Stage 3 Architecture portfolio Jay Hallsworth

JAY HALLSWORTH BA ARCHITECTURE PORTFOLIO 2017 2018 STAGE 3 150304809

CONTENTS

NEW WORK EDITED WORK

REFLECTIVE ANALYSIS

04-05

ARC3001 ARCHITECTURAL DESIGN PRIMER

06-35

FINLAND STUDY TRIP

36-39

STAGING

40-67

REALISATION & REFINEMENT

68-135

CHARRETTE

136-141

ARC3001 TECTONIC INTEGRATION CASE STUDY REPORT ARC3013 ARCHITECTURAL TECHNOLOGY TECHNOLOGY FEASIBILITY STUDY PART 1 DETAIL TECHNICAL REPORT PART 2

ARC3014 PROFESSIONAL PRACTICE AND MANAGEMENT

ATTACHED AS SEPARATE DOCUMENTS

ARC3015 THEORY INTO PRACTICE ARC3060 DISSERTATION IN ARCHITECTURAL STUDIES BIBLIOGRAPHY

142-143

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REFLECTIVE ANALYSIS As my final year is coming to a conclusion, this short reflective piece looks back on how the year has panned out for me. Looking at the moments I enjoyed and what I have learnt.

The primer project was key in identifying my approach to the rest of the year. The structure of our primer, being a design project on the same site, allowed me to develop contested derived concepts from an early stage, concepts which would carry through and form the foundation of my craft and graduate project. Our Japanese and Nordic influenced studio and workshops shaped my approach to material and developed my craftsmanship as an individual to help me create unique pieces such as my hand carved site model.

Final graduate project crit presentation (left)

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Our trip to Finland was a fantastic opportunity to experience architecture by Alvar Aalto, Steven Holl, Juhani Pallasmaa, amongst others, and to meet and discuss designs with Avanto Architects. I enjoyed experiencing the culture and ritual of the sauna however my favourite experience was our opportunity to go around the Villa Mairea.

An example of what can be born from a great relationship between architect and client, and the start of modern art in Finland.

The realisation of my project was built around my key concepts from primer. The site informed my concepts, which I then used to inform my design strategy and ultimately my final design, becoming a manifestation of

concept and craft. Working with my craft from an early stage gave me a great insight into the process and functions of my building and helped me derive new concepts, such as tension. I enjoyed practicing and designing new things with my craft, such as my steam bent lamp, which has led to my invitation to design a steam bent centrepiece for the graduate exhibition show. I have learnt a lot from crafting and its influence in the details of my designing. I plan to continue practicing this craft in my summer period, perhaps even starting a business.

Third year has massively developed my architectural approach, theory and understanding.

I have developed my modelling skills in an

array of real world materials, alongside my own representational style and themes. I would like to thank my tutors for their guidance and the experiences they have set up for our group.

I am excited for the future and loo forward to taking the skills I have learnt at Newcastle University and applying them in practice.

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茶 道

PRIMER The primer project was key in identifying my approach to the rest of the year. The structure of our primer, being a design project on the same site, allowed me to develop contested derived concepts from an early stage, concepts which would carry through and form the foundation of my craft and graduate project. Our Japanese and Nordic influenced studio and workshops shaped my approach to material and developed my craftsmanship as an individual to help me create unique pieces such as my hand carved site model.

Mapping of Primer stage, comprising of important aspects such as context, contours, ruin and Tea ceremony, inspired by James Corner (left)

08

RITUALS & UNCONSCIOUS KATI BLOM & DAVID MCKENNA

Our brief for Primer stage, requested to design a Japanese tea ceremony room in the heart of Newcastle city centre. In this we will develop spatial themes, landscape strategies and concepts which we will bring forward into our craft school design in Staging. We will be focusing on the ritual of the tea ceremony and how we can design for and around the process with particular attention towards the relationship between host and guest. I will be paying attention to the approach in the gardens as i believe this is just as important as the ceremony room itself, producing anticipation and preparing for the unknown.

Tatami matt parti diagrams (adjacent) Tea ceremony equipment (right) Practicing the ritual of the tea ceremony (furthest right)

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Our studio is interested in ritual. The ritual of making and Japanese craft. Social analysis of rituals, such as the performative, intangible aspects of the ceremony and the ritual of process. To understand the ritual of the tea ceremony and this social relationship between host and guest I learned the process and enacted it as host of the ceremony.

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SITE INDICATED WITH AUTOCAD SITE DRAWING WIDE? - NO BOX BORDER

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CONTEXT ISOLATING THE RITUAL WITHIN THE CHAOTIC CITY

Looking at the wider context surrounding my site i realised how chaotic the city centre was with the Tyne bridge over head and main roads towards the foot of the hill. I sought to isolate the ritual of the tea ceremony within this city by outlining my own site within our given site, utilising the ruins as a defensive perimeter around my ceremony, creating a peaceful and tranquil environment. “One may be in the midst of a city, and yet feel as if he were in the forest far away from the dust and din of civilisation.�

- Okakura Kakuzo (22)

Site map 1:100 (adjacent) Site analysis ARC3013 (furthest right)

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SITUATING THE TEA ROOM WITHIN THE CHAOTIC CITY ISOLATING THE RITUAL FROM THE CHAOS OF NEWCASTLE CITY CENTRE

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JAPANESE JOINERY WORKSHOP JAPANESE JOINERY WITH HUGH MILLER LIVERPOOL

Mid way through our term we travelled to Liverpool as a studio group to meet Hugh Miller a graduate of Newcastle University who has started his own business in Japanese joinery. The detailed and physical craft process was important to our studio group and we applied our ritualistic study to the process of chiselling and jointing. The haptic use of timber is a key part of Japanese architecture and was fundamental to understanding the experience of a space.

