W12020388
PETER WINTERBURN
CONVERSATION CLUB YOUNG LIT + PHIL
DESIGN RATIONAL REPORT
KA0734
DESIGN RATIONAL
CONTENTS PAGE 2-3 4 5 6-7
0.1_CLIENT 0.2_AIMS AND OBJECTIVES 0.3_CONSTRAINTS 0.4_PLANNING AND CONSULTATION
8-9 1.0_LOCATION 10-11 1.1_HISTORY (STORY TELLING)
12-14 15 16-17 18-19 20-21 22-24 25 26-27
2.0 HISTORICAL CONTEXT 2.1_BUILDING USE 2.2_ROUTES 2.3_AXIS AND ACCESS 2.4_SITE VIEWS 2.5_SERIAL VISION 2.6_MASSING 2.7_SUNPATH
28 3.0_URBAN THEORY 29 3.1_NARRATIVE STUDY
30-31 4.0_PRECEDENT STUDY – ROYAL NATIONAL THEATRE 32 4.1_INITIAL CONCEPT 33 4.2 CONCEPT MODELLING
34-35 36-37 38-39 40-41 42-43 44-45
46 47 48 49 50-52 53 54-59 60-62 63 64-69 70 71 72-73
5.0_DEMEOGRAPHIC ANALYSIS 5.1_PRECEDENT STUDY – EYE FILMMUSEUM 5.2_ENVIROMENTAL CONSIDERATIONS 5.3_PRECEDENT STUDY - DUNELM HOUSE 5.4_DEVELOPMENT DRAWINGS 5.5_DEVELOPMENT MODELS 6.0_SITE LAYOUT 6.1_HARD LANDSCAPING 6.2_PROGRAM DIAGRAM 6.3_ADJACENSIES 6.4_DIAGRAMITIC ANALYSIS 6.5_ACCESSIBILITY 6.6_ELEVATIONS AND STRATEGIES 6.7_PLAN DRAWINGS 6.8_EXPLOADED AXONOMETRIC 6.9_PERSPECTIVES 6.10_STRUCTURAL COMPOSITION 6.11_MATERIALITY 6.12_TECHNICAL SPECIFICATION REFERENCES
CLIENT
THE LIT + PHIL
The Lit & Phil is the largest independent library outside London, housing over 160,000 books.
Since opening in 1825, the Lit & Phil has welcomed thousands of people, witnessed ‘world firsts’ in innovation and grown a unique collection of books. It’s now so much more than a library. Depending on who you ask, it’s an historic building, a refuge, a meeting place, office, theatre, lecture hall, performance space and of course, still an outstanding library. Not owned by Council or government, our independence means that we receive no regular funding, but also that we make our own decisions.
The Lit & Phil retains its mission: to educate the people of Newcastle and the surrounding area. There are currently around 2000 members, the highest figure for decades, a collection of over 160,000 volumes, an outstanding music library and a thriving events programme. The Lit & Phil is a public building and everyone is welcome to use it. Come up the stairs and into the library. The staff are welcoming and first-time visitors are always impressed. There is usually a volunteer, ready to answer your questions or to show you around, just ask at the desk. If you would like to start using the Lit & Phil regularly, or to borrow books, you would need to join, and we offer annual subscription rates within a variety of categories. We are always trying to recruit new members, as ths helps to secure our future. In addition to joining, there are many ways to support the Lit & Phil.
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DESIGN RATIONAL 0.1
1793 Literary & Philosophical Society was founded as a ‘Conversation Club’. Society moved from 1794 ‘The Dispensary, Low Friars St.’ to St Nicholas’ Churchyard 1797 1st librarian, Mr Robert Spence
1798 Society rules catalogued. Swan, Bewick, Grey and Dobson become members.
1804 First female members registered. 1815 Stephenson’s ‘Miners Safety Lamp’ exhibited for the first time, to an audience of society members. 1820 Mitchell established ‘The Newcastle Upon Tyne Society for the Gradual Abolition of Slavery in the British Dominicans’
1825 Westgate St. site acquired for new society building. 1825 Current building by John Green opens, featuring 60,000 books, lecture rooms and gallery space. 1850 Up to 15 lectures per year held at the society. Over 120,000 books.
