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ACADEMIC PORTFOLIO 2019/20 ELLA JOHNSON ORDINARY RESILLIENCE NEWCASTLE UNIVERSITY APL 170235596

CONTENTS

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Illustrative Report

4-5

Ordinary Resilience

6-7

Primer

Field Trip

8 - 29 30 - 35

Staging

36 - 55

Thinking Through Making Week

56 - 59

Realisation

60 - 81

Synthesis

82 - 97

Cultural Bibliography

98 - 103

Case Study: Ernst Bush Academy of Dramatic Arts

104 – 115

Bibliography

116 - 117

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ILLUSTRATIVE REPORT Stage 3 has been an increasingly rewarding year.

Looking back, I have learned an inordinate amount; I design and see architecture in a completely different way, in comparison to the end of Stage 2. I have learnt the importance of project narrative and the engrained relationship a new proposal has to its context. I have developed new ways of representation through a variety of mediums and this year has taught me, above most, to be ambitious with material experimentation and to enjoy, rather than be intimidated by, new ways of working and tackling the range of challenges that arise out of the design process. Being part of Ordinary Resilience has enabled me to explore my own creativity and get to know the best ways of working for me as a designer. This I see to be through research and 3D physical model iterations. The studio is centred around the importance of context, narrative and the experiential potential of materials. We looked to the city around us and to artistic influences, namely Richard Hamilton, Eduardo Paolozzi and David Umemoto, to inspire our designs. This highlighted to me the connection architecture has to other creative practices and how it filtrates into everyday life. As I have always had a love for fine art and sculptural ways of representation, the studio enabled me to see how artistic processes could be applied to architecture. This provided me with a greater understanding of the transitional application of architecture across disciplines. Interroga-

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tion of artistic processes and their incorporation at the early stages of design development lead me to explore the medium of collage. Looking at Hamilton and Paolozzi, the layering of materials and the atmospheric qualities their work creates I aimed to emulate within my own outputs. Both artists created a social or political narrative within their work that drew on historical references. The detailing in choice of materials and imagery that explored and represented this narrative was something I strove for within my project, so that my proposal was rooted firmly in the context of the city, both current and historical. The exploration of collage within design was enhanced by the ARC3015 theory essay that taught me much more about Paolozzi’s work and how he uses collage as an iterative development process. The iterative use of collage I explored within my proposal, initially through representation of site analysis and key site concerns, this later developed into representing my design within the context of the city. It is a medium that was imperative within my design development informing ideas of layering, spatial design and material qualities; it developed my project through literal representation and subjective working methods.

Developing the importance of architecture rooted in place and context through exploration of collage highlighted to me the important role contemporary architecture has in maintaining the architectural language of the city. I see the understanding of,

and response to, the historical narrative of place as one of the key roles of designers. However, it is one role amongst many that designers undertake when dealing with the breath of concerns that feed into a design project. My understanding of this was developed in the ARC3014 submission. The professional practice essay gave me insight into the multitude of disciplines required to carry out a design brief and taught me how this integrates with skills learnt throughout the design project.

The importance of historical narrative and careful research of a project became further apparent to me throughout writing my dissertation. I visited Berlin to conduct initial research and acquired magazines and historical matter, which I otherwise would not have been able to access, that became imperative in shaping the direction of my enquiry. This centred my writing around the political manifestations of the German Democratic Republic in the Palace of the Republic at the time of the Berlin Wall. First-hand experience of the site, and context of the Palace of the Republic – now Humboldt Forum - , gave me invaluable information that informed my analysis and translates directly back to working methods within my design project.

My dissertation research subsequently took me to the RIBA Library in London. This exposed me to a range of journals and articles covering a multitude of topics relating to my dissertation research.

The journals were both contemporary and historic

and, given the nature of my dissertation, were invaluable in expanding my understanding of the social and political potency of the time I was writing about. This experience taught me the importance of drawing on a range of sources, some more accessible than others, to conduct research and inform both my literary and design work as these skills and knowledge became transferable across modules. Although a lot of my design project has been centred around historical narrative and concerns of context and site, I have also developed a contemporary design approach to what I see as one of the main challenges facing young designers; sustainable design. My design is a CLT construction with as little concrete being used as possible, with the exception of foundations and cores for fire safety.

The brick cladding in my design is reused from demolished buildings existing on the site as to reduce material manufacture and transport pollution.

This I explored in greater detail in the ARC3013 technology report which developed alongside my design proposals so that the tectonic elements to my design corresponded to my studio work. Overall, I found that the modules throughout the year contributed to enhance my design both physically through the technology submission and more intuitively through theory and dissertation research. I have considerably developed my skills orthographically and conceptually and I find the prospect of applying these in practice one of great excitement.

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ORDINARY RESILIENCE Ordinary Resilience looks to the everyday city we surround ourselves with for the inspiration to create and design. The studio is rooted in research and analysis processes with a focus on historical representation and material exploration. I focused on the enduring nature of materials within their context so that my proposal is sensitive to its location.

It responds to the language of the city in a way that ensures longevity of the building well into the future and expanding its current functionality. The materiality of the building is celebrated within my design, with a focus on leaving as much of the construction in its raw form as possible. This creates a celebration of design and construction within my proposal. From the outset of the project, the history of

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Newcastle has inspired my design process, extending across observations of the city’s history in the buildings we see day-to-day, to the inspiration for my façade design. The importance of history within the design enables a creative process that utilises, and is largely concerned with, modern construction and contemporary design but is independent to time in a fusion of historical and current architectural narratives. I propose a new music school for Newcastle University as part of a new university initiative to expand the university across the city and develop positive working relations with industries and business. This will increase the civic and public interaction with the university in an aim to establish a lasting connectivity within the city’s urban fabric.

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PRIMER Primer was centred around the exploration of Newcastle City Centre. I investigated three scales - city, room, detail - through the creation of sculptures and prints. I started initially by looking at artist references that use sculptural and printmaking techniques that inspired me. These artists became a great influence on my work and final outcomes.

