To the last of the sleepless nights and the years worth of friends I’ve made along the way.
As a 6th year student, this year has presented many new challenges, with a new approach to my final outcomes I can’t help but look back and remember all the experiences that have set me on this path of discovery. It has allowed me to appreciate everyone who has helped me on my journey through architecture and supported me when needed. My close friends and dedicated lecturers have formed a strong foundation on which my approach to architecture is built. For that I am truly grateful.
Rhys Morgan / 6th Year / MArch
HIDDEN BARRIERS 2023/24
Amy Yu
Erin Archibald
Emily Wallace
David Armstrong
Ksenija Pavlovska
Alisha Mohammed
Naimh Mc Caughan
Ayla Johnston
Susannah Wilson
Emily Farrelly
Brian Mcdonald
Chanelle McCullagh
Michael Burnside
Aimee McCutcheon
Philip Croker
Patrick Leech
Caitin Watkins
Hannah Douglas
Emily Williamson
Steven Walker
Szymon Borkowski
Sam Martin
Caitlinn Smyth
TJ Crowe
Florine Vallas
Rhys Morgan
Jordan Taggart
Saskia Smith
Laura Green
David Coyles
Eduardo Rebelo
Hidden Barriers On Tour - Berlin-2024
INTRODUCTION
The Hidden Barrier Studio directs its focus onto the history of conflict within Belfast, analysing the impact that Belfast’s troubled past has had on the architecture of the city. Despite the Troubles coming to an end almost 25 years ago the fact that there is still a sense of sectarian division has always been of interest to me.
The studio has provided an environment that has encouraged me to research this perceived sense of division and I have enjoyed taking this idea further into my dissertation, by conducting first hand interviews and investigating the site I have found that one element that plays a huge role is the use of murals to signify territories
To better understand the impact that signs and symbols can have on how a space is perceived, I have developed my knowledge in “Sign Theory” by studying authors like Robert Venturi and Denise Scott Brown to see how what we are surrounded by can influence our behaviour on a subconscious level. Hopefully allowing me to create a final project that can adress these issues and create a more welcoming Belfast for all
In addition to growing as an Architect the studio has allowed me to grow as a person, I have developed close friendships with many of my peers who I can always rely on when I need direction, In February our studio travelled to Berlin , this trip helped to bring the studio closer but also presented me with the opportunity to see how murals and street art can be used to add character to a city on a scale unlike anywhere in Belfast.
BACKGROUND
In 1969 Northern Ireland was thrown into a state of civil unrest that would see the beginning of decades of conflict between Protestant and Catholic Communities. In addition to frequent acts of violence, the troubles also resulted in a huge growth in the use of Sectarian and Political propaganda with murals embellishing gable walls and flagtopped lamp posts signifying different territories. This conflict would continue until the signing of the Good Friday Agreement which aimed to put a supposed end to the division between communities.
Following the signing of the Good Friday Agreement, measures were put in place to deescalate tensions between Protestant and Catholic communities and to attempt to reduce sectarianfuelled violence. Yet despite the Agreement being signed 25 years ago, the scars of the conflict are still prevalent today with sectarian division being perceived as being a major issue in Belfast with members of both communities still feeling unwelcome in certain areas, these subjective opinions are further exaggerated by outside influence like the Troubles tours that continue to highlight areas with clear community division, an industry where the use of signs and symbols is crucial in highlighting territories, these signs and symbols further solidify East Belfast being seen as Protestant and West being seen as Catholic.
Despite there being no shortage of sectarian imagery around Belfast the Newtownards Road in East Belfast is of particular interest as it has a high density of signs and symbols within a small stretch of road which results in a barrage of loyalist propaganda as you pass through the space. To understand why these locations are perceived in these ways I have decided to look at the Newtownards Road in depth for this thesis project. In particular,the ways in which loyalist propaganda has been removed in order to positively impact an individual’s perception of the space, with the aim of understanding if opting to encourage diverse and inclusive imagery can benefit Belfast
HOW CAN WE PROMOTE AN INCREASE IN NON-POLITICAL ARTWORK WITHIN EAST BELFAST TO CREATE A MORE WELCOMING ENVIRONMENT?
This Thesis aims to take pride in Belfast’s long-lasting tradition of painting murals, creating a place that can honour the heritage of the area by educating the public about the difficulties faced by residents throughout Belfast’s troubled past, whilst further providing an environment for teaching and celebrating the many talented artists of Belfast
THOERY OF MY THESIS
To better understand the impact that signs and symbols can have on how a space is perceived, this thesis investigates “Sign Theory” building on the ideas of authors Robert Venturi and Denise Scott Brown to see how what we are surrounded by can influence our behaviour on a subconscious level
Taking these ideas forward into the design phase will hopefully allow me to create a building that acts not only as a place that celebrates art but instead is percieved as a piece of artwork itself.
