Naomi Howell Sivosh BA (Hons) Architecture Stage 3 Portfolio 2015/16
contents reflection 1 Material Poetics 2 studio outline
primer 5 process 7 tiles 19 thinking through making 33 staging 37 realisation 49 site and brief 51 material palette 67 ceramics centre 93 fishermen’s huts and market 129 master plan 137 further reading 161
reflection The final stage in my undergraduate degree has been, without a doubt, the most challenging yet. However, I have learnt and produced more than I thought was possible, and have found the year incredibly rewarding. I initially chose my studio, ‘Material Poetics’, for my almost obsessive love of making, however I had negative preconceptions about the use of craft in architecture. To me, they seemed like opposing worlds; craft, a relic from the past, twee and cute; architecture, a shiny box of polished concrete and polycarbonate. This year has completely changed my opinion. Craft, or the hand-making of a bespoke piece, is essential in today’s design, culture and architecture. My Principles and Theories thesis cemented this new approach to craft and architecture. I explored the work of David Pye, who writes about the necessity for diversity in all design, at every scale, which is often lost in the mass produced architecture of polished concrete and polycarbonate. This studio has not only taught me about the value of craft in architecture, but has also instilled a passion within me that I will carry forward in all the work I do. As expected, and much to my delight, making formed a significant part of my year. I developed my technical modelling skills, making building fragments at large scales ranging from 1:1 to 1:5. This was the making process I enjoyed most throughout the degree. One of the things that has always frustrated me about studying architecture is the inability to actually build something that you design. By making such large-scale models, and exploring the materials in such an intimate way, the whole project seemed somehow more real and therefore more rewarding. Theories of William Ruskin also confirmed this reward from making, stating that there is an intangible quality in objects which are made by one person from start to finish, something that is lost when you become just one blip along a production line. Another highlight of the year was the visit to Bagsvaerd Church, as part of our trip to Copenhagen, Stockholm and Malmo. I have never felt so compelled when stepping into a room, the atmosphere it instilled was enveloping. This really showed me the power of subtle, material details; of how small decisions can have a massive impact on experiencing the whole building. The importance of detail is something that has been emphasised all year. I have relished the opportunity to design things down to such a micro scale, which may stem from my love of product and furniture design, and hope that the depth of detail really comes across in my graduation project. Alongside working on complex details, I also set myself the challenge of working at a much larger scale, master planning seven buildings, and obviously working at an intermediate scale, designing two key buildings in detail. I had always thought that master planning was something that appealed to me, yet I found working continuously at such a wide range of scales very challenging. The buildings had to work cohesively with one another, whilst also functioning individually. I had to find the balance between a familiar language and typology, whilst retaining the character of each building. Working this way has definitely taught me a broad range of skills that I will carry forward into practice.
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Another challenge that I faced this year was the lack of quality in my representational work. Since stage 1, my main criticism has been that the work I have pinned up does not do justice to the thought behind it. I am fortunate in having confidence in my ability to present which definitely strengthens my projects, however, I will not always be there to present my work so wanted to improve both the communicative and atmospheric qualities of my representational work. I am immensely pleased with the development of this skill during the course of stage 3 and can personally see a massive improvement, however, it is a constant process. As my representation has become clearer, the thought behind my work has become deeper and more complex, which has still left me with familiar criticism. I undersell my own work and it will be something that I continue to work on for the foreseeable future. I have never been so exhausted and yet so proud of what I have achieved over the course of a year. Regardless of grades or employment paths, I have produced work that I love, developed a vast array of passions and learnt more than I ever thought was possible in these three short years.
BagsvÌrd Church, Jørn Utzon, 1976
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Material Poetics This studio asked us to engage with material as the ‘stuff ’ of architecture, real, rather than rendered, the thickness, thinness, density, and the effect these qualities have on the sensory experience of a building. A hands-on approach was encouraged to ensure we had an in-depth knowledge of our material, alongside a thorough research-based element to understand the social meanings, rituals and memories the material embodies. The processes of testing, modeling and prototyping, on which the studio is heavily based, allow for a process of designing which retains contact with material qualities. This direct material engagement provides architects with a way of thinking about the assembly of architecture as a material composition, comprising of thicknesses, textures, weights and junctions, rather than applying materials as an afterthought to flat drawings.
