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PORTFOLIO

TUNU BROWN 170207618 STUDIO 2: ORDINARY RESILIENCE 2019/20

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ACADEMIC PORTFOLIO STAGE 3 ARC3001 STUDIO 2: ORDINARY RESILIENCE

TUNU BROWN 170207618

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ILLUSTRATED REFLECTIVE REPORT

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STUDIO INTRODUCTION

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PRIMER

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FIELD TRIP

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STAGING

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THINKING THROUGH MAKING WEEK

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REALISATION

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SYNTHESIS

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CULTURAL BIBLIOGRAPHY

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LIST OF FIGURES

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BIBLIOGRAPHY

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APPENDIX:

CONTENTS 4

DEVELOPMENT WORK

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CHARETTE

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CASE STUDY

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NEW/AMENDED WORK

OTHERS WORK/GROUP WORK 5

Stage 3 architecture has come with many incredible moments as well as some difficult challenges. In being able to spend a whole year on one project, I feel we have been given the opportunity to refine skills developed in Stages 1 & 2 and really been able to carefully explore ideas and develop thorough designs. While it has been a very challenging process I feel this year has been an important step in my architectural education.

I feel the choice of studio was a large source of the enjoyability of the year for me. Ordinary Resilience studio felt very suited towards my personal interests, and our studio’s design process I feel has been complimentary to my style of learning and designing. The studio is centered around creating architecture that is referential to the past whilst remaining contemporary, utilising artists references in the design process to enrich our design, and in turn, the city. Some of the processes and design development techniques utilised by the studio are reminiscent of the processes I’d undertaken at school in Art, and were therefore methods of learning that I’d been familiar with and had enjoyed in the past. I feel that continuing to take the approach we have been led to take in this studio in the future will encourage the best work possible out of me.

I found Primer to be one of the most enjoyable parts of the year. Our initial analysis of the city through observational drawings was very useful in helping to identify points of interest in the city and exploring the character of the city. At this stage I was particularly drawn to the ornamental detailing scattered across the city, in particular the interesting shadows cast by this detailing. This analysis was very important later on in my design where the utilisation of perforated brick intended to add an exciting atmosphere and sense of movement and rhythm to areas of the design.

ILLUSTRATED REFLECTIVE 6

We then created several pieces demonstrating our interpretation of the city, one of which ended up being instrumental in my design concept and development. I found this couple of weeks to be very enjoyable and experimental, and this process of creating different pieces throughout the weeks really encouraged me to continue to be experimental in the rest of the design process. Utilising Eduardo Paolozzzi as a reference point at this stage was extremely useful also, as his work allowed me to explore themes of movement, abstraction and texture, all of which were themes carried throughout my design.

During Staging, experimenting with different designs through modelling was very useful and effective I feel. I discovered at this stage that the models were very necessary in evolving my understanding of the site and how my buildings would effect the area. As there are some complications with our site with regards to the Metro station and the fact of there being so many very tall buildings around, it was very important that the buildings were responsive to the site.

At this stage I became very involved with ensuring that my interpretations of the city and my evaluation of Eduardo Paolozzi’s work was expressed in the design. This was primarily demonstrated through the focus on movement in creating a major path through the site. The design development process was essentially a system of trying to strike a balance between allowing the path to mould the building shapes and vice versa, creating both private and public spaces and creating experiential moments through the site even for those not entering any buildings. The intention was for the public to not feel excluded from the experience even though it is a university building.

During Realisation, I’d spent a few weeks trying to design all three buildings but later realised my efforts would be better spent choosing just one to develop further. I feel a weakness at this stage was not narrowing my focus onto one building earlier. After several iterations I settled on the design which incorporated several ideas explored in my primer work, such as creating texture through shadow and creating a varied experience of movement throughout the building.

The integrated technology assignment allowed me to refine technological elements and details of the building, aligning them to the interests I’d explored earlier on in the year, such as the exposed ceiling and drainage pipes and their relation to my exploration of the work of Eduardo Paolozzi and the focus on movement in my overall design concept. This was further developed in the several perspectival drawings and elevations I’d created for Synthesis, which I feel really tie the project together.

Overall, I have really enjoyed being able to spend the whole year on this one project, focussing on the continuous improvement and evolution of the design. I have learnt many lessons throughout the year; perhaps the most important being to ensure there are major themes driving the project and the design, as this was very useful in directing the focus of my design. I feel where I could really improve is working on my portfolio as I go along; I feel some aspects/ideas of my project I neglected to physically portray in my portfolio as the year went on because we had the oral presentation in each review. This meant when it came time to complete the portfolio I had quite a few bits of work to fill in to make my project understandable through the use of diagrams, without having to read a large amount of text in order to have basic understanding of the design. Beyond this I have learnt the importance of taking risks and learning from mistakes made. In previous years I had been fearful about making mistakes and having to alter my designs, however this year I have learnt the importance of creating things, testing out ideas and seeking feedback instead of fearing it. While I still have a lot to learn in my architectural career I am very proud of the progress I have made in the way I approach my work and hope to continue making mistakes that can lead to successes.

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STUDIO TWO: ORDINARY RESILIENCE 8

Studio 2, Ordinary Resilience, is concerned with creating architecture that “simply [perseveres]”. The studio is deeply interested in creating spaces that speaks to the history of the city, through “composition, material quality and spatial narrative”, the end goal being to “create architecture that is contemporary yet not isolated in time.” Our methods of working involve consulting artist references, encouraging us to produce work based on research and observation, work that is reactionary to our surroundings. The final output for the year is to produce a new faculty of either Art, Music or Architecture for Newcastle University, creating a design which encapsulates all the values of the studio whilst providing suitable facilities for the students inhabiting the spaces.

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PRIMER 10

During Primer, we were tasked to produce a personalised analysis of the city at different scales. The ‘large’ or urban scale, analysed the fabric of the city as a whole, the ‘medium’ scale was zoomed in analysis of the city fabric, and the ‘small’ or detail piece examined the finer details throughout the city, such as materiality. In doing this we developed a deeper interpretation of the city as a whole, which we would use to develop our own design proposals. At this stage I explored the work of Eduardo Paolozzi and attempted to incorporate his method of collaborating different patterns and textures into my own work. We started out Primer by going out into the city and doing a series of observational drawings which would explore particular points of interest within the city.

