Z7P13

ARCHITECTURE

160732995

STAGE 3 UNIVERSITY

MARIA AKSENOVA

NEWCASTLE

STUDIO 2 / ORDINARY RESILIENCE

2019/2020

PORTFOLIO

ARCHITECTURE PORTFOLIO

Studio 2: Ordinary Resilience Newcastle University Stage III - 2019/2020 Maria Aksenova 160732995

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Reflective Report

67 Studio Introduction

TABLE OF CONTENTS

89

PRIMER

1029

FIELD TRIP

30 35 STAGING

36 55

THINKING THROUGH MAKING WEEK

REALISATION

Bibliiography/ References

Appendix

56 63

64 91

SYNTHESIS

92 133

CASE STUDY

134143 Cultural Bibliography

144147

148149

150157 New/ Revised work Group work/ studio member work

REFLECTIVE REPORT

This year was the most challenging year of my education, however, it was also the most rewarding and the most exciting. Spending the whole year working on one project allowed me to explore design in a much deeper way as well as focus on the details. I found that it worked well with how other modules are so focused on our design so it allowed me to research the proposal from different perspectives in order to produce a richer design.

The year started with the charrette week, where I found it an exciting way of starting the year as it was engaging and allowed me to try new things.

The studio that I was located in is called Ordinary Resilience, the studio is focused on the context, on the designing the buildings that are rooted in place, with the additional studio being interested in the facades. Thus we use observations of the city rather than invention, aiming to create architecture that belongs to the surroundings but also is experiential. The academic year started with Primer and the city observations. The part of the city that I found fascinating was the palimpsest.

The way that the building that is not part of the city anymore has left its memory on the nearest building excited me. Like you can imagine how the bygone building used to look before it was demolished; therefore you can imagine how the city used to look like decades ago. The explorations and the work of Rachel Whiteread inspired my Primer pieces.

The staging phase of the project slowed me to engage more with the site and its history. During my research, I found out there was once residential buildings on the site that were demolished in the 1980s. I became interested in how to bring these different layers of history into the design project. While the staging phase of the year was finishing I came up with the form of the building that engaged with the historical development of the city as well as engaged with the city nowadays and inspired by the Primer large scale sculpture.

While realisation and synthesis stages of the year were the most interesting to me, I explored the main concept of my design proposal: which is the juxtaposition of the city and the proposal’s garden. By creating the courtyard inside the project, I found it exciting to work with it and to experiment with the ideas of the palimpsest researched earlier: playing with different brick textures for 2 facades. The garden facade was intended to be more natural and more relaxing to create a fascinating resting area for the users and passers-by while the city facade should be more strict but at the same time should interest people passing by. From here the ideas evolved. The project is for a new Architecture school and the green area is necessary for student wellbeing. The garden also plays quite an important role in the design: it creates a large green space that cannot be found anywhere near the design. The use of the brick as a historic material was important to connect the past, the present and the future of the city, especially the site which is surrounded by glass/metal high rise buildings. The main inspiration for the project came from the city, from the buildings that are located a bit further from the site, from the city observations that were made earlier.

I like the way all other modules are connected with the main design project to explore design through different perspectives. The technology that runs alongside the design was incredibly helpful as it is easy to forget about the technical aspects of the design and how the building will be able to stand. This module and its early start along with its close connection to the design module helped me to integrate the design process at a very early point.

The Theory into Practise essay helped me to analyse my design process, revisit it and see the most important changes that were made and why and as well as to fully understand the way I work and how this way of working affecting my design.

As we look back at the main ideas that are connected with the notion of palimpsest around the city and develop them. The Professional Practice and Management essay make me think more about the different factors that affect the design and the way the architect has to think about the way materials would be delivered and looking at the council guides to the specific area.

Looking back, I feel that all modules were very interesting and helped me to understand more about architecture as a profession, to see how many very different aspects architects should take into account and how all of them affect the design and decisions that we make.

During Thinking Through Making week I focused on the exploration of different types of twisted columns to bring more dynamics into space. At this point in the design, I was working with brick and wanted to spend more time exploring what brick can do, thus, I found it interesting to explore the columns and how they can affect the atmosphere of the project.

In the end, I produced a few different types of columns that I later used in some parts of the design.

