Page 1







PRIMER / 007



Fig. 1. View over Hamburg docks Matt Ward, 2018














| 003 |

01 Critical Reflection My experience of studying Architecture in my third and final year at Newcastle University

My journey through the third part of the Architecture BA was not as straightforward as I hoped it would be. The path I took this year was not rose lined, it was not direct, but at the end the desired destination was reached.

Studying in the economic group of the primer, taught me that the cultural and community aspects of the building have to be supported by profitable ideas such as shops, bars and restaurants. This is a belief that I took with me right to the end of the design project.

tal image making techniques. I enjoyed combining hand drawn and digital work and feel like the two skills informed each other well.

I feel that the high intensity of work expected throughout the year taught me a lot about organisation and the imporListening to the artists in the Newbridge Project talk about tance of a balanced lifestyle. As well as a balanced lifestyle the troubles they have faced from the EPS master-plan in I found balancing multiple pieces at work at once kept my recent years greatly encouraged me to make sure my build- productivity high. ing is viable for the city and its artists. As I look back on the year I sometimes wish that I proOur primer readings by Ian Nairn and Owen Hatherly Having the site in Newcastle allowed me to visit it as much duced more atmospheric images at the start of the year instead of working in plan, however all I can say is that gave me great incite into integral yet unappreciated aspects as I wanted whenever I wanted. I see this as a key driver of the project and allowed me to get to know the building I’ve learnt from my experiences and I’m happy to say I can of cities; the moments that subconsciously define a city. I leave Newcastle University positive about the work I’ve really well. think this made it easier for me to create a stronger conproduced and proud of the progress I’ve made. nection with the brief. At the start of the year I mainly worked through models The primer taught me that buildings need to be econom- and plans to represent my ideas. Towards the end, I startically viable as business to be successful. This means the ed to use computer software much more. This helped me to show the atmospheres and materials I imagined much programme has to create interesting scenarios in the long term and the building itself has to be appropriately priced more clearly. This year I felt more comfortable using a variety of digifor its use. In general I found the primer interesting and highly informative for producing a successful building design later on. Working in sub-groups of a larger collective for the primer was enjoyable and seemed related to team work in a practise.

| 004 |

| 005 |

01 / critical reflection / design portfolio


The Reuben Brothers demolished the once listed Odeon Cinema in order to redevelop the land for faster profit


02 Primer

Introduction Over six weeks the Future Cities studio was tasked with researching the commercially driven regeneration plan for the East Pilgrim street area in central Newcastle. Our aim was to propose a thoughtful and considered intergenerational response to the plan in four separate groups; Urban, Material, Social, and Economic, the latter of which I was grouped in. At the end of the primer we were to come together and share our knowledge through visual methods of representation.

ity by making no attempt to incorporate the needs of East Pilgrim Street residents into the proposal. The investigations of our four groups generated critical and theoretical foundations to support our brief and the detailed research drove us to create detailed building programmes for our individual design.

The East Pilgrim Street (EPS) master-plan is largely financed by private investment from the two richest individuals in the UK, David and Simon Reuben, through their offshore registered trading company, Taras Properties. We found that the EPS master-plan epitomises unimaginative profit-orientated urbanisation tactics that put money in the pockets of investors faster. The EPS master-plan ignores attempts at confronting the complex fabric of modern cities and and by doing so increases the complex-

| 006 |

Right: The East Pilgrim Street cinema after being bulldozed


| 007 |

02 / primer / design portfolio

A four-part group analysis of the East Pilgrim Street regeneration master-plan in Newcastle.

Clockwise from above to adjacently right: The collectives pop-up bar once located on NewBridge Street West 5 The collective involves the local artistic community in free public talks and discussions 6 Their project space in 16 NewBridge Street West which they moved out of in March 2017 when the building was demolished 7 An expressive dance show: their project spaces host a variety of interesting cultural opportunities 4

Visit to The NewBridge Project A grassroots arts community based in Tyne and Wear

Below: the current studio premises based in Carliol House, central Newcastle, is owned by the Reuben Brothers, property developers who own most of the buildings aimed to be redeveloped in the EPS master-plan.



I find the fact that the collective was founded with no more than a few thousand pounds inspiring given what they have achieved. They used the money strategically on peppercorn rent for vacant buildings planned to be knocked down or redeveloped. The nature of the leases allowed the collective to gain prime events space in central locations for minimal prices.

02 / primer / design portfolio

The NewBridge Project is an ambitious and vibrant artist-led community established in 2010 by a pair of recently graduated Newcastle University art students. Their programme of events greatly inspired my design scheme; Open Street Gallery for the Creative Collective. The NewBridge Project aims to develop young creatives ‘through the provision of space for creative practice, curatorial opportunities ...exhibitions, commissions,.. and events.’1 The collective attempts to deliver their aims by hosting a wide range of events to respond to Newcastle’s ‘socio, political and civic environment’ to become a ‘genuine community resource.’1

For their first 7 years the collective inhabited project spaces on NewBridge Street which allowed 80 emerging artists to exhibit work in a central city location. Alongside gallery events the spaces hosted public talks, dance studios, The NewBridge book shop, and a small bar. The onset of the EPS redevelopment master-plan has forced the collective to move their project space out of the city centre to Gateshead High Street. However, I believe the NewBridge Projects success can be marked by their permanent bookshop in Baltic 39, a well established Newcastle arts foundation. The NBP’s rapidly growing reputation suggests that more unused spaces inside the city ought to be preserved for other grassroots organisations to come and make something out of nothing. I believe the regeneration plan that focuses on bringing restaurants and bars to the area provides the city with no new opportunities for culture as most of the city centre is taken up with shopping facilities anyway.

The bookshop that was once on NewBridge Street has permanently moved to Baltic 39, a well established arts gallery in central Newcastle. This move marks their ascension towards becoming a well respected arts collective Above: 9 The bookshop on NewBridge Street that is now closed Right: 10 The NewBridge Bookshop in Baltic 39

1 The Newbridge Project. (2018). About Us - The Newbridge Project. [online] Available at: [Accessed 21 May 2018].

| 008 |

| 009 |


Urban 6,7&8 HIGHAM PLACE




Commercial Property Agents “Commercial property agent GVA has started to market the [East Pilgrim Street] site to attract a hotel chain, shops and restaurants to change the area into a ‘retail and leisure quarter’.”

“To regenerate land and historic assets and promote comprehensive retail-led mixed-use sustainable redevelopment in the East Pilgrim Street Regeneration Opportunity Area, which creates an attractive high quality quarter of the City Centre to live, work and visit and which positively contributes towards the wider renaissance of Newcastle City as the regional capital.”

Reuben Brothers

The East Pilgrim Street area is almost entirely owned by the Reuben Brothers (the UK’s richest people, 2016) who have been working through their offshore company Taras Properties Ltd, which uses the UK front Motcomb Estates Ltd. The brothers have been working closely with Newcastle City Council to redevelop the site to transform and pedestrianise it and turn it into ‘Pilgrim’s Quarter’.

EPS Development Framework







Our ‘Urban’ subgroup initiates the primer stage by analysing and critiquing the past and current proposals. After pinpointing and justifying our main critiques, we have portrayed these in the following visual expressions, where urban design rules are headlined to propose methods of creating socially rich and progressive cities for the future.




Key Views


Movement All Ages


Strategic Design Principles

Uniqueness Local Distinctiveness



Historic Environment

Scale, Massing, Height

Consideration to Surrounding Environment

Public Realm

Listed Buildings

High Quality


Improve Integration


“Newcastle City Coucil said Pilgrim Street is one of the most strategically important city centre regeneration areas in the north east of England, and the authority has prioritised its redevelopment.” ChronicleLive: Who are the ‘billionaire brothers’ planning to change the face of Newcastle city centre? by Laura Hill 30/08/2017

“The East Pilgrim Street site provides 12 acres of prime mixed use development land linking Newcastle’s retail and commercial core to the quayside.” EPS Development Framework, North Area Document

EPS Development Framework

The urban group interrogated the proposed urban redevelopment plans, and how the EPS master-plan worked behind the scenes.

| 010 |

| 011 |

ChronicleLive: Who are the ‘billionaire brothers’ planning to change the face of Newcastle city centre? by Laura Hill - 30/08/2017

Former Fire Station and Police Station buildings within the East Pilgrim Street site

“This is an exciting opportunity for an operator partner to bring forward a high quality hotel, food and beverage offer which isn’t currently provided within Newcastle’s City Centre leisure offer.” Ray Minto, director of land and development at GVA

A CGI by Ryder Archiecture shows how the former fire station in Newcastle could be transformed with new restaurants

“Newcastle is set to get a new landmark after the city council approved a plan to build 26-storeys of flats on a vacant warehouse site... The apartments will be aimed at young families and professionals, with the applicant saying new city centre flats will encourage graduates to stay in Newcastle and boost its economy.” ChronicleLive: Newcastle’s skyline is about to change as 26-storey skyscraper is given approval to be built by Simon Meechan - 03/02/2017

How the Stonegate Developments 26-storey building in Newcastle would look (Image: Newcastle City Council)

“North East leisure developers Danieli Holdings have revealed plans for Stack Newcastle – a “box park” which would extend the firm’s lease at the former Odeon cinema site for four years. [It would be]... a huge shopping and leisure destination in the heart of Newcastle using up to 60 shipping containers, with the potential to create more than 500 jobs.” ChronicleLive: Plans revealed for derelict Odeon site - and they aren’t what you think by Coreena Ford 18/10/2017

Stack Newcastle in a pop-up plaza which could host a revolving calendar of events (Image: Danieli Holdings)

02 / primer / design portfolio


The future of Newcastle’s city centre faces infestation from generic and deceitful urban design where profit is the primary motive. Overseas investors are currently planning and building on the East Pilgrim Street site at the heart of the city, disregarding social and cultural contexts for capital returns and therefore undermining the rich social potential of the area.

Strategic Vision For East Pilgrim Street:

Public Space

Preserving Place

Active Frontage

Independent Business

Community Use

Mixed Residential

Areas where people are often spending time should be developed into welcoming spaces that are opened out to spread pedestrian traffic and bring more light and life to the area.

Care should be taken when constructing alongside listed and historical buildings, taking into consideration the roofscapes and approaching with a sensitive style to the existing surroundings.

