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Contents Illustrated Reflective Report

Page 4

Charrette

Page 6

Primer

Page 10

Finland Fieldtrip

Page 36

Fieldtrip Case Study (individual sections)

Page 42

Staging

Page 52

Thinking Through Making Week

Page 82

Realisation and Synthesis

Page 86

Illustrated Cultural Bibliography

Page 142

Bibliography

Page 148

New work is highlighted with this symbol, located at the bottom of effected pages

Adjusted work is highlighted with this symbol, located at the bottom of effected pages

Illustrated Reflective Report

On reflection, my third year as an undergraduate at Newcastle has provided me with the lightbulb moment behind the correlation between theory and design that I definitely lacked in previous years. This is undoubtedly due to the constant support and encouragement from the Rituals studio tutors to read more, look deeper and think harder in an aim to develop interesting lines of enquiry and a cemented base to design from. The rituals studio ethos and approach to the graduation project has pushed and questioned my understanding of architecture. Deep analysis of ritual and user programme immensely aid the design process and ultimately find legitimacy and order to the final outcome. It is interesting to look back and see how each module, despite not always feeling it at the time, has positively influenced my project or outlook on the profession and have come together to produce the work presented in this portfolio. The opportunity to visit Finland and explore some of the amazing architecture has unquestionably played one of the biggest roles in the development of my scheme. Appreciating the details of architecture ‘beyond the brick’ has changed the way my naive past self would look and think about entering spaces. Being more than an aim for aesthetics, architecture requires a complex understanding of user interface and requirements where the materials become just a means of bringing these ideas alive. Three clear themes have followed the process of my graduation project, and its satisfying to see their clear intent all the way back to primer. Journey, materiality and a hierarchy of light identified from a response to the site, a concept and further reading enabled easier integration of theory and technology from the early stages of the design process. For example, the importance of a simple material threshold, best explored during

thinking through making week, underpinned the core strategy for construction which then opened up opportunities to use the characteristics of the materials to experiment with different light and atmospheric conditions. Although some of the early thinking was there, ARC3013 allowed me to spend time (possibly too much time) expanding and clarifying these design intentions to a much higher level of detail, thinking rationally yet creatively when reaching the studio specific section to develop a clear set of lighting conditions in response to building zone function. The 1:20 section appealed to my inner perfectionist who loves the finer detail and I thoroughly enjoyed developing it adding another layer of realism to the scheme. Noticeably, the focus and intent around my project are that of which more modern and corporate architecture is reported to be losing within the wider context of the architectural profession. Through what I have learnt this year in beginning to understand these vital concepts, I am interested in how that could be challenged when moving to work in practice. Regarding the work itself, I do feel as though I am stepping closer towards a representational style that I enjoy and feel confident to work with. The graphical approach subconsciously stemming from my previous studies had deemed itself great for the majority of the required design work yet undoubtedly lacks ability to successfully portray convincing atmospheric environments with strong influences of light and materiality. Consequently, I feel this is unfortunately where my project lacks the most, and my shyness towards the solution has most likely only made things worse. I am interested to see how time in practice will influence other styles and working methods to fully land on a process I can consider my own.

St Lawrence Chapel,Vantaa, Finland

Thinking Through Making Week Model

My enjoyment and enthusiasm for model making has only increased throughout this year which

Fragment of 1:20 Sectional Detail 4

has been greatly supported by a studio that encourages models at all points of the design process. So much so that I decided this medium to be the focus of my ARC3015 Theory into Practice essay. Accessing further readings on the agency of atmospheres in models not only benefited my understanding of simply; what makes a good model, but more importantly what contributes to create celebrated atmosphere in space. Throughout the research conducted for this essay I was particularly interested in the work of Pallasmaa and his articulation of designing spaces that have been considered by all five senses to shape buildings in an attempt of evoking emotional responses, thus creating their own atmosphere. By using architecture as a tool to simultaneously awaken these senses we are phenomenologically allowing the body to experience spaces, rather than just endure or live between them. The sectional model made for the Primer show was successful for its effectiveness of translating the atmosphere and light into the designed space of the tea room and it would have been great to take this further and create a larger scale celebration model of my finished design. This output would have also helped bridge the lack of informative atmospheric images to promote the project. However, being aware of the impact Covid-19 caused in prematurely removing access to the workshop and daily trips to Blackwells, although my bank thanks me for the latter, it has been disappointing to see a medium I am most confident with become increasingly harder to fulfil. Fortunately, with scraps of materials left over from previous work, I was able to create a detailed model of an important internal space within my building in an attempt to convey a sense of light and materiality. Although successfully producing the output, shortage of materials required meticulous planning and restrictions of only being able to work with that I had. It brings further

disappointment after two years of being scared of the workshop to finally get excited to unleash a concepts full potential in the casting room, only to be restricted when it mattered most. Despite this, I am proud to have continued to explore design ideas with the medium I am passionate about. Although ARC3060 didn’t quite go to plan, the invaluable research required of the dissertation assured my project benefited from the transitional skill of wider inquiry and a variety of references that I can now used as justifications for concept and design decisions, as well as being a huge part of the brief making for my scheme. Becoming passionate about the purpose for my project was only amplified due to time spent completing this research, which in previous years I would mistakenly seen as time wasted away from design.

Graphical Style in Campaign Illustration

A final note to say a huge thank you to my tutors and the stage 3 team for delivering a thoroughly enjoyable and engaging final year to the undergraduate degree of which I hope isn’t the last time we see one another.

Primer Sectional Model

1:20 Pod Model 5

Charrette Week

Charrette Week Charrette week offers a great opportunity to get hands on and involved in a fast pace intense creative environment, and this year was no different. Relief, What a Relief, lead by Archie Bell hosted a chance to explore the medium of casting which I hadn’t experimented with throughout previous years. The proposal was to create a sculptural form of ‘frieze” in response to the high-street. Originally the aim was to create our own free standing four sided room that would hold the story of our frieze’s depicting the everchanging landscape of our highstreets. The process of clay work, making a mould and subsequently casting from it was something I enjoyed immensely and was hoping to implement the skills I had learnt in my final model at the end of the year. Archie, the people and the project made this the most enjoyable charrette from my three years as an undergrad.

RELIEF... 6

Charrette Week

Instead of the original 4 walled room to be presented as a group, we split off into subgroup to each compose our own arrangement. Working with the theme of changing highstreet my group decided to focus on big retail names that made a lasting impact on the highstreet once their business folded, imagining a before and after. Unfortunately my cast broke in assembly, however the rest of the exhibition went together very well.

