Frazer Watson Portfolio

ARC8052 - ARCHITECTURAL PRACTICE

MATERIAL CHANGE CREATIVE MONASTERY

Frazer Watson c0069607

CONTENTS

SITE, BRIEF & CRITICAL INTRODUCTION________________________________________________________________________________________________________________________________________________ 4 SITE & DESIGN THEORY__________________________________________________________________________________________________________________________________________________________________ 5 CLIENT & REMOTE WORK/ THE WORKPLACE___________________________________________________________________________________________________________________________________________ 6 MONASTERY DESIGN THEORY____________________________________________________________________________________________________________________________________________________________ 7 EXISTING URBAN SPATIAL QUALITY______________________________________________________________________________________________________________________________________________________ 9 INTERVENTION PLACEMENT & MATERIAL THRESHOLDS______________________________________________________________________________________________________________________________ 10 EXISTING CREATIVE SPACES IN NEWCASTLE__________________________________________________________________________________________________________________________________________ 11 PROGRAMMATIC DIVISION & EXISTING STRUCTURE__________________________________________________________________________________________________________________________________ 14 PROGRAMME ITERATION 2_____________________________________________________________________________________________________________________________________________________________ 15 PRECEDENTS ______________________________________________________________________________________________________________________________________________________________________________ 18 PRELIMINARY SECTION STUDY_________________________________________________________________________________________________________________________________________________________ 20 SKETCH CONCEPT - MATERIALITY & TYPOLOGIES_______________________________________________________________________________________________________________________________________ 21 INTERIOR ARCHITECTURE PRECEDENTS_______________________________________________________________________________________________________________________________________________ 22 MODEL STUDIES__________________________________________________________________________________________________________________________________________________________________________ 24 PLANS__________________________________________________________________________________________________________________________________________________________________________ 28 SECTION__________________________________________________________________________________________________________________________________________________________________________ 31

CONTENTS

CREATIVE MONASTERY CONTEXTUAL AERIAL PERSPECTIVE___________________________________________________________________________________________________________________________ 32 RENDERED PERSPECTIVE SECTION_______________________________________________________________________________________________________________________________________________________ 33 INTERIOR VISUALS_________________________________________________________________________________________________________________________________________________________________________ 34 PRELIMINARY ROOF STUDY_______________________________________________________________________________________________________________________________________________________________ 39 MODEL STUDIES____________________________________________________________________________________________________________________________________________________________________________ 41 STRUCTURAL STRATEGY (EXISTING/DEMOLISHED/NEW)______________________________________________________________________________________________________________________________ 44 TECHNICAL SECTION & TECHNICAL AXONOMETRIC SECTION______________________________________________________________________________________________________________________ 51 TECHNICAL DETAILS ____________________________________________________________________________________________________________________________________________________________________ 52 PASSIVE DESIGN & TYPOLOGY_________________________________________________________________________________________________________________________________________________________ 54 NEOCLASSICAL FACADE TECHNOLOGY_________________________________________________________________________________________________________________________________________________ 55 SKETCHBOOK & DEVELOPMENT_________________________________________________________________________________________________________________________________________________________ 58 REFLECTIVE SUMMARY___________________________________________________________________________________________________________________________________________________________________ 77

[GC. 2.1, 4.3, 6.3, 7.2, 7.3]

THE BRIEF & CRITICAL INTRODUCTION

SITE

The site of this Urban Intervention is located in the heart of Newcastle and replaces a portion of Intu Eldon Square Shopping Centre. The Centre was built in 1976 and contains 150 stores across 130’000 square metres of floorspace in Newcastle’s urban core. The intervention is located to the South East Quarter which currently contains the restaurant section and is fitted to the 19th century Neoclassical facade lining North Grainger Street and Nelson Street opposite the North Facade of Grainger Market.

VIEW OF BLACKETT STREET ALONG NORTH FACADE OF THE SOUTH EAST QUARTER

MONUMENT ENTRANCE

The key themes of the material change brief focuses on the following: 1. How we can reinvent our cities as places of exchange relevant to the wants and needs of future communities.

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

In response to these themes, the following urban intervention aspires to respond to very current issues such as the covid-19 pandemic and the changing nature of the highstreet.

Multiple studies have expressed the struggling condition of the highstreet. A primary factor is due to the transition to online retail; in august 2018 online shopping accounted for 18.2% of retail in the UK and this figure has only increased during the worldwide coronavirus outbreak. Furthermore, highstreet shops have suffered as a result of multiple other factors such as rising business rates, a rise in the national living wage, inflation, decline in ‘real wages’ meaning the general public having less disposible income, lack of infrastructure and so on.

This prompted the approach of design to follow a path that would reinterpret ‘the highstreet’ and the value and functionality it could bring to future urban communities.

In addition to this, following the outbreak of Covid-19, many parts of the world saw a shift in how we work. In the UK, for many, the office became vacant and bedrooms, living rooms and kitchens became our day-to-day workspaces. These circumstances have demonstrated the value of face to face interaction, socialising and also, on the contrary, the efficiency of remote work. However, for many creative industries, the ‘home-office’ may not have been as convenient. This comes as a consequence of requiring access to specialist equipment, on-site work, access to specific softwares / technology, studio spaces and arguably most importantly, social interaction and creative discussions, that have been made less fruitful as a result of virtual online communication.

Furthermore, the design will look to innovatively integrate what is existing on and in the site in a bid to minimise carbon footprint and align the project with the theme of the brief regarding the response to the global climate emergency. This will be executed in such a way as to guide the programme of the interior spaces alongside its theoretical approach to an extent that does not inhibit the spaces’ qualities and ability to operate optimally. Modifications and extensions of space and structure will be carefully decided upon and only carried out if believed to drastically improve the social sustainability and condition of the building and internal environment.

4

[GC. 2.1, 6.3, 7.2, 7.3]

DESIGN THEORY

SITE AERIAL PERSPECTIVE OF SHOPPING CENTRE

CREATIVE MONASTERY

Monastery: ‘the community of persons living in such a place.’

