretical intentions of the join. S. Swannell Stage 3 Portfolio 129

Cupola

Auditorium

Glue laminated columns support steel ring beam which connect to glue laminated rafters. Secondary steel ring beam fixed to rafters and support cupola

Glue laminated beams across rafters provide lateral structural support

OPPOSITIONS IN THE P R I M A RY S T R U C T U R E : A XO N O M E T R I C This axonometric exhibits the composition of primary structural components in the building. It effectively uses a hybrid structure to distribute load and enhance atmospheric charateristics of the space and draw on the theoretical themes of my project. The structure not only provides essential loadbearing support but is seamlessly integrated into the design of the spaces. The underside of the radial first floor strucutre is exposed on ground floor, providing a dynamic tectonic quality to the space. Similarly, the arrangement of columns on the ground floor draws people into the central area, which contains a small internal pool cast by natural light above.

Network of glue laminated timber beams are fixed to steel ring beams Radial First Floor/Ceiling Structure Lateral structural support provided by steel ring beams and radial glue laminated beams

Ground Floor

Primary structure exposed

Glue laminated timber columns support steel ring beams in floor structure

Structural Axonometric 1:500 0

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10m

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450mm

Glulam Timber Beam

OPPOSITIONS IN THE P R I M A RY S T R U C T U R E : D E TA I L A X O N O M E T R I C Fundamentally, this detail is reflective of the broader intention in this scheme of exhibitting the theory of oppositions at every scale in design. Established from Primer, consolidated during Thinking Through Making, this detail is the physical manifestation of 'exposing opposites'. In conjunction with the network of glulam beams and columns a visitor is immersed into the structural composition of the inhabited silo. As such, it was designed with the intention of being exposed and acknowledged such that the visitor acknowledges the timber-steel oppositions.

190mm

Concrete Filled Steel Tube (CFST) Ring Beam

450mm

Glulam Timber Beam 400mm (diameter) 190mm

Concrete Filled Steel Tube (CFST) Ring Beam

Partially Exposed Reclaimed Steel Flitch Plate with Curved Fin Plate Topping

450mm

Glulam Timber Beam

190mm

Glulam Timber Column

Concrete Filled Steel Tube (CFST) Ring Beam

450mm 10 x 45mm laminated sheets

400mm

Glulam Timber Column

Partially Exposed Reclaimed Steel Flitch Plate with Curved Fin Plate Topping

Importance of the connection between opposites at Primer

450mm 10 x 45mm laminated sheets

400mm (diameter) Partially Exposed Reclaimed Steel Flitch Plate with Curved Fin Plate Topping

190mm

Bolted Connection to CFST

400mm (diameter)

190mm

Bolted Connection to CFST

450mm 10 x 45mm laminated sheets

400mm 400mm Partially Exposed Reclaimed Steel Flitch Plate

Glulam Timber Reclaimed Steel Column Base Plate

Bolted Connection to CFST

Pre-Cast Concrete Foundation

Partially Exposed Reclaimed Steel Flitch Plate

400mm

Reclaimed Steel Base Plate

Tectonic connection between opposites during Thinking Through Making

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Pre-Cast Concrete Foundation

Partially Exposed Reclaimed Steel Flitch Plate

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1:20 TECHNICAL SECTION The 1:20 technical section embodied the key technical and spatial features of my scheme. Notably, the cavity space in between the double skin facade not only provides a cold atmospheric quality to it, but also has beneficial technical characteristics to the functioning of the building (below). I believe this section is successful in communicating the complexity of the inhabited silo, however the rendered representation style appears somewhat diagrammatic and could be improved. (See appendix for key and development.)

60 59 58 57 56 55 54

mm Su S er un

: 58

D .37 s ee egr

Winte r Sun:

11.37 De

grees

48 38 39

External solar shading through horizontal louvers, which can be closed during presentations

47 46

42 43

e mm Su rS un : 58 D .37

s ee egr 2m Cavity Internal Solar Shading

29 28 27 19

26 25 24

Winte r Sun:

23 22 21 20

17 11.37 De

grees

15 7

Heat emitted from Steel Radiation Warms Steel siloSolar skin allin thetoCavity heat air in the Warms Air Steel Silo Skinacts as a trombe cavity, and provide â&#x20AC;&#x2DC;thermal blanketâ&#x20AC;&#x2122; around the timber structure.

14 13

6 5 4

3 2

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S. Swannell Stage 3 Portfolio 135 5m

THE CUPOLA

STEEL S I LO

Cupola

TIMBER STRUCTURE

FORM

Connection

The cupola is the core of the inhabited silo: the reasons for this are twofold. The first is that it is critical in driving the atmospheric qualities of the auditorium and indeed the ground floor lobby. It not only channels a beam of light through the centre of the internal timber structure but in the evening, has the potential to casts a beam of light into the night sky. Secondly, it is the main point of connection between the new timber structure and old steel silo, exhibiting underlying theory pursued throughout this graduation project. As such, the combination of the two is the point in which theory is incorporated in deriving atmospheric conditions.

COUNTER FORM Auditorium - Perspective Section 1:20 0

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S I LO C AV I T Y : THE KEY THRESHOLD

I would argue the circulation cavity between the ground floor and auditorium is the pinnacle of this graduation project. It most profoundly exemplifies the centre's theoretical groundings as well as most effectively providing the experience of inhabiting the technological sublime. With the raw steel silo to the left and warm timber cladding on the right hand side, this cold space is intended to remind one of the unnatural activity of walking inside a postindustrial megastructure. The timber is softly lit by light that enters through the window on the second floor (see technical section), creating a subtle light gradient and allowing the visitor to see their path. I cite this drawing as rooted in the Theory into Practice module, which initiated the handdrawn language that can be found throughout Realisation and Synthesis. For the purposes of this drawing I have intentionally left the stairs untextured to emphasise the contrast between timber and steel, yet this is also reminiscent of its formal quality, which is larch timber coated in a neutral white finish.

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CHARRETTE 140 S. Swannell Stage 3 Portfolio

EXPOSING "HIGH STREET" WA S T E Charrette week explored the idea of exposing the unseen waste of Newcastle's High Street. It is a highly current topic as material waste is incredibly resource inefficient and is a major contributor to greenhouse gas emissions. So to bring this to light, our team assembled the 'waste' to take the form of a human figure. We then dressed one of the members in it and proceeded down Northumberland Street in Newcastle's City Centre. Despite people not knowing what it was, it was interesting to film their reaction to this unusual happening. Fundamentally it exposed, what is not usually seen in the public eye. For the exhibition, we presented this waste costume and overlaid the footage on repeat to expose people's responses to the intervention.

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Charrette Exhibition

Creating the costume from high street waste

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Proceeding down the high street

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FIELD TRIP C A S E S T U DY 144 S. Swannell Stage 3 Portfolio

St. Lawrence Chapel Vantaa, Finland - Avanto Architects 2010

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Contents

Introduction

St. Lawrence Chapel, Vantaa, Finland

3 B. Hui 4

S. Swannell 11

Design Concept

B. Hui 15

Spatial Sequence

R. Caplan 19

Programme

C. Ashford 23

Threshold

R. Caplan 27

Materiality

S. Swannell 34 M. Gutierrez 38

Saint Lawrence Chapel is located in the Vantaa region of Finland and was designed by Avanto Architects in 2010. To primarily house funeral services in partnership with the adjacent Saint Lawrence Church (built in the 15th century), the building focused on providing a reflective and meditative journey as well as a functional event space. As such, the architects centred the building around the notion of path, or ‘polku’ in Finnish, which is reflected in the tectonics and spatial composition of the chapel. It therefore focuses critically on the ideas of threshold, materiality and spatial sequence to elicit specific experiences on the journey through the building. However, its structural strategy does not come at the detriment to the design concept but is in fact, informed by it. And thus, the chapel stands as a result of a successful holistic approach to design with the application of the architects’ concept at every scale.

