// 2019

CRT

HRT

AEE

C H A R R E T T E 2 0 1 9‘Highstreet ’ /

Sept 30th – Oct 4thNewcast le Univers i ty School of APL and School of

Art & Cultures

W H A T I S C H A R R E T T E W E E K ?

C h a r r e t t e w e e k s t a r t s t h e a c a d e m i c y e a r b r i n g i n g a h o s t o f a r t i s t s , a r c h i t e c t s , e n g i n e e r s , d e s i g n e r s a n d t h i n k e r s t o t h e U n i v e r s i t y t o r u n a s e r i e s o f w e e k - l o n g p r o j e c t s . S t u d e n t s f r o m a v a r i e t y o f t a u g h t d e s i g n a n d a r t c o u r s e s a t u n d e r g r a d u a t e a n d m a s t e r l e v e l s j o i n t o g e t h e r t o d e v i s e a c o m b i n a t i o n o f c r e a t i v e o u t p u t s r e l a t e d t o t h i s y e a r ’s t h e m e - H I G H S T R E E T .

I t i s i n t e n d e d t o b e a n i n t e n s i v e a n d e n j o y a b l e w e e k w h e r e s t u d e n t s c a n e x p e r i m e n t i n a c r e a t i v e o p e n e n v i r o n m e n t . A t t h e e n d o f t h e w e e k a l l p r o j e c t s e x h i b i t t h e i r o u t p u t s i n a C h a r r e t t e c e l e b r a t i o n .

O P P O R T U N I T I E S & E X P E C T A T I O N S

C h a r r e t t e i s a f a n t a s t i c c o l l a b o r a t i v e e f f o r t . I t g i v e s y o u t h e o p p o r t u n i t y t o b e p a r t o f a l a r g e g r o u p , f r o m a c r o s s t h e s c h o o l , w o r k i n g t o w a r d s a c o m m o n g o a l . T e a m w o r k i s a c o r n e r s t o n e o f t h e s u c c e s s o f C h a r r e t t e a n d a s s u c h i t ’s i m p o r t a n t y o u a t t e n d a n d c o n t r i b u t e t o t h e t e a m e f f o r t .

E a c h C h a r r e t t e p r o j e c t h a s d i f f e r e n t o p p o r t u n i t i e s t o d e v e l o p o r l e a r n n e w s k i l l s . T h i s c o u l d b e l e a r n i n g a n e w c r a f t o r p r o g r a m m e , e n g a g i n g w i t h t h e c o m m u n i t y, p r e s e n t a t i o n s k i l l s , w o r k i n g a s p a r t o f a l a r g e t e a m , l e a d e r s h i p e t c .

C o m e p r e p a r e d w i t h b a s i c d r a w i n g e q u i p m e n t ( p e n s , p a p e r, t r a c e , c r a f t k n i f e , r u l e r ) , w i l l i n g t o g i v e i d e a s a n d f e e d b a c k , e a g e r t o l e a r n a n d a s k q u e s t i o n s a n d m o s t i m p o r t a n t l y h a v e f u n !

C h a r r e t t e a l l o c a t i o n w i l l b e p i n n e d u p i n v a r i o u s l o c a t i o n s o n t h e g r o u n d f l o o r o f t h e A r c h i t e c t u r e S c h o o l a t 0 9 . 3 0 a m . Y o u n e e d t o c h e c k w h i c h c h a r r e t t e y o u a r e i n a n d b e i n t h e r e l e v a n t c h a r r e t t e b a s e b y 1 0 . 0 0 a m .

T h e r e w i l l b e a c t i v i t i e s e v e r y d a y . E a c h c h a r r e t t e w i l l h a v e t h e i r o w n p r o g r a m m e w h i c h w i l l b e g i v e n t o y o u o n M o n d a y .

C h a r r e t t e c e l e b r a t i o n w i l l s t a r t a t 4 . 3 0 p m .C l e a r u p a t 6 . 3 0 p m .

