PORTFOLIO Luke V J Dunlop 18115308 Portfolio 2018 Masters Submission
CONTENTS Luke Dunlop Portfolio
Crossover - Broad Chare Medieval Festival
12-21 Graduation Project - Lindisfarne (Holy Island)
22-23 East African Missionary Society (TEAMS) - Haskoll
24-25 Prospect and Refuge - Amble, Northumbria
CROSSOVER SAGA - A Tale in Three Stories Brief - To create a music festival in the heart of the city of Newcastle upon Tyne. The festival needs to be located in Newcastleâ€™s historic alleyways that run perpendicular to the River. The theme of the festival needs to compliment its historic location, with structures designed to facilitate performance and entice the community to attend the event. The theme chosen was a fairy-tale medieval theme, which would compliment the historic past of the chosen site. Site - The Broad Chare, a historic part of Newcastle city centre, was my choice for its width and potential for a larger, more active festival, one perhaps similar or adjoining to the current Newcastle Quayside Market. The market is held every Sunday perpendicular to the site - which in itself is a feature of the quayside that pulls the public to the area. The Broad Chare is host to the Trinity House, Headquarters of a maritime organisation, which formally came into being in 1505 and stapled the area as a nautical centre for the northeast. This motivated the protagonist for the fairy-tale and the continuation of his journey through the Broad Chare. Keen to run with the idea of a medieval festival, I looked to these sorts of â€˜stylesâ€™ within the architectural and artistic realm for inspiration. Anton Pieck is a Dutch painter and artist who caught my interest for his fairy-tale and whimsical works, inspiring me to create my own story that forms a parallel journey to the festival. The site is naturally cut into three parts. The first starts at the Quayside and finishes where the modern street becomes pedestrianised; the next runs from this point towards a sculptural egg that is situated on the edge of Manor Chare, and the third is a winding set of stairs nestled amongst a steep hill of overgrown vegetation. Each section plays a part in both the festival and the story, providing different atmospheres for the journey from Quayside to the Town Wall remains, signifying the end of the site (located at the farthest point North). I set out to put a modern twist on the medieval theme, resulting in a medieval fairy-tale, contrasting this by creating a modern festival through contemporary music presented in a unique medieval style.
The site, highlighted in red, naturally dissected into three separate areas. The blue lines represent the fluidity of movement people will have through the space with the ring showing the central historic area of Newcastle upon Tyne.
Festival Narrative - Inspired by Anton Pieck PART 1 - The Magic Arches After a treacherous voyage through the North Sea, the thick fog that had indefinitely enveloped the lone sailor began to lift, and through the haze, far in the distance, appeared an arch. He entered through the all-encompassing construction only to find his perception distorted. Feet moving almost without consciousness, he floated through the tunnel, carried by a weightlessness conducted up and down to the faint musical notes reaching his ears. His euphoria and jubilation begun to overwhelm him, but then he saw it. A giant figure in the distance, framed by the arches, playing a cool melody. The giant seemed to multiply in numbers, with his companions gathering around his melodic sounds. However, before the sailor could consider turning back, they spotted him.
PART 2 - The Witches House The sailor continued to sprint through the mysterious arches as the giants clumsily swung out in attempts to grab him, until he came across a small and rickety house, placed upon a series of thin stilts, spindly but anchored to ground by the power of nature and the passage of time. The quaint cottage was encased within a beautiful garden of brightly coloured trees. Most intriguing of all, however, was a gigantic and mysterious egg perched delicately underneath the house. Enchanting music, surely a witchâ€™s work, began to infiltrate the naĂŻve mind of the sailor. It made a crescendo up, in, around and down throughout his consciousness until it began to take over completely: entranced, and unable to call for help, the sailor was trapped.
PART 3 - Enchanted Forest There was a sudden blinding gleam of light, so encompassing that what seemed reality became distorted as the sailor felt himself being lifted by his collar by an unknown gravity-defying force. Little by little he rose, until the egg and the witches house vanished within its entwining garden into a mere mirage of memory. Legs swinging, wind on his face, for a moment the sailors mind was at ease, until he realised he was heading towards the dark depths of the woodland belowâ€Ś â€œTo save the princess, follow the music,â€? the fairies whispered simultaneously as they dropped the sailor on the dark, dirty forest floor. And there he was, lost, desperately searching, looking left and right, but it was all identical. Suddenly, out of the darkness a bright light in the distance illuminated a small window looking over the forest. A woman stood in the frame, a dark silhouette standing in all her splendour, singing a lullaby into the dark night. It was not only the flickering light that became visible as darkness fell, but also the eyes of the beasts hunting the movements of the sailor. With all his energy he hurried towards the princess, shouting as he went until suddenly the small winged creatures once again lifted the sailor from his collared uniform directly into the window where the princess stood, knocking her from her feet as they threw the sailor from danger into the top of the vast candle lit stone structure. Music had brought him here; it had been his calling ever since he arrived in this perilous land. He had succeeded.