Hugh’s workshop (right) Japanese Joinery model (opposite, top) Joinery sequencing (opposite, bottom)

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Solid singular structure

Divided structure

We were given 10 minutes to design a conceptual model. One which we would draw upon in future development of our project. The joint I created was based on the symbolism and structure of the castle ruins on my site. From one direction the model appears to show a single piece of wood with an extended tenon rounded off in Japanese tradition to made the end soft and extended past the mortise to allow for expansion and contraction of the wood. This represents the castle walls as it is on site, defensive and external. The other end shows tree separate joints. As broken down from the original wall into something more refined and crafted.

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SITE MODEL CARVING 1:100 SITE MODEL - APPLYING SKILLS LEARNT AT JOINERY WORKSHOP

After the joinery workshop I was eager to practice what I had learnt. I really enjoyed working with timber and because of its prevalence in Japanese architecture and my designs I decided to craft a 1:100 site model.

To do this i picked up 4 rail road sleepers from a timber yard, plained these down and created a block from which I would work. I started by mapping out depths along the side and the plans across the top. Then using the same tools from the Japanese joinery workshop I started carving the site model. This allowed my to fully visualise and understand our complex site whilst developing and practicing our previously learnt skills.

Site model carving (left) Carving craft tile (right)

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Once i had chiselled out the bulk of the timber i used smaller chisels for neat edges and a profile sander to give the contoured ground effect (to left). The card represents the interventions i had planned for the site with walls showing outlining a series of temporal journeys. Flexible structures intervene with the ruins on site. Allowing the weathered shape of the ruin to mould the shape of the structure. I then used small shrubs to imitate the dense trees on site.

CNC/ laser cut wider context model(top, left) Tea ceremony interventions (left) Carving process (top) Tea room in site (right)

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Through this concept model I was looking at breaking down the permanent ruins into something more temporal and adaptable.

This is shown in the series of stills (right) with the sliding walls revealing different routes and structures. This would translate to journey that will form the approach to the tea ceremony room on my site.

1)Ruins (Permanent) 2)Alteration and intervention 3)Adaptable interventions (Temporal)

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PERMANENCE & TEMPORALITY DEVELOPING PROGRAMMATIC AND CONTEXTUAL SPATIAL THEMES

I developed my concept of permanence and temporality having identified the ruins on my site as a key feature I wanted to work with. The ruins represented an old western solid construction. In the Japanese tea ceremony, structures are designed to be temporal -“for the eternal is to be found only in the spirit�1 - Okakura Kakuzo Therefore I was interested in this juxtaposition between the ruins and my interventions and how I could further bring this concept into my design.

1Okakura, K. (2012) The book of tea, Jazzybee Verlag, pg.22 Permanence and temporality concept sketch (left) Deconstructing ruin model (left)

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SITE INTERVENTIONS “On one side I want to look out, and on the other I ask for protection. This is the essence of my architecture: to open or take away from the landscape”1 -Arne Korsmo

Once I had my site model i could clearly visualise with sketch models how i wanted to intervene with the slopping site. Through a series of iterative sections i looked at the possible ways of intervening with the ruins on the site subtly in the style of Norwegian architect Sverre Fehn. I worked with my concept of permanence and temporality using the solid ruins and light weight timber frames to form canopies and walkways. This would give a varied approach for the visitors up towards the tea ceremony room. Thinking about views across the Tyne whilst retaining the isolation from the Castle side.

1Fjeld, O. (2009) Sverre Fehn: The pattern of thoughts/ Per Olaf Field pg.15 Museum of Hamar illustrating Sverre Fehn’s use of concrete and timber in relation to ruin (photo T. Solvang, right) Sverre Fehn, Design for museum of hydraulic energy at Suldal, Norway (above) Sectional iterations with the slope of the site (left)

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Alongside my sectional iterations i was working in plan to visualise the flow of the guest through the site and how they would be approaching the tea ceremony at the end as the journey is as crucial as the final tea room. I was using the angles of the ruins alongside the contours of the site, similarly to the process of Enric Miralles, to order the structures on the site. The tempral walls seemingly peeling away from the ruins and retaining walls was drawn from my joinery model, made at our Japanese joinery workshop.

Enric Miralles -- Olympic archery range (left- top) Miralles inspired plan line iterations (left- bottom) Site plan parti diagrams (above) Plan iterations (n right)

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TEA CEREMONY JOURNEY CREATING A TEMPORAL AND CONTEXTUAL JOURNEY AS AN EXTENSION OF THE CONTOURED LANDSCAPE

As the tea ceremony and its garden has this ambiguity between the natural and the man made -- the inside and the outside, i wanted my design to feel as if it were just a subtle extension of the landscape. Enric Miralles achieved this well with his Igualada cemetery, with a site similar to mine. My final plans are split into layers like my Japanese joinery, garden walls and the tea ceremony room showing the contoured context, site interventions and then the host and guest relationship in the use of the site.

Aldo Rossi, Plan of foundry, Ercolano, Italy (Above) Enric Miralles -- Igualada Cemetery, Igualada, Spain (left) Journey plan site sketches (top) Final Site plan (right)

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KEY MOMENTS KEY MOMENTS THROUGH THE JOURNEY OF THE TEA CEREMONY

GUEST ENTRY LOWER

WAITING PLACES

TEA ROOM

Optional routes outlined by threshold through ruins and gates. Gated entry provides visual connection to tea room but blocks direct route and guest is made to go through landscaping. Tea room positioned so it can be seen from the start, so it can be found. To the right views across the Tyne are provided

Temporal and conceptual journey outlines route toward tea room. This is often open to the outside creating an ambiguity between inside and outside and to be less defined giving the user option of the route.

These areas are more defined and sheltered in the waiting spaces.

Situated on the far side of the site the tea room becomes more defined upon the approach. The tea room is physically blocked but not visually on the direct route insighting the guests to go through the landscaping.

Host entry is separate, entering from the far side.

