A R C H I T E C T U R E P O R T F O LI O M IGLE ZAB IE LAITE 1 7 04481 07 N E WC ASTLE UN IVE RSITY STAGE 3 STUD IO 2 1 9/ 2 0
C O NT E NT
STUDIO 2: ORDINARY RESILIENCE
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PRIMER
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STAGING
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THINKING THROUGH MAKING WEEK
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REALISATION
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SYNTHESIS
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ILLUSTRATED REFLECTIVE REPORT
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ILLUSTRATED CULTURAL BIBLIOGRAPHY
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APPENDIX BIBLIOGRAPHY
Amended or new work
PRI M E R During Primer we analysed the city of Newcastle on a range of scales to better understand its unique character. By using artists as references our aim was to look at the city from a different perspective and using our observations, create two sculptures and a print. At the end of the week, the studio collectively displayed our work to form an architectural language of Newcastle. This was a unique exercise as it steered way from conventional site analysis and helped us understand the wider context of the city that surrounds us as well as the finer details. This stage was crucial for the rest of the project as it informed many of the design decisions.
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Figure I: Rachel Whiteread ‘Ghost’
RACH EL W H I TE R E A D Throughout Primer my work was heavily inspired by Rachel Whiteread. She challenges the viewer to look at our immediate surrounding from a different angle. By showing us the negative space created by domestic objects of a variety of scales she challenges us to look at the world from a different point of view. The space that was once inhabited and lived in, becomes solid, possible to touch and feel. She does not render down the sculptures but rather leaves the signs of life the object previously had, giving the work a sense of nostalgia without any concrete biographical content. This can be seen in works like ‘Ghost’ and perhaps her most well known ‘House’. Grey’s street
Figure II: Rachel Whiteread exploration for ‘House’
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LAR G E SCAL E F o r t he la rge s ca le we we re ask ed to look at the ci t y ’ s gra in, pa s s a ge s , la rge open and c l osed ar e a s . I obs erved one of the mai n streets i n N e w ca s t le - Grey’ s s t re et .
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PROCESS One of the first things I noticed when we started observing the city was the verticality. As you look down Grey’s street from the Monument the openings of doors and windows as well as columns create a dynamic vertical pattern. I then descended from the Monument towards the river and noticed how the buildings grown in scale to compensate for the massive bridges crossing the river. I drew some vague sketches of vertical elements in town focusing on the negative spaces. Thus for the large scale I casted a sculpture with an improvised vertical pattern roughly resembling windows and columns that get deeper and deeper resembling the tall buildings towards the river standing closely side by side.
Process sketches
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Large scale casting process
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Final large scale sculpture
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M ED I UM SCAL E
PRO C E S S
T h e m e dium s ca le cons i dered a sc ale of r o u ghly a room . We look ed i nto external sp a c es s uch a s ca nopie s and c ourty ards w i t h int ere s t ing m om ent s that c reate ri c her e x p erie nce s in our e ve ry day l i fe.
For the medium scale I went back to the emerging ideas from the large scale Primer piece and used the work of Rachel Whiteread as my guide. I looked into the negative space created by buildings and streets and how as you move from the centre the more neat and wide shapes become more awkward and tight as buildings get taller and closer to each other and the bridges. I experimented with different methods of how to emphasise those spaces as solid forms. I filled in the shapes with a pencil etching as it looks like a homogeneous mass from further away. However up close you can see more detail and pay more attention to the overall shape. It was a tedious process that has also made me analyse every corner of the shape as I had to carefully fill it in.
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Medium scale drafts Pages 17-21: medium scale finished prints
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PRO C E S S I wanted to continue my exploration of the streets and paths between buildings and show the contrast between clean, decorated streets open to the public and more private, narrow and filthy courtyards. Thus I made a print that showed the section of the Theatre Royal entrance, with a homogeneous, clean watercolour, resembling the colour of the stone. On the other side of the paper I made a print of the plan view of the courtyard just a few buildings away. I used printing ink to create a variety of patterns seen in those spaces and show how dark and unattended these spaces actually are. By making the print on the opposite side of the same paper you can see a faint silhouette of the other side seeping through, creating an interesting collage.
