Dan Hill Portfolio

AC ADEMIC PORTFOLIO

M A S T ER S IN A R CHI T EC T UR E NE WC A S T LE UNI V ER S I T Y 2019 -2021

DAN HILL

AC ADEMIC PORTFOLIO

M A S T ER S IN A R CHI T EC T UR E NE WC A S T LE UNI V ER S I T Y 2019 -2021

DAN HILL

TA B L E O F CO N T EN T S ARB Criteria Tabular Mapping Microamplify: Macroactivate - Design, Stage Five, Semester One

1 2

Urban Study

5

Sounds of the Metropolis: Part One

6

Acoustic Sequencing Automatic Idiophone (ASAI)

7

Socio-cultural Context

8

Site Context Sounds of the Metropolis: Part Two

9 10

Pavilion Development

11

Festival Route

12

Kettenbruckengasse Pavilion

13

Karlskirche Pavilion The Hegemony of the Eye - Tools for Thinking, Stage Five, Semester One

14 16

Abstract

19

NSOW - Design, Stage Five, Semester Two

20

Urban Study

23

Precedent Study

24

Sonic Agency

26

Building Programme

27

Concept Refinement

28

Site Strategy

30

Scale and Public Realm

31

Economic Programme

32

Building Layout

33

Outdoor Performance Space and Workshop

34

Indoor Performance Space

35

Self recording Pod

36

Function/Event Space

37

Storage Crane

38

Detailed Facade Strategy NSOW - Technology, Stage Five, Semester Two

39 40

Precedent Model

42

Accessibility

43

Materials and Sustainability

44

Daylighting

45

Ventilation

46

Acoustics

47

Strip Section Details

48

TA B L E O F CO N T EN T S (CO N T INUED) Ecoacoustic Identity - Dissertation, Stage Five/Six

50

Abstract

53

Acoustic Perception

54

Soundwalking

55

Volunteer Participation

56

Identity and Traffic Underpassing - Design, Stage Six

57 58

Abstract

61

Metrocentre Underpass

62

Underpass Exhibition

63

Underpass Guidebooks

64

The Archive

67

Bedside Table (Film)

68

The Inevitable Decay of Matter (Film)

68

Men of Renown

69

Dirty Old Town

70

Who Needs the Flowers to Grow?

71

Motorway Dough

72

Politicians, Planners, Madness, Machines

73

We’ll Tear You Down

74

Underpassing (Film)

75

Measured Survey

76

Drawing

76

Modelling

78

Film Photography

79

Alginate Impressions and Casting

80

Micro Photography

81

Acoustic Measurement and Simulation

82

Assemblage Architectural Practice - Stage Six, Semester Two

85 86

Business Plan Presentation

88

Project Report - NSOW

89

Critical Reflection

90

Bibliography

94

Criteria Mapping Form

96

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Stage 5 Design Semester 2 ‘NSOW’ pg 20-39 Stage 6 Architectural Practice ‘NSOW Report’ pg 89

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A R B C r i t er i a M a p p i n g

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M icro A mplif y : M acro A cti vate D E S I G N , S TA G E F I V E , S E M E S T E R O N E

Map of Newcastle highlighting places of personal significance.

4

A C A D EM I C P O R T F O L I O

Sketched places of personal significance around Newcastle.

UR B A N S T UDY In order to ground a cohesive

of the Stage Five, Semester One

As a means of beginning a

thesis, it was critical to first

Portfolio were reused and adapted

mapping process of Newcastle, I

experiment and test interrogation

in order to analyse Vienna.

chose to visit places of personal

methods.

Using Newcastle as a test-bed

significance

to

me,

stopping

In the case of this project, the

allowed me to make educated deci-

to sketch at each location as I

urban test subject was Newcastle

sions in my process before visiting

travelled.

Upon Tyne, a city I have become

Vienna, and therefore made the

greatly familiar with. Many of the

task of analysing a new city far

processes used in the first part

more approachable.

M i cro A m p l i f y: M acro Ac t i vat e

5

Q U

E

N

C

Y

AMPLITUDE

R

R

E

E

Q U

E

N

C

Y

AMPLITUDE

F

F

TIM

TIM

E

E

Visualisations of the sound recording, sampling and refining process. Please click the following to listen to the composition, Sounds of the Metropolis: Part One: 3. link ISOLATED SAMPLE 1. RAW RECORDING https://soundcloud.com/user-165807406/sounds-of-the-metropolis-1

S O UND S O F T HE ME T R O P O L I S : PA R T O NE At each location whilst sketching,

been a great source of reference

sounds like when its architectural

I recorded the ambient sound for

in my research into Vienna and

and urban fabric are interpreted

the duration of my stop.

its musical culture. The experi-

as musical elements, as Johann

With all the sounds collected

mental musical work of John Cage,

Wolfgang von Goethe speculated in

and curated, I was able to produce

particularly the piece ‘Branches’

his famous quote likening architec-

Part One of a musical piece I have

(1976), served as a reference for this

ture to frozen music (Eckermann,

entitled Sounds of the Metropolis,

composition.

1839).

after Derek B. Scott’s book of

The

the same name (2012), which has 6

A C A D EM I C P O R T F O L I O

piece

serves

as

an

authentic portrayal of what a city

Cage, J. (1976). Branches. [EP] Peters Edition.

Eckermann, J. P. (1839) “Conversations with Goethe In the Last Years of his Life.” Specimens of Foreign Standard

Literature. Vol. IV. Translated by S. M. Fuller. Boston, MA: Hilliard, Gray, and Company.

Scott, D. (2012). Sounds of the Metropolis. New York: Oxford University Press.

(Top left) A functioning simplified, single-note prototype of the full octave thirteen-note ASAI design. (Bottom left) A block triggering the prototype’s hammer mechanism.

(Right) A visualisation of the final ASAI design, showing blocks positioned on the belt to create a melody.

ACO US T I C S EQ UEN CIN G AU TO M AT I C ID I O PH O NE ( A S A I) interest.

The conception of this instrument

cost of lessons and equipment, the

was born from both my experience

prospect of learning to digitally

playing real musical instruments

produce music is becoming far

I

and producing music digitally.

more alluring.

simplified protoype which played a

Learning a musical instrument

I

saw

the

opportunity

to

is becoming less and less appealling

create an instrument which made

for beginnners in the instant-grat-

use of features from both sides of

ification-demanding culture prev-

the figurative tuning fork, in the

alent today, and together with the

hope that it could ignite a mutual

To test the design of the ASAI, successfully

manufactured

a

single note, tuned to D4.

M i cro A m p l i f y: M acro Ac t i vat e

7

Composer Mapping Key: Franz Schubert (1797-1828) Joseph Lanner (1801-1843) Johann Strauss Sr. (1804-1849) Johann Strauss Jr. (1825-1899) Johannes Brahms (1833-1897) Gustav Mahler (1860-1911)

(Left) A map showing places of signifcance for some of Vienna’s composers. Locations include cafes, apartments and performance venues, amongst others. (Right) ‘Kultur Gabel’ (Culture Fork) collage. The collage illustrates the divide in critical opinion of Viennese music during the Popular Music Revolution. A tuning fork rises from the twin headed eagle crest of the Austro-Hungarian Empire, with composers on either side.

S O CI O - CULT UR A L CO N T E X T Vienna has a rich and illustrious musical history, proud to claim itself

home

Haydn,

As early capitalism and indus-

the

composers

trialisation

their

I chose to research and map

Mozart

and

Beethoven

grasp on western culture, many

some locations of significance for

industries were subject to vast

a selection of composers who lived

structural change, including that

in the city slightly before, during

of music.

and

This project’s interest however lies in a slightly later period; the

years

strengthened

1800-1900,

I chose to symbolise the divide

the time often referred to as the

in musical taste at the time of the

8

cultural tuning fork.

to

amongst many others.

between

Popular Music Revolution as a

Popular Music Revolution.

A C A D EM I C P O R T F O L I O

slightly

after

Music Revolution.

the

Popular

Musical Style Mapping Key: ‘Low-art’ Music Franz Schubert (1797-1828) Joseph Lanner (1801-1843) Johann Strauss Sr. (1804-1849) Johann Strauss Jr. (1825-1899) ‘High-art’ Music Johannes Brahms (1833-1897) Gustav Mahler (1860-1911) (Indicates locations where both styles co-existed)

(Left) A map showing selected sites as part of a curated Festival Route. (Right) A Situationist-style model of the five selected sites (Karlsplatz is shared between Musikverein Wien and Karlskirche) . As the route is to be followed sonically, connections between the sites have been abstracted and simplified from the typical visual street map.

S I T E CO N T E X T Following the fork in musical style,

with advancements in sheet music

This project is investigaing

‘high-art’

production and a growing popu-

the opportunity to create a signif-

larity amongst the proletariat.

icant

music

experienced

a

decline in popularity, regarded

the

intervention

to

celebrate

achievements

of

Vienna’s

as elitist and accessible to only

I derived a route linking a

the well-educated ear, an opinion

closely clustered group of loca-

composers, by embodying their

many continue to uphold.

tions, selecting sites from both

musical

In stark contrast, ‘entertain-

sides of the stylistic divide in the

tial,

ment’ music thrived in the new

hope of bringing back a mutual

architecture.

capitalist

sense of reclamation.

economy,

especially

heritage

sensory

and

in

experien-

participatory

M i cro A m p l i f y: M acro Ac t i vat e

9

Sketches of the five locations used as nodes on the festival route. Please click the following link to listen to the composition, Sounds of the Metropolis: Part Two: https:// soundcloud.com/user-165807406/sounds-of-the-metropolis-part

S O UND S O F T HE ME T R O P O L I S : PA R T T WO of

and although heard, in reality

still expected to hear the pictur-

Sounds of the Metropolis: Part One

Following

the

production

those were far outweighed by the

esque sounds marketed by the

for Newcastle, I decided to repeat

sounds of clammering tourists and

media; a sub-concious form of

the

urban traffic.

selective hearing.

found-sound

composition

This

process for Vienna.

process

served

to

by

the

enlighten my perception of the

I

had

city, especially considering I had

expected to hear the sounds of

been there by this point, heard

horses’ hooves and cafe culture,

these sounds in real-time, and yet

Perhaps

influenced

tourist-targeted

10

media,

A C A D EM I C P O R T F O L I O

Development sketches of two pavilions and the ASAI. The pavilions respond to the sounds extant at the location to amplify and activate the space.

PAV IL I O N D E V ELO PMEN T the

participant

with

the

true

In the same way the ASAI

order to reuinte them with the city.

instrument fuses the democratic

The pavilions used as nodes

sounds and atmosphere of each

world of the digital and the often

for an urban intervention take

place, instead of the marketed

impenetrable world of the musical

reference from the mechanical,

characteristics

through ease of participation, an

sensory and tactile elements of the

advertised.

urban intervention must amal-

machine’s design at an architec-

gamate the rich yet divided cultural

tural scale.

context each of the Festival Route sites find themselves a part of, in

The responses

so

aggressively

contribute to

the overall project aim of reuniting M i cro A m p l i f y: M acro Ac t i vat e

11

(Left) Indicative in-app view of audio trail. (Right) A mixer diagram explaining the shift in volume of each location’s assigned sound as one moves along the route. (Bottom) Festival Route map showing the sounds dominant at each location.

FE S T I VA L R O U T E The

be

become more or less prominent

followed not visually, but aurally; a

Festival

Route

would

depending on the phone’s geolo-

trail of sonic breadcrumbs leading

cation, a Vienna-specific game of

from place to place.

“Marco Polo”. As one reached the

Using Sounds of the Metropolis:

vicinity of a destination, the sound

Part Two, together with a dedi-

specific to that destination would

cated Festival smartphone app, the

be the only one audible.

different sound elements in the mix of the sound piece would gradually 12

A C A D EM I C P O R T F O L I O

Visualisation of the pavilion proposal for Kettenbruckengassse.

K E T T ENB R U CK EN G A S S E PAV IL I O N The

proposed

intervention

Kettenbruckengasse

forms

at

wind generated by passing vehi-

in the shape of the structure and its

an

cles,

openings onto the road, allowing

manipulating

a

typically

ample light to reach the windows.

informal shield against road traffic

unpleasant sound into one more

noise, creating an amenity space

inkeeping

outside the front elevation of the

space the new intervention is

enough space in plan for a tree

museum.

attempting to reflect, as well as the

to grow, further screening the

sombre nature of the place.

entrance via sound absorbtion.

The chimes hung from the perforated metal act as tuned leaves, moved by the torrent of

The

with

formal

the

courtyard

arches

of

This

geometry

also

allows

the

existing ground floor are reflected M i cro A m p l i f y: M acro Ac t i vat e

13

(Top) Axonometric section through the Karlsplatz pavilion. (Bottom) Short section through the stair down to the subterranean pavilion.

K A R L S K IR CHE PAV IL I O N The elliptical pool on Karlsplatz

preserve the front elevation of the

outer walls, whilst concealing the

serves as another site for inter-

landmark cathedral it sits in front

space below.

vention. The water acts as both a

of, and the second, to create a

The water becomes an all-en-

sound absorber and generator.

distance for water to fall and hence

veloping entity, with its sound and

be heard.

presence

In order to best celebrate

amplified

from

every

the water’s sonic properties, I

Water is pumped up through

proposed the burial of a pavilion

the centre of the structure, and an

The space has been designed to

below the pool. This served two

infinity pool detail allows the water

allow a narrow ring of light around

key purposes, the first being to

to gently cascade down the sloped

the central structure’s perimeter,

14

A C A D EM I C P O R T F O L I O

direction.

Visualisation of the pavilion as viewed from inside . The darkness broken by the light, and its refraction through the water creates an intense sensory experiece.

Fox, M. and Kemp, M. (2009). Interactive architecture. New York, NY: Princeton Architectural Press.

Pallasmaa, J. (2012). The Eyes of the Skin.

