JASMINE BISHOP ACADEMIC PORTFOLIO ORDINARY RESILIENCE
170101017
19/20 STAGE 3 1
CONTENTS
CRITICAL REFLECTION pages 4-5
ACKNOWLEDGEMENTS
CITY OBSERVATIONS pages 6-13
ARTIST INFLUENCES pages 14-19
A quick note of thanks to my studio leaders Harriet Suttcliffe and Jack Mutton for all their advice and support as well as encouraging me to work in new artistic ways that I would have never thought possible. I would like to thank my fellow students, friends and family for their support during my time on the course who have been a great asset to my learning process.
PRIMER pages 20-31
REALISATION pages 62-97
FIELD TRIP pages 32-37
THINKING THROUGH MAKING
STAGING pages 38-61
SYNTHESIS pages 112-129
pages 98-111
AMENDED WORK
CULTURAL BIBLIOGRAPHY
REFERENCES
pages 130-141
pages 142-145
GROUP WORK
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APPENDIX pages 146-180
CRITICAL REFLECTION On reflection of what has been a really challenging year, both personally and academically, I feel I have engaged fully with lots of the tasks set for the stage 3 graduation project. I think this year has really helped me to affirm some of my opinions and influences as a designer. As somebody who was feeling disheartened and disconnected from the course, deciding not to continue my journey in education to become a qualified architect, I think I felt a little lost and unsure of what to expect from this year. However, with this year being much freer in terms of being able to work on a project for a longer period of time and in many instances manipulating or setting the brief for yourself I’ve found a love for designing and researching and the elements of design that I am personally interested in and stimulated by. Despite my apprehensions before the start of the academic year, I think I have risen to the challenge and overall had a much more positive outlook and mind set on the academic year as a whole. I think being in the studio, Ordinary Resilience, which has a really interesting approach to the beginning of a project - such as looking to artists and art practices at the beginning of a project to influence architecture rather than simply jumping straight into the detailed architectural design of precedents has helped me to design in a different way. Of course, architectural design in precedents is integral to designing on an architecture course, however it felt less forced into the project and more naturally integrated by studying and researching in this way. The design process and philosophies of the studio have helped me to understand that there is not one ‘formula for design’ and processes to the final outcome can differ greatly. This studio has really connected my older creative mind set coming from a background in fine art and working through large scale paintings in my earlier education with the design philosophies from a social and technical stance that I have gained from my architectural education and surrounding myself with a range of architectural peers and engaging in Small Talk events run by the society.
this a large part of my scheme was considering a wider master plan, considering the integration of local people in Newcastle and Gateshead and their connections with the University. University’s stand vacant, or at least not at full capacity, for half the year a lot of the time when students have returned home or are on holiday from studying, why not use this opportunity to continue use of the building all ear round to different audiences. Engaging the wider community is driven from my own background and experience of underfunding of arts subjects and projects and I think as a wider scheme I just want to create an overall more inclusive societal experience for the wider community engaging people from all backgrounds to pursue further education or even hobbies, events and use of spaces that can add another dimension to the community’s life. The COVID-19 outbreak of course has added a whole new challenge to many people’s lives this year and has really changed the way I work. It may have made me feel uncomfortable or unmotivated at first, particularly given the new world we are graduating into, however, on reflection I realise I have gained many new skills and have had to address the issue head on and be adaptable. I hope these personal attributes help to contribute to my character moving forward in the future and will hopefully only contribute to my merit as a designer and individual.
The field trip definitely helped to integrate some architectural precedents, materials and inspiration into the design process. But it also made me think of new ways to think about spaces and record space, through art and photography. I think this year I have tried to explore and take into consideration not just the architecture I am creating but also the processes I am using to create work and how they will help me moving forward, out of education. I’ve found a love for printmaking, making graphics and digital artwork and feel I’ve developed a wide range of skills to benefit me in the future, rather than solely focusing on construction and technical details, as I no longer wish to follow a career in architecture. As conceited as it may sound, aesthetically producing and documenting a project has become quite an important area of design for me this year, trying hard to make my work coherent and to be viewed as ‘a collective’. However, this is quite the opposite of my dissertation focus. In my dissertation I explored the idea of experiencing space with the aesthetics of the other senses, exploring how visually impaired people may experience architectural space from a practical viewpoint as well as conveying materiality through touch, size and shape of spaces through sound etc. The dissertation was something I found really engaging and almost a release from some of physical making involved in the design work. It leaned into my appreciation for literature, reading, philosophy and essay writing as well as forced me into the perspective of somebody who I would struggle to identify with their experiences. Parts of my dissertation were written in braille by myself and I also produced an audiobook – some things that I never thought I would have had the ability or opportunity to do. Drawing from the dissertation project I’ve realised that often as ‘the architect’ we automatically assume an ‘all-seeing’ superior approach, often thinking selfishly for ourselves struggling to put ourselves in the position of others. In my project I wanted to try and take some of what I had learned about multisensory design by thinking about materiality in more depth, engaging touch, as well as sound, particularly with my project being a Music School for the University. As well as
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C I T Y O B SERVATIONS
At the beginning of my project as a Studio we went out into the city of Newcastle and explored the city. It was important to take note of things that stood out to you and create your own observations of the city through photography and drawing techniques. Whilst out in the city I was struck by the relationship between different streets in the city, the buildings, the windows, the interiors and predominantly the reflections of these in one another. The reflections of buildings in each other created an almost organic form of collage. The city created its own collage of itself, I tried to reflect this in a lot of the sketches and photographs I’d taken considering the relationship of indoor and outdoor spaces to one another and focusing on three key words ‘light, reflections and atmosphere’. In the city observations it also allowed me to consider the materiality that is already present in the city and how I might take some of these observations forward to my primer work and the rest of my graduation project.