2nd medium scale sketches
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2nd medium scale finished print back and front
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S MAL L SCAL E
PRO C E S S
F o r t he fina l s m a ll s ca le we were ask ed t o look int o t he s m a lle st detai l s of our su r rounding, s uch a s t he weatheri ng of the p av em e nt a nd pa t t erns of bri c k s.
For small scale I used a photo I took in Grey‘s street as a reference where one of the stone tiles fell out to expose the structure of the facade. What we think as something solid as stone is actually hollow and comprising of many different elements. It is a kind of Potemkin village, in other words, making something look better than it actually is. For the sculpture I folded out panels that resemble the ones on Grey’s street and placed them on wooden battens cast into a plaster column. From certain angles the piece looks solid and homogeneous as the paper if not looked at closely resembles plaster. In fact, the solid form is much more fragile than it makes itself seem.
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Small scale finished sculpture
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Small scale finished sculpture
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ST A GI NG For Staging we were asked to choose one of the three possible sites in Newcastle and using the observations from Primer, develop an initial massing proposal. The proposal had to be a new Newcastle University campus. We could choose between three faculties: Fine Art Department, School of Architecture Planning and Landscape and School of Music. In this stage we looked closer into the site’s immediate context as well as analysed the site’s history. It was challenging at first as the massing was not informed by the programme, which was the way I designed during II year.
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S IT E
University campus
The site is located alongside Percy street in front of the Central bus station. I chose this particular site as it becomes a natural link between the main campus and the Business school.
Business school
NEWCASTLE UPON TYNE
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S IT E ANAL YSI S
PRO GRAMME
M A T ERIA LIT Y EXP LO RA TION
S CHE D ULE O F A C C O M M O DA T I O N
MAIN ROUTES
T H E C U R R E N T N E WC A S T L E U N I V E R S I T Y M U S I C DE PA R T M E N T C O N S I S T S O F :
Practice rooms ( ~ 17m3) Large classroom (~ 100m3) Small classrooms (~ 35m3)
25 practice rooms
Orchestral rehearsal rooms (~ 400m3) Music library Library
1 large band practice room
Cafe Auditoriums Concert hall - 500 seats BUILDING USE
5 instrumental teaching rooms
Offices Recording studio
2 large rehearsal spaces
Residential Parking
Kings Hall
Large businesses Small businesses
MATERIALITY
Brick Stone
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REHEARSAL SPACE REQUIREMENTS For programme I chose the school of music as now the university is lacking a separate music department and having never designed something related to music I wanted to take on the challenge. I first looked into what consists the current university music department and the minimum space requirements for different instruments. As a rough idea of the programme placed the concert hall at the South-West building as it is furthest from the street to avoid noise pollution. The rehearsal spaces would be in the South-West building as the courtyard can provide a space to relax and is further away from the residential area.
Grand piano and drums
≥80 m3/person
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Wind instruments
≥20 m3/person
Other
≥10 m3/person
Figure IV: The Palace Theatre 1960
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Figure III: The Palace Theatre 1950’s
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PA LA C E THEATRE An important aspect of the site is Palace Theatre that used to be located on the corner of Percy and St. Thomas street. Opened in 1985 it was a reconstruction of the People’s Palace and was open until 1958 when it was closed due to the drying up of tour shows and was eventually demolished in 1961 (Arthur Lloyd.co.uk, 2020). As can be seen from the maps, the theatre shaped the buildings around it, giving the site its unique language. Thus, when it came to massing I wanted to bring back the shape of the theatre as to bring back the connection between the buildings.