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ORNAMENT AND DETAIL IN THE CITY: OBSERVATIONAL DRAWINGS My analysis of the city largely focused on looking at the contrast between the handcrafted detailing and ornament found on buildings throughout the city. I gravitated towards older areas of the city such as Central Arcade and High Bridge to find intricate architectural details to document. I was largely intrigued by these aspects of the city because of the interesting shadows created by the ornamental forms.

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ORNAMENT AND DETAIL IN THE CITY

As well as this I was very interested in the contrast between the ornament and detailing with the regulated and boxy forms of others. It was notable to me that there were several different contrasting architectural styles across Newcastle, which is something I wanted to demonstrate in my Primer work.

Lino print with white pen liner and pencil detailing - produced from image of detailing inside Central Arcade.

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ORNAMENT AND DETAIL IN THE CITY I sought to explore how different forms created by the detailing created different shadow patterns and negative space.The storefront of the Moss Bros. store on Northumberland Street was a feature of the city that really stood out to me because of the intricacy of the detailing and its stark contrast with many other architectural styles in the city.

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EDUARDO PAOLOZZI

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Figure 1: Eduardo Paolozzi

The main influence over my work during Primer was Scottish artist Eduardo Paolozzi. Paolozzi is often associated with his contribution to the Pop Art Movement, however, he often described his work as surrealist art. His pieces vary from silkscreen prints, to pottery, to large scale sculptural pieces demonstrating his fascination with machines and technology. Paolozzi’s work often expresses an in-depth understanding of methods in which to collate different patterns, textures and colour to create a coherent piece of work, which was something I was interested in accomplishing in my own work.

Figure 2: The World Divides Into Facts, 1963

Watercolour painting with black fine liner detailing - produced from an image of detailing on Moss Bros. storefront on Northumberland Street.

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PRIMER

Figure 3: [no title: trial proof], 1973

Figure 4: Karakus Döner Havada, 1974

Paolozzi’s work, and in particular his prints, demonstrate a sense of movement and texture, attributes I hoped to recreate in my representations of the city through sculpture and print throughout Primer.

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LARGE SCALE PRIMER PEICE DEVELOPMENT

My ‘large scale’ piece sought to analyse the contrasts between different architectural styles throughout the city. Looking at a map of Newcastle, I identified several different architectural styles experienced throughout the city and colour-coded them.

I decided that my final piece would represent these key architectural features and buildings in Newcastle in abstracted forms.

Underneath the abstracted versions of these buildings, I wanted to represent the richness of materiality and texture experienced when walking throughout the city in the form of a path.

In my initial development of the print design, the architectural styles of the city is sort of condensed to one road, a sort of abstracted version of Northumberland Street which demonstrates the architectural experience of the whole city.

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LARGE SCALE PRIMER PIECE

LARGE SCALE PRIMER PEICE DEVELOPMENT

In order to portray the varying textures and materials I’d noticed throughout the city, I utilised a collagraph printing technique which consists of adding materials to a plate to create a print. This technique allowed me to create a wide range of textures and patterns which I thought would be appropriate for what I was trying to achieve. I experimented with several materials, including cardboard, paper, textured wrapping paper and even lentils.

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MEDIUM SCALE PRIMER PEICE DEVELOPMENT My ‘medium’ city scale zoomed into the intersection between Moss Bros. and The Pearl building. I wanted to produce a piece of work which demonstrated the contrast between the intricate forms found in the Moss Bros. store compared to the boxy and highly regulated form of The Pearl. I explored several different forms to portray this, settling on the idea of creating several pieces that would be physically connected to demonstrate the juxtaposition of the two opposing aesthetics.

Sketch drawings demonstrating intial ideas for the sculpture.

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MEDIUM SCALE PRIMER PEICE The final piece is an assemblage of several pieces made of plaster. I used plaster in particular as I felt the fact that the plaster dries around whatever mould you place it in would effectively give me the opportunity to portray the contrasting aesthetics. As well as this, the colour of it creates a sense of homogeneity throughout the piece despite the differences in texture and aesthetic. This piece also references the work of artist Louise Nevelson, in the monotone colours of the sculpture and the arrangement of the plaster boxes.

MEDIUM SCALE PRIMER PIECE

The shadows created by the boxy forms again reinforce their sense of regularity in comparison with the detailing meant to symbolise that of the Moss Bros. storefront.

The moulds were all created using red clay, the remnants of which remain in the crevices of the sculpture.

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SMALL SCALE PRIMER PIECE DEVELOPMENT My ‘detail’ exploration further analyses the Moss Bros. building, this time exploring the interesting shadows created by the ornamentation in the design. Utilising a photo I took of the building, I traced over all the shadows, then used this tracing to create a stencil from foamboard. Using this stencil I created an embossed print, which demonstrates a negative of the ornamentation on the building by projecting the shadows outwards.

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SMALL SCALE PRIMER PIECE

SMALL SCALE PRIMER PIECE

In a similar way to my ‘large’ city scale print, this piece attempts to demonstrate a sort of abstracted version of the ornament found on the building.

I had initially intended to print over this piece also, however when I completed the embossing I felt It would be most successful left simple and white.

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PRIMER SHOW

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The Primer show allowed us to demonstrate our work to the rest of the year and our studio went for a simple aesthetic, allowing the work to speak for itself.

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FIELD TRIP: 30

At the end of November we visited Cologne and Berlin as a studio. The trip was essential in widening our architectural vocabulary, and the sites visited were largely congruent with our studio’s beliefs and ambitions. Perhaps the most influential buildings for myself were the Kolumba Museum (Peter Zumthor), Museum Ludwig (Peter Busmann and Godfrid Haberer) and Am Kupfergraben 10 (David Chipperfield), because of their ability to appear modern and exciting yet not seem in incongruous with the surrounding buildings.