Overall, the year was hard and challenging but at the same time rewarding and fascinating. I have had a really enjoyable experience, however, I do feel dissapointed about how the year finished, though I know I got the best possible education in this unfortunate situation. I believe that I did learn a lot of new skills and improved the ones I had before this year, and this will help me in my future career.

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STUDIO INTRODUCTION Ordinary Resilience

‘This year studio 2 is engaged in ideas concerning context, historical narrative and materials that create enduring architecture in search of a wider intelligibility. Working through a process of research, rather than invention, we are looking to create architecture that is rooted in place and explores the experiential potential of materials, carefully pieced together in a celebration of craft and construction.

We are looking to create architecture that is contemporary yet not isolated in time’.

- Extract from the studio brief.

The studio is engaging with the wider context of the site, to create the architecture that belongs to the site, which is part of wider Newcastle. The studio task was to create an art, architecture or music school for Newcastle University.

We started the year by looking at artists such as Rachel Whiteread, Eduardo Paolozzi and others to take inspiration from as well as exploring the city through Primer.

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PRIMER

During the Primer, we focused on the exploration of the Newcastle city and what makes it unique in our understanding. During this stage, we were introduced to the different artist and their ideas which we explored further. Inspired by the city and by artists, we created three pieces that reflect our understanding of Newcastle in the three different scales: large - city-scale; medium - room-scale; and small - detail.

I was introduced to the artist Rachel Whiteread, whose worked I explored during that stage.

I observed the city by sketching and by taking photographs, trying to capture what makes Newcastle special. For me, the exciting part of Newcastle was the palimpsest that can be seen around it. Through the close observation of the city, I found small things which sometimes cannot be easily spotted. These observations, together with the works of Rachel Whiteread, inspired my sculptures and the final prints.

The sculptures and the prints presented during the Primer exhibition represent the different views of the city, together exploring its character, its language, different textures, forms, sizes, and its history. Together the pieces are presenting our (as a studio) understanding of Newcastle.

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RACHEL

During the city observations, I noticed the layers of the old buildings around Newcastle which were demolished a long time ago.

However, the city still has a print of them — the history of Newcastle, the way it was developed and how it changed over time.

The small details, such as the location of the fireplace, the colour of the walls inside the demolished house, the stairs and the rooves, still exist. This excited me as well as the way materials change over time, overlapping and changing the atmosphere of the city.

WHITEREAD

PRIMER-City Ex ploration

Rachel Whiteread is a British sculptor. Her works explore the negative space, the memory of the objects and the history of them. Her work ‘Book Corridors’ demonstrates the negative space between the bookshelves, highlighting the memory of the books that were there. Her cast, made of plaster and concrete, inspired me and made me think more about the memories of the structures that are no longer standing.

1. Rachel Whiteread ‘Untitled (Book Corridors)’, 1998

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2. Rachel Whiteread, 2017

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PRIMER-City Ex ploration

scale piece PRIMER-Large

Using the observations I made, and being inspired by Rachel Whiteread, I used foam to produce the street of Newcastle, combining different building shape and sizes that can be seen around the city. I cast the space around the buildings to create the negative space. As well as this, I tried to use different materials (clay, pen, pencil, acrylic, marker, oil paint) on the foamboard to transfer into the cast. I wanted to represent the palimpsest and the memory of the old buildings around the city. Unfortunately, the only material that left residue was clay. Thus, I used it for the final sculpture.

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PRIMER-Large

scale piece

scale piece PRIMER-Medium

For my medium scale, I focused on representing different materials and textures from different time periods. The way they overlap with each other fascinated me. I made the second sculpture in the shape of the facade, combining the materials around Newcastle. I used clay, foam board, cardboard, sandpaper, tape, acrylic paint and balsa to cast the first cube. The cube explored different characteristics and moods of the city that I later transferred into the final facade sculpture.

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PRIMER-Medium

scale piece

PRIMER-Small scale piece

For the detail scale, I was experimenting with the printing, to show the different patterns that materials can create while overlapping with each other.