...WHAT A RELIEF!

Image (right) taken by Yew Zhi Xuan 8

Primer

Starting the year with a site visit to Blyth, the primer project developed to design a small scale intervention in the landscape of a non-insulated structure interpreting the ritual of a traditional Japanese tea ceremony. Analysis and research undertaken through model making enhanced the tangible aspects of the design and clear themes and concepts began to emerge. Working with the crucial theme of ‘rituals’ which underpins the studio ethos, analysis of the production of these tasks became paramount when designing the spatial qualities of the tea room. Focusing all elements of design from technological approach to material details revolving around the user of the space to emphasise the phenomenological sensory aspects one would encounter was a new way to approach design, something that I hadn’t put as much focus to in previous years. However through the graduation year it became so apparent how important this route to designing was, it just made perfect sense to me.

RITUALS

STUDIO 07 TUTORS - KATI BLOM / CRAIG GRAY / JOHN KINSLEY 10

As a studio, Rituals aims to design with sufficient understanding of theory and ethics whilst exploring a specific ritual and its subsequent visible, invisible and unconscious factors. A main focus is to prioritise how end users needs are met within and around the wider context of the site, where their everyday tasks are analysed and considered to create architecture that promotes craftsmanship and strong user spacial experiences

Primer

Tea Ceremony Conceptual Model Chashaku Chakwan

Okiro

Chasen

Chaire

Chakin

Chado

This model was created after completing research about the core concepts of the Japanese tea ceremony. The use of soft timber aims to recreate the delicate decoration common in most Japanese tea houses. Timber batons hint at openings and screens used to allow light in, or to shade it out. The tectonic build up of the larger wooden pieces give rhythm and a sense of direction to the model, predominant features show to angles closing in to create a small gap, stopping just before they meet. This processional pause is reflecting the movement the user would embark as they move through the ceremony process, pace is controlled by the architecture of opening and narrowing spaces. Important objects used in the tea ceremony embellish the wooden form with the muted colours harmonising with the softness of the wood. Positioning of the items within the model has specific placement in line with the orientation of the objects, like the architecture has been design for these objects to belong there. Concepts shown in this model informed the design intentions of the tea room.

The Way of Tea Working with a mundane basic human action, making tea, and ritualising the process to sophisticated heights of spatial evolution and movement along a set journey of processes uncovered new perceptive thinking when designing the tea room in Blyth. Learning about the ceremony and requirements for each space aided the conceptual thinking to prioritise the hierarchy of light, space and materials within the small intervention. Concepts and themes that emerged from the primer project informed the design intent for the rest of the academic year. Primer, as a stepping stone to design, benefited the way I thought and interpreted architecture allowing me to find a rich concept to write a brief for my graduation project.

Primer

Site Declaration â&#x20AC;&#x153;Boasting the lowest population density in England; Northumberland has 97% of its land classed as rural. The county is sparsely populated with 63 people per km2â&#x20AC;? making it the ideal place for a secluded retreat. Lindisfarne Holy Island

- Visit Northumberland

North Sea

North Sea Blyth

English Channel

United Kingdom

England

Northumberland

Primer

Blyth - Conceptual Site Analysis

Developed Conceptual Site Model

Returning from Blyth and visiting the three proposed sites it was clear to see the divide within the town between the residentially occupied space towards the centre and around the market square compared to the heavily industrialised space closer to the harbour and across the River Blyth on the Cambois peninsula. The community of Cambois use to be reached by a small ferry service across the harbour yet after being decommissioned the only access to the peninsula currently is a 17 minute drive around the river estuary creating a heavy sense of isolation. The restrictive grid frame is to represent the low level but dense street network where the two town centre sites can be found. Those, in light brown card, have been turned into 3D massing of the site footprint and are â&#x20AC;&#x2DC;lockedâ&#x20AC;&#x2122; within the restrictive grid. Breaking free from this regimental model, site 3 located on the peninsula protrudes from the model hinting at its disconnection from the rest of Blyth. The contrasting colour further proves its disconnection with the other two sites.

Encouraged to push this conceptual thinking further, the second iteration of the site analysis model conceptualises key themes identified whilst on the visit in greater detail. The irregular grid represents scaled street networks from within the city centre. The contrast between sites within the model has also been accentuated. The red band separating the peninsula site at Cambois to the rest of the model is a visual representation of the dividing B1329 road that runs through the town parallel to the harbour and distinguishes the boundary between industry and residential/ commercial land use. The incomplete nature of the model leaves room for my project intervention. Albeit ambitious, aiming to reconnect the historically important aspects of the town back together.

Primer

Wood Joinery with Hugh Miller Liverpool A day in the presence of Hugh and his workshop evoked new perceptions of the importance of space and design surrounding our projects yet offered a tangible hands on attempt and leaning and appreciation the craftsmanship that entails to create Japanese joinery. Searching for the ‘absence of noise’ with materials embodying lightness and a contribution to the overall harmony of a space were some of Hugh’s key driving concepts I identified with. Through admiration of his work, the idea of giving users ‘moments of light’ to discover, creating a legacy for the building became a theme that ran through both primer and the graduation project.

Journey

Connectivity

Blyth

Carving a Future for Blyth Upon returning from the workshop in Liverpool, I designed a join incorporating techniques and methods we had learnt. The three pieces, all made from different woods, interlock to make a fixed corner joint that holds without the need for any glue. Each of the pieces represent a concept to be explored or a question that needs answering. The links between the pieces show the concepts work together and fit into the context of the town, a small piece removed to show the placement of my scheme.

Primer

Establishing Space Prioritising hierarchy of light, space and materiality were key in developing my tea room. The exposed nature of the peninsula site would interfere with the ritualistic calming nature of the tea ceremony therefore I decided to design the space underground, with the peak of the structure pointing out above the ground. Building underground has limitations with timber, hence the introduction of a concrete shell to line the enclosure. The contrast of materials between the delicate timber and the harsher concrete evolved into a theme that carries on throughout my graduation project. Here, the materials both reliant on each-other for their spacial functions appear to never touch, creating an invisible threshold allowing like into the space. Hierarchy is explored with the positioning of two tea room spaces, differing in ceiling heights and light qualities for small groups or individuals to explore.