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GUEST ENTRY UPPER

OUTLINED JOURNEY

CLEANSING

From the upper entry level from under the high level bridge guests are provided views over the Tyne and a series of outlined routes.

The tea room can be seen in the distance as something to discover.

Temporal and conceptual framework subtly intervenes with the existing primitive walls outlining the route toward the tea room. This is often open to the outside creating an ambiguity between inside and outside and to be less defined giving the user option of the route.

Ritualistic cleansing of the body before entering the tea room. This is provided excavated into the ruins and sheltered by a timber framework subtly connecting with the ruins.

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Solid singular structure

Divided structure

THE TEA CEREMONY ROOM SUBTLE LAYERED CONNECTIONS WITH THE CASTLE RUINS

I had positioned the tea room at a key place on the site.

It was positioned high as if on a pedestal so that i could be seen and enticed people to find it as they entered site. It also ad good views across the Tyne and was sheltered within 3 walls of ruins. I formed the space between the wall by bridging them with a lightweight timber structure in the same jointing as my Japanese joinery model. I then used an external canopy and a crafted interior skin made of angled Chidori joints in the style of Kengo Kuma. From the outside the ritual is protected by the symbolism of the defensive walls and from the inside it transitions into this crafted delicate space.

Tea room axonometic (right) Japanese joinery inspired rationale (above) Kengo Kuma & Associates --Starbucks Coffee shop (opposite, bottom left) Deconstructing ruin model (opposite, top left) Tea room threshold study (furthest right)

Solid outside|divide interior

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SECTIONAL PERSPECTIVE TEA CEREMONY ROOM

In my developed work I wanted to express what was happening throughout the site. This perspective section gives a better understanding of how the tea ceremony room works and how it is situated between the two ruins on the site. This helps depict the isolation afforded by the ruins and the atmosphere within the tea room.

Perspective section (left)

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FINLAND STUDY TRIP UNDERSTANDING NORDIC TYPOLOGIES

Our study trip to Finland helped me to develop a greater understanding of the Nordic approach to design. Design begins with structure in Finland. I found inspiration for the structure of temporal space in my graduation project from the Helsinki music centre. In Finland we were able to study the architecture of Alvar Aalto, Steven Holl and Juhani Pallasmaa, amongst others. My attitude towards material has taken on a much more organic and natural approach due to this trip, developing material conceptions alongside Norwegian architect: Sverre Fehn. Concrete as mass- protection and timber to create precise openings to look out.

Sketches from study trip (right) Alvar Aalto’s studio (furthest right)

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We visited many of Alvar Aalto’s buildings, as Aalto played a key role in developing Finland’s architectural style. We were lucky enough to visit the Villa Mairea, a still private residence, giving an insight into an architecture developed through a key relationship between architect and client. Aalto was given full freedom in the design and manages to seamlessly integrate the building within its forest context. The building is a delight, home to many priceless artwork and sculptures.

Alvar Aalto’s home (left) Villa Mairea, private residence- Alvar Aalto (top) Kiasma- Steven Holl (right)

STAGING Staging was an intense stage of the year, running alongside dissertation and technology feasibility study part 1. Staging was the pivotal point in the project forming initial site massing and programme development. I also outlines the concepts I wanted to bring forward from primer and how I was going to adapt them to the craft school. The main thing I planned on bringing into the craft school was this relationship to the found wall: the ruin, developed in primer.

Site photo: high level bridge, bridge hotel & ruin (left) 3 Unwin, S. (2000) An Architecture Notebook pg.43

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NEWCASTLE SCHOOL OF STEAM BENDING LETTING OFF STEAM

I started my graduation project with this initial concept model developed from primer. The idea was to take the craft, and weave it into the existing landscape, forming a new tectonic with the ruins. I created a parameter within my concept, permanence and temporality, to keep the permanent aspects fixed and then to create space with my temporal timber interventions.

Newcastle school of steam bending manifesto (adjacent) Permanence and temporality concept drawing from primer (opposite, left) Material coneptions developed for craft school (furthest right)

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CONTEXT NEWCASTLE UPON TYNE, UK

My site is located in the heart of Newcastle Upon Tyne’s city centre in a great historic location adjacent the Castle Keep and the ruins. The high level bridge connects my site to gates head, along the main arterial public transport route, making it a sustainably accessible area. The site offers opportunities for relationships to local history the Tyne .

Site within the context of Newcastle (Right)

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RHYTHMS OF RUIN MAPPING MATERIAL AND STRUCTURE

Mapping the rhythms of the ruin, starting from the top of the site with the castle, wrapping around to the bridge hotel gives a sense of the materiality and the constraints to my site. The ruins create quite a linear threshold along with the retaining walls to isolate the ritual from the chaotic city and the craft school.

Site photos and sketch collage (left)

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PROGRAMME ANALYSIS FRAGMENTING PROGRAMME

When developing the programme for my steam bending craft school I tried to find permanence and temporality in my programme and spaces. Creating space around permanent features for instance workshop equipment.

By fragmenting all of the parts of the programme I concisely identified how they would be connected spatially and visually and with regard to environmental aspects and the overall experience of the spaces.

Programme ARC3013 (right) Fragmented programme analysis ARC3013 (furthest right)

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SPATIAL CONNECTIONS VISUAL CONNECTIONS DIRECT SUN LIGHT INDIRECT SUNLIGHT SPECIFIC VENTILATION REQUIREMENTS PRIVATE LOUD SPACES EXPERIENTIAL SERVICING

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SITE MASSING MASSING ITERATIONS ON SITE MODEL

My initial approach to the ruin was to use it as a threshold between residential units on site and educational facilities with the workshop straddling and internalising the ruin, using the workshop as a mediator, however this later changed in order to keep the tea ceremony intervention. By using the site model as a basis for massing studies, i experimented with low lying clusters to not obstruct the view of the castle and to make the most of the southerly light.

