SOPHIE BALDWIN
ACADEMIC PORTFOLIO B.A ARCHITECTURAL STUDIES STAGE THREE 2014/2015
2
MEMORY, 06.
MASS, 42.
CHARRETTE, 70.
3
YEAR DESIGN SUMMARY. Personal Objectives: Moving into third year I had very clear objectives of areas I wanted to improve in order to represent my designs more effectively. Throughout stage 1 and 2 I found it challenging to represent my ideas wholly on paper to the standard I wanted. This became evident from project feedback suggesting a lack of atmospheric and internal qualities. During third year therefore I was conscious of the need to expand either my drawing or computer skills to present internal qualities. For both ‘Mass’ (semester 1) and ‘Memory’ (Semester 2) I therefore used softwares such as Photoshop to represent the materiality, inhabitation and lighting conditions of my designs. For Semester 1 I included an A1 1:20 drawing of my shelter for Archaeological remains illustrating the technical detailing of the timber frame, internal activity and lighting conditions. I feel this was a key drawing which successfully represented an area of my design with feedback stating it was an “excellent” addition to the presentation. Additionally, the graduation project feedback suggested that the two sections were ‘particularly strong’. This is an area of which I am no longer as apprehensive in comparison to previous years and I feel I can represent my design and ideas cohesively. I enjoy learning new methods to represent my designs effectively and I look forward to continually developing various techniques.
4
Moreover, by the end of stage two I was excited to use more adventurous methods of producing models and to develop my skill and knowledge in this area. This was a contributing factor to choosing the studio ‘Matter’ for my final year. The brief suggested an emphasis on experimenting and working with concrete to understand the technical, structural, poetic and tactile qualities of the material. Casting was a medium which I hadn’t yet embarked upon and as a result was excited to use this technique.
Response to Brief: Both ‘Mass’ and ‘Memory’ encouraged casting (both plaster and concrete) as a device for learning and design development. Consequently, through both projects I adopted a ‘thinking through making’ approach. This allowed my designs to continually develop from simple conceptual models through to final models. Constructing these models helped me to understand the spatial layout, organisation and scaling of my design. As a result, I produced a series of models which demonstrated my design progression. I found it extremely beneficial having produced physical reminders of the strengths and weaknesses of my design proposals and essentially learnt through iteration.
A key theme for both projects was the location within a rich context – the Castle, Black Gate and Roman Remains of Newcastle, and the Norman Cathedral, ‘Brutalist’ Dunelm House and the dramatic landscape of Durham peninsula. Both projects therefore demanded a strong relationship to its surrounding urban core. I particularly enjoyed engaging with the public realm of both Newcastle and Durham, researching the public routes and movement around the site in Newcastle and the city of Durham. I feel this helped develop a design with a strong interaction with the existing urban fabric.
The first project ‘Mass’ required a response to the rich history of Newcastle with structures dating back almost 2000 years. The graduation project, ‘Memory’, however suggested an engagement with recent architecture and to work within a context of modern concrete structures. As a studio therefore we were required to explore the controversies of the post-war architectural legacy. I found this particularly interesting and it helped to develop my understanding and appreciation of the ‘Brutalist’ movement. From this research I became particularly passionate about the Apollo Pavilion, Peterlee, designed by artist Victor Pasmore. This inspired a 1:2 representational section using different textures and mixed media to symbolise the depth of protrusions and compartments.
I have really enjoyed working at a range of scales throughout third year from 1:2 sections, 1:20 drawings, 1:50 atmospheric sections to 1:5000 site models. I feel this has helped me to gain a wider understanding of the projects. Designing in both a macro and micro scale has been very beneficial to producing a final design.
Feedback: Project feedback from Semester 1 ‘Mass’ suggested that the drawings did not effectively illustrate the
wider urban context. In the portfolio exercise therefore I have revisited the site elevation to include both the Castle Keep and Black Gate in order to sit my design more clearly within the urban grain. I was keen not to make this mistake in the graduation project. During the project therefore I worked on both the wider scale from the train station to Dunelm House as well as the immediate site. This was illustrated in two sections. For the final presentation however my top floor plan failed to illustrate the approach to site and therefore a 1:500 plan has been included highlighting the entrance from Bailey Road.