Primer

Descending into the Landscape Cutting down into the landscape to create a sheltered route away from the harsh coastal winds common on the peninsula allows the building user to focus their thoughts whilst embarking on their journey down to the tea room entrance. The form of the space derived from developing another traditional Japanese wood join and using the negative space to create a narrowing path. A meandering garden leads the user to a small gate where a corner is turned and the tea room revealed. Benches line the descending route where guests can wait before entering the space, from which their entrance is different to the hosts. The material coverings and benches create a sense of rhythm in the decent with clear points of movement and slower zones to wait.

Primer

Primer Exhibition Board - “Themes” 26

Primer Exhibition Board - “Concept” 27

Primer

Primer Show The exhibition provided an opportunity for our studio to curate a space in reflection of our key studio ethos. Subdued lighting and organisation of outputs presented a uniform display of everyone work, with celebrated models in the centre of the space. The sectional model showing the tea room in its immediate context was a powerful tool when expressing the qualities of materials and lighting. I thoroughly enjoyed making this model and hoped to create something with similar impact for my graduation project.

Finland - Fieldtrip

Newcastle, UK

Helsinki, Finland Punkaharju

Imatra

Kotka Helsinki

FINLAND 24 th NOV - 30 th NOV 2019

Our studio was fortunate enough to have the amazing opportunity of travelling to Finland in exploration of its rich architectural offerings. We travelled between Helsinki, Imatra, Punkaharju and Kotka focusing on buildings with a direct interest in lighting, timber construction and also experiencing the ritualistic qualities of several churches. Helsinki

Imatra

Punkaharju

Kotka

Helsinki

Finland - Fieldtrip

Unearthing the Importance of Light Upon reflection of the trip it was unanimous between the group of how we considered Finish architecture to be unprecedented in the consistent consideration each building had to empower lighting. St Lawrence Chapel,Vantaa utilised effective natural light to cascade down onto materials or through narrow gaps incorporated within the design to create a path (polku) or sense of ascension along the journey through the building. This precedent, which I was lucky to have as my case study, easily became one of my trip highlights. Noted, it was not only the remarkable use of light that made the architecture so great, but also identifying their consideration to the use of artificial light both inside and outside the building gave it a platform to be considered as an equal. A sense of atmosphere and provoking feelings the users embody can be reduced to basic principles where light ranks highly. Building on the design decisions I made in primer, the time in Finland cemented the importance of lighting considerations to enhance my architecture through the graduation project.

Finland - Fieldtrip

Expressing Materiality Enhanced by the quality of lighting, buildings we explored had rich yet reduced material pallets often letting the raw properties of the material shine. The stripped back approach offered an innocence to the architecture as though nothing was there to hide, every element had been considered to be show and to stand out in the design, which I found admirable. The use of natural timber in contrast with other harsher materials stood out to me specifically when visiting the Helsinki Students Union building, Think Box. The zonal marking of spaces within the main common room (pictured top left) was intensified by this stark material change that equally compliment each other. Concrete lined faces hinted at a transitional space of movement and pace, where the cosier timber clad spaces appearing to carve into the concrete mass offer a sense of calmness and productivity for people to stay and work, making them feel at ease. The juxtaposition of the materials I used in primer, and seeing their potential in the manipulation of spaces with purpose inspired me greatly when moving on to the graduation project.

Finland - Fieldtrip

The Rhythm of the Journey Another key concept that emerged from the field trip was the imperative sense of journey when engaging with a building. Designed to guide you, designed to allow you to find and write your own route, a journey within architecture has the potential to narrate the user through the space and experience the different spaces how they were ideally perceived to be used. Designing this journey with orchestrated views and openings can also influence the pace that the users pass through the scheme. A focused end zone leads to a focused mind where users pass through with a destination to reach, a hidden more nondescript path removes the known to the user and creates a sense of suspense and reveal; with the overall route through the building taking more considered time. Concepts that I picked up when visiting buildings such as The Museum of Temporary Art Kiasma (pictured right) and St Lawrence chapel were important learning curves to take forward into my graduation project.

Finland - Case Study

Staging

Staging Through beginning my research of Blyth for the Primer Project, I began to understand the northern coastal town on a more analytical level. During our visit it was clear to identify some of the architectural, cultural and social issues that present themselves when walking around the baron town and in reflection holds great opportunity to develop these key themes into a refined solution to an uncovered problem. The North spit (peninsula) stands out to be completely isolated from the occupied hub of Blyth centre, scattered with failed and dormant attempts of industry to regenerate the space. I was inspired by the history of Blyth and how the loss of industry had drastically affected the area. Identifying local links in academia, offers the opportunity to allow the history of Blyth to be re-lived and uncovered through the ritual of preservation and creation.

Staging

Connectivity Moving on from Primer, understanding the importance of the sites influence on the potentials of connectivity has inspired me to embrace its remoteness and use it to my advantage. Connectivity is established through links within the community across the county to support the proposal of an archive and academic retreat.

Journey The journey to the tea room in my primer project was of paramount importance, which I donâ&#x20AC;&#x2122;t want to lose in my graduation project. Being in such a remote location the access to, and through the site is incredibly important. Learning through examples inspired by my time in Finland will help narrate the journey the users will take through my building.

TIMBER CONCRETE 54

Materiality The contrast of materials used in my Primer project was one of the tea rooms main characteristics. I enjoyed attempting to utilise the different material properties to give deeper atmospheric qualities to my design. I plan to continue experimenting with the materials of timber and concrete within my graduation project.

1860s

Staging

Historic Context 1860’s

Through early settlements around the waters edge the peninsula remained relatively untouched throughout the majority of the 19th century. Salt manufacturing that had been dominant since the 12th century began to decline. The development of a small port and harbour allowed the occupants of Blyth to begin utilising some of the natural abundance of raw materials. 1890s

Dec 30, 2019 17:52

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Charlotte Ashford University of Newcastle

Projection: British National Grid

The land on the peninsula begins to be developed. It becomes a centre for coal mining and distribution where four staiths are constructed to transport the coal, mined in adjoining Cowpen, and loaded onto the ships in the harbour. Blyth High Ferry provides the short link from Blyth centre to the industry on the peninsula. The population of Blyth is beginning to expand rapidly alongside its reliance on industry. Three ship building yards had also been established. The construction of the Blyth and Tyne Railway from 1849 allowed coal shipments to quickly expand, reaching 200,000 tons per annum.

