Vasiliki Papagiannopoulou 110155454 BA Architectural Studies Academic Portfolio Newcastle University 2013-2014 Stage3
Contents Page
Self Appraisal
p.3
Graduation Project 01
p.5
Can Ricart 02
p.31
Charrette 03
p.53
Non-Design & Re-Search Journal
separate documents
Self Appraisal
Graduation Project For the graduation project I was allocated a position in the studio Show/Store. A challenge I faced was in understanding the task in the brief so as to avoid the obvious responses in designing a museum and instead reach out for a new audience so that I could redefine the consensual usage and possession of compendiums. As my choice of collection I chose clocks as I was fascinated by how we invented an item that would make something which does not exist, visible. The brief required us to abstract the themes derived from our object so as to create a concept that could be applied at every scale. I struggle the most with the conceptual phase of the project so a way I went about it was to develop some themes that I derived from the clocks using model as a method of representation. Our architectural and conceptual approach had to pass its first trial in the design of the prototype. The prototype enabled me to apply themes that were important to me into one piece, without thinking about the wider context. Even though at first I found it difficult to use this level of abstraction, this exercise allowed me to eventually simplify my concept in a way that could be applied at both small scale and large scale. The themes of this piece continued throughout my project and offered as a reference point whenever I had trouble applying my concept later at a larger scale. This task enabled me to appreciate the importance that concept can have to the function of the building. One of my strengths throughout this project was model making. My process work consisted mainly of model making as models can be very provocative and evoke easy understanding as a method of communication to both myself and to the tutors. The greatest difficulty of the graduation project was time management. At first it seemed incredibly overwhelming how much we had to produce for the given time that we had. However, as the project progressed I begun to become more self-aware so that my timetable became more realistic. Another challenge I faced was designing a building in which we did not have a client. At first it was difficult for me to design without a real client in mind, but using the prototype and my original concept as a starting point, I begun to ask what experience do I want the visitors to have through my museum and that helped drive my project. Overall
the graduation project was stimulating as we had to design a complex building with a pure foundation. It was an intense period with a lot of hard work in which I am proud with the final result.
people coming into the building but also consider the impact my building and the machines would have on the wider area. This is an area in which I have tried to improve in within the portfolio.
Can Ricart
One of my strengths throughout this project, in which I received positive feedback, was the way I integrated technology into the design from the beginning enabling my final product to be richer than previous designs.
Can Ricart used to be a semi-abandoned ensemble of a textile factory in Barcelona and the brief stated that we had to re-establish synergies and relationships with the social, productive and artistic fabrics of the area. The main challenge of this project was dealing with a derelict building and having to decide which parts are important to keep and which need to be demolished. Our client was La Machine, a French company involved in producing large scale machines for every day events. Our client made a big role in my design strategy as I had to take into consideration these machines and how they could move through the building and the site. This meant that some large demolition openings, such as the workshop door, had to be done. For this project it was crucial that we consider our design strategy from a micro to a macro scale approach. This was quite a challenge as it meant that our strategy had to be applicable at all scales. My main source of inspiration was the client as I was fascinated by their machines and I was excited to bring the life the machines had to the Can Ricart factory. My main idea was to create a theme park were people would be able to come at any time of the day and have a cultural experience. However, a difficulty I faced was that unlike the graduation project, I did not have one pure concept that could be applied at different scales. This meant that I had to work, instead, with the experience I wanted people to have at different scales. At the macro approach my demolition strategy was affected by how the people would flow into the site and enabling an easier access. At the meso-scale my strategy was to use steel for everything new-built in order to create a machine-like aesthetic and at the micro scale my strategy involved re-utilizing existing holes, crack and windows in the old building fabric with new uses such as bird boxes, bar units and sitting spaces. My main feedback however, was that even though my micro and meso approaches were strong my macro scale response needed to be richer so that it would consider not only the
An area in which this project enabled me to improve from last year was my presentation skills. Taking my experience from second year a successful part of this project was that I was producing work from week one that I would then use for my final presentation. This was the first time since last year that I was very efficient with the work produced for the final crit and I was happy to see that my experiences from stage 2 were being carried through onto this year.
