Matthew Harrison Stage 3 Academic Portfolio by MatthewHarrison27

Matthew Harrison - 150051383 Getting Away From It All ARC3001 Academic Portfolio 2018 Architecture Newcastle K100

BLYTH MARITIME MUSEUM

KEY CONCEPT

The focus of my Stage 3 project is to create a Maritime Museum in the port of Blyth that aims to break through industrial barrier in the town and therefore reconnect the people of Blyth with the water

Blyth Maritime Museum

CONTENTS

Introduction 6

Primer 12

Staging 28

Realisation 42

Refinement 68

Tectonic Integration Part 1 - 90

Charrette 8

Tectonic Integration Part 2 - 102

ARC 3013 Feasibility Study 104

ARC3013 Technical Review 110

ARC3014 Professional Practice in Management - 116

ARC 3015 Theories into Practice - 120

ARC3060 Dissertation 124

Assessment Sheets 134

Bibliography 136

Contents

Blyth Maritime Museum

Berwick upon Tweed

Introduction

ollowing extensive research into the context of Blyth and its history, as well as studying various architects and other discipline designers, I have formulated the proposal to create a Maritime Museum that will break through the industrial barrier in Blyth, in order to reconnect its people to the water.

I tackled this through not only creating exhibits that talked about Blyth’s boat building history, but also by offering opportunities for hands on experiences such as going inside a WWII submarine and pointers to new and existing workshops that deal with the construction of boats in various materials.

The placement of my site was crucial and as I learned from a study of United Network Studio’s commentary on the evolution of culture and commerce relating to free port art galleries, “The moments of conflict are in fact moments of opportunity – where the relationship between culture and commerce can be re-thought and therefore re-designed”(1). This led to the selection of site at the juxtaposition of the four aspects of Blyth’s accommodation, the point at which Ridley Park, residential accommodation, Blyth Marina and the current industry all meet. Connecting and creating freedom of movement between them became a cornerstone of my proposal.

Throughout the design process I felt it key to reflect back to the information and skills that I learnt during the various stages of the process. For example the extensive model making craft that I undertook during primer gave me a basis of skills that I could take forward into elements such as the thinking through making week as well as my final models. From this exercise I also learned how to better analyse the precedents that I studied.

This concept of movement was carried through into the site landscaping and design of my building as it features sliding elements of cladding inspired by the travelling cranes that used to inhabit the site, as well as Diller Scofidio + Renfro’s Shed in New York. These cladding elements are hung from a portal frame that spans a newly created water inlet that acts as the key axis of movement on the site. Reconnecting the people of Blyth to their historic maritime culture was another key driver for my project.

A skill which I feel I have progressed this year is my ability to produce high quality renders from SketchUp. This was crucial to my project as it allowed me to show off the spaces in my final design in much greater detail through my final perspectives. However, although the level of detail has increased I feel that these final images have become slightly impersonal and lacking in experiential qualities. Perhaps in future it would be beneficial to produce images of varying detail in order to be able to read between the scales and experiences of my design.

Seahouses

Beadnell

Craster

Alnmouth

Amble

Newbiggen by the Sea

Newcastle upon Tyne

Blyth Maritime Museum

Introduction

BLYTH

2 T

Charrette

he Charrette week project that I was a part of involved the redevelopment of a an external area of the Alphabetti Theatre on St Jamesâ&#x20AC;&#x2122; Boulevard in Newcastle. We aimed to create a spill out communal space that would help to draw people into the theatre. A key aspect of our brief for this project was to fit in with the low cost ecological ethos of the Alphabetti Theatre group, which is why we based our design around recycled oil drums and responsibly sourced timber products. On the next spread I have displayed the two posters sheets we produced that discuss and advertise our scheme.

Blyth Maritime Museum

Charrette

SPILL OUT THEATRE The spill out theatre envisions a community space for residents and theatre goers to relax before a show. By using upcycled oil barrels and ecologiclaly responsible chipboard, the theatre can stay true to its ecological aims whilst keeping cost to a minimum. Aesthetically, the project reflects the local industrial vernacular whilst creating a playful and colourful centre of activity. Why not grab a pint and sit at the spill out theatre before the show?

Green space & parks

Significant traffic routes

Housing

Education

Commercial (shopping & business) 1: 5000 site plan (orientated North)

Concept sketch (left) The spill out theatre will provide a hub of activity, to promote the Alphabetti theatre and enrich the local community. Breaks between seating will direct visitors towards the theatre entrance.

Perspective collage (bottom left & right) The proposed seating provides the perfect backdrop during daytime events or a night-time performance.

Blyth Maritime Museum

Charrette

3 T

Primer

he main focuses of the primer stage of the project were research into; coastal typologies, the aspects of people and place that made up the stretch of coast from Blyth to Newbiggen by the Sea, and elements of cross disciplinary design that could be taken forward into my later project.

Blyth Maritime Museum

Primer

COASTAL TYPOLOGIES

The focus of my coastal typologies study was on rescue buildings. I looked at mainly lifeboat houses with an attention on the way the boats were housed and the subsequent movement of the boat and the people in order to obtain maximum efficiency.

Old Tenby Lighthouse - cast landscape and modelled in timber

I also looked at the structural strategy of building out over the water in terms of weight, scale and technical details. I also began to study the threshold spaces between interior and external spaces that existed in the precedents. Model making was a key part of the primer process and here I have displayed the highlights from the process. Front Elevation Scale 1/250

Old Tenby Lighthouse - Section showing structure and projection from the cliff

High Tide Low Tide

Side Elevation

Scale 1/500featuring sliding boat Old Tenby Lighthouse - Artistic impression

Primer Blyth Maritime Museum FDNY Marine 9 - Exploded Structural Axonometric

FDNY Marine 9 - Structural Model Title Size 18pt

DLRG Lifeboat Station - Wrap Around Elevation

Amagansett Lifeboat House Museum - Internal Perspective

Blyth Maritime Museum

Primer

DLRG Lifeboat Station - Model Photos

FIRE DEPARTMENT NEW YORK MARINE 9 18

Blyth Maritime Museum

Primer

PEOPLE AND PLACE

I was assigned the stretch of the Northumberland coastline from Blyth to Newbiggen by the Sea. Preceding my first visit to the site I carried out a building use study to determine the overall characteristics of the places. The main finding of this study was that Blyth had large amounts of industry occurring along its waterfront whereas the smaller settlement of Newbiggen featured a far greater proportion of residential properties.

Building Use - Newbiggen by the Sea (not to scale)

Building Use - Blyth ( not to scale)

project that I aim to implement. Blyth was also selected by two other members of my studio (Brandon and Helena), and together we planned to produce a regeneration project for Blyth focussing around culture and leisure.

Primer

In response to the research and initial site visits I selected Blyth as the location for my project to be based as I felt that it had a richer history and a more complex development which could lead to a more interesting response. I also felt that it is currently the less successful of the two places and therefore would greater benefit the medium scale architecture

BLYTH

Blyth Maritime Museum

NEWBIGGEN BY THE SEA

CROSS DISCIPLINARY DESIGN

FUSES AND VIADER Architect

Fig 1] - Fuses and Viader - E.R. Empuries

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INEKE HANS Furniture Designer

Fig 2] - Ineke Hans - A380 Chair

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NIGEL COATES Artist

Fig 3] - Nigel Coates - CaffÃ¨ Bongo, Tokyo

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Fig 4-7] - Ineke Hans - Fogo Island Furniture

Designed furniture using traditional local techniques. The idea of being inspired by its context and local craft and therefore creating a form that sits harmoniously in the landscape interested me, and in a sense, became a key driver for my project.

“WHATEVER I DO HAS TO FIT TO THE ISLAND, ITS HISTORY AND ITS PEOPLE”

Blyth Maritime Museum

FOGO ISLAND

Primer

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FILM POSTER

I designed this film poster to speak of Blythâ&#x20AC;&#x2122;s relationship to the water over time. The way in which it emanated from the water and the fact that the current industrial barrier is leading to social and economic decay are both depicted.

Chaper Blyth Maritime Museum

Text Size 10pt reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb reiuvhrxzluihvziebclexzi\sawsmcao;imv;j vajibviarehvfmb

PRIMER EXHIBITION The main focus of the primer exhibition were the posters advertising the videos that would be produced for the staging review. Alongside this featured our coastal typology models and cross disciplinary design columns showing the artists and architects that we initially studied.

Blyth Maritime Museum

Primer

Staging

he main output from the staging phase of the development of my project was a two minute video that summarised my initial approach to site and building program.

Blyth Maritime Museum

Staging

Throughout this stage of the design process I continued the in depth research into Blyth with specific reference to its social, economic and industrial evolution. This allowed me to formulate a greater understanding of why I was seeing what I was seeing on my multiple site visits.

1920s

1860s

BLYTH HISTORY

1,388

6,808

1,953

31,822

1920s

1860s

The settlement of Blyth began in the 12th century. Due to its position on the coast within a sheltered river mouth, it allowed for industries such as1,388 boat building and coal exporting to thrive. Blyth continued to expand from the1860s water leading to vast population growth around the start of the 20th century.

6,808 1920s

Its coastal location meant that it served as a submarine 1,388 base during WWI and WWII. After WWII Blythâ&#x20AC;&#x2122;s industrial strength dimished1,953 and 1967 saw the closure of its boat building industry, something which had once brought such excitement, culture and wealth to the area. Blyth has recently invested heavily in renewables and still serves as an import and export port with1,953 its distribution reaching across the globe. Although this industry has provided Blyth with more economic stability, it does not hold its cultural connection to its place as previous 1960s industries had. The new industries have also led to an industrial barrier being created along the waterfront in Blyth. Its rich maritime history has subsequently dwindled and with it the people have 10,071 become disconnected from their place on the coast.

6,808 1960s

Fig 8] - Old Blyth Image 1

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Current Day

31,822

10,071

6,308 1920s

1860s 31,822 1,388 Current Day

1920s

6,808

37,339

35,921 6,308

Fig 9] - Old Blyth Image 2

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Current Day

1960s

1860s

10,071

1,953

31,822

6,308

37,339

35,921

1960s

Current Day

1960s 35,921

37,339 10,071

6,308

35,921

37,339

Present Day

Fig 10] - Old Blyth Image 3

[

Blyth Maritime Museum

Staging

BREAKING THROUGH THE BARRIER The key aim of my project is to break through the industrial barrier in Blyth and connect the public space that is Ridley Park, to the picturesque Blyth Marina. The current view between them is shown here as the large metal railing blocking out the storage facility and large travelling cranes

By breaking the barrier this will open up the marina to more people and could potentially lead to regeneration master planning of the area. I looked at the examples of Hartlepool and Liverpool to see the regeneration

strategies that they employed.

Liverpoolâ&#x20AC;&#x2122;s regeneration centred around the Royal Albert Docks, an area which was once a hub of trade, however by the 1970s was completely uninhibited. During the 1980s major interventions were taken to celebrate Liverpoolâ&#x20AC;&#x2122;s unique cultural heritage such as the Merseyside Maritime Museum, The Beatles Story and Tate Liverpool. Since then the docks have become inhabited by many commercial facilities leading to greater investment in the area. I could see this programme occurring similarly in Blyth.

Another reason why Blyth can be likened to Liverpool is because in 1984 Liverpool hosted the Cutty Sark Tall Ships Regatta, an event which visited Blyth in 2016. Although behind on its development to Liverpool I feel that Blyth Marina could become a cultural hub much like the Royal Albert Docks.

Liverpool Albert Docks - Cultural Interventions that changed it from its purely industrial function to a be now a hub of commerse and high quality living 1988 Tate Liverpool

Fig 11] - GT3 Architects - Hartlepool Waterfront

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Since 2008 there has been focus to introduce many bars and restaraunts to the Docks

1986 Merseyside Maritime Museum

Holiday Inn Express Liverpool

Liverpool Comedy Central

1990 The Beatles Story Museum

Residential accomodation has also been introduced over time and takes up a large amount of the docks

Premier Inn Liverpool

Ridley Park

Blyth Maritime Museum

Staging

Existing Site Approach

33 Blyth Marina

TALL SHIP REGATTA

The Tall Ship Regatta is said to have been the only major event to happen in the town for a long time and it brought many visitors as well as allowing greater access to the waterfront for the residents. It served as a celebration of Blythâ&#x20AC;&#x2122;s maritime history and provided a temporary boost to the economy. There is clearly great pride in the town of their historic connection to water which is why my concept makes sense.