1970s

Dec 30, 2019 17:52

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Projection: British National Grid

Site analysis collage of Blyth 56

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Charlotte Ashford University of Newcastle

The late 1960s saw a rapid decline in the traditionally male-dominated heavy industries. By the 1930’s Blyth was exporting 5.5 million tonnes of coal per annum and had become the largest coal exporting port in Europe when the trade reached it’s peak in the early 1960’s at over 6 million tonnes per year. A period of decline ensued during the late 1960’s with coal trade reducing significantly as local mines began to close together with the last remaining shipyard, Blyth Shipbuilding Company which ceased operation in 1966. Silos now dominate the peninsula’s landscape with a turbine indicating a push in renewable energy development. 57

Staging

Potential Site 1 - Market Square The market square marks the centre of Blyth. A vast open space with key access connections to local shops, businesses, amenities and residential housing it provides potential for great footfall from locals and visitors.

A Future for Blyth

Site 1

Site 2

Looking closer at Blythâ&#x20AC;&#x2122;s social and economic demographic their aging population in comparison to the rest of the UK leaves space for a new environment away from industry to offer employment and opportunity to the area. Education as a form of regeneration to the area will offer jobs to existing residents and have the outreach to bring in people from all ages to the area. Academia could also offer new educational opportunity to younger residents as part of a programme link to nearby Newcastle University, who already have established their site on the harbour. Interestingly, the two diagrams below show the effect of regeneration can have on an area with stats taken from the Index of Multiple Deprivation, 2019. Site 2 (marked) has been ranked 10,226/ 32,844 after regeneration of the area involving large academic investment. Meanwhile, site 1 (marked) is ranked at 725/ 32,844 and estimated over 10x more deprived. This shows the potential of academic regeneration to the area, which hopefully the Archive and Academic Retreat for the Lindisfarne Gospels could achieve.

It resides along the main route through Blyth towards the harbour and is home to Blyth Market that takes place every Sunday. Building on this site restricts the area for the Blyth market to operate. Pros - This site has opportunity to bring many different communities within Blyth together, due to its central location and variety of surrounding building usages.

1:1000

Pros - Promotes a masterplan style of approach towards the site. Tackling more than just designing a building but has the potential to change the way residents and visitors consider open, public space. Noted on our site visit the vast space is barely used outside of market hours. Giving this a new purpose could help in regenerating the area. Cons - Apart from the surrounding shop fronts, this site offers no real boundaries or constraints to design against. A proposal here has more chance of not integrating with its surroundings Cons - The flat, landscaped space surrounded by low level buildings restricts developments over multiple levels.

Staging

Potential Site 2 - Bus Station

Potential Site 3 - (Chosen) Cambois Peninsula

The bus station is located in a neighbouring site to the market square, again found in the centre of Blyth. This smaller site is already occupied with a functioning, yet dated and unremarkable, bus station. The existing funtion of the site marks the main public transport link to and from Blyth, most importantly connecting it to near-by Newcastle. Its links to Blyth creates an issue when developing the site.

North Sea

It is surrounded by the infrastructure of Blyths famous industries, old and new, adding to the sites charm. Its remote nature acts as both a positive and a negative when considering it as a potential site, either to embrace or shy away from. The open nature of the site with existing boundaries offers constraints to build around and influence the design.

The site is opposite the town library and surrounded by retail, recreational facilities (bingo hall) and small business premises. Being the main hub for public transport the surrounding roads are very busy and the site has frequent movement running through it by residents and visitors. Despite this, the nature of the current function means the footfall pass through instead of linger at the site. Pros - Great potential for a â&#x20AC;&#x2DC;re-brandingâ&#x20AC;&#x2122; of the current bus station with possible opportunity to integrate a secondary function to increase positive usage of the site. Access can be achieved from all directions and amplified due to the site being a public transport terminal. Cons - Unable to remove the function of the bus station as it is a major requirement of the town. Cons - Open nature of the site increases difficulty of providing privacy to the secondary function of the site. This also leads to the possible problem of noise to the site with constant bus movement.

Exposed to the harsh North Sea and disconnected from society, the north spit that forms the peninsula that only seems a thrown away from Blyths harbour yet is actually a 17 minute drive from the two aforementioned sites in Blyth centre.

Pros - 360 degree views towards Blyth Harbour and out towards the sea. Pros - Large solar gain from undisrupted south facing site boundary.

River Blyth

Pros - Opportunity to build with and/or be inspired by the multiple references and infrastructure of the industries that have dominated Blythâ&#x20AC;&#x2122;s development. Pros - Untouched, natural undulating land with a varied topography created opportunity for a multi level proposal without fear of dominating surrounding buildings. Cons - Harsh environments with winds coming in from the North Sea will require lots of precautions to protect the building and its users. Cons - Access required for the dominating turbine at the end of the site.

Staging

Wind Rose 5 Year Average Wind Rose 5 Year Average

Storage Silos

Wind Turbine

Blyth Library Pier and Lighthouse

Site Relationships Scale 1:1500 Newcastle University Marine Facility

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The site is situated between old and new, the old being a series of decommissioned storage silos to support the nearby aluminium works, and the new being an experimental venture into Blythâ&#x20AC;&#x2122;s new rising industry of renewable energy in the form of a wind turbine. Embracing this sense of isolation and responding to the prominent features of the existing landscape became important influences when designing my brief. Carving out a space for academic within Blyth allows the opportunity to highlight some of the rich history the north east has to offer whilst also adding to the catalogue of emerging sites that already benefit the area.

Site Section 62

Staging

The site is currently undeveloped and unused, creating a bridge between the old industry of the silos and the new of the wind turbine.

Staging

Situated on the end of the peninsula, the site offers 360 degree views over the harbour to Blyth centre and out towards the vast open sea.

Staging

Northumberland Archives/ Woodhorn Museum As part of my proposal I aim to bring together important aspects of Blyth and Northumberland history in an attempt to preserve and promote its stories. Ashington hosts the Northumberland archives and the famous Woodhorn Museum on the same site. Working in collaboration with these establishments offers a higher legibility to the proposal. â&#x20AC;&#x153;Woodhorn brings to life Northumberlandâ&#x20AC;&#x2122;s proud mining heritage, alongside an ever-changing contemporary arts and event programmeâ&#x20AC;? In partnership with the archive and museum, documents would be available to request in an exchange with the new archive and academic retreat. This allows a new ease of sharing information directly linked to the academics who plan on completing research and writings on the topic.

