ACADEMIC PORTFOLIO BA (HONS) ARCHITECTURE 2015-2016
Eleanor Oriel Gwenllian Brent
CONTENTS
01 LEARNING SUMMARY 03 CHARETTE WEEK 07 PRIMER PROJECT 37 GRADUATE PROJECT The sound and Silence of Lindisfarne
* NEW/ALTERED WORK
YEAR LEARNING SUMMARY My study of architecture has been extended and developed this year by the longest and most personal project that I have undertaken. This - a music festival and musicians' retreat at Lindisfarne - provided me with the opportunity to delve deeper into the design process. After much experimentation, it has resulted in what I consider to be both the most complicated and coherent design I have produced in my three years of study. In retrospect, I realise that my graduate project, based on Lindisfarne, my Primer project of walkways on a site next to the Sage in Gateshead and my dissertation - display common themes and interests. These are how public spaces may be used as areas that can provoke private contemplation and how the success or failure of these spaces depends on the relationship that they have with their wider context. I explored these themes at a more theoretical level in my dissertation on Holocaust memorials, a personal interest of mine. This dissertation, which was centred on the memorial in Hyde Park, and its failure, in particular when compared with the memorials in Paris and Berlin, gave me the opportunity to analyse critically many topics of architecture: from the political process by which the memorial was commissioned, its design, its site and usage and the wider impact that it has had on the city in which it is situated. This broadened my understanding of the influence which any design can have and the importance which non-design factors play in a building's success, in particular its location and site. This critical need for sensitivity to the building's site, and in particular a site as special as Lindisfarne, with its rural location and small population, greatly shaped my graduation project. In particular, it resulted in my use of the site as a musicians' retreat and my attempt to integrate and minimise the impact that it has on the natural world. The same is true of my Primer project. Here the site was a disused concrete plot adjacent to the Sage in Gateshead. Unlike any other project I have undertaken for my degree, the brief did not require a specific building. The use of the site was a matter for my discretion. This enabled me to be influenced solely by the landscape and resulted in a series of walkways on different levels to reflect the routes which had previously existed and which I had identified from historical maps. These three years of architectural study have not been without their challenges, both academic and personal. Looking back, however, at the end of this period, I can appreciate that my work has greatly improved. It has developed, becoming more complex and coherent, culminating in my graduation project, which has also consolidated the lessons I have learnt from my earlier assignments. -1-
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CHARETTE
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This year, like my other two, began with Charette week. This is when all years within the school collaborate to create multiple pieces of work which are presented at the end of the week in an exhibition. This year my brief was to create a crazy golf course out of predominately found materials. My group within this Charette decided to design our course around a cat and mouse theme, taking inspiration from the TV programme ‘Tom and Jerry’. We customised the found objects by painting them, and made our own signs.
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PRIMER
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MICRO
For my Micro project I began by looking at everyday activities that we take for granted with the aim of drawing people’s attention back to them. As a result I started thinking about my morning ritual and the processes I go through before I leave the house, that is the routines that I do without even thinking. As a result I began to consider the movements that I make, the traces I leave behind as well as the traces that the objects that I use everyday leave. Because of this I decided to look at my friend’s shelf where she keeps her make up. From the photos I have taken it’s been interesting to see that many of the things which she uses regularly and require precision in their use normally remain on the left hand side of the shelf, reflecting that she is left handed.
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A series of 6 photos taken over the space of 2 weeks looking at the shelf from a front on perspective.
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A series of 6 photos taken over the space of 2 weeks looking at the shelf from bird’s eye view.
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These are a series of drawings which I did of the shelf with the intention of layering them to illustrate the movement and traces left behind. These images draw attention to the objects individually more collectively.
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Photoshopped images using the drawn images to show the movement that the objects made throughout the four days which have been drawn. I did these as a result of looking at Sarah Wigglesworth’s drawing of the mess that is created at the end of a meal.
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These are a series of diagrammatic illustrations which show the movement of the objects across the shelf. I picked 12 objects to trace daily and layered each of these over the others, in order to create this image. Some days there are fewer traces and on others there are more dramatic movements, all with the mirror as a central point.