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p r i m e r
During the initial stage of the year, our studio were asked to chose one material to become the focus of our experiments and explorations and to eventually inform both the material palette and the program of our graduation project. The material that I chose was c e r a m i c s . I already had a passion for ceramics as a craft and was interested in learning more about their architectural application. Ceramics are never without risk. During the firing process, even the most calculated scenarios can sometimes turn out unexpected; the slightly different colour of a glaze; the speckled singe of the flames. I aim to incorporate this diversity in architectural design.
form testing slab forming pinch and coil firing glazing
To deepen my understanding of the ceramic making process I immersed myself in as many of the different methods as possible; experimenting with different types of clay, different glazes, different firing temperatures and different forms. This culminated in an inhabitation drawing [pg. 17]. Here, I let the processes themselves inform a space, rather than forcing a process into a predefined room or building.
p r o c e s s
form testing Here, I used a variety of clays to test the limits of ceramic forms. Done in this simple way, a mould must be used. During this process I learnt that as clay dries, it contracts. Therefore, if left on a mould, it often cracks. These ‘mistakes’ turned out to have beautiful consequences.
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The insides of the cracked ceramic cylinders have both a smooth shine and a texture. They create scaleless landscapes.
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slab forming + firing Slab forming uses sheets of clay, sliced with a wire, which is then carefully shaped around premade moulds, or can be freeformed. Pieces are often biscuit fired, before they are glazed and fired again. Firing pottery completely transforms it and is possibly the most integral part of the process.
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pinch and coil Pinch and coil forming is one of the earliest and most primitive forms of pottery. Rolls of clay are layered on top of one another and smoothed together. The vessels that I created were much thinner and more delicate than those made using the slab forming technique. They are also more organic and ergonomic.
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glazing
Glazes are applied to biscuit fired ceramics either by dipping or painting. An infinite number of glazes can be created, by using slightly different ingredients, to achieve varied colours and textures. Glazes can also be layered, there are endless possible combinations and outcomes.
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Inhabitation Drawing 1 - wet clay is formed using a choice of methods. clockwise from top left: pinch and coil; slab forming; throwing on the wheel. atmosphere moisture content high temperature 19째C 2 - pieces must be air dried slowly. If it is not completely dry, it will explode in the kiln. atmosphere moisture content very low temperature 25째C + 3 - once dried, pieces can be biscuit fired in the kiln. temperatures reach 1500째C
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architectural applications organic and linear forms social and historical connotations mass-production the value of bespoke
During Primer I wanted to investigate ceramic tiles. Ceramic tiles have formed an integral part of architecture for hundreds if not thousands of years. They are incredibly diverse in their shape, size, color, texture and use. I aimed to widen my understanding by both making my own tiles and carrying out extensive research about both their historical and contemporary application in architecture.
t i l e s
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social and historical connotations
During the Medieval Period, tiles were handmade, making the craft time-consuming and highly valued. This all changed during the Industrial Revolution. The entire process, from clay extraction to glazing was mechanised, which meant that tiles could be produced quickly and cheaply. Soon they were being architecturally applied everywhere; domestically in kitchens, bathrooms, hallways and fireplaces; and commercially and publicly, in town halls, hospitals, railway stations, pubs, food shops, banks, theatres and markets. I was particularly interested in their hygiene focused application, often being used for their wipe-clean property. This contrasts to the integral nature of clay: as earth and dirt. However, many mourned the loss of handmade tiles, the loss of diversity. Both John Ruskin and William Morris avidly condemned the rise of machine production on both an aesthetic and moral grounds. Ruskin argued that an intangible quality is lost when a maker is not involved the entire process from start to finish; when they are merely part of a production line. I want to explore this connection between maker and product at both a small individual tile scale and at a larger, building scale.
David Pye, The Nature of Art and Workmanship, also formed an integral part of my critical research. He explores the workmanship of risk and the workmanship of certainty, which loosely translate to bespoke and mass-produced materials. He argues strongly for the necessity for diversity, at a multitude of scales; something which is often lost in monotonous, mass-produced materials as every unit at every scale is almost identical. A House for Essex, Grayson Perry is a contemporary example that demonstrates the application of tiles in architecture that are both bespoke and mass-produced. His personal approach to the project is something that I’d like to emulate in my own work, combined with mass-production techniques which allow for large scale buildings to employ bespoke materials.
a - Harrod’s Food Hall b - delicatessen c - domestic kitchen d - Grayson Perry, A House for Essex e - David Pye in his workshop
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body forming Questioning the relationship between maker and product by slab forming porcelain tiles over casts made from my own body. Testing the preconception of what a tile is; can it be an organic form?