M o n d a y

T I M E T A B L E

T u e s d a y t oT h u r s d a y

F r i d a y

D u r i n g t h e w e e k s t u d e n t s a r e e x p e c t e d t o a t t e n d t h e i r o t h e r c o m m i t m e n t s s u c h a s l e c t u r e s a n d m e e t i n g s .

R E S P E C T I N G T H E U N I V E R S I T Y

F r i d a y ’s c e l e b r a t i o n i s a f l a s h e x h i b i t i o n , a p p e a r i n g f o r o n e n i g h t o n l y !

W e n e e d e v e r y o n e ’ s h e l p t o t a k e t h e e x h i b i t i o n d o w n o n F r i d a y a t 6 . 3 0 p m , s o t h e s p a c e s a r e r e a d y f o r t e a c h i n g t h e f o l l o w i n g M o n d a y.

A l l f u r n i t u r e s h o u l d b e r e i n s t a t e d a s i t w a s b e f o r e h a n d .

D o n o t m o v e t h e f i x e d t a b l e s ( t y p i c a l l y t h e o n e s w i t h P C s ) .

D o n o t m o v e a n y o f t h e p o d s .

T h e a r e a o f g r a s s i n t h e Q u a d r a n g l e , i n f r o n t o f t h e S c h o o l o f A r c h i t e c t u r e , c a n n o t b e u s e d t o s t a g e i n s t a l l a t i o n s f o r t h e C h a r r e t t e W e e k , s o p l e a s e l e a v e t h i s f r e e .

H E A L T H A N D S A F E T Y

P l e a s e f o l l o w a l l o f t h e i n s t r u c t i o n s o f y o u r C h a r r e t t e L e a d e r.T h e y w i l l h a v e d o n e , a n d w i l l b e d o i n g , a s s e s s m e n t s o f t h ea c t i v i t i e s y o u ’ r e d o i n g . T h e s e w i l l l i k e l y b e s h i f t i n g d u r i n g t h ew e e k , s o p a y c l o s e a t t e n t i o n t o t h e i r i n s t r u c t i o n s a n d r e a d a n yd o c u m e n t s t h a t t h e y g i v e y o u .

M a n y o f t h e C h a r r e t t e p r o j e c t s t h i s y e a r i n v o l v e w o r k i n g o f f c a m p u s , p l e a s e t a k e n o t e o f t h e c o n t a c t n u m b e r s f o r y o u r C h a r r e t t e l e a d e r s , a n d t h e s c h o o l .

O n M o n d a y m o r n i n g y o u w i l l e a c h b e s e n t a d i g i t a l c o p y o f a l e t t e r t h a t h a s b e e n p r o d u c e d w i t h c o n t a c t n u m b e r s a n d C h a r r e t t e d e t a i l s o n . T h i s e x p l a i n s t h a t y o u a r e p a r t o f a n e v e n t w i t h t h e u n i v e r s i t y a n d y o u c a n s h o w t h i s t o a n y o n e w h o q u e s t i o n s y o u r a c t i v i t i e s . I f y o u h a v e a n y p r o b l e m s g e t t i n g a c c e s s t o t h e d i g i t a l l e t t e r t h e r e w i l l b e s o m e h a r d c o p i e s o f l e t t e r s l e f t i n r e c e p t i o n .

H E A L T H A N D S A F E T Y

P l e a s e t a k e c a r e f u l n o t e o f t h e f o l l o w i n g :

» A l w a y s w o r k i n p a i r s

» R e m a i n i n t h e p u b l i c r e a l m – p l e a s e d o n ’ t t r e s p a s s o n p r i v a t e p r o p e r t y

» D o n o t o b s t r u c t a n y p u b l i c a c c e s s w a y s

» N o h e a v y l i f t i n g

» N o w o r k i n g a t h e i g h t

» N o h e a v y c o n s t r u c t i o n a n y w h e r e o f f c a m p u s

P H O T O G R A P H Y & S O C I A L M E D I A

T h i s y e a r w e d o n o t h a v e a r e c o r d i n g C h a r r e t t e b u t i f y o u h a v e a b a c k g r o u n d i n p h o t o g r a p h y a n d a r e i n t e r e s t e d i n r e c o r d i n g a c t i v i t i e s a c r o s s t h e w e e k p l e a s e t i c k t h e b o x o n t h e c h o i c e c a r d .