I was interested in the brick as a historic material as I noticed that all of the buidling with palimsest around Newcastle have brick facades. I used brown paint to show the colour palette of the city and different type of bricks. which I painted onto carved cardboard, foamboard and wood. The two final prints are based on the observations and represent the layers of history around Newcastle and differents colours of the brick. The different sizes represent different time periods; while the composition of them mimics the development of Newcastle (around the natural source - river).

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PRIMER-Exhibition

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FIELD TRIP - GERMANY Cologne - 25-28/11/2019 Berlin - 28-30/11/2019

We had our study trip to Germany (Cologne and Berlin) at the end of November 2019. The trip was an incredible experience that helped us with the design after, giving us further inspiration.

We not only saw many incredible buildings, but we experienced great museums and churches; we also had an overall good time as a studio, drawing from and brainstorming from eachother’s ideas.

Cologne was quite a small city: however, it is full of the fantastic architecture such as Kolumba Museum by Peter Zumthor, Cologne Cathedral amongst others. While Berlin is much bigger, it was still inspiring to see all of the buildings and walk around the city.

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FIELD TRIP - Cologne

COLOGNE

The first city we visited was Cologne, which is quite a small city in western Germany.

The city was beautiful. The huge cathedral in the city centre seemed to be visible from everywhere and the different styles of architectural building that can be found there were fascinating. We travelled quite far by train and a taxi to see the chapel by Peter Zumthor and it created a great memory, a fantastic chapel from both inside and outside which instilled the feeling of calmness that was impossible to not love.

We visited around 10 amazing building every day and I am very happy with the large amount we saw there, starting the small chapels and churches, and finishing with huge museums that I wish we had a bit more time to walk around.

Overall, the trip to Cologne was very interesting, memorable and visiting all of the buildings gave us a lot of the inspiration for future work.

Museum Ludwig by Peter Bus-mann and God-frid Haber-er

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Church St. Johannes der Taufer by Gottfried Bohm

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Cologne Opera / Theatre by Wilhelm Riphahn

FIELD TRIP - Berlin

BERLIN

The second and the last city we visited on this trip was Berlin. The city is much bigger than the Cologne, and it seemed to be completely different. While Cologne was more welcoming, with the small, narrow streets, Berlin was opposite: massive, with wide very clean, very strict streets. I thought the city was interesting and after the trip, it seemed like we visited so many fewer buildings because of the size of the capital city.

We again were visiting around 100 amazing buildings each day, and each day was more interesting than the previous one. Huge churches and museums were fascinating in their design that we could spend almost the whole day just looking at one of them.

Although we were exhausted after the trip, I felt like it gave us so many precedents to explore further in the year, as well as giving us so many memories and made us much closer as a studio.

Kirche am Hohenzollernplatz by Fritz Hoger

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Neues Museum by Friedrich August StĂźler and David Chipperfield

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Ernst Busch Academy of Dramatic Arts by Ortner & Ortner Baukunst

STAGING

The staging started with the site analysis and the site model. During the stage, we were focused on transferring the Primer explorations and ideas into the massing proposal for the University building. The building I choose to design was the Architecture school. At this stage, we worked a lot on the surrounding areas around the site to feel the site with the massing proposal that sits on the site and that can become part of the city. Looking back at the Large Scale Primer sculpture I delicately sculpted my project on the site to create a connection with the past of the site as well as to create a contemporary piece of architecture.

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Site Overview | St James

STAGING - S ite

analysis

Our Site

Scale 1:20000

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on | St James Metro Vehicle Access | St James to NCL International Airport

A Road

STAGING - S ite

analysis

B Road

Scale 1:10000

Minor Road

B Road

Building

Minor Road

Site

Building

Metro River

Metro St James

Metro/Train Newcastle Central Station

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A Road

Motorway

Site Metro River Motorway

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STAGING -Si t e

photographs

The site that I choose is the St. James car park. I found the site very interesting as it is located in the city centre, but it is slightly hidden from the main street. Additionally, the site is located next to St. James’ Footall Stadium and on top of the Metro station of the same name.

The site currently is a car park, around 9830 m2, and surrounded mainly by high-rise glass/ metal buildings: football stadium is located to the North, hotel and University Business school and accommodation on the West, offices on the East, as well as the Chinatown on the South.