3rd ed. Chichester: Wiley.

in order to focus both the ear and

the space is more populated, the

driver in this way results in a

eye on the water’s entry point

pump increases the rate of flow,

dramatic, tactile atmosphere to be

into the space. Juhani Pallasmaa’s

balancing the noise of the water

lost within, whilst also making use

multi-sensory architectural peda-

with the increase in foot traffic

of Michael Fox’s theories on partic-

gogy was influential in the devel-

noise. When the space is less popu-

ipation (Fox and Kemp, 2009).

opment of this concept (2012).

lated, the rate of flow is lessened to

The

footway

which

encir-

cles the central column is fitted with

pressure

sensors.

When

a softer, more self-reflective fall.

The

amplification

and

use

of the sound of water as a design M i cro A m p l i f y: M acro Ac t i vat e

15

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THE HEGEMONY OF THE EYE: A DISCOURSE ON ARCHITEC TUR AL O CUL ARCENTRISM IN A N I N C R E A S I N G LY V I S U A L P R O F E S S I O N T O O L S F O R T H I N K I N G , S TA G E F I V E , S E M E S T E R O N E

18

A C A D EM I C P O R T F O L I O

A B S T R AC T In this essay I introduced some key ideas encircling phenomenology and ocularcentrism in philosophy from a variety of different sources, crossing disciplines, eras and ambitions. In particular, I became interested in the ways and means these concepts have, do, and may continue to impact architecture and the built environment.

Ocularcentrism is a term used to describe the hierarchal dominance of the human eye above the other senses. Architecture as a whole is a vulnerable target of ocularcentric bias, in that it is an industry heavily reliant on the transmission and communication of sometimes solely visual information in all aspects of the design and construction process. There are both physiological and cultural explanations for why ocularcentrism has been granted such a keen grasp on human life, and it is the objective of many of the writers and thinkers I have referenced to attempt to reverse its effects, or at least loosen its grip.

Phenomenology in broad terms is the study of the human existential state in relation to the “living-body” and the “other”, as defined by Maurice Merleau-Ponty (1962). The living body or “body-subject” is the sum of all experience that constitutes a sentient life, and the other, or world, comprises the experiences themselves.

The challenging nature of this branch of philosophy is that to be able to understand the phenomenological, the reader must be able to think in a phenomenological manner, an ability difficult to grasp when approaching the topic for the first time. David Seamon, a Professor of Environment-Behaviour and Place Studies in the Department of Architecture at Kansas State University, writes “I consider Merleau-Ponty’s interpretation of perception as a foundational phenomenon not easily grasped intellectually and, in fact, existentially preceding any conscious awareness or conceptual definition.” (Seamon, 2010) Merleau-Ponty is widely regarded as the philosopher who has most significantly developed research and thinking on phenomenology since the concept was introduced in the work of Franz Brentano and Edmund Husserl in the late nineteenth and early twentieth centuries (Holl, Pallasmaa, Perez-Gomez, 2006). His extensive texts on the topic are widely referenced in the field and have come to be considered some of the most influential philosophical writings of the twentieth century.

Steven Holl and Juhani Pallasmaa are two architects who have collaborated on several texts, and both have Fox, M. Kemp, M. (2009) Interactive Architecture . New York: Princeton Architectural Press.

Holl, S. Pallasmaa, J. Perez-Gomez, A. (2006) Questions of Perception: Phenomenology of Architecture . Tokyo: Noboyuki Yoshida.

Phenomenology of Perception. London: Routledge and Kegan Paul.

Merleau-Ponty,

M.

(1962)

Schafer, R. M. (1988) Gamelan. Washburn, J. Vancouver Chamber Choir (Published 2000). A Garden of Bells. [CD].

Vancouver: Grouse Records.

Carnal Echoes: Merleau-Ponty and the Flesh of Architecture. Published online as a book chapter.

Seamon,

D.

(2010)

also contributed architecturally to the built environment. Both Holl and Pallasmaa have taken great reference from the teachings of Merleau-Ponty and have actively applied his philosophical concepts to their own written and designed praxis.

Michael Fox is also a practising architect, and together with Miles Kemp, produced the book Interactive

Architecture (Fox, Kemp, 2009), which highlights many examples of how some of Merleau-Ponty’s, Holl’s and Pallasmaa’s pedagogies might be put into practice in a contemporary digitally and technologically infused form.

I have also looked at educational methodologies for architecture and the built environment from a sound-based approach to design, rather than the traditional visual-based approach taught and practiced in the majority of schools and practices, using three landscape architectural design studios taught at RMIT University in Melbourne as examples, as well as the compositional work of soundscape researcher and theorist, R. Murray Schafer (1988).

Key themes flowing throughout this essay and its associated research include the dissemination of perception, its importance in relation to the senses and human emotion, and what significance that bears upon the learning and practising of architecture in contemporary society.

T h e H eg emo n y of t h e E y e

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N EU E S S TÄ D T I S C H OR CHES TER WIEN (NSOW)

D E S I G N , S TA G E F I V E , S E M E S T E R T W O

Map showing Vienna and planned Festival Route from Semester 1.

22

A C A D EM I C P O R T F O L I O

3.

2.

4.

1.

Key 1.

2.

3.

4.

Stadtpark Palais Coburg Singerstrasse pavilion site (Schubert frequented a bar here) Ringstrasse

Map of central Vienna in relation to the Ringstrasse. (Top right) Aerial perspective showing the scale and mass of the built fabric surrounding the site.

UR B A N S T UDY Following on from the urban inter-

of significance to composers from

the welcome green relief of the

vention based project of Semester

either side of the ‘art’ vs. ‘enter-

Stadtpark; and several significant

1,

was

tainment’ divide that emerged in

former and current civic buildings,

in

classical music towards the end of

including the grand Palais Coburg

the nineteenth century.

located immediately to the west.

this

located

semester’s on

the

project

Ringstrasse

Vienna. planned

Key considerations for inter-

during the course of the previous

vention were the site’s proximity

project included this site along its

to: the busy carriageway encircling

path. The route connected sites

central Vienna, the Ringstrasse;

The

festival

route

NSOW

23

Isometric drawing of the Institute of Contemporary Art, Boston, designed by architects Diller Scofidio and Renfro.

PR ECED EN T S T UDY To help engage with the technolog-

and the external stair/terrace,

ical requirements of the brief, the

which wraps around the west and

studio were encouraged to study

north elevations.

a precedent of a civic building,

The building actively engages

in this case, the ICA in Boston by

with its site by using a generous

Diller Scofidio and Renfro.

cantilever

Of particular interest to me was the interconnection between the internal performance space 24

A C A D EM I C P O R T F O L I O

balancing

over

the

water’s edge to protect and enliven the public space created below.

The structure grows outwards

1:25 model of the ICA gallery skylight diffuser system with overlay of drawn detail and diagrammatic explanation.

from a central spine (indicated

skylight diffuser system used in

externally

the top floor gallery of the building.

by

the

raised

roof

access mass on top of the building).

From photographs and found

The cantilever is made possible

partial drawings, I was able to more

through a pair of huge floor-to-

fully draw and subsequently build a

ceiling trusses spanning the entire

working model of the system at 1:25

length of the top floor.

scale, shown above.

To engage with the building at a closer scale, I chose to examine an

architectural

detail

of

the

NSOW

25

(Left) Early sketch showing the concept of collection/projection diagrammatically. (Right) Sketch perspective showing a view from inside the performance space at the base of the projector.

S O NI C AGEN C Y The pavilions designed as part of

to this agency, likening the inter-

project that work out into the city.

last semester’s project acted as

ventions

The building, like the pavilions,

agents, managing or enhancing a

moderated to the musicians and

local sound through architectural

their instruments in an orchestra.

intervention.

and

the

sounds

they

would provide a sonic agency.

To connect the performance

To continue this theme, I began

space to the public space outside

Neues

experimenting with the concept of

and the Stadtpark, I created a

Städtisch Orchester Wien (transla-

creating a building which would

glazed slice through the mass

tion: New Urban Orchestra Vienna)

serve to collect artists, curate and

shown in the sketch above.

or NSOW for short, is in reference

nurture their work, and finally

The

26

project’s

title,

A C A D EM I C P O R T F O L I O

Isometric diagram highlighting the proposed programme for the scheme.

B UIL D IN G PR O GR A MME During

this

stage

in

the

ultimate

studio as a typology, I was able

function of the proposal began

to more clearly decide on a full

project, I worked mostly in section,

to take shape. I found it useful to

programme for the building and its

as I found the programme could be

think of the building’s programme

responsibilities to its users.

more easily divided vertically than

The

programme

and

horizontally.

being similar to that of a conven-

Once the programme of the

tional artist in residence studio

proposal had been decided upon,

facility, but for sound rather than

it became far easier to generate a

best illustrates a culmination of

the visual arts.

more functional diagram for the

all of my work on the building’s

building.

programme.

By using the artist in residence

The

diagram

on

the

NSOW

right

27

1:200 sketch model. This model explored the relationship between the void above the performance space and the practice spaces surrounding it.

CO N CEP T R EFINEMEN T Following the midterm review, I began transforming the diagram I

was essential to the refinement process.

In order to investigate the

had into a physical structure.

Through study models, eleva-

spatial qualities of the projector, I

tion studies and sketches, I made

modelled the space at 1:200, using

design

boxes of varying width, length and

decisions

which

remain

largely unchanged in the final

height.

clear

These represented the prac-

brief and programme at this stage

tice spaces surrounding the void,

proposal.

28

Having

such

a

A C A D EM I C P O R T F O L I O

1:200 elevational study model focussing on the public space at the foot of the elevation.

varying

accommo-

explore the possibility of moving

date varying styles of music and

in

size

to

the performance space to the

numbers of participants.

facade of the building.

In the model pictured left,

This

allowed

for

a

more

the circulation was inverted to

inviting public facing elevation,

the centre of the void, providing

and was more in line with the

partial screening between practice

most appealing feature of the ICA

spaces.

Boston precedent, the interaction

In a major decision following the midterm review, I decided to

between performance space and public realm.

NSOW

29

PRODUCED BY AN AUTODESK STUDENT VERSION

0

100

500

1000

2000 mm

0

200

1000

2000

4000 mm

0

1

5

10

20

N m

0 0

5

5

25

50

100 m

Site Plan showing the proposed building and landscaped public realm in context.

0 0

S I T E S T R AT EG Y

10 10

50

south west of the proposed site.

the main building, leaving much of the site for public realm, shielded

into the city from the Stadtpark.

As part of the site strategy,

The main topographical feature

I have incorporated a crossing

constraining the site however, is

connecting the Stadtpark and the

the Ringstrasse.

proposed building, which would

responds well to the courtyard

also

typologies

The main road can be difficult to cross in places, and the nearest

benefit

the

festival

route

designed in Semester 1.

The proposed design uses only

the adjacent block immediately

the south east corner of the site for

SK STUDENT VERSION

crossing point lies to the south of

A C A D EM I C P O R T F O L I O

100

100

200 m

The site serves as a key entry point

30

50

from the noise of the Ringstrasse.

The

open-sided of

the

courtyard surrounding

structures, as well as providing a welcome green space in the city centre.

25

Visualisation showing the north-west elevation of the proposal, associated public realm and landscaping.

S C A L E A ND PUB L I C R E A L M The proposed structure is a six

I designed in Semester 1. The giant

the abundance of road traffic and

storey building, far more in keeping

two-octave idiophone serves as

frequently having to cross major

with the older six and seven storey

an activator for the public space

roads in the city centre.

buildings surrounding the site than

by encouraging interaction with

the existing fourteen storey tower.

music in an easily accessible form.

Instead,

the

proposal

will

provide a rent-able shuttle service,

The public realm shown in the

In order to preserve tranquil-

where a vehicle can pick up a musi-

image above shows a permanent

lity in the courtyard space, I have

cian and their equipment, which

musical sculpture installation; an

decided to omit parking from the

can then be stored in one of the

adaptation of the ASAI instrument

brief. In visiting Vienna, I noticed

storage crates, or shuttled back.

NSOW

31

+€

resident subscription +€

+€ function hire

one-time session

equipment -€

workshop -€

+€

storage

shuttle

+€

-€

bar/cafe

+€

ticket sales

staff -€

Isometric drawing showing economic balance according to programme.

ECO N O MI C PR O GR A MME was

visualise the building’s programme

finalised, I decided to illustrate

as a business in order to decide on

my financial balance diagram on

the best programme for the brief.

Once

the

programme

top of a programmatic isometric

The NSOW would operate in

benefits the facility has to offer.

Other

financial

incomings

would include the cafe/bar on the ground floor, ticket sales for

a similar way to an artist in resi-

performances,

hourly

The drawing shows the key

dence studio facility, where artists

practice

recording

drawing.

and

rental

of

spaces

spaces in colour and their associ-

would be asked to pay a weekly or

from non-residents, and hire of the

ated expenditure or asset as anno-

monthly subscription for a length

top floor function space.

tation. For me, it was important to

of time, entitling them to various

32

A C A D EM I C P O R T F O L I O

mm

0

1

10

5

20

Key Section

m

0

5

5

25

N

0

20.

Key

25

100

50

m

1. Main entrance

0

2. Welcome desk 3. Office

0

4. Cafe/Bar

10 10

50

50

100

100

200 m

5. Cafe/Bar back of house

19.

6. Indoor performance space 7. Seating terrace 8. Performance space store 9. Main stair

16.

10. South west fire stair

15.

11. North east fire stair 12. Lift 13. Plant/service 14. Library PRODUCED BY AN AUTODESK STUDENT VERSION

15. Workshop 16. Workshop store 17. Outdoor performance space 18. WC 19. Cycle Parking 20. Idiophone Sculpture

8.

17.

11.

18.

Detail Section

5.

18.

3.

6.

4.

2.

7.

9.

13.

14.

12.

1.

10.

Annotated Ground Floor Plan

B UIL D IN G L AYO U T The public realm created to the

‘projector’ referenced earlier.

the ICA Boston.

north west of the building is

To the north west of the plan

To the south east of the plan,

shielded by the building’s mass

lies a small workshop for members

there is located a cafe/bar for use

from the Ringstrasse, creating a

of the NSOW to design, build and

both during a performance and in

quiet courtyard pocket.

repair musical instruments and

down time.

entire

plan

grows

outwards from the centre of an

apparatus.

The indoor performance space

performance

feeds directly out to its outdoor

space, the base for the sonic

counterpart, taking reference from

informal

outdoor

PRODUCED BY AN AUTODESK STUDENT VERSION

The

NSOW

33

Visualisation of the outdoor performance space in context.