As afformentioned the coronavirus pandemic has had multiple global impacts and one topic at the forefront of discussions is the question of whether working from home is the future of operation. It has been argued that this is more sustainable with the exclusion of commuting and office energy consumption. However, evidence argues otherwise.

Research from WSP UK, a London-based consulting firm specialising in engineering, shows that remote work in the UK may only be more environmentally friendly in the summer. Examining the carbon output of 200 UK-based workers across different locations, researchers found that the environmental impact of remote work was higher in the winter due to the need to heat individual workers’ buildings versus one office building.

Of course, there are other variables to this question but could architecture offer a solution to both?

Some of the most affected industries have been those in the creative sector with need to socially interact, explore and create. Through architecture, this design will strive to create spaces that encourage different forms of social engagement whilst accommodating for risk of airborne contagion and facilitate a live/work environment to rebel against the conventional work model for in-demand creatives that require it. This will be done also in response to the diminishing high street by reinventing how we use and inhabit space in city centres.

SOUTH EAST QUARTER [SITE OF INTERVENTION]

Integrating both of these issues in order to manifest a design response has driven this project to proposes a new typology for how we inhabit our urban cores and how we experience working and living in the city.

The concept suggests how a micro-community inhabited by like minded people with shared workspaces, various facilities, residential units and a public realm at its base could help combat many of the difficulties faced by city centres / highstreets and the potential for more outbreaks in future generations.

This concept has been integrated with the theory behind some of the programmatic examples of medieval monastry design in an effort to establish a ‘ Creative Monastery’.

Could Live/Work units integrated with commerce provide a new urban hub and a new method of how we think of work and home? With a focus on social sustainability as well as environmental sustainability, this project will aspire to achieve a hub that enhances well-being in a social, creative and productive environment to dwell and work as well as being a place of exchange. “human beings spark human beings.“

~Cary Cooper, Professor of Organisational Psychology at the Alliance Manchester Business School & President of the CIPD 5

[GC. 1.3, 2.1, 2.3, 5.1, 6.3, 7.2]

CLIENT

REMOTE WORK & THE WORKPLACE SOCIALITE

CREATIVE / MAKER

A social character. A person who thrives in collaborative and social environment to encourage productivity and well-being. A willingness to share ideas and help others with their ambitions and endeavours.

An individual in a creative field aspiring to innovate, create and make.

This client may require a workshop or facilities to accomodate their start-up.

STARTUP

FAMILY ORIENTED

This client is aspiring to build a business around their field of expertise and wants to do this in a create and positive environment that makes the process of a start-up easier.

This person cares about their family and does not want to sacrifice these values for being a creative / entrepreneur and needs a location that can assist them in facilitating both needs.

ENTREPRENEUR

AGE 20 - 40

An entrepreneurial character requiring an environment that facilitates networking and productivity who highly values their time and output.

This client is most likely to be between the age of 20 - 40 and wants to pursue their business and family goals that can often collide in this age range.

Occupational health psychology studies into remote work versus office work suggests that one of the main factors for mental struggle can be put down to ‘self-control’. Self control usually leads to positive outcomes in many aspects of life like career progression and stable relationships by suppressing certain behaviours and emotions that may not be helpful in achieving goal.

However, some research has proven self-control to have negative impacts on mental health and well-being. What psychologists refer to as the “strength model” of self-control offers an explanation for this. Like using muscle uses physical energy, employing self-control uses mental energy, the more it is engaged the more likely it is to lead to mental exhaustion and unhealthy behavious such as snacking, alcohol consumption and arguing. Working from home can require considerable self-control. Whereas ‘normal’ work environments such as offices are set up to effectively engage in work, for many employees, home environments are not.

However, what is referred to as ‘psychological detachment’ can help combat mental fatigue and replenish mental energy. It is the act of completely switching off from work during time off and the absence of any work-related thoughts or activities. Physically leaving work can contribute to this detachment but these mental and physical detachments become increasingly hard to implement whilst working from home.

This unfortunately leads to a greater need for self-control. One survey exploring wellbeing of employees working from home found individuals reported increases in musculoskeletal complaints with over 50% saying they were unhappy with their work-life balance. It must be ackowledged that it is difficult to determine whether these are a result of coronavirus and related health of financial anxiety and a few other relevant factors too.

A more useful measure of remote working’s impact on employee wellbeing would be to look before 2020. A report in 2017 demonstratedd that 41% of employees working remotely admitted to experincing high levels of stress compared to only 25% for individuals working in and office. It is said that with working remotely, there is risk of missing crucial decisions, exchange of information and important conversations within a company as a result of not being physcially present which lead Yahoo’s President in 2017 telling employees to come into the office or find another job. The company banned remote work in order to get ahead of rivals and “collaboration and communication“ would be essential.

“Some of the best decisions and insights come from hallway and cafeteria discussions, meeting new people, and impromptu team meetings... speed and quality are often sacrificed when we work from home.”

6

[GC. 1.3, 2.1, 2.2,, 2.3, 3.1, 5.1, 6.3, 7.1, 7.2]

DESIGN THEORY: MONASTERY Typical Medieval Monastery / Abbey

DESIGN THEORY: MONASTERY Monastery to Workplace Spatial Translation SERVANT’S REFECTORY / FRATER

Key Components (Plan does not include all spaces listed below)

1. Church 2. Cloister Garth (open arcade running around garden / courtyard) 3. Chapter House (Meeting Rooms) 4. Latrines / Reredorter (Toilet) 5. Lavatory (Communal Washing Area) 6. Ordaned Monks Refectory / Frater (Communal Eating Space) 7. Lay Brothers Refectory / Frater (Communal Eating Space for Servants of the monastery) 8. Kitchens 9. Guest House 10. Infirmary / Monastic Hospital 11. Abbot’s House 12. Store Rooms 13. High Precinct Wall 14. Gatehouse Entrance

