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J O N AT H A N B A R K E R Ordinary Resilience

Academic portfolio

170223777 Newcastle University Architecture and Urban Planning

Contents ARC3001 - The Keel Campus for Architecture Illustrated reflective report

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Marcel Duchamp

- ‘The Bicycle Wheel’

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Atmospheres

- Generating architecture through atmosphere

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City Fragments

- An inquiry into Newcastle’s atmosphere

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Project Primer

- Fragment typologies

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Studio study trip - Atmospheric studies, Cologne & Berlin

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Project Staging

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- Identifying a lost fragment

Thinking Through making week

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Project Realisation - Developing the Helix typology

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Project Synthesis

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- The reintegration of a lost fragment

- A compound atmosphere Bibliography, Key texts & Image list

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Charette

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- 18 Brinkburn Ave.

Illustrated cultural bibliography

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Field trip case study - Ernst Busch Academy of Dramatic Arts, Berlin

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ADDITIONAL SUBMISSIONS Sketches and progress work ARC2001 - Stage 2 Academic portfolio ARC3013 - Architectural Technology 3 - Integrated construction ARC3014 - Professional Practice and Management ARC3015 - Theory into Practice Subject | Object: Photographing Atmosphere and making architecture ARC3060 - Dissertation in Architectural Studies Applied Hygro(morph)

Work completed after section review

An Ordinary Resilience Reflective study

of context. With the knowledge of our site being in

Newcastle, isolating with my family. This transition from

University, the studio title ‘Ordinary resilience’ and

Newcastle, it enabled me to document atmospheres

studio-based learning to more solitary methods of study

the themes associated with it were apparent in my

and typologies from the city, translating them into

no doubt limited the resources available to progress

project and, predominantly, in the methods I adopted

architecture. Abstract explorations, inspired by

through the final semester. A lack of open studio space,

to achieve my final output. Ordinary resilience is a

artist Marcel Duchamp, disassociated initial thinking

absence of a workshop and the distraction of other

studio encapsulated with a deeper meaning of the word

through architectural means exclusively, influenced

commitments made the last few months a challenge.

context, creating a historical narrative emulating the

more instinctive outputs in response to the city. The

Most notable however was the void left when leaving

area in which the site was located. It also encouraged

produced models and prints provided a rich source

friends and peers who offered encouragement, support,

a deeper understanding in the material quality

of work that was used throughout my graduation

and inspiration for the duration of my undergraduate

of buildings and how that may be used to create

project. The outcome of these early explorations

degree. Despite these apparent setbacks, I adopted a

architecture contemporary, yet not isolated in time.

exhibited a broader understanding of the context of

new kind of resilience in my work, one that focussed

Adopting inspiration through artists, in particular

Newcastle, not solely focussed on the given site. This

on adapting and overcoming these difficulties. The

Marcel Duchamp, the studio formed initial responses

profound understanding of a wider context resided

modification of space at home allowed for efficient

to their work to create a masterplan campus for a

throughout my project and informed not only initial

work that provided space and new means of working,

University building that would become integrated

design decisions but parts of the later iterations of

this extended to the creation of a makeshift workshop,

with the city fabric, creating enduring buildings that

design. I feel this integration would have been further

in which I successfully produced a rich 1:20 façade

portray a sense of permanence within their context.

developed had I detailed more of the masterplan, as my

detailed model. The aspect of studio culture was

project focuses on only one development on the site.

somewhat maintained through numerous zoom calls

Upon reflection of my final year study at Newcastle

with friends and peers as we shared ideas, support, and

Crucial in my methods this year, particularly in comparison to the year prior, is the importance

Ordinary resilience, through its nature of exploration,

further reading and research had on both inspiring

was widely associated with its endeavours in model

it has made me far more resourceful in my methods

my project and gaining an enhanced intelligence of

making to test façades, material qualities and contextual

towards producing output, highlighting that despite

the architectural themes explored in the studio.

massing of the proposal. On the one hand, I feel my

the adversity faced, there is a resilient approach to

Most noticeable through my initial studies of artist

project exhibits some of these endeavours, explorative

overcome this adversity and continue to progress

Marcel Duchamp and the atmospheric studies of

materiality tests, façade models used throughout to

my knowledge and understanding of architecture.

architect Peter Zumthor was the construction of my

further my understanding. These proved immensely

primary thesis ideologies for my graduation project.

useful, developing an understanding of material and

This appreciation of reading and assembling a thesis,

spatial qualities of my project. Yet, one aspect of

learned at architecture school thus far. It has given

allowed my project to stay focussed on key themes

my graduation project I have identified as needing

me invaluable experiences and knowledge that I

explored early in my work. As such, the narrative

development is the use of models to inform medium

will no doubt carry forward in my later career and

of the scheme evolves and progresses, whilst still

scale massing and façade explorations. This is one section

further education. Studying at Newcastle University

maintaining a direct link to the key drivers of the project.

of my scheme I feel is lacking and upon reflection would

has given me the freedom to explore, experiment and

I feel this was one of the successes in my graduation

be something I would use more effectively, working

express my own interests within the architectural

project and something I found helped enormously in

through an iterative model process, to inform my design

realm. Such encouragement of expression is most

the latter stages of the project, consistently revisiting

further. Along with this is the need to be more fluid

palpable in my final graduation project, from which I

earlier work to inspire development. This method

in my approach to model making, this fluid approach

have become obsessed with its themes and approach

of critical understanding and thesis-based projects

was displayed in my early primer work but was lost

to design. As such, it has given me a clear guidance

is something I hope informs my architecture in both

throughout the progression of my graduation project.

and drive to pursue an approach that is deeply

An unavoidable topic from this year’s academic

lasting architecture. It is these qualities, inspired

studies was the precarious adaptation to architectural

by the resource of my studio tutors that I hope to

thinking addressed in my primer explorations, is

education in the confinement of our own homes.

develop further in my architectural endeavour.

the response to understanding a deeper meaning

Amid the COVID-19 outbreak, I returned home from

Evident through my meticulous studies and abstract

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My graduation project is a culmination of all I have

concerned with context, materials and creating

my further education and career as an architect.

An early thesis exploration mapping - although it did not have a key impact on my project, it helped develop my thesis study and highlighted the imporatnce of experimentation

resources despite being in isolation. As such, I believe

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Marcel Duchamp ‘The Bicycle Wheel’. Intimacy and familiarity with object

‘Bicycle Wheel’ - Ludwig Museum, Cologne

Finding the delight in everyday objects was evident in much of Marcel Duchamp’s early work. His ‘Readymades’ installations resembled this, displaying both the joy of everyday objects and in particular, interaction with them. His most famous of this set ‘The Bicycle Wheel’ simply represents a dark frame bicycle wheel connected to a stool. The pleasure in the connection of these two mundane objects has a certain delight to its form, a delight that laid the foundations of my final year graduation project.

‘The Bicycle Wheel’ needs to not only be considered as an installation in a gallery, but also as a functional object itself. Duchamp is said to have used the object in his studio; ‘the movement of the wheel reminded me of the movement of flames” (Banash, D. 2013. p.64). It is this early interaction with the artwork that inspired many of the themes explored throughout my project. The idea of intimacy with an object and that intimacy creating a familiarity can be translated to architecture. This what my project sets out to do, create an intimacy with architecture as an object, in the ways Duchamp found an intimate connection within the movement of ‘The Bicycle wheel’.

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Visiting Marcel Duchamp’s ‘Bicycle Wheel’ - Ludwig museum Cologne

Having been fortunate enough to visit ‘ The Bicycle Wheel’ during my studio visit to Cologne, I gained an insight to the quality of the object, the nature of the artwork and gained an understanding of its movement and connection to its user. Building on this initial understanding of object and intimacy, inspired through ‘The Bicycle Wheel’, I began developing an initial response in the form of a pencil spinner. When studying movements and interactions I personally find familiar, I found the spinning of a pencil to have the sense of interactive movement that is emulated in Duchamp’s explorations.

From these observations I developed a mechanism that would highlight this familiar interaction with the object. The spinner gave me an understanding of ways to create this intimacy, studying how myself and others might interact with objects - and architecture.

(Please note I did not make contact with the wheel for the photograph)

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Interaction with ‘The Pencil Spinner’

Initial orthographic drawing of ‘The Pencil Spinner’

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Atmosphere Generating architecture through atmosphere

Fig 1: Baumgartner’s ‘Cafe at a students’ hostel’.

Supplementing the explorations of Marcel Duchamp, concerning interaction with an object, I also looked to consider an understanding of atmosphere of space. Architect Peter Zumthor, in his book ‘Atmospheres’, explores deeply the meaning and creation of atmosphere in architecture. In the text, Zumthor, when referring to Baumgartner’s ‘Cafe in a students hostel’, begs the question; “Can I achieve that as an architect - an atmosphere like that, it’s intensity, it’s mood. And if so, how do I go about it? And then I think: yes, you can. And then I think: no, you can’t.” (Zumthor, P. 2006. p. 19).

This concept of resembling an atmosphere through architecture inspired much of my initial observations, alongside the work of Marcel Duchamp. During our studio trip to Cologne, we were able to get a sense of Zumthor’s response to creating atmosphere when visiting his ‘Kolumba’ museum. I furthered my understanding of atmopshpere through my ARC3015 essay - ‘Subject | Object: Photographing atmosphere and making architecture’ in which I studied multiple examples of how atmosphere is created and ways in which it can be translated into architecture.

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Fig 2: Cindy Sherman ‘Untitled Film Still #48’ on her expression of portrait and photography

Photographs and films have a way of placing us inside, the subject – or camera, or observer, so we can see the object – perhaps a person, building or other in an attempt to immerse us within said captured atmosphere.

However, such immersion is described as being merely skin deep, Francois Penz in his book ‘cinematic aided design’, expresses that to get beneath the surface would be to “plunge into the political, the socio-economic,

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the anthropological, the historical and many more layers” (Penz, F. 2018.).Yet, an image embodies fragments of these layers, dependent on how deep an image is read, therefore photography resonates as a useful steppingstone in the creation of atmospheres in architecture.

Exploring atmopshere through photography

To explore atmospheres in Newcsatle, I looked at ways I could capture the essence of central arcade, an atmospheric fragment within the cities urban grain. In his book ‘Two Journey’s’ , Michael Webb explores a scene in the film ‘The Third Man’ in which the main character walks towards the camera, whilst not breaking the perspective line until the very end of the 44 second scene (Webb, M. & Simone, A. 2018. p. 112-113). Through these studies, Webb found the use of perspective

intriguing in the way the subject inhabited the space.

I looked to develop my own response to these explorations, flipping the subject/object as a way of having the space moving towards the subject, bringing emphasis to the atmosphere created when moving through a space. This was a further method of comprehending one space I had identified in my later primer pieces.

For a full study, view ARC 3015.

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City fragments Project Primer - An inquiry into the atmospheres of Newcastle-upon-Tyne

On the back of my identification of the importance of atmospheric analysis in architecture, explored by Zumthor, I began documenting Newcastle-upon-Tyne and the found atmospheres evident throughout the city. Documenting contrasting areas of the city through film photography meant that framing the image I wanted to capture had to be strongly considered. The result of these explorations capture the essence of a space. How a space is interacted with, how it is inhabited and the role light plays on the effect of atmosphere with certain spaces exhibiting an open lightness to them, whilst others a more confined direct light.

Equally, what was evident in the images, is the role architecture plays on creating atmospheres. In particular, the way differing architectural typologies dictate the essence of a space highlights the importance of this consideration. I referred to the documented spaces as ‘City fragments’ - a series of spaces that make up the atmosphere of Newcastle’s urban fabric.

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Central arcade

Northumberland

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Grainger market

High Bridge Street

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Station walk

Grainger market

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The atmosphere of certain spaces were more difficult to capture through film and required other images to represent the characteristics of the space.