Not to scale
Mimicking the fairytale narrative, these arches are located at the most southern part of the site, designed to entice the public from the local market place into the festival site. These arches gradually narrow, accentuating the magnitude of the main festival site, a.k.a ‘The Witches House’.
In the main area of the festival site is located Part 2 of the fairytale narrative, ‘The Witches House’. This area is designed to become a performance space, where visitors can use the surrounding stairs as seats to watch medieval performance. The arches and swings are designed to naturally draw individuals to this area.
Located within the overgrown ‘enchanted forest’ are a number of performance spaces, designed to integrate into the overgrown vegetation. These areas are located inbetween the winding stairs heading towards the busy modern street above. (Fig. 5)
I decided to transform the dilapidated stairs within the steep hill of overgrown vegetation into a set of playful, colourful swings. Used in a similar way as the arches, these will attract passer-bys into the festival site through engaging with these interactive installations and will be used as a way to move between the various stages in the ‘enchanted forest’. (Fig. 5)
The installations throughout the festival can all be easily and fully dismantled, for efficient deconstruction and transportation. For instance, the â€˜Witches Houseâ€™ is created from wood which can be easily fixed together, not requiring any screws or nails (Fig. 3). Similarly to this, the arches are constructed from light-weight wood and held together through knotted rope ties. The tension in the ropes will keep the structures upright, with the final arches connected to fixed weights on the ground (Fig. 4).
These sections more accurately illustrate how these structures would be interacted with by the public and how they would be lured into the performance spaces. I juxtaposed the colours in these sections, purely to accentuate the coloured characters (Anton Pieck), to convey the medieval atmosphere and to highlight the installation pieces. (Fig. 1/2/5)
Not to scale
FINAL EXHIBITION A R C H E S
W H I C H E S H O U S E
E N C H A N T E D F O R E S T
Renders Renders were an important piece that needed to be created and included in the final exhibition piece. I felt these would provide the public with an insight into the atmospheric qualities that combining medieval and fairytale themes would establish. The first piece focuses on emphasizing the stature of the arches and the distortion of perception that the traveller experienced. The second focuses on and accentuates the sinister element surrounding the mysterious house, with the third highlighting the enchanted wizardry the forest possesses.
Book Model I came up with the idea of creating a model within a book of a section through the site, Broad Chare. By flipping through the book, the section changes to provide multiple perspective views of the site at a scale of 1:500. This model was created through laser-cutting around 40-50 separate pieces of thick cardboard and creating a spine so they could be stuck together at a hinge and be flicked through. This model correlates with the creation of a â€˜musical chairâ€™ to create a unique, mesmerizing experience through interaction.
Musical Chair I created a musical chair to create an immersive experience through interaction. The chair uses pressure pads located at the back of the seat that triggers music once pressure is applied. I wired up the pressure pad to multiple small speakers located on the under-side of the chair that a device can be connected to through an AUX cable. This chair added another dimension to the exhibition and transformed it into a multi-sensory experience. Modern music covered in a medieval style was the choice of music as this is what would be played at the festival itself.