O U T D O O R PER F O R M A N CE S PACE A ND WO R K S H O P The view to the right best shows

as a more free architectural form,

serves as a welcoming and active

the scheme in context with its

whilst also remaining an integral

space, both servant to and served

closest existing neighbour.

part of the new development in its

by the new building.

From this view the building’s restrained, civic facade propor-

radial planning.

The

outdoor

performance

tions are seen in conversation

space is intended for use mainly

with its neighbours. The workshop

as a public amenity, with casual

offers an interesting counterpoint

performances taking place there

to this dynamic by asserting itself

for free and for anyone to enjoy. It

34

A C A D EM I C P O R T F O L I O

Visualisation of the indoor performance space from the mezzanine level.

IND O O R PER F O R M A N CE S PACE The indoor performance space serves as the key performance

forms the backdrop for the indoor performance space.

The remainder of the circula-

space for the building. place

tion space in the building is homo-

here would remain in a somewhat

geneous with this space through

casual tone, but would likely be

the void to the south east of the

organised in advance and ticketed.

building. The stair can be seen

The

public

climbing up through the structure

the

outdoor

Performances

space

taking

surrounding

performance

area

to the floor plates above.

NSOW

35

Visualisation of one of the recording pods.

S EL F-R ECO R D IN G P O D The

recording

pods

which

permeate the north west eleva-

spread of vibration from other parts of the building.

tion of the building are acousti-

The interior walls of the pod

cally isolated elements, completely

are equipped with Helmholtz reso-

separate from the main structure

nator perforations. These help to

of the building.

trap reverberated sound to create

The pods sit on top of the floor plates on a rubberised acoustic isolation 36

layer,

preventing

the

A C A D EM I C P O R T F O L I O

an acoustically ‘dry’ environment.

Visualisation of the top floor function space.

FUN C T I O N / E V EN T S PACE The function space at the top of

art exhibits or open day events

the building has its own bar and is

for musical artists resident in the

well-suited for after-show events.

building

The radial elevation offers an interesting perspective out to the

to

meet

professionals

interested in their work, or other musicians interested in joining.

city to the north west, and the elevation to the south east offers views over the Stadtpark. This space would also be ideal for visual NSOW

37

Visualisation of the storage crane system in operation.

S TO R AGE CR A NE The storage crane comes from one

As this project is confined

duration of their membership. The

of the key selling points of Pirate

by a tight urban site where space

crane removes the crate from the

Studios, a global chain of music

is luxury, I designed a storage

wall and deposits it at the required

practice and recording facilities.

and distribution system using as

floor, saving artists the effort of

offer

little space as possible, utilising a

hauling heavy equipment around

equipment,

crane similar to ones designed by

the building, or to and from vehi-

which I saw as being a fundamental

Assimakis SA for industrial storage.

cles failing any storage at all.

Pirate storage

for

Studios artists’

also

benefit to anyone who uses their

artists

would

be

given a storage crate to use for the

service.

38

Resident

A C A D EM I C P O R T F O L I O

Full strip section from roof to foundations through the north west elevation. (Cropped - see full section in NSOW portfolio.)

D E TA IL ED FAC A D E S T R AT EG Y The facade of the proposal plays

expressing a modern music facility

expressive structural concepts, I

an important role in situating the

suitable for the needs of modern

was able to create an interesting

building within the theory that

musicians.

architectural

surrounds it.

By creating an ordered and

The proportions and material

rational facade, I feel I was able

treatment had to remain restrained

to respond to the local physical

and civic in order to relate to the

and cultural context of the site

context of the surrounding formal

and city as a whole, and by intro-

architecture of Vienna, whilst also

ducing radial geometry and more

environment

for

contemporary music production.

NSOW

39

GC1.1 GC1.2 GC1.3

GC5.1 GC9.1 GC5.2 GC9.2 GC5.3 GC9.3

GC2.1 GC6.1 GC10.1 GC2.2 GC6.2 GC10.2 GC2.3 GC6.3 GC10.3 GC3.1 GC7.1 GC11.1 GC3.2 GC7.2 GC11.2 GC3.3 GC7.3 GC11.3 GC4.1 GC8.1 GC4.2 GC8.2 GC4.3 GC8.3

N EU E S S TÄ D T I S C H OR CHES TER WIEN (NSOW)

T E C H N O L O G Y, S TA G E F I V E , S E M E S T E R T W O

1:200 sectional model of the Institute of Contemporary Art, Boston.

PR ECED EN T M O D EL

GR O UP CR ED I T S :

The sectional precedent model of

huge floor-to-ceiling trusses span-

the ICA above shows more clearly

ning the entire length of the top

the link between the internal and

floor.

external spaces.

The structure grows outwards from a central spine (indicated by the raised roof access mass on top of the model). The cantilever is made possible through a pair of 42

A C A D EM I C P O R T F O L I O

Harashadeep Kaur Malgorzata Szarnecka Dan Hill

mm

0

1

10

5

20

Key Section

m

0

5

5

N

0

20.

Key

25

100

50

m

1. Main entrance

0

2. Welcome desk 3. Office

0

4. Cafe/Bar

10 10

50

50

100

100

200 m

5. Cafe/Bar back of house

19.

6. Indoor performance space 7. Seating terrace 8. Performance space store 9. Main stair

16.

10. South west fire stair

15.

11. North east fire stair 12. Lift 13. Plant/service 14. Library PRODUCED BY AN AUTODESK STUDENT VERSION

15. Workshop 16. Workshop store 17. Outdoor performance space 18. WC 19. Cycle Parking 20. Idiophone Sculpture

8.

17.

11.

18.

Detail Section

5.

18.

3.

6.

4.

2.

7.

9.

13.

14.

12.

1.

10.

Annotated Ground Floor Plan

ACCE S S IB IL I T Y

1000 2500

parking has been planned for this

in my opinion is a far more appro-

possible to accommodate under-

scheme.

priate and sustainable solution

ground parking via a ramp down to

for a relatively tight city centre

a sub-level, I have decided against

1000

42000

1000mm generous build up

4500

4500 clear height allows for most vehicles

location.

Although

it

is

just

accommodating one as I feel it

ment and building users to the

I have also accommodated a

would negatively impact the public

site. As part of a membership or

generous space for cycle parking,

realm I see as being key to this

as a one-off fee, a driver will taxi

as the site is situated on one of the

project’s success.

NSOW

+0.000

about

PRODUCED BY AN AUTODESK STUDENT VERSION

1000mm generous build up 2500 clear height allows for most cars

1:12 gradient

66000

their city home to the facility. This

hire-able shuttle to deliver equip-

If the access ramp was a single, straight 1:12 slope, it would have dimensions similar to this.

1:12 gradient

equipment and passengers from

cars from the city centre, no car

Instead, I have included a

PRODUCED BY AN AUTODESK STUDENT VERSION

main cycle routes around the city.

In an active decision to discourage

43

25

Visualisation of the NSOW and surrounding public realm.

M AT ER I A L S A ND SUS TA IN A B IL I T Y The structural columns of the

structural options for a building of

the scheme several methods of

been able to provide a generous

building will be slip formed, cast

this scale and purpose.

offsetting concrete’s poor carbon

public space which includes a large

footprint.

area

Concrete

in situ concrete, whilst the floor

is

also

incredibly

plates will be traditionally cast in

durable, ideal for a civic structure

situ.

used by the public every day.

Concrete has been specified

bio-diverse

wildflower

whereas

traditional

ously is the omission of any car

Viennese civic buildings are often

parking from the proposal, and in

landscaped with expansive lawns

particularly

its place providing a shuttle system

that do not provide the necessary

and cycle parking.

variety of plant species to support

a

preventing structural sound trans-

eco-friendly material in its produc-

mission than steel, the two main

tion, however I have designed into

A C A D EM I C P O R T F O L I O

of

planting,

Of course, concrete is not

because it is more effective in

44

The first as mentioned previ-

sustainable

or

In omitting any parking, I have

local wildlife.

Visualisation of the south-east facing elevation, highlighting the area of glazing.

DAY L I GH T IN G north, as light penetration is not as

the

The building is planned so

building could be simplified as a

that the main public spaces are lit

brick and aluminium grid with

from the south opening onto the

The top floor event space is top

glazed infill.

Stadtpark, maximising the amount

lit during the daytime by a skylight

of sun light penetrating the main

diffuser system taking influence

volume of the building.

from the ICA Boston.

The

proposed

facade

of

As the main internal spaces of the building are deep with plenty of volume, the glazing must be

In contrast, the smaller, more

tall enough to allow light into the

cellular and more private recording

spaces further from the elevation.

and practice spaces are oriented

important to their atmosphere.

NSOW

45

Key Section showing implemented passive stack ventilation strategy.

V EN T IL AT I O N As a method of passive ventilation,

air from the shaded courtyard is

top of the structure and escape

I have designed the building to

encouraged in by the low pressure

through a venting system.

maximise stack effect ventilation.

in order to maintain equilibrium,

The use of concrete for the

in accordance with the laws of

internal columns and floor plates

thermodynamics.

further contributes to the passive

In this process, the air in a south-facing void is heated by the sun on a hot day. This causes the

As a result, the space is cooled

air particles to become excited

and replenished with fresh air

and in turn causes low air pres-

from outside. The hot air, as it has

sure. The cool, higher pressured

become less dense, will rise to the

46

A C A D EM I C P O R T F O L I O

ventilation strategy.

Visualisation of one of the recording pods.

ACO US T I C S of the building. They would be

have chosen to design the pods to

of the pod would also be filled

should

constructed either on the ground

be disconnected from the struc-

with high quality acoustic insu-

always be a consideration, and this

or off-site, and lifted into place as

ture completely.

lation to further shield the space

scheme is no different.

each floor plate is constructed.

In

any

programme,

music-orientated acoustics

The most significant display of

As

I

mentioned

earlier,

To further reduce any possibility

of

transmitted

vibration,

this consideration is shown in the

concrete is far more resistant to

each pod would be placed on top of

design of the recording pods.

structural noise transmission than

an acoustic isolation layer, essen-

completely

steel, however to ensure the best

tially a rubberised mat.

separate from the main structure

quality of recording possible, I

The

pods

are

from non-structurally transmitted vibration.

The floors, ceilings and walls NSOW

47

Key 1.

2.

3.

4.

5.

102.5mm facing brick (5o profile) Damp proof membrane 85mm rigid insulation In-situ concrete edge beam (to S.E. specification) Aluminium coping

6. Roofing membrane lapped with DPM 7. Roofing membrane 8. 85mm rigid insulation 9. 300mm in-situ concrete roof slab (to S.E. specification) 10. Steel ceiling truss (aids support of slab above and suspended ceiling below) 11. Steel angle (supports truss) 12. Steel profile (supports steel angle 13.)

13. Steel angle (supports concealed soffit angle 15.)

14. Weep hole 15. Concealed soffit angle 16. Brick slip soffit 17. Timber batten support 18. Triple glazed floor to ceiling window

PRODUCED BY AN AUTODESK STUDENT VERSION

0

100

500

1000

2000 mm

Sectional detail of the adjoining of the roof and external wall.

0

S T R IP S EC T I O N D E TA IL S

200

1000

4000 mm

The facade of the proposal plays

expressing a modern music facility

expressive structural concepts, I

an important role in situating the

suitable for the needs of modern

was able to create an interesting

building within the theory that

musicians.

architectural

surrounds it.

2000

By creating an ordered and

environment 0

1

for 5

10

The proportions and material

rational facade, I feel I was able

I wanted the building’s eleva-

treatment had to remain restrained

to respond to the local physical

tion to have a certain weight and

and civic in order to relate to the

and cultural context of the site

depth, which I believe is best

context of the surrounding formal

and city as a whole, and by intro-

architecture of Vienna, whilst also

ducing radial geometry and more

achieved through the 0use 10of real

0 0

5

5 25

brick. The slight imperfections 0

10

50

20 m

contemporary music production.

50

100 m

50

100

100

200 m

48

A C A D EM I C P O R T F O L I O

25

Key 1. 102.5mm facing brick (5o profile) 2. Damp proof membrane 3. 85mm rigid insulation 4. In-situ concrete edge beam (to S.E. specification) 5. Timber floor finish 6. 110mm rigid acoustic and thermal insulation 7. Steel C-section framing system 8. Facing aluminium cladding 9. Rubberised acoustic isolation layer 10. 440mm in-situ concrete floor slab (to S.E. specification) 11. Rubberised acoustic isolation layer 12. Steel profile (supports steel angle 13.)

13. Steel angle (supports concealed soffit angle 14.)

14. Concealed soffit angle 15. Weep hole 16. Embedded LED rim light

PRODUCED BY AN AUTODESK STUDENT VERSION

0

100

500

1000

2000 mm

Sectional detail of the adjoining of the fourth floor slab and external wall.

0

200

1000

2000

4000

in the mortar joints on incredibly

extruded from the face of the

close examination reveal a ‘true-

building.

ness’ which I believe is sometimes lost in brick slip clad buildings.

0

1

5

The brick itself is a material reference to the plinth of the Palais

0

5

mm

As is evident, the pods are completely isolated from the main 10

concrete

structure,

20

sitting

m

in

between the floor slabs.

25

Coburg to the north west of the site, a significant civic building.

0

5

25

m

This detail best shows the 0

10

depth of the cantilevered pods 0

10

100

50

50

50

100

100

200 m

NSOW

49

GC1.1 GC1.2 GC1.3

GC5.1 GC9.1 GC5.2 GC9.2 GC5.3 GC9.3

GC2.1 GC6.1 GC10.1 GC2.2 GC6.2 GC10.2 GC2.3 GC6.3 GC10.3 GC3.1 GC7.1 GC11.1 GC3.2 GC7.2 GC11.2 GC3.3 GC7.3 GC11.3 GC4.1 GC8.1 GC4.2 GC8.2 GC4.3 GC8.3

E co A coustic I dentit y : A S O U N D WA L K M E T H O D O L O G Y F O R E S TA B L I S H I N G T H E RECO GNISABILIT Y OF THE SOUNDSC APE D I S S E R TAT I O N , S TA G E F I V E / S I X

My workspace in close proximity to the boiler cupoard.