The ‘Civic’ and ‘Helix’ fragments were not captured on film but must be considered as City fragments for Newcastle due to their importance in the city.

The civic is not limited only to the ‘Civic centre’, but spreads through all civic spaces of Newcastle that share the same social integration displayed at the

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Fig. 3: Civic

Fig. 4: Helix

Civic centre. This includes the Civic responsibility of the two University campuses in the city and how they interact with staff, students and the public - integrated within Newcastle’s urban grain.

Additionally, the developing Helix site exhibits a new face to the city. With a notion to build up on the site, it illustrates an atmosphere of ‘Vertical monumentality’ not seen anywhere else in the city.

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Fragment typologies Project primer - Explorations into the typology of space

Large scale primer exploration

In response to my city observations, my first output for primer attempted to instinctively represent the captured atmospheres.

A natural reaction to the initial photos led me to create negatives of the spaces key spacial typologies in through basic forms. A plaster cast was poured to cover the negative space which, once removed, resembled the key principles of the studied spaces.

The resulting model resembled an abstract mapping of the cities atmospheres, each one unique but in some way connected.

Mapping the city in this way provided a crucial translation between my photographic studies and three dimensional space.

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Through the use of instinctive modelling, the city scale primer piece captures multiple atmospheres found around Newcastle. It begins to play with the ideas of the sort of typologies that create these atmospheres and how these correlate to architectural formations. Taking the ‘Helix’ exploration for example, identifying the gridded nature of the developing site, as well as it’s monumental verticality on the city skyline, my initial response was to create tower like typologies around a funnelling passage, the passage ultimately leading to the centre.

Parallels can be made between other parts of the model and the original photographs. The Civic representation captures the transparent open nature of these spaces and the passages it creates to connect other areas. While the large central mass signifies the importance of marking a place of civic responsibility.

Helix

Grainger

Civic

Central arcade

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City scale primer model and translated drawing

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Locating The Centre Also apparent in this method of abstracted mapping was the connectivity between spaces, each area leading to the other through a series of atmospheric passages. It also highlighted the importance of Newcastle’s central point, Monument. The place where all places lead towards is the centre of the model and in the context of Newcastle is the central Monument. The identification of this central point proved pivotal in the creation of my masterplan further in this project.

View towards the centre

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Monument - The Centre of Newcastle

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Understanding Typologies During my city room studies in primer, I looked at exploring these identified atmospheres in more detail.

Beginning to understand the typologies that produce the atmospheric qualities of each image captured, gave insight into the types of architectural languages that helped dictate the mood and atmosphere.

Capturing these moments in lino-print artwork shows an inquiry into the space, a way of representing their essence. The image on the right depicts ‘Central Arcade’ at the top, expressing the luminance of light entering through the glass ceiling. Juxtaposing this is the flipped ‘Grainger Market’ to the bottom of the image. Almost mimicking the previous depiction, Grainger Market invites light in very differently, more directly with its ordered ceiling openings.

The two are seen as opposites in the atmosphere they create, yet similarities and connections can be made between the two. This study indicated the importance of light in creating atmosphere, and more so, the way architectural language dictates this factor in a space.

‘High Bridge str.’ lino-print

‘Grainger/Northumberland str.’ lino-print

‘Central Arcade / Grainger’ lino-print

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‘Helix’ lino-print

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Following these city room studies, again I looked closer at the spaces, understanding the details that make up their atmosphere. Looking primarily at the material quality of ‘Central Arcade’, I portrayed flooring and ornamental details, abstracting or merging them to the tiles shown below. These observations created a greater understanding of the space and its detailed characteristics.

I attempted a third tile, one that was looking to illustrate a different element of the space however this tile broke.

From the fragments of the broken tile, I considered the reconstruction of the tile, but instead opted to interpret the fracturing differently. Instead of remaking what I had originally wished to depict, I began assembling the pieces in an order that I thought showed the wider cityscape of Newcastle.

From this point, the generation of building a part of the city from fragments became apparent and inspired and understanding in how this might inform the masterplan of my project.

‘Central Arcade’ floor detail

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‘Central Arcade’ Ornament detail

Fragmented city detail primer

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3D architectural typologies Subsequent to gaining an initial understanding of each ‘city fragment’ and the typologies that make up the spaces, I began abstracting these ideologies into digital 3D architectural typologies. Providing an understanding of the three dimentional language of each space provided the basis of initial responses to each fragment that aided the translation between a captured atmopshere and architectural categorization.

Institutional Civic

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Civic

Helix

Grainger

High Bridge street

Northumberland st....

Central Arcade

Civic

Grainger

Helix

High Bridge Str.

Lost?

Central arcade

City Road site

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During the primer exhibition, in which we collated the explorations from each member of the studio - an echo of personal inquieries and responses to the city, the idea of framing perspective became apparent. The way in which people interacted with each fragment of the city was different, each sense of familiarity and intimacy felt for each exploration unique.

As such, I recollected the ideas of Marcel Duchamp and the way in which he created an intimate relationship with ‘The Bicycle Wheel’. I wanted to capture this relationship through the atmospheres created in my proposal, atmospheres related to already familiar fragments of the city, to which each person would have their own response.

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Primer Exhibition

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Photograph credits: Justin Lin

Study trip Cologne / Berlin - Particular buildings of interest

Ordinary Resilience, studio photograph - taken in the König Galerie, Berlin

Following my primer investigations into atmosphere and identifying city fragments, I visited Cologne and Berlin on the Ordinary Resilience studio field trip. The studio trip was imperative in aiding my understanding of how atmosphere can be created through architecture from the numerous precedent visits on the trip. Each building visited was insightful and inspirational, however, three stood out in the way they created differeing atmospheres.

Identifying Peter Zumthor’s Brüder Klaus Chapel, Cologne and Kolumba museum, Cologne as key precedents in the way atmosphere was created had a invaluable impact on my project. Additionally, the sense of monumetal verticality felt in Potsdamer Platz, Berlin aided my understanding of this particular typological study later in the project.

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36 Outside the Ludwig Museum, Cologne

Brüder Klaus Chapel (2007), Peter Zumthor Everything about the Brüder Klaus Chapel exhibits atmosphere. From it approach, to the threshold through it’s heavy door, to the atmospheric experience when inside - it has a way of creating intimacy through architecture. The open central void is the sole source of light once the door is closed, its entire interior open to the elements with no plumbing, drainage or light fixtures. The sombre precense of the chapel gives it a sense of permenance in its context, simply being itself as an object, a religious fragment, a piece of architecture.

It is through this intimate connection between building and user that Zumthor creates atmosphere in the chapel, in doing so, relating its method’s to the themes explored through Duchamp’s bicycle wheel. It is this level of intimacy with the architecture that drove much of my project, although altered at a larger scale and within a different context. The idea of fragment, in which the building creates simple interactions between itself and it’s user.

Central light well - Brüder Klaus Chapel (Peter Zumthor), Cologne

Layered concrete detail - Brüder Klaus Chapel, Cologne

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The approach

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KOLUMBA (2007), Peter Zumthor Evident through my explorations of Zumthor’s ‘Kolumba’ museum was his great understanding in materiality throughout the building. The material quality of ‘Kolumba’, in some ways, resembled the intimate connections explored by Duchamp.

The interaction with objects throughout the building such as heavy doors, light balustrades and in particular, a weighted leather curtain, provided an interaction with the architecture throughout the journey around the museum.

My inquiry into Peter Zumthor’s work, his methods of using found atmospheres to generate architecture and his use in detailed materiality, had great influence throughout my project. Most directly, his studies on atmospheres motivated my initial primer studies, an attempt to capture atmospheres around Newcastle-upon-Tyne to gain an understanding of the characters found within the city.

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Reading space - Kolumba, Cologne

Material combination - Kolumba, Cologne

Light well - Kolumba, Cologne

Heavy Curtain - Kolumba, Cologne

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Monumental form - Kolumba, Cologne

Where new meets old - Kolumba, Cologne

A material pallete, interior finishings - Kolumba, Cologne

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Perforated facade - Kolumba (Peter Zumthor), Cologne

Perforated facade - Kolumba (Peter Zumthor), Cologne

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A covered central void - Sony centre, Potsdamer platz, Berlin

Sony Centre/Potsdamer Platz - various architects

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Monumental Verticality - Kollhoff Tower (Hans Kollhoff), Potsdamerplatz, Berlin

Potsdamer Platz is a site in Berlin that is rich in historic importance, desimated by the second world war. The area, once split into East and West Berlin, was the resurgance of the German economy - it’s architecture mimicing this. The site became populated with skyscrapers designed by various starchitects including Hans Kollhoff, Renzo Piano, Richard Rogers etc.

When visiting, my initial response linked both Potsdamer Platz and the Helix typology from Newcastle. The sense of monumental verticality found in my earlier explorations exaggerated to a scale of enormity. These observations aided my understanding of this typology and influenced a number of design decisions later in my graduation project.

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A lost city fragment Project Staging - The lost atmosphere on City road

A view up city road, a lost city fragment.

Apparent in my subsequent explorations of Newcastle-uponTyne was that the city is rich in creating atmospheres and moods.

Yet, that is not true for all parts of the city. Given the choice of three sites, I looked for one that was missing this essence, a site not integrated within the atmospheric urban grain of Newcastle.

City road fit this category, the site seemed lost within it’s place with no real integration to the city. Returning to the studio brief, the introduction of a University campus and the civic responsibilities that come along with that, highlighted it as the ideal site to reintegrate into the city’s urban fabric.

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A lost city framgment

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View from the Quayside, highlighting the loss of atmosphere and interaction on the site.

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Identifying problems

1:5000 Traffic routes

The City road site cuts off most routes towards the Quayside. The introduction of a major traffic route separated a site that was once connected to the Quayside and allowed movement through. This stunt of movement has discouraged any interaction with the area, thus removing its atmospheric qualities.

Derelict buildings are spread across the site, adding to the fractured routes. These include a set of abandoned warehouses, the grade 1 listed Ryder and Yates Salvation army building (planned for demolition) and most notably the Grade II* listed Keelmen’s Hospital.

City road also contains very little opportunity for public engagement, with little green space or reason to pass through or visit the site, it lays dormant on the city skyline.

Deralict/unused buildings

1:10,000 Newcastle upon Tyne, a connection to the Quayside 0m

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20m

40m

60m

Green spaces

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Convoluted route towards the Quayside

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Site Merits Despite the lack of public integration of the site, it does have many design opportunities to change this. The integration of the new city road produced a great deal of level changes on the site as it steps down towards the quayside. These steps down are reciprocated in views towards the Quayside - although most of these are blocked.

Additionally, the high stature and orientation of the site on the skyline makes it susceptible to plenty of direct southern light. This provides opportunity in the way light is brought into spaces and how that in turn is used to create atmosphere.

Finally, the site has a plethora of historically significant buildings scattered along. arguably the most significant being the Keelmen’s Hospital which has stood on the site since 1701.

Level changes on site

Viewpoints towards the Quayside

The south facing facade (Solar study)

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Historic Buildings

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A high vantage point, offering views towards the Quayside

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A Lost Atmosphere Responding to initial explorations, capturing atmospheres around the city, I attempted to do the same for the city road site. Moving through the site seeking atmospheric characteristics, it was evident that the site lacked qualities of this nature. Instead the site sat derelict in it’s surroundings, irrisponsive to those that wished to pass through.

1. Grade II* listed abandoned Keelmen’s hospital (1701)

2. Steep road and level change towards the Quayside

3. Grade 1 listed Ryder & Yates Salvation Army building (1974)

4. The site approach

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Location of photograph on site

5. The lack of atmosphere and interaction in the backstreet

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Keelmen’s Hospital

The Keelmen’s Hospital, 1:250 site model study

The Dutch styled Victorian almshouse, The Keelmen’s Hospital, was built in 1701. The Keelmen were a group of men who would deliver coal up and down the river Tyne, building Newcastle’s coal trade. Funded by and built for the Keelmen, workers each donated a portion of their wage to the cost of the hospital. It was built for the use of old/distressed keelmen and their family, to care for them should they turn ill.