Staging Blyth Maritime Museum Fig 12-13] - Blyth Tall Ship Regatta Aerials

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VIDEO - GROWTH AND DECAY In response to my study conducted into the people and place of Blyth I produced a two minute video that would also outline my potential approach to site and the program of building that I would implement. This simple storyboard outlines the main messages of my video. The QR Code here provides a link to this video.

Blyth Maritime Museum

Staging

The next spread features a general summary of the wider site analysis that I conducted at this stage of the process. These images further informed me of the presence of the industrial barrier.

Staging

Here I have shown my original schedule of accommodation layout that aimed to connect the many aspects of my museum along with the existing facilities in Blyth South Harbour. Although this changed massively by the time it came to my final design, it shows interesting similarities, for example the inclusion of exhibitions on submarines and industry.

Blyth Maritime Museum

INITIAL TECHNICAL DEVELOPMENT

ARC 3013 - Feasibility Study

Public Spaces

Industry

Natural Spaces

Staging

ARC 3013 - Feasibility Study

Blyth Maritime Museum

Roads and Parking

Realisation

uring the realisation phase of the process my main focus shifted towards the specific programme of activities that would occur within the Blyth Maritime Museum. This included a ‘Day in the Life’ study that led into my ‘Thinking Through Making Week’ outcome. Throughout this phase of the project I tried to continually relate back to my earlier research because often in my previous architecture projects the initial ideas and reasons behind my proposals have become clouded as the design has progressed. Alongside the design project I was also conducting my technical review at this stage of the process. I was keen to ensure that I produced an integrated strategy so often referred between them and used them as inspiration for each other.

Blyth Maritime Museum

Realisation

TIMBER

Fig 14] - Boat Building Craft

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BOAT BUILDING EVOLUTION

The timber boat building industry in Blyth, alongside the exporting of coal, was one of the original industries which fuelled Blythâ&#x20AC;&#x2122;s early development. Traditional workshops utilising techniques such as the steam bending of timber littered the early port. Over time, as engineering techniques improved, the boat building of Blyth became one that created large steel ships such as the one on the right hand page of this spread. This

industry brought employment and excitement to the people of Blyth because as you can see, many turned out to watch these large ships leave and return to port. However despite this rich maritime history the present day residents of Blyth are unable to experience the same pride in their connection to the water due to the previously mentioned industrial barrier, and also

because in 1967 the boat building industry in Blyth shut down. This meant that Blyth missed out on the next material stage of the boat building industry which should have been fibreglass construction.

STEEL

Fig 15] - Old Blyth Image 4

Blyth Maritime Museum

Realisation

[

Blyth Tall Ship Workshop

CFRP Workshop

ATTRACT and DISPERSE Blyth Battery

Although a worthwhile programme it has experienced mixed success. One issue is that is hid away and not celebrated or advertised enough. Henceforth, an aspect

of my building will be to implement the incentive of Visit Northumberland in terms of creating a central attraction to attract people that will contain pointers to other exhibitions around Blyth. J. Leitch from Visit Northumberland described this as there attract and disperse policy.

Blyth Maritime Museum

In an attempt to rekindle some of the maritime pride in Blyth, and in collaboration with the Tall Ship Regatta, a tall ship workshop has been opened in the Port of Blyth. Its aim is to teach the young people of Blyth the timber boat building skills that have previously been passed down through the generations.

Realisation

Tall Ship Workshop, Blyth

Blyth British Export Map

Blyth European Export Map

Blyth Global Export Map

BLYTH’S GLOBAL IMPORTANCE In a study to determine the current situation of Blyth’s Port and industry I studied the last years exports from the port on a national, European and international scale. This information was found courtesy of the Port of Blyth website. I was amazed to find out that Blyth’s influence reached as far as Vanuatu and Sri Lanka, with a more local influence of a twice a week connection to Rotterdam.

CARBON FIBRE REINFORCED PLASTIC

Clipper Boat Race Perspective

Fig 16] - Autograph ag-x plus machine

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Although Blyth’s export and import industry has given Blyth a global significance, it is not a well known one. Therefore as part of my design I plan to regenerate the Blyth’s once economically and culturally important boat building industry but in a modern high tech way. This will be done through the introduction of a material testing facility and boat building workshop that will specialise in the research and construction of boats made from carbon fibre reinforced plastic. This

is the material that is currently at the pinnacle of the global industry so if Blyth could capture its importance it could jettison itself back onto the global scene. This will help pave the way for my building and Blyth to host global sailing races such as the Clipper Round the World Race

Realisation

INCREASING BLYTH’S GLOBAL IMPORTANCE

Americas Cup Boat Race Perspective

Blyth Maritime Museum

Fig 17] - Hydroshot HITS-P10

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A DAY IN THE LIFE At this stage of the project I began to look more into the activities that would occur within my building. I wanted to show off the port export information in an attempt to announce Blythâ&#x20AC;&#x2122;s quietly celebrated global importance. I also looked to include some kind of boat building workshop experience, similar to the one provided by the Tall Ship Workshop in Blyth but in a more modern and high-tech material.

Day in the Life Attempt 1

Blyth Maritime Museum/International Centre for Engineering Experience Past

Present

Day in the Life Attempt 2

Future

Sea SeaCadets Cadets

Disperse Disperse

Modern ModernBoat BoatBuilding BuildingWorkshop Workshop

Blyth BlythBattery Battery

Realisation

MaterialTesting TestingFacility Facility Material

Attract Attract

Tall TallShip ShipWorkshop Workshop

Day in the Life Attempt 3

Blyth Maritime Museum

Disperse Disperse

A Day in the Life

Fig 18] - Traditional Steam Bending

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My output for the Thinking Through Making Week was inspired by the traditional steam bending technique that is historically used in the construction of timber boats. I planned to create an experiential space that utilised this technique but would also contain the idea to have a globe as part of my exhibition.

On the left hand page of this spread I have shown the concept idea for the space as well as depictions of the traditional methods. On the right hand page of this spread I have included photos of my final output. Issues occurred in the consistency of the bending of the timber and the

practicalities of making a full sphere was not a realistic output for the week

Blyth Maritime Museum

Realisation

THINKING THROUGH MAKING

CREATING AN INLET My site and concept aim to break through the industrial barrier in Blyth by bringing the public realm to the waterfront had to be carefully considered as the port of Blyth is a hive of activity with large import/ export ships entering regularly, the most common coming from Rotterdam twice a week. Taking over a large portion of the waterfront would not have been a viable solution on the site and this therefore led me to develop the concept of drawing the water into the site by creating an inlet style dock, similar to many currently in use in Blyth. This would allow me to have a public waterfront that would not disturb the activity in the port of Blyth. I would span this inlet with a portal frame that would contain exhibition spaces suspended from it. However this presented a problem with the exhibiting of the E-Class WWII submarine. I planned for it to run along the axis of my building however with the water underneath it would now have to be suspended. This would present massive structural challenges and although an initially interesting concept, it would not be possible. As a result I looked to have the submarine supported by concrete plinths in a similar method to that seen in the Royal Navy Submarine Museum in Gosport

Blyth Maritime Museum

Realisation

TRAVELLING CRANES As part of the plan for my concept is to create a movement of people from Ridley Park, through my building to the Blyth Marina, I felt that my building should reflect this movement. By looking at the historical incarnations of my site I found that it has a history of movement due to travelling cranes inhabiting the site. Two of these still remain at the front of the site in order to load up large container ships. This movement inspired me to create elements of cladding that slide in order to change the appearance and program of my building on a daily basis. These sliding elements would also allow me to control and alter lighting and therefore environmental conditions in the open ended space, allowing for varying activities from lectures to extra exhibition space, and from evening performances to sheltered spectating of boat races.

Historical Map of Blyth South Harbour, `1930s

120

Scale 1:5000

160

200

240

280

320

360

May 13, 2018 18:28

400 m

Matthew Harrison University of Newcastle

Projection: British National Grid

Fig 19] - Old Blyth Image 5

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Blyth Maritime Museum

Realisation

SLIDING PRECEDENTS In response to the ideas put forward about creating a moving frame, I looked at Diller Scofidio + Renfroâ&#x20AC;&#x2122;s Shed in New York. It features a large element of cladding that rolls out and extends the building mass. This allows a public square to change function into a large exhibition hall that can be used for artwork and varying scale performances. I looked at both the concept and the technical execution of this design in order to formulate my technical 1:20 section. Another building that interested me was the Sliding House by dRMM. It also feature a cladding element that slides along on rails and is similar to my project as it is in the form of a portal frame.

Realisation Blyth Maritime Museum Fig 21-26] - The Shed, New York

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Structural Concept

The concept for my structure is to have inner and outer layers of cladding that move with one remaining stationary with the frame.

Blyth Maritime Museum

Realisation

Mobile

Static

Mobile

STRUCTURAL STRATEGY Here I have displayed the work that I carried out for the ARC3013 technical review

17 Outer Frame

16 15 14

Main Frame

11 10

Inner Frame

9 8 7

Foundations

6 5

Submarine

4 1 - Exhibition Space Substructure 2 - Exhibition Space Super Structure 3 - Exhibition Cladding 4 - Submarine Plinths 5 - Submarine 6 - Gantry Crane Foundation 7 - Inner Structure Ground Level Rails 8 - Inner Cladding 9 - Inner Purlins Structure 10 - Inner Structure Roof Rails 11 - Main Gantry Frame Columns and Rafters 12 - Gantry Frame Structure 13 - Gantry Frame Cladding 14 - Outer Structure Ground Level Rails 15 - Outer Structure Roof Rails 16 - Outer Purlins Structure 17 - Outer Cladding

Exhibition Space

2 1

ARC 3013 - Technical Review

Blyth Maritime Museum

Realisation

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Fig 27] - Traditional Steam Bending

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Fig 28-29] - Ineke Hans - Fogo Island Furniture

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CROSS DISCIPLINARY DESIGN

For my element of cross disciplinary design I took inspiration from Ineke Hans project in Fogo Island in this she design furniture that aimed to “fit to the island, its history and its people”.

respectively. The final chair in this series will be continually constructed by the boat building workshop to potentially make use of any off cut material to avoid wastage of this expensive material.

In response to this I have designed a series of stools that speak of the materiality and craft of the boat building industry evolution.

All the chairs sit on timber legs so as to link back to the original materiality of boat building which provided the basis for Blyth’s initial growth.

Blyth Maritime Museum

Realisation

The first chair is created from timber that has been steam bent into shape. The second chair features a steel seat with the third and fourth being made of fibreglass and carbon fibre reinforced plastic

CONNECTION TO THE WATER One way in which I plan to create a connection to the water is as stated earlier by breaking through the industrial barrier. However I will also be creating a connection through views and perceptive depth. By carefully positioning the exhibition spaces I have created the appropriate views that speak of this connection. For instance, the timber and steel exhibition spaces feature views back towards Blyth as during the periods where these industries were successful, Blyth and its people had a connection

to the water. On the other hand I have placed the fibreglass exhibition so its view is only out towards the sea to speak of the loss of connection that Blyth had to the water and to its boat building industry as it closed in 1967. Finally the carbon fibre reinforced plastic exhibition will have views both back to Blyth and out to the water. This is therefore speaks of the connection that I am creating in my project. An alternative way that I am creating a connection to the water is through the use of steel gantry walkways

allowing views down to the water below. In the steel and timber exhibitions this water will be close and very shallow, relating to the stability that Blyth had during these periods. However in the fibreglass exhibition the floor is removed and you can see all the way down to the water of the inlet. This aims to create a sense of nervousness and unease representing how Blyth has become fragile since it lost its boat building industry.