Personal Improvement: What I feel has been my greatest improvement during third year is the integration of non-design modules into my design proposals. The Architectural Technology module encouraged me to consider the sustainability of my design. The Archaeological Centre was therefore designed with re-use in mind – designed with a timber frame for ease of deconstruction. With this the shelter for archaeological remains could be moved and used for different sites of interest around the UK. Architectural technology and sustainability is now an integral approach to my designs rather than a mere afterthought. I am also impressed with my capability to produce technical and structural details of my design. I now feel I am able to produce drawings highlighting the structure of my design proposals – an area which I did not feel comfortable with in second year. I look forward to learning more about technical design in practice.
nantly hand drawn which was a comfortable medium for me coming from an Art background. However, moving through the years, to present my ideas more effectively I have encouraged myself to develop computer aided skills such as Photoshop, SketchUp and InDesign. It is in the final year particularly that I now feel comfortable and capable of using these programmes successfully. I now appreciate having the option of either using hand or computer drawings to show my design. Moreover, my verbal presentation has improved dramatically from first year. I now use my verbal presentation to my advantage and enjoy talking through my design and ideas to portray them effectively. Time management has always been a skill of mine. The degree however has taught me to work efficiently and what exact work I should produce. This means that I no longer produce work which will not be of any benefit to represent the design – or drawings not sized appropriately for presentations. I feel this is a vital skill to have developed and will benefit me greatly in practice and later life.
Extended elevation to show Castle Keep and Black Gate.
The Degree as a Whole: My progress throughout the degree has been immense, not only to do with design but in terms of personal confidence as well. My work started predomi-
5
6
MEMORY, GRADUATION PROJECT.
AN ARCHIVE FOR THE RECENT URBAN PAST, DURHAM UK. AN ARCHIVE FOR THE RECENT URBAN PAST DERIVES FROM THE POST-WAR ARCHITECTURAL LEGACY OF NORTH EAST ENGLAND. THE ARCHIVE WILL BE DEDICATED TO EXHIBITING AND STORING FRAGMENTS OF POST-WAR ARCHITECTURE WITH THE AIM TO INCREASE AWARENESS, UNDERSTANDING AND APPRECIATION OF THE ‘BRUTALIST’ MOVEMENT.
7
8
SITE LOCATION: Located in the historical City of Durham, the project engages with the Norman Cathedral alongside two ‘Brutalist’ additions of Dunelm House and The Kingsgate Bridge in the 1960s. The site therefore requires a building with the capability of responding to both a historical and modern urban core.
9
FILM OF THE PUBLIC ROUTE FROM DURHAM TRAIN STATION TO DUNELM HOUSE.
10
MOVEMENT AROUND DURHAM. When visiting Durham I was particularly interested in the movement of pedestrians around the city and the contrast between a direct and delayed route. I began to map certain routes and movement around the city. Durham possesses a variety of both clear and hidden routes, with a number of passageways, offering a direct route, to the castle for example, or a delayed route connecting with several courtyards hidden away from the populated main road. I filmed the journey (left) of these routes to demonstrate the contrast from open to closed, quiet to loud, populated to isolate. This then inspired the internal circulation route of my building - to design both a direct and delayed route from the top entrance (cathedral) to the ground (riverside). The delayed route will provide a journey through the building with access to various rooms of the exhibition and archive.
11
CITY SECTIONS - TRAIN STATION TO DUNELM HOUSE (LEFT), THROUGH THE PENINSULA (RIGHT).
12
13
THINKING THROUGH MAKING.
14
During Thinking Through Making week I became particularly interested in the Apollo Pavilion, Peterlee designed by artist Victor Pasmore. As a result I studied the building in several sections, reproduced at different scales, ending with a 1:2 section (left). This explored the different protrusions and compartments, each represented with different textures and mixed media in response to the depth of the section. Due to this, I became more aware of the sculptural possibilities of concrete as a material.