Avanto Architects Site

M. Gutierrez 31

Introduction

C. Ashford 7

Structural Environmental Typology

2 146 S. Swannell Stage 3 Portfolio

St. Lawrence Chapel, Vantaa, Finland

3 S. Swannell Stage 3 Portfolio 147

Architects & Designers

Architects & Designers - St. Lawrence Chapel, Vantaa, Finland

St. Lawrence Chapel, Vantaa, Finland

Avanto Architects Timeline

Avanto Architects is an award-winning Architectural firm based in Helsinki. It was founded in 2004 when Anu Puustinen and Ville Hara from Aalto University began collaborating together to win an architectural competition. The emerging architects are praised for their various designs that are culturally significant in Finland.

Lookout Lookout Tower Tower Korkeasaari Korkeasaari

Kekkila Green Shed -

Four cornered Villa Virrat

Löyly Hernesaari

2 Area Area -- 82m 82m2

Area - up to 10m2

Area - 102m2

Area - 1071m2

2002

Anu Puustinen

2010

2016

2010

2009

2014

Avanto is a Finnish word that means “hole in the ice”. In Finnish tradition, an Avanto is typically used for swimming in a frozen lake during wintertime, and for some to even cool off after taking a sauna. Avanto started off with only a team of two. Most of their early projects are often in collaboration with other architects. The progress of success of the firm could be seen through the scale of the buildings designed over the years, with their earlier work stemming from smaller competitions. The office works on projects at varying scales for public communities, private companies and private customers, sometimes Internationally to promote Finnish culture.

Kyly Sauna Billnäs

St Lawrence Chapel Vantaa

Villa Lumi Vihti

Area - 30m2

Area - 1880m2

Area - 370m2

Timeline Photos by: Top Left to Right: Jussi Tianinen, Arsi Ikäheimonen, kuvio, kuvio Bottom Left to Right: Kai Kuusisto, Brian Hui, kuvio

Ville Hara

Photos by Avanto Architects Ltd.

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Site

Architects & Designers - St. Lawrence Chapel, Vantaa, Finland

St. Lawrence Chapel,Vantaa, Finland

Avanto & Aalto Both Anu and Ville met in Aalto University, and it is not a surprise that a lot of their designs are directly inspired by Alvar Aalto. Aalto’s architectural style are often seen as functional and organic; this influence can be seen in Avanto’s designs through materiality, form and design consideration. The traditional Finnish style celebrates the connection between the human scale and nature, and the usage of timber is prominent through various spaces. The level of attention to detail that Aalto was known for could also be found in the designs of Avanto.

Attention to Detail This is reminiscent of Aalto’s consideration to natural lighting. For St Lawrence Chapel, Avanto has integrated various skylights within the design. The day light can dramatically change the atmosphere of an otherwise dimly lit building. It accentuates the somber tone.

Site distance from Helsinki

Site map

St. Lawrence Chapel is located in the Vantaa region of Finland, approximately 15km from the centre of Helsinki. The site is contained within a well-maintained landscaped area of light forest. The surrounding neighbourhood and church, also of the name St Lawrence, is part of the Helsingin pitäjän kirkonkylä district which is one of the best preserved historical parishes in all of Finland. Human Scale & Sauna The sauna is an integral part of the Finnish culture. A lot of Avanto’s earlier projects are at a smaller scale, such as designing for saunas. The sauna has a level of intimacy that often involves designs that consider the human scale. Photos by: Top: Tuomas Uusheimo Left: Marc Goodwin Right: Antii Hahl

Nature Finland is most of the most densely forested countries in Europe. A lot of the Finnish population live side by side with nature which would influence their extensive use of timber.

The chapel acts as a northern boundary between the graveyard and the surrounding out buildings (the majority used for site maintenance) with their own boundaries and territories untouched, yet keeping them hidden behind its back.The chapel has been divided into a staggered scale of small parts to adapt with the scale of its surroundings.It works effortlessly to tie together different aspects of the area without emphasising itself. When designing the Chapel, Aavanto architects were inspired by the restoration work completed on the old church by renowned Finnish architect Theodor Höijer. Here, the appearance of the church was altered by increasing the size of the windows and designing towards a more gothic revival style. The major point of correlation between the buildings was catalysed by Höijer’s change of roof. The traditional roof of the church (shake wood shingle) was replaced with a copper roof, translated to become a primary material in the Chapel. 6PB

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Site - St. Lawrence Chapel, Vantaa, Finland

The chapel can be approached in any direction through the network of paths carved out of the slightly undulating landscape. The main approaches would be a short walk from the nearby church, reaching the west entrances, or from the chapelâ&#x20AC;&#x2122;s carpark. The car park is tucked around the north-west side of the building. A large solid masonry wall delicately white-washed creates a threshold from car park to chapel entrance. A small doorway carved out of the wall presents itself as the beginning of a journey the procession would partake. From a wider context, the site of the chapel and church together presents themselves as protected localised infrastructure. There is no major public transport routes that take you to the church therefore the predominant way to get there, unless walking, is by car. The nature of the chapel acts as a hidden gem within the site, treasured by locals. The discretion of the site undermines its significance and architectural brilliance.

Pedestrian Vehicle

Access to Site

View to site from main pedestrian route 152 S. Swannell Stage 3 Portfolio

Site - St. Lawrence Chapel,Vantaa, Finland

The graveyard that makes up the majority of the immediate context to the chapel is the primary graveyard for the parishes of Vantaa. Until 1793, the space allocated for the gravestones remained limited until an inspection deemed it too crowded. Since then, it has been regularly expanded to suit the needs of a growing population. At this time, the graveyardâ&#x20AC;&#x2122;s current area as around 25 acres. The chapel of St. Lawrence was built with a direct correlation to the neighbouring Church of St. Lawrence which is situated approximately 100 metres to the south west of the chapel, surrounded by graveyards. Here, the old stone church and its accompanying external bell tower remain the dominant features in the landscape. Built in 1450, known to be the oldest building in Vantaa and greater Helsinki, it was largely destroyed in May of 1896 by fire that left behind only its stone walls and vaults. Both the church and its bell tower went under intense restoration to be re-opened again in 1894.

Original area

Sun Path

Expansion

Access to Building

View along route between church and Chapel

Map of graveyard highlighting expansion process

Potential further development

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Design Concept

Site - St. Lawrence Chapel,Vantaa, Finland

St. Lawrence Chapel,Vantaa, Finland

“Polku” Path

South facade of Chapel

Tower of Chapel

At the core of the design Avanto utilised the notion of “polku” or path. Being a chapel primarily intended for funeral ceremonies, the building showcases the idea of journey on a number of levels. “Polku” goes further than simply connoting a refined circulation strategy, it refers to the path between public and private, mortality and immortality, and crucially, the architecture between mourners and the deceased.

Old Church and Bell Tower

In so doing, the architecture raises the significance of thresholds between spaces and focuses specifically on how the tectonics of the space ilicit certain moods and atmospheres. What must be realised is that the experience of the acrchitecture is of equal importance to how the building operates as a functional funeral event space. As such, questions of function are not compromised by the idea of “polku” but are in fact informed by it.

Chapel Height in relation to the existing Church and Bell Tower

The positioning of the chapel on the site aligns the main public entrances to the west, allowing for the individual chapel spaces to have glazing to the south. The sunlight scattered through the light density of trees is captured within individual gardens fenced with low lying stone walls; constituting material that has been extracted for the foundations of the build. The north facades are regimented solid masonry walls that in unison, captures natural light within the small external gardens whilst simultaneously offering privacy to the procession. As part of the ritualistic route prescribed by the architects, the public enter - surrounded by the quiet nature of the trees and exit towards the light and into the adjacent graveyard. The linear skylights running parallel to each other following the routes through the building allows dispersed natural light to seep into the spaces. The chapel is incredibly well situated within its site, maintaining a subtlety yet prominence at the same time. The white washed walls in summer evoke a bright fresh feeling that some may think looks out of place, yet only in the winter with a thick covering of snow on the ground does the chapel disappear into its surroundings, boasting a contrast from peaks of exposed copper. 10 10 154 S. Swannell Stage 3 Portfolio

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Design Development - St. Lawrence Chapel,Vantaa, Finland

Design Concept - St. Lawrence Chapel,Vantaa, Finland

Architects’ Design Development In an interview, partner and founderVille Hara discussed their rigorous design process to be one that explored a variety of architectural aspects and scales simultaneously to develop a comprehensive and holistic design response. As such, the architects do not limit themselves to a particular method but interchange between different styles relevant to each stage.

