Newcastle University Stage 2 Portfolio 2013-2014

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"   

   




  

            

     

         

 

    

    




                    

                                                 


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       


                     


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        



                


N

CLEAN

FRONT ELEVATION SCALE 1:50

INTERNAL DESIGN PERSONALISATION

=

PHOTOMONTAGE

FIRST FLOOR PLAN SCALE 1:50

BACK ELEVATION SCALE 1:50

N

PLACED DISPLACED DESIGN PRECENTS, DARK SLATE

IN THE DINING ROOM INSIDE LEADS OUT WITH THE SAME MATERIAL IN BOTH SPACES

THE DISTINCTION BETWEEN PUBLIC AND PRIVATE IN THIS TERRACED HOUSE IS SHOWN BY STAIRS. THE IDEA OF WALKING DOWN STAIRS INTO A MORE PUBLIC SPACE OR BEING INVITED UPSTAIRS INTO A MORE PRIVATE PERSONAL SPACE. THE STAIRS ARE USED AS NATURAL DIVIDERS, FOR EXAMPLE EVERYONE USES THE BATHROOMS VISITORS AND HOME-OWNERS, BUT UP STAIRS ARE THE MORE PRIVATE SPACES THE FAMILY KEEPS AS THEIR OWN, THE STAIRS MAKES THIS DIFFERENCE CLEAR.

TRANSFER SPACE, OUT-IN VISIBLE SPACE ENTERTAINING SPACE TEMPORARY SPACE (BATHROOM)

GROUND FLOOR PLAN SCALE 1:50

ULTIMATE PRIVACY

IN THE PUBLIC DINING AREA EXPANSION IS KEY, THE LARGE SLIDING DOORS THE DINING ROOM CAN OPEN OUT INTO THE GARDEN ALLOWING FOR MORE SPACE TO ENJOY COMPANY, THE STAIRS CAN ALSO BE A TOOL TO BREAK THE BOUNDARIES AS THEY ARE WAS TO INVITE PEOPLE IN AN PLACES TO TALK TO PEOPLE FROM.

SECTION SCALE 1:50


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         





As a rehabilitation centre this foyer is designed with its future residents in mind, there are distinct divisions between public and private spaces, with the public spaces being more open, looking on to one another. The private spaces are far more withdrawn, their bedroom is a home of sorts, out of the way with the view to provide a quiet reflective space.

"Skill is built in the quiet, character in the fullness of life"

Oluwatofunmi Onaeko Newcastle University Stage 2 12054682

                         





        






                                       

Civic Center

Library and Leisure Centre Oluwatofunmi Onaeko B2054682 Stage 2

This building is focused on the idea of conversations, one introduced step to malke the next leap. Shown in this building as using the skills developed in the library to further the understanding and perception of ‘the most skilled sport’. This building whilst having a conversation within itself is also influenced from without, with gaps and crevices in the form suggested by the surroundings.      


CIVIC CENTERED

IN THIS PROJECT THE FOCUS WAS ON THE RELATIONSHIP BETWEEN THE THE BOXING AND THE LIBRARY, THE IDEA IS TO CREATE A HARMONY BETWEEN THE SKILLS LEARNED THROUGH BOXING AND THE SKILLS PICKED UP IN A LIBRARY (IN THIS CASE A SPORTS SCIENCE LIBRARY) WHICH EXPLAINS THE CORE WHICH IS CENTRAL TO THE DESIGN IT MEETS THAT FROM MOST PARTS OF THE BUILDING THE BOXING RING IS VISIBLE., CREATING A VISUAL LINK. A MATERIAL LINK IS FOUND BY THE PROGRESSION OF MATERIALS THROUGH THE BUILDING, CONCRETE TIES IN THE BASEMENT STORIES TO THE GROUND, FIRST AND SECOND FLOORS. THEY HAVE CONCRETE FLOORS WHEREAS THE BASEMENT FLOORS ARE ENTIRELY CONCRETE TO PERPETUATE THE GRITTY FOCUS THAT BOXERS CLAIM CREATES A BETTER ATMOSPHERE. THE MAJORITY OF THE TOP FLOORS ARE WOODEN GIVING A WARMER FEEL TO THE LIBRARY WHICH IS BETTER FOR MORE OF A COMFORTABLE ENVIRONMENT, THOUGH THERE IS A LINK WITH THE CONCRETE FLOORS. THE SUN SHADING PROVIDES CLIMATE CONTROL IN THE DIFFERENT SEASONS BUT ALSO DISTURBS THE VIEWS OUTSIDE PROVIDING BOTH INTERESTING VIEWS AND LESS OF A DISTRACTION WHEN READING. THE MAIN PRECEDENTS INFLUENCING THIS WORK INCLUDE THE GUGGENHEIM (THE CENTRAL CORE), THE DANISH NATIONAL MARITIME MUSEUM (THE UNDERGROUND TO FACILITATE VIEWS) AND THE CLYFFORD STILL MUSEUM (MATERIALITY AND SUN SHADING)