15
DURHAM DURHAMCITYSCAPE CITYSCAPE VERTICAL VERTICALPROTRUSIONS. PROTRUSIONS.
APOLLO APOLLOPAVILLION PAVILION PROTRUSIONS PROTRUSIONS AND AND COMPARTMENTS. COMPARTMENTS.
DURHAMCATHEDRAL CATHEDRAL DURHAM HORIZONTAL PROTRUSIONS. HORIZONTAL PROTRUSIONS.
CONCEPT DEVELOPMENT.
16
DUNELM HOUSE DUNELM HOUSE ELEVATION PROTRUSIONS. ELEVATION PROTRUSIONS.
DESIGN PLAN DESIGN PLAN VERTICAL TO FORM HORIZONTAL PROTRUSIONS HORIZONTAL PROTRUSIONS AND AND COMPARTMENTS. COMPARTMENTS.
DEVELOPMENT MODELS INSPIRED FROM OMA JUSSIEU LIBRARY (BOTTOM LEFT).
17
MATERIAL EXPLORATION - FABRIC CASTING.
18
The archive itself reveals clues and information about past, present and future architectural forms. I would like the façade to symbolise this act of revealing. I am interested in using fabric form work to create a concrete curtain façade which uncovers information about the activity inside. The concrete curtain therefore is a metaphor of unveiling truths about the past, present and future. Concrete carries the ability to be imprinted and engraved with the memory of its construction, allowing different textures of fabric to be revealed. As a result, “concrete has the capacity to move quickly from functional object to poetic material” (Raoul Bunschoten, 2007). Initially to symbolise the idea of a concrete curtain I covered material in plaster. This illustrated the change from fluid to solid (right page). Although solid, the casts still depict flow and texture. Additionally to represent fabric form work I made several casts using different materials, for example ground sheets and raincoats (left page). This created models with embodied textures and impressions, revealing the process behind their construction.
MATERIAL FABRIC CASTS.
19
PUBLIC ROUTE PROJECTIONS
PUBLIC CAFE
INFORMATION EXHIBITION DIGITAL ARCHIVE
BAR
PRIVATE KITCHEN RESEARCH AREA
20
In order to create a direct and delayed route, staircases became a key design element. Inspired by the MVRDV Why Factory, I have designed a large central staircase offering direction or seating. This creates either mere circulation or pausing points within the building. The central stairwell therefore can host debates and projections for the archive.
1:500 TOP FLOOR PLAN AND IMMEDIATE SITE CONTEXT.
0
10
21
B
C
INTERNAL PERSPECTIVES OF CINEMA ROOM AND MAIN STAIRWELL.
22
Film and projection will form the archive and exhibition with the aim of providing an interactive and informative experience. This was first inspired by the work of Jane and Louise Wilson. The artist’s work explored the decaying architectonic sculpture of the Apollo Pavilion using single screens with multiple views. Projections were also inspired from Charrette week, image below.
B
C
1.250 FOURTH FLOOR PLAN. URBAN ROOM AND CINEMA. 0
10
23
EXHIBITION DECLARATION - INSTALLATION AND PROJECTION.
24
There will also be installations contributing to the exhibition of the archive. This will include two permanent Carol Visser sculptures alongside rotating installations from artist’s work of the post-war period, such as Victor Pasmore and Christo and Jeanne-Claude.
1:250 THIRD FLOOR PLAN. EXHIBITION LEVEL. 0
10
25
DIGITAL ARCHIVE.
26
The archive will be stored digitally with records of film, photos and documentation. These will be easily accessible in the provided research areas. Images on the left illustrate clips from a film stored in the digital archive.
1:250 SECOND FLOOR PLAN. RESEARCH AREA. 0
10
27
DEVELOPMENT MASSING MODELS.
28
Left: 1:500 Massing Models to explore the exterior form. These helped to inform the reasoning for protrusions, relating to the bridge or to serve views. The models progressed from simple cast volumes to forms considering various viewpoints. There are private research areas for study purposes and the preservation of the archive. This will ensure the longevity of the continually expanding collection.