“Our design process normally starts by gathering all possible information.”

Mortality to Immortality: Ascension through procession. The building expresses the transition from mortality to immortality; the point at which the deceased enters the chapel to when it is buried in the surrounding grounds. In section, it can be seen how the St Lawerence emulates this procession.Working off the theme of ascending through the space,the entrance foyer exhibits a low ceiling creating an intimate atmosphere, before it proceeds into a light-filled open chapel space, evoking combined feelings of awe as well as peacefulness. For guests of the ceremony, the St Lawerence also showcases a gradual transition between mortality and immortality through the rectilinear building plan.

“Switching from rational thinking into creative process helps take some distance and clarify things.”

“In design we need to adapt the building to urban setting [and] organize the spaces in plan drawing”

Guest Car Park

Chapel Graveyard

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Spatial Sequence

Design Concept - St. Lawrence Chapel,Vantaa, Finland A Private Core: Concealing the chapel’s administration functions away from public eye

Intention The proposal for this chapel was originally called “Polku”, meaning “Path” in Finnish. It is expressed by the architects as the sequence through the building mirrors the journey of one’s soul through to the afterlife. The architects’ intention is that mourners would traverse the chapel and exit into the graveyard through one passage.

Private Administration Space

During a ceremony, the building is segmented into alternating functional and transitional spaces, resulting in a unidirectional movement from the mourners. Although straight forward, the passage allows mourners to engage in different actions anytime during the journey; for example, the possibility to go to a private function room in the basement to give farewell to the deceased.

Event Space Concept For ease of use and to create the journey through the chapel as seamless as possible, the architects have concealed all administrative functions in the core of the building. As such, they are not visible to guests or mourners who are attending a ceremony. Instead of negating this necessary space the architects worked with the client to incorporate it within the building envelope. It therefore allows the ‘polku’ through the building to remain uninterrupted and continuous.

St. Lawrence Chapel,Vantaa, Finland

Car park

Courtyard

Entrance

Lobby

Chapel

Graveyard

Ground Floor

1 3 4

Basement Floor

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Spatial Sequence - St. Lawrence Chapel,Vantaa, Finland

Detail, Imagery and Experience Approach

Detail, Imagery and Experience Depar ture

Top: After arriving at the car park, visitors would have to go through a narrow doorway. The opening directs and funnel visitors through into the entrance courtyard, controlling their pace as a means to preserve the tranquillity of the space.

Top: The progression of the low ceiling of the lobby to the high ceiling of the chapel could be analogized as a spiritâ&#x20AC;&#x2122;s ascension into heaven.

Left: Skylights are present in most spaces within the building, leading one space into another. The lighting represents the heavenly light and contrasts greatly to the dim areas of the low ceiling.

Left: A copper mesh covers the wall facing towards the graveyard from the inside of the chapel. It represents the recurring relationship between the living and the deceased. Through its thin but porous screen, it becomes a physical barrier between the chapel and the graveyard.

Right: At the entrance, the reflecting pool provides a dramatic atmosphere. With the inherent calmness of water, the pool becomes a place of reflection in memory of the deceased.

Right: Towards the next stage of the funeral, the narrow design of the exit once again controls the pace of the mourners, further dramatising the process.

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Threshold

Spatial Sequence - St. Lawrence Chapel,Vantaa, Finland

“Living” and the “deceased”

St. Lawrence Chapel, Vantaa, Finland

The sequence of thresholds throughout the chapel produces a repeated rhythm of the journey that the users will take through the building. Significant points of interaction between building and person creates a narrative of ascension, both physically, as the volumes encountered increase and decrease in size, and ritually as the dead ascend up to heaven.

1. The mourners encounters the entrance and the reflecting pool.They would then enter the lobby.

Through calmness and serenity, the potential role of the thresholds within this chapel is to mediate pace and slow people’s progression through the building; hence heavy double doors and the funnelling of people from larger to smaller spaces.

2. In the lobby the mourners are able to chat with other mourners, possibly reminiscing the deceased.The narrow hallway and the skylight lead them towards a staircase into the basement. 3.Last Farewells are given and mourners head back up towards the chapel. 5. Mourners are seated, and the funeral ceremony begins in the main chapel. After the ceremony, the pallbearers and the deceased would lead towards the exit, whilst others follow. 6. At the graveyard, pallbearers and mourners would proceed a final farewell to the deceased. 1. The hearse arrives around the back of the chapel into the basement. 2. The deceased is then processed before being taken up to the chapel via a private lift. 3. The funeral ceremony begins in the main chapel. After the ceremony, the pallbearers and the deceased would lead towards the exit. As seen in the circulation diagram, both the living and the dead almost crosses paths at various points. They both share the same level of intimacy up until the ceremony where they are together in the same room. Then they leave through the same exit, tying the connection between here and the hereafter.

Threshold Journey

Expansion and Contraction through space

Path of the “living” Path of the “deceased” Activity Pockets for mourners Processing points for deceased Public Stairs & Lifts Private Stairs & Lifts

Change in height through journey of the thresholds

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Threshold - St. Lawrence Chapel,Vantaa, Finland

Threshold - St. Lawrence Chapel, Vantaa, Finland

Entrance

Progress

Beginning at the start of this journey, the procession arriving by car are presented with the contrast of two opposing open spaces separated by a bright white wall. They are guided through a simple doorway which leads to the main entrance. The door (Fig. a) acts as the first “funnel”, introducing the architects control over the pace of movement through the building.

The vast entrance space is reduced to a welcoming wardrobe to hang coats and bags inside the glowing wooden furniture. Generous space for movement allows the procession to gather together yet constantly contained by the reduced ceiling level. The line of sight through the building is never hindered by the thresholds (fig. e). Instead, open transparency backs up the idea that visual barriers are used as a note of a regulating rhythm of movement through the building. Two sets of heavy, fully glazed double doors (fig. f) acts as the threshold between the “cosy” corridor and vast, open chapel space.

From the large volume of outside space, surrounded by trees, the main entrance guides (fig. b) you to the chapel. The walkway to the entrance presents you with the material pallet (fig. c) that accompanies the rest of the building and introduces an accommodating reception space with a reduced ceiling level. This significant change in volume (fig. d) settles its users before continuing their journey.

fig. a

fig. b

fig. c

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fig. d

fig. e

fig. f

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Structural Strategy

Threshold - St. Lawrence Chapel, Vantaa, Finland

St. Lawrence Chapel,Vantaa, Finland

Ascension Double doors following the the ‘path’ of light down the west axis of the building brings people into the main chapel spaces (fig. g). The stark contrast of volume creates a sense of awe, yet the continuing materiality adds calmness. A space so large amplifies the serenity causing a rasied voice to echo. The opening provides the threshold of ascension with the penetrating light dispersed through the patinated copper creates a ritualistic atmosphere. Without distracting people from the reason they are there, public and private spaces can be separated with an “invisible threshold”. Large timber panels on rollers (fig. i) act like screens to shelter access to private functions within the ground floor public spaces. Despite a definite contrast in materiality, impressively they seem to blend in to the point where you wouldn’t consider them to be a doorway. A change in floor covering from rich slate tiles to colour matched Lino (fig. h) further signifies the threshold change from public to private.

Primary structure: - Masonry walls Secondary structure: - Steel columns and I-beams Tertiary structure: - In-situ concrete partition walls

The lifespan target of the materials is two hundred years, with the primary structure of the masonry walls to undoubtly surpass that. Alongside longevity in choosing the materials, locality was also considered with an emphasis on handcrafted details throughout the construction. Due to the local weather, the use of brick and steel provide a stable structure for lateral loads of strong winds and vertical loads of deep snow during the winter season. The skylight throughout the roofs provides some light to showcase the rough texture of the tranquil, whitewashed masonry walls alongside the smooth in-situ concrete partition walls found in the core of the building.