W e e n c o u r a g e y o u t o t a k e p h o t o s a n d v i d e o t h r o u g h o u t t h e w e e k t o d o c u m e n t y o u r a c t i v i t i e s . T h i s w i l l b e n e e d e d t o s h o w c a s e y o u r w o r k a n d w h a t y o u h a v e l e a r n t i n y o u r p o r t f o l i o s a t t h e e n d o f t h e y e a r.

Yo u c a n u s e t h e # n c l c h a r r e t t e t a g i f y o u ’ r e p o s t i n g o n I n s t a g r a m . P l e a s e b e a w a r e o f a n y o n e w h o i s i n t h e p h o t o a n d g a i n p e r m i s s i o n b e f o r e p o s t i n g .

CRT

HRT

AEE

1. A Measure of Health

2. Frankenstein’s Shop

3. Gathering

4. An Emotional Highstreet

5. RE-MEDI-ATE

6. Give a Damn!

7. Soft Studio

8. Relief, What a Relief

9. Surfaces and Silhouettes

10. Made (Not) for Instagram

11. 18 Brinkburn Avenue

12. Chillingham Road Primary School

13. Pestle and Water

14. More than Meanwhile Spaces

15. What Lies Behind

16. The Waste of Time

C H A R R E T T E 2 0 1 9‘Highstreet ’

Please tick your top three charrette choices below. Once complete either hand it in at the end of the induction lecture or at the Architecture School reception before 12.00 (midday) Friday 27th Sept.

Course (e.g. BArch/AUP)..........................................

Student Number.........................................Full Name................................................................

Course Year (e.g. 2) ....................................

A M E A S U R E O F H E A L T HL e d b y C o r i n a T u n a & C a r l o t t a C o n t e

THEMES: health & wel lbeing , research, l ive invest igat ion OUTPUT: event & exhibit ion

Our h igh streets are suffer ing. They are ever more empty and lonely. According to the Br i t ish Retai l Consort ium, 1 in 10 town centre stores are now vacant. We buy less as our wages are squeezed. Stores’ ground rent and bus iness rates are steeply r is ing meaning vendors struggle to keep their enterpr ises going. Online retai lers make i t eas ier to buy with one c l ick f rom the comfort of our homes whi le footfa l l on the street decreases and divers i ty in reta i l offers shr inks . Ever more eff ic ient last mi le log ist ics are chal lenging for smal l shops to compete with, to adapt to quick ly changing consumer behaviour and expectat ions.

Once the middle man has been cut out , there is no longer a shopkeeper to chit-chat with or a res ident who cares for our street p lanters . By e l iminat ing face-to-face interact ion, we are wiping out the p laces that fac i l i tate invaluable connect ions - affect ing both our environment and our health. Lonel iness i s on i ts way to become Br i ta in’s most lethal condit ion, as bad as smoking 15 c igarettes a day; disconnected communit ies could be cost ing the UK economy £32 bi l l ion every year. We can no longer ignore the poor health of our h igh streets .

Over the course of charrette week, you wi l l re- invent research tools to ev idence symptoms and measure the health of a local h igh street , whi lst s imultaneously suggest ing new ways to perceive or act within th is shared space.

C o r i n a i s a n a r c h i t e c t u r a l d e s i g n e r a t J a n K a t t e i n a r c h i t e c t s

C a r l o t t a i s a n u r b a n r e s e a r c h e r a n d s t r a t e g i c d e s i g n e r a n d l e a d s t h e D e s i g n L e a r n i n g & I n s i g h t a t D a r k M a t t e r L a b s

01

98

INTRODUCTION

economic and cultural contexts, will be

explored in the framework, tools and

recommendations that form the bulk of

the book.

