Portfolio Ruta Austrina B.A. Architectural Studies Stage 2 Session 2011/2012
Obj ect i ve I nt er nshi pi n an Ar chi t ect ur al pr act i ce,wor kof whi ch If eelpassi onat e aboutand whi ch wi l lbenef i t f r om myef f or t sand ent husi asm
Empl oyment Per sonal i nf or mat i on
Rut a Aust r i na r ut a@ t el l us. l v 07761074891 34 Sal ypor tHouse,Ci t yRoad, Newcast l e Upon Tyne,NE12AE
Apr i l2012 Sept ember2010 Oct ober2011
Educat i on 2010 – cur r ent moment
1998 – 2010
20082010
2009 – cur r ent moment
Par t1 -Ar chi t ect ur alSt udi es, Uni ver si t y ofNewcast l e Upon Tyne Ri ga Cent r e Language School Exam gr adesi ncl ude:Engl i sh ( A) , Mat h( A) ,Lat vi an ( B) ,Cul t ur al hi st or y( 9) ,achi eved an aver age scor e of9 ( i nt he scal e of10)i n t he f i nalr epor t Dr awi ng cl assesi n Ri ga Ar chi t ect s’House I nvol ved i nt he Eur opean Yout h Par l i ament: •par t i ci pat ed asa del egat ei n The Lat vi an Nat i onalConf er ence 2009 and The I nt er nat i onal Sessi on i n Fr ankf ur t ,August , 2010 •or gani zed The Lat vi an Nat i onal Conf er ence 2010,t hati ncl uded char i t yf undr ai si ng,t aki ng car e ofcat er i ng and cont act i ng par t i ci pant s
June – August 2010
Wor kexper i ence i n RyderAr chi t ect ur e of f i ce i n Newcast l e Wai t r essi nr est aur ant“ Si x”i nt he Bal t i c Cent r e ofCont empor ar yAr t ,Newcast l e. Wor ki n st r essf ulenvi r onmentwher e t eamwor k and communi cat i on ski l l s ar e essent i al Fami l yOf f i ce,Ri ga,Lat vi a Pr epar ed t echni caldr awi ngsusi ng Aut oCAD
of i ci encyi n Adobe Phot osho,Revi t , Pr of essi onal Pr e Scet chup ( Render i ng usi ng Ski l l s Googl VRay) ,Aut oCad,I nDesi gn and I l l ust r at orand Mi cr osof tOf f i ce pr ogr ams. Good f r eehand dr awi ng and model maki ng ski l l s. Achi evement s June 2011
2010
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Recei ved t he Newcast l e Uni ver si t y NapperMemor i alPr i ze f orexcept i onalper f or mance i n BA1 Recei ved t he Cer t i f i cat e ofRecogni t i on f r om t he Cabi netofMi ni st er s ofRepubl i c ofLat vi af or excel l entaccompl i shment sgr aduat i ng hi gh school Passed I ELTS t estf ort he Engl i sh l anguage Languages:Engl i sh – f l uentwr i t t en and spoken, Russi an – basi c, Lat vi an – mot hert ongue Aug 2009 -B cat egor ydr i vi ng l i cence Dance,vi sualar t s,t r avel ,r unni ng, kar at e
Section Alley Chares are narrow medieval passage ways in Newcastle leading up from the Quayside towards the current town centre, many of which still contain fragments of historic buildings and the historic fabric of the routes. This group project involves choosing one of the chares to create a shelter staging a music festival performance that takes place on Newcastle Quayside, emphasis being on busking and street performance. The 1,5 meter wide and 16 meter high Plummer Chair captivated the group with its’ distinctive atmosphere created by textures and relief depths of the back facades, play of light through an existing fire escape stair and the extraordinary combination of height and narrowness that focuses the senses and lets one forget of the business of the street. A wish to share with our discovery resulted in a design that accentuates the distinctive qualities of the place and lets the visitor experience Newcastle from an unforeseen perspective.