Through interrogation of the artist’s work and initial city exploration I became interested in the changing urban fabric of the city and how it is represented in the everyday aspects that we see around us on a day to day basis. This became my main focus when assessing further the urban grains, holes and passages of the city. My large city scale work explored the changing urban fabric through the variety of roofscapes that are present in the city. Development of this line of enquiry led me to explore how the city has changed historically thus far and how its represented architecturally. In turn I then became interested in how the city would change in the future accordingly. Hence, my sculptures are malleable and can respond in accordance to the changing architectural environment. In this sense, they can further be interpreted by other people to represent the version of the city that they see. I applied this theme to city scale and also to my representation of Central Arcade at room scale. The character

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of every-day life in the city is explored at room scale. As Central Arcade is at the heart of Newcastle City Centre, I wanted to explore how the idea of chang-ing urban fabric could be scaled down to something accessible to all. It further enabled me to explore how the urban context sur-rounding something historically long-lasting can alter over time, as the buildings around Central Arcade display a variety of architectural languages. I took this principle and applied it to the threshold stage of primer. I looked for signs of modern-ism within previously existing structures to show how the old and new can sit in harmony within the city.

The use of modern tech-niques to reinforce old structures around the city became the inspiration for my outcome. Primer greatly developed my experi-mentation with materiality and taught me methods of working that I had not previously explored, such as casting. It encouraged me to explore the capacities of different materials and hence my physical and technical design skills improved. It further showed me different ways of architectural representation that can be applied in my future projects. The playful experimentation of shapes, forms and materials is the main aspect of primer that I took forward into my subsequent work to place more dynamism into my design process.

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RICHARD HAMILTON

DAVID UMEMOTO

Richard Hamilton is seen as the founder of pop art within Britain in the 1950s. He believed that all art is equal and that there is no hierarchy of value. His work was largely political and related to cur-rent affairs.

Hamilton’s work - Just what is it that makes today’s houses so different, so appealing?

- is one of his most famous works created in 1956. The image displays a social comment on rising consumerism and the wider effects of a consumer driven society. This is referenced by the TV and other luxuries present in the image which were not commonplace in the 1950s. The ceiling of the house is an image of the moon referencing the emerging space exploration and imminent first landing on the moon.

The man and woman are a contemporary Adam and Eve. This emphasises the social quality of the image and it highlights how far the human race has come from their origins. The social com-ment emphasised throughout his work leads the viewer to question their own stance on the social values presented and hence it became an increasingly influential and political piece.

I took inspira-tion from Hamilton’s work through the range of different materials he uses as I wanted to explore a more diverse materiality within my own work. My primer investigation is focused around the changing, malleable nature of the city. It explores how the architectural language of Newcastle has developed and continues to develop. It looks at various ways of representing this to portray the responsiveness of architecture to the social and cultural shifts within the city. This was directly in-fluenced by my interest in Hamilton’s work as I wanted to portray a similar narrative to the social and historic context within which his work is firmly situated.

David Umemoto casts sculptures using a modular scheme. This enables the pieces to be rearranged in multiple different ways so that the sculptures are multifaceted. The sculptures follow a simple grid system that forms the basis of his design process. They are made out of mainly concrete, sourced locally, and are created with simple tools.

The process is iterative but the materials are open to adaptation. The natural imperfections of the materials make the joins between the mod-ules imprecise and hence open to interpretation. His work plays with ideas of modernity by con-trasting the technological advancements of material technology by returning to primitive forms of design. The sculptures are cast to a high quality and display a coherent design language between the changing iterative forms. I took influence from Umemoto’s work through the malleable nature of his sculptures. As my line of enquiry centres around the changing nature of architecture in the city, I aim to create models that run parallel to Umemoto’s idea of changeability through creating sculptures that can be altered and added in line with the changing urban fabric. They can be al-tered to people’s preferences and to what they see the city to be at that time. I would like to ex-periment further with concrete as a material and the process of casting, which Umemoto’s work is a great example of. I can hence take inspiration from his design ideas as well as his technical pro-cess to develop my sculptures in relation to my line of enquiry. This will enable me to create my own comment and interpretation of the city at city, room and threshold scale.

‘Just what was it that made yesterday’s homes so different, so appealing?’ (2004)

Déambulatoire V.2 (2019)

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CITY OBSERVATIONS

I started my primer exploration by going out into the city and recording a series of observations. I started by taking a series of rubbings that documented different textures or historical details of the city. I drew a series of line drawings that focused on the basic forms of different buildings of the city. This first exercise enabled me to understand the essence of the city. Drawing the city in this way highlighted how different the city was depending on where you were located in it. This led me to look further into the differences, much of them being due to changing histories. Upon reflection of this I proceeded to explore the city further focusing on this idea. I looked at different architec-tural details within the city including engravings and roofscapes as well as looking at a larger scale and applying my enquiry to the wider urban fabric. I explored this through photographic represen-tation as well has drawn, to gather a rounded view of the city and develop a broader understanding of both its histories and maternities and how the two sit together as an overall architectural language.

Historical City Sketches, Rubbings and Collage 12

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Detail and City Sketches - Ink, Fineliner, Charcoal 14

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Newcastle’s Urban Fabric in Photograph 16

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CITY SCALE

‘City scale’ primer investigation is my initial exploration of representing the changing nature of the city. Throughout my observations, I noticed that when looking up in the city the quality of the buildings and the environment created around them is indicated by the roofscapes of different streets or areas of the centre. I noticed the disparity in this throughout the city and how the two are connected by the material and stylistic junctions they create. I explored the visual language of this through collage, in reference to Richard Hamilton, which highlighted to me the amalgamation of different architectural languages within the urban fabric and the atmospheric and aesthetic qual-ities that this fusion creates.

I explored this idea further through casting and adding in an element of scale to see how the combination of different scales and patterns could come to represent the city. This process highlighted to me the dynamic, ever-changing quality of the city.

