PRT FL I
18 | 19
ARC 3001 | AUP STAGE 3 | NEWCASTLE UNIVERSITY
STÉPHANY JANZEN | 180490653
AMBLE THEATRE & COMMUNITY MUSICAL CENTRE
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05
THINKING THROUGH MAKING (P.52-59)
STAGING (P.30-51)
FIELD TRIP (P.26-29)
PRIMER (P.12-25)
STUDIO + INTRODUCTION (P.10-11|)
CHARRETTE (P.08-09)
ILLUSTRATED REFLECTIVE REPORT (P.06-07)
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06
07 08 09 APPENDIX (P.94-end)
FIGURE BIBLIOGRAPHY (P.92-93)
BIBLIOGRAPHY (P.90-91)
REALISATION + REFINMENT (P.60-89)
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10
CONTENTS HISTORY
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Illustrated Reflective Report
Illustrated Reflective Report
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08
Charrette Week
PEOPLE WATCHING, PROFESSIONALLY The academic year at Newcastle University started with a group project at Charrette Week. This week is An opportunity for students from a variety of taught design and art courses to devise a combination of creative outputs related to three common themes - spectacular, failure, help. (...) (...) It´s intended to be an intensive and enjoyable week where students can experiment in a creative open environment.
Fig.1.1.
There were 13 different options of charrettes to choose from. One of them was "People Watching, Professionally".
During the 5 days, the group worked together on analysing how people interact with places of passage, taking the airport as example.
This charrette had as themes: film, public space and behaviour. Its output was a film screening at the exhibition on the end of the week.
Between setting our strategy and filmmaking, the shooting took place at Newcastle International Airport and its connection to the Metro.
People watching is a pleasure for most people, and it is one way to understand the complexities of architecture and the urban realm.
Fig.1.2.
The outcome was a short film [QR code] screened non-stop at the exhibition.
Fig.1.3.
Charrette Week
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Studio & Introduction
GAFIA G E T T I N G AWAY F R O M I T A L L THE COAST / TOURISM / DESTINATION / TOTAL DESIGN
Studio & Introduction
The studio is based on the idea that architecture practice can be broad, diverse, surprising, dynamic and even fun. Our ethos is that architecture that can cover multiple creative areas, across scales and disciplines, from regional planning to urban design, landscape to building design and interiors to sculptural installations......and more. The Studio will encourage students to work fluidly between scales to develop a dynamic thought process that at one moment considers strategy, the next detail. Our approach is to provide the structure of a studio within the Stage 3 framework, The studio has clear themes, aims and ambitions that allows you to explore your own interests and outcomes in order to develop a clear and thoughtful thesis proposition Our’s is a traditional ‘studio’, based on handson, intensive, weekly group workshops and reviews. Our teaching is rooted in drawing and making and in sharing information, ideas and outcomes across the group. The studio will encourage immersive design practice and you will be challenged to work in different ways; at times very quickly, always being asked to think and produce. We invite design collaborators into our studio to
Fig.2.1.
inform, guide, challenge, critique and these include; artists, designer makers, landscape architects, graphics and branding guys and engineers The Studio will be led by Colin Ross and Michael Simpson (Meeks). We both work in practice and teach part-time. Our practice work is rooted in maximising design opportunity regardless of scale or budget. Colin is an architect + visual artist based in Edinburgh, Scotland. His practice colinross:workshop extends across a multitude of creative areas including, masterplanning, landscape design, architecture and drawing outcomes. Recent work includes international masterplanning projects, regeneration in coastal communities and tourism initiatives. Meeks is an architect at GT3 Architects in Newcastle. He is experienced in working in across sectors and has developed particular expertise in interior architecture, workplace and spatial design. As tutors we aim to enthuse, encourage, sometimes cajole and always support your own personal route through Stage 3. - GAFIA BRIEF
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Primer Phase
PRIMER THE COAST / TOURISM / MARKER / DESIGN / PLACE
The GAFIA Primer is a multi-faceted phase focused on four activities: • Coastal Typology • Cross-Disciplinary Designers • People and Place • Coastal Marker Alongside those activities, questions were made weekly in order to encourage the research on studio themes. This background knowledge served as an instigating tool to develop a well
Fig.3.1.
based project and was a starting point to the habit of questioning all the "whys" behind any building construction. The primer worked, basically, as a smaller and more compact version of the year's project. During this stage we were stimulated to come up with three words that would sum up the work done, that would act as guidelines to keep the project coherent. The key words "Escape", "Acoustics" and "Sensations" for my Primer served as a base to my final project and accompanied me through all the stages.
Primer Phase
E SCAPE ACO U ST I CS SENSAT I O N S
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Primer Phase
Figs. 3.6. - 3.9.
CROSS-DISCIPLINARY DESIGNER COASTAL TYPOLOGY The work done in coastal typologies during Primer consisted in understand, explain and compare various buildings within same typology and question ourselves what are the reasons behind those designs. The studio was divided in groups and each of those got a different typology. Natalie Lau, Ethan Cheung and I did a presentation on different aspect of the Transport typology. Together we came up with a concept:
Figs. 3.2. - 3.5.
The crossdisciplinary designer was a study to inspire interest in different creative areas.
TO - THROUGH - PASS This represented the different functions related to human use and level of interaction with the transport facility. Other factors like interaction with landscape were also studied and while some buildings embrace the area around it; use materials to reflect the outside beauty; in orther to integrate, others have a more distanced approach, to not interfere with the existing.
Patricia
Urquiola
was the designer I looked into. Her process of design starts with conversations about the spaces and how people live.
Create different instruments to live different lives in different times. She is concerned not just with human physical needs but with the very things that pleases the soul.
“To improve our everyday lives; not only in terms of ergonomics, environmental impact and other practical elements, but mostly on the intangible - virtual values perceptions, mental comfort and inner pleasure“
Her colours are often bold yet intelligent and welcoming, a characteristic I was inspired by and implemented on the Coastal Marker and at Amble's Theatre & Community Musical Centre.
Primer Phase
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INT ER AC TI O N
ACOUSTI C S
EM ERGI N G
MOVEM EN T
From Left to Right, Top to Bottom: Figs. 3.10. - 3.21.
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Primer Phase
The Coastal Marker was thought to be a simple structure out in the landscape acting as a connector between nature and person. The interaction with the landscape is given by sight-seeing and sounds.
I N TERACT I O N The device works as an acoustic shell. It reflects the external sounds into its inside, focusing on the area people would be set. The effect works both ways, so it can be used also to amplify the sounds from inside in a day without wind. The outside of the shell also has a function, reflect the outside sounds away from the listener.