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SKETCHING MOMENTS IN THE STREETSCAPE As I walked around the streetscape of Newcastle I noticed the shop fronts and the winding intertwined streets as some of the most prevelant things to me and my experience of the city, I think this was done through my own perspective and the way in which I experienced the space from my own point of view and eye level. I made some rough sketches of shop fronts that interested me and tried to highlight the light and reflections within those images.
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REFLECTIONS I found it really interesting to capture where the light sources in the glass and the way the reflections produced these new spaces blurring the boundary of interior or exterior space. Shapes font and writing also came to the forefront, I felt the photography seemed much more like a collage as there was the presence of layering in an unedited image which I found really intriguing.
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R E BECCA W A R R E N
Rebecca Warren is a modern artist that predominately works with sculpture. I have taken inspiration from her work throughout my project and primer work. Her sculptures attempt to capture an environment and atmosphere. In Warren’s Vitrine works her found objects are carefully chosen and create a sense of an interior within an interior from objects previously disregarded as being ‘art’ until becoming a part of her work. She produces new environments and spaces within a given gallery space. I find there is a comfort and informality in her work that I am drawn to. In my interpretation of the city I have used Warren as a basis for my work by creating abstracted and fragmented environments through my sculptures and prints at different scales. Rebecca Warren breaks the stereotypical language of her forms and that is something I am interested in the language of the city. I have been working through reflections in Newcastle as I’m interested in the boundary between the interior and exterior and their coming together.
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I am particulalry interested in Rebecca Warren’s Vitrine works where she is concerned with interior and exterior and that is something I want to convey in my own massing proposals, the boundary between interior and exterior. Rebecca Warren is a modern artist that predominately works with sculpture. I have taken inspiration from her work throughout my project and primer work. Her sculptures attempt to capture an environment and atmosphere. In Warren’s Vitrine works her found objects are carefully chosen and create a sense of an interior within an interior from objects previously disregarded as being ‘art’ until becoming a part of her work. She produces new environments and spaces within a given gallery space. I find there is a comfort and informality in her work that I am drawn to. In my interpretation of the city I have used Warren as a basis for my work by creating abstracted and fragmented environments through my sculptures and prints at different scales. Rebecca Warren breaks the stereotypical language of her forms and that is something I am interested in the language of the city. I have been working through reflections in Newcastle as I’m interested in the boundary between the interior and exterior and their coming together.
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E A P O
D R A Z
U D O O L Z I 19
P R I M E R
The primer part of my project is intended to reflect the language of the city of Newcastle through art practices and observing the city. This artistic way of working is different to a stereotypical site analysis that is common in architectural projects and has allowed me to be experimental in my approach and try new things such as casting, lino printing and embossing. For the Primer Show we worked at three main scales: The Urban Grain(large), City Rooms(medium), Details and Tectonics(small) scale. Something I wanted to focus on in my city observations was the reflections present in particular in some of the narrow streets of newcastle and the contrast between this and some of the more open spaces. The reflections stem from the large amount of glass and apetures in the buildings of Newcastle, particulalry at the street level. As a whole studio our Primer exhibition comes together to represent Newcastle and its architecture as we are concerned with historical context when designing. Each person’s work is their interpretation of the city.
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INITIAL EXPERIMENTS At the beginning of primer we started with a large scale piece, for which I have made a sculpture in the final output I experimented with how I could portray the streetscape of Newcastle and how I could represent the different language of the city, trying to compare and contrast the different zones of the city such as Grey Street and Northumberland Street to Highbridge street and the Quayside. I also considered the idea of portraying a skyline of the city as in Newcastle it is particularly prevalent.
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LARGE SCALE PRIMER - THE URBAN GRAIN After much experimentation with paper and perspex and scraps/offcuts from the workshop I settled on creating an abstracted flagbook effect of the earlier concepts. I etched into the plastic with a scalpel and then cut up the etching to create a £d effect, when I added a cast base with a light underneath the sculpture began to capture the light in interesting ways, playing with the light ‘the route’ and reflecting and refracting it off the different pieces of plastic. I think this piece tries to show the wider city of Newcastle reflecting and intertwined with one another, the huge variety of language in the city coming together and bouncing off one another.
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LAYERING AND PRINTMAKING For my medium scale primer piece, I started to explore print making, linking back to some of my artist research. I experimented with lino printing and embossing. I focused on high bridge street(pictured) and the more intimate eye level experience of these places. I think the most important thing with this process and the final output was the concept of layering, layering to represent the different reflections. This was my first experience of printmaking and it was one of the most enjoyable parts of my project that I wanted to try and continue throughout.
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MEDIUM SCALE PRIMER - CITY ROOM This medium scale primer print is to represent the ‘city room’. The city room is not an actual space but a moment in the city at the scale of a room. I took shapes and images from my photography on high bridge street and embossed and printed onto the same piece of paper in an attempt to represent this indoor outdoor space. Varying perspectives, layering of different colours and techniques each represent different elements forming one whole city room, a combination of the surrounding internal and external environments.
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SMALL SCALE PRIMER - CITY DETAIL At the small ‘city detail’ scale, I started to create small cast tiles representing the windows I’d noticed in some of my photography. As the window had been the main focus of my photography – allowing me to capture the reflections, I was then focusing on what surrounded these pieces of glass. I think my piece is similar to the style of Rebecca Warren and it really allowed me to understand the casting process which I had learnt from the Crafting Architecture workshops. This then allowed me to use this skill later and throughout my project.
