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Stage 3: City of Bridges


T h e Tyne M o ti o n Pi c ture C olle c t iv e

Framed View Analysis Study

My graduation project. The studio’s aim was to push the logic of bridge development in Newcastle-upon-Tyne to an extreme condition with each of the module’s 12 participants designing an inhabited bridge upon individually allocated sites. The 12 sites were located adjacent to one another along a stretch of the River Tyne between the Millennium bridge (built 2000) and the High Level Bridge (built 1849). The project proposed the development of a cinematic screening function upon the bridge with programmatic spaces of an undetermined nature integrated alongside. To this end the initial drive for the project was given by demanding the creation of a short film exploring the city of Newcastle-upon-Tyne. From this initial film a concept was to be developed and explored through to the realisation of a final bridge. The compilation of all 12 bridges could then be displayed and discussed to conclude the exploration of the studio. My film explored how the Metro (underground railway) framed the city along a selected route, from the city outskirts to the river. From this film I developed a notational drawing that abstracts the key concepts, measuring the framed views from the Metro stations against the time of the film. This was then developed into a design for a bridge that evokes a similar experience in someone walking across as someone watching the film. Disorientation and clarity were particularly important aspects, linked to how the film explored the perception of place. The principles taken from the view analysis of the film were used to select 14 similar views of the site. These are framed at sets points along the bridge that were determined by applying the notational drawing’s scale of time across the site. Through combining the physical forms of the notational models together a physical form for the bridge was formed.

3D Application of Notational Drawing

Developed Notational Drawing

Mirrored View Development Diagram

Progression of 3D Application of Notational Drawing

Site Plan and Selected Views

Notational Drawing 2: Perception of Motion Diagram

Alexander Hart

Close-Up Details of Notational Model

Notational Model

Combined Physical Form

Alexander Hart

Stage 3: The Tyne Motion Picture Collective


Visualisation of the Tyne Motion Picture Collective from the Tyne Bridge

Alexander Hart


Stage 3: The Tyne Motion Picture Collective

Alexander Hart


Conceptual Atmospheric of Newcastle-upon-Tyne Entrance

Stage 3: The Tyne Motion Picture Collective

Study of Operation of Navigable Channel

Alexander Hart

Stage 3: The Tyne Motion Picture Collective


Conceptual Visualisation of Central Walkway

Alexander Hart

Stage 3: The Tyne Motion Picture Collective


Visualisation of Temporary Occupation Space

Alexander Hart


1st Floor Plan 1/750

East Section D-D 1/750

West Section E-E 1/750

West Section F-F 1/750

Stage 3: The Tyne Motion Picture Collective

0s 60s



This initial notational drawing sees the route of the metro filmed condensed into grid relating to the time of the journey, measuring how the motion in the film distorts the sense of place leaving only time as a tangible measurement of progress. Highlighted are the areas of the city perceived as being visible through the film with emphasis placed on the views providing points of clarity to the journey.

N ot a t ion a l D ra w i ng I ni t ia l Id e a

Within the drawing the view compositions are capable of being rearranged allowing for different perspectives of the city to be experimented with and visualised.

This notational drawing distills the key principles from the initial idea. It uses time as the sole measuring device against which the views may be placed, providing insight into their relationships within the film and city.

De ve lo p e d N o ta ti on a l Dra w i n g

This initial simple interpretation highlights the interactions it has with the more complex and significant forms of the other elements of the bridge, thereby allowing the overall architectural language of the bridge to clearly reflect the primary focuses of the concept.

The obsuring mass of the paper in the model can be realized as a neutral form, the purpose of which is to define the inhabitable space of the bridge and block unwanted views of the surrounding landscape.

P h y si ca l I nt er p r et a t i on 3

The copper panels alter the light transmitted to the enclosed spaces, witht he gaps between them emulating the dappled effect of both the motion in my film and the shuttering of old film reels.

As the colour of copper reflects similarly to that of old film reels it produces an atmosphere that hints at the programme furthering the linkbetween the two. As the partition transforms in all dimensions along the route it can alter the perception of place felt by occupants, like that seen through the motion aspect of the film.

The freely moving copper wire, as an interpretation of the perceived movement within the film, is realized through a series of sections of individual copper infused glass panels. These sections of panels transform along the route of the bridge in unpredictable ways and in all dimensions. Together they describe the primary circulation space of the bridge and provide a partition between the exposed walkway and the sheltered spaces of temporary occupation. These spaces may be accessed through gaps between the overlapping sections of panels avoiding disruption to the forms geometry.

P h y si ca l I nt er p r et a t i on 2

Included in the model therefore were two distinct physical forms, the rigid enclosing mass and the freely moving route within, both aspects which I sought to further translate into physical elements

When I considered the model in the context of the site I saw the role of the enclosing mass as vital to disorientate an occupant’s sense of place. This allows the framed views to provide clarity, and define the city as intended.

