Juan Lopez Portfolio

HIGH FRIARS ARCADE An Arts & Cultre Centre @ Newcastle Forum

Juan Lopez (B4016558) Material Change / 2020-2021 / Semester 2 Portfolio

CONTENTS

REVISED WORK Amended Piece

HIGH FRIARS ARCADE

New Piece

7.

8.

1.

2.

3.

ARB GENERAL CRITERIA SEMESTER 1 OVERVIEW CRITICAL INTRODUCTION

4 6 8 9.

PART 1 / DESIGN 4.

5.

6.

14

ESTABLISHING THE BUILDING PARAMETERS

18

4.1 / Building Thesis and Manifesto Overview

18

4.2 / Building Manifesto

20

INITIAL CONSIDERATIONS

28

5.1 / Site Location & Analysis

28

5.2 / Refining the Building Footprint

30

5.3 / Revised Building Footprint

38

INITIAL DESIGN DEVELOPMENT

40

6.1 / Arcade Typology

40

6.2 / Aesthetic Counterparts

42

6.3 / Volumetric Development

44

10.

11.

12.

DESIGN CONCEPT & BUILDING PROGRAMME

48

7.1 / The Creative Process

48

7.2 / Building Programme

52

7.3 / Architectural Relics

54

HIGH FRIARS ARCADE

62

8.1 / Journey Through the Building & Key Spaces

62

8.2 / VR Theatre

88

8.3 / Elevations

94

PART 2 / TECHNOLOGY

106

TECHNICAL STRATEGIES

108

9.1 / Overview

108

9.2 / Working with Existing Structure

110

9.3 / Materiality

114

ENVIRONMENT & SUSTAINABILITY

116

10.1 / Overview

116

10.2 / Renewable Energy & Lighting

118

10.3 / Natural Ventilation

120

10.4 / Rainwater Harvesting

122

INTEGRATION WITH DESIGN

124

11.1 / Key Space Detail Section

124

11.2 / Key Space Internal Views

126

11.3 / Technical Details

128

REFLECTIVE CONCLUSION

130

1.0 / ARB GENERAL CRITERIA

Overview Each chapter within this portfolio has been referenced the relevant ARB criteria along the base of the page. This has allowed me to gain an understanding of the knowledge and skills expected from the ARB allowed me to track which criteria I have met, and those which I need to focus upon next semester.

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

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.

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

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.

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, in terms of their conceptualisation and representation.

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GC4 / Adequate knowledge of urban design, planning and the skills involved in the planning process.

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.

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.

1. The needs and aspirations of building users; 2. The impact of buildings on the environment, and the precepts of sustainable design; 3. The way in which buildings fit in to their local context.

GC6 / Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

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.

GC7 / Understanding of the methods of investigation and preparation of the brief for a design project.

1. The need to critically review precedents relevant to the function, organisation and technological strategy of design proposals;

Example - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

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.

GC8 / Understanding of the structural design, constructional and engineering problems associated with building design.

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.

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.

3. Prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

GC11 / Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

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.

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

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;

Example - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

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2.0 / SEMESTER 1 OVERVIEW

LIST OF LOCATIONS 1 / Forum Amphitheatre 2 / Blackett Pedestrian Boulevard

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3 / Improved and Added Green-Space 4 / Information Hub 5 / Docking Station and Performance Pavilions 6 / Arts & Creative Sector Performance and Studio Space

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7 / Relocated War Memorial

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Urban Block

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ELEMENTS CARRIED FORWARD INTO SEMESTER 2 The success of the masterplan vision of the first semester highlighted two key aspects that I chose to firmly incorporate into my design for High Friars Arcade during the second semester: 1. Theme / Client - Arts & Culture Sector 2. Core Use - Performance Centric

Scale 1:1000 Masterplan Demise /

Including Next Page - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

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BLACKETT BOULEVARD Selectively transforming segments of the street to full pedestrian only realms, it enhances the quality of life on the street and the city. It does so by providing a safer environment for people be removing the possibility for pedestriantraffic collisions; a known issue along Blackett Street. An improved connection to existing pedestrianised routes would strengthen and encourage West-East movement in order to improve the pedestrian experience through Newcastle’s city centre. The creation of a large public realm presents the opportunity to implement sustainable credentials through integrated design. The key aim is to adopt a rain water harvesting system to benefit from the heavy rainfall experienced by Newcastle at points in the year. Adding planted pockets, it will help to improve the air quality of the local area through CO2 sequestration as well as lifting the journey through the city.

PERFORMANCE PAVILIONS (& URBAN FESTIVAL OF PERFORMANCE) The urban intervention will comprise of two aspects. The first being dual aspect Arts & Creative sector training and performance pods. Depending on their configuration they will either work to engage the community; or activating the site. The 5 movable modules can either work independently of each other at various locations throughout the larger site or they can be arranged to work as a larger unit for a larger public performance of up to six parts. The aim behind these is to take inspiration from urban pavilions that foster human interaction and marry it with the ingenuity of small performance spaces that bring unique moments of experience and escapism into the city centre. Internally they will have space for one ‘key-creative’ and a household bubble of up to 6 people in accordance to the COVID-19 regulations of ‘the rule of six’.

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FORUM GATEWAYS Placed at the Western and Eastern entrances, representing the run of Blackett Boulevard, bookend this newly created pedestrian thoroughfare through the city centre thereby encouraging a stronger engagement with the Western part of town. The form of an arch has been long used as a way to create a destination drawing people to a site. The proposed gateway will seek to engage with locals to give them an interactive platform to share their opinions, ongoing events and experiences in relation to the Arts and Performance culture in Newcastle.

INFORMATION HUB (& DOCKING STATION) Situated in the Blackett Street Underpass, the Information Hub extends the full length of the space and fully acknowledges and activates it as a performance venue which can expand and contract in terms of size depending on the needs and urban conditions. The changes will now deliver an Urban Intervention which comprises of spaces that can provide indoor and outdoor activities irrespective of weather or time of day. By projecting the extension of the base west and out of the underpass it helps to improve the urban intervention’s visibility and begins to act as a signpost as a key threshold into the site. Additionally, it provides the opportunity for an information hub and management office space to be housed where it can interact and promote engagement with the urban context and local community by communicating the purpose of the pavilions found throughout the larger area.

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Addit io

Newcastle Forum Masterplan FORUM IDEOLOGY AS A MASTERPLAN DRIVER A forum is an open public space within a city; often comprised of various buildings or sites. Recognised as a gathering place of great social significance; they housed a diverse range of activities. The notion of reinterpreting a forum space for modern times as a masterplan vision for the city centre as one that could be adopted and replicated will help to ground and reconcile the proposed interventions in an architectural and spatial sense.

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9 / New Public Square

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8 / Forum Gateways

Influence Areas /

Through Routes Created /

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70%

of 290,000 theatre jobs at risk (as a result of COVID-19) ARTS & CULTURE SECTOR

(sources: The Guardian & ArtReview)

3.0 / CRITICAL INTRODUCTION “A holistic and inclusive approach framed within architecture, public realm (and public policy) can restore the civic role of the arts.”

43%

fall in local authority funding for Arts (between 2007-2018)

37%

fall in entries for Arts subjects at GCSE (over the past decade)

19%

vacant shops in the NE as a result of COVID-19 (the highest per region in the UK)

Author

EDUCATION SECTOR (source: ArtReview)

RETAIL SECTOR

(sources: British Retail Consortium & The Guardian)

10yrs

continued decline of the British High Street in favour of online retail

“In the UK, there is disinterest shown towards the Arts & Culture Sector due to the social construct that it is reserved for the upper classes and of certain ethnic backgrounds.” (extract from Creative Preservation)

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

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Opposite - “(the) proposed model reveal(s) that a holistic and inclusive approach framed within architecture, public realm and public policy can restore the civic role of the arts. Enabling the return of enjoying a performance within the urban realm following a global pandemic will showcase the Arts & Culture Sector to a wider audience than before.

Here, the community will be encouraged to find new interests; learn new skills and pursue passions within the arts...” (extract from Creative Preservation)

Restoring the Civic Role of the Arts Semester 2 tasked the members of the Material Change Studio to develop the themes researched and discussed regarding the studied urban block during the first semester; the following of which were integral to the development of my scheme: community, connection, sustainable infrastructure and exchange. The aim is to design a public building with civic function, while “the programme should carefully consider its physical, cultural, economic and social function sitting as it does at the heart of Newcastle’s city centre”. While it was not expected that this were to be a continuation of the Semester 1 design, I opted to see it as an opportunity to situate the building within my proposed masterplan, Newcastle Forum, for the reinvention of the city centre. As a result my building, High Friars Arcade, places itself as the keystone element within the Newcastle Forum.

in order to drive both a resurgence in everyday life as well as reanimating the failing city centre. As a result, I was determined that my building demonstrates that when architecture and public realm are designed concurrently, they establish a symbiotic relationship that creates a successful and stimulating built environment.

The following is an excerpt from my ARC8051 essay, Creative Preservation, that elaborates on the socio-economic situation of the Arts & Culture and Retail Sector in the UK which greatly influenced the work and design of my Semester 2 project:

A key driver throughout the year for the studio was to provide answers to two key themes: 1. How can we reinvent our cities as places of exchange relevant to the wants and needs of future communities?

2. How can our cities reinvent themselves in response to the global climate emergency.

“One of the most deeply impacted sectors by the COVID-19 Pandemic has been Arts & Culture; and with it, the notion of entertainment, escapism and sense of community with which it is so strongly associated. At one point, 25% of all businesses were not operating; while 41% had their turnover halved.

Additionally, as many as 80% of people working in the arts and the wider creative industries are self-employed or freelance-workers and have been unable to secure government support through the self-employment scheme or other grants. Workers have been very vocal about the impact on their mental health as a result of being ‘forgotten’ and ‘ignored’ after feeling that they have been under-supported by the UK government.

With this in mind, I chose to frame the work developed in Semester 2 around two issues currently being faced by the UK which I investigated as part of my ARC8051 essay, Creative Preservation. The first being the precarious situation in which the Arts & Culture Sector finds itself as a result of the lack of government support and growing apathy of the British people towards it.

Second of these is the decline of the high street, accelerated by the pandemic and the continued rise of online retail. While the essay placed an emphasis on ‘alternative performance architecture’ in the form of smaller scale, temporary pavilion typology; I was very intrigued by how might a larger, permanent built architecture could work towards resolving these two problems. Furthermore, the essay stated the importance of public realm and the role it plays in providing an adequate stage for the Arts & Culture Sector to engage with the community

The sector is at the brink of collapse as a result of the pandemic. Public sentiment towards the government was not helped as many deemed that the eventual announcement of the £1.57billion Culture Recovery Fund came much too late to mitigate the already massive losses as a result of venue closures, postponed shows and rising unemployment in the sector. This comes as a surprise considering that the sector is worth nearly £112billion annually to the Treasury, which represents a growth five times faster than the national average; meaning it is more financially significant than Agriculture or Sport both of which have been less hard hit and the latter similarly supported by the government. This perceived indifference towards the arts is further highlighted by the fact that there has been a 37% fall in entries for arts subjects at GCSE over the past decade.”

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

The impact of the recent COVID-19 pandemic on the retail sector undoubtedly accelerated and exacerbated the fall out of favour of the high street with the British public as many businesses had no choice but to close temporarily. Due to the multiple lockdowns and immediacy and reliability of online retail, many of these shops will not be reopening. As a result, there has been a significant increase in empty stores that have turned the once active and prosperous city centre into a shadow of its past self. Nowhere is this more evident than in the North East of England, where 19% of all units are now vacant, the highest regional vacancy rate in the UK. As I stated in Semester 1, “architecture should respond accordingly to the shifting socio-economic demands of a time; with a conscious eye on the future to ensure that whatever is posed has the longevity to still function by factoring inbuilt adaptability to mitigate the impact felt by unforeseen circumstances such as presented by the pandemic.” I believe that High Friars Arcade does just that and, provides a bold new approach to how the city centre should be designed and operated as it holistically incorporates both architecture and public realm into its design to reinstate the civic role of the arts which will consequentially reinvent the city centre in a vibrant and communal manner. This will ensure it is engrained firmly within the unique urban character and culturally rich identity of Newcastle.

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Opposite - Not only does Newcastle offer the spaces for a wide range of performance; but it creates some of the leading works in the arts & culture sector that have continuously influenced their respective audiences and fields. The locals often engage with the various offers as it is renowned for being one of the most vibrant and active cultural & nightlife centres not just on a national but an international level; showing how performance is integral both to the urban character as well as a way of life in the city.

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PART 1 / DESIGN Architectural Design Practice 1 ARC 8052

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A New Gateway into Newcastle Newcastle Forum aimed to reinforce movement through the city centre by activating and animating the under utilised journey from the west. The design of High Friars Arcade derived by creating a western elevation that acknowledges this, creating an open and pleasant fronting to this approach to reinforce this portion of Blackett Boulevard as a key route into the city centre.

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Including Next Page - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

WESTERN APPROACH PERSPECTIVE VIGNETTE

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ESTABLISHING THE BUILDING PARAMETERS

Thesis

4.1 / Building Thesis and Manifesto Overview

a statement or theory that is put forward as a premise to be maintained or proved.

Manifesto a public declaration of policy and aims, especially one issued before an election by a political party or candidate.

Analysis the manifesto works to ensure the thesis is enforced.

Thesis and Overview At the point of the Mid-Term review it was suggested that I define my building thesis more clearly. While I had developed a basic manifesto by this point, which established what would be unique to my building; it was not entirely clear what its social purpose was. This would clarify its value added to the city and reinforce my line of inquiry into regenerating city centres by tackling the decline of the Arts & Culture Sector.

Restoring the civic role of the arts

1

Shown opposite is the overview of how the building manifesto works to ensure the thesis is enforced. The following pages will go into greater detail regarding the three main criteria of the manifesto.

by breaking down perceived socio-economic barriers

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3

through sensory connections to engage the wider community with the sector.

1.

Forward thinking approach to performance.

PAST

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NOW

2.

Performance will be integral to the building’s experience.

FUTURE

3.

Technology will bring the world’s stage to Newcastle.