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FIELD TRIP
For this year’s studio field trip, we visited Cologne and Berlin. Although our project was not based in either of these locations like some other studio trips it was a fantastic opportunity to draw some comparisons between city language and materiality in Germany to the city language and materiality in Newcastle. We visited a wide range of Architectural precedents as well as galleries and exhibitions that were really interesting to consider the use of space in working buildings, materiality and generally as a cultural creative experience. I really enjoyed this trip as I enjoyed that there wasn’t purely and architectural focus, we visited design museums and art galleries as well.
COLOGNE + BERLIN
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CAPTURING MATERIALITY
These images are an attempt to capture some of the materiality and moments from the field trip that I personally found significant. Again, I tried to have a similar attitude to the Newcastle observations by trying to take away my own personal observations of both Cologne and Berlin. The materiality photos were intended to try and inspire some of the choices for my own building design when it comes to detail. The photos on the following page are some of my more personal favourite photographs and moments from the trip. I have a personal interest in interior design and I really wanted to capture these fantastic architectural design moments of interior spaces. I think this links back to some of my earlier design ideas in primer about atmosphere and lighting in these spaces. The Museum of Applied Arts and Museum Ludwig were personal highlights from the trip to Cologne. Case Study exploration of the Neues Museum in appendix B(pg. 150)
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INTERNAL ENVIRONMENTS, THRESHOLDS AND ATMOSPHERE
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STAGI N G
The staging part of my project is where I begin thinking about the brief and the site. As part of staging I wanted my site analysis and initial responses to be linked to my Primer work focusing on the city of Newcastle. I have attempted to incorporate wider context of the city as well as just the site as I think context is a really important part of my studio brief. Through staging I have continued to use some of my primer techniques such as casting and my overriding concept of ‘reflections’ and views.The studio brief states that our proposal will be for a University building for the department of Art, Music or Architecture. I have chosen to design for the music department and this has been considered in my massing proposals in terms of the kinds of learning spaces needed for the programme. This is something that won’t be fully realised until the next steps of the project however something that is still important to consider in these early stages in terms of how much space is needed and what those spaces will be used for.
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WIDER CITY CONTEXT In order to meet the brief of designing a university building, I have looked at the wider context of the city and what other buildings/places may be relevant. I think it is important to note that the site is quite far from the main campus but has close connections to Manors Metro station, Central Station and The Sage over the river in Gateshead. The site is also close to some student accommodation around the Stepney Lane area. Currently the best access to the site would be via Tower Street, from the back off the Keelmans Hospital. As well as this, currently access to the Quayside from the site for pedestrians can be quite dangerous and convoluted due to the busy road running on the boundary of the site. The area is mainly quite residential made up of various student flats, flats and accommodations however the area becomes more commercial as you head away from the site towards the Quayside.
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URBAN STRATEGY As an urban strategy I intend to add more pedestrianised areas to make the additional campus safer for staff and students and even the residents who already live close by. This is an area that is currently not used so much, perhaps because of the difficulty negotiating the space on foot. As City Road is a busy main road running between the site and the Quayside, there is a huge disconnect between these spaces that are actually so close in proximity. I intend to bridge the gap between these spaces using the island central reservation space with a derelict building on. I plan to demolish the disused building and create landscaping and connections for pedestrians and cyclists to the Quayside. These key connections will then be reflected in key routes and intimate spaces between buildings on the site in my own design. These more intimate spaces could link back to my Primer research about reflections at the ‘city room’ scale that are highlighted by close proximity of buildings or ‘small streets’ that I intend to create.
Pedestrianised/Green Areas Key Buildings 42
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KEY MOMENTS ON SITE I wanted to show some key moments on the site alongside the site analysis. These photos are not my own but part of a group site analysis exploration. However, these photos really stuck out to me as important about capturing the smaller more intimate moments of the site. They also linked into my urban strategy. Although this moment where the steps meet City Road may look great and historical, realistically it is inaccessible and dangerous to be walking near the busy road, particularly for my proposal where it would be expected that large numbers of students would be walking to and from the university, causing the pavement to become crowded. In the bottom image you can see the Wall Knoll tower, an important building on site peering between the two existing buildings. With my new proposal I intend to open up that view more from the Wall Knoll tower and Tower Street approach to the site of the whole Quayside.
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DEMOLISHING EXISTING BUILDINGS TO ENHANCE VIEWS As mentioned in the earlier pages, connecting back to primer one of my key focuses on site is to open up the views to the Quayside and vice versa. By demolishing these two buildings highlighted, that are no longer in use, the views are preserved, and a safer environment is created for students and the general public to walk around the site. It also opens up the opportunity to create a wider piece of public realm for anyone nearby to enjoy with opportunity for green spaces which is a great sustainability opportunity for a city centre site.
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CREATING CONNECTIONS TO THE QUAYSIDE To create these connections to the Quayside I intend to create these bridged walkways across the road into the central park or green zone and then down to the Quayside whilst also attempting to deal with the level change on site. These bridges over motorways are quite common in Newcastle as pictured above, as an effective way to safely travel to and from different parts of the city and I think they would fit in well in this part of the city, situated not far from the Millennium Bridge.
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SITE MODEL To explore the site further I worked as part of the group who made the site model out of plywood and other various softwoods to represent the site as whole. Left are some images of that process. I have chosen to highlight two of the key buildings, for my project personally The Keelmen’s Hospital and the Wall Knoll Tower. The historical influences of these buildings and the language should inform my proposal’s language and form.
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HISTORICAL CONTEXT SITE SPECIFIC
THE KEELMEN'S HOSPITAL The Keelmen’s Hospital was built in 1701 by the Keelmen of Newcastle. The building has been used previously for student accommodation but currently stands derelict and disused.This Grade II* listed building is in danger of turning to ruin if left stood for much longer. I would like to incorporate the reuse and refurbishment of this building into my design proposal as I think it is important to maintain the history of the site and create more of an appreciation for this building by reintroducing it to the public through the scheme.