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BERLIN & COLOGNE

BERLIN & COLOGNE

This trip was very important in readying us for developing designs for Staging. As Cologne and Berlin in particular were faced with the task of having to nearly rebuild the city after World War Two, it was interesting to see how this was approached.

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FIELD TRIP

The two cities demonstrated several examples of ways of successfully commemorating the past architecture whilst remaining contemporary and innovative.

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KOLUMBA MUSEUM: PETER ZUMTHOR

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“THEY BELIEVE IN THE INNER VALUES OF ART, ITS ABILITY TO MAKE US THINK AND FEEL, ITS SPIRITUAL VALUES. THIS PROJECT EMERGED FROM THE INSIDE OUT, AND FROM THE PLACE.”1

Figure 2: Peter Zumthor

Kolumba Museum, designed and completed by Peter Zumthor in 2007, is designed over the ruins of a Gothic church which was destroyed in World War Two. The building, situated in Cologne, attempts to offer a seamless transition from the old ruins to the new building with its unique use of materiality.

The building utilises Kolomba™ bricks, long and slender grey bricks to blend the remains of the church with the rest of the building. The building’s main function is an Art Museum for the Roman Catholic Archdiocese’s art collection, however the ruin hall, located on the ground floor of the building, functions to preserve and display the remnants of the church. The use of perforated brick in this space acts to regulate the temperature of the room, which helps with the preservation of the ruins, whilst also having the effect of allowing beautiful perforated light into the space. On the upper floors where the exhibition spaces are, the plain design and decor of the rooms allows the work to speak for itself. The library, with walls clad in a rich caramel wooden veneer, creates an atmospheric space in which to read in. Floor to ceiling windows in several areas of the building allow stunning views across the city. I was blown away by Kolumba Museum during our visit due to its simple yet rich design. One of the most captivating aspects of the building for me was the circulation route through the ruin hall via its rich red wooden bridge over the remains, as well as the lighting effects enabled by the perforated brickwork in this space. I feel this building encapsulates our studio themes and my personal ambitions as a designer.

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FIELD TRIP

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Developing on from our Primer work and discoveries made during the field trip to Germany, Staging challenged us to develop our ideas into an urban proposal for our chosen site. Our studio brief requires that we design either a Fine Art, Architecture of Music department for Newcastle University.

I decided I’d like to design the Fine Art Department, and so accommodating for the facilities needed was something which I had to take into consideration for my design. My urban proposal was largely influenced by my ‘large’ city scale print, as well as our visit to Kolumba Museum in Cologne, and so was focused on creating a distinct path throughout the site.

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NEW/AMENDED WORK OTHERS WORK/GROUP WORK

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SITE: ST JAMES

My site, St. James, has the advantage of providing convenient travel links to the rest of the city. The site is relatively bare currently with only the metro station and car park on site as well as several advertisement boards. St. James is located in an important and exciting part of the city, with the football stadium directly in front, and Chinatown and Eldon Square very nearby.

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SITE: ST JAMES

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St. James’ Park Stadium

ChinaTown

The site neighbors several important, iconic and historically significant buildings in the city. Directly behind the site is St James’s Park where the Stadium is located. Surrounding the site are several student accommodation buildings, which make the site an ideal location for a university building. Also nearby the site is the Chinatown Gate which marks the beginning of Stowell Street where Chinatown is mainly located. The site is also next to The Strawberry Pub, a popular pub which has been standing in that spot since 1840.

The Strawberry Pub

Student Accomodations

Newcastle University Business School

Beyond its immediate surroundings, the site is within walking distance from other iconic areas in Newcastle, such as Northumberland Street, Eldon Square, Monument, and the Quayside.

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SUN/WIND PATH AND CIRCULATION

MATERIALITY

NOLI MAP

BUILDING USES

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SURROUNDING BUILDINGS

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APPROACH TO SITE As mentioned before, the site itself is flat but the site surroundings are sloped, and so the site can be accessed through three staircases as well as through level access on the lower end of the site. Whilst the colour palette on site is quite dull, the design of the stairs provide a sort of grand entrance onto the site.

The site itself is quite flat with lots of very large buildings surrounding it. The sloping that occurs around the site increases the height difference of the surrounding buildings and the site. This is perhaps one of the main difficulties faced with this site besides the location of the Metro station.

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ST JAMES PARK STADIUM

SKY BUILDING

CHINATOWN GATE

SANDMAN SIGNITURE AND THE VIEW

HANRO BUILDING

MATERIALITY

2 I was interested by the grand entrance to the site offered by the staircases, and so when starting the design process I’d identified that I’d wanted to keep one of the original staircases (No.1) as this is the largest and it leads directly into the Metro Station. One of the major challenges faced by the site is ensuring my design doesn’t disrupt the flow of people entering and exiting the station.

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The material palette on site is very limited, largely consisting of concrete, some timber detailing and stone slabbing, producing a very neutral and limited colour palette. The surrounding buildings are mostly very tall and modern, largely steel and glass construction, with one of the only exceptions to this being The Strawberry pub.

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CULTURAL ANALYSIS

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Newcastle is full of some large well known galleries, as well as many smaller independent art galleries and studios. In designing a School of Art, the major ambition of the project is to create spaces with which to educate young artists who will go on to enrich the culture and economy of Newcastle with their work. I felt it was necessary to recognise these art galleries and studios and highlight the ways in which they enrich the culture of the city.

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1. The Hancock Gallery 2. Hatton Gallery 3. Gallery North 4. The Town Gallery 5.North East Art Collective 6. Whitewall Galleries Fenwick’s Newcastle 7. Laing Art Gallery 8. Abject Gallery 9. Vane 10. Circa Projects 11. The Globe Gallery 12. Goodyear Gallery 13. Castle Fine Art 14. BALTIC 39 15. Side Photographic Gallery 16. The Biscuit Factory 17. Tower Art Gallery 18. Chilli Studios 19. Monograph LLP 20. Baltic Centre for Contemporary Art

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ART GALLERIES IN NEWCASTLE

Chilli Studios is a registered charity which supports adults with mental health problems through creativity. Members of the studio can benefit from classes in watercolouring, ceramics, mosaics and many more, led by several professionals and many volunteers.