CLIENT HISTORY
1879 Swan exhibits use of the ‘Incandescent Light bulb’ for the first time.
1880 Society has the first public room in the UK to be lit by electric light.
1891 Decision made by the society to purchase a series of novels. 1893 The Lit & Phil suffers a devastating fi re and the loss of thousands of books.
1920 WW1 and times of ‘Economic Depression’ made the society reliant on subscriptions from the library. However it was never intended as a library.
1967 Main lecture theatre downsized for part conversion to storage.
2017 Currently around 2000 members and over 160,000 books. Continuing lecture series. Politics and Religion are no longer prohibited.
AIMS AND OBJECTIVES
THE YOUNG LIT + PHIL The Young Literary and Philosophical Society will essentially be a specialist library, but it will have a particular theme that differentiates it from the existing institution. The Young Lit + Phil will provide a place embodying the ethos of the original L&P, but in a more accessible manner, particularly encouraging people to engage with subjects (such as literature and philosophy) who may not have had a chance to do so before. Community groups from all over the region will be encouraged to use the YL+P as a learning resource, and the YL+P will re-establish the act of thinking and the pursuit and exchange of knowledge as a rewarding pastime, and crucially, as a social experience; the subjects are not ‘high-brow’, but are issues that concern all of us and that we can productively contribute to. Crucially, the young L&P will be for the exchange of knowledge and the chance to challenge and debate. A potential site has been identified to which the following themes are possible, to offer a framework around which detailed briefing information will be generated to inform the final proposal and make the YL+P a viable partner to the existing institution.
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DESIGN RATIONAL 0.3
CONSTRAINTS
SITE
Utility companies will be notified about possible relocation/removal of lampposts/electrical wires. In addition to the requirements of a new development. Health and Safety regarding the closure and temporary relocation of public footpaths that border to the site to the North and East. Road closures may occur which will affect bus routes to Gateshead Temporary closure/removal of parking spaces.
Notification to neighbouring businesses regarding any possible disturbances that may occur.
Preserve access to The Castle to the north and the Vermont Hotel and Moot Hall to the east.
Consideration for the access of the Bridge Hotel, located on the North West corner of the site. The site is a brownfield site located within the Roman castle walls in Castle Garth, Newcastle upon Tyne. The site is approximately 400m2 and is set on a sloping gradient heading south. The sites current use is as a private carpark for the neighbouring Vermont Hotel.
PLANNING & CONSULTATION
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DESIGN RATIONAL 0.4
PLANNING & CONSULTATION
Party Wall Agreement The site has shares its westerly boundary with the Bridge Hotel (Public House). A Party Wall agreement is required for any works which affect a party wall.
“The Party Wall etc Act 1996 provides a framework for preventing and resolving disputes in relation to party walls, boundary walls and excavations near neighbouring buildings. A building owner proposing to start work covered by the Act must give adjoining owners notice of their intentions in the way set down in the Act.”
Archaeological Survey Contact with English Heritage regarding a full site survey, due to the presence of the castle wall ruins to the South of the site. The National Planning and Policy Framework outlines that local planning authorities should set their own local plan for the conservation and enjoyment of historic environments.
Scheduled Ancient Monument Consent The historic nature of the site dictates that an application for Scheduled Ancient Monument Consent must be considered. According to English Heritage “You must apply to the Secretary of State for prior written permission if you wish to carry out any works that will affect a scheduled monument, whether above or below ground level”.