The Keelmen’s hospital has acted as a key protagonist on Newcastle’s skyline, it’s facade running directly parallel with the river Tyne. However, despite it’s significance to the city, the building has become listed on historic England’s most at risk list as it has lay derelict since it’s last use as a student accommodation 20 years ago.

Because of it’s history and rich character on the city skyline, I identified this as a building that needs saving and retrofitted to bring new use to the space.

Locating the centre Hidden within the Hospital walls is the Keelmen’s courtyard, a blocked off fragment of the city’s history. Within it lies the rich character of the site. Upon discovering this part of the existing building, it kick-started my massing proposal as it identified a central point of significance and importance of the site. As such, the Keelmen’s courtyard became the central point where all routes must lead, much like how monument operated within the wider context of the city.

The Keelmen’s Hospital, 1:250 site model study

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Fig. 5: The lost Keelmen’s Courtyard, the new centre point.

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Fig. 6: Early plan of the Keelmen’s Hospital (Circa 1920)

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The identification of the Keelmen’s courtyard kick-started the developments of my masterplan in relation to the City road site. Revisiting my primer explorations, I began quite literally overlaying the translated city scale mapping onto the site, locating the monument point in the Keelmen’s courtyard.

From this point, I began conforming and orientating the plans to fit the site in an order that would best suit.

Initial sketch ideas for the overlayed primer plans

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The ‘Masterplan’

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With an understanding of where each associated atmosphere would be located on the site and how they might work on the ground plane, I applied the earlier 3D typology studies I made in model form. The massing models exhibited the qualities of most of the studied spaces and gave an understanding of the scale of each proposal as individual massings, but also of the campus as a whole.

The 3D massing model shows the use of these 3D typologies, not only as architectural forms, but also to help define their function. Each typology studied had functional characteristics which could transfer to the City road site. The civic space would have a public responsibility, as such would be a public library and archive. The high bridge str./ central arcade typologies are made of smaller fragmented spaces, closely resembling seminar rooms and offices. The centre monument typology also has a civic responsibility so will be critique/exhibition spaces.

The densely packed helix space would then become a studio space, matching its highly populated inhabitation.

Helix

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Monument

High Bridge street

Civic

Initial 1:250 massing proposal, showing form and layout of space

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Initial massing proposasl 1:250, view from bottom of city road

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1:1000 Initial massing proposal masterplan

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Thinking Through Making Natural movement through a rigid form

‘Chair’, my primer exploration, showing connections in the frame

A consideration of the re-purposing of materials and finding joy in the material quality of found objects were key influences in how I approached my explorations during ‘Thinking through making week’. The concept encouraged a greater understanding of materials through the process of model making. Studies into found materials gave me a rich experience working with wood and leather, leather being a material I had no experience with prior to my material inquisition. The two contrasting materials, wood being firm and rigid, leather emphasising a more naturally flowing material, worked in unison for the project.

Upon reflection, initial designs of the chair, all of which were rough sketches, made reference to the rigid grid typology of the ‘Helix’ atmosphere typology. Exhibiting a rigid grid, the form and stature of the chair resembles comparable qualities to earlier studies.

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A rigid frame with the intervention of fluid movement

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The concept of my explorations is driven by the initial deconstruction of reclaimed wooden palettes, as the finished product looks to emphasise it’s initial material quality. Taking apart two palettes provided me with the material needed to realise my initial sketch design of the chair, whilst giving me an idea of the quantities available. Both the design and construction of the chair were based largely on these quantities and provided constraints in it’s composition.

Part of the process of reclaiming the material was the need to plane the material, partly to clean the used wood, but also to ensure I was working with square measurements.

The particularity of making use of used palettes was the need to be resourceful in what was available. The ability to laminate the wood created firm supports from which the chair was shaped and built. This method of lamination itself contained a joyful, detailed material study in the way the wood grains would contrast with one another. This observation in particular was relevant in the CLT structural strategy used later in the development of the scheme.

Early sketch ideas for my primer piece

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Deconstruction of reclaimed wooden palette

Gluing lamination process

Planeing process of reclaimed material

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The resulting laminations proved to give enough strength to be worked into with a drill, creating holes for joining the wood together without the use of glue. Each connection was meticulously calculated to be the perfect fit for the joining of the frame, these precise joints ensured a rigid frame could be constructed to take a persons weight.

The way the materials connected with one another again, highlighted an enjoyable feature of the chair, the additional work transposed into seamless connection of materials.

Upon constructing the frame and checking it’s stability, I began the delicate work of joining the leather wrap which would create the seat for the chair. The dark leather contradicts the static form of the frame as it moves naturally around its structure. The contrast in colour, choosing a dark leather against a light wood finish highlights the dominance of the raw movement of the leather wrap.

This, in combination with the rigidity of the reclaimed palette frame induced a material exploration rich in divergence of materials which both oppose one another, whilst working in conjunction in forming an object.

Chair arm frame, highlighting connection points

Joining detail with leather wrapped stitching

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Connection detail

Reflection on the inspiration from the interior finishings of Kolumba

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‘Chair’

The solution combined a found respect and greater understanding in the material qualities of both wood and leather and the importance of retaining essential qualities of materials. This realisation had a profound effect on a number of aspects of my final design proposal, resulting in a natural finish in much of the finalised programme.

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The Helix typology Project Realisation - ‘A monumental verticality’

The Helix typology study - Primer

Following the resolution of my early City road masterplan campus, I identified the particular typology I would develop for my final building proposal. Of the explored languages, the ‘Helix’ representation, capturing the idea of ‘monumental verticality’ in the city, was the most intriguing and was the arrangement I decided to develop for my project. Through my initial massing response, the instinctive reaction to the space would be prominent on the city skyline, echoing the characteristics of the Newcastle Helix’s progressive high profile in the wider context.

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Looming presence on the site

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The Helix site, Newcastle Upon Tyne ‘The Newcastle Helix’ is the newest development area in Newcastle upon Tyne. A brand new complex consisting of office space, hotels and University buildings are spread across the site, all surrounding the city’s football stadium ‘St. James Park’. The site looks to continue developing futher evident by the constant work being done to reimagine this part of the city.

The site has an overwhelming sense of scale and enormity, it’s atmosphere mainly comprised from busy outdoor space at ground level - surrounded by densly populated volumes which act as work or living spaces above. It is these volumes that prompted my initial responses to the site, sketches depicting large towers that allow passages beneath at ground level.

Helix typology focus area

Fig. 7: Helix typology focus area

Fig. 4: Helix typology focus area

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Fig. 8: Helix typology focus area

Fig. 9: Helix typology focus area

Initial sketch response to the Helix typology

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Evident in initial massing models, was this early understanding of a vertically distinguished form that made use of the raised profile of the existing site. Originally, a footprint of nine tall towers sat on the corner of the site, this introductory concept drove much of the design decisions for the studio space and stayed prevalent throughout the project. Observed in my early response was the need to connect the towers, providing passages between them, creating space and movement inbetween.

Also maintained in my original concept of the site was the propulsive need to create movement at the ground level of the site. Demonstrated in both the model and sketches was the transparency of public space between the towers at this ground level, it provided the platform to reintroduce public space into the site with a free movement between spaces. Reciprocated through these newly created routes was also the establishment of views towards the quayside, that through the construction of these forms would be framed, making use of the sites risen levels.

Route and views through towers

Route and views through towers

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Route and views through towers

Monumental volume

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Early sketches and sections show the idea of linking the towers to create space between, whilst maintaining movement at the ground level. At the ground level, the above connections would be seen as passages or bridges joining the original forms. These spaces inbetween the towers instigated the notion to create studio space within the volumes connecting the towers as well as in the towers themselves. The transition between these two contrasting volumes would have different experiential qualities.

Early sectional exploration

Initial axonometric sketch showing connecting towers

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Initial perspective sketch showing undercroft space

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Early sectional exploration

Early development model, realising the space.

Working in drawing and through model explorations, I began to develop and justify the studio spaces I could create, working out the programmatic realities of the building. Evident in these early iterations was the amount of open space needed for the programme, something that the individual tower approach did not cater for.

While making these alterations to the programme, the initial massing proposal reading as individual towers was lost as it simply did not provide the space needed for the function. Beyond these alterations, it was clear that the footprint of the massing still did not provide the required space for an architectural studio, as such, I looked at expanding the building massing and footprint.

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Initial programmatic sketches

1st iteration floor plans

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In response to the identification of insufficient space provided by earlier iterations, I looked at expanding the initial footprint of the tower forms. Initially, the grid was 25m x 25m wide, each tower 5m x 5m wide. I tested at how the expansion of these plans would interact and fit onto the site, increasing the scale inbetween each tower.

Ultimately, I decided on a 35m x 35m grid, providing ample interior space for the desired architectural studios.

The enlargement of the form provided more than simply space in the building, it also encouraged the integration of the Keelmen’s hospital into the building. It marked a development in which the interaction between my proposal and the exisiting Keelmen’s hospital required greater attention to detail, both in it’s programmatic integration, and it’s material shift from new to old.

5m x 5m grid

6m x 6m grid

Sketch showing rough change in scale

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Kolumba, Cologne - Where new meets old

7m x 7m grid

Break down of required area, based on space needed by an individual

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To regain the lost sense of verticality in my proposal, I looked at the use of internal and external voids punching through floor’s, whilst ensuring a programmatic route was maintained around the building at each level. The introduction of the selective verticality is emulated best through sectional studies which represented the dynamic space and connections made through this intervention.

The idea of verticality is most profound through voids which stretch through the entirety of the proposal.

The central void, shown in section BB, stretches from the ground plaza level to the top level of the proposal.

This central void, as well as providing a sense of verticality in the space, acts as an inner light well, driving light deep into the central spaces in the project.

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Diagram showing voids breakdown

Voids shown in section

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The building works as a series of stages, split into stage groups that each inhabit the space differently. It offers different space to inhabit the change in demand for the capacity of students. As you progress up the school, you progress up the building until, ultimately, the user finds themself at the top of the building for their Master degree studies, capturing views across the expanse of Newcastle.

Additionally, the integration of the Keelmen’s hospital allows for additional space for critique and exhibition of student work during term time, but also public exhibitions when the University is closed during the summer.

Peripheral Studio space - 2,313 sqm.

Vertical movement - 784 sqm.

Architectural archive - 245 sqm.

Exhibition space - 445 sqm.

Workshop - 371 sqm.

Fig. 10: Exeter Library, Peripheral spaces

Programme - Louis Kahn, Exeter Library

Ancillary space - 1,522 sqm.

A key influence in the design of the proposal’s programme was found in Louis I. Kahn’s (1901-1974) Exeter Library building, Kahn, was concerened largely with the interaction of human and book saying: “I see the library as a place where the librarian can lay out the books, open especially to selected pages to seduce the reader, There should be a place with great tables n which the librarian can put the books, and the reader should be able to take the book and go to the light” (Lobell, J. 2008. pp. 100.)

Critique space - 372 sqm.

Total space approx: 6,052 sqm.

Between silence and light - research on Louis Kahn’s design methods

As such, the relevance of a central core space, bringing in light and having a certain function and that transition through to the peripheral spaces which are used as work and reading spaces was something I related closely to my design philosophy.

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Fig. 11: Louis I. Kahn’s Exeter Library floor plan, splitting book space / peripheral workspace

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Exhibition / critique space floor tile experiment

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To help dictate these programmatic spaces is dependant on the floor finish of the building. The dictation of studio space, critique space, exhibition space, social space differs throughout the building, signifying a particular use for a particular space. Studio spaces are conveyed by a polished screed flooring showing a more generic space, making up the majority of area in the building. Social spaces are marked by a softer carpet finish. Exhibition and critique spaces, areas of significance, are highlighted by the inset brick screed floor modelled above. The brick would be reclaimed from the used brick from the walls knocked down from the Keelmen’s hospital to create passages through to it’s central courtyard.