Massing iterations (ajacent) Programme and massing (opposite) Plan- massing/ clustering/ access routes (opposite, top)

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SECTIONAL ITERATIONS DEVELOPING PROGRAMME DISTRIBUTION WITH PRIMER CONCEPT MODELS

I developed my sectional iterations alongside my models from primer and thinking through making week. I also took inspiration in the way I designed my temporal space from the Helsinki music centre.

I created sectional programme analysis alongside this to illustrate the functions of the spaces, utilising the ruin as a threshold between education and work, with the workshops straddling this threshold.

Sectional iterations (furthest left) Helsinki music centre (bottom left) Sectional programme development (adjacent)

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ENVIRONMENTAL INTEGRATION WITH RUIN FRAGMENTING PROGRAMME

The ruin formed a driving force in my environmental strategy. The iterations to the right illustrate my approach to utilising the ruin. Internalising the ruin was the most environmentally appropriate approach.

From this i developed a functional and zoning strategy, utilising the thermal mass, using it to heat interstitial spaces on the opposite side of the wall.

Sketch iterations of environmental integration with ruin (adjacent) Internalised ruin, environmental strategy (right, top) Zoning strategy based on ruin environmental strategy (right, bottom)

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THE CRAFT STEAM BENDING

Working with my craft from an early stage gave me a great insight into the process and functions of my building and helped me derive new concepts, such as tension, a force inherent in the craft process. I enjoyed practicing and designing new things with my craft, such as my steam bent lamp, which has led to my invitation to design a steam bent centrepiece for the graduate exhibition show. I have learnt a lot from crafting and its influence in the details of my designing.

Tom Raffield, steam bending (left)

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STEAM BENDING PROCESS PRACTICING THE CRAFT

The steam bending process begins with the right timber.

Hardwood work best, such as European Beech and sweet chestnut. From this the timbers have to be cut into cross sections with straight grains to keep the strength in the timber and avoid snapping. I then use polthene bags for steaming the timer, time varies (documented in my craft journal). Formwork must then be created for the specific shape required. The timber is then restrained in this position, using a metal backing to avoid blow-outs.

My craft Journal (right) Steam bending process (far right)

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STEAM BENDING PROCESS

Hardwoods

Cut to required sizes

Timbers are steamed

Bending board

European Beech

Rectangular cross-sections.

Timber is put in a 0.15mm Polythene bag connected to a wallpaper stripper to produce steam.

Form required angles using angled wedges held in place with pegs.

Sweet Chestnut Oak African Mahogany

Hardwoods that bend well would have to be locally or sustainably sourced and transported to site.

What trees are on site that will need to be cut down- can these be used?

Timber yard to store

Grain must run the length of the timber to maintain strength.

Loud activities Well ventilated spaces Natural light for safety Heavy machinery Off-cuts can be used in the biomass steam boiler -Environmental Off-cuts could be chipped into saw dust, made into OSB -Economical

Steam duration dependent on cross-section/wood type.

Clamps and metal bracing support the outer face of the timber, preventing blow-outs.

Multiple steam bags required, alternativly a steam room which could be controlled.

Bending boards for teaching- small production large open space and formers- large production

Hot and humid atmosphere, steam rising past all other activities in the building.

Formers could be built into the walls of the workshop in the organic walls.

Pourous floors/ walls/ vents - movement of steam controlled.

Building form- expression of the bent timber and clamps used.

Tools- heat proof gloves/ clamps/ bracing/ formwork.

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PRACTICING THE CRAFT STEAM BOX AND POLYTHENE BAG PROCESS

Understanding the craft process was an integral part of my project, from which I was able to derive much of my design approach. Practicing steam bending proved very difficult without specialist facilities. Initially I attempted to use a steam box, insulated with Kingspan to retain the heat, this did not work very well. Following a lot of research I ordered some heat resistant polythene bags, these proved very effective for the remainder of the term.

Bending board & bending board inspired parti diagram (adjacent) Practicing the craft (far right)

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STEAM BENT LAMP No.1 UNDERSTANDING THE CRAFT

Making my own steam bent furniture gave insight into the processes that would be involved within my building, producing furniture. It also gave me an insight into the possibilities and limitation of steam bending. A subtle shadow gapped dowel connection between two bent timbers gives a weightless feeling at the point of tension. The dowel connection also allows the lamp to be taken apart and easily transported.

Steam bent lamp invisible connection (adjacent) Steam bent lamp (opposite) Steam bent lamp disassembled (far right)

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THINKING THROUGH MAKING WORKING WITH CRAFT AND MATERIAL

Thinking through making week was an opportunity to start working with our chosen craft and develop a model working with real world materials. My sectional model encapsulated my concept of permanence and temporality, materialised with a dense finned concrete wall and foundation, built upon by lightweight steam bent timbers to form a cantilevered roof.

My TTM model at the exhibition (left)

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Early material conceptions (top right) TTM construction process (bottom right)

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REALISATION & REFINEMENT The realisation of my project was built around my key concepts from primer. The site informed my concepts, which I then used to inform my design strategy and ultimately my final design, becoming a manifestation of concept and craft.

In realisation and refinement I brought together work from our theories essay and technology to work out the finer details of the design.

Final model in site carving (left)

PERMANENCE CREATING A STATE OF PERMANENCE, AKIN TO THE RUIN AND CASTLE

TEMPORALITY DEFINING TEMPORALITY THROUGH LIGHTWEIGHT TIMBER INTERVENTIONS

T E N S I O N

TENSION FORMED IN THE CONNECTIONS, DRIVEN BY THE CRAFT PROCESS

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THE SITE MAPPING THE SITE

SITE INFORMS

CONCEPT My subjective interpretation of the site in primer, informed my concept. Identifying permanence in the ruins and temporality as a custom of the tea ceremony. My concept was then used to inform my site strategy, creating a rationale for a progression of permanence. My design strategy then ultimately defined my building, as a manifestation of the craft process of steam bending and the context.