DEVELOPMENT MODEL A

DEVELOPMENT MODEL B

VIEW TURNING INTO MAIN ENTRANCE

CIVIC CENTERED

DEVELOPMENT MODEL C

SCALE 1:100

ANALYSIS OF THE AREA SHOWED MANY SCHOOLS IN THE AREA (SHOWN ON THE MAP), THIS COULD BE AN OPPURTUNITY TO DEBUNK THE MYTH REGARDING THE VIOLENCE IN BOXING AS UNCONTROLLED. VIEW FROM GROUND FLOOR

VIEW FROM BOXING RING ANALYSIS OF SURROUNDINGS

SCALE 1:100


SCALE 1:200

SCALE 1:100

SCALE 1:200

SCALE 1:100


OUTDOOR SPACE PRECEDENTS

SCALE 1:100

SCALE 1:400

THE OUTSIDE SPACES ARE PERFECT OPPOURTUNITIES TO TEACH THE OUTSIDE PUBLIC, MAKING OUTDOOR SPACES CAN MAKE FOR FUN LESSONS OR SPACES FOR THE PUBLIC TO USE FREELY ANE CREAT A LINK TO THE BUILDING OUTDOOR SPACE

SCALE 1:100


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         







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“Perhaps our homes of adulthood are an unconscious search Discuss how the interrelationship between people and their homes develops through time

for the lost home of childhood” As a child our parent's or carer's house is what we first understand to be a 'house', from there we spread out, whether going to university or moving into a flat of our own, most people form the image of a 'home' for themselves. A Teenager at University may not spend much time at home, their relationship with their home differs to a young professional whose relationship in turn differs to a family's home or an older couple's home. I intend to use the Symbolic Interactionism theory to explain this pattern, to explain how our relationship with our homes changes over time as we are influenced and changed by others.

Figure 1 Taken from Joel M. Charon's Symbolic Interactionism: An Introduction, An Interpretation, An Integration, the above diagram explains in part about the theory itself. The diagram explains that our individual perspective influences the actions we take in different situations, our actions are dependent on how we interpret a situation. Charon then states that " 1. Social interaction creates our qualities as human beings, 2. Social interaction is an important cause of what the individual does in situations". By Talking to others, getting their opinions and beliefs and incorporating that into an individual's own belief system, his/her world view, "social interaction is therefore responsible for what we see in the world around us“ We can infer from this that there is a reciprocal relationship between Society - and it's culture, which is essentially a mixing pot of the ideas of the most influential individuals and the Individual. "Society, then, is individuals interacting with one another in mind". We try to present the perfect image of ourselves, while trying to understand the perfect images of the other individuals that make up our society, Charon describes this process as a negotiation. As we go through life the individuals around us change and so do our influences. In keeping with the changes of the individuals who make up the society, society and its culture also change. "Society and it's culture is ever changing and negotiated.“ This theory can be applied to our relationships with our houses, it suggests that over time our relationship should change as we attempt to present who we believe we are accurately to society. "We intend our acts for others, and these acts represent something about us" how we treat and relate to our houses could be seen as 'acts'. For example a Teen's bedroom may have band posters on the wall to impress friends, whereas a young professional may try to express themselves by having the latest technology expressing their wealth.

However as children still play there at times there is a habit of leaving a lot of central floor space which is the same in all the rooms on the ground floor, even the dining room has a large amount of floor space off screen. It shows the difference in stages of life in the difference in the usage of the home and therefore differences in decoration, my parents tend to go for photos which are hard to knock down whereas my friend has trinkets in more visible spaces.5

This expression of self would be different to a family, where the home is more a shelter in which to raise children, filled with family pictures and the children's work, where the parents desire for the latest technology may be relegated to a few rooms. As we get older we may then use our houses as tribute to our past, to our children and our grandchildren, filled with trinkets that remind us of days gone by.