Roofscape Collage 18

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I developed my city scale final output in line with my enquiry from city observations. I cast a series of modular blocks that represented, to me, the most accurate depiction of Newcastle’s urban fabric, both old and new. They are cast with minimal detail as to merge the boundary between modern and historic in the city. In addition, the modular bocks are not set into a base or secured together. This enables the sculpture to develop alongside changing architectural shifts in the city and to be added to or taken away from depending on its evolution. This was inspired by Umemoto’s reorganisation of basic modular blocks to create his sculptures. The cast blocks can further be changed in line with different interpretations of the city so that the piece becomes interactive and representative of not only the city but of the inhabitants interaction with the space around them and their perception of the architecture.

Final City Scale Sculpture 20

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ROOM SCALE

Developing on from city scale I applied the exploration of changing architecture to a more interactive room scale. I centred my enquiry around the threshold between interior and exterior spaces and how connections between build-ings are formed and developed. By going back out into the city and observing the range of thresholds present, I was interested in how Central Arcade is both a threshold between interior and exterior space and is also a connection be-tween two exteriors. In addition to this the Arcade has both historical and cultural significance. I used this investigation of the Arcade itself and its surrounding context to explore how a structure so historically durable connects at thresh-olds with the evolving city. In my final sculpture the series of arches are representative of Central Arcade and the white conceptual structures surrounding them reflect the city. In a similar way to city scale, the forms are not cast into the concrete base and hence can be altered in line with adaptations to the city. To juxtapose this, the arches are cemented in concrete to reflect permanent historicism engrained within the city, highlighting how historical narratives throughout the cityscape are paramount within modern design considerations.

City Threshold Line Drawings 22

Journey Through Central Arcade Collage 23

Final Room Scale Sculpture 24

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DETAIL SCALE

At a detail scale I explored the medium of printmaking, namely lino print and how print and collage can be used in conjunction as a form of representation. I focused on the specific connections between historic and modern architec-ture in the details of the city, looking at sculptural finishes to buildings, material junctions and contextual shadows and projections of different architectural styles. I noticed in the Castle how modern technologies are implemented within construction to maintain and enhance historical buildings in the city. It is this that I depicted in my final print to explore at an intimate scale how architectural styles are used together in the city to maintain the historical narrative of the urban fabric.

City Detail Photographs 26

Photos and Sketches of Final Piece Inspiration 27

Final Detail Scale Print 28

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FIELD TRIP Visiting Cologne and Berlin during the studio field trip provided me with valuable insight into dif-ferent types of architectural design and construction methods across a wide range of build scales and functionalities. Cologne’s architecture was extremely diverse and learning about the histories of the city in conjunction with experiencing the city firsthand enabled me to gather a more holis-tic view and experience of the architecture. From Cologne Cathedral to Peter Zumthor’s Bruder Klaus Field Chapel and Kolumba Museum, I began to comprehend how grand gothic and subtle min-imalist modernism could coexist within the city. Cologne’s galleries, namely Museum Ludwig and the Kolumba Museum, I found inspirational, with both highlighting to me how the form and struc-tural composition of a design can work to enhance and celebrate the functionality of its interior programme. Both buildings responded to the historiography of their context as well as the existing structures whilst enhancing the interior programmatic experience of the building’s users. This is one of the key ideas I took from the trip - how to design effectively with historical context and user experience in mind.

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I had visited Berlin in June 2019 to conduct dissertation research so I thoroughly enjoyed returning for the field trip as I was going with some prior knowledge of the city and its architecture. I was also enamoured by the city itself. Experiencing new parts of the city and revisiting other parts with a different outlook taught me lots about the city of Berlin as well as how we experience the archi-tecture around us. Understanding the historical narrative of Berlin and the resultant diversity in its architecture enabled me to recognise how the different characters of the districts within the city centre meet to create a dynamic urban fabric. The range of buildings and projects we saw through-out the visit reflected the diverse character of the city.

Terrassenhaus Berlin highlighted upcoming ecological and sustainable design practices and their place in the city, whilst Chipperfield’s James Simon Gallery displayed the architectural fusion of concrete modern construction alongside the historic preservation of Museum Island and its neoclassical architecture. Both cities played an im-portant role in informing my design proposal aesthetically, structurally, historically and contextually.

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FIELD TRIP Cologne City Hall combined historic parts of the old hall that existed before the war with a new unique structure that retained as much existing form as it could. The new modern building cele-brates the history of the old hall with an external balcony courtyard that fuses the old and new constructions at the heart of the city centre. The Bruder Klaus Field Chapel was a striking building that serves an intimate purpose for a small community as well as being a wider appreciated archi-tectural attraction celebrating spirituality and nature within a rural environment. It was a uniquely inspiring building to visit to get a real sense of the space its created and I gained a lot from appre-ciating the connection this building has to nature - it was constructed around 112 trees that were burnt out from the inside post construction - and that connection with the ecology of its context. Museum Ludwig was one of the best galleries I have visited.

Its entire design and construction, from carefully designed circulation to hierarchy of space and light, is centred around the celebra-tion of the artwork within it.

In a sense, form follows functionality. The University of Cologne demonstrated a celebration of materiality and detailing that inspired my own project. It highlight-ed how construction can be aesthetically celebrated within design and how clever manipulation of materials can enhance atmospheric conditions. The Christi Auferstehung Church displayed a layer-ing of form and materiality within its design to give a sense of scale and style. This is something I aim to emulate within my own proposal to deal with site-relevant issues.