1940’s
1970’s 0
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Site map
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C AR L O SCAR PA As part of my dissertation I looked into the work of Carlo Scarpa. I was inspired by his architecture and care for the experiential qualities of the spaces he produced. For example, one of the ideas that constantly emerged in his work is syncopation. By avoiding perfect symmetry it enriches the experience of the visitor as he becomes more aware of his surroundings. He is also well known for his attention to details and careful material junctions which was a great inspiration in my work.
Figure V : Carlo Scarpa corner detail (left) Figure VI: Carlo Scarpa Castelvecchio museum (right)
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MASSING I took the ideas of verticality and shift of scale from Primer and incorporated them while developing the massing. I took the entirety of the site and segmented it into slices, according to the scale of the surrounding buildings. Then to further divide up the site I sliced it in half, referencing the shape of the Palace Theatre. To divide the site to buildings and create the awkward angles between buildings, I added two strategically placed “cracks� that also create new routes through the site and connects the city to Leazes park.
Concept model
Massing development
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Massing development
Massing development model in context
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Massing development
Further on I refined the shapes and expressed the grid with the pitched roofscape. I chose pitched roofs as it is a dominant feature in the surrounding residential buildings.
Massing model in context
Another important feature of the site was the scale. The scale of the surrounding buildings shifts massively from large commercial buildings around the bus station to small residential buildings further up St. Thomas street. Thus the scale of the proposed massing corresponds to the different scales to integrate it into the surrounding.
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T H I NK I NG T H R O UGH M A K I NG WE E K For the output of this week we were meant to produce a model of a scale between 1: and 1:10. The goal was to conceptually explore materiality that would help to inform our design. Our studio focused on exploring a facade detail that could be incorporated in the later stages. It was a short yet exciting project as it let me explore materiality and create full scale experiments.
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Inspired by the small scale Primer piece I wanted to be honest with the materials I am using and show their actual dimensions and properties. Inspired The facade pattern uses the rough cross-section cut tile in the middle of the wide ones to show the actual thickness of the stone and the raw material qualities. The tiles are actually meant to be sandstone as courtyards around the site are typically sandstone, thus I used a mix of snowcrete and sand to create a similar colour. The cross-sections are misaligned to break the rhythm of the pattern. I also created a few concrete casts as explorations of functional elements also serving as decorative forms.
Facade detail sketches
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Model casting process
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Concrete casts
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Sandstone tiles
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RE A LI SA T I O N During this stage we took a portion of the proposal and developed it in more detail. It was an unusual design process, as the shape dictated the programme, instead of the other way round, which I was used to. I continued to take ideas from Primer and expressed them in the interior as well as started to develop the facade. To better understand the requirements for a music department I asked a current Newcastle University music student to give me a tour of the department and asked his opinion on what he enjoyed in the current department and what could be changed or improved.
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PROGRAMME
REHEARSAL SPACES
The current music department has three different programmes that are quite separated due to the arrangement of the spaces. The programme in my project mixes different spaces and rehearsal rooms throughout the building to create a more dynamic environment that encourages communication and collaboration. For this reason there are many common spaces scattered around as well as window openings to the hallway.
In the beginning of the project, I got a tour of the current music department and spoke with one of the students. The main concern he brough up was the rehearsal spaces. The rooms were small, in most cases without windows and had poor ventilation. As these are the spaces that are occupied the most, I wanted to create spaces that are more inviting and less closed off from the world. I uses a variety of different scale rehearsal rooms to accommodate different types of instruments and rehearsal types. The rehearsal rooms are mainly centred around th atrium so to provide the classrooms with natural lighting, without getting sound pollution from the street.