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FUTURE BUILDINGS MAP

analysis

Site Future buildings

Future developments map

Historical map of the site

The views on and from the site

Historical pictures around the site

Private/ public map

Significant buildings

St. James’ Park

STAGING - S ite

intu Eldon Square

The Strawberry Brunswick Methodist Church

Business School

St James Metro Station

Urban Sciences Building

Tesco

St Andrew’s Church Grey’s Monument Grainger Market

The Key Building The Gate

The Core Sandman Signature Newcastle Hotel

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Theatre Royal

Circulation and sun path

Materiality map

STAGING - S ite

analysis

Building use around the site

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STAGING -Design

process

The design process started with main focus on the shape of the building. I was very interested in the history of the site, thus I was looking at a historical map of the city. I found out that there used to be residential buildings that were demolished and I was interested to bring this building back to life through my project. Therefore I started my design process by tracing the map of the site from the 1940s and current site map to see the difference that happened to the site.

After that, I started tracing the demolished buildings into the current site map. I came up with a few different options that work well with the site.

The Large Scale Primer piece represented the demolished buildings around the city that still have the memory of them on the walls of the adjoining building.

The massing proposal for the site connects back to this work and represents the buildings that used to be on the site. In addition to that, the massing proposal has a similar sculptural shape that was made by creating a simple figure from carving parts of it out, the same way it was made for the Primer.

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STAGING -Design

process

The sketches of the different ideas of the shape of the building in context.

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The final massing model consists of the different buildings: the two on the South outline are on the side of the University building, the other one above the Metro station is a publicly accessible cafe.

The arrangement of the buildings on the South of the site provide the building with maximum sunlight, as well as providing a view of Chinatown. The buildings are located on the outline of the site creating a large size area for the central courtyard and the location of the cafe on top of the Metro station gives the cafe a great view of the aforementioned courtyard as well as it being accessible from these levels.

The two University building then got separated into three to save the existing routes to and from the Metro station. And all three University building are connected by the bridges, this creates a more interesting route through the site and more comfortable routes for the users.

Building entrances

STAGING -Massing proposal

Access to the courtyard

Sketchup model of the massing proposal.

1:1000 city grain plan.

Semi-private Public Private

Green area

View from the site View on the site

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S T A G I N G -1 : 2 5 0

Massing model

THINKING THROUGH MAKING WEEK

Thinking through making week is a one week long project that aimed to explore the materiality in the scale between 1:1 and 1:10. During this week I was interested in the exploration of brick and what different textures can be achieved. I started with the experimentation of the brick wall texture by arranging the bricks differently. Soon after that I found the columns fascinating, especially the twisted columns and how they can change the atmosphere of the spaces, making it more dynamic.

TTMW- Material exploration

I started by making 1:10 and 1:5 scale bricks out of clay. Then I arranged them differently to play around different textures that I can use for the future facade.

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T T M W - B r i c k c o l u m ns

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REALISATION

During this stage of the year, I was further developing the project that was a massing model at the last stage. During this stage, the programme of the building was explored: the project is the Architectural school for Newcastle University and it will include: studio spaces, gallery spaces, a workshop and presentation spaces. Further to this, all orthographical drawings were done such as plans, sections and elevations. I also worked on representing the scheme in 1:100 scale to understand the project more and start thinking and exploring the details.

This stage of the project was one of the most challenging as during this stage the final scheme started to appear alongside the main concept of my proposal: the juxtaposition of the garden and the city.

development

The site with the Metro station on the north of it.

Finaising the shape of the building to further enclose the garden.

REALISATION-Massing

The southern part of the site ispulled up, creating a v-shape building with the garden inside. This increases the amount of the day light in the building and provides the view of Chinatown.

Separating the building into three using the existing paths

The additional cafe building located on top of the Metro station to provide views on the garden

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Creating the bridges between the three buildings to connect them together.

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REALISATION-Massing

development

1:250 Massing Model

The Realisation portion started with finalising the massing model, making the cafe building smaller and rationalising the shapes between the 3 University buildings in order to hide the larger courtyard. The additional change was made to the workshop therefore creating the open area.