ACO UST ICS
It's fixation to the ground is meant to be hidden. When seeing by a distance, it will look like it's floating but, at the same time, emerging from the ground due to the angle of the top.
EMERGING The acoustic shell is an element that is already designed for movement, for the reception and reflection of sound waves. To make the experience even more dynamical, it's structure on the bottom is allowed to shift horizontally so the expector can orient the shell to the view of one's choice.
M OVEM EN T
Fig. 3.22.
Primer Phase
COASTAL MARKER The Coastal Marker was the beginning of my interaction with sound this year. The goal was to create something that could provide the "Getting away from it All" in a easy, relaxing and comfortable way, that could provide a connection with nature without having to put a great effort.
Fig. 3.23.
escape, the shape deals with acoustics and the sensations are provided by the whole.
Escape, Acoustics and Sensations
While studying precedents, new factors started to come up and have influence in the project : level and way of interaction with the landscape; the connection to the ground; the movement expressed through the shapes.
were the primary guidelines to come up with the Acoustic Shell. The location chosen facilitates the
The whole Coastal Marker process of making was presented at the primer exhibition [page 23].
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Primer Phase
The site is located in Newbigging-bythe-sea, at the edge of the beach, close to the town, but far away enough to provide a quiet environment. It's near a playground and a line of consecutives game fields - entertainment.
Fig. 3.24. Fig. 3.25.
Primer Phase
Top Line: Figs. 3.26. - 3.29. Bottom Line: Figs. 3.30. - 3.33.
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Primer Phase
Left: Fig. 3.34. Right: Fig. 3.35.
Primer Phase
PEOPLE AND PLACE This part of the primer consisted in research, choosing a town and gathering quality data about it. Amble was my choice of settlement due to the similar landscaping qualities I had for the Coastal Marker. Following that same line of though, I could easily integrate all my projects and have a great assemblage as a final piece. The reason I named the Film Poster "The friendliest Port" is because it gained the nickname in the 1930's, when a message was sent from the towns Council to the RMS Mauretania. The reply was "to the last and friendliest port in England", stablishing
good relations. Nowadays, the small town has 6,025 local habitants, but usually attracts residents in the North East who travel to see its main attractions – the town square, marina and pier. Although the tourism is a reality to Amble, 61% of respondents - at the 2013 Report of Market Town Benchmarking - reported that the ‘leisure and cultural’ offering in Amble town centre was ‘Poor’ (45%) or ‘Very Poor’ (16%). C o n s e q u e n t l y, the idea of an entertainment facility as a touristic destination became an option.
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Primer Phase
PRIMER EXHIBITION: COASTAL MARKER FOLIO The full development of this Urban/ Landscape furniture and statement is fundamental to understand its shape, material, location and function.
Setting the sheets in reverse order of creation was an intentional move to instigate curiosity of where and what process it came from.
All the studies were At the Exhibition, essential to achieve whoever was the results I did and wondering around understanding them the Folios, could read is understanding my process from Final the idea behind Piece to the very first Amble Theatre and sketch. Community Musical Centre's design.
Top Line: Figs. 3.36. - 3.41. Bottom Line: Figs. 3.42. - 3.48.
Primer Phase
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Primer Phase
Left: Fig. 3.49. Right: Fig. 3.50.
Fig. 3.51.
Fig. 3.52.
Setting the Exhibition was a group work, and one of the details in the room was the precedent clouds. Fig. 3.53.
Fig. 3.54.
Primer Phase
PRIMER EXHIBITION AND OUTCOME ENTRETAINMENT? / SOUND / LANDSCAPE / VIEWS / SENSATIONS / CLOSE ESCAPE The primer phase was a great personal challenge; making the first models, figuring out what elements I was inspired to work with, discovering new ways to project while still in action. Overall, it was an intense month of growth and hard work, that would stay as my primarily source of reference and, later on, would also become part of the coastal path landscape design as my cross-disciplinary studio criteria.
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Field Trip + Case Study
Field Trip + Case Study
THE NETHERLANDS Dutch architecture has played an important role in the international discourse on architecture since the 17th century. During the development of the modernism, in the first half of the 20th century, it grew a significant importance. Now, many contemporary Dutch architects are achieving global prestige.
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Field Trip + Case Study
FIELD TRIP DRAWINGS
TU Delft Aula Technical drawing made with continius lines of different weights. Color and more thin lines were added after.
Drawing in Delft of the Station and two houses that were connected.
The Hague Municipality facade.
Field Trip + Case Study
Rietveld Schrรถder House. One of the best known examples of De Stijl architecture and a UNESCO World Heritage Site since 2000.
Analysing different scale of places in Utrecht Central Station with drawings and pictures.
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Some spaces can have multiple scales and people transit between them without even noticing.
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Staging Phase
STAGING ACOUSTICS / MUSIC / HERITAGE / ENTRETAINMENT
Staging Phase
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Staging Phase
Staging Phase
STAGING REFLECTION Working with an acoustic theme in primer for the Coastal Marker was the starting point to my staging work. Along with more research about the settlement, I started to look at buildings related to music, acoustics and how that could relate to Amble. Northumberland is known for its folk musical heritage, and even hosts an annual festival to celebrate it, the Traditional Music Festival at Rothbury. This region has over thirty active folk clubs and hosts several major festivals, as well for a performance-based degree programme in folk and traditional music at Newcastle University, the first one of the country. Therefore, a musicalentertainment related typology started to become a possibility for the area.
Looking closer to Amble, it´s notable that the city doesn’t have enough entertainment places. It does have a theatre company that works in all Northumberland, but they don´t have a theatre/ stage to perform for the locals. With that in mind, I started to look at theatres, amphitheatres, music venues, dance halls, concert and opera houses, performing arts centres… every place that is sound related and has an entertainment objective and that, consequently, could benefit locals and attract tourist for the region. After looking for a site and narrowing down to one, I started sketching possibilities of the shape of the building as well as following what I´ve heard from the residents about what they
would and wouldn’t want in that area. The key things were
height, design and massing. Their fear for that place is that the building would become so big and squared that It would interrupt the harmony of the landscape surrounds it, destroying a beautiful view. On that account, I tried to hide the building into the landscape, getting closer to its shape and hiding part of it underground. With a lot of studies of the site and its topography, I got to that final shape that would meet the needs of the population with the typology of the proposal.
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Staging Phase
PREC ED E N T S DATABA SE OH, ERIC. 2019. FLANAGAN LAWRENCE'S NEW SUMMER THEATRE IN SZCZECIN. IMAGE.
LI, YAO. CRANE PAVILION AT CRANE NATURE PRESERVE. IMAGE, 2018.
ESCH, HG. PORSCHE PAVILION. IMAGE, 2014.