52

A C A D EM I C P O R T F O L I O

A B S T R AC T As I sit to write this paper in the ground floor bedroom of my temporary student home, I hear the boiler beside me activate for its pre-programmed evening period. I recall the first occasion it did so, and how it startled me. Its gurgling is a sound I encounter in the same place and time every day that passes. It has become a part of my own personal soundscape, a rhythm that announces itself only to me. I think also of the previous tenants who once occupied this room and were subject to its rhythms, wondering if they too shared such an intimate relationship with their home’s boiler. Probably not.

The boiler’s sparking to life is not only a sound; and although in knowing its daily rhythm, I have

been made aware it is approximately half-past six; nor is it simply an imprecise clock. The sound is indicative of activity, the beginning of a warming process of the space I occupy. Though I considered it a disturbance at first, it reassures me of the proximity of thermal comfort in my near future. An hour or so from now, I will at last be warm.

Sound and activity are intrinsically linked, for they are fundamentally two outputs of the same physical process: the vibration of matter. In the context of the city, there is such a difference between these two scales of vibration that we often fail to observe or accommodate for their affiliation.

Dedicated to studying this connection is the discipline of Acoustic Ecology, sometimes referred to as Ecoacoustics or Soundscape Studies, pioneered by R. Murray Schafer in the late 1960’s as part of the World Soundscape Project (Schafer et al., 2007). The movement sparked huge scholarly interest, resulting in a vast amount of diverse literature from fields ranging from art and architecture to geography and the medical sciences.

I have looked at significant works from as many of these diversified sources as possible, in an attempt to deliver a comprehensive methodology for analysing Newcastle’s soundscapes. Motivated by the soundwalk method produced by one of Schafer’s most prominent students, Hildegard Westerkamp (1978; 1989), I invited volunteers to listen to pre-recorded virtual soundwalks around the city and asked them to map out their perceived journeys in real-time based on the sound environments they encountered.

By isolating the ear from the other sensory organs, I hope to discover the significance the soundscape has Schafer, R. M. Truax, B. Westerkamp, H. Broomfield, H. Davis, B. and Huse, P. (2007) “Information.” The World Soundscape Project . Available at: https:// w w w. s f u . c a/s o n i c - s t u d i o - w e b d a v/ WSP/index.html [Accessed: 04 March 2021].

on perceived space and orientation, and furthermore, establish the strength of Newcastle’s acoustic identity.

Westerkamp, H. (1978) “Fantasie for Horns I.” Hildegard Westerkamp, Inside

the Soundscape . Available at: https:// w w w.hildegardwesterkamp.ca/sound/ comp/4/fantasie-1/ [Accessed: 3 February 2021].

Westerkamp, H. (1989) “Kits Beach Soundwalk.” Hildegard Westerkamp, Inside the Soundscape . Available at: https://www.hildegardwesterkamp.ca/ sound/comp/3/kitsbeach/ [Accessed: 3 February 2021].

Eco Aco u s t i c Id en t i t y

53

Shieldfield House located near City Stadium; and the bank of the River Ouseburn.

ACO US T I C PER CEP T I O N the

stream on the field trip entered the

identity of Newcastle’s soundscape

Metrocentre Underpass, it was this

through a soundwalk-based meth-

cognitive process which allowed

odology.

me

My

dissertation

Acoustic an

active,

examined

perception cognitive

is

process

to

appreciate

its

acoustic

presence.

I

wanted

to

explore

this

requiring experiential memories

phenomenon in detail, and so I

and a myriad of complex stimuli

devised a methodology to investi-

(Oliveros, 2015). When the live

gate the city’s Ecoacoustic Identity.

54

A C A D EM I C P O R T F O L I O

Oliveros, P. (2015) “The difference between hearing and listening.” TEDxIndianapolis. Available at: https://www. y o u t u b e . c o m/ w a t c h? v =_Q H f O u R rJB8&ab_channel=TEDxTalks [Accessed: 2 March 2021].

‘Skywalks’ from the east into the city.

S O UNDWA L K IN G I selected my routes carefully,

envelop the listener in high-fidelity

directing one through Ouseburn

spatial sound. I then asked volun-

towards the Tyne, encompassing

teers to listen to the recordings

many natural sounds, and one into

whilst mapping their perceived

the city centre via the network of

journey in real-time with a given

aerial pedestrian routes, towards

start point.

the university.

I

recorded

the

soundwalks

using binaural microphones, which Eco Aco u s t i c Id en t i t y

55

Volunteer Combined Route Map (Hill, 2021e).

VO LUN T EER PA R T I CIPAT I O N The results were, as expected,

I scored each of the volunteers’

highly sporadic in nature, for a

routes by breaking them down into

species that has grown accus-

one-minute

tomed to navigating with its eyes

them as accurate, partially accu-

and little else.

rate or inaccurate.

The map above shows the results from the seven volunteers, as well as the correct route in the bolder line.

56

A C A D EM I C P O R T F O L I O

segments,

marking

Plotting Accuracy / Traffic Noise Map (Hill, 2021e).

ID EN T I T Y A ND T R A FFI C From the chaos of routes, there

traffic noise level was lower than

intrinsically linked to its unique

emerged

65dB (the approximate level of a

mixture of sonic stimuli; a balanced

normal

accuracy

diet for a healthy body. If one stim-

was much increased, with one

ulus in particular dominates the

average plotting accuracy of the

minute-long

scoring

soundscape, the resulting effect is

volunteers

100%. For areas above 65dB, accu-

a loss of acoustic identity. Such is

racy diminished considerably.

the expansiveness of Newcastle’s

one

very

significant

trend.

The study showed that the

inversely

was

approximately

proportional

to

the

volume of traffic noise.

In areas where the ambient

conversation), segment

I arrived at the conclusion that the acoustic identity of a place is

road network, much of the city’s Ecoacoustic Identity has faded.

Eco Aco u s t i c Id en t i t y

57

GC1.1 GC1.2 GC1.3

GC5.1 GC9.1 GC5.2 GC9.2 GC5.3 GC9.3

GC2.1 GC6.1 GC10.1 GC2.2 GC6.2 GC10.2 GC2.3 GC6.3 GC10.3 GC3.1 GC7.1 GC11.1 GC3.2 GC7.2 GC11.2 GC3.3 GC7.3 GC11.3 GC4.1 GC8.1 GC4.2 GC8.2 GC4.3 GC8.3

U nderpassing

D E S I G N T H E S I S , S TA G E S I X

Sandyford Road Underpass, northern aperture. The first underpass I photographed became the springboard into an exploration of the acoustic properties of underpass spaces.

60

A C A D EM I C P O R T F O L I O

A B S T R AC T It is no secret that the Earth is rapidly approaching a critical point of no return, beyond which it will no longer be possible to sustain existence as we have come to know it. Architecture’s carbon footprint accounts for a great portion of the damage done to our planet throughout the anthropocene, and it is essential that we begin to unlearn the habits and systems that have been guiding this profession’s practise towards the end of the world.

Of course, I do not expect that this project alone will, or ever could, save the planet. My aspiration for this thesis is to begin a discourse surrounding how architecture might use some of the tools and techniques it employs, as well as some it typically does not, to seek value in that which we have already extracted and placed upon the Earth’s surface.

I have focussed attention on the practise of condition surveying, a process typically initiated to establish the tectonic condition of a structure, either as a means to modify it or condemn it for demolition. By unlearning the methodologies behind these practises, I have been able to determine a new approach that does not necessarily seek to change the fabric, but rather prioritises a far deeper understanding of urban space.

The typology through which this process has emerged is the pedestrian underpass, an indiscreet relic of extractivist cultures and construction. Their very existence is a result of the influence and domination of the car over our cities to the greatest detriment of the pedestrian. Consequently, underpasses have become regarded as unsuccessful parts of the city; dark, dank, neglected and ultimately avoided by many in fear of their own safety. In other words, they too, face extinction.

The methodology I propose is principally based around an appreciation of the built form as an assemblage of artefacts from a huge range of contextual scales, from the political and social, all the way down to the microscopic. Viewing space in this way allows an understanding of the complex stories, entangled in time and experience, that are held in the physical matter of all things.

It is my hope that promoting a deepening of attentiveness towards our existing fabric will help slow the extractivist processes we are all unquestionably a part of, but at the very least, I am certain this thesis has and will continue to guide my own more ecologically responsible practise.

U n d er pass i n g

61

Visiting the underpass after the Covid-19 isolation period had ended.

ME T R O CEN T R E UND ER PA S S During the first weeks of semester

stream from the comfort of home.

the audio unclear, I could appre-

lay hundreds of messages imposed

space

ciate its darkness, hear the rever-

over one another, some politically

attend a socially-distanced field

amongst the sea of parking and

beration of sound in my head, feel

powerful and others apparently

trip to the Gateshead Metrocentre.

featureless façades that truly felt

its presence.

meaningless.

Unfortunately, due to a posi-

interesting to me; the underpass

tive Covid-19 test, I was unable to participate in person. However,

one, the studio was invited to

thanks to Ed and the tutors, I was able to attend the trip via video live 62

A C A D EM I C P O R T F O L I O

There

was

but

one

in

More importantly though, the

on the outskirts of the sprawling

person, I was able to document

messages shared an ignored envi-

site.

On

return

to

the

site

in more detail the nature of what

ronment, free of rule or regulation;

internet

had taken my attention. In the

simply existing.

connection was at times shaky and

tunnel carved through the earth

Even

though

the

(Top) External view of the exhibition within the underpass. The exhibition is set inside the Metrocentre underpass, the location from which the meat-free revolution began.

(Bottom) Group collage . This image represents a non-human reading of the Metrocentre and its surrounds.

GR O UP CR ED I T S

UND ER PA S S E X HIB I T I O N

Natasha Rice Josh Knight Gosia Szarnecka Dan Hill

As part of a group work project,

looking

we simulated an exhibition within

decades,

the underpass, documenting the

abandonment of meat and animal

history of the Metrocentre and an

products towards the ‘present’.

imagined future for each of our

back

at

the

observing

previous

the

global

Animal rights are far advanced carnivorous

still continues.

The

underpass

serves

as

message-bearer, much as it does in its extant state, to attempt

protagonists: the underpass, the

from

cow, the pigeon, and the relics of

history before the 2030’s, with

animals by educating their human

infrastructure.

many animals now given rights to

co-habitors.

The exhibition is set in 2060

humanity’s

fight for equality with humankind

to

preserve

a

future

for

the

democracy and education, but the U n d er pass i n g

63

(Top) Newcastle Underpass Map. The map shows the key infrastructural interventions within the city, each necessitating several underpasses for the pedestrian. The coloured overlays correspond to the covers of each walking guidebook. (Bottom) Collection of Underpass pedestrian guidebooks. There are four books documenting the underpasses around the city, and a fifth with a focus on Eldon Square, which has its own underpass spaces.

UND ER PA S S GUID EB O O K S Intrigued by the spatial memories

Birmingham and Glasgow.

noticed a specific quality to the

around

induced by the virtual tour of the

I collated the underpasses in a

acoustic environment that many of

internal surfaces.

Metrocentre Underpass, I began

collection of walking guidebooks,

the underpasses share. The narrow

This low frequency noise is

mapping others in and around the

attempting to connect such spaces

passages and vertical proximity to

incredibly unsettling, a phenom-

city centre.

for the pedestrian to highlight the

the road generate a bass-heavy,

enon

compromises made to prioritise a

low-frequency rumble as a result of

horror films to unnerve the viewer

steady flow of vehicular traffic.

The underpasses have become a necessity in a city severed by vast

the

underpasses’

intentionally

exploited

the tyres’ and engines’ vibrations

before

On photographing the first

transmitting through the struc-

terrors that lay immediately ahead.

post-war period, similar to that of

underpass for the collection, I

ture, and subsequently reflecting

The low frequencies prevalent

A C A D EM I C P O R T F O L I O

them

to

in

motorways put in place during the

64

exposing

hard

the

Sandyford Road Underpass, northern aperture and access.

Carr, D. (2017). Muff the Police. Self Published. Available at: https://www. daphnecarr.com/policesound/lrad/

in the underpasses are also felt with

high-frequency sound at incred-

the body as vibrations or ‘infra-

ibly high pressure, usually used to

sound’ (sounds which are below

disperse large crowds (Carr, 2017).

the frequency threshold of human

Moreover, the most dominant

hearing, around 20Hz for an adult).

peaks of sound amplitude within

Infrasound is utilised in less-lethal

this space (see Part Six of this

weapons such as the LRAD (Long

thesis) tend to occur at around

Range Acoustic Device), which are

100Hz, around that of the male

capable of propelling both low and

human voice.

U n d er pass i n g

65

Newcastle’s Underpasses. The fifteen underpasses (and one internal space) I have documented across five issues of Underpass: A subterranean pedestrian guide to Newcastle Upon Tyne.

66

A C A D EM I C P O R T F O L I O

T HE A R CHI V E The

photographic

archive

of

underpasses is fully detailed in the series of Underpass Guidebooks I have published as part of my thesis, entitled: Underpass: A

subterranean pedestrian guide to Newcastle Upon Tyne .

I also published the archive online, hoping to reach people more frequently walking around Newcastle during the pandemic. It became apparent that the people I did reach were more interested in the individual photographic works than the urban research behind it, with some offering to buy framed prints.

There are many artistic bodies dedicated to the study and preservation

of

brutalist

architec-

ture, however this project is about more than gazing at concrete forms through spectacles tinted with nostalgia. With the worldwide

increase

in

pressure

to

vastly reduce our carbon footprint, architecture must become more responsible for its past failings

towards

the

environment,

mainly in its reliance on fossilfuelled construction, and more importantly, what to do with that construction when it is no longer fit for purpose. We must learn from these failings in order to ensure a sustainable practise for the future.

This thesis proposes a methodology which can help to extract a greater value and an appreciation of the bed we have made, with the ultimate aim of helping establish whether we should have to lie in it.

Underpass Collective Instagram Feed. I published the walking routes as well as the key photographs from each underpass location in order to guide the pedestrian around the city.