Charrette The charrette was an enjoyable one week long project. My group had to create a simulacrum wall, out of plaster bricks, of Newcastle. Despite a co-operative start it became quite difficult to co-ordinate a group of sixty people. This meant that every day a new strategy would have to take place on how to tackle the goal of the day with the people at hand. Like this we were able to be a lot more flexible and prepared. The final product was very different to the original vision but looked great regardless. That week taught me to be prepared for things to not always go according to plan so as to make the best I can of any situation. Overall stage 3 has been one of the most demanding yet most exciting years I have experienced as it enabled me to push my limits in a way that I never had before, allowing myself to develop and experience new things about myself. I feel confident that the skills I have gained through this course will continue to support me through the following years to come.
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Graduation Project 01: Stop/Motion The aim of the project was to design a museum that would reach out for a new audience so that it could redefine the usage and possession of collections. As my choice of collection I chose clocks as I was fascinated by how we invented an item that would make something which does not exist, visible. The brief required us to abstract the themes derived from our object so as to create a concept that could be applied at every scale. The theme I derived from this collection is the idea that you can hear and see the clocks but their inner structure is hidden from you. This idea was carried through from the prototype to the final building, where there would always be one clear view through the building but the visitor would not be able to access it immediately. Instead the circulation would be shifted in a way that a labyrinth would be created in which sometimes you meet dead ends, other times you end up where you started and sometimes you end up somewhere new.
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Phase 01: Incubator Background Graduation Project
The incubator is almost like an art installation itself so it has been placed in the last room of the Laing Gallery. Its a translation of the architectural intent=, revealing and concealing the journey to object and therefore creating an element of surprise until you reach the final destination. The layers of the maze help create this journey. There are some visual gaps so that you can see into the next space, but you cannot get to it immediately. There are also artificial lights which guide you to the final piece. The organisation and depth of space of the Laing Art Gallery, which is relatively linear (no walls just clear circulation through each room)relate to the organisation of space translated into the incubator.
Images of Incubator Surrounded by Panels
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Incubator Piece Graduation Project
The idea behind the drawer was to create a space for the unwanted pocket watch, a space that would be hidden and only revealed through a mechanism. Two handles were added so the person has to stand directly in front of the incubator in order to open it and therefore creating a more intimate experience between the person and the object. The structure and mechanism of the pocket watch is revealed on top of the box in order to emphasize that the pocket watch is more then it seems. It also adds to the idea of curiosity and how we can better understand and appreciate an object through its segments.
Location
J-Graph of the Laing Art Gallery
Parti Diagram
Main Item
Mechanism of Drawer
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Building in Site Graduation Project
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Phase 02: Site Synthesis Graduation Project
Main Volume
Visual Connection
Obstruct Circulation
Shift Circulation
Horizontal, Vertical and Diagonal Relationships
Connection Through all Floors
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Phase 03: Process Models Graduation Project
Model making was my key method of process thinking throughout this project as they are provocative and evoke easy understanding as a method of communication. My main way of working was to ensure that the model making was done in the way I wanted the concept to work. So in order to illustrate that the walls were one continuous element I would model the entire entity so as to create ribbon-like forms. The floors were modelled after so as to show their secondary nature. I also worked with two different materials, one representing concrete and the other timber. For these experimentations I worked at 1:200 and 1:100 scale.
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Process Models 1:50 Graduation Project
In order to explore my concept and design further I worked at 1:50 scale. The first set of models helped in the earlier stages when I wanted to shift the circulation whilst maintaining a clear view through the building. The second set of models become principles that I wanted to follow throughout: I wanted to only have two elements; the floor and the walls. These would then become the sitting, the cabinets and the handrails as I wanted to keep the design as pure as possible. The last model is a section of a key space in my building to show the principles that I applied to all floors.