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Civic Centred Tynemouth Library Tynemouth and nearby seaside towns have a rich local history interlinked with the work and life next to the see, consequently the region can take pride in a strong Marine Art tradition especially marine painting. The project task asking to design a public library for the 17000 people Tynemouth community has been used as a tool to celebrate the distinctive qualities of the locality, unite people on this basis and share the treasures with visitors. An old boathouse on the Priors’ Haven bay serves as an ideal host where various activities reinforce each other. The building facilitates a general library, a Marine Arts specialist library with a small Precious exhibition room for valuable pieces significant for the region, a two storey cafe and a viewing platform. However, the hart of it is the old boat house used for community events, lectures, drawing classes and exhibitions of local artists.
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Tynemouth library Anchor for locally rooted unity
The heart of the town is the Front street mainly with shops and cafes and there is an apparent need for non-commercial public space to stop and stay.
“Man is man’s greatest joy!” /Hávamál/
Clocktower Castle and Priory
Centre for rowing and sailing Library
Carpark
Collingwood monument
“Life in city is a self reinforcing process. ....Concentrating activities in order to kick start good processes.”
/From “Cities for people” by Jan Gehl/
Advantages for the choice of site at the higher part of the bay: • Use of old boat house - celebrating the local history and regenerating the forgotten part of the bay • Visibility from the clock tower in the town centre • Set back for views to the castle • High enough to raise above the pier and see the whole horizon • Beneficial presence of sports people in the bay and pedestrians going to the pier
Cafe Foyer / circulation void Marine Art
Specialist Area
Community
General Library area
Longitudal section
Initial idea of old boat house as an anchor connecting different radially arranged functions symbolizing the wide range of social groups that the building will serve.
Exploring volumetric opportunities...
...and simplifying the form Main axis of circulation and entrances. Access from three sides provides invitation for various people and opportunity for accidental encounters throughout the building.
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beneficial
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1. Public square next to main entrance 2. Foyer /Reception 3. Circulation void 4. Cafe 5. Cafe / Terrace 6.Ramped promenade with seating leading to the car park 7. Access from town centre
1. Cafe / Viewing platform 2. Viewing terrace
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1. Circulation void 2. Community space 3. Terrce to the beach 4. Precious exhibition room 5. Marine Arts library area 6. Meeting room 7. Work room / Check out desk 8. General library area 9. Reading room 10. Children’s room
A ramped promenade hosts people with visual impairment by providing seating and boards with Brail text describing the fascinating views, information about local context and building facilities 6 5 5
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First floor level
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Main entrance level
Level -1
Paintings of old Masters of marine paintings of the region can be exhibited in the Precious exhibition area as an enclosed room satisfies the requirements for humidity and lighting control. Glazed wall to the community room provides a tempting invitation to the Marine Arts volume.
View to the main entrance
Entrance to the cafe on the South side
View from the cafe / viewing platform
The lower volumes of the building that host two library areas are clad in fibre cement panels that are very durable and of a high environmental rating . The choice was also made as they are available in unlimited size pieces and pleasantly change colour when wet, that makes the building “live“ with the seaside climate
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Parts of the old boathouse that have been removed are reused to build an inhabitable stone wall that goes continuously from the children’s area inside up through the roof terrace where it is an important part of the public square as it acts as a transformable setting for social interaction.
Solution of the table transformable into a back support
A space for two people sitting opposite each other or for one if he/ she wishes to cover the sides with a movable frame and raise a rotating back support.
Back support used when sitting in the direction of the priory and castle can transform into a table hosting a group of people for a common meal
A twisting long seat host people sitting in the direction of the sea and can be rotated to join those at the table.
Interior space development Initial sketch for an inhabited wall
Sou Fujimoto speaks about spaces that link togeather with wague partitions offering the best stage for balancing interaction and privacy
Wooden seats and shelves piercing through the wall are located in angles where a person is partially enclosed but still has a visual link to surroundings.
A twisting seat inside the wall offers a choice between being in the quiet reading room or more busy library browsing area.
A place for two or a comfortable enclosure for reading for one person
This part of the composition slides in and out the wall offering varying levels of enclosure
The inhabited wall of the public square begins inside where various nooks for reading and playing are created both for children and adults.
Flitch beam for the community room roof that would support more load with less material Explorative model of the community room and it’s relationship with the staircase and precious exhibition room.
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Initial sketch of the marine arts specialist area eroding part of the old wall, thus creating a presence in the community room
The entrance to the Precious exhibition room is through a glass door that is embraced by two heavy stone walls that way marking the entry threshold and stressing the importance of the work exhibited there. A window provides a visual link between the exhibition and Marine Arts library area.