To look into this idea further I took three people and compared their past and current home. For this I took myself, my brother and one of my housemate's bedrooms at University and compared them to our childhood homes. I thought this would be a good comparison as we have different influences yet at some points in our lives we have had the same influences, therefore I could see the impact of the outside individuals on the individual self. Spending a lot of time with family, means they can be considered massive influences, so considering that we spent 16 years together, the family influence should be very visible between my brother and I. Whereas my friend grew up in an entirely different culture, she grew up in the North whereas I grew up in the south, these influences will be interesting to contrast in our childhood homes. Yet for the past two years my friend and I have had very similar influences, we live together and we do the same course at University. Whereas over the past two years my brother and I have been in different environments, with him in Plymouth and I in Newcastle. It will be interesting to contrast the effect of moving into a different society influences our relationships with our home. Looking at the images I was surprised by how similar our houses are, yet both sets of parents are at different stages in their lives, my friend's siblings have all grown up and left the house so there is more time for entertaining guests, as such the front room is neat and orderly, most trinkets relegated to the less public areas of the house, the dining room which is divided by a sofa indicating the threshold between public and private, meaning that the kitchen, dining room and conservatory (all rooms beyond the kitchen) feel more personal. My friend's family tends to entertain guests outside the home calling for a smaller amount of public space. Her parents and grandparents seems to frequently visit each other or leave the house as there are no children at home. I still have a young sister (12 years old) and as she is the only child at home she frequently has her friends over, when they come over they play in the playroom, to get to the playroom they go through the kitchen and past the dining room making all of the ground floor a thoroughfare. Most expensive or fragile objects are kept at height or in their designated areas. Yet the living room which adults are entertain has similarities to my friend's.

My Home

My Home

My Brother’s University Room My University Room

My Home My University Room My Home

My friend’s University Room

My Home

My friend’s Home

My friend’s University Room

My friend’s Home

My friend’s Home

Words: 1498

My friend’s Home

My brother and I have been affected by our home environment, our university rooms both have a large amount of floor space, but seeing as we no longer have to worry about children roaming up into our rooms we both display the items we use most in full view where they are more easily reached (like the perfume on my dresser, his cologne on his windowsill). Yet the main difference is that he doesn't display any pictures in his room. My brother lives in student accommodation with people he doesn't know, they don't often come into his room and when he has guests round they often socialise in the public spaces, he has no need to make his room appear welcoming, whereas due to the fact that I live with 5 other girls, all of whom are friends we like to frequently go into each other's rooms and laugh and discuss our pictures of family. I try to accurately portray a picture of a loving family whereas he has no need to do so. My friend has more posters and more of her artwork and photos of friends, this is due to the fact that she has people in her room more often than I and she has a boyfriend so having a pretty room is more important for her than for me.

Looking at the differences between people's homes it is easy to see how people's lives at that moment affects the way they relate to their homes and how moving on to different stages in their lives changes how they live and therefore their home. For example moving out of my London home for 1 year has already changed how I approach storing my objects. My friend's parents have always lived in Great Britain, yet my parents spent a large amount of their time in Nigeria, yet the way they relate to their house now is similar to my friend's parents as they have spent a lot of time in the same environment and the people that would influence them most have been in the same society for both Parents. From the evidence I've looked at I can conclude that the theory seems to clearly explain that the influences from without are implemented within and change over time. However there are a few things I could do if I was able to research this topic even more thoroughly. I chose two very specific stages in life, University and family, it would be better to get a more rounded view by looking at people over their entire lives. To compare people who have gone to University with those who haven't, interviewing them and taking pictures of their houses every five years, seeing the progression of their lives and how they change in a long term study. References Joel M. Charon (1979). Symbolic Interactionism: An Introduction, an Interpretation, an integration. 5th ed. New Jersey: Prentice-Hall, Inc.. 6. Figure 1-1, Joel M. Charon (1979). Symbolic Interactionism: An Introduction, an Interpretation, an integration. 5th ed. New Jersey: Prentice-Hall, Inc.. 149., Joel M. Charon (1979). Symbolic Interactionism: An Introduction, an Interpretation, an integration. 5th ed. New Jersey: Prentice-Hall, Inc.. 150.

Joel M. Charon (1979). Symbolic Interactionism: An Introduction, an Interpretation, an integration. 5th ed. New Jersey: Prentice-Hall, Inc.. 151., Joel M. Charon (1979). Symbolic Interactionism: An Introduction, an Interpretation, an integration. 5th ed. New Jersey: Prentice-Hall, Inc.. 169, Joel M. Charon (1979). Symbolic Interactionism: An Introduction, an Interpretation, an integration. 5th ed. New Jersey: Prentice-Hall, Inc.. 179.


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    







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