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Peter Zumthor, in his thoughtfully crafted Bruder Klaus chapel brings in natural light through a central opening formed at the peak of the chapel. This is the sole way light is brought into the space when the door is shut. It’s small scale provides an intimacy with the opening, an appreciation of the light. Juxtaposing Zumthor’s Bruder Klaus chapel is the Sony Centre central outdoor space. A fashion of outdoor atrium space that seems neither indoor nor outdoor.

These observations during my studio study trip, as well as the aforementioned programatic study of Louis Kahn’s Exeter Library, inspired the inclusion of a central void

space into my project. It acts as the centre point of the idea of an internal ‘Monumental Verticality’. From it, natural light is brought deep into the core of the building at a scale somewhere in between the Bruder Klaus chapel and the Sony Centre. In addition to providing light into the space, the central atrium also enables a passive form of ventilation. Making use of the chimney effect, the central void, which all floors are open to, allows the disposal of used air while the peripheral openings bring in fresh air. This environmental strategy minimises the reliance of mechanical air filtration systems which require energy to operate.

Brüder Klaus Chapel, Cologne

Disrupting light patters, inspired from earlier primer explorations

Sony Centre - Potsdamer platz

1:100 central void study

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Modified central void 1:100 model

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Peter Zumthor - Vals Bath

In response to feedback during my synthesis review, it was noted that the rich typology of my initial explorations had been lost throughout the iterative process and rationalising of the space. As such, the facade read as a flat plane, emulating nothing of the initial tower typological response. To counteract this, taking inspiration from Peter Zumthor’s Vals bath plans, I pushed back the exterior walls inbetween the initial towers. The result of this action had both an effect on the facade and the interior quality of the space, the segments which reside in the initial towers expressing a much thicker wall make up to account for the pertrusion of the exterior walls.

Peter Zumthor’s Therme baths at Vals became an inspiration point when looking at how I could bring a sense of hierarchy into my design. The way the architect uses sketches to map out moments of mass in the building through the use of heavy blocks is something I could relate to the hierarchy of my project in an attempt to reform the towers both on the facade and interior experience.

Fig. 13: Early sketch by Peter Zumthor showing hierarchy of spaces

Fig. 14: Vals baths floor plan, showing heavy wall negative space

Reintegrating towers diagram

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Fig. 12: Vals Baths

Sketch in response to Peter Zumthor’s Vals baths

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Also apparent in my feedback from the Synthesis review was the absence of the vertical explorations in the facade. Originally it expressed horizontal ‘domestic’ openings that showed nothing of the vertical nature of the space. To ammend this I experimented in how the spaces might be mimiced in the facade, double height spaces exhibiting larger double floor openings to allow light to perimiate deep into the space. This has created a greater reading of verticality on the facade, further exemplified through the redefining of the initial towers.

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1:100 facade study model, bringing verticality into the facade 1:100 facade study model, bringing verticality into the facade

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Exterior view of Kolumba - use of perforated stone run

1:1 study of perforated flemish brick bond

Revisiting my study on Kolumba, Cologne, I looked into the way in which one section for the museum diffused light into the space. It uses perforations in the exterior stonework to allow light, air and sound to enter, a detail that connects the interior space to the exterior of the city.

In it’s context, the perforations work in diffusing light, something I identified could be used to reduce solar gain into certain south facing façades that would be subject to high solar gain. As such, I began exploring how I could create a similar level of light diffusion into the space using materials and methods that is rooted in the City road site.

Interior view of Kolumba - use of perforated stone run

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Building on my observations from Kolumba, I looked into how I might disperse light into the space using bricks, the primary material used on the site and on for the exterior finish of my project. I looked into the way flemish brick runs can be used to create perforated openings by removing a central brick. This method of bricklaying provides sufficient structural support whilst bringing light in and creating interesting shadows which change throughout the day.

I tested this further in a 1:1 material exploration, made from reclaimed local bricks. This gave me a better understanding of exactly how the perforations would diffuse light and how the brick run may be expressed in the facade.

1:1 experimentation of perforated flemish brick bond, capturing shadows

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The Keel Campus for architecture Project Synthesis - the reintegration of a lost fragment

The amalgamation of explorative themes and methods explored thus far are represented in my final plan for the studio aspect of ‘The Keel Campus for Architecture’. The themes of ‘monumental verticality’ identified through early primer explorations are exhibitied in all aspects of the design. These moments of verticality are expressed through the numerous voids working thoughout the space, connecting each floor with one another and providing a sense of verticality at selected moments.

Additionally, the final scheme has a way of creating interaction with its user, establishing an intimacy between person and architecture.

The project expresses an openess on the interior, allowing open spans between studio space, yet in moments of individuality provides a familiarity with the space. This is conveyed by the inhabitation of deep window reveals, a way of the architecture acting as a passive inhabiter for the students. Not solely for students, the way in which the project creates a new campus for the otherwise lost city fragment, reintegrating these connective moments with Newcastle’s urban grain.

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Placing the project in its context of the city shows these renewed connections towards the Quayside. Allowing a greater level of ground floor movement through the campus not only provides a connection to the Quayside, but also between each individual proposal. This has created lively accommodation that provides for both students and public alike. This movement is centered by the Keelmen’s courtyard, each proposal working towards this newly opened up fragment of the city.

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1. Student Cafeteria 2. Student walk thru’ Cafe 3. 3D Printing cluster 4. Boiler room 5. Workshop 6. Critique space 7. Public Cafe 8. Permanent Keelmen of Newcastle exhibition 9. Cloakroom 10. Exhibition reception

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Ground floor plan 1:200 1. Main Entrance 2. Reception 3. Walk up printing cluster 4. Breakout space 5. Central exhibition space 6. Student Architectural archive 7. Keelmen’s Exhibition Hall 8. Storage 9. Critique/Tutorial space

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1. Peripheral studio space 2. Core circulation 3. Central core 4. Breakout space

1. Peripheral studio space 2. Core circulation 3. Central core 4. Breakout space 5. Critique/tutorial space 6. ‘Magspace’ - Architectural magazine archive

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Inhabiting the fragment 1:200 An exciting element in the design of an architecture school is the way the space inhabits itself. An architectural studio is dependant on the ways in which students can express themselves through their work. The architecture of the building should then provide this ability to become inhabited, the students expression becoming a key detail in its design.

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1:20 Facade model - interior social space

1:20 Facade model - interior studio space

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THE KEELMEN’S EXTENSION

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Ordinary Resilience 170223777

Keelmen's Extension for Newcastle University’s Architecture and Urban Planning department.

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Material catalogue

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1a Ground floor foundations Ground soil Kingspan Aquazone Waterproof membrane 300 mm Rigid Thermafloor TF70 insulation Raft concrete foundation ≈ 650 mm under structural walls ≈ 300 mm under ground floor 50 mm Kingspan Rigid acoustic insulation 20 mm Plywood sheets 60 mm hidden floor service cavity 100 mm Heated Polished Screed floor 1b Keelmen’s hospital foundations Underpinned concrete foundations

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2 Ground floor wall build up ≈ 400 mm existing hospital wall 112 mm external brick Common bond (6 course) Rough Flushed Jointing ≈ 176 mm debris infill 112 mm internal brick 80 mm Air cavity Kingspan Aquazone Waterproof membrane 180 mm Kingspan Kooltherm K15 Rainscreen Board Kingspan Nilvent Breather membrane 226 mm CLT Structural wall 35 mm Service cavity 60 mm British Gypsum Fireproof Plasterboard

Works of Louis Kahn

S,M,L,XL

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3 Existing Keelmen’s hospital brick, those demolished used elsewhere in the project 4 Offcut CLT Bench - hiding ventilation duct

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5 Firebreak 6 Window build up 100 mm Steel square section window support Black Anodised aluminium sill and flashing Triple glazed top opening window Schueco AWS 90.SI+ Green Window framing 90 mm Schueco triple glazed window system 7 Hidden gutter 8 Pitched roof build up Exiting hospital roof tiles and roof frame Kingspan Aquazone Waterproof membrane Steel ‘C’ brackets reinforcing existing roof structure 120 mm Kingspan pitched roof insulation Kingspan Nilvent Breather membrane 370 mm CLT Structural pitched roof

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9 Pitched roof window makeup

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10 200 mm Steel ‘C’ section for existing rafter roof support 11 250 mm Steel Angle brick support

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12 Pistol Brick 13 Perforated English bond brick rainscreen cladding (See Elevation study for change in brick scheduling)

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14 Brick soffit makeup Brick slips bonded using high strength adhesive Ancon Prefabricated Nexus brick faced soffit unit Ancon MDC Nexus Support system Kingspan Aquazone Waterproof membrane 160 mm Insulated Square Steel section 160 mm Kingspan Kooltherm K110 FM Soffit Board Kingspan Nilvent Breather membrane 270 mm Structural CLT Floor plate 15 250 mm Steel Angle brick support 18

16 Hidden upper floor ventilation duct 17 Upper floor external wall makeup 112.5mm Red brick Running bond Concave Jointing Ancon wall tie 60 mm service cavity Kingspan Aquazone Waterproof membrane 180 mm Kingspan Kooltherm K15 Rainscreen Board Kingspan Nilvent Breather membrane 220 mm Structural CLT wall 35 mm Service Cavity 60 mm British Gypsum Fireproof Plasterboard

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18 Leather curtain Steal fixing to CLT Structural floor Steal ‘O’ Structural bar support Heavy Leather curtain 19 Parapet Structure 112.5 mm Red brick Black Anodised aluminium coping Kingspan Aquazone Waterproof membrane 160 mm Kingspan Rigid Thermaroof TR27 LPC/FM insulation

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20 Steel Foundation connection to CLT structural wall 21 Interior floor makeup 60 mm British Gypsum Fireproof Plasterboard 35 mm Service cavity 270 mm Structural CLT Floor plate 40 mm Kingspan Acoustic insulation 30 mm Plywood 80 mm Hidden floor service cavity 50 mm Heated Polished Screed flooring Heat recovery intake vent

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22 Hanging ceiling light 23 Leather wrapped handrail 24 Stainless steel Balustrade with leather wrapped handrail 25 Exposed Hung service tray 26 Green roof makeup Soil with planting and vegetation Growing medium/substrate Attenuation reservoir drainage layer Permaseal Root barrier Kingspan Aquazone Waterproof membrane 250 mm Kingspan Rigid Thermaroof TR27 LPC/FM insulation Kingpspan Nilvent Breather membrane 270 mm Structural CLT roof plane

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Section CC - 1:200

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Crucial to my project was the identification of the architectural interventions as objects to be interacted with. As such, depicting my project as an object, with no inhabitation or interaction, further highlights the importance of the fragments integration within it’s context. Without such a thing it lacks life or intimacy.

Yet, in this study, it does show how light might interact with the space through the numerous diffused and direct openings - in a way inhabiting and interacting with the space by itself.

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A Compound Atmosphere Project Synthesis - Creation of new atmospheres in the lost fragment

Reflecting on the start of my graduate project and my explorations throughout, the idea of resembling an atmosphere was crucial in it’s development. My initial photographic studies of Newcastle and its inhabited atmospheres looked to capture initial atmospheres.

The study of these spaces, identifying typologies, enabled the development of these into architecture, merging each atmosphere, creating a new series of atmospheres into the exitisting lost fragment.

Thus, there was an importance in the representation of these spaces, showing this newly created ‘compound atmosphere’, created from the typology of exisiting atmospheres around the city. I have attempted to capture the essence of this created space through visual renders, depicting the atmopsheres created from the spaces.

The cental void

A view from the Quayside

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Atmpospheric renders capture the movement at ground level, showing the newly opened up routes through, towards the Keelmen’s courtyard. The created undercroft spaces provide cover between the connected area, giving moments that feel supressed with eventual views through the voids, recapturing the moments of verticality in the space.