Rehearsal space
Storage
Shower
Performance space
Office
Meeting space
Study space
Common space
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Equipment rental
Piano and drums
Reception
Other
Recording studio
Wind instrument
Toilet
Group
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PLAN DEVELOPMENT The main focus of the plans was the negative space. I wanted to recreate the awkward passages I recorded during Primer and interpret them in the plan. My initial approach was to add irregular shapes in the plan, however that made the plan too complicated and messy. Thus I took a step back and used Peter Zumthor’s Columba museum as a reference. The museum’s interesting passages and spaces are formed by adding regular shapes in an irregular form. Thus I took this idea and interpreted it in my design. I wanted to make every floor a slightly different plan, without having a central staircase. The stairs are in a different position on every floor thus encouraging movement around the building.
Ground to top floor negative space development (left) Plan development (right)
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GR OUND FL OOR The final floor programme of the proposal consists of four different types of buildings. The largest building (1.) is dedicated to rehearsal and office spaces. (2.) is the concert hall as it is furthest from the street to avoid noise pollution and further from the residential area to not disturb the residents. Currently, music students use The Sage for larger concerts. The proposed concert hall is much closer to the main campus as well as the city centre, encouraging non-music students and the public to attend the concerts and support the arts. The music library (3.) is the closest to the residential area as it would disrupt the residents least. The last building (4.) is dedicated to lecture rooms and other non performance activities.
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1. REHEARSAL AND OFFICE SPACES 2. CONCERT HALL 3. MUSIC LIBRARY
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4. LECTURE ROOMS
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Ground floor site map
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Atrium view
The atrium is used as a common space as well as a source of daylight for rehearsal rooms and hallways. The placement and proportion of the windows corresponds to the windows on the street facing facade.
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GROUND FLOOR
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Hallway view
The CLT walls provide a warmth to the spaces and are non load-bearing, meaning, if needed, the spaces can be rearranged in the future. The floor is covered in marmoleum as it is a floor surface that can take heavy loads.
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FIRST FLOOR
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F O C US O F COL OUR Having all of the interior finishes CLT made the interior a bit dull. To liven up the spaces I analysed the work of Jan Vermeer and how he uses colour to focus the viewer on certain points. I painted a simple colour analysis of his painting ‘Woman reading a letter’ to better understand his use of colour. In his paintings, you can see the use of bright blues and reds in neutral backgrounds to focus the eye on certain subjects. Thus I took this approach and applied it in my interior. The different colour tones are used to indicate the different types of spaces and focus the eye on certain points in the interior. This livens up the space as well as provides clarity and orientation for the occupants.
‘Woman reading a letter’colour analysis
Common space view
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SECOND FLOOR
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THIRD FLOOR
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Fourth floor view
The fourth floor is a flexible space. It can be used for performances, exhibiting work from the arts’ department and hosting events. The space can be divided up to smaller sections by heavy curtains, making it a more flexible exhibition space.
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FOURTH FLOOR
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FACADE DEVELOPMENT For the facade I used the large scale Primer piece as my main inspiration. I wanted to incorporate the verticality of the city into the facade thus creating a pattern of openings. To further express verticality as well as create a distinctiveness from the surrounding buildings, the bricks are stacked vertically. The proportions and sizes of the windows correspond to the adjacent buildings.
Street facade development
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Street facade development model
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SY NT H E SI S The last stage was dedicated for facade refinement. During this stage I further developed the street facing facade as well as the main entrance and went into more detail of how materials connect. The thinking through making week pieces were very useful in defining the language of the exterior.
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STREET VIEW
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STREET FACADE During synthesis I further developed the street facade. I added Dutch gables to the facade to further tie it into the surrounding context of the proposal. I also increased the size of the ground floor windows and created more decorative elements.
1:20 technology module section
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Street facade detail elevation
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FACADE DETAILS Continuing the theme of material honesty I created renders of facade details, exploring the joining of different elements. The window sills are sandstone panels, showing the panel thickness on the edge. To avoid cutting the bricks, the dimensions of most of the windows and the decorative elements correspond to the dimensions of bricks.
Street facade roof and window details
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1:20 FACADE MODEL
I have made a 1:20 model of the corner where the two main materials join. I scored the greycard to create the vertical brick pattern. The Dutch gable edges correspond to the pieces from Thinking Through Making Week creating a connection between the inner and outer facades.