U n d er pass i n g

67

Bedside Table (Film). Please click the following link, or copy and paste it into your browser window: https://youtu.be/XFr_AovaFus The Inevitable Decay of Matter (Film). Please click the following link, or copy and paste it into your browser window: https://youtu.be/1xXwDoH65lw

B ED S ID E TA B L E (FIL M)

T HE INE V I TA B L E D EC AY O F M AT T ER (FIL M)

As well as providing me with some

of the filming and sound recording

I made a second film to test yet

The film takes much inspira-

grounding for an object-centred

techniques I learned in making

more techniques for film making

tion from Alvin Lucier’s I am Sitting

narrative,

and sound recording.

in a Room (1969), where the artist

of

this film were of huge value when

the table and making of the film

the

modification

I set about making the thesis film,

offered other invaluable resources.

Underpassing.

This film was recorded in a

re-records the human voice rever-

single take using multiple camera

berating around a space. This film

angles and diverse sound recording

takes that concept and applies it to

The little timber I removed

It has been hugely rewarding

from the table has been used

to make use of my musical practise

methods,

binaural,

the bedside table in order to high-

later in the thesis to build certain

during a design thesis, something I

shotgun condenser and contact

light the agency it has over its own

surveying instruments, and many

plan to continue in the future.

microphones.

sonic output.

68

A C A D EM I C P O R T F O L I O

including

A mapping of the corruption scandal.

MEN O F R EN OWN Post-war Newcastle was consumed

planning in the sixties and seven-

by a corruption scandal, impli-

ties were primarily the responsi-

cating

bility of Wilfred Burns, Newcastle’s

Council

Leader,

T.

Dan

Smith, and Architect, John Poulson at its core.

His

Smith ran a PR Firm which accepted

underhand

Waterhouse, R. (1993). “T. Dan Smith (Obituary)”. The Guardian . 28 July.

destructive

and

favour of road traffic, resulted in the city we know today. In his

contracts, acquired through his

Development

connections in government, to its

wrote, “the city centre must cater

most generous donors.

to the maximum extent possible

once

gifts

overtly

approach to planning, heavily in

returned public work and building

Smith

City and County of Newcastle upon Tyne. (1963). Development Plan Review.

Newcastle upon Tyne.

Chief Planning Officer at the time.

wrote

Plan

review,

he

for cars” (1963).

“Thatcherism, in an odd sort of

Smith trusted Burns’ well-ed-

way, could reasonably be described

ucated judgement, which I would

as

argue was perhaps his greatest

legalised

Poulsonism...

the

handing over of public assets for

mistake

private gain.” (Waterhouse, 1993).

redevelopment.

For

the

corruption,

Smith

regarding

Newcastle’s

is

undoubtedly to blame. However, Newcastle’s motorways and town U n d er pass i n g

69

Central motorway under construction. (Photograph: Newcastle City Council, 1974) (Source: Peacock, 2016)

D IR T Y O L D TOWN The city these men inherited was

The city, like much of the north

in industrial decline. They believed

east, relied on its mining infra-

a new motorway network would

structure to generate income. As

bring economic prosperity to the

that source of affluence began to

two or even three layers of traffic

city, and establish a new finan-

shrink, it was thought that new

stacked vertically in parts. This

cial powerhouse for the north, a

industry needed to find a place in

decision was made to minimise

sentiment more recently burdened

the city.

land take, albeit at the cost of a

primarily unto Andy Burnham’s Greater Manchester, my home.

70

A C A D EM I C P O R T F O L I O

The central motorway carved a great divide between the city

centre and the east, decimating the southern corner of Jesmond.

The

motorway

comprises

huge visual and acoustic barrier.

Peacock, L. (2016). “Eight images of Newcastle as seen from the air between 1947 and 1991”. The Chronicle . 7 May.

Jesmond Railway Station with an award-winning flower garden. (Young, 1948)

WH O NEED S T HE FLOWER S TO GR OW ?

Young, A. (1948). “Jesmond.” Disused Stations. Available at: http://www. disused-stations.org.uk/j/jesmond/

There was a huge culture shock in

this ideology; the liberty to travel

road plunged Jesmond Station into

Britain during the sixties, across

wherever

obsolescence, before the line was

the entire spectrum of society,

desired.

and

whenever

one

re-purposed for the Metro in the 1980s.

from music, film and the arts, to

The motorway was put in place

the political agendas of those in

to serve this new generation of

Not only did the motorway

power. Following the wars in the

car-consuming travellers, driving

create its own wealth of issues, it

first half of the century, it was time

between cities for business and

also drained the life out of other

for freedom.

pleasure.

infrastructure.

The private car encapsulated

The cultural shift from rail to U n d er pass i n g

71

(Top) Filled in underpass from the centre of Swan House roundabout beneath its northern quarter.. (Bottom) Mid-air termination of a pedestrian route into the city centre, with Swan House shown in the background.

M OTO RWAY D O U GH As well as the numerous under-

are no maps. No landmarks. So it’s

this thesis calls in to question. Not

passes beneath the infrastructure,

incredibly easy to get lost, and to

only did the motorway infrastruc-

also introduced were a network

be disorientated.” (Whitney, 2017).

ture severely impact the accessi-

of

‘skywalks’,

aerial

pedestrian

Since their introduction, the

bility to the city for the pedestrian,

routes into the city centre across

skywalks, underpasses, and even

it continues to do so actively as

the motorway’s chasm. Professor

parts of the actual motorway, have

these compromises are removed,

Stephen Graham speaks of them,

been disassembled, filled in, or

or even worse, wasted. City plan-

“everything looks like everything

gated off.

ning must become more respon-

else. There’s no legibility. There 72

A C A D EM I C P O R T F O L I O

It is this exact situation that

sible for the city of the future.

Whitney, K. (2017) “ ‘A brave new world’: what happened to Newcastle’s dream for a vertical city?” The Guardian, 7 February. Available at: https://www. theg uardian.com/cities/2017/feb/07/ br ave-ne w-world-ne wc a s t le-d re a mfor-vertical-city

Bandstand Underpass. This tunnel is broken by daylight in the centre to allow access to a solitary bus stop on the Great North Road.

P O L I T I CI A N S , PL A NNER S , M A D NE S S , M ACHINE S The men who put this infrastruc-

divert their journey around the

ture in place were first and fore-

new city-scale toy of the high-

most exactly that, men; in positions

flying businessman.

of influence

with easily enough

wealth to afford a personal car.

This underpass for instance, below

the

great

north

road,

Those who could not afford

provides the only access to a bus

their own car; women, children

stop used by a local school, far

and people from low-income back-

from an ideal space for young chil-

grounds; would be expected to

dren to be directed.

U n d er pass i n g

73

Councillors, magistrates, men of renown, Who needs to live in a dirty old town?

Yes, go on, tear it down.

Who need the trees and the flowers to grow?

We can have a motorway with motorway dough.

I know I know I know, they’ve got to go.

Tear them down, mess them round, Make a mockery of all of the ground, And if you ever have a sleepless night, Just count out your money, it’ll be all right.

Politicians, planners go, look what you done, Your madness is making a machine of ev’ryone, But one day the machine might turn on.

We’ll tear you down, mess you round, And bury you deep under the ground, And we’ll dance on your graves till the flowers return, And the trees tell us secrets that took ages to learn.

We’ll tear you down, mess you round, Bury you deep under the ground, And we’ll dance on your graves till the flowers return, And the trees tell us secrets that took ages to learn.

We’ll tear you down.

Lindisfarne (band). Much loved Alan Hull (second from left) is commemorated with a plaque on Newcastle City Hall. (Photograph: Lindisfarne, date unknown) (Source: Orr, 2008). The lyrics to Lindisfarne’s “All Fall Down” (Hull, 1972). I used these lyrics as a structural tool in the composition of Underpassing , the film supplementing this design thesis.

WE ’ L L T E A R YO U D OWN Of course, the motorway did not

Lindisfarne, released the song All

come into existence unchallenged.

Fall Down (Hull, 1972) in satirical

Environmentalist SOC’EM!

(Save

Environmental booklets

Our Mess!)

arguing

group

opposition to the plans. I used the

from

lyrics from the song to construct

produced

the narrative for the thesis film to

City

against

the

proposals, as well as various public transport unions (Fenwick, 2012).

The much loved local band, 74

A C A D EM I C P O R T F O L I O

be watched alongside reading this document, Underpassing.

Fenwick, P. (2012). The Newcastle Central Motorway East and Other Plans.

The Chartered Institution of Highways and Transportation.

Hull, A. (1972). “All Fall Down.” Dingly Dell. UK: Charisma Records.

Orr, C. (2008). “A history of Lindisfarne pt IV: what happened next?” Lindisfarne. ht t ps:// l i nd isfa r ne.co.u k/a-h ist or yof-lindisfarne-part-iv-what-happenednext

Underpassing (Film). Please click the following link, or copy and paste it into your browser window: https://youtu.be/w13t-n_7eg0 Sandyford Road Underpass, southern aperture.

UND ER PA S S IN G (FIL M) I returned to the first underpass

history of this underpass from its

This underpass in particular finds

through ever-deepening levels of

I archived in the guidebooks, the

conception right through to my

itself in a unique existential crisis.

attention.

one in which I began to appreciate

proposition for an appended tool

the spatial and acoustic experi-

kit for the ecological surveyor.

ences also found in many of the others.

The film is narrated through the voice of The Underpass, a

Since Jesmond Station was

The aim of this work is not to

decommissioned, it serves little

decide whether existing struc-

purpose, connecting one side of

tures are to remain in place; it is to

Sandyford Road to the other.

propose a refined process to learn

To document my methodology,

melancholic character concerned

As such, it acts as the ideal

and experience as much about

I created a film (also, in itself part

about the stability of their and the

test site for a methodology aimed

the existing before reaching that

of the method) which traces the

planet’s future.

at seeking value in the existing,

decision.

U n d er pass i n g

75

(Left) On-site survey sketches. First I roughly (very roughly) sketch the space, before measuring and annotating the drawing. I then label the drawing with callouts to areas in a higher level of detail. (Right) 2-point sectional perspective of the underpass.

ME A SUR ED SUR V E Y

D R AWIN G

Most surveys begin with measure-

surveys, when conducted in this

Most architects appreciate the

and its relationship with the body,

ments, and this one is no different.

level of detail, help the surveyor

power of drawing, and an impor-

more so than I believe two-dimen-

understand

tant part of that lies in hand drawn

sional drawings would have.

I ensured I carefully meas-

the

relationship

ured every part of the space, from

between

its tectonic form to the detail of

present. The pattern on a tile is

Before I began any refined

screws and graffiti on its walls.

the

scales

of

detail

representations of space.

I then set about drawing the underpass in context.

very different to the size of an

drawings of the space, I first drew

This section drawings on the

Apart from the obvious objec-

opening, for instance. It is impor-

this perspectival section of the

opposite page help to show the

tive of determining the shape

tant to record all of this informa-

southern aperture. This helped

underpass in relation to its closest

and size of the space, measured

tion equally.

me to initially visualise the space

infrastructure; the Metro line to

76

A C A D EM I C P O R T F O L I O

(Top) SRUP-DR-00-01301 Key Section AA (originally drawn at 1:50). The underpass is shown in relation the motorway infrastructure in the background. The grid overlay on the drawing is used later in the survey as a cross reference tool for other investigations conducted on-site. The graffiti was drawn using the measurements taken on site and a 2D photo-stitched mapping. (Bottom) SRUP-DR-00-01302 Key Section BB (originally drawn at 1:50). The drawing shows the difference in level between the layers of infrastructure as well as the dominant figure of Sandyford House in the background.

the east and the roadway above.

wall extrudes from the under-

underpass.

the darkness.

Both of these are sources of a

pass’ elevation. With the towering

The confinement of the space

Shown in the background is

huge amount of noise within the

Sandyford House seen in the back-

is shown again in the perpen-

the dual-deck motorway, which

space, the Metro rhythmic and

ground, the confinement of the

dicular plane, with the tall wall

crosses Sandyford Road further

intermittent, the road more ubiq-

space either side becomes clear.

continuing

west.

uitous and droning.

around

the

corner

Key Section AA (top) shows the

along the southern edge of the site

To prevent trespass on the

length of the space, and offers an

and Sandyford House’s minimal

line and to shield some of the

appreciation of the length of time

easement between its exterior wall

noise from the Metro, a 3.7m

it takes to pass from end to end in

and the northern entrance to the U n d er pass i n g

77

Site Model showing the underpass in context (modelled at 1:100). The layers of infrastructure can be seen, with the Metro line in the foreground and underpass beyond, with the road passing over both.

M O D EL L IN G Once I had accurate drawings, I

House,

was able to build a model of the

bedroom is only so big.

underpass

and

its

immediate

surrounds.

but

unfortunately

my

The modelling is detailed and meticulous in its approach; hand

In a year outside the confines

cutting and scoring the paving

of a pandemic, I would have liked

slabs on the ground and the bricks

to extend the model over a much

on the walls, as well as soldering all

greater area, so that it included the

of the guarding and the Metro line.

motorway and more of Sandyford 78

A C A D EM I C P O R T F O L I O

SRUP-MP-D71-01 Interior Light Ducting (to overcome sharp incline), east wall. A macro photograph (MP) showing this unusual intervention to connect the pre-assembled lighting panels across the most sharply inclined part of the underpass. Canon EOS 600 Film Camera (1989) and black and white film processing equipment and chemicals.

FIL M PH OTO GR A PH Y Modern

takes

Photos, again, are not unusual

instead of my experience with

situations, but I believe a close

photography for granted. It has

in the context of a survey. However,

digital photography, which usually

tending to the medium and subject

become so easily accessible, it is

using a film camera influenced me

involves sorting through reams of

have proved far more rewarding in

seldom considered a skill.

to approach the task with much

exposures to select the best few.

the formation of this thesis.

Using

society

film

often

to

more consideration. Without the

The latter method is one this

To further this, I learnt how to

appreciate the work that modern

aid of digital technology, I was

thesis, and through forming it I

develop my own film from home,

cameras

and

allowed phones

me

have

encouraged to rely on my own

personally, have become opposed

another

removed from the shoulders of the

skill. This resulted in photographs

to. The ‘spray and pray’ method I’m

again a removal of the agency of

photographer.

which were already pre-curated,

sure has its advantages in certain

technology or an expert.

fulfilling

process,

U n d er pass i n g

and

79

Alginate impression taking and casting process.