LOCATION
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LOCATION
UNITED KINGEDOM
TYNE + WEAR
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DESIGN RATIONAL 1.0
NEWCASTLE UPON TYNE
LOCATION
CASTLE GARTH
HISTORY
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STORY TELLLING Storytelling predates writing, with the earliest forms of storytelling usually oral combined with gestures and expressions. In addition to being part of religious rituals, some archaeologists believe rock art may have served as a form of storytelling for many ancient cultures. The Australian aboriginal people painted symbols from stories on cave walls as a means of helping the storyteller remember the story. The story was then told using a combination of oral narrative, music, rock art and dance, which bring understanding and meaning of human existence through remembrance and enactment of stories. People have used the carved trunks of living trees and ephemeral media (such as sand and leaves) to record stories in pictures or with writing. Complex forms of tattooing may also represent stories, with information about genealogy, affiliation and social status With the advent of writing and the use of stable, portable media, stories were recorded, transcribed and shared over wide regions of the world. Stories have been carved, scratched, painted, printed or inked onto wood or bamboo, ivory and other bones, pottery, clay tablets, stone, palm-leaf books, skins (parchment), bark cloth, paper, silk, canvas and other textiles, recorded on film and stored electronically in digital form. Oral sto-
ries continue to be created, improvisationally by impromptu storytellers, as well as committed to memory and passed from generation to generation, despite the increasing popularity of written and televised media in much of the world. Modern storytelling has a broad purview. In addition to its traditional forms (fairytales, folktales, mythology, legends, fables etc.), it has extended itself to representing history, personal narrative, political commentary and evolving cultural norms. Contemporary storytelling is also widely used to address educational objectives. New forms of media are creating new ways for people to record, express and consume stories. Tools for asynchronous group communication can provide an environment for individuals to reframe or recast individual stories into group stories.Games and other digital platforms, such as those used in interactive fiction or interactive storytelling, may be used to position the user as a character within a bigger world. Documentaries, including interactive web documentaries, employ storytelling narrative techniques to communicate information about their topic. Self-revelatory stories, created for their cathartic and therapeutic effect, are growing in their use and application, as in Psychodrama, Drama Therapy and Playback Theatre.
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DESIGN RATIONAL 1.1
HISTORY
Lit and Phil Lecture Theater (1960)
HISTORICAL CONTEXT
SITE ANALYSIS
1860
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1830
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1934
HISTORICAL CONTEXT
HISTORICAL CONTEXT
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DESIGN RATIONAL 2.1
BUILDING USE Hotel
Mixed Use
Office
Historic
PEDESTRIAN ROUTES
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DESIGN RATIONAL 2.2
VEHICLEL ROUTES
AXIS
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DESIGN RATIONAL 2.3
ACCESS
The site has a retaining wall and fencing restricting the access tot he site, all access is throught the east side with a section south of this with bollards to restrict access. Enterance
SITE VIEW IN
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DESIGN RATIONAL 2.4
SITE VIEW OUT
SERIAL VISION
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DESIGN RATIONAL 2.5
SERIAL VSION
SERIAL VISION
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DESIGN RATIONAL 2.6
MASSING
SUNPATH
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JANUARY 01 2017
09:00 (Sunrise)
12:00 (Mid Day)
15:00 (Sunset)
09:00 (Mid Morning)
12:00 (Mid Day)
17:00 (Early Evening)
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DESIGN RATIONAL 2.7
SUNPATH
DECEMBER 01 2017
09:00 (Sunrise)
12:00 (Mid Day)
15:00 (Sunset)
URBAN THEORIES
CONTEXT
The city of Newcastle owes much of its winding, meandering streetscape to its expansion within its city walls, which forced development inwards and on top of another. The layout of the medieval city was informed by the small tributary and burns which ran down the bank of the Tyne. This organic and free flowing method of urban planning was studied by Camillo Sitte as part of his research into medieval cities.
Sitte’s idea was to create the ideal of the ‘scenic’ street, a winding formation leading users on a journey where the final destination is unseen. Encouraging the user to explore to the wider environment. This creates a series of squares/plazas which link back to the surrounding areas. These spaces are faced in the facades of neighbouring building creating an “Urban Rooms” used for gatherings and commerce.