1

12 16 3

2

7

5

8

10

16 15

6

PRECINCT WALL GATEHOUSE CHURCH CLOISTER/ COURTYARD LATRINES CHAPTER HOUSE

HOSPITALITY SPACE STREET TO BUILDING THRESHOLD EXHIBITION

PUBLIC

COURTYARD TOILETS CREATIVE WORKSPACE / WORKSHOP MEETING / CONFERENCE SPACE

STORE ROOMS LAVATORIES

RESIDENTIAL UNITS

PRIVATE

KITCHENS 4

8

MONK’S REFECTORY / FRATER DORTER (DORMITORY)

Built from stone and intended to both glorify God and remain serviceable for centuries, monasteries were constructed using the prevailing style of the day, often pushing architecture to the limit. Walls and vaults were built from stone, roofs were covered in lead, windows were glazed, and the floors covered with encaustic tiles. Monasteries not only acted as houses of prayer and pilgrimage destinations, but also cultural centres, providing education and employment. A second story above the cloister often overhung the alley to form the roof and overlook the inner courtyard. The upstairs spaces were protected workspaces for the monks, and protected with glass and shuttering from the cold and damp. The northern side within the cloister particularly, which received the best natural light, was the primary location for books and carrels (desks and workspaces), though there could be carrels along the east and west sides as well.

GUEST HOUSE LIBRARY

STORAGE & REFUSE COMMUNAL DINING SPACE FOR WORKSPACE

GUEST / VISITOR RESIDENCIES SILENT WORKSPACE ARCHIVE

7

[GC. 1.1, 1.3, 2.1, 2.2, 2.3, 3.1, 3.3, 5.1, 6.3, 7.1, 7.2]

DESIGN THEORY: MONASTERY Monastery to Creative Workplace Programmatic Translation PRECINCT WALL [13]

PUBLIC REALM

COMMUNAL DINING SPACE GROUNDS

CHURCH [1]

STORE ROOM [12]

CHAPTER HOUSE [3] CLOISTER / COURTYARD [2]

ENTRY

EXHIBITION & [1] CREATIVE WORKSPACE

GUEST / VISITOR RESIDENCIES

[12]

SERVANT’S FRATER [7]

DORTER [16]

[6]

MEETING & CONFERENCE SPACE

[13]

STORE ROOMS

[12]

COURTYARD

[2]

MEETING & CONFERENCE [13] SPACE

GENERAL STORAGE & REFUSE

STREET TO BUILDING THRESHOLD / ACCESSENTRANCE

WASHROOM / LAVATORY [5]

KITCHENS [8]

MONK’S FRATER [6]

LATRINES [4]

TOILETS

[4]

KITCHEN

[8]

HOSPITALITY SPACE COMMUNAL DINING SPACE

The traditional medieval monastery network is based upon communal zones and collective spaces where the users share values and beliefs. The infrastructure is based around the cloister that permits access to almost all the other spaces. The cloister is traditionally encased by a colonnade that allow a threshold between public and private / separate spaces. The largest area is the church, a place where the monks share and express their collective and uniting beielf and purpose.

[6]

TOILETS

[4]

KITCHEN

[8]

RESIDENTIAL UNITS BEDROOM

[16]

STORAGE

[12]

WASHROOM / LAVATORY

[5]

This diagram translates the spatial and functional attributes of a monastery into a creative live / work concept using the same connective infrastructure and applying the theory behind each space and applying it to the proposed programme for the site. This involved collecting certain areas into multi-purpose units to address modern living standards such as residential units for personal space alongside public spaces integrating hospitality and its appropraite components auch as refuse, toilets, kitchens, storage etc.

Furthermore, collating separate functions together for the collective prupose of the users; a creative.

Consequently, exhibition and creative workspaces, like the church of a monastery, will be the main space in this building.

8

[GC. 1.1, 2.2, 4.1, 4.2, 5.3, 7.2]

EXISTING URBAN SPATIAL QUALITY Newgate Street

Nun Street

Nelson Street

Blackett Street

Grainger Street Section 1.1500 76m

20m Existing Site Plan 1.5000

ROAD PEDESTRIAN ACTIVE FRONTAGES

Eldon Square Section 1.1500

Grainger Street Section 1.1500

16.5m

13m

Clayton Street Section 1.1500

17.5m

BUS STOPS BUS ROUTE ROAD EXITS ENTRANCES LANDMARK PUBLIC SQUARE

16.5m

Blackett Street Section 1.1500

Nelson Street Section 1.1500

24m PEDESTRIAN BUS ROUTE BUS STOPS MAIN ROAD EXITS ENTRANCES

Grey Street Section 1.1500

Newgate Street 1.1500

Clayton Street

Grainger Street

PEDESTRIAN ACTIVE FRONTAGES

West to East Section 1.1500 High Bridge

9

[GC. 1.1, 2.2, 4.1, 4.2, 5.3, 7.2]

INTERVENTION PLACEMENT & MATERIAL THRESHOLDS NEOCLASSICAL STONEWORK

GLASS

BRICK

10

[GC. 1.1, 5.1, 7.1, 7.2]

EXISTING CREATIVE SPACES IN NEWCASTLE [SCALE] NEWCASTLE WOOD RECYCLING [WORKSHOP AND STUDIO SPACE]

63m

NEWCASTLE WOOD RECYCLING MASTERPLAN This site functions as a wood recycling yard from waste construction material that also offers woodwork workshops, collaborative / co-working office spaces, a series of creative studios and a furniture workshop.

Through the varying functions, this design aims to encourage community engagement, contribute to minimising construction waste by repurposeing material and promoting co-working spaces allowing for creative networing whilst facilitating the potential growth of the business and its ambitions.

Newcastle Wood Recycling 1.750

Eldon Square Shopping Centre Selected Area 1.750 WALKER CO-WORKING STUDIO

WOODWORKING CLASSROOM “As a phase of The Wood Yard masterplan, About Design were involved in designing a training space for the sharing of woodworking skills.

Developed as part of a wider community and business plan, the training space seeks to both generate income through paid classes while providing woodworking training in the local community. The workshop also aims to provide a tailored place to engage new volunteers in the basics of woodwork.

With this design, the community focused space can accommodate events, exhibitions, meetings, markets and co-working. Close collaboration with Newcastle Wood Recycling shaped the concept and practical use of the co-working space.