Exploded Axonometric

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fig. h

fig. i

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Structural Strategy - St. Lawrence Chapel,Vantaa, Finland

The structure and materials of the buidling echoes the old buildings nearby, with heavy orthogonal masonry walls of 3 varying sizes to make up the building.

1. Steel sheeting (painted) 2. Masonry wall (plastered and limed) 3. Steel sheeting (painted) Bituminous sheeting Plywood Mineral wool insulation

The simplicity of the structure and materials are embedded within the concept of the building, with heavy masonry walls not only providing a control for the temperature and humidity in the building but also privacy from the exterior.

4. Insulating triple glazing

5. 0.7mm Patinated copper Bituminous sheeting Plywood 25 + 25mm Air space 9 + 9mm Wind proofing 100mm Wood structure + insulation Gypsum board Plywood 0.7mm Patinated copper

Structural Strategy - St. Lawrence Chapel,Vantaa, Finland

6. 0.7mm Patinated copper Bituminous sheeting Matched board 100mm Air space Bitulite wind proofing 200mm Kerto beams + insulation 125mm Insulation Vapour barrier 3x Gypsum board IPE 450mm beam

The light steel structure, on the other hand is in contrast, allowing for a glazed wall to one side of the chapel for light to pass through, with the mesh screen decreasing its intensity.

Floor Construction Detail

9. 55mm Slate + fixings 80mm Concrete + water underfloor heating pipes 25mm Insulation 260mm Reinforced concrete

Roof Construction Detail

10. 130mm Insulation 2x Gypsum board Plywood Gypsum board Acoustic ceiling panel

11. Aluminium Grill 8

7. Patinated copper mesh Hanging frame + substructure Curved acoustic panels Perforated gypsum board + 100mm mineral wool

8. Patinated copper mesh Insulating triple glazing 70/50/4mm Steel RHS IPE 180mm column Patinated copper mesh

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Environmental

Environmental - St. Lawrence Chapel,Vantaa, Finland

St. Lawrence Chapel,Vantaa, Finland

Airtight Building Envelope Due to Finlandâ&#x20AC;&#x2122;s typically colder and more extreme climate, St Lawrence Chapel, like many buildings, is built to be completely thermally airtight. The building thus focuses on having a high insulating capacity and using mechanical ventilation to regulate the internal conditions of the chapel. As such, strong masonry walls are adopted to increase the thermal mass of the building and triple glazing is used for each window and external door.

Chapel Supplied by District Heating Unlike the UK, where heating is often centrally supplied within each unit, most buildings in Finland are heated via a district system. Saint Lawrence Chapel is no exception and sources its heating from a power plant in Vantaa. Whilst it does require investment in initial infrastructure, its long-term benefits are well-suited to the Finnish climate. As the heat created is often produced as a byproduct from energy generation, and supply is centrally managed, district heating is often more environmentally and economically efficient.

St. Lawrence Chapel

District Power Plant

Mechanical Ventilation and Underfloor Heating

B - Air Vents in Bulkheads

C - Concealed Heating

Alongside the local district heating network, the chapel uses air source heat pumps (A) to mechanically ventilate the building. Cold air is extracted from the basement, and passed through a heat exchanger to generate warmer air which is circulated around the building. This is emitted through discrete vents in bulkheads (B). The architects have adopted underfloor heating in the floor (C) such to provide a necessary function but not to impede on the design of the space.

Stone Church of St. Lawerence (15C)

0.5-1 metre

District heating pipes located below streets

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A - Air Source Heat Pumps

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Environmental - St. Lawrence Chapel,Vantaa, Finland

Internal Skylights Accentuate ‘Polku’

Reduces South-Facing Glare

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Copper Mesh

Patinated copper mesh is arguably the defining material in the St. Lawrence Chapel. Whilst it is also used to clad the interior ceilings its most successful application is as a double-skin on the chapel’s south facade. Floor-to-ceiling panels of 1780mm wide, are found on the inside and outside of the tripleglazed window. This double layer polarises southern light, thus reducing glare in the summer seasons. However, its second function allows for privacy to be maintained in the chapel spaces. In not only playing a cruial role in the technical capabilities of the building the hand-woven nature of the mesh provides a creative addition to the chapel that adds a distinct uniqueness to this piece of architecture.

Triple Glazing

Patinated Copper Mesh: Technical and Design Application

Steel Column

South-Facing Chapel Spaces

One of the chapel’s most successful architectural features is how it maximises natural light in its internal spaces. Primarily, this is applied by way of south-facing windows and skylights in the ceiling. The latter alligns with the architects’ notion of path and helps direct one’s movement through the space. As such it becomes as much an environmental feature as a design one, showing the architects have enforced an holistic methodology at every stage.

Copper Mesh

Maximising Natural Light

Increases Privacy for Chapel Ceremonies

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Typology

Typology - St. Lawrence Chapel,Vantaa, Finland

St. Lawrence Chapel,Vantaa, Finland

2010 St. Lawrenceâ&#x20AC;&#x2122;s Chapel: Built in 2010 by Avanto Architects, the chapel takes on an orthogonal shape, with a series of 3 chapels of varying sizes to form the entire structure. The chapel is fairly small in size in comparison to the other churches, due to the main function being a space for funeral services, roughly holding a maximum of 90 visitors in the main hall at a time. Finland

The route taken through the building by the visitors is linear, depicting the passage of a Christian soul from Earth to the hereafter therefore not having to leave from the entrance door. Light plays a major part in the building, which enters through the skylights and the mesh glazed walls which face the south east sun.

St. Lawrence Chapel

The main atmosphere in the foyer is dimly lit with a relatively low ceiling. Its main purpose is to stop the visitor for a brief moment for a time of reflection before following the skylight to the main chapel or hall where the ceiling opens up, this can be seen in both of the churches to follow.

Imatra

Helsinki

Form

1958

This typology study takes a look into 2 churches in Finland, both created in the 1950â&#x20AC;&#x2122;s compared to the contemporary St. Lawrence Chapel, which was built during 2010.

Church of the Three Crosses

2 of the 3 buildings reside nearby the capital and the other towards the border of Russia in Imatra. Though all being located in Finland, there are numerous differences between the 3 churches and chapel. How natural light enters the building one of the main comparisons this study will be looking at, as the architects take a different approach to how the interior is lit during the day.

Light Path

Public Path

1955 Church of the Good Shepherd

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Typology - St. Lawrence Chapel,Vantaa, Finland

Church of the Good Shepherd: The old Pakila church, designed by architect Yrjo A. Vaskinen in 1950 reflects the 1920â&#x20AC;&#x2122;s Italian architecture characteristic of that period. Classrooms, kitchens, office rooms and other facilities can be found in the old body of the church. The organisation of the church forms the backbone of the whole spatial organisation, with the former body of the church not only functions as a church hall but also as an extension to the main space which can be opened up via the movable partitions. After entering through the low, open vestibule, the spatial sequence leads the visitor to the main hall which at the back holds an upper floor, taking up almost a third of the hall providing a balcony to facilitate more visitors during service. The journey towards the altar, which is enlivened by the indirect reflections, almost inmaterial though built of concrete and glulam beams found near the top of the ceiling. Glass prisms have been placed in the gaps of the columns which refract light onto the wall surfaces, creating constantly changing shapes. Large windows have also been placed at the rear of the church which face towards the altar, and along with the skylight, the hall is ambiently lit throughout the day, with the non-structural columns providing some design complexity to the otherwise simple orthogonal form of the church.

Light Path

Church of the Three Crosses: Built in 1958 by Alvar Aalto with aims of taking the full form of a church whilst providing spaces for social activities, synthesising practical along with the aesthetic needs. Comprised of 3 halls (2 of which can be used for parish activities during the week) which can hold approximately 800 members of congregation during service. The halls can also be partitioned using the movable walls. The asymmetrical form is a result of the audibility of the sermon which is the most important yet most difficult problem in a Lutheran church. With 5 possibile entries to the halls, it ensures the other spaces are not disturbed. The materiality of the church is similar to the chapel, with use of a brick facade in combination with concrete which are rendered white, sitting within a pine forest. Furthermore, the main hall also serves as as funeral chapel, with a ceremonial exit towards the graveyard nearby. The large windows located on the North East facade provides plentiful of natural light to the 3 halls whilst emphasising the altar and the nave through the main skylight feature at the front of the main hall. The church also features a 34 metre high sculptural campanile to make its location clearly visible from afar which the previous chapel and the following church share though having different functions.