THE WALL KNOLL TOWER The Wall Knoll tower, sometimes referred to as Sally-Port Tower was part of Newcastle historic city walls. It is interesting to note, as shown on the map the tower crosses both the city walls and Hadrian’s wall. The building is of key signifcance in relation to the immediate surroundings of the site. The Wall Knoll Tower is a Grade 1 Listed Building. Between the Wall Knoll tower and the Sand Gate the wall is now completely destroyed. The Wall Knoll Tower was built in the 1700s. In the year1716 the wall was built upon by a company. with a grand stately square tower and four turrets.
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ALL SAINTS CHURCH
THE TYNE BRIDGE
THE SAGE
THE MILLENNIUM BRIDGE
ON SITE VIEWS AND REFLECTIONS As mentioned in primer, views and reflections have been an important part of my studies of the city. I have tried to capture some of these in a more sitespecific study. I have made some etches of the key city road site views; All Saints Church, The Tyne Bridge, The Sage and the Millennium Bridge. As well as this I’ve produced a collage of the views and their proximity to the River Tyne/Quayside. I think this site could really highlight some of the key design research ideas of reflections and views due to the opportunity that is already on site.
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CITY MATERIALITY AND LANGUAGE As part of the site analysis, this is an exploration of the materiality around the site, brick is really prominent in the surrounding buildings as well as some sandstone. I think this will definitely come into consideration when thinking about the building faรงade and materiality later in my project.
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MASSING LAYOUT ITERATIONS
As part of my design process I made some cast massing models in various iterations, unfortunately some of which remained in the studio, unphotographed after it closed. However, I have tried to improvise and show a variety of massing proposals that I explored. My main concept was to have a series of towers across the site as a reference to the Wall Knoll Tower and Keelmen’s hospital. The wider proposal would consist of a series of buildings. I considered altering the Keelmen’s hospital and adding additions however I decided this wasn’t really necessary or needed in the more final massing. These are just my initial experiments thinking about what the massing might look like in plan/elevation/3D and hinting towards an idea of the programme of these forms.
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CREATING AN IMPRESSION ON THE SKYLINE As a more final proposal I decided on the placement shown in the site analysis map, showing the integration of my urban strategy for the wider area and access to the quayside etc. By having this placement of the buildings, it opens up opportunity for courtyard spaces and zones of public realm which I intend to create green planted areas within the city centre site. This site will be seen from the nearby Baltic viewing platform and the Sage, this is an initial sketch/proposal hinting at the view and integration of the proposal with the skyline.
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REALI S A T I O N
Through the realisation stage I have explored one of my typologies in the most depth creating a 1:100 model and working through drawn iterations in plan and section. I have also began to develop my semi-public typologies considering the form of my building in more detail. In terms of the wider context linking back to staging I have considered the pedestrianisation and routes through my site. Initially for my model I considered floor plates and floor heights, considering the spaces that they would create before ‘wrapping’ my facade considering openings. I have tried to show the scheme as a whole in the intial stages of realisation before moving onto focus on one building in particular (pictured on these pages) and its development further into synthesis. In this stage of the project I have produced finalised plans, sections and elevations as well as some interior images to give an idea of materiality, light and atmosphere (to reference some of my earlier key topics from the Primer stage of the project).
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NEW BUILDS AND REUSE - THE PROGRAMME AS A WHOLE
During the staging part of my project in my initial massing I explored the idea of multiples buildings across site, this idea has continued into realisation. I have decided on 7 buildings across site, 5 newbuilds and 2 existing buildings as a reuse/refurbishment scheme. I think by reusing some of the buildings on site it’s a really good way to think of sustainably creating the built environment by using some of what is already there. Going forward I will decide on which of the new builds I am going to develop further as a more detailed design proposal (plans, sections, elevations, detail studies). But initially in realisation I experimented with all 5 new builds and creating a wider programme and understanding of the site and programme/use of spaces as a whole.
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CREATING PIECES OF URBAN REALM WITHIN THE PROGRAMME Relating, to the previous pages graphics showing the buildings from 1-7, this axo puts them in context of the wider public realm. This is a rough early study exploring how the spaces surrounding the buildings can also be designed and used to create substantial pieces of public realm. These green spaces can create an environment for people to socialise, sit, buy coffee, walk through and cycle through safely. This image puts the whole proposal into context as a whole programme/ scheme and separate campus from the University. Moving forward I have only developed building 4 further so that I could focus on getting a high level of detail and really interrogate the plans and sections, working through iteration to come up with the best design solution.
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BUILDINGS 1-3 ITERATIONS Buildings 1-3 are intended to be smaller scale to open up the view to the Quayside on the first approach to the site from Tower Street. In the bottom image you can see how this idea has developed from staging – being one building to three buildings. The idea with this part of the design was to create a small intimate streetscape, linking back to primer and High Bridge street studies, and would include shops, cafes, restaurants for the students and general public. These buildings would be semi-public, with main user being music students for the music shops, book shops, instrument tuning but also completely open to the wider public. There would be recording studios that could be rented out to the wider public and lockers/storage spaces for students with instruments, located not far from University security services in the Wall Knoll Tower.