PAST

MANIFESTO Including Next Page - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

THESIS

NOW

FUTURE

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ESTABLISHING THE BUILDING PARAMETERS 4.2 / Building Manifesto

PAST

FUTURE

NOW

Stage

COVID-19

Amphitheatre

Arts & Culture Sector Crisis

Concert Hall

Pre-Recorded Performance High Friars Arcade Arts & Culture Centre

Music Room

Urban Context

Auditorium

The map on the following spread illustrates the extensive offer that Newcastle has in regards to the Arts & Culture Sector; with several performance venues that cater to all size of events.

Arena Stadium

Due to the COVID-19 Pandemic and several lockdowns, all of these have had to close. However this will not always be the norm, there will come a time that these places will reopen and operate as normal.

Nightclubs

As a result, I knew that my building needed to offer something with regards to performance and the sector while not being in direct competition with the already competitive offer. The pandemic highlighted the underlying issues in traditional performance spaces and urged me to inquire as to where the future of this activity may be found by providing something unique and never seen before in the sector. This formed the first order of the manifesto, illustrated opposite.

1. The building will not be in competition with the existing offer.

It will be complementary to the city centre experience and showcase the future of theatre & performance.

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KEY

Opposite - Map depicting the various sites and their primary function related to the Arts & Culture Sector in Newcastle within a 20min walk from the site.

Theatre & Stage Cinema & Film Music & Events Art & Exhibition Spaces Site

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Scale 1:7500

Previous Page - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

Previous Page

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ESTABLISHING THE BUILDING PARAMETERS Ar ts & C ultu re Se cto r

4.2 / Building Manifesto

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‘Theatre / Performance Space

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Exhibition Space

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Rehearsal Space

Cafe / Bar

The Artist is Present (2010) / Marina Abramovic

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Cultural Context

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As part of my research I wanted to understand the ways that performance artists work, and the dynamics of their relationships with their audience. This would enable me to discover ways that the boundary between performer and audience could be blurred to offer a more engaging experience. I was particularly interested by the work of Marina Abramovic and OMA’s unbuilt project for her work.

MARINA ABRAMOVIC & THE THEORY OF VOYEURISM Abramovic is a Serbian conceptual and performance artist, philanthropist, writer, and filmmaker. Her work explores a range of topics, most interestingly, the relationship between the performer and audience. Abramovic’s pieces often blur the boundary between audience and performer by making audience involvement central to the success of the art. As a result, many of her works are never truly ‘finished’ until they are visible to the public eye; in constant flux. This enables the public to both view the artist at work and become art themselves.

s om

MAI (2012, Unbuilt) / OMA

This can be interpreted as an extrapolation of Voyeurism; the practice and interest in viewing actions usually considered to be of a private nature.

MARINA ABRAMOVIC INSTITUTE (MAI), OMA (2012, UNBUILT) The mission of the MAI was to cultivate new kinds of performance while functioning as a living archive, preserving and hosting performances of historic pieces; these involve performance, dance, theatre, film, video, opera, and music. The MAI would host workshops, public lectures and festivals; becoming be a venue specifically for long duration performances. For the performance space, a new volume is placed within the existing building’s shell. This new space is both highly flexible and controlled. The layout allows the audience to drift between different activities without leaving the domain of the performance. The institute was intended to be housed in a former theatre in Hudson, New York.

2. Introducing the ‘Theatre of the Everyday’.

Establishing a continuous connection to performance as an integral aspect of the building; the journey through the space becomes an immersive experience of the Arts & Culture Sector. This connection can be physical and/or visual.

What stood out particularly to me was the fact that a person’s experience and understanding of the space is framed wholly by a continuous connection to performance and the creation of art. This formed the second order of the manifesto, illustrated opposite.

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MAI (2012, Unbuilt) / OMA Including Next Page - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

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ESTABLISHING THE BUILDING PARAMETERS Immersive User Experience

4.2 / Building Manifesto

Virtual Reality

PAST

NOW

FUTURE

National Theatre at Home / Streaming Service

Global Context COVID-19 saw the rise of a unique approach to experience new and legacy performances, by streaming them directly into people’s home. Technological developments have enabled this to be a reliable and viable method to sustain the production and distribution of Arts & Culture. Furthermore, there already exist digital archives that allow people to see and learn about artworks which may be too fragile to be displayed or found internationally. This made me realise the potential in which technology could in fact not substitute physical performance and art but instead augment the user experience of it. This formed the final order of the manifesto, illustrated opposite.

Stage

COVID-19

Amphitheatre

Arts & Culture Sector Crisis

Concert Hall

Pre-Recorded Performance High Friars Arcade Arts & Culture Centre

Music Room Auditorium Arena

Digital Performance Archive

Stadium Kylie Minogue’s Infinite Disco / Pre-Recorded Performance Live Stream

Club

Pre-recorded content from all over the world made available to the people of Newcastle; spearate from any local live performances.

Theatre & Stage Dance Music & Opera Exhibitions Film & Video

3. All the world’s a stage.

Utilising technology to introduce and engage people to arts & culture beyond the city of Newcastle.

The Tate / Digital Archive

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INITIAL CONSIDERATIONS 5.1 / SITE LOCATION & ANALYSIS

Existing Condition from Front of Site

View from Monument

Existing Condition from Rear of Site (Corner of Clayton / Nelson St)

Blackett Street Traffic Congestion

Intu Eldon Square Inactive Colonnade

Old Eldon Square

Urban Block Proposed Demolition (Front)

Urban Block Proposed Demolition (Rear)

Aerial View

Site Location & Photographic Study Located at the heart of the city centre, the site is completely encompassed by intu Eldon Square; bounded by Blackett street to the North, Percy Street to the West and with Greys Monument.

The location plan opposite highlights the urban block that was studied as part of Semester 1 and housed the site for my Semester 2 project.

As the work this semester is heavily influenced by the previous semester, for an in depth analysis of the urban block and site please refer to Appendix A.

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Scale 1:2500 Including Next Page - GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

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INITIAL CONSIDERATIONS

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5.2 / REFINING THE BUILDING FOOTPRINT Scale 1:2500

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‘Site 6’ Appraisal The page opposite illustrates the further interrogation carried out regarding the appropriateness of the speculative site that was initially chosen for my Semester 2 project.

OPPORTUNITIES

Below is a brief description of the findings: Opportunities 1. Large Sphere of Influence - Central location within masterplan means greater impact on urban realm to enact change.

2. Ample Active Frontage - Main facades face key masterplan sites to activate city centre & engage community.

3. Routes of Access & Escape - 3 possible access and means of escape points; vital for a successful public function building.

Limitations 1. Potential for Physical Barrier - Site could become a movement barrier through city centre during out of hours operations.

2. Disruptive Footprint - Current site footprint would result in retail units of shopping centre becoming isolated within urban block.

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These findings led to me investigate into the historic urban grain context in order to further inform and refine the building footprint.

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LIMITATIONS

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INITIAL CONSIDERATIONS

1920s Aerial View - Highlighting the path of High Friars Street

1960s - High Friars Street Present

1970s-2020s - High Friars Street Consumed by Mall Concourse

5.2 / REFINING THE BUILDING FOOTPRINT Old Eldon Square

Old Eldon Square

BLACKETT STREET

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Greys Monument

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Green Market

The continuous expansion of the shopping centre led to the loss of many established urban blocks and through-routes in favour of an indoor passageway through the retail complex. While pedestrian permeability is retained during day-times, at night, it becomes a physical barrier because historic desire lines through to Old Eldon Square have been lost. Furthermore, as well as breaking up the monotony of a long facade; this provided a much more public frontage area and visual interest at the corner.

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Historic Urban Grain

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St Andrew’s Church

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NE ST ANDREWS STR EET

Greys Monument

NEWG ATE S TREET

St Andrew’s Church

NEWG ATE S TREET

BLACKETT STREET

The plan on the following page shows the development of the studied urban block in and how this has shaped the urban grain of the city centre. (This work has been significantly adapted from the collective site research & analysis; originals courtesy of Group 1.)

TRE NS

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Retail

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Market

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Hospitality

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2020 Aerial View

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Market

Retail

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Urban Block, pre-Eldon Square Expansion

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Warehouse Services

Hospitality Services

Urban Block, Eldon Square Expansion

HIGH FRIARS STREET Of particular interest was the route created by High Friars Street (highlighted in map opposite). This provided an alternative route connecting the western gateway of the city to the heart of Newcastle from Newgate Street to Grainger Street. As the historic photographs opposite show, it had a vibrant and diverse offer, with a unique perspective to the Monument. The relatively tall buildings either side of the narrow street gave it a local atmosphere akin to the Newcastle ‘chare’ or alleyway. This rich history and character was lost when it was consumed by the shopping centre; all that remains is the path of the mall concourse which more or less follows the original path of the street - only during hours of operation.

My proposal will seek to reinstate the permanent pedestrian thoroughfare through the urban block with its own distinct character, specific to Newcastle; thereby preventing my building from becoming a visual and movement blocker in the city centre.

High Friars Street (c.1960s)

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View of High Friars Street from Grainger Street (c.1970s) GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

High Friars Street (c.1964)

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INITIAL CONSIDERATIONS

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5.2 / REFINING THE BUILDING FOOTPRINT Scale 1:1000

Research into Urban Block History The research into the urban grain and the desire to reinstate the route of High Friars Street led to me to investigate further into the history of the new urban block created by the Newcastle Forum. This would better inform any development of the building footprint into a more site specific response to better integrate my scheme into the urban socio-cultural fabric of Newcastle.

Two historic sites became of particular interest, shown opposite superimposed onto the proposed masterplan vision. An overview of them can be found in the following spread.

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B

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INITIAL CONSIDERATIONS

Gardener’s Arms Public House Closes (1971) to make way for the Cordwainers Public House(1976).

Present

Building becomes a series of public houses.

1970s

Cordwainers Guild is established.

1900s

1400s

5.2 / REFINING THE BUILDING FOOTPRINT

Only the facade remains from shopping centre expansion.

Building A

Building B

Becomes the Gaiety Music Hall, which was closed in 1890 when the nearby Empire Theatre opened. It became a Temperence Hall, known as the Central Hall.

Cordwainers Guild sells building to Corks Wine Bar. The bar is the last tenant in the building until the expansion of Eldon Square Shopping Centre.

The Gaiety Picture Hall closed, when the city council declared the building unsafe following a fire.

Converted into a full time cinema, the Gaiety Picture Hall.

1950s

Becomes the New Tyne Concert Hall.

1911

The Music Hall was built by Richard Grainger as part of the redevelopment of Newcastle city centre in the mid 19th century

1879

1838

The Music Hall & Gaiety Cinema

Present

1990s

Historic England lists the building as Grade II.

1949

Charles Dickens gave a reading of his works in the hall, which at the time was known as the Lecture Room.

1965

Built by Richard Grainger as part of the redevelopment of Newcastle city centre in the mid 19th century.

1884

1861

1838

Cordwainers Hall

Building is demolished but Historic England lists the facade as Grade II in 1965.

Briefly used by students as a cabaret venue during Rag Week. The upper part of the building containing the cinema then lay unused.

Ground floor was in use as a fruit warehouse.

Building A - Cordwainers Hall

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Building B - The Music Hall & Gaiety Cinema

INITIAL CONSIDERATIONS

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5.3 / REVISED BUILDING FOOTPRINT Scale 1:2000

Reintroducing Historic Community and Arts & Culture Sites The research led to the refinement of the building footprint, this is illustrated opposite.

The revised footprint has the following amendments / benefits: • The reintroduction of a permanently accessible public thoroughfare that follows the path of the historic High Friars Street.

• Expanding the site footprint southwards to incorporate the location of two historic sites that will have their past use reinstated somewhere in the building. This has two key benefits. First, it only helps to reinforce a sense of place by directly responding to a site’s history. Secondly, it provides a less disruptive footprint to the city centre as the shopping centre would now be solely to the west of the market square and the retail units to the east of the site are all self contained.

• The northern part of the site was amended to improve sight lines down Blackett boulevard and also to better reveal the listed facades opposite the Monument.

A

Original Building Footprint

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Revised Building Footprint

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INITIAL DESIGN DEVELOPMENT

Central Arcade, Newcaste (Interior)

Design Cues Incorporated Into Building Design 1. Navigating a narrow facade by having a fully glazed elevation

6.1 / ARCADE TYPOLOGY

to maximise sight lines into and through arcade to reveal activity and offer within - encourages pedestrian movement through space by creating a safe and welcoming atmosphere.

2. The use of large glazed ‘vitrines’ to display the offer and encourage people walking through the arcade to interact and engage with it.

3. The integration of walkways / balconies across levels that offer unique viewpoints through the arcade.

4. Using curves to reconcile vertices instead of rectilinear forms.

Background & Case Study ADDRESSING THE ARCHITECTURAL DERIVE The first piece of work was to undertake an Architectural Derive whereby we were tasked to discover a hidden truth about the city. Personally, I found that “bridges are integral to the experience of the city; their location and journey through them reveal socioeconomic hierarchies established in Newcastle.

Bridges in the city often provide desirable links - transport, spatial, education and economic. However, at its nucleus, they serve to disconnect and promote an insular experience of the city. They remove the sense of place through its anonymous architecture.” I felt that this semester I had the opportunity to address this in the design and operation of my building.

Central Arcade, Newcastle (Entrance)

BACKGROUND & OVERVIEW Considering that the site is currently occupied by a shopping centre with a concourse running through it my research focussed on its architectural roots.

Shopping arcades preceded the modern shopping mall. Shopping arcades were incredibly popular in the late 18thC to the early 20thC. They were recognised for the variety of their retail offer under a glass roof that allowed for natural light and provision for shelter under all weather conditions. This meant that there was a reduced need for artificial light and a pleasant micro-environment inside. As a result, they were particularly frequented by the middle classes. At their peak of popularity, they were the places to be seen as they represented the epitome of fashion and social life in the city.