UNDERSTANDING SIGN THOERY AND HOW IT APPLIES TO BELFAST
To achieve a better understanding of the concept of “Sign Theory” and the influence that signs and systems can have when it comes to a person’s perception of an area, I have studied the work of Robert Venturi and Denise Scott. Their books “Learning from Las Vegas” and “Architecture as Signs and Systems” are particularly relevant as they highlight various ways that signs and systems can be integrated into architecture and further state how their size, frequency and location can result in different outcomes
“I
IN SPACE BEFORE FORM IN SPACE: LAS VEGAS AS A COMMUNICATION SYSTEM
This section states “The sign for the Motel Monticello, A silhouette of an enormous Chippendale Highboy, is visible on the Highway before the Motel itself. This architecture of styles and signs is antispacial; It is an architecture of communication over space; communication dominates space as an element in the architecture and the landscape. But it is for a new scale of landscape. The philosophical associations of the old eclecticism evoked subtle and complex meanings to be savoured in the docile spaces of a traditional landscape. The commercial persuasion of roadside eclecticism provokes bold impact in the vast and complex setting of a new landscape of big spaces, high speeds, and complex programs.”
When this literature is applied to the ongoing situation within Belfast it allows the murals to be interpreted as ‘Architecture of Communication’ instead of art on the side of a wall. In the same manner that the motel’s sign quickly allows you to become aware of its existence, these murals signify that you are entering a Loyalist territory with a paramilitary presence. In addition, these murals are subject to the same form of roadside eclecticism as they are predominantly located on gable walls which increases their visual presence within the area. This section continues to say that all cities communicate messages that can be functional, symbolic, and persuasive to people as they move through a space. However, when this is put into the context of East Belfast the main message portrayed is that the area still holds a strong Loyalist ideology which further solidifies subjective. opinions and can be intimidating to someone with a different background.
am a Monument” sketch, Robert Venturi
SYMBOL
In addition to the ideas and concepts addressed in “Learning From Las Vegas”, “Architecture as Signs and Systems” expands further upon the importance that signs and symbols play within society, it refers to how the Sainsbury wing of the National Gallery in London which would otherwise look out of place within its surroundings can make changes to its front façade therefore becoming a sign as it acknowledges it surrounding context to maintain a desired outcome or aesthetic . This idea can be interpreted within Belfast as there are instances where murals have opted to portray more heritage and community-based imagery instead of political or sectarian propaganda, therefore becoming a sign that the area in question is making a conscious effort to become more inclusive. This literature then addresses the topic of “The Sign as a Concept” which is highly relevant to the ongoing situation in Belfast.
THE SIGN AS A CONCEPT
In direct contrast to the previous point raised where the sign intends to blend into its surrounding context, this literature references the Iconic Big Apple design for the Times Square development project, where unlike the National Gallery the building was designed with the intention of standing out. It is described as “An element to sit within Philip Johnson’s then-current Postmodernist design for a tasteful Times Square- an icon as identifiable and memorable for New York City as the Statue of Liberty.” This idea of utilising visual imagery of something synonymous within its surrounding context to make a statement whilst relying on the eclectic thoughts of those who see it is an interesting approach. This ideology can easily be applied to Belfast as most of the imagery used is synonymous with Loyalist paramilitaries, however, the same concept further highlights the benefit of changing murals to community-based imagery as those areas will no longer be seen as an area dictated by paramilitaries but instead as a progressive and inviting community that takes pride in things that both communities enjoy.
APPLICATION OF THOERY
Taking into consideration the previous points raised it is evident that murals play a huge role in the heritage of Belfast, furthermore it is clear that a conscious effort to rebrand artwork is being made, examples of which can be seen as follows.
I feel like this desire to constantly update and improve murals can be built upon and further encouraged if my thesis project is capable creating a space for artwork to flourish
Former UFF Mural, Lord Street
Diamond Project Mural, Lord Street
Former UFF/UDA Mural, Lord Street
Belfast Giants Mural, Lord Street
Former UFF Mural, Freedom Corner
UDA Parade Mural, Freedom Corner
Former UDR/USC Mural, Freedom Corner
Feeding Prisoners Mural, Freedom Corner
Site Selection
Learning From Las Vegas inspired map of the Albertbridge Road.
As I headed into East Belfast I began my mapping exercise documenting everything I found present on the site, Initially I had thought that by choosing a location near the Albertbridge Road for my Thesis Project it would be impactful to all the passing traffic.
CONTINUING MY INVESTIGATION
After my initial investigation I found there to be a higher density of signs present along the Upper Newtownards Road, as a result I carried out a series of Learning from Las Vegas inspired documentation, with the intention of highlighting the density, variations and consistency of murals and signs throughout the space.