This notational model interprets the key aspects of the drawing in physical form. The copper wire represented the perceived vertical and horizontal motion I felt and its unpredictable nature. The dappled and varying light intensity as the other element, was realized through an enclosing mass.

N ot a t i on a l M o d el 2

In the production and analysis of the film I identified that the passage on the metro and the framed views were two key contrasting elements that worked together simultaneously. To continue this through the development of the concept and bridge’s form I developed a second notational drawing documenting how I perceived the journey that gave context to the framed views. The aspects of the motion in the film that I measured my perception of were light levels, vertical motion and horizontal motion. The notational drawing showed the unpredictable nature of the various elements, giving me an idea as to how a person may be disorientated to give emphasis to the framed views as moments of clarity in a similar manner to in the film.

N o t a t io na l D r a w ing 2

Developing the concept into a realised physical form saw a sequence of unique framing devices, each characterised by their spatial location on the site. When viewed in sequence these framing devices process the surrounding landscape into a visual output similar to that framed by the metro.

P hy s ic a l Int er p re t a t io n 1

To further isolate the views from the observers spatial sense of place I introduced mirroring within some of the framing devices. This added disorientation to sense of place further encourages the bridge user to perceive the views as a collective composition abstracted from the cityscape as a whole and increases the bridges role as a device for doing so.

V ie w R e-O r i ent a t i on

Counterpoint to this unpredictable spatial aspect, I saw the application of the notational drawing’s scale across the river interesting as a method for defining these framed views to an occupant and to highlight the re-ordered sequence in which the surrounding landscape could be viewed. I saw a nice relationship drawn therefore between the scale and the primary circulation across the bridge, which could also be measured in time.

Placing the limits of the site upon the view forms and imagining these as physical objects immediately created a strong sense of positive and negative space. Each view form is unique in character, so in turn the spaces created by their interplay are imbued with varied spatial qualities.

N o t a t io na l M od e l D ev e lo p me n t

This model further highlighted the significant massing that the views can create, and how they can physically define a passage across the River Tyne.

Following the contextual application of the view analysis the views from the site were given an origin point. These were allocated by first applying the scale of the notational drawing across the 105 metres of the site. The origin points and compositions were linked on similar orientations, however the order in which the views were placed has an unpredictable nature. This is based on the principle taken from the notational drawing, where the abiility to change the order of views allows for a new perception of the surroundings to be defined. Through this views are abstracted from the observers spatial knowledge, giving the compositons a degree of isolation that allows them to be appreciated independently and as part of a larger reimaging of the Tyne’s surroundings.

N ot a t io na l M od e l

To progress the concept, principals taken from the view analysis of the film were applied to the site, through this process 14 still compositions were recorded that when viewed from the proposed bridge would provide a unique perception of the cityscape. These maintain the idea of observing fragments, or of highlighting less obvious composition within the surroundings, but avoid framing any complete aspects. This study placed the views within the framing devices of the film, which gives each image further character and further emphasises the positive effect framing can have in altering how we perceive space.

Con t ex t u a l A p p li ca t i on







The sequence of stills shows the compositions framed by 7 of the Newcastle-upon-Tyne metro stations. One of the main aspects observed within this study was that the framed views only captured fragments of the city, as opposed to any whole aspects of buildings or landscapes. This has the effect of either focusing attention on very particular features of the built environment, such as roofline profiles, or of framing random compositions similar to those most commonly observed by people in everday life.

V i ew A na ly s is

Through my film I explored how the Newcastle-upon-Tyne metro (an overground/underground rail network) framed the city of Newcastle-upon-Tyne. The film comprises two distinct parts, the motion of the metro, predominantly under the city, and the views framed at the exits of the stations along the route. The contrast between these two aspects is highlighted through the framed views being captured in a series of stills, compared to the continuous picture of the journey.

Cin em a t ic Co ns t r uc t

The initial momentum of the project began with the production of a cinematic construct that should explore Newcastle-upon-Tyne through the use of filming techniques. This was then to be developed into notational drawings that would influence a partii and result in a bridge spanning the River Tyne.

P ro ce s s

This is achieved by framing devices within the form that define the present while the programme builds a catalogue of the past that can then be displayed and viewed along the bridge.

The Tyne Motion Picture Collective is a living monument that aims to celebrate, support and display motion pictures that frame the dramatic landscape of the Tyne through modern history to the present day.