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MACRO
Having seen, during my Micro study, that traces are left with whatever actions occur, and that many of these are ignored in the present day, I wanted for my Macro to look at what had been there in the past and to bring this past into the present, thereby giving the public who use he site an insight into its history. Having traced the empty spaces and mapped the pathways, I merged the routes together to make a series of levels and walkways which change in height depending on the year from which they were taken. I also wanted the public to leave a trace of their own and map the routes which they take, as many of the walkways I have created do not provide a direct route right across or through the site. I decided, therefore, to layer coloured sand over the walkways which hopefully will move and spread across the individual colour areas to make a pattern created by the public, and who as a result will leave behind their own traces.
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Having first visited the site, I began this project by tracing the empty spaces from historical maps, I then layered these over each other to see where the constant void spaces were. It led to a series of ‘pathways’ being highlighted. These routes meander through the site intersecting at points, creating spaces for people to congregate and performances to happen. These routes allow the visitors to the site to have a subconscious relationship with its history, while consciously being guided through the site by the dedicated colourful routes.
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These are a couple of internal perspectives which aimed to show the differing heights of the walkways and illustrate the communal areas where public events could happen. They are also intended to show the coloured sand walkways which allow the visitors to leave their own traces behind, by mixing the different colours.
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GRADUATE PROJECT
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My initial research of Lindisfarne led me to focus my attention on the causeway, as a way of linking the island to the mainland; a way of creating a more habitable refuge point in an area of isolation dependant on the weather and the tides; as a place open to the elements. These are my initial photos of Lindisfarne. They all show a view that seems to go on forever. They all illustrate the isolation that I felt when I visited the island, which appeared to be disconnected from the mainland. The life that the inhabitants led seemed simple and ‘free’ from the troubles of city living.
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These are my initial site analysis diagrams, looking at the changing water patterns and how the island has changed over the years. I also looked at the difference in levels of the tide height, as this would have affected my building if I had decided to place it on the causeway.
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After considering the causeway as a possible site, I eventually chose instead a site in and around Sheldrake pool. This was because it was an area of the island secluded enough to feel remote and disconnected from the village- only the castle can be seen in the distance. This site also is relatively accessible with an off road track leading directly from the car park, with a small walk. Another added bonus of this site is that as a result of the wind direction predominately blowing North/ North East/ North West the sound from the festival will travel away from the island, thereby reducing noise disruption in the village.
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My research began by looking at Holy Island, focusing initially on the nature reserve and marine life which is unique to Lindisfarne. However, after some further research I found out that, starting last year, there was ‘An independent music & creative arts festival on the stunning Northumberland coastline’ whose back drop is Lindisfarne. A festival that is connected to the Island by name but not location. As a result I wanted a part of my building to bring this festival back to the Island. However, as this would only be used at certain times of the year, I decided to take inspiration from many artists who retreat to remote locations, such as Justin Vernon, from Bon Iver, and decided to design a ‘Musicians retreat’ which would have the equipment for bands to record and practise in a secluded calm environment. This building will also have provisions for the public in the form of an auditorium, teaching space, and access to the practice rooms and recording studios. In my design I wanted there to be a contrast between the serene and relaxing environment of the musicians’ retreat and the colourful and vibrant nature of a festival. The festival will leave little trace when not in use, except in terms of pathways and little areas of colour which hint at it in the winter months.
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JUSTIN VERNON INTERVIEW EXTRACTS: Those records you mentioned are huge influences on me. On an aesthetic level, it’s really important that I make the records. I engineer them, I mix them. I shouldn’t downplay that there is a romantic backstory to this record. There’s a very deep core to the songs that’s personal to me; the characters are very real to me. T h e r e ’ s a l o t o f p e o p l e w h o w i s h t h e y c o u l d m o v e t o t h e w o o d s f o r a f e w m o n t h s. The fact that I actually did might be exciting for some people. I w a s a l o n e, I had no rules, I had no band, I had no sound I sounded like, I had no one to answer to. I j u s t f e l t a l i t t l e f r e e r. …but for Vernon, i t w a s a s t r a n g e, i n d e s c r i b a b l e c r e a t i v e a w a k e n i n g. “It was all kind of hazy. It all sort of melted into ... one day turned into another. I don’t recall a lot of very concrete memories of it, because I think I was a little bit out of my head, a bit,” he remembered, adding, “When I was done, I had a group of nine songs. I didn’t know exactly what they were, but things grew from there.” Vernon t h i n k s t h a t m a y b e t h a t’ s b e c a u s e
of certa
i n u n s p o k e n l o n g i n g s f o r - p e a c e, f o r s t i l l n e s s, f o r t i m e t o t h i n k - that even the most plugged in and sophisticated of us sometimes feel. “Maybe the whole thought of going to a cabin for a few months is something that people relate to as they hear the songs,” said Vernon H e w a s s o f a r r e m o v e d f r o m h i s i n f l u e n c e s.