This book will also introduce you to

some of the participants who put great

time and effort into their campaigns

because they cared deeply about the

outcomes. Their passion, agility and

fearlessness have led to incredibly

impactful results, such as a newly

proposed air quality law in Kosovo; a

national participatory sensing platform

in Holland; and changes in the use

of public space in Plaça del Sol in

Barcelona – all geared towards actually

reducing environmental pollution

levels.

This work is only possible because it

is supported by networks of people and

organisations, and because it builds

on and contributes to open-source

digital tools. FabLabs, makerspaces and

hackerspaces occupy a special place

in this landscape because they enable

the development and application of

open-source hardware and open-

source design. Over the past ten years,

the broad availability of open-source

hardware tools, the creation of online

data-sharing platforms, and access

to makerspaces have facilitated the

design of low-cost and open-source

sensors. As a result, independent

communities of citizens can

1 http://making-sense.eu/publication_categories/toolkit/

appropriate these sensors to engage in

environmental action.

There is no silver bullet, however.

Every issue, every community, every

context is different. There is no single

formula or ‘recipe’ that can lead to

success in every case. Our tools are

not perfect, and there is a lot left to

explore. Any campaign or action will

require careful consideration and

adaptation based on what you want

to achieve, and on what happens

while doing it. All of our tools can be

considered best practice, but response

of institutions and authorities can

vary, and they may resist conclusions

even when presented with empirical

evidence. Making successful change

may also require advocacy, lobbying

and engaging in politics which is

beyond of the scope of this book.

We have been inspired by the power

of citizen sensing to effect change,

and we believe that you can be too.

We hope you find this book valuable,

and that it supports you in your quest.

If you would like a deeper insight into

what we have done so far, please take

a look at our online toolkit1where you

will find a wealth of information. We

value your feedback tremendously, and

would be grateful if you could share

your thoughts with us. Good luck!

02F R A N K E N S T E I N ’ S S H O PL e d b y L e w i s D a v i d s o n

THEMES: assemblage, recyc le/regurgitate OUTPUT: products & exhibit ion

The High Street i s haunted by empty packets dr i f t ing down the street and gutted shops nest led between pound stores sel l ing cheap shadows of their or ig inal counterparts .

Under the growing umbrel la of the d ig i ta l wor ld and our pos i t ion in a g lobal market of supply and demand, how can we access the High Street as something immediate and tangib le? What mater ia ls and products are st i l l there and how can we use and recycle them as a means of express ion and creat iv i ty ; to breathe l i fe into the mundane and br ing i t back from the dead

For Charrette week, we wi l l work direct ly with the products and mater ia ls that are found on the High Street f rom adverts in magazines and bought products , to f ree newspapers , empty packaging and wrappers that have been discarded.

From this mater ia l base we wi l l construct and col lage a hybrid, Frankenstein- l ike range of products . Working with the o ld and new, damaged and box-fresh goods, we wi l l be looking at how to reinterpret the famil iar character ist ics and purposes of the products , us ing processes that involve cutt ing, connect ing, f i l l ing and graft ing d i f ferent parts together. Through th is method of assemblage, we wi l l create f ict ional products for surreal purposes .

03G A T H E R I N GL e d b y L e a h M i l l e r

L e a h i s a v i s u a l a r t i s t a n d f i l m - m a k e r

THEMES: f i lm/recording , re-use, working within community OUTPUT: sculptural insta l lat ion

The highstreet we wi l l spot l ight i s Coatsworth Road in Gateshead , a busy neighbourhood trade run that caters to both d iscrete communit ies and several over lapping and mix ing cultures.

The street i s notable being a mix ing point of res ident ia l neighbourhood and busy shopping centre, and is character ised by the numbers of pedestr ians who stop and chat , often in the road holding up traf f ic!

