BA Arch. Portfolio - Healing Harmonies: A Journey towards Wellness through Music and Sound Therapy by Odaro Eguavoen

CONTENTS INTRODUCTION...................................................................................6 REFLECTIVE REPORT..........................................................................8 PRIMER.................................................................................................10 THE INSPIRATION ATMOSPHERIC EXPERIMENTATION TEXTURE EXPERIMENTATION THE INDIVIDUAL THE COMMUNAL THE JOURNEY MODEL COLLATION MANIFESTO PROTAGONISTS PROTAGONISTSâ&#x20AC;&#x2122; CELLS THE RITUAL EXHIBITION THE ARTEFACT FIELD TRIP

STAGING...............................................................................................54 SITE ANALYSIS THINKING THROUGH MAKING MANIFESTO DEVELOPMENT PRECEDENT ANALYSIS SOUND THERAPY THE SCHEDULE THE PHASES THE WALL, THE GRID RIVER ORGANS NEW ARTEFACTS PROGRAMME

REALISATION & REFINEMENT.........................................................94

MASSING STRATEGY DEVELOPMENT THINKING THROUGH MAKING (REALISED) FINAL SCHEME PLANS KEY SECTIONS CIRCULATION INTERIOR SPACES AND ATMOSPHERES

CHARETTE - SPECTACULAR TERRAZZO....................................128 CULTRUAL BIBLIOGRAPHY............................................................130

BENIN PROJECT NUFS FASHION SHOW

BIBLIOGRAPHY.................................................................................134

PRIMER “I think music in itself is healing. It’s an explosive expression of humanity. It’s something we are all touched by. No matter what culture we’re from, everyone loves music.” - Billy Joel

THE INSPIRATION Before embarking on any designs, we were told to choose a series of images that we associated with sacred and monastic architecture. I chose images that showed a peaceful atmosphere that is somewhat separated from the outside world. However, I also chose images that showed something other than spatial qualities. One of the other ones I chose was the plan of a cathedral. This plan symbolises a cross which is very common. This is an aspect of subtle symbolism that isnâ&#x20AC;&#x2122;t noticeable when visiting the actual cathedrals or other holy buildings. The final image is one of a church organ. Growing up in a Baptist church, the organ was always a significant feature that commanded attention both in its sound and form. I started to think about the spatial qualities of organ pipes, as well as textural qualities.

The image of the organ pipe is the only one that doesnâ&#x20AC;&#x2122;t directly suggest any spatial qualities. What if one inserts a figure into an organ pipe. What spatial qualities and emotions are evoked?

TEXTURE EXPERIMENTATION Before experimenting with atmospheres, I wanted to experiment with texture. The first model I created was this concrete texture block that focuses on this vertically justified pattern inspired by organ pipes. On the opposite side of the block, I played around with the level of the texture to further resemble the arrangement of organ pipes. The texture comes to life when using a mix of warm and cool lighting at different angles. To create this model, I used plastic light sticks. They donâ&#x20AC;&#x2122;t absorb water or stick to the concrete so it was a smooth process throughout. The light sticks can also be used again after cleaning some concrete remains on them.

THE INDIVIDUAL The idea of this model was a final interpretation of placing a figure inside of an organ pipe and the spatial qualities that can be achieved. The different heights and levels represent the different length of each organ pipe and the different sounds they emit because of their dimensions. I imagine these spaces as private meditation or prayer spaces that are put in clusters. I also imagine signing taking place in each induvial space and how a series of voices can be heard in unison to generate a communal sound.

THE COMMUNAL The gathering space represents communal activity and places importance on the relationship between the people within a space. Using the individual model as inspiration, I wanted to create a gathering space that consists of a central point that is highlighted by natural light coming from above. This came from the idea of a â&#x20AC;&#x2DC;guiding lightâ&#x20AC;&#x2122;, and I wanted this to be somewhat of an ongoing theme for the communal space. The model on the right shows two spaces that ae adjacent to the central gathering space. The contrast in shape between the communal space and the adjacent spaces signifies the importance of the gather space. This model also imagines the organ pipe form not just as a standalone space, but also an element that can be used to link other spaces together.

THE JOURNEY

I believe the atmospheric qualities of spaces are important, but also the journey one takes to get to each space, as well as the circulation between the spaces. The journey should have special qualities as it could possibly increase the importance of the designation space as well as highlight the atmospheric qualities of this destination space by using a contrast in spatial qualities.

Using the atmospheric models we made individually, we compiled them in an effort to create an abstract composition of a complex consisting of a series of spaces. The models ranged in scale and materiality, allowing for versatile and inspiring forms. Some models were more of massing than atmospheric, so they became walls and structure. This process showed the potential all our models had to create a series of atmospheres that could eventually become a complex.

The combination of my models was a straightforward process as they are all part of a journey from the individual to the communal. I have inserted a sound clip that I compiled and edited to showcase the atmospheric and sonorous qualities of the models and the merging of them.

Audio attachemnt (Journey from the Indivual to Communal) (https://soundcloud.com/ odaro-eguavoen/journey-from-the-individual-to-communal)

RELIGION?

At the beginning of this portfolio, I stated why I chose this studio: “I have always been interested in the beauty, intricacy and importance of religious architecture, but I am more fascinated with the role of religion in the future and how religion and religious architecture will evolve.” I grew up going to my Baptist Church every Sunday as I was part of the church orchestra. Over the years, I have seen a decline in the number of people that came to church. My friends no longer showed up, and the seats seemed to get emptier. When I spoke o my friends about religion, there was a significant difference in terms of loyalty to it, a large portion of my generation seems to shy away from the concept of religion. The average age of the congregation of my church has increased, and this is a country that is still incredibly religious.

