Tunu Brown Portfolio

T U N U B RO W N S E M E S T E R T W O P O RT FO L I O ARCHIVE OF THE COLLECTIVE INTERIOR 0 7 0 2 0 76 1 8

N O S TA L G I A F O R L O S T FUTURES

1 SEMESTER TWO PORTFOLIO

CONTENTS

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ARB CRITERIA AND AMENDED WORK

UNCOVERING ARCHITECTURAL GHOSTS

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CRITICAL INTRODUCTION

THESIS DECLARATION

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REFLECTIVE CONCLUSION

MERGING CONDITIONS

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CULTIVATING MEMORY

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BIBLIOGRAPHY AND LIST OF FIGURES

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ARB CRITERIA Below is the ARB criteria, which I have referenced alongside my work to demonstrate where I have fulfilled the requirements. This has ensured I have understood what is required from me and which aspects of the criteria I need to focus on in the next term.

have knowledge of: 1. Theories of urban design and the planning of communities; 2. The influence of the design and development of cities, past and present on the contemporary built environment; 3. Current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC1 The graduate will have the ability to: 1. Prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; 2. Understand the constructional and structural systems, the environmental strategies and the regulatoryrequirements that apply to the design and construction of a comprehensive design project; 3. Develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.GC5 The graduate will have an understanding of: 1. The needs and aspirations of building users; 2. The impact of buildings on the environment, and the precepts of sustainable design; 3. The way in which buildings fit in to their local context.

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. GC6 The graduate will have an understanding of: 1. The nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; 2. The role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; 3. The potential impact of building projects on existing and proposed communities.

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. GC2 The graduate will have knowledge of: 1. The cultural, social and intellectual histories, theories and technologies that influence the design of buildings; 2. The influence of history and theory on the spatial, social, and technological aspects of architecture; 3. The application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

GC3 Knowledge of the fine arts as an influence on the quality of architectural design. GC3 The graduate will have knowledge of: 1. How the theories, practices and technologies of the arts influence architectural design; 2. The creative application of the fine arts and their relevance and impact on architecture; 3. The creative application of such work to studio design projects, interms of their conceptualisation and representation.

GC7 Understanding of the methods of investigation and preparation of the brief for a design project. GC7 The graduate will have an understanding of: 1. The need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; 2. The need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; 3. The contributions of architects and co-professionals

GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process.GC4 The graduate will

to the formulation of the brief, and the methods of investigation used in its preparation.

and building regulations.

GC10 The graduate will have the skills to: 1. Critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 2. Understand the cost control mechanisms which operate during the development of a project; 3. Prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

GC8 Understanding of the structural design, constructional and engineering problems associated with building design. GC8 The graduate will have an understanding of: 1. The investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; 2. Strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; 3. The physical properties and characteristics of building materials, components and systems, and the environmentalimpact of specification choices.

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. GC11 The graduate will have knowledge of: 1. the fundamental legal, professional and statutory GC9 Adequate knowledge of physical problems and responsibilities of the architect, and the organisations, technologies and the function of buildings so as to provide regulations and procedures involved in the negotiation themwith internal conditions of comfort and protection and approval of architectural designs, including land law, against the climate. GC9 The graduate will have knowledge of: development control, building regulations and health and 1. principles associated with designing optimum visual, safety legislation; thermal and acoustic environments; 2. the professional inter-relationships of individuals and 2. systems for environmental comfort realised within organisations involved in procuring and delivering relevant precepts of sustainable design; architectural projects, and how these are defined through 3. strategies for building services, and ability to integrate contractual and organisational structures; these in a design project.

3. the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging GC10 The necessary design skills to meet building users’ trends in the construction industry. requirements within the constraints imposed by cost factors

AMENDMENTS Amended and new work will be demarcated by the following symbols in the corner of the affected pages: Amended Work New Work

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Architectural ghosts linger in the city and haunt the subconscious of our cultural memory. They compel us to think about the city’s past and the absences of the past felt in the present day. In this way, they represent not merely an emptiness but a sense of loss.