This Charrette wi l l employ a ser ies of d ig i ta l and analogue photographic and f i lmic techniques to consider the value of the h igh street , in part icular areas which have l i t t le or no commercial value but may perform socia l funct ions as meet ing points which in turn have profound impact on the soc ia l and generat ive potent ia l of the area. Charrette part ic ipants wi l l take physical and ephemeral imprints f rom the s i te , mapping i ts past , present and speculat ive futures through a ser ies of demonstrated analogue and dig i ta l techniques such as 8mm and 16mm f i lm, pinhole photography, photograms / contact pr ints and hand made 16mm structural f i lm animation loops responding to the s i te . We wi l l use f ie ld recording techniques to gather documents of sound in the space.

The images and mater ia ls we gather f rom the workshops and groups working on each technique wi l l form the content of a sculptural instal lat ion of pr ints and project ions – each aspect coming together to survey the present and re-engineer and imagine aspects h i therto unnot iced – offer ing ins ight into the street ’s poss ib le future i terat ions.

04A N E M O T I O N A L H I G H S T R E E TL e d b y H a n n a B e n i h o u d & M e e k s

H a n n a i s a n a r c h i t e c t a n d a r t i s t w h o h a s i n t e r d i s c i p l i n a r y s t u d i o i n L o n d o n .

M e e k s ( M i c h a e l S i m p s o n ) i s a n a r c h i t e c t a t G T 3 A r c h i t e c t s i n N e w c a s t l e a n d d e s i g n t u t o r a t b o t h N e w c a s t l e & N o r t h u m b r i a U n i v e r s i t y

THEMES: psychology, craft , somatisat ion, brand/market ing OUTPUT: large sca le, interact ive model

The inspirat ion for the Charrette came from their interdisc ip l inary approach to des ign and a fasc inat ion with the psychology behind human behaviour within space .

As the h ighstreet develops, shops are focusing on customerexperience to reinforce brand identity that in turn fac i l i tatesonl ine sa les . This means the h igh street i s no longer just about usspending money but making us feel th ings.

We would l ike to re imagine the tradit ional Highstreet as an emotional one borrowing the medical idea of somatisat ion . Somatisat ion is the phys ica l manifestat ion of an emotionalstate. We a l l somatise. We blush when we are embarrassed,cry when we are sad or have headaches when we are stressed.This concept of physical manifestat ion of emotion we found fasc inat ing and made us quest ion whether th is phenomenon could trans late spat ia l ly

We wi l l invest igate onl ine brands or phys ica l shops in Newcast le and conclude what emotion each brand is t ry ing , fa i l ing or succeeding to evoke in their customers. The brand logo wi l l be redesigned as a graphic des ign task us ing just the word of the emotion. We wi l l go on to redesign the shop based on the phys ica l i ty of that emotion.The f inal p iece wi l l be a 1:50 model card model of an Emotional Highstreet . Each shop wi l l be beaut i fu l ly model led in card & paper ( f ig 1 E l l ie Sampson) . The f inal exhib it ion wi l l invite v iewers to guess which brand matches up to which shop.

I s i t Greggs or i s i t Chanel? I t should be obvious, shouldn’t i t?

05R E - M E D I - A T EL e d b y D r L o u i s e M a c k e n z i e & L y n H a g a n

L o u i s e i s a n a r t i s t a n d r e s e a r c h e r a f f i l i a t e d w i t h T h e C u l t u r a l N e g o t i a t i o n o f S c i e n c e r e s e a r c h g r o u p , N o r t h u m b r i a U n i v e r s i t y

L y n i s a P h D r e s e a r c h e r a t N o r t h u m b r i a U n i v e r s i t y

THEMES: exper ience, messaging , engaging with communityOUTPUT: insta l lat ions

Walking down the high-street to grab lunch. There are messages that you have to dodge as your stomach rumbles, waves of desire, guilt and apathy that you swerve around on the way.