Form

Light Path

Public Path

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Bibliography

Alvar Aalto Foundation | Alvar Aalto -säätiö. (n.d.). Church of the Three Crosses (Vuoksenniska church) Alvar Aalto Foundation | Alvar Aalto -säätiö. [online] Available at: https://www.alvaraalto.fi/en/architecture/ church-of-the-three-crosses/?fbclid=IwAR1YXlJWmVVHh0LvTw3pGiXRH1JvDQEBmpLJMvGNIsMfSo-MahUv-uZwshs [Accessed 12 Dec. 2019].

Icax.co.uk. (2019). Advantages of District Heating | Energy Storage from summer to winter | Decarbonising the grid | Demand Side response. [online] Available at: https://www.icax.co.uk/Advantages_District_Heating.html [Accessed 11 Dec. 2019]. Kuusisto, H. and Hodson, C. (2011). Chapel of St Lawrence, Finland. [online] Copperconcept | Copper in architecture. Available at: https://copperconcept.org/en/references/chapel-st-lawrence-finland [Accessed 11 Dec. 2019].

Architectural Review. (2011). Copper Awards: Winner. [online] Available at: https://www.architectural-review. com/awards/copper-awards-winner/8621684.article [Accessed 11 Dec. 2019].

Lomholt, I. (2011). Chapel of St.Lawrence, Avanto Architects Finland: Pyhän Laurin kappeli - e-architect. [online] e-architect. Available at: https://www.e-architect.co.uk/finland/pyhan-laurin-kappeli [Accessed 11 Dec. 2019].

Avanto Architects Ltd (n.d.). Chapel of St.Lawrence / Avanto Architects Ltd. [online] Brickarchitecture.com. Available at: https://brickarchitecture.com/projects/chapel-of-st-lawrence-avanto-architects-ltd?fbclid=IwAR01wZTSjmCp482iWtV7_PSFi79jlYCIYe8ErGqO4PpCSSSBYsVMM_QO3Uw [Accessed 11 Dec. 2019].

Zaalishvili, N. and Namoradze, N. (2014). Religion Under the Limelight of Modern Architecture. idaaf Magazine. [online] Available at: http://idaaf.com/religion-modern-architecture/ [Accessed 11 Dec. 2019].

Avanto. (n.d.). Chapel of St. Lawrence – Avanto. [online] Available at: https://avan.to/works/chapel-of-st-lawrence/ [Accessed 11 Dec. 2019].

Front Cover Image:

Chard, N. (2014). Church of the Three Crosses,Vuoksenniska, Interior. [online] Nat Chard. Available at: https:// natchard.com/2014/01/26/church-of-the-three-crosses-vuoksenniska-interior/?fbclid=IwAR0bX_IprodPbzwsMmjg540bkiA4r2lUuwyVhYaHFe3FJHpchBpYJqVUE48 [Accessed 12 Dec. 2019].

Sommerschield, M. and Portman, A. (2010). Chapel of Saint Lawrence. [image] Available at: https://www.archilovers.com/ projects/46768/gallery?311454 [Accessed 12 Dec. 2019].

Competition.adesignaward.com. (n.d.). A’ Design Award and Competition - Profile:Ville Hara. [online] Available at: https://competition.adesignaward.com/designer.php?profile=172935 [Accessed 11 Dec. 2019]. Geoghegan, T. (2009). BBC News - What central heating has done for us. [online] News.bbc.co.uk. Available at: http://news.bbc.co.uk/1/hi/8283796.stm [Accessed 11 Dec. 2019]. Gkd.uk.com. (n.d.). Modern bronze mesh for traditional copper architecture | GKD. [online] Available at: https://gkd.uk.com/metalfabrics/st-lawrence-chapel/ [Accessed 11 Dec. 2019]. Hara,V. (2017). Interview with Ville Hara. Helsinginseurakunnat.fi. (n.d.). Hyvän Paimenen kirkko. [online] Available at: https://www.helsinginseurakunnat. fi/hyvanpaimenenkirkko.html.stx?fbclid=IwAR0y2VoqARHlsjTXOI758Jk7ftGnU8-eHSE_KLVV36AzM_LhdrZez96uiXY [Accessed 12 Dec. 2019]. Hillamo, H. (n.d.). District heating networks - Finnish Energy. [online] Energia.fi. Available at: https://energia.fi/ en/energy_sector_in_finland/energy_networks/district_heating_networks [Accessed 11 Dec. 2019]. Hughes, D. (2010). Chapel of St. Lawrence | Avanto Architects. | Yellowtrace. [online] Yellowtrace. Available at: https://www.yellowtrace.com.au/chapel-of-st-lawrence-avanto-architects/ [Accessed 11 Dec. 2019].

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APPENDIX 180 S. Swannell Stage 3 Portfolio

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Centre for Environmental Stability: Key 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

1:20 TECHNICAL SECTION: KEY Text link: pp.134-5

21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60.