Designing to invite and draw people into a building should not just start at the facade, but begin from the path of the pedestrian by widening pavements/ pedestianising roads.

It is important to find ways to reduce rent or find support for independent businesses to have shopfronts on prominent streets, to be able to be recognised and grow, and bring character and community to the area.

Communities are vital for the culture of our city ,and the maintenance of public spaces will make a huge impact on usage by the public and the perception and image of the area.

The aim is to make sure there are homes that are available to anyone and everyone, with a certain amount of affordable housing which is not segregated from the rest, but is incorporated into the same community setting.

Loc a

Tesc o

l Flo wers



Mix ed

0/m th £10

Affo rd








Cak e

s McD


lds Tesc o

| 012 |



0/m th

lds Loc a


l Flo wers


| 013 |

0/m th

Com m



02 / primer / design portfolio


Challenging the norm. Visual representations of alternative street frontages

0/m th

Cost a

Cost a

02 / primer / design portfolio

We Need... Early on, the social group discovered that a city needs to offer every typology of building to satisfy its inhabitants and that artists have basic human needs as well as specific ones. To be able to acheive creative freedom they must have affordable access to studio space, exhibition space, shopfrontage and daylight, as well as good public transport links.

Right: Every city needs... and every artist needs....

| 014 |

| 015 |

Distribution of Services in the EPS Site

Distribution of Businesses in the EPS Site


Corporation Restaurants and Cafes



Religious Hubs

Recreation and Leisure


Student Accomodation

Student Accomodation

1 2




4 5



7 2




12 8






19 16 17


19 7


10 11



18 29

Many artists are based in the area of the EPS master-plan. These will have to be relocated as people are eliminated from buildings due for construction work.





Artist Displacement



23 24

13 14


31 32







33 34


21 22


‘More shops, more offices, more student accommodation...will do nothing to improve the fabric of the city and will destroy the social, economic and creative engine’



36 38









Upon questioning from the artists that live in the area Newcastle Council replied non-directly : ‘It is acknowledged that there will need to be discussion about the future relocation of the existing artists and cultural uses’ | 016 |

1.Naylors 2.Hadrian House 3.Hustlers Pool 4.Concept Personnel 5.Horncastle Travel 6.Axa Insurance 7.CLC Bookshop 8.Laing Art Gallery 9.The Journey 10.Blue Carpet 11.Tyne Suite 12.Premiere inn 13.Holiday inn

14.Cex 15.586 Records 16.Peak Fitness 17.Nosebleed Interactive 18.Start Football 19.Squire Barnett Architecture 20. 20.Telehire 21.Olivers 22.Olivers 23.McColls 24.Ashley Willerton 25.Enigma 26.Bar Wilders

27.Metro Radio 28.Bodyzone 29.Metro Repro 30.Euro Hostel 31.The Ware rooms 32.Edge Advertising 33.Krav Maga 34.Flat Caps 35.Creative Nucleus 36.Happy Yoga 37.Start Second 38.World HQ 39.Blind Tiger Tattoo




Sebastian Messer, a Newcastle University lecturer commented on the master-plan:


| 017 |

1.Green Ginger 2.Sustrans 3.Cordant People 4.Recyk y Bike 5.Friends of the Laing Gallery 6.Laing Art Gallery 7.Space Six 8.Vane 9.Youth Club 10.Globe Gallery 11.B & D Studios 12.Maker Space 13.Circa Projects 14.Magistrates Court 15.Newbridge 16.Cornerstone Church 17.Breeze Creatives 18.Kommunity

19.REaCH 20.Methadone Clinic 21.New Croft 22.Age UK Newcastle 23.Newcastle Buddist Centre 24.Abject Galler 25.Broad Acre House 26.Volunteer Centre Newcastle 27.Alphabetti 28.Newcastle council 16 teams leaving care 29St Andrews Church. 30.Clear and Loud PA 31.Loft Music Studios 32.The House 33.Campus North 34.Mayfield Studios 35.Pop Music Experience 36.Surreal Creatives


20 21

02 / primer / design portfolio






Start with a cheap & efficient Steel frame with LEIGHTWEIGHT steel infill studs customise your building with an item from each category depending on your budget and planning constraints


FOR THAT AUTHENTIC YOUTH effect: 10% Discount when you add a dash of random primary colours to your facade







Reynaers aluminium stick wall system. 4 aesthetic outside appearances

High pressure laminate panels. Cellulose Fibres + Thermosetting Resin


£ cw 50-HI

Aluminium stick wall system. Developed for easy fabrication and installation

KINGSPAN BRICK PANELS Thin Brick engineered facade system

TRESPA METEON Minus suntia nim sandus acestio nsenimus eata di unt litassus mod eum quament-







ALUPANEL XT Aluminium Composite. Polyethene core with aluminium facing



KAWNEER stick wall system. Integration of opening windows including concealed vent option


point loaded Maximum daylight frameless glazing system


MODULAR CLAY PRODUCTS MCP1052, Red, Multivariation brickwork facade.

The materials group demonstrated the repetitiveness of low-cost façades through this satirical ‘Carbuncle Creator’ diagram.


CW 86-SG

Reynaers aluminium united glazing wall system. Enables structural sealed glazing


BENCHMARK by Kingspan



Minus suntia nim sandus acestio nsenimus eata di unt litassus| mod eum quament018


Corten Steel HookOn Cassette with specialised secret fix system


KAWNEER united glazing wall system. Picture Frame Style Capping Improved fabrication times






FLOOR Treat your feet


Economic and flexible large span panels. Provide smooth versatile surface finish

Provides a psychological feeling of warmth.

Plastic Laminate

Rubber TILE


Cushioning reduces fatigue and foot injury. Does not produce static buildup

Timber Panels


Linked with rich class. showcase the natural and flawless beauty of hardwood.


CEramic Panels

Enable wide range of options to control reverberation in many types of space.



Tile Ceiling

Extreme smoothness or rich texture surface. easily be tooled into a variety of textures



Secondary ceilings suspended from the structure above




Unadorned, usually metalic. Migrating from the raw ceiling of factories

Extremely tough and resilient. Can withstand the pressure from very heavy equipment.



Marble TILES

Can withstand any sort of external pressure, and any sudden change of weight





Comfortable, modern looking exterior seating, this bench can be left outside all year round


Concrete PAVING

Ceramic TILE



Flexible and sag resistant. residential and commercial lightweight framed construction




Plasterboard Ceiling

Wear layer protects it from stains and smudges. Resists fading from UV light exposure

Extremely tough and tiles difficult to crack. quality installation can last 10 - 20 years

Connected at the horizontal ends, creating a continuous glass wall with subtle joints



Range of finishes from matt to glossyhighly resistant to abrasive chemicals and cleaners




Incredibly easy to maintain and keep clean. Simple to repair and replace




Metal Ceiling

| 019 |

Impervious to many of the things that could damage a normal, plaster ceiling


Decorative slabs. traditional and contemporary styles

£ York Stone PAVING

Which emphasizes light and warmth in a space. Classical and contemporary feel


Pavegen Air CLEANING Bench

Cleans the local air. Paint used removes VOCs and NOx emissions from the air


Francis crick statue Highlights ground-breaking work of scientist Francis Crick.


Rose statue

Contemporary art. Steel and fibre glass. Sure to draw attention to a space


02 / primer / design portfolio



“The choice of materials can add interest and aid legibility. The infinite variations in any natural material have their own intrinsic qualities and uniqueness”

| 020 |

“Richness of detail is particularly important at ground level, where people see it close at hand.” The coalition government’s proudly touted “bonfire of red tape” saw the National Planning Policy Framework reduced from 1300 pages to 65 in 2012. Sleek, Modern Interiors

02 / primer / design portfolio

attention, the material development make a he distinctive tectonic Section 106 of the Town and Country Planning Act (1990) essentially puts local ea. The EPS master authorities in a position where they have no choice but to engage in a process of legalized bribery with unscrupulous developers. This levy becomes to make a distinctive an essential source of income and authorities have little choice but to allow profit driven schemes to balloon, using the castle’s unique DNA, cheapest possible materials with little or no care for their urban surroundings. ack to John Dobson’s e 1830’s and beyond. s in the city’s recent lopment however, Historically Sensitive mporary nationwide Cladding the arbitrary use of uced materials. Our his tendency towards modified construction role of the architect per of pre-packaged ge the EPS master An imaginary city ofKoolhaas’ flat-pack façades and the public’s on of Rem responses. beral antithesis of the The group agree that façades like these add to the generof the city. I believe that the factWe they are so much ningicness guidelines. cheaper than refurbishing buildings gives developers ammunitionTrinity to persuade councils to knock down historical head’s Square buildings such as the East Pilgrim Street Cinema that was very representative ofcorporate the areas history. of soulless conceive a material ng creators of generic

Vibrant Active Frontage

“Standard solutions are rarely acceptable, as they are unlikely to create a distinctive identity or make good use of a particular site” Planning Performance Agreements, introduced under the coalition government allow corporate developers to pay for the position of their own personal planning officer within a local council in order to provide a “bespoke service” and fast-track their application process.

Inspirational Public Art

Hotel Sales Value (£/sqm) Total Built Cost Contingencies, Fees, Land. Min. Developer Profit (20%)

Profit / Deficit

£ 3,700 £ 0.66m £ 0.26m £ 0.30m

£ 0.26 m

Student Accommodation


Rental Value (£/sqm/year) £ 300 Total Built Cost £ 0.57m Contingencies, Fees, Land. £ 0.23m Min. Developer Profit (20%) £ 0.24m

Rental Value (£/sqm/year) £ 250 Total Built Cost £ 0.60m Contingencies, Fees, Land. £ 0.24m Min. Developer Profit (20%) £ 0.20m

Rental Term

Profit / Deficit Building Studies Our group first focused on calculating the profit / deficit (PD) per square m for individual building types. We used this data to calculate the PD of mixed use buildings on the following page.