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DESIGN RATIONAL 3.1
NARRATIVE STUDIES
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Newcastle’s expansion in the 18th century resulted in the city compacting and increasing in density so it could remain within the city walls. Warehouses, businesses and homes were compressed together, infilling small rivers and alleyways (locally known as Chare’s) this created a city fabric rich is layering and diversity of architecture.
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1. Dark Chare 2. Grinding Chare 3. Blue Anchor Chare 4. Peppercorn Chare 5. Palesters Chare 6. Colevins Chare 7. Horensbys Chare 8. Plumbers Chare 9. Fenwicks Entry 10. The Park 11. Broad Garth 12. Peacocks Chare 13. Trinity Chare 14. Rewcastle Chare 15. Broad Chare 16. Spicers Lane 17. Burn Bank 18. Byker Chare 19. Cocks Chare 20. Love Lane
CHARES
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The term ‘chare’ originated from the Saxon term ‘cerre’ which was used to describe a small alleyway or lane, the term is native to the local area. Chares provided linear marketplaces for traders and merchants to use, as well as allowing close proximity to goods and materials. The Great Fire in 1830 in addition to the great redevelopment by Granger and Dobson destroyed most of the cities chares leaving only Denton Chare; St. Nicholas’ Chare, Plummer Chare, Trinity Chare, Anchor Chare and Pudding Chare remaining to the present day.
PRECEDENT STUDY
CONCEPT
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DESIGN RATIONAL 4.0
ROYAL NATIONAL THEATER The Royal National Theatre (generally known as the National Theatre) in London is one of the United Kingdom’s three most prominent publicly funded performing arts venues, alongside the Royal Shakespeare Company and the Royal Opera House. Internationally, it is known as the National Theatre of Great Britain.[1]
From its foundation in 1963 until 1976, the company was based at the Old Vic theatre in Waterloo. The current building is located next to the Thames in the South Bank area of central London. In addition to performances at the National Theatre building, the National Theatre company tours productions at theatres across the United Kingdom.[2]
Since 1988, the theatre has been permitted to call itself the Royal National Theatre, but the full title is rarely used. The theatre presents a varied programme, including Shakespeare and other international classic drama; and new plays by contemporary playwrights. Each auditorium in the theatre can run up to three shows in repertoire, thus further widening the number of plays which can be put on during any one season. In June 2009, the theatre began National Theatre Live (NT Live), a programme of simulcasts of live productions to cinemas, first in the United Kingdom and then internationally. The programme began with a production of Phèdre, starring Helen Mirren, which was screened live in 70 cinemas across the UK. NT Live productions have since been broadcast to over 1,000 venues in 35 countries around the world. The NT had an annual turnover of approximately £87 million in 2012–13, of which earned income made up 80% (55% from ticket sales, and 14% as revenue from the restaurants, bookshops, etc.). Support from Arts Council England provided 20% of income, and the remaining 7% came from a mixture of companies, individuals, trusts and foundations.[3]
PRECEDENT STUDY
INITIAL CONCEPT
CONCEPT
Drawing on inspiration from the rich layering in the fabric of Newcastle, the concept began to explore the notion of layers of task, this was manifested in the public plaza divided up into layers heading down to the river. Initial response to the site were to use the layer up component sands orientate them to the points of interest and views out of the site. In addition to creating grater engagement with the other building in the plaza. The concept began to develop into form constrained to the desire lines and views to create negative forms.
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DESIGN RATIONAL 4.2
CONCEPT MODELING
DEMOGRAPHIC ANALYSIS
DEVELOPMENT DEV
Newcastle has a wide variety of street performances which take place throughout the year and locations, covering a wide range of style and talents. Ranging in locations from on the platforms of the cities underground metro stations to Northumberland Street and Greys Monumnet Steve Ojay (top), known mononymously as Ojay has been an integral part of the cities street performance scene for many years.