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Cologne City Hall, Bruder Klaus Field Chapel, Museum Ludwig, University of Cologne, Christi Auferstehung Church, Material Palate, Kolumba Museum

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PRECEDENT STUDY: ERNST BUSCH ADADEMY OF DRAMATIC ARTS O&O BAUKUNST

The Ernst Bush Academy of Dramatic Arts was designed by O&O Baukunst in 2018. It combines the repurposing of an old existing warehouse with new modern design to create a fusion of style and material composition. The connection between new and existing structure is celebrated in the de-sign through inclusion of a boundary line running throughout the building 2.3m up from the ground floor. This indicates where the two structures meet and celebrates where the raw and refined meet within the design. Visiting this building in Berlin and learning about it from one of the com-pany directors highlighted the involvement of the staff at the academy within the design process. The space created under collaborative working suits the varying needs of the occupants, so that the building is designed primarily with the users in mind. They also assessed other arts schools around Berlin to see the spaces they had, didn’t have, or desired to have so that they could optimise their design. The composition of rooms and circulation designates parts of the structure thematically to the different disciplines encompassed within the school. This localises the programme and creates a coherency within the design I wish to emulate within my own proposal. The building optimised lighting conditions, sound performance and material qualities to enhance the musical aspects of their programme. For example, smaller raised windows in practice spaces and angular walls/surfaces in recording studios.

As I am designing a music school, I learnt copious amount from the academy as to how to enhance the performance of music-related space within the design, cir-culation and programme of the building.

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STAGING My design proposal is a new music school for Newcastle University. At the forefront of its design is the aim to establishing a lasting connectivity within the city’s urban fabric through a design in which the facade and construction of the building has the possibility to outlive its functionality.

It is located on City Road, Newcastle. City Road is one of the main access routes through Newcastle which connects the city centre to the wider urban context and Northumberland. At the beginning of Staging I assessed the key ideas, creative processes and knowledge I has gained from Primer and the field trip and began to apply this to site investigations and initial design concepts. I looked into the historical significance of the site to gain a broader understanding of its wider context

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and to develop a more in-depth analysis of the existing structures. I further set about addressing key issues picked up from site visits and subsequent observations. I developed an iterative design process, similar to that of primer, to develop and deal with these concerns; namely access, materi-ality and context, scale and site degradation. Using drawings, printing techniques and modelling I began to evolve a massing proposal that responded to these issues with constant reference to the site itself. The massing was designed in direct relation to the Keelmans Hospital which is the main building I am retaining within my urban proposal. I endeavoured to retain the hospital but also the character of the site and the architectural language of the existing buildings and immediate con-text.

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THE SITE: CITY ROAD

The City Road site is located at the heart of Newcastle city centre meeting the busy City Road at its boundary - one of the main thoroughfares through Newcastle out to surrounding Northumberland. The site currently exists of Keelmans Hospital, an alms house built in 1701 to house sick keel men and their families, the Ryder and Yates Salvation Army building which served as emergency accom-modation for men with substance issues until 2011 and has not been used since, disused ware-houses, Keel House a commercial office space and residential block completed in 2008 but not yet fully occupied, and Jubilee View social housing. The site has an overriding civic quality to it serving, most prominently, public needs. The public and civic qualities of the site I endeavoured to retain within my proposal so that even though the buildings are changing, the nature and fundamental purpose of the site is maintained. My design is focused around creating lasting architecture that is independent of time yet rooted in place and hence the concept of lasing history and purpose is transferred over from current site to my proposal.

Jubilee View Social Housing

Ryder & Yates Salvation Army

Keelmans Hospital

Keel House & Warehouses

Regional and City Map Showing City Road Site within Newcastle 38

City Road ‘Walk-around’ with Key Existing Buildings 39

Newcastle University City Mapping 40

Site Analysis - Noise Pollution, Prevalent Wind, Sun Path, Vehicle and Pedestrian Access Routes 41

MUSIC MAPPING

Theatre Royal

Cobalt Recoding Studios The Black Swan, Jazz Nights

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In order to design a music school I had to evaluate the existing music provisions within Newcastle. The site is located, most notably, across the river from The Sage and hence I wanted to gather a more rounded assessment of other venues, studios, shops and theatres from which business and working relationships could be established. A multitude of venues exist throughout the immediate city centre with a range of functionalities. Visiting some of these venues, such as the O2 Academy and the Black Swan, highlighted to me the opportunity for students connected to the new school to establish links to these venues and increase the opportunities for live gigs, music workshops and production experience. Through achieving this the new music school will provide a cross-disciple teaching environment so that not only the structure itself but the day-to-day functions of the school are connected to the context of the city.

O2 Academy

The Alphabetti Theatre

The Sage 43

Performance Hall

Library of the Arts

Balcony Control room Acoustic control Dressing room Storage Double height - improved acoustics

Open to public - increase public usage and civic realm within site Dedicated to music research

Repurpose Keelmans Hospital Media Suite

Music Therapy Nordoff Robbins Newcastle Centre - specialist music therapy centre located in the city Continue narrative and existing purpose of the site Centre of Research

Teaching and Seminar Rooms Focus on student / staff cohesion Located throughout building to increase inteconnectivity

Practice Rooms

Close proximity to studios Space for individual work and teaching Learn music production

Faculty grouped Range of sizes Informal teaching spaces

Lecture Theatre Guest speakers Public lectures Faculty lectures

Recording Studios Sound buffer entrance Angled walls to maximise acoustic performance Range of sizes for different uses

Informed Space Requirements 44

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SITE CONCERNS

Upon visiting the site I noticed four key problems that I aimed to tackle within my massing pro-posal. The first was access.

Due to its location, access is limited from the south side and it slightly dangerous due to the busy road that runs alongside it. However as you move around the site the access is not much more inviting. The changes in level across the site the complex of buildings that currently occupy it mean that little access is granted at all.

One of my main focuses when designing was hence opening up the site to create an inviting space for students and the public to use. The second concern I had was the materiality and context of new structures to the existing. Keel House stuck out when looking at the site due to its modern construction that was not in keeping with the immediate context of the existing structures. Within my proposal I wanted to introduce a more subtle integration of modern architecture into the site and focus the materiality concept largely around brick to continue the language of the surroundings. The third key issue with the site was the degradation and disuse of the existing structures. My proposal retains and repurposes Keelmans Hospital and the warehouses but demolishes the other structures. Through repurposing the hospi-tal I will restore parts of the hospital that have degraded over time to their former quality.