Site photos (adjacent) Site mapping inspired by James (furthest right)

INFORMS

STRATEGY INFORMS

BUILDING

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CONTEXTUALISING MY DESIGN IN THE CITY FORMING AN EXTENSION OF THE LANDSCAPE

Contextualising my design within the wider context of Newcastle illustrates the progression of permanence, as an extension of the landscape, from the River Tyne, to the ruin, to the castle.

Cross section through the River Tyne (below)

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1:1000 0m

25m

50m

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FACADE AND SPATIAL ITERATIONS Facade iterations from public entry route (below) Permanence and temporality sketch/ model/ material iterations/ formal iterations (right)

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JORN UTZON REIMA PIETILA ROOF PRECEDENCE STUDY

As my roof acts as a ‘fifth facade’ from the high level bridge, I knew the form of my room would be an important aspect of my design and in conveying the craft. I studied buildings by roof architects: Jorn Utzon and Reima Pietila to develop and understanding of form and structure.

My Sketches of roof structures (both pages) Reima Pietila roof sketch (right page, bottom left) Jorn Utzon, Sydney Opera House sketch (furthest right)

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DESIGN DEVELOPMENT TRACE ITERATIONS

I decided early in my developments the idea of the dominant concrete fins, these iterated, with the second fin becoming more of a structural support. I removed the residential areas to keep my concepts of isolation from primer. The temporal spaces developed scultping around the fins. My most dominant developments came in creating craft integrated environmental and structral parts to the design, as Mies Van Der Rohe put it, ‘god is in the details’.

Sectional iterations (furthest left) Helsinki music centre (bottom left) Sectional programme development (adjacent)

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MATERIAL CONCEPTION DEVELOPMENT

DECONSTRUCTING THE RUIN

TEA CEREMONY THRESHOLD STUDY

BENDING AROUND THE RUINS

(PRIMER MODEL)

(PRIMER MODEL)

(STAGING MODEL)

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TTMW MODEL

PROGRESSION OF PERMANENCE

FINAL CRAFTED MODEL

(TTMW)

(REALISATION MODEL)

(REFINEMENT MODEL)

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TECTONIC INTEGRATION LESS IS MORE

I wanted to create a Mies Van Der Rohe style connection between the concrete and timber to give the roof a feeling of weightlessness. Mies did this in the details of the Farnsworth house by grinding down bolts, making the connections seem weightless. To do this I tried to create invisible connections, using steel fins along the window frame lines. This will bathe the angles wall with light, funnelling down the tall space towards the workshop. I was inspired by the TU Delft Library for the light gaps.

In other timber/ concrete connections I took inspiration from my Japanese joinery, where joints are offset to allow for swelling and contraction in the timber. I have left this shadow gap in the column to ground connections.

Perspective of concrete/ timber connection (adjacent) Mies Van Der Rohe - Farnworth House column detail (above, middle) Japanese Joinery protruding connection (above, right) Concrete timber connection sketches (opposite, top) Progression of permanence model (far right) TU Delft Library- Mecanoo (top, left)

AXO DETAIL NEXT TO

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RESPONDING TO RUIN SIMILAR TO PRIMER Sverre Fehn creates a direct discourse with the historic ruins by preserving the archaeology, “not as relics but as parts of the history to which they belong�1 After studying the work of Sverre Fehn, I wanted to maintain a sensitivity to the heritage and the identity of my site. Utilising the old and the new to create a new tectonic along the ruin: a poetic discourse with the transfiguration of time. I did this by not changing the ruin, rather embracing it as a defensive threshold with subtle interventions. In primer I used the ruin as a spine, with a skeletal framework of timbers, to be later fleshed out by the inhabitants and the ritual. In my craft school I have elevated all the temporal spaces and walls above the ruin, to create a continual immersion in the rising steam: the process of the craft. This also acts to preserve the ruin tactfully.

Museum of Hamar- Sverre Fehn (photo T. Solvang) (right) 1Norberg-schulz, C. and Postiglione, G. (1997) Sverre Fehn: Works, Projects, Writings, 1949-1996 (above)

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CREATING A NEW TECTONIC ALONG THE RUIN Japanese tea ceremony structures are designed to be temporal “for the eternal is to be found only in the spirit” 1 - Okakura Kakuzo My response to the ruin in primer was to create this juxtaposition of material, using temporal timber interventions to form a new tectonic journey along the ruin. These were rested on the ruin, allowing the ruin to dictate the forms of the skeletal timber frameworks.

In my graduate project I responded with the same subtlety, creating n ambiguity between inside and outide on the south facade, in the tea ceremnoy this is called ‘Engawa space’.

1Okakura, K. (2012) The book of tea, Jazzybee Verlag, pg.22 Primer, tea ceremony journey timber/ ruin interventions (left) Scarpa inspired connections to the ruin (right) Craft school relationship to ruin (far right) Archaeologia Aelia- Scans of site excavations from an enquiry at the society of antiquaries, Newcastle Upon Tyne (top right)

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STEAM MOVEMENT SCHEMATIC MOVEMENT OF STEAM AND COLLECTION OF CONDENSATION

The degree of control over the movement of steam has been an important aspect of my project. I wanted to create an immersion within the craft process, however this posed structural complications with moisture damage.

To avoid this my first approach was an internal double skin facade, later I explored the use of passive ventilating hygromorphic cladding. In my final design i ended up internalising the steam within the fins, allowing vents to release it to activate the dynamic materials, as well as an inhabitable chimney.