- £ 0.34 m £ 0.14 m £ 0.62 m

Rental Term 5 years 10 years 15 years

Profit / Deficit - £ 0.46 m - £ 0.06 m £ 0.34 m

Rental Value (£/sqm/year) £ 540 Total Built Cost £ 1.38m Contingencies, Fees, Land. £ 0.55m Min. Developer Profit (20%) £ 0.43m

Rental Term 5 years 10 years 15 years

Profit / Deficit - £ 1.09 m - £ 0.23 m £ 0.63 m

Health Facility

Community Facility

Educational Facility

Independent Business

Rental Value (£/sqm/year) £0 £ 0.54m Total Built Cost Contingencies, Fees, Land. £ 0.21m £0 Min. Developer Profit (20%)

Rental Value (£/sqm/year) £0 Total Built Cost £ 0.58m Contingencies, Fees, Land. £ 0.23m £0 Min. Developer Profit (20%)

Rental Value (£/sqm/year) £0 Total Built Cost £ 0.60m Contingencies, Fees, Land. £ 0.24m £0 Min. Developer Profit (20%)

Rental Value (£/sqm/year) £0 Total Built Cost £ 0.60m Contingencies, Fees, Land. £ 0.24m £0 Min. Developer Profit (20%)

Profit / Deficit | 022 |

Profit / Deficit

Profit / Deficit

Profit / Deficit

- £ 0.77 m

- £ 0.84 m

- £ 0.86 m

- £ 0.87 m | 023 |

02 / primer / design portfolio

5 years 10 years 15 years

Profit / Deficit


Profit + Deficit (20m x 20m) Art Community Centre Street Frontage or equivalent required for work display

Mixed Use PD Studies Using the tables adjacent it is possible to question whether artists could have been involved in the EPS master-plan at a profit to the investors. To the right you can see that a combination of Food and Beverage, Culture, and Educational Facility is the most profitable of the options, with Office, Retail, and Community Facility the next most profitable.


Office Retail Community Facility

Office Retail Community Facility

Office Retail Community Facility

Office Retail Community Facility

Office Retail Community Facility

Rental Value (£/sqm/year) £ 780 Total Built Cost £ 1.55m Contingencies, Fees, Land. £ 0.62m Min. Developer Profit (20%) £ 0.94m

Rental Value (£/sqm/year) £ 800 Total Built Cost £ 1.36m Contingencies, Fees, Land. £ 0.54m Min. Developer Profit (20%) £ 0.84m

Rental Value (£/sqm/year) £ 820 Total Built Cost £ 1.06m Contingencies, Fees, Land. £ 0.42m Min. Developer Profit (20%) £ 0.57m

Rental Value (£/sqm/year) £ 820 Total Built Cost £ 1.01m Contingencies, Fees, Land. £ 0.40m Min. Developer Profit (20%) £ 0.71m

Rental Value (£/sqm/year) £ 820 Total Built Cost £ 1.12m Contingencies, Fees, Land. £ 0.45m Min. Developer Profit (20%) £ 0.76m

Rental Term Profit / Deficit

Rental Term Profit / Deficit

Rental Term Profit / Deficit

Rental Term Profit / Deficit

Rental Term Profit / Deficit

15 Years £ 1.55 m

15 Years £ 1.44 m

15 Years £ 0.80 m

15 Years £ 1.43 m

15 Years £ 1.46 m

Heritage Builidng / Height Restriction

DEFICIT Food and Bev. Culture Educational Facility

Food and Bev. Culture Educational Facility

Food and Bev. Culture Educational Facility

Food and Bev. Culture Educational Facility

Food and Bev. Culture Educational Facility

Rental Value (£/sqm/year) £ 890 Total Built Cost £ 2.58m Contingencies, Fees, Land. £ 1.03m Min. Developer Profit (20%) £ 1.07m

Rental Value (£/sqm/year) £ 890 Total Built Cost £ 3.97m Contingencies, Fees, Land. £ 1.59m Min. Developer Profit (20%) £ 1.72m

Rental Value (£/sqm/year) £ 920 Total Built Cost £ 3.97m Contingencies, Fees, Land. £ 1.59m Min. Developer Profit (20%) £ 1.75m

Rental Value (£/sqm/year) £ 920 Total Built Cost £ 4.36m Contingencies, Fees, Land. £ 1.74m Min. Developer Profit (20%) £ 2.08m

Rental Value (£/sqm/year) £ 920 Total Built Cost £ 3.97m Contingencies, Fees, Land. £ 1.59m Min. Developer Profit (20%) £ 1.98m

Rental Term Profit / Deficit

Rental Term Profit / Deficit

Rental Term Profit / Deficit

Rental Term Profit / Deficit

Rental Term Profit / Deficit

15 Years £ 0.59 m

Tests on commercial mixed use blocks has generated a substantial amount of profit which allows space for a community uses to be located within, preserving the local community of the area, rather than creating ageneric, purely commercial block.

15 Years £ 1.23 m

15 Years £ 1.37 m

15 Years £ 2.12 m

15 Years £ 2.28 m

The development proposals uses buzz words such as ‘world-class’, and commercial ‘destinations’ to convince investors, the council, and the public that the amalgamation of international chains and large corporations planned to inhabit the site are special or unique. However, what’s planned destroys the current homes of artistic organisations and small businesses that make the character of the area distinct.

Residential mixed uses. Separation required to avoid unwanted intersections and maximise profit

Student Acc. Hotel Independent Business Rental Value (£/sqm/year) Sales Value (£/sqm) Total Built Cost Contingencies, Fees, Land. Min. Developer Profit (20%)

| 024 |

Primer Conclusion

Rental Term Profit / Deficit

£ 300 £ 3,700 £ 1.84m £ 0.73m £ 0.66m

15 Years £ 0.01 m

Student Acc. Hotel Independent Business Rental Value (£/sqm/year) Sales Value (£/sqm) Total Built Cost Contingencies, Fees, Land. Min. Developer Profit (20%)

Rental Term Profit / Deficit

£ 300 £ 3,700 £ 1.84m £ 0.73m £ 0.66m

15 Years £ 0.01 m

Student Acc. Hotel Independent Business Rental Value (£/sqm/year) Sales Value (£/sqm) Total Built Cost Contingencies, Fees, Land. Min. Developer Profit (20%)

Rental Term Profit / Deficit

£ 300 £ 3,700 £ 2.03m £ 0.81m £ 0.78m

15 Years £ 0.23 m

Student Acc. Hotel Independent Business Rental Value (£/sqm/year) Sales Value (£/sqm) Total Built Cost Contingencies, Fees, Land. Min. Developer Profit (20%)

Rental Term Profit / Deficit

£ 300 £ 3,700 £ 2.47m £ 0.99m £ 0.98m

15 Years| 025 | £ 0.41 m

Student Acc. Hotel Independent Business Rental Value (£/sqm/year) Sales Value (£/sqm) Total Built Cost Contingencies, Fees, Land. Min. Developer Profit (20%)

Rental Term Profit / Deficit

£ 300 £ 3,700 £ 2.46m £ 0.98m £ 1.10m

15 Years £ 0.89 m

I understand that the area needs a rejuvenation, and that clean modern shop-fronts will bring pedestrians. However, I believe ignoring complications of including the artists and small businesses in the new schemes will weaken the areas sense of place, and add to tensions between the public and the council.

02 / primer / design portfolio

Limited space - Profitable uses


Single-use Building

Total Area - 20m x 20m = 400 m²

Office £ 200 Rental Value (£/sqm/year) £ 0.57m Total Built Cost Contingencies, Fees, Land. £ 0.23m Min. Developer Profit (20%) £ 0.16m

Rental Term Profit / Deficit 5 years 10 years 15 years

Residential Sales Value (£/sqm) Total Built Cost Contingencies, Fees, Land. Min. Developer Profit (20%)

Profit / Deficit

£ 2,100 £ 0.47m £ 0.16m £ 0.17m

Project Introduction

£ 0.16 m

- £ 0.48 m - £ 0.16 m £ 0.16 m

Food and Beverage


Rental Value (£/sqm/year) £ 350 Total Built Cost £ 0.60m Contingencies, Fees, Land. £ 0.24m Min. Developer Profit (20%) £ 0.28m

Rental Value (£/sqm/year) £ 200 Total Built Cost £ 0.40m Contingencies, Fees, Land. £ 0.16m Min. Developer Profit (20%) £ 0.16m

Rental Term

Profit / Deficit

Rental Term

Profit / Deficit

5 years 10 years 15 years

- £ 0.30 m £ 0.26 m £ 0.82 m

5 years 10 years 15 years

£ 0.37 m £ 1.30 m £ 2.23 m

The Future Cities studio brief asked to ‘develop an alternative ‘future’ for Newcastle’, a scheme that opposes the current generic regeneration plans which is focused on ‘making money and consuming commodified ‘experiences’. The current EPS masterplan ‘will benefit big business and high-street chains’ however independent businesses and the local creative community currently situated in the area will have to find elsewhere to live. An important aspect of the brief is to design a mixed-use programme that is rich in civic and social qualities that includes ‘local businesses, cultural organisations and social groups’ that are being displaced due to the master-plan.

use building proposal that houses a fictional arts community, the Creative Collective, a community of 50 artists that have been evicted from a range of inner city spaces. Over the years, the community has developed a healthy collaborative relationship with The Laing Gallery through completing design work, holding dozens of exhibitions in the gallery, and through holding arts and crafts markets on the Blue Carpet outside their front entrance.

Last summer The Laing Gallery gifted the site to the Creative Collective alongside a building donation and they greed that any building built would have to provide a connection to The Laing. Over the course of the project I suggested a range of architectural ideas to the collective beDuring the primer stage we read a passage of an article fore landing on a solution that combines a cultural venue, from The Architects Journal which referred to places which and affordable studio space with a shop and restaurant to have been swamped with generic modern buildings typcreate a scheme that is economically viable. ified by ‘aluminium façade cladding, chunky aluminium window frames, suspended ceilings and raised floors’ as a My final design for the Creative Collective contains: ‘Notopia’. A sterile environment with no sense of place. Gallery space Therefore, I found it integral to develop a building with an Studio and workshop space interesting material tactability that responded strongly to An extension to the Laing Gallery the site. A multi-purpose events space A gallery shop for original art, prints, and books In acknowledgment of the studio brief, I develop a mixed- A chef-residency restaurant

‘The site is in an ideal position for the arts collective, in the centre of Newcastle, nestled amongst other established organisations’ | 026 |

A vegetable garden for the restaurant An art classroom An open courtyard for outside events/exhibitions The site is located adjacent to Bewick Tower, a recladded modernist tower block built on top of a platform that covers part of John Dobson Street. The site is raised 2m above ground. The combination of Bewick Tower, the platform and trees that line the west of the site pose design problems creating a street front that isn’t dark.

| 027 |


03 / project introduction / design portfolio

A short synopsis of the brief, my programme, and site

03 / project introduction / design portfolio

Above: The upper level platform outside Bewick Court Tower yields great southerly views down John Dobson Street 11

The site would be perfect for a viewing deck to observe and encourage the responsible redevelopment of Newcastle city centre.