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Figure 4: Laing Art Gallery

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The Biscuit Factory is the UK’s largest independent commercial art, craft and design gallery, holding fine art pieces, sculptures, original prints, jewellery and homeware from over 200 artists every season.

The Laing Art Gallery was founded by Alexander laing in 1901 and contains a large collection of international important art, which regularly changes to show both historic and contemporary pieces.

Figure 3: Chilli Studios

BALTIC 39 is a cultural hub for practising artists, researchers and academics, a collaborative venture between Arts Council England, Baltic Centre of Contemporary Art, Newcastle City Council and Northumbria University.

Figure 5: BALTIC 39

Figure 6: The Biscuit Factory

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DESIGN CONCEPT

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DESIGN DEVELOPMENT

My ‘large scale’ primer print analysed the contrasts between the different architectural styles throughout the city, with key architectural features represented in abstracted forms. A defining aspect of this piece is the yellow line moving through the entire print, representing circulation and movement throughout the city. Incorporating both the ideas explored in my ‘large scale’ print as well as in Kolumba Museum, I identified that one of the most integral aspects of my design would be the circulation route throughout the space. I also decided I wanted to keep the staircase leading pedestrians towards St. James metro station, and create a unique experience for those walking down to the station with my designs.

In designing the path/route through my design, I explored the idea of breaking up the site with the path/route, mimicking how the circulation route through my print moves through the piece. As well as keeping the large staircase leading to the station, I wanted the path to reflect the language of the site created by the shape of the metro station, and so I experimented with different paths based off the shape of the line created by the station.

Large Scale Primer Print

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MASSING ITERATIONS

My first massing studies begin with the idea of the development of three buildings with a path throughout and a semi public courtyard space.

Following on from my first massing iteration I developed several plans that more freely explored building and courtyard shapes that attempted to provide a richer experience for the potential users. I also explored the introduction of a mix of public and private courtyard spaces. At this stage I designed an intersection between two buildings which create an opportunity for outsiders to see a snippet of the courtyard space, which I felt was an exciting element to add to the design.

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FINAL MASSING ITERATION I then refined this idea further, exploring different building heights to respond to the heights of the surrounding buildings. In my final design I decided to make some changes to these heights where appropriate.

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1:250 MASSING MODEL 52

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This massing model was completed using plaster with a foam board mould carefully crafted to create the sharp edges.

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CAR PARKS VEHICLE ROUTES

SITE MAP

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This plan demonstrates several exciting aspects of the design. The most pronounced aspect demonstrated in this drawing is the path which opens up in areas to create public courtyards in an attempt to incorporate the public into the life of the university. This is demonstrated also in the entrance path which leads you through one of the buildings into the station. My intention was for the wall of the building closest to the road to be lined with perforated brick, so an atmospheric experience would be created for those entering and exiting the station.

1:250 GROUND FLOOR PLAN

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SCHOOL RECEPTION STAFF OFFICES GALLERY/ EXHIBITION SPACE SEMI-PUBLIC COMMUNAL SPACES PRIVATE COMMUNAL SPACES CAFE STUDIO SPACES WORKSHOP/PHOTOGRAPHY ROOMS ETC.

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SITE SECTIONS & MAPPING OF NEW PEDESTRAIN ROUTES

Because of the public art gallery building as well as the public courtyards, those walking through the site are offered new routes throughout the area.

PLAN OF SITE

SECTION AA

SECTION BB

SECTION CC

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This perspectival drawings of the site attempts to show the site in use in context. As I had experienced different architectural styles throughout the city which is represented in both my large and medium scale Primer pieces I hope to further explore how I can create three contrasting architectural styles within the buildings that are appropriate for its different functions.

PERSPECTIVE DRAWING OF SITE

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THINKING THROUGH MAKING 64

Thinking Through Making Week was an opportunity to take a week out to explore smaller details within our design at a 1:1 or 1:2 scale. These explorations could include details such as material qualities, technical aspects, handrails and furniture details specific to our design. This week was the perfect opportunity to zoom into a detail of our design and work with materials and techniques that we perhaps haven’t utilised before. As brick perforation was a design detail which I’d expressed interest in before, I decided to focus on this style, hoping to enrich my design development in the process.

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THINKING THROUGH MAKING PIECE DEVELOPMENT

THINKING THROUGH MAKING PIECE DEVELOPMENT

I started out the week by researching different brick paving patterns which I could utilise in my 1:2 perforated brick wall. After researching many different styles I decided I wanted to explore the herringbone brick pattern as I enjoyed the weaved look of the brick pattern. In my research I’d also come across examples where shapes and patterns were exposed through the brick itself, and this is something I wanted to explore further, rather than traditional perforated brick. At the end of the week we got to present our work to the rest of the year in the final show.

In order to create my 1:2 brick wall, I created a mould using foam board to create the different patterns and shapes within the brick, as well as lines to show the mortar running between the bricks. I then poured plaster in the mould and allowed it to set overnight. Once dried I removed the mould and painted the bricks to reach the final product.

Single Basketweave

45 Degree Herringbone

45 Degree Running Bond

Boxed Basketweave

Combination Stack/ Running Bond

Stacked Bond

Figure 7: Common Brick Paving Patterns

Initial drawing demonstrating design ideas and brick ‘perforation’ patterns I would use in my final piece.

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THINKING THROUGH MAKING WEEK

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THINKING THROUGH MAKING FINAL PIECE

SHADOW EXPLORATIONS

As I was mainly concerned with exploring the atmospheric qualities created by perforated brick and how those would be experienced in my design, I spent a lot of time ensuring I got photographs which captured the interesting shadows created by the shapes created through the bricks. In this way I feel this piece is reminiscent of my small scale primer embossing, which explored the interesting shadows created by the detailing on the Moss Bros. storefront.