Steam schematic (realisation) (right) Craft integrated energy delivery system (opposite, top) Developed Steam schematic (refinement) (far right)

CRAFT INTEGRATED ENERGY DELIVERY SYSTEM

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SECTIONAL STEAM MODEL MOVEMENT OF STEAM AND COLLECTION OF CONDENSATION

After working with the idea of steam movement in my previous iterations I decided to internalise the steam within the concrete fins. The fins are representative of chimneys and will stop any structural issues that may arise as a consequence of the moisture. Although not an exact representation of my final outcome this model illustrates how the cross section through the main concrete fin will work. Steam enters from chambers bellow, they are then stored to reach a higher density and are then released to create a steamy atmosphere. I took inspiration from the mechanism of the Bjark Ingles Amager Bakke Waste-to-Energy Plant, smoke rings. A cold metal wall at the top condenses the steam, and the liquid is collected ready to be fed back into the system.

Bjark Ingles- Amager Bakke Waste-to-Energy Plant (top) Sectional steam movement model (adjacent) Steam movement stages (opposite)

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Excavate & Foundations

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Cut and fill to level North of site and to excavate South of the site.

400mm raft- pile foundations supports heavy loading so enables a larger range of future reuse of the site. Requires more concrete initially but increases the longevity, future buildings will not require new foundations.

Foundations can be crushed and re-cycled into aggregate to provide hardcore for foundations and roads if needed to be demolished.

CONSTRUCTION SEQUENCING My site is located on a car park just off the main arterial route connecting Newcastle and Gateshead: the high level bridge. There is sufficient open space for equipment and storage during construction in the open area (hatched red) adjacent site. This will not disturb accessibility and reduce distances between storage and site. Most of the concrete is cast in-situ, but where possible pre-cast components, such as parapets, will be used to reduce time on site.

Fig 1) Excavation and Foundations Fig 2) Formwork Fig 3) Primary structures Fig 4) Secondary components Fig 5) Tertiary components

Formwork

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Concrete fins are cast in-situ to provide the main structure of the building.

All boarding removed is stored to be reused to power the biomass steam boiler integral to the buildings environmental strategy.

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Primary Structures

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Composite primary structure of concrete fins and glu-lam framework erected.

Secondary structure curved glu-lam joists connected between concrete fins.

Modularised components, repeated standardised curved beam and standardised repeated framework acts to reduce the amount of material and time in construction.

Secondary Components

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Secondary structures form spaces within the larger spaces to be more intensely inhabited. This allows for ventilation and heating reduction dependant of space demand.

These temporal spaces are designed to be bolted or jointed together. This permits later reconfiguration or re-used.

Tertiary Components

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Cladding can be produced on site and added after construction. This removes transportation. Cladding can be removed and reused throughout the building to change the dynamic. Offcuts can be re-used in the biomass steam boiler or recycled into MDF board to be sold.

Secondary structure glass faรงades are top hung to create the conception of tension.

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TENSION EXPERIENCE REVEALS THE CRAFT

Tension developed as a concept ,derived from the craft process. When designing my building I formed temporal space around permanent constraints such as the concrete fins, ruin and the bridge hotel. However for the temporal spaces to be forced around the constraints it would require tension in the craft. I decided the best place to express tension would be in the connections, as demonstrated in my craft tile.

Tension parti diagram (adjacent) bending process- putting timber under tension (right) Craft tile- tension in connection (top) OMA Educatorium precedent (opposite, bottom) Points of tension diagrams (opposite. left) Exploded structural axonometric (furthest right)

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PUBLIC

PUBLIC

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SITE MODEL CONTINUATION 1:100 SITE MODEL - APPLYING SKILLS LEARNT AT JOINERY WORKSHOP

By extending my site model I was able to encompass my tea ceremony site and graduate site to form a relationship between the two designs. Making my final model has combined my hobby craft: carving and my graduate school craft: steam bending. I like the irregularity created in the timber elements as it speaks about the nature of the craft and the qualities of timber, to change from the original formwork. The model expresses the juxtaposition between permanence and temporality, manifested in my material conceptions.

Site model graduation project developments (left) Carving craft tile (top right) Steam bending craft tile (top right)

[ AP1 ] [ AP2 ] [ AP3 ] [ AP4 ] [ AP5 ]

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HIGH LEVEL BRIDGE VIEW RESPONDING TO THE ANGLE OF THE SLOPE

Smoke attracts visitors from high level bridge or from the quay side. Hung facade forms an extension of the ruin, maintaining the defensive and protective affordances identified in primer. Expressing defence in this facade alludes to the entrance being on the other side. The way in which the facade responds to the ruin is similarly to that of my primer intervention, expressed in my tea ceremony threshold study model. The use of orange in the image expresses the progression of permanence from the ruin to the castle.

Tea room entry threshold study (adjacent) High level bridge view render (opposite)

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SECTIONAL PERSPECTIVE EMBODYING THE CRAFT

This section from the castle down towards the River Tyne is designed to sell the project. Expressing the progression of permanence in the concrete as well as the tension in the steam bent joints, creating space between the concrete elements. The cut through the teaching space shows the hygromorphic cladding that changes to create a dynamic environment. The rear wall of the workshop is a tall polished concrete wall inspired by Tadao Ando to create reflect the steam and light, funnelling down the back of this tall space.

1:50 Sectional Perspective (right)

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CRUCIBLE TEACHING SPACE CROSS SECTION B:B

The crucible teaching space derived from my initial steam movement cross section model. I wanted to create a learning space that would be aware of the craft rather than a standard lecture hall. Two chimneys either side of the space act to isolate it. Hygromorphic cladding along the chimney sides move when they absorb the moisture in the air. This create a dynamic space, an awareness of the craft process and serves as a way of revealing and concealing views in and out of the teaching space. Once more adding to the manifesto of: experience revealing craft.

Section cut line (adjacent) Steam control- Concrete cross section model influence (right) Crucible teaching space parti diagram (top) Cross section B:B (furthest right)

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B

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ATMOSPHERIC RENDER INSIDE STEAM CHIMNEY HYGROMORPHIC INHABITED CHIMNEY

I wanted to create a space within my design with a full immersion within the steam. As i have two chimneys, the right one acts as a foul chimney, with plant room extracts coming out. The left chimney is just steam and has an inhabitable walkway. The render is designed to illustrate how the light will dance off the moisture in the air, creating rainbows and light defraction. The space would smell like warm timber, with views out to the sky and to the crucible teaching space through the hygromorphic cladding.