A LGIN AT E IMPR E S S I O N S A ND C A S T IN G Thus far, the methods of this survey

is completely biodegradable in as

beyond representations for the

the surfaces, before applying a

have remained largely within the

little as a year (Baker, 2019).

eye, and the same too could be said

‘texture’, usually a flat image with

confines of the orthodox. Algi-

These

ecological

properties

the computer-generated illusion of

of architecture in general.

nate impression taking is the first

make it suitable for environmental

method to depart from that.

use, and its usage by dentists

textures

easily

Once the alginate has been

speaks

detail

missed in drawings and models,

formed, the plaster must be poured

achievable in replicating surface

flattened for ease. The digital

quickly, as the alginate begins to

texture.

modelling and rendering process

shrink as its water content evapo-

requires the designer to flatten

rates (ibid.).

Alginate by

dentists

is to

used take

primarily impres-

sions of teeth for treatment. It is extracted from algae, and as such 80

A C A D EM I C P O R T F O L I O

volumes

of

the

Surveys do not usually go

The study of a structure’s reveals

details

texture.

SRUP-UP-I17-01 Reconstituted Concrete Brick, west wall. A micro photograph highlighting the tiny particles of rock within the brick. The small blue chip is measured at approximately 108um (micrometers).

MI CR O PH OTO GR A PH Y So far, the survey has addressed

this

micro

This level of detail is imper-

investigate in this detail, yet doing

the scales of: the social and polit-

photography (UP) being the next

ceptible to the naked eye, as it is

so can reveal so much undiscov-

ical through research; the tectonic

step.

physically impossible to focus on

ered information about the mate-

through drawings and models at

taken using extension tubes to

a surface at such close proximity.

rials and processes used in the

1:100/1:50; the human experience

a 40mm lens. The gauge at the

The resulting images reveal

through film photography; and the

bottom of the image shows 0.5mm

other-worldly landscapes of over-

surface through casts at 1:1.

increments. Using this scale, 1 pixel

looked detail, colours and textures

of information represents approxi-

that lay invisible to the passer-by.

Moving closer and closer in levels of attentiveness is key to

methodology, These

with

photographs

mately two micrometers.

were

Architectural surveys do not

construction of space.

Baker, C. (2019). “Alginate - Biodegradable?” Accu-cast. Available at: https:// accu-cast.us/blog/alginate-biodegradable/ U n d er pass i n g

81

(Top) Applying an adhesive contact microphone to the eastern interior wall of the underpass. (Bottom) DIY recording studio setup. Using an absorbent blanket enclosed around the microphone on three sides helps to minimise acoustic reflection and reverberation. Albeit a crude and low-tech interpretation of techniques employed in actual recording studios to isolate sound, it was incredibly effective.

ACO US T I C ME A SUR EMEN T A ND S IMUL AT I O N The acoustic presence of this space

well as video footage and piezo

environment,

to

I recorded the same tone sequence

was one of the parts of it that first

microphones.

understand how and why it induces

all the way along the space from

such poignant acoustic memories.

aperture to aperture.

to

allow

me

drew my interest, and so I consid-

I wanted to understand why

ered it imperative that I investigate

this space in particular felt so

its phenomena.

sonically oppressive, so I set about

within

a

sequence in a DIY recording studio

recording it in as many ways as I

Kalimba (or thumb piano), pictured

set up in my bedroom (pictured

had means.

above. I chose this instrument as

above)

to

it is easy to reproduce the same

sound with minimised reverbera-

recreate the underpass’ acoustic

tone with consistency every time.

tion and ambient sound.

I used a variety of recording methods and hardware, including binaural, and 82

shotgun

contact

condenser

microphones,

A C A D EM I C P O R T F O L I O

as

I

wanted

to

be

able

I recorded a tone sequence the

underpass

with

I then recorded the same tone

to

provide

a

reference

Spatio-acoustic Frequency Model . This model shows visually the sharp increase in low-to-mid-frequency dominance aurally perceived within the space.

I then compared the dry signal

mates, who were unable to differ-

This reveals to a large extent

(recorded in the DIY booth) with

entiate between the simulation and

why these spaces feel so oppres-

the wet one (on-site) using spec-

the recording.

sive. R. Murray Schafer regards the

tral analysis (shown above) within

I used the software to export a

human voice as the ideal module

Ableton, a music production soft-

peak-amplitude / frequency graph

for acoustic design (1994), and this

ware I use often in my musical

of the recording along the length

space (and I suspect many other

practise.

of the underpass at 800mm incre-

underpasses) is in direct acoustic

show

ments, which I then traced two

competition for that range.

frequency on the x-axis and volume

dimensionally and layered propor-

on the y-axis, forming a real-time

tionally

representation of the sound being

length. This allowed me to form the

played.

three dimensional spatio-acoustic

The

By

dynamic

adding

ambient

traffic

along

the

underpass’

model shown above.

and

This model is hugely useful in

applying digital filters and effects

interpreting the acoustic profile of

to the dry signal, I was able to

the space visually. The peak which

match the two signals’ spectra.

rises from each aperture towards

sounds

recorded

on

site,

an

the centre occurs between approx-

approximate match, I used my ears

imately 100-150Hz, the approx-

to fine-tune the simulation and

imate

tested it on some willing house

human voice.

Once Schafer, R. M. (1994) The Soundscape: Our Sonic Environment and the Tuning of the World . Rochester, VT: Destiny Books.

graphs

I

had

achieved

frequency

range

of

the

U n d er pass i n g

83

12

13

14

15

16

17

18

19

20

21

22

23

24

100

PRODUCED BY AN AUTODESK STUDENT VERSION

+6.195

PRODUCED BY AN AUTODESK STUDENT VERSION

A

PAVEMENT LEVEL (SOUTH)

B MP-A14-01

1211

C

D

MP-D16-01

146

MP-E18-02

146

E

MP-E22-01

MP-F22-01

610

5 195

5 106

5

195

G

369

195

5

106

3715

F

25

336

MP-E18-01

5

430 32

2258

495

32

5

1709

195

H

5

195

UP-H24-01

5

195

I

5

195

UP-I17-01

J

500

150

95 95 95 95 95 5 5 5 5 5

AC-J17-01

65

UNDERPASS LEVEL (SOUTH) 10

+2.567

103:1

688 30

12

13

14

15

16

17

18

19

20

21

22

23

24

SRUP-DR-00-01311 Section AA-1 Reference Section (originally drawn at 1:25). The reference sections act as a tool to identify the other survey elements and where they are located in space, as well as key dimensions and details.

SCALE IN MILLIMETRES

0

A C250 A D EM I500 C P O R T F O L I O1000

2500

PRODUCED BY AN AUTODESK STUDENT VERSION

84

MP -A14-01 PL A NT GR OWTH, S OUTH EXTER IOR WAL L

M P - D16- 01 KEY STO N E , S O UTH EXTE RI O R WA LL

M P - E 18- 01 EXTE RI O R- I N TE RI O R WA LL- SOFFIT JOIN, WE ST WAL L /SOFFIT

MP -E1 8 -02 WAL L-SOFFIT JOIN, COBWE B D E TAIL , E AST WAL L /SOFFIT

MP -E2 2 -01 SE R VICE COVE R , WE ST WAL L

MP -F 2 2 -01 INT E R IOR L IGHT FIT T ING , E AST WAL L /SOFFIT

PRODUCED BY AN AUTODESK STUDENT VERSION

12

13

14

15

16

17

18

19

20

21

22

23

24

100

PRODUCED BY AN AUTODESK STUDENT VERSION

PAVEMENT LEVEL (SOUTH)

B MP-A14-01

1211

C

D

MP-D16-01

146

MP-E18-02

146

E

MP-E22-01

MP-F22-01

195

5 106

5

195

G

369

5

610

195

5

106

3715

25

336

MP-E18-01

F

5

430 32

2258

H

495

32

UP -I 1 7-01 R ECONST ITUT E D CONCR E T E B R ICK, WE ST WAL L

5

1709

195

AC-J1 7-01 MA NHOL E COVER , GR OUND ADJACENT TO WEST WA LL

+6.195

PRODUCED BY AN AUTODESK STUDENT VERSION

A

5

195

UP-H24-01

5

195

I

5

195

UP-I17-01

J

500

150

95 95 95 95 95 5 5 5 5 5

AC-J17-01

65

UNDERPASS LEVEL (SOUTH) 10

+2.567

103:1

688 30

12

13

14

15

16

17

18

19

20

21

22

23

24

SCALE IN MILLIMETRES

S PAT IO -ACOUSTIC FR EQUEN CY PEAK G R ID L INES 15 - 25

0

250

500

1000

2500

SRUP -D R-00-01 31 1 1 :25 @A 2

SECTI ON A A - 1 R E FE R E NCE SECT ION

UP -H24-01 B LUE SPR AY PAINT ON WHIT E T IL E , WE ST WAL L

PRODUCED BY AN AUTODESK STUDENT VERSION

SRUP-DR-00-01401 Sectional Assembly 1, Ontology Report. The full assemblage of information is shown on a set of six sheets covering the length of the space, of which this is the first.

A S S EMB L AGE

Collaborative production of architectural, engineering and construction information - Code of practice. British Standards Institution.

BSi.

(2016).

The organisation and collation of

to its position set out by the grid

an appreciation of the connection

all of the data is equally as impor-

overlaid on the reference section,

between the scales of attentive-

tant as collecting it.

which is devised from the spacing

ness given to each constituent part

I devised a system based on

of acoustic measurements taken

of the survey.

the BS 1192 Naming Convention

to form the acoustic model. These

(explained in further detail in the

codes are mapped on to the section

next part of this document) (BSi,

accurately to their point of origin,

2016). Each drawing, photograph

to enable the viewer to easily

and cast is given a code relating

locate points of interest, and thus U n d er pass i n g

85

GC1.1 GC1.2 GC1.3

GC5.1 GC9.1 GC5.2 GC9.2 GC5.3 GC9.3

GC2.1 GC6.1 GC10.1 GC2.2 GC6.2 GC10.2 GC2.3 GC6.3 GC10.3 GC3.1 GC7.1 GC11.1 GC3.2 GC7.2 GC11.2 GC3.3 GC7.3 GC11.3 GC4.1 GC8.1 GC4.2 GC8.2 GC4.3 GC8.3

A rchitectural P ractice

S TA G E S I X , S E M E S T E R T W O

ORGANIZATION + MANAGEMENT:

RESOURCE MANAGEMENT:

SERVICE DIAGRAM (FUTURE):

• Fo c u s s e t o n p r o f i t a b l e wo r k , w i t h t h e o p t i o n t o rotate core architects to community jobs when necessary or when r e s o u r c e s a r e av a i l a b l e .

COMMUNITY WORK

Community Capacity Building

ty

Local Growth a n d D e ve l o p m e n t Re s e a r c h

• A l l s t a f f a t t e n d ke y d e s i g n meetings for both branches o f wo r k

NBR HUB

neighbour hub

community architecture practice

P a i d Wo r k

Client Growth

C C o o p e r a t i ve Construction

NBR HUB

neighbour hub

community architecture practice

Diagram: Author

Community Engagement Wo r k s h o p s

Design Id e n t i t y Growth

Design

Na t i o n a l l y Re c o g n i s e d Design

• After 5 years of practicing, the community side of the practice will become less reliant on the Ouseburn Trust.

W h i l e s t i l l c o l l a b o r a t i n g w i t h t h e m , o u r o w n e x p e r i e n c e a n d d e ve l o p m e n t w i l l m e a n we w i l l b e m o r e c a p a b l e o f m a n a g i n g t h e p r o j e c t s o u r s e l ve s • P r i v a t e wo r k w i l l d i ve r s i f y a s w e g r o w i n s i z e a n d r e p u t a t i o n o u t s i d e o f t h e r e g i o n

NBR HUB

neighbour hub

community architecture practice

Diagram: Author

MARKET RESEARCH:

COMPANY OVERVIEW:

DEMOGRAPHIC: Fig 1

Re l a t i o n s

a c ti c e Pr

• Community Outreach M a n a g e r m ay a l s o f i n d t i m e to contribute to primary wo r k p r o j e c t s .

Local Clientele

Local Business

Strateg y

muni om

PRIMARY WORK

OUR SERVICES:

THE HUB:

Fig 3

Fig 2

Fig 4

NBR HUB

NBR HUB

community architecture practice

community architecture practice

neighbour hub

neighbour hub

F i g s . 1- 4 : T h e A u d i e n c e A g e n c y R e p o r t

FUNDING:

FUNDING:

LOAN REPAYMENT:

WORKING CAPITAL :

NBR HUB

NBR HUB

neighbour hub

neighbour hub

community architecture practice

Diagram: Author

community architecture practice

Diagram: Author

Screenshots from NBR HUB Business Plan Presentation.

B US INE S S PL A N PR E S EN TAT I O N The business plan presentation for

allowed us to engage with a part

our theoretical architecture prac-

of the profession we had not yet

tice, NeighbourHub (NBR HUB),

encountered.

was a sharp learning curve for a

Our community-based prac-

group of students who had little

tice was sited in the Ouseburn. The

business experience.

practice offered its community

It highlighted the real-world

service in part as a marketing tool,

challenges involved in starting a

to embed within the community

practice from the ground up, and

and help secure future work.

88

A C A D EM I C P O R T F O L I O

GR O UP CR ED I T S Nick Honey Mark Laverty Alec McCulloch Rob Thackeray Ben Taylor Dan Hill

Visualisation showing the north-west elevation of the proposal, associated public realm and landscaping.

PR O JEC T R EP O R T - N S OW I selected to address my fifth

recommending the public client

year, semester two project, and

down a route which prioritised

went into detail surrounding the

quality and value over construc-

procurement

tion speed.

strategy

for

the

project.

As a civic building, governments ment

often

offer

guidance.