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View towards Quayside

Undercroft

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The creation of critique and exhibition spaces linked between the existing Keelmen’s hospital and the new proposal, create exciting moments where new meets old, the juxtaposing materials of CLT and original brick working in unison to create a dynamic space. The spaces differ in scale, for the use of different needs of inhabitation, larger spaces used for presentations and exhibitions, smaller spaces used for critiques and tutorials.

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Undercroft

Main exhibition hall

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‘Void’ studio space

Critique space

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Studio spaces in the campus express an open movement that provides synergy between studios and work spaces. Contrasting to the openess of the floor plates is the interaction between students and their surroundings. Making use of deep window reveals which demonstrate the depth of walls in the towers allowing them to be read on an interior level.

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Studio space

Inhabited desk space

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The Keel campus sought out to reintegrate a lost city fragment back into Newcastle’s urban grain.

Through the adoption of early strategies that captured atmospheres found around the city. These translated into initial architectural typologies that developed my initial response, informing many of my design decisions throughout the course of my graduation project.

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These design decisions were inspired from early studies on atmosphere and intimacy, an large part of which was influenced by Marcel Duchamp and Peter Zumthor.

Throughout the project these themes are present and acted as a focus point for all resolutions from start to finish. This has led to a rich project not only based on these found atmospheres but exhibits newly created ones as a result.

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Bibliography, key texts and images A list of key sources that inspired my work

Throughout my project I found myself inspired by numerous texts from architects, artists and critics which metaphorically lay the foundations of my scheme. The texts expressed an understanding of key architectural works that I took precedent from, integrating fragments of their ideologies into my own work.

In particular, I found Peter Zumthors ‘Atmospheres’ extrodinarily poinient in the majority of my early explorations, obsessed with his outlook on atmosphere and how that can be portrayed through architecture. Additionally, themes of intimacy and interaction, evident throughout my project, were energized by my interpretation of Marcel Duchamp’s Bicycle wheel. Writings such as; ‘Essential Duchamp’ were crucial in helping me formulate this initial understanding, progressing to the implementation in my final design proposal.

Without an extensive bibliography of readings, images, journals and websites, I would not have proceeded to attain a deep understanding and thesis of my project, a methodology of work I hope to take forward into my later career and further education.

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Affron, M., Debray, C., Kauffman, A., Taylor, M. R. & Vick, J. 2018. ‘The Essential Duchamp’.

1st ed. London;Yale University Press.

Perez, A. 2010. ‘AD Classics: Exeter Library (Class of 1945 Library) / Louis Kahn’. [Online]. ArchDaily. Available at: https:// www.archdaily.com/63683/ad-classics-exeter-library-classof-1945-library-louis-kahn. [Accessed 21st March 2020].

Anon. 2019. ‘Hats off to Newcastle Helix’. [Online]. NE Times Magazine. Available at: https://netimesmagazine.co.uk/ editorial/hats-off-to-newcastle-helix/. [Accessed 1st May 2020] Ford, C. 2018. ‘Plans for towering housing scheme at Newcastle’s Helix development’. [Online]. Chronicle Live. Available at: https://www.chroniclelive.co.uk/ business/business-news/plans-towering-housing-schemenewcastles-15173569. [Accessed 1st May 2020].

Ryan, R. 1997. ‘Thermal Baths in Vals, Switzerland

by Peter Zumthor’. [Online]. Architectural Review Available at: https://www.architectural-review.com/ buildings/thermal-baths-in-vals-switzerland-by-peterzumthor/8616979.article. [Accessed 29th May 2020].

Atmospheres, Peter Zumthor - Inspired much of my early atmospheric studies

Thinking Architecture, Peter Zumthor - Gave me a greater understanding in the use of materials

Schwarz, A. 2000. ‘The complete works of Marcel Duchamp’.

Rev. and expanded ed.. New York; Delano Greenidge Editions.

Jordy, W. H. et al. 2014. ‘Louis Kahn: Silence and light’. [Online Video]. Available at:

Sergison, J. Aldrovandi, M. 2011. ‘Palau’.

1st ed. Italy; Publistampa.

Jordy, W. 1974. ‘Phillip Exeter library in New Hampshire, USA, by Louis Kahn’. [Online]. Architectural Review. Available at: https://www.architectural-review.com/buildings/library/ phillip-exeter-library-in-new-hampshire-usa-by-louiskahn/10032089.article. [Accessed 22nd March 2020].

Zumthor, P., Lending, M. & Binet, H. 2018. ‘A Feeling of History’. 1st ed.. Zurich; Scheidegger & Spies.

Kahn, L. I. & Ngo, D. 1998. Louis I. Kahn: Conversations with students’. 2nd ed. Houston Tex.; Architecture at Rice Publications; Princeton Architectural Press.

Zumthor, P. 2010. ‘Thinking Architecture’.

3rd extended ed.. Basel; Birkhauser.

Zumthor, P. 2006. ‘Atmospheres: Architectural environments; Surrounding objects’. Basel, Boston, Berlin; Birkhauser.

Atmospheres, Peter Zumthor - Inspired much of my early atmospheric studies

Louis I. Kahn: Conversations with Students - Further understanding of Kahn and his work methodologies

Lobell, J. 2008. ‘Between Silence and Light: Spirit in the architecture of Louis Kahn’. 2008 ed. Boston; Shambhala Publications.

Webb, M. & Simone, A. 2018. ‘Michael Webb – Two Journeys’. 1st ed. Zurich; Lars Muller Publishers.

Long, D. 2016. ‘The Zeitgeist of Zumthor’. [Online].

Available at: https://www.pfaulong.com/the-zeitgeistof-zumthor/. [Accessed 29th May 2020].

Marien, M. W. 1997. ‘Photography and its critics: A cultural history 1839 – 1900’. 1st ed.

Cambridge, U.K.; Cambridge University Press.

Loud, P. 2017. ‘Newcastle-upon-Tyne 1970’s’. [Online].

Available at: https://www.peterloud.co.uk/photos/ Newcastle/Nc_1.html. [Accessed 14th Dec. 2020].

Mairs, J. 2017. ‘Therme Vals spa has been destroyed says Peter Zumthor’. [Online]. Available at: https://www. dezeen.com/2017/05/11/peter-zumthor-vals-therme-spaswitzerland-destroyed-news/. [Accessed 29th May 2020].

Hetherington, P. 2010. ‘NewcastleGateshead: shaping the city’. London; RIBA Publishing.

Newcastle Upon Tyne. City County. 1973. ‘City Planning: Newcastle upon Tyne’. 1st ed. London; Pyramid press.

Between Silence and Light, John Lobell, Louis I. Kahn - Taking precedent from his Exeter Library

Blue Mythologies, Carol Mavor - Developed my understanding in film photography

Shawcross, N. M. 1997. ‘Roland Barthes on photography: The critical tradition in perspective’.

1st ed. Gainesvill; University Press of Florida.

Banash, D. 2013. ‘Collage culture: Readymades, meaning, and the age of consumption’. Amsterdam, New York; Rodopi.

Marshall, J. 2019. ‘T&T picked for Newcastle office Job. [Online]. Available at: https://www.building. co.uk/news/tandt-picked-for-newcastle-officejob/5102474.article. [Accessed 1st May 2020].

Francois, P. 2018. ‘Cinematic aided design: an every day life approach to architecture’. 1st ed. New York; Routledge.

Mavor, C. 2013. ‘Blue Mythologies’. 1st ed. London; Reaktion Books.

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A Feeling of History, Peter Zumthor, Mari Lending - An appreciation for maintaining historic buildings

Palau, Jonathan Sergison - Inspired representational techniques

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Fig. 1: Zumthor, P. 2006.

‘Atmospheres: Architectural environments; Surrounding objects’.

Basel, Boston, Berlin; Birkhauser.

Fig. 10: Perez, A. 2010. ‘AD Classics: Exeter Library (Class of 1945 Library) / Louis Kahn’. [Online].

ArchDaily. Available at: https:// www.archdaily.com/63683/ ad-classics-exeter-library-classof-1945-library-louis-kahn.

[Accessed 21st March 2020].

Fig. 6: Accessed from: https://digimap. edina.ac.uk/roam/map/historic

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Fig. 3: Loud, P. 2017. ‘Newcastleupon-Tyne 1970’s’. [Online].

Available at: https://www.peterloud. co.uk/photos/Newcastle/Nc_1. html. [Accessed 14th Dec. 2020].

pp. 17

Fig. 7: Ford, C. 2018. ‘Plans for towering housing scheme at Newcastle’s Helix development’. [Online].

Chronicle Live. Available at: https:// www.chroniclelive.co.uk/business/ business-news/plans-toweringhousing-scheme-newcastles-15173569.

[Accessed 1st May 2020].

Fig. 8: Accessed from: https:// live.architecture.com/whats-on/ riba-student-tour-the-lumen

Fig. 4: Anon. 2019. ‘Hats off to Newcastle Helix’. [Online]. NE Times Magazine. Available at: https://netimesmagazine.co.uk/ editorial/hats-off-to-newcastlehelix/. [Accessed 1st May 2020].

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Fig. 9: Marshall, J. 2019. ‘T&T picked for Newcastle office Job. [Online]. Available at: https://www.building.co.uk/news/tandtpicked-for-newcastle-office-job/5102474. article. [Accessed 1st May 2020].

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Fig. 5: Accessed from: https://co-curate.ncl.ac.uk/ resources/view/32367/

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Fig. 12: Mairs, J. 2017. ‘Therme Vals spa has been destroyed says Peter Zumthor’. [Online].

Available at: https://www. dezeen.com/2017/05/11/ peter-zumthor-vals-therme-spaswitzerland-destroyed-news/.

[Accessed 29th May 2020].

pp. 73 De c0 Jo na 2, 2 01 th Un an 9 ive Ba 13 rs :5 rk ity 7 er of Ne wc a pp. 91 stle

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Fig. 11: Perez, A. 2010. ‘AD Classics: Exeter Library (Class of 1945 Library) / Louis Kahn’. [Online].

ArchDaily. Available at: https:// www.archdaily.com/63683/ ad-classics-exeter-library-classof-1945-library-louis-kahn.

[Accessed 21st March 2020].

pp. 73

Fig. 13: Ryan, R. 1997. ‘Thermal Baths in Vals, Switzerland by Peter Zumthor’. [Online]. Architectural Review Available at: https://www. architectural-review.com/buildings/ thermal-baths-in-vals-switzerlandby-peter-zumthor/8616979.article.

[Accessed 29th May 2020].

Fig. 14: Ryan, R. 1997. ‘Thermal Baths in Vals, Switzerland by Peter Zumthor’. [Online]. Architectural Review Available at: https://www. architectural-review.com/buildings/ thermal-baths-in-vals-switzerlandby-peter-zumthor/8616979.article.

[Accessed 29th May 2020].

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J O N AT H A N B A R K E R Ordinary Resilience

Charrette week

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18 Brinkburn Ave. Creation of new atmospheres in the lost fragment

‘Group discussion’ - Photo credits Yew Zhi Xuan

18 Brinkburn Ave. looked to develop an unused shop front in Gateshead, reintegrating it back into everyday use for locals. The project demaned a greater understanding and intelligability with how a shop front depends on its direct environment and the needs of local residents. It used co-operative means of working through interviews, interaction with the nearby area and photography to produce design outcomes.

As such, the team worked mainly on the given site to further develop our understanding of this part of Gateshead.

From my explorations for this charette, it highlighted the importance of a deeper understanding of context and how, through architectural intervention, it impacts all with a connection of the space - shaping their daily lives through means of interaction. Unknown then but aparent now, is the undoubtable connection with my graduation project from the themes developed during charette week.The idea of intimacy with space and architecture is aparent in both interventions despite their difference in scale.