Ojay is a solo bass player, a looper and experimental soundscaper who drifts in and out of funky psychedelia with ease. Working with or without beats he layers his bass through a variety of effect pedals to create shifting soundscapes that seemingly always attempt to defy genre, though always end up funky. Focusing on improvisation Ojay has busked on the streets of Newcastle for over ten years, sharing his unique funky filmic sounds and has become a well known and loved addition to the vibe of the city centre where he is lovingly known as ‘The Awesome Bass Guy’. Ojay regularly hosts a monthly improvisation jam night at Bar Loco, Newcastle as well as perfoming solo gigs up and down the country in venues and at festivals. He also teaches bass guitar, has facilitated music workshops for children and adults.
Presently Ojay is finishing a BA in Performance Industries out of Wolverhampton University and is looking forward to writing a lot of music for sharing. He has happily reunited with his crew in the Dust Junkys who after disbanding for over ten years are touring again and writing new material.
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DESIGN RATIONAL 5.0
•Edinburgh's festivals are a unique cultural phenomenon and each year they attract over 4 million people. •Only the Olympics and the World Cup exceed the number of tickets sold for Edinburgh’s festival events.
•The Edinburgh International Festival was established in 1947 and is ranked as one of the most important cultural celebrations in the world. On average the Festival presents over 160 performances involving over 2,500 artists to an audience of up 400,000 each year. •The Edinburgh Festival Fringe is the largest arts festival in the world with live theatre and comedy performances. In 2014, a total of 49,497 performances of 3,193 shows were staged in 299 venues and ticket sales reached 1.94 million.
•The Edinburgh International Science Festival is the world’s first science festival, founded in 1989 and remains Europe’s largest with 200 events and visitor numbers in excess of 90,000.
•The Edinburgh International Film Festival (EIFF), established in 1947, is the oldest continuously running film festival in the world, screening over 150 feature films from over 50 countries.
•The Edinburgh Art Festival (EAF) is the UK’s largest annual festival dedicated to visual art. •The Edinburgh International Book Festival is the largest of its kind and hosts almost 800 authors from over 40 countries around the world.
•The summer festival season ends with an explosive grand finale – a concert in Princes Street Gardens orchestrated with a breathtaking fireworks display over Edinburgh Castle and enjoyed by an estimated 250,000 people.
•Edinburgh hosts the biggest New Year street party in the world. Edinburgh's Hogmanay welcomes over 80,000 revellers to Princes Street and the surrounds entertained by live music, a sell-out Concert in the Gardens and dazzling firework displays.
DEMOGRAPHIC ANALYSIS
EDINBURGH FRINGE
PRECEDENT STUDY
EYE FILMMUSEUM Film is an illusion created by the scenic coordination of light, space, and movement, which becomes real through projection. In architecture, the interplay between these parameters defines the intensity and effectiveness of the individual spatial perception significantly. They are understood to be integrative components of spatial enactment, their effect being projected through sequences of human motion and unfolded in multilayered ways.
Both the Eye Film Institute’s concept and urban implementation are based on an overlay of two creative disciplines which have at their core reality and fiction, illusion and real experience. The building concept becomes the story board, the architecture the scenography. By delivering a dynamic interplay, the building’s assigned role oscillates between acting as the urban scenery’s protagonist and as a dramaturgical element placed in front of a heterogeneous landscape setting. On the interface between land and water, between historic centre and modern development area, the building adopts many faces from each viewpoint, thus finding itself in a constant dialogue with its surroundings. Its radiance overcomes the city’s natural divide and historic lifeline, the IJ river, and is defined by its interaction with the surroundings, its positioning, and geometry. The area’s distinctive communicative effect goes beyond the confines of the building, thus transforming the visit to the Film Institute into a sustained encounter between urban reality and cinematographic fiction. As a multi finctional meeting point, the building’s architectural formulation complies in multiple ways with the responsibility held by a cultural institution of the highest functionality and sustainability.
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DESIGN RATIONAL 5.1
PRECEDENT STUDY
ENVIROMENTAL CONSIDERATIONS
SUDs Sustainable urban drainage systems (SUDS) are a natural approach to managing drainage in and around properties and other developments. SUDS work by slowing and holding back the water that runs off from a site, allowing natural processes to break down pollutants. Solar Thermal (Hot Water) Solar hot water systems (also known as Solar Thermal) harness heat from sunlight by capturing energy which is radiated by the sun within solar panels or collectors. Solar Water Heating is not to be confused with Solar PV (PhotoVoltaic), which is designed to generate electricity.
