PETER WINTERBURN
W12020388
CONVERSATION CLUB YOUNG LIT + PHIL
DESIGN WORKBOOK
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BRIEF
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.
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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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.
LOCATION
UNITED KINGEDOM
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TYNE + WEAR
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NEWCASTLE UPON TYNE
LOCATION
CASTLE GARTH
PHOTOGRAPHY
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PHOTOGRAPHY
PHOTOGRAPHY
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BUILDING USE
Hotel
Mixed Use
Office
Historic
ROUTES - VEHICEL
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ROUTES - PEDESTRIAN
AXIS
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SERIAL VISION
SERIAL VISION
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SERIAL VISION
HISTORIC MAPS
1860
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1830
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HISTORIC MAPS
1934
CONCEPT
CONCEPT
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CONCEPT
MODEL DEVELOPMENT
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MODEL DEVELOPMENT
PRECEDENT STUDY
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]
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PRECEDENT STUDY
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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PRECEDENT STUDY
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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PRECEDENT STUDY
ADJACENCY
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PLANNING
BRIDGE H O T E L
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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ADJACENCY
THEATER
BRIDGE H O T E L
CORE
ATRIUM
FORM DEVELOPMENT
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BRIDGE H O T E L
CORE
THEATER
ATRIUM
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SITE DESIRE LINES
FORM DEVELOPMENT
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URBAN
Allowing interaction between skeaper and Creating a focal point within the plaza, listener. drawing uvisiters into the building and into conversatioin.
THEORY
FINAL PROPOSAL
THE YOUNG LIT + PHIL The proposal is built upon the Lit and Phil’s rich heritage of Lecture, Debate and the Spoken Word. The scheme is orientated around interaction, between Friends, Cohorts, Foes or Strangers.
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. The scheme punctures the bridge hotel to create a harmonious partnership between the two building, encouraging interaction and conversation.
Externally, the stepped seating flows down under the impressive cantilevering auditorium like the Burn’s and Tributaries which mapped out the meandering path of the cities medieval streets flowing down the river. Creating a node within the plaza and allows users to enter the building and creates an open-air auditoria. The building is constructed from cast concrete which allows sound to amplify and reflect around the building creating an environment alive with story, opinion and knowledge.
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BASEMENT PLAN 1:200
GROUND FLOOR PLAN 1:200
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FIRST FLOOR PLAN 1:200
FRONT ELEVATION
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REAR ELEVATION
SECTION A
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SECTION B
FINAL GROUND FLOOR RENDER
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FINAL GROUND FLOOR RENDER
FINAL FIRST FLOOR RENDER
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FIRST FLOOR RENDER
NIGHTTIME RENDER
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ISOMETRIC RENDER