Newcastle University - Blyth Marine Facilities Making a strong connection with the university is important in the success of the project. Having an audience to occupy and use the facilities will be achieved by inviting academics and students to research, write and investigate Blyths past through use of the archive and secluded retreat spaces. Their Blyth Marine Station based at the Port of Blyth enables the university to support the operation of the Research Vessel, The Princess Royal. Currently, the marine station allows research to be carried out by PhD students, staff and commercial clients which would be the primary audience of the proposal, alongside applicants from the general public.

Map illustrating connections between the site and concept links. Scale 1: 50000 66

Maps showing sites of importance that would link with my proposal. Scale 1: 5000 67

Staging

Protecting the past... ...building the future

Can Blythâ&#x20AC;&#x2122;s industrial past catalyse a regeneration to offer a space of calmness and productivity? Conceptual collage illustrating my proposal, bridging industry and academia 68

Staging

Concept Model This model hides the site of Blyth within a book, notably about the history of Blythâ&#x20AC;&#x2122;s industrial past. The site is hidden within the book and surrounded by the words and pages of academic writing cementing the concept. The aspect of reveal of the site inspired thoughts towards the positioning of the archive within the scheme.

Staging

Holy Island - The Birth of the Lindisfarne Gospels The Lindisfarne Gospels are a great historic manuscript that were written on Holy Island further up the north east coast from the site in honour of St Cuthbert. Written around 13 hundred years ago the Lindisfarne gospels are famous around the world and are known to be one of the best pieces of Anglo-Saxon relics still in existence, even more amazing is that they are still in excellent condition. There are many comparisons between holy island and my site on the peninsula. Primarily being the long processional route at the start of the journey towards the isolated castle at the end of the causeway. This graphic aims to inform the ritualistic procession to access Holy Island from the mainland linking important aspects of the journey. I experimented with calligraphy to experience the painstaking process monk Eadfrith would have endured for the estimated 5 years it took him to write it. 72

Staging

Journey of the Gospels The Gospels embarked on an incredible 200 year journey (left) around the north of England alongside St Cuthberts body in an attempt to flee imminent Viking raids. The gospels subsequently resided in Durham but are now located in the British library, London. Ongoing campaigns (pictured above) to return the gospels to the North East ensured its relocation to Blyth, half way between Durham and Lindisfarne. The scheme is supported by a small existing network of archives with the main office in Berwick upon tweed and a secondary archive found in closer Ashington. The gospels are of great importance to the area and rightfully should return â&#x20AC;&#x2DC;homeâ&#x20AC;&#x2122;.

Staging

The Rothschild Foundation - Aylesbury

Britten-Pears Archive Aldeburgh

Inspiring due to its function, and its construction, the Rothschild Foundation Archives host both facilities to store the charities records and office space.

“Stanton Williams’ design roots the building firmly in its context and is appropriate to the listed house and garden, providing the optimum environmental conditions for preservation of the significant collection through pioneering low-energy means, achieving a passive archive environment.”

Stephen Marshall Architects 2011

Views of the surrounding countryside have been maximised whilst maintaining a conserved approach to privacy. Large timber posts creates natural thresholds throughout the site. Internally, an oak grid shell roof structure creates a column-free reading room, overlooking the more formal of the two courtyards at the entrance to the site. Here the structural qualities of timber have been displayed in a creative way, used as a feature and grand detail. The reading room and gallery roof structure takes the form of this oak grid shell. The structure has no steel and is formed from a geometric structure grid. Lights are recessed up into structure to form a simple wooden fabric. The remote nature of the site hosted similar challenges to those I will face; especially through designing a building that looks as though it is supposed to be there, perfectly in balance with its natural surroundings.

Stanton Williams 2013

The concept for the design is to use thick, well insulated walls to enclose the main archival space. This is then surrounded by a ‘buffer space’ which helps to moderate the temperature and relative humidity between the outside environment and the protected material within. A volume to the north contains staff offices, support spaces and a study room, with generous windows on the west and north façades allowing views out to The Red House gardens. Space to the north contains staff offices, public support spaces and a study room. All have generous windows on the west and north facade allowing views out whilst also minimising direct solar gain from the south. Masonry and concrete used in the construction provides thermal mass to meet the archive building’s high environmental standards.

Staging

Schedule of Accommodation

Entrance foyer 2.5x5 m Breakout space 4 x 4m

Outdoor Landscaped Approach Garden Approx 20 x 28m

Fire refuge zone

Reception - 2 x 6m

5+ metres

Staff room 6 x 4m

Interactive sculptural spaces

Lifts and vertical services 8 x 3m

Corridor - 3 x 24m

Fire refuge zone

4 metres

Outdoor seating 6 x 9m

Gallery and exhibition space 20 x 15m

Open atrium, circulation space 12 x 16m

3 metres

Planters - 2 x 9m

Underground

Outdoor private landscaped garden approx 24 x 15m

Office and meeting room 4 x 8m

0 metres

Rest on approach

Vertical circulation 8 x 8m

Planters

Storey link

Service space - 3 x 7m

Outside

Seperating corridor - 2 x 9m

Disabled toilet 2.5 x 4m

Male toilets 2.5 x 5m

Female toilets 2.5 x 5m

Studio workspace 5 x 8m

Studio workspace 10 x 8m

Fire Stair 6 x 6m

Inter-storey link

Studio workspace/ reading room 8 x 6m

Female toilets 4x5m Lifts and vertical services 8 x 3m

Disabled Toilet

Request office and preservation studio 8 x 6m 3 x 2m

Reception Desk - 3 x 8m

Balcony 4 x 2.5m

Work room 4 x 6m

Work room 8 x 6m

Work room 4 x 6m

Office 4 x 6m

Fire Stair 6 x 6m

Lifts and vertical services 8 x 3m

Reflective workspace 4 x 6m

Cleaning Cupboard

Vertical circulation 8 x 8m Basement circulation space (of which rooms will intercept) 40 x 18m