The way that Newcastle steeply slopes down towards the river means that the site receives expansive views from heights just above The Laing Gallery. In the northerly direction the land is mostly flat until past the Civic Centre meaning views over The Cathedral can be experienced from above the height of the YMCA building immediately north of the site.

| 028 |

| 029 |

Left: Taken in mid-May at approximately 6pm. Note the position of shadows cast by Bewick Tower. Having the site in such a close location meant that I visited it at all times of the day. Each visit I noticed that the sunniest part of the site is the closest to the camera (north side). In response to learning that artists need large amounts of natural light, I focused artist studios here.

The upper level walkway bridges the site via a large steel structure, providing better pedestrian connections between the east and the city centre. Despite its current impact of overshadowing the site I will retain this upper level connection in some way.

| 030 |

‘There is great potential to make the Bewick Court platform and the upper level walkway a glorious busy public space akin to the highline walkway in New York.’ | 031 |


This piece of work taught me how to incorporate simple yet effective environmental and material strategies into my design to minimise the price of the building and its cost of upkeep.

Field Trip

Above: The site is in a central yet developing part of London. Right: Foundry’s location is highlighted in yellow

The Foundry Case Study 04 / field trip / design portfolio

Overview In 2015 Ethical Property Company, a charitable organisation requested London based practise, Architecture 00 to develop a facility designed to house over 25 multiple social justice and human rights focused charities. The Foundry is RIBA award winning, and BREEAM ‘Excellent’ rated. It is located on an ex industrial site, just a short walk from both Oval and Vauxhall tube stations, south of the River Thames in London. Architects chose to preserve and restore the former shoe-polish factory at the sites rear, as the 20th century structure offered a cost-effective solution and an unparalleled “beautiful robust quality” said architect Lyndon Pepper. A central atrium separates flexible open-plan offices, and smaller subdivided units in the existing building from communal and public facilities in the new build. More offices, presentation spaces, meeting rooms, catering facilities and outdoor terraces are also present in the new space.

| 032 |

Upon entering the building you are struck by the simple yet visually effective use of concrete and wood. Vertical wooden batons in the atrium highlight angular vertical surfaces as well as providing noise dampening whilst concrete floors provide thermal mass, both are chosen for their short and long term cheapness.

| 033 |

Space Map

The modern wooden clad staircase supplies the majority of vertical circulation and a spiral staircase provides access to the roof space. The old staircases in the ex-factiory are retained, appropriate for fire exits. Two lifts in the atrium supply disabled access from the ground floor to the roof terrace.

Structural Strategy

The shape of the roof is informed by the gable ends of the 20th century shoe polish factory behind.

The ex-factory building is supported by load bearing masonry walls. In the diagrams to the right load bearing walls and columns are represented in white.

Primary Structure

Design Intent and Experience For its size The Foundry serves a great amount of separate charities, it does this by supplying a range of different types of workspaces and delivering shared meeting rooms and presentation spaces. The new addition provides communal and public facilities whilst the original factory was divided into flexible open plan offices with a series of smaller subdivided offices on the first floor. Different types of shared spaces are located all over meaning none of them becomes ‘the normal’, this encourages movement through the building, releasing endorphins, bettering employee satisfaction. Whether disabled or abled, vertical movement occurs through the central atrium. It brings masses of light onto raw materials, creating maximum material satisfaction, and a tactile pleasurable experience.

The central atrium is integral to the design, providing main circulation routes and encouraging social interactions | 034 |

| 035 |

Secondary Structure

Non- Supportive Walls New Extension 04 / field trip / design portfolio

Architecture 00’s addition to the former shoe polish factory is constructed using a steel beam and concrete wall and slab primary structure Wooden beams that appear to support the ceilings purely provide acoustic absorption and visual aesthetics.

A bright and airy atrium space in the heart of the building provides informal workspaces

Atmosphere & Materiality Large areas of street-facing glazing allow pedestrians to observe the activities taking place inside the building as they pass by; this creates a sense of public accessibility, and a friendly atmosphere. Small details such as inspiring quotes by the likes of Nelson Mandella contribute to The Foundry’s uplifting mood. The welcoming atmosphere of the building is reinforced by the fact that the ground floor is public accessible, the supply of informal workspaces in the heart of the building brings a playful aspect to a building type which in generic mainstream architecture is too often boring. Familiar uses of wood such as the wooden beams immediately to the right, and the stripped back construction of the staircase casing on the opposite page encourage a sense of homeliness in the otherwise strongly contemporary building. 04 / field trip / design portfolio

As a personal visitor to the building, the warmth of wood and the mass of natural light as well as previously noted details make the idea of working here an ideal prospect.

The gable ended factory heavily informed The Foundrys roof

Site Appraisal Rooms in the building have been layed out in the most appropriate location for their purpose. The light open atrium makes it an enjoyable public space. Rooms on the streetfront are perfect for meeting rooms, allowing passersbye an insight into the purpose of the building, these rooms are directed away from residential areas and instead directly at the street. Rooms in the old building are repurposed for individual office suites as the rooms of this building are naturally densely layed out.

| 036 |

Conceptual Massing, showing how the buildings form is informed by its surroundings

The atrium space is the most important in terms of setting the atmosphere for the rest of the building

| 037 |

Energy & Environmental Stategy

Key Moments and Details As a personal visitor to the building, the warmth of wood and the mass of natural light as well as previously noted details make the idea of working here an ideal prospect.

The foundry uses energy supplied by renewable resources and employs a variety of low tech measures to maintain energy efficiency and environmental consideration. Parking for up to 90 bicycles encourages employees to take environmentally responsible transportation to work. The original red brick factory features “cowls originally fitted to stop smoke blowing back down into the work spaces (these) were removed and replaced with extractors, allowing the chimneys to be repurposed as part of a new ventilation system.”

The building provides moments throughout, especially around the atrium, the walkways designed in level with the former factory floors yield views across all angles of the atrium and through the factory’s original window frames opposite. Likewise office views in the factory yield views across the atrium to the street.

Desks designed by the achitect save money and minimise the carbon footprint

The building lacks a intricate details, instead detail satisfaction is supplied by the signs of high quality craftsmanship such as cleanly cut edges and perfect joinery. The path angular pathways of the main staircase and its offshoots are strengthened by the thin vertical timbers.

04 / field trip / design portfolio

Unwanted solar gains are minimised and natural light is maximised by two simple measures. The atrium space between the new and old building is covered by a large sky light which maximises natural light intake. In the new façade, upper floor windows are directed away from the angle of the sun to “reduce unwanted solar gain through the north-south orientation of the larger panes.” Concrete and wood were chosen as the two main materials as they “do not require finishes”, making them “more economical both in the short and long term.” “The concrete soffits are left exposed, saving money”, and “providing good Thermal Mass.” In the offices recycled carpet tiles yielding economic and environmental benefits are employed.

The building minimises unwanted solar gains by directing windows downwards and using a roof light to intake most light. It uses exposed concrete to maintain a constant temperature and ventilation shafts to cool.

| 038 |

The staircase yields a variety of interesting views

| 039 |

London to Hamburg As the population of London increases more homes need to be created. East London has been earmarked as the main area for redevelopment. Around the areas we visited, mainly Vauxhall and Elephant and Castle I observed that the atmosphere of the city streets is split into two polar opposite characteristics. On one hand places such as East Street Market in Elephant and Castle are bustling with


Profit based regeneration has become commonly utilised in the majority of urban regenerations all over the world but especially London. During the field trip I found the emptiness of redeveloped streets overwhelmingly bleak yet it continues: integral parts of our fabric culture are undergoing regeneration that encourages this lack of character

people and you feel a strong sense of place and culture; on the other hand areas which have been redeveloped in profitable ways similar to the EPS master-plan lack personality.

Below: East Street Market

Right: Sterilised areas of regeneration Opposite page: Battersea Power Station under reconstruction

04 / field trip / design portfolio

| 040 |

| 041 |

04 / field trip / design portfolio

Public squares are more common in Hamburg then in Newcastle. Seasonal markets completely transform the spaces during certain times of the year, especially Christmas. I believe squares and courtyards are great public social spaces.

The attitude towards ex-military and industrial buildings contrasts to British responses. In Hamburg it seems as though these buildings are embraced, many are redeveloped into functioning historical landmarks.

I believe there should be more outside markets seen in central Newcastle as it puts money in the pocket of local people and creates a buzz. There is Grainger Market and a few stalls on Northumberland Street but no venue in the city centre where craft markets and farmers markets are held.

| 042 |

| 043 |


Initial ideas for the development of the Creative Collective

Staging Exploring key themes and ideas through various models 05 /staging / design portfolio

During the staging period my ideas experimented with permanent and impermanent building forms and expressed core themes of our brief such as providing space for local businesses.

They prioritised the completion of studio space, this allowed them to make new art to gather building funds as soon as possible.

They used their art money to fund the completion of their play space- a multi functional events space suitable for I created a wide variety of related building types in this club nights, exhibitions, and relaxed social events such as period. The different typologies allowed me to uncover key aspects and experiences I wished to express in the final cinema nights and life drawing. design. Within the next couple of years they plan on completing a making space- somewhere for the public to be more inThrough revisiting my site repetitively I discovered key volved in the making process. Here, Cobalt visitors will be moments I wanted to embrace and responses to the site able to watch art made as well as make it themselves in art that became integral aspects of my final design. workshops, and sell it in craft markets. My initial design process was strongly inspired by the organic expansion of Cobalt Studios and later, their events The logical expansion from private to public spaces was programme. Cobalt Studios is another artist led collective an idea I took through the first couple of months of the project to design for the Creative Collective. based in Newcastle. The collective have been renovating a once vacant building in Ouseburn for the last 16 years, entirely by themselves. They have expanded outwards from an artist studio core.

| 044 |

Cobalt Studios plan of expansion : Cobalt. (2018). About. [online] Available at: [Accessed 23 May 2018].

| 045 |

Thinking Through Making 05 /staging / design portfolio

Vertical Market The Creative Collective originally wanted to inhabit the site with a variety of non-permanant structures. One of the first suggestions I made was this vertical market, a building that would stand for 6 approximately 6 months. A vertical market tower would have taken up less space on the site therefore more market stalls could occupy ground ground level, and more money could be made. The tower explored an important idea: connecting the ground level of the site to the upper walkway level via two social spaces. For thinking through making I produced two models to propose the idea. The model to the right which describes the material and atmospheric properties, and another model which describes the buildings structural idea.

| 046 |

| 047 |



Concept Model

05 /staging / design portfolio

The scaffolding pole structure would allow the building to be assembled on site easily and removed quickly therefore minimising building costs.