I always appreciated the structure of religion as I believe there is underestimated beauty in the structure and consistency that it offers. Religion was an escape mechanism that filled me with faith and hope in times of depression, grief, stress and anxiety. The repurposing of religious and sacred spaces a process that can be easily noticed in western regions. I have come to a realisation that religion might be in a different place in the future, and I wanted to explore this future, as well as create a sacred space and system that helps people mentally and emotionally. I would like the sacred space to continue thriving, even if it means making the sacred space primarily secular. So, before I aligned my future design with any specific religion, I did a lot of thinking and research concerning the future of religion as well as modern sacred practices. I also had to take the context into account, which is Newcastle, Unit-

ed Kingdom. I don’t believe religion and other sacred systems will ever die and don’t want it to. I want to imagine and present a new path that is inherently religious which continues the structure, consistency, serenity and hope that religion has provided the people for centuries. This new path could end up being a new religion; it all depends where this journey takes me. Rather than going off just assumptions, I wanted to base my narrative on evidence of trends in religion. For my research, I wanted to explore the possible reasons for this supposed decline of religion and what the future could hold for religious and sacred architecture. This research will inform my programmatic decisions which will ultimately drive my design development.

HEALING HARMONY During my exploration of modern religious and sacred practices, I tried placing myself into this new sacred practice I envisioned. I wanted the proposal to have a strong relation to my experiences so that I have a deep rather than superficial understanding of the aspects the proposal is going to present. Mental Health is an international epidemic that affects mostly youths. This is a problem that has seen somewhat of a rise as religion has seen a fall. I do believe that sacred spaces can work against the rise in mental health issues in youths. One thing that can efficiently help people with mental health issues is music. I previously mentioned my history of taking part in my churchâ&#x20AC;&#x2122;s orchestra and how it has had a positive effect on my mental health. I also explored organ pipes in my primer work, so I wanted these experiences with sound and atmosphere in a religious context to inform my programmatic journey. I have always seen music as somewhat of an escape mechanism in my times of sorrow, depression, anxiety and grief, and I want my proposal to address these problems through music.

After exploring a multitude of modern and traditional sacred practices and wanting to incorporate my experience with music, I wanted my proposal to align with the concept of sound therapy. Sound therapy is extensive and has an array of branches, but I envision a complex and retreat that focuses on the concept of sound therapy that involves harmonious sounds through voices and instruments. These instruments consist of some mainstream instruments that are found in an orchestra as well as the more unusual ones that are often used specifically for sound therapy. To recreate the structure and consistency of religion, I wanted there to be a set schedule for the retreat that the protagonists can work around. This schedule will be centred around a musical meditation ceremony and ritual that consists of acapella voices and a range of instruments. The concept of mental and emotional healing through sound is the central concept of my design and the primary driver for my programmatic decisions.

THE CHAIRMAN Since my programme revolves around the idea of sound therapy and healing, my main protagonist is going to be an expert in this field. My main protagonist is a musician and sound therapist know as â&#x20AC;&#x2DC;The Chairmanâ&#x20AC;? and is going to be the leader of the complex. He/she is going to be a permanent figure in the complex and well informed and educated in the field of mental health and/or music. The chairmen are going to be composers, musicians and therapists. Each chairman can a different combination of these skills from the process becomes collaborative. The chairmen are going to continue their research in their respective fields as they practice so that they can increase their level of knowledge and expertise. The complex is going to be a retreat, so I plan to leave some space for patients who are seeking therapy. These patients are non-permanent and will choose to leave the retreat when they feel they have reached the point of peace and tranquillity they aimed to achieve. Along with patients, I want to accommodate volunteers who would like to be involved in the process of sound therapy and healing. These volunteers can range in types and levels of skills and occupy certain positions in the complex. Along with the patients, the volunteers will also be temporary, leaving the main protagonist, the Healers, as the only permanent group. Since the complex will be primarily secular, the religion of all protagonists does not matter. This is because their primary purpose in this complex is to achieve or help achieve, a mentally and emotionally healthy mind.

THE CONVALESCENT

The oneâ&#x20AC;&#x2122;s in search of a better and healthier state of mind

The ones in search of healing. They come in search of mental and emotional cleansing, to calm the senses and mind. Their journey in Healing Harmonies is progressive rather than stagnant, and there is no end to their journey towards a healthy mind. The musical and sonorous experience is timeless and will continue to increase the quality of their mental and emotional state. The convalescent have a special and close relationship with the Chairmen. The Chairmen is their guide, mentor and advisor, who helps introduce all the aspects of Healing Harmonies.

THE SERVICEMEN

They help bridge the gap between the Chairman and the Convalescent, as well lend their skills and abilities where needed.

While the Chairmen lead, the Servicemen volunteer to be of help to them. Being of service to the Chairmen provides these volunteers with a unique experience, it also educates them about the process of healing through sound and music. As a Serviceman, you will also perform the sound therapy sessions for visitors, as well as others in the healing harmony community. The Servicemen will also have close relationships with the Convalescent and help bridge the gap between them and the Chairmen.