My final concern was scale. The site crosses from large city scale to the south-west to an immediate resi-dential scale to the north-east. I intend my proposal to respond to both of these scales accordingly so that the building provides a transition between two across the site boundary.

Access, Materiality & Context, Degredation of Site, Scale Across Site 46

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MAPPING COLLAGES

Using ideas of collage inspired by primer I developed a series of collages that explored and re-sponded to the aforementioned key issues of the site as well as its historical narrative. These be-came the starting point for my massing proposals and additionally transitioned into key references images throughout the project development

Historical Context Collage 48

Scale Collage 49

Massing Collage 50

Access Collage

Materiality Collage 51

SITE PRINTS

After visiting the site spending time there to evaluate the architectural languages, concerns and contexts I began to create a series of prints that were inspired by my observations. Sketches drawn during my site visit became the basis for my prints.

The prints were focused on developing a range of forms, geometric shapes and compositions that would become my initial massing. I printed them on different papers and textures to gather a range of qualities that could be later collaged and de-veloped into a 3D geometric form.

Site Sketches 52

Lino Print Series from Site Sketches 53

INITIAL MASSING Developing my initial massing stemmed from a series of collages and sketches that encompassed all my site obversions and were centred around my key concerns with the site - access, materiality and context, site degradation and scale. I created a set of modular buildings, similarly to my city scale primer and in reference to Umemoto’s work, that developed a series of access routes through the site. This increased the civil and public realm of the site by introducing internal courtyard spaces within the massing of the building that are enhanced and shaped by the site’s access. The buildings are arranged and scaled in a way that responds to the immediate context so that the tall-est buildings are situated to the south of the site and the smallest located to the north-east. The massing has the ability to be added to, taken away from and rearranged in line with design devel-opments, programmatic requirements and city developments that mirrors the flexibility of my pri-mer sculptures. In a similar way, the massing and development of facade details are, and will be, designed in a way that ensures the durability of the design throughout time so that even if the functionality of the structure and site evolves, the building itself will stand the test of time and be rooted in the historiography of Newcastle.

Initial Massing Collage 54

Spatial Form Collage - Massing Inspiration

Initial Massing on 1:250 Site Model 55

THINKING THROUGH MAKING WEEK Thinking Through Making Week (TTMW) was a time to look back on what I had achieved thus far in the year and to reflect on what worked successfully, what was not so effective and how to progress the next stages of my project. The week was centred around facade development and exploring and experimenting with a range of materials and techniques to develop a facade concept in line with the key ideas surrounding the project. I started the week by going back to my historical re-search and mapping of the city to see how I could apply some the historical narrative encompassed within the city to my project. I centred my enquiry along quayside due to its proximity to my site, particularly looking and its evolution and the progression of the architecture along the river front. The architectural qualities of the quayside are rooted

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in historicism which is clear to see but is often overlooked on a day-to-day basis. Hence, I wanted my building to celebrate this history and began to look more closely at The Cooperage as a standalone piece of historic architecture that denotes the overall language of the quayside. I was intrigued by the Tudor post-and-beam style construction and its place within evolving architecture and hence I developed a model that represented this traditional building technique but imple-mented with modern construction and a sustainable design.

The week provided me with the chance to explore the experiential potential of materials. It showed me how I could apply different construction techniques, both old and new, to my design in a celebration of materiality, design and construction that was rooted in the wider historic context of the city.

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THE COOPERAGE

My final model took inspiration from the beams of The Cooperage. I represented this through an interpretational timber construction take of the traditional postand-beam methods. I wanted to reuse the brick from demolished buildings on the site within my proposal to preserve the charac-ter of the site’s architecture as well as to create a more sustainable design, cutting out substantial removal and delivery pollution. Due to this, I started by experimenting with crushed bricks to fill the space between the beams as a representation of the brick on site. The subsequent space is filled with plaster, in reference to The Cooperage, and concrete as an exploration of an alternative material. In actuality, some of the gaps in the timber, or a combination of a few, would take the form of windows. To progress this model I would experiment with more sustainable forms of con-struction. For example, filling the frame with hempcrete, rammed earth or other, more natural, forms of mixed aggregate. I would further extend the model to a larger scale, taking into account windows and openings and a staggered layering of floors in line with the overhand of the cooper-age on the first and second floors and the layered approach of Cowan Court.

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REALISATION Primer and staging developed an in-depth investigation of the city and established an understand-ing of site, context and purpose. Realisation led a design driven section of the project that focused on developing our proposals in line with previous observations. I used iterative massing models to progress my design, adding and taking away from previous forms to develop a spatial sequence. The access into the site from six key points was the base of my design and the form followed these spaces in line with the user requirements within the building’s functionality. I looked to prece-dents, namely Cowan Court, to resolve plans and to see how key principles surrounding access and materiality were dealt with. I

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looked to different forms of representation within my work from orthographic drawing, to collage and material atmospherics to convey the range of spaces within my proposal and to relate the de-sign back to the wider context of the city. I utilised research from staging on acoustic design and music precedents to select the range of spaces needed for my programme and how this pro-gramme best fitted into the massing of the building and the hierarchy of circulation throughout the space. This altered the form of my building as the functionality developed alongside massing ideas. I explored this through a development of 3D massing models that played with the additive and subtractive nature of my proposal.

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Process Board 62

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PRECEDENT STUDY: COWAN COURT 6A

Cowan Court is a student hall of residence designed by 6A in 2016. The focus of the design is on the building’s connection to the original Sheppard Robson listed college. It is designed to high lev-els of sustainability and environmental strategy including passive ventilation and super insulation. As responding to the climate crisis is a key factor in designing as a young architect, I can learn a lot from how they implemented this within their building.

The external facade of Cowan Court features textured timber cladding boards, purposeful misalignment of windows and a stepped-out lay-ering of the floors rising up the building. The concept of layering is something I have explored thus far through collage and print making and reference to Cowan Court shows me the potential to translate this into my design.