Photovoltaic Panels A photovoltaic system, also PV system or solar power system, is a power system designed to supply usable solar power by means of photovoltaics. It consists of an arrangement of several components, including solar panels to absorb and convert sunlight into electricity, a solar inverter to change the electric current from DC to AC, as well as mounting, cabling and other electrical accessories to set up a working system. It may also use a solar tracking system to improve the system’s overall performance and include an integrated battery solution, as prices for storage devices are expected to decline. Strictly speaking, a solar array only encompasses the ensemble of solar panels, the visible part of the PV system, and does not include all the other hardware, often summarized as balance of system (BOS). Moreover, PV systems convert light directly into electricity and shouldn’t be confused with other technologies, such as concentrated solar power or solar thermal, used for heating and cooling.
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DESIGN RATIONAL 5.2
ENVIROMENTAL CONSIDERATIONS
Underfloor Heating and Cooling Underfloor heating and cooling is a form of central heating and cooling which achieves indoor climate control for thermal comfort using conduction, radiation and convection. The terms radiant heating and radiant cooling are commonly used to describe this approach because radiation is responsible for a significant portion of the resulting thermal comfort but this usage is technically correct only when radiation composes more than 50% of the heat exchange between the floor and the rest of the space.
Geothermal Heat Pump (Borehole) A geothermal heat pump or ground source heat pump (GSHP) is a central heating and/or cooling system that transfers heat to or from the ground. It uses the earth as a heat source (in the winter) or a heat sink (in the summer). This design takes advantage of the moderate temperatures in the ground to boost efficiency and reduce the operational costs of heating and cooling systems, and may be combined with solar heating to form a geosolar system with even greater efficiency. They are also known by other names, including geoexchange, earth-coupled, earth energy systems. The engineering and scientific communities prefer the terms “geoexchange” or “ground source heat pumps” to avoid confusion with traditional geothermal power, which uses a high temperature heat source to generate electricity.[1] Ground source heat pumps harvest heat absorbed at the Earth’s surface from solar energy. The temperature in the ground below 6 metres (20 ft) is roughly equal to the mean annual air temperature[2] at that latitude at the surface.
PRECEDENT STUDY
DUNELM HOUSE On the outside wall of Dunelm house on the approach to the Kingsgate Bridge is a bust of Sir Ove Arup the man credited with the fact that he, “Personally designed every detail of Kingsgate Bridge ... and was the structural engineer and architectural advisor for Dunelm House.” When the bust was unveiled the Vice Chancellor of Durham University said, “Kingsgate Bridge and Dunelm House are two of the finest examples of 20 Century architecture in the City and it is fitting that Sir Ove’s creativity should be honoured with this new bust.” Arup was the structural engineer who worked beside the Danish architect Jørn Utzon in the construction of the Sydney Opera House. Kingsgate Bridge spans the River Wear beside Dunelm House connecting New Elvet with Palace Green. The building, which bears the Latin name for Durham, has been home to the Durham Student’s Union since it opened in 1965.
As you can imagine, in a city steeped in history, with its iconic Cathedral and Castle dominating this ancient city built in a loop of the river Wear, Arup’s brutalist concrete building has had its critics. However, significantly, Sir Nikolaus Pevsner described it as, “Brutalist by tradition but not brutal to the landscape ... the elements, though bold, [are] sensitively composed.”