THE RITUAL The concept for the ritual is based around an open musical ceremony that involves communal meditation through sound. The main ritual space will be a communal area that is open to the public. The bodies in this space will be silent and meditate, as music from the vicinity will invade the meditation space and create a spiritual atmosphere. The music will come from a set of chimney spaces that are connected to the ritual space visually and physically. The physical connection will be through pipes that allow the music to travel from the chimney spaces into the ritual space. The music will consist of harmonising voices or instruments, which produce a series of satisfying and soothing sounds. The singers and musicians that produces these sounds also go through a form of meditation by singing and playing. The ceremony will take place three times a day and will be a collaborative process between a number of protagonists. The times for the ceremonies are: Morning Ritual â&#x20AC;&#x201C; Soprano-based - 6:30 Midday Ritual â&#x20AC;&#x201C; Alto-based -13:30 Evening Ritual â&#x20AC;&#x201C; Tenor-based - 18:30 This ceremony will create a structured schedule that is consistent while also being coherent with the sound therapy complex.

PRIM ER :

PROTAGONIST CE L LS The cells are the dwelling for the protagonists and there are three separate types of cells for the three different groups of protagonists. The cells have no context and have been designed in void. However, I have made the chairmenâ&#x20AC;&#x2122;s cells two floors, one floor being underground because of the privacy and quiet it provides.

Cells for the Chairmen The first is the cell for the Chairman, the main protagonist. This cell consists of a central gathering chimney that was inspired by the atmospheric models created earlier on in the Primer phase. This chimney is also an atrium and thermal mass, for ventilation and regulated heating respectively. The ground floor has a living/work space shared between two chairmen, while the basement has the bed, bathroom and access to the central chimney.

2 1

10 13 7

(ABOVE) Environmental Strategy in Cells (Dwellings) 1. Solar Panels for heating space and water 2. Photovolaics for electricity 3. Underfloor heating 4. Rainwater harvested 5. Rainwater Filtered 6. Rainwater stored in Dwelling cluster water tank 7. Greywater from taps and shower recycled 8. Greywater tank with pump 9. Stored greywater used to flush toilets 10. Cool air in 11. Sun heats up central thermal mass (concrete) 12. Stale air rises in thermal mass and escapes 13. Thermal Mass stored excess heat and releases it regularly, regulating the interior temperature

2.5m

Cells for the Convalescent During my semester 1 project in stage 2, I researched about the benefits of co-housing and living together. Co-housing has a positive effect on mental health, especially depression, so I chose to implement a co-housing model into the cells for the convalescent. While in the cells, they can talk to one another about their experiences, struggles and their reasons for searching for healing. This would prevent the convalescent feeling alone in their journey to wellness.

2.5m

Cells for the Servicemen

The cells for the servicemen also consist of a co-housing model and the reason is for ease of communication between them. As mentioned on the previous page, this model helps prevent depression, and if the servicemen are meant to help bridge the gap between the Chairman and the Convalescent, they need to be in a positive state of mind.

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PRIM ER :

E XHI BI TION “The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.” - Chris Ofili

The primer exhibition was the studio’s opportunity to showcase our work as a collective. It was also an opportunity create an atmosphere as a group by using our individual skills. I oversaw the music and visuals. For the music, I combined multiple songs that matched the atmosphere we were trying to create. This mostly consisted of accapella opera music and extracted vocals from other genres. As for the visuals, my concept for this was harmony and symmetry, two things that are often seen in Religious architecture. We projected a series of visuals that will be shown in this section. The other methods we used to increase the quality of the atmospheric experience included light and smell. We kept the lighting quite low while allowing enough for the models to be viewed easily. As for smell, we used incense that had this deep and rich smell that further improved the exhibition and matched the theme we were aiming for.

For the exhibition, I compiled and edited a series of songs and sound that I associated with atmospheric space in an effort to improve the atmospheric qualities of our exhibition and help give the impression of our studio. The soundtrack is 42 minutes long consists of extracted background vocals from contemporary music as well classical music. The theme of the soundtrack was accapella voices.

Audio attachemnt (Exhibition - Atmosphere Music) (https://soundcloud.com/odaro-eguavoen/exhibition-atmosphere-music)

After the primer exhibition, we embarked on the case study artefact project, but this more conceptual and abstract compared to other case studies I had done in the past. My interpretation of this case study was to pick one of the five buildings given then analyse the form and concept by creating models and diagrams that represent different aspects of the buildingâ&#x20AC;&#x2122;s design. As a group of three, we worked on different models that represented different things.

The next thing I did after analysing the buildingâ&#x20AC;&#x2122;s spatial sequence and qualities was to abstract the buildingâ&#x20AC;&#x2122;s form. At first glance the buildingâ&#x20AC;&#x2122;s large windows are very significant and are obviously a major aspect in the buildings design. I tried to imagine these windows as spaces. I did this by extruding the models to the opposite ends of the building. This resulted in an interesting maze-like structure that resembled a lot of modular designs, especially the ones that make use of recycled shipping containers.

These concrete models were made to show three different levels of conceptual abstraction for the Poli House: The first is with no abstraction at all (representational), the second highlights the circulation wrapping around the building and the final is derived from the diagrams above, showing the transformation of extruded window into space.

After experimenting with the abstraction of the Poli Houseâ&#x20AC;&#x2122;s form, I started merge this experimental forms and arrangements with my conceptual form, the organ pipe.

The conceptual composition above shows the one of the results of compiling the artefact and organ pipe form. The organ pipe spaces are still imagined as meditation spaces, while the cuboidal artefact form acts as circulation that connect the different organ pipes. The artefact form could also be a space in itself, with the organ pipe forms acting as light wells.

The field trip was an opportunity to be inspired by a series of iconic buildings that display innovation in design and technology. The timing of the trip was perfect as it took place before the Staging phase of the project, which consisted of concepts and initial massing. Out of the series of buildings we saw, I chose three that had an impact on my project, whether in terms of what the buildings implemented or the specific features that I believe could be improved. I believe I learnt most from the buildingsâ&#x20AC;&#x2122; mistakes than successes because these had a significant impact on my experience.