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personal tile forming
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Experimenting with different techniques that create tiles that vary depending on the person that creates them; the shape of their hand, and the pressure they exert.
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e x h i b i t i o n
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t h i n k i n g t h r o u g h m a k i n g
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fabric slip casting
Dipping different textured fabrics into porcelain clay slip and draping them over rigid wooden form work to create organic forms.
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s t a g i n g
Designing a work/live space for a ceramicist, on Raby Street, a central route in the Byker Estate, Newcastle. This was the first step towards transforming my material investigations into architectural applications.
Raby Street lies in the centre of the Byker Estate, between the Byker wall and metro station, and the River Tyne.
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et Stre y Rab The site itself was previously occupied by a pub. It has a small car park to the South and the street slopes down towards the Tyne in the South. This means that the site has an unobstructed southern facade which I want to utilise in my design.
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Yardhouse, Assemble An excellent example of how hand-made tiles can be used on a large scale. The subtle changes of tone create diversity at every scale. This method of tile fixing has been used in my staging project. Assemble make the tiles themselves, on site. This method of construction immerses the architect in the physical making of the building itself. I have tried to incorporate this into the ceramicist’s building: the tiles it is clad in are made by the artist themselves.
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1:2 facade detail
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initial concept sketches looking at dealing with a compact space
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translucent porcelain When fired to 1270째 porcelain becomes vitrified and therefore translucent. Recycled glass can then be fired onto the porcelain, creating intricate coloured and textured patterns. Garden Pavillion in Smetlede, Indra Janda, uses polycarbonate shingles achieve a similar affect, as the appearance of the building changes with subtle changes in light, both internally and externally.
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initial sketches looking at the connection of spaces in section, in particular the relationship between living and working spaces
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b 0 - gallery + reception / kitchen + living -1 - forming workshop + kiln + toilet
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+ 1 - drying + glazing + glazing / bedroom + shower room a - translucent bone china tiles covered in glass from recycled bottles b - timber battens c - EPDM rubber waterproofing d - oak frame e - entrance from Raby Street f - ceramic details
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f - hand rails, drawer and door indents and handles have been made from ceramic, a tactile reminder of the material.
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realisation
fish quay ceramics centre + fish market regeneration When looking for a site for my graduation project I revisited my earlier research, in particular the common uses of tiles in architecture. The use of tiles in food markets particularly interested me, both for their large scale and popular use both historically and in modern architecture. I went on to investigate markets in the local area and discovered North Shields Fish Market.
site + brief
fish market North Shields Fish Market is open mon-fri at 7.30 am. It is famous for its prawns and langoustines but also sells a wide range of fish to commercial buyers from fish mongers and restaurants. The market operates in an auction style and receives produce from around 50 ships, producing around an average of 200 boxes of fish. 50 years ago nearly 200 ships sold their catch here in almost 2000 boxes. The industry is dramatically decreasing, something out of an architects control. However, by redesigning the market, and heavily integrating ceramic tiles, could I redefine its function and revive the buzz of the working Quay?
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North Shields North Shields [Middle English schele meaning ‘temporary sheds or huts (used by fishermen)’] is located approximately 12km from Newcastle city centre along the northern bank of the River Tyne, just before the river meets the sea. Once a thriving port town, with a large ship industry, both for the transportation of coal and for fishing, North Shields now suffers from high levels of unemployment due to a decay in industry, and a distinct lack of opportunity.
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Fish Quay Proposal To redesign the fish market, creating a more publicly accesible space and a destination in itself. The market could expand to sell other local produce alongside the fresh fish. The existing structure is a minimal steel portal framed warehouse that I plan to knock down and rebuild my design on the site. The tiles used in the fish market will be made in a ceramics centre that I will also design. I have located a site, 6, near to the market to situate the centre. It is a currently a brownfield site amongst a row of terraces on the Quay’s main street, on which a small range of cafes and restaurants are located. The route between the two buildings will have to be carefully considered and designed to integrate the two quite different buildings with one another.