The building is constructed from a timber super structure and is cen-tred around a birch forest inner courtyard with various access points into the site. As access and increased ecology are two concerns within my own proposal, I can learn a lot from how 6A achieved these design aims so successfully. In addition, the timber structure is something I can ex-plore within my project as a means of implementing sustainable construction methods as well as achieving a desired aesthetic finish that celebrates the materiality of the design.

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MASSING DEVELOPMENT

My massing proposals were shaped primarily by my site research and dealing with site concerns as outlines in staging.

The aforementioned access throughout the site and inclusion of an inner court-yard to mirror that of Keelmans Hospital provided the basis of a spatial sequence in my design. The form and function of the building from this point developed in cohesion with both influencing each other. The inclusion of public facilities was, to me, imperative throughout the design process as I endeavoured to increase the civic realm of the site and the relationship between public and pri-vate space. Due to this, the public use of the building, and hence circulation, is focused at the west side of the site, in relation to Keelmans Hospital and the main large archway entrances. As you con-tinue through the site, towards the East side, the functionality of the building shift towards private spaces for students and this is mirrored in the downsizing of archway entrances. The subtractive nature of the design enables a harmony between large city scale and small residential scale to be achieved. This was another key driving point behind the development of my massing. The inclusion of double height entrances, practice rooms, performance halls and lecture theatres developed continually throughout the design progression. This also largely influenced the form of the building and the circulation of space as, due to the nature of the site entrance points, only parts of the structure would enable such large spaces within the building’s parameters. Whilst developing my massing I began to think about ideas of materiality and construction, as seen in Massing Develop-ment 4, to develop and understanding of how the construction techniques and aesthetic qualities of the building would influence the form itself.

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Massing Development 1

Massing Development 3

Massing Development 2

Massing Development 4 67

DESIGN ANALYSIS & PROGRAMME

After finalising a massing design and undertaking a series of plan developments, I finalised my or-thographic plans and developed an extensive programme of spaces. The plans enabled me to dia-gram the spatial sequencing of the building through a range of parti diagrams. The most significant of these is additive ad subtractive. The diagram shows my massing as a series of modular blocks that are inserted or removed as you progress through the building. This process of working correlates directly to my primer work and highlights the connection my design has to the process from which it originated; it futher draws in the work of Umemoto.

Parti Plan and Section

Plan to Section 68

1. Practice Room 2. Teaching Room, Seminar Space and Lecture Theatre 3. Lobby/Entrance 4. Public Cafe/Bar 5. Public Library 6. Public Performance Hall 7. Recording Studio 8. Media Suite 9. Pod Multi-use Room 10. Staff Offices 11. Toilets 12. Study Rooms 13. Plant Room 14. Storage 15. Dressing Room 16. Control Room

Circulation to Use

Hierarchy

Additive and Subtractive

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Ground Floor Plan, 1:500 70

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First Floor Plan, 1:500 72

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Second Floor Plan, 1:500 74

Corridor View from Third Floor 75

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Third Floor Plan, 1:500 76

Public Performance Hall Stage View 77

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SYNTHESIS Synthesis was focused on the development of a facade proposal and an exploration of the experi-ential potential of materials within our designs. We investigated the use of materials within facade development and how singular or combinations of materials are assembled together.

I looked back to my Thinking Through Making Week enquiry’s to develop a more thorough facade proposal, but one which was firmly rooted in the context of the city and the historical narrative that I aimed to incorporate within my design.

The internal material qualities are focused on the

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celebration of materials in their raw form and the atmospheric qualities that this creates. Hence, my proposal is a CLT construction with as much of the structure left exposed internally as possible.

CLT has very good acoustic performance qualities due to its thickness and hence this was not only an aesthetic but also a technical consideration within my design. A CLT construction is further one of the most sustainable for a large-scale project alike to mine and hence I derived a design ap-proach that considered aesthetic, technical and environmental qualities in equal measure.

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FACADE DEVELOPMENT My initial facade development study was an interpretation of the post and beam construction technique that I explored through Thinking Through Making Week, inspired by The Cooperage. The wooden dowel is representative of the beams on the facade of my design with an emphasis being placed on the entrance archways and window openings in my elevations. This model enabled me to re-evaluate the use of brick in my design as I wanted to celebrate the internal atmospheric qual-ities of timber within my design and found that having such a heavily oriented timber cladding sys-tem externally may detract from this. In addition, as part of my sustainable design, I endeavoured to incorporate as much reclaimed brick from the demolition of existing buildings as possible. I therefore developed a design proposal the rooted the building in its context with brick on the lower levels and celebrating the arched entrances with a lighter frame, stepped out, timber clad lattice on the upper floors that denotes the historical narrative of the city and retains the quality of my Thinking Through Making Week explorations.

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Street View from Garth Heads Road 90

Street View from City Road 91

1:20 DETAILS

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A. 70mm Roofing tiles 100mm Cavity 4mm Waterproof membrane 150-350mm Insulation 10mm Aluminium drainage tray

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B. 300mm Timber beam cladding 200mm Metal brackets 4mm Waterproof membrane 180mm Thermal insulation 150mm Acoustic insulation 300mm CLT wall C. 700mm Glazing

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D. Brick cladding 50mm Cavity 370mm Brick ties 10mm Lintel 4mm Waterproof membrane 180mm Thermal insulation 150mm Acoustic insulation 300mm CLT wall E. 300mm CLT wall 100mm Acoustic insulation 4mm Waterproof membrane 15mm Fire-layer plasterboard 150mm Service cavity 20mm Timber wall finish My 1:20 exploration series focuses on the spatial and material qualities of my design proposal in a representation of transitional space between internal and external thresholds. The technical section highlights the CLT construction and how the cladding system works with daylighting strategies to create atmosphere within the structure. The facade studies detail the disparity between exter-nal facade and internal facade, externally reflecting the context of the city though timber and brick cladding and internally highlighting the connection between interior and exterior through the glazed elements surrounding the courtyard.