Brief - Located in Lindisfarne (Holy Island), Northumberland, I was given the task to design a building that would be used to educate visitors, providing them with an insight into the unique environment and ecology of the island. Lindisfarne is only accessible during periods of the day with low tides, as it is located in an intertidal zone, meaning a tight time restriction for visitors to the island. My idea was to design and create a hub located in the intertidal zone, that would embody all aspects of the island to provide visitors with a journey through the history and ecology of the site, which would not be previously possible. Site - Pilgrims’ Way is a historic 3km route across mud flats to Lindisfarne guided by wooden poles (highlighted in blue below). This route has been in constant use by pilgrims for the past 1300 years, with an annual pilgrimage, called the ‘Northern Cross’, stretching from the Scottish border to Lindisfarne. Pilgrims’ Way is one of the two main access points to the island, with the other being the causeway (highlighted in green). Unfortunately, due to easier vehicular access via the causeway, this pilgrimage route is scarcely used, meaning many miss the opportunity of a fulfilled observational and spiritual experience through using the other route. There are numerous reasons for the choice of my building location. Firstly, the site will connect visitors with both Lindisfarne’s history and its ever-changing landscape through access via the traditional route of Pilgrims’ Way. Additionally, this will reduce the vehicular impact on the island to help preserve the landscape and its wildlife and the position utilises the natural curvature of the surrounding landscape to determine the best location to witness all aspects of Holy Island. Locating the building within this open expanse of the intertidal zone will provide prominence to the structure and naturally attract visitors to it. This placement will also help to integrate the building into the landscape by working in harmony with the tidal flux. The landmarks are located on all corners of the island, meaning a tall structure would be
Highlighted points of interest include: 1
St. Cuthbert’s Island
3 4 2
The Building focuses on amalgamating all characteristics of Lindisfarne into one concentrated form, highlighting the historic pilgrimage route, the ever-changing surrounding ecology and integrating the extensive spectrum of wildlife and plants. I wanted to create a cohesive but diverse structure, that would integrate but accentuate the historic and unique site of LIndisfarne. Furthermore, utilising a tall, linear form will allow for visitors to witness all details of the island from an elevated view-point.
Inspired by beacons located on and around Lindisfarne, these sketches begin to experiment with a triangular form and explore journeys to and through the structure, as an extension of the historic pilgrimage route. I also began to consider the idea of having circular observational platforms at various levels for extensive panoramic views of the surrounding landscape.
An experimentation with tower form - creating multiple observational platforms looking over the highlighted areas of Lindisfarne.
These plans focus on encompassing all aspects of Lindisfarne into one form, creating a unique and educational journey through creating a vertical extension of the historic pilgrimage route. As one circulates the building they are led through its multiple functions, from a restaurant to exhibitions and a landscape observatory . It was important to create this 12 floors, both to facilitate functions and to create height. A secondary facade facilitates a circulation space that wraps around the main structure, allowing for views outward (red arrows illustrate the movement of visitors around the structure).
At 45m in height, this structure would allow for unique extensive panoramic views of Lindisfarne. This elevated view would allow for people to have the opportunity to experience the true essence of the island with all main aspects of the landscape visible (previously highlighted). Integrated trees and flora would also transform the open space into a sanctuary for the diverse range of wildlife Lindisfarne is home to.
Overnight accommodation here is available to visitors, which for the first time provides visitors to the island a unique experience of witnessing tidal movements from a closer, more intimate proximity. This structure also acts as a refuge point to those caught in the tide during their crossing. This accommodation space includes a restaurant with singular, double or family rooms to accommodate for all guests.
With high tide reaching up to 6m, an underwater aquatic observatory is integrated into the central circulation core of the structure. This is accessible at all times via stairs or lift. This will provide, for the first time, a unique view of the thriving aquatic life surrounding the island, including animals such as seals and dolphins. In addition to this, a floating jetty (that lies upon the sand at low tide) will allow for access to and from the building during high tide. The GF entrance consists of a gabion maze, designed to disorientate and restrict the visitor to emphasize the magnitude of the building and landscape once completing the â€˜mazeâ€™ and entering the main structure.
Circulation space is encased within a glass tube structure, allowing for a natural extension from the underwater observatory (during high tide). Furthermore this glass structure will allow visitors to witness the linear journey through all functions of the building.
Not to scale
A stimulating journey that experiments with height, light and thresholds.
Double-facade circulation space
The construction of this building consists of a primary steel structure with extended pile foundations to a depth of 15m. A diagonal bracing system is fastened to this primary structure to withstand lateral forces from wind and tidal fluctuation. A secondary steel structure holds a scaffolding structure, which supports a weaved aluminium facade. Finally, stainless steel ropes with rod spacings are connected to the exterior of the weaved facade to allow for the growth of climbing plants for effective temperature regulation, facade protection, ventilation along with an integrated aesthetic.