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JOHNNY BORRELL INTERVIEW Q U O T E S: I knew I had to write an album and I knew I needed to be somewhere not quiet but completely remote. I needed the opposite of the life I was in. My mate had a friend with a cottage in Tiree. I called him and a few days later was on a blind journey, travelling on a ferry towards this Hebridean isolation. ‘There were no telephones, no nothing, just this flat green island, me and a big beach. It seemed right. ‘I think I do live this bizarre, random, strange mad life, but when you are in the eye of the storm you are sort of bullet-proof to everything. You need peace and quiet to process all the things that happen to you. I needed that. I didn’t have rock-star fits because I couldn’t get room service. I can live anywhere. I loved it.
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LINDISFARNE JAMES BLAKE Kestrels breed, Looking further than I can see Without tact to read, She'd take a shine to me Beacon don't fly too high Beacon don't fly too high For all your time, Playful crime in rain Worth it being cold, Roofing for the lanes A lesson lost again A lesson lost again Cute but I'll take the bus, With fees and favours gone Cracks in savers pass, And a white that sometimes shone Wanton borrowed gun Wanton borrowed gun Kestrels breed, Looking further than I can see Without tact to read, She'd take a shine to me Beacon don't fly too high Beacon don't fly too high
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LINDISFARNE IONA Slow rising mist enfolding the land Seawater shifts on a bed of sand A forest of kelp dances beneath its motion The water moves with the tides of the ocean Chorus: And here we are We have come this far To say a prayer On Lindisfarne Here in the rock bathed in a gentle glow The golden half-light of the setting sun A shadow of wings flying fast and low Out of my sight into the distance gone (Chorus 3x)
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These initial reference studies illustrate my first concepts and ideas. The first set of images illustrate my intention to manipulate the water. In one case its motion helps create an atmosphere; creating a gentle hum of music. These precedents also connect the buildings/installations to the water, they appear to float and use the natural reflections to blend in. The second set of references illustrate textures and framing of views. They have focal points which engage the viewer, while also bringing in natural plants to add to the calming atmosphere which I aim to create within the main part of my programme, especially within the retreat. The festival reference studies starkly contrast the others. These are vibrant and colourful. They have a feeling of life and movement, created through different media.
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PROGRAMME
Pri vate : Secluded retreats- accommodation(x4)
90 m2 each
- recording spaces (x4)
-outside reflective space (x4)
360 m2
90 m each 360 m2 2
90m2 each
360 m2
Pu bl i c : Inside concert hall 414 m2 Teaching space 91m2 Recording studio 81 m2 Practice Space 49 m2 W/C Area to accommodate festival goers- W/C provisions, Bars, Local food stalls Undercover festival area- main stage site Ability to accommodate festival needs- electricity
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CONNECTION
Both my Primer and Graduate project provide a space for people to congregate and for events to happen, creating a social hub where there was practically nothing before. Both include multiple routes through the sites, giving the public different experiences of the space and different focuses as they progress through it. This is especially true of my Graduate project which has pathways and steps that engulf the visitors and encourage visitors to focus on the vast expanse of sea in front of them to engage with the sounds of isolation that surround them.
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These are some initial sketches and designs from the very beginning of the project. Each one centres around a garden space with a dividing wall inspired by Carlo Scarpa, who uses his trademark interconnecting circles to frame views, and by Kennedy Nolan, who use them as a way of visually connecting existing buildings with the new construction. I wished for the holes in the walls to have both these functions. The walls are used to split up the garden into smaller, more private, secluded spaces while the ‘holes’ in the walls allow for connections between the different areas.