We designed and refurbished the former administrative office in the heart of the Wood Yard, creating a new co-working space. This new design features a number of desk spaces for the local and the wider community to work, study, meet and learn.”

11

[GC. 1.1, 2.1, 2.2, 5.1, 7.1, 7.2]

EXISTING CREATIVE SPACES IN NEWCASTLE [SCALE] BALTIC CENTRE FOR CONTEMPORARY ARTS

SECOND FLOOR

THIRD FLOOR

FIRST FLOOR

ARTIST STUDIOS & EDUCATION ZONES 40m2

44m2

40m2

ART & GALLERY ZONES

4. EDUCATION / ARTIST SPACE FIRST, SECOND & THIRD FLOOR

ARTIST FACILITY ZONES 158m 7. PRINTING 8. DARK ROOM SECOND FLOOR

2

295m2

LIBRARY & ARCHIVE ZONES 119m2 11. ARCHIVE 12. LIBRARY SECOND FLOOR

166m2

569m2

47m2 14. CUBE GALLERY FIRST FLOOR

5. ART SPACE FIRST FLOOR

5. ART SPACE SECOND FLOOR

5. ART SPACE THIRD FLOOR

12

[GC. 1.1, 2.1, 2.2, 5.1, 7.1, 7.2]

EXISTING CREATIVE SPACES IN NEWCASTLE [SCALE] BALTIC CENTRE FOR CONTEMPORARY ARTS

BASEMENT FLOOR

SIXTH FLOOR

GROUND FLOOR

HOSPITALITY ZONES ART & GALLERY ZONES

300m2 172m2

122m2 94m

54m2 221m

2

2

ARTIST STUDIOS & EDUCATION ZONES

129m2 22. BAR / CAFE BASEMENT FLOOR

3. KITCHEN 16. CAFE / RESTAURANT GROUND FLOOR

2. BAR / RESTAURANT 3. KITCHEN SIXTH FLOOR

5. ART SPACE GROUND FLOOR

18. ARTIST SPACE GROUND FLOOR

13

[GC. 1.2, 1.3, 2.2, 5.2, 5.1, 5.3, 6.2, 7.2]

PROGRAMMATIC DIVISION & EXISTING STRUCTURE EXISTING STRUCTURAL GRID PRIVATE

SEMI PUBLIC / PRIVATE

PUBLIC

RESIDENTIAL UNITS

EXHIBITION

MEETING / CONFERENCE SPACE

COURTYARD

HOSPITALITY SPACE

COMMUNAL DINING FOR WORKSPACE

CREATIVE WORKSPACE

EXHIBITION

WORKSHOPS STORAGE / REFUSE GUEST / VISITOR RESIDENCIES

TOILETS EXHIBITION WORKSHOPS STORAGE / REFUSE LIBRARY ARCHIVE

SILENT WORKSPACE LIBRARY ARCHIVE TOILETS

PRIVATE SEMI PUBLIC

NE

LSO

NS

TR

EE

T

PUBLIC

14

GC. 1.1, 1.3, 2.2, 2.3, 5.1, 5.2, 5.3, 7.2]

URBAN INTERVENTION PROGRAMME ITERATION 2 The spatial arrangement of the ground floor plan strives to create thresholds between spaces and is organised around the existing structure. The workshop and library/archive is located along the quieter and more private side of the plot for limited access with the adjacent side being occupied by the bar/cafe located opposite Eldon Square to extend the quality of the existing public space, offering a more varied experience.

Furthermore, the exhibition space has been designated within the existing restaurant quarter where the facade is fully glazed, this permits pedestrians to visually engage with the interior of the building and the fruits of the creative activity that occurs inside.

1.500

15

[GC. 1.1, 1.3, 2.2, 2.3, 5.1, 5.2, 5.3]

URBAN INTERVENTION PROGRAMME ITERATION 2 The spatial arrangement of the first floor plan retains separation of the two halves of the building divided by the courtyard/atrium, the creative workspace alongside Nelson Street is formed around an additional atrium space above the workshop to maximise airflow above the workshop and to offer views from the workspace over the workshop to inspire creativity. Furthermore, the creative workspace along Blackett Street offers views out onto the pedestrian realm but restricts on-lookers visibility creating a semi-private work zone that is not completely secluded by offering visual interaction.

In addition, both workspaces are penetrated by natural daylight from their respective street sides and also the atrium space to improve well-being and the quality of the spaces. The exhibition space continues up along the restaurant quarter now creating a semi-public area to intrigue the public with partial views and the absence of the ‘big picture’.

1.500

16

[GC. 1.1, 1.3, 2.2, 2.3, 5.1, 5.2, 5.3]

URBAN INTERVENTION PROGRAMME ITERATION 2 Finally, the second floor is occupied mostly by residential components as intended to utilise the highest point and its privacy. Again, the units line the atrium space for maximum day-lighting and in order to retain a form of connection to the courtyard, visually. The residential spaces are isolated from the exhibition space increasing the privacy of the units. The upper exhibition zone is intended to be the most private 1/3rd of the exhibition for exclusive events without engagement from the surrounding public terrain.

Along Nelson Street the guest residencies are located, due to less slightly less floor space dictated by the existing structure.

Each square that is formed by the structure is 39m2, this is the minimum required floor area for a two person dwelling, however, the client will require space for family and children too which will mean units built within these structural restrictions will occupy two of these 39m2 plots with this current programtic strategy.

1.500

17

[GC. 2.2, 2.3, 4.1, 5.1, 6.3, 7.1]

PRISMA - NUREMBERG [PROGRAMME] Prisma in Nuremberg is a mixed use facilities with a programme constituted of 61 residential units, 32 offices, 9 stores, a coffee house and a kindergarten and was built with urban ecology in mind.

Natural air conditioning and innovative rainwater management set in an artfully designed environment encourage a conscious use of natural resources.

“The glass building creates a pleasant atmosphere within the city center. Waterfalls and luxuriant vegetation create a healthy atmosphere full of natural light”.

How nature is experienced with the programme and the interior vegetation and rainwater collection aspect demonstrates the driving force of social sustainability and well being behind this project.