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Phase 04: Building Programme Graduation Project
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1 Preparation 2 Conservation 3 Archive 4 Plant Room 5 Reception 6 Shop 7 Cafe 8 Temporary Collection 9 Permanent Collection 10 Cinema
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Plans 1:200 Graduation Project
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Phase 04: Plans 1:200 Graduation Project
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11 Board Room 12 Manager’s Office 13 Staff Room 14 Kitchen 15 Roof Terrace 3
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Ribbon-Like Walls Graduation Project
This diagram represents the way in which the walls work. They begin as an element at the ground floor which continues and wraps around the next two floors. In this way the walls are not just the primary element but offer as a way of wrapping around the floors, creating space and prolonging the journey around the building. This idea was abstracted from the original maze diagrams of the incubator so that the same principles could be applied at a large scale building.
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Phase 04: Exploded Axonometric Graduation Project
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Building Layout Graduation Project
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Phase 04: Sections 1:100 Graduation Project
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Interior Perspectives Graduation Project
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Outdoor space, human sundial location
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Standing on frosted glass on top of the staircase, looking up
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Phase 04: Sections 1:100 Graduation Project
In addition to showing the different uses and visual connections of the spaces between floors, the alternating section cuts illustrate the lighting strategy. You walk from a space that is lit from natural daylight to a room that is darker and lit with artificial lighting. This makes you loss your sense of time as you are guided through the space.
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Interior Perspectives Graduation Project
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Cafe space
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Permanent collection exhibition space
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Phase 04: Sections 1:100 Graduation Project
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Interior Perspectives Graduation Project
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View from roof top, looking down
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Looking down into the other floor
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Temporary exhibition space with revolving exhibition walls
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Phase 04: Sectional Model Graduation Project
My final sectional model represents the connection of the spaces and the maze like journey that the visitors experience. It also shows how the structure of the walls are carried all the way through the building as they are one element. The white stands for the concrete walls which are the primary structure and the brown parts are the timber floors which are secondary and slot in afterwards.
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Phase 05: Technology Graduation Project
The idea for the Temporary Exhibition was to have rotating panels so that the paintings could be visible from both the inside and out. This would enable the street to look more pleasant as it offers a more visually pleasing journey past the building. In order for the rotating panels to work they would have to be steel framed with plaster board finishes and insulation in the middle. The paintings could then be hung with frames on top. This would mean that the plaster board and frames could be altered according to the artist and the exhibition required. This idea was inspired from Steven Holl’s Art and Architecture Storefront in New York.
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Phase 05: Technical Detail Graduation Project
This construction detail illustrates my micro-scale approach and indicates the way that the cabinets, in which the collection is placed, work, The cabinets change according to the clock that they are housing so that their mechanism relates to the mechanism of the clock itself. This allows the visitor to have a better understanding of the item they are seeing. The Hourglass cabinets rotate in 180 degrees in order to relate to the way that the hourglass works. For the weights and escapement devices the cabinets appear through the turning of gears in order to show the complex mechanisms that those clocks have. For the Pendulum clocks the mechanism needed to make the cabinet appear is through the same mechanism that the pendulum clock works. The visitor is always the catalyst that is needed in order for these mechanisms to work.
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Can Ricart 02: Machine Carnival The project aim was to re-establish a creative function to an abandoned textile factory in Can Ricart, Barcelona. The overall design idea was to create a space that could function at different times, at different scales and bring together La Machine and the Site. The design strategy consisted of three parts. The first was to consider Can Ricart at the urban scale and consider how any demolition and interventions into the site would enable the maximization of flows. The second stage was to consider materiality and how the use of steel and glass for everything new could work in creating a machine-like aesthetic. The final stage, at micro-scale, was to consider the detailing and re-use of existing openings and gaps for a new function.
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Phase 01: Site Map Can Ricart
1) Can Ricart location- the position of the semi-abandoned textile factory. It was built before the main grid was imposed over Barcelona. Illustrates the industrial heritage. The next three locations were of great significance to the project.
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2)Av.Diagonal- The line in which can ricart follows and is the journey to Rome. 3) Old Town- breaks from the grid. Industries, such as Can Ricart, began expanding outside the perimeters of the wall before it broke down.
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4) Port- representation of Barcelona’s connection to the Mediterranean culture.