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25mm Timber floor finish 10mm MDF 4mm Waterproof membrane 100mm Sound-impact insulation 300mm CLT floor G. Ground finish Engineered brick DPC 4mm Waterproof membrane 180mm Thermal insulation 150mm Acoustic insulation Reinforced concrete floor slab Pile foundations Technical Section, 1:20 @ A0

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Part External Elevation, 1:20 @ A1

Part Internal Elevation, 1:20 @ A1

1:20 Facade Model 93

1:20 FACADE MODEL

I explored the use of different materials in the design of my 1:20 facade model. As I had enjoyed working with plaster and exploring different casting techniques from primer and throughout the project development, I wanted to see how this could be applied to the representation of scale and brick. I cast different scale forms, leaving the plaster unfinished as to explore its raw qualities and how this contributes to the representation of form and space. I developed these scale pieces through etching a more refined cast to explore the use of plaster casting as a mean to portraying brick in my model. As I aimed to retain as much brick from existing buildings as possible, I used Keelmans Hospital as the inspiration for my test explorations.

I etched into cast plaster to create a brick texture on the surface of the material and further explored the use of colour, through pastels and chalk, to see how the material could be coloured and textured to portray a different atmos-pheric quality.

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Material Exploration Tests 96

Final 1:20 Facade Model 97

CULTURAL BIBLIOGRAPHY Engaging with wider architectural initiatives and creative industries throughout the year has greatly complimented my design work. From technical drawing techniques through the medium of life drawing to literature challenging my perception of space, it has been an informative year both within and outside of the studio.

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LIFE DRAWING, READING & SMALL TALK

SMA L L TA L K NOV

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T H E O L D GA L L E R Y NEWCASTLE UNIVERSITY ARCHITECTURE BUILDING

5. 3 0 p m

Heritage, Conservation and Modern Practice

David Chipperfield Architects Through the portfolio of David Chipperfield Architects, associate Ryan Butterfield will discuss various approaches to conservation, changing attitudes to listed buildings and the challenges of designing contemporary architecture in historically sensitive contexts.

David Chipperfield Architects has extensive experience working with historic buildings such as the Neues Museum on Berlin’s Museum Island and the Royal Academy of Arts in London. Ryan joined the practice in 2009 and has since worked on several conservation and restoration projects.

I have developed a great interest in life drawing having attended a few classes over the course of my degree. The methodical approach to drawing the human figure is something I have found to relate aptly to architectural design. The classes taught me how to deal accurately with proportions and scale which has translated directly into my design work. Life drawing encompasses a range of ways of representation which is also something i have translated into my design work and, particularly this year, become much more experimental with. Attending Small Talk lectures throughout the year has broadened my knowledge about wider architectural practices and has provided me with valuable insight into working in professional practices. Learning about projects and participating in architectural discussion in an informal setting has deepened my interest in the profession on the whole and has challenged me to question my own opinions and approaches to design.

This was developed through reading Italo Calvino’s Invisible Cities and Gaston Bachelard’s The Poetics of Space. Both books interpreted space and form in a way I had not encountered before and the spa-tial understanding portrayed both challenged and advanced my own understanding.

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F R E E FO R N UA S A N D N A S M E M B E R S O P T I O N A L D O N AT I O N FO R N O N - M E M B E R S

F RE E FO O D A ND DR I NK S

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BERLIN & GALLERY VISITS

I visited Berlin in the summer to conduct dissertation research. I had not been to the city before and I found it fascinat-ing. I have always had a strong interest in history, especially contemporary histories, and hence learning more about the Berlin Wall and the aftermath of the wars, in a place that has representations of it in the experience of day-to-day architecture, was eye opening. Visiting the city changed the course of my dissertation to focusing on the site of the Palace of the Republic which was demolished in the 1970s. The site is currently under construction with half of the new building being a replica of the Prussian Palace that stood on the site from the 1600s and the other half being a modern stone construction that denotes the soviet style architecture of Palace of the Republic. This fusion of contemporary and historical architecture within one single structure, in the context of the surrounding neoclassical buildings, high-lighted the cultural, social and political influence that interplays with the urban fabric around us. Visiting art galleries became an important part of the year.

From seeing the work of Marcel Duchamp during field trip to visiting the Laing and Baltic on the weekend, the relationship between art and architecture and the transferable skills and approaches to both disciplines, has been a constant concept and reference point throughout the year. Learning artistic processes has greatly influenced the way I represent work and has encouraged my ambition in relation to modelling and col-lage. Visiting galleries and observing both contemporary and dated artworks has been imperative in developing this ambition.

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Studio 2

Ernst Busch Academy of Dramatic Arts

FIELD TRIP CASE STUDY REPORT The Ernst Bush Academy of Dramatic Arts is a building that inspired my design from the outset.

Hence, studying it for the case study project provided me with valuable detailing information that informed my understanding of its concept, construction and design aims. This aided my design work and as it is a building, I have a lot of interest in, I found visiting it, and conducing further research into it, invaluable. The project introduced us to the pecha kutcha style of presentation that was both challenging and informative. It also accustomed us to ways of presenting in within wider practice. Not only did I learn from the presentation style itself but as the project fell early in the year, I learnt a lot from my group members about ways of representation and formatting. I presented the concept and design, and atmospheric aspects of the presentation.

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The concept behind the academy is rooted in history as it builds on an existing warehouse. Due to my interest in the relationship contemporary construction has to historical narratives, I could apply themes from my design studio into my presentation and representation of the building. The at-mospheric qualities of the building are largely achieved through the cladding design and are centred around lighting strategies throughout the structure. Analysis of both the cladding and daylight-ing strategies highlighted to me their interconnectivity and importance within the design process. You can see performers silhouettes through the cladding when it is illuminated at night and hence the project taught me to design for a building that thrives across times of the day and difference seasons as to maximise the experiential potential of the building.