The term architectural ghost, conceived by Jeanette Bicknell, can be defined as a structure that no longer exists, surviving only through “traces that they have left- in memory, in landscape, and in pho- tographs, drawings, and paintings”.1 These ghosts can evoke a large array of feelings, due to architecture’s ability to organize space and therefore the ways and patterns in which we live our lives.

The absence of this acts as a reminder that the built environment, regardless of perceived durability, is destined to change, that ruin and removal is inevitable.

cultural memory is the former Odeon Cinema (formerly Paramount Cinema). Striking not only in its representation of architectural loss in this city is its representation of the activities we were deprived of in the height of the pandemic - socialising, gathering indoors, enjoying a shared experience in the close proximity of others. For a time these activities lingered in our collective cultural memories.

The focus of this study is to explore architectural ghosts and their impact on cultural memory, exploring the possibility of elements from the past making a hauntological resurgence in the present day. This study primarily focuses on the site where the Odeon Cinema formerly stood, exploring how to merge the conditions of the former cinema and the structure which stands there today, the Stack, focussing on revealing the conflicts felt between the past and present histories of this site. The project began with an investigation into the architectural history of the area, a study which was partnered by the review of key texts which informed on the importance of architecture (past and present) and its influence over the experience of a city. This research spawned my interest in the Odeon Cinema/Stack site. Through a series of iterations and processes I then explored the potential of merging the past and

As cities develop and grow, new structures are built upon the sites of architectural ghosts; “one body standing where once another stood. For those who live through these moments there will always be two buildings in mind: the obliterated and the existent.”2 In Newcastle this has happened time and time again, as the city has expanded, developed and changed over the years. Perhaps one of the most noteworthy architectural ghosts lingering in the city’s

C R I T I CA L I N T RO D U C T I O N

present histories and experiences of the site in an architectural intervention.

Whilst my previous work focussed largely on my personal memories and experiences in the city, this study aims to focus on cultural memory, exploring the conflicts between past and present elements in the city and testing the concept of past elements making a hauntological resurgence.

Jeanette Bicknell. “Architectural Ghosts,” The Journal of Aesthetics and Art Criticism, Volume 72.4 (2014): pp.435 2 Christopher Bollas. “Architecture and the Unconscious,” International Forum of Psychoanalysis, Volume 9.1-2 (2000): pp. 28 1

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In semester one, my architectural interventions were located along an established route throughout the city. This semester I go on to shift focus towards the site where The Stack is located, on the corner of Pilgrim Street in the city centre.

Map of Newcastle Upon Tyne, with semester one site area circled 8

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A R C H I T E C T U R A L G H O ST S Before focussing on the Stack/Odeon site however, I started by exploring the architectural history of Newcastle.

As well as my semester one project, which focussed on my memories within the city, a text entitled Architectural Ghosts spawned my interest in the architectural history of Newcastle. This text outlined the effect past constructions have on those who have lived through the demolition of a structure and how these memories or feelings of nostalgia have on one’s perception of the structure which takes its place.

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

1820s 1920s 1960s

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2000s 2010s

2015 - Oxford galleries demolished to make way for students flats 2017 - Student flats opened behind The Oxford 2017 - Odeon Cinema demolished 2018 - The Stack opened

1970s 2001 - Blue Carpet completed 2002 - Odeon Cinema closed its doors 2009 - City Library constructed on the corner of John Dobson Street

Central Motorway East constructed

1940s 1967 - Free Library/Central Library demolished to make way for John Dobson Street

1930s 1940 - Paramount changed to Odeon

1931 - Paramount Cinema opened on Pilgrim Street

1900s

1923 - Oxford Galleries dance hall constructed

1880s

1904 - Laing art gallery opened 1904 - The Pearl constructed

1881 - Free Library constructed

1770s

1825 - John Dobson’s house was constructed behind the Oxford 1826 - Lying-in Hospital (Portland house) constructed

1777 - The New Bridge was constructed over Pandon Dean

A R C H I T E C T U R A L H I S TO R I E S This study focussed on an investigation into the architectural history of one the areas of Newcastle I explored in my semester one project. In undertaking this research, I hoped to find a building or site to explore and analyse further.

GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

F O C U S O N H I S T O RY

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Axonometric drawing demonstrating the architecture of this area of Newcastle as it is today, overlaid with the architecture of the same area in the 1940s 14

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

M O B I L E N O S TA L G I A S

In a paper entitled Mobile Nostalgias, ex-residents of Newcastle Upon Tyne who had moved to neighboring towns and cities at least 10 years prior to the study, were asked to recall their memories of the city. “Each interview began with the question: ‘Tell me about your earliest memory of Tyneside.’ These are some of the accounts:

“It’s a shame we haven’t got that individuality anymore - and that is one thing that is happening to a lot of big cities - it doesn’t matter where we go in England, wherever we go to visit it is the same as the last place. I can go to any town and know there will be a Topshop or Next or any store ... What I want to find is somewhere that has independent little shops and they are the kind of places I look for. You can still get them in Newcastle you just have to know where to look. [Go] off the main street and you will find them, some of them are still hanging on by the skin of their teeth...”2 (Susan, aged 60

“[It] would be marvellous if you could get Grey Street as it was, and the old Fenwick window,and the Grainger Market - those are the things you really need - and the old fashioned pubs ... We’ve lost the plot. And why can’t they soften Newcastle? It’s very hard.”1 (Pat, aged 55)

“We have lost a lot of the quaint old things in the city centre whether it’s the tripe shops or the old-fashioned seafood shops [and] ... all the oldfashioned second hand book shops ... so many of those old quaint historical things have gone ... the small historic facilities have gone. So as a student I mixed concrete to build the Civic Centre across the [Great North] road...

I am very proud and I can say that concrete there is what I mixed, and that was part of the huge redevelopment of the city, the building of the motorway bypass and modernisation, but [it caused] a loss of the historic element of Newcastle”. 3 (Thomas, aged 68)

“... but funny enough when I go into Newcastle I don’t see it through the eyes of what it is now, I see it as it was ... I can see the old Fenwick and the old Binns and I can see Carricks and if we go past that way and Mawson, Swan and Morgan, I see it like that. 1 never really let the changes affect how I see the place.”4 (Sylvia, aged 64)

Catherine Alexander and Alastair Bonnet. “Mobile nostalgias: connecting visions of the urban past, present and future amongst exresidents,” Transactions of the Institute of British Geographers, Volume 38.3 (2013): p.397

Their accounts demonstrate a sense of pride in the city and how it has developed, yet also a sense of disappointment in the loss of past elements in the city, and this paper was influential in my interest in creating a resurgence of past elements in the city whilst maintaining a sense of modernity.

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Alexander and Bonnet, p397.

Alexander and Bonnet, p397.

4 Alexander and Bonnet, p399.

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

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PA R A M O U N T/ O D EO N C I N E M A After conducting research on the architectural histories of the buildings in this area, I became very interested in the former Odeon Cinema and its relation to the themes I had explored in depth in semester one. The cinema to me represented a strong sense of pride in Newcastle’s architectural past, as well as representative of the activities inaccessible to us in the height of the pandemic - going to the cinema, socialising etc. I went on to explore the cinema’s history further:

1931

The cinema opened as one of the seven Paramount Theatres in the UK, owned by the American company Paramount Theatres Ltd.

1999

1940

In 1939, all Paramount Cinemas were sold to Odeon. The Newcastle cinema was renamed Odeon Cinema on April 22nd, 1940.

The cinema was Grade II listed in 1999, with English Heritage stating “[it is] The best surviving Paramount cinema in Britain, with well composed facade and rich interior with Lalique glass fittings”

2002

2017

Odeon Theatres Ltd. applied to have the cinema de-Listed in 2001 and started on the construction of a multiplex cinema on Newgate Street. The cinema closed in 2002 and stood empty for 15 years.

2017

2018-

In the winter of 2017, Hadrian’s Tipi temporarily stood on the site of the cinema.

Demolition began in December 2016. On April 3rd 2017, at 11pm the entire front of the building collapsed onto Pilgrim Street, crushing the bus shelter in front of the building. Luckily, there were no casualties.