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Site Synthesis Can Ricart
The main focus was to analyse the materiality in the site, whilst picking up some key aspects that would be important to remember for the duration of the project. The image on the left illustrates the planned access route in red and shows the existing highways and buildings on the current site. The images below show a wall constructing detail which represents the thickness and layering of the existing wall structures. I would like to use the supporting iron columns, that have been recently placed in order to avoid the roof from collapsing, in my design. In addition to that, I want to maintain the existing facade of the building as untouched as possible, so the main alterations will be done internally. Site
Supporting Iron Column
Existing Wall Construction Detail
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Phase 01: Macro-Scale Can Ricart
The Giant’s Story La Machine do a parade once a year that tells the story of their giant creations. The story goes as follows: After the Titanic sank the Giant Little Girl and her Giant Uncle were separated for over 100 years. The parade is about their journey to reuniting once again. Xolo, the Little Giant Girl’s trusted companion and the Sultan’s Elephant help the Little Giant Girl to find her Uncle. In order to relate Can Ricart to the Macro Scale I have suggested that the parade will take place once a year in Barcelona. Each character will start from a different point of significance and their journey will end at Can Ricart were they will be re-united on site. This idea will enable people from across Barcelona to come and visit the site whilst appreciating the spectacular La Machine inventions.
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Little Giant Girl and Xolo- will start at the Old Town as she is the most important piece, the way that the Old Town is to Barcelona.
The Giant Uncle- will start at the Port as he emerges from underwater.
Approximately 3.4km from Can Ricart
Approximately 5.3km from Can Ricart
The Sultan’s Elephant- will start at the Av.Diagonal, representing the important line that Can Ricart follows and will be the one guiding the Little Giant Girl to the site. Approximately 3.4km from Can Ricart
The Giant Uncle and the Little Giant Girl- will unite at Can Ricart, where the parade will finish.
La Machine’s Small Projects Can Ricart
Phase 01: Rhythm of Thought Can Ricart
History
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Site
Client
Principles and Theories Piece Can Ricart
Model Making
Tectonics
Bringing design to Life
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Phase 02: Building Programme Can Ricart
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Giant Girl Flow Visitor Flow Elephant Flow 1 Exhibition Space 2 Information Centre 3 Workshop 4 Changing Rooms/Offices 5 Tool Space/Drawing Atelier 6 Kitchen Space/Gallery Space 7 Cafe 8 Carousel 9 New Built-Night Event Space 10 Outdoor Sitting Area
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Elevational Section Can Ricart
09:00 Morning Flows of People
11:00 Flows of People During the Elephant Parade
12:00 Flows of People During the Giant ` Girl Parade
19:00 Flows of People During Night Events
The sequence of images above illustrate the different activities that occur at different times of the day. The main idea was to be able to occupy the space at all times, to therefore bring life back to the old factory. The section below shows a carousel, with La Machine’s creations as the seats, which has been added in order for there to be a place for the kids to go and experience La Machine whilst having a good time.
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Phase 03: Interior Perspectives Can Ricart
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1.1 Night Time Summer Concert
1.2 Night Winter Event
1.3 Night Spring Car Show
1.4 Night Autumn Dinner
Final Model Can Ricart
Previous Flows
Demolition
New Built Spaces
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New Flows
Outdoor Space
White illustrates new built, whilst the rest shows the existing structures on the site.
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Phase 03: Section Before Can Ricart
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This section represents the original atmosphere of the site. The room on the far left was very dense. In order for that space to be the workshop space the second floor had to be demolished and the columns taken out, enabling La Machine’s projects to fit in the space. All the columns that are taken out of this space however, are re-used as the columns that support the walkway. The columns in the second room create a wonderful rhythm. The back and front lower walls of that space were demolished in order for this space to be the main entrance. The left room was the darkest and gloomiest looking space. The second floor was demolished as it was already falling apart, so that it would make room for the walkways and the gallery space that would go above. The bottom space is now brighter and re-used as a cafe and kitchen space.
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Phase 03: Section After Can Ricart
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For the construction I wanted everything new built to be made from steel and glass. I wanted there to be a juxtaposition between the man-made materials and the old structures. Since La Machine is all about the machine aesthetic I chose steel and glass so that the building can look industrial. In addition to that steel offers as quite a light weight construction so even though the building will look industrial it will not seem heavy and over imposing on the original building. Steel can space huge distances so it was an ideal material to use for the roof, especially in the workshop, as it allows a greater flexibility of the space below. Trusses have been used for their strength, spanning capabilities but also are a replica of the wooden trusses that used to be in Can Ricart.