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CAFE 1200 m2

PHOTOGRAPHY ROOMS 58 m2

Development REALISATION-Brief

READING AREA 65 m2

STAFF ROOMS 274 m2

RECEPTION 25 m2 RESTING ROOM 163 m2

TUTORIAL ROOMS 343 m2

SEMINAR ROOMS 267 m2

MULTI-FUNCTIONAL SPACE: GALLERIES, CRIT, PRESENTATION, EXHIBITION SPACES 802 m2

STORAGE 40 m2

PUBLIC PRIVATE CONNECTED BY BRIDGES 70

WC 12 m2

OUTSIDE WORKSHOP 208 m2

COURT YARD 1810 m2

STUDIOS 1534 m2

WC 120 m2

WORKSHOP 1028 m2

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WC 97 m2

Plans and section development

REALISATION-Design

Process

Landscape development

Creating a large green area was essential for my design.

As there was a lack of greenery around the site with the nearest green area at Eldon Square as well as the greenery has a positive effect on the wellbeing. Thus providing the garden was important for the University building to support the student during their education.

The garden would be created with different plants although with only one type of tree - being the birch tree that is native to the area.

The garden is separated into the ‘islands’ to improve the circulation of the area and to place the benches in a more hidden part of the garden.

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Vertical Circulation

Staff rooms

Seminar/tutorial rooms

Studios

Plant room

Flexible spaces: gallery, presentation, exhibition space.

Workshop

Studios

REALISATION-Building Programme

Bridges

Main building: Galleries, presentation spaces, crit spaces, tutorial/seminar rooms, staff rooms and reception.

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Ground floor

Second floor

Fourth floor

First floor

Third floor

Fifth floor

Sixth floor

REALISATION-Building Programme

vertical circulation studios storage photography room common spaces WC workshop inside workshop outside seminar/ tutorial rooms staff rooms workshop outside

vertical circulation studios storage photography room common spaces

vertical circulation

WC

1028 m2

workshop inside workshop outside seminar/ tutorial rooms staff rooms flexible spaces workshop outside

40 m2 58 m2

workshop inside workshop outside seminar/ tutorial rooms staff rooms workshop outside

vertical circulation

250 m2

1534 m2

WC

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263 m2

vertical circulation studios storage photography room common spaces

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208 m2 610 m2 274 m2 800 m2

1:2000 0m

10

25

50

100 m

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The Medium-Scale Primer piece explored the different textures of the different materials from different periods and how they all come together in one building.

To bring the ideas of the Primer into the project, I was originally was exploring the ideas of experimenting with different textures for a different part of the facade, however soon after the idea evolved into the creation of the two different facades that convey different atmospheres: one garden a more natural facade, the other one is a more strict city facade

REALISATION- Key veiws

View of the project from the cafe on top of the Metro station.

View of the project under the bridge.

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City facade

Garden facade

REALISATION- Precedents

Diener and Diener Architects Residential Buildings KNSM- and JavaIsland, Amsterdam, 1995–2001

Shop Architects - Mulberry House, New York, 2009

Fig. 3.

Fig. 5.

Fig. 4.

Fig. 6.

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REALISATION- Key veiws

View of the project from the Chinatown.

View of the project from the Metro station.

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Section

REALISATION- Section

and

elevation

South Elevation

1:250 0m

10

20

1:250 50 m

0m

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10

20

50 m

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R E A L I S A T I O N - 1:100

model

1:100 model was important for the design process as during the process of making it I spent time experimenting with the sizes and locations of the windows. Additionally, it gave a more detailed understanding of the way the building would be experienced in the future as well as the understanding of how well the internal arrangement of the rooms works.

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Structural diagram

TERTIARY Brick facade Pre-cast brick panels

SECONDARY CLT separating floors Steel frame supporting the pre-cast brick panels facade

model

Steel frame bridges connecting the buildings

PRIMARY Structural CLT walls

R E A L I S A T I O N - 1:100

Glulam columns

PRIMARY Reinforced concrete cores Ground floor concrete structure transfers the loads to the foundation

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SYNTHESIS

Following the Realisation stage of the project, Synthesis was focus on the exploration of the materiality of the facade and how they can be assembled, connecting the facade study back to the city/Primer investigation and the wider context. Additionally, we worked on producing the key view of internal and external to represent the ideas. I also worked on representing the key sections and elevations with the context.