Atmospheric render inside inhabitable chimney (adjacent) My hygromorphic cladding experiments (opposite, top) Newcastle University hygromorphic research (opposite, middle) Making the cladding (opposite, bottom)

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Hygromophic cladding acts like a pinecone in the respect that it opens and closes, responding to climate. A layer of wood veneer absorbs the moisture in the air from the steam, causing swelling. A passive, or non active layer such as polthene is attached to the opposite side with epoxy resin. This resists the movement of the swelling timber resulting in a contraction.

This creates opportunities for passive ventilation and dynamic space.

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WORKSHOP ATMOSPHERE STEAM RISING CREATING A CONTINUAL IMMERSION IN THE CRAFT

The workshop space is a tall space allowing for light to be funnelled down along the angled walls and for steam to rise. Gaps in connections between the walkways and the concrete creates a permeable circulation route which permits the movement of steam creating a continual awareness of the craft by all people above. The rear wall of the workshop is a tall polished concrete wall inspired

by Tadao Ando to create shadows reflecting the steam and light, funnelling down the back of this tall space.

Atmospheric axonometric (adjacent) Workshop space zoomed in from perspective section (opposite)

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WORKSHOP RENDER STEAM RISING CREATING A CONTINUAL IMMERSION IN THE CRAFT

The workshop space is the heart of the building, being a craft school. The image illustrates how the steam beds are used in the main concrete fin of the crucible space. In orange i have expressed all the crafted elements. Adaptable clamping systems how timber in place (bottom left) and you can see the bending board apparatus in the right, next to the steam bent clamp rack.

The steam shadows can be seen dancing on the walls.

Workshop render (furthest left) Workshop lighting conditions taken from model (adjacent)

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SPATIAL AND FACADE DEVELOPMENTS DEVELOPING THE PUBLIC ENTRY SPACE

Developing the temporal space in the public entry space to create a more dramatic environment with varying heights. To develop the facade I worked alongside the internal spaces to ensure there was a relationship between the facade and the space. My original facade was just a curtain wall, an opposite of the defensive facade to the south. The transparency was designed to attract people in towards the entry.

My facade development acted to draw people towards the entrance though the use of steam bent louvres.

Old entry space - perspective section (left) Temporal space and facade iterations (right)

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PUBLIC ENTRY DEVELOPMENT HYGROMORPHIC INHABITED CHIMNEY

As the public entered on the ground floor into a cafe I wanted to create more of a relationship between the public and the private educational facilities. Opening up the teaching spaces above would help reinforce the temporal concept, with spaces opening and spilling out, being more adaptable. The next big change was to punch through the external facade creating a direct relationship with the castle. I took influence from Herman Hertzberger’s tiered levels of interaction.

Herman Hertzberger relationship diagram (top) Public/ private relationship model iteration (bottom)

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public

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DUTCH FACADE RATIONALE CONSERVATORIUM VAN AMSTERDAM EXPRESSION OF PROGRAMME

In my early render I aimed at creating a relationship between the entry space and the castle in the reflections.

I later developed a faรงade rationale inspired by the Dutch expression of programme. I integrated this with the craft through the use of steam bent vertically twisted louvres.

The louvres are designed to conceal and reveal views, suggesting a routes around the building towards the entry space. The louvres express the temporal spaces in the lobby and reveal or conceal dependant on function.

Early facade render (adjacent) Tom Raffield vertically twisted timber (opposite) Conservatorium Van Amsterdam- Piero Lissoni (opposite, middle) Sketch- enclosing elements (opposite, top) Facade/ space rationale (furthest right)

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ENTRY TO BUILDING

CONNECTION

LOUVRES OPEN VIEW TOWARDS ENTRY

CASTLE

LOUVRES BLOCK VIEW

PUBLIC ENTRY TO SITE

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GABLE END STUDY MATERIALITY AND MAINTAINING THE SECTIONAL EXPRESSION OF THE CRAFT

In my gable facade I wanted to maintain the expression of the craft which is clearly described in the section.

To do this the concrete fins project to create a dominating atmosphere for people walking down the existing pathway. The first concrete fin cantilevers over the walkway to reflect the concealment when you walk through the postern at the foot of the pathway.

Museum of Hamar (photo T. Solvang) (left, top) The refectory extension, Norwich Cathedral (left, bottom) Gable end collage (opposite)

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RELATIONSHIP BETWEEN TEAROOM, CRAFT SCHOOL AND RUIN RESPONSE TO RUIN

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By maintaining the ruin as a threshold, I could keep the ritual of the tea ceremony isolated from the chaotic city so that- as Okakura states -, “one may be in the midst of a city, and yet feel as if he were[…]far away from the dust and din of civilisation.”⁶ Tea ceremony journey and room 1:100 (opposite) Craft school ground floor plan 1:100 (above) Isolation by ruin as threshold parti diagram (left) ⁶ Okakura, K. (2012) The book of tea, Jazzybee Verlag pg.22

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TEMPORALITY SPACES FORMED AROUND THE PERMANENT CONSTRAINTS ON SITE

GROUND FLOOR PLAN + DESIGN STRATEGY

EXISTING PERMANENCE BRIDGE HOTEL

DESIGNED PERMANENCE

HYGROMORPHIC INHABITED CHIMNEY

CONCRETE FINS

Similarly to my section my building is designed to represent the craft, using existing and created forms of permanence such as the bridge hotel, fins and ruins. The temporal spaces are then formed around these permanent features, reflecting the bending board used to steam bend.