The

procurereport

critiqued some of this guidance, A rc h i t ec t u ral Prac t i c e

89

C ritical R eflection

CR I T I C A L R EFL EC T I O N I returned to study at Newcastle after completing the BA and working in Manchester for two years, and have continued working remotely during some of my time studying. I came to understand that my experience of working in practice was relatively well-rounded in comparison to some of my peers, with many gaining most of their experience in one particular part of their practice’s architectural process: planning applications; technical design; rendering; competition work; and so on. As I grew into my role, I became entrusted with more self-sufficiency, at first completing quick tasks and drawings for senior colleagues, and eventually progressing to inherit most of the design responsibility over several small projects. The learning curve was initially steep and challenging, but in fulfilling those responsibilities was also incredibly rewarding.

Around the time I began applying for a place on the MArch course, a senior architect at the practice referred to my friend and colleague as ‘ just a technologist’. Though it was said in passing and with little direct thought, the comment offended me; firstly because the colleague in reference was an incredibly valuable and talented member of architectural staff, and secondly because it served as a reminder of the bigotry that too often arises from the assumed superiority of ‘The Architect’. If I were to return to complete my education, would I too become associated with this supposed elite? This was not a club to which I wanted to belong, but would I even have a choice? The event raised the question of the purpose of returning at all; I was already fulfilling roles usually beyond that of a Part One and I seemed to be progressing at a much faster rate than I had felt before. I decided to have a conversation with one of the directors of the practice, where he told me that although a career without a Part Two qualification could be fruitful, it could also become a psychological ceiling, if not a professional and financial one. In the end, the decision to return was made for me by a completely unrelated change in my personal life, and as such I thought it best to get away and start afresh.

On returning to university, it quickly became evident during the Semester One Design Project in the Cultural Assemblages Studio that I was no longer up to pace with academic architectural study. My professional instincts took hold, persistently deflecting me towards producing and designing over reading and researching as if there were a time-constrained client hovering behind my shoulder. Everything was a rush because I alone had made it so. I had also never worked, either at university or in practice, on a project at an urban scale. It felt uncomfortable to be pushed so far outside of what I had so far learned of the responsibilities of the architect.

As a result, I rejected the process entirely and focussed on designing manageable pavilions instead of the citywide intervention. It was not until participating in the study trip to Vienna that I felt things begin to fall in to place, by which time there were only three or four weeks remaining of the project. My presentation in the final review was undeniably disastrous, which I attribute to a combination of the knock in academic confidence from returning to study and being well out of practice of the review-style presentation method for over two years.

At this point, the return to study certainly felt like a poor decision.

The Tools for Thinking Essay was for me, the turning of the tide for my work in Stage Five. The freedom to select a topic and allow myself to become passionate about it was exactly what I required in order to fully engage with the course on the whole. I wrote about ocularcentrism and the neglect of polysensory stimulation within architecture, a topic which has served as a springboard for virtually all of my subsequent work.

In particular, my engagement with environmental sound and ecological listening during the Dissertation and Stage Six Thesis Project was initiated in this essay, which I am hugely grateful for. Though the essay’s impact on the overall result I will eventually achieve is quite small, its importance in helping define my architectural interests and specialisms has been invaluable.

92

A C A D EM I C P O R T F O L I O

Semester Two brought about a new design project centred around a more technical, building-focussed brief, something I was altogether far more comfortable confronting. The project encouraged the critical analysis of a precedent – the ICA, Boston in my case – and exploring its links between programme, structure and detail. Working in this way was new but greatly beneficial in gaining an understanding of a detail-focussed architectural process. It supported me in synthesising issues of structure and detail from an early point in my own design, which I think was poignant in the resulting images of the project. In many ways, the project’s brief was very prescriptive compared with those of other studios, specifying particular drawing and model types and scales, and particular areas of design importance. It has only been very recently, in completing the tabular criteria mapping (attached to this report as an appendix) that I have been made aware of the value of these directives. Without them, I surely would have had to divert my Thesis Project’s direction in order to ensure that I met all of the necessary ARB Part Two Criteria by the end of my time in education. Semester Two also spelled the beginning of the Covid-19 pandemic, which it goes without saying had an enormous impact on studying architecture. In light of the considerable changes to learning and teaching online during this time, I am definitely pleased with the work I was able to produce.

I selected the Dissertation module over Linked Research or Urban Planning for several reasons. The first was that I felt the undergraduate Dissertation was one of the weaker pieces of work I had completed during my study at Newcastle, and I wished to prove to myself I was capable of better. The second was that the Dissertation encouraged a depth of research I would be unlikely to undertake otherwise in my future career, whereas Linked Research seemed more focussed on learning through practice, something I believe I already have a good understanding of and will be required to continue improving throughout my career regardless. As mentioned earlier, the Tools for Thinking essay had a great influence on my topic of focus for the Dissertation.

I hesitated at first to pin down exactly what I wanted to study but knew I wanted to engage with some primary research methodologies. Once I had located the foci of the research, once again I found myself becoming incredibly invested on both an academic and personal level. From here I began to appreciate academic writing in a completely new light; driven by oneself rather than the requirements of the marker. My original supervisor fell absent during the first semester of Stage Six, and so my deadline was extended to allow me time to find a replacement. This subsequently caused the submission to collide with several others, which was far from ideal but for the most part I felt really proud of the written work I produced.

Though short in duration and relatively small in mark weighting compared with other modules, the Architectural Practice assessments at times have been disproportionately useful. The process of devising a theoretical business plan gave an incredible insight into how an architectural practice might operate from its very conception. It offered a real appreciation for how many difficulties a fledgling practice would have to overcome to be able to remain successful. Moreover, it presented ideas of the kind of architectural practice I might want to be a part of, and where I might see myself operating within the profession.

The ongoing Stage Six Thesis Project is perhaps unsurprisingly the deepest dive of my education into research, methodology and design practice so far. The open brief has been hugely accommodating in permitting my musical practice to become essential as a design tool, something I thought would always remain separate. The combination of one of my favourite pastimes into a design project has been rewarding in that it has allowed me to see the thesis as a project I both enjoy and am challenged by. I have also built upon my photographic skills, working more with black and white film than I have before, including developing my own film.

This has opened doors for me outside of architecture, with some interest online for my standalone photographic work, a completely unexpected by-product of the thesis. The project has encouraged me to use near enough every skill I am equipped with, as well as some that were totally new, such as filmmaking. In its purest essence, the thesis has served as a celebration of my entire education, which I see as being far more important in relation to the rest of my future architectural career than whatever mark I achieve for its submission.

The purpose of the Part Two assessment in my view is not about proving one’s intellectuality, overcoming ‘ceilings’ or ensuring future financial stability, and it certainly does not grant one authority to debase others within the profession. I have come to learn that the last two years of study have been less about progression in a linear fashion as I once viewed it, but rather deepening and widening an understanding of my own methods and practices, as well as the profession as a whole. For this, I am thankful for my decision to return, for I feel I have developed beyond that which I could have achieved within practice alone.

C r i t i cal R efl ec t i o n

93

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Dickerman, L. and Doherty, B. (2005). Dada. Washington: National Gallery of Art. Diller Scofidio + Renfro (N.D.) Institute of Contemporary Art. Accessed 02.02.2020. Available at: https://dsrny.com/project/institute-of-contemporary-art Eckermann, J. P. (1839) “Conversations with Goethe In the Last Years of his Life.” Specimens of Foreign Standard Literature. Vol. IV. Translated by S. M. Fuller. Boston, MA: Hilliard, Gray, and Company.

Fenwick, P. (2012). The Newcastle Central Motorway East and Other Plans. The Chartered Institution of Highways and Transportation.

Extrium (2019a) England Noise and Air Quality Viewer. Available at: http://www.extrium.co.uk/noiseviewer.html [Accessed: 2 November 2020].

Extrium (2019b) England Noise and Air Quality Viewer - FAQs . Available at: http://www.extrium.co.uk/noiseviewer/FAQs.pdf [Accessed: 2 November 2020].

Fox, M. and Kemp, M. (2009). Interactive architecture. New York, NY: Princeton Architectural Press, p.153.

Fowler, M. D. (2013) ‘Soundscape as a design strategy for landscape architectural praxis’, Design Studies , Volume 34 (Issue 1, January), 111-128.

Fuller, R. B. (1966) “The Music of the New Life.” Music Educators Journal . 52(6), pp. 52-68.

Gaver. W. (1993) “How Do We Hear in the World? Explorations in Ecological Acoustics”. Ecological Psychology. 5(4), pp. 285–313.

Gibson, J. J. (1950) The Perception of the Visual World . Boston: Houghton Mifflin.

Gibson, J. J. (1983) The Senses Considered as Perceptual Systems . Second Edition. Westport: Greenwood.

Hagood. M. (2011) “Comfort: Noise, Otherness, and the Mobile Production of Personal Space”. American Quarterly. 63(3), pp. 573–589.

Hall, E. T. (1969) The Hidden Dimension. Second Edition. New York: Doubleday.

Holl, S. Pallasmaa, J. Perez-Gomez, A. (2006) Questions of Perception: Phenomenology of Architecture . Tokyo: Noboyuki Yoshida.

Hull, A. (1972). “All Fall Down.” Dingly Dell. UK: Charisma Records.

Jay, M. (1994) Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought . Berkeley, California: University of California Press.

Jones, S. J. (2019) “If electric cars are the answer, what was the question?” British Medical Bulletin . 129: pp. 13-23 94

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Jütte, R. (2005). A History of the Senses. Cambridge: Polity.

Lefebvre, H. (2004) Rhythmanalysis: Space, Time and Everyday Life . Translated by S. Elden and G. Moore. London: Continuum.

Lucier, A. (1969). I am sitting in a room. MA: Brandeis University.

Mattern, S. (2020) “Urban Auscultation; or, Perceiving the Action of the Heart.” Places Journal, April 2020. Available at: https://placesjournal.org/ article/urban-auscultation-or-perceiving-the-action-of-the-heart/?cn-reloaded=1#0 [Accessed: 5 February 2021].

Merleau-Ponty, M. (1962) Phenomenology of Perception. London: Routledge and Kegan Paul.

Newcastle University (2021) “Facilities.” Culture Lab. Available at: https://www.ncl.ac.uk/culturelab/facilities/#theballroom [Accessed: 2 February 2021].

Oliveros, P. (2015) “The difference between hearing and listening.” TEDxIndianapolis . Available at: https://www.youtube.com/watch?v=_QHfOuRrJB8&ab_channel=TEDxTalks [Accessed: 2 March 2021].

Ong, W. J. (1982) Orality and Literacy: The Technologizing of the World . New York: Methuen.

Orr, C. (2008). “A history of Lindisfarne - pt IV: what happened next?” Lindisfarne. https://lindisfarne.co.uk/a-history-of-lindisfarne-part-iv-whathappened-next Pallasmaa, J. Holl, S. (2012) The Eyes of the Skin. Third Edition. Chichester: Wiley.

Peacock, L. (2016). “Eight images of Newcastle as seen from the air between 1947 and 1991”. The Chronicle . 7 May. Pirate Studios (N.D.) Pirate Studios Homepage. Accessed 13.05.2020. Available at: https://pirate.com/en/ Ripley, C. (2007) In the Place of Sound: Architecture|Music|Acoustics . Newcastle: Cambridge Scholars Publishing.

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Architectural Design ARC8060

Academic Year 2020-21

Student Contract Form

STUDENT NAME Daniel Hill

STAFF EVALUATORS Prue Chiles, Claire Harper, Jack Mutton

The Student Contract Form is designed to be read alongside your Academic Portfolio, a key component of ARC8060 Architectural Design. The Academic Portfolio is worth 10% of your overall ARC8060 Architectural Design mark, and this mark will partly be based on the clarity and completeness of this document.

You are required to develop the form over the course of the academic year in tandem with your Academic Portfolio. The form will act as a key for assessors to understand where in your work you have addressed the ARB/RIBA General Criteria for Part 2, as mapped by our own nine criteria: Thesis, Design Development, Context, Criticality, Representation, Technological Strategies, Climate and Environment, Non-design Thinking and Personal Practice. The first five of these criteria are used in the assessment of your design work in reviews, and should be familiar from Stage 5. The final four extend and clarify criteria you are engaged with in your broader M.Arch education.

The form asks you to indicate where in your Academic Portfolio you have addressed these criteria, with space to demonstrate this with evidence from your portfolios. There is also space against each criteria to include a brief written commentary allowing you to indicate how you believe the evidence cited addresses the specific attributes and criteria in question. You are able to update this commentary as the year progresses, along with the other fields. There is also space for evaluators to do the same.

You are required to meet (remotely) with your tutors and a central group of evaluators three times over the course of the academic year - in October 2020, January 2021, and April 2021. Before these meetings, you will need to carefully go through your developing Academic Portfolio in order to complete the following form. You should indicate areas where you think you have covered the criteria, and areas where you haven’t. The evaluators will then talk you through their impressions of what you have covered and indicate criteria that you should focus on in Stage 6.

For Meeting 1, you should evaluate the criteria based on your Stage 5 portfolio (including all non-design elements such as Tools for Thinking or other modules). For Meeting 2, you should have a draft Academic Portfolio that incorporates Stage 5 work alongside developing Stage 6 design work and completed modules (Dissertation, Linked Research, Thesis Outline, etc.). For Meeting 3 you should have a full draft Academic Portfolio summarising your MArch work. Further guidance will be given on the completion and formatting of your Academic Portfolios over the course of the year.

It is intended that although fulfilling a crucial administrative role, these forms can also be enlightening for your own sense of personal development and a helpful indicator of where to concentrate your efforts in Stage 6.

On the penultimate page is a Criteria Map for easy reference throughout the academic year. The final page lists the ARB/RIBA Criteria for Part 2.

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A C A D EM I C P O R T F O L I O

1. THESIS How logically do project briefs follow on from research and studio briefs? How coherent are responses to this, from analysis to intervention, from urban strategy to programme and from site to building and detail?

THESIS covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 2.1, 2.2, 2.3, 3.1, 3.2, 3.3, 4.1, 4.2, 4.3, 6.3, 7.1, 7.2, 7.3] Key work that addresses criteria:

Semester 1 Portfolio; Semester 2 Portfolio

See Academic Portfolio pages:

S1: p4-44; S2: p1-14

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Fair

Staff Assessment Fair/Strong

January

Fair/Strong

April

Fair/Strong

Fair/Strong

Student Commentary: More in-depth reading could be done during research. Brief established from research is stronger. Urban strategy could use more understanding and research. Good research response to studio brief.