In the summer of 2018, a food and events space called The Stack opened. It is one of the several shipping container shopping and entertainment spaces cropping up across the UK.

Oldfield, Lesly, “Original plans of city centre landmark,” Chronicle Live [online] updated November 3 2016 [cited February 1 2021].

Available from: <https://www.chroniclelive.co.uk/ news/history/newcastles-odeon-cinema-rarephotos-1210978> 1

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

“But architecture has only one destiny, and that is, sooner or later, to go down the chute, because it is waste. His own project was to underscore this state of things, not to transcend it.”1 The transformation of the site is well documented in satellite imaging as well as on Google Street view. My only connection to the site before its transformation into Stack was walking past it every day on my way into university whilst it was in the process of being demolished in 2017. After learning its history however, and learning how beloved this architectural ghost was, it became an intriguing challenge to explore reviving its memory, whilst also maintaining its modern day use as the Stack.

1945

2001

2002

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2012

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Yve-Alain Bois and Rosalind E. Krauss, Formless: A User’s Guide. (New York: Zone Books, 1996) 1

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

Conceptual drawing illustrating the architectural history of the Odeon/Stack site

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

JOURNEY

T H E S I S D E C L A R AT I O N In order to determine a clear focus for this project, I have indicated three keywords which are representative of the themes I wish to explore: Journey - As well as an analysis and exploration into the historical journey the site has undertaken over the past 90 years, I wish to explore the prospect of making it possible to experience the structure at different levels and viewpoints in order to thoroughly experience the merging of the two conditions across the site.

H AU N T I N G

Haunting - My studies thus far have been deeply involved in the processes of hauntological resurgence in the city. Through this study I wish to continue this, in particular through exploring how to create a sense of nostalgia in an architectural intervention.

Merging - I wish to enmesh the conditions of the former Odeon Cinema and Stack in this site, in doing so exploring the conflicts between the past and present elements on this site. I wish to explore the possibility of the passage or transfer of elements from the past into the present day.

M E RG I N G

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

1:1000 SITE PLAN 26

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MERGING CONDITIONS

Plan drawing of the Stack

The design development started through an interesting process of layering orthographic drawings of both the Stack and the cinema and tracing over the intersecting lines to create plan drawings. I utilised one plan drawing of the Stack, and whilst I had no access to plans of the cinema, I had two section drawings, which were used instead. From the new plan drawings created, I created worm’s eye view axonometric drawings in order to explore the potential forms which could be created from these plans.

Section drawings of the former cinema

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

There were elements of both drawings which were intriguing to me so I decided to layer the two drawings, creating a third worm’s eye view axonometric, which was a merging of the two original ones.

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

From this process of merging the orthographic drawings came some interesting elements which I got to explore further through modelling. For example, from the sections of the cinema, there were some moments which had stairs running through it - these moments got reinterpreted in my drawings as pieces of fabric running through sections of the building, which have been recreated in this sketch model.

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

I went onto creating small plaster models of several small sections of the building. With my interest in the cinema, I became interested in projector and their use in cinema and utilising projectors across several areas in the design in order to evoke memories of the cinema. For these images I explore using a projector on the models, and the projector images seem to emphasise the textures throughout the plaster model, which was the desired effect.

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

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C A R M O D Y G ROA R K E The Hill House Box Museum

Due to my research and interest in architectural ghosts and their impact on cultural memory, my precedent studies tended towards buildings which had a ruinous feel. I was initially very interested in the work of Eduardo Tresoldi, an artist who works with wire mesh to create large structures. The mesh installation in Riyadh in particular was very intriguing to me due to his use of small stones to create what looks like fragments of a brick structure floating throughout the mesh construction. I also became interested in the The Hill House Box Museum, largely due to its use of wire mesh and the ghostly sentiment the material emanates in my opinion. In this case, the mesh is used to help preserve the old house. As i was interested in the building demonstrating itself as a sort of ruin, the idea of a ghostly emsh encasing the structure was very intriguing to me.