Craft/ context parti diagrm (right) Bending board, craft influence (right)

EXISTING PERMANENCE RUINS

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PROGRESSION OF PERMANENCE READING THE LANGUAGE OF THE SITE AND INTEGRATING CONCEPTS

The progression of permanence was used as a rationale for designing my building derived from my context related concept. The parti diagram on the opposite page illustrates how the concrete fins work, becoming more permeable as they move from the castle to the ruin. I took inspiration from my primer model: deconstructing the ruin, where i took the solid ruin and looked at how it could be broken down to become more temporal.

Progression of permanence material model (adjacent) Deconstructing the ruin primer model (opposite, left) Progression of permanence parti diagram (far right)

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CASTLE

FIN (PERMANENT) (ALL ABOUT INTERNAL) SITE INFORMS

CONCEPT

FIN (SEMI-PERMANENT)

INFORMS

STRATEGY

1)Ruins (Permanent) 2)Alteration and intervention 3)Adaptable interventions (Temporal)

RUIN (DEGRADED)

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[ AP1 ] [ AP2 ] [ AP3 ] [ AP4 ] [ AP5 ]

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LIGHTING / JOINERY WORKSHOP LIGHTING COLLAGES

The lighting and joinery workshops mid way through the year taught us how to solder lighting components and understand how different materials diffuse and react to light. Practicing the joinery was a good introduction to prepare for the Japanese joinery workshop in Liverpool with Hugh Miller.

Lighting design workshop (right) Lighting design creating (opposite, bottom) Joinery carving (opposite, top)

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JOINERY WORKSHOP

LIGHTING DESIGN WORKSHOP

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CHARRETTE SENSORY DEVICES

Charrette week is a week long collaboration between as years of the school of architecture so you are learning from peers in the BA and MArch. In our group Parabolic Visions we were tasked with creating sensory devices to alter the wearers perception. I created a series of posters in the style of a public service announcement, declaring to the public how to use the devices.

Olfactory sensory device (right)

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BIBLIOGRAPHY IMAGES THAT ARE NOT THE AUTHOR’S OWN

Fehn, S. Design for museum of hydraulic energy at Suldal, Norway Norberg-schulz, C. and Postiglione, G. (1997) Sverre Fehn: Works, Projects, Writings, 1949-1996

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Fehn, S. Museum of Hamar (photo T. Solvang, right) Norberg-schulz, C. and Postiglione, G. (1997) Sverre Fehn: Works, Projects, Writings, 1949-1996 pg.66

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Miralles, E. Olympic archery range Article by: Langdon, D. (2014) Available at: https://www.archdaily.com/539870/ ad-classics-olympic-archery-range-enric-miralles-and-carme-pinos [accessed: 25/5/18]

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Aldo Rossi, Plan of foundry, Ercolano, Italy Available at: https://relationalthought.wordpress.com/2014/01/05/1837/ [accessed: 25/5/18]

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Enric Miralles -- Igualada Cemetery, Igualada, Spain (left) Kroll, A. (2014) Available at: https://www.archdaily.com/103839/ad-classics-igualada-cemetery-enric-miralles [accessed: 25/5/18]

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Kengo Kuma & Associates --Starbucks Coffee shop Available at: https://www.archdaily.com/211943/starbucks-coffee-kengo-kuma-associates [accessed: 25/5/18]

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Raffield, T. Available at: https://www.tomraffield.com/?gclid=EAIaIQobChMIvamp78yf2wIVp5PtCh0phAQOEAAYASAAEgLbt_D_BwE [accessed: 25/5/18]

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Jorn Utzon, Sydney Opera House sketch Available at: http://bubblemania.fr/en/architecture-opera-de-sydney-australie-jorn-utzon-1959-1973/ [Accessed: 25/5/18]

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Rohe, M V D. - Farnworth House column detail Available at: https://www.google.co.uk/url?sa=i&source=images&cd=&ved=2ahUKEwiSodvvzZ_bAhVFrRQKHQVzDuQQjhx6BAgBEAM&url=https%3A%2F%2Fwww.pinterest. co.uk%2Fpin%2F549017010811185378%2F&psig=AOvVaw1n0TwYFoB8r_9jiyJUqxMU&ust=1527294591959499 [Accessed: 25/5/18]

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Mecanoo - TU Delft Library Available at: https://www.pinterest.com/pin/48835977190855877/ [accessed: 25/5/18]

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Fehn, S. Museum of Hamar (photo T. Solvang) (right) Norberg-schulz, C. and Postiglione, G. (1997) Sverre Fehn: Works, Projects, Writings, 1949-1996 pg.66 Archaeologia Aelia- Scans of site excavations from an enquiry at the society of antiquaries, Newcastle Upon Tyne Ingles, B. Amager Bakke Waste-to-Energy Plant Available at: https://www.dezeen.com/2015/08/17/big-bjarke-ingels-launches-kickstarter-campaign-crowdfunding-smoke-ring-blowing-chimney-amager-bakke-energy-plant-copenhagen/ [Accessed: 25/5/18]

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Newcastle University hygromorphic research Available at: https://blogs.ncl.ac.uk/responsive-materials/ [Accessed: 25/5/18]

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Raffield, T. Vertically twisted timber Available at: https://www.tomraffield.com/?gclid=EAIaIQobChMIvamp78yf2wIVp5PtCh0phAQOEAAYASAAEgLbt_D_BwE [accessed: 25/5/18]

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Lissoni, P. Conservatorium Van Amsterdam Available at: https://www.yelp.ca/biz/conservatorium-van-amsterdam-amsterdam [Accessed: 25/5/18]

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Fehn, S. Museum of Hamar (photo T. Solvang, right) Norberg-schulz, C. and Postiglione, G. (1997) Sverre Fehn: Works, Projects, Writings, 1949-1996 pg.66 Hopkins. The refectory extension, Norwich Cathedral Available at: https://www.hopkins.co.uk/projects/1/99/ [Accessed: 25/5/18] pg.125

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