CASE STUDY & LINK TO NEWCASTLE The shopping arcade is already part of the urban and cultural fabric of Newcastle in the form of Central Arcade (shown opposite). It was built by 1836-1838 by Richard Grainger and is Grade II Listed. The Barton Arcade in Manchester was built around the same time as the Central Arcade in Newcastle, it forms a part of the series of arcades constructed during the Industrial Revolution. It was built in 1871, by Corbett, Raby and Sawyer. Like Central Arcade, it is Grade II Listed and is considered to be one of the finest examples of its type in the UK. Barton Arcade served as an inspiration for various design cues incorporated into the final design of proposed building in a contemporary manner - see opposite page.

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INITIAL DESIGN DEVELOPMENT

Co-Operative Building, 1932

Fenwick’s Blackett Street, 1930s

Tyneside Cinema, 1937

6.2 / AESTHETIC COUNTERPARTS

BALTIC, 1950 (designed in the 1930s)

Newcastle & Art Deco During the Mid-Term Review it was raised that due to the scale of the building being proposed, I should be mindful that it is sympathetic to the local architecture. Following a visit to the site I noticed that the vast majority of the buildings are typical of Georgian architecture as it forms part of the Grainger Town development in the 19thC by Richard Grainger.

Interestingly, however, there was one building that stood out - the Fenwick’s building along Blackett Street, directly opposite the site for my building. The style, Art Deco, is visibly incongruous with the local context (see opposite).

This disparity led me to investigate further examples of Art Deco in Newcastle which revealed to me that some of the most prominent buildings in the city fall under this style (see opposite page).

Fenwick’s Neighbour: Emerson Chambers / by Simpson, Lawson and Rayne (1903)

It was at this stage that I decided that my building would take a great deal of influence from the Art Deco style in order to integrate my building both into the immediate locality by providing an aesthetic counterpart to the Fenwick’s building; but also Newcastle at large by building upon the established precedent of Art Deco buildings. The main Art Deco qualities that I will incorporate are the use of (reclaimed) brick as a cladding material; fenestration design and proportions and curved forms.

Palace of Arts (Wylam Brewry), 1929

Grey Street and Monument - Typical Architecture in the vicinity of Fenwick’s

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INITIAL DESIGN DEVELOPMENT 6.3 / VOLUMETRIC DEVELOPMENT

1

2

3

4

5

6

Incorporating Findings Following the research carried out between 5.2 - 6.2; I was able to establish a volumetric approach to my building design. This produced a site-specific response that firmly integrated the new proposal into the urban, community & cultural fabric.

The diagrams opposite depict the process of my building beginning to take shape. Below is a brief description of each stage.

1. Existing Condition - site highlighted within studied urban block.

2. Portion of urban block is demolished to open up views and routes through city centre.

3. Historic route through site is reinstated, creating an arcade, connecting Monument with the new public realm.

4. Volumes are extruded to rationalise building form and accommodate diverse building programme.

5. Existing curved corner is receded, better revealing Listed Facade and creating a more usable building footprint inside.

6. New volume is added, bridging across arcade to unify the two volumes below. An emblematic roof profile is introduced to building and market.

Scale 1:1000

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High Friars Arcade Continuing the established theme of ‘Newtro’ (new + retro) introduced in Semester 1 with the reinterpretation of a forum - a modern take on a classic ideology. The same will be applied regarding to the building design in the form of High Friars Arcade. The name is derivative of the historic pedestrian throughroute which is being reinstated; while the arcade will act as a metaphorical bridge that re-connects both the city itself as well as its inhabitants in the form of a cultural arcade rather than a shopping arcade.

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MONUMENT / BLACKETT BOULEVARD PERSPECTIVE VIGNETTE

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DESIGN CONCEPT & BUILDING PROGRAMME 7.1 / THE CREATIVE PROCESS

Initial Considerations*

Accepted Model*

Revised Model

1. Inspiration (Precedents, Site Visits, Theory Research)

1. Preparation (Research, Consume, Immerse, Gather)

1. Inspiration (Consume, Immerse, Gather)

2. Prototype Making / Workshop (Sketching, Concept Drawings, Model Making)

2. Incubation (Explore, Experiment, Synthesise)

2. Incubation (Synthesise)

3. Review / Revise (Tutorials, Crits)

3. Illumination (Aha! Moment)

3. Preparation & Prototype Making (Research, Explore, Experiment)

4. Upskill / Hone (Studio Cross-Pollination, Training)

4. Evaluation (Reflect, Criticise, Assess)

4. Review & Evaluate (Reflect, Criticise, Assess)

5. Finalise (Plans, Sections, Visuals etc...)

5. Implementation (Work)

5. Incubation & Upskill (Synthesise, Learn, Research)

Questioning the Accepted Model The established building thesis (shown opposite) seeks to better engage the community with the Arts & Culture Sector. As stated previously, “in the UK, there is disinterest shown towards the Arts & Culture Sector due to the social construct that it is reserved for the upper classes and of certain ethnic backgrounds “. This led me to believe that there must be an intrinsic flaw in the very creation of arts and culture which is insular and/or exclusive of people.

“Restoring the civic role of the arts by breaking down perceived socio-economic barriers through sensory connections to engage the wider community with the sector.”

The diagram opposite shows what my own initial thoughts on the Creative Process Model may be, from an architectural perspective that falls under a creative field; the accepted Creative Model and my proposed revision of this.

(ILLUMINATION)

(ILLUMINATION)

*Sources - MasterClass, WeWork & IDEAPOD 6. Showcase / Monetise (Portfolio Curation, Final Exhibition)

6. Implementation & Finalise (Work)

*From an Architectural Perspective 7. Showcase / Monetise (Present, Celebrate, Reflect, Market) 48

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DESIGN CONCEPT & BUILDING PROGRAMME

Spatial Counterpart

Revised Model

Arts & Crafts Market Square

1. Inspiration (Consume, Immerse, Gather)

Cafe & Bar Hub

2. Incubation (Synthesise)

Studios, Rehearsal Space & Digital Archive (Studios for Artists and Students)

3. Preparation & Prototype Making (Research, Explore, Experiment)

Studio Vitrines & Permeable Frontages (Public Consultations / Conversations)

4. Review & Evaluate (Reflect, Criticise, Assess)

Arcade Balconies, Education Centre, Community Rooms

5. Incubation & Upskill (Synthesise, Learn, Research)

7.1 / THE CREATIVE PROCESS

Integrating Revised Model Into Building Programme The revised model for the creative process incorporates elements from both my own approach to architecture as well as the accepted model. By doing so, it has three main key benefits. These have been detailed below: 1. Dedicated moments where the works are presented as ‘in progress’ for feedback and workshopping. The artists & students can either accept or disregard comments. The aim is to establish a rapport between creator and consumer (artist and community) as the arts & culture becomes a more prevalent aspect of common vernacular and everyday life.

2. As a result this breaks down the social notion that the creative arts is for the highly educated and upper classes. The public and wider community, as the potential consumers of the very creative outputs, feel valued and integral in the creative process.

3. This poses a more detailed creative process. As it is not oversimplified, this ensures there is adequate and appropriate provision of spaces when establishing a building programme.

(ILLUMINATION)

As the diagram opposite shows, my approach towards defining the building programme stemmed from having a space/series of spaces that each directly respond to each stage of the revised creative process - a spatial counterpart.

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(ILLUMINATION)

Studios, Rehearsal Space, Flexible Workspace

6. Implementation & Finalise (Work)

Gallery & Exhibition Space, Performance Space, VR Theatre

7. Showcase / Monetise (Present, Celebrate, Reflect, Market) 51

FUTURE / NEW NELSON STREET

DESIGN CONCEPT & BUILDING PROGRAMME 7.2 / BUILDING PROGRAMME VIEWING TERRACE

VR THEATRE

FUTURE / NEW

5TH FLOOR

My rationale for the arrangement of spaces was dictated by two factors.

COMMUNITY ROOMS &

EXHIBITION SPACE

ROOF TERRACE

4TH FLOOR

FLEXIBLE WORKSPACE (CREATIVE SECTOR START-UPS & CO-WORKING) DIGITAL ARCHIVE

The first was my desire to establish a journey through the building where as one moves upwards and through it, it represents a further stage in the development of the creative process. In this way, the building becomes the physical embodiment of the creative process and gives the community a space to fully experience its development. As a result, it responds to my second order of the building manifesto; “the journey through the space becomes an immersive experience of the Arts & Culture Sector”.

Secondly, the notion of ‘Counterparts’, first introduced with Aesthetic Counterparts (6.2) and Spatial Counterparts (7.1), is an extrapolation from the common saying in performance that “Acting is Reacting”. This can be interpreted that every move or design element has an equal opposite counterpart. This helped to establish the identities/personalities of my building which represent the Arts & Culture Sector framed within the revised creative process. This takes into consideration the inherent duality found within performance: performer and audience, front stage and back stage and applies it to architectural design: old and new, past and future, public and private. The various uses, visual readings and offers then derived from this and can all be seen on the diagram opposite.

REHEARSAL & PERFORMANCE SPACE* WILL TEMPORARILY SPILL OUT TO STREET

The key role of the arcade as stated previously is to act as the connector between the Arts and Culture Sector and the community. It will do so by embodying a hybrid function that mediates and reconciles between the aforementioned dualities and counterparts.

PAST / OLD 2ND FLOOR

STUDENT STUDIOS

1ST FLOOR

‘HIGH FRIARS ARCADE’

CAFE & BAR HUB

(informal display space)

(ARTIST STUDIOS BEHIND)

GROUND FLOOR*

(FRONT)STAGE

USE VISUAL READING

52

PROVIDES PUBLIC ACCESS THROUGH

EDUCATION CENTRE

3RD FLOOR

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OFFER

HYBRID PAST + PRESENT / OLD + NEW

PERFORMANCE REFINED BUILDING MORE PUBLIC

(BACK)STAGE

ARTS & CULTURE SECTOR

MEDIATOR (immersive user experience of both sides)

LIGHT-TOUCH INTERVENTIONS MORE PRIVATE

* Will have direct link to the Forum Market Square from Semester 1 - re-imagined as an Arts & Crafts Market

USE VISUAL READING OFFER

Development of Creative Process

PAST / OLD

GALLERY &

RELIC (more solid to act as architectural camouflage)

Schematic Section & Theme of Counterparts

PERIMETER)

RELIC (porous to showcase activity)

BLACKETT BOULEVARD

(ALONG N + W

DESIGN CONCEPT & BUILDING PROGRAMME 7.3 / ARCHITECTURAL RELICS

Cassina Innovation House / Laurent Troost Architectures

Cassina Innovation House / Laurent Troost Architectures

Museum of European and Mediterranean Civilizations / Roland Carta

Moritzburg Museum / Nieto Sobejano Arquitectos

Corten Apartments / 3ndy Studio

Corten Apartments / 3ndy Studio

Caixa Forum / Herzog & de Meuron

Sant Francesc Convent / David Closes

Overview and Precedents A key part of my design theme, structural approach and response to sustainability (the latter two developed further in Part 2 of this document) was to have ‘architectural relics’ retained that flank either side of my building.

Their intent is to visually camouflage the proposal by retaining emblematic and recognisable elements of the existing building into the new scheme. This grounds the new design to a specific place to be more readily woven into the cultural & urban fabric.

The precedents opposite reveal that there are two key methods of incorporating ‘architectural relics’ into new developments.

The first method is to incorporate the retained facade into the new scheme through subtle interventions as in the case of the Moritzburg Museum, amongst others. This suggest a more inclusive relationship in the building as neither old or new are given higher importance, instead they work in tandem to deliver a harmonious visual experience, as in Caixa Forum.

The second is by means of fully retaining the facade as a separate structure and using this to ‘screen off’ the new elevation behind; as in the case of Cassina Innovation House, amongst others. This enables people to gain a unique appreciation of the retained facade by either creating an interstitial space, opening up never before possibilities to experience it, such as in Corten Apartments, or by placing key circulation behind it that treads the line between old and new.

This research into precedent study enabled me to choose which method was most appropriate for the two architectural relics in High Friars Arcade: the Blackett Boulevard colonnade (formerly Intu Eldon Square colonnade) and the listed facade along Nelson Street.

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DESIGN CONCEPT & BUILDING PROGRAMME 7.3 / ARCHITECTURAL RELICS

Blackett Street Colonnade Method 1 - Incorporation The diagrams opposite depict the approach I took adapting the retained facade to accommodate the building programme while retaining its recognisable aesthetic qualities that celebrate its past use. Below is a brief description of each stage.

1

2

3

4

5

6

1. Existing Condition - colonnade highlighted within building.

2. Colonnade alcoves are infilled to provide active frontage onto newly created pedestrian boulevard.

3. Portion of colonnade elevation is re-clad to better respond to local colour palette and integrate into overall building design.

4. Rhythm of colonnade elevation is expressed above and to rest of building facade. The colonnade bay is returned inwards into arcade to read as one cohesive and defined building.

5. Punch through on upper colonnade to open up facade at upper levels, angled, to make most of views down Blackett Boulevard.

6. Infilled alcoves open up facade at street level to retain colonnade nuance.

Activity spills out to street to provide an activate and engaging elevation.

Scale 1:500

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DESIGN CONCEPT & BUILDING PROGRAMME 7.3 / ARCHITECTURAL RELICS

NELSON STREET LISTED FACADE

Nelson Street Listed Facade

SITE DEMISE

Method 2 - Projection The diagrams on this spread depict the approach I took adapting the retained facade into the scheme. The diagram on the right illustrates how only about half of the listed facade falls within the chosen site boundary, of which part of it will be dismantled. The key word is dismantled; the intention is not to demolish this portion of the elevation. It will be carefully de-constructed and stored in the eventually that at a future date it is reinstated - on the same site or transported elsewhere to be used in a different building by method of Incorporation. The aim is that this will help preserve any embodied carbon and save the need to mine and quarry new stone for future elevations.

Furthermore, by dismantling this portion of the elevation, it has two key benefits to the scheme: 1. The opening signifies the newly created access route into the arcade.

2. The break in the elevation will allow sunlight to penetrate deeper into the rear elevation of the building as well as the created loggia-like space between the new building and the listed facade.

Retained Facade

Dismantled Facade

The diagram on the opposite page explains the method behind how the new added elements to the street elevation help to diminish the visual impact of the new building.