CAIXAFORUM MADRID

Our first building was the CaixaForum Madrid by Herzog & de Meuron. This building has the most diverse interior I have seen, in terms of technology and materiality. These diverse interiors range in atmospheric qualities. Some could argue that the spaces lack coherence because of the harsh diversity but I believe the variation implemented in successful. This building uses mainly materiality to create its atmospheres, while most buildings that would be considered atmospheric buildings tend to make use of interesting lighting conditions. The building sits on two main cores, which allowed it to seemingly float above our heads and allow us to walk under it. The space below, however, was left bare. This could have been done to not take away from the construction technique used.

VISIT REFLECTION The CaixaForum Madrid Museum showed me how a building can successfully showcase multiple interior architecture styles and construction techniques in one architectural body. However, there were some parts that I had concerns with, and they involve the design decisions taken to create some of the atmospheres. Firstly, the hall that led to the performance hall. The colour scheme of the room is very warm and monotonous, which causes the wood and metal mesh to drown in each otherâ&#x20AC;&#x2122;s presence. This, nonetheless, was not the part that disappointed me the most. On the top floor, there is a restaurant that has potential views of the surrounding buildings as well as the park across the street. The opportunity to frame these views was not taken, instead, a dark, perforated metal mesh faĂ§ade covers all the glazing. Even when sitting next to the glass, it is still difficult to see and appreciated what is beyond. I believe a series of shutters that could be slid across by visitors to their preference would have been a better option.

SPANISH CULTURAL HERITAGE INSTITUTE

The next building Iâ&#x20AC;&#x2122;m highlighting is the Spanish Cultural Heritage Institute designed by Fernando Higueras.This was, in my opinion, the most interesting and iconic piece of architecture we saw on the trip. In this building, there is clear harmony between function and ornamentation that is all exposed for the visitor to appreciate. I wondered what Adolf loos would feel about this piece of architecture. The primary structure, which is in-situ concrete, has was poured into a unique formwork made of wooden planks. This is obvious as the texture of the wooden planks has been left bare. The concrete forms a structured arrangement of beams which, apart from being the primary structure, can be seen as a way of ornamentation.

VISIT REFLECTION After analysing this building for my case study, I noticed how the building is arranged in slices and is based on circle geometry. There is clear evidence of repetition with the arrangement of spaces and structural elements. The colour scheme of the building was cool and monotonous, until we entered the library and work space that was located below the main atrium. Wood was used to create a contrast with the concrete. I saw this as a way of defining and differentiating space with colour and warmth. I believe there was a missed opportunity with the lighting of this space. The ceiling brought in light from the atrium above through a circular concrete void. This void was accompanied by a series of beams that were radially arranged around it. Between each of these beams were light bulbs, which I believe ruined the quality of the ceiling design. Smaller light wells in the shape of slices, to fit in between the beams could have kept the quality consistent. The light bulbs looked like an after-thought. After talking to the guide, I found out that they were not intended to be there. The light coming from the atrium was not enough so the bulbs were then implemented.

HYDROGRAPHIC STUDIES CENTER

The final building I am highlighting is the Hydrographic Studies Center by Miguel Fisac. This building is iconic because of its unique beams. Miguel Fisac carefully designed these beams to allow for a large space, uninterrupted by columns. The main space in the centre is used to test dams, so a large, open space was required. The beams are also located above the main entrance, these are the original beams and not the replacements. The original beams used sectional modules that were held together using the tension of a wire that passed through them. The dam-testing area can be reached after going through a series of cantilevered steps that have a resemblance to the beams themselves. A cantilever system was used for the stairs to allow light flow throughout the stairwell.

VISIT REFLECTION I was disappointed to hear that the original beams that were used started to bend because of the joints between the modules. The modules were replaced by individual beams that still had the same sectional pattern but with no joints. It would have been interesting if the original beam modules were put on display, to further celebrate the original design. As for the cantilever staircase, it felt very unsafe. As we walked up and down it, the steps were wobbling a lot more than they should be. The guide mentioned how the stairs were seen as unsuccessful because of this.

STAGING A multicultural society does not reject the culture of the other but is prepared to listen, to see, to dialogue and, in the final analysis, to possibly accept the otherâ&#x20AC;&#x2122;s culture without compromising its own.

- Reuven Rivlin

Our site is located along the Ouseburn River in Ouseburn, Newcastle and is known as Lower Steenbergâ&#x20AC;&#x2122;s Yard. 1

The site is split into two sections; the larger, main section is located west of the Ouseburn River. This part of the site has a retaining wall along the western and northern edges it. This wall ranges in height as the road behind it (Ouse Street) sloped downwards as it goes North. The other section of the site is currently occupied by Quay Timber. The presence of a thriving business on this part of the site discourages me from invading it as this will be unnecessarily controversial.

2 3

6 1. Highway linking Byker to Newcastle City Centre 2. Ouse street runs along site (5-6m above site level) 3. 5-6m retaining wall along North and West edges of site 4. Active river with a difference in tide of up to 6m 5. Multi-story blocks of flat on opposite side of river 6. Large Gym along Ouse street

The actual site was inaccessible, so we had to go around and above it to get decent photos of site features. Moving from one side of the river was frustrating as the bridges that link the two sides are quite far apart. There is an opportunity to implement a footbridge for ease of circulation between the two sides.