KENILWORTH PLACE
SUSAN STREET
LENDRICK STREET
DEE STREET
WITHAM STREET
FINAL SITE SELECTION
Whilst surveying the Upper Newtownards Road I produced a map focusing on every sign and mural present, through these observations I decided to move my site from the Albertbridge Road to the Old Belfast Met building located on Tower street, (marked in red) I believe that by doing so the nature of my building will be able to address its surrounding context better
After taking time to review all potential sites for my thesis project I finally settled on using the Former Belfast Met Building, Tower Street, Belfast. As my project aims to promote the use of street art to create a welcoming and inclusive environment the existing buildings history makes it the perfect choice, originally used as the Belfast Met the building was a hub for education, it was then given a new lease of life when vault studios turned it into a series of creative art spaces ranging from a larger venue area to private art studios available to rent by local artists. Therefore, the heritage of the building makes it important that an adaptive reuse scheme is used.
Design Development
At the beginning of the year, I was fortunate enough to travel to Berlin, this was a great opportunity for me to see one of my favourite buildings that I have studied in the past and seeing it in person allowed me a better appreciation for its scale and materiality
The Neue Nationalgalerie is the last major project completed by the famous architect Ludwig Mies van der Rohe. His long-term preoccupation with creating fluid, open spaces culminated in the design of the glazed upper pavilion of the gallery
It is this large open space I wish to take forward into my proposed building as it offers flexibility to a range of different exhibitions whilst maintaining clear and unobscured views to the surrounding context.
THE NEUE NATIONALGALERIE
Despite Mies van der rohe’s iconic saying of “less is more” I find it important that my building is a celebration of art in itself, As a result I have drawn further inspiration from the Netherlands Institute For Sound and Vision, its uniquely coloured façade allows for light to tempered and dispersed to the lower sublevels which have been deliberately orientated south to benefit from the afternoon sun.
It is the unique and colourful façade system that I wish to incorporate into my final design, however I aim to create a way of allowing the artists present within my building the means to change the colourful panels so that the façade can become an adaptable piece of artwork.
NETHERLANDS INSTITUTE FOR SOUND AND VISION
In addition to creating a building that is bright and colourful I feel like the surrounding site should embrace these ideas as well. As a result I have drawn inspiration from the works of BIG architects who produced Superkilen Park in Copenhagen, this park utilizes bright colours to outline its site allowing it to stand out from its urban environment. I feel by incorporating this into my design it will allow the journey to begin as you approach the proposed building instead of as you enter it.
SUPERKILEN PARK
ABSTRACT
Celebrating the Belfast tradition of mural painting and street art, the proposed building is designed to appear as a “Seed of Inspirational Artwork”. By utilizing a bright a colourful polycarbonate façade system, the building not only serves as a place to create artwork but is instead an adaptive piece of artwork itself, this façade system has been designed to ensure the proposed building can benefit from as much natural light as possible. The colourful envelope of the building has been designed to contrast with the deliberately plain interior, The choice to preserve the existing concrete structure and continue it into the proposed additions allows the internal spaces of the building to be given their own character as they can be used as canvases by the artists in residense. The carefully selected site will hopefully allow the progressive artwork created within the proposed building to spread into the greater East Belfast area allowing it to become a more welcoming environment for all.
This building has been designed to be as sustainable as possible utilising many different environmental strategies such as, passive solar design to reduce the need for mechanical lighting, photovoltaic panels, heat recovery ventilation and stack effect ventilation as well as the use of low carbon concrete.
BRIEF
This project aims to serve as a cultural hub that will help to educate aspiring artists on the creation of murals. Providing working and teaching environments that promote collaboration to help inspire and review the creative process. It also aims to give local artists a place to showcase and develop their work with the hopes that their art will then spread into the greater East Belfast area. In order to achieve this the proposed building will include:
A Large Display Gallery for Existing Work
Café
Mixed Media Galleries
Educational Spaces
Artist Studios
Adaptable Display Spaces
Printing a Digital Artwork Workshop
This building will be designed to promote creative thinking therefore utilizing studio style working environments stepping away from the rigid school like education spaces.
In order to ensure my building is as energy efficient as possible I have in incorporated the following strategies.
HEAT RECOVERY VENTILATION
Heat Recovery Ventilation (HRV) is a system designed to improve indoor air quality and energy efficiency by recovering heat from outgoing air and transferring it to incoming fresh air.
By integrating an HRV system into my building design, I can significantly enhance the building’s energy efficiency, indoor air quality, and overall comfort, making it a more sustainable and healthier place to work in.
STACK EFFECT VENTILATION
Stack effect ventilation is a natural ventilation strategy that utilizes the buoyancy of warm air to drive air movement within a building. By incorporating stack effect ventilation into my building design, I will reduce the need for mechanical ventilation.
PASSIVE SOLAR GAIN
I have designed my building to naturally collect, store, and distribute solar energy in the form of heat during the winter and reject it during the summer. This process leverages the building’s design features and materials to maximize the benefits of the sun’s energy without relying on mechanical systems.
PV PANELS
In addition to passive solar gain my building will be equipped with PV panels in order to benefit from solar energy, this will reduce the amount energy consumed powering mechanical lighting.