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‘Open for business’ - Photo credits Yew Zhi Xuan

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18 Brinkburn Ave., is located in a part of Gateshead, that is largely under-developed and has a range of differing socio-economic backgrounds. As such, a large influence on our design for this new space would be in response to understanding the variation of inhabitants that might use it. We interviewed locals, documented the area through photography and produced a series of key words that helped us in a way map the essence of the space. These explorations enabled us to design a space that might then fit within it’s local context, becoming rooting in it’s place.

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Inspired from studies of shop fronts and interiors, the team created our own 1:1 scale space from recycled cardboard, complete with furniture and other means of inhabitation. This exploration gave an understanding of how a space like 18 Brinkburn Ave. might bring in new customers and be redeveloped based off the explorations into the public interactions with the building in the past.

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Illustrated Cultural Bibliography

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Proximity Island Architectural competition (Work in progress)

Ocean distopia - Image credits ‘Oliver Gabe’

Proximity island is concerned with the future use of industrial structures - in this iinstance an abandoned oil rig of the coast of Italy. The tak is to imagine that in the near future, oil will be replaced by renewable energy for all. The project had three main concepts to celebrate it’s connection to the surrounding ocean; The ocean as the sea of distance, The Mediterranean for proximity and The Adriatic as the sea of intimacy.

The brief was to design a museum, workshop spaces with some residential aspects for staff.

These spaces must reflect the metaphots set up previously, creating a connection to the ocean.

For our competition entry, we are looking into the idea of a distopian future in which land has become undesirable to live on due to rising water levels, as such people have adapted to living on oil rigs and developed new cultures on them. Proximity island is a work in progress.

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Location map, Oil platform in Ravenna - Image credits Oliver Gabe

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We have set up a narrative for our competition entry, looking into current political, environmental and socioeconomical issues that could become aparent in the future.

This set a timeline and context to work from allowing us to design in response to these events taking place.

Currently, the team are working on responses to this narrative, building initial sketches and designs.

These designs are also seeking to capture the three key metaphors highlighted in the brief.

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Inter-railing 2019 Photoessay - experiencing european architecture

The Vatican - Rome

During Summer 2019, myself and a group of other students travelled around Europe to observe and visit various sites that exhibitied historical and contemporary European architecture.

This trip was invaluable to my development in becoming an architect, visiting many sites that inspire not just historical means of architectural theory, but contemporary architecture that have had a subconicous influence on my designs.

On the trip we visited 8 European cities; Rome,Vencie, Vienna, Badapest, Krakow, Prague, Berlin and Hamburg.

In each city resided an individual character and culture that differed from the others. The following images are a collection of photographs taken on the trip that dipict not only a signigicance in architectural quality, but cultural and characteristic qualities that were found in each city visited.

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Between the lines - Venice

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Library and learning centre - University of Vienna

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Jewish museum - Berlin

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The Elbphilharmonie - Hamburg

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Crafting Architecture Additional University led workshops

Alongside our focussed graduation project, the architecture and urban planning department put on a series of workshops that aimed to further our thinking into different means of architectural representation. The sessions generally intriguing as they taught new skills and ways of thinking about materials and architecture.

I took part in two of the crafting architecture sessions, both with a focus on materiality. The first was a metal welding workshop which did not inform any part of my graduation project, but was a useful skill to obtain. The second being a teoretical mapping session which looked into how space and architecture can be defined by a language and translated into a physical intervention.

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Small Talk Student led extra-curricular lecture series

Throughout my final year of study, I have attended and helped the set up of numerous ‘Small Talk’ series.Visiting talks such as Architectural critic Olly Wainwright’s ‘Form follows finance’ talk and Andy Groarke from Coarmody Groarke, on his presentation that had a very relevant topic to my project.

Groakes talk was especially inspirational as the studios themes touch similar themes to ordinary resilience in their material studies and their greater interligability when designing in context.

The talks also brought in architects Bill Webb and Ben Stuart from MAKE architects, who also run a architectural podcast ‘architecture den’. Being an avid listener to their podcast, it was great to meet the two and hear their talk on architecture in London.

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Field trip case study report (APPENDIX)

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Studio 2

Ernst Busch Academy of Dramatic Arts

Hochschule fur Schauspielkunst Ernst Busch Academy of Dramatic Arts New Extension and Rennovation Zinnowitzer str. 11, 10115, Berlin Ornter & Ortner Baukunst

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Studio 2

Ernst Busch Academy of Dramatic Arts

Introduction Contents:

Background

Architects

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Building: Ernst Busch Academy of

Typology

4

Dramatic Arts

Site

7

Location: Zinnowitzer Str., Berlin.

Programme

10

Opened: 2015

Concept and Design

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Completion: 2019 Architects: Ornter & Ortner

Spatial Sequence

17

Function: Academy of dramatic arts,

Structure

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University building and event space.

Environmental

24

Atmosphere

26

Materiality

28

Bibliography

31

List of Figures

32

Group Criteria

(A) Architects - Kieran Forrest (B) Typologoy - Bella Jahoda (C) Site - Jonathan Barker (D) Programme - Justin Lin (E) Concept and design - Ella Johnson (G) Spatial Sequence - Kieran Forrest (H) Structure - Jonathan Barker (I) Environmental - Justin Lin (J) Atmosphere - Ella Johnson (K) Materiality - Bella Jahoda

Studio 2

Ernst Busch Academy of Dramatic Arts

A

Architects

Ortner & Ortner

Ortner and Ortner Baukunst’s history begins in 1970 where Laurids (left) and Manfred (right) Ortner had previously worked in the artists collective HansRucker-Co in Dusseldorf. Laurids studied architecture at the Technical University of Vienne, while Manfred studied painting and art education at the Academy of Fine Arts in Vienna.

Hans-Rucker-Co

Together, along with the rest of the collective they created projects that were both artistic and architectural.

Many of these projects have had a lasting impact in developing the arts.

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Studio 2

Ernst Busch Academy of Dramatic Arts

A

Architects Founding

In the mid 1980’s general interest turned to concrete construction projects. To make the most of this growing market Laurids and Manfred left Hans-Rucker-Co and founded Ortner & Ortner Baukunst in 1987.

Museumquartier Wien

In 1990, O&O won the competition to design the new Museumquartier in Vienna. This project included three main museums: the Leopold Museum, the Ludwig Foundation Museum of Modern Art and the Vienna Arts Hall.

At the time, this was one of the largest cultural centres in Europe. Since then they have gone on to design many other significant cultural, residential, commercial and office buildings.

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Ernst Busch Academy of Dramatic Arts

A

Architects

Other Works and Styles

Many of their designs have very monolithic silhouettes. However, more recently their buildings are lighter and less dense, with more open spaces and large glass facades. You can still see their roots referring back to the heavy use of concrete construction from when they were founded although their material palettes are much more varied.

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Ernst Busch Academy of Dramatic Arts

Ernst Busch Academy of Dramatic Arts By: O&O Baukunst Nanjing Performing Arts Centre By: Preston Scott Cohen

Finished in 2007 in Nanjing, China.

It has a footprint of 16000.0 m²

Finished in 2018 in Boston, United States.

It has a footprint of 6967.7 m²

Young Centre for The Performing Arts By: KPMB Architects

Finished in 2019 in Berlin, Germany.

It has a footprint of 16200.0 m²

Joan & Edgar Booth Theatre and College of fine Arts Production Centre By: Elkus Manfredi Architects

Footprint 1:5000

4

Finished in 2006 in Toronto, Canada.

It has a footprint of 4087.7 m²

Typology

B

To understand the typology of The Ernst Busch Academy of dramatic arts, the building will be compared and analysed against three other buildings: The Nanjing Performing Arts Centre, the Joan & Edgar Booth theatre and college of fine Arts Productions centre (the booth) and the Young Centre for The Performing Arts. The areas to be analysed will be the footprint, the materiality of the building and the form. The reason why these buildings have been chosen is because they all house different departments under one roof.

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Studio 2

Ernst Busch Academy of Dramatic Arts

Facade

Interior

Typology

B

Young Centre for Joan & Edgar The Performing Arts Booth Theatre and College of fine Arts Production Centre

Nanjing Performing Arts Centre

Ernst Busch Academy of Dramatic Arts

Materiality - Facade

5

When it comes to the facades of the buildings, The Ernst Busch Academy and the Booth have a similar approach as both have an exterior cladding frame on the front of their buildings. Whilst on the other hand the Nanjing performing art centre uses customised tiles to accomplish their unconventional shapes and the Young centre has kept the old brick to respect the historic fabric of the site.

Materiality - Interior

For the interior, the Young centre for the Performing Arts has left their walls in its most utilitarian state which is a clear similarity to the Ernst Busch building, where certain walls have been left unfinished to mark the old and the new. Contrarily, the Nanjing Performing Arts Centre and the Joan & Edgar Booth theatre and college of fine Arts Productions centre have an aesthetic finish look on the interior.

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Studio 2

Ernst Busch Academy of Dramatic Arts

Form

B

The variation of the form in each building shows how different shapes and spacial layouts can hold the same functions required by the users. The Nanjing Performing arts centre and the Joan & Edgar Booth theatre and college of fine Arts Productions centre show more angled shapes, however ‘The booth’ has an exterior structural resemblance to the Ernst Busch Academy as both use a similar exterior frame system.

Young Centre for The Performing Arts By: KPMB Architects

Joan & Edgar Booth Theatre and College of fine Arts Production Centre By: Elkus Manfredi Architects

Nanjing Performing Arts Centre By: Preston Scott Cohen

Ernst Busch Academy of Dramatic Arts By: O&O Baukunst

Typology

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Studio 2

Ernst Busch Academy of Dramatic Arts

Site Nolli

Berlin Hauptbahnhof Central Station in Berlin with connections all over Berlin and the surrounding area by (S-Bahn) overground train, tram or U-Bahn (underground).

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C

The Ernst Busch Academy of Dramatic arts is located in a couryard in the Oranienburger district in Berlin.

It is an independent drama school that operates in Berlin and thus does not work alongside any other university buildings in the city.

The site is a great location with many transport links operating nearby, mainly the U-Bahn station just a few minutes away from the college (fig.

34). This allows students to access their place of study with relitive ease when travelling in the city. It is also within walking distance to Berlin Central Station (Berlin Haupbahnhof).

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35 36 34

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Studio 2

Ernst Busch Academy of Dramatic Arts

Title Site

C

Sub Heading Buildings Surrounding

Situated Ur, sum within restruma que courtyard quatis of as deniminveroby surrounded eius, high id spec qui siti apartments sequam et et etflats and fugiate the stibeat. university building Nempost, is unique inodit its relation expelis derchic to its ipitibus id magnis ad que surroundings.

By voluptae being in close volum quam estibus, proximity to these omnihitate nearby num flats in (fig.nus ipiet,it coribercia 38) is said thatvolupta the students turemolorem and quatis excestis residents often,est, accidently, cusamenexchange delesci endenia views with sineach placcabo. otherItatiae (fig. 39)and velles ra conseque in doing socomnis it oftennus entices dipsust, theut local quo eum voluptibus residents to shows dolore and que events sit held hic toby the university.

Sub Heading Access routes

One consectohas is secae laborest et ma The building one access route, ilhighlighted et eture rerem ligendi gnihic which is used for tem elitati verectem molores pedestrians and iusciminihil vehicular access (fig. asperum nonseque rem faceptatiae di 40). By providing a large access route rae.

Dus for ad que nit as ut purposes as est dolupta it caters the multiple such temquis imenimp orenis sit earchil as deliverling large scale productions ipidus eturia (stagesmi, andoptam, sets) asofficiis well asexped provide the vit omni natfire aligent fugitatiur aperum neccessary accessibility routes (fig. dolupti alit, conem qui 41) bothnus forpliquatur the university building doluptia as dolectios and all ofvoluptur the surrounding flatssequam and quuntur magnatq uatur, quatis etur apartment buildings.