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Ceramic Centre After the ceramics centre has produced the tiles for the rebuilding of the fish market, and in doing so employing local people, it will then go on to become an educational ceramics institute. Three artistsin-residence will be employed on a yearly basis to train young, local, unemployed people in the vocational skill of ceramics in the extensive workshop. The students and tutors will be able to exhibit and sell their own work in the on-site gallery and shop, which will also show work by other local ceramicists. The tutors will live on site. In addition to this there will be a cafe, to attract both local people and tourists, and to help informalise the idea of viewing art and craft. The comprehensive facilities in the ceramics deparment at the RCA Woo Building, Haworth Tompkins, has been a major influence in determining the program for the centre. Large bright spaces are a necessity, with more private spaces still retaining a visual connection to the workshop.
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Schedule of Accommodation public reception, generous circulation space, desk and storage, small seating area gallery space, flexible open-plan space allowing for changing exhibitions shop and cafe, ample seating, both internally and externally. Facilities to prepare and store a range of cakes, pastries, salads and sandwiches. Toilet in cafe. workshop space - largest space, needing to be well lit and well ventilated, possibly double height space or more. - private studio space for artists-in-residence. one shared space or three private? - worktop space to accomodate a class of 20 and up to three teachers. This may need to be
moveable and flexible. - storage space for wet clay (cool), tools, molds - storage space for drying (warm, south facing?), probably in separate room to avoid
breakages. - 1 large, 2 medium, and 1 small kiln, well ventilated, in separate room to control temperature accurately and for health and safety - glazing room, with contained worktops, storage for glazes and drying spaces, - in the main clay forming workshop there will be 5 potters wheels, 3 slab rollers. There will also be 5 sinks. - a communal seating area, where students can have lunch/a tea break. The space will also allow for presentations from new artists or visiting ceramicists. - two toilets
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fish shack
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Across the road from the Ceramics centre, I plan to design a Fish Shack, a small ‘street food’ selling structure that draws people from the ceramics centre out onto the river’s promenade. This area has huge potential to become a social hub, which I hope to encourage.
F i s h e r m e n ’s Huts The Fisherman’s Huts are located further East along the riverfront from the Fish Shack and are used for storage and repairs by the fishermen. The facade facing the main street is currently a brick wall, without a pavement and strewn with bins. I plan to rebuild the entire structure, creating a much more open environment that invites the public into the Quay.
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surrounding buildings
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fishing language
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relationship to Ty n e m o u t h The relationship between Tynemouth and North Shields also interested me. Only 1.3km further East along the river the two towns could not be more different. Tynemouth is a wealthy, tourist destination that has kept it’s buzzing atmosphere whilst, since its decline in industry, North Shields has become a ghost of its former self. I hope to inject some of the old life back into North Shields by creating a bigger tourist industry in an area.
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A sketch of the Fryer Map of North Shields and Tynemouth 1722. The map shows the landholdings of various gentlemen. It was on these lands that the ‘New Town’ was to be built. the ‘old town’ is still confined to riverside location.
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One of the most integral aspects of my design is my material approach. This does not only include the way I include ceramics, but also their relationship with other materials which can both contrast with and compliment them. As I am also dealing with multiple buildings, a material synthesis amongst them is required, whilst I still want them to read as separate buildings.
material palette
expressive timber frame Taking inspiration from the existing timber that lines the bank of the Quay, and abstracting a beach hut typology, I explored the use of an expressive, thick glu-lam frame. As storage of ceramics is so important, the frame could be dual purpose, like in the staging project. Nobis Boar House, Susanne Nobis, employs a timber portal frame to a similar effect. Using timber at such a large scale, especially in the fish market, suggests a domestic language which contrasts to an industrial scale and function.