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Phase 03: 1:50 Models Can Ricart
The importance of the Micro Scale was to consider how each window could be reused with a new function. I was also trying to consider how each gap could be reutilized and how La Machine could present their work so you can appreciate what they create whilst at the same time getting close enough to the site; in order to appreciate it as well. It is at this scale that my idea of having my building act as an extended exhibition could really be indicated. Model making helped in expressing and exploring the micro scale. The grey bits indicate the new built element, whilst the white illustrates the existing. The white people symbolize the visitors and the bronze represent the staff.
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Old and New Can Ricart
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Phase 04: Technology- Exterior Can Ricart
primary secondary
tertiary
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Interior Structure Can Ricart
primary secondary
tertiary
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Phase 04: Meso-Scale Existing building
Can Ricart
The following key details were selected in order to show how the steel and glass meet the existing structure and how the bolting and joints are clearly visible, creating a machine-like aesthetic.
Safety Glass 1100mm x 1000mm x 30mm (Fig.4) 20 mm Layer of Mortar between steel bracket and existing building
Stainless Steel Handrail, placed 900mm from the floor (Fig.4)
Steel Bracket Frame 18000mm x 5600mm x 50mm (Fig.1) Steel Columns 5600mm x 200mm
Steel Horizontal Mesh 3400mm x 1800 mm x 10mm
Glass Wall Frame
Steel Vertical Mesh 3400mm x 1800 mm x 10mm Bolts which connect the mesh to the I Beams
Glass Wall, Double Glazed Panels each 2400mm x 2800mm Steel Spider Joints (Fig.2)
Steel I Beams 203 mm x 103 mm
La Machine Entrance
Layer of concrete placed in order to level out the floor
Sliding Doors, each panel 2600mm x 750 mm
Existing Steel Columns re-used as structure for the walkways (Fig.3)
Bolts and Steel Plate
Steel column welded to plate Serrated faces for vertical adjustment Steel plate and column bolted to steel bracket Fig.1
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Fig.2 Shims
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Fig.4
Before and After Can Ricart
Glasswool Insulation 240mm
Integrated PV Cells, acting as a renewable energy source and solar shading strategy (Fig.5)
Aluminium Cladding 3100mm x 3100mm
Double Glazed Panel 1600mm x 2400mm
Steel Beams inserted to create a window frame and opening
Steel Column 305mm x 305mm (Fig.7)
Concrete Steel I Beams 127mm 76mm
ASB SD2255-reienforcement (Fig.8)
Steel Trusses spanning 16 000mm and have 3000mm spacing
ASB Section, contained within the slab, depth 46mm x 80 mm and distance between trough centres 225mm
Steel Truss welded to a bracket which is bolted on a layer of concrete that is laid over the existing building (Fig.6)
Asymmetric Beams (ASB), 280mm x 74mm (Slimdeck Floor Beams)
Existing Building
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Fig.6
Fig.7
Fig.8
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Charrette 03: Simulacrum Definition: an object which becomes unreal or a vague semblance-the fragment is informed by the original but does not represent it. The project aim was to create a wall, using plaster bricks, by moulding important areas of Newcastle. A group of sixty people were split into groups of six and given six different location of Newcastle. My team had Tynemouth as a destination. Using sheets of clay we went to Tynemouth and recorded imprints that were important, by moulding: boat ropes, seaweed, forgotten bottles on the sea shore , sea shells and even the patterns of the clock tower. We had to then go back to the studio and pour plaster on top of our moulds in order to create as many bricks as we could. In this way we would all get together and have a wall of plaster bricks with imprints of the important aspects of Newcastle.
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Phase 01: Process Charrette
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Phase 02: Final Piece Charrette
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Vasiliki Papagiannopoulou-
110155454-
BA Architectural Studies-
Academic Portfolio-
Newcastle Univeristy-
Stage 3-
2014