First phases of the project were devoted for searching for a volumetric solution that would host functions of the building but show enough respect to the old building
This solution was satisfying in terms of placement of functions, however, lacked clarity and order.
The intention has been to occupy the corner of the bay which is currently in a disused and disordered state. This has been achieved with having a terrace cafe on the south side of the building and a ramped promenade of planting coming from the car park.
Volumetric and facade development Wood cladding?
Intermediate proposal of the facade involved lightly rendered library volumes which would prove to be hard to maintain. Visually the elevation lacked a readable link between the very modern volumes higher and the lower ones. A consistency of architectural language was therefore developed afterwards to let the old boathouse stand out.
This simple 1:200 model was the most important piece for developing the scheme. Ideas about separat-
ing the old building from the new parts with glass volumes as “gaps“
was tested here among other aspects. From the above street level the buildong does not have an overdominating presence, thus remaining the views from neighbouring houses.
Approach from the town centre with a welcoming public square
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Newcastle Foyer Foyer is not merely the only home for eight residents who are living there for several years until the age of 25 , more importantly it is the place that offers possibility to define themselves, gain confidence and ultimately a mental stability for the rest of their lives. Youngsters coming from difficult and disadvantaged backgrounds are given an opportunity to learn woodcrafts in exchange for their work for the local community. Their tutor's family is living in a self contained flat on the top floor. The aim of my readings and design process was to identify the aspects of home and its' immediate and more distant surroundings that may influence the mental development of a person. The specific state of informed in-betweenness or in other words - state of being at the interface attracted my attention as a very beneficial position to be in, thus I've tried to identify and form these interfaces to benefit the youngsters' daily lives.
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/Architecture and our mental health/
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The building shape and main facade addresses the park as it aims to be part of the interface between various social groups using the green space. Thus the workshop is orientated in an angle to invite the community.
Relationship between the house , outside living room, garden and park
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The tutor's family is offered a choice for a separate entrance and staircase from the North. On her way home the wife can visit her husband in his office on the first floor.
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* A type of in-between spaces that are located in various The slope of the roof makes the bedrooms in the tutor's flat more intimate lower spaces while offering a grandeur of high ceiling towards the South facing living spaces.
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places around the house offer a higher level of separation from the rest of the group that is important in order to be together without sometimes disturbing each other.
The stairs as a stage have social character especially as they lead into the living room. The last steps are articulated by being wider an made of stone.
The fire place is the most important social interface of the building placed to be a visual focus of the garden and the living room. It also links the inside and outside ''living rooms'' ''An outdoor living room offers an easy sense of connection to both - the inside of the house and the garden. It seeks to dissolve boundaries between natural and man made and fosters the sense of connection with the nature, with the cycle of seasons and provides a viewing point for appreciation.''
Space under them is occupied by books and a small enclosure with a reading place is created. This is one of places in the building where a person can have some degree of privacy without sacrificing a sense of community.
/New natural home/
Window place in the private bedrooms is an interface that induces simultaneous awareness of what is significant on either side. One can enjoy the complete privacy and the view to the city to the East. A window place eliminates the conflict between wanting to relax in comfort but being drawn to the light and view. There is a flexibility of positioning the table overlapping the seat to study by the light and bookshelves.
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Comfort and practicality of the window. Timber was a choice that offers warmth; the window is openable on one part and provides storage for dear personal belongings.
Initial placement of the fireplace was in the centre of the glazed wall to the garden, however a stronger focal point of the garden is created by placing it in the corner position.
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The form of the building derived from a need to ensure every bedroom has a window looking east to the city landscape
Exploring possibilities to use solar power for water heating by placing panels facing South
North facade having less glazing to respond to energy efficiency criteria
Space to Live Comfort, Functionality and Delight have been mentioned as the main criteria for creation of home for a young couple owning a row house in Jesmond, Newcastle. Keeping in mind a fixed set of rules regarding maximum building shell dimensions and minimum dimensions internally, the emphasis is on generating various options of design before choosing to develop a particular one. Early schemes concentrating on flexible space, and sectional solutions of offsetting floor plates have been explored, however, the chosen design focuses on open plan spaces that serve the specific requirements of the activities of the day, moreover, transforms them into enjoyable experiences. Detailing of fenestration has been important to offer a delightful individuality to each space. 21
Using subtle means to create spaces that transform everyday activities
into enjoyable experiences...