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timber glu-lam portal frame showing hidden steel plate connections
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six-point timber frame junction connection model
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internal atmospheric qualities of a large scale timber frame
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Moments of Beauty
To integrate ceramics into the building I referred back to my previous research about the necessity for diversity and the importance of combining mass-produced materials with the bespoke. To interpret this idea, hand-made translucent porcelain tiles have been used alongside mass-produced commercial porcelain stoneware tiles. Porcelain stoneware is made by a process called sintering. The porcelain is fired much faster than normal porcelain, resulting in a material that has low water absorption, high bending strength, abrasion resistance, chemical and frost resistance. It is commonly used in large scale, commercial buildings, such as cheap residential flats and large office blocks, as both floor finishes and internal and external cladding. It is becoming incredibly popular. In particular, I looked at porcelain stoneware ventilated facades. Porcelain stoneware tiles are fixed to the facade on a lightweight aluminium frame with an air cavity in between, which is open at both the top and bottom, allowing air to circulate and preventing the build up of moisture on the facade. Waterproof insulation [in this case polycarbonate, used for its translucent quality] is fixed on the outside of structure, behind the air gap and aluminium frame. The system reduces cold bridging and claims to save up to a third of energy usage. However, I feel it is a material that is often overused, unconsidered and aesthetically
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ugly. By pairing this commercial material with hand-made, translucent porcelain tiles I hope to elevate the monotonous porcelain stoneware tiles and create Moments of Beauty. Parts of the facade will glow externally at night and let sun filter through during the day, which utilises the large southfacing facade of the site. The bespoke tiles will also all be completely unique from one another and bring movement and texture to the facade. The mass-produced porcelain stoneware tiles will be white, creating a striking silhouette and highlighting the form of the building. I went on to explore the shape, size and location of the two different types of tiles. By making them both small and diamond shaped, the facade appears almost scale like and the organic clusters, like constellations of stars. Alternatively, the opaque tiles could be larger and more regular, to emphasise the constrast between large scale mass-produced materials and smaller scale hand-made materials. The smaller hand made tiles would then also have more movement and allow the larger tiles to merely express the form of the building.
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technical application of bespoke and massproduced materails 1 glu-lam structural frame; mass produced material. Bespoke sized frame. Domestic form is a mass produced iteration. Some colour and texture may vary. 2 aluminium substructure; mass-produced, off the shelf. Uniform texture and colour. 3 large, sintered porcelain tiles; opaque, mass-produced, off the shelf. Sintering process is incredibly precise.
In Nest We Grow, UC Berkeley + Kengo Kuma & Associates have used polycarbonate to clad an expressive timber frame. The building has an extraordiary lightness.
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4 small, hand-made porcelain tiles, translucent. Variety of tone and texture, with the final outcome left to the fate of the kiln.
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concept diagram expressing the technical application of mass-produced and bespoke materials
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wall - roof detail, south facade
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1 glu-lam floor beams 2 floor slab 3 glu-lam roof truss 4 purlin 5 translucent polycarbonate insulation [also acts as waterproof layer] 6 aluminium battens 7 porcelain
1 glu-lam floor beam 2 floor slab 3 glu-lam roof truss 4 purlin 5 translucent polycarbonate insulation [ also acts as waterproof layer ] 6 alum 11 glu-lam colum 12 floor-to-ceiling glazing 77
Here, both the mass-produced opaque tiles and the hand-made translucent tiles are the same shape and size. This allowed for more organic clusters of translucency and a scale like appearance is achieved, however, I feel like it does not communicate the nature of the mass-produced tiles accurately enough.
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n stoneware ceramic tiles 8 hidden gutter 9 ventilated porcerlain stoneware facade 10 bespoke translucent porcelain tiles 11 glu-lam column 12 floor-to-ceiling glazing
minium battens
7 porcelain stoneware ceramic tiles 8 hidden gutter 9 ventilated porcelain stoneware facade 10 bespoke translucent porcelain tiles
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external tile placement In these small 1:200 models, they are in small organic clusters and positioned at random for an element of surprise. They also mark out small ventilation trickle gaps in the roof for natural ventilation. I felt there were not enough of them, so decided to create prefab panels of smaller tiles, the same size as the large porcelain stoneware tiles. They also increase in density from west to east, as the building increases in public-ness and therefore openess.
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sole plate DPC
tanking
concrete retaining wall
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screed pile support ring beam raft foundations Technical Section of Ceramics Centre [north-south] pile foundations due to proximity to river 0
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porcelain stoneware ceramic tiles
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t hidden gutter ventilated porcelain stoneware ceramic facade aluminium frame noggin translucent polycarbonate insulation glu-lam frame glazing distance to River Tyne [northern bank] 32m
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roof wall junction showing hidden gutter
Anchors are attached to the ceramic tiles in each corner, and expand into pre-drilled holes. These anchors slot into horizontal aluminium runners which are connected to vertical aluminium risers and form the bearing structure in the system. Translucent polycarbonate insulation lies between the aluminium frame and the glu-lam frame.