1:250 FIRST FLOOR PLAN. PRIVATE RESEARCH. 0
10
29
Final 1:100 Model demonstrating the internal circulation from each distinctive floor plane. The model illustrates the journey from top entrance (cathedral) to ground (riverside) with the opportunity of visiting various compartments of the archive.
30
The ground floor offers both a public bar and cinema with the opportunity to spread onto the riverside in summer. The immediate area outside the building has been landscaped with the aim of creating a space for the public to relax. As a result the usually neglected riverside bank could become an area of greater interest to the public. The Broadway Cinema, Nottingham (above) was used as a precedent, offering similar opportunities.
1:250 GROUND FLOOR PLAN. CINEMA AND BAR. 0
10
31
32
1.100 SECTION A’A THROUGH CENTRAL STAIRWELL. 0
10
33
The drawings below illustrate the environmental strategy of the design. The exposed mass of the concrete allows for day time cooling, with stored heat released during the night. A natural ventilation strategy has also been employed by simple window openings, encouraging heat to rise the central void and escape through release points on the roof. The circulation routes of the building are emphasised through materiality, with light timber stairs contrasting to dense concrete floors. This highlights the option of routes throughout the building. For structural purposes however, due to the scale of the stairs concrete supports will run underneath which are then spanned by timber, shown in the diagram below.
MASS OF CONCRETE FLOORS FOR DAY TIME COOLING.
34
RELEASE OF STORED HEAT AT NIGHT.
NATURAL VENTIALTION STRATEGY.
STAIR DETAIL.
PARAPET FLAT ROOF DETAIL.
FLAT ROOF DETAIL OF CANTILEVER/BALCONY WITH GLAZING.
TECHNICAL SECTION HIGHLIGHTING THE CONNECTION TO KINGSGATE BRIDGE. 0
5
35
FABRIC CURTAIN.
ACRYLIC- SANAA, VITRA CAMPUS.
CASTED FABRIC.
MATERIAL STUDIES.
36
POLYCARBONATE AND CORRUGATED PLASTIC.
CONCRETE - MIGUEL FISAC.
ELEVATION FROM DUNELM HOUSE.
37
The sketch on the left illustrates the landscaped area outside the public bar and cinema. The internal main staircase has been extended to the outside with steps down to the water’s edge. The image on the right gives the view of a person walking along the river side path.
38
APPROACH TO THE BUILDING ALONG RIVER SIDE PATH.
39
40
FINAL PRESENTATION BOARDS.
41
42
MASS.
AN ARCHAEOLOGICAL CENTRE FOR NEWCASTLE, UK.
AN ARCHAEOLOGICAL CENTRE FOR NEWCASTLE, LOCATED WITHIN THE HISTORICAL CONTEXT OF THE CASTLE GARTH, SHELTERS THE REMAINS OF ORIGINAL ROMAN ARTEFACTS FOUND ON THE SITE. THE ARCHITECTURE STRIKES A CONTRAST BETWEEN THE GRAVITY OF A CONCRETE MASS AND A LIGHT-WEIGHT TIMBER STRUCTURE.
43
Located within the Castle Garth of Newcastle, with close proximity to the original castle walls and southern gate, the site requires a building which responds sensitively to the rich history whilst enhancing the opportunities of viewing the archaeology.
44
SITE CONTEXT MAP.
45
CARVING PUBLIC ROUTES THROUGH THE SITE.
46
Starting with the existing route from the Black Gate, down the Castle Chares to the quayside, I was interested in the footpaths around the site. There are three key routes within the immediate proximity of the site. From these routes, I was inspired to create additional footpaths to connect to the existing sequence. By widening the top of the Castle Chares, I am increasing the visibility to the Castle which sits directly in front. By carving through a proposed mass on the site, a clear route is proposed from the Castle to the original Castle wall. The third route is ramped, increasing access to the archaeological remains. Consequently, the routes within and around the site enhance the opportunities to discover and engage with the archaeology.
47
I started to cast the footprint, positive and negative spaces of the existing public footpaths. From this I was able to explore the solid and voids of the spaces which the public interact with, and the feeling of either enclosed or open elements along the journey. This added to the idea of carving through a mass to create a void, which becomes an additional route.