Starting point is strong for this project with the underpass as protagonist. Continue this throughout and make sure not to lose sight of the original thesis drivers.

Thesis is strong with bolstering from readings - these could be deeper - need to make clear in presentation and portfolio what the purpose and aims of the project are,

Staff Commentary: Good analysis above, very aware of finding appropriate starting point and research to develop an attitude to the whole project that will drive it.

Second review: Yes, Dan has developed a strong thesis from interests close to his heart and from the studio agendas. He needs to think carefully how to bring the thesis together with a broader contextual understanding of the underpasses as well as his own interpretations

Prioritise developing this in Stage 6:

Yes

C r i t er i a M a p p i n g F orm

97

2. DESIGN DEVELOPMENT How rigorously have urban strategies and building designs been tested, analysed, and refined? How resolved is the design across all scales, and in terms of technological strategies?

DESIGN DEVELOPMENT covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 2.3, 3.3, 5.1, 5.2, 5.3, 7.1, 7.2, 7.3] Key work that addresses criteria:

Semester 1 Portfolio; Semester 2 Portfolio; Technology report

See Academic Portfolio pages:

S1: p28-62; S2: p18-70 Meeting

Evaluation (label as Strong/Fair/Weak):

Student Self-Assessment

October

Fair/Strong

January

Fair/Strong

April

Fair/Strong

Staff Assessment Fair Fair/Strong

Student Commentary: Design development flows naturally without need for post-rationalization. Design resolve in S2 far stronger than S1 - urban scale more challenging. Technological strategies strong and sensible, perhaps not innovative/ambitious enough?

Not much design development shown so far, although use of film and music has proven fruitful as a means of deepening thesis?

Design development is more about the redesigning of the survey process - a more considered approach taking into account social, political and environmental aspects of the survey as well as the physical condition. Far deeper than a tick box exercise.

Staff Commentary: A stronger set of issues driving the project at a large scale can provide a good starting point for this year and developing strategies or tactics at a larger scale. this could be a key part of your thesis this year.

Second review: yes the schedule of condition and surveys are a rich and thoughtful way of developing relevant and future skills of the architect in the world today.

Prioritise developing this in Stage 6:

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A C A D EM I C P O R T F O L I O

Yes

3. CONTEXT How thoroughly are various contexts (e.g. material, historical, cultural, social, political, environmental, professional, technological, etc.) investigated? How critically and creatively have design approaches responded to these contexts?

CONTEXT covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 2.1, 2.2, 2.3, 3.1, 3.2, 4.1, 4.2, 4.3, 5.1, 5.2, 5.3, 6.3, 7.1, 7.2, 7.3] Key work that addresses criteria:

Semester 1 Portfolio; Semester 2 Portfolio

See Academic Portfolio pages:

S1: p4-47; S2: p1-41

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Fair/Strong

January

Strong

April

Strong

Staff Assessment Strong Strong

Student Commentary: A good variety of contexts analyzed, particularly in S2, would benefit from more in-depth research, statistics, numerical data?

Strong response to civic context of Vienna, project well-suited to context.

In-depth first hand research and documentation of underpasses shows good appreciation of context, physical, political and material. This project doesn't yet have a specific site.

The project does now have a site, research is detailed and grounded in first hand methods. Some more historical and social context could be useful in deepening understanding.

Staff Commentary: A good approach and development of context is good.

Second review: Dan's work is very contextual, but he could broaden the context further to really push the big agendas of today and political social and cultural.

Prioritise developing this in Stage 6:

C r i t er i a M a p p i n g F orm

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4. CRITICALITY How thorough is the research, and precedent analysis? How successfully and originally has this been responded to and embodied in architectural forms, in order to question existing conditions and propose alternatives? How reflective is the work?

CRITICALITY covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 5.1, 5.2, 5.3, 6.3, 7.1, 7.2, 7.3] Key work that addresses criteria:

Semester 1 Portfolio; Semester 2 Portfolio

See Academic Portfolio pages:

S1: p4-45; S2: p1-17

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Fair

January

Fair

April

Staff Assessment Fair

Fair/Strong

Fair/Strong

Student Commentary: Research in build-up to generating a thesis could be stronger in both projects. Precedent analysis in S2 strong. Implementation of learned technologies and methods also strong in S2.

Still need more reading - perhaps dissertation research methodologies could prove a useful source of information for design too?

Reading is progressing although more specific references would prove beneficial. Using methodologies from dissertation and external musical practice are contributing.

Staff Commentary: Again this is a good reflection. Continuing a political interest and looking for a set of key drivers critically and intellectually that feed the project is key this year.

Second review: Dan's thesis is developing well critically but as above some further connection to the big issues of the day are still developing.

Prioritise developing this in Stage 6:

100

A C A D EM I C P O R T F O L I O

Yes

5. REPRESENTATION How clearly and appropriately is the range of exploratory drawing/modelling techniques used to investigate and communicate the driving ideas and design proposals across scales?

REPRESENTATION covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 1.1, 3.3] Key work that addresses criteria:

Semester 1 Portfolio; Semester 2 Portfolio

See Academic Portfolio pages:

S1: p48-62; S2: p32-70 Meeting

Evaluation (label as Strong/Fair/Weak):

Student Self-Assessment

October

Fair/Strong

January

Fair/Strong

April

Strong

Staff Assessment Fair/Strong Strong

Student Commentary: Representation in both projects fairly strong, stronger in S2 as the increased level of detail in design helped to make convincing imagery. Line drawing and more experimental drawing methods could could improved.

Use of photography is strong, although flies below the radar. Film has proven more engaging, continue this. More experimental methods still sought - alginate castings?

As above, there is now a greater diversity of representational methods used, photography, film, film photography, casting, hand drawing, computer drawing, physical modelling, and of particular interest - acoustic modelling/simulation.

Staff Commentary: An interesting and well developed portfolio.

Second review: some great new drawings and the instagram pages - showing an engagement with the city aswell as the project

Prioritise developing this in Stage 6:

C r i t er i a M a p p i n g F orm

101

6. TECHNOLOGICAL STRATEGIES How thoroughly are technological stratagies implemented and considered in design processes? How clearly have technical specialisms informed design moves?

TECHNOLOGICAL STRATEGIES covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 1.2, 8.1, 8.2, 8.3, 9.1, 9.2, 9.3, 10.3] Key work that addresses criteria:

Semester 2 Portfolio; Technology Report

See Academic Portfolio pages:

S2: p1-17; TR: all

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Fair/Strong

January

Fair/Strong

April

Fair/Strong

Staff Assessment Fair/Strong Fair/Strong

Student Commentary: Strong references to existing technologies found in precedent study. Made use of 'add-on' technologies - these could be incorporated more architecturally. Convincing and buildable design - perhaps too buildable and not exciting enough?

Technological strategies not yet addressed in this project, perhaps as the brief develops these will become clearer?

The acoustic considerations of the project could prove fruitful as a source of technological exploration - I have created an active simulation of the acoustic environment in the underpass.

Staff Commentary: good reflection, exciting not always the best option! subtlety might be a way forward to create something nuanced and appropriate.

Second review: the acoustic study as an in-depth study is a good compliment to the 5th year portfolio.

Prioritise developing this in Stage 6:

102

A C A D EM I C P O R T F O L I O

Yes

7. CLIMATE AND ENVIRONMENT How has the ongoing climate crisis been addressed in the work? How have sustainable strategies been considered and implemented critically and materially?

ENVIRONMENT covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 1.2, 4.3, 5.2, 8.3, 9.1, 9.2] Key work that addresses criteria:

Technology Report

See Academic Portfolio pages:

TR: p6-13

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Fair

January

Fair/Strong

April

Fair/Strong

Staff Assessment Weak/Fair Fair /Strong

Student Commentary: Although constantly a recurring thought in the back of the head, climate and environmental challenges were considered less than some other foci of the project. Some measures were put in place through design and others by byproduct of something else.

Focus on carbon irresponsibility shows strong concern for the environment and climate. Processes of slowing down and 'tending-to' also show this. Make more relevant as thesis progresses.

Again, as above, the considered approach speaks more to the idea of preservation or modification than smash and rebuild - this will need to be focused more clearly for the submission.

Staff Commentary: Again good reflection and something to take seriously as a central part of the thesis this year.

Second review: yes as described above Dan need to show how he is thinking deeply about this - which he is demonstrating verbally but still to be codified within the drawings and other output for the project. The re-use and

Prioritise developing this in Stage 6:

Yes

C r i t er i a M a p p i n g F orm

103

8. NON-DESIGN THINKING How has knowledge about the histories and theories of, or relevant to, architecture been demonstrated? In what ways has an understanding of cultural, social, political, intellectual, and theoretical elements been demonstrated in non-design modules, or else around design work?

NON-DESIGN THINKING covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 2.1, 2.2, 3.1, 3.2, 4.1, 4.2, 4.3, 5.1, 5.2, 5.3, 6.1, 6.2, 6.3] Key work that addresses criteria:

Tools for Thinking; Dissertation

See Academic Portfolio pages:

TFT: all

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Fair/Strong

January

Strong

April

Strong

Staff Assessment Fair/Strong Strong

Student Commentary: My writing ability is fairly strong, hence opting for the dissertation module. My ability to research is good, however in the context of a design project I have a tendency to jump ahead too quickly to development.

Dissertation is now complete, I would like to present my findings to the group if possible. The sources and methodologies used could prove useful to myself and others in the studio.

Completed and presented dissertation to the studio group, this helped me to concise some of the wider themes of a long piece of work into a short, 10 min delivery, which will be a helpful process when approaching the end of year interviews. There has also since been some crossover in methodology and process.

Staff Commentary: Again something to work on this year where perhaps more time to extend and develop the critical thinking and themes this year. second review: Yes, a good continuation of the dissertation by disseminating to the studio .

Prioritise developing this in Stage 6:

104

A C A D EM I C P O R T F O L I O

9. PERSONAL PRACTICE In what ways has a personal architectural practice been demonstrated, integrating knowledge of the profession with a reflective understanding of the architect’s role in society?

PERSONAL PRACTICE covers the following ARB/RIBA General Criteria for Part 2 (see index): [GC 6.1, 6.2, 10.1, 10.2, 11.1, 11.2, 11.3] Key work that addresses criteria:

Semester 1 Portfolio; Semester 2 Portfolio

See Academic Portfolio pages:

S1: p17-23, p46-47; S2: p6-7, p14-17

Evaluation (label as Strong/Fair/Weak):

Meeting

Student Self-Assessment

October

Fair/Strong

January

Strong

April

Strong

Staff Assessment Fair/Strong Strong

Student Commentary: I attempt to incorporate other skills such as music making in to my design process which can produce some critical work. I would like to develop this further and make it more prominent if possible. I also work privately for friends keeping a toe in practice from time to time which helps me relate my academic work to professional practice.

I have actively made use of music in my thesis, which I am pleased with and believe has shown interesting new methodologies for design development. I would like to continue this alongside the film-making.

Though I have paused working in practice for the moment as I finish my studies, I have incorporated music methods in my design and am continuing to use film as a means of presenting ideas.

Staff Commentary: Good. Thinking at a broader scale of the role of the architect in socirty and where Dan wants to place himself within this would be great.

Second review: Dan's project thinks at a detailed level about the role of the architect, just make sure this is presented as part of the project.

Prioritise developing this in Stage 6:

Yes

C r i t er i a M a p p i n g F orm

105

CRITERIA MAP

Criteria 1. Thesis

2. Design Dev. 3. Context

4. Criticality

5. Repres.

6. Tech.

Strategies 7. Climate and Environ.

8. Nondesign Thinking 9. Personal Practice

Meeting 1 October 2020 Student Staff

Meeting 2 January 2021 Student Staff

Meeting 3 April 2021 Student Staff

Fair

Fair/Stng

Fair/ Strong

Fair/Stng

Fair/Stng

Fair/Stng

Fair

Fair/ Strong

Fair/Stng

Fair/Stng

Fair/Stng

Strong

Strong

Strong

Fair

Fair

Fair/Stng

Fair/Stng

Fair/Stng

Fair/Stng

Fair/ Strong

Strong

Strong

Fair/Stng

Fair/Stng

Fair/ Strong

Fair/Stng

Fair/Stng

Fair

Weak/Fai Strong

Fair/Stng

Fair/Stng

Fair/Stng

Fair/Stng

Strong

Strong

Fair/Stng

Fair /Stro

Strong

Strong

Strong Fair

Fair/

Strong

Strong

Prioritise in Stage 6? yes

yes

yes

yes

I believe my thesis has progressed naturally and consistently throughout the year. My biggest concern at present is that the current trajectory of the work is headed towards a non-propositional 'end-point'. The thesis aims to unlearn the process of condition surveying as a tickbox exercise to justify architectural modification. In doing so, I am designing a new, more in-depth approach to address existing structures, which I hope in its completion will be enough to comprise a thesis project. Wider still, the thesis is questioning the role of the architect in demolishing/modifying structures at all, in light of themes surrounding embodied carbon and extractivist cultures, and so proposing an architectural design may undermine this to some extent.

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A C A D EM I C P O R T F O L I O

ARB/RIBA CRITERIA GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. The graduate will have the ability to:

GC7 Understanding of the methods of investigation and preparation of the brief for a design project. The graduate will have an understanding of:

.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 regulatory requirements 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.

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

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. 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. 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.

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

GC8 Understanding of the structural design, constructional and engineering problems associated with building design. 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 environmental impact of specification choices.

GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. The graduate will have knowledge of: .1 principles associated with designing optimum visual, thermal and acoustic environments; .2 systems for environmental comfort realised within relevant precepts of sustainable design; .3 strategies for building services, and ability to integrate these in a design project.

GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. The graduate will have the skills to:

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. The graduate will have an understanding of:

.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.

.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.

GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. The graduate will have knowledge of:

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. The graduate will have an understanding of:

.1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; .2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; .3 the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

.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.

C r i t er i a M a p p i n g F orm

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