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41 39 8

Studio 2

Ernst Busch Academy of Dramatic Arts

Title Site

C

Sub Exisiting Heading Building

Ur, Prior sum to it’s restrum rennovation, que quatis theasAcademy deniminvero of Dramatic eius, arts was id qui formally siti sequam use et et as et anfugiate Opera stibeat. workshop. This was an Nempost, appealing site oditfor expelis the Dramatics derchic ipitibus school id duemagnis to its long ad que spanning voluptaesupports volum quam and high estibus, ceilings. omnihitate The students num inofnus ipiet, the school coribercia initially volupta spoketuremolorem up and quatis demonstrated excestis to est,aquire cusamen the site. delesci The endenia land wassin originally placcabo. sold Itatiae to developers velles ra conseque but this decision comniswould nus dipsust, later beut quo eum overturned voluptibus and the dolore development que sit hic of to the new school could begin! Creating Sub Heading a brand new extension to the existing building (fig. 42).

The building One consecto is secae laborest was et ma (fig.gnihic 43) totem ilpartially et eturedemolished rerem ligendi accommodate the new building.

The elitati verectem iusciminihil molores language nonseque is a mix ofrem thefaceptatiae old and new asperum di (fig. Dus 45) and shows appreciation for rae. ad que nit an as ut as est dolupta the existing building. temquis imenimp orenis sit earchil ipidus mi, optam, officiis exped eturia vit omni nat aligent fugitatiur aperum dolupti nus pliquatur alit, conem qui doluptia voluptur as dolectios sequam quuntur magnatq uatur, quatis etur

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Studio 2

D

Ernst Busch Academy of Dramatic Arts

Programme Key Adjacencies Key Adjacencies

TheThe project site(marked in in project site(marked pink) situates within a complex pink) situates within a complex neighbouring areaarea andand it presents neighbouring it presents as aascourtyard which surrounded by by a courtyard which surrounded buildings.

Currently there areare offices buildings.

Currently there offices andand residential buildings at the easteast residential buildings at the andand north sides, andand a hotel which is is north sides, a hotel which under construction at the west.

TheThe under construction at the west. southern areaarea of of Zinnowitzer road areare southern Zinnowitzer road stillstill under development. under development.

Composition and Function Composition and Function A. Fly tower/theatre B. Glazed cafeteria C. Backstage/storage D. Workshops/metal, costume, wood, doll, etc.

E. Administration F. Terrace 1 46

2 47

D A C

D E

48 3 10

C

F

B

TheThe oldold building with its its massive building with massive façade is supplemented by by twotwo newnew façade is supplemented buildings in the southern area of thethe buildings in the southern area of property.

A fly tower(A), andand a singleproperty.

A fly tower(A), a singlestorey theatre café(B)(fig.48). storey theatre café(B)(fig.3).

AnAn ‘airspace’ is located in the library ‘airspace’ is located in the library andand is enclosed in the areaarea of of thethe is enclosed in the upper level by a massive balustrade. upper level by a massive balustrade.

TheThe second airspace forms thethe areaarea second airspace forms of ofculvert, so so thatthat a usable hallway culvert, a usable hallway is preserved on on thethe firstfirst floor; on on thethe is preserved floor; second upper floor, thethe airspace is is second upper floor, airspace separated from the main corridor by by a a separated from the main corridor balustrade.

TheThe rooms adjacent to this balustrade. rooms adjacent to this areaarea each hashas a window to the airspace. each a window to the airspace.

Studio 2

D

Ernst Busch Academy of Dramatic Arts

Programme

Atmosphere Atmosphere

Both structures areare characterized Both structures characterized by the curtain facade (fig.49), by the curtain facade (fig.1),which which clearly sets itself apart from the clearly sets itself apart from the existing material.

TheThe theatre covered existing material. theatre covered by abyfacade of wooden elements, a facade of wooden elements, andand thethe theatre cafĂŠcafĂŠ waswas constructed theatre constructed by transparent glass facade.

TheThe by transparent glass facade. oldold building waswas designed to be building designed to be characterized by its original materiality. characterized by its original materiality.

TheThe walls and ceilings are left in walls and ceilings are left good in good condition in most areas from about condition in most areas from about thethe toptop of of thethe doors.

In the lower doors.

In the lower partpart of of thethe walls were painted with walls were painted with colour (fig.52), colour (fig.4),sosothat thatthe thewalls wallscan canbebe sketched andand painted in most of of thethe sketched painted in most building. building.

User Experience User Experience

1. Airspace corridor 2. Workshop 3. Airspace library 4. Uncovered heater 5. Natural light

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50 2 49 1 51 3

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According to the stuff of of thethe library, According to the stuff library, thethe twotwo entrances situate in different entrances situate in different storey areare notnot easyeasy to manage thethe storey to manage access when the stuffs ae less than access when the stuffs ae less than two.two.

Furthermore, thethe useuse of of thethe Furthermore, library (fig.51) was not fulfilling library (fig.3) was not fulfillingthe the expectation which means the volume expectation which means the volume waswas planned tootoo big.big.

Another issue is is planned Another issue thethe metal heater (fig.54) is not covered metal heater (fig.6) is not covered andand protected by shield could heart protected by shield could heart student by accident. student by accident.

TheThe firefire escape of of thethe oldold building escape building is guided from thethe roof toptop to the is guided from roof to the fly fly tower.

There is not any balustrade tower. There is not any balustrade around thethe edge of of thethe roof. around edge roof.

Studio 2

D

Ernst Busch Academy of Dramatic Arts

Programme Illumination Illumination

For For illumination illumination and and as as aa thermal thermal envelope, translucent envelope, translucent lighting lighting components components are are used used on on the the inside inside and outside of the theatre on and outside of the theatre on the the ground ground and and second second floors floors (fig.1). (fig.55).

During During evening evening operation, operation, these these areas, areas, which are assigned to the two which are assigned to the two studio studio stages, stages, light light up up from from inside, inside, with with the the outer air spaces in between remaining outer air spaces in between remaining dark. dark. This This creates creates an an enigmatic enigmatic faรงade faรงade in the interplay of both layers, which in the interplay of both layers, which only only vaguely vaguely reveals reveals the the interior. interior.

Most of the studio rooms Most of the studio rooms have have modularised light system (fig.3, and modularised light system (fig.57,4)58) curtain screens, therefore they they can be and curtain screens, therefore can easily transformed in order to host be easily transformed in order to host different different kind kind of of events. events.

Insulation Insulation

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Insulation Insulation of of aa performing performing art art building building is is vital. vital. Insulated Insulated concrete concrete was was used used to to construct construct the the main main walls. walls.

Double glazed windows (fig.6) Double glazed windows (fig.60)were were installed.

Some specific studio such installed. Some specific studio such as as audio room has extra sound insulating audio room has extra sound insulating design design (fig.5). (fig.59).

Studio 2

Ernst Busch Academy of Dramatic Arts

D

Programme Safety Safety

There There are are numerous numerous supply supply lines lines throughout throughout the the whole whole building building (fig.1). (fig.61).

The fire escape routes and fire system The fire escape routes and fire system also also bypass bypass the the building building completely. completely.

All All outdoor outdoor area area around around the the building building can be used as fire-fighting area can be used as fire-fighting area that that makes makes the the rescue rescue of of the the incident incident of of fire more efficient. fire more efficient.

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64 4

On the maintenance maintenance On the the east east side side of of the aisle, a smoke exhaust opening aisle, a smoke exhaust opening is is provided, provided, when when it it is is operating operating it it occupies occupies almost almost the the entire entire depth depth of of the maintenance aisle. the maintenance aisle.

Fire Fire shutter shutter also also installed installed on on thresholds thresholds between between main main spaces spaces (fig.3, 4). (fig.63, 64).

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Studio 2

E

Ernst Busch Academy of Dramatic Arts

Concept/Design

of the e space

Relationship with existing structure

here t poses s.

The main principle of Ortner and Ortner’s design was to keep as much of the previous workshop structure as possible and to add on only what was necessary to meet the requirements of a modern theatre school. They created two double height void spaces within the existing structure that provides unique viewpoints and whilst retaining the old structure, they added a large 24-metre-high cubic theatre space and a subsequent theatre cafÊ that leads onto the exterior gardens.

to the mbines he ghout

g.

re tration to the e

within e main rcase.

A) Exterior: Proposed reconfiguration of the site entrance, the forecourt and the garden space linked to the cafe.

B) Theatre Space: The main corridors linked to the new theatre structure. Combines all the entrance points to the theatre and extends throughout the building.

C) Main Entrance/Cafe: Located within is the theatreccafe and the main administration. It is the main access point to the building and is the most accesible to the public.

D) Structural Voids: Two double height spaces located in the main library and within the central circulation providing views into lower levels.

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Ernst Busch Academy of Dramatic Arts

Concept/Design Materiality

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Both new structures are designed with curtain facades that set them apart from the existing concrete structure; the cafĂŠ with partially transparent glass and the theatre with timber panelling. The timber cladding on the theatre has become the defining characteristic of the building. It creates a perforated lighting quality within the interior spaces of the building further creating different viewpoints of the spaces and structure. The timber motif is continued throughout the interior finishes and it sets the building within the context of the urban fabric surrounding it.

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1 - Rehersal Studios, 2 - Media Studios, 3 - Library, 4 - Theatre, 5 - Main Entrance and Foyer, 6 - Cafe, 7 - Terrace, 8 - Teaching and Administration, 9 - Puppetry Workshop, 10 - Costume Design

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Ernst Busch Academy of Dramatic Arts

E

Concept/Design

Line between old and new

A visible divide is created between the old and new structure with a line running through the ground floor at a height of 2.30 meters that separates the refined old structure and the polished new one. Ortner and Ortner describe that throughout the inside of the building “the possibility of differentiation, for polarisation and characterisation in the design begins.

This is where individuality can first be fulfilled�. In this way the relationship between the old structure and new structure is expressed in the materiality running throughout the design.

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Spacial Sequence Designing Spaces

When designing the building, to decide on the amount of space the school needed, the architects worked out the average spaces used by other schools in Berlin and then took 25% off this amount. They did this as they believed that having less space would create more synergy and cohesion between the school’s departments

Enterance hall

Entering the building leads you to the very large and open reception hall from which you can go to the canteen or one of the thatres. The reception also offers views down the length of the school through the large, central corridor.

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Spacial Sequence Corridors

One apect of the building the architects thought about when designing the building was the very large corridors which are useful to allow the transportation of large set pieces though the school from the workshop to the theatres without having to dismantle them.

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Spacial Sequence Verical Transport

The main staircase which can be accessed from all the main floors is concrete cast in-situ. There are also five smaller staircases and several lifts.

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Title Structure

Sub Celebration Headingof Structure

Ur, A motif sum restrum of exposed que structure quatis as is seen deniminvero throughout the eius, University id qui sitibuilding. sequam At et et a height et fugiate of 2.3m stibeat. (fig. 84) is a dividing Nempost, line, belowodit this expelis height is derchic completed ipitibus id with magnis a consistent ad que voluptae clean finish volum which quam provides estibus, spaceomnihitate for students num to express in nus ipiet, themselves coribercia through volupta chalk turemolorem drawings quatis and messages excestis -est, these cusamen are erased delesci each endenia month. Above sin placcabo. this height Itatiae is left velles ra conseque unfinishedcomnis to emulate nus dipsust, the building ut quo that eum existed voluptibus prior to its dolore use as que a university sit hic to building (fig. 85).