Current Site Access

Potential Site Access 57

Site sections and Materiality BRICK

CONCRETE

The materiality around the site is not very diverse as most buildings have brick facades. The toffee factory, a neighbour to the site, add a bit of colour with its faรงade panels but that is about it. The area was once very industrial, and new building have followed the theme in an effort to keep the historical character of Ouseburn Valley.

Sun Paths and General Site Analysis

Since the site is located in North-East England, the sun tends to hang quite low throughout the year. The winter solstice will be the sun path I will focus on the most so I can reduce the amount of heating my building will need, as well as bring high quality light into the space through reflection. As for the summer solstice, the series of angles will be used to know where to put architectural features that prevent glare, overheating and harsh lighting The site sits around buildings and features that cast a shadow on it because of their height. So, my building will probably need to be around the same height, not just to fit the context but to get as much light as possible.

SUMMER SOLSTICE

EQUINOX 35.57°

WINTER SOLSTICE 11.66°

58.43°

*Sun angles taken at peak height. Time: 13:00

Wind The dominant wind direction in Newcastle throughout the year blows towards the East. The two buildings that sit along Ouse Street block a large portion of the wind that could potentially come to the site.

Main Roads/Highways At the north edge of the site is a highway that links Byker to Newcastle City Centre. This road gets very busy in the mornings and evenings as people commute to work. Ouse Street (highlighted in yellow) does not get a lot of traffic.

Green Space In terms of parks, there is only one in the area, and it is a memorial site which sits next to a scrap yard. The rest of the greenspace is where trees are located and cannot be used by the public.

Noise Most of the noise around the site comes from the roads and highways around the site. The remainder comes from the timber yard on the opposite side of the river. Unlike the roads and highways, the noise from the timber yard is inconsistent as there is not always work going on.

Footpaths As mentioned before, access to the site was prohibited, as there was site preparation for construction. The circulation in terms of footpaths on the site is high and there is opportunity to continue this pattern

Site Geology The site is a brownfield site, so the soil is not as strong as one of a greenfield site because of the previous construction. Deep foundations may have to be used to combat this.

DEPTH - 6m

E YK

N BA

SUMMER LOW TIDE: 1.8m HIGH TIDE: 4.8m

WINTER

LOW TIDE: 1.2m HIGH TIDE: 5.2m

RIV

WA LK

RIV

TYN

ROA

D (A

186

)

RIVER ANALYSIS Research shows that the river (Ouseburn River) is 6m deep and has a high range in terms of tide, with the lowest being in the lowest being in the winter at 1.2m above the river bed and the highest also being in the winter with 5.2m. The summer tide levels have a lower range with a difference of 3 metres between the high and low tide. The river flows south and into the River Tyne and eventually ends up meeting the ocean at South Shields, east of Ouseburn.

AVERAGE TIDE LEVEL (HIGH/ LOW) SUMMER

WINTER

SITE HISTORY Ouseburn was a large contributor to the success of Newcastle’s economy from 1600s through the industrial industry. The glass industry was the most significant, especially in the lower valley, but started to weaken in the beginning of the 19th century. The introduction of machine rolled glass production in the following years resulted in the demise of the Byker and Ouseburn glass tradition. Shortly after, the pottery industry, which had a minor presence in the valley, started to expand. The success of a lot of the industries in Ouseburn relied on the River Tyne as a means of importing and exporting goods. The Ouseburn river that connects the Ouseburn to the River Tyne played a major role in the success of industries in the area. The Lower Steenberg’s site’s history includes the presence of a cattle sanatorium which was constructed and opened in 1876 as a temporary quarantine facility for cattle and sheep imported into Newcastle. By the early 20th century, there was a significant decline in live animal imports, so the site was sublet because of this. By the year 1941, the was occupied by an oil works, warehouse and confectionary works, and became derelict in the late 1980s after the industries in Ouseburn started to disappear. The semi-derelict buildings that are left are reminders of its former character and I believe this character should continue to remain, at least in the architectural sense. The previously mentioned retaining wall along the eastern edge of the site was implemented to transform the sloping site that Lower Steenberg’s Yard was into a relatively flat site suitable for commercial use. The wall consists of two main parts that were constructed separately – the stone retaining wall was constructed first in the 18th century, measuring at 4.8 metres high and 1.5 metres thick. The brick next section was the brickwork skin with pier and arch thickenings.

ELEMENTS ON/AROUND SITE

Part of the cattle sanatoriumâ&#x20AC;&#x2122;s external wall still stands along the Ouseburn River and there is an opportunity to keep this in place as well as continue the arch along the river.

The previously mentioned retaining wall also holds a series of derelict steel beams and concrete retaining structures (photos and sketches on opposite page). The steel beams suggest the cattle sanatorium had brick as its primary structure, while the photos of the exterior of the sanatorium show brick external walls. After researching the cattle sanatorium further, I found out that cast iron columns were also used as the primary structure. This was probably appropriate as large spans of space were required to store the cattle. I saw the brick arches, steel beams and concrete retaining structures as things that stood out and told the story of the siteâ&#x20AC;&#x2122;s history. I plan on taking the opportunity to use these as artefacts that inspire the design strategy of the project, similar to the artefact case study that took place during Primer.

DEMOGRAPHICS Ethnic Groups

Age Groups 60 50 40

30 20 10

0 White

Mixed Ethnicity

Indian

Pakistani

Banglaeshi

Chinese

Other Asian

Black African

Black Carribean

Other

As a whole, the UK population claims itself as approximately 86% white, with this specific site area being 78% white. This chart shows: White (78%), Mixed Ethnicity (1%), Indian (2%), Pakistani (1%), Bangladeshi (1%), Chinese (6%), Other Asian (3%), Black African (1%), Black Caribbean (1%), Other (6%).