The architectural aim was to blend exterior and interior harmoniously, focusing on threshold. This design echoes monastic theory, with multiple facilities and indoor gardens with cloisters fusing together the interior landscaping and the living and commercial units.

18

[GC. 2.2, 2.3, 5.1, 6.3, 7.1]

MONASTIC PRECEDENT [CLOISTERS] La Tourette

Le Corbusier’s la tourette Domincan monastery in France consists of three levels, the refectory floor, the public entrance floor and the cell floor.

The refectory floors incorporates the conventional functions of a traditional monastery and includes connecting interior cloisters overlooking the courtyard spaces.

The entrance floor contains the public entrance with reception rooms and a porter’s lodge, as well as study rooms, a library, an oratory, and common rooms. Grids of different sized windows look out over the central space.

Lastly, the third floor is dedicated toward accomodation with a series a cells overlooking the countryside and all connected by an inward facing cloister encompassing the grass covered rooves.

REFECTORY FLOOR: INTERIOR CLOISTERS AROUND COURTYARD

ENTRANCE FLOOR: COURTYARDS WITH INWARD FACING SPACES

OUTWARD FACING DORMER BALCONIES CELL FLOOR: MULTI-LEVEL CLOISTER ENCOMPASSING COURTYARD

19

[GC. 1.1, 1.2, 1.3, 2.3, 5.1, 6.3, 7.2, 9.1]

SECTION STUDY [PROGRAMME INTERATION 2] OUTW ARD- FACIN G CLOISTER FORMED

INWARD-F ACING CLOISTER FORMED

CIR

CU

LAT

OR

YV

OID

DEEPER PENETRATING DAY LIGHT

CUT BACK

GUEST RESIDENCIES

CIRCULATION AGAINST NEOCLASSICAL FACADE

INDIRECT DAY LIGHT

LIBRARY/ARCHIVE ATRIUM

PUSHED BACK & THROUGH

RESIDENTIAL

INTERIOR CLOISTER FORMED

CREATIVE STUDIO

1.500 LIBRARY/ARCHIVE

BAR/CAFE

EXTERIOR CLOISTER FORMED

20

[GC. 1.1, 1.3, 2.1, 2.2, 4.3, 5.3, 8.1]

SKETCH CONCEPT - MATERIALITY AND TYPOLOGIES

21

[GC. 2.1, 2.2, 7.1, 8.2]]

PRECEDENT [INTERNAL SPACES] CO-WORKING VENUE IN HISTORIC STRUCTURE Cassina Innovation House The Cassina Innovation House is a co-working innovation hub that is situated in a previously abandoned 125 year old building in Manaus, Brazil by Laurent Troost Architectures. The dilapidated historic structure was overgrown with vegetation which inspired the concept of retaining some of the vegetation in a circulatory atrium located uniquely at the front of the structure.

The green stairway and steel circulatory structure also supports the historic facade with minimal interference.

This precedent is appropriate as a response and strategy to approach the existing Neoclassical Facade on site and would allow for natural light to flow into spread more effectively through the interior adjacent the library / archive.

22

[GC. 2.3, 7.1]

PRECEDENT: SUPSPENDED [INTERNAL SPACES] HQ OF CSN / BGLA + NEUF CONSORTIUM Located in the Ville-Marie district, east of the Jacques-Cartier Bridge, the head office of the CSN, a brutalist building from the early 80s, wanted to get rid of its heavy and severe image. This image has been transformed through a redevelopment and an expansion amplifying the aesthetics of the building and its impact on the neighbourhood, while preserving its essence, its identity. The entire project is inspired and anchored in the continuity of the values of the CSN: autonomy, freedom, solidarity.

The expansion project is designed to enhance the architectural and social landscape of the area. A large volume of colour develops in continuity with the existing building, but now more freely, expressing diversity, complementarity and unity. A new garden completes the development of the site and offers users and residents of the neighbourhood, a real area of relaxation and exchange. At the heart of the architectural concept is the symbiosis of two volumes, one of wood, the other of steel, blending harmoniously in a vast atrium bathed in natural light.

23

ROOF MODEL ITERATION 1

24

ROOF MODEL ITERATION 2

25

ROOF MODEL ITERATION 3

26

DESIGN MODEL VIDEO LINK

ARC8052 Architectural Practice Design Stop Motion Video https://www.youtube.com/watch?v=qj4XmxGmNqA

27

[GC. 1.3, 2.3, 6.2]

GROUND FLOOR PLAN 1.500 At Ground Floor Level, all spaces are open to public access including the library / archive and the workshops with the bar and exhibition being positioned closer to the more public and busy streetscape.

* 6

* 4

*

*

*

4

4

*

*

* 4

1

* 4

*

*

3

5

4

2 1. LIBRARY

5. MAINTAINED CIRCULATION

2. WORKSHOPS 6. PERGOLA EXTERIOR BAR/ CAFE SPACE 3. EXHIBITION 7. NEW CIRCULATION 4. BARS/CAFES *. LIGHT WELLS

28

[GC. 1.3, 2.3, 6.2]

FIRST FLOOR PLAN 1.400 5. MAINTAINED CIRCULATION L AN

E

1. LIBRARY

*

*

6

*

*

*

*

*

3

5

7. COURTYARD

4. CLOISTER

*. LIGHT WELLS

GEOMETRY TO FORM WINDOW VIEWS PERPENDICULAR TO ELDON SQUARE

4

7

*

* 1

* 2

REFECTORY FLOOR: INTERIOR CLOISTERS AROUND COURTYARD

4

L AN

E

4

ELDON

*

3. EXHIBITION

ELDON

2. WORKSHOPS 6. STUDIOS

Using the cloister theory seen in Le Corbusier’s La Tourette with cloisters forming circulation permitting access to all key areas associated with the monastic practice and also internally focused spaces facing the courtyard space.

Additionally, the cloisters in traditional monasteries were not just simple thresholds or circulatory components but spaces of learning and teaching.

Consequently, each part of the cloister will serve a different purpose relative to the space it is adjacent to.

