Richard Morrison B.A. Architectural Studies Stage 3 Portfolio 2013/ 2014 B1022554
Show & Store
Attachments Arc 2001 Second Year Portfolio Arc 3001 Year Design Report Arc 3001 Architectural Design- Feedback and Changes Arc 3013 Architectural Technology Arc 3014 Professional Practice and Management Arc 3015 Principles and Theories of Architecture 1 + 2 Arc 3060 Dissertation in Architectural Studies New work denoted by a
Newcastle Projector Archive Show & Store The brief asked us to pick a collection of objects, and to design a building to display and store those objects.During the first phase of the project we were tasked with designing an incubator; a small kisok to house one object from our collection somewhere in Newcastle.During te second phase, using the incubator as a guide, we designed a building that showed and stored the entire collection.
Analysing the incubator •
My incubator proposal was a small seat, and a projector booth, situated along one of the elevated walkways in Newcastle’s city centre. I chose the site because of its darkness- I thought a projector booth would be like a beacon of light amongst the grim surroundings. The image of my incubator on the opposite page is important because I used it to extract information that directly effected design decisions made in my main design projecta projector archive next to the Laing Art Gallery in the centre of Newcastle.
The Collection Films and projectors that are important to the North East
A rare projector that was once kept in Newcastle’s old Odeon cinema
The Incubator 9
Incubator site plan â€˘
The Incubator was about being raised up, separating the projection and the viewing spaces, indoor/ outdoor spaces, vertical illumination, and the projector, the screen and the inbetween spaces.
Diagrams highlighting similarities between incubator and archive â€˘
1:500 site model 12
I began the design process by testing different facade types. I worked with 3d models extensively. Initial designs revolved around responding to the two main directions of movement along John Dobson street with screens that would create two different images depending on the direction you approuched the building.
Left: A series of facade tests, exploring the lighting qualities of continuous, fragmented and folded facades 14
Left: 1:50 facade study model Right: Design iterations
The incubator was about a projector (black) a screen (orange) and an inbetween (grey) space, the concept behind the projector archive is the same.
Left: 1:50 column study model Above: Facade study model
1:200 site model
Many of the incubatorâ€™s features were integrated into my final design. The store became the projector booth, the faĂ§ade became a screen- a huge projectable surface and an advert to the city outside. The in-between became the public space, which wound its way through the building each entrance to the store requiring three steps up and a sharp 90-degree turn. The entire structure was elevated on columns, and peppered with indoor/ outdoor spaces lit vertically from above.
Left: 1:500, 1:200, and 1:100 models Top Right: Cinema courtyard Right: Connections between the archive and the walkways
People gather to examine a projector on the public access lieve
View towards site from Northumberland street
Textures cast from projectors are used to create custom formwork designs
View over buildings to the East
View looking North along John Dobson street 23
View of the courtyard and outdoor cinema space from the walkways
The store is a monolithic structure, which takes inspiration from Stanley Kubrickâ€™s 2001 24
A diagram illustrating the rationale behind the storeâ€™s rear facade. The store is about vertical openings whereas the exterior facade makes use of horizontals
In terms of scale the building relates more closely to the library than the Laing. However this does not mean the Laing has been ignored. The entire building is supported by the storeconnections to the laing are very minimal. In addition there are visual connections to the Laing on three different levels.
The archive as seen from underneath the walkways
Facade build-up diagrams
Diagrams showing how the facade that wraps the store was built up
One of the private cinema spaces scattered throughout the building
Projectors in the permenant exhibition space project down into the space framed by columns below
The polished concrete is punctured by vertical openings that are accentuated by its shininess
Similar to the Kunsthal (1992) the structural steel beams are celebrated rather than hidden 27
As you move through the building it slowly reveals itself to you. In each space you can see the next room or level, creating a clear destination that draws people up through the building.
The largest projectors are stored in double height spaces at the top of the building
The smallest projectors are hung above the permenant exhibition space. They are accessed via the floor above
Projectors from the permenant collection project down onto the entrance
A stairwell lit from above connects all of the levels within the store
The roof opens as a new projector is lifted into the store.
A crane lifts a new projector into the store 31
Each column was drilled, glued and then pinned to support the acrylic model
The final model was made entirely out of acrylic and metals
One of the ledges that new projectors entering the archive are lifted onto
The store was made from black acrylic to mimic black cast-in-situ concrete.
Steel beam detail,the model used trimmed down nails to represent the steel
The surroundings screens were made from transparent acrylic to emphasise their lightness
The model opens up in eight different ways
Left: The Cartier Foundation by Jean Nouvel transforms throughout the day
The monolith from 2001: A Space Odyssey, Stanley Kubrick (1968),
The Kunsthal by OMA, 1992, structure is visible
Situation Normal: Video Filmplex by Paul Lewis, Marc Tsurumaki, David j. Lewis 33
Structural build-up diagrams
The screens on each floor function differently to suit their function. On the first floor indoor-outdoor spaces create a direct link to the street below. On the second the screen juts out to frame a specific view. On the third it becomes an enclosed capsule for private film viewings. On the fourth it functions as an office, whilst the retaining wall becomes a projection surface for the projectors in the store. 35
Can Ricart â€œCan Ricartâ€? is a 19th century industrial semiabandoned ensemble of textile factories located in Poblenou, Barcelona. The project asked us to design a workshop and exhibition space for 'La Machine'. La Machine are a group of artists, designers, fabricators and technicians. They create extraordinary theatrical machines, permenant installations, and productions. The project presented an opportunity to explore multi scalar design strategies as well as re-establish synergies and relationships with the social, productive, cultural and artistic fabrics of the surrounding area.