0 to 4 5 to 78 to 9 10 to 15 16 to 18 to 20 to 25 to 30 to 45 to 60 to 65 to 75 to 85 to 90+ 14 17 19 24 29 44 59 64 74 84 89

Across the UK as a whole, the median age is 39. In general, inner city areas show high concentrations of people aged 18-30, suburbs show larger numbers of small children and adults aged 30-50, and rural and small towns are more popular with older workers and retirees.

Health

Religion 9%

15%

48%

24% Christian

No Religion

Buddhist

Hindu

Muslim

Sikh

Other Rleigion

Not Stated

Jewish

England and Wales are primarily Christian countries, with 59.3% of residents Christian. However, a sizable portion of the population (25.1%) claim no religion. Some 4.8% identify themselves as Muslim, 1.5% Hindu, 0.4% Buddhist, 0.5% Jewish, 0.8% Sikh, and 0.4% as other religions, while the remaining 7.2% did not state their religious views. The pie chart shows: Christian (50%), No Religion (30%), Not Stated (5%), Buddhist (4%), Muslim (8%), Not Stated (5%), Hindu (2%), Jewish/Sikh (0%) in the area.

Very Good

Good

Fair

Bad

Very Bad

Health in the UK is strongly tied to age as you would expect, but the affluence of a neighbourhood also has a strong influence, with deprived areas often showing poorer standards of health.

LOCAL PLANNING GUIDANCE

Even though I planned on responding to our site’s local planning guidance before we started the Professional Practice module, the module helped me further understand the importance of these kind of documents. The people who put these documents together know a lot more about their local community and context, while my understanding will always have a certain level of superficialness. The document I analysed WAS the Ouseburn Valley Urban Design Framework. The local planning priorities are provided by the Newcastle City Council and focus on the Lower Ouseburn Valley. The site is in the South of Cut Bank sub area of Ouseburn valley. These are two of the design principles provided in the Ouseburn Valley Urban Design Framework document1: • There should be a variety and mix of uses provided by a range of different development plots and building footprints. • Buildings in context – new developments should complement the scale/form of the site. Developments must seek to preserve/enhance the character of the are One of the priorities that the project responds to is the final point; the responsiveness to context and this consists of the creative use of properties that add to the character of the conservation area. The central concept for the massing and layout of the complex was dictated by the six-metre wall that goes along the western edge of the site. This wall showcases a series of arches, steel beams and concrete retaining fins, which show the history of the site by showing the previous structure of the building that was there before. These dimensions of these features were measured and used to generate a structural grid and the material qualities of these site features on the wall also dictated the façade design, emphasising the features and paying homage to the site’s history.

LOCAL BUSINESS ENGAGEMENT The next part of the community integration phase will involve the engaging of local small businesses in Ouseburn and Byker, especially the ones that have the potential to create a coherent relationship with the complex. The small businesses will be split into three groups: 1. Scheme Link These links will be based on the buildingâ&#x20AC;&#x2122;s programme and will be ongoing relationships. Forming these relationships will benefit the project as well as the businesses that the project collaborates with. The map on the next page shows the locations of these businesses. 2. Reclamation Link There are several businesses that can provide reclaimed materials. This idea stemmed from the use of the history of the site. The cattle sanitorium had a steel beam structure, with cast-iron columns and brick exterior. My search for the materials and artefacts that were possibly severed led me to businesses that sell a series of reclaimed materials/items. These are some of the materials and their respective businesses: Reclaimed Wood/Timber from Quay Timber Reclaimed Metal (e.g Cast-iron columns) from Ward Bros. Steel Reclaimed Bricks from N E Reclamation Supplies Reclaimed Furniture from Recycle your Furniture 3. Construction Link Unlike the scheme links, these links are not intended to be long-term. These links will be with local businesses that are based on construction and materiality. The intention of these links is to let the local businesses benefit from the construction of this building. These links will be highlighted later in the construction and technical section.

My idea for the thinking through making project originated a window detail I noticed while on the trip to Madrid. While I was on my way to a building visit, I noticed this window that looked like a contemporary glass box with a metal frame which seemed to have replaced the window that was there before. Rather than making perfecting the edges of the wall that surround the frame, the edges were left rough and imperfect. This juxtaposition created a fascinating material and textural relationship between the seemingly perfect window frame and the ragged wall edge. The window also gave the viewer/visitor a glimpse into the building and windowâ&#x20AC;&#x2122;s history. The window tells a story of repurposing, refurbishment and replacement. One can figure out that the rough wall edge is a result of the removal of a previous window frame. This contrasting relationship can be enhanced by increasing the difference in surface smoothness/roughness. This enhancement could be achieved by roughening the wall edges even further. My aim for this project is to explore the relationship between the materials and how this relationship can tell a story of history and process.

The concept of this model shows the relationship between metal, concrete and glass. It explored the relationship between the old (concrete) and the new (steel and glass), similar to my [design] concept.

The design and programmatic decisions that will be taken will reflect upon the Primer phase as the foundation for the project, but information gathered from the Staging phase, as well as the inspiration from the field trip and case study, will further inform the project. The Staging phase is pivotal as it introduces specific context, which was absent during the Primer phase. The atmospheres I experimented with during Primer will start to be realised and transformed into actual, inhabitable spaces. It is important to respond to the context appropriately while also remaining true to the concept and integrity of the Primer phase. Even though the manifesto for the project was declared at the Primer stage, changes can still be made after considering the information gathered during site analysis. So, using the site analysis, the project and manifesto will be developed and refined. This would be the appropriate path to take as the purpose of the project is to create a harmonic relationship and positive effect on the community.