48
49
I was interested in the textural and tactile quality of the archaeology – which as it sits in the site allows for public interaction. I used clay to make impressions of different elements of the site which I then used to create cast tiles illustrating the original detailing. I will use these tiles to form aspects of the façade. By using these tiles of existing, site specific details, the architecture becomes a part of the archaeology itself.
50
51
I started using conceptual plans, inspired by Fernando Menis (below) to inform a design centred on solids and voids. From these plans I was able to create massing models (right) exploring different options on the site. A main precedent for the project was Casa Das Mudas, Paulo David (right). I was inspired by the way the building carved a route between a mass forming courtyards and viewpoints into the galleries. This led to the idea of an ‘exhibition wall’ alongside the walkway, allowing the public to engage with a variety of artefacts. The Hedmark Museum, Sverre Fehn, (right) demonstrates various methods of engaging with artefacts.
CONCEPTUAL PLANS HIGHLIGHTING SOLID AND VOID.
52
CARVING THE VOIDS INTO THE SITE.
53
The shelter for the archaeological remains will be the tallest element, drawing interest and the public to the site. To resemble live archaeological digs the shelter will be timber frame to symbolise a light-weight, temporary structure. With the aim to be lit from above, the Brockholes visitors centre became a key precedent. This helped me to understand the technical detailing of the structure and produce detailed drawings - original A1, 1:20 section (right).
54
1:20 ROOF LIGHT DETAIL. GLULAM TIMBER FRAME STEEL RING BEAM DOUBLE GLAZED ROOF LIGHT CONCRETE BASE CONCRETE RETAINING WALL STEEL STAIRCASE TIMBER PLATFORM AROUND REMAINS.
TECHNICAL SECTION OF ARCHAEOLOGICAL CENTRE.
55
RIGHT: ROOF PLAN AND IMMEDIATE SITE CONTEXT.
56
57
ENTRANCE DETAIL - CONNECTION TO CHARE.
58
WALKWAY - EXHIBITION WALL.
WALKWAY - ENCLOSED TO OPEN.
0
10
1:200 GROUND FLOOR PLAN.
5
6
1. VIEW TO ARCHAEOLOGICAL REMAINS 2. LECTURE THEATRE 3. WALKWAY WITH EXHIBITION WALL 4. RECEPTION/ SHOP 5. ADMINISTRATION 6. STAFF ROOM
3 4
2
1
59
PETER ZUMTHOR - SHELTER FOR ARCHAEOLOGICAL REMAINS.
60
0
10
1:200 -1 FLOOR PLAN. 1. ARCHAEOLOGICAL REMAINS 2. TEACHING/ RESOURCE FACILITY 3. LIBRARY 4. WC 5. WC 2
5 3 4
1
A
A
The lower floor of the design provides teaching and resource opportunities for the archaeological remains. Both the teaching room and library have a direct view into the shelter of archaeological remains. The bookcase in the library, shown in figure A, provides views to the artefacts. Image to the right shows study of the remains at – 6m.
61
0
5
1:75 SECTION THROUGH ARCHAEOLOGICAL REMAINS AND VISITORS CENTRE. 62
63
1:500 ELEVATION THROUGH CASTLE CHARES.
64
0
10
1:200 NIGHT TIME ELEVATION.
0
10
65
Group site model from the Black Gate to Quayside. The model was made with a storage base in order to hold models, casts and experiments of the whole groups work. The buildings of greater contextual importance were 3D printed, with the rest made from wood. Each student then made a 1:250 of their proposal to sit in the site.
66
STUDIO WITH GROUP MODEL.
67
68
FINAL PRESENTATION BOARDS.
69
70
CHARRETTE.
SYNAESTHESIA - TURNING SOUND OR KINETIC ENERGY INTO ART. CONVERTING STUDENT-MADE SOUND OR KINETIC ENERGY INTO ART PERCEIVED IN A DIFFERENT AND STATIC WAY TO THE DYNAMIC METHOD OF ITS PRODUCTION.
71
72
73