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Facade [north - south] Section and Elevation 1:100 1 purlin 2 translucent polycarbonate insulation
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porcelain stoneware tile, part of a ventilated ceramic facade, 1400x2400mm panels hidden gutter translucent, hand-made porcelain tile, premade in 1400x2400mm panels noggin glu-lam structural frame, 400mm depth bespoke, glazed tiles line window and door frames floor to ceiling glazing
10 DPC 11 sole plate 12 tanking 13 insulation 14 plasterboard 15 tiled floor 16 screed 17 raft foundations 18 pile support ring beam 19 pile foundations
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Moments of Beauty In addition to bespoke tiles on the facade of the building, I wanted to incorporate glazed, coloured and textured tiles into my design. Using site photos and samples I devised a colour palette. I chose to line the window and door frames of the ceramic centre with these tiles, to create glimmers of texture and colour amongst the white of the facade. Different colours could relate to different functions within the building.
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1:2 window frame detail showing the large, plain stoneware porcelain facade tile against the smaller, textured, coloured bespoke tiles.
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site sample
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colour palette
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tiled floors By combining the colour palette with extensive primary tile pattern research I began to generate a range of floor tile combinations. I wanted all of my buildings to showcase the diversity of ceramic tiles so would like to use varied floor tiles throughout the entire project. I imposed some of these patterns on early floor plans and elevations of the ceramics centre, with the function of a room determining the tile’s colour and pattern. However, the areas became too rigid and regular.
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basic plan and elevation of ceramics centre exploring different tile colours and patterns
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ceramics centre The development of the form and internal layout of the ceramics centre and the integration of the material palette.
initial diagrams exploring public and private
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functional volumetric representation
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Volumetric models exploring private and public zoning, and introducing organic shapes with the use of ceramics. [opposite page] Initial site sections, cutting a piece out of the ceramics centre to form the fish shack along the promenade
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North - South section, original site
North - South section, negative space
North - South section, vertical spaces
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1 public to private zoning
2 circulation routes through an outdoor space 3 using outdoor space to draw people into the building
4 cutting out a fragment of the ceramics centre to create an outdoor space and fish shack
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Basic floor plate model
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A grid was created based on simple floor plans and the functions of spaces, with some spaces overlapping for appropriate reasons ie. circulation routes between them or the sharing of ideas between studios. Colours from the colour palette were then experimented with.
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sunlight
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environmental strategies
sunlight the building is situated on
natural ventilation the cafe, shop,
the Northern bank of the River Tyne. It therefore has a completely unobstructed south-facing facade, maximising the potential for direct solar gain. The ground floor also acts effectively as a thermal mass to absorb and re-radiate the heat from solar gain. A thin concrete slab is covered in ceramic tiles, which are a good heat conductor and allow the heat to be absorbed evenly through the floor. Natural light reaches the workshop in the basement as there is a void above, with large floor-to-ceiling windows allowing light to penetrate. The translucent, porcelain tiles act as solar shading.
reception and gallery are all double height spaces. Large windows can be opened in all of these spaces, drawing cool air into the building which then rises due to stack effect, escaping through trickle vents at the top of the building.
kilns the four kilns in my development will be the largest consumers of energy by far. To reduce this, two of them will be run on recycled fryer oil. This will be collected from local restaurants. The process is incredibly sustainable, producing very little hydrocarbon, soot and nitrogen and emitting the same amount of CO2 as absorbed by growing the next crop. and The residual heat will also be used to heat water in a gas-liquid heat exchanger. This hot water will be used in the cafe and accommodation. The kilns will need to be mechanically ventilated.
timber the entire frame is constructed from glu-lam timber. Processed timber is light, 400-800kg/m3 compared to concrete which is 2500kg/m3. This makes it cheaper and more sustainable to transport. It also requires far less processing than materials such as metal or plastics. It can be easy recycled, a factor enhanced by the bolted connection method. It has low embodied energy, little to no waste and no hazardous by-products. Timber also is a CO2 sequester, meaning it stores the gas.
acoustics the workshop is open to the studios on the floor above. To minimise noise pollution, the foldable partition walls are made from 50mm acoustic matting.
kiln
natural ventilation
acoustics
Ceramics Centre Plan The original drawing was printed at 1:200 scale, 841 x 594mm. Each floor has been enlarged in subsequent pages, and is at 1:200 scale.