Top atrium, circulation space 8 x 16m

Reflective workspace 5 x 4m

Archive 12 x 12m Reflective workspace 5 x 4m

Processional access tunnel leading down - 100 x 3m

Meeting room 9 x 4m

Head office / meeting room 7 x 7m

Waiting room - 3 x 7m

3 x 4m

Balcony 2.5 x 8m

Vertical circulation 8 x 8m

Male toilets 4x5m

Staff Room 4.5 x 8m

Balcony 4 x 2.5m

Seperating corridor - 2 x 9m

Disabled toilet 2.5 x 4m

Academic retreat accommodation Approx 24 x 14m Male toilets 2.5 x 5m

Female toilets 2.5 x 5m

Processional access tunnel leading up - 100 x 3m

Staging

Massing The massing was developed from the schedule of accommodation after researching the craft and requirements used in preservation of historic documents. Splitting up the programme to sprawl across the peninsula landscape at relatively low levels seemed appropriate to the context. The decision to embrace the sites isolation and focus the majority of the views out towards the sea is an attempt to keep the mind focused and calm whilst providing space to work. Areas outside of the work zone, where people can relax, like outside in the private gardens, have views linking back to Blyth and across the river over to the harbour. The accommodation available for visiting academics to stay during their time on site is tucked away further down the peninsula, away from the public face of the building. They have a direct link to the archive space underground and a coastal walk between large sculptural interventions to reach the main studio building above ground. 80

Thinking Through Making Week

TTMW 27 th JAN - 31 st JAN 2020

Thinking Through Making Week

Thinking Through making Week gave the opportunity to explore a possible threshold between timber and concrete. As seen in primer, I wanted to produce a moment where the concrete and timber connect, yet are buffered between a zone of space or other material. Small tests using the materials prescribed build up to a bigger 1:1 model with placement in a building environment where the timber appears to be hovering above the concrete buffered by a precious zone of brass. This concept became integral to my graduation project as the internal threshold between above and below.

Thinking Through Making Week

Realisation and Synthesis

Changjiang Art Museum - Taiyuan

Realisation and Synthesis

Vector Architects 2019 Images by Chen Hao

Realisation and Synthesis

The realisation of my project was built around the key concepts from primer, enhanced by the learning from Finland and Thinking Through Making Week. In depth site analysis informed my brief which lead to concepts informing my design approach. The final design became a collaboration of concept and craft working together to one final output. I am extremely passionate and proud of the project I have created, however slightly disappointed with the reduced outputs I could create, mainly due to the disruption of the current climate. Knowing how well key themes were displayed in my Primer model, an aim from the start was to produce a stand out celebration model of my scheme. Despite not being able to execute this, I hope I have addressed these aims in other mediums presented below.

The museum is located in Changjian village at the northeast corner of the city in Shanxi Province. Themes throughout this building aligned with key concepts I wanted to express within my own architecture. The separation between exterior public circulation and the private route from within the museum are intertwined with routes crossing one another yet never breaking through. The transition and relationship between public and private spaces is also very important within my own scheme. The journey through the building centred around one large sculptural form providing light to the interior also inspired a key strategy within my scheme. People passing through the bottom of the light well and walking up the spiral stair will experience the impact of light from different concentrations, thus creating different experiences

Realisation and Synthesis

Peter Hall Performing Arts Centre Cambridge Howarth Thompkins 2018 Images by Philip Vile

The timber-framed glass box of the foyer (pictured right) which sits to the north of the plan is the heart of the Cambridge schoolâ&#x20AC;&#x2122;s new master plan. It serves as a cafe for pupils and staff during the day and as a foyer for audiences during events in the auditorium in the evenings. The transitional use of this space alongside its aesthetic presence inspired the foyer space within my building; occupying a generous meeting zone with space for group learning on the site. The tectonic qualities of the timber diagrid roof also mirrors the concrete waffle slab used in the basement floor of my scheme. This structural similarity, yet differing in material links the two spaces together yet provides different atmospheric qualities.

Realisation and Synthesis

Interior Refurbishment of Quebec Dental Office Natasha Thorpe 2018 Images by Maxime Brouillet

Slatted wooden battens and ambient lighting make visitors to this Quebec dental office feel calm and at ease. The soft nature of the timber adds a sense of lightness and comfort whilst also brightening up the space to appear more welcoming and appealing to be in. Douglas fir has been used throughout the space to accentuate cohesiveness of design and used in all elements from wall coverings to storage and furniture. The emotional reaction to the interior design choices stood out as method of separating the above and below spaces within the scheme. The contrast of materials when transitioning from the basement to the workrooms above changes the mindset of the building user ultimately settling them into a calm and productive mindset to produce work.

Realisation and Synthesis

Development of Scheme from Realisation Drawings originally at 1:200 scale

Designing Through Iteration Processes used to develop the scheme mainly took the form of iterative drawings and sketches. The image above shows a collection of some of the drawings that survived the COVID-19 studio move. Being able to document the process of each plan, section or sketch differing slightly, it is easy to forget how much the scheme has developed from initial ideas. Working this way appealed to my methodical way of thinking yet still allowed me to explore ideas freely.

Realisation and Synthesis

The Relationship Between Above and Below The basement that houses the archive aims to recreate similar atmospheres of what the gospels where created in. The document that was produced in isolation is kept within an inhabited foundation stripped back to primary materials with controlled lighting conditions. Reduced in programme yet being vast in size further emphasises the archives importance in the centre of the room. The room within a room concept appears defensive to the visitor and highlights the importance of the gospels and how they need to be kept safe. The long processional tunnels that lead down to the archive act as a means of control to focus the mind in preparation of seeing the gospels, whilst also linking to the same qualities of the causeway on holy island and the concept of submerging yourself into St Cuthbert cave. PODs that project up above the surface supply a space to reflect after seeing the gospels. The more private space is lined with timber battens that enhances the ambient top light being cast down. This covering of timber hints to the materiality of the workspaces above. Circulation of the building is focused around a larger light well acting like the buildings hinge. Rising up to the ground floor leaves behind the harsh concrete and emerges the visitors into a more warming timber structure.

Rising up to the ground floor leaves behind the harsh concrete and emerges the visitors into a more warming timber structure. Rather than controlling the amount of light that enters the space like in the basement, the storeys above ground aim to draw in as much natural light as possible through various openings to promote calmness and productivity. Services are clustered towards the north west of the building allowing the functional spaces to optimise on the sea views. Here the studios, public gallery and meeting rooms can be found. The balcony on the first floor opens up the atrium where a transitional education space accommodates visiting groups of all ages. More studios and meeting rooms adorn the wing of the building with primary views facing the sea and secondary views positioned looking over the landscaped gardens.