To approve the agreement set out by the Laing Gallery, the first permanent structure I proposed provided the Creative Collective with a small exhibition space that connected to The Laing Gallery. The model expresses my final programme in its most stripped down form: It contains a workshop on the ground floor, an exhibition space on the upper floor, and a connection to The Laing Gallery via shared exhibition space. Also: the circulation tower provides a connection between the site and the platform level. A core limitation of the design process. The stacked form later became something I developed into the design of the studio wing in my final design.

| 048 |

| 049 |

Developing the conceptual form 05 /staging / design portfolio

Working in plan to scale the idea to life After completing the design of the initial concept I developed the ideas and expressed them in a model that fit into the site in the space between the bridge and The Laing. I worked in plan to carve the shapes and sizes of the spaces.

| 050 |

| 051 |

map with red dots to show photo locations 2 3 0 1

Left: Red dots represent the places where the photos below were taken- Northumbria Campus to the east and Saville Row to the west. Incremental building development 0: Retain the existing bridge 1: Build Laing extension 2: Artist studio space 3: Creative Collective gallery

05 /staging / design portfolio

The view from the end of Saville Row (above) and from the edge of Northumbria University Campus (right) suggest that the building is too small.

I pull the building out towards the platform to make the most of the great view down John Dobson Street and to give it street presence.

A glassy bridge punches through the old and new buildings and provides the extension to The Laing Gallery

Despite my plans to further inhabit the site and connect the building to others via bridges, it is too residential in size and doesn’t have enough presence to be built as an extension to the Laing Gallery. This observation helped push me to take a different approach to extending the Laing Gallery in a more viable way.

| 052 |

| 053 |

First Floor 13

Left and below:

Frank Gehry- The Wagner Residence, 1978 I find Gehry’s work from this period quite exciting, especially the squashed and slanted, cuboidal forms and playfully angled windows that, in my opinion, respond well to the hilly site. source: (2018). USModernist Frank Gehry. [online] Available at: [Accessed 23 May 2018].

Inner City Recycling Centre A place for city centre residents to trade used building materials 05 /staging / design portfolio

I made the recycling centre proposal in order for the Creative Collective to open the site to the public in the early stages of their occupation of the site whilst there are no markets held.

Ground Floor

For many inner city residents without cars or vans it is difficult to responsibly dispose of waste building materials. The purpose of this scheme was to make it easier for people that live in the local area, such as those from Bewick Court Tower to ‘dump’ or trade their waste materials for materials other people had donated to the centre. As well as trading the building allowed the Creative Collective to gather free materials for use in their unrealised building projects later on, or in sculptures. The recycling scheme is home to two main sections, the outside storage area designed for weatherproof materials and sculpture work, and the weatherproof buildings intended to store objects such as radiators, and host spaces to design, paint, and have meetings.


Right and above:

Exyzt Studio’s Southwark Lido, London is built using low cost scaffolding poles and standard sized wooden planks source: EXYZT. (2018). SOUTHWARK LIDO. [online] Available at: http:// [Accessed 22 May 2018].

| 054 |

| 055 |

Studio Space Common Room

External Storage Reception Foyer

External Workspace

The building would have comfortably hosted about 15-20 artists at once. I developed the connection between the building and the platform level to deliver pedestrians better views into the building and access into a small open courtyard at the front.

| 056 |

Dry Storage

The permanent building takes inspiration from Frank Gehry’s early work. Materially the building reflects Frank Gehry’s California residence which is constructed out of common materials such as chain-link fencing and plywood.

| 057 |

05 /staging / design portfolio

The outside store is strongly inspired by Exyzt Studio’s Southwark Lido and constructed from affordable wood and scaffolding to make it low cost.

06 Realisation I reflected on the design ideas I created in staging and changed direction 06 / realisation / design portfolio

After working on the series of small buildings in staging I Excavate the 2m layer of ground to create a strong connecdiscovered the difficulties and limitations of expanding the tion with street level. Creative Collective gradually over time: Remove the existing bridge and integrate a new one into The lie of the land (raised 2m), the platform, and various the design shrubs and trees around the site perimeter limit views into the site, making it hard to draw public attention to a small Place a large public courtyard at the centre of the scheme building. for outside exhibitions, music events, and markets. Gradual expansion didn’t suit the brief as an amalgamation Place a studio wing on the northern side of the site so that it makes the most of southerly and northerly light. of three or four buildings would need bridges or private courtyards to connect the buildings. Build a considerably sized extension to The Laing which extends outwards from the existing storage warehouses. Bridges would add to overshadowing and create dark closed off streets and courtyards. Connect the upper walkway level and gound level. I decided to go back to the drawing board, complile my ideas, and create one singular building that would suit the Incorporate an outside workshop space for artists site and brief much better. Use a bar, a shop, and a restaurant to partly subsidise artist rent The new building I imagined was characterised by a few basic ideas:

During this stage of the project the influence of Cobalt Studios became less literal as I stepped back and took time to design the building as a whole. 15

| 058 |

| 059 |

An early adjascency diagram showing the main entrance through a shop, a classroom connected to the gallery space, and a bar/cafe

Plan Development

The ‘unlocking’ drawing

You can see the building wrap around three sides of the site with access from the north west corner, hatched squares represent courtyards, and the circulation tower is located between the Laing and the new addition.

Arrangement A / Ground Floor

Arrangement B / Ground Floor

Arrangement B / First Floor

Arrangement C / Ground Floor

Arrangement D / Ground Floor

Arrangement D / First Floor

Pulling the body of the building away from the Laing Gallery created two courtyards. Initially dispelled, I later revisit this plan and realise how cutting space between the existing and new buildings creates space for light.

Two courtyards are placed in the south-west and south-east however possess more unusual shapes. A closed cuboidal courtyard provides ground floor access to the gallery, its purpose: to provide an immersive space for dramatic installations. | 060 |

Opening the courtyard to the west provides access to the heart of the site from John Dobson Street. In the central courtyard an attempt is made at creating a ramp that connects the upper deck level with the scheme.

Simplifying shapes allowed me to think much more clearly. The idea of a pop up restaurant is conceived and the studio wing and gallery are connected via a pillared portico that passes a sculpture workshop and outside working space. | 061 |

Encorporating the recyling centre takes away space from the gallery and unbalances the scheme, I therefore scrapped the idea and focused on the arts centre.

A more thought out way of connecting The Laing Gallery to its modern art extension is conceived through a connection on the first floor. Although unresolved issues are a plenty, this layout creates momentum towards a design.

06 / realisation / design portfolio

This scribbled plan shows various spaces that I initially planned for the Creative Collective Development.

Materialising the Main Elevation The form of the roof and tower respond to Newcastle’s industrial past. Pillars support the buildings mass and highlight the buildings cultural typology to pedestrians through unconscious connections to landmarks such as The Coliseum.

I chose brick to clad the building in order for the building to reflect Newcastle’s rich industrial heritage

| 062 |

| 063 |

Ground Floor

Realising plans

Main things to note:

Main things to note:

Main things to note:

Main things to note:

Ground Floor:

First Floor:

Second Floor:

Third Floor:

Burst through existing storage bay to create connection to Laing

Burst through existing storage bay to create connection to Laing (later realised Laing isn’t tall enough)

Creation of separate work access to Laing

Inside / Outside space that leads out from events space to platform

Courtyard opens up in the most popular direction of Burst through existing storage bay to create connection to pedestrian flow from Saville Row a side street of Northum- Laing berland street. Creation of separate work access to Laing Channel into the Foyer entrance perpendicular to John Dobson Street Artist common room and courtyard Two new staircases to the platform level running parallel to John Dobson Street

Inside / Outside space that leads out from events space to platform Corridoor circulation around courtyard

06 / realisation / design portfolio

The following pages contain the first full iteration of plans for the new building design

Gallery space for paintings Gallery space for installations

Outside workshop space to buffer gap between the public and private space

| 064 |

| 065 |

First Floor

Second Floor (Platform Level)

06 / realisation / design portfolio

| 066 |

| 067 |

06 / realisation / design portfolio

| 069 | | 068 |

Roofscape Third Floor

Designing through facade development I improved the scale of my design by carving away excess spaces

First elevation: Removed building that went alongside John Dobson Street and incorporated the restaurant/bar into space between the main gallery building and the platform

First to second elevation:

Second to third elevation:

Heigtened tower

Experimented with different roof pitches Made stairs in the main tower visible from the outside

Removed floor from workshop wing on the left

Lifted last roof pitch into the tower

| 070 |

Experimented with a wooden facade that I decided against

| 071 |

| 072 |

| 073 |

07 Theory Into Practise

INTRODUCTION As time passes, and generations pass, we learn from the past so our thoughts develop. Society develops, and so does material culture. New architectural ideas are realized and many buildings are rendered out of date.

height and circumstances of the building isolated people from the world below.

tions must be faced with honest, feasible design ideas, in close communication with the buildings local community.

Architects commonly used convincing make belief language such as ‘vertical streets’ and ‘villages in the sky’ (Jenkins, 2018) to bring their buildings into existence. However, the reality of the construction bore no similarity to what the architects claimed.

Architecture 00 face these issues like so.

I believe that the architects that designed these out of date buildings either did not consider future architectural possibilities, or did not possess clear connections between their I believe Grenfell Tower and other social housing towers futuristic vision, their final design, and the reality of their failed, in essence, due to fantasy-like overly-simplified ideas. designs construction.