Th e T yn e Mot io n Pi ctu re C ol le cti v e

V isual isati o n o f th e T y n e M o tio n P i ct ure C o lle c tiv e fro m th e T y ne Br id ge

a series of Inhabited segments along the bridge that provide functional spaces to facilitate the use of old film use in a modern digital era

Co n c ep tu al at m o sph e ri c o f Ne w c astle - up o n-T y n e e nt ranc e

S i te Pl an and V ie w s

C o n c e p t ual at m o sp h eri c o f p ri m ary c i rc ul at i o n sp ac e

S t ud y o f n avi gab l e c h an n e l o p e rat i o n

Desi gn Devel o p m en t S t ud y

Il l ust rat i on of a fram i n g de vi c e

West S e c t i on F - F 1 / 7 5 0

West S e c t i on E - E 1 / 7 5 0

E ast S ec t i on D-D 1 / 7 5 0

1st F l oor Pl an 1/7 5 0

Program m at i c Spac e

Te m porary Oc cu pation Spac e

C i rc ul at i on S pac e

Multi-Use Studio Space - The studio space allows for a range of activities that relate to the overall programme of the bridge. These could include film or photography shoots, educational workshops, summer schools and community activites. The commercial use of this space can like the Repair Centre bring people to the bridge, promoting the Tyne Motion Picture Collective as a significant cultural centre.

Film Supplies Shop - Like the Repair Centre the Film Supplies Shop provides a necessary service for the continued use of old films by providing reels and other specialist supplies. This activity also allows for the growth of the user pool, as new users may gain the confidence to buy initially unfamiliar equipment in this environment.

Repair Centre - The provision of specialised workspace for the repair of varying types of old filming equipment provides a vital component in producing a self-sustaining community of old film type users whose use of the bridge is important in maintaining it as a lively and forward looking community. The Repair Centre can also draw in customers from long range due to its specialisation, further promoting the use of the bridge and its goals.

Temporary Occupation Spaces - Crossing over with Motion Picture Screening Spaces in some instances, Temporary Occupation spaces allow for a varying programme of activities to be set up. These spaces are both outside and within the sheltered confines of the the enclosing mass allowing for all year round use. Weekly pop-up film flea markets are envisaged as one prime user of these spaces.

Motion Picture Screening Spaces - Numerous specialised screening spaces are spread across the bridge providing a range of environments in which motion pictures from the collection can be viewed. These allow varying formats from formal screenings to passing glimpses and varying sizes of audience to allow social and private experiences.

Digital Library - Dedicated to the cataloguing of a database of motion picture that describes the Tyne through modern history, the digital library can become a physical focal point for the retention of a key part of the region’s culture, presenting it in a structured manner to the public to use.

Old Film Digitising Centre - Provides facilities for the transfer of old physical film formats such as acetate reels into digital files that can be viewed using modern technology. The centre contains environmentaly controlled facilities for the temporary storage of the original films during, a laboratory to support the digitisation process and a screening room and office.

T yne Moti on P i cture Col l ecti ve Pr o g r a m m e :

A l exander Har t 100559954 C i t y of B r i d ge s

V i sual i sat i on of t e m porary oc c upat i on / m ot i on pi c t ure sc re e n i n g spac e

Il l ust rat i on of open ai r sc re e n i n g t h eat re


Stage 3


Can Ri cart

ALEXANDER HART 100559954 ALEXANDER Set in Barcelona, Can Ricart asked meHART as a designer100559954 to consider a broad scaled brief based in a new culture and location. It required the development of a strategy for both a large and small scale, by developing a master plan and resolving it through an insertion, extension or intervention in a small portion of the site to a considerable level of detail.


As an old factory site, Can Ricart is listed as a cultural monument in Barcelona, therefore in designing its re-development the existing building fabric had to be respected. A primary programme to be integrated as part of the scheme was 22@, an initiative focused upon reinvigorating the city with culture, particularly focusing on artistic pursuits.




Masterplan: 1/500


Site Strategy


One of my primary aims in developing a masterplan for the site was to utilise it to the greatest extent possible both during the day and at night. I saw the 22@ artistic programme as a primarily night-time activity, so sought to develop a significant day-time industry to make sure the site always had a way to draw people to it. Through site analysis of the surrounding area on my visit to Can Ricart it was apparent that the busiest development in the vicinity was a supermarket. Given the brief required the provision of a small scale food industry already saw an opportunity in expanding this further as a means for creating a daytime industry.





Day-time (Green) vs Night-time (Blue) Activity



DIAGRAM OF USE Photos of 1/50 Model



The final masterplan therefore sees Can Ricart transformed into an urban farm through the use of hydroponic farming, and a centre for performing arts, with performances at night, with space available for other small businesses.


At the centre of the site I developed an architecturMasterplan: 1/500 Masterplan: 1/500 al insertion that incorporates all of the proposed programmes. The final scheme proposes inserting 3 ‘growing towers’, (structural forms supporting south-facing planting walls) which were derived from the site’s industrial heritage as a textile factory. Visitors are able to to explore and pick their own vegetables during the daytime, while at night time the enclosed spaces created host a range of activities from art shows to acrobatics.












Final Masterplan

Atmospheric Section

Alexander Hart

Stage 3: Can Ricart


Atmospheric Section

Alexander Hart

Stage 3: Can Ricart


Visualisation of Public Square

Undergraduate architecture portfolio  
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