1:20 facade model
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Street facade Dutch gable detail
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To express the sandstone on the model, I scored the pattern into the greycard and peeled of the first layer of card co create a rough texture, where the sandstones material properties would be exposed. The corner expresses the thickness of the brick
1:20 facade model
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Street facade corner detail
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INNER FACADE The inner facade is sandstone panels. I used the small casts from Thinking Through Making Week as inspiration to create decorative elements. These elements are around the entire proposal, used as tracks for water to run to the drainage.
Entrance view
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LARGE SECTION
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RE F LE C T I V E RE PO R T Being part of the Ordinary Resilience studio has been a great learning experience. I have always been fascinated and passionate about art thus I was eager to join the studio and express my artistic abilities through architecture. We analysed the works of Rachel Whiteread, Eduardo Paolozzi, Marcel Duchamp etc. and used them as lenses to observe the city from a different angle.
Design progress
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Site analysis has often been a part of the process that I did not dwell on for long. I thought of it as a standard process of documenting the routes, shadows and materials of the immediate site, that would mainly inform smaller aspects of the design, rather than the overall language. This year, we looked at the site in a broader context, analysing the whole city in a variety of scales. By understanding the unique characteristics of the city we had a strong base for our emerging design as well as its further stages. Through the design process, it was common for me to go back to my initial observations from Primer for guidance. In the future, I will definitely be more analytical and attentive to the broader context and experiment with different forms of site analysis. My dissertation topic has been a strong influence in my design and overall thinkinge. For my dissertation I was looking into atmosphere, its creation and representation. I analysed the works of Peter Zumthor, Steven Holl and Carlo Scarpa, however I was mostly fascinated by Scarpa. His creation of atmosphere heavily relied on careful considerations of details and connections of materials showing how no detail is too small not to be considered. Thus in the Synthesis stage I analysed the connections of materials and considered how functional details can be decorative elements. An exciting and challenging part of the studio was the design approach. The methods we used were different from the approach I had in II year thus making the designing process more challenging yet exciting. I was used to having the programme influence the form of the building, while this year the roles have been switched. It might seem as a small shift, but it was an aspect of design that I have not considered before. It opened me up to look at the design process in a more experimental way, approaching the problem from different angles. Overall, this year has opened me up to be more creatively experimental with my work and I have become more confident in relying on my artistic background and skills to make design decisions.
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CLIENT
COST CONSULTANT
ARCHITECT
1st stage contractor appointed by the client with the help of the cost consultant
STRUCTURAL ENGINEER
1st STAGE CONTRACTOR
SERVICES ENGINEER
STAGE 0-4
DESIGN TEAM
1st STAGE SUBCONTRACTOR
14. Urban Core
Urban Core
1st stage contractor possibly becoming 2nd stage contractor
2nd STAGE CONTRACTOR
STAGE 5-6
2nd STAGE SUBCONTRACTOR
Common space view
Urban Core
Two-stage design and build procurement strategy
14. Urban Core Figure VIII: Map of Newcastle’s urban core area with site location
Site location
Urban core area
Figure VII: Tom Noonan ‘Reforestation of the Thames Estuary’, 2010
Figure 14.1 Urban Core Area © Crown Copyright and database right [2015]. Ordnance Survey [100019569].
PROFESSIONAL PRACTICE AND MANAGEMENT
THEORY INTO PRACTICE
© Crown copyright and database rights 2015 Ordnance Survey Gateshead Council [100019132].