Opposite page:

A recent example of the latter kind of failure is the fire that Unfortunately the majority of these architectures still stand engulfed Grenfell Tower; a tragedy caused by neglect that today because the government cannot afford to rebuild or spawned from over-ambitious and under-thought architec- improve them. tural ideas. This means British architects working in areas such as these The building became a place of neglect because its original face an uphill battle to produce buildings that fix these problems from the past and provide future proof solutions. architects believed that hundreds of less fortunate members of society could be housed vertically. In reality the

| 074 |

To achieve long term success I believe problems and solu-

| 075 |

Fig. 1. Manor Works, Architecture 00 (Manor Works, 2018) Right: Fig. 4. Bewick Court.The site of the Creative Collective lies beyond the tree on the right (Bewick Court, 2018)

07 / theory into practise / design portfolio

efficient informal community SPACE.

Architecture 00 And The Creative Collectives Low-Cost Building Strategies

Fig. 7. Section showing how the extension connects to the Laing Gallery (Connoly, 2018)

‘I believe Grenfell Tower and other social housing towers failed, in essence, due to fantasy-like overly-simplified ideas.’

This essay discusses the diligent work of architecture 00 and compares the ideas they have put into action with ones that I have incorporated into the Creative Collective, my third year design project for the ‘Future Cities’ studio. The studio revolves around the idea of providing alternative plans to those suggested in the East Pilgrim Street revival strategy. My design aims to provide the local community with the means to make financial gains through their creative outputs. To achieve my goal I have designed a building that houses studios and workshops with a gallery to exhibit, market and sell their work. Alongside this a dedicated pop-up restaurant space, event space and art classroom bring extra revenue and human flow through the building scheme so as many people as possible hear about its opportunities.

access to the gallery from the north side of Newcastle city centre and from the west via the upper walkway that takes pedestrians over John Dobson Street. Due to the buildings extension from the Laing it is conceivable for the aim of this student project that trusts such as Friends of the Laing Gallery, the National Arts Council, and Big Lottery Fund could support the building in part. Never the less, to be successful I must provide cheap workspace by building under a tight budget.

The Creative Collective Gallery performs as a modern extension to the Laing Gallery and provides improved

| 076 |

| 077 |

07 / theory into practise / design portfolio


Left: Fig. 10. Inside the south facing side of Manor Works. (Anon, 2018)

Right: Fig. 8. The south facing side of Manor Works maximises passive solar heating. (Manor Works, 2018)

Cool north light maximised to provide even light and minimise unwanted solar gains Right: Fig. 11. The Creative Collectives atrium uses passive solar heating and plywood finishes to minimise maintenance costs similar to Manor Works. (Gray, 2018)

Below: Fig. 9. Mid-level plan illustrated the organisation of social spaces along the sout facade (Plan, 2018)

ARCHITECTURE 00 AND THE CREATIVE COLLECTIVE Architecture 00 is a practise who are determined to supply ‘genuinely sustainable places founded on evidenced social, economic, and environmental principles’ (00 [zero zero] Home Issuu, 2018).

holistic approach combines ‘fabric first principles’ with ‘passive design’ (Hartman and Waite, 2018); keeping construction and maintenance costs to a minimum, as well as maximising the usage of environmentally friendly energy sources. Their design concept revolves around creating access for all.

Architecture 00 employed a range of different sized offices, workshops, and shared meeting rooms as well as designing In Manor Estate, Sheffield, Architecture 00 worked with multifunctional open spaces such as the entrance corridors. Manor Development Company; a charity that uses surplus A range of spaces accommodates businesses to grow, and to reinvest into ‘employment opportunities for the local minimises space wasted. A bigger range of prospective rescommunity’ (Manor Development Company, 2018), to idents are attracted, space is freed for other purposes, and provide a community building. Once named ‘worst estate heating costs are kept down. in Britain by a local politician’ (Frearson, 2018); Architecture 00 aim to provide tools for fixing high levels of unemployment and economic decline. Manor Works is marketed to provide ‘small businesses with flexible offices and workshops at sensible prices’ (, 2018) so that small local start-ups can get on their feet quickly. Architecture 00’s

One of the most prominent ways Architecture 00 shaped Manor Works is through their passive solar design strategy. In order to maximise the efficiency of passive solar strategies the architects have elongated the south-facing façade and narrowed the building depth. This allows the sun to penetrate as much floor area as possible. This maximises solar energy that can be that absorbed and reradiated by the concrete floors and therefore minimises energy costs.

Heat rises up the atrium whilst cool air falls to the ground

worker happiness and motivation.

I translated Architecture 00’s idea of using directly sun lit spaces as social spaces in my design for the Creative Collective where I chopped a full height atrium space in between the Laing Gallery’s one-hundred and fifty year old warehouse (, 2018) and my new addition with the purpose of adding ventilation, light, and passive solar heating. The atrium plays host to a small A trombe wall covering most of the southern façade creates public café which encourages collaborative conversations an atrium style corridor that private workspaces open onto. between artists, visitors, teachers, and students. The corridor performs as a ‘ventilated buffer’ and (Frearson, 2018) prevents the workspaces from overheating. The corridor also provides welcoming spaces for residents to meet clients, or work informally. The arrangement produces ‘bright, active and pleasant internal spaces’ (Frearson, 2018) with great views over the landscape. The provision of these informal spaces in workplaces is integral to Architecture 00s design philosophy with the same kind of ideas installed in The Foundry, SOAR Works, and others. These spaces encourage business networking and provide moments for social interaction that increases

Fresh air removes re-radiated heat energy in the summer

Cool north light

Heat energy is re-radiated at night

Thick concrete floors for solar mass

| 078 |

Warm south light

| 079 |

Right and below Fig. 12 & Fig. 13 Wooden panelled public spaces. (Anon, 2018)

In spaces where users will be focused on craft-making, Architecture 00 architects have been deemed soft finishing touches unnecessary. In dedicated workshop spaces ‘sound-treated…breezeblock walls’ and ‘sealed concrete floors’ (, 2018) are appropriately used instead.

The costs of fuel powered heating and hot water systems is minimised thanks to the architects ‘integrated eco heating and hot water system’ which allows Manor Development Company to rent workspaces with heating, hot water and lighting ‘included’ (, 2018).

warm atmosphere, which softens the industrial feel to the building more than plaster and paint counterparts. The material is also harder wearing, more easily replaceable and longer lasting than mainstream alternatives.

In my design I utilise wood minimally. Only where inhabitants sit and reflect have I used it. In the artist’s common To minimise the price of energy usage and studio rental room and the gallery’s café I hope the natural materials in the Creative Collective I have incorporated deep bore ground source heat pumps and solar panels. The two envi- relaxing effects will lead users of the spaces to have more ronmentally friendly energy strategies work systematically; honest and stimulating discussions. ground source heat pumps produce hot water and solar panels produce electricity. Together they have the potential to produce energy that can be sold back to the grid. Manor Works and other Architecture 00 designed buildings avoid using traditional methods to finish interior surfaces and instead make use of a stripped down aesthetic that minimises costs of aesthetic maintence in the long term.

To soften the southern light filled communal areas a perforated aluminium cladding has been employed by the architects of Manor Works. It ensures the spaces along the south facing facade do not overheat during summer and that the work facility is high-security as well as attractive. Architecture 00 minimised the cost of fitting out Manor With time, the facade will help the building soften into its Works by using Opendesk to provide furniture throughcontext as it is designed as a substrate for native plants to out. The ‘open-source platform for office furniture’ (Frear- grow on. son, 2018) founded by Architecture 00 founder, Joni Stein- I have also used this material technique to soften the maker, hosts ‘digital furniture designs’ online(info@opendesk. ing wing of the Creative Collective into the environment cc), 2018). Customers request quotes from local makers around it. I hope the plants will add an element of brightin their area; choose the most convenient maker; and then ness to what is currently a gloomy site. I am also using perreceive the furniture straight to their door, direct from the forated aluminium to shade southern facades from direct maker. The process cuts out ‘time-consuming and expensunlight which could cause unwanted solar gains. sive shipping, showrooms and storage’ ( therefore minimising the buildings opening cost. As part of Architecture 00’s masterplan for the site and area around it they have integrated a car park which proI chose to programme my building the way I have so that vides commuters and lorry drivers that make use of Manor artists in the Creative Collective can produce, exhibit, and Works’ good motorway links easy access to the building. sell their work in one contained building. Similarly to I translated this thought process into my design through Opendesk’s principles, my strategy removes shipping and

Architecture 00 employed flush wooden panelling to mark out public space in Manor Works. The material creates a

| 080 |

| 081 |

stairs that provide direct access from the walkway to John Dobson Street, the Creative Collective’s central courtyard, and to a side street that is directly visible from Thomas Heatherwick’s Blue Carpet. The aim of these design decisions is to make the upper walkway level an integral part of Newcastle’s cityscape which is host to green spaces, great views and outside events. If this aim is achieved it would brighten the lives of the Bewick Tower community who would be the main users of the revitalised upper walkway space. Architecture 00 and Manor Development Company worked with the local community throughout the project and invite the public to ‘open day sessions to discuss their views’. This lead to the creation of a ‘secure footpath’ around the site for residents and the provision of ‘replacement boundary fencing to houses’ that adjoin the scheme’ (, 2018). This community based idea runs alongside my desire to refurbish the platform level immediately outside Bewick Court with new chain link fence banisters and trees to make activity on the platform level more visible to pedestrians on John Dobson Street below.

07 / theory into practise / design portfolio

I have applied the same stripped down approach to surfaces in my design. I have left walls in the workshop spaces as bare breezeblock to save money where more expensive material finishes aren’t necessary. In gallery spaces and painting spaces I simply paint the breeze blocks white to provide needed visual contrast against the art.

storage from the equation to minimise artist spending. I’m hoping containing the creative process, from raw product to sold artwork, in one place will inspire artists to be more confident as they know there is somewhere immediate for their art to be displayed and sold. I also hope through experiencing the cycle of making and selling more closely they will be inspired by fellow artists in the scheme to experiment and be encouraged to collaborate.