1 - fire escape 2 - artists’ apartment bathroom 3 - artists’ apartment toilet 4 - artists’ apartment bedroom 5 - artists’ apartment kitchen 6 - artists’ apartment living room 7 - lift 8 - disabled toilet 9 - artist’s studios 10 - public foyer 11 - reception 12 - gallery 13 - shop 14 - cafe 15 - courtyard 16 - pottery wheels, workshop 17 - clay slab rollers, workshop 18 - teaching space, workshop 19 - drying level, workshop 20 - seating area, workshop 21 - glazing level, workshop 22 - kiln room, workshop 23 - male toilets 24 - female toilets 25 - Fish Shack kitchen 26 - Fish Shack conservatory
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Ceramics Centre Exploded Axonometric The original drawing was printed 1189mm in height. Key fragments have been enlarged in subsequent pages to show detail. The entire ground floor, basement floor and retaining wall are covered in bespoke, coloured, glazed tiles. In the West wing of the building, small 200 x 200mm square tiles are used. These refer to the industrial nature of the workshop and studios and relate to the clinical use of tiles in toilets. In the central third of the building a herringbone pattern has been used, with each tile measuring 300mm x 100mm. Herringbone floors date back to the 16th century and carry historic and domestic connotations. This familiarity invites people into the building, covering the entrance its entrance and external space. In the East wing of the building, large 400 x 400mm geometric patterned tiles are used. These are inspired by European floor tiles and have a more contemporary feel. This reflects the more sociable side of the building.
200 x 200mm square grid tiles
100 x 300mm herringbone tiles
400 x 400mm geometric tiles
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mass-produced porcelain stoneware tiles opaque part of a ventilated facade 2400 x 1400 mm
bespoke porcelain slab-formed tiles translucent part of a ventilated facade 170 x 170 mm
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glu-laminated timber primary structure portal frame 2400 mm centres 400 mm depth
polycarbonate insulation translucent 2400 mm panels 150 mm depth
bespoke glazed stoneware tiles line window and door frames dark tiles - views out light tiles - views in
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An empty frame will continue along the promenade from the Fish Shack. This will be lit at night and feature interventions such as benches and bins to encourage the use of the space. The frame will become covered once it reaches the Fishermen’s Huts, with the huts themselves as separate forms inside the covered frame, which will also provide covered outdoor space, essential for the fishermen. The enveloping roof will continue along to the fish market, where it morphs into the structure of the fish market itself.
f i s h e r m e n ’s huts and market
enveloping roof structure The beach hut, terraced house and domestic pitched roof typology has been abstracted and upscaled. I aim to utilise the vast south facing facade to create interesting shadows within the structure.
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fish market structure The final fish market is constructed from a series of glu-lam timber portal frames. The facades are clad in the white, porcelain stoneware tiles, whilst slats in the southern elevation create shafts of light which move throughout the day with the changing path of the sun. These shadows combine with the different combinations of tiles internally so that for a visitor, the building is rarely the same twice. Large south facing windows offer expansive views over the River and out to sea, providing a direct link to the source of the produce and showcasing the often dramatic weather conditions of the area.
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Fish Market Plans 6
1 - visitors centre foyer and reception 2 - fishermen’s bunker 3 - female toilets 4 - male toilets 5 - storage 6 - lift 7 - fish market 8 -public foot and vehicle access 9 - industrial freezers 10 - restaurant entrance 11 - female toilets, restaurant 12 - male toilets, restaurant 13 - disabled toilets, restaurant 14 - food lift 15 - kitchen/living area for fishermen 16 - market viewing gallery 17 - dining area, restaurant 18 - kitchen, restaurant 19 - openable conservatory balcony 20 - external balcony
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master plan
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initial master plan proposal 1 ceramics centre private 2 ceramics centre public 3 public entrance courtyard 4 fish shack 5 connection promenade 6 20 fishing store huts 7 public entrance to fish market with reception 8 fish market 9 fish restaurant
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journey As previously mentioned, the journey between the ceramics centre and the fish market is integral to the success of the project. This is an early diagram suggesting the change of form throughout the journey. These are finalised on the following page.