SCHALLER, LUKAS, AND ALEXANDER HAIDEN. CLOUD TOWER. IMAGE, 2007
Staging Phase
NEW PRESIDIO PARKLANDS, OLIN, WEST 8, CMG LANDSCAPE ARCHITECTURE, JAMES CORNER
KAMBIC, MIRAN. SKORBA VILLAGE CENTER / ENOTA. IMAGE, 2017.
FIELD OPERATIONS, SNØHETTA. PRESIDIO PARKLANDS. IMAGE, 2019.
BAAN, IWAN. NATIONAL KAOHSIUNG CENTER FOR THE ARTS / MECANOO. IMAGE, 2018.
ALADI, SAM. SYDNEY OPERA HOUSE & HARBOUR BRIDGE. IMAGE, 2015.
SHAPE / MATERIAL / STRUCTURE / FORM / INSERTION ON LANDSCAPE
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Staging Phase
IDEOGRAM To organize all the ideas for the project, the ideogram was made. At first, of more referential architecture work; at second, of concepts, history and functions.
Staging Phase
NORTHUMBERLAND MUSICAL HERITAGE The region has a long history of folk music and pipe bands. The Northumbrian Pipers' Society was founded in 1928 and it kept the tradition alive. Regarding the folk music, the style is still a success, being kept at folk clubs all around Northumberland. The region also hosts major folk music festivals, like the Traditional Music Festival at Rothbury. One of the goals of the project is to be able to host some of those festivals and concerts in order to celebrate local traditions.
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Staging Phase
Edinburgh
Ayr
Amble
Newcastle-upon-Tyne Carlisle
Sunderland
Middlesbrough
HOW FAR ARE PEOPLE WILLING TO TRAVEL FOR A DAY TRIP ?
IS THERE PUBLIC FOR AN ENTRETAINMENT BUSINESS AS A THEATRE IN THE AREA?
The average distance someone would travel to an entretainment facility near the coast in the UK is 77Km (approx. 47miles).
Edimburgh, Carlisle, Newcastle and Sunderland are the home of great capacity theatres. Sunderland Empire Theatre leads with 2.000 sits, followed by 1400 at The Sands Centre in Carlisle, which is under renovation at the moment. All of the above are outside - but close - to the Northumberland disctrict.
The average trip duration one takes (from leaving to arriving back home) is around xx hours; which is enough for anyone in Northumberland and close edges to drive in, enjoy nice moments, create new memories, attend a concert or not, and go back.
Staging Phase
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THEATRES IN NORTHUMBERLAND Berwick-uponTweed, Alnwick, Blyth, Choppington and Hexam are Theatre locations in Northumberland.
Berwick-upon-Tweed
The characteristics between them are similar: small-medium size, usually around 300 people in capacity.
WHY AMBLE?
Alnwick
Amble is a small fishing city that lacks entretainment solutions for both locals and tourists. Located at the middle of the Northumberland coast, it has a good geographic position to reach all ends of the region.
Amble
Choppington
Blyth
Hexam
22.05 m
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Staging 17.95 m Phase
SITE LOCATION: GEOGRAPHIC IMPUT 11.11 m
9.11 m 8.11 m
AMBLE / VIEW POINT / EASY ESCAPE / EASY ACCESS 4.11 m
The site chosen for the project has similar characteristics to the primer site. Down south to Amble's centre and Harbour, the area has easy access either by car or foot. From the edge of the site is possible to view the island nearby, as well as the full beach extend to the north.
Amble's coast line is full with diverse textures and amazing views of the natural scenario. Through a path line that already exists in the area, turists and locals can walk on under or around the edges where grass and dunes meets rocks.
In between the city cemetery and the location, dunes, change of levels and high vegetation act as barrier from the ocasional higher sounds it may come from an Open stage area.
The closest neighboors to the building would be a holiday homes Caravan Park, that sits in a lower level compared to the site.
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1 : 200
A102
Staging Phase
Area of the Project
Site Plan drawing of the existing area, routes, landscape and it's surroundings.
3D Site annalysis
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Staging Phase
SITE LOCATION: HUMAN SCALE IMPUT AMBLE / VIEW POINT / EASY ESCAPE / EASY ACCESS
Staging Phase
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Staging Phase
Staging Phase
SITE LOCATION: LOCAL HERITAGE IMPUT SIGNAL COTTAGE / PUBLIC ACCEPTANCE / LANDSCAPE At this location it was situated a signal cottage I planned to work alongside. After a little bit of research, I found out it was demolished in 2016 due to structural problems. Since then, the area is empty and abandoned, although, diverse proposals for the site were submitted and rejected by the Amble’s city council. With all that information in mind, I changed my proposal of working next to the signal cottage to building something different in that
site. All the submissions made were dwellings house and holiday apartments that didn’t please the community. That area was once appreciated by the, so, building an entertainment public space that integrate with the landscape would generate more approval.
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Staging Phase
Theatre/performing space
Cafe/Restaurant
Auxiliary room
Main Entrance
Auxiliary room
Foyer
Staging Phase
CAFE EXPOSITION
OUTSIDE C OV E R E D AREA
FOYER MAIN HALL
AUXILIAR
THEATRE
INITIAL PROGRAMME THEATRE / BASIC FUNCTIONS The simple first programme was created trough analysing the basis of entertainment buildings but trying to keep it in scale.
Smaller functions -like restrooms- are not shown at this stage, as the floor plans still have modifications going forward.
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Staging Phase
DEVELOPING THE FORM SHELL / PRIMER INSPIRATION / SITTING ON LANDSCAPE The process of developing the first form for the building was based on the coastal marker. The first conceptual massing of the project was inspired by the shape of the shell. Topography, spatial functions and the fact that it is a bigger scale than the design made during primer, were factors that influenced on the modifications of the aesthetics of the shell, becoming a high structure that hides it’s middle
under the ground and grows in two opposite directions. The shell became an inspiration for the roof, that would later become a mark for the project. The way it sits on the landscape was based on the opinion of the locals about wanting to preserve the curves and sights of the landscape.
Staging Phase
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Staging Phase
Staging Phase
STRUCTURAL AND MATERIAL POTENCIAL STEEL TRUSSES / SPACE TRUSSES / PRESTRESSED CONCRETE Since primer, I wanted to use the structure as a strong architectural element, that has more than just functionality. For more impactcausing structures, usually the main materials are reinforced concrete, prestressed concrete and steel. They all can handle a great amount of forces acting directly on them, which is good for a coastal project.
The transparency of the windows can be done with insulated glazing panels, that will integrate the inside with the outside. Material wise it is important to think about all the acoustic factors that a place, in which can be hosted loud performances, attribute.
