6th Year Portfolio

HIDDEN BARRIERS 2023/24 THESIS PORTFOLIO

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

Caitlinn Smyth

Erin Archibald

TJ Crowe

Emily Wallace

Florine Vallas

David Armstrong Ksenija Pavlovska

Rhys Morgan

Alisha Mohammed

Jordan Taggart

Naimh Mc Caughan

Laura Green

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

Saskia Smith

David Coyles

Eduardo Rebelo

Hidden Barriers On Tour - Berlin-2024

INTRODUCTION The

Hidden

Barrier

Studio

directs

its

focus

onto

the

In addition to growing as an Architect the studio has

that Belfast’s troubled past has had on the architecture of

friendships with many of my peers who I can always rely on

history of conflict within Belfast, analysing the impact 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

allowed me to grow as a person, I have developed close 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.

Former UYM Mural Freedom Corner

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 flag-

topped 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 Cluan Place Peace Wall

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

SYMBOL 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.

“I am a Monument” sketch, Robert Venturi

ARCHITECTURE AS SIGNS AND SYSTEMS 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.

STREET SIGN

KENILWORTH PLACE

SUSAN STREET

LENDRICK STREET

DEE STREET

WITHAM STREET

MURAL

PROPAGANDA

GRAFFITI

TEMPORARY SIGNS

PROTECTION

OTHER SIGNS

Newtownards Road Communication Images Kenilworth Place

Tower Street

St. Leonards Cresent

Derwent Street

Hemp Street

Townsley Street

Ravenscroft Avenue

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

FINAL SITE 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

THE NEUE NATIONALGALERIE 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

unobscured views to the surrounding context.

clear

and

NETHERLANDS INSTITUTE FOR SOUND AND VISION 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.

SUPERKILEN PARK 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.

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.

EAST BELFAST ART COLLECTIVE

YELLOW RED DRAWINGS

EXISTING

REMOVED

ADDITIONS

PROPOSED

PLANS

2

3

2 5 4

7

11

10

12

1

6

Level -01 1- Large Mural Display Gallery 2- Gallery Storage 3- Service Lift 4- Reception 5- Cloak Room 6- WC 7- Cafe breakout space 8- Display Space 9- Plant Room 10-Cafe 11-Cafe Storage 12-General Storage

8

9

3

4

3 2

1

2

3

4 5

Level 00 1- Entrance Lobby 2- Atrium 3- Mixed Media Gallery 4- Service Lift 5- Service Riser

3 2 1 2

4 5

Level 01 1- Atrium 2- Mixed Media Gallery 3- Gallery Breakout Space 4- Service Lift 5- Service Riser

2

4

4

5

4

1 6

3 7

Level 02 1- Atrium 2- Break Out Space 3- WC 4- Studio Classroom 5- Dgital Artwork Studio 6- Service Lift 7- Service Riser

2

4

4

1 3

4

4

5 6

Level 03 1- Atrium 2- Break Out Space 3- Digital Artwork and Stensil Workshop 4- Artist Studio 5- Service Lift 6- Service Riser

2

4

4

4

4

1

3

Level 04 1- Adjustable Floor for Panel Changes 2- Flexible Review/Display Space 3- WC 4- Artist Studio 5- Service Lift 6- Service Riser

5 6

1 2

Level 05 1- Large Multipurpose Gallery 2- Service Lift

SOUTH ELEVATION

EAST ELEVATION

SOUTH SECTION

EAST SECTION

FAÇADE CONSTRUCTION 100mm lightweight Galvanized Steel Frame 30mm Triple glaze external glazing

100mm lightweight Galvanized Steel Frame Connecting supports 50mm High Performance Polycarbonate Panel

100mm Bespoke Polycarbonate Retention Bracket

FLOOR CONSTRUCTION 25mm Floor Finish 50mm Insulation

10mm Protective Membrane 50/100mm Floor Screed

200mm Reinforced Concrete Joists

SUB FLOOR RETAINING WALL CONSTRUCTION Sub Floor Retaining Wall Construction Reinforced Geopolymer Concrete Insulation

Elasticated Tanking Slurry Shingle to Allow Drainage

Studded Membrane with Geotextile Layer Filter Membrane

Perforated Drain

PROCESS FOR REMOVING PANELS

SUSTAINABILITY STRATEGY

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.

EXPLODED AXO

Large Multiuse Gallery

Artist Studios

Art6ist Studios

Education Spaces

Mixed Media Gallery

Entrance and Lobby

Mural Gallery, Cafe and Reception