Blyth Site Plan

Blyth Tall Ship

100 (m)

Wind Rose Diagram

Industrial Barrier

lic Pub ss e c c A te Rou 3

Hi-tech Boat Building

Blyth Marina

6 4

1. Park Entrance

2. Industry from Park

3. Current Access to the Site

Realisation

4. Coexisting Industries

Blyth Maritime Museum

5. View of my site from the Marina

6. Blyth Marina

Main Vehicle Route

Blyth Battery

6 T

Refinement

his phase of the project saw me bring together all of my previous research and design work into my final design and presentation images. I aimed to maintain a consistent style that would speak of my project and of Blyth throughout my presentation images.

Blyth Maritime Museum

Refinement

MASTERPLAN STRATEGY

1 70

SITE AXONOMETRIC Key 1 2 3

Residential Buildings Blyth South Beach Industrial Barrier

4 5 6

Area of Influence Blyth South Harbour Ridley Park

7 8 9

Travelling Crane Blyth Marine Blyth West Pier

10 11

Blyth Tall Ship Workshop Blyth East Pier

Refinement

Blyth Maritime Museum

2 18

17 3

19 10

15 16

4 7

26 13 25

SITE PLAN/GROUND FLOOR PLAN 1:200 @ A0 Key 1 Ridley Park 2 Kitchen 3 Bar 4 Ladies W/C 5 Gentlemenâ&#x20AC;&#x2122;s W/C 6 Disabled W/C 7 Staff Office 8 Reception 9 Bar/Cafe Seating Area 10 Landscaping Water Element 11 Walkway - Tiles Mimicking Steel Gantry 12 Staircase to Upper Floor 13 Lift To Upper Floor 72

14 Steel Gantry Walkway - Bolles and Wilson 15 Timber Boat Building Exhibition 16 Platform View Back to Blyth 17 Steel Boat Building Exhibition 18 E-Class WWII Submarine 19 Fibreglass Boat Building Exhibition 20 Concrete Plinth for Viewing the Submarine 21 Stage 22 Seating Area 23 Disabled Viewing Area 24 Public Car Park 25 Bike Shelter 26 Main Public Entrance from Car Park

27 28 29 30 31 32 33 34 35

10 (m)

Main Public Entrance from Park Service Entrance Material Testing Facility Carbon Fibre Reinforced Plastic Workshop Staff Facilities A Staff Facilities B Lorry Access to Building Staff Car Park Storage Yard

Refinement Chaper

Blyth Blyth Maritime Maritime Museum Museum

8 1

LONG SITE SECTION 1:200 @ A0 Key 1 2 3 4 5 6 7 8 9 10 11 74

Ridley Park Cafe/Bar Area Blyth Catapult Onshore Wind Turbine Landscaping Water Element Bridge Over Shallow Water Steel Boat Building Exhibition Stationary Fibreglass GRP Cladding Carbon Fibre Reinforced Plastic Exhibition Fibreglass Boat Building Exhibition Concrete Plinth for Viewing the Submarine Internal Mobile Single Skin Box Profile Steel Sheets Cladding

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12 E-Class WWII Submarine 13 Seating for Stage Performances - Tide Dependent 14 External Mobile Single Skin Box Profile Steel Sheets Cladding 15 Existing Industrial Building 16 Man Made Water Inlet Allowing Sailing Boats to Dock 17 Sailing Boat 18 Larger Container Ship 19 Blyth South Harbour

Refinement

Blyth Maritime Museum

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FINAL MODEL IMAGES

Final Sectional Model

View from the Ridley Park

View from Blyth Marina

Blyth Maritime Museum

Refinement

View from on the Water

The first exhibition space that you enter describes the initial phase of Blyth’s boat building industry as it focuses around the techniques of timber construction. Steam bending and fixing methods will be mentioned along with advertisement to the Tall Ship Workshop located elsewhere in the Port of Blyth. This exhibition will also contain the map showing Blyth’s national exports because during the timber boat building construction phase of Blyth’s history it only existed on a regional to national scale. Next you move through to the exhibition on steel boat building and the period of history that this equates to in Blyth. The steel gantry walkway in this exhibition space will, similarly to the timber, have shallow water just below it in order to create the controlled connection with the water. As you circulate through the museum you will then come to the WWII E-Class submarine. You are able to go inside this and walk its length. Pointers relating to Blyth Battery will be located in the submarine as this has small scale temporary exhibitions relating to the wartime Blyth. The third space on the ground floor is the fibreglass exhibition. This is the phase of boat building that never came to Blyth due to its collapse of this industry in 1967. The lack of surfaces close below the gantry frame is designed to create unease due to the fragmenting nature at this point of Blyth’s history. Finally you will ascend a floor to the carbon fibre reinforced plastic exhibition that features information on the new industry that is being brought to Blyth as part of my intervention alongside the Museum Internal materiality of the exhibition spaces will reflect the material they are dedicated to however externally all of the ground floor spaces will be clad in box profile steel whereas the upper floor exhibition will be clad in fibreglass GRP.

Blyth Maritime Museum

Refinement

EXHIBITION SPACES

5 2

A DAY IN THE LIFE The public experience of Blyth Maritime Museum

Blyth Maritime Museum

Refinement

PARK APPROACH While wandering through Ridley Park you will be greeted by the vast expanse of glass that makes up the most western facade of my building. This element of glazing will inform you of the public nature of this building thus enticing you in.

DOWN THE INLET As you near the building, you will be able to view down the axis of the building through the cafe/bar area and towards the primary exhibition space. In the foreground is an element of landscaping water that is not accessible to the larger sailing boats that can moor in other parts of the inlet. Instead small motorised yachts an be placed in the water allowing younger generations have races adding an element of fun to this public approach

CFRP EXHIBITION Once you have entered the exhibition spaces you will feel a lot more encased allowing you to have a greater connection to the exhibits. Views are framed looking back to Blyth and out to the water as discussed earlier. This is the carbon fibre reinforced plastic exhibition featuring the stools created as part of the cross disciplinary design, therefore allowing you to get in contact with the materiality about which you are learning. Internal cladding and handrail gaurding will also be synonymus to the materiality expressed in each exhibition space.

ON THE WATER During your day trip to Blyth Maritime Museum you may be tempted to either experience a boat trip or attempt sailing for yourself in collaboration with the Royal Northumberland Yacht Club. Ensuring that my building had a presence from the water of similar magnitude as to what it has from Ridley Park was crucial. This achieved through the creation of the inlet and the open ended nature of the portal frame structure.

EVENING BAR In the evenings the space that serves the museum as a cafe during the day is converted into a bar space. Although no furniture will be moved the use of lighting and acoustics will help alter the atmosphere of this space. You can come for a few drinks after an evening stroll through the park or before an evening performance under the submarine

NIGHT TIME PERFORMANCE

The steps that lead down into the water double up as a lecture/performance space with the inspiring imagery of a WWII submarine a constant presence. A temporary stage can be floated into place in order for various activities to occur. Depicted here is a small scale concert that could link in with the sailing festival that would visit Blyth perhaps every 4 years.

Refinement

Also shown in this perspective is the way that the carbon fibre reinforced plastic exhibition space can be lit up at night due to its translucent fibreglass GRP cladding. It exists as a beacon of potential future growth of Blyth through its boat building industry

Blyth Maritime Museum

MOVABLE CLADDING Here I have displayed the various incarnations of my cladding system that allow for different activities to occur by changing the level of shelter and light that is provided. The green and blue elements represent the movable box profile steel cladding whereas the red represents the stationary fibreglass GRP cladding

Blyth Maritime Museum

Refinement

QUADRENNIAL SAILING FESTIVAL As part of my scheme Blyth with be hosting a stage of the Clipper Round the World Race once every four years. During the time that the boats are docked in Blyth a sailing festival titled â&#x20AC;&#x2DC;Sailing Under the Submarineâ&#x20AC;&#x2122; will take place, much like the Tall Ship Regatta in 2016. The repeated nature of this festival will aim to maintain the link between the people and the water for the foreseeable future. The sailing festival will also see other events coming to my building including an extendible element of structure allowing for larger performances to occur. A large temporary pontoon will also be placed in the inlet throughout the festival allowing people to walk out into the port and get up close and personal with the docked race boats. Sailing lessons and other water based activities would also be accessible from this pontoon. During the festival period the export elements of this section of the port may have to be paused for rsafety reasons. This could link to my earlier concept of wanting the whole of Blyth Marina to be regenerated as a tourist destination if the heavy industry of the port ever ceased to exist.

Blyth Maritime Museum

Refinement

7 I

Tectonic Integration Part 1

n response to our studios visit to The Netherlands I produced a case study booklet that I have summarise as over the next few pages. I have also shown off multiple other drawings and imagery that were taken during the study trip

Blyth Maritime Museum

Tectonic Integration Part 1

UTRECHT UNIVERSITY LIBRARY

Illustrated Case Study Report In Collaboration with Callum Campbell, Susana Smith, Helena Taylor, Tian Yee Lim, Yien Ling Location 3.7 miles East of Utrecht Programme 27.000 gross sqm Date of Construction 2004 Designers names Wiel Arets Architects

SITE APPRAISAL

Utrecht University Library

Utrecht University is situated on the Utihof campus 3 miles to the East of the city centre At the centre of the Utihof campus lies the Kashba Zone, an area or Utrecht University that is reserved for the construction of non-university faculty buildings This central zone has a very public sense to it that helps to draw people into the university campus Sitting at the centre of universities Kashba Zone, the Library is dwarfed in scale by the building around it however it doesnâ&#x20AC;&#x2122;t fail to have a physical presence and weight

ATMOSPHERE AND MATERIALITY

There is a vertically that runs throughout the building, this is reflected in the patterned prints on the walls and windows The acoustic atmosphere is controlled by the cast concrete cladding that allows for absorption of sound The frosted glass moderates the amount of light coming in order to create an even light level throughout the space.

Utrecht University Library

Kashba Zone

Utihof Campus

Blyth Maritime Museum

Tectonic Integration Part 1

STRUCTURAL STRATEGY

The structure of the Utrecht Library utilises reinforced cast in situ concrete Itâ&#x20AC;&#x2122;s relatively unique due to the way it doesnâ&#x20AC;&#x2122;t use conventional columns. Instead it has wall like columns that assist in dividing up the space Concrete beams are used to span the sizeable void spaces between the wall like columns

ENERGY AND ENVIRONMENTAL STRATEGY

Temperature is controlled through the use of heavily insulated glass which is used throughout the facade A printed pattern on the glass decreases the solar penetration of the building which also helps to control the heat gain which is especially useful during summer Heavy concrete construction slows down temperature fluctuations in the buildings The combination of both insulated glass and heavy construction results in low cooling demand The building is north facing allowing for generous amounts of south and south west light to enter the next building The seating in the library is usually positioned next to or quite close to the windows to maximise the use of natural daylight There is a light well inside the building The building also has moving glass panels that helps with additional shading when required

Blyth Maritime Museum

Tectonic Integration Part 1

KEY MOMENTS AND DETAILS Silent Communication

Interior Walls are painted matte black evoking a sense of security, privacy and concentration Floor Surface has a white reflective finish to help illuminate workspaces and book shelves. Alternate colour finishes allows identification of circulation space Red Accents are the only exception to the monochromatic colour scheme. They mark public moments through the space where there is a change in program or a point of interest

Blyth Maritime Museum

Tectonic Integration Part 1

KEY IMAGES One of the spaces that interested me on the Netherlands trip was in MDRDVâ&#x20AC;&#x2122;s Markthal in Rotterdam. I selected here to show off the space around the central escalator core as create a space to stop, gather and ponder, as you moved through the busy market. Other key images include the colossal structure of the Eye Museum, Amsterdam, the curved timber of the Utrecht University Educatourium, and the frameless window in the SANAA Theatre, Almere. The drawing opposite is of the SANAA Theatreâ&#x20AC;&#x2122;s spiral staircase which connects the tier entrances of the theatre space. This space interested me as the idea of scale in architecture was played with due to the vastness of the void and the expanse of glazing.

Blyth Maritime Museum

Tectonic Integration Part 1

SKETCHBOOK WORK Here I have selected the best bits from the sketchbook which I used throughout the Netherlands visit. The drawing shown aim to display the architectural form, structure space and details of the main buildings that we studied.