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Initial concept diagram -64-
Material Study -65-
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I used site models and initial ideas of placement of the building as reference points for my initial sketches and designs. I used the idea of placing three satellite retreats out to sea to help with the orientation of the building on site. These drawings show initial ideas and shapes which formed a series of winding routes through the building and down to the site. A series of separate buildings allows for there to be differing levels of isolation. They play on the idea that the musician chooses his or her isolation by ‘deciding’ to leave the reception and make his or her way along the meandering pathways to their retreat.
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These are a series of internal perspectives that were carried out for the interim crit. They show a progress down meandering stairs which, as you proceed nearer the sea, are submerged into the ground in order to focus the visitor’s view on the sea, and the view in front of them. At points glimpses of the public spaces are provided by holes in the wall inspired by Carlo Scarpa. This creates a sense of isolation. Views into the surrounding communal spaces are only obtainable at certain points and these views are also framed by the circular shapes of the holes in the wall.
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In terms of the festival I began by thinking about the atmosphere that I wanted to create and the sort of environment that I wanted the festival. I compared my ideals with festivals that I had been to and ones that I want to go to. I decided that I wanted to exploit the existing landscape surrounding my building, so I decided to centre my festival around the existing lake, and allow that to be used by the public while the camping and main festival site are connected by ticket barriers. Although I originally wanted to create more of a free- flowing space, where tickets did not have to be checked, as the site is surrounded by fields and the coast path, this aim had to be balanced by the practical needs of security. Placing the festival where it has been sited also allows for easy access points for emergency vehicles.
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SEASIDE LIBRARY Vector Achitects designed a seaside library on a beach on the coast of Nandaihe, China. This building provides a space where ‘everyone can slow down the usual pace, and unfold the feeling of distance and loneliness different from the city life’. The library has no defined routes leading to it, further emphasising its isolation within its site.
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FOGO ISLAND Fogo Island is an island in Newfoundland, which after the fishing industry went into decline, set about establishing a new income through creating a series of artist studios (private spaces) and an ‘Inn’ (the public space). All 6 of these studios, designed by Todd Saunders, are placed in remote locations to ensure ‘complete physical and mental isolation’ with the intention of inspiring the occupant ‘to work late into the night, occasionally distracted by the crash of the waves, or perhaps, fully immersed in the work at hand’.
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INITIAL IDEA
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NEW IDEA
After the interim crit, and having written my Principles and Theories essay, I came across the two reference studies illustrated above. These shaped and changed my idea for my building. The idea behind the Fogo Island regeneration of splitting up the retreats led me to consider separate buildings which would illustrate and elongate the ‘journey to isolation’ that the musician would take. In my design there is one communal space, where the isolated musician meets the public, the concert hall. I wanted to emphasise this by making the hall a physical frontier between the isolation of the retreat and the wider community- a space where the concentration of people is at its highest.
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QR code to my own SoundBite -82-
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The design developed into a building which appears as a floating white barn on the landscape, a building that intrigues people and asks them to question the building’s function. The central section of it is the concert hall with the exterior facade wrapping around the building following the slight diagonal of the sloped walkways which create the ‘journey’. The way that the building is formed mirrors that of churches and the priory on Lindisfarne with a central nave and the aisle spaces wrapping it. This creates a calm and spiritual concert hall, whose height reflects the sound of the music and heightens the atmosphere of the concert.