Also, the roof requires some flexibility in shape that are achievable with the reinforced concrete.
22.05 m
17.95 m
11.11 m
9.11 m 8.11 m
4.11 m
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Thinking Through Making
Thinking Through Making
THINKING THROUGH MAKING ACOUSTICS / MATERIAL / MODEL MAKING
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Thinking Through Making
TTMW MODEL Thinking Through Making Week is designed for students to create a piece relevant to their design or ideas. At this stage of the year I was already focused on the idea of sound and acoustics but still had a great interest in light. For my TTMW project, I designed an acoustic ceiling tile in a triangular grid. The design was created to be implemented on the soundproof rooms that would be in the Building.
Thinking Through Making
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Thinking Through Making
The making of model included 3D printing and a wood frame.
Thinking Through Making
Model at TTMWeek Exhibition.
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Thinking Through Making
Using virtual reality to walk inside architectural projects.
Thinking Through Making
WORKSHOPS The Thinking Through Making Workshops consisted on multiple activities one could apply to participate during the first half of the year.
chosen by interest. I chose "Working with Virtual Reality" and "Introduction to Stonemasonry".
There was a good range of different workshops and it was
Carving into stone.
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Realisation & Refinement
Realisation & Refinement
REALISATION & REFINEMENT ACOUSTICS / MUSIC / HERITAGE / ENTRETAINMENT
During the Realisation Phase, another function of great importance was added to my concept and programme: the Musical Community
Centre.
The Centre was thought as an integration between locals and tourists, and giving appropriate use during weekdays and weekends. What, at the beginning, was only a theatre, now starts to develop into the
Amble Theatre & Musical Community Centre
The correlation between both parts is entretainment. The Centre will take on activities such as music lessons, musical therapy, recording assistance. When someone goes to the building, either a tourist or a local, they can enjoy all the services and chared spaces or just book an individual rehearsal room for personal practice. In this stage the project develped into a more consistent building, that had, always, three different areas, separated by trhee different roofs.
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Realisation & Refinement
PREC ED E N T S DATABA SE KELLER, ROMAN, AND ERICA OVERMEER. HAPIMAG HEADQUARTER OFFICES. IMAGE, 2018
LUKE HAYES, HUFFON CROW. AL JANOUB STADIUM. IMAGE, 2019.
QINGSHAN, WU. UCCA DUNE ART MUSEUM. IMAGE, 2018.
HENGZHONG LV. FENGYING STONE ART MUSEUM. IMAGE, 2018.
Realisation & Refinement
CERTOWICZ, JAKUB. THE CKK JORDANKI. IMAGE, 2015.
SAMEEP PADORA & ASSOCIATES, LIBRARY.
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FRANCO, TIM. BESPOKE THEATRE. IMAGE, 2015.
SEIDEL, TORSTEN. MASRAH AL QASBA THEATER / MAGMA ARCHITECTURE. IMAGE, 2012.
TEXTURES / SCALE OF AMBIENTS / PROGRAMME / INTERNAL QUALITIES / COMFORT
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Realisation & Refinement
FORM DEVELOPMENT & ROOF STRUCTURE The development of the Shell-inspired roof went through several changes along the way. The roof, due to its shape and size would be a heavy structure, so, from the beginning it was thought to be made with steel trusses hidden by a concrete cladding layer. The materiality of the roof tops changed as well. At the end, it was set to be a steel truss structure holding the green roof of both accessible ones, the bigger and smaller shells.
The first model of the roof was created using Golden Ratio as they were thought from the first ramp created. After a few changes in the project, the ratio was left only for the promenade ramp of the Community Centre.
Realisation & Refinement
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Realisation & Refinement
Realisation & Refinement
THEORY INTO PRACTICE IMPUT PROMENADE ARCHITECTURALE / LE COSRBUSIER " With that in mind, it is easier to understand the concept of Promenade Architecturale, that is realized through a set of material properties, consciously working with the objective to create the idea of variation of the route, forcing the experience of the architectural object in different positions and points of view and constantly varying the relationship between the object and the “flâneur” – observer and explorer of a determined place. Basically, all the experiences I am trying to provide
for the public that will presumably frequent the Theatre + Community Musical Centre proposed to a coastal site in Amble, can be achieved with only the use of basic architecture. Controlling the route towards and into the building will give the participant a sequence of different experiences. The elaborate progression on my design will provide distinct views of the same ambiences leading to various sensations. "
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Realisation & Refinement
Realisation & Refinement
PLAN: DEVELOPMENT The development of the plan was a struggle at first, due to the circular shapes. The first attemps shown at the sketchbook image contemplate that.
After several sketches, one line of plan finally contemplated all internal aspects desired for the promenade to work and transmit a good ambience.
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Realisation & Refinement
The big longitudinal section is one of the main ways to understand the building. Observing the how the planes interact with each other and how the theatre works is just a few reasons why it's important.
During all Realisation and Refinement, the project changed a lot of times and the section was a great way to analyse if it still had the desired effect.
SECTION: DEVELOPMENT
Realisation & Refinement
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Realisation & Refinement
Adding more complexity to the theatre had a big influence of how the levels changed and needed to be analysed.
The facades contemplate how the building is seen from different angles.
SECTION: DEVELOPMENT
Realisation & Refinement
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Realisation & Refinement
LANDSCAPE DESIGN: DEVELOPMENT The Landscape designed was created following the existing lines of the surroundings. It is extended from the south parkinglot to almost the edge of the town. With the circular project,
the landscape formed paths with streight lines in sharped angles. Along the new coastal path, the Coastal Marker is set in different strategic locations.