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8 F

Tectonic Integration Part 2

or part 2 of my tectonic integration I looked at adding elements of materiality, atmosphere and experience to my detailed technical section. I believe that through this images along with the perspectives from the day in the life study, I have shown the experiential qualities of my building design

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Tectonic Integration Part 2

Feasibility Study

hroughout the feasibility study I developed my initial response to site and structure, as well as other technical aspects such as fire and accessibility. Potentially the most developed elements at this stage of the process was through research into environmental and energy strategies. This is something that came naturally to my project as being situated in Blyth allowed me to utilise the local resources and knowledge on the matter. Here I have included all of the pages from my feasibility study document that outlines all of my technical strategies.

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10 F

Technical Review

or the second element of technical integration I looked at responding to my design project by trying to design the structure that would allow for my sliding cladding idea to take shape. Here I have included all of the pages from my review document that outlines all of my technical strategies.

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Tecnical Review

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Professional Practice and Management n this essay I outlined the key actions I would take if I was to be designing my building in practice and the process I would go through in its construction.

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Professional Practice and Management

12 I

Theories into Practice

n this essay I outlined the main principles and theories behind my project. I compared these to the views of United Network Studio, in particular their approach to relationship between culture and commerce.

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Theory into Practice

Blyth Site Plan

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Culture and Commerce Introduction Introduction Introduction ‘In Love’

Contents Contents Contents Introduction

Abstract

Introduction

Abstract

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Developing Architecture - My Approach to Programme Hi-tech Boat Building Hi-tech Boat Building Hi-tech Boat Building

Cross Disciplinary Approach - Historical Context

the exporting of coal, consequently creating a strong maritime culture inthe Blyth. exporting theof exporting coal,the consequently exporting of coal, conse of crec 15 15 The Mercedes-Benz - Enhancing Exhibitions The Mercedes-Benz The Mercedes-Benz Museum - Enhancing Museum -Museum Enhancing Exhibitions Exhibitions Blyth Marina Blyth Marina Blyth Marina

Conclusion

Conclusion ConclusionConclusion

Bibliography

Bibliography Bibliography Bibliography

List of Figures

List of Figures List of Figures List of Figures

The Mercedes-Benz Museum - Enhancing Exhibitions Blyth Marina

Hi-tech Boat Building

(3) UNStudio. Cultureat: Commerce part one: in love - UNStudio . [ONLINE] Available at: Culture (1) UNStudio. 2018. About - UNStudio . [ONLINE] Available at: https://www.unstudio.com/en/ (1) UNStudio. (1) 2018. UNStudio. About (1) UNStudio. 2018. - UNStudio About 2018. .- [ONLINE] UNStudio About2018. - .Available UNStudio [ONLINE] .and [ONLINE] Available https://www.unstudio.com/en/ at:Available https://www.unstudio.com/en/ at: https://www.unstudio.com/en/ (3) UNStudio. (3) 2018. UNStudio. (3) UNStudio. 2018. and Culture Commerce 2018. andCultu part Com

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‘Breaking ‘Breaking ‘Breaking Up’ Up’ Up’

Contents Contents Contents Contents

Introduction Introduction Introduction Introduction

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(14) Ineke Hans Studio. 2018. Furniture for Fogo Inn - Work | Ineke Hans Studio. [ONLINE] (14) Ineke Hans Studio. (14) 2018. Ineke Furniture Hans Studio. for Fogo 2018. Island Furniture Inn -Island Work for Fogo | Ineke Island Hans Inn Studio. - Work [ONLINE] | Ineke Hans Studio. [ONLINE]

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Bothboat of these building. Both of these Both ofwhich theseshewhich driven industry and links in with my concept w the m evolution andwhowm Iofapproached w craft wm and my materials programme. w m inwBlyths In mm mboat building mmm were mm In financially justifiable: speak about the industry. bits. the exhibits. the exhibits. the exhibits. the scales of the exhibits in my building. the scales of the the scales exhibits the of the scales in exhibits my of building. the in exhibits my building. in my building. Linking this Linking back this to Linking my back project this to my back I decided project to myIto project decided experiment I to decided experiment withtothe experiment various with theboat various withbuilding theboat various building boat building and creation Ineke Hans displayed H this best H in her H project on Fogo Island, during deisure and conflict, therefore andand conflict, therefore and therefore response to my contextual m analysis mof Blyth, mI came to theby proposal m van Berkel ofm a maritime m museum m mm m m use m m the m m m of space. m • “Objects come O about m through O theO massemblymof data, m throughmthe use of m infrastructure and response to this statement I thought aboutm how I could materiality (9) techniques that provided techniques that provided Blyththat with provided Blyth a major withBlyth industry a major withuntil industry a major it collapsed until industry it collapsed during until itthe collapsed during 1960s.the during 1960s.the 1960s. which shewsaid, “Whatever w W I dow has toW fit W ng ion at would building of boat rely would building rely would rely techniques and a hub for engineering excellence in the fieldtoofreflect hi-tech building. Both of these through the manipulation m of material m and m detail” m m m of the architecture theboat exhibition it contains. This may however be a superficial Thethis early The steam early bent The steam timber early bent boats steam timber inspired bent boats timber me inspired to boats create me inspired atosection create meof atosection an create experiential of a section an experiential curved of an experiential curved •curved m m m m m w m w m w m w rsity, htleNewcastle University, and thisUniversity, and this and were inspired w by the history w of addition Blyth w in terms of industry, m isleisure mand conflict, m and “Developments D depend m Don the m promise D ofmproviding m newm‘placemaking’ m qualities m to attract m m an perhaps there a more conceptual and therefore experiential way in which I could evoke (10) sphere that sphere would that act sphere would as anthat exhibition actwould as an exhibition act space as an forexhibition the space timber for space the boat timber for building the boat timber phase. building boat Thephase. building spaceThe phase. spaceThe space w m w m w mw m site, eas time awhereas maritime museuma maritime museum museum exist as cultural interventions. However the H wreintroduction H w ofHboat w the building would relyw w w investment and mobilise m political mm will”m m m exhibits. itself would itself therefore would itself evoke therefore would the therefore evoke exhibits the and evoke exhibits become the and exhibits an become essential and an become part essential of an the part essential experience. of the part experience. of the experience. Th Th m Th mm Thmm m m m m m m m dment rto development further of Blyth development of Blyth of Blyth upon initially being a research facility perhaps linked with Newcastle w N University, w w U Nand wwthis NUw U These quotes Th have ledTh me to increasing Th m the rigour m in which m I analysed w the current w industry w

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Fibreglass Fibreglass Fibreglass Fibreglass One of UNStudio’s major works that interests me is the Mercedes-Benz Museum in Stuttgart. closer and more distant, frontal and more oblique points of view as they circulate closer and around more closer …distant, and It closer more frontal distant, and and more frontal more distant, oblique andfrontal more points oblique andofmore view points oblique as they of view points circulate as of they view around circulate as they … Itaround circulate … around It … It Bert van Berkel stated that “Currently the interest in the architecture of museums almost (17) (17) (17) (17) could be said that in the Mercedes-Benz Museum, it is the visitor who is put could on a be pedestal. said could that ” be in said the could Mercedes-Benz that be in said the that Mercedes-Benz in Museum, the Mercedes-Benz it Museum, is the visitor it Museum, is who the visitor is it put is on the who a visitor pedestal. is put who on ” a is pedestal. put on ” a pedestal. ” A “The mmethodology A developed mmethodology Adeveloped M m -van A m MConcept Mfor (7) Industry “The methodology “TheM by developed by Berkel Ben van and by Berkel Ben Caroline van and Berkel Bos Caroline for and their Bos Caroline United foroftheir Bos Network United for their Network United Network Onemof theOstudio O criteria O in ‘Getting Away G from Aw itGAll’, is mAw inG looking A m Aw intoA cross m A ort of Blyth. FigBen 20 Section Growth and Decay Boat Building Industry Fig 20 - Section Fig 20Concept - on Section Fig 20 forConcept - Growth Section and Concept Growth Decay for and ofGrowth Boat Decay Building and of Boat Decay of Boat Building develop thewconcept of drawingsurpasses the water w the into w the w site w w anwinlet style(15)dock, m “We want m an specific UNStudio UN is keen “developing discipline of architecture” inBuilding order toIndustry deal withIndustry the w w UN UNthefor gth. 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This technological Th advancement, Th Th m m of mconflict m are m m m m intense visual experience byTh relating work is in, to other in its vicinity, or example I aim to create but exhibitions would but also that would speak but also of would the speak works also of inside the speak works it. of For the inside example works it. For inside I aim example it. to For create I example aim exhibitions to create I aim exhibitions to that create exhibitions that that This changed my perspective of the idea of a pedestal in a museum and This caused changed me This to my alter changed perspective This my changed perspective of the my idea perspective of of the a pedestal idea of of the in a pedestal a idea museum of a in pedestal a and museum caused in a and museum me caused to alter and me caused to alter me to alter I my crossI disciplinary my crossI disciplinary mystudy crossIdisciplinary looked studyatI looked thestudy architecture atI looked the architecture of atFuses the architecture and of Fuses Vaider, and ofthe Fuses Vaider, artwork and the Vaider, ofartwork theofartwork of with “The methodology Th m developed Th m by Th Ben m van Berkel and Caroline Bos for their United Network U N U NU ercially re able its before cultural viable cultural its cultural would notw disturb thewactivity in wthe port of Blyth. combined m the fact w m that the w “value m of architecture w has undergone a re-evaluation”(8), has merce can mm beitsbefore mm mm and to the outside world.”(16) terials in Blyths boat building speak about industry. speak the In evolution about speak the of about evolution the the craft evolution of and the materials craft of and the in materials craft Blyths and boat materials in Blyths building boat in Blyths industry. building boat In industry. building In industry. In the way in which people circulate and experience the main exhibit in my the museum, way in which the 55m way people in the which circulate way people in which and circulate experience people and circulate experience the main and exhibit experience the main in my exhibit the museum, main in exhibit my the museum, 55m in my the museum, 55m the 55m (13) Nigel Coates Nigel and Coates the Nigel design and Coates the anddesign craft and the of and Ineke design craftHans. of and Ineke craft TheHans. conclusions of Ineke TheHans. conclusions which The Iconclusions drew which from I drew this which from I drew this from this the shape of the industry and UNStudioUN Studio explicitly deploys a collaborative and interdisciplinary architectural practice.” ment architecture re m ispark, that a money architecture is awmoney is aw money changed has set up attitudes UN and UN strategies to deal the w them Fig 20 - Section Concept for Growth and Decay of Boat Building Industry ught about how I could response use the materiality to response this statement to response this by statement van to this Berkel statement by van I thought Berkel by van about I thought Berkel how I about I thought could how use about I the could how materiality use I could the materiality use the materiality long WW2 submarine. As you journey through my museum views of varying long WW2 obliquity long submarine. are WW2 long submarine. As WW2 you journey submarine. As you through journey As you my through museum journey my through views museum of my varying views museum obliquity of varying views are of obliquity varying are obliquity are study the use were study and theexpression use wereand theexpression use of local and expression craft of local and materiality craft of local and craft materiality in both and materiality the in representation both the in representation both the representation I my cross disciplinary m m study I looked m at the architecture of Fuses and Vaider, theVartwork ofV w V w hed rogramme. approached my programme. Inmy m programme. In studyInwere This attitude Th of UNStudio Th UN that Th a project UN must be m m mm viable before mmm its that cultural mm with this. w w w sing entities, m This inspired meUN to commercially create a piece of architecture was not only bold and dramatic,

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Developing Developing Developing Developing Architecture Architecture Architecture Architecture

rest in the architecture of Bert museums van Berkel Bert almost van stated Berkel Bert that van stated “Currently Berkel thatstated “Currently the interest that “Currently the in the interest architecture theininterest the architecture ofinmuseums the architecture of almost museums of museums almost almost

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Fig 22 - Integrated Pedestals in Mercedes-Benz Museum

Fig 19 - Mercedes-Benz Fig 19 - Mercedes-Benz Fig Museum 19 - Mercedes-Benz Exterior Museum Exterior Museum Exterior

Blyth Battery e is the Mercedes-Benz Museum One of UNStudio’s in Stuttgart. One of UNStudio’s major Oneworks of UNStudio’s major that interests works major that me works interests is thethat Mercedes-Benz me interests is the Mercedes-Benz me isMuseum the Mercedes-Benz inMuseum Stuttgart.in Museum Stuttgart. in Stuttgart.