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PRINTMAKING TO EXPLORE FORM After experimenting with working in plan and section on these buildings I started to think about elevations, considering moving forward into more detailed designs and thinking about materiality. To do this I resorted back to my Primer technique of printmaking. This is something that I explored I my Theory into Practice essay about how 2D printmaking can inform 3D form. Moving forward I decided to focus more on building 4 as I wanted to focus on the ‘tower’ concept that I had established in staging, as well as working on detailing a larger scale building as required by the ARC3001 brief. Exploring the concept of print making and how it can influence, 3D form,. facade details, openings and translate into orthographic plans and sections, create better informed plans, sections and models of the spaces that are represented and considered from the layered printing.. Referring back to the primer work and could be used to explore the intimacy of these close knit spaces where they will create small street scapes that will reflect off of one another. The print making has helped to consider creating plans and sections and experimenting with the form - rather than three simple shapes of the same height, experiment with varying heights, widths and potential courtyard spaces within the buildings, this connects to the wider site plan of creating these courtyard spaces. By layering prints its possibke to think of openings, materiality and form as well as technical aspects such as floor plates and ceiling heights.
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BUILDINGS 4-5 ITERATIONS
DESIGNING THROUGH MODEL MAKING Moving onto buildings 4 and 5 I decided to use some of the techniques from my earlier buildings such as casting and experimenting with the form.This building was much more challenging as it was trying to establish a presence on the site without being overwhelming as well as a relationship between each other and the Keelmen’s hospital. I was trying to be cautious of building to high next to low rise accommodation but also trying to resolve towers into spaces that could actually be used. I started by trying to detail in plans and section the layout and use of spaces, soon realising that the footprint I had created in massing would need to be increased. I also made a 1:100 model thinking about floorplates and having a variety of heights in the spaces in the building. However, I am not at all happy with the façade of this model and have realised this is something to really be interrogated and investigated further in realisation and synthesis.The windows and form of the building just weren’t quite right they seemed flat and 2Dimensional and not at all celebratory of the spaces inside the building.
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DESIGNING THROUGH PLAN AND SECTION
I worked through hand drawing for my plans and sections and added notes as I worked and reworked the plans. This was definitely an iterative process and took me a while to get to my final plans and sections (later in realisation). I finalised plan outlines in pencil hand drawings before editing them in photoshop to show context and inhabitation more clearly
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SCHEDULE OF ACCOMODATION AND ROOMS/SPACES NEEDED
SCHEDULE OF ACCOMODATION AND USE OF SPACES I created a schedule of accommodation to understand what spaces were needed and solidify the brief. I think this also helped me to visualise and understand the kind of activities that would happen in the various spaces of the building as well as understand some of the technical needs of the spaces, particularly with this being a music school I looked at the acoustic demands of the varying spaces. This infographic should depict the kind of activities that would occur in term time in the University building. However it is important to think about the fact that the building wouldn’t be as heavily used by students in holidays, this means the university could be open to the wider public and people who would want to use the space for events. I think a great reuse of the practice rooms would to be able to host music lessons for children or adults in the wider community who want to learn to read music or play an instrument.This could even be something taken on by students or alumni of the university.
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DISTRIBUTION OF SPACES These plans relate to the programme and schedule of accommodation showing how the spaces are organised. Each floor is centred around a central space, mimicking the form of the nearby Keelmen’s hospital and the courtyards across the site that I’ve wanted to create.The interior reflects the exterior by including this ‘central courtyard’ idea where the lecture theatre and library become central spaces surrounded by corridors.
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DEVELOPING THE LEARNING TYPOLOGY I have created a wider master plan of the various buildings on site, but as discussed chosen to develop building 4, the learning typology, which is where my more detailed, inhabited final plans are taken from. Hopefully it is clear to see how this building is situated in the wider context of the whole scheme I wanted to include the immediate landscaping in my design as I think this is an important part of my scheme as a whole as well as part of my environmental strategy to create a band of greenery between the busy urban city and the smaller urban realm I have created.
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FIRST FLOOR
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THIRD FLOOR
SECOND FLOOR
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FOURTH FLOOR
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1:50 SECTION Through my 1:50 Short section I have tried to address the level change on site, the landscaping the inhabitation and use of the spaces. I have also hinted at the faรงade material(brick) in the parts of the scheme that are shown in elevation. As part of my wider concept included the idea of reuse, I wanted to reuse the brick from the demolished buildings to contribute towards the retaining walls and landscaping, reusing the building materials to create a landscaped area to enjoy for the wider public.
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1:50 DAY IN THE LIFE LONG SECTION This larger section is one my celebration pieces showing the day in the life of a student as they take a journey through the building at different points in their day. I have tried to capture the surroundin context of the whole site including elements of the wider public realm scheme, including green spaces.
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I have explored the old and new elevations on site to show some of the differences of my proposal as a whole including elements of my wider urban strategy as well as showing some of the materiality and developing the faรงade from the earlier 1:100 model study of the building.
ORIGINAL SITE ELEVATION
NEW SITE ELEVATION
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OUTDOOR LANDSCAPING The outdoor landscaping is intended to create pockets of public realm in the form of courtyards across the site. These spaces are inhabited with trees, plants, flowers and potential wildlife. In these spaces I have created places to ride a bike, sit and read, meet friends and simply get from A to B whilst walking in a safe environment.
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THINKING THROUGH M A K I N G
For Thinking Through Making I have taken inspiration from Anni Albers and Mies Van Der Rohe for their use and practise with fabric and material in architecture. As in my design brief I am concerned with desiging a Music Department for the University, I decided to think about materials in the context of acoustics and sound. Stereotypically, softer materials are used to dampen sound and prevent sound transfer between spaces. Where as, in contrast, harder materials are used to reflect the sound, transfer the sound and spread it through echos. I have experimented with materials such as felt, canvas, string (for weaving) and aluminium. In my canvas experiment I attempted to create a quilted effect and stuffed the panel with plastic carrier bags. From a sustainability point of view I thought this may be a good reuse of materials. As well as this I used drinks cans as part of my aluminium experiment to consider a reuse of materials. By using these two juxtaposed materials I feel through Thinking Through Making week I really interrogated the two types of material and how they could potentially be combined. Something I had noticed from research is that often jagged or uneven surfaces are used in acoustic panels to prevent sound from transferring between spaces. I tried to mimic this with my cushioned canvas panel and felt experiment. The weaving experiment is something I tried from my Anni Albers research and I thought, although a thin material it can be quite dense and carpet like so could potentially have a dampening effect on the sound. For Thinking Through Making I didnt get chance to actually test and interrogate these materials, but since I have attempted to record sounds with these materials and decide on their ability as a working product for a potential interior finish in my work.