Realisation & Refinement
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Realisation & Refinement
SITE + BUILDING + LANDSCAPE
Realisation & Refinement
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GROUND LEVEL PLAN
Realisation & Refinement
Code
Area
Programme
0.1
550m²
Foyer
0.2
80m²
Bar and Coffee
0.3
90m²
Female Toilets
0.4
50m²
Male Toilets
0.5
110m²
Circulation to Theatre
0.6
85m²
Control Rooms
0.7
145m²
Fire Exits
0.8
815m²
Theatre Sitting Area
0.9
200m²
Stage
0.10
115m²
Wings + Crossover
0.11
100m²
Rehearsal Area
0.12
85m²
Dressing Rooms
0.13
20m²
Toilets
0.14
100m²
Storage +Freight Lift
0.15
450m²
Lounge
0.16
80m²
Rehearsal Rooms X
0.17
90m²
Rehearsal Rooms Y
0.18
30m²
Classroom
0.19
125m²
Recording Studios
0.20
60m²
Tables Area
0.21
15m²
Cafe
0.22
55m²
Internal Garden
1.1
1000m²
Open Sitting Area
1.2
700m²
Covered Area
1.3
175m²
Reception/Tickets
1.4
630m²
Atrium
1.5
55m²
Male Toilets
1.6
55m²
Female Toilets
1.7
220m²
Circulation to Boxes
1.8
235m²
Boxes
1.9
145m²
Emergency Exits
1.10
100m²
Storage +Freight Lift
1.11
100m²
Administration
1.10
1.11
Realisation & Refinement
1.9 1.8 1.3
1.8 1.6
1.5
1.2 1.8
1.7
1.4
1.8
1.8
1.9
1.1
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080
UNDERGROUND LEVEL PLAN
Realisation & Refinement
Code
Area
Programme
0.1
550m²
Foyer
0.2
80m²
Bar and Coffee
0.3
90m²
Female Toilets
0.4
50m²
Male Toilets
0.5
110m²
Circulation to Theatre
0.6
85m²
Control Rooms
0.7
145m²
Fire Exits
0.8
815m²
Theatre Sitting Area (1000 sits)
0.9
200m²
Stage
0.10
115m²
Wings + Crossover
0.11
100m²
Rehearsal Area
0.12
85m²
Dressing Rooms
0.13
20m²
Toilets
0.14
100m²
Storage +Freight Lift
0.15
450m²
Lounge
0.16
80m²
Rehearsal Rooms X
0.17
90m²
Rehearsal Rooms Y
0.18
30m²
Classroom
0.19
125m²
Recording Studios
0.20
60m²
Tables Area
0.21
15m²
Cafe
0.22
55m²
Internal Garden
1.1
1000m²
Open Sitting Area
1.2
700m²
Covered Area
1.3
175m²
Reception/Tickets
1.4
630m²
Atrium
1.5
55m²
Male Toilets
1.6
55m²
Female Toilets
1.7
220m²
Circulation to Boxes
1.8
235m²
Boxes
1.9
145m²
Emergency Exits
1.10
100m²
Storage +Freight Lift
1.11
100m²
Administration
0.14
0.12
0.13
0.12
0.12
0.10
0.9
0.13
0.12
0.11
Realisation & Refinement
0.3
0.7
0.17
0.2
0.17
0.16 0.17
0.16
0.20 0.16
0.17 0.16
0.8 0.5
0.1
0.15
0.21
0.19 0.22
0.4
0.3
0.18
0.7 0.6
0.18
081
082
Realisation & Refinement
LONGITUDINAL SECTION
Realisation & Refinement
083
084
Realisation & Refinement
Sketch of theatre from the audience.
INTERNAL QUALITIES The internal qualities of the project are highly connected to the promenade concept at the circulations and are influenced by it's outside.
Realisation & Refinement
085
086
Realisation & Refinement
Realisation & Refinement
087
088
Realisation & Refinement
Main Entrance
Back Entrance
Realisation & Refinement
089
090
Bibliography General
New Modified
BIBLIOGRAPHY Mackintosh, Iain. Architecture, Actor, And Audience. Reprint, London: Routledge, 1993. Rice, Peter. An Engineer Imagines. Reprint, Batsford, 2017. Drew, Philip, and Anthony Browell. Sydney Opera House. Reprint, London: Phaidon, 2002. Lechner, N. Heating, cooling, lighting. 4th ed. John Wiley & Sons, 2014. Kristinsson, J. and Dobbelsteen, A. Integrated sustainable design. 1st ed. Delftdigitalpress, 2012. Lewis, P., Tsurumaki, M. and Lewis, D. Manual of section. 1st ed. Princeton Architectural Press, 2016. Buxton, Pamela. Metric Handbook : Planning And Design Data. 6th ed. Reprint, Routledge: Taylor & Francis, 2018. Egan, M. David. Architectural Acoustics (J. Ross Publishing Classics). Reprint, J. Ross Publishing, 2007. Hall, Fred, and Roger Greeno. Building Servies Handbook. 9th ed. Reprint, London: Routledge, Taylor & Francis Group, 2017. Chudley, Roy, and Roger Greeno. Building Construction Handbook. 11th ed. Reprint, [Erscheinungsort nicht ermittelbar]: Taylor and Francis, 2016. Cobb, Fiona. Structural Engineer's Pocket Book :Eurocodes. 3rd ed. Reprint, Routledge, 2014. Cook, Sir Peter. Drawing: The Motive Force Of Architecture, 2Nd Edition. 2nd ed. Reprint, John Wiley & Sons, 2013. O'Connell, Ben. "Plans To Redevelop An Amble Coastal Site Have Been Resubmitted". Nechronicle, 2019. https://www.chroniclelive.co.uk/news/ north-east-news/plans-redevelop-amble-coastal-site-15624430. Kingdom, United, Amble Sea, and Amble Sea. "Amble By The Sea (Parish, United Kingdom) - Population Statistics, Charts, Map And Location". Citypopulation.Info, 2019. http://www.citypopulation.info/php/uk-parishesnortheastengland.php?adm2id=E04010734. "The 10 Best Theatre & Concerts In Northumberland - Tripadvisor". Tripadvisor.Co.Uk, 2019. https://www.tripadvisor.co.uk/Attractions-g186350Activities-c58-Northumberland_England.html. "Plans Submitted For Acklington Road And Signal Cottage - The
Ambler". The Ambler, 2019. http://www.theambler.co.uk/2017/03/02/planssubmitted-for-acklington-road-and-signal-cottage/. "Decision To Reject Plans For Amble Development Applauded". Northumberlandgazette.Co.Uk, 2019. https://www.northumberlandgazette. c o . u k / n e w s / d e c i s i o n - t o - r e j e c t - p l a n s - f o r- a m b l e - d e v e l o p m e n t applauded-1-9125785. "The Maltings Theatre And Cinema (Eastern Lane, Berwick-Upon-Tweed) | The List". Film.List.Co.Uk, 2019. https://film.list.co.uk/cinema/18364-themaltings-theatre-and-cinema-berwick-upon-tweed/. "Sunderland Empire Seating Plan & Reviews | Seatplan". Seatplan, 2019. https://seatplan.com/sunderland/sunderland-empire-theatre/. "The Sands Centre | Venues | BETTER Venues". Bettervenues.Org.Uk, 2019. https://www.bettervenues.org.uk/venues/the-sands-centre. "About The Phoenix Theatre, Blyth, Northumberland". Thephoenixtheatre. Org.Uk, 