3rd Line - Upper Floor will read as a traditional parapet wall from street level, making the building visually obtrusive to existing streetscape.

Retained Facade

2nd Line - Louvers screen off the new elevation behind. The screen retains the rhythm, of the window openings from the listed elevation.

1st Line - Retained Listed facade acts as architectural camouflage on approach and street level.

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Turning the Corner High Friars Arcade will signify the start of a new era for both Newcastle city centre and the Arts & Culture Sector. The aim is for it to become a new reference point in the city as much as a destination for people of all backgrounds an demographics. Here the past, present and future of communities will coexist in harmony; celebrating the rich and vibrant culture that the city has to offer. This will be mirrored by the harmony between the old and the new present in the architecture.

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CLATYON / NESLON STREET PERSPECTIVE VIGNETTE

HIGH FRIARS ARCADE

N

8.1 / JOURNEY THROUGH THE BUILDING & KEY SPACES Scale 1:500

BLACKETT BOULEVARD FORUM MARKET SQUARE

HIGH FRIARS ARCADE

Urban Ground Floor Plan

GR

LSO

TRE

ET

CE

NT RA

LA

RC A

DE

CL A Y TO NS

TRE

ET

NS

EET

NE

STR

AIN

EY

GE

GR

RS

TRE

ET

The plan opposite situates High Friars Arcade within its immediate city centre context. A key driver in the development of the ground floor plan was that the building should work to reinstate the rich and complex urban grain. As can be seen the proposal does not read as one large enclosed scheme; rather a collection of smaller buildings interconnected by the extension of the public realm into and through the site. Another key element to note is that in spite of its proximity to similar offers, such as Grainger Market and Central Arcade, High Friars Arcade remains complementary and unique to them as the proposed arcade and market square will always remain open as public thoroughfares through Newcastle.

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KEY PERSPECTIVE SECTION AA +32.34

+21.70

3F

2F

1F

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GF

5

6

6a

EX-1b

+17.00

+11.80

+6.00

+0.00

RETAINED LISTED FACADE

Bringing Life Back Into the City By returning the retained colonnade into the arcade, you effectively ‘read’ two buildings. The North Building is meant to come across as it’s always been there - a sense of permanence and intent on the new approach identity of Newcastle City Centre as a celebration of the Arts & Culture Sector. The counterpart South Building celebrates the historic nature of the past use of the site as it reveals the retained concrete structure with a more muted palette of materials. This evokes a more artisanal and rough & ready nature of the activity that takes place to contrast the polished and finished nature of activity on the north half of the arcade. These two sides are then joined and linked together by a series of moves - be it cross referenced materials present in both halves; the connection bridges which span above the arcade and finally; the very nature of the arcade that provides access and countless points of interaction between both sides with a broad range of uses framed within arts, culture and performance.

4

+26.90

RETAINED PRIMARY STRUCTURE

4F

3

NELSON STREET

BLACKETT BOULEVARD

RF

5F

2

NEW PRIMARY STRUCTURE

N

1

1

Sight (indirect) /

5F

4

5

6

6a

EX-1b

+26.90 NELSON STREET

BLACKETT BOULEVARD

Sight (direct) /

3

NEW PRIMARY STRUCTURE

+32.34

RF

SENSORY CONNECTIONS

2

Sound (direct) / Sound (indirect) / Smell & Taste /

4F

+21.70

The design of the building in section helps the senses to diffuse the activity occurring within the building by temporarily inhabiting the arcade and street.

Passers-by, even if they are not actively partaking in the activity, are drawn and included into the domain of the Arts & Culture Sector as they move through High Friars Arcade.

materials used provide a stimulating tactile experience. These various methods of how to involve the senses as a key design driver were incorporated into my design and have been outlined opposite.

3F

Neutelings Riedijk Architects have worked on introducing the senses into their projects to augment the experiential qualities of the space’s particular use. In the case of STUK, the performance space features an opening facade that allows the activity of within the theatre to spill out and activate a courtyard. In the Minnaert Building the roof design channels rainwater into an indoor pool where people work as a way to provide a relaxing atmosphere; while the

2F

1F

Performing Arts Centre STUK / Neutelings Riedijk Architects, Belgium (2002)

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Minnaert Building / Neutelings Riedijk Architects, Netherlands (1997)

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GF

+17.00

+11.80

+6.00

+0.00

RETAINED LISTED FACADE

Promoting Sensory Connections

RETAINED PRIMARY STRUCTURE

Touch & Texture /

HIGH FRIARS ARCADE

N

8.1 / JOURNEY THROUGH THE BUILDING & KEY SPACES Scale 1:500

JOURNEY TYPES The ‘dancer coming to rehearse’ / The ‘artist in residence looking for inspiration at the market’ / The ‘tourist parading the arcade’ / The ‘student coming to conduct research at the Digital Archive’ / The ‘creative worker coming to use the Flexible Workspace’ / The ‘friends meeting each other for a coffee’ / The ‘person cutting through the arcade to save time’ / The ‘busker coming to perform for the people’ / The ‘couple getting on the Metro’ /

A Public Thoroughfare for Everyone The diagram opposite illustrates the various possible journey types that have opened up with the introduction of High Friars Arcade. By breaking up the mass of the building at the Ground Floor means that there exists the potential to blur the boundary between building and public realm, enabling people to navigate the city centre as they see fit - regardless of whether they are intending to use any of the offers found in the building. In this way, High Friars Arcade truly becomes a public thoroughfare for Newcastle and its people.

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Opening and Creating Views The design of the arcade reinstates the historic sight line through to The Monument that was lost when Eldon Square Shopping Centre expanded and consumed High Friars Street. Furthermore, the design of the balconies, bridges and walkways consciously expand and contract to reveal (and disguise) certain views through the space to create a continuously shifting visual experience when moving through the space; akin to a typical narrow street within the urban grain.

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HIGH FRIARS ARCADE PERSPECTIVE VIGNETTE

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HIGH FRIARS ARCADE 8.1 / JOURNEY THROUGH THE BUILDING & KEY SPACES

BLACKETT BOULEVARD A

9 RESPONSE TO STAGE OF CREATIVE PROCESS

Ground Floor

7

1

1. Inspiration

The points below highlight some of the key design considerations that were incorporated into the establishment of the spatial arrangements. Below is a short description of the points outlined opposite.

2. Incubation

2 HIGH FRIARS ARCADE

8 3. Preparation & Prototype Making

Denotes Retained Concrete Column

4. Review & Evaluate

* Denotes Introduced Glulam Column 5. Incubation & Upskill

4

AIN G

ER S

TRE

ET

6. Implementation & Finalise

7. Showcase / Monetise

5 Ref. Pg 64 - 65

* Forum Market Square - The strategy developed for the market back in Semester 1 has been further developed to integrate it as part of High Friars Arcade. The market will now become an extension of Grainger Market, working in conjunction with High Friars Arcade. The market units and stalls will now allow independent artists and hobbyists to display a wide array of arts and crafts, celebrating the diversity within Newcastle. The aim is that this will provide a relationship that will be mutually beneficial for the community: a platform for the vendors and a place of inspiration and engagement into the Arts & Culture Sector for the people of Newcastle. The community art wall remains, designed for the younger demographic to play and become comfortable and confident in expressing themselves through creative means; ensuring a grass roots approach into the sector to account for its future resurgence as a civic driver.

3

GR

1. Rehearsal / Performance Space - The facade opens up and creates a permeable frontage both into the arcade but facing externally to animate and interact with the Forum Market Square.

2. Busking Podium & Seating - This creates a dedicated platform to enable an integral experience to the city of Newcastle which celebrates impromptu performances and performers.

3. Artist Studio Alcoves - By recessing the frontage of the studio, a space that allows artists to inhabit as they see fit. Be it to display items for sale, workshop unfinished pieces or simply take in the environment, it will foster a range of interactions between creatives and the wider community that is uncommon with artistic studio spaces.

4. Theatre Kitchen - The Bar & Cafe Hub’s Kitchen is able to be seen from the external seating space to celebrate the theatre and activity within the building.

5. Outdoor Seating - By setting the main line of the building back from the listed facade, it creates an interstitial space that blurs the boundaries between internal and external space that provides an intimate, unique and never before experienced perspective of the retained facade.

6. Building Services - Early on in the design process I established spaces for building and waste management to be directly stacked on top of each other with easy access.

7. Building Facilities - In the interest of social inclusion, I have accounted for a range of public facilities to be provided across the scheme. Beyond the standard Male, Female and Accessible rest rooms; there are Gender Neutral toilets as well as a Baby Change and Changing Places room included. Much like the building services, the facilities are stacked on top of each other to reduce the need for extra drainage and pumps.

8. Meeting Bench - The staircase opposite the revised Metro entrance has integrated seating to allow it to become a meeting place for people coming into the centre of Newcastle.

9. Revised Metro Access - The Metro access has been designed to be more visible from street level to alleviate foot traffic in the other nearby entrances; while encouraging people to walk into and through the arcade.

For security reasons the access to the Metro can be secured during out of hours, likewise with the ground floor facilities block.

6

A

KEY Retained Colonnade

For a detailed account into the research and use strategy of the Forum Market Square, please refer to Appendix B

Retained Listed Facade NE

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Engaging with Blackett Boulevard Unlike the traditional venues which isolate the activity occurring within away from public view; the space within High Friars Arcade makes temporary, transient and passive spectating equally as important as the usual manner of experiencing performance. Performers will be encouraged to rehearse in plain sight of the community; establishing an honesty and transparent relationship between performer and audience - blurring the boundary between the two as the community will begin to engage and partake in the development of the performance by offering initial impressions and feedback. This will help to begin to break down the preconceived social barrier that the arts are reserved for a certain demographic by integrating everyone and anyone. The facade incorporates large windows which open up the theatre and transform it from an indoor-outoor edge into a interstitial space that allows the sounds and movement to spill out and activate Blackett Boulevard.

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PERFORMANCE SPACE VISUAL

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HIGH FRIARS ARCADE 8.1 / JOURNEY THROUGH THE BUILDING & KEY SPACES

BLACKETT BOULEVARD A

7 RESPONSE TO STAGE OF CREATIVE PROCESS

1st Floor

4

1. Inspiration

The points below highlight some of the key design considerations that were incorporated into the establishment of the spatial arrangements. Below is a short description of the points outlined opposite.

2. Incubation

5

3. Preparation & Prototype Making

Denotes Retained Concrete Column

4. Review & Evaluate

3 1 Denotes Introduced Glulam Column

5. Incubation & Upskill

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6. Implementation & Finalise

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1. Student Workshop & Darkroom - Forming part of the Education Centre, spaces have been provided for students to take courses that will help them gain skills in woodworking, design technology and photography.

This consideration stems from the fall in uptake for creative courses at GCSE level over the last decade and the subsequent lack of funding in schools for spaces to provide adequate education in these subjects. Teenagers in Newcastle will have the opportunity to pursue their creative passions as a result of this.

2. Student Studio - All of the studios will have direct access into the workshop or darkroom to create a holistic environment. Here students will have supervised access into the studio which will have scheduled hours for independent and communal use. Their use strategy is the same as the Artist in Residence Studios from the Ground Floor - a more detailed description of this can be found on Pg.78.

3. Elevated Walkways & Busking Stage - These provide an extension of the public realm beyond the ground floor. This will encourage people to explore all levels of the arcade. The journey through the space will reveal new perspectives and sight lines of the activity occurring within by activating a person’s sense of discovery and curiosity framed within the Arts & Culture Sector.

4. Rehearsal & Performance Tech Room - The room is placed above the Rehearsal & Performance Space to give it a vantage point in order to control the light and sound qualities of an ongoing performance for optimum experience.

5. Green Walls - The green wall has been placed at an angle so that it can be appreciated from a greater field of view when moving through the arcade. A more in-depth study into the Green Wall has been undertaken as part of the Technology Report.

6. Teaching Studios - Working alongside the workshop and darkroom, these two larger studios will operate in the same manner but will host fine arts and sculpture classes for students.

7. ‘Monument’ Stair - The front spiral sculptural stair is meant to provide the antithesis of the experience that is provided by The Monument directly opposite: dark, cramped and immediate; as the person cannot experience the city as they progress upwards. The stair will reveal Newcastle by providing never before seen views. A more in-depth study into the Circulation through the building has been undertaken as part of the Technology Report.

7. Showcase / Monetise

Ref. Pg 64 - 65

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KEY Retained Colonnade Retained Listed Facade NE

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Pay Attention to the Person Behind the Curtain The studios will provide a unique insight into the creative process. Within each, there is a retractable curtain (taking inspiration from Ty Pawb, see below) which allows the space to be fully visible or partly concealed from view, while still acknowledging the activity occurring behind. This approach was adapted into the studios by giving the artist in residence the option to work in view of the public or work in a more secluded sense. The aim is to expose and reveal the creative process to the people of Newcastle to engage both artist and spectator into a voyeuristic conversation that breaks down barriers by adopting moments to workshop works as per the revised model of the Creative Process.

Furthermore, spaces such as the Work in Progress Vitrines, will encourage the artists to display unfinished pieces for feedback from anyone and everyone as a form of inclusion and design development - further changing the notion

that only completed and pristine pieces are worthy of showcasing. Finally all Ground Floor studios have access to material stores and either a workshop or darkroom space depending on the artist needs. The student studios above use the communal workshop, darkroom and material stores which can be directly accessed from the rear.

Ty Pawb / Fetherstone Young Architects, UK (2018)

Ty Pawb / Fetherstone Young Architects, UK (2018)

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ARTIST & STUDENT STUDIOS VISUAL

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HIGH FRIARS ARCADE 8.1 / JOURNEY THROUGH THE BUILDING & KEY SPACES

2nd FLOOR SHOWN

BLACKETT BOULEVARD A

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RESPONSE TO STAGE OF CREATIVE PROCESS

2nd & 3rd Floors

1. Inspiration

1

The points below highlight some of the key design considerations that were incorporated into the establishment of the spatial arrangements. Below is a short description of the points outlined opposite.