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THINKING THROUGH MAKING WEEK

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REALISATION 70

During Realisation, we started to really advance and develop our projects. This stage was about collecting all the ideas and experiments I’d conducted up to this point and allowing them to steer the direction of the design of my buildings. I started the first few weeks of Realisation exploring the design of all three buildings, narrowing the focus to one building in the last few weeks before the Realisation review. In fpussing on just one building I was afforded the opportunity to thoroughly design and refine spaces within the building, attempting to create spaces which would create a comfortable and enjoyable working space for the students, spaces which would encourage the best work possible.

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PROJECT DECLARATION

After completing Primer, Staging and Thinking Through Making Week, the beginning of Realisation is where I started realising what I wanted the major themes of my project to be.

Atmosphere - My interest in perforated brick explored in Thinking Through Making Week allowed me to delve into the atmospheric qualities of this detail and how it could be incorporated into my design.

Movement/Journeys - I’d identified in my large scale piece an interest in demonstrating one’s journey throughout the city, and my interest in this was further inspired by the visit to Kolumba Museum.

Contrasting Elements - My medium scale primer piece explores the contrasts in architectural styles across the city which is something to be further explored in this design.

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REALISATION

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DESIGN DEVELOPMENT When approaching the next step of the design development, I decided I wanted the three buildings to have three distinct characteristics in order to effectively demonstrate the contrasting architectural forms in the city explored in my Primer work. In order to unite the three buildings however, I decided to utilise perforated brick on the walls of each building that face the main courtyard space.

Figure 8: Sequence No1, Filip Dujardin

SEQUENCE NO. 1, FILIP DUJARDIN Filip Dujardin, Belgian artist, was an architectural photographer before turning to art in 2007. His piece, Sequence No.1., is a sequence of several traditional Belgian archetypes designed by Dujardin, located near the River Lys, Belgium. I was intrigued by this piece because of its celebration of these architectural elements and their quality of looking like an unfolded structure. Taking inspiration from this piece I started to design a courtyard space which celebrates architectural elements.

Figure 9: Filip Dujardin

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REALISATION

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My initial ground floor plan for the three buildings demonstrates an attempt to differentiate between the three buildings to create different experiences between them. The plan also demonstrates the new design of the courtyard space, which took inspiration from the layout of the shapes and patterns within my Thinking Through Making piece.

GROUND FLOOR PLAN DEVELOPMENT

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1:250 MODEL

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This floor plate model of the site demonstrates the intended material quality of the path and the unifying perforated brick walls.

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RESEARCH INTO ART SCHOOL DESIGN After spending a few weeks developing the design of all three buildings I decided to focus my efforts onto the building with the main studio and workshop spaces. I was able to tour the current Fine Art building at the university in order to gain a better insight on spaces and requirements inside an art school.

Figure 10: Studio inside Glasgow School of Art

There were lots of roof lights throughout the building so there was as much natural sunlight as possible entering the studio spaces.

There were also several moveable walls, which allowed for more wall space for working as well as the degree shows, and also allows the room to be partitioned for different activities.

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Another important aspect that features in many art schools is high ceilings which is something I was conscious to incorporate into the design.

During my tour of the current Fine Art building there were many high ceilinged rooms with mezzanines, which was something I was interested in incorporating in my design also.

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FURTHER DESIGN DEVELOPMENT

In developing my initial plans, I was focussed on the circulation route through the building which would circle around the courtyard space in the centre. I wanted the courtyards to be lined with windows meaning students would be able to see each other as they move around the building.

DRAFT GROUND FLOOR PLAN

In later developments of the design I played around with shifting the main staircases around to different locations around the courtyard, meaning the main circulation route has some variation. This development also meant that pathways over the courtyard spaces were necessary in order to access parts of the building quicker if necessary, which adds to the sense of movement and transparency created by the courtyard.

DRAFT SECTION

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DRAFT SECTION

REALISATION

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My section drawing demonstrates the several high ceiling and mezzanine spaces within the studio spaces as well as the movement taking place throughout the building. After the Realisation review, several changes had to be made to the design. This included varying the ceiling heights throughout the building, rearranging some of the spaces and starting the courtyard from the first floor level due to concern of the amount of light it.

1:100 INITIAL SECTION DRAWING

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REALISATION

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PERSPECTIVE IMAGE OF CORRIDOR SPACE

This perspective image demonstrates the accented windows around the courtyards as well as the openings in the studio space which would allow people to see into the studios.

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REALISATION

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PERSPECTIVE IMAGE OF BUILDING ENTRY

This image demonstrates my initial ideas for the main entrance building with the perforated brick wall being the distinguishing feature of the building.

REALISATION

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REALISATION

1:500 URBAN GRAIN PLAN

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BUILDING PROGRAM

DIRECT ACCESS ACCESS VIA ANOTHER ROOM

FOURTH FLOOR

KILN ROOM

ACCESS VIA NEXT FLOOR

STUDIO SPACE

SCHOOL OFFICE/ RECEPTION

ART SHOP

CAFE / COMMUNAL AREA

TEXTILES/PRINTING WORKSHOP

STORAGE

PHOTOGRAPHY FACILITIES

WOOD/METAL WORKSHOP

ICT SUITE

THIRD FLOOR

STORAGE ~123 sqm.

STUDIO SPACE

TEXTILES/ PRINTING WORKSHOP ~ 207 sqm.

~1018 sqm.

SECOND FLOOR

KILN ROOM ~32 sqm.

SCHOOL OFFICE/ RECEPTION ~88 sqm.

CAFE / COMMUNAL AREA ~224 sqm.

ART SHOP ~51 sqm.

WOOD/ METAL WORKSHOP ~ 237 sqm.

ICT SUITE ~52 sqm.

PHOTOGRAPHY FACILITIES ~105 sqm.

FIRST FLOOR

BUILDING PROGRAM The building is designed with multiple facilities in mind so that the students are afforded an extensive program of activities. Other functions of the school, such as the art gallery, lecture and seminar rooms are in the other two buildings making up the school, as this building is the main practical teaching building.