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Fig 10 - Con

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Fig 19 - Mercedes-Benz Museum Exterior

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portofblyth.co.uk/location-directions/. portofblyth.co.uk/location-directions portofblyth.co.uk/location (14) [Accessed Ineke Han

(9) Ibid “ “ (9) Ibid “ “(9) Ibid “ “ (12) UNStudio. 2018. UNStudio . [ONLINE] Available at: https://www.unstudio.com. (12) UNStudio. (12)04 2018. UNStudio. UNStudio (12) UNStudio. 2018.. [ONLINE] UNStudio 2018.at: .Avai UNS [ON [Accessed Available ht

March 2018]. 10 9 9 9 10 10 10 11 (5) UNStudio. 2018. Culture (5) UNStudio. andCulture Commerce 2018. Culture part two: and breaking Commerce part - UNStudio. two:up breaking [ONLINE] up - UNStudio. Available [ONLINE] (5) UNStudio. 2018. and Commerce part two:upbreaking - UNStudio. [ONLINE] Available Available Fig 8 - Axonometric Showing theon Industrial onBlyth the Waterfront Fig 8 - Axonometric Fig 8 - Axonometric Showing the Showing Industrial the Industrial Barrier Barrier the Waterfront onBarrier the Waterfront of of Blyth of Blyth at: https://www.unstudio.com/en/page/8103/culture-and-commerce-part-two-breaking-up. at: https://www.unstudio.com/en/page/8103/culture-and-commerce-part-two-breaking-up. [Accessed [Accessed [Accessed at: https://www.unstudio.com/en/page/8103/culture-and-commerce-part-two-breaking-up. m m m m 13 March 2018]. 13 March 2018]. 13 March 2018]. M M M M

(8) Jaeger, F.,(8) 2018. Jaeger, UNStudio. F., (8)2018. Jaeger, Jovis. UNStudio. F., 72018. UNStudio. Jovis. 7 Jovis. 7 portofblyth.co.uk/location-directions/. [Accessed 13 March 2018].

(9) Ibid “ “

(10) UNStudio. (10)04 2018. UNStudio. UNStudio (10) UNStudio. 2018.. [ONLINE] UNStudio 2018. .Available UNStudio [ONLINE] at: . [ONLINE] Available https://www.unstudio.com. at:Available https://www.unstudio.com. at: https://www.unstudio.com. [Accessed 04[Accessed 04 [Accessed 04 2018].March 2018]. (10) UNStudio. 2018. UNStudio . [ONLINE] Available at: https://www.unstudio.com. [Accessed March March 2018]. March 2018]. March 2018].

9 Fig 2 - Poster Fig 2for - Poster the Fig2 2minute for - Poster the film 2 minute forthat the I2film produced minute that Ifilm produced in response that I produced in to response my site in response to my siteto my site List of Figures

Industry

[Accessed 13[Accessed March 2018]. 13 [Accessed March 2018]. 13 March 2018].

[Accessed 13 March 2018]. Bibliography

[ONLINE] NStudio Available. at: [ONLINE] Available at: Available at:

relationshiprelation can be

“1. Love “1. I and display how the theories of UNStudio, relating to the relationship between and display culture and howdisplay and the theories and how display the of theories UNStudio, how theoftheories UNStudio, relatingoftoUNStudio, the relating relationship torelating the relationship between toIn the relationship culture between andculture between and culture and My project involves the creation of a Maritime Museum that aims to break through the 5 commerce, 5 they evolve 5 commerce, Culture Commerce Site 2. Breaking Up 2. Brea Culture and commerce, Culture Commerce and their Commerce - My useand Approach of cross - My disciplinary to Approach Site- My Approach design to Site andtothe way their architectural their use of commerce, their crossuse disciplinary of their cross use disciplinary design of crossand disciplinary design the wayand they design theevolve way and they their theevolve way architectural they their evolve architectural their architectural industrial barrier in Blyth in order to reconnect the people of Blyth with the water. The (3) 3.ain Making Up” 3. Mak style, have informed and inspired the theories in my proposal for a style, maritime have style, museum informed havestyle, and informed inspired have informed andthe inspired theories and the inspired intheories my theintheories myfor proposal maritime my for proposal a museum maritime for a maritime museum museum lic proposal Pub ss building will encase a 55m long WW2 submarine as its main exhibit with smaller spaces e Acc te 11 11 11 11 Developing Architecture - My Approach to Programme DevelopingDeveloping Architecture Architecture - My Approach - Myto Approach Programme situated toinProgramme the port of Blyth. situated in argue situated the port in of situated the Blyth. inofthe Blyth. port of Blyth. UNStudio that for port their relationship to be initially ‘in love’, itUNStudio must be “one UNStudio arguethat thatUNStudio argue for their thatargue relationship for their that rf Rou allowing visitors to learn about the evolution of the boat building industry in Blyth, through (4) casts culture as subservient to commerce.” This view is supported by casts culture casts as subservient culture casts as culture subservient to commerce. as subserv to”(4) com Blyth’s incremental exhibition, workshops and teaching spaces. 13 13 Cross Disciplinary 13 13 Cross Disciplinary - Historical Cross Disciplinary Approach -Approach HistoricalApproach -Context Historical Context Context development as it grew from the sea, hence bringing in industries such as development boat building development as and it grew development from as it grew the sea, from as hence it grew the bs 5

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exhibition, exhibition, workshops exhibition, and teaching workshops spaces. andspaces. teaching spaces. workshops and teaching

and teaching spaces.

100 (m)

Wind Rose Diagram Wind Rose Diagram Wind Rose Diagram

Contents

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Industrial Barrier Industrial Barrier Industrial Barrier

Abstract Abstract Abstract

industrial barrier Blyth inin order barrier reconnect inorder Blythtointhe order people to reconnect of Blyth with the the water. of Blyth Thewater. with the water. The ct the people of Blyth with the water. industrial Thein industrial barrier Blythtoin reconnect the people of people Blyth with the The

40 100 0(m) 60 2080 40100 60 (m)

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Bibliography Bibliography Bibliography

List List List of of Figures of Figures Figures

Fig 1 - SiteFig Plan 1 - Showing Site Fig Plan 1 -the Showing SiteAre Plan ofthe Showing Influence Are ofthe Influence and Are Major of Influence and SiteMajor Strategies and SiteMajor Strategies Site Strategies UNStudio.UNStudio. 2018. About UNStudio. 2018. - UNStudio About 2018. - UNStudio .About [ONLINE] - UNStudio . [ONLINE] Available . [ONLINE] Available at: https://www.unstudio.com/ Available at: https://www.unstudio.com/ at: https://www.unstudio.com/ en/page/3997/about. en/page/3997/about. en/page/3997/about. [Accessed[Accessed 07 March[Accessed 07 2018]. March07 2018]. March 2018].

Fig 2 - Poster Fig 2for - Poster the Fig 2 minute 2for - Poster the film 2 minute forthat the I2 film produced minute that Ifilm produced in response that I produced in to response my site in to response my siteto my site Fig 3-6 - Images Fig 3-6of - Images Fig the 3-6 Industrial of - Images the Industrial Barrier of theinIndustrial Barrier Blyth inBarrier Blyth in Blyth

FigPopulation 7 - Blyth Fig Population 7 Growth - Blyth Population Diagrams Growth Diagrams Growth Diagrams UNStudio.UNStudio. 2018. Culture UNStudio. 2018.and Culture Commerce 2018.and Culture Commerce partand one: Commerce in part love one: - UNStudio part in love one: - UNStudio in . [ONLINE] love - UNStudio . [ONLINE] . [ONLINE] Fig 7 - Blyth

Bibliog Bibl B

UN UN A UN UNON A A

most common mostcoming common from com R most commo

Industry

waterfront would waterfront not have wouldbee n waterfront w

(6) UNStudio. (6)2018. UNStudio. Culture 2018. and Commerce Culture andpart Commerce three: making part three: up - making UNStudio. up -[ONLINE] UNStudio. [ONLINE] (6) UNStudio. 2018. Culture and Commerce part three: making up - UNStudio. [ONLINE]

Fig 8 - Axonometric Showing the Industrial Barrier on the Waterfront of Blyth

(5) UNStudio. 2018. Culture and Commerce part two: breaking up - UNStudio. [ONLINE] Available at: https://www.unstudio.com/en/page/8103/culture-and-commerce-part-two-breaking-up. [Accessed

(7) van, B., 2008. (7) van, UN(7) B., Studio. 2008. Tham UN Fig 10 - Concept Fig 10Image - Concept My Image Design for My Showing Design Showing Connection the Connection Between theBetween WaterBetween and the Water and and van, B., 200 Fig 10 for - Concept Image for Mythe Design Showing the Connection the Water

the Park

Available at: Available https://www.unstudio.com/en/page/8107/culture-and-commerce-part-three-making-up. at: https://www.unstudio.com/en/page/8107/culture-and-commerce-part-three-making-up. Available at: https://www.unstudio.com/en/page/8107/culture-and-commerce-part-three-making-up.

the Park the Park

Industry Industry

Industry

[Accessed 13[Accessed March[Accessed 2018]. 13 March 13 2018]. March 2018].

13 March 2018].

(8) Jaeger, F.,(8) 2018. Jaeger, UNStudio. 2018.F., Jovi UN (8) F., Jaeger, 2 Industry (9) Ibid “ “ (9) Ibid(9) “ “Ibid “ “

(10) UNStudio. (10)2018. UNStudio. UNStudio 2018. .[ (10) UNStudio

March 2018].March 2018]. 9 9 10 10 March 2018]. 9 10 (5) UNStudio. 2018. Culture and Commerce partbreaking two: breaking up - UNStudio. [ONLINE] Available Fig 8 - Axonometric Showing Industrial Barrier on[ONLINE] the Waterfront of Fig Blyth (5) 2018. Culture and Commerce two: up [ONLINE] (5) UNStudio. Available (5) 2018. UNStudio. CultureFig and 2018. and part Commerce two: breaking partthe two: upIndustrial -the UNStudio. breaking up [ONLINE] - UNStudio. Available Available 8Commerce -Culture Axonometric Showing Barrier on the Waterfront of Blyth 8 - Axonometric Fig 8 - Axonometric Showing the Showing Industrialth 2 - Poster for2the 2 minute film Ithat I produced in response my siteFig 2 - PosterFig Fig 2Fig - Poster for the minute film that produced in response to mytosite for2the - Poster 2 minute forUNStudio. the film2 that minute I produced film that in I produced response to inpart my response site to my site- UNStudio.

Available at: https://www.unstudio.com/en/ (3)About UNStudio. 2018. andhttps://www.unstudio.com/en/ Commerce part one: in-love - UNStudio . [ONLINE] Available at: ble at: https://www.unstudio.com/en/ (1) UNStudio.(1) 2018. UNStudio. About (3) - 2018. UNStudio UNStudio. . [ONLINE] - 2018. UNStudio Culture .Culture [ONLINE] and Commerce at: Available partat:one: https://www.unstudio.com/en/ in love UNStudio . [ONLINE] Available (3) UNStudio. at: (3) 2018. UNStudio. Culture and 2018.Commerce Culture and part Commerce one: part - UNStudio one: in love . [ONLINE] - UNStudioAvailable . [ONLINE] at: Available at: 7 Available 8 in love

Travelling ceCrane

https://www.unstudio.com/en/page/8089/culture-and-commerce-part-one-in-love. [Accessed page/3997/about. page/3997/about. [Accessed https://www.unstudio.com/en/page/8089/culture-and-commerce-part-one-in-love. 07 March [Accessed 2018]. 07 March 2018]. [Accessed https://www.unstudio.com/en/page/8089/culture-and-commerce-part-one-in-love. 13 13https://www.unstudio.com/en/page/8089/culture-and-commerce-part-one-in-love. [Accessed 13 [Accessed 13 (2) Ibid “

“ (2) Ibid “

“ MarchMarch 2018].2018].

at: https://www.unstudio.com/en/page/8103/culture-and-commerce-part-two-breaking-up. [Accessed at: https://www.unstudio.com/en/page/8103/culture-and-commerce-part-two-breaking-up. at: https://www.unstudio.com/en/page/8103/culture-and-commerce-part-two-breaking-up. [Accessed at: https://www.unstudio.com/en/page/8103/culture-and-commerce-part-two-breaking-up. [Accessed [Accessed

March 2018]. March 2018].