E D OA R D O T R E S O L D I

P R E C E D E N T ST U D I E S

1&2 - Wire Mesh Installation in Riyadh (2019) 3- Wire mesh structures at Coachella (2018)

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Elevation showing design in context

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

1 : 2 0 0 G RO U N D F LO O R P L A N

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

1 : 2 0 0 F I R S T F LO O R P L A N

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

1 : 2 0 0 RO O F P L A N

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

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Integral to the design is a staircase which moves throughout the building, allowing people to engage with spaces at different levels.

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

C U LT I VAT I N G M E M O RY The monolithic concrete structure acts to demonstrate the fixed nature of the cinema - fixed in terms of the actual solidity of the building structure before it was demolished but also its fixation on Newcastle’s cultural memory. On the other hand, the Stack, and other shipping container structures are characterised by their temporariness. This concept is demonstrated in the building program - the building is to act essentially as

a series of elements suggestive of program. In this way the structure aims to maintain the fixed nature of cinema whilst maintaining the flexibility and temporality of Stack. In designing certain elements, exploring pictures of the cinema and the Stack were essential, and the focus was on how to converge elements and moments present in both buildings.

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

This convergence of elements was explored through a short animation I made, which shows one area of the building with multiple uses; a drinking and eating area, a children’s play area, and a cinema/events space. The aim of this animation was to demonstrate the temporality and flexibility of spaces through the building.

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

I also explored other elements of the building in another short animation. This one explored depicting the conflict between the past and present on the site with the animation showing a screen descending in a central area of the building, and a projector turning on to show a video of the history of the site projected onto the screen, disrupting the socialising and drinking that was taking place beforehand. As previously mentioned, the idea of projection throughout the building was an important element to me which I attempted to incorporate in other areas of the building also.

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

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Image demonstrating mechanism which allows screen to descend from the steel structure.

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

Image demonstrating a part of the structure with projection lights emanating out from it and the silhouettes seen by passers by

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

This drawing aims to encapsulate the ambitions of the project; the encouragement of elements from the past entering and haunting our current day experience, which is represented through the projector lights emanating through the structure.

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GC1, GC2, GC3, GC4, GC5, GC6, GC7, GC8, GC9, GC10, GC11

This semester has in some ways been more challenging than semester one, whilst in some ways easier to approach. As I had made the understanding in semester one that more theoretical engagement was necessary to demonstrate a critical approach to work, I started off the term reading lots of texts and developing a critical approach to the design, which was very beneficial to me. I feel the research and theoretical basis to my work was quite strong and it was enjoyable to engage with and create.

Perhaps the most rewarding part of the study were the developments of smaller details throughout the building which acted to demonstrate the convergence of past and present elements on the site. The creation of the two small animations was very enjoyable, and I hope to utilise this method of representation again in future projects. There were many aspects of the design that I really liked, such as the use of projectors throughout the structure, and wished I had made the decision to focus in on these elements earlier so that these elements could have been fully fleshed out. If presented with the opportunity to further the project I would have worked more into these smaller details of the design in order to give a stronger demonstration of the themes I played with throughout the study.

The themes explored in my semester one work were largely influential in this project. Whilst there was a large shift away from my personal experience in the city to a focus on societal experience, the themes of memory, nostalgia and hauntology were a driving force throughout my work in both semesters. I feel through the reading I’d engaged with and the influence of the themes I’d explored, I was able to create a strong thesis. The main difficulty I experienced in this project was the transferral of the theoretical basis I’d established into a design. I feel I made a strong attempt at this, but in some ways was held back by not utilising some of the skills I’d acquired from semester one, such as the creation of more conceptual drawings, to further my design.

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BIBLIOGRAPHY Adorno, Theodor. The Jargon of Authenticity. (New York: Routledge, 1973) Alexander, Catherine and Bonnet, Alastair. “Mobile nostalgias: connecting visions of the urban past, present and future amongst ex-residents,” Transactions of the Institute of British Geographers, Volume 38.3 (2013): pp.391-402. <https://www.jstor.org/stable/24582455> [Accessed 28 December 2020] Attlee, James. “Towards Anarchitecture: Gordon Matta-Clark and Le Corbusier,” Tate Papers, Volume 7 (2007). <https://www.tate.org.uk/research/publications/tate-papers/07/towardsanarchitecture-gordon-matta-clark-and-le-corbusier>