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

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Ernst Busch Academy of Dramatic Arts

Ernst Busch Academy of Dramatic Arts

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Contents:

Architects

Background

Ortner & Ortner

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Typology

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Dramatic Arts

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Location: Zinnowitzer Str., Berlin.

Building: Ernst Busch Academy of

Programme

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Opened: 2015

Concept and Design

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Completion: 2019

Spatial Sequence

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Function: Academy of dramatic arts,

Structure

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University building and event space.

Environmental

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Atmosphere

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Materiality

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Bibliography

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List of Figures

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

Architects: Ornter & Ortner

Hochschule fur Schauspielkunst Ernst Busch Academy of Dramatic Arts

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Introduction Architects Site

Ernst Busch Academy of Dramatic Arts

Hans-Rucker-Co

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

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

Group Criteria

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

New Extension and Rennovation Zinnowitzer str. 11, 10115, Berlin Ornter & Ortner Baukunst

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Ernst Busch Academy of Dramatic Arts

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Ernst Busch Academy of Dramatic Arts

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Architects

Architects

Founding

Other Works and Styles

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

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

Museumquartier Wien

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

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

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Finished in 2018 in Boston, United States.

It has a footprint of 6967.7 m²

Typology

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

Finished in 2006 in Toronto, Canada.

It has a footprint of 4087.7 m²

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Facade

Ernst Busch Academy of Dramatic Arts

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

Form

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

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Studio 2

Ernst Busch Academy of Dramatic Arts

Title Site

Sub Heading Buildings Surrounding

Materiality - Interior

Sub Heading Access routes

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Ernst Busch Academy of Dramatic Arts

Title Site

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

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

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

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

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Ernst Busch Academy of Dramatic Arts

Programme

Programme

Atmosphere Atmosphere

Key Adjacencies Key Adjacencies

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

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

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

TheThe walls andand ceilings areare leftleft in good walls ceilings in good condition in most areas from about condition in most areas from about thethe toptop of of thethe doors.

In the lower doors.

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

Composition and Function Composition and Function

User Experience User Experience

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

Currently there areare offices buildings.

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

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

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

E. Administration F. Terrace 1 46

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

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

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

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

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Ernst Busch Academy of Dramatic Arts

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Sub Exisiting Heading Building

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

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

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

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

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

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

Nolli

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Materiality - Facade

Site

Joan & Edgar Booth Theatre and College of fine Arts Production Centre By: Elkus Manfredi Architects Young Centre for The Performing Arts By: KPMB Architects

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Typology

Interior

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Typology

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Ernst Busch Academy of Dramatic Arts

Ernst Busch Academy of Dramatic Arts

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

Finished in 2007 in Nanjing, China.

It has a footprint of 16000.0 m²

Young Centre for The Performing Arts By: KPMB Architects

Finished in 2019 in Berlin, Germany.

It has a footprint of 16200.0 m²

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

Footprint 1:5000

Nanjing Performing Arts Centre

Ernst Busch Academy of Dramatic Arts

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

Studio 2

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B

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

A fly tower(A), andand a singleproperty.

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

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

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

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

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

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

Furthermore, thethe useuse of of thethe Furthermore, library (fig.51) library (fig.3)was wasnot notfulfilling fulfillingthe the expectation which means thethe volume expectation which means volume waswas planned tootoo big.big.

Another issue is is planned Another issue thethe metal heater (fig.54) metal heater (fig.6)is isnot notcovered covered andand protected by shield could heart protected by shield could heart student by accident. student by accident.

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

There is not anyany balustrade tower.

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

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Ernst Busch Academy of Dramatic Arts

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Ernst Busch Academy of Dramatic Arts

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Ernst Busch Academy of Dramatic Arts

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Ernst Busch Academy of Dramatic Arts

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Programme

Programme

Concept/Design

Spacial Sequence

Illumination Illumination

Safety Safety

Line between old and new

Designing Spaces

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

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

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

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

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

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

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

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

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

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

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

Enterance hall

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

Insulation Insulation

55 1

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

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

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

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Ernst Busch Academy of Dramatic Arts

Studio 2

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

ntrance: within is the theatre d the main administration main access point to the g and a large double pace

aces uble height spaces within cture located in the main nd the central staircase.

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

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

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Ernst Busch Academy of Dramatic Arts

Relationship with existing structure

e Space: n corridors linked to the eatre structure. Combines ntrance points to the and extends throughout ding. in timber panelling.

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Concept/Design

or: ed reconnguration of the rance, design of the rt and the garden space o the cafe. th-East space is where stics are handled, it y for functional purposes for any artistic uses.

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

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Studio 2

Spacial Sequence

Spacial Sequence

Materiality

Corridors

Verical Transport

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

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

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

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

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

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Title Structure

Energy and Ventilation Strategy

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

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

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

Sub Heading

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

Exhaust air

97 1 98 2 100 4

Fresh air

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Exhaust air Fresh air

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EnvironmentalStrategy Strategy Environmental Lighting

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

Natural light Artificial light

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

BERLIN

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Studio 2

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Atmosphere

Sub Celebrating Headingstructure

Extension

Natural Light

INTERIOR SPACE

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

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

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Timber Structure

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

113 112

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Atmosphere

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

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

Structure breakdown

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Ernst Busch Academy of Dramatic Arts

Structure

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

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

Material use of massive concrete construction was not environmentally friendly.

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Title Structure

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

22

Studio 2

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

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

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

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

50 cm.

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

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

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EnvironmentalStrategy Strategy Environmental

Existing Primary Structure

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

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Ernst Busch Academy of Dramatic Arts

Structure

Sub Celebration Headingof Structure

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Studio 2

Materiality

Materiality

Exterior

Translucency

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

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

Continuation of the Facade

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

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

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

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

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

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

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

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

List of Figures

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

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Materiality

The Old & The Unfinished

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

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

Bibliography

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

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

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

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

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

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

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

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

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