(4) “Ibid (4) Ibid “ ““

(4) Ibid “ “

13 March 13 March 2018].2018].

13 March 2018]. 13 March 2018].

(4) Ibid “ “

Travelling Crane

The The Mercedes-Benz Mercedes-Benz The Mercedes-Benz Museum Museum Museum CrossDisciplinary Disciplinary Cross Cross Cross Disciplinary Disciplinary Design Design Design Design

Fig 11-13 - Ineke Hans - Fogo Island Furniture

oping ping ecture cture

Developing Developing Architecture Architecture

ng into cross

of UNStudio.

nited Network Port Blyth Port

Fig 11-13 - Ineke Furniture Fig 11-13 - Ineke Hans Hans - Fogo- Fogo IslandIsland Furniture

Fig 11-13 - Ineke Fig Hans 11-13--Fogo InekeIsland Hans Furniture - Fogo Island Furniture

Fig 22 - Integrated Fig 22 Fig - Pedestals Integrated in 22 - Inte Steel

Fig 19 - Mercedes-Benz Fig 19 Fig - Mercedes-Benz Exterior Museum Exterior 19 Museum - Mercedes-Benz Museum Exterior

One ofOne UNStudio’s works me is the in Stuttgart. One of UNStudio’s major worksmajor that interests meinterests isthat the interests Mercedes-Benz Museum inMuseum Stuttgart. of UNStudio’s major that works meMercedes-Benz is the Mercedes-Benz Museum in Stuttgart.

One thing that OneI thing was keen that to I was discover were discover the were the techniques they had used they tohad create used a building toused create building One thing thatkeen I wasto keen to techniques discover were the techniques they had to acreate a building

Bert van stated that the “Currently the interest in the in architecture ofalmost museums almostalmost Bert van Berkel stated thatBerkel “Currently interest in the architecture ofthe museums BertBerkel van stated that “Currently the interest architecture of museums

that was notthat thewas typical not museum thenot typical museum the visitor wherefeels the visitor a detachment feels a feels detachment from the exhibits. from the exhibits. that was thewhere typical museum where the visitor a detachment from the exhibits.

Timber

TimberTim

surpasses the interest ininside the works them” surpasses the interest in the works , and as UNStudio, , and(15)as, and UNStudio, “Weas want to“We achieve want an towant achieve an Fig 14-17 - Images of Local Craft and Vessels that have been located or docked in Blyth Harbour surpasses the interest inthem” the inside works inside them” UNStudio, “We to achieve an ractice.”(13) “We integrate “We pedestals integrate into pedestals architecture… into architecture… Visitors see the Visitors carsVisitors alternatively see the see carsthe alternatively from from lower, higher, lower, lower, intense visual intense experience visual by experience relating the by relating work to the work space to itwork is the in,space other itspace is from works in, toisit other its vicinity, itsinto vicinity, “We integrate pedestals into architecture… cars higher, alternatively from higher, intense visual experience by relating the totoan the itAll’ in, to other works in into its (7) (7) (7) water into(7) One of the studio specific criteria in ‘Getting Away All’ ,works islooking in in looking crossofspecific One of the studio specific criteria insite ‘Getting Away from itstyle ,in is in One of cross thevicinity, studio One the studio criteria specific in ‘Getting criteria Away in ‘Getting from itAway All’, from is in looking it All’, isinto in looking cross into cross develop the concept of drawing the the site by creating an inlet style dock, similar in order to deal with the of architecture” develop the concept of drawing the water into the site by creating an inlet style dock, develop similar the concept develop of the drawing concept the of water drawing into the the water site by into creating the an by inlet creating style dock, inlet similar dock, similar in order to deal with the in order to deal in order with to the deal with the chitecture” UNStudio is UNStudio keen on “developing is keen on the “developing discipline the of architecture” discipline of architecture” he artwork of (16) (16) (16) closer and more closerdistant, and more frontal anddistant, frontal more oblique and more points of view points as they of view circulate they around circulate Itaroundaround … It … It and toathe outside andisto world. the outside ”the outside world. ” the closer anddistant, more frontal andoblique more oblique points ofasview as they…circulate and ”that disciplinary design, field is deeply into the design process of UNStudio. design, a field which deeply engrained into design process disciplinary UNStudio. design, disciplinary a fielddesign, whichaisfield deeply which engrained is deeply into engrained the design into process the design of UNStudio. process of UNStudio. to many in in use in Blyth. This would allow toadvancement, have a public process. advancement, many Blyth. This would allow me tome have a public waterfront to waterfront many that currently tothat many in currently usedisciplinary in Blyth. in use This inwould Blyth. allow This would mewhich to allow have ato me public to engrained have waterfront a world. public waterfront thatof ess. This This technological advancement, advances in advances technology in to as technology part ofcurrently the ascurrently design partinofuse process. the design This process. technological This technological advancement, rew from this technological (17) could be said could that be in said the Mercedes-Benz that in the Mercedes-Benz Museum, it Museum, is the visitor it is who the visitor is put on who a pedestal. is put on ” a pedestal. ” (17) ” (17) could be said that in the Mercedes-Benz Museum, it is the visitor who is put on a pedestal. (8) (8) (8) port of Blyth. methodology developed by van Ben vanport Berkel and Caroline Bostheir for their United Network “The methodology developed by Ben Berkel and Caroline Bos for United “The Network methodology “The methodology developed by Ben Berkel by Ben and van Caroline Berkel and Bos Caroline forand their United for their Network United Network Fig 20 - Section Fig 20 Concept -developed Section Concept Growth for and Growth Decay of and Boat Decay Building ofBos Boat Industry Industry would not disturb activity the ecture has undergone a re-evaluation” , has would not disturb thehas activity in thein would not“The disturb would the notactivity disturb inthe the activity port of inBlyth. the of Blyth. eepresentation has undergone a re-evaluation” combined with combined the factwith that the fact “value that of the architecture “value of has architecture undergone athe undergone re-evaluation” aport re-evaluation” , has , of hasBlyth. (8), has Fig 20van -for Section Concept for Growth Decay ofBuilding Boat Building Industry Fig 14-17 - Images of Local and Vessels that been have located been located or docked in Fig Blyth Harbour Fig 14-17 - Images of Local Craft Craft and Vessels that have or docked in Blyth Harbour 14-17 - Images Fig 14-17 of Local - Images Craft of and Local Vessels Craft that and have Vessels beenthat located haveorbeen docked located in Blyth or docked Harbour in Blyth Harbour This inspired This me inspired to create me a to piece create of architecture a piece of architecture that was not that only was bold not and only dramatic, bold and dramatic, (13) This inspired me to create piece of architecture that was not only practice. boldpractice. and Studio explicitly deploys a acollaborative and interdisciplinary architectural ” Fig 23 -Walkway Fig 23Through -Walkway Exh Th Studio explicitly deploys a collaborative and interdisciplinary architectural Studio ”(13)dramatic, explicitly Studio deploys explicitly a collaborative deploys a collaborative and interdisciplinary and interdisciplinary architectural architectural practice.”(13) practice.”(13) Fig 23 -Walk hasup set up attitudes andchanged strategies tochanged deal of the shape soset attitudes and strategies to deal the shape industry of the andindustry UNStudio and has UNStudio set up attitudes has set and up attitudes strategiesand to deal strategies to deal Island, during but would also butmy would speak of also the speak works ofstudy inside the study works it. inside example it. For I it. aim example to example create IFuses aim to create exhibitions that that This changed This mychanged perspective my perspective ofmy theperspective idea of athe pedestal idea in a pedestal a museum in and a museum caused and me to caused altercaused me to alter but would also of theFor inside For Iand aim to create exhibitions that This changed of theofidea of a pedestal in a museum and me to alter Icross my cross disciplinary Iworks looked atarchitecture the architecture ofexhibitions Fuses and Vaider, the artwork ofcross study disciplinary Imust looked the the I my artwork cross disciplinary ofI my disciplinary I looked study at the I looked architecture at the of architecture Fuses and of Vaider, Fusesthe andartwork Vaider,of the artwork of attitude ofthis. UNStudio a project be commercially before its cultural is. This This attitude ofwith UNStudio that project mustmust be commercially viableviable before This its attitude cultural This of UNStudio attitudeI of that UNStudio a project that must a speak project be commercially beatcommercially viable before viable itsofcultural before itsVaider, cultural withathat this. its people.”(14) speak aboutspeak the evolution about the of evolution the craft of and the materials craft and in materials Blyths boat in Blyths building boat industry. building In industry. In the way in which the way people in which circulate people and circulate experience and experience the main exhibit the main in my exhibit museum, in my the museum, 55m the 55m speak about the evolution of the craft and materials inconclusions Blyths industry. In the way in which people circulate and experience the main exhibit in my museum, the 55m Nigel Coates and the design and craft of Ineke Hans. The which I drew from this Coates and the design and acknowledgment craft of Ineke Hans. Thearchitecture Ibuilding drew Nigel from Coates thisNigel and the Coates design and and thecraft design of Ineke and craft Hans. ofThe Ineke conclusions Hans. Thewhich conclusions I drewwhich from this I drew from this value can beatappreciated again shows their acknowledgment that architecture is a be money ent inbuilding architecture beThe comprehensively value can appreciated again shows their acknowledgment that architecture value is a can money value appreciated can beNigel again appreciated shows again their acknowledgment shows their that architecture that isconclusions a money iswhich aboat money nboat architecture mustmust be comprehensively followingThe twofollowing quotes look twoat quotes howbe any look investment how any ininvestment architecture in must architecture be comprehensively must be comprehensively response toresponse this statement to were this by statement van Berkel byexpression van I thought Berkel about I local thought how about I materiality could how useIthe could materiality materiality long WW2 long submarine. WW2 submarine. As yousubmarine. journey As you through journey through museum my views museum of museum varying viewsobliquity of varying obliquity are response to this statement van Berkel Icraft thought about how I use could use thewere materiality long WW2 As youmy journey through my views of are varying obliquity are study the use and of and materiality in both the representation were theconcept use and expression of local craft and in both thethe representation study the study usewere and expression the use andofexpression local craftof and local materiality craft andinmateriality both the representation in both the representation driven industry and links injustifiable: with my concept and how I approached my programme. In stifiable: driven industry and justifiable: links in with my concept and how I approached my programme. driven industry Indriven andindustry linksstudy in and with links my in with and my concept how Iby approached and how I my approached programme. my programme. In In ble: financially financially ng the 1960s. of the architecture ofand thecreation architecture to reflect the to exhibition reflect the it exhibition contains. it This contains. may however This may be however a superficial be a superficial created so as created to entice so as the to visitor entice the visitor they until allowed they to enter allowed tosubmarine enter submarine itself. itself. This of the reflect the exhibition it contains. Thisproject may however a superficial created so as to until entice the are visitor untilare they arethe allowed tothe enter the This submarine itself. This and creation ofI space. Ineke Hans displayed this best her on Fogo Island, during ofanalysis space. Ineke Hans displayed best in her project onmuseum Fogo Island, andbe creation during and of space. creation Ineke of space. Hans displayed Ineke Hans this displayed best in her thisproject best inon her Fogo project Island, on Fogo during Island, during response mythe analysis of Blyth, Ithe came the proposal ofand a maritime museum data, through theofuse of infrastructure response mytocontextual analysis ofthe Blyth, Iofcame touse theto of a maritime response museum to my response contextual to myanalysis contextual ofarchitecture Blyth, came ofto Blyth, to theI proposal came to the ofthis aproposal maritime of museum ainmaritime through the use infrastructure • “Objectsand come • and “Objects about through come about theto assembly through ofcontextual data, assembly through of data, use through infrastructure ofproposal infrastructure and iential curved addition an addition perhaps an there perhaps is a more there conceptual is a more conceptual and experiential and experiential way in which way I could in which evoke I could evoke slow reveal, slow of what reveal, is externally of what is the externally main exhibition, the main exhibition, aims to allow aims people to allow to read people between to read between (14) (14) (14) (14) addition an perhaps there is a more conceptual and experiential way in which I could evoke slow reveal, of what is externally the main exhibition, aims to allow people to read between (9) (9) (9) (9) hi-tech boat building. Both of these which she said, “Whatever doboat has totofit the island, tohistory its history and itsshe people. ” “Whatever which she said, “Whatever do Ihas to thetoboat island, to and to which itstopeople. ” said, which she said,I “Whatever do has to fit I do to has the island, to fit totothe its island, historytoand its to history its people. and ”to its people.” a for hubengineering for manipulation engineering excellence inand thedetail” field of material and detail” andthe aand hub excellence in the field of hi-tech boat building. Both and aofhub these for and engineering a hub for engineering excellence inexcellence the field of inIhi-tech the field offithi-tech building. Both building. of its these Both of these erial andspace detail” through manipulation through the of material and of material detail” ase. The the project exhibits. the exhibits. the scales ofthe thescales exhibits the in my exhibits building. in my building. the exhibits. the of scales of the exhibits in my building. Linking this to my Iand decided to experiment the various boat building Linking thisinback toofmy I decided to experiment with with the boat Linking building this Linking back to this my project back to Imy decided project to Iexperiment decided to with experiment the various with boat the various buildingboat building were inspired by the history of Blyth in terms of industry, leisure and conflict, and therefore iding new ‘placemaking’ qualities to attract were inspired the history of Blyth in terms of industry, and conflict, and weretherefore inspired were by the inspired history byofthe Blyth history terms of back Blyth industry, inproject terms leisure of industry, conflict, leisure and and conflict, therefore and various therefore new ‘placemaking’ qualities • “Developments to attract • “Developments depend on the depend promise onbyof the providing promise new providing ‘placemaking’ new ‘placemaking’ qualities toleisure attract qualities to attract experience. (10) (10) (10) techniques that provided Blyth with a major until it would collapsed during the 1960s. techniques that provided Blyth with a major industry until itrely collapsed during the 1960s. that techniques providedthat Blyth provided with a Blyth majorwith industry a major until industry it collapsed until during it collapsed the 1960s. during the 1960s. exist as cultural interventions. However the (10) reintroduction of boat building relyinterventions. e political exist as cultural interventions. However thewill” reintroduction of boat building exist would aswould cultural relyexist as cultural interventions. However theHowever reintroduction the reintroduction of boat building ofindustry boat would building relytechniques itical will” will” investment and investment mobilise and political mobilise will”political (15)