GROUND FLOOR 90

REALISATION

REALISATION

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1. RECEPTION/SCHOOL OFFICE 10. CLAY STUDIO 2. VEHICLE ACCESS/ BIN STORE 11. STUDIO SPACE 3. TOILETS

4 12. TEXTILES WORKSHOP

4. CAFE/COMMUNAL AREA

13. ART SHOP

5. STORAGE

14. ICT SUITE

6. KILN ROOM

15. PRINTING WORKSHOP

7. WOOD WORKSHOP

16. PHOTOGRAPHY ROOM

8. METAL WORKSHOP

17. DARK ROOM

9. SCULPTURE STUDIO

PERSPECTIVE VIEW OF CAFE

1:250 GROUND FLOOR PLAN 92

The cafe, located on the ground floor would be open to the public and students alike. A defining feature of the space is the polycarbonate walls, which allow those inside to the cafe to see people moving around the building and travelling up the stairs next to the cafe.

REALISATION

REALISATION

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1. RECEPTION/SCHOOL OFFICE 10. CLAY STUDIO 2. VEHICLE ACCESS/ BIN STORE 11. STUDIO SPACE

The workshop, located on the ground floor is situated next to a retaining wall on the site. This issue was resolved by making it a double height space, which connects it to the studio space above, to allow natural lighting into the workshop.

VIEW INTO WORKSHOP SPACE

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REALISATION

3. TOILETS

4 12. TEXTILES WORKSHOP

4. CAFE/COMMUNAL AREA

13. ART SHOP

5. STORAGE

14. ICT SUITE

6. KILN ROOM

15. PRINTING WORKSHOP

7. WOOD WORKSHOP

16. PHOTOGRAPHY ROOM

8. METAL WORKSHOP

17. DARK ROOM

9. SCULPTURE STUDIO

1:250 FIRST FLOOR PLAN REALISATION

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1. RECEPTION/SCHOOL OFFICE 10. CLAY STUDIO 2. VEHICLE ACCESS/ BIN STORE 11. STUDIO SPACE 3. TOILETS

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13. ART SHOP

5. STORAGE

14. ICT SUITE

6. KILN ROOM

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7. WOOD WORKSHOP

16. PHOTOGRAPHY ROOM

8. METAL WORKSHOP

17. DARK ROOM

9. SCULPTURE STUDIO

PERSPECTIVE VIEW OF STUDIO SPACE

1:250 SECOND FLOOR PLAN 96

This perspective image of the studio demonstrates the exposed ceiling in the building, a design feature which references the work of Eduardo Paolozzi. The shadows created by the perforated brick attempt to add an exciting atmosphere to the space.

REALISATION

REALISATION

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1. RECEPTION/SCHOOL OFFICE 10. CLAY STUDIO

1. RECEPTION/SCHOOL OFFICE 10. CLAY STUDIO

2. VEHICLE ACCESS/ BIN STORE 11. STUDIO SPACE

2. VEHICLE ACCESS/ BIN STORE 11. STUDIO SPACE

3. TOILETS

4 12. TEXTILES WORKSHOP

3. TOILETS

4 12. TEXTILES WORKSHOP

4. CAFE/COMMUNAL AREA

13. ART SHOP

4. CAFE/COMMUNAL AREA

13. ART SHOP

5. STORAGE

14. ICT SUITE

5. STORAGE

14. ICT SUITE

6. KILN ROOM

15. PRINTING WORKSHOP

6. KILN ROOM

15. PRINTING WORKSHOP

7. WOOD WORKSHOP

16. PHOTOGRAPHY ROOM

7. WOOD WORKSHOP

16. PHOTOGRAPHY ROOM

8. METAL WORKSHOP

17. DARK ROOM

8. METAL WORKSHOP

17. DARK ROOM

9. SCULPTURE STUDIO

9. SCULPTURE STUDIO

1:250 FOURTH FLOOR PLAN

1:250 THRID FLOOR PLAN 98

REALISATION

REALISATION

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1:100 SECTION

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In order to portray the texture of the brick on this model, I again utilised a collograph printing technique using lace to evoke the texture of the brick on the walls of the building.

1:100 MODEL

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During Synthesis we had the opportunity to refine our projects and delve into the finer details of our designs. At this time we were working on the integrated technology assignment also, which also encouraged further development of the design and developing an understanding of what influence the earlier aspects of our design would have on the technical aspects of our design.

At this stage my studio was focused on developing facade studies of our design, as well as developing exterior and interior perspectival drawings of the building, some of which are featured in the Refinement section of this portfolio.

NEW/AMENDED WORK WORK FROM TECHNOLOGY ASSIGNMENT

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1:20 TECHNICAL SECTION* ROOF Gravel layer Vapour membrane 120 mm thermal insulation; Damp-proof membrane 200mm CLT slab 50mm heavy insulation 300mm exposed services ceiling Triple-glazed windows INTERMEDIATE FLOOR 14mm wood flooring 3mm foam 22mm fibreboard, floating 12mm impact insulation, damping 4 dB 13mm plasterboard, screwed 200mm CLT slab 50mm heavy insulation 300mm exposed services ceiling EXTERIOR WALL 100mm CLT panel Vapour membrane 100mm insulation 50mm heavy insulation Damp-proof membrane 30mm gap 110x75x215mm bricks with vertical structural support rods GROUND FLOOR EXTERIOR WALL 14mm timber cladding 45mm heavy insulation 100mm CLT panel Vapour membrane 2 x 170mm insulation Damp-proof membrane 34mm vertical battens 20mm horizontal timber slats cladding Triple-glazed windows

1:20 TECHNICAL SECTION* I decided to take the technical section at this section of the building due to the fact that it demonstrated several interesting technical aspects of my design. These included the exposed ceiling, the floor to ceiling windows behind the perforated brick wall, the CLT construction and CLT wall and floor build up, as well as the wooden slats lining the exterior walls of the entrance to the building.