ENTRANCE FLOOR: COURTYARDS WITH INWARD FACING SPACES

29

[GC. 1.3, 2.3, 6.2]

FIRST FLOOR PLAN 1.400 5.OUTDOOR AREA FOR DAYCARE CENTRE

3. GUEST RESIDENCES 4. DAYCARE CENTRE

*

*

*

*

GEOMETRY TO FORM WINDOW VIEWS PERPENDICULAR TO ELDON SQUARE

E

*

*

*. LIGHT WELLS

L AN

*

7. MEZZANINE AREA

ELDON

*

*

6. CLOISTER

ELDON

2. COMMUNAL ALLOTMENT

L AN

E

1. RESIDENCES

30

[GC. 1.3, 2.3, 6.2]

SECTION 1.150

RETAINED FLOORPLATES

31

CREATIVE MONASTERY CONTEXTUAL AERIAL PERSPECTIVE NEW EXISTING

32

33

CREATIVE WORKSPACE FUNCTIONAL CLOISTER

34

LIBRARY / ARCHIVE FUNCTIONAL CLOISTER

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STAGGERED WORKSPACE LOOKING ONTO ELDON SQUARE

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CLOISTER PODS FIXED TO NEOCLASSICAL FACADE

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ARC8052 - ARCHITECTURAL PRACTICE

MATERIAL CHANGE CREATIVE MONASTERY TECHNOLOGY

Frazer Watson c0069607

[GC. 6.2, 7.1, 8.1, 8.2]

PRECEDENT: ROOF STRUCTURE The project saw Foster’s studio turn the typical airport layout upside down by placing all of the services underground, instead of on the rooftop.

From this trunk four branches, linked by slender tension-members, extend diagonally from the top of each to support the roof at points that mark an 18-metre square.

Beneath the roof, which is supported by structural trees, the airport’s main concourse is a large, flexible, naturally-lit space. The layout places all the building services including the baggage and handling and a railway station, on the lowest floors.

This square forms the base of the lattice-shell domes of the roof. Each has four triangleshaped rooflights in the peak, which is 15 metres above concourse level. White, perforated metal reflectors that match the triangular shape of the openings are suspended from wires underneath to diffuse natural light in the terminal.

The roof is held up by 36 trees. Each of them has a trunk made up of four, 12-metre-high columns placed at the corners of a threemetre square.

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[GC. 1.2, 6.2, 8.1, 8.2, 8.3]

INITIAL LIGHTWELL ROOF STRUCTURE PROPOSAL This proposed roof structure offers light wells to fall through the entire vertical length of the building allowing light to penetrate into the deeper parts of the floor plan without stepping floors back further. Using a thick glulam structure, the weight of the roof is solely transferred to the columns inside the light wells. This will make it easier to work with the existing construction of the building without putting any weight on it and enabling more opportunity for a roofing strategies. * Panels could take the form on gladding, glazing or even ETFE for larger spans like over the atrium space.

ROOF SUBSTRUCTURE

INTERCHANGEABLE PANELS*

ROOF SUB-STRUCTURE EXISTING SECOND FLOOR FLOOR PLATE

GLULAM COLLUMN CONNECTION 1.10

EXISTING FIRST FLOOR FLOOR PLATE 315mm GLULAM COLUMN 315mm GLULAM COLUMN

INTERNAL LIGHT WELL GLAZING EXISTING FLOOR PLATE NON-LOAD BEARING FRAME

EXPLODED AXONOMETRIC

ELEVATION 1.100 40

ROOF MODEL ITERATION 1

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ROOF MODEL ITERATION 2

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ROOF MODEL ITERATION 3

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[GC. 1.2, 1.3, 2.2, 4.3, 5.2, 5.3, 6.2]

GROUND FLOOR STRUCTURAL STRATEGY Structural changes to the ground floor have mainly been implemented where floor levels are not appropriate for the spatial programme. The existing floor plate has been built upon or decreased to make certain spaces level out to optimise the zone.

+362

Additionally, new columns have been proposed to help reinforce the floor slab around the newly fitted lightwells.

Furthermore, this design proposes to demolish the existing brick collonade covering the majority of the north facade.

The north east elevater shaft and circulation has been retained in the design along with the exterior glazing and so the majority of this structure will be left untouched.

The access from the south is arranged so as to tie in with the central entrance of the Grainger Market and the main plan is stepped back from the Neoclassical Facade to allow for plenty of escape routes in the event of a fire from multiple points in the building.

-80

Thed Neoclassical facade is held up via connections to the first and second floor, floor plates upon which the cloister pods are also built around.

1:35

1:35

+274 +136

RETAINED STRUCTURE

-412

+550

NEW STRUCTURE DEMOLISH STRUCTURE NEW FLOOR AREA DEMOLISH FLOOR AREA

1.300

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[GC. 1.2, 1.3, 2.2, 4.3, 5.2, 5.3, 6.2]

GROUND FLOOR STRUCTURAL STRATEGY

NEW

RETAINED

45

[GC. 1.2, 1.3, 2.2, 4.3, 5.2, 5.3, 6.2]

FIRST FLOOR STRUCTURAL STRATEGY Structural changes to the first floor have either been through demolishing certain areas of the existing floorplates to create new atrium spaces or adding new floorplates to allow for improved circulation across the central atrium.

Additionally, new columns have been proposed to help reinforce the floor slab around the newly fitted lightwells.

Furthermore, the floorplate has been extended over the street adjacent to the creative workspace .

The north east elevater shaft and circulation has been retained in the design along with the exterior glazing and so the majority of this structure will be left untouched.

Thed Neoclassical facade is held up via connections to the first and second floor, floor plates upon which the cloister pods are also built around and are accessed via the first floor library/archive space and the workshop space.

RETAINED STRUCTURE NEW STRUCTURE DEMOLISH STRUCTURE NEW FLOOR AREA DEMOLISH FLOOR AREA

1.300

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[GC. 1.2, 1.3, 2.2, 4.3, 5.2, 5.3, 6.2]

FIRST FLOOR STRUCTURAL STRATEGY

NEW

RETAINED

47

[GC. 1.2, 1.3, 2.2, 4.3, 5.2, 5.3, 6.2]

SECOND FLOOR STRUCTURAL STRATEGY Finally, structural changes to the second floor have consisted of demolishing certain areas of the existing floorplates to create new atrium spaces or adding new floorplates to allow for improved circulation across the central atrium.