(15)

The steam bent timber inspired me to create athis section of anthis experiential curved The early steam bent timber boats inspired meUniversity, to create a and section of anand experiential The early curved steam Thebent earlytimber steam boats bent timber inspired boats me to inspired create me a section to create of an a section experiential of an curved experiential curved upon initially being a the research facility perhaps linked with Newcastle University, andupon this ur in which I analysed theThese current industry initially being a research facility with Newcastle University, uponand initially this being initially a research being facility aearly research perhaps facility linked perhaps withboats Newcastle linked with Newcastle University, which I analysed the current industry quotes These have led quotes meupon to have increasing led me to the increasing rigour in which rigour I analysed inperhaps which the Ilinked analysed current industry the current industry

sphere thatcommerce would an site, exhibition fortimber the museum timber building phase. The would space sphere that would actmajor asact an exhibition space for the boat boat building phase. sphere The that space sphereact that as would an exhibition act as an space exhibition for thespace timber forboat the building timber boat phase. building The space phase. The space would not immediately bring any major commerce tosite, the whereas site, ain maritime to break through the industrial barrier in notMy immediately bring any major commerce to the a maritime would museum notmuseum immediately would not immediately bring any major bring any toas commerce the whereas to thespace site, a maritime whereas a maritime museum reak through the industrial on barrier the site in ofonBlyth. the site Myofwould site Blyth. and concept site and aim concept to break aim through to break the through industrial barrier industrial in whereas barrier

itself therefore evoke the exhibits and become essential part the experience. itself would therefore evoke the exhibits and become andevelopment essential partofof theofexperience. itself would therefore itself would evoke therefore the exhibits evoke and the exhibits become and an essential becomepart an essential of the experience. part of the experience. provides a tourist destination ifhad successful, could lead to further Blyth front had be carefully considered the the provides tourist destination that, ifbesuccessful, could lead to further development of Blyth aoftourist provides destination a tourist that, destination if would successful, that, ifcould successful, lead to could further lead development to further ofan Blyth Blyth had to betocarefully considered Blyth by asbringing theas Blyth by bringing public realm the apublic to the realm waterfront to thehad waterfront tothat, carefully to considered be carefully asconsidered the asdevelopment theprovides

in a direction away the heavy industry that once itsperhaps growth. mport/export entering regularly, the perhaps in a import/export direction away fromfrom the heavy industry that once fuelled Marina, its growth. Marina, in a perhaps direction inaway aMe direction from the away heavy from industry the heavy that industry once fuelled that once its growth. fuelled its growth. t/export shipsships entering regularly, port of- Blyth theport is aofhive Blyth ofMarina, activity is aMarina, hive with ofperhaps activity large with large import/export ships entering ships regularly, entering the regularly, thefuelled Fig 18 Steam Bent Experiential Space (15) Bos, C., (15) 2006.Bos, BuyC., a Mercedes-Benz: The Book of The the Museum. Actar-D. 4 Actar-D. 4 2006. Buy Me a Mercedes-Benz: Book of the Museum.

(15) Bos, C., 2006. Buy Me a Mercedes-Benz: The Book of the Museum. Actar-D. 4

Fig 21 - Mercedes Fig 21 Fig -Benz Mercedes Benz Sectional Museum Concept Sectional Concept 21Museum - Mercedes Benz Museum Sectional Concept

(17) Bos, C., (17) 2006.Bos, Buy Me a Mercedes-Benz: Book of The the Museum. Actar-D. C., 2006. MeBuy a Mercedes-Benz: Book the Museum. Actar-D. 5 (17) Bos, C.,Buy 2006. MeThe a Mercedes-Benz: TheofBook of the5Museum. Actar-D. 5

(11) (11) (11) of my building (11) This would be the element that would new ‘placemaking’ qualities towould . Taking a large portion the This would be the element oftwice my building that would “provide ‘placemaking’ qualities would to be This the element be of themy element building ofBuy that myMe building would “provide that would newthe “provide ‘placemaking’ new ‘placemaking’ qualities to qualities to ko.week most common most coming common from coming Rotterdam from twice Rotterdam a week a week . Taking over over a large portion of theof . Taking over . aTaking large portion over a“provide large ofnew the portion of theThis [ONLINE] (16) Bos, C., (16) 2006.Bos, BuyC., Me2006. a Mercedes-Benz: The Book of The Museum. Actar-D. 5 Actar-D. 5 a Mercedes-Benz: Book of the Museum.

attract investment and mobilise on onsite the site this and therefore this therefore ledto me to not have investment n the waterfront led me would waterfront would been nota have viablebeen solution a attract viable on the solution site and onand this themobilise site therefore andpolitical this ledpolitical therefore mewill” to will” led me to ccessed 07 and (12)

attract investment attractand investment mobilise and political mobilise will”political will”

(12)

(11) Port of Blyth. 2018. Location & Directions Port of Blyth. [ONLINE] Available at:Port http:// (13) van, G., 2002. UN Studio: UNFOLD. NAI Publishers. 5 (7) UN van,Studio. B., 2008. Thames UN Studio. & Hudson. Thames 8 & Hudson. (11) Port of Blyth. 2018. Location &8 Directions - Port-of Blyth. [ONLINE] Available at: http:// (11) of Blyth. (11) 2018. Port of Location Blyth. (13) 2018. van, & Directions G., Location 2002. UN -&Port Directions Studio: of Blyth. UNFOLD. - [ONLINE] Port Blyth. Available Publishers. [ONLINE] at: 5http:// Available at: http:// Between Water and the Water and (7) van, B., 2008. 15 of NAI 15 14 15 portofblyth.co.uk/location-directions/. [Accessed 13 March (8) Jaeger, F., 2018. (8) Jaeger, UNStudio. F., 2018. Jovis. UNStudio. 7 Jovis. 7 portofblyth.co.uk/location-directions/. [Accessed 13 March 2018].2018].

March 2018]. March 2018].

Bibliography

March 2018]. March 2018]. MarchMarch 2018].2018].

Fig 18 - Steam FigBent 18 -Experiential Steam Bent Experiential Space Space

March 2018]. March 2018].

List of Figures

UNStudio. 2018. About - UNStudio . [ONLINE] Available at: https://www.unstudio.com/

Fig 1 - Site Plan Showing the Are of Influence and Major Site Strategies

en/page/3997/about. [Accessed 07 March 2018].

Fig 2 - Poster for the 2 minute film that I produced in response to my site Fig 3-6 - Images of the Industrial Barrier in Blyth

UNStudio. 2018. Culture and Commerce part one: in love - UNStudio . [ONLINE]

Fig 7 - Blyth Population Growth Diagrams

Available at: https://www.unstudio.com/en/page/8089/culture-and-commerce-part-one-

Fig 8 - Axonometric Showing the Industry on the Waterfront of Blyth

in-love. [Accessed 13 March 2018].

Fig 9 - Axonometric of My Site

the Park

Available at: https://www.unstudio.com/en/page/8103/culture-and-commerce-part-two-

Fig 11-13 - Ineke Hans - Fogo Island Furniture

Studio. [ONLINE] Available at: http://www.inekehans.com/studio/work/fogo-island-innUNStudio. 2018. Culture and Commerce part three: making up - UNStudio. [ONLINE]

Conclusion Conclusion

trip-and-backgrounds. [Accessed 10 April 2018].

Conclusion Conclusion

Available at: https://www.unstudio.com/en/page/8107/culture-and-commerce-part-three-

Fig 14-17 - Images of Local Craft and Vessels that have been located or docked in Blyth Harbour

making-up. [Accessed 13 March 2018]. Fig 22 - Integrated Fig 22 Pedestals - Integrated in Mercedes-Benz Pedestals in Mercedes-Benz Museum Museum

Fig 18 - Steam Bent Experiential Space

van, B., 2008. UN Studio. Thames & Hudson. Steel Steel

Fig 19 - Mercedes-Benz Museum Exterior

Bos, C., 2006. Buy Me a Mercedes-Benz: The Book of the Museum. Actar-D. 303 Fig 20 - Section Concept for Growth and Decay of Boat Building Industry

Timber Timber Fig my 21 -project Mercedes Benz Museum Sectional Concept Jaeger, F., 2018. UNStudio. Jovis. Thetheories key theories of United Network Studio that have become embedded into areof The key of United Network Studio that have become embedded into my The project key theories areThe keyUnited theories Network of United Studio Network that have Studio become that have embedded becomeinto embedded my project intoare my project are ArchDaily. 2018. Mercedes-Benz Museum / UNStudio | ArchDaily . [ONLINE] relating to Culture and Commerce. The in way in which described this relationship thosethose relating to Culture and Commerce. The way which they they described thisthose relationship relatingthose to Culture relating and to Commerce. Culture and The Commerce. way in which The way theyindescribed which they this described relationship this relationship Available https://www.archdaily.com/805982/mercedes-benz-museumUNStudio. 2018. UNStudio . [ONLINE] Available at: https://www.unstudio.com. helped to gain a better understanding of Blyth why Blyth developed itand did and aat: helped me tome gain a better understanding of why may may have have developed like helped itlike did me tohelped gain me better to gain understanding a better understanding of why Blythof may why have Blyth developed may havelike developed it did and like it did and unstudio. [Accessed 10 April 2018]. [Accessed 04 March 2018]. can consequently produce the response best response to this. natively higher, lower, from higher, lower, how how I canIconsequently produce the best to this. how I can consequently how I can consequently produce the best produce response the best to this. response to this. Fibreglass Fibreglass Fibreglass Fibreglass Fig 22 - Integrated Pedestals in Mercedes-Benz Museum they around circulate … It around … It ArchDaily. 2018. Mercedes-Benz Museum / UNStudio | ArchDaily . [ONLINE] Port of Blyth. 2018. Location & Directions - Port of Blyth. [ONLINE] Available at: http:// aho pedestal. is put on ” (17)a pedestal.” (17) Available at: https://www.archdaily.com/805982/mercedes-benz-museumportofblyth.co.uk/location-directions/. [Accessed 13 March 2018]. Fig 23 -Walkway Fig 23 Through -Walkway Exhibition ThroughSpaces Exhibition Spaces unstudio. [Accessed 10 April 2018]. d mme andtocaused alter me to alter Fig 23 -Walkway Through Exhibition Spaces van, G., 2002. UN Studio: UNFOLD. NAI Publishers. tum, in my themuseum, 55m the 55m Fig 24 -View of Submarine from Steel Ship Building Exhibition ws obliquity of varying areobliquity are Ineke Hans Studio. 2018. Furniture for Fogo Island Inn - Work | Ineke Hans Studio. ne theitself. submarine This itself. This [ONLINE] Available at: http://www.inekehans.com/studio/work/furniture-for-fogoread w people between to read between island-inn. [Accessed 07 March 2018].

he ment exhibits. from the exhibits.