Precast Concrete Pad Foundation. Precast Concrete Column (fixed to pad via bolted steel connection). 280mm Precast Concrete (each element fixed by steel bars and shear connection). 1:20 Section 20mm Limestone Flooring. with Hollow Steel Frame to support openings in Silo Skin. Frame positioned in structural columns of external silo. Elevation External Aluminium Sill. Double-Glazed Window in Silo skin. 380mm Existing Hardcore. 220mm Wood Fibre Insulation. Damp Proof Membrane. 90mm Electric Underfloor Heating. Insect Mesh fixed to 200mm Concrete Upstand. Recycled Steel Flitch Plate fixed by bolted joint to Glue LaminatedCentre for Environmental Stability: Key Column. Precast Concrete Pad Foundation. 1. Triple Glazed Window. Precast Concrete Column (fixed to pad via bolted steel connection). 2. 280mm Precast Concrete (each element fixed by steel bars and shear 400 x 400mm Glue Laminated Timber Column. 3. connection). External Aluminium Window Flashing above window. 20mm Limestone Flooring. 4. Hollow Steel Lintel (as part of frame to support openings in Silo 5. Hollow Steel Frame to support openings in Silo Skin. Frame positioned in structural columns of external silo. Skin). Frame positioned in structural columns of external silo. External Aluminium Sill. 6. (Assumed) Silo Structural Steel Column. Double-Glazed Window in Silo skin. 7. 380mm Existing Hardcore. 8. (Assumed) 2000 x 2600mm External Steel Cladding fixed to 220mm Wood Fibre Insulation. structural columns by pre-tensioned bolts (visible in elevation). 9.10. Damp Proof Membrane. 90mm Electric Underfloor Heating. 10mm Acoustic and Flame Retardant Recycled Felt with Backing as 11. Insect Mesh fixed to 200mm Concrete Upstand. 12. Internal Wall Finish. Recycled Steel Flitch Plate fixed by bolted joint to Glue Laminated 13. Timber Lintel to support opening in internal structure. Column. Triple Glazed Window. 14. Vapour Control Layer (Air Tightness Layer) 400 x 400mm Glue Laminated Timber Column. 15. 220mm Wood Fibre Insulation External Aluminium Window Flashing above window. 16. Hollow Steel Lintel (as part of frame to support openings in Silo 17. 80mm Insulating Wood Fibre Sheathing Skin). Frame positioned in structural columns of external silo. 70mm Drained Air Cavity (Assumed) Silo Structural Steel Column. 18. 75mm Timber Battens and Counter (Assumed) 2000 x 2600mm External Steel Cladding fixed to 19. structural columns by pre-tensioned bolts (visible in elevation). Timber Batten fixing cladding to Glulam Primary Structure 10mm Acoustic and Flame Retardant Recycled Felt with Backing as 20. 50mm Scottish Larch Cladding (Secret Fix onto Vertical Battens) Internal Wall Finish. Timber Lintel to support opening in internal structure. Concrete Filled Steel Ring Beam (or CFST) fixed to horizontal and21. Vapour Control Layer (Air Tightness Layer) 22. vertical flitch plates by bolted connection joint. (Detailed connection 220mm Wood Fibre Insulation 23. 80mm Insulating Wood Fibre Sheathing 24. information can be found in Section 3.2) 70mm Drained Air Cavity 25. 160 x 450mm Glue Laminated Beam. (Note: Large Cross-Sectional26. 75mm Timber Battens and Counter Area to withstand gravitational load of auditorium on First Floor) 27. Timber Batten fixing cladding to Glulam Primary Structure 50mm Scottish Larch Cladding (Secret Fix onto Vertical Battens) 28. 100mm Radial Timber Floor Joists (underside exposed). Concrete Filled Steel Ring Beam (or CFST) fixed to horizontal and 29. 19mm Fireproof and Acoustic Plasterboard vertical flitch plates by bolted connection joint. (Detailed connection information can be found in Section 3.2) 80mm Spotlights fixed to radial floor joists. 160 x 450mm Glue Laminated Beam. (Note: Large Cross-Sectional 30. Air Holes to allow the percolation of hot air into auditorium space. Area to withstand gravitational load of auditorium on First Floor) 100mm Radial Timber Floor Joists (underside exposed). 100mm Acoustic Wool, Timber Battens and Cavity for air flow. 31. 19mm Fireproof and Acoustic Plasterboard 32. Timber Floorboards 80mm Spotlights fixed to radial floor joists. 33. 190 x 450 Glue Laminated Lateral Beam Air Holes to allow the percolation of hot air into auditorium space. 34. 100mm Acoustic Wool, Timber Battens and Cavity for air flow. 35. 400 x 400 Glue Laminated Timber Column Timber Floorboards 36. Acoustic Insulation Lines Column to avoid break in acoustic layer 37. 190 x 450 Glue Laminated Lateral Beam 400 x 400 Glue Laminated Timber Column Network of Timber Trusses support second floor gangway and 38. Acoustic Insulation Lines Column to avoid break in acoustic layer 39. auditorium seats Network of Timber Trusses support second floor gangway and 40. auditorium seats Cavity underneath seating used for services ductwork and electrical Cavity underneath seating used for services ductwork and electrical 41. fittings (e.g. MVHR unit) fittings (e.g. MVHR unit) Timber Beams and Joists connect to truss to support auditorium 42. Timber Beams and Joists connect to truss to support auditorium seats seats Timber Flooring lined with Acoustic Membrane 43. Timber Flooring lined with Acoustic Membrane Air Vents with Heating Element located within seats to allow for the 44. circulation of air through the auditorium. Air Vents with Heating Element located within seats to allow for the Tapered Steel Cantilever fixed to column by bolted connection 45. circulation of air through the auditorium. Staircase Steel Frame fixed to cantilever by bolted connection 46. Timber Floorboards and finish (Secret Fix) Tapered Steel Cantilever fixed to column by bolted connection 47. Timber Handrails with Recycled Steel Support 48. Staircase Steel Frame fixed to cantilever by bolted connection Automated Rotating Horizontal Steel Louvers. 49. Timber Floorboards and finish (Secret Fix) Gutter for Rainwater Collection (to be used for utility water demand 50. and irrigation) Timber Handrails with Recycled Steel Support Projector Screen hidden/integrated into Lateral Glue Laminated 51. Automated Rotating Horizontal Steel Louvers. Timber Beam 190 x 360mm Glue Laminated Timber Rafter up to Cupola Ring 52. Gutter for Rainwater Collection (to be used for utility water demand Beam. and irrigation) MVHR Unit in cavity between external silo and internal timber 53. Projector Screen hidden/integrated into Lateral Glue Laminated structure. Concrete Filled Steel Ring Beam to support Cupola Roof Window 54. Timber Beam Large Timber Stud to Steel Silo 55. 190 x 360mm Glue Laminated Timber Rafter up to Cupola Ring 56. Aluminium Flashing Concealed Automatic Blind. 57. Beam. Aluminium Retaining Frame. 58. MVHR Unit in cavity between external silo and internal timber 59. Condensation Gutter. Sealed Double Glazed Domes. 60. structure. Concrete Filled Steel Ring Beam to support Cupola Roof Window Large Timber Stud to Steel Silo Aluminium Flashing Concealed Automatic Blind. Aluminium Retaining Frame. Condensation Gutter. Sealed Double Glazed Domes.

59 58 57

55 54

48 38

47 46 48

47 46 45

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42 43

33 30

29 29

27 19

18 17 16

25 24

23 22 21 20

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26 25 24

23 22 21 20

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14 9

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12 0

5m 0

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29 30 31 32

Fireproofing Plasterboard Vapour Control Layer 220mm Wood Fibre Insulation 80mm Insulating Wood Fibre Sheathing

33 Battens Fixing Cladding to

Glulam Structure

34 Drained Air Cavity 35 75mm Battens and Counter 36 50mm Scottish Larch Cladding

(Secret Fix onto Vertical Battens)

37 Horizontal Member in Timber Truss

38 Aluminium Frame 39 Internal Circular Wall Window;

Double Glazing

40 Double Glazing Seal 41 Sloped Flashing 42 External Circular Wall Window; Double Glazing

1:20 TECHNICAL SECTION: D E V E LO P M E N T

Damp Proof Membrane 280mm Precast Concrete Underfloor Heating 20mm Limestone Flooring Bolted Steel Joint 300mm (diameter) Circular Glulam Timber Column

9 Inverted Timber V-Bracing Staircase Structure

10 Steel Joint Plates 11 400mm Precast Concrete 12 Insect Mesh fixed to 200mm Concrete Upstand

13 Existing Storage Silo

(wall thickness assumed)

14 300x300mm Glulam Radial Timber Structure

15 300x300mm Glulam Ring Beam

44 Aluminium Retaining Frame

17 100mm Radial Timber

46 Sealed Double Glazed Domes

Early sketch utilising north-facing balcony, which was used in first iteration

220mm Wood Fibre Insulation

16 Exposed Timber Beam (does not

45 Condensation Gutter

Window here did not seem to offer any unique atmospheric or spatial qualities and was removed for later iterations

380mm Hardcore

43 300x400mm Glulam Ring Beam fixed by Bolted Steel Brackets

46 400x360mm Glulam Ring Beam

1 2 3 4 5 6 7 8

Fixed to Silo

make contact with silo)

Floorboards

18 19mm Fireproof and Acoustic Plasterboard

19 100mm Acoustic Wool, Timber Battens and Cavity for air flow

20 Timber Flooboards 21 Carpet Finish for Acoustic purposes

22 Perforated Timber Cladding to reduce auditorium echo

23 (Double Swing) Fire Door 24 Exposed Glulam Structure to support Auditorium Seating

25 Plastic Sealant (such that internal

skin and balcony do not structurally meet)

26 100mm CLT Cantilevered Floor 27 400mm Oak Columns Support

Viewing Platform/Balcony

28 Treated Timber Flooring

Text link: pp.134-5

36 35 34 37

As Realisation and Synthesis developed the 1:20 technical section became emblematic of the direction in which my project was taking. As such, it has been subject to great change over the past three months and has undergone many refinements to get to the finished product. Specifically, the main challenge was to most effectively the idea of the join or main connection point in the inhabited silo. Originally this to the form of a balcony which extended beyond the silo onto the north elevation. Since it was the only place that broke the silo skin I saw this as the key "connection" point in the inhabited silo.

Whilst the rostrum/balcony would offer a vista of the North Sea, I believed there was a risk it could be used for more political stunts and was limited in that it could only be viewed from one elevation

33 32 31 30 29

28 25

Cruical connection point that was exposed in the silo skin was too insignificant for the scale of the silo.