2019. https://www.thephoenixtheatre.org.uk/about. "The Alnwick Playhouse". En.Wikipedia.Org, 2019. https://en.wikipedia. org/wiki/The_Alnwick_Playhouse. Tourism, Northumberland. "Visit Northumberland | Holidays In Northumberland UK | Official Tourist Information Website". Visitnorthumberland.Com, 2019. https://www.visitnorthumberland.com/. Council, Northumberland. "Northumberland County Council - 2011 Census". Northumberland.Gov.Uk, 2019. https://www.northumberland.gov. uk/Northumberland-Knowledge-and-JSNA/Our-People/Age.aspx. Visitbritain.Org, 2019. https://www.visitbritain.org/sites/default/files/vbcorporate/260139488_-_kantar_tns_-_gbdvs_2017_annual_report_v8.pdf. Frearson, Amy. "Snøhetta Wins Competition To Design Busan Opera House". Dezeen, 2019. https://www.dezeen.com/2012/10/25/snohetta-todesign-busan-opera-house/. "Punta Umbria Pavillion / MRDP Arquitectos". Archdaily, 2019. https:// www.archdaily.com/19529/punta-umbria-pavillion-mrdp-arquitectos. "Hyunam / IROJE Architects & Planners". Archdaily Brasil, 2019. https:// www.archdaily.com.br/br/785537/hyunam-iroje-architects-and-planners?ad_ medium=gallery. "MVRDV Wins Competition To Complete Zhangjiang Future Park In
Shanghai". Designboom | Architecture & Design Magazine, 2019. https:// www.designboom.com/architecture/mvrdv-zhangjiang-future-parkshanghai-pudong-china-10-17-2017/. Frearson, A. (2019). BIG unveils spiralling museum for Swiss watchmaker Audemars Piguet. [online] Dezeen. Available at: https://www.dezeen. com/2014/06/13/big-bjarke-ingels-museum-swiss-watchmaker-audemarspiguet/ [Accessed 7 Jun. 2019]. ArchDaily. (2019). Sancaklar Mosque / Emre Arolat Architects. [online] Available at: https://www.archdaily.com/516205/sancaklar-mosque-emrearolat-architects?ad_medium=gallery [Accessed 7 Jun. 2019]. WebUrbanist. (2019). Mountaintop Museum: Underground Rooms Tunnel into Peak. [online] Available at: https://weburbanist.com/2013/08/22/ mountaintop-museum-underground-rooms-tunnel-into-peak/ [Accessed 7 Jun. 2019]. ArchDaily Brasil. (2019). Renascendo das Cinzas: estudante da Krakow University cria projeto para a Ilha do Fogo. [online] Available at: https:// www.archdaily.com.br/br/790767/rising-from-the-ashes-krakow-universitystudent-creates-vision-for-the-volcanic-island-of-fogo?ad_medium=gallery [Accessed 7 Jun. 2019]. Hawkes Architecture. (2019). Bigbury Hollow PPS 7 passivhaus | Hawkes Architecture. [online] Available at: http://www.hawkesarchitecture.co.uk/ bigbury-hollow/ [Accessed 7 Jun. 2019]. ArchDaily Brasil. (2019). Casa Terra / BCHO Architects. [online] Available at: https://www.archdaily.com.br/br/795165/casa-terra-bcho-architects?ad_ medium=gallery [Accessed 7 Jun. 2019]. ArchDaily. (2019). Outrial House / Robert Konieczny KWK Promes. [online] Available at: https://www.archdaily.com/504899/outrial-house-robertkonieczny-kwk-promes?ad_medium=gallery [Accessed 7 Jun. 2019]. ArchDaily Brasil. (2019). Casa do Penhasco / Dualchas Architects. [online] Available at: https://www.archdaily.com.br/br/624670/casa-do-penhascodualchas-architects?ad_medium=gallery [Accessed 7 Jun. 2019]. ArchDaily Brasil. (2019). AuditĂłrio Princess Alexandra / Associated Architects LLP. [online] Available at: https://www.archdaily.com.br/br/01187584/auditorio-princess-alexandra-slash-associated-architects-llp?ad_ medium=gallery [Accessed 7 Jun. 2019].
Bibliography General
Ravenscroft, T. (2019). Mecanoo completes world's largest performing arts centre in Taiwan. [online] Dezeen. Available at: https://www.dezeen. com/2018/10/17/mecanoo-national-kaohsiung-centre-performing-artstaiwan-architecture/ [Accessed 7 Jun. 2019]. Klee, K. (2019). OPEN Architecture completes UCCA Dune Art Museum in a sand dune. [online] Dezeen. Available at: https://www.dezeen. com/2018/12/12/open-architecture-ucc-dune-art-museum-architecturechina/ [Accessed 7 Jun. 2019]. Astbury, J. (2019). Concrete spiral staircase twists through an open plan office by Hildebrand. [online] Dezeen. Available at: https://www.dezeen. com/2019/05/31/hapimag-headquarters-hildebrand-concrete-spiralstaircase-office/ [Accessed 7 Jun. 2019].
Griffiths, A. (2019). Sameep Padora creates undulating brick roof to cover Indian school library. [online] Dezeen. Available at: https://www.dezeen. com/2018/10/08/sameep-padora-associates-kopargaon-india-schoollibrary-architecture/ [Accessed 7 Jun. 2019]. ArchDaily. (2019). Gallery of Masrah Al Qasba Theater / Magma Architecture - 6. [online] Available at: https://www.archdaily.com/275479/masrah-alqasba-theater-magma-architecture/505d5f0528ba0d2710000378-masrahal-qasba-theater-magma-architecture-photo [Accessed 7 Jun. 2019]. ArchDaily. (2019). Theatre de Stoep / UNStudio. [online] Available at: https://www.archdaily.com/555446/theatre-de-stoep-unstudio [Accessed 7 Jun. 2019].
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092
Figures List & Reference
FIGURES LIST & REFERENCE Fig. 0.0.
Janzen, Stephany. Amble Landscape. Image, 2019.
SECTION 00. ILLUSTRATED REFLECTIVE REPORT Fig. 0.1.
Janzen, Stephany. Amble Landscape. Image, 2019.
Fig. 0.2.
Janzen, Stephany. Amble Landscape. Image, 2019.
SECTION 01. CHARRETTE Fig. 1.1.
Chow, Emily. Working on video. Image, 2018.
Fig. 1.2.
Janzen, Stephany. Charrette Exhibition. Image, 2018.
Fig. 1.3.
Janzen, Stephany. Charrette Exhibition. Image, 2018.
Fig. 1.4. Janzen, Stephany, Emily Chow, Sara Townley, Becky Byren, and Reece Minott. People Watching. QR Code, Video, 2019. https://www. youtube.com/watch?v=jyJPc_bnJSQ&t=15s. SECTION 02. STUDIO & INTRODUCTION Fig. 2.1.
Janzen, Stephany. Amble Landscape. Image, 2019.