During this stage of the design, I was focusing on the exterior and interior spaces in detail and on the inhabitation of them. During the Synthesis, the main piece of work was the 1:20 facade model that shows the garden facade and the studio spaces inhabited.

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Ground floor

B

A

A

B

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SYNTHESIS- Key views

View of the main entrance

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SYNTHESIS- Key views

View of the main entrance interior

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First floor

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SYNTHESIS- Key views

View on the workshop’s outside area

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Second floor

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Third floor

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SYNTHESIS- Key views

View of the third floor studio spaces.

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Fourth floor

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Fifth floor

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Sixth floor

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Section AA

1:250 0m 1

2

5

25 m

10

116

117

South Elevation

1:250 0m 1

2

5

25 m

10

118

119

Section BB

1:100

0m

10

25

50 m 120

121

122

123

S Y N T H E S I S - 1:20

section

and facade study

City facade

0m 1 2,5

Garden facade

1:20 5 124 10m 125

S Y N T H E S I S - 1:20 m o d e l p r o c e s s

1:20 small detail of the facade made out of the plaster cast to exprement with the way to represent the garden facade.

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The card board base for the final madel with the location of the windows.

Creating the interior spaces using balsa and grey card.

Two different option for the facade model: clay and plaster cast.

The plaster cast of the garden facade, made of the separate pieces.

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S Y N T H E S I S - 1:20 m o d e l

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S Y N T H E S I S - 1:20 m o d e l

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S Y N T H E S I S - 1:20 m o d e l

CASE STUDY BOOKLET KOLUMBA - PETER ZUMTHOR

A: ARCHITECT / DESIGNER

STUDIO 2 | KOLUMBA MUSEUM

ARCHITECTURAL STYLE

2

3 Bruder Klaus Field Chapel

Sogn Benedetg Chapel

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6

7

Zumthor’s House

Swiss Sound Box

Theme Vals

Gugalun House

His style is focused on the way people experience buildings and the atmosphere that is created. Zumthor’s design principles are based on the belief in the importance of sensory and experiential qualities. He is inspired by the philosopher Martin Heidegger; the architect believes that to experience building it entirely has to visit in person. Therefore he does nor rely on the media while representing his projects.

His design is based on the surrounding area and the context, as well as the use of the materials and the people’s perceptions. His buildings are mysterious and show no sign of the one specific style. Zumthor’s projects vary in scale and the materials and experiences, although all of them are minimalistic and atmospheric.

It can be said that his most significant contribution to architecture: an architecture with the stong meaning that is rooted in the context and experiential qualities.

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A: ARCHITECT / DESIGNER

STUDIO 2 | KOLUMBA MUSEUM

A: ARCHITECT / DESIGNER

STUDIO 2 | KOLUMBA MUSEUM

TIMELINE 2007 Kolumba Art Museum

1988 Sogn Benedetg Chapel

PETER ZUMTHOR

1996 Theme Vals

2011 Serpentine Gallery Pavilion

130 120 110 100 90 80 70 60 50 40

1

20 10

2007 Bruder Klaus Field Chapel

12 11

100

10

90

9

The 80

70 number 60 of Peter 50 Zumthor’s 40 projects 30 compared 20 10 to other 0 architects.

ITALY

GERMANY

FINLAND, SPAIN, HOLLAND

120 110

NORWAY, AUSTRIA

13

USA

SWITZERLAND

ZAHA HADID

STEVEN HOLL

FRANK GEHRY

NORMAN FOSTER

130

CHIPPERFIELD

0

ZUMTHOR

Peter Zumthor is a Swiss architect; he was born in 1943 in Basel. His works described and minimalistic and atmospheric. It focuses on the experiential qualities on the buildings and materials, rather than technology or aesthetics.

Zumthor followed his father’s profession as a cabin maker, studied it in his home city Basel then he studied to design the NewYork. After he finished education, he worked as the conservation architect, which gave him the understanding of the materiality and the craft construction.

In 1979 he opened his firm in a small village in the Swiss Alps, only 30 employees. Zumthor has a mythical reputation as he does not seek attention or fame. That is resulting in less project than other famous architects.

He is the winner of the 2009 Pritzker prize and 2013 RIBA Royal Medal.