CONCLUSION To summarise; Architecture 00’s Manor Works and my Creative Collective employ very similar design ideas throughout. Through comparing our two projects I have come to the conclusion that we have similar design ethe and that we are driven by similar principles of honesty and ‘open everything’. ([zero zero], 2018)

Clockwise from top right Fig. 16 Just like their design process, Architecture 00 portray their design ideas through bold simple to understand diagrams (YMCA Design Representation, 2018) Fig. 17 Breezeblock faced workshop space (Anon, 2018) Fig. 18. Opendesk furniture (Anon, 2018)

| 082 |

07 / theory into practise / design portfolio

Manor Works and other projects by Architecture 00 I have touched on suggest that the practise is driven by the idea of making buildings accessible to people from all walks of life, which is exactly what I am driven to achieve with the Creative Collective. Architecture 00’s honest, no-frills, no-nonsense approach to designing architecture has led them to specialise in creating low cost sustainable buildings. I believe Manor Works helps tackle economic problems left behind by the architectural mistakes I mentioned in the introduction. Through careful consideration of the client’s and community’s wishes the practise has produced award winning buildings that have allowed them to move up to the next price tier of architectural projects. Their next major architectural project is planned to cost ‘£14 million’, approximately five times more than Manor Works (Architecture 00, 2018). A diligent attitude and strong aspirations to achieve buildings that support their ethos has led to them to being awarded the privilege to design Ada, National College of Digital Skills in Tottenham Hale; a project which teaches values such as open-source technology which the practise is deeply involved in.

Fig. 22. Architecture 00’s most recent appear to enlist the help of professional photoshop artists to create a more photrealistic vision.(Tottenham Hale, 2018)

| 083 |

| 084 |

BIBLIOGRAPHY Jenkins, S. (2017). The lesson from Grenfell is simple: stop building residential towers. The Guardian. [online] Available at: jun/15/lessons-grenfell-tower-safer-cladding-tower-blocks [Accessed 14 Jan. 2018]. 00 [zero zero] Home Issuu. (2018). 00 [zero zero]. [online] Available at: [Accessed 22 Apr. 2018]. project00. (2018). project00. [online] Available at: https:// [Accessed 23 Apr. 2018]. (2018). Open business. [online] Available at: [Accessed 23 Apr. 2018]. (2018). About Manor Works. [online] Available at: [Accessed 23 Apr. 2018]. Frearson, A. (2018). Metal-clad building provides facilities for local entrepreneurs. [online] Dezeen. Available at: [Accessed 23 Apr. 2018]. Manor Development Company. (2018). Manor Development Company Sheffield. [online] Available at: http:// [Accessed 24 Apr. 2018]. (2018). Workshops | Sheffield Manor Works. [online] Available at: [Accessed 23 Apr. 2018]. Hartman, H. and Waite, R. (2018). Britain’s greenest

buildings. [online] Architects Journal. Available at: https:// [Accessed 24 Apr. 2018]. (, O. (2018). Opendesk - About. [online] Available at: about [Accessed 23 Apr. 2018]. [zero zero], 0. (2018). Open Cities. [online] Issuu. Available at: [Accessed 25 Apr. 2018]. Architecture 00. (2018). Ada, National College of Digital Skills. [online] Available at: http://www.architecture00. net/ada_national-college-of-digital-skills/0wuiwjwsdpiqxuno2y67dfryqya1et [Accessed 25 Apr. 2018].

| 085 |

07 / theory into practise / design portfolio [Accessed 25 Apr. 2018]. Fig. 13) Anon, (2018). [image] Available at: http://www. [Accessed 25 Apr. 2018]. Fig. 1) Manor Works. (2018). [image] Available at: Fig. 14) Heat Recovery Ventilation Diagram by myself 15) Envionmental strategy gallery section by myself 1ab0b92a1e3/52d554f0e4b09ed2cf1e7f98/54b9506feFig. 16) YMCA Design Representation. (2018). [image] 4b0ac034b202313/1498644899783/RG549c_1520-land. Available at: jpg?format=1500w [Accessed 25 Apr. 2018]. [Accessed 25 Apr. 2018]. Fig. 2) Image of model made and taken by myself Fig. 17) Anon, (2018). [image] Available at: http://www. Fig. 3) Dennis, A. (2018). Grenfell Tower. [image] at: [Accessed 25 Apr. 2018]. view/the-year-the-grenfell-tower-fire-revealed-the-lie-that- Fig. 18) Anon, (2018). [image] Available at: https://www. londoners-tell-themselves [Accessed 25 Apr. 2018]. Fig. 4) Bewick Court. (2018). [image] Available at: http:// [Accessed 25 Apr. 2018]. [Ac- Fig. 19) Early representation. (2018). [image] Available cessed 25 Apr. 2018]. at: 5) Section by myself b33afs9sv0t13pa1k50w40rbc [Accessed 25 Apr. 2018]. Fig. 6) Photomontage created by myself Fig. 20) Early representation. (2018). [image] Available Fig. 7) Sectional Spacial Diagram by Keiran Connoly at: 8) Manor Works. (2018). [image] Available at: https:// b33afs9sv0t13pa1k50w40rbc [Accessed 25 Apr. 2018]. [Accessed Fig. 21) YMCA Design Representation. (2018). [image] 25 Apr. 2018]. Available at: Fig. 9) Plan. (2018). [image] Available at: http://static. [Accessed 25 Apr. 2018]. Fig. 22) Tottenham Hale. (2018). [image] Available Architecture-00_dezeen_2_1000.gif [Accessed 25 Apr. at:]. e4b0e1ab0b92a1e3/5938252c15d5db81e26a2c39/ Fig. 10) Anon, (2018). [image] Available at: http://www. 593825742994ca5044ecbbf1/1498645917123/Image_B_ [Accessed 25 Apr. him0gy6t48k9h [Accessed 25 Apr. 2018]. 2018]. Fig. 11) Passive solar energy diagram by myself Fig. 12) Anon, (2018). [image] Available at: http://www.


An auditorium on University Campus similar to the one in my design is a popular place to socialise both day and night.

08 Refinement

| 086 |

| 087 |

08 / refinement / design portfolio

Working into the realised building design and programme to make it respond to the site and brief better

    倀漀椀渀琀猀 伀昀 䤀渀琀攀爀攀猀琀



㄀    伀瀀攀渀 匀琀爀攀攀琀 䜀愀氀氀攀爀礀 ㈀   吀栀攀 䰀愀椀渀最 䜀愀氀氀攀爀礀 ㌀   䬀漀洀洀甀渀椀琀礀 㐀   一漀爀琀栀甀洀戀爀椀愀 唀渀椀瘀攀爀猀椀琀礀 㔀   吀礀渀攀猀椀搀攀 䌀椀渀攀洀愀 㘀   䜀爀攀礀ᤠ猀 䴀漀渀甀洀攀渀琀 㜀   䠀愀礀洀愀爀欀攀琀 㠀   䠀愀琀琀漀渀 䜀愀氀氀攀爀礀 㤀   一漀爀琀栀攀爀渀 匀琀愀最攀 ㄀   䜀爀攀愀琀 一漀爀琀栀 䴀甀猀攀甀洀 ㄀㄀   䜀愀氀氀攀爀礀 一漀爀琀栀 ㄀㈀  吀栀攀 䈀椀猀挀甀椀琀 䘀愀挀琀漀爀礀 ㄀㌀ ㄀㌀  一漀爀琀栀攀爀渀 倀爀椀渀琀 ㄀㐀  吀栀攀 䈀愀氀琀椀挀  ㄀㔀  圀漀爀氀搀 䠀攀愀搀焀甀愀爀琀攀爀猀 ㄀㘀  匀椀搀攀 䜀愀氀氀攀爀礀 ㄀㜀  䴀甀猀椀挀 匀氀愀猀栀 䄀爀琀 ㄀㠀  䈀愀氀琀椀挀 ㌀㤀 ㄀㤀  一攀眀挀愀猀琀氀攀 䄀爀琀猀 䌀攀渀琀爀攀 ㈀  ㈀   一漀爀琀栀 䔀愀猀琀 䄀爀琀 䌀漀氀氀攀挀琀椀瘀攀 ㈀㄀  匀礀猀琀攀洀 䜀愀氀氀攀爀礀

㄀㈀ ㈀㄀

City Connections Four new points of access to the platform level via The Tower, The Courtyard, John Dobson Street, and The Blue Carpet increase the usage of the platform level which provides great connections between the central shopping area and the East of the city. The Open Space Gallery, a multi-use events space on the platform level and an extension of the area outside Bewick Court Tower help to socially activate the upper walkway level.






| 088 |

| 089 | ㄀㤀






Integration with The Laing Gallery When Entering The Creative Collective Gallery from The Laing Gallery...

A. first the visitor experiences the Laing Gallery’s permanant exhibition.

At the end of the exhibition the visitor meets a space that acts as a buffer between the new and the old...


B. This shared joining space is designed to permanantly house ever-rotating exhibitions collaboratively curated by The Creative Collective and The Laing Gallery... B

At the end of this journey...

C. the visitor meets The Creative Collectives shop / reception

| 090 |


| 091 |

Art needs light...

08 / refinement / design portfolio

I prioritised the location of the gallery and studio buildings on site due to their needs of quality natural light

| 092 |

| 093 |

Pedestrian access...

08 / refinement / design portfolio

w e Ro

ll Savi

John reet n St

so Dob

I channelled entrances into the site to respond to the busiest flows of pedestrians. From Saville Row, and Southern John Dobson Street.

| 094 |

| 095 |

Replacing the bridge...

08 / refinement / design portfolio

Open Street Gallery

I incorporated the upper level walkway into the facade and designed an openable events- the Open Street Gallery in a way that channels pedestrians comfortably through the gap in the adjacent building

| 096 |

| 097 |

Distant glimpses of the building...

John Dobson Street 08 / refinement / design portfolio

The Blue Carpet

I created glazed sections of facade in specific places to create views into the building from unexpected locations

The glimpse into the building from The Blue Carpet outside of the front of the Laing Gallery

| 098 |

| 099 |

Improved platform access...

08 / refinement / design portfolio

I built new staircases and an externally accessible lift to make accessing the platform easy from all directions and for people from all walks of life

View from the entrance of Newcastle City Library.

| 100 |

| 101 |

Tower views...

08 / refinement / design portfolio

I located The Viewing Tower at the west of the site to direct southern views down John Dobson Street. This create leading lines and a better line of site.

| 102 |

View from the top floor of Newcastle City Library.

| 103 |

Line of sight...