Fig. 2.2.
Janzen, Stephany. Amble Landscape. Image, 2019.
SECTION 03. PRIMER Fig. 3.1.
Janzen, Stephany. Photo of Coastal Marker. Image, 2019.
Fig. 3.2. Guerra, Fernando. Leixões Cruze Terminal. Image, 2016. https://www.archdaily.com/779868/porto-cruise-terminal-luis-pedro-silvaarquitecto?ad_medium=widget&ad_name=recommendation. [Edited, 2019].
patriciaurquiola.com/design/floe-insel/.
2018. [Edited, 2019].
Fig. 3.9. Patricia Urquiola. Nuez Chair. Image, 2017. http://www. patriciaurquiola.com/design/nuez/.
Fig. 3.26. - 3.29. Janzen, Stephany. Coastal Marker Model 01. Image, 2018. [Edited, 2019].
Fig. 3.10. Lassila, Anssi. Torre Periscopio. Image, 2016. https://www. archdaily.mx/mx/794228/torre-periscopio-oopeaa.
Fig. 3.30. - 3.33. Janzen, Stephany. Coastal Marker Model 02. Image, 2018. [Edited, 2019].
Fig. 3.11. van Eeden, Shawn. Shipwreck Lodge. Image, 2018. https://www. archdaily.com/901659/shipwreck-lodge-nina-maritz-architects.
Fig. 3.34. Janzen, Stephany. Amble Infographics. Image, 2018.
Fig. 3.12. OPA Open Platform for Architecture. Cliffside Chapel. Image, 2016. https://www.archdaily.com/794130/opa-envisions-a-transcendentalcliffside-chapel-with-lux-aeterna. Fig. 3.13. Creative Partnerships Australia. Acoustic Chamber Render. Image, 2015. https://australianculturalfund.org.au/projects/acoustic-chamber/. Fig. 3.14. Flanagan Lawrence Ltd. Acoustic Shells. Image, 2014. https:// www.flanaganlawrence.com/acoustic-shells. Fig. 3.15. Peeteekayy. Acoustic Mirror. Image, 2019. https://www.flickr.com/ photos/26943652@N05/3920677814/sizes/l/in/set-72157622368239988/. Fig. 3.16. Youtube User 9573802100. Screenshot Of Video: Navio Altair - Cassino 2011.Mp4. Image, 2011. https://www.youtube.com/ watch?v=coRB1mVg6kI. Fig. 3.17. Paul Raff Studio Incorporated Architects. Limelight Bandshell. Image. Accessed 28 October 2018. https://paulraffstudio.com/portfolioitem/limelight-bandshell/.
Fig. 3.3. Frederick Jones, Christopher, and Ross Pottinger. Brisbane Ferry Terminals. Image, 2017. https://www.archdaily.com/883091/brisbane-ferryterminals-cox-architecture?ad_medium=gallery. [Edited, 2019].
Fig. 3.18. Maia, Fernando. La Mano, Punta Del Este. Image, 2009. https://www.flickr.com/photos/fernandomaia/4172121054/in/ album-72157622967383282/
Fig. 3.4. França, Joana. Fortaleza Maritime Passenger Terminal. Image, 2016. https://www.archdaily.com/785830/fortaleza-maritime-passengerterminal-architectus-s-s?ad_medium=widget&ad_name=recommendation. [Edited, 2019].
Fig. 3.19. Concreteworks. Jenner Lounge. Image. Accessed 4 June 2019. https://www.concreteworks.com/catalog/jenner-lounge/.
Fig. 3.5. Binet, Hélène, and Hufton+Crow. Salerno Maritime Terminal. Image, 2016. https://www.archdaily.com/786203/salerno-maritime-terminalzaha-hadid-architects. [Edited, 2019].
Fig. 3.21. Patricia Urquiola. Lilo. Image, 2017. http://www.patriciaurquiola. com/design/lilo/.
Fig. 3.6. Patricia Urquiola. Fjord Table. Image, 2002. http://www. patriciaurquiola.com/design/fjord-table/.
Fig. 3.23. Janzen, Stephany. Coastal Marker. Computer Drawing, 2019.
Fig. 3.7. Patricia Urquiola. Shimmer. Image, 2014. http://www. patriciaurquiola.com/design/shimmer/. Fig. 3.8.
Patricia Urquiola. Floe Insel. Image, 2017. http://www.
Fig. 3.20. asli_aydin. Barcelona Beach. Image, 2007. https://www.flickr. com/photos/asli_aydin/4664696678.
Fig. 3.22. Janzen, Stephany. Coastal Marker. Computer Drawing, 2019. Fig. 3.24. Google Maps. Satellite View Newbiggin-By-The-Sea. Image, Accessed 22 October 2018. https://www.google.com/maps/place/ Newbiggin-by-the-Sea/ [Edited, 2019]. Fig. 3.25. Janzen, Stephany. Coastal Marker in Place. Computer Drawing,
Fig. 3.35. Janzen, Stephany. Amble Film Poster. Image, 2018. Fig. 3.36. - 3.48. Janzen, Stephany. Primer Exhibition Folio. Image, 2018. [Edited, 2019]. Fig. 3.49. Janzen, Stephany. Primer Exhibition SJ Posters. Image, 2018. [Edited, 2019]. Fig. 3.50. Janzen, Stephany. Primer Exhibition Posters. Image, 2018. [Edited, 2019]. Fig. 3.51 - 3.53. Janzen, Stephany. Making Clouds. Image, 2018. [Edited, 2019]. Fig. 3.54. Janzen, Stephany. Clouds at Exhibition. Image, 2018. [Edited, 2019]. All images are by the autor unless stated here. Hengzhong Lv. Fengying Stone Art Museum. Image, 2018. https://www. archdaily.com.br/br/900629/museu-de-arte-fengying-goa. Li, Yao. Crane Pavilion At Crane Nature Preserve. Image, 2018. https://www. archdaily.com/905310/crane-pavilion-at-crane-nature-preserve-gbbn. Esch, HG. Porsche Pavilion. Image, 2014. https://www.world-architects.com/ en/henn-munchen/project/porsche-pavillon. Valadi, Sam. Sydney Opera House & Harbour Bridge. Image, 2015. https:// www.flickr.com/photos/132084522@N05/16524153093. Luke Hayes, Huffon Crow. Al Janoub Stadium. Image, 2019. https://www. archdaily.com/917335/al-janoub-stadium-zaha-hadid-architects. Oh, Eric. 2019. Flanagan Lawrence's New Summer Theatre In Szczecin. Image. https://www.archdaily.com/780198/new-szczecin-summer-theatrereimagines-an-outdoor-performance-space-from-1976. Certowicz, Jakub. The CKK Jordanki. Image, 2015. https://www.archdaily. com.br/br/788473/ckk-jordanki-fernando-menis.