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1986 Zumthor’s Studio

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2002 House Luzi

2000 Swiss Sound Box

7 6 5 4

The Coun3 tries 2 he 1 mainly 0 in. worked 3

136

2016 Zinc Mine Museum

5

137

138

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J: ATMOSPHERE

STUDIO 2 | KOLUMBA MUSEUM

GROUND FLOOR 1

2

CIRCULATION CHAPEL

The ground floor of the museum is showing the ruins go the churches that existed on the site before. The colossal leather curtain separating the chapels from the rest of the building.

The first thing we feel entering the room is the differences in the temperature. The runs of the chapels are left untouched therefore the temperature is like on the outside. Walking on the timber bridge above the ruins gives the feeling of the connection with the historical past of the site; that was transferred many times.

The natural light that is entering the building through the perforated brick not only creates a fascinating shadow pattern but also gives the dynamic qualities to the interior.

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J: ATMOSPHERE

STUDIO 2 | KOLUMBA MUSEUM

J: ATMOSPHERE

STUDIO 2 | KOLUMBA MUSEUM

FIRST FLOOR

“Words like atmosphere and mood inevitabily come to mind when faced Zumthor’s architecture.”

- Brigitte Labs-Ehlert

CIRCULATION TREASURE ROOM

The Kolumba Museum reflect the central concept of the architect to connect the historical part of the site with the modern building. It creates a dialogue between the past and the present, emphasises the feeling of timelessness and the make us appreciate history.

From the outside, the building does not tell a lot, the naturally warm volume and the silent light grey brick. The building is quickly becoming a part of the landscape connecting the old building with the newer part of the city, and yet it manages to stand out.

The first floor is the gallery space.

The Atmosphere of the exhibition rooms is simple and neutral for the art object to be fully understood. The calmness of the area makes visitors stay silence and focus all of the attention on the exhibitions.

The exciting part is that there is no windows on this floor, only artificial light.

The architects are separating rooms with the gap on the floor or by creating the difference atmospheres like in a Treasure room. Where the space is not visible and cannot be experienced at all, only the bright jewellery stand out in the endless dark.

Gallery space

Treasure room

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140

141

The gap separating spaces

J: ATMOSPHERE

STUDIO 2 | KOLUMBA MUSEUM

SECOND FLOOR

CIRCULATION TOWERS READING ROOM WINDOWS

The second floor is the gallery spaces, even though it provides a little bit different atmospheres comparing to the first floor. The most significant difference is the huge windows that frame the view. The neutral space gets fascinating with the reflection on the shiny floor from these windows. The area is an experience to be bigger and brighter in contrast with the previous level.

The Reading room continues the calmness of the whole building. However, it feels like a resting point in building exploration. The place is inviting to come in and sit to enjoy the view and the beautiful timber panels.

The towers that are located in the three parts of the buildings. It provides the diffuse light from the top of the artworks. It is creating a connection with the church like light on the ground floor.

Reading room

Reading room

The Tower

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Contemporary art museum by Renzo Piano, Oslo.

Penshaw Monument, Sunderland.

CULTURAL BIBLIOGRAPHY

Terris Novalis - sculpture in Consett made by Tony Cragg. The sculpture represents the past of the town.

Outside of the architecture school, I love to travel. I do have quite a few different hobbies, but I feel like the one that inspires me the most is travelling and visiting new places with inspiring architecture and art is important for me and my career. I believe that the more we see and the more we learn is the best way to research the building and to experience it. Even though this year was incredibly hard for me I still fond some time to visit small places located quite near Newcastle. Such as the inspirtion my concept, where I found the interesting monument ‘Terris Novalis’ that represents the industrial past of the town. Along with Penshaw Monument that I saw before from the bus but always wanted to visit. I think being an international student, I have a desire to visit as many different places and experience as many different things around the UK while I have a chance to do so.

I always feel fascinated by street art and the amazing art can be found around the city if you look closely. Such as the Space Invaders mosaics by the French artist ‘Invader’ located all around Newcastle and Gateshead (p.144145). They were installed in 2006 as a part of the Urban Art exhibition and became the part of the city since then.

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Forth Bridge, Queensferry, Scotland.

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Space invadors mosaics by French artst ‘Invader’ around Newcastle.