Sub Heading

One consecto is secae laborest et ma il et eture rerem ligendi gnihic tem elitati verectem iusciminihil molores asperum nonseque rem faceptatiae di rae. Dus ad que nit as ut as est dolupta temquis imenimp orenis sit earchil ipidus mi, optam, officiis exped eturia vit omni nat aligent fugitatiur aperum dolupti nus pliquatur alit, conem qui doluptia voluptur as dolectios sequam quuntur magnatq uatur, quatis etur

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Structure

Existing Primary Structure

Ernst Busch Academy of Dramatic Arts celebrates its exisiting primary structure throughout (fig. 89). Its large, reinforced concrete columns and beams are apparent (fig. 86), providing moments connecting it to the initial use as workshop prior to the art school it is now. The concrete columns provide sufficient structural support to hold its vertical loads (fig.

87) as they meet the ground with large foundations (fig. 88) which are partially visible in the basement of the building.

Its inbetween brick walls provide rigidity to the structure for horizontal loads.

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Title Structure

Sub Celebrating Headingstructure

Ur, Thesum dramatic restrum artsque academy’s quatis asnew deniminvero extension, used eius, foridaqui newsitistate sequam of the et et artetperformace fugiate stibeat. space (fig. 91), also Nempost, celebrates the oditreading expelis of derchic structure ipitibus in id its magnis design (fig. ad que 90).voluptae The interior volum spaces quam highlight estibus, the exterior omnihitate facade num structure in nus ipiet, through coribercia the use volupta of an opaque turemolorem quatis polycarbonate excestis est, material. cusamen It also delesci leaves endenia the concrete sin placcabo. floors and Itatiae roof velles bare and ra conseque unfinishedcomnis to continue nus dipsust, the motif ut quo of eum concrete voluptibus structure dolore in the que building. sit hic to The exterior wooden facade design Sub Heading pertrudes through into the interior and in doing so creates a much softer feel One consecto is secae laborest et ma in the building (fig.tem 92). ilofetstructure eture rerem ligendi gnihic elitati verectem iusciminihil molores asperum nonseque rem faceptatiae di rae. Dus ad que nit as ut as est dolupta temquis imenimp orenis sit earchil ipidus mi, optam, officiis exped eturia vit omni nat aligent fugitatiur aperum dolupti nus pliquatur alit, conem qui doluptia voluptur as dolectios sequam quuntur magnatq uatur, quatis etur

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Structure Extension

The New addition to the Ernst Busch academy of Dramatic arts is constructed using a timber frame and polycarbonate walls that connect to a ‘concrete cube’ (the area which houses the new stage spaces). This new addition not only gives two new rooms for performances and events but it also gives another typology to the building.

Structure breakdown

INTERIOR SPACE

The exterior wood clad facade connects to each structural concrete floor through metal brackets (fig.

94), as well as being self supporting structure with the help of cross bracing which can be read throughout the space (fig. 95). The polycarbonate helps dictate the interior spaces that can be inhabited by students due to its environmental heat retention (fig. 96).

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EnvironmentalStrategy Strategy Environmental Energy and Ventilation Strategy

Exhaust air

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Fresh air

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Exhaust air Fresh air

The supporting outer walls of the theatre cube are made of reinforced concrete. At the edge of the flat roof, an attic (fig.97 upperedge edgemarked marked (fig.1 upper green) was created, which closes at about the same height as the superior wooden facade. The attic is made of concrete, all sides are covered with insulation, the top of the attic is additionally covered, both inside and outside. The maintenance aisles are to be considered climatically as exterior space, because the facade is not enclosed (fig.100). (fig.4).

The distinction between thermal enclosed interior and ventilated air aisle is clearly divided. At the same time, the bridge between them can be open in order to adjust the ventilation between spaces (fig.100). (fig.4).

Automatic light sensors (fig.98) (fig.2) can be found throughout all main corridors within the building.

Natural illumination during the daytime is capable to supply enough environmental illumination. There was not enough consideration of energy saving within the design brief.

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EnvironmentalStrategy Strategy Environmental Lighting

Natural light Artificial light

Inside the fly tower there are two superimposed studio stages, each extends over two levels. In order to access from all sides of the space, there is a lower level circulating stage corridor, which is walkable and illuminated during operation (in the evening the movement inside can be seen from afar). The maintenance aisles enclose the studio stages on their upper level on three sides and are not normally accessible. These corridors are dark, without lighting.

Maintenance aisles for light installation are marked in green. The height of the lower maintenance corridor is approx.

450 to 460 cm. The height of the upper maintenance corridor is approx.

880 cm. In each case the width of 242 cm, the air space of approx. 50 cm and the construction depth of approx.

50 cm.

BERLIN

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To improve the performance of energy efficiency of Ernst Busch Academy of Dramatic Arts, there are few points can be reconsidered and improved: It is better to have a threshold between outdoor and indoor which can prevent cold air comes inside.

Material use of massive concrete construction was not environmentally friendly.

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Atmosphere Natural Light

The atmospheric qualities of the academy are provided for largely by the filtration of light into the building.

Large windows are present in all of the outward facing rooms opening on an outward tilt. They compose the majority of the wall structure throughout the rehearsal spaces and provide views out to the surrounding urban environment. This enables copious amounts of natural light into the studios to create a fresh, ethereal atmosphere for the students to rehearse in. This is contrasted in the theatre which has no natural light infiltrating the space in order to

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Atmosphere Timber Structure

The atmospheric lighting qualities are further developed through the filtration of light from the timber cladding. Light permeates the structure in linear forms that mirror the lateral design of the interior, to create unique lighting concepts throughout the building. At night, the structure is illuminated from the inside so that shadows of activity can be seen. This makes the buildings functionality alive in the design so that the characterisation of the building has a direct impact on the moments that it creates. The interior is suggested from the outside whilst the exterior is suggested from the inside

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Materiality Exterior

The Exterior Facades of the building show a composition of textures and materials; these being timber for the Fly-tower, rendered walls for the upgraded old building and corrugated perforated aluminium for the cafeteria box.

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Materiality Translucency

Behind the Timber cladding Flying tower a translucent polycarbonate layer can be found, which allows sunlight to pass through during the day and shadows of performers to be seen from the exterior at night.

Continuation of the Facade

Another interesting feature of the building shows how the timber frame carries on to the inside of the building, unifying the interior and exterior.

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Materiality

The Old & The Unfinished

On the interior of the building the new and the old parts of the building meet, they can be clearly identified by the encounter of the raw materials with the refined ones. Throughout the building a divide has been established at a height of 2.3 meters where the parts above have been left as they were found and the parts below have been finished.

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Bibliography: Anon. (2016). “Kunst am Bau Academy of Dramatic Arts Ernst Busch in Berlin-Mitte. Non-open art competition. Auslobung”. De.Berlin [Online]. Accessed 9 Dec 2019. [https:// docplayer.org/68854164-Kunst-am-bau-hochschule-fuer-schauspielkunst-ernst-busch-in-berlin-mitte-nichtoffener-kunstwettbewerb-auslobung.html?fbclid=IwAR1zFC-yD-zN9pInZZySKXISIBLgI25-hVcSWr419bCD0f_HPur7LAXDuKI].

Pintos, P. (2019). “Ernst Busch University of Performing Arts / O&O Baukunst”. ArchDaily [Online]. Accessed 10 Dec 2019. [https://www.archdaily.com/912095/ernstbusch-university-of-performing-arts-o-and-o-baukunst/].

Obermoser, E. (2019). “Clear the Stage: Ernst Busch Academy of Dramatic Arts by O&O Bankhust”. Detail [Online]. Accessed 10 Dec 2019. [https://www.detail-online.com/ en/article/clear-the-stage-ernst-busch-academy-of-dramatic-arts-by-ortner-ortner-33862/].

Bifulco, A. (2018). “O&O Baukunst Ernst Busch Academy of Dramatic Arts, Belin”. Floornature [Online]. Accessed 11 Dec 2019. [https://www.floornature.com/oobaukunst-ernst-busch-academy-dramatic-arts-berlin-14170/].

Astbury, J. (2019). “Berlin workshop transformed into thearter school by Ortner & Orther Baukust”. Dezeen [Online]. Accessed 10 Dec 2019. [https://www.dezeen. com/2019/03/05/ortner-ortner-baukunst-ernst-busch-academy-berlin/].

Anon.(2011) Young Centre for the Performing arts / KPMB architects. Available at: https://www.archdaily.com/142776/young-centre-for-the-performing-arts-kpmbarchitects?ad_source=search&ad_medium=search_result_projects (Accessed: 10/12/2019).

Pintos, P.(2018) Joan & Edgar Booth theatre and College of Fine Arts Production Centre. Available at:https://www.archdaily.com/924938/joan-and-edgar-booth-theatre-and-the-college-of-fine-arts-production-center-elkus-manfredi-architects?ad_source=search&ad_medium=search_result_all (Accessed: 10/12/2019).

Anon. (2010) Nanjing Performing Arts Centre / Preston Scott Cohen. Available at: https://www.archdaily.com/47864/nanjing-performing-arts-center-preston-scott-cohen?ad_source=search&ad_medium=search_result_projects (Accessed: 10/12/2019).

Schroepfer, T. (2011) Material Design: Informing Architecture by Materiality. Basel: Birkhauser.

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Bibliography

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List of Figures: 1. Laurids Ortner (http://www.marcoprenninger.com/gallery/32/13) 2. Manfred Ortner (https://www.residenz-annaberg.de/architekten/manfred-ortner/) 3. Museumquartier Wien (https://ortner-ortner.com/de/baukunst/projekte/kultur/mumok_wien) 4. Museumquartier Wien (https://en.wikipedia.org/wiki/Museumsquartier) 5. Collage of numerous images created by author.

6, 16. Taken from: Pintos, P. (2018) Ernst Busch University of Performing arts / O&O Baukunst. Available at: https://www.archdaily.com/912095/ernst-busch-university-of-performing-arts-o-and-o-baukunst?ad_source=search&ad_medium=search_result_projects (Accessed: 10/12/2019).

8, 18, 19, 28. Taken from: Anon. (2010) Nanjing Performing Arts Centre / Preston Scott Cohen. Available at: https://www.archdaily.com/47864/nanjing-performingarts-center-preston-scott-cohen?ad_source=search&ad_medium=search_result_projects (Accessed: 10/12/2019).

10, 20, 21, 22, 30. Pintos, P.(2018) Joan & Edgar Booth theatre and College of Fine Arts Production Centre. Available at:https://www.archdaily.com/924938/joanand-edgar-booth-theatre-and-the-college-of-fine-arts-production-center-elkus-manfredi-architects?ad_source=search&ad_medium=search_result_all (Accessed: 10/12/2019).

12, 23, 24, 25, 32. Taken from: Anon.(2011) Young Centre for the Performing arts / KPMB architects. Available at: https://www.archdaily.com/142776/young-centrefor-the-performing-arts-kpmb-architects?ad_source=search&ad_medium=search_result_projects (Accessed: 10/12/2019).

43. Taken from: Astbury, J. (2019). “Berlin workshop transformed into thearter school by Ortner & Orther Baukust”. Dezeen [Online]. Accessed 10 Dec 2019. [https:// www.dezeen.com/2019/03/05/ortner-ortner-baukunst-ernst-busch-academy-berlin/].

65. Taken from: Anon. (2016). “Kunst am Bau Academy of Dramatic Arts Ernst Busch in Berlin-Mitte. Non-open art competition. Auslobung”. De.Berlin [Online]. Accessed 9 Dec 2019. [https://docplayer.org/68854164-Kunst-am-bau-hochschule-fuer-schauspielkunst-ernst-busch-in-berlin-mitte-nichtoffener-kunstwettbewerb-auslobung.html?fbclid=IwAR1zFC-yD-zN9pInZZySKXISIBLgI25-hVcSWr419bCD0f_HPur7LAXDuKI] 70. Taken from: Pintos, P. (2019). “Ernst Busch University of Performing Arts / O&O Baukunst”. ArchDaily [Online]. Accessed 10 Dec 2019. [https://www.archdaily. com/912095/ernst-busch-university-of-performing-arts-o-and-o-baukunst/].

All other figures, authors own illustrations, photographs and research.

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List of Figures