“A monastery in Ouseburn Valley? But how?” That was the first question I asked when reflecting on the site analysis, wondering about the placement of a healing monastery along the Ouseburn River. I was thinking about the effect on the local community, and whether they would see this as something invading their space. The response from the community is important and if negative, can possibly have an undesirable effect on the reputation of architects.

“It seems the Architects have arrived with......these?”

“It was only a matter of time before they started their ‘designing’.”

“Just keep walking guys, nothing to see here.”

LA TOURETTE In terms of programme, the proposal has the cells, ritual space and chimneys as the only spaces as of the end of the Primer phase. To increase the diversity of the proposal’s programme and gain some inspiration, I found a few monasteries and proceeded to analyse their strategy for the programme and spatial relationships. The one monastery I am highlighting is Le Corbusier’s Lat Tourette in France. The main reason I chose this monastery is because of a quote from Le Corbusier that resonated with me while I was reflecting on the site analysis:

“This Monastery does not show off; it is on the inside that it lives.” -Le Corbusier

The reason this quote resonated with me is because of my question of how a monastery can exist a context like Ouseburn. In terms of exterior architecture, the building is quite muted and monotonous, with exposed concrete and large glazing, nothing necessarily special. The exterior, however, does have a certain level of mysteriousness to it, which gives the building enough character on the surface. I believe the idea of the interior being the special part of the building is one that will help me creating a complex without attracting any unwanted attention. As Le Corbusier said, it is in the interior spaces that this building starts to feel alive. The interior presents you with a series of special moments that come from the use of light, and material. Those three things have been explored in the Primer phase along with sound, but not on this scale. In terms of programme, the building is very accommodation-based as it consists of a hundred cells, a church, oratory (private chapel), reception, porter’s lodge, study rooms, library, common rooms, refectory and chapter room. These spaces are strategically arranged around a series of courtyards which are intersected by circulation that connects the wings of the building as well as lead to the church. The church can be reached by a long ramp that offers a rewarding entrance which can be reached through a rotating metal wall. This short journey to the church has been designed in a way to symbolise importance and show the significance of the space compared to the rest.

The sketches on the left illustrate the elements that I am going to borrow from this building. The first is ‘the journey towards an important space’ and this helps increase the importance of the circulation towards a key area. The circulation should produce special moments just like the space it leads to. The second is the ‘importance of light’ and links to my primer experimentation of how light affects atmosphere and emotion. Light can completely transform a space, so using it strategically by experimenting with positioning is another aspect I am implementing in my design.

SOUND THERAPY The concept of the effect of sound on a person’s wellbeing was explored during the Primer phase and became the foundation for the project. However, the Primer phase only introduced the communal meditation known as ‘The Ritual’, without introducing any other process that relates to sound therapy. After going through the site analysis and realizing the potential scale and potential the project can possess, I revisited the research I did on sound therapy in an effort to further diversify the proposal in terms of program and services. The process of sound bowl therapy consists of different levels of intensity and different types of sounds that cause different reactions, depending on the person. Rather than making the process of sound therapy for the proposal one-dimensional, I proceeded to explore three different categories of sounds; light, dark and natural. The purpose of splitting the sound therapy into three types is to provide people with choices. Different sounds produce a series of different emotions, and separating these sounds help narrow down and specify the needs for each division of sound. At the beginning of each sound therapy session, there will be an introduction that consists of sounds that blend the sound of each divisions. This is followed by the specific type of sounds that each division has. This introduction is a transition period to prevent the overwhelming change between normal sound and the sometimes unusual and overwhelming sounds of the sound therapy session.

LIGHT This category consists of the use of sounds with a higher tone, within the upper octaves. The sounds are unusual, but not overwhelming. The sound bowls known as the Mani (also knows as Mudra) will be the key instruments present in this category because they tend to be very high in tone. Audio attachemnt Sound Therapy - Light (https://soundcloud.com/odaro-eguavoen/sound-therapy-light)

DARK This category consists of deep tones and can be described as more overwhelming and intense. The Ultabati sound bowls will be the main instrument in this category as they are known for having low tones and can go as low as the second octave. They also tend to be larger in size but not necessarily heavier. Audio attachemnt Sound Therapy - Dark (https://soundcloud.com/odaro-eguavoen/sound-therapy-dark1)

NATURAL

The final category will be more familiar to the average person and will serve the purpose of being the introduction to sound therapy. The sounds present consist of different sounds from nature that are know for calming people such as birds, water, wind, etc. The sounds from the Manipuri sound bowl will be used alongside electronic speakers, which will play the sounds. The Manipuri sound bowl has a wide range of tones (depending on dimensions) and can will be matched to the type of sounds from the speakers. Audio attachemnt Sound Therapy - Natural (https://soundcloud.com/odaro-eguavoen/ sound-therapy-natural)

This illustration helps show the proposed arrangement for the sound therapy bowls. These bowls vary in size and thickness to generate different tones. The more traditional bowls are made of an alloy consisting of up to seven metals, each associated with a heavenly body, and tend to be bronze in colour.

The larger, white ones are crystal singing bowls and are made of silica sand. These ones are more modern and have a softer sound. The crystal bowls will be used to contrast the metal ones.