Not to scale
The uppermost section of the external weaved facade contains openings that frame particular aspects of the surrounding landscap such as St. Cuthbert’s landscape, Way and Lindisfarne Priory. These framed views are visible from the upper viewing platform within the internal triple height garden
Garden acting as a bird sanctuary for the preservation of rare bird species
Central circulation core acting as a lightwell to direct natural lighting into inte internal spaces. Floating glass stairs wrap around a glass lift shaft, both encased within a curved structure leading to the aquatic observatory at the bottom. A curved glass form will effectively rebound light whi penetrates from the top which floor and through the triple height garden
Protruding glass viewing platforms directed towards sites of importance
Emmanuel head beacon Lindisfarne Priory
St. Mary’s Parish Church
St. Cuthbert’s Isle
Bottom of glass circulation acting as underwater observatory during high tide
SECTION (East facing) This section conveys all the various functions contained within the structure, from the underwater observatory, to the internal classroom areas and the landscape observatory above. In addition to this, the double-skin facade is visible here, allowing for covered external circulation around the building in addition to the central glass circulation. I also included surrounding landmarks that are focal points from the observatory towards the top of the structure. I also wanted to present how the central glass circulation can work as a light-well to effectively illuminate the inner structure with strong natural lighting.
ELEVATIONS The idea behind the external facade facilitating ever-growing plant life was to integrate the large structure into the surrounding environment through working cohesively with it. From approach along the historic pilgrimage route, you can notice that the structure is positioned slightly to the right to maintain the fluidity of the historic pilgrimage route, providing visitors with the choice to visit the building or to continue the use of the historic route. Despite it being a physically large structure, I believe that the design allows the structure to be naturally ingrained within its local environment. The varied external views show the external protruding viewing platforms that are directed towards sites of importance.
III TEAMS The East African Missionary Society The East African Missionary Society is a Christian charity focused on creating cost- efficient but high quality construction for homeless and dislocated members of society in Uganda. Whilst working at Haskoll Architects in London, I was given the task to create a dining and multipurpose function area. I communicated directly with the client, collaborating our ideas to bring them to practical fruition and create a highly functional and flexible space. The site plan shows buildings that are already built (pink) with the green structures in the process of being designed and constructed. I was simply given rough dimensions, certain functions the building needed to facilitate and the materials that would be available to us.
Taking into consideration the contextual details of the surrounding built environment, I decided to keep the building open to the west to correlate and connect with the Church. The idea is to allow people to flow freely into the dining/function area after a service as well as utilise the open grass space between the block and the Church for sociable events, such as weddings. There is also an extended overhand to this side to accommodate social events in the case of downpour. The security of the site was considered when designing the building and the valuable materials (gas cannisters etc.), I made the only entrances into the cook house and servery through a locked passageway (1000mm wide) to the back of the building.
Structure Chimney - stack effect drawing the smoke from the cook house through a raised pitched roof directing the smoke away from the main block. Cook House - 1m brickwork to isolate chimney in case of a fire with bamboo screen above fixed onto timer supports. Above this is approx 500mm of metal cladding to contain the smoke, acting as a smoke reservoir directing it towards the vent/chimney. Servery - secure on all sides with block work. The facade is also clad in bamboo to blend in and flow with the rest of the building. Dining Area - flexible space for dining, teaching, lectures, parties and wedding receptions. Rendered block up to one metre high with bamboo screen up to the truss level above. Clad in bamboo from 1m (to avoid damage) with large service hatch (2000mm) to host guests comfortably. Facade at front is open with columns 1500mm apart facing the church to unite the two structures making it easily accessible.
Primary Structure- Pitched roof with trusses spaced at 1500mm centre covered with a pro led metal roofing. Insulation consists of a papyrus matting to screen the radiated heat from the roof. The pitch overhangs 750mm on the side facing the church and 300mm elsewhere.
THU A rendered image showing the free-flow between the servery and aligning church to the western side.
Drainage - Rainwater collected into water storage containers located around the cook house.
IV PROSPECT AND REFUGE
BRIEF Prospect and Refuge focuses on experimenting with architectural limitations and thresholds to provide points of protection and refuge against the surrounding environment whilst simultaneously maintaining a close connection with the landscape. The brief limited us to work in a square format of 15m/15m with four upper floors grounded by a structural plinth. Within his limited space we were to include a lecture hall, classroom space, an exhibition, study pods and staff offices. Located in Amble, a small parish town on the coast of Northumberland, we were provided with a small expanse of land from which we could design a structure that acts as an extension for Newcastle University. This structure will provide facilities to educate visitors on the history, landscape and wildlife of Amble; three characteristics that strongly define the area. Below the map illustrates the harsh environmental elements that I needed to consider in the design of the building. For instance, cold, relentless winds and rain coming from the North Sea and the naturally beautiful surroundings with views out towards the lighthouse and Warkworth castle to the west.