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GROUNDS FLOOR 14 mm wood flooring 80 mm screed with underfloor heating, 100 mm insulation with aluminium facing Damp-proof membrane 350mm concrete slab Concrete pile foundations

SYNTHESIS

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TECHNICAL ANALYSIS* Diagrams demonstrating environmental strategies utilised in the building.

GROUND SOURCE HEAT PUMP DIAGRAM

INDIRECT PUMPED RAINWATERHARVESTING SYSTEM DIAGRAM

Vertical steer bars running through bricks

Reinforced concrete column L-shaped steel plates

110x75x215mm perforated bricks

Besides the aesthetic purposes of the perforated brick wall, benefits of this include the clear ventilation route provided between the perforated brick wall and the main structure of the building. As well as this, the building is provided shading from the sun during the summer months. The structure will be attached to the building via reinforced concrete columns attached to steel plates supporting the bricks. As well as this, vertical steel bars running through the building will provide extra support for the bricks.

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SYNTHESIS

Diagrams demonstrating structural strategies for the perforated brick wall.

SYNTHESIS

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FACADE EXPLORATIONS

Corner junction between perforated brick facade and regal brick facade, showing how the perforated brick will interlock between the regular brick facade.

Junction demonstrating how wooden slats on the ceiling of the building entrance will meet the perforated brick face.

Plan view of facade intersection

Front view of facade intersection

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The exposed drainage pipe acts to further reinforce the idea of movement and journeys expressed throughout the building. This concept is explore further in the texture provided by the exposed ceiling inside the building, which draws inspiration from Eduardo Paolozzi’s Cleish Ceiling.

1:20 NORTH ELEVATION SLIVER

1:20 EAST ELEVATION SLIVER*

Image of exposed ceiling from studio perspective drawing

This initial elevation study explored my idea of having a ‘punched in’ window effect on the ‘regular’ facades of the building. This is also demonstrated in areas of the facade where i didnt want to have windows, such as where the core staircase will be located; there are faux punched in windows in these areas.

Figure 11: Eduardo Paolozzi, Study for Cleish Ceiling, 1973

Initial North Elevetaion drawing

The north elevation study demonstrates the reference to the perforated brick wall in the window detailing, as well as the bronze shutters which allows vehicle access into the building as well as access to the bin store.

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The east elevation study attempts to demonstrate the material qualities in the facade such as the perforated brick and the wooden slats at the building entrance.

SYNTHESIS

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This facade model acts to demonstrate the experiential qualities provided by the perforated brick facade. The model itself is at the scale 1:50 but the bricks were cut at the scale 1:20.

1:50 FACADE MODEL

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SYNTHESIS

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1:50 FACADE MODEL

I once again utilised a collograph printing technique to create a texture across the bricks.

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This image shows a view of the building from inside the courtyard, showing the external walkways inside the building as well as views of the cafe below.

PERSPECTIVE VIEW OF COURTYARD

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This image shows the building in context, providing views of the significant structure in the area such as the stadium, the chinatown gate and The View.

PERSPECTIVE VIEW OF BUILDING

SYNTHESIS

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This image provides a view of the building from the main public courtyard, showing the other two buildings of the Fine Art School as well as the celebration or architectural elements demonstrated in the courtyard.

PERSPECTIVE VIEW OF BUILDING

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SYNTHESIS

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A LITTLE FEMINIST HISTORY OF ART (BOOK)

JUDY CHICAGO (EXHBITION ) BALTIC CENTRE FOR CONTEPORARY

CHARLOTTLE MULLINS, 2019

ART, 2020

COMPLEXITY AND CONTRADICTION IN ARCHITECTURE ( BOOK)

BLURRED LINES: INSIDE THE ART WORLD ( DOCUMENTARY) BARRY AVRICH, 2017

ROBERT VENTURI, 1966

Figure 12: A Little Feminist History of Art

A Little Feminist History of Art is a short book providing an introduction to several influential feminist artists and the work. This book explores the role these artists have played in exposing the inequalities faced by women in society as well as exploring themes of gender, sexuality and identity. Reading this book has really opened my eyes to how art can be utilised to express concepts and ideas when words are not impactful enough.

Figure 13: Autobiography of a Year, Judy Chicago, 1993-4

Judy Chicago is an American feminsit artist well known for her large installation pieces documenting the human condition, as well as her personal experiences with birth and death. When I visited the exhibition of her work in the BALTIC in January, I was particularly intrigued by her 1993-4 piece, Autobiography of a Year. This is a collection of 140 watercolour and prismacolor paintings on paper which examine her most intimate thoughts. I was captivated by her ability to convey emotions and experiences through primarily painting, with very few accompanying words.

Figure 14: Complexity and Contradiction in Architecture

I read sections of Complexity and Contradiction in Architecture at the beginning of the academic year for my dissertation. This book is a “gentle manifesto”2 which explores the Postmodern dissent for Modernist aesthetics. While this was a much more complex read than I am used to, I feel it was important in expanding my understanding of the different experiences architectural design has the opportunity to generate.

CULTURAL BIBLIOGRAPHY 122

Figure 15: Blurred Lines: Inside the Art World

Blurred Lines: Inside the Art World is a documentary which provides an intimate view inside the art world. This film explores the current commercial drive behind contemporary art and what effect this has on the work produced. Although I’d watched it after submitting my dissertation, it was extremely useful in widening my understanding of themes of capitalism’s impact of the design field, which were themes I’d explored in my dissertation.