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DESIGN RATIONAL 5.3
PRECEDENT STUDY
DEVELOPMENT DRAWINGS
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DESIGN RATIONAL 5.4
DEVELOPMENT DRAWINGS
DEVELOPMENT MODELS
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DESIGN RATIONAL 5.5
DEVELOPMENT MODELS
SITE LAYOUT
6.0 DESIGN RATIONAL
PROPOSAL 1
CASTLE 6
VERMONT HOTEL
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BRIDGE HOTEL
MOOT HALL
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DESIGN RATIONAL 6.1
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Vechile access restricted to deliveries only. New public plaza created which encorparates and unites the 5 buildings within Castle Garth
HARD LANDSCAPING
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Long granite planks with gaps between to allow for drainge using a Sustaible Urban Dranage Sustem (SUDs). Outdoor theater created from large concrete steps under the canterliver of the building Perimeter granite strip around the buildings to provide an edge for the SUD’s tanking and to create a border around each building.
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Planting areas.
Retractable bollards to allow ofor deliveries for the buildings at Castle Garth Seating areas created around the plaza.
New stairways created to connect Castle Stairs to the Young Lit and Phil and the plaza beyond.
Concrete panels cast into plaza to denote the desire lines which informed the buildings shape.
10 Concrete steps connect the bridge hotels patio to the widerplaza
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PROGRAM DIAGRAM
6.2 DESIGN RATIONAL
BRIDGE H O T E L B A R BOOTHS
ENTERANCE
SEATING A R E A AUDITORIUM
CORE
ARTIUM
PLANT ROOM
WC
VIWEING DECK
SEATING A R E A
STORE
OFFICE
SERVER R O O M
OUTDOOR THEATER
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DESIGN RATIONAL 6.3
ADJACENSIES
THEATER
BRIDGE H O T E L
CORE
FORMAL
INTIMATE
ATRIUM
MASS
O P E N
CONVERSATION’S
DIAGRAMATIC ANASLYSIS
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DESIGN RATIONAL 6.4
DIAGRAMATIC ANASLYSIS
Allowing interaction between skeaper and Creating a focal point within the plaza, listener. drawing uvisiters into the building and into conversatioin.
DIAGRAMATIC ANASLYSIS
6.4 DESIGN RATIONAL
BRIDGE H O T E L
CORE
THEATER
ATRIUM
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DESIGN RATIONAL 6.5
ACCESSIBILITY
Enterance
The building is accessed by a wide ramp with a 1:10 incline in accordance with BS 9266:2013 Both way swing doors can be electronicaly opened with push button opening on both sides of the door, laser sensors built into the frame prevent the doors from closing onto nusers, these doors will automatically open in event of a fire. internal doors feature power assist functionality.
Step free access into the Bridge Hotel. Accessible WC’s are located on each floor of the building. These facilities offer low level WC’s, assistance rails and toilet alarm systems are to be included to satisfy BS8300. Lift access is provided to all floors.
FRONT ELEVATION
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DESIGN RATIONAL 6.6
REAR ELEVATION
EAST ELEVATION
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DESIGN RATIONAL 6.6
ENTERANCE STRATERGY
From the road the entrance is hidden as an aim to encourage users to interact with the outdoor performances.
OUTDOOR THEATER STRATERGY
The main auditorium projects over the plaza creating a sheltered theater for outdoor performances, it also creates a node within the plaza to draw user intoo the building.
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DESIGN RATIONAL 6.6
REAR FACADE STRATERGY
The rear facade is comprised of deep mullions which act as solar shading during th AM.
The sloaping facade is designed to reduce the building visual impace and allow views across to Gateshead.
GROUND FLOOR PLAN
6.7 DESIGN RATIONAL
1:200 Ground Floor 1_Enterance 2_Seating Area 3_Stepped Seating 4_Access to Bridge Hotel 4.1_Bar 4.2_Conversation Booths 5_Ambulant WC 6_Accessibile WC 7_Lift Shaft 8_Stairwell
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DESIGN RATIONAL 6.7
FIRST FLOOR PLAN
1:200 First Floor 1_Auditoria 2_Waiting Area 3_Ambulant WC 4_Accessibile WC 5_Lift Shaft 6_Stairwell
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LOWER GROUND FLOOR PLAN
6.7 DESIGN RATIONAL
1:200 Lower Ground Floor 1_Open-Air Auditoria 2_Seating Area 3_Stepped Seating 4_Store 5_Office 6_Server Room 7_Plant Roon 8_Ambulant WC 9_Accessibile WC 10_Lift Shaft 11_Stairwell
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DESIGN RATIONAL 6.8
EXPLOADED AXONOMETRIC
FIRST FLOOR PERSPECTIVE
6.9 DESIGN RATIONAL
The artium connect the main auditorium to the core through as seriews of walkway with large voids between them allowing sound to travel throught the building and allowing conversation so flow across the floors.