Can Ricart seems isolated- cut off by
main roads, on a different grid. In an underused area. Rather than fight this isolation my proposal turns it into an attraction. La machine is about fun and performance. The scheme captures these feelings by viewing the site as a different “world” full of machines where unexpected things can happen at any moment.
he first move in embracing the idea of isolation and withdrawing into the site to create this new world was to block off each entrance. Three â€œmachine doorsâ€?contain the site completely, become points of interest and act as parade route entrances and exits.
La Machine Workshop La machine Offices Exhibition
1:50 and 1:100 site plan
One of the three machine doors dotted around the site
The large basement sculpture can be viewed from ground floor as well.
1:500 site model
Atmospheric render of a La Machine performance next to the concrete tower
Concept diagram- the new structure occupies the shell of the old, and the two are directly linked by a winding route that takes visitors on a fascinating journey through the site
The new concrete structure retreats back inside the old, and seems to grow from it. The information centre, cafĂŠ and gallery spaces are located inside building one. The machine cafĂŠ, office and workshop are located inside building two. The external spaces each have a distinct theme. A commercial street, a private spot, a performance space and a felxible open-plan space.
The new interventon sit inside the shell of the old. Inbetween the two, indoor/ outdoor spaces are formed and visitors are forced to get closer to the crumbling walls of the old factory.
The public route through the building
The La Machine offices are hidden underground, concrete chimneys act as light wells during the day and as huge lights at night (see atmospheric perspective to left)
The existing clocktower overlooks the new concrete tower
â€˘ The basement houses unfinished models, process work, and prototypes. The basement level continues the idea of retreat. All of the new build is contained underground or within the shell of the existing structure, apart from a vertical circulation tower that creates a public route between the exhibition spaces and workshop. 48
The entrance sequence creates a sense of unpredictability as if you are in a different world. It contrasts open with enclosed spaces, and restricts views so that its difficult to know where you are. You gradually transition- streetentrance courtyard -info centre- box office- tunnel- outdoor ramp- basement exhibition 49
The perforated concrete tower is one of the few times the underground ‘world’ breaches the surface.
Courtyard spaces are used to display la machine sculptures
A planted wall and courtyard transforms the imposing new-build into gathering spot within the site.
A green roof makes the new structure seem like it is ‘growing’ out of the old 51
Public gallery roof
Workshop roof The workshop doors
1:100 sectional site model 54
The moment that the workshop doors open and the parade begins
While the gallery is about digging down into the site the workshop is about maximising floor space and creating accessibility for the huge robots. The offices, kitchen, changing rooms, and relaxation area are pushed and stacked against the east wall, creating a new street between the hangar and the workshop.
The workshop's saw-tooh roof
Workshop 'street' facade
Workshop 'internal view
A la machine sculpture, lit from the floor above
Can Framis by Jordi Badia influenced the construction technique, aesthetics, and materiality of my design greatly
The entrance ramp and attitude towards existing structure draws similarities to Sverre Fehn’s Hedmark Museum.
The tower which emerges from the ground was influenced strongly by the Casa Cien by Pezo von Ellrichshausen
Left: The vertical circulation tower- proportioned using the site’s clocktower. It also acts as a fire escape, and as the main public access route to the workshop.
The links between levels, and sculptural qualities of my proposal were influenced by Le Corbusier’s La Tourette
At night parts of the site become intimate performance spaces
Charrette A one-week group project which acts as an introduction to the year. We were asked to design a chair for a smoker. We were only allowed to use paper and carboard.
Study models based on rolling paper forms
The key ingredients of smoking are paper, tobaco, and fire. We began designing by experimenting with rolling papers. Folding, lighting, and photographing them in different ways. We combined our site analysis with a study of smokers movements which influenced the dimensions of the final chair.
Internal bracing using recycled cardboard 62
Cardboard covers slot into the main chair structure
Rear support detail
The tumbling curves were designed to mimic smoke
The name â€˜Rollerâ€™ became our branding
The final design 63
The Local “The Local” From Pub to Supermarket: Does The Broadway Sainsburys Local’s Transition Relate to Architectural Ideas of Locality and Place? The relationship we have with supermarkets is changing. In the 1980s they were large out-of-town warehouses. Now the same highly branded stores can be closer to us than neighbours’ houses. To achieve this proximity supermarket chains often reuse existing buildings. I examined the architectural and cultural implications of building a ‘local’ supermarket inside the shell of a ‘local’ pub through close analysis of the building in relation to documentary evidence, historical accounts, and architectural and cultural theories. This Dissertation was original in three ways. It examined the ‘local’ supermarket, a relatively new type of supermarket design. Second, it looked at the effect of combining this building type with pub architecture; up until now a rare transformation of use, but one that is likely to become more common. Thirdly it looked past the surface of the visible architecture, at a more symbolic meaning, bound up in rituals and habits, often overlooked in accounts of commercial architecture.
Top; (Left) Dawn of the Dead (1978), (Right) Black Friday Sales (2013) Bottom; The first church- supermarket conversion in the UK
Above; A Sainsburys sign that attempts to mask the old entrance to the pub.
Work Experience Faulkner Browns
The Kalyvides Partnership
I produced this perspective which is currently the cover image of the practice website.
Graphic Design Work
I recently designed the front cover for the architecture department’s magazine- Studio NCL.
I designed a series of flyers for a House music night in Newcastle called ‘Nebula’.
Newcastle University- School of Architecture, Planning and Landscape