Design Ideas My initial design ideas elevated from utilising the structure to accentuate the beauties of the surrounding landscape whilst maintaining an element of protection. This is achieved through framing views and using secondary faรงades to shield from the elements, however simultaneously allowing for uninterrupted outward views. I came up with a structural grid I felt would best facilitate a range of functional spaces.
Not to scale
PLANS Through establishing a structural grid that could facilitate functional space(s), I began to experiment with layout, coming up with the final plans to the left. The first-floor is an open public exhibition space with a cafe, reception area, study area, study pods and a large fish tank. The second is for students, containing two seminar rooms and a large classroom area with toilets and storage areas. You can navigate around this floor both internally and externally similar to the floor above. The third floor has the other four study pods with a viewing platform, toilets and an entry point up stairs into the lecture hall. Finally the top floor has offices, an external viewing platform (also circulation space), disabled toilets and the upper level of the lecture hall.
SECTION (in perspective) This section highlights the utilisation of the plinth structure to act as a refuge against the surrounding harsh environment. Additionally, this piece highlights the extended fish-tank through to the first floor exhibition space. I wanted to focus on the secondary facade here, and the sheltered external corridors that wrap around the exterior towards the more attractive scenery to the north-west of the structure. The lecture theatre space is also visible here, with the large extended window lighting the large open space on the top floor. ELEVATION (in perspective) I wanted to highlight the materiality of the external facade, which I decided to make out of weathered timber. Through researching into this material I was surprised by how effective it can be in giving a structure a very natural look, allowing it to merge into its surrounding environment. Over time the weather impacts the aesthetic of the wood creating a silver-grey appearance, providing the structure with an element of place and belonging.
*Not related to previous projects displayed in this portfolio
Tectonic Intent My design is a large ground-floor workshop and exhibition area with three floors of private residential spaces for students and a tutor. The nearby water, site slope and the loose foundation led me to use a concrete floor and pile foundation to transmit the load of the building into stronger subsoil. The concrete floor means a higher thermal mass, meaning transmitted heat from the workshop can be re-used to heat during colder periods. Additionally, concrete retaining walls provide lateral support to vertical slopes of soil on two sides of the workshop heightened fire risks associated with workshops will be decreased as concrete has a high degree of fire resistance, hence the circulation space also being encased in this material.
Structure Primary In situ concrete floor and retaining walls Steel frame structure
Timer frame structure
Bottom floor consists of a in situ concrete floor (with pile foundations) with concrete retaining walls and a steel load-bearing structure to support the load of upper stories with a slight cantilever above. Upper floors are timber frame wall construction with internal structural walls for support. Timber walls have a top and bottom plate and noggins at a height of 1200mm up. Circulation space is a steel and concrete structure.
Secondary Steel/timber floor construction
Secondary light steel infill walls
Floor above large bottom floor consists of a steel floor construction with all other floors timber with a mid-span noggin. Light steel infill walls allow for application of cladding and insulation spaces. Spacing at 600mm centres with bottom and head tracks (arrows).
Tertiary Cladding (timber upper floors/ sheet metal lower floors) Floor coverings
Consists of both floor and roof coverings as well as cladding (corrugated sheet metal) on bottom floor and on the upper timber framed floors (25mm timber ‘Acoya’ cladding). Glazing is also represented in the upper timber framed floors within the gaps left and large door openings in the bottom floor.
I created the bottom workshop floor out of steel to support the loads of the upper stories. The fact that this floor is also double-height means that it requires a stronger and more rigid material. I used light steel as infill to support cladding and accommodate insulation. Furthermore, steel has a higher fire resistance than timber. The roof above is made out of steel for this particular reason, also adding strength supporting upper levels. I took the sustainability of timber into consideration. The low embodied energy within the material achieves high “Green Guide” ratings and by using timber joists within floors it minimised thermal bridging. I added a parapet onto my flat roof construction to protect the edge of the roof assembly from the wind uplift forces.
Not to scale Not to scale
LUKE DUNLOP 18115308
A portfolio showing a concise collection of varied design work