1. Digital Archive - The layout of the space provides a range of working conditions: independent and communal (lower level) and dedicated meeting and seminar rooms that allow for spoken conversations (upper level). In addition, this includes the Digital Archive VR Pods, this element has a more detailed description on Pg.82.

2. Digital Archive Independent Work Station - Located at the very edge of the retained colonnade, this split level mezzanine space sets itself apart from the main Digital Archive. Each bay has been projected to create an angled alcove where one person can work and have unique views down Blackett Boulevard. The window expands from desk height to a full height window to maximise the desired sight lines of the city.

3. Connection Bridge - This is intended as a breakout space from the Digital Archive where people, (students, professionals, artists and general public) can take a rest from their research and work by stepping into a dramatic setting that is open to the life and activity occurring within the arcade. Here the bridge has a facade that drops the timber louvres to balustrade level and reveals views along the length of the arcade.

4. Floor Layout - Both the Education Centre and Flexible Workspace have the same footprint. This was intentional as I wanted to create an egalitarian use of space between the students and the professionals within the building.

Both follow a largely similar layout, the corresponding spaces on each floor have been highlighted. In spite of the two spaces having the same footprint, they are readily distinguished by their visual appearance. The Education centre continues the open facade of the Connection Bridge by extending the timber louvre screen that drops to balustrade levels at key moments; while the Flexible Workspace has a curtain wall that continues the style present in the rest of the building.

2. Incubation

3 3. Preparation & Prototype Making

Denotes Retained Concrete Column

4. Review & Evaluate

4

Denotes Introduced Glulam Column

5. Incubation & Upskill

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6. Implementation & Finalise

7. Showcase / Monetise

Ref. Pg 64 - 65

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KEY Retained Colonnade Retained Listed Facade NE

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A World Beyond The Digital Archive will feature VR Pods that will give everyone free access to legacy content to some of the most important and revered arts and culture content. While the newer content will be paid for in the VR Theatre, in due time this will become available in the Digital Archive. The pods are there to complement the traditional resources of physical literature and borrowed examples on display which brings artefacts from abroad which may not be easily accessed to students or members of the community; or which might be too fragile for public display.

This hyper-detailed digital landscape will allow for an immersive user experience that aims to better improve any research conducted by the person for their creative project. Furthermore it may be used by whomever simply wishes to expand their horizons and knowledge as a result of being interested into the sector through their experience by travelling through the arcade. The technology and process behind creating the digital world is further explained in Pgs. 88-92.

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DIGITAL ARCHIVE VISUAL

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HIGH FRIARS ARCADE 8.1 / JOURNEY THROUGH THE BUILDING & KEY SPACES

BLACKETT BOULEVARD A

4

RESPONSE TO STAGE OF CREATIVE PROCESS

4th & 5th Floors

1

1. Inspiration

The points below highlight some of the key design considerations that were incorporated into the establishment of the spatial arrangements. Below is a short description of the points outlined opposite.

1. Exhibition Space Pivoting Display Wall - Endless adaptability in terms of how this space could be used was a key pre-requisite for its success. By implementing walls that can pivot through 90o, it allows for the space to seemingly expand and contract as needed - allowing for one free flowing space or a series of rooms that can house multiple displays and exhibitions concurrently throughout the year.

2. Rooftop Cafe and Viewing Platform - Taking advantage of the unobstructed views from the vantage point afforded by the building as well as the South facing aspect, these spaces will celebrate the striking skyline of Newcastle. This will allow people to appreciate and reconnect with the city or simply take a moment to contemplate and assess their next steps in the creative process.

3. Community Teaching Rooms - In addition to leading the Education Centre Classes for students, the professionals and artists in residence will also hold sessions for the community to learn a new skill or pursue a passion in the arts as a way of reintroducing the wider public back into the Arts and Culture Sector. This will have the benefit for the professionals and creatives to receive a subsidy in their rent for giving back to the community.

4. Monument Stair Skylight - The large round skylight will bathe the main circulation stair in the building and give the impression that the person is outdoors; hopefully encouraging people to use one of the many stairs to move through the building in preference to the available lifts.

2. Incubation

3. Preparation & Prototype Making

4. Review & Evaluate

Denotes Introduced Glulam Column 5. Incubation & Upskill

2

3

GR

AIN G

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6. Implementation & Finalise

7. Showcase / Monetise

Ref. Pg 64 - 65

5th Floor VR Theatre Repeat Bay Shown

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Celebrating the Genius in Everyone The Exhibition Space atop the building represents the culmination of the physical and creative journey that the people have taken through High Friars Arcade.

This will be a space that distances itself from the usual gallery spaces. Here, the works from everyone will be displayed and celebrated. Pieces from the artists in residence, students, community classes and even children’s work from digitally imported from the Community Art Wall will be found next to one another in an egalitarian space. This is the final embodiment of how by breaking down the perceived socio-economic barriers by engaging the wider community through sensory and inclusive means; the civic role of the arts can be restored.

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EXHIBITION SPACE VISUAL

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1

8.2 / VR THEATRE

2

3

4

Airbone LiDAR maps the outside.

Terrestrial LiDAR maps the inside.

St

ep

2

A 3D Point Cloud Model of exterior and interior is generated from the LiDAR scanning.

Concept Approach The Virtual Reality (VR) Theatre located at the top of the building seeks to respond to the first and third order of the established building manifesto.

A series of rooms will provide a unique and immersive experience of the Arts & Culture Sector by utilising technology to reveal to the people of Newcastle a global resource of performances.

5

Here, a person will be able to discover a digital world where pre-recorded performances and highly detailed 3D surveyed models of some of the most famous artworks can be experienced through virtual reality. In this manner, the VR Theatre will set itself apart from the current offer within the city while allowing people to connect, experience and enjoy an artwork or performance beyond their immediate context.

St

ep

5

3

A highly detailed 3D CAD model of the space is exported.

This opens the possibility for a new kind of performance, shows designed and recorded specifically in mind to be experienced through virtual reality, allowing people to be entertained and become part of the performance through interactive means - ideal for an age that has prevented performance in the traditional sense as a result of the pandemic.

Technology such as LiDAR and 3D Spatial Mapping will enable such digital landscape to be created, the process being outlined opposite.

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3D CAD model of the space is rendered and a realistic walkthrough of space is now available.

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HIGH FRIARS ARCADE

Ready Player One (L), Johhny English Strikes Again (R) / 2018 2001: A Space Odyssey / iPAD (1968)

Star Wars / Holograms (1977)

8.2 / VR THEATRE

Demolition Man / Autonomous Driving (1993)

Hollywood Hopes The idea of utilising technology in the form of VR to construct an immersive digital landscape is readily available. However, moving through this world as you would in reality has not yet been fully realised. It was first hypothesised into the mainstream through two movies, both released in 2018. Here the protagonists used an omni-directional treadmill that allowed them to move through the VR world without ever moving their physical location. The impact was an augmented experience where the person was completely digitally transported while being physically static.

Virtuix Omni One / Ships Mid-2021

Hollywood has a precedent of speculating new technologies years or even decades ahead of their mass production realisation (see opposite); it follows that a company, Virtuix, has developed such a product that makes the Hollywood Hopes a (virtual) reality. It is the implementation of this product into the space designated for the VR Theatre rooms that will make the previously stated concept approach possible.

The Terminator / Drones (1984)

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Back to the Future Part II / Videocalling (1989)

HIGH FRIARS ARCADE 8.2 / VR THEATRE

De

at e dic

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Person uses VR Theatre app to look at available content and books a ‘Theatre Box’ for later.

Use Strategy The VR Theatre rooms have been designed to accommodate spaces that directly accommodate each stage of the process that a person will encounter when making their visit. In spite of the relatively small footprint, the tall ceilings afforded by the Glulam portal frame structure and the varying floor levels will create a pleasant and welcoming space. Furthermore, the large window and north facing skylight will bathe the space in even light so as not to detract from the VR experience. This window opens to reveal an angled balcony that reveals a pleasant view down Blackett Boulevard towards Monument for the temporary occupier to reconnect back with reality and city by emphasising their sense of place post-digital show. Each room has space for up to two people to take part in the experience.

REPEAT BAY VR THEATRE ROOM SHOWN

REPEAT BAY VR THEATRE ROOM SHOWN

REPEAT BAY VR THEATRE ROOM SHOWN

The diagrams opposite detail the stages of the process and elaborate on the design rationale for the space.

Person arrives on the INTERMEDIARY plane

Person rises to the VIRTUAL plane

Person descends to the REALITY plane VIEWS OUT

4F Exhibition Space

Upon arrival, an usher shows the person to their box in time for the virtual performance.

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4F Exhibition Space

Person enjoys an immersive experience of the Arts & Culture Sector through a choice of paid performances and exhibitions. The money will directly support and fund independent artists and start up companies in the sector.

4F Exhibition Space

Post show, the person is able to reconnect with reality with a dedicated cool-down time. After the person has completed the allocated cooldown time they have two options; they can either leave or extend their decompression period.

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HIGH FRIARS ARCADE

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8.3 / MATERIAL ELEVATIONS Scale 1:500

A

D

F

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Overview and Key This section presents all the major building elevations with their intended material representation. A further in depth study for the rationale behind the material choices has been undertaken in Part 2 (Technology) of this document.

All subsequent drawings are at 1:200

B

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A 96 - BLACKETT BOULEVARD NORTH ELEVATION

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B98 - NELSON STREET SOUTH WEST ELEVATION

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C 100- FORUM MARKET SQUARE WEST ELEVATION

D - MONUMENT NORTH EAST ELEVATION

E - HIGH FRIARS ARCADE NORTH BUILDING

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F - HIGH FRIARS ARCADE SOUTH BUILDING

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PART 2 / TECHNOLOGY Architectural Design Practice 1 ARC 8052

TECHNICAL STRATEGIES 9.1 / OVERVIEW

1

Ty Pawb / Fetherstone Young Architects, UK (2018)

Newport Street Gallery / Caruso St John, UK (2015)

Tate Modern / Herzog & de Meuron, UK (2000)

Laban Dance Centre / Herzog & de Meuron, UK (2003)

Institute for Contemporary Art / Steven Holl Architects, USA (2018)

L’ecole de Beaux Arts de Nantes / Franklin Azzi Architecture, France (2018)

The Crystal, Royal Ontario Museum / Daniel Libeskind, Canada (2007)

The Brewery Yard / Tzannes Associates, Australia (2015)

Sharp Centre for Design / Will Alsop, Canada (2004)

Structural Approach & Typology Early on in the development of our proposals, the studio encouraged us to declare our approach towards structure - starting with a chosen typology.

This would inform our approach towards tackling the site which is currently occupied by an existing structure and how this may later inform our material and design choices.

2

An overview and analysis of each typology with respective studied examples are outlined below and opposite, following a choice and reasoning.

1 - Re-Use • By recreating / refreshing the existing structure; it serves as a reminder that spaces must be able to adapt and respond to temporal needs of a time & place.

• Can be selective about what gets ‘re-used’ to serve as architectural relics which represent the memory of the previous building.

• This grounds the new design to a specific place to be more readily woven into the cultural & urban fabric.

2 - New Build • As a new approach towards the Arts & Culture Sector is being proposed by the project; then its design should reflect this.

• The building function also proposes a new direction for how performance can occur within the urban core.

• A new build design provides a clean slate that heralds a new beginning for both sector, building function and city centre model for the future.

Typologies represent the theme of counterparts present in Performance and the Arts & Culture Sector.

3

3 - Parasite • This typology isn’t as prevalent in spaces that involve performance spaces.

Perhaps because these require a bespoke approach that requires adaptable and large space. I feel this approach would be too constrictive to deliver a successful building programme.

• Furthermore, its very nature physically clings onto an existing building (the past) which is incongruous with the proposed Building Manifesto.

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TECHNICAL STRATEGIES

Gluam - China Pavilion for Expo Milano 2015, Studio Link-Arc

ctio

Introduced Glulam Primary Structure with CLT Walls and Floors

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CLT Floor to E xi s ting Co n

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9.2 / WORKING WITH EXISTING STRUCTURE

oo Fl

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Connection Flush to Floor Finish

Retained Concrete Structure New CLT Structure

Anodised Steel Bracket

Structural Systems & Key Junctions The choice in building typology led to choosing structural systems that could easily work with existing and retained concrete structures (CLT) while also making the desired aesthetic forms possible (Glulam). To further substantiate my choices, shown opposite are two key precedents for each system that reinforce the suitability of the systems for this particular project. Below is an overview of each system with its structural, environmental and aesthetic credentials.

Glulam • Straight and curved members for design and architectural benefit, appropriate for desired forms used in proposed building.

• A high degree of dimensional stability.

• Fire-resistant.

• Easy to erect and install, works very well in conjunction with CLT. • Sustainable.

• Great sound absorption qualities.

CLT / Retained Concrete - Brock Commons Tallwood House, Acton Ostry

Glulam Beam to

Co nc r

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Co ction nne

Anodised Steel Connection Plate & Bolts

n lum

New Glulam Structure

Key Junctions Furthermore, as most of the existing concrete frame is being retained, the junction between the old and new will be crucial to create a structurally and aesthetically cohesive design. This were something I wanted to celebrate as this continues the theme of counterparts between old and new. Indicative construction details are shown opposite.

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CLT • Strength and uniformity of properties, similar to pre-cast concrete while being lighter than concrete - ideal for use as an introduced structure system to existing buildings.

• Highly sustainable building material.

• Fire-resistant.

• Good sound absorption and Insulating properties.

• High aesthetic quality.

• Works well in regular grid formation - ideal for working in conjunction with existing concrete structures.

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Retained Concrete Structure

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Existing Concrete Frame Structure

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TECHNICAL STRATEGIES

ver view 1. O

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9.2 / WORKING WITH EXISTING STRUCTURE

Structural Considerations & Highlights The points below highlight some of the key structural considerations that were incorporated into the establishment of the structural integrity. Below is a short description of the points outlined opposite.

1. Overview - The finished building will be a composite building of the retained reinforced concrete frame structure of the shopping centre; with added Glulam columns & beams and CLT walls and floor for the new additions. As part of the studio criteria, we were tasked to be mindful of the embodied carbon within a building as part of our structural and environmental considerations. This led me to retain as much of the existing structure and seamlessly incorporate it into the new design.