For the Theory into Practice module I was interested in the role of the hand drawing in the modern age of architectural representation. As technology develops, renders are becoming more realistic and easy to produce thus seemingly making it superior to the hand drawing. David Ross Sheer’s “The Death of Drawing” was very useful to understand the positive and negative aspects of these two forms of representation as well as their different roles. Hand drawings have an ambiguity to them that leaves room for interpretation while computer generated images provide precision. As I was exploring the topic of representation I stumbled upon the work of Tom Noonan. His project ‘Reforestation of the Thames Estuary’ uses a combination of digital and hand drawings to create rich atmospheric representations. I tried combining digital and hand drawing in my representations during Realisation to emphasise the atmospheres of those particular spaces. In conclusion, the module was useful in understanding the relationships between forms of representation and gave me more courage to explore and experiment with different techniques.
The module has been very informative in regards to the workings of a professional practice. It has Policies cleared up the roles and responsibilities of clients, contractors and architects in different 14.2 CS1 and CS2 set out that the Urban Core will be the priority location for major development. The area is the regional focus and the project stages. was was the additional considerations the architect has to take most sustainable locationWhat in the wider North East unexpected area. Full advantage needs to be taken of this not only to grow the local economy, but also to the wider regional economy. stimulate growth of in regards to the wider context. The site of my proposal, according to the Newcastle upon Tyne development policies, is located in the city’s urban core. Proposals in this area have to maintain local distinctiveness, protect and enhance the historic and natural environment and improve the quality of public spaces and routes (Newcastle City Council, Urban Core Policies, 2016, p. 149). Luckily, these requirements are closely related to the requirements of the studio, thus the project did not require any major adjustments, however, I will be more attentive about such requirements in the future. Also learning about the different types of procurement strategies gave me a better understanding of the importance of good communication between the client, contractor and the design team. Overall, the module demystified the workings and processes of an architecture practice and gave me a better understanding of the architect’s role.
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This section o Core (Figure 14.1). The Urban Core is the focal point of the Tyneside conurbation. It stretches approximately 3.6km from the north to the south, extending from Newcastle’s Town Moor to Gateshead’s Durham Road, and from 4km from west to east, extending from the edge of Elswick in Newcastle, and the Redheugh Bridge on the Gateshead side, to Ouseburn and Gateshead Quays. The total area covered by the Urban Core is over 6 square kilometres.
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Fourth floor view
TECHNOLOGY Having the technology module in an early stage of design helped me to incorporate and express design ideas through structural elements. The choice of structure was mainly influenced by observations from small and large scale Primer pieces. As the small scale sculpture creates an illusion of a solid homogeneous element, I wanted to have a structure that was honest with its materials. Another important aspect was expressing the verticality of the city not only in the exterior finishes but also in the internal spaces. The structure also had to accommodate the unusual shape of the building thus the most logical choice was a glulam column and CLT floor panel structure. The columns are exposes in the interior, becoming an important element of the overall atmosphere. The structure also allows the internal walls to be non load bearing, thus making it possible to change the arrangement of spaces and making the building more flexible for possible future changes. 1:20 technology module section
PRimary, secondary, tertialry structures
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Olafur Eliasson ‘Beauty’
I L L U ST R A T E D C U LT URA L BI BL I O GRA PH Y
Having studied art for 12 years it is a large part of my identity that has a huge influence on my work. I spend my free time developing my own drawing skills and art style as well as visiting art exhibitions. I have been mainly fascinated by the ‘Light and Space’ movement. Artists like James Turrell, Larry Bell and Olafur Eliasson utilise light and other natural phenomena to create rich experiences. This year, I had the pleasure of visiting Eliasson’s exhibition in Tate and experience his art first hand. I have also been experimenting in photography. The works of Nan Goldin and Man Ray have inspired me to explore the possibilities of the film camera and photography as an art form.
Olafur Eliasson ‘Your blind passenger’
Life drawings
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C O M PE T I T I O N During summer after Stage, 2 Roxana Caplan, Juergen Springer and I have joined an archi-sharing competition for a rural school in Haiti. It was a challenging project as during summer we were mostly apart thus having to work remotely. It was exciting to design for a completely different environment and figuring out the requirements of the climate as well as creating a structure, that can be executed by volunteers. It was also the first time we had a budget so we were cautious with the choice of materials and researching what is available in the area. Overall, it was an enjoyable experience that improved our communication skills and time management.