08 / refinement / design portfolio


I brought the roof of the studio building down to the level of the upper walkway and flattened it to to further activate the upper level. The seasonal vegetable garden on the studio roof is designed to encourage The Residency Restaurant chefs tostrictly use home grown produce.

Front Elevation (as seen from The YMCA building to the north of the site)

| 104 |

| 105 |

Perfect light...

I directed roof lights to the north to ensure paintings aren’t damaged by harsh southern light and to create evenly lit gallery space on the top floor

| 106 |

Key section facing Bewick Court Tower (viewed from the east of the site)

| 107 |






A. Shop / Entrance Desk B. Spotlight Gallery C. Spotlight Film Space D. Residency Restaurant E. Collaborative Gallery F. The Laing Gallery G. Outside Workshop H. Metal Workshop I. Ceramic Studio J. Mixed Use Workshop K. Courtyard L. Existing Storage M. WC N. Walk-in Refrigerator

A. Laing Artist of the Season Space B. Laing Young Artist of the Season Space C. Creative Collective Sculpture Gallery D. Creative Collective Painting Gallery E. Informal Making Space F. Classroom G. Artist Common Room H. Painters Studio I. Painters Studio J. Artist Balcony K. Existing Storage













Ground Floor Active Courtyard


| 108 |



First Floor Learning Spaces

| 109 |








A. The Creative Collective Artist of the Season Space B. The Creative Collective Young Artist of the Season Space C. Open Space Gallery during an artist exhibition D. Upper Level Walkway E. Garden of Reflection F. Outside Storage G. Gallery Storage H. Existing Storage

A. The Creative Collective Artist of the Season Space B. The Creative Collective Young Artist of the Season Space C. Open Space Gallery during a Summer Market D. Upper Level Walkway E. Garden of Reflection F. Outside Storage G. Gallery Storage H. Existing Storage
























Second Floor Open Space Gallery during exhibition

| 110 |


Second Floor Open Space Gallery during summer market

| 111 |



A. NewBridge Project Gallery Space B. Creative Gallery Show Space C. Gallery Storage

A. Viewing Tower Halfway Point






Third Floor NewBridge Project Space and CC Show Space

| 112 |

Fourth Floor Viewing Tower Halfway Point

| 113 |

Key: A. Viewing Platform

3 2 4



Key Locations the Creative Collective can be spotted from: 1. Eldon Square Bus Station 2. The Stage Theatre, Newcastle University 3. The Hancock Museum 4. Northumbria Campus 5. Upper Level Walkway, NewBridge Street

Fifth Floor The Creative Collective Viewing Platform

| 114 |

| 115 |

08 / refinement / design portfolio


The Tower acts as a beacon for the Creative Collective, making their new home visible from locations such as Eldon Square (pictured)

| 116 |

| 117 |

Open Space Gallery Flexible, openable platform space The open space gallery is a multi purpose space intended to open up to the upper walkway during warm seasons. It acheives this through its facade which is built in four sections which individually pivot inwards. These movable walls meet with internal dividing walls and create separate spaces inspired by large market stalls. 08 / refinement / design portfolio

The moving walls allow the space to be separated into one, two, three or four sections depending on the format and desired layout of the event held in the Open Space Gallery. Double doors in built into these sections allow people to move freely in between the spacial devitions. Large storage bays integrated into the gallery are big enough to hold any furniture The Creative Collective may need to hold events in the space. For example; chairs, benches, foldaway tables and bars, exhibition tools, and clothes racks. The integrated storage and flexible separation allow the space to be used for a variety of events ranging from live music and cinema nights to second hand clothes and farmers markets. The strong concrete floor and amount space allows artists to inhabit the space and for the public to see how they work. Whilst the classroom on the first floor is suitable for around twenty people to be taught in an intimate setting, this space is more suited to large scale public workshop weekends where over a hundred people maybe visiting the space in a day. The flexible use of the space allows the Creative Collective to consistently hold new events which will attract a greater number of visitors and produce more profit to be reinvested in more expensive events.

| 118 |

The Open Space Gallery during an exhibition where its facade is closed

| 119 |

08 / refinement / design portfolio

The Open Space Gallery during a second hand clothes market (also pictured right)

| 120 |

| 121 |

The Residency Restaurant Rotating chefs, local produce The Residency Restaurant is the second space I designed to maximise the Creative Collectives profits.

08 / refinement / design portfolio

The restaurant is located in two ex-storage bays in the old warehouse building at the back of The Laing Gallery. The location maximises the restaurants street frontage and allows better access into the courtyard from souther John Dobson Street. The interior of restaurant is focused around the performance of the chefs, from every table in the restaurant someone can directly see the chefs at work. Upon entrance to the restaurant via any of its two entrances the seated waiting area and bar can be seen, allowing diners to find their bearings immediately and making their experience more relaxing. The restaurants scheme is inspired by artist residencies. In The Residency Restaurant each chef wins a regional competition to take the prize of cooking in the restaurant for three months. Each chef will be asked to cook in a way that responds to the season of their residency using locally sourced ingredients. To encourage them, I have designed a fruit and vegetable fruit garden, The Garden of Reflection, it will provide the restaurant with seasonal produce as well as provide a place for artists to relax. By rotating chefs like so the Creative Collective will constantly be attracting fresh faces. The more people that visit the building, the more word will spread, the more popular the scheme will become, and the more money the artists will make.

| 122 |

The Garden of Reflection

| 123 |

08 / refinement / design portfolio

The Residency Restaurant

| 124 |

| 125 |

Southerly sun rays PVT collectors


Warm water Cool water Inverter

DHW load Peak load element Buffer tank Mains cold water

Cool, fresh air is drawn in to the HRV from the outside

Heat transfer process Cool, stale air is expelled outside

Pre-warmed, fresh air enters the upper floor studios

Incorporating environmental solutions is essential for my building to provide affordable studio accomadation

Highy conductive material such as aluminium

Particulate filter

To make studio space truly affordable I have incorporated photo-voltaic cells, ground source heat pumps, and a localised heat recovery unit to minimise the amount of money spent on the upkeep of the building.

Heat pump

Ground source heat pumps

Section through pottery workshop and painting studio with HRV utilised

| 126 |

| 127 |

09 /tectonic integration / design portfolio

Light fittings

Warm, stale air from the space around the kiln is drawn into the HRV

Tectonic Integration

Electric to thermal storage Buffer tank

Studio localised heat recovery ventilation

匀椀琀攀 䄀挀挀攀猀猀

7. Secondary structure is constructed

Steel columns and plates from the bridge and ramp are dismantled into manageable sections and moved to existing storage facilities in the Laing Gallery. This material will later be used by sculptors in the collective.

Concrete lift shafts and stair cores are first built followed by the reinforced concrete framework around it. The structure is lifted into place with a crane.

5. Boreholes and pile foundations are built

8. Exterior walls go up

9. Top off

3. Raised walkway bridge is dismantled

4. Site is levelled to street level

A secure wooden boarding is established around the perimeter of the site as well as around the raised walkway platforms to the west and the east. The original entrance to the north of the site is retained due to ease of accessibility and to minimise the impact of construction vehicles on city centre traffic.

Excavator diggers break the tarmac ground and hard ground beneath. Bulldozers move the majority of material from the site. The rest is recycled for use as hardcore.

A borehole drill is used to create holes for GSHP and deep pile foundations. Foundation holes are filled with concrete. Water pipes are threaded into boreholes and the holes are filled with an appropriate geothermal grouting. | 128 |

A crane is used to lift floor slabs on to the concrete beams whilst workman carefully position them into place. Concretes long life span and thermal mass makes it a sustainable material choice.

Workman build the metal skin roof with help of a crane to hoist materials up to roof level. Once the roof is on builders get to work with constructing interior walls.

Red brick faced walls are built by bricklayers on site.

| 129 |

09 / tectonic integration / design portfolio

6. Primary structure is constructed

2. Construction work begins

1 1. Roof Construction

Photovoltaic panel 50mm Supporting framework 60mm Profiled sheet metal 45mm Supporting framework 60mm Waterproof membrane Steel drain cover 5mm Triple glazed window pane 25mm Rigid thermal insulation 150mm Vapour barrier Flat sheet metal Reinforced concrete framework 300mm Steel bracket



2. Wall Construction

09 / tectonic integration / design portfolio

Red brick and mortar 100mm Air cavity 120mm Rigid thermal insulation 150mm Damp proof course Concrete blockwork 100mm Plaster dabs Plasterboard and paint 15mm

3. Third Floor Construction

Treated concrete screed with black pigment 150mm Rigid thermal insulation 180mm Concrete block and beam structure 150mm Exposed services Cylindrical reinforced concrete column 500mm


4. External Floor Construction


Concrete screed 100mm Steel drain cover 5mm Drainage pipe 100mm Sand blinding 75mm Recycled hardcore 400mm


5. Ground Floor Construction Treated concrete screed with black pigment 80mm Underfloor heating pipes 20mm Rigid thermal insulation 180mm Damp proof membrane Sand blinding 75mm Recycled hardcore 400mm Deep pile concrete foundations 40000mm Borehole filled with geothermal grout 20000mm 6. Metal Facade

Galvanised steel framework


(Deplazes, 2005)

| 130 |

| 131 |

The channel of light described in the adjacent render of The Creative Collective Shop / Reception is created by a full height atrium located between the existing warehouse buildings and the new building. Concrete columns support the building allowing the atrium to be clean of internal supporting walls which would block off light.

10 List of Figures 10 / references / design portfolio

All unfigured images and illustrations were produced by David Gray, the owner of this portfolio Endnotes

The current studio premises based in Carliol House, central Newcastle, is owned by the Reuben Brothers, property developers who own most of the buildings aimed to be redeveloped in the EPS master-plan. (2018). [image] Available at: uploads/2016/09/DSC_0107-1.jpg [Accessed 26 May 2018]. Their project space in 16 NewBridge Street West which they moved out of in March 2017 when the building was demolished. (2018). [image] Available at: [Accessed 26 May 2018]. 1 The NewBridge Bookshop in Baltic 39. (2018). [image] Available at: [Accessed 26 May 2018].

| 132 |

| 133 |


Third Year Architecture BA Design Portfolio by David Gray. This document explains the design processes behind his final project, a multi fa...


Third Year Architecture BA Design Portfolio by David Gray. This document explains the design processes behind his final project, a multi fa...