2. Columns & Ground Floor Slab - The introduced columns all work within the existing column grid. New columns were only introduced where strictly necessary and at the same dimensions as the existing concrete ones that they would sit on top of. The existing building has a sloped ground floor slab, this was levelled to accommodate the Performance and Rehearsal Space to provide a more ample ceiling height.

3. Floor Slabs - The existing floor levels were not even across the site, as a result I analysed and devised a strategy to partially keep the existing concrete floors at the favourable levels to the scheme and introduce the CLT floors to align with the existing slabs.

4. Secondary Structure & Roof - Glulam is used to support the CLT Floors and brace the CLT Walls. Furthermore, Glulam will be utilised for the roof structure in the form of an asymmetrical Portal Frame which allows for a large volume to be created without the need of intrusive frames - ideal for the Exhibition Space to house artworks of all shapes and sizes in a pleasant space. The CLT walls would then help to brace and increase the structural rigidity between the portal frames.

5. Listed Facade and Projected Screen - Further to that, by using lighter weight steel frame for the external stairs that brace the louvred screen, the thinner profiles are less visually obstructive both from street level and from inside the building. This allows the retained facade structure to be kept separate allows for inbuilt adaptability should the external stair and screen need to be repaired or changed in the future without questioning the structural integrity of the listed facade.

6. Circulation and Other Elements - The spiral stair was derived from the move that kept the somewhat polarising curved end of the original building but set back to reveal the listed facade and to have a diameter that proved more useful and highlighted the access to the metro to encourage flow through of pedestrian traffic through the arcade. This is a self supported CLT structure where each riser is bolted onto its adjacent steps. The each floor is one structure which is then bolted and fastened to the CLT Floor and steel frame glass lift that it encompasses. The glass louvres which bookend the arcade are developed in further detail on Pgs.120-121.

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en

TECHNICAL STRATEGIES 9.3 / Materiality Volume 4 - High Friars Arcade Extension (Predominantly Accoya and Glulam) Reads as a distinctive volume that seemingly hovers over the two buildings below.

Volume 3 - High Friars Arcade Building South (Predominantly Reclaimed Clay Brick) Reads as a series of light touch interventions within an existing structure.

Strategy & Overview The choice in materiality aims to work in conjunction with the chosen structural systems - both existing and introduced by providing a limited material palette to give both buildings their own distinctive character while still being visually cohesive. The intended identities of these buildings is outlines with the diagram opposite.

HIGH FRIARS ARCADE NORTH BUILDING / Scale 1:400

1.

6.

2.

5.

4.

8.

3.

7.

Volume 2 - High Friars Arcade (Predominantly Glazing) Reads as a typical arcade building typology

The internal elevations on the following page show the material arrangement.

Below is a brief description of each material as well as the key rationale for their choice into the design of the building.

RETAINED 1. Brick / From INTU Facade 2. Concrete / From Existing Structure 3. Sandstone / From Listed Facade

Volume 1 - High Friars Arcade Building North (Predominantly Brick) Reads as a permanent and ‘finished’ building.

INTRODUCED 4. Clay Fire Brick / These would be reclaimed and salvaged from demolished buildings in an effort to be mindful of not losing the embodied carbon from their first manufacture. The lighter colour is not only complimentary to the introduced structure but as a signpost to any introduced elements by being a visual counterpart to the retained brick from the colonnade.

5. Accoya Cladding / As well as providing a similar colour tone to the retained Sandstone from the Listed Facade, this is a very durable, sustainable and low maintenance material to maximise the building’s service life and lower running costs.

6. Kalwall / Used alongside high performance glass, this provides a more diffused light transmission into a space, ideal for the Exhibition and Rehearsal & Performance Space while providing better thermal insulation qualities.

7. Cork / Used predominantly internally, this material provides excellent naturally thermal and acoustic insulation qualities while being very sustainable.

A more in depth study into the acoustic qualities of the material has been undertaken in Pgs.124 - 125.

8. Vegetation / A more in depth study into the Green Wall has been undertaken in Pgs. 122 - 123.

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ENVIRONMENT & SUSTAINABILITY

BALTIC39 Gallery / Jabornegg & Palffy + Cackett & Burns Dick, Newcastle (2012)

Newport Street Gallery / Caruso St John, UK (2015)

10.1 / OVERVIEW

Performing Arts Centre STUK / Neutelings Riedijk Architects, Belgium (2002)

Roof Profile Typology By repeating the portal frame that is used in the construction of the roof a sawtooth profile is created; this is one that is readily associated with galleries and spaces of creative activities. As seen opposite, there are various architectural precedents that have played with the proportions and angles of the profile to create successful gallery and workshop spaces. This gave me the confidence to be playful with the proportions of the portal frame, in part thanks to the structural qualities of Glulam to produce expansive curved forms. The result was that of a sawtooth profile which integrates a series of environmental and sustainable strategies. These are outlined in the following pages.

RCA, Painting School / Haworth Tompinks, UK (2009)

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RCA, Painting School / Haworth Tompinks, UK (2009)

Summer Solstice - 58o

ENVIRONMENT & SUSTAINABILITY

EVEN NORTH LIGHT

10.2 / RENEWABLE ENERGY & LIGHTING

N

EVEN NORTH LIGHT PV PANELS

PM

DIRECT SUNLIGHT

AM

PV PANELS Winter Solstice - 11o SUN PATH

30o - 35o

Integrated Design Approach RENEWABLE ENERGY The southern facing roof pitch provides the ideal location for PV Panels to provide a renewable energy source for the building. The roof pitch has been designed to be in the range of 30o - 350, the optimum range for the UK. The high level of the roof would mean sunlight is unobstructed throughout the year.

This would help to lower energy costs by producing most of its energy on site through environmentally sustainable means.

LIGHTING STRATEGY Building has been designed to make the most of natural daylight in the appropriate manner for its respective uses to reduce reliance on artificial sources. By stepping the level of the South Building back on the top floor, it allows for a deeper penetration of the sun to reach into the arcade during the winter months when the sun is at a lower angle. Furthermore, the south facade of the north building introduces a perforated brick double skin facade on the lower level of the Digital Archive (to blend into the design of the colonnade) and horizontal Brises Soleil on the upper level of the Digital Archive to prevent excessive sunshine to enter and create glare for the people there. The solid element of the roof was also extended on the second southern sawtooth profile to prevent direct sunlight to enter the exhibition space which could potentially damage the artwork inside; while the north facing rooflights will provide even soft light into the space for optimum light levels.

MICROCLIMATE The Warm and Humid Air from Adjacent Spaces will provide a naturally heated and pleasant microclimate along the arcade, while sustaining the Green Wall that will in turn help to improve the air quality within the city centre. The warm air can then be expelled through skylights at roof level as a result of Stack Ventilation when necessary to prevent overheating.

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HOT AIR RISES

COOL AIR

WARM AIR

ENVIRONMENT & SUSTAINABILITY 10.3 / NATURAL VENTILATION Steel motorised rotor, flashed with anodised aluminium 232mm

Glazed fin, sealed to steel motorised rotor HOT SUMMER AIR

Steel support beam (seen in elevation)

Glulam support beam

Natural Ventilation The building utilises the arcade to act as a funnel that drives the prevailing wind from the West/South West direction through the scheme. In this manner, it will mostly rely on natural ventilation to improve its environmental performance and reduce running costs by reducing the need to rely on mechanical ventilation systems.

CONDITION 1 HOT WEATHER / Open

N

25mm

COLD WINTER AIR PREVAILING WIND DIRECTION

32mm

The building will be able to respond to the shifting climate throughout the year by a series of actuated ventilation louvres at either end of the arcade. The louvres will be glazed to allow maximum daylight penetration irrespective of whether they are open or closed. The louvres will be remotely operated through a Building Management System that will monitor and control the amount of cross ventilation through the building to ensure optimal thermal comfort for the people inside.

Actuated Louvre - Open / 1:10

The two possible conditions are outlined opposite, alongside a detail for the louvres and a brief description below: CONDITION 1 - HOT WEATHER (OPEN) During the warmer months, the louvres will open to allow a constant breeze to travel through the building. The constant movement of the air will minimise the impact of excessive heating as a result of still air created in urban islands.

225mm

CONDITION 2 - COLD WEATHER (CLOSED) During the cooler months, the louvres will close to prevent the prevailing wind from entering the arcade. As the roof profile is mostly south facing, the glazed elements will act as a greenhouse to increase the air temperature inside the arcade thereby improving thermal comfort and reducing the need to rely on additional heat sources.

Actuated Louvre - Closed / 1:10 120

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CONDITION 2 COLD WEATHER / Closed 121

ENVIRONMENT & SUSTAINABILITY 10.4 / RAINWATER HARVESTING

Internal View of Green Wall from High Friars Arcade

Green Wall & Air Quality A study into the air quality in the centre of Newcastle revealed that its average pollution levels far exceed the recommended value. The large south facing elevation of the North Building provided the perfect opportunity to introduce a Green Wall that not only reintroduces nature back into a city centre but acts as a pollution sink and will work to improve the local air quality.

The current legal level for pollution in cities is 40 µg/m3. Each area around out site that pollution levels were studied showed a higher than legal level of pollution. The worst area is Old Eldon Square with 71 40 µg/m3. The green walls would work to improve the air quality in the city centre.

Furthermore, the design of the roof (afforded by the Glulam portal frame) also contributes towards the low maintenance and running costs of the green wall. As the rain falls on its surface, it gets funnelled down to the valleys before being collected and stored at a high level Rainwater Harvesting Tank. Here the green wall can be gravity drip fed water, this reduces the need for an energy consuming pump to circulate the water and irrigate the soil. The diagram opposite illustrates this process.

Centrica Atrium, Biotecture (2013)

Companies such as BioTecture specialise in slimline green walls that provide optimum growth conditions without compromising the structural integrity of a building. Their green wall is only 82mm thick and weighs 65 kgs/m2 fully saturated; making it very lightweight. The standard panels in the Biotecture system are 600mm wide x 450mm high. The panels complete with plants sit on pre-fixed T section recycled aluminium rails which in turn are fixed to a cement particle backing board through the drainage void former material. This ensures that the irrigated zone remains in front of the backing board and there is no chance of any moisture tracking back to the rest of the fabric of the building.

This reinforces the feasibility of introducing a green wall into the scheme from a structural standpoint.

Newcastle Air Quality Map

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INTEGRATION WITH DESIGN

Structure junction bracket.

11.1 / KEY SPACE DETAIL SECTION Suspended ceiling to disguise building services and motors for acoustic panels.

Geometric cork acoustic panel; most surfaces of the space are covered in cork to improve acoustic performance; further detail on previous page.

DETAIL D

Electronically movable screens to create a set of conditions to best meet the requirements of the user.

Can allow for total exposure or complete privacy of activity within.

DETAIL C

Electronically movable acoustic panel to create best acoustic conditions for a range of shows and audiences.

Retained existing concrete structure.

Rehearsal & Performance Space

The building shown opposite, An Gaelaras by O’Donnell + Tuomey Architects (2009) in Derry, Northern Ireland is an example where cork has been used in a theatre space to improve its acoustic performance.

Large pivoting door to open up facade and create an active frontage that engages adjacent street to become an extension of the performance venue.

6,455mm

As mentioned prior, a key material used for the internal faces of the project is Cork. Regarding the Rehearsal and Performance Space the acoustics of a room is vital to its proper function as a venue. Cork is extremely well suited to this aspect because as its 200 million air cells per cubic inch; of which 50% is air, essentially acts as an “air cushion”, absorbing vibrations. Additionally, the introduction of the geometric panels will act as sound attenuation walls. The profile developed incorporates some key principles into the design of proper acoustics for a space such as this. Research shows that non-parallel edges are effective in mitigating flutter echo. The diverging surfaces will create a loudspeaker, enhancing the amplitude of the sound waves for a louder sound projecting into the space. A textured wall at the rear of the ‘stalls’ will reduce the impact of the rear edge by the introduction of a variously-angled sound absorption surface.

Electronically movable partition walls that convert the space from two separate rehearsal spaces into one large performance venue.

10,950mm

Shown opposite is the detail section through the key space in my scheme.

Various design considerations have been highlighted as well as the developed technical details which can be found in section 11.3

DETAIL B

New introduced CLT & Glulam structure

Bi-fold doors with flush floor finish to allow for facade of venue to open up and spill out activity from inside into the arcade; blurring the boundary between both.

Sight line into performance

space maintai ned with door opened

2,520mm

Integrated seat into steps to allow for temporary / transient spectating of rehearsals and performances.

Timber studwork and plywood stage; durable, economical and very low maintenance materials that can easily be repaired and replaced when needed.

125 New concrete ground floor slab required to acommodate the added load of new structure from rest of building above.

DETAIL A Rehearsal & Performance Space / Key Section 1:50

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Key Plan 1:500

INTEGRATION WITH DESIGN 11.2 / KEY SPACE INTERNAL VIEWS

Adaptable Design

1

The visuals opposite demonstrate how the detailed design of the key space translates itself as a built volume. They illustrate how it can be adapted for a range of scenarios to fulfil its brief of being a successful adaptable rehearsal and performance space. An overview of the possible arrangements and changes that happen in the space are outlined below: 1 - Rehearsal Arrangement • Partition walls divide the space into two rooms for rehearsal • Polycarbonate screen lower to increase privacy in space while allowing light to enter into space but still reveal activity occurring within to the street and arcade to intrigue passers-by 2 - Performance Arrangement • Lower partition walls open up to transform two rehearsal space rooms into one performance venue with stage at one end and seating at the other.

• Cork screen lowers to completely block out external light sources. This allows complete control over the internal conditions of the space through the light and sound rig controlled from the Tech Room at the rear.

• Acoustic panels lower and individually adjust themselves to allocated position to optimum for sound quality during performance.

3 - Street Engagement Arrangement • Both cork and polycarbonate screen raise to allow large windows to open and welcome Blackett Boulevard to become part of the performance.