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APPENDIX
Figure IX: Neues Museum before WWII
Figure X: Neues Museum after WWII
Figure XI: Neues Museum renovated
CASE STUDY
CH ARRETT E
NEUES MUSEUM
During Charrette week I was part of the ‘Soft Studio’. Our goal was to explore what would make the architecture studio a more relaxed space by creating furniture and clothing pieces. During the first few days we explored what atmospheric qualities create relaxing spaces, as well as material possibilities and learned the basics of sewing. My course mate and I decided to sew a wearable beanbag that created a sense of comfort to the person wearing it. The prototype was successful, however the final piece did not turn out as we hoped as the fabric was far less stiff, thus making the beanbag lose its shape. Overall, it was an enjoyable week of exploring unconventional work spaces and learning the process of clothing design.
Located in the Museum Island, Berlin, The Neues Museum as designed by Friedrich August Stuler and built between 1841 and 1859. During the Second World War the museum was heavily damaged by bombing and left the building in ruins, After almost 60 years of decay, in 199 David Chipperfield with the collaboration of Julian Harrap won the competition to restore the museum and it was reopened to the public in 2009. The focus of the project was to reflect the lost without imitating it and creating a unity in which the old and the new are complimenting each other.
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CASE STUDY
APPENDIX
ARCHITECT
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CASE STUDY
APPENDIX
ENVIRONMENTAL STRATEGY
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BIBLIOGRAPHY Arthur Lloyd.co.uk, The Palace Thetre of Varieties, Percy Street and Haymarket, Newcastle [online]. Available at: http://www.arthurlloyd. co.uk/Newcastle/PalaceTheatreNewcastle.htm [Accessed: 15th June, 2020] Newcastle City Council (2016) Section 4 Urban Core Policies [online]. Available at: https://www.newcastle.gov.uk/sites/default/ files/2019-01/section_4-_urban_core_policies.pdf [Accessed: 15th June, 2020]
LIST OF FIGURES Figure I: Rachel Whiteread ‘Ghost’. Available at: https://gagosian.com/artists/rachel-whiteread/ [Accessed: 13th June, 2020] Figure II: Rachel Whiteread exploration for ‘House’. Available at: http://drawingandplace.blogspot.com/search/label/Rachel%20 Whiteread [Accessed: 13th June, 2020] Figure III: The Palace Theatre 1950’s. Available at: https://co-curate.ncl.ac.uk/palace-theatre-of-varieties-percy-street-newcastle/ [Accessed: 13th June, 2020] Figure IV: Figure IV: The Palace Theatre 1960. Available at: https://co-curate.ncl.ac.uk/palace-theatre-of-varieties-percy-street-newcastle/ [Accessed: 13th June, 2020] FIgure V : Carlo Scarpa corner detail. Available at: https://www.instagram.com/p/BawSRU3lFp3/?taken-by=crissaviottewood [Accessed: 13th June, 2020] Figure VI: Carlo Scarpa Castelvecchio museum. Available at: http://www.interiordesign-addict.com/2018/07/interior-design-addict-1958-64-carlo-scarpa-restauro-del-museo-di-castelvecchio-verona/ [Accessed: 13th June, 2020] Figure VII: Tom Noonan ‘Reforestation of the Thames Estuary’, 2010. http://tomnoonan.co.uk/index.php?/project/the-institute-of-arboreal-science-and-technology/ [Accessed: 15th June, 2020] Figure VIII: Map of Newcastle’s urban core area with site location. Available at: https://www.newcastle.gov.uk/sites/default/files/2019-01/ section_4-_urban_core_policies.pdf [Accessed: 15th June, 2020] Figure IX: Neues Museum before WWII Figure X: Neues Museum after WWII Figure XI: Neues Museum renovated
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