....the double twist of the front facade provides a draught lobby and a balcony upstairs that can become part of the living room by moving a sliding door. (1) ....the twisted orientation of front exterior walls allows to gain more Eastern sun in the dining area and Western sun in the living room.(2, 5) ....cooking and washing up are not chores any more if the kitchen visually extends in the garden (4), moreover,offering an above window to the sky when standing by the sink. The cooker is placed under a glass floor that draws light in from above.(3)
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... the central object between living and sleeping areas is a fireplace that divides by offering a homely atmosphere for both zones.(8) ....when someone wants to escape from the urban environment, however, wants to stay connected the only natural element available - the sky, the large skylight above the bed helps to do this.(7) ....A possibility to separate living and sleeping areas in case of hosting guests is available by a sliding a partition.(10) ...A small low height attic offers a guest bed or a refuge for everyday reading or relaxation.(9)
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Development of the building skin. An attempt to create depth of facade with openings reflecting the requirements for activities inside privacy and connection to the sky in the bedroom and view to the sky and openness to the garden for the kitchen.
Side windows next to the bed offer dim, mysterious atmosphere.
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First two are models of alternative designs that each took a different approach to the task
Exploring options for maximising building height
Charette - Paper Installation A perception of paper being a material of limited properties and modes of use was challenged by offering joint groups of 1st , 2nd and 3rd year students to produce a paper installation of real size and impact on those experiencing it. The production of this small piece of architecture was a media through which we met as 26
schoolmates,
collaborated, learnt from
each other, had fun and turned into a
team.
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Possibly inspired by the opportunity to work corroboratively across the years we decided to celebrate the way University as an institution collects and unites great minds from various places in the world. Alongside the academic knowledge we gain from our courses it is an invaluable treasure to meet the people each of whom is inspiring and informative. Our installation was explained by the keywords - APPROACHING, LINKING, DEPARTING. Long flexible elements of paper weaved together in the foyer of Architecture building having approached from far corners of Kofi bar and Crit 1 and gone through obstacles like glass planes.(1) They departed again,but it was this centre of being close enough to influence each other that is the culmination of the journey. The location and length of the installation provided part of the marketing as the elements stretched into adjacent rooms.(2) A discovery was the considerable strength, length and flexibility of the paper elements. It was achieved by cutting A4 paper in slips and gluing them together with masking tape, and then folding longitudinally in half. Two of these long strips are joined by a folding / weaving technique. If enough are produced they form a volume that becomes a powerful material. More simple weaving techniques were considered initially (5) and the appropriate size of elements was searched for.(3)
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Ruta Austrina, Stage 2
It wasn’t easy to paint the old walls, but we had a lot of fun togather
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Legal security
some day..
“All really inhabited space bears the essence of the notion of home” /Gaston Bachelard/
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Image 1
Becoming at home where the future is
In order to discuss the validity of the aforementioned statement an agreement on the meaning of “really inhabited” should be reached. If we refer to this as a space that provides all the necessary services for the basic human needs and wellbeing then we now have a common ground to discuss the other subjective part of the statement. In this essay I will argue that all inhabited space cannot be called home in its’ deepest meaning. The significance of the process of appropriation as a meaningful “individualization of a dwelling” (Pallasmaa, 1994) will be introduced as an inseparable part of the notion of home and the process of becoming at home as used by Dovey (1985). In the second part of the essay I will stress the importance of a particular condition necessary for appropriation to take place - an assurance that the effort put into the home is secure in the long term future, thus stating that home is where your future is.
Home or a house
From a rationalistic viewpoint one might perceive home as the tangible and measurable reality – the space people dwell in for a period of time. As opposed to a house as an object - a part of the environment, a home is best conceived of as intangible, emotionally based and meaningful relationships between dwellers and their environment ( Dovey, 1985).