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Figure 1 - Widewalls. Eduardo Paolozzi. Photograph. Widewalls.ch. <https://www.widewalls.ch/artists/ eduardo-paolozzi/artworks> [accessed 6 June 2020]

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Figure 2 - Archisoup. Peter Zumthor. Photograph. Archisoup.com <https://www.archisoup.com/peterzumthor> [accessed 6 June 2020]

2

Figure 3 - Ouseburn. Chilli Bizarre. Photograph. Ouseburn.co.uk <https://www.ouseburn.co.uk/directory/ chilli-bizarre/> [accessed 5 June 2020] Figure 4 - Tripadvisor. Laing Art Gallery. Photograph. Tripadvisor.co.uk <https://www.tripadvisor.co.uk/ Attraction_Review-g186394-d213726-Reviews-Laing_Art_Gallery-Newcastle_upon_Tyne_Tyne_and_Wear_ England.html> [accessed 5 June 2020] Figure 5 - The Late Shows. BALTIC 39 / Newbridge Books. Photograph. Thelateshows.org.uk <https:// thelateshows.org.uk/2019/baltic-39> [accessed 5 June 2020] Figure 6 - Tripadvisor. The Biscuit Factory. Photograph. Tripadvisor.co.uk <https://www.tripadvisor.co.uk/ LocationPhotoDirectLink-g186394-d3459875-i182523650-The_Biscuit_Factory-Newcastle_upon_Tyne_ Tyne_and_Wear_England.html> [accessed 5 June 2020] Figure 7 - Gardenista. Paving Patterns For Bricks. Image. Gardenista.com <https://www.gardenista.com/ posts/hardscaping-101-brick-patios/> [accessed 7 June 2020] Figure 8 - Filip Dujardin. Sequence No.1, Image 3. Photograph. River Lys, Belgium. Afasiaarchzine.com <https://afasiaarchzine.com/2018/09/filip-dujardin-3/filip-dujardin-sequence-no-1-3/> [accessed 7 June 2020] Figure 9 - Talks About Architecture. Filip Dujardin. Photograph. Talks-about-architecture.eu <http://www. talks-about-architecture.eu/26-03-2015FILIP-DUJARDIN-BE> [accessed 7 June 2020] Figure 10 - Steven Holl. Reid Building, the Glasgow School of Art. Photograph. Glasgow. Stevenholl.com <https://www.stevenholl.com/projects/The%20Glasgow%20School%20of%20Art> [accessed 11 June 2020]

Archdaily, “Kolumba Museum/Peter Zumthor,” ArchDaily [online] published 6 august 2010 [cited 9 June 2020]. Available from: <https://www.archdaily.com/72192/kolumba-musuem-peter-zumthor> Stierli, Martino, “Complexity and Contradiction changed how we look at, think and talk about architecture,” The Architectural Review [online] published 22 December 2016 [cited 10 June 2020]. Available from: <https://www.architectural-review.com/essays/reviews/books/complexity-and-contradiction-changed-howwe-look-at-think-and-talk-about-architecture/10015872.article> Allen, Stan. Points and Lines: Diagrams and Projects for the City. (New York City: Princeton Architectural Press, 1999) Cruickshank, Dan and Hall, William. BRICK. (London: Phaidon Press, 2015) Jodidio, Philip. 100 Contemporary Brick Buildings. (London: TASCHEN, 2017) Lynch, Kevin. The Image of the City. (Cambridge, Massachusetts: M.I.T Press, 1964) Pallasma, Juhani. The Eyes of the Skin: Architecture and the Senses. (West Sussex: John Wiley & Sons Ltd., 2005) Rossi, Aldo. The Architecture of the City. (Cambridge, Massachusetts: The MIT Press, 1984) Spencer, Robin, Seitz, Rudolf and Frayling, Christopher. Eduardo Paolozzi: Recurring Themes. (London: Trefoil Publications Ltd, 1984) Vidler, Anthony. “Diagrams of Diagrams: Architectural Abstraction and Modern Representation.” Representations, Volume 72 (2000): pp. 1-20. <https://www.jstor.org/stable/2902906> [Accessed 13 February 2020] Zumthor, Peter. Atmospheres: Architectural Environments - Surrounding Objects (Basel: Birkhäuser Verlag GmbH, 2006)

Figure 11 - Paolozzi, Eduardo. Study for Cleish Ceiling. 1973. Resin, aluminiumcoloured finished panel, 172 x 173.5 x 6.5, Eduardo Paolozzi: Recurring Themes. p.63 Figure 12 - Goodreads. Cover of A Little Feminist History of Art. Image. Goodreads.com <https://www. goodreads.com/book/show/43908856-a-little-feminist-history-of-art> [accessed 11 June 2020] Figure 13 - Chicago, Judy. Autobiography of a Year. 1993-4. Watercolour and prismacolour on paper.

Baltic.art <https://baltic.art/whats-on/exhibitions/judy-chicago> [accessed 11 June 2020} Figure 14 - Goodreads. Cover of Complexity and Contradiction in Architecture. Image. Goodreads.com <https://www.goodreads.com/book/show/207129.Complexity_and_Contradiction_in_Architecture> [accessed 11 June 2020] Figure 15 - The Globe and the Mail. Rashid Johnson in Blurred Lines: Inside the Art World. Image.

Theglobeandmail.com <https://www.theglobeandmail.com/arts/film/film-reviews/review-blurred-lines-doca-slick-critique-of-contemporary-art-industry/article36259625/> [accessed 11 June 2020]

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BIBLIOGRAPHY 125

APPENDIX 126

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DEVELOPMENT PLAN DRAWINGS

DEVELOPMENT WORK 128

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Charrette Week is always an interesting and stimulating way to start off the academic year. This year’s theme, ‘Highstreet’, encouraged us to think about the different components that make up our understanding of the high street; fashion, advertising, and waste, to name a few. My charette group, entitled ‘What Lies Behind’, introduced the project by informing us of the fact that the fashion industry is one of the world’s leading polluters. In response to this information, our challenge was to create fashion pieces from found objects and trash collected from the streets of Newcastle. Our fashion pieces were to be exhibited in a fashion show at the end of the week. My group collected several items including several large clear plastic bags, brown paper, strips of black wire mesh, cardboard tubes and several other miscellaneous items.

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After some sketching and experimentation, we created a 3 piece outfit consisting of a top hat, a top constructed from the black wire mesh wire, and a flowing skirt made from strips of the clear plastic and brown paper bags. The weeklong exercise was very valuable in terms of enhancing our understanding of the opportunities and limitations granted by different materials, which is an essential skill in an architecture degree. The project also helped us gain a deeper understanding of how to accomodate for the human scale.

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