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ANNI
ALBERS
Anni Albers was a member of the Bauhaus School in Weimer. She was particulalry interested in weaving. creating new woven materials using found objects and the connections between weaving, architecture and art practices. For my ‘thinking through making’ I decided to consider acoustics as I would be designing a Music Departments where sound is integral to the design process. I decided to experiment with different sounds and what affect materials had on sound. Through this I decided to work with two contrasting materials - metal and textiles. I used Anni Albers’ work as inspiration for my own as I think her work can create interest and dimension to architecture as well as have interesting acoustic propertys. I think textiles are sometimes an unconventional material to use in architecture but I was really intrigued by her consideration of this within architecture disciplines and I think the waved form work of weaving reflects some more stereotypical foam acoustic panels. I was also interested in not only deadening sound or stopping sound from protruding between rooms, in an architectural context, but also I was interested in emphasising sound, reflecting sound and echos. This was introduced through the use of metal. Ultimately I considered how these two juxtaposed materials could be incorporated together and liked to sounds and acoustics in architecture.
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WEAVING After researching Anni Albers I decided to explore the idea of weaving in my design and incorporating different materials into weaving. My idea for Thinking Through Making Week was to create a range of potential acoustic panels for the interior of my building, or at least begin to think about how fabric could be incorporated into the materiality and language of the building. I even experimented with playing sound around the experiments to ‘test’ their acoustic ability. This may not be the most accurate reading, but I wanted to try and explore and depict what these materials could potentially do to the sound. Acoustics being a really important part of the design of a music school. The weaving concept, here, later translates into the synthesis stage of my project about creating a ‘woven’ or textured façade.
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QUILTING I experimented with quilting, sewing a ‘cushion/padded’ acoustic panel that I then tried to create these acoustic delved in with metal. With the intention that the ‘cushion/padding’ would dampen the sound and the metal would amplify or reverberate the sound. This was one of the most challenging to sew and produce. I stuffed the cushion with plastic carrier bags, trying to think of a reuse idea and be more sustainable in my approach to making.
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REFLECTING I focused on metal reusing aluminium from canned drinks to produce a metal reflective panel. In contrast, this panel blurred the sound, with no use of material to really soften, dampen or absorb the sound. This panel is probably not something that would be used in the music school for acoustics, but I think it was a fun experiment to explore the contrast of having no material in the school to dampen the sounds. It could also be something that could be incorporated into more casual experimental settings, maybe for the wider public..
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TEXTURE Finally, using felt and sewing I gathered the material to create this textured woven panel. I liked this panel the best out of all of my experiments as I think it shows the woven textural approach with the depth and thickness of the quilted experiment to actually dampen the sound and I can see this making quite a dramatic statement on the inside in terms of atmosphere and materiality.
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S Y N THESIS
During the Synthesis stages of my project I have been concerned with focusing on the details of my project, both technically and aesthetically. I have tried to work through model making, print making and Photoshop rendering to show how I have thought about types of brick laying, textures and the overall materiality of my project. As well as working with early skills I learned in my project such as casting, creating clay tiles and plaster casts from them to produce my detailed facade model, I also wanted to refer back to some of my earlier printmaking studies. Experimenting with printmaking through creating elevations at smaller scales and larger detail scales considering different types of brick bonds. The lino prints I created of brick bonds allowed me to render my 1:20 elevation for the Technology Assignment to show the materiality whilst also thinking about the processes and design work I’d carried out much earlier on in my project.
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FACADE STUDIES For my final facade choices in terms of brick laying and design I have chosen Felmish Bonds and Vertical Bonds. The Vertical brick bionds and flemish bonds remind me a lot of the woven facade that i mentioned in Thinking Through Making, including the woven experiment I did in relation to Anni Albers. Although these experiments were initally for internal experiments I think they have worked well in informing the external facade of my building, as demonstarted throughout the synthesis review. The flemish bond is used in a textural way, similar to example from the field trip(page ) on the facades that face the busy city road as I wanted something ‘heavy’ and textural to face the urban gritty environments. the vertical bonds are used at entrance ways and the towers to emphasise their vertical language and draw the eye.
EXPERIMENTING WITH BRICK BONDS THROUGH LINO PRINTING
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VERTICAL BRICK - THE WOVEN FACADE
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INTERIOR VS EXTERIOR
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1:20 MODEL PROCESS WORK This work shows the process of making my 1:20 facade model, which was made from 18 different tile pieces. these pieces then attached to a frame and produced the final outputs that are depicted on the following pages. This was a particulalry challenging piece of work as it was carried out at home without the support of the workshop and with limited supplies that I could buy.
creating a mould
carving out relief in clay to cast into
start with wooden frame
attaching a bracket to hook onto frame
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different forms to allow for window opening
adding colouring to plaster mixture experimentation - wasn’t concentrated enough
peeling clay relief off cast plaster
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assembly
1:20 FACADE MODEL
The 1:20 facade model was made up of indivudal cast tiles. this image and some of the other close ups is reminicent of the textures and aesthetic of Rebecca Warrens work. I really wanted to continue my artist work through the whole design process and I feel the artist influences have been strong throughout my project even until this stage. I feel I have managed to convery the textural brick laying approach that I wish to have on the facade through these methods.