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Fig 14-17 - Images of Local and Vessels that been have located been located or docked inFig Blyth Harbour Available at: https://www.unstudio.com/en/page/8107/culture-and-commerce-part-threeAvailable at: https://www.unstudio.com/en/page/8107/culture-and-commerce-part-threeat: Fig https://www.unstudio.com/en/page/8107/culture-and-commerce-part-three14-17 - Images of Local Craft Craft and Vessels that have or docked in Blyth Harbour 14-17 - Images Fig 14-17 of Local - Images Craft of and Local Vessels Craft thaa Available at: Available https://www.unstudio.com/en/page/8107/culture-and-commerce-part-threeFig 1813 - Steam Experiential making-up. March 2018]. Fig 18 - 2018]. Steam Bent Bent Experiential SpaceSpace making-up. [Accessed 13[Accessed March

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Fig 18 - Steam FigBent 18 -Experiential Steam Bent Experientia Space

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Fig 20 - Section Concept for Growth and Decay of Boat Building IndustryFig 20 - Section Fig 20 - Section Concept for Growth and Decay of Boat Building Industry Fig Concept 20 - Section for Growth Conceptand for Gr De

Fig 21 - Mercedes Fig 21Benz - Mercedes Museum Benz Sectional Museum C

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Fig 23 -Walkway Fig 23 Through -Walkway Exhibition ThroughSpaces Exhi

Fig 24 -View of Submarine Building Exhibition Fig 24 -View of Submarine fromfrom Steel Steel Ship Ship Building Exhibition

Fig 24 -ViewFig of Submarine 24 -View offrom Submarine Steel Ship from B

[ONLINE] Available at: http://www.inekehans.com/studio/work/furniture-for-fogo[ONLINE] Available at: http://www.inekehans.com/studio/work/furniture-for-fogo[ONLINE] at: http://www.inekehans.com/studio/work/furniture-for-fogo[ONLINE] Available at: Available http://www.inekehans.com/studio/work/furniture-for-fogo-

21Steel Ship Fig 24 -ViewFig of Submarine 24 -View offrom Submarine Steel Ship from Building Exhibition Building Exhibition

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8 - Axonometric Showing the Industry onWaterfront the Waterfront of Blyth Fig 8 - Axonometric Available at: https://www.unstudio.com/en/page/8089/culture-and-commerce-part-oneAvailable at: https://www.unstudio.com/en/page/8089/culture-and-commerce-part-oneat: Fig https://www.unstudio.com/en/page/8089/culture-and-commerce-part-one8Fig - Axonometric Showing the Industry on the of Blyth Fig 8 - Axonometric Showing the Showing Industry th o Available at: Available https://www.unstudio.com/en/page/8089/culture-and-commerce-part-one-

Ineke Hans Studio. 2018. Fogo Island Inn, trip and backgrounds - Work | Ineke Hans

breaking-up. [Accessed 13 March 2018].

en/page/3997/about. [Accessed 07 March 2018]. en/page/3997/about. [Accessed 07 March 2018].

Fig 10 - Concept Image for My Design Showing the Connection Between the Water and UNStudio. 2018. Culture and Commerce part two: breaking up - UNStudio. [ONLINE]

1 -Plan Plan Showing theof Are of Influence and Major Site Strategies Fig 1 - Site Plan UNStudio. About - UNStudio . [ONLINE] Available at: https://www.unstudio.com/ UNStudio. 2018.2018. About - UNStudio . [ONLINE] Available at: https://www.unstudio.com/ UNStudio. 1Fig About - Site -[ONLINE] UNStudio Showing .Available [ONLINE] the Are Influence Available and at: https://www.unstudio.com/ Major Site Strategies Fig Showing 1 - Site Plan the Showing Are of Influenc the Ar UNStudio. 2018. About 2018. -Fig UNStudio .Site at: https://www.unstudio.com/

ate d used a building to create a building

Actar-D. 5 lding Exhibition Exhibition

(12) UNStudio. UNStudio . [ONLINE] Available at: https://www.unstudio.com. 042018. at:Available http://www.inekehans.com/studio/work/furniture-for-fogo-island-inn. [Accessed (12) UNStudio. 2018.2018. UNStudio . [ONLINE] Available at: https://www.unstudio.com. [Accessed (12)[Accessed UNStudio. 04 (12) UNStudio. UNStudio Available 2018. . Available [ONLINE] UNStudio at: http://www.inekehans.com/studio/work/furniture-for-fogo-island-inn. . [ONLINE] at: https://www.unstudio.com. Available at: https://www.unstudio.com. [Accessed 04 [Accessed 04[Accessed Available 07 at: 07 http://www.inekehans.com/studio/work/furniture-for-fogo-island-inn. Available at: http://www.inekehans.com/studio/work/furniture-for-fogo-island-inn. [Accessed 07 [Accessed 07

e at: https://www.unstudio.com. 042018. 2018]. https://www.unstudio.com. [Accessed (10)[Accessed UNStudio. 04 (10) UNStudio. UNStudio 2018. . March [ONLINE] UNStudio Available . [ONLINE] at: https://www.unstudio.com. Available at: https://www.unstudio.com. [Accessed 04 [Accessed 04 March 2018].

Museum eum

island-inn. 07 March 2018]. island-inn. [Accessed 07[Accessed March 2018].

C., 2006. BuyaMe a Mercedes-Benz: The Book the Museum. Actar-D. Bos, Bos, C., 2006. Buy Me Mercedes-Benz: The Book of theofMuseum. Actar-D. Buy Me a Mercedes-Benz: Book of the Museum. Actar-D. Bos, C., 2006.Bos, BuyC., Me2006. a Mercedes-Benz: The Book of The the Museum. Actar-D.

Theory into Practice

(9) Ibid “ “

Fig 18 - NAI Steam Bent Experiential FigUNFOLD. 18 - Steam Bent Experiential SpaceSpace (13) van, G., 2002. (13) van, UN Studio: G., 2002. UN Studio: UNFOLD. Publishers. NAI 5 Publishers. 5

(14) Ineke Hans Studio. 2018. Furniture for Fogo - Work | Ineke Studio. [ONLINE] portofblyth.co.uk/location-directions/. portofblyth.co.uk/location-directions/. (14) Ineke Hans [Accessed Studio. 13 2018. March [Accessed Furniture 2018]. 13 March for Fogo 2018]. IslandIsland Inn - Inn Work | Ineke Hans Hans Studio. (14) [ONLINE] Ineke Hans (14) Studio. Ineke2018. HansFurniture Studio. 2018. for Fogo Furniture Islandfor Inn Fogo - Work Island | Ineke Inn -Hans WorkStudio. | Ineke[ONLINE] Hans Studio. [ONLINE]

Blyth Maritime Museum

(9) Ibid “ “

Fig 24 -View Fig of24 Submarine -View of Su fro Fig 24 -View

(16) Bos, C., 2006. Buy Me a Mercedes-Benz: The Book of the Museum. Actar-D. 5

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y dissertation involved a study of the link between student productivity and environmental conditions in secondary schools. This involved extensive literary research as well as experiments carried out in three Sheffield schools.

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Bibliography

1 UNStudio. 2018. Culture and Commerce part three: making up - UNStudio. [ONLINE] Available at: https:// www.unstudio.com/en/page/8107/culture-and-com merce-part-three-making-up. [Accessed 13 March 2018].

List of Figures

Fig 1] - Fuses and Viader - E.R. Empuries fuses-viader arquitectes. 2018. fuses-viader arquitectes [ ONLINE] Available at: http://www.fusesviader.com/. [ Accessed 24 May 2018]. [

[ Fig 2] - Ineke Hans - A380 Chair Ineke Hans Studio. 2018. Ahrend 380 - Work | Ineke Hans Studio. [ONLINE] Available at: https://www. inekehans.com/studio/work/ahrend-380. [Accessed 24 May 2018].

Fig 3] - Nigel Coates - Caffè Bongo, Tokyo Nigel Coates - Drawings of the Week - Sets - Drawing Matter. 2018. Nigel Coates - Drawings of the Week - Sets - Drawing Matter. [ONLINE] Available at: https:// www.drawingmatter.org/sets/drawing-week/nigel- coates/. [Accessed 24 May 2018]. [

Fig 4-7, 28-29] - Ineke Hans - Fogo Island Furniture Ineke Hans Studio. 2018. Furniture for Fogo Island Inn - Work | Ineke Hans Studio. [ONLINE] Available at: http://www.inekehans.com/studio/work/furniture-for- fogo-island-inn. [Accessed 24 May 2018].

[

Fig 8-10, 15 + 19] - Old Blyth Images YouTube. 2018. old blyth - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v= en96cjSUdUs. [Accessed 24 May 2018]. [

Fig 11] - GT3 Acrhitects - Hartlepool Waterfront Hartlepool Mail. 2018. Ambitious Hartlepool waterfront plans would create hundreds of jobs. [ONLINE] Available at: https://www.hartlepoolmail.co.uk/news/ ambitious-hartlepool-waterfront-plans-would-create- hundreds-of-jobs-1-8815641. [Accessed 24 May 2018]. [

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Fig 12-13,1] - Blyth Tall Ship Regatta Aerials YouTube. 2018. Tall Ship Regatta, Blyth-UK, August 2016. DJI Phantom 4, 4K - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v= hqkidcZPKbk. [Accessed 24 May 2018].

[

Fig 14] - Boat Building Craft Hooked On Wooden Boats. 2018. The world’s first podcast fully dedicated to the art, craft, history, and tradition of wooden boats. [ONLINE] Available at: http://www.hookedonwoodenboats.com/. [Accessed 24 May 2018].

[

Fig 16] - Autograph ag-x plus machine SHIMADZU. 2018. AG-Xplus Series AUTOGRAPH|Top : SHIMADZU (Shimadzu Corporation). [ONLINE] Available at: https://www.shimadzu.com/an/test/ universal/ag-xplus/ag-xplus.html. [Accessed 24 May 2018]. [

Fig 17] - Hydroshot HITS-P10 Puncture Impact Testing Machine | SHIMADZU D.O.O. CROATIA. 2018. Puncture Impact Testing Machine | SHIMADZU D.O.O. CROATIA. [ONLINE] Available at: https://www.shimadzu.hr/puncture-impact-testing- machine. [Accessed 24 May 2018]. [

Fig 18 + 27] - Traditional Steam Bending Bing video. 2018. Tiles for a shipwright steam bending.[ONLINE] Available at: https://www.bing.com/ videos/ [

With Thanks To

Blyth Maritime Museum

Bibliography

Colin Ross and Michael (Meeks) Simpson

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