22 23

21 20 19 18 17

14 15

Early sketch utilising north-facing balcony Original stair structure focused on being a self-sufficient structure such that it existed autonomously in the threshold space

6 5 4 2 3 1

Challenge was to spatially communicate key connection, in reference to Primer 184 S. Swannell Stage 3 Portfolio

1:20 Draft Section - Blyth Conference Centre

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T H E R I T U A L O F D R AW I N G

THE RITUAL OF CRAFT

COVID-19 AND THE RITUAL O F D R AW I N G Text link: pp. 70-71 Moving away from the ritual of craft during Primer and Staging, the lockdown measures imposed as a result of the COVID-19 outbreak shifted my attention to drawing. I was fortunate enough to be able to bring my drawing board home and source a local scanner who was open to scan my drawings. Over the course of the three months, by using the drawing board on a continual and regular it became a ritualistic act. I noticed myself doing certain things almost instinctively, and no doubt the strength of my drawings developed dramatically. The following images depict some of these key rituals that were instrumental in creating key drawings for the graduation project. 186 S. Swannell Stage 3 Portfolio

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Developed habit: As I began to practice more often I realised the merit in covering up large parts of the drawing when not in use to reduce the risk of damaging the work. Using a light 0.3 3H pencil lead meant that the graphite was very prone to smudging and through trial and error, I learnt to adopt the above approach.

COVID-19 AND THE RITUAL O F D R AW I N G : P RO C E S S

Starting with a sketch: With all the drawings I realised the importance of starting with a quick sketch to identify my textural and atmospheric intentions. The one above was vital in constructing the night time atmospheric (above).

In earlier drawings it is clear my approach was more careful and tentative, I was more concerned with its continual aesthetic development rather than having a logical methodology

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C U LT U R A L BIBLIOGRAPHY

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AA VISITING SCHOOL, S T U T TG A RT September 2019

Using scholarship money I was awarded during my second year of study I travelled to Stuttgart to attend an AA Visiting School. It was based on the Weissenhoff Estate which was of great relevance to my dissertation studies, but the course itself addressed how photography and text could communicate architectural space or experience.

R I B A F U T U R E A RC H I T E C T S MEET UP

K E Y S M A L L TA L K L E C T U R E February 2020

May 2020

Having been on the team that established the Small Talk series, the lectures that have been put on throughout this year and last year have been invaluable to my extra curricular development. Olly Wainwright's talk on Form Follows Finance stands out as a particular favourite as he unearthed the realities of a profession driven by corporate finance.

As the RIBA's new Future Architects has been trialled this year, I attended an online 'meet up' during the COVID-19 lockdown. It featured a panel of professionals and academics alike to discuss the future of the profession in repsonse to the global pandemic. (Link can be found here to the YouTube recording: https://www.youtube. com/watch?v=j-P7-ba3Y3Y)

N O RT H E A S T CONSTRUCTION SUMMIT September 2019

To understand what is being discussed in the construction industry in the North East I attended CENE Construction Summit, titled, "Driving the Need for Change". It was an eye-opening experience and informed a lot of the thinking showcased in the graduation project 192 S. Swannell Stage 3 Portfolio

S. Swannell Stage 3 Portfolio 193

REFERENCES/ I L L U S T R AT I O N S

L I S T O F I L L U S T R AT I O N S Note: All illustrations not listed below are denoted as (Author, 2019/20)

i: Architectuur Centrum Amsterdam (n.d.). Orphanage. [image] Available at: https://www.arcam.nl/en/burgerweeshuis/ [Accessed 19 Feb. 2020]. ii. Arup, 2020. Transform And Reuse. [online] London. Available at: <https://www.arup.com/perspectives/publications/promotional-materials/section/transformand-resuse-low-carbon-futures-for-existing-buildings> [Accessed 7 June 2020].

iii. LETI, 2020. Climate Emergency Design Guide. London: LETI. iv. Architects' Journal, 2020. Put Your Poster Up! Support AJ’S Retrofirst Campaign. [image] Available at: <https://www.architectsjournal.co.uk/opinion/put-yourposter-up-support-ajs-retrofirst-campaign/10046454.article> [Accessed 13 June 2020].

v. LETI, 2020a. Net Zero Carbon. [image] Available at: <https://www.leti.london/cedg> [Acce ssed 13 June 2020].

1.1 Google Maps, 2020. East Bedlington, 55o08’04.9”N 1o30’43.7”W. Viewed 3 June 2020. <https://www.google.co.uk/maps> [Accessed 3 June 2020] 1.2 Fraser, D., 2017. NER Coal Staithes Blyth Harbour. [image] Available at: <http://rnyc.org.uk/talk/2017/01/first-wednesday-talk-1st-feb-2017david-fraser-nercoal-staithes-blyth-harbour/> [Accessed 3 June 2020].

1.3 Architectuur Centrum Amsterdam (n.d.). Orphanage. [image] Available at: https://www.arcam.nl/en/burgerweeshuis/ [Accessed 19 Feb. 2020]. 1.4 Alvar Aalto Museum, n.d. Sauna, Elevations And Foundation Rocks. [image] Available at: <http://navi.finnisharchitecture.fi/muuratsalo-experimental-house/#&gid=1&pid=22> [Accessed 4 June 2020].

1.5 Alvar Aalto Museum, n.d. Sauna, Floor Plan. [image] Available at: <http://navi.finnisharchitecture.fi/muuratsalo-experimental-house/#&gid=1&pid=21> [Accessed 4 June 2020].

1.6 Makinen, E., n.d. Sauna. [image] Available at: <https://www.alvaraalto.fi/en/architecture/muuratsalo-experimental-house/> [Accessed 4 June 2020]. 194 S. Swannell Stage 3 Portfolio

S. Swannell Stage 3 Portfolio 195

1.7 Eisenman, P., 1972. House VI Axonometric. [image] Available at: <https://www.moma.org/collection/works/120932> [Accessed 4 June 2020]. 1.8 Eisenman, P., 1972a. House VI: colour axonometric. [image] Available at: https://www.drawingmatter.org/index/peter-eisenman-house-vi-1972-dm-1280/ [Accessed 20 Feb. 2020].

2.1 Craven, F., 1960. Blyth Chain Ferry. [image] Available at: <https://www.geograph.org.uk/photo/1674724> [Accessed 6 June 2020]. 2.2 Blyth News Photo Archive, n.d. High Ferry. [image] Available at: <http://www.davidheyscollection.com/page83.htm> [Accessed 6 June 2020]. 2.3 McGinty, R., 2017. First Wednesday Talk: 1St Feb 2017David Fraser â&#x20AC;&#x201C; NER Coal Staithes Blyth Harbour | Royal Northumberland Yacht Club. [online] Royal

3.8 Richard Bofill, 1992. Madrid Congress Centre. [image] Available at: <https://ricardobofill.com/projects/madrid-congress-center/> [Accessed 7 June 2020]. 3.9 IFEMA, 2020. IFEMA Palacio Municipal - Rates And Capacities. [online] Madrid. Available at: <https://www.ifema.es/en/space-rental/madrid-conference-centre> [Accessed 7 June 2020].

4.0 IFEMA, 2020. IFEMA Palacio Municipal - Rates And Capacities. [online] Madrid. Available at: <https://www.ifema.es/en/space-rental/madrid-conference-centre> [Accessed 7 June 2020].

4.1 Bierstadt, A., 1867. In The Mountains. [image] Available at: <https://www.artistsnetwork.com/art-techniques/the-sublime-and-the-beautiful-painting-the-hudson-valley/> [Accessed 8 June 2020].

Northumberland Yacht Club. Available at: <https://rnyc.org.uk/talk/2017/01/first-wednesday-talk-1st-feb-2017david-fraser-ner-coal-staithes-blyth-harbour/> [Accessed 10 May 2020].

4.2 Dahl, J., 1823. Eruption Of Vesuvius. [image] Available at: <https://nga.gov.au/exhibition/turnertomonet/detail.cfm?IRN=171060> [Accessed 8 June 2020].

2.4 Get Carter, n.d. Blackhall Colliery Beach. [image] Available at: <https://www.getcarter.xyz/locations/blackhall-colliery-beach/> [Accessed 10 May 2020].