Realisation and Synthesis

Optimising and Controlling Light Identified through openings provided and direction of the lights path, there are 3 main types of light that enter the building, all with their own properties and challenges to control. Ambient North Light should be maximised as it brightens up a space without the risk of overheating through solar gain. This type of lighting is preferred to work under as it does not create harsh shadows and is much more consistent. The large double story structural glazing component benefits from north light as it turns the atrium into a welcoming bright space. Direct Sun Light is great for thermal mass yet this needs to be controlled by reduced opening sizes and shading to minimise glare and overheating. A smaller component of structural glazing can be found on the south facing facade with an integrated secondary louvre structure attached. Openings along the studio wing open out to the private garden also benefiting from the direct sun and thermal mass. Ambient Diffused Top Light is produced from light cascading down the vertical elements of concrete. Light can be controlled by mechanically operated blinds integrated into the window fixings but also maximised by lining the interiors with highly reflective materials. This type of light is very atmospheric and is used to induce the rituals of concentration and learning.

Realisation and Synthesis

Studio space structure and light development

Realisation and Synthesis

Archive and Studios, the two masses were manipulated to create a threshold of above and below.

Entrances and exits were developed in response to site limitations. The processional route to and from the basement extends along the length of the peninsula. The public entrance above ground steps out from the initial massing creates a funnel type entrance where the users move from large open spaces to a smaller lobby where then the atrium space is revealed.

Access

Wing of Productivity

Notion of Form

Opportunity for Light

Final Design

Original Massing

A hierarchy of sculptural elements are protruded our from the building to form a rhythm of regular vertical forms to fit in with the large surrounding infrastructure. The gallery space cuts though the rational studio space to focus uninterrupted views to sea.

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Openings are created throughout the building to serve each function of the building. A series of raised openings form the roof scape for the studios allowing non direct natural light in. These openings can also be used for passive ventilation.

Studio wings are extended to maximise sea views. A protected cluster space is thus created hosting a private south facing garden.

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Realisation and Synthesis

Masterplan The masterplan offers a scheme that sprawls across the exposed peninsula yet accents of sculptural vertical elements fit into the existing presence of the larger surrounding structures. The majority of the views from within the site are facing out to sea or towards the landscaped areas to embrace its sense of isolation when on the complex whilst maintaining the close connection to Blyth across the water. The archive and supporting work spaces are located towards the north of the site at first arrival, with the academic retreat accommodation tucked around towards the south of the peninsula in a more private space.

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Realisation and Synthesis

Tertiary Glazing Components

Timber Stud Walls Structural Glazing Post and Beam System attachable to pre-fabricated studio elements

Primary CLT Roof slabs Secondary Timber Diagrid

Primary CLT Panel Structure

Primary Concrete Waffle Slab and Service Void

Key Concepts Inhabitable Concrete Foundations

Structural Axo

The main design concepts can be focused into above and below and public and private. The archive and more private interactions take place underground where the public can trace the journey of them above as they wander through the landscaped approach to the building where the ground is punctured by a hierarchy of concrete sculptural elements. A lateral threshold though the large glazed atrium bridges the two landscaped gardens from front and rear. One is public and the other more private, one a welcoming space and the other more productive.

Image as part of ARC3013 Integrated Technology Submission

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Realisation and Synthesis

Carving a Space for Academia in Blyth The rough surface materials used on the approach not only help with surface friction but also refer to the industrial history of Cambois and Blyth. Continuation of outdoor floor coverings are sparsely continued through the atrium and can be seen through the glazing out onto the private garden. The building itself acts as a threshold between the two outdoor landscapes. Vegetation is used to balance the hard nature of the resistant materials. The undulation of the wall allows control of views out towards the calming sea. Sea grasses, wooden decked surfaces and the sandy coloured paving connects the space to a more conventional seaside landscape, inducing the feeling of calmness and familiarity.

Landscaping Strategy The sculptural qualities of the landscape is constructed of two main elements: the engraved wall that lines the main routes, and of the vegetation that is inspired by the surrounding exposed sea-scape. Between these elements there are places to sit, rest and relax on the approach to the main entrance. The dark walls lead the way by opening views and enticing people deeper into the site. They also have a practical purpose of providing shelter from the harsh coastal winds and a noise barrier to the close-by access road. The striking sculptural concrete elements are engulfed by similarly sculptural paths allowing visitors to get up close and interact with them, linking the above and below entities together. The words written on the surface of the walls guide you through the journey of St, Cuthbert and The Lindisfarne Gospels, hinting of what amazing treasures are held beneath your feet. The words light up as part of the lighting strategy when it goes dark.

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Realisation and Synthesis

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Realisation and Synthesis

The North Sea

Basement Plan 1:200, Originally shown at 1:100

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Ground Floor Plan 1:200, Originally shown at 1:100 112

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Realisation and Synthesis

First Floor Plan 1:200, Originally shown at 1:100

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Realisation and Synthesis

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Realisation and Synthesis

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Realisation and Synthesis

Private

Public

Realisation and Synthesis

Section BB 1:50 0m 118

Productive Space

Circulation

Services

North Sea

River Blyth 119

Realisation and Synthesis

South East Facing Elevation in Context

North West Facing Elevation in Context

North East Facing Elevation in Context 120

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Realisation and Synthesis

A Day in the Life - Public Members of the public visiting the building would arrive at the complex from the access road and park in the provided car park. The short walk to the main entrance will lead them through a sculptural landscaped garden where concrete forms from the archive below pierce through the ground surface. Upon entering the welcoming atrium reception will be able to process the arrival and guide the visitors on where they need to go. The visitors have access to the gallery, gardens and meeting rooms alongside an array of studio spaces and libraryâ&#x20AC;&#x2122;s to accommodate for working practice alongside the gospels. Reservations to see the gospels in the archive can be made at reception where they can return for a guided experience.

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Realisation and Synthesis

A Day in the Life - Private Individuals or groups intending to stay of the site for longer periods of time will be shown round and checked into their accommodation on first arrival to the site. They they have the choice to remain in the accommodation or visit the main building to familiarise themselves with the facilities before their reserved time to see the archive. Once the guide has introduced himself to the visitor they begin the journey down into the archive, a time of preparation and focus on what they are about to see. The user is presented with a view of the vast archive space as soon as they enter the basement. Accompanied by a member of staff the user is allowed to explore the contents of the archive and retrieve information which can then be collated and refined in the nearby reflective Pod spaces or general reading room, before the material is taken up to the floors above to be further worked on.