• Acoustic panels flip to reveal mirrors that reflect the performance so that it can be seen from further afield on the street • Integrated seats into steps allows for additional seating for performance or during public consultations and workshops during the development of performances.

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INTEGRATION WITH DESIGN

(Void Space behind CLT Wall)

11.3 / TECHNICAL DETAILS Glulam / Colonnade anodised steel connection bracket Pivot door Glulam support frame Pivot door

Retractable screen guides flush to floor finish 100mm floor screed

(Screen Motor)

Drainage channel flush to external floor finish

175mm x 100mm SHS @ 10mm thk. support beam

150mm thk. rigid insulation

Thermoblock to prevent thermal bridging 750mm thk. Concrete slab Perimeter insulation @ 150mm thk. to prevent thermal bridging

Rehearsal & Performance Space

Damp proof membrane on 60mm sand blinding

Shown opposite are the technical details which illustrate how I have adapted standard details to make them bespoke and function within the design of the scheme. Below is a list of each detail, name and scale shown: Detail Detail Detail Detail

75mm thk. cork panels 75mm thk. polycarbonate panels

A - Ground Bearing Concrete Slab (1:20) B - Timber Clad, CLT Wall and Internal Screens (1:20) C - Acoustic Panel (1:10) D - CLT Intermediate Floor Construction (1:20)

Profiled Cork Acoustic Panel housed in 10mm thk. galvanised steel frame 18mm marine ply

60mm thk. rigid insulation 90mm CLT panel Breathable membrane in front of 100mm thk. rigid insulation 50mm x 50mm fixing battens for cladding Foundation blocks (dims vary) Accoya timber cladding @ 25mm thk.

Hardcore layer

Accoya timber louver with galvanised steel 50mm dia. & 25mm dia. support structure 100mm thk. rigid insulation

450mm x 775mm retained concrete slab, cut to form beam

Reinforced concrete footing

5mm thk. galvanised steel C-channel 18mm marine ply with 5mm anodised aluminium flashing Retractable screen guides

DETAIL A

DETAIL B

25mm floor finish 12mm recycled rubber sound absorption layer

Telescopic frame

60mm flooring grade rigid wood fibre insulation

(Acoustic Panel Motor)

(Acoustic Panel Motor)

150mm x 75mm SHS @ 10mm thk. frame

(Acoustic Panel Motor)

Breathable floor protection membrane 130mm CLT panel 300mm x 600mm Glulam beam

Face composed of 8mm plywood with mirror

75mm sheepwool insulation

Face composed of 35mm cork 30mm fire protection boarding 18mm marine ply with 5mm shadow gap finish

15mm thk. steel panel Rotating system to reveal either face of panel

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DETAIL D

12.0 / REFLECTIVE CONCLUSION

What are the strongest aspects of your project and what parts could be improved?

“Crucially, I have taken this semester as an opportunity to incorporate all year’s work and knowledge gained into account which culminated in the resolved design presented in Semester 2”.

Author

I feel that there are a few aspects of my project that I consider particularly strong. They are as follows: 1. Response to Brief - My commitment to fully engage with the Material Change studio brief resulted in a very considered approach that directly sought to respond to the questions and challenges posed by the brief which were outlined in the Introduction.

2. Response to Site & Newcastle - I believe that the finalised design is not only aesthetically sympathetic to its architectural context but also reinstates lost historic urban grain character back into the city to provide a truly location specific response. This helps to reinforce a sense of place both within High Friars Arcade and Newcastle at large.

3. Chosen Line of Inquiry & Design Concept - The level of research into establishing a particular client (Arts & Culture Sector) and overarching use (Performance Centric) for my building meant that the level of inquiry into the development of design concept drivers present a unique and new approach to the accepted, yet immaterial, model of the Creative Process.

Moreover, my building translates this revised model into a physical experience through a designed architecture.

4. Programme Rigour - Given the scale of my building, the rationality in the size, form, arrangement and provision of spaces, all work to deliver their intended use at that floor level in an architecturally refined and efficient manner.

5. Response to Semester 1 Areas of Improvement - I was conscious to respond to the areas I highlighted that could be improved. Most important of these was to work in section at an earlier stage in the design process. This semester, I first established a schematic section that helped me define both the arrangement of the building programme as well as the character of the building. Furthermore, my desire to better implement renewable strategies into my proposal has been successful as the very aesthetic and emblematic characteristics of the project work to incorporate various sustainable and environmental systems through an integrated design approach.

On reflection I feel that there are two key areas of my project which I think could be improve to further strengthen the scheme: 1. Atmospheric & Experiential Qualities - This semester I felt like I had an over reliance on my chosen digital modelling software as driver for developing the design and atmosphere of the building, largely due to the scale of my proposal and due to the fact that I consider 3D modelling to be a particular strength of mine. As a result, not all of the produced visuals best reflect the life, activity and joy that my building houses. I recognise that it would be of great benefit to myself and future projects of mine to work over the summer on improving my abilities using other methods to supplement my computer modelling abilities to better produce outputs in this field.

2. Scale of Design Hindering Technical Resolution - While I believe that I have demonstrated a good overall understanding and grasp of structure and architectural technology in this project; I believe that the overall size of the proposal put forward led to some constraints in the in the level and breadth of technological resolve across the proposal within the available time. I should work to better judge what is a more feasible scope in future.

This ensures that I can develop all aspects of a project through a wider range of spaces, both key to my building and more conventional ones.

How did you find working remotely this semester?

Much like last semester, this time round I found working remotely to be increasingly challenging. I will reiterate that one of the most important factors of the design development process is the collaborative atmosphere that is fostered by the studio environment. Beyond being able to bounce ideas off of a colleague and allowing for some separation between home and work; it allows for cross pollination of ideas and skills between students and projects that ultimately offers an alternate perspective and helps to develop a more convincing scheme. I have found that trying to develop and present a fully resolved project while working in isolation is incredibly challenging, not least of which because of the impact on my own mental health which has had a detrimental impact on productivity at points. Having said that, I was very GC1 / GC2 / GC3 / GC4 / GC5 / GC6 / GC7 / GC8 / GC9 / GC10 / GC11

pleased with how the Material Change studio was organised and run. I felt very well supported with a consistent tutorial schedule and advisory voice from my tutors.

What mark would you give to your own work?

If I were to make my own work; I would probably place it firmly on the boundary of a Pass with Merit and Pass with Distinction. I feel that beyond intensely engaging with the studio brief; my project takes into account tackling the two a long-standing issues: the decline of UK city centres and the reduced importance and significance of the Arts & Culture Sector in the British socioeconomic landscape. Furthermore, from a personal perspective, I have really challenged myself this semester by taking on a project of a scale such as High Friars Arcade. Neither in my Undergraduate nor my professional experience have I worked on a building this size. Notwithstanding, I have thrown myself into every aspect of its design to striving to deliver a convincing scheme fitting for a masters level piece of work. Crucially, I have taken this semester as an opportunity to incorporate all year’s work and knowledge gained into account which culminated in the resolved design presented in Semester 2. It is this holistic approach to the MArch programme that has allowed me to produce something that I wholeheartedly believe in and stand by visually and conceptually - with both being equally strong. This is something which I believe to be somewhat of a rarity in the architectural field and should therefore be recognised.

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APPENDIX A - In Depth Site Analysis (Semester 1) B - Forum Market Square C - Architectural Derive D - Sketchbook Development

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APPENDIX A / IN DEPTH SITE ANALYSIS

LIST OF LOCATIONS 1 / Old Eldon Square 2 / Grey’s Monument 3 / Grainger Market 4 / St Andrew’s Church 5 / The Gate Foyer 6 / Grainger Street 7 / Clayton Street 8 / Original Site of Green Market 1

1 / Old Eldon Square

3 / Grainger Market

6 / Grainger Street

4 / St Andrew’s Church

7 / Clayton Street

5 / The Gate Foyer

8 / Original Site of Green Market

2 4 6

Perceived West and East Barrier 6

Following studies of how the immediate context responded and was used in relation to the urban block throughout various points in the day, week and year; it became evident that the expansion of intu Eldon Square over the years had caused the Western part of the city centre to become isolated with little to no acknowledgment or incorporation into the activities and offers found towards the eastern parts. This created a perceived barrier in terms of activity, movement and atmosphere along Newgate Street. This resulted in the western gateway to the city as feeling neglected and not well recognised.

8 7

Perhaps the key relationship to note is that all of the passively or declining used sites of congregation are found to the west of the site. It can be inferred that the centre acts not only as a physical but a social barrier to the city centre; inhibiting any potential for congregation or social mixing. This is particularly interesting as in this area, both St Andrew’s Church ‘4’ and The Gate ‘5’ (modern retail and leisure complex) are expected places of active congregation.

3

5

The impact of COVID-19 is also evident here as new and unexpected places of congregation have begun to emerge, in particular along Clayton Street ‘7’; where in an effort to maintain social distancing within stores, queues of people have become a common sight along this once transitional space.

On the other hand, a few of the once popular congregation spaces have disappeared; at least temporarily as vacant units offering outdoor seating onto the pedestrianised streets ‘6’ have shut as a result of the economic slump brought on by the pandemic.

In one instance, the shopping centre itself has in fact engulfed and eradicated a past congregation place, the site of the Green Market ‘8’; without any intention to replace or relocate the offer within the new site itself.

KEY

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N

Active Congregation /

In-Flux Congregation /

Declining or Passive Congregation /

Historic Congregation / Scale 1:2500

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2 / Grey’s Monument

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APPENDIX

Urban Block Current Condition

Through Route/Increased Wind Speed Under Raised Building

A / IN DEPTH SITE ANALYSIS

Environmental Factors Old Eldon Square Solar Modelling, Courtesy of Group 3

Sunlight Previous to the intu Eldon Square development, Clayton Street led all the way through to Old Eldon Square; breaking up the large block of mass which is now the current condition. This had the impact of reducing much favourable sunheating and lighting during winter months as well as providing a very pleasant environment during summer months in Old Eldon Square. Consequentially, the large mass now shadows this popular area, creating an uncomfortable environment for passers-by.

Urban Block Explorative Intervention

Blackett Street Flyover Wind Condition.

Courtesy of Group 3

Raised bridge over Blackett street turns colonnade into channel for wind.

The project will explore the possibilities to bringing in more sunlight into Old Eldon Square and Blackett Street throughout a greater proportion of the year.

W/SW Prevailing Wind The prevailing wind from the West / South West is forced under the intu Eldon Square bridge that crosses over Blackett Street and the colonnade along intu Eldon’s northern edge. This acts as a channel, funnelling wind and forcing it through at a high speed. With the lack of sun, this makes for a cold and uncomfortable place for pedestrians.

One of the aims of the proposal will be to mitigate this effect in order to encourage pedestrian movement through the space with the intention to investigate the appropriateness of providing an offer to work as part of a pedestrianised Blackett Street.

Blackett Street Wind Rose Diagram.

Old Eldon Square Solar Modelling, Courtesy of Group 3

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intu Eldon Square Colonnade Wind Condition.

Courtesy of Group 3

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APPENDIX A / IN DEPTH SITE ANALYSIS

Photograph taken by a photographer

Font created by a typographer

Application of cosmetics by a make-up artist

Hair by a hair stylist Message written by a copywriter Tate Protests / 2020

Clothes and Shoes designed by a fashion designer

Arts & Culture Sector during the COVID-19 Pandemic One of the most deeply impacted sectors by the COVID-19 Pandemic has been the Arts & Culture Sector; and with it, the notion of entertainment, escapism and community that is so strongly associated with it.

At one point, 25% of all businesses were not trading; while 41% had their turnover halved. In conjunction with the fact that as many as 80% of those working in the arts and the wider creative industries are self-employed or work freelance and were unable to secure government support through the self-employment scheme and grants. Workers have been incredibly outspoken about the devastating psychological toll of being “forgotten” and “ignored” after falling through the cracks in government support schemes.

The proposals put forward will seek to restore the civic role of the arts. It will provide opportunity for socially distant performances as well as education and training for the community into the sector by the very industry workers who have been affected by the pandemic. With many unemployed or under furlough, it presents a unique opportunity to either develop a new skill or seek out a lifetime dream of performing. Thereby subverting the governments message of “Rethink, Reskill, Reboot” to promote the Arts & Culture Sector.

Bench created by a furniture maker Layout by a graphic designer

Building designed by an architect

The sector is at the very brisk of collapse as a result of the pandemic. Public sentiment towards the government was not helped as many deemed the eventual announcement of the £1.57billion Culture Recovery Fund came far too late to mitigate the already massive venue closures, postponed shows and rising unemployment in the sector. This comes as a surprise considering that the sector is worth to £112billion to the Treasury, making it more significant than Agriculture or Sport - both of which have been less hard hit and better supported by the government. This perceived indifference towards the arts is further highlighted by the fact that there has been a 43% fall in local authority arts funding from 2007 to 2018; while there has been a 37 percent fall in entries for arts subjects at GCSE over the past decade.

Culture Recovery Fund Campaign, UK Gov / 2020

Interestingly, for many - myself included - at a time where many individuals who were having to self-isolate or were living alone turned towards music and pre-recorded performance for a sense of company and emotional support in an effort to safeguard their mental health; it highlighted not just how integral arts and culture can be to our everyday life but also how this industry has not been built in order to allow for performances to occur with social distancing measures in place.

THEATRES UNDER THREAT

LIVE MUSIC

34m

£1bn

Generated Gross Value to UK economy

£1.3bn Theatre box office income in 2018

191,000

People Employed

80%

Estimated average reduction in seats due to social distancing

25m

Audience Reached in 2019

50%

Minimum proportion of tickets a show needs to sell to break even

5m

Number of people attending festivals in 2019

70%

Proportion of theatres warning they will run out of cash by the end of the year

70%

Proportion of 290,000 theatre jobs at risk

Theatre tickets sold in 2018

Source / The Guardian

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Source / UK Music

Industry Worker’s Campaign / 2020

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APPENDIX A / IN DEPTH SITE ANALYSIS ‘Roman Forum, LIVE @ Night’

A NewTro City Centre Model The projects posed by the Material Change Studio will seek to reactivate the city centre by providing an alternative model that can be replicated and adopted across the country. For the past decade, the UK high street has been in decline. As shoppers move towards the convenience of online retail; this has meant that the large anchor stores that once drew people into the centre of town have had to close branches as they have become financially un-viable.