Appropriation - becoming at home
Heidegger (1962) and Dovey explain the process of appropriation as an engagement between ourselves and the world around us through both – caring for and taking from it and incorporating it into our sense of identity. Appropriation between the inhabitant and home is “rooted in action – the processes of everyday life”. Thus the process of becoming at home takes place through “interaction as we change our environment and we are in turn changed by environmental experience” (Dovey, 1985, p.48). Dovey (1985, p.40) also defines identity in similar terms as “bonding or mergence of person and place such that the place takes its identity from the dweller and the dweller takes his or her identity from the place”. Thus “home is a projection and basis of identity”( Pallasmaa, 1994). The poet Noel Arnaud has been quoted by Pallasmaa (1994): “I am the space where I am”. Pallasmaa (1995, p.72) reinforces the idea of integrity by saying that “our domicile becomes integrated with our self-identity; it becomes part of our own body and being.”
Home as house of the mind
A common situation that forbids an individual to form sincere relationships with a place to a level where a sense of home would emerge is the long term tenancy. It involves an understandable lack of motivation to invest in and attach to a place that will eventually be lost. “It is frustrating to be forced to live in a space that we cannot recognize or mark as our personal territory” (Pallasma, 1994). An experience of renting an accommodation during studies has showed me that only minimum appropriation and almost no sense of home can appear, considering, I am aware that I will need to change the place I dwell in. Although my rented flat is a really inhabited space, as defined in the introduction of this essay, it cannot bear the essence of the notion La Lan nd dlo of home, as a consequence of rd’s lo rd pro ’s p the limited mental connections per ty ro p that are made. er
Unlike the aforementioned processes of appropriation and projecting and gaining one’s identity from home that relate to some kind of “concrete embodiment”(Holston, 1991), Pallasmaa (1994) introduces the concept of the home being a mental “condition” that provokes memories and images, desires and fears, reflections on the past, and aspirations for the future. As the “reflection of the essence of home takes us further away from the physical properties of a house in the psychic territory of the mind ”, we approach the meaning of Gaston Bachelard’s expression – the house of the mind (Bachelard, 1969). Dovey explains the relationship of the very intangible emotions with the physical environment by stating that “our experience in the world carries its own meanings and the places in which these experiences occur become imbued with those meanings”(p.42). Tuan (197 4, p.241) adds to this by saying: “The emotions felt among human beings find anchorage in things and places”. Thus the particular physicalities “acquire extra meaning”; but those “connections with place grow over long periods of time through everyday dwelling and care” (Tuan, 1974).
Landlord’s property
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Home in the time dimension
Secure future of home
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As home is “a set of rituals, personal rhythms and routines of everyday life, it cannot be produced all at once. It has it’s time dimension and continuum and is a gradual product of the family’s and individual’s adaptation to the world” (Pallasmaa, 1994). This way it not only has “connections” with the past but “extends into a connectedness with the future” (Dovey, p.43). Ideally home must be a “centre of security, of possessed territory, a place of freedom where our own order can become manifest, secure from the impositions of others”. Only if one is sure that his or her investment of work, time and affection will be secure in the long term future, processes of appropriation can take place. This theme of home as a stabile platform to build one’s future on is particularly relevant to me as a young person who is distinctly future oriented.
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Morning sunshine
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As we discover the complex relationships of the dwellers and their home it becomes clear that any inhabited space cannot be meaningful enough to be called home. “An understanding of the concept of home involves understanding of changing over time. …The house is static but home is fundamentally dynamic and process oriented.”(Dovey, p.48) “Home is something that grows in a place rather than being imposed from without. It grows both from the particular personal and social circumstances of the dwellers as well as from the environmental context of the place” (Dovey, p.42).
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Image 2 Tenancy as an obsticle for becoming at home
Peter Kellett’s research in the Caribbean coastal city of Santa Marta introduces us to large scale informal settlements majority of which began as organized illegal land invasions (Kellett, 2002). “The processes of incremental growth and the improvement evident in many such environments over a number of years are focused towards “imagined futures”” (Holston, 1991) and “extend well beyond the resolution of basic shelter needs” (Kellett). For the urban poor who come from unenviable backgrounds of cramped circumstances with no privacy or autonomy this opportunity means building futures where their effort and initiatives can be rewarded with their own home. Although the inhabitants of this settlement only have ownership of their dwellings not the land, there is not a possibility that their houses could be removed or evicted (Kellett, 2002). However, the situation of legal ownership varies considerably in different similar settlements, therefore the author of the book “The Other Path” - de Soto argues for the legalization of ownership in informal settlements as they would “add protection to the currently informal migrants’ efforts and bring security and potential for economic growth and social wellbeing”( Rose, 2010 ). This complicated subject shows us that unfortunately even the process of “becoming at home” is intertwined with and dependant on the economic system of capitalism.