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Here I have included a snapshot of my technical section from the ARC3013 assignment alongside an image of the model showing the relationshio between where I have modelled on my building and its technical realisation. As shown in the technical detail, my building is a CLT and glulam structure with brick cladding in a variety of bonds(as discussed earlier in print making.)
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TECHNICAL DETAILS TO FACADE TEXTURES Again I have tried to show the relationship between the technical details and the facade model of my project. Synthesising the technical qualities with the artistic interpretation of the textured facade. In my technical section I have also included my Thinking Through Making Week acoustic panels.
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1:20 TECHNICAL DETAIL AND ELEVATION
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CULTURAL BIBLIOGR A P H Y 130
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CRAFTING ARCHITECTURE WORKSHOPS APPLYING THE TECHNIQUE LEARNED
CASTING COLLAGE Unfortunately I was unable to retrieve recordings of my Collage workshop after the studios closed. However this was another crafting architecture workshop that I really enjoyed and found engaging. I feel like although I didn’t use the physical collaging in my own project, it related to some of my ideas in printmaking where I used prints to create images/renders. As well as some of my interior and exterior renders which were made on photoshop and essentially worked as digital collages.
At the start of the year I took part in the Crafting Architecture sessions in casting. This workshop was really informative and helpful, in particular for my design work as I later used the casting process a lot in every stage of my project from Primer sculptures, to massing in Staging, further massing in Realisation and finally cast tiles for my facade model in Synthesis.
Something else I found really interesting about the collage workshop was the use of colour and coloured paper, I think it created really bold graphical statements, I have included some examples of my fellow students collages to give an example of the kind of outputs that were created in the workshop.
Casting is something that I had never tried before and I really enjoyed trying a new process and technique. I found the workshop really informative.
EXAMPLE COLLAGE: Charlotte Ashford
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EXAMPLE COLLAGE: Brian Hui
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DIGITAL ARTWORK
Some personal work I have produced in terms of digital design and logo design. Some personal projects such as these helped me to build up my digital skills in software such as Photoshop and Illustrator as well as work on my colour and graphical awareness. I think both the course and personal work have helped to influence and boost each other, I would never have been able to produce this work if I hadn’t established my digital skills on the course but I think by experimenting in projects like these it helped to improve my architectural work as well.
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SMALL TALK - NUAS
MAKING AN AUDIOBOOK - DISSERTATION
Some of the NUAS Small Talk events I managed to go to this year. As well as being a social more relaxed place to discuss architecture and deisgn I found the David Chipperfield event particularly useful for my case study work. The Olly Wainwright talk was a great opportunity to think about the social and economic impacts of architecture and made me think about design and the built environment from a stance that I had potentially never considered before
For my dissertation I created an Audiobook which was something out of my comfort zone and new for me. The premise of this was that, my dissertation should be accessable to all readers so I included an audio book, braille and descriptions of images for somebody using a screenreader. I used recording equipment and Adobe Audition which was a new software for me but overall I was happy with the outcome and more willing to try something new like this after experimenting with Adobe Premiere in last years projects.
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BIBLIOGRAPHY
LIST OF FIGURES (not own images)
Albers, A., Weber, N. and Cirauqui, M., 2017. On Weaving. Lawrenceville: Princeton University Press. Birnbaum, Daniel, Larsen, Bente, Noring, Ann-Sofi and Olof-Ors, Matilda Thomas Schütte: United Enemies, ed. by Matilda Olof-Ors (Stockholm: Moderna Museet, 2016)
REBECCA WARREN (pgs.14-17) Saatchi Gallery, 2003, ‘6 Part Installation’ , accessed at https://www.saatchigallery.com/artists/rebecca_warren.htm Maureen Paley, 2018, ‘Sibyl’, accessed at https://www.maureenpaley.com/artists/rebecca-warren?image=6 Tate, 2005, ‘In the Bois’, Accessed at https://www.tate.org.uk/art/artworks/warren-in-the-bois-t12816
Cherix, Christophe with Conaty, Kim and Suzuki, Sarah, Print/Out: 20 Years in Print (New York: Department of Publications, The Museum of Modern Art, 2012)
EDUARDO PAOLOZZI(pgs. 18-19) Eduardo Paolozzi ‘As Is When’ Screenprint in collaboration with printer Kelpra Studios(Chris Prater) accessed at https://www.tate.org.uk/art/artworks/ paolozzi-as-is-when-65450 White Chapel Gallery, ‘Wittgenstein in New York’, 1965, accessed at https://www.whitechapelgallery.org/exhibitions/eduardo-paolozzi/
Glasner, Barbara., Petra. Schmidt, and Ursula. Schöndeling. Patterns 2 : Design, Art, and Architecture. (Basel ; Boston: Birkhäuser, 2008)
THE WALL KNOLL TOWER (pg. 51) Simon Cotrill, 2016, ‘Wall Knoll, Sallyport or Ships tower’, accessed at https://co-curate.ncl.ac.uk/wallknoll-tower/
Grabowski, Elizabeth and Fick, William, Print-making: A Complete Guide to Materials and Processes (London: Laurence King Publishing, 2009)
THE KEELMEN’S HOSPITAL (pg.51) Roger Smith, 2009, ‘The Keelman Hospital’, accessed at https://co-curate.ncl.ac.uk/keelmans-hospital/
Guest Curator: Kelpra Studio, A Guest Curated Show by Robin Hardy, owner of Independent Gallery, London (2014) <https://printededitions.wordpress. com/2014/03/19/kelpra-studio/> [Accessed on 15 February 2020]
TECHNICAL DETAIL (pg. 125,126,128,129) Bishop, Jasmine. (2020) ‘ARC3013 Technical Report.’ Assignment for ARC3013, BA Architecture, Newcastle University. Unpublished.