This has had a knock-on effect for the smaller independent stores that relied on the footfall brought by the chains. The recent COVID-19 Pandemic has only accelerated and exacerbated this process with many businesses being forced to shut; unable to reopen in the foreseeable future, leaving many vacant units behind with it, turning the once vibrant and bustling city centre into a desolate ghost town.

The notion of reinterpreting a forum space for modern times as a masterplan vision for the city centre as one that could be adopted and replicated; will help to ground and reconcile the proposed interventions in an architectural and spatial sense.

By shifting the high street’s established focus away from retail towards community engagement and education; this will serve as the vehicle for reactivation and reanimation of the city centre. This would have its focus on the arts and cultural sector that has been massively impacted and underfunded by the UK government throughout the pandemic.

A key theme that will be explored is the aspect of social performance, embodied by the historic Mayfair Ballroom. Its greatest success was that it not only provided places for performance but created and engaged with its patrons for the opportunity of impromptu performance. Here, its adaptability to enable a multi-purpose social place enabled the community to both experience and become part of the performance; thereby aiding the venue to be woven firmly and deeply within the urban and cultural fabric of the city.

Supplementary to this, the idea of ‘Newtro’ (new + retro); an emerging cultural movement originating in Korea whereby mixing the ideals of the past with current interpretations lead into research of historic models for an effective and inclusive city centre. Perhaps the earliest and most successful was the concept and ethos of a forum. A forum is an open public space within a city; often comprised of various buildings or sites. Recognised as a gathering place of great social significance; they housed a diverse range of activities.

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Reconstruction and Re-use of The Roman Forum / Gilbert Gorski

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APPENDIX A / IN DEPTH SITE ANALYSIS

January March

Chinese New Year Fesitval

NewcastleGateshead Comedy Festival Newcastle ScienceFest AV Festival

April Newcastle Beer Fesitval

May This Is Tomorrow Fesitval

The History of Performance in Newcastle THEATRE Since the late 1700s, performance in the city has had a prominent influence in the culture of the city and its people.

The original Theatre Royal opened in 1788 and held many successful seasons before moving from its location in Mosley Street to its present location on Grey Street in 1837 where it has had continued success. Since the introduction of the formal theatre venue, many more locations have since been built such as, Alphabetti Theatre, Live Theatre and Northern Stage. These not only host performances but also have their own production companies for in house works that also tour nationally across the UK. In addition, the latter two offer bursaries to artists in order to help develop new work. Other theatres include the Tyne Theatre & Opera House and the Jubilee Theatre.

There are a few amateur drama societies around the cities that engage with the community such as the People’s Theatre and the Little Theatre; while the Gosforth Civic Theatre has a special needs outreach programme and the production company Open Class focuses on working with women who have been victims of domestic abuse.

MUSIC The city has produced some of the world’s most prominent and successful artists such as Sting, The Animals, Dire Straits, Andy Taylor of Duran Duran and Brian Johnson of AC/DC. Furthermore, the city has created or heavily influenced genres; for example in the case of Venom, reckoned by many to be the originators of black metal and extremely influential to the extreme metal scene as a whole, formed in Newcastle in 1979 and, folk metal band Skyclad, often regarded as the first folk metal band.

Newcastle is also home to prominent record labels such as Kitchenware Records and Global Underground; the latter of which was formed as a result of the 1990s boom in progressive house music. This is just one of many examples that showcase the city’s support for underground music scenes; others include drum & bass, doom metal and post-rock.

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North East Art Expo

EAT! NewcastleGateshead

Newcastle’s leading classical music ensemble is the Royal Northern Sinfonia, which was founded in 1958 and often tours nationally and internationally; ICMuS, Newcastle University’s music department, has been a driving force for music in the region, producing innovative work, organising concerts and festivals, instigating the first degree programme in folk music in the British Isles, and engaging creatively with communities in the region.

VENUES The city offers a wide range of performance venues ranging from arenas such as St James’ Stadium; the Utilita Arena Newcastle (formerly Metro Radio Arena) to the Sage Gateshead and Newcastle City Hall which attract some of the foremost names in the entertainment industry.

Newcastle also offers supports more indie and emerging talents as the O2 Academy offers a smaller upstairs room; while The Cluny in Ouseburn Valley is one of the most important venues for breaking bands in the region. Both universities have venues on their campuses.

A few places in the city have provisions for less regularly scheduled performances such as Hoochie Coochie (a jazz and cocktail bar) and The Stand (a comedy club) while open-air concerts are held in Times Square and Stack Newcastle.

The Hoppings Newcastle Community Green Festival Newcastle Community Green Festival

July

The Ouseburn Festival

August Mela Festival

September International Arts Fair

October Design Event Festival SAMA Festival

December Christmas Markets

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Cyclone Festival of Cycling

Northern Pride Festival and Parade

INFORMAL PERFORMANCE In addition to the various ongoing theatre productions; the city hosts a vibrant Festivals and Fairs calendar throughout the year.

The largely pedestrianised city centre often has a wide array of buskers in the form of singers and street performers where the council doesn’t require a licence.

June

APPENDIX B /FORUM MARKET SQUARE

Meeting House Square, Dublin / Sean Harrington Architects

Operation Strategy & High-Level Design Intent Following the final review; it was suggested that the masterplan vision for Newcastle Forum would be strengthened by incorporating an element which acknowledges the Grainger Market. The market has been incredibly successful and a popular meeting place over the years with a strong brand identity and public presence. However, this is an aging demographic which makes its future somewhat uncertain. The aim is to secure the market’s longevity by investigating how its operation and offer could be adapted to appeal to a wider customer base.

Operation Strategy I have identified the gap-site created by demolishing part of the urban block to reinstate the historic route from Clayton Street through to Old Eldon Square as the most appropriate location for this part of the urban intervention. Its proximity to both the existing market and the main pedestrian route of the Forum, place it at the perfect point to bridge and connect both elements.

The intent is that this will encourage cross-pollination of movement, use and interaction between both.

The public space will operate as an outdoor market square; a typology firmly ingrained in the British urban model. This will not be in competition with Grainger Market; but instead provide a supplementary and complimentary offer to the existing.

In 2016, the Newgate Shopping Centre was demolished to make way for a £100m mixed-use scheme. The centre, which opened in 1969, housed many units and stalls which provided an offer unique to Newcastle City Centre.

Many of these tenants had been there since for decades, accruing a small but loyal customer base. Prior to demolition they were forced to disperse to new locations all over the city.

Forum Market Square would consolidate these types of traders to attract a new younger demographic by providing goods and services not found in the traditional market offer of Grainger Market and appeal to the significant international population found in the city. Between Newcastle and 144

Northumbria Universities, there are approximately 13,105 international students which is equivalent to about 20% of the entire student population.

This is in addition to the 41,500 international residents living in the city which corresponds to approximately 15% of the whole population. This demonstrates the untapped potential to attract a significant sector of the population which I believe is currently not being catered to by the current offer at Grainger Market. Examples of the types of stalls that could be placed in the outdoor market include, but not limited to, ethnic food stores and cafes (Latin American, Afro-Caribbean, Eastern European), textiles, electronics repair & accessories and arts & crafts.

High-Level Design Intent These pages will outline the overall approach that this space will adopt in terms of design and layout principles to demonstrate a proof-of-concept to this element of the masterplan, due to it occupying a newly created and key route into the Newcastle Forum. As explained in Chapter 5.1, the Forum Market Square will be developed in greater detail during Semester 2 with the rest of the Masterplan Locations.

Vieux Port Pavilion, Marseille / Foster + Partners

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Proposed Demolition of Urban Block - Creates Views and Reinstates Desire Lines

MARKET STALLS / LOCK-UPS - (kingston ancient market) A series of lock-ups will allow the tenants to operate throughout the week by allowing them to trade out while being able to securely store their goods at night without having to dismantle stalls every day. They will also provide greater protection for the traders throughout changing weather conditions. Space providing, a portion of the square will be allocated to house a temporary market offer such as a flea or farmer’s on Sundays when Grainger market is closed.

URBAN PUBLIC SQUARES - (meeting house square) Through careful design and use strategy, these gap sites can become social and activity incubators. They provide a welcoming and vibrant atmosphere, helping to diversify the city centre offer by creating adaptable spaces that can accommodate a range of situations. They also take into consideration changing weather conditions and provide solutions that allow daylight in but can shelter users under rain or snow to intensify the use of the space.

LOW PROFILE CANOPY - (vieux port pavilion) In this particular site, a key condition to its success is that the views through the site to Old Eldon Square and the War Memorial are maintained. A thin canopy will provide shelter when required but will be visually unobtrusive and minimise any cast shadows. This ensures that more sunlight is brought into Old Eldon Square and Blackett Street throughout a greater proportion of the year as originally intended. The design will be developed and defined in Semester 2.

Existing Condition of Urban Block - Acts as a Physical and Visual Block

Semester 2 will allow for a greater in-depth investigation to the finer design details and aesthetics of the lock-ups and stalls to allow for trader signage and personalisation.

Kingston Ancient Market (Built) / Tonkin Liu

Proposed View to be Opened

Urban Block Proposed Demolition in Context

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APPENDIX

7

B /FORUM MARKET SQUARE Relocated War Memorial

Site 6 Building (Developed in Semester 2) Market Canopy - Allows Views Through and Potential for Solar Panel Placement

Market Lock-Ups from Reconfigured Performance Pavilions

Retained Buildings

Grainger Market

Existing Site Topography Retained - Level Floor for Market Drainage Management

BLACKETT BOULEVARD

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1

4

3

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2 4 5 Old Eldon Square

Blackett Boulevard

Forum Market Square

Pavement

Nelson Street

Pavement

Clayton Street

Above / Diagrammatic Key Section Scale 1:250

TRE RS GE

6 - Interactive Community Wall / Art Mural

AIN

5 - Public Water Feature and Integrated Seating

NE

LIST OF LOCATIONS

LSO

GR

2 - Preston Market Hall, Outdoor Temporary Stalls / Greig & Stephenson

ET

Opposite / Diagrammatic Layout and Spatial Use Plan Scale 1:500

1 / Market Lock-Ups with Spill-Out Space

NS

TRE

ET

5 / Public Water Feature with Public Seating

NS

4 / Gender Neutral Facilities

CL A Y TO

3 / Canopy to Cover Market Demise

TRE E

T

2 / Temporary Outdoor Market Stalls

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6 / Interactive Community Wall & Art Mural 7 / Relocated War Memorial 8 / Grainger Market 9 / Site 6 Spill-Out Space and Active Frontage

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APPENDIX C / ARCHITECTURAL DERIVE

Line of Curiosity / Drift Movement START 0° N / 28 paces; 90° E / 12 paces; 0° N / 23 paces; 90° E / 25 paces; 180° S / 31 paces; 210° SW / 92 paces; 273° W / 91 paces; 181° S / 16 paces; 109° E / 135 paces; 141° SE / 154 paces; 186° S / 530 paces; 260° W / 50 paces; 203° SW / 15 paces; 260° W / 95 paces; 160° S / 220 paces; 256° W / 80 paces;

The theory of architectural derive is based upon a technique of rapid passage through spaces. It began with the Situationist Movement prevalent between 1957-1972. It was believed that rules and sterilisation was making the world dull and lacking in spontaneity. They sought to have people make choices on what kind of architecture they would like to see in their cities as after all, they would be the ones living and experiencing them.

Derive involves playful and constructive behaviours with an awareness of psychogeographical effects. Psychological experiences of the city can reveal or illuminate forgotten, discarded or marginalised aspects of the urban environment. Psychogeography thrives as an interrogation of space and history.

It compels the individual to temporarily abandon our ordinary conceptions of the face value of a location.

The purpose is to be drawn by the attractions of the terrain and what they find there. There is no motif in mind, just experiencing the city open to new perceptions in the hopes of unearthing unforeseen and unexpected revelations about their urban realm.

DETOUR 207° SW / 70 paces; 240° SW / 180 paces; 183° S / 127 paces; 240° SW / 100 paces; 175° S / 127 paces; 207° SW / 153 paces;

The challenge was to draw the journey from our homes to the site. We were to join the two locations with a straight line and to follow this as closely as possible; before creating a drawing to visually represent this journey.

Visually, my response to the task would consist of plotting the relation between the intended passage (line of curiosity) and the realised passage (drift movement) to show how similar or dissimilar these might be. The use of photographic vignettes would represent the atmosphere and physical qualities at key moments in my journey, when looking back through memory.

JOURNEY TRANSCRIPT

Delving Into The Soul Of The City The vignettes represent the atmosphere and physical qualities of key uses through the journey when looking back at it through memory. These differ from the key punctual moments dictated by the bridges encountered. These encapsulate the essence of Newcastle and reveal a paramount truth to its urban realm. Bridges are integral to the experience of the city; their location and journey through them reveal socioeconomic hierarchies established in Newcastle. Bridges in the city often provide desirable links - transport, spatial, education and economic. However, at its nucleus, they serve to disconnect and promote an insular experience of the city. They remove the sense of place through its anonymous architecture.

RE-COURSE 166° S / 160 paces; 114° SE / 10 paces; 178° S / 97 paces; 224° SW / 40 paces; 160° S / 138 paces; 155° SE / 45 paces; 268° W / 70 paces; 168° S / 120 paces; 178° S / 27 paces; 236° SW / 64 paces; 217° SW / 165 paces; 124° SE / 123 paces; 206° SW / 165 paces; 128° SE / 30 paces; 193° S / 420 paces; 205° SW / 80 paces; FINISH

‘DERIVE’ A technique of rapid passage through time; with the intention of creating a mental map of surroundings aiming to become lost in the city - drifting.

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APPENDIX D / SKETCHBOOK DEVELOPMENT

Design Evolution A key part of my development process has always been to write down and sketch out my initial thoughts and ideas. This aids me by documenting the choices and reasons that shaped my project direction. I have included a selection of pages from my sketchbook at key points in the design process.

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