Figures List & Reference
Franco, Tim. Bespoke Theatre. Image, 2015. https://www.archdaily.com.br/ br/786419/teatro-bespoke-stufish-entertainment-architects. Keller, Roman, and Erica Overmeer. Hapimag Headquarter Offices. Image, 2018. https://www.archdaily.com/916306/hapimag-headquarter-officeshildebrand. New Presidio Parklands, OLIN, West 8, CMG Landscape Architecture, James Corner Field Operations, Snøhetta. Presidio Parklands. Image, 2019. https:// inhabitat.com/five-major-landscape-architecture-firms-unveil-competingdesigns-for-new-presidio-parklands-project-in-san-francisco/. Baan, Iwan. National Kaohsiung Center For The Arts / Mecanoo. Image, 2018. https://www.archdaily.com/904019/national-kaohsiung-center-for-thearts-mecanoo. Sumner, Edmund. Jetavana. Image, 2016. https://www.archdaily.com.br/ br/791927/jetavana-sameep-padora-and-associates. Kambic, Miran. Skorba Village Center / Enota. Image, 2017. https://www. archdaily.com/892469/skorba-village-center-enota. Seidel, Torsten. Masrah Al Qasba Theater / Magma Architecture. Image, 2012. https://www.archdaily.com/275479/masrah-al-qasba-theater-magmaarchitecture. Seidel, Torsten. Masrah Al Qasba Theater / Magma Architecture. Image, 2012. https://www.archdaily.com/275479/masrah-al-qasba-theater-magmaarchitecture. Seidel, Torsten. Masrah Al Qasba Theater / Magma Architecture. Image, 2012. https://www.archdaily.com/275479/masrah-al-qasba-theater-magmaarchitecture. Schaller, Lukas, and Alexander Haiden. Cloud Tower. Image, 2007. https:// www.archdaily.com/900318/cloud-tower-tne-architects. Qingshan, Wu. UCCA Dune Art Museum. Image, 2018. https://www.dezeen. com/2018/12/12/open-architecture-ucc-dune-art-museum-architecturechina/. Qingshan, Wu. UCCA Dune Art Museum. Image, 2018. https://www.dezeen. com/2018/12/12/open-architecture-ucc-dune-art-museum-architecturechina/. u c c a - d u n e - a r t - m u s e u m - o p e n - a rc h i t e c t u re - q i n h u a n g d a o - c h i n a - _ dezeen_936_hero2 Qingshan, Wu. UCCA Dune Art Museum. Image, 2018. https://www.dezeen. com/2018/12/12/open-architecture-ucc-dune-art-museum-architecturechina/.
093
094
Appendix
Appendix
APPENDIX: CASE STUDY GROUP WORK. INDIVIDUAL PART: C and H.
095
SITE 096
Appendix
Climate and place Build surface Total parcel Water
D
A
C
Wind speed graphic
Sunshine % graphic
Sunhours graphic
Precipitation graphic
Humidity graphic
A
Shadows
Field Trip Case Study
B
C
D
B
Sun analysis
ARC3001
Temperature graphic
GAFIA
C het nieuw e i ns t i t uut
SITE
A
B
C
D
Appendix
097
Urban Context Access Main Access Museum Park
Streets and Conections - Pathways
Views
Tram
Metro Parking Museum Park Cinema Hotel Art Galery Public Transportation
ARC3001
Field Trip Case Study
FullxEmpty (Massing)
GAFIA
Hotspots
C het nieuw e i ns t i t uut
STRUCTURAL STRATEGY 098
Appendix
Overall Structure Concrete
Concrete
Steel
Steel
H ARC3001
Field Trip Case Study
GAFIA
het nieuw e i ns t i t uut
STRUCTURAL STRATEGY
Appendix
099
Detail in action
H ARC3001
Field Trip Case Study
GAFIA
het nieuw e i ns t i t uut
0100
Appendix
Appendix
PORTFOLIO STAGE DECLARATION 3 ACADEMIC OF PORTFOLIO CHANGES DECLARATION OF CHANGES
0101
STAGE 3 ACADEMIC PORTFOLIO STAGE DECLARATION 3 ACADEMIC SHEET PORTFOLIO DECLARATION SHEET
proved or altered since Please eachindicate review and workdescribe that hasthe been changes improved succinctly: or altered since each review and describe the changes succinctly:
Please complete the below form and submit along with yourPlease digitalcomplete portfoliothe submission below form andand physical submitportfolio along with submission. your digital portfolio submission and physical portfo
s
Changes
You may reformat existing work into a single document, or be Yousubmitted may reformat as separate existingdocuments. work into aPlease single document, confirm below or behow submitted many different as separate documents. Please conf documents you are submitting: documents you are submitting:
Key changes made to Primer work since the Primer review
No. Documents
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Check the boxes to confirm you have included this work as part Checkofthe your boxes Academic to confirm Portfolio you have submission. includedAcademic this workPortfolios as part ofnot your containing Academicall Portfolio of submission. Acad the below contents will be considered as incomplete. the below contents will be considered as incomplete. Key changes made to Staging work since the Staging review
Key changes made to Realisation work since the Realisation review
Key changes made to Refinement work since the Final review
Declaration of Work Submitted
Declaration of Work Submitted
ARC3001 Academic Portfolio Chapters
ARC3001 Academic Portfolio Chapters Other Modules
Other Modules
Contents
Contents
Submission for ARC3013
Submission for ARC3013
Introduction
Introduction
Submission for ARC3014
Submission for ARC3014
Illustrated Reflective Report
Illustrated Reflective Reportfor ARC3015 Submission
Submission for ARC3015
Charrette
Charrette
Submission for ARC3060
Project Primer
Project Primer Stage 2 Portfolio
Project Staging
Project Staging
Project Realisation
Project Realisation
Project Refinement
Project Refinement
Illustrated Cultural Bibliography
Illustrated Cultural Bibliography
Bibliography / References
Bibliography / References
Submission for ARC3060
Stage 2 Portfolio
I confirm that my Portfolio includes the above elements, that I confirm each ofthat these myisPortfolio entirely the includes product theof above my own elements, work, and thatthat eachallofsources these isused entirely the product of my own (including any images that are not my own) are fully referenced. (including any images that are not my own) are fully referenced.
Student Name Studio Name
Studio Name
Student Name
Student Name Studio Name
Studio Name
Student Number Student Signature
Student Signature
Student Number
Student Number Student Signature
Student Signature
STAGE 3 GUIDE 9
STAGE 3 GUIDE 9
STAGE 3 GUIDE 8