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Realisation and Synthesis

Rear Private Garden View The open courtyard benefits from being south facing and protected from the prevailing wind. The space is studded with the emerging forms of the light wells from below. Outdoor furniture allows users to read, eat, relax and discuss whilst taking a break from the indoor spaces. The garden also offers an alternate route to the gallery space. The threshold between contrasting concrete and timber is expressed externally with a shadow gap buffering the two materials.

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Realisation and Synthesis

1:1 Internal Timber to Concrete Connection This detail model, originally aimed to be made properly as part of a series from the correct materials in the workshop, continues with the concept of the concrete and timber used throughout the building never touching. Here the timber batons transitioning from the concrete staircase are buffered by an accentuated metal joint.

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1:20 POD Model 130

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Realisation and Synthesis

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Realisation and Synthesis

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Realisation and Synthesis

Expressing Materiality

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Primer

Finland

TTMW

Final Design

Expression of the relationship between concrete and timber was first declared throughout the Primer project. This design principal responded to both atmospheric and tectonic qualities of the scheme and has been further explored during the length of the graduation project.

Examples of this material relationship were studied during the fieldtrip to Finland.

Thinking through making week was an opportunity to explore this material threshold at 1:1 scale. Findings from this short intense project informed details within my building and helped me when drawing my 1:20 and overall technical integration.

The use of timber and concrete defines the different spaces within my building with two clear concepts. The concrete promotes concentration and focus, where the qualities of the material leads to sculptural spaces to manipulate and control the light reaching the interior. This comes as a contrast to the timber lined spaces predominantly above ground where the soft nature of the material induces a sense of calmness and productivity for the building users to collate their findings and produce work to a high level within the facility. The materials were resolved at a detailed level to express the transition between the two to read both internally and externally.

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Realisation and Synthesis

Ritualistic Procession

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Primer

Finland

Holy Island

Final Design

The theme of a ritualistic procession down into the scheme was first explored as a means of escaping the harsh environment the site entailed whilst also exploring key principles of Japanese tea ceremony culture. This research kick-started one of the main concepts supporting my scheme and was further expanded on throughout different moments of the year.

The St Lawrence Chapel located in Vantaa, Finland became a principle precedent when exploring the themes of journey within a building. At the core of the design Avanto utilised the notion of â&#x20AC;&#x153;polkuâ&#x20AC;? or path. This simple term hides many complexities including the path between public and private, mortality and immortality, and crucially, the architecture between mourners and the deceased. 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.

Holy Island, the home of Creation for the Lindisfarne Gospels, geographically presents many similarities to the site for my scheme. Isolation from the mainland forces a journey through narrow landscapes along the causeway to reach the protected site of the abbey and castle. This can not only be seen in the approach tot he Cambois peninsula, but also in the processional route down to the archive within the basement of the scheme. The defensive style of architecture hidden underground invents a sense of protection for the gospels, similarly to the rising tide that cuts off Holy Island from the mainland.

The idea of focusing the mind in preparation for the oncoming events inspired by the approach to the tearoom authenticated the simplicity of the long processional tunnel down to the archive. The thresholds between these spaces, especially above/ below and the different experiences between public and private building users was enhanced by the understanding of the St Lawrence Chapel. The 1:500 sectional massing model illustrates the decent and the relationship between materials and above and below clearly.Yet ideally I would have developed this method of representation further and incorporated it into a final show-piece model for the scheme.

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Realisation and Synthesis

Hierarchy of Light

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Primer

Finland

Final Design

Pod Model

The hierarchy of light introduced into the tea room spaces through various openings informed by material tectonics evoked a sense of atmosphere into my Primer project. Utilising the qualities of light for different spatial purposes added to the programmes richness.

As previously mentioned, the high quality of light seen throughout buildings in Finland inspired a deeper level of consideration when designing the spaces for the graduation project. The scheme aims to use light as a tool to create space and inform activities.

Through design intent and technical integration the project relies on utilising different qualities of light to inform thresholds throughout the building. Different ways of manipulating light give way to different opportunities.

A sectional cut away 1:20 model of a POD used as a reflective workspace within the basement floor of my building hints at a material cross over between the above and below spaces. The sculptural light well piercing through the ground above allows ambient top light to cascade down the highly finished timber interior. Natural, non-direct light is perfect working conditions for the users to sit below and be engulfed by this sense of warmth, aiming to provoke calmness after seeing the gospels and supporting artefacts within the archive. This space acts as a transition between the two entities, where following the spiral staircase up to the floors above will immerse the user into a brighter productive working environment. 139

Realisation and Synthesis

The End of a Journey Below shows a diagram exploring the theme of journey throughout the graduation project, leading towards the importance of the final route users would take through my scheme.

Journey to the Home of the Gospels Mainland (Beal)

Holy Island (Lindisfarne) 5km Causeway

Journey of the Gospels

Lindisfarne

Durham

200 Years

Journey to Site Blyth Centre

Cambois Peninsula 17 Minute Drive

Entrance

Journey of the Archive and Academic Retreat of the Lindisfarne Gospels

Learning and Productivity

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Back to Blyth Exit

Although the scheme is situated on the Cambois Peninsula, the positive impacts from creating new local jobs, and bringing together a community of like-minded academics from far and wide has the potential to reconnect Blyth and establish solutions to many of the issues outlined in Primer and Staging. Celebrating the rich history from the North east of England has never been so important.

Cultural Bibliography

Cultural Bibliography Crafting Architecture “Casting” - Hope Stebbing

Cultural Bibliography Crafting Architecture “Cooking with Concrete” - Russ Coleman

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Cultural Bibliography

Cultural Bibliography Crafting Architecture “Working with Wood” - Guy Scott

Cultural Bibliography Crafting Architecture “Collage” - Mirko Pugliara

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Cultural Bibliography

Degree Show Invitation As part of the degree show committee, which the event unfortunately has had to be changed due to the effects of Covid-19, I developed a concept for the invitations that would have been sent out to all attendees. Despite the design being complete, and a fully functional prototype developed, the invitations have turned digital, with a GIF being produced of the scannimation to continue its promotion. A still of the updated GIF are shown below, with the 5 frames advertising APL degree show as the user would have pulled the insert out of the engineered slotted envelope. Developed and prototyped with Rory Kavanagh Gif made by Joseph Caden

Follow the QR code to see the scannimation in action!

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