Home directing personal growth
As opposed to the unenviable state of tenancy a secure home liberates the “representation and growth of identity” (Dovey,1985, p. 43). “Growth of identity is more than the search for a form that reflects a static self-image”(Allport 1955). “The growth of identity requires a certain freedom of interaction between present and future, between our experiences and dreams. Knowing that we have the power to remain in a place and change it permits us to act upon and build our dreams” (Dovey, p.43). Here Dovey is leading towards home being also the house of mind (Bachelard, 1969) because even if the future aspirations and their fulfilment are not be tangibly mirrored in the physicality of the house, the definite security of home serves as a stabile point for achievements in the outside world. However, in order to fulfill future aspirations one needs to dream first – the ability to “shelter daydreaming, to protect the dreamer, to allow one to dream in piece” is the main benefit of a home in the view of Bachelard (1958, p.6).
Image 3 Home non-dependent on place
Alternative homes
Nevertheless, Dovey points out some interesting exceptions to the notion that home is where your secure future house is extending my condition for appropriation to home is where your future is. The location of home is flexible if one sees his future with the family or lover. “Lovers can transcend a dependence on place; their love can elevate any place they happen to be into a home”(Dovey, p.43). The same applies to people “who are thoroughly immersed in an activity that they love” as they can “convey a sense of home” to the place that allows such “homelike activities to take place” (Dovey, p.43). Pallasmaa writes about his own childhood experience when regardless of having lived in eight different houses before he reached his high school age, he has only had one experiential home, that seems to have travelled with him and “has been constantly transformed to new physical shapes as they moved” (Pallasmaa, 1994). The attachment to family which a child is inextricably attached to proves the point that home is where one’s secure future is. The essences of the notions of home and homecoming have been explained through the process of appropriation. I’ve also looked at home as a “projection and basis of identity”. An even more intangible and diffused notions of house of mind and home as a mental “condition”, as well as the idea of emotions finding anchorage in the physical environment were introduced. Nevertheless, these deeply personal connections are unable to occur if the home doesn’t have a secure continuum in the future. Often this link between a particular physical environment and its dwellers might not form because of a variety of reasons, that leads me to conclude that all really inhabited space cannot bear the essence of the notion of home. However, despite the difficulties to preserve the temporal connections with a particular physical environment, there are still other ways of home creation that transcend the dependence on place like love for people or an activity, provided that the vision of future is associated with this love. (1595 words) Allport, G. (1977) Becoming: Basic considerations for a psychology of personality. New Haven: Yale University Press as quoted in Dovey, K. (1985) p. 43 Bachelard, G. (1969) The Poetics of Space. Boston: Beacon Press. Dovey, K. (1985) “Home and Homelessness”, in Altman I. and Werner C.M. (eds) Home Environments , New York: Plenum Press. Heidegger, M., (1962) Being and time. New York: Harper & Row as quoted by Dovey (1985) p. 48 Holston, J. (1991) “Autoconstruction in working-class Brazil”, Cultural Anthropology 6.4, 447–65 as quoted in Kellett, P. (2002) Kellett, P. (2002) „The construction of home in the informal city”, Journal of Romance Studies, V(2) Nr.3: ISSN 1473–3536. Pallasmaa, J. (2005) Eyes of the Skin: Architecture and the Senses. Chichester, West Sussex: John Wiley and Sons Ltd. Pallasmaa, J. (1994) “Identity, Intimacy and Domicile”, Arkkitehti – Finnish Architectural Rose, C.M. (2010) „Invasions, Inovation, Environment”, in Barros, D. Benjamin (eds) Hernando de Soto and Property in a Market Economy , Farnham : Ashgate Publishing Ltd.; p.21 Review (1), available at: http://www.uiah.fi/studies/history2/e_ident.htm Tuan, Y. (1974) Space and place: A humānist perspective. Progress in Geography, 1974, 6, 211-253 as quoted in Dovey (1985) p. 42.