Tschumi, Bernard. The Manhattan Transcripts. (London: Academy Editions, 1981) Vidler, Anthony. “The Architecture of the Uncanny: The Unhomely Houses of the Romantic Sublime,” Assemblage, Volume 3 (1987): pp.6-29. <https://www.jstor.org/stable/3171062> [Accessed 4 February 2021] Vidler, Anthony. The Architectural Uncanny: Essays in the Modern Unhomely. (Massachusetts: The MIT Press, 1992)

L I ST O F F I G U R E S

Bois, Yve-Alain and Krauss, Rosalind E. Formless: A User’s Guide. (New York: Zone Books, 1996) Bollas, Christopher. “Architecture and the Unconscious,” International Forum of Psychoanalysis, Volume 9.1-2 (2000): pp. 28-42. <http://dx.doi.org/10.1080/080370600300055850> [Accessed 12 February 2021] Bicknell, Jeanette. “Architectural Ghosts,” The Journal of Aesthetics and Art Criticism, Volume 72.4 (2014): pp..435-441 <https://www.jstor.org/stable/43282366> [Accessed 1 February 2021] Co-Curate, “History of New Bridge Street,” Co-Curate [online] publish date n/a [cited February 1 2021]. Available from: <https://co-curate.ncl.ac.uk/new-bridge-street/history/> Fisher, Mark. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. (Alresford.

Zero Books, 2014) Newcastle Photos, “Pilgrim Street - Odeon Cinema Demolition,” Newcastle Photos [online] publish date n/a [cited February 1 2021]. Available from: <https://newcastlephotos.blogspot. com/2017/07/pilgrim-street-odeon-cinema-demolition.html> Oldfield, Lesly, “Original plans of city centre landmark,” Chronicle Live [online] updated November 3 2016 [cited February 1 2021]. Available from: <https://www.chroniclelive.co.uk/ news/history/newcastles-odeon-cinema-rare-photos-1210978> Rykwert, Joseph. Seduction Of Place: The History and Future of the City. (Oxford: Oxford University Press, 2000)

Figure 1 - Wire mesh Installation in Riyadh 11/21. 2019. Photograph. Riyadh. Conte, Roberto. archdaily.com. Website. December 17 2019. <https://www.archdaily.com/930380/edoardotresoldi-and-studio-studio-studio-release-images-of-wire-mesh-installation-in-riyadh> Figure 2 - Wire mesh Installation in Riyadh, 7/21. 2019. Photograph. Riyadh. Conte, Roberto. archdaily.com. Website. December 17 2019. <https://www.archdaily.com/930380/edoardotresoldi-and-studio-studio-studio-release-images-of-wire-mesh-installation-in-riyadh> Figure 3 - Edoardo Tresoldi’s Monumental Wire Buildings At Coachella. 2017. Photograph.

Conte, Roberto. Ignant.com. Website. 2017. <https://www.ignant.com/2018/04/24/ edoardo-tresoldis-monumental-wire-buildings-at-coachella/> Figure 4 - The Hill House Box Museum, 4/19. 2019. Photograph. London. Dehlin, Johan. archdaily.com. Website. 2019. <https://www.archdaily.com/920640/the-hill-house-boxcarmody-groarke> Figure 5 - The Hill House Box Museum, 8/19. 2019. Photograph. London. Dehlin, Johan. archdaily.com. Website. 2019. <https://www.archdaily.com/920640/the-hill-house-boxcarmody-groarke> Figure 6 - The Hill House Box Museum, 3/19. 2019. Photograph. London. Dehlin, Johan. archdaily.com. Website. 2019. <https://www.archdaily.com/920640/the-hill-house-boxcarmody-groarke>

Theatres Trust, “Odeon (Paramount)” Theatres Trust [online] published 2017 [cited February 1 2021]. Available from: <https://database.theatrestrust.org.uk/resources/theatres/show/1078odeon-paramount-newcastle-upon-tyne>

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SEMESTER TWO PORTFOLIO

SEMESTER TWO PORTFOLIO