Additionally, new columns have been proposed to help reinforce the floor slab around the newly fitted lightwells.

Furthermore, the floorplate has been extended over the street adjacent to the creative workspace .

Furthermore, due to the pitched to flat roof design, a low of the existing structural has been built upon to help extend the columns and hence hold the roof at a higher level where appropriate.

RETAINED STRUCTURE NEW STRUCTURE DEMOLISH STRUCTURE NEW FLOOR AREA DEMOLISH FLOOR AREA

1.300

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[GC. 1.2, 1.3, 2.2, 4.3, 5.2, 5.3, 6.2]

SECOND FLOOR STRUCTURAL STRATEGY

NEW

RETAINED

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TECHNOLOGY MODEL VIDEO LINK

ARC8052 Architectural Practice Technology Stop Motion Video https://www.youtube.com/watch?v=N9YLOSvkGPI

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[GC. 1.1, 1.2, 1.3 , 2.3, 4.3, 5.1, 6.2, 6.3, 8.1, 8.2, 8.3, 9.1, 9.2]

TECHNICAL & PERSPECTIVE SECTION DETAIL 1

TECHNICAL SECTION 1.100

DETAIL 2

DETAIL 4

TECHNICAL SECTION 1.100

DETAIL 3

PERSPECTIVE TECHNICAL SECTION

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[GC. 1.2, 6.2, 8.1, 8.2, 8.3]

DETAILS DETAIL 1: ROOF CONNECTION (SCALE 1.10)

DETAIL 2: HIDDEN GUTTER (SCALE 1.10) 1. Spider Connection 2. 25mm Insulating Glazing 3. 400mm Glulam Roof Beam 4. 200mm x 400mm Timber Wall Plate 5. Internal Knife Plate Connection 6.Ridge with Glass Roof Connection (Detail 1.1) 7. Breather Membrane 8. Counterbatten 9. Internal Plywood Finish 10. Internal Plywood Sheathing 11. Thermacork Insulation 12. External Plywood Sheathing 13. Shiplapped Charred Larch Timber Cladding

1

2

DETAIL 1: PERSPECTIVE SPIDER CONNECTION VISUAL

3

5

6

7 8 9 10 111213

1. Rafter 2. Internal Plywood Finish 3. Internal Plywood Sheathing 4. Thermacork Insulation 5. External Plywood Sheathing 6.Breather Membrane 7. External Plywood Sheathing 8. Shiplapped Charred Larch Timber Cladding 9. Counterbattens 10. 200mm x 400mm Timber Wall Plate 11. Copper Guttering

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2

3

4

5 6 789

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DETAIL 2: PERSPECTIVE HIDDEN GUTTER VISUAL

DETAIL 1.1: ROOF CONNECTION (SCALE 1.2) 1. Inner Seal 2. UV-resistant glass digem edge seal 3. Aluminium Transom Bar with Screw Channel 4. Rebate to allow convection removal of moisture 5. Outer Seal 6. Vapor barrier (lead under the seals) 7. Insulation 8. Sheet Metal Folding 9. Sealing Tape

1 2 345

6

7

8

9

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[GC. 1.2, 6.2, 8.1, 8.2, 8.3, 9.1, 9.3]

DETAILS DETAIL 3: GREEN ROOF & POLYCARBONATE FACADE JUNTION (SCALE1.10)

DETAIL 4: RESIDENTIAL FLOOR & LIGHTWELL CONNECTION TO EXISTING FLOOR SLAB (SCALE 1.10)

1 2 3 4 5 6 7 8

1. Herringbone Plywood Flooring 2. Plywood Floor Deck 3. Posi Joist (to raise floor level and allow for services to run underneath) 4. Services Void 5. Mineral Wool Quilt Acoustic Insulation 6. Timber Base Plate 7. Existing Concrete Floor Slab 8. Lightwell Plywood Finish 9. Thermacork Insulation 10. Internal Plywood Sheathing 11. Internal Plywood Finish 12. Glulam Column

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1 2 3 4 5 6 7

8

10

DETAIL 3 PERSPECTIVE

11 12 13 14 15 16

DETAIL 4 PERSPECTIVE

9 10 11 12

1. Vegetation / Grass 2. Substrate 3. Filter Layer 4. Drainage Layer 5. Protection Mat on Waterproof Membrane 6. Insulation 7. Counterbatten 8. Vapour Control Layer on Plywood Deck 9. Internal Insulation 10. External Plywood Sheathing 11. Internal Plywood Sheathing 12. Internal Plywood Finish 13. Shiplapped Charred Larch Timber Cladding 14. Aluminium Propriety Frame 15. Rubber Gaskets (absorbs movement from thermal expansion of polycarbonate sheet) 16. 7 Sheats of 7 Core Poly Carbonate (to meet equal U-Value of Wall)

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[GC. 1.2, 5.1, 5.3, 6.2, 8.1, 8.2, 8.3, 9.1, 9.2]

PASSIVE DESIGN STRATEGIES

RETAINED & NEW STRUCTURE FLAT GLAZED ROOF FOR NATURAL LIGHT WITHOUT OVERHEATING

SOUTH FACING LIGHTWELL OPENINGS (3 LIGHTWELLS ON SOUTH SIDE - LESS THAN NORTH SIDE TO PREVENT OVERHEATING)

NORTH FACING DIFFUSED NATURAL (8 LIGHTWELLS ON NORTH SIDE)

NEW RESIDENTIAL STRUCTURE

SOUTH FACING EXISTING OPENINGS

POSI JOISTS ON EXISTING SLAB TO ALLOW ROOM FOR SERVICES

NEW LIGHTWELL STRUCTURE STACK VENTILATION

RETAINED STRUCTURE

AIRFLOW INTO RETAINED OPENINGS INTO ATRIUM SPACE

CROSS / STACK VENTILATION

NEW BALCONY / STUDIO EXTENSION STRUCTURE CROSS VENTILATION

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[GC. 1.2, 1.3, 2.1, 2.2, 4.3, 5.3, 8.1, 8.2]

NEOCLASSICAL FACADE STRUCTURE & FLOORPLATES STEPPED BACK FLOORPLATES’ LEVELS STRUCTURAL GRID ALONG STONE FACADE

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[GC. 1.3, 2.1, 2.2, 4.3, 5.3, 9.1]

NEOCLASSICAL FACADE & CLOISTER TECHNOLOGY

LOCATION OF CLOISTER PODS RESPECTIVE OF NEOCLASSICAL FACADE

The pods are located as to allow 30% of light penetrating the existing glazing to access the void and interior spaces.