4.3 Interpretation of Literature, n.d. Mini-Technological Sublime In The 21St Century. [image] Available at: <http://www.craigcarey.net/fall2012/technological-sub-

2.5 Get Carter, n.d. Blackhall Colliery Beach. [image] Available at: <https://www.getcarter.xyz/locations/blackhall-colliery-beach/> [Accessed 10 May 2020]. 2.6 Dean, J., 1963. Looking East Toward The Passenger And Goods Facilities At Blyth Train Station. [image] Available at: <http://www.disused-stations.org.uk/b/ blyth_second/> [Accessed 10 May 2020].

2.7 Chronicle Live, 2014. Blyth Power Station In The 1970S. [image] Available at: <https://www.chroniclelive.co.uk/lifestyle/nostalgia/remember-when-port-blyth1970s-7719033> [Accessed 10 May 2020].

2.8 Energy Central UK. 2020. Energy Central: The Premier Offshore Energy Base At The Port Of Blyth. [online] Available at: <http://energycentraluk.co.uk/> [Ac-

lime/> [Accessed 8 June 2020].

4.4 Architonic, 2020. Steel Corten. [image] Available at: <https://www.architonic.com/en/product/levantina-steel-corten/1309592> [Accessed 8 June 2020]. 4.5 Pinterest, 2020. Siberian Larch. [image] Available at: <https://www.pinterest.co.uk/pin/576179346057381586/> [Accessed 8 June 2020]. 4.6 Alvar Aalto Foundation, 2017. Church Of The Three Crosses. [image] Available at: <https://www.alvaraalto.fi/en/architecture/church-of-the-three-crosses/> [Accessed 10 June 2020].

cessed 6 June 2020].

4.7 Alvar Aalto Foundation, 2017. Section Of The Church Hall. [image] Available at: <https://www.alvaraalto.fi/en/architecture/church-of-the-three-crosses/> [Ac-

2.9 ARUP, 2020. Transform And Reuse. [online] London. Available at: <https://www.arup.com/perspectives/publications/promotional-materials/section/transform-

cessed 10 June 2020].

and-resuse-low-carbon-futures-for-existing-buildings> [Accessed 7 June 2020].

3.0 LETI, 2020. Climate Emergency Design Guide. London: LETI. 3.1 Blyth News Photo Archive, n.d.

[image] Available at: <http://www.davidheyscollection.com/page83.htm> [Accessed 6 June 2020].

3.2 Todd, K., c. 1967. [image] Available at: <http://www.davidheyscollection.com/page83.htm> [Accessed 6 June 2020]. 3.3 Blyth News Photo Archive, 1930.

[image] Available at: <http://www.davidheyscollection.com/page83.htm> [Accessed 6 June 2020].

3.4 Blyth News Photo Archive, 1965.

[image] Available at: <http://www.davidheyscollection.com/page83.htm> [Accessed 6 June 2020].

3.5 ES Madrid, 2020. IFEMA Palacio Municipal. [image] Available at: <https://www.esmadrid.com/en/tourist-information/ifema-palacio-municipal?utm_refer-

4.8 Architectuur Centrum Amsterdam (n.d.). Orphanage. [image] Available at: https://www.arcam.nl/en/burgerweeshuis/ [Accessed 19 Feb. 2020]. 4.9 San Rocco (n.d.). 1. Islands. [image] Available at: https://www.sanrocco.info/magazine/islands [Accessed 20 Feb. 2020]. 5.0 Allen, S. (1987). Camp Marzio figures overlaid on the Nolli Plan of Rome. [image] Available at: https://www.drawingmatter.org/sets/drawing-week/stan-allen-drawings-conclusions/ [Accessed 20 Feb. 2020].

5.1 Blyth News Photo Archive, n.d. High Ferry. [image] Available at: <http://www.davidheyscollection.com/page83.htm> [Accessed 6 June 2020]. 5.2 Tiainen, J., 2009. Karsamaki Single Church. [image] Available at: <https://www.architonic.com/en/project/lassila-hirvilammi-architects-karsamaki-shingle-church/5100120> [Accessed 10 May 2020].

rer=https%3A%2F%2Fwww.google.com%2F> [Accessed 7 June 2020].

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3.7 Richard Bofill, 1992. Madrid Congress Centre. [image] Available at: <https://ricardobofill.com/projects/madrid-congress-center/> [Accessed 7 June 2020]. 196 S. Swannell Stage 3 Portfolio

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Frampton, J., 1998. Towards A Critical Regionalism: Six Points For An Architecture Of Resistance. New York: New Press. Heporauta, A., Lukkarinen, P. and Scotford, G., 2008. Church Of The Three Crosses, Imatra, 1955-1958. 2nd ed. Jyvaskyla: Alvar Aalto Foundation. LETI, 2020. Climate Emergency Design Guide. London: LETI. McCarter, R. 2015. Aldo van Eyck. New Haven and London: Yale University Press. Nye, D., 1996. American Technological Sublime. Cambridge, Mass.: MIT Press. Port of Blyth, 2018. Port Of Blyth Annual Review 2018. Blyth: Port of Blyth. Renewable UK. 2020. Offshore Wind. [online] Available at: <https://www.renewableuk.com/page/WindEnergy#:~:text=The%20UK%20is%20the%20world,of%20 UK%20electricity%20by%202020.> [Accessed 6 June 2020].

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Robers, C., 2020. Making GDP the focus of a post-coronavirus economy would be a mistake. The Guardian, [online] Available at: <https://www.theguardian.com/ commentisfree/2020/jun/03/post-coronavirus-economy-gdp-growth-green-economy-million-jobs> [Accessed 13 June 2020]. Russwood. 2020. Russwood Timber Products | Premium Flooring, Cladding & Decking. [online] Available at: <https://www.russwood.co.uk/> [Accessed 8 June 2020]. UK Architects Declare. 2019. UK Architects Declare Climate And Biodiversity Emergency. [online] Available at: <https://www.architectsdeclare.com/> [Accessed 7 June 2020]. UKGBC - UK Green Building Council. 2020. Climate Change. [online] Available at: <https://www.ukgbc.org/climate-change/> [Accessed 7 June 2020]. IFEMA, 2020. IFEMA Palacio Municipal - Rates And Capacities. [online] Madrid. Available at: <https://www.ifema.es/en/space-rental/madrid-conference-centre> [Accessed 7 June 2020]. Ginsborg, Hannah, "Kant’s Aesthetics and Teleology", The Stanford Encyclopedia of Philosophy (Winter 2019 Edition), Edward N. Zalta (ed.), URL = <https://plato.stanford.edu/archives/win2019/entries/kant-aesthetics/>. 4C Offshore Database. 2019. Offshore Wind Farms In The United Kingdom. [online] Available at: <https://www.4coffshore.com/windfarms/united-kingdom/> [Accessed 6 June 2020].

Architects' Journal, 2019. Introducing RetroFirst: a new AJ campaign championing reuse in the built environment. [online] Available at: <https://www.architectsjournal.co.uk/news/introducing-retrofirst-a-new-aj-campaign-championing-reuse-in-the-built-environment/10044359.article?blocktitle=intro&contentID=24810> [Accessed 7 June 2020]. Arup, 2020. Transform And Reuse. [online] London. Available at: <https://www.arup.com/perspectives/publications/promotional-materials/section/transform-and-resuse-low-carbon-futures-for-existing-buildings> [Accessed 7 June 2020]. Ballantyne, A., 2007. Deleuze And Guattari For Architects. London: Routledge. Cross, T., 2009. The Ideologies Of Japanese Tea. Folkstone: Global Oriental. Department for Business, Energy & Industrial Strategy, 2020. UK Energy Statistics, 2019 & Q4 2019. Durham Mining Museum Index. 2020. List Of Mines. [online] Available at: <http://www.dmm.org.uk/lom/index.htm> [Accessed 10 June 2020]. Eisenman, P., Krauss, R. and Tafuri, M. (1987). Peter Eisenman, Houses of Cards. New York: Oxford University Press. Energy Central UK. 2020. Energy Central: The Premier Offshore Energy Base At The Port Of Blyth. [online] Available at: <http://energycentraluk.co.uk/> [Accessed 6 June 2020]. 198 S. Swannell Stage 3 Portfolio

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