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Pub Corner The Kiln Pub is located at a critical point in the scheme. Right on the main road, exactly half way between the ceramics centre and the fish market, the pub is a congregational point for both local residents and visitors. Relax in the cosy interior, watching the adjacent buzz of the port or sit outside on the tiled terrace to experience the atmosphere first hand.
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master plan 1 ceramics centre 2 fish shack 3 inhabited promenade frame 4 fishermen’s huts 5 enveloping roof structure 6 pub corner 7 fish market and visitors centre 8 fish restaurant
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The Adaptable Storage Wall, Ceramics Centre This runs down the centre of the entire building, at this point directly overlooking the workshop. It provides a flexible space for working, socialising and thinking whilst acting as storage throughout the building; in the kitchen and living room above, the cafe and shop on the ground floor, and the workshop below.
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Ceramics Centre Cafe The Cafe and shop extend directly from the gallery, distorting the boundaries between viewing art and eating/reading/socialising. The Centre invites local people to experience art, craft and design in a relaxed atmosphere. Both the cafe and gallery open out onto the courtyard in the warmer Summer months, inviting people in.
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Inhabited Frame and Fish Shack The Fish Shack cooks delicious, simple dishes from Today’s Catch just across the road from the Ceramics Centre. It’s fresh, fast and cheap and can be bought to go or enjoyed in the Shack’s adjoining conservatory. The Inhabited Frame continues East along the promenade, providing a space to enjoy the view, for local people and tourists alike.
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The Fishermen’s Huts Thirteen tiled huts lie along the working Quay. They are used by fishermen for storage and for fixing their boats. An enveloping roof and frame creates covered outdoor spaces, especially important during frequent high winds and driving rain. Gaps between the huts, lined with brightly coloured tiles and lit at night, invite the public to experience the buzz the harbour.
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North Shields Fish Market The Fish Market is now open to the public and commercial sector alike and will soon hopefully sell other local produce alongside the fresh fish on sale here daily. Large windows offer panoramic views of the River Tyne and out to sea, whilst horizontal South facing slats create dancing shadows which move with the path of the sun.
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The Restaurant Dine alongside the Fish Market in North Shields’ first critically acclaimed restaurant. The menu is local and seasonal, of course featuring plenty of produce from the adjacent market. The restaurant is a beacon for the entire project; it is both a visual symbol of the introduction of ceramics alongside the improvement of the fishing industry to local people; and a major way to attract visitors to the area.
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Ceramics Centre Cafe; light, shadow and texture study
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Diffused light seeps through the bespoke porcelain tiles, creating an internal glow in the day time, especially in the cafe where the majority of the south facade and roof is clad in these tiles.
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Fish Marke;t light, shadow and texture study
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Horizontal slats cast light and shade inside the fish market which change over the course of the day with the path of the sun. These rays of light catch the timber frame and tiled market stalls, creating mesmerising patterns. The market now also sells bread from a local bakery and fruit and veg from a local greengrocers.
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further reading
Baker, Arnold, Trades of the north east (United Kingdom: Lord of Barton Publications, 1989) Bechthold, Martin, Anthony J. Kane, and Nathan L. King, Ceramic material systems: In Architecture and interior design (Switzerland: Birkhauser, 2015) Lloyd-Thomas, Katie, Material matters: Architecture and material practice, ed. by Katie Lloyd Thomas (London: Routledge, 2007) Publ and others, Moulding, assembling, designing: Ceramics in architecture (Barcelona: Distributed by Actar, 2006) Pye, David, The nature and art of workmanship (design handbooks) (United Kingdom: Herbert Press, 1995) Simpson, Richard, Tynemouth and north shields: A pictorial history (United Kingdom: Phillimore & Co, 1988) Turner, Daniel M., Fish Quay folk of North Shields (United Kingdom: White Wings Publishing, 2014) van Lemmen, Hans, Medieval tiles (United Kingdom: Shire Publications, 2001) van Lemmen, Hans, Tiles in architecture (United Kingdom: Laurence King Publishing, 1993)
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