THE SCHEDULE For the complex, I wanted the programme to revolve around a set schedule because of the beauty of structure and organisation. The activities throughout the day will determine the placing and adjacencies of the spaces. The first activity that are already present on the schedule is the ritual that take place three times a day and is open to the public. The illustration on the opposite page shows the schedule around a clock and the meanings of each symbol are below:

The Ritual

Sound Therapy Sessions

Meals

Rehersal

Transition Time

Presence/Involvement of Public

The transition time period is a gap in between two significant activities and its purpose is to allow time to prepare for the upcoming activity and move between spaces. The beginning of the scheduled part of the day begins at 6:30 and ends at 18:30. After this period, the protagonists are free to do what they want, whether they want to rest, research, write music or temporarily leave the complex. The transition time period is a gap in between two significant activities and its purpose is to allow time to prepare for the upcoming activity and move between spaces. The rehearsal time does not include all the protagonists, instead, while some are practicing for the upcoming rituals, the remaining are performing the sound therapy sessions. The sound therapy service is only available from 09:00 to 16:30, with a break from noon to 13:30 for lunch and time for the midday ritual from 13:30 to 14:00.

To implement a sense of progression in the complex, I am developing the manifesto to incorporate a system of phases. These phases are for the convalescent to feel the satisfaction of progress rather than feeling stagnant.

ENTRANCE This is your beginning, but bear in mind there is no end. You will be introduced to the daily rituals as well as the rest of the people in the complex. Your journey through Healing Harmonies can be as long as you want, as short as you want and as intense as you would like.

INTERMISSION You have gone through somewhat of an initiation. Your goal now should be to participate in communal activities to further integrate you with the community. You will also start to be more involved in the practices that will further embed you in the community.

PERFORM This stage can be seen almost as confirmation. During a ritual, you will enter one of the three chimneys and you will become part of the harmony. You will sing to relieve yourself of stress. When singing, do not think about how good you sound, only think about how good you feel. Think about the kind of energy you are removing from your body and make sure to let it go. This stage is vital as it will be your way securing yourself in the communityâ&#x20AC;&#x2122;s practices.

TRANSITION TOWARDS SERVICEMAN You have experienced the process; you can now choose to help other people who are in search of healing. Having first-hand experience will help you bond with the new convalescent one. The initiation for this consists of shadowing a Chairman for one week, mirroring what you see, giving a helping hand and fully integrating yourself in the process.

TOWARDS DEPARTURE As you prepare to depart, you will start to focus on the individual rather than communal. This will prepare you for life with the healing harmony process, but without the complex being present. You will start to withdraw from group activities, so the move from the complex to back home is not a harsh one.

DEPARTURE As we said, there is no end, just a new beginning. The knowledge and lifestyle you have acquired will forever be with you, and practicing it on your own will be your way of coping. The complex, rituals, community, atmosphere and lifestyle have prepared you, so there is no need to worry. This may not be your last time here, the daily rituals are open, and so you may return to refresh your memory. Please take care.

Using the information gathered from the site analysis gathered in the earlier parts of staging, I generated a structural system based on a grid. The dimensions for the grid were derived from the brick arches, steel beams and concrete retaining structures, which were all highlighted. This grid will not only determine the structural strategy, but also the architectural language of the spaces that are within each section. Since the site could not be accessed during site analysis because of construction work, the dimensions of the artefacts and the distance between them are estimated using the bricks that were across the wall.

The concrete retaining structures are large in size and very close together, so the grid for this section will be dense but will be positional as the structure would be excessive.

BRICK ARCH GRID STEEL BEAM GRID CONCRETE GRID

PRECEDENT

While researching organ systems I came across a project by Nikola BaĹĄiÄ&#x2021; in Zadar, Croatia. This organ system is situated along the Nova Riva and it relies solely on the waves crashing against the bed. As the waves crash into onto the bank, they push air into these gaps where individual organ pipes are placed. Each organ pipe varies in tone to produce the same set of sounds identical to a conventional organ. I wanted to incorporate a similar system in my design. The river along the site does not have waves strong enough to push large amounts of air; however, the river does go through significant tide level changes.

6:20pm

Summer: 3:45am Winter: 4:40am

1:30pm

5:20pm

Using the information I got from the tide analysis, I developed a schedule for the movement of water between the river and the pools of water I am planning to have on the site. Since the tide levels are different in Summer and Winter, the times change according to the season, with water moving into the first pool at 3:45am in Summer and 4:40am in the Winter. As the water moves from pool to pool, the organs that are arranged along with edge of the pool will start to sound. This sound is caused by the water movement pushing turbines to rotate, which powers a blowers that blows air into these pipes. The pipes are arranged in three groups: Tenor (first pool), Alto (middle pool) and Soprano (Final pool)

During the artefact case study that took place during primer, I used features from the Poli House to abstract its form and create an abstract illustration that merged it with the chimneys. This part of primer inspired me to gather new artefacts that have been extracted from different stages of the research and design process so far. • •

Chimney This form was what kickstarted the Primer phase Repetition Artefact This form represents the concept of repetition I ex plored during primer. It shares the same concept as the atmospheric model that showed the journey.

The remaining artefacts came from the site analysis • Brick Arches – present on site • Steel Beams – present on site • Concrete Retaining Structures – present on site • Cast Iron Columns – historical link to site history (cattle sanatorium structure) These new artefacts will be spread across the site to create a historical link to the context as well as form a strong relationship with my primer work.

NEW ARTEFACTS

PRIVATE

PUBLIC Library of Music

Ritual Hall

contains books on music composition and healing

Communal Meditiation Hall

Library of Sound Therapy

Sound Therapy Centre

contains books on sound therapy (hisotry, theory, technique)

Cells

Chimenys

consists of rooms for sound therapy sessions

ritual towers

protagonistsâ&#x20AC;&#x2122; dwellings

Refectory

Rehersal Hall

communal dining

SEMI-PRIVATE

music practice