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唀渀搀攀爀最爀漀甀渀搀 倀甀戀氀椀挀 匀瀀愀挀攀 倀氀愀渀 ⸀ 吀攀愀挀栀椀渀最 匀瀀愀挀攀 ㈀⸀ 刀攀挀漀爀搀椀渀最 匀琀甀搀椀漀 ㌀⸀ 倀爀愀挀琀椀挀攀 匀瀀愀挀攀 㐀⸀ 刀攀琀爀攀愀琀 倀氀愀琀昀漀爀洀
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刀攀琀爀攀愀琀 䰀椀瘀椀渀最 匀瀀愀挀攀 愀渀搀 倀氀愀琀昀漀爀洀 倀氀愀渀 ⸀ 刀攀琀爀攀愀琀 氀椀瘀椀渀最 猀瀀愀挀攀
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䔀渀琀爀愀渀挀攀 琀漀 䌀漀渀挀攀爀琀 栀愀氀氀 愀渀搀 刀攀琀爀攀愀琀 倀爀愀挀琀椀挀攀 匀瀀愀挀攀 倀氀愀渀 ⸀ 䌀漀瘀攀爀攀搀 挀漀甀爀琀礀愀爀搀 攀渀琀爀愀挀攀 猀瀀愀挀攀 ㈀⸀ 刀攀琀爀攀愀琀 倀爀愀挀琀椀挀攀 匀瀀愀挀攀
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䌀漀渀挀攀爀琀 䠀愀氀氀 倀氀愀渀 ⸀ 䔀渀琀爀愀渀挀攀 䠀愀氀氀 ㈀⸀ 䌀氀漀愀欀爀漀漀洀 ㌀⸀ 䌀漀渀挀攀爀琀 䠀愀氀氀 㐀⸀ 䘀椀爀攀 䔀猀挀愀瀀攀 㔀⸀ 刀攀琀爀攀愀琀 攀渀琀爀愀渀挀攀 最愀爀搀攀渀
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This series of eight images illustrates the journey that the musician takes to reach his or her chosen isolation. It leads them through the empty landscape towards the only habitable buildings within the area to a space where the concentration of people ebbs and flows with the time of year and time of day. The journey is further extended by the ramps which they have to take to reach the retreat. They circle the concert hall, the only space where the musicians interact with the public, in order to access their path to the retreat, crossing on a platform dedicated to them. The musicians are then compelled to focus on their relationship with the elements and the natural world.
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After my final crit. I realised that the line drawings I produced did not convey the full effect of the journey to the concert hall, and of the contrast between the concentration of people in the hall and the isolation of the retreat. I therefore added watercolour backgrounds and people to my drawings to illustrate the atmosphere and the changing and immersive nature of the journey to the retreat: from communal interaction in the building, to the walkway through the garden and finally to the retreat itself, surrounded only by the sea and the sky.
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This series of experientials shows how the concert hall works, from the covered waiting area under the raised building, to the ramps which lead around the outside of it to the internal atmosphere when a concert occurs. I chose to keep the concert hall calm and white, with small windows to focus the inhabitants’ view on either the beautiful landscape which surrounds the building or on the space that they are in. I wanted an uncluttered, blank space for the concert hall so as to allow the listener to become engulfed in the music that they came to hear, with their sole focus on the band that is playing.
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Running alongside the concert hall, a route has been created using steps, which as they progress down the hill become further submerged in the landscape, until they open up when they reach the bottom of the hill and the sea. I purposely made the steps submerged, so the visitors’ view is focused solely in front of them, on the ever expansive sea. The aim was to isolate the visitor so that they have their own personal journey down to the sea. The steps purposely protrude over the high water line so that as the tide rises they flood, meaning that the accessibility down to the end of the steps is dependent on something that cannot be controlled by the visitor, and they themselves are dependant on the nature that surrounds them.
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The teaching space is sunk into the ground and accessed by a sloped walkway running around the majority of its perimeter. In order to enter the space, the visitor has to leave the ramps and follow the perimeter around, passing two gardens, separated from each other, both with open views to the sky.
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These images illustrate the journey to the festival and the main stage. This will be the concert hall with one of its facades partly dropped down to make a stage. The festival map provides a more detailed illustration of how the site will operate when the festival is in progress.
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This set of diagrams illustrate the opening up of the concert hall. I wanted the main building to be central to the festival and so it seemed right to make it the main stage. The building, a solid barn-like shape, opens up during the festival by hinging part of the faรงade down to become the performance platform. This movement follows the ebb and flow of people in and around the building.
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This series of diagrams illustrate how the selection of the buildings fits together and into the landscape. The diagrams work their way up from the sunken steps to the sunken public building which contains the teaching space, recording studio and practice rooms, to the ramps which circle around the concert hall, the concert hall itself and then the exterior facade and the musicians’ retreat.