The first wave is marked by signs in windows that register at the back of your brain and electronic billboards showing people with imperfect bodies.

The second wave is the begging and hawking; commissioned charity venders with fixed grins, the guitar busker who ignores you but for the open case with a few coins in, the spice addicts with their cardboard signs, the clowns in bright colours luring kids with balloon animals that burst within seconds. The third wave is the rows of faces behind strengthened glass, like minimum-hour mannequins, counting time until they sell the brightly coloured fabric thing all the way from Bangladesh that will be worn twice then given to charity.

You get your lunch, feel sated now. You walk back through it all again. You dodge the signs, burying your head in your smartphone. As you scroll, it hits you with the final wave - images meant just for you that show you what to wear and tell you how you to live. You comply. How can you not?

How can we reclaim responsibility in an era of hyper-real?This Charrette invites you to explore the emptiness of the experience that is walking down a high street and challenges you to fill it with something meaningful. Reversing the power dynamics of being the passive receiver of information and objects, this is an invite to reclaim personal responsibility by placing artworks in public spaces that interrupt or disrupt the constant waves of information that we have come to accept.

06G I V E A D A M N !L e d b y A m y L i n f o r d & A r a n z a F e r n a n d e z

A m y i s a n a r c h i t e c t a t P u b l i c A r c h i t e c t u r e i n L o n d o n .

A r a n z a i s a p u b l i c r e a l m d e s i g n e r a t M u f a r c h i t e c t u r e

THEMES: exper ience, publ ic realm, marginal isat ion, empowermentOUTPUT: insta l lat ion/exhibit ion

As a cultural product the built environment embeds a code of conduct that tells us who we can be. In the public realm (parks, squares, streets) that can translate to who is welcome there, to do what kind of activities or have what kind of experiences and who, in turn, is not welcome.

As spatial practitioners / city dwellers we should be prepared to challenge the messages that we are receiving or at least acknowledge that what we do, and how we do it, By creating awareness we will become active participants in what we, as individuals and as society, are telling ourselves we can be

We will spend most of our time on the highstreet undertaking ground research and first hand experience testing. We will act as detectives and go out and gather evidence and clues that enable us to read the public realm, what is dictated explicitly and implicitly, where the boundaries of the public/ private / pseudo-public meet, what behaviours are encouraged / discouraged / penalised / promoted.

We will take part in an obstacle course as a route through thepublic spaces, internal and external, of the high street whilst in the role of a person who is typically marginalised or forgotten in the planning, construction, and maintenance of the built environment.

In groups we will gather three unique experiences that can only be had on a high street to understand the role and importance of the high street. These will be narrated through storytelling. Students will propose a reaction which may range from an enactment in the high street, or it may seek to push the limits of a particular quality of the high street.

07S O F T S T U D I OL e d b y M a g s & L e s l e y C a m p b e l l

M a g s ( M a t t h e w M a r g e t t s ) i s a n a r c h i t e c t a n d d e s i g n e r w i t h a c r o s s - d i s c p l i n a r y d e s i g n p r a c t i c e b a s e d i n B l y t h .

L e s l e y i s t h e f o r m e r h e a d o f f a s h i o n a t S h e f f i e l d H a l l a m U n i v e r s i t y a n d i s n o w u n d e r t a k i n g h e r P h D a t N o r t h u m b r i a U n i v e r s i t y .

THEMES: workplace, fashion/text i le , 2D-3D thinking OUTPUT: worksett ing insta l lat ion

Students wi l l be asked to explore what a ‘ softer ’ working environment might mean – th is could be ‘ furniture’ based – i .e . an a l ternat ive workstat ion – or more spat ia l – soft wal ls / f loor treatment. But a l l with emphasis of being able to ‘work’. I t may blur the boundar ies between work, rest and play. We wi l l a lso be explor ing mater ia l poss ib i l i t ies and quest ioning c lass ica l architectural des ign approaches around how much control you can exert / non-stat ic environments. Students wi l l a lso be introduced to fashion / c lothing design processes . We wi l l a im to create a ‘soft studio space’ by the end of the week with c i rca 8 ident i f iable ‘workstat ions’.