Historic England, 2020. Consent And Planning Permission Requirements | Historic England. [online] Historicengland.org.uk. Available at: <https://historicengland.org.uk/advice/hpg/consent/> [Accessed 21 March 2020].
ANNI ALBERS (pgs. 100-103) Augusta Pownall, 2018, ‘Anni Albers Radical Weaving Designs’, accessed at https://www.dezeen.com/2018/11/13/anni-albers-exhibition-tate-modern-bauhaus-weaving-design/
Historic England, 2020. SALLYPORT OR WALL KNOLL TOWER, Newcastle Upon Tyne - 1121526 | Historic England. [online] Historicengland.org.uk. Available at: <https://historicengland.org.uk/listing/the-list/list-entry/1121526> [Accessed 23 March 2020].
PRINTMAKING (pg.71) Bishop, Jasmine. (2020) ‘ARC3015 Printmaking Essay.’ Assignment for ARC3015, BA Architecture, Newcastle University. Unpublished.
Booth-Clibborn, Charles, Elliot, Patrick and Lewison, Jeremy, Contemporary Art in Print (London: Booth-Clibborn Editions, 2001)
Historic England, 2020. Salvation Army Men’s Palace, Non Civil Parish - 1424948 | Historic England. [online] Historicengland.org.uk. Available at: <https://historicengland.org.uk/listing/the-list/list-entry/1424948> [Accessed 23 March 2020]. Historic England, 2020. THE KEELMEN’s HOSPITAL, Newcastle Upon Tyne - 1024902 | Historic England. [online] Historicengland.org.uk. Available at: <https://historicengland.org.uk/listing/the-list/list-entry/1024902> [Accessed 23 March 2020]. Hughes, Sarah, Hugh Stoneman Master Printer (London: Tate St Ives, 2008) Livingstone, Marco, Retrovision Peter Phillips (Liverpool: Walker Art Gallery, 1982) MoMA, Architecture Models 1980-2006 (2020) <https://www.moma.org/collection/works/portfolios/147185?locale=en&page=&direction=> [accessed on 15 February 2020] Newberry, John S., ‘The Processes of Print Making’, Bulletin of The Detroit Institute of Arts of the City of Detroit, 18.3, (1938) Rendell, Jane, Art and Architecture: A Place In-between (London: I.B. Tauris, 2006) Tate Modern, Sir Eduardo Paolozzi Poster <https://www.tate.org.uk/art/artworks/paolozzi-poster-p04756> [accessed 16 February 2020] Turner, Francia, ‘Contemporary Print-Making: Old Means and New: The Work of Kelpra, Mara, Heindroff ’, Oxford Art Journal, 6.1, (1983), 30-38, in <https:// www.jstor.org/stable/1360189?seq=1#metadata_info_tab_contents> [14 Februray 2020]
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APPENDIX 142
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CHARRETTE WEEK
APPENDIX A
During Charrette week I was part of the gathering Charrette in which we were concerned with documentation through photography, reviving the Coatsworth Road area of Gateshead, considering sustainability with gathered and found objects. The week long project entailed of many site visits, experimentation leading to the final photography installation for the Charrette Show. During this time we visited the Comfrey Project, which provides a safe space for Refugees and people seeking asylum across Tyneside. They promote a sense of place and well being and run a variety of activities and workshops involving crafts, cooking and looking after the allotments where they grow their own produce. In the Comfrey Project there are some examples of small-scale temporary architectures that have been put together using found materials such as the image above which shows a shed made from plastic bottles. I found the Comfrey Project really inspiring to visit, there was an obvious strong sense of community and they reuse of materials was particulalry interesting to consider on low budgets and with regard to sutainability and the current climate crisis, the Comfrey Project seems to be contributing to making a large difference in a small community. During our time their, we took and developed some film photographs and collected some seeds that would be used in the dark room to develop some interesting photography. Whilst at the Comfrey Project we met with a member who created her own plant pots and jewlerey through the reuse of materials.
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THE COMFREY PROJECT In Charrette Week we visited the Comfrey Project in Gateshead a charitable organisation set up for Refugees and people seeking Asylum in the Tyneside area. Visiting the Comfrey Project made me think about temporary Architecture and caused me to reflect on a use of materails and thinking of more sustainable ways to produce semi-permanent architecture and structures. I focused on creating a stall for one of the female refugees at the the centre who created concrete plantpots out of old clothing and material. It was really interesting to speak to her and understand the process of making as well as see the comfrey project that advocated for a sustainable self maintained way of living, growing their own food.
CAPTURING COMMUNITY IN GATESHEAD
REUSE AND RECYCLING MATERIALS
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FINAL EXHIBITION For the final exhibition we focused on creating a photography exhibition after we had experimented with developing film and all taking our own photographs of the site. Using a film camera and developing film was something Iâ&#x20AC;&#x2122;d not done before and I found it a really interesting and fun process.
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C A S E STUDY
APPENDIX B For the Case Study portion of ARC3001 we split into smaller groups and had to do a group presentation. For my Studio sub group I studied the Neues Museum in Berlin by David Chipperfield which we visited on the field trip. My own work is highlighted by being a single slide from the presentation on a page - I worked on the topics of Studio Relevance and Atmosphere.
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ACOUS T I C S
APPENDIX C On the field trip we visited some buildings with opportunity to explore the acoustic properties and designs with interestin ceilings materiality and texture. Something that felt really quite important to my personal project was the Ernst Busch Academy which included recording studios and performance spaces with dampening acoustic panels and curtains. I think both have informed my work in the design, synthesis and realisation phases.
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