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DESIGN RATIONAL 6.9
GROUDN FLOOR NIGHT PERSPECTIVE
GROUND FLOOR BRIDGE HOTEL CUT PERSPECTIVE
6.9 DESIGN RATIONAL
The atrium features vast stepped terraces which act as meeting places as well as informal performance spaces. The space is punctuated with intersecting floor plates and walkways which allow for opportunities to interact vertically in addition to the horizontal.
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DESIGN RATIONAL 6.9
GROUND FLOOR VOID PERSPECTIVE
THEATER PERSPECTIVE
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DESIGN RATIONAL 6.9
OUTDOOR THEATER PERSPECTIVE
STRUCTURAL COMPOSITION
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12 1_Ground 2_Sand Binding 3_Concrete 4_Ridged Insulation 5_Underfloor Heating System with Screed 6_Concrete floor deck with Holedeck formwork 7_KSN Reban Anchors 8_Bridge Hotel Structure 9_Railings 10_Precast Concrete Stairs 11_Curtin Glazing 12_Roofing Membrane 13_Bridge Hotel Underpinning 14_Aluminium Mullion 15_Aluminium Transom 16_22mm Rebar 17_18mm Rebar
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1:10 Floor Connection Detail
7
14
16 5
7 17
6
3
8
9 10
6
11 4
3
5 2
1
4
13
71
DESIGN RATIONAL 6.11
Board-Marked Concrete Wall, Roof, Parapets
MATERIALITY
Polished Concrete Floor/Steps
Granite
Paving and Street Furniture
TECHNICAL SPECIFICATIONS
CEMEX MicroTech - Fibre Reinforced Concrete
A range of advanced concretes, carefully formulated with microsilica and the latest admixture technology to produce high performance concretes with exceptional levels of durability in the harshest of environments. The technology used in the formulation of CEMEX MicroTech ensures a high strength, low permeability concrete with enhanced resistance to sulfate and chloride attack.
Coupled with increased levels of flexural strength and improved resistance to impact and abrasion, the product is a high performance concrete that will deliver in the most challenging of environments.
6.12 DESIGN RATIONAL
72
73
DESIGN RATIONAL 6.12
TECHNICAL SPECIFICATION
Marshalls Galatea Granite (Fine picked)
Galatea Fine Picked Granite is suitable for both pedestrian or vehicular trafficked areas.
A very light silver grey stone it is also available in flamed and polished finish. Available for all product areas such as paving, setts, kerbs, tactile, steps, water management, street furniture or other bespoke specialised masonry items such as veneers for planters or furniture. Produced to ISO9001 quality assurance standards. All Marshalls Granites are fully tested to the appropriate standards in the UK and are all CE marked in accordance with the latest legislation. Granites are generally hard wearing, strong and durable landscaping materials.
DESIGN RATIONAL
REFERENCES
https://www.ribaproductselector.com/ (Various) https://www.marshalls.co.uk/ http://www.cemex.co.uk/
http://www.lafargeholcim.com/
http://www.wikipedia.org (Various) http://au.autodesk.com/ https://www.gov.uk/ Literature
Government H.M – Part M (Buildings Other Than Dwellings), Access To and Use of Buildings, Building Regulations, Published: 2010
Government H.M – Part L2A (Buildings Other Than Dwellings), Conservation of Heat and Power, Building Regulations, Published: 2010 CIBSE A Guide, A Concise Handbook, The Chartered Institution for Building Services and Engineers London, Published: June 2008 DCLG (2002) Party Wall Act 1996 Explanatory Booklet. Crown Copyright. London