The pods either drop down or step up to align appropriately with the respective opening to which it is attached. As seen in the structural illustration of the listed facade the floor plates stepped back are not aligned with the varying window height so the pods create split level spaces separated from the main zones for varying types of work spaces.

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[GC. 1.2, 1.3, 2.2, 5.3, 6.2, 8.1, 8.2]

NEOCLASSICAL FACADE & CLOISTER TECHNOLOGY EXPLODED CLOISTER PODS

GLULAM BEAM FIXING TO NEOCLASSICAL FACADE The connections are fixed to the strongest point along the existing facade using steel components to adjoin the glulam beams to the listed interior wall. As the stepped back floorplates do not align appropriately with the varying openings and their levels across the facade, the floor structure of these pods vary so as to align the floor of the pods with the opening and then attach the of the pods structure to columns that are fixed with the concrete floor slabs.

1

2

3 4

5 1. Steel Plate 2. Steel Clamps 3. Bolts 4. Coach Screws 5. Glulam Beams

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ARC8052 - ARCHITECTURAL PRACTICE

MATERIAL CHANGE CREATIVE MONASTERY SKETCHBOOK & DEVELOPMENT

Frazer Watson c0069607

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URBAN INTERVENTION PROGRAMME ITERATION 1 GROUND FLOOR The spatial arrangement of the ground floor plan strives to create thresholds between spaces and is organised around the existing structure. The workshop is located along the quieter and more private side of the plot for limited access with the adjacent side being occupied by the bar/cafe located opposite Eldon Square to extend the quality of the existing public space, offering a more varied experience.

Furthermore, the exhibition space has been designated within the existing restaurant quarter where the facade is fully glazed, this permits pedestrians to visually engage with the interior of the building and the fruits of the creative activity that occurs inside.

The courtyard space, like the cloister found in traditional medieval monasteries, offers access to the surrounding spaces and core circulation routes alongside being a breakout zone that is semi-public; open to the public during the day and private by night making the zone exclusive to residents much like in a monastery.

590m2

219m2 Retained Circulation Courtyard

1116m2

Proposed Circulation

1.500

61

URBAN INTERVENTION PROGRAMME ITERATION 1 FIRST FLOOR The spatial arrangement of the first floor plan retains separation of the two halves of the building divided by the courtyard/atrium, the creative workspace alongside Nelson Street is formed around an additional atrium space above the workshop to maximise airflow above the workshop and to offer views from the workspace over the workshop to inspire creativity. Furthermore, the creative workspace along Blackett Street offers views out onto the pedestrian realm but restricts on-lookers visibility creating a semi-private work zone that is not completely secluded by offering visual interaction.

In addition, both workspaces are penetrated by natural daylight from their respective street sides and also the atrium space to improve well-being and the quality of the spaces. The exhibition space continues up along the restaurant quarter now creating a semi-public area to intrigue the public with partial views and the absence of the ‘big picture’.

590m2

340m2 Retained Circulation

505m2

Proposed Circulation

1.500

62

URBAN INTERVENTION PROGRAMME ITERATION 1 SECOND FLOOR Finally, the second floor is occupied mostly by residential components as intended to utilise the highest point and its privacy. Again, the units line the atrium space for maximum day-lighting and in order to retain a form of connection to the courtyard, visually. The residential spaces are isolated from the exhibition space increasing the privacy of the units. The upper exhibition zone is intended to be the most private 1/3rd of the exhibition for exclusive events without engagement from the surrounding public terrain.

Along Nelson Street the guest residencies are located, due to the less pragmatic existing structure that the spaces will be built around, the guest residencies seemed most appropriate there as their inhabitation will only be temporary. Each square that is formed by the structure is 39m2, this is the minimum required floor area for a two person dwelling, however, the client will require space for family and children too which will mean units built within these structural restrictions will occupy two of these 39m2 plots.

590m2

340m2 Retained Circulation

886m2 230m2

Proposed Circulation

1.500

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REFLECTIVE CONCLUSION This semester has been challenging given the circumstances of remote working. I feel I have struggled more without being in a collaborative environment such as the studio and have felt that I have stumbled upon a lot more difficulaties regarding new designs and developing an innovative approach.

I believe the strongest part of my portfolio to be the physical model. This allowed me to illustrate over the top of photos and effectively convey parts of the building that are new and existing which is very key to the brief and addressing, in my design, how I have approached the themes of the brief regarding sustainability. This has been achieved through maintaining most of the existing structure and then building on top of this with mass timber construction using mainly glulam for structural elements and plywood for many finishes given its impressive carbon store.

Parts of this report that I would improve is further development of spaces in more detail and, following this, creating more visuals to really demostrate my vision for every space.

THANK YOU FOR READING

However, compared with last semester, I feel like something I really wanted to improve upon and address was scale. This is something I struggled with last semester, specifically gauging just how large the site is. Therefore, this time, I wanted to focus more specifically on a carefully selected block of the site and see how that space could be used very effectively with a multidisciplinary function. This is something I feel like I have succeeded in doing this time around.

In addition to this, I feel the technical side of this design ,and also throughout the process, has been very rational and well executed. I tried to really inform my design moves by always considering the existing elements whilst regarding the main aims of the brief. Following this, I wanted to develop very intricate design details alongside a coherent presentation of the typologies used showing what is existing and what is new.

Overall, I am pleased with the outcome and feel like I have covered most of the bases that I set out to.

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