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STRUCTURAL ISONOMETRIC
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TECHNICAL SECTION
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䌀漀渀挀爀攀琀攀 刀攀琀愀椀渀椀渀最 眀愀氀氀 愀渀搀 倀椀氀攀 䘀漀甀渀搀愀琀椀漀渀
䘀氀愀琀 刀漀漀昀 䐀攀琀愀椀氀
⸀ 䌀漀渀挀爀攀琀攀 爀攀琀愀椀渀椀渀最 眀愀氀氀Ⰰ 眀椀琀栀 㘀 洀洀 搀爀愀椀渀 ㈀⸀ 䌀漀渀挀爀攀琀攀 倀椀氀攀 昀漀甀渀搀愀琀椀漀渀
⸀ ㈀洀洀 圀栀椀琀攀 匀挀爀攀攀搀 ㈀⸀ 㠀 洀洀 䤀渀猀甀氀愀琀椀漀渀 ㌀⸀ 㠀 洀洀 䈀爀攀琀琀猀琀愀瀀攀氀 瀀愀渀攀氀 㐀⸀ 嘀愀瀀漀甀爀 䌀漀渀琀爀漀氀 䰀愀礀攀爀 㔀⸀ 匀攀爀瘀椀挀攀 瘀漀椀搀 㘀⸀ ㈀ 洀洀 倀氀愀猀琀攀爀戀漀愀爀搀
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刀愀洀瀀 琀漀 圀愀氀氀 䐀攀琀愀椀氀
䤀渀琀攀爀渀愀氀 圀愀氀氀 䐀攀琀愀椀氀
⸀ ㌀ 洀洀 搀攀攀瀀 爀攀椀渀昀漀爀挀攀搀 挀漀渀挀爀攀琀攀 爀愀洀瀀
⸀ ㈀ 洀洀 倀氀愀猀琀攀爀戀漀愀爀搀
㈀⸀ 匀琀攀攀氀 爀攀椀渀昀漀爀挀攀洀攀渀琀 愀渀搀 挀漀渀渀攀挀琀椀漀渀 琀漀 眀愀氀氀
㈀⸀ 洀洀 䄀挀漀甀猀琀椀挀 䤀渀猀甀氀愀琀椀漀渀
㌀⸀ 㔀 洀洀 搀攀攀瀀 琀椀洀戀攀爀 戀攀愀洀
㌀⸀ ㈀㈀ 洀洀 匀攀爀瘀椀挀攀 嘀漀椀搀 㐀⸀ 㠀 洀洀 䈀爀攀琀琀猀琀愀瀀攀氀 瀀愀渀攀氀 㔀⸀ 㠀 洀洀 吀椀洀戀攀爀 䤀渀猀甀氀愀琀攀搀 瀀愀渀攀氀 㘀⸀ ㈀ 洀洀 倀氀愀猀琀攀爀戀漀愀爀搀 䔀砀琀攀爀渀愀氀 圀愀氀氀 䐀攀琀愀椀氀 ⸀ ㈀ 洀洀 倀氀愀猀琀攀爀戀漀愀爀搀 ㈀⸀ 嘀愀瀀漀甀爀 䌀漀渀琀爀漀氀 䰀愀礀攀爀 ㌀⸀ 㠀 洀洀 吀椀洀戀攀爀 䤀渀猀甀氀愀琀攀搀 倀愀渀攀氀 㐀⸀ ㈀洀洀 匀挀爀攀攀搀
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ENVIRONMENTAL
The concert hall will predominantly be naturally ventilated with the cold air being brought in from underneath the concert hall through vents and then released through the windows at the top of the concert hall through windows. During concerts, however, there may be a need to augment the natural ventilation by mechanical means.
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Brettstapel Diagram
Solar Panel Diagram
These diagrams show the location of the plant room and how the concert hall is heated by underfloor heating. To help control the temperature of the space, it is made up of Brettstapel, a timber panel made up of a series of non structural pieces of timber, which in the case of my building can be sourced locally from Kielder forest. Brettstapel acts as a thermal mass. This means that it absorbs heat and then slowly releases it keeping the temperature constant. Solar panels will also be placed on the west facing roof to provide additional energy to aid in heating the concert hall and the hot water system.
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