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LIST OF FIGURES:

Fig. 1. Rachel Whiteread, Untitled (book corridors),1 999, [https://artsbooksshow.wordpress.com/rachelwhiteread/] <Accessed 18 February 2020>

Fig.2. Rachel Whiteread, [https://divisare.com/ projects/346151-rachel-whiteread-new-sculpture -drawing] <Acccessed 5 January 2020>

Fig. 3-4. Dienerdiener [online] Available at: <http://www. dienerdiener.ch/en/> [Accessed 17 April 2020].

LIST OF FIGURES AND

Fig. 5-6. Shoparc.com. n.d. Mulberry House | Shop. [online] Available at: <https://www.shoparc.com/projects/mulberry-house/> [Accessed 18 April 2020].

BIBLIOGRAPHY

BIBLIOGRAPHY: Abram, J., 2011. Diener & Diener, London ; New York: Phaidon Press.

Carley, R., Domestic Afterlives: Rachel Whiteread’s Ghost, (2008) <https://onlinelibrary.wiley.com/doi/ epdf/10.1002/ad.670> [Accessed 14 February 2020].

Corrin, L.,. Rachel Whiteread, (Edinburgh: Scottish Gallery of Modern Art, 2001).

Dienerdiener [online] Available at: <http://www.dienerdiener.ch/en/> [Accessed 17 April 2020].

Houser, C., and Dennison, L., Rachel Whiteread : Transient Spaces, (New York: Guggenheim Museum, 2001).

Jodidio, Philip. 100 Contemporary Brick Buildings. 2017.

Scalbert, I., Translator Müller, M., The architect as a bricolage, Candide. Journal for Architectural Knowledge No. 04 (07/2011).

Shoparc.com. n.d. Mulberry House | Shop. [online] Available at: <https:// www.shoparc.com/projects/mulberry-house/> [Accessed 18 April 2020].

Verheij, R., Palimpsest in Architecture: six personal observations, (2015).

Warde-Aldam, D.,, Ghost House: 20 Years Since Rachel Whiteread’s House, Apollo Magazine,(2013) <https://www.apollo-magazine.com/house/> [Accessed 14 February 2020].

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APPENDIX

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CHARRETTE

Photographs from the exhibition.

APPENDIX -Charrette

week

The photographs of the ‘Frankenstein’ objects that were cmade by the group.

The charrette week is a week-long project that brings the whole. School of Architecture, Planning and Landscape together.

This year the main topic of that week was related to the notion of the High street The charrette I was allocated to the ‘Frankenstein shop’. We were focusing on the objects, that can be found on the Hight streets, from the magazines’ advertisements and the bought products to the empty packagings, free newspaper, bringing the useless objects back to life.

During the first few days, we were working with the old and new objects, breaking them, cutting into pieces then connecting to create a new figure, exploring the way to connect that pieces together through materiality, clouds and shapes. Reusing the objects that are no longer in need to create a new fictional toy that reinterprets the old meaning creating something full of life.

The followings days we were focusing on the casting with plaster and concrete. Starting with connecting the old object on the two-dimensional surface created a relief we used to create a plastic mould in a workshop which we used after fo casting. The plastic frame represents the plastic package of the object that was inside. The objects are long gone, and the plastic is the only thing that is left, it still shows the shape of the object that was in there. However, it is empty; it is a shadow of what was inside.

For the exhibition, we put all the work together creating the atmosphere of the Frankenstein’s studio space, adding another crucial element - the plastic curtain. The aim of the charrette was to recycle, reuse the useless objects and to transfer then to something new and exciting. We used the plastic packaging from the things we bought and redesigned them into the curtain, that creates a fascinating shadow pattern into space.

The plaster cast of the object.

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Concrete cast.

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APPENDIX -Process work

Ground floor

Sixth floor

Third floor

N

0m

5m

10 m

N

N

1:250 25 m

1:250

1:250 0m

5m

10 m

0m

5m

10 m

0m

5m

10 m

25 m

0m

5m

10 m

25 m

Fourth floor

First floor

N

APPENDIX -Process work - Plans

1:250

Second floor

25 m

Fifth floor

N

N

1:250 0m

5m

10 m

1:250

25 m

156

25 m

157