We wi l l pr imar i ly be explor ing th is through the medium of soft f i l led bags and surfaces – explor ing a var iety of mater ia ls and f i l l s – ranging from beans and foam to beach and foot bal ls .

08R E L I E F , W H A T A R E L I E FL e d b y A r c h i e B e l l

A r c h i e i s a n a r t i s t b a s e d i n L o n d o n .

THEMES: sculpture, re l ief, story-te l l ingOUTPUT: f r ieze insta l lat ion

In t imes of heightened anxiety amid pol i t ica l chaos and uncerta inty. I t i s with in the chaos of such soc ia l narrat ives that we watch unfold the changes that drast ica l ly ef fect our h igh streets , propose we use the sculptural form of the “fr ieze” often a carved low or h igh re l ief of images, that have often been used to depict stor ies , often of wars , re l ig ious or pol i t ica l s igni f icance.

They are often placed high up within a bui ld ing or room. We wi l l focus on creat ing a four s ided, f ree standing room that wi l l hold our p laster cast f r ieze’s depict ing the ever changing landscape of our h igh streets . With var ious addit ional mechanical e lements , we wi l l animate the sculptures

09S U R F A C E S A N D S I L H O U E T T E SL e d b y C a t h e r i n e B e r t o l a

C a t h e r i n e i s a v i s u a l a r t i s t w h o s e p r a c t i c e e n c o m p a s s e s i n s t a l l a t i o n , d r a w i n g , p h o t o g r a p h i c a n d f i l m w o r k s . S h e i s c u r r e n t l y a n A s s o c i a t e L e c t u r e r o n B A F i n e A r t a t N e w c a s t l e U n i v e r s i t y .

THEMES: co l lage, rubbingsOUTPUT: large-scale paper insta l lat ion

This workshop will use the work of two artists Max Ernst and Sari Dienes as a starting point to look beyond the shop fronts and physically explore the material fabric, embedded history and structure of the main high streets in Newcastle City Centre; Northumberland Street, Grainger Street, Blackett Street, Grey Street.

In 1925s surrealist artist Max Ernst’s started making his Frottage works, developed from the technique of taking a rubbing from an uneven surface to form the basis of a work of art. Thirty years later in 1953-55, artist Sari Dienes made large - scale ‘Sidewalk Rubbings’ of bold, graphic, geometrical compositions, combining rubbings of manhole covers, subway gratings and other elements of the urban streetscape.

The aim of the workshop is to create a large - scale paper collage/drawing installation that distil the essence of these particular streets. The collages will be developed over the week and produced from material gathered from field trips along these streets, such as rubbings of different surface textures, drawings of key architectural details/forms, collecting potential pigments as well as looking at archive images and maps of the city centre.

10M A D E ( N O T ) F O R I N S T A G R A ML e d b y K a r l M o k & C y n t h i a W o n g

K a r l & C y n t h i a a r e a l u m n i o f t h e a r c h i t e c t u r e p r o g r a m m e a t N e w c a s t l e U n i v e r s i t y a n d n o w r u n T A - L A B i n N e w c a s t l e .

THEMES: d ig i ta l media, consumerism, exper ienceOUTPUT: insta l lat ion

The closure of department stores on our high streets and the failure of Topshop’s retail locations in the US has everything and nothing to do with the migration of Generation Z shoppers to online platforms. The public have always relied on shopping as a trip, a form of escapism from the banalities of everyday life.

No longer though, do we depend on high street retailers to supply goods at the best price. When long-established retailers like Debenhams went into septic shock over mounting online pressure and started the scurry of ‘who’s cheapest?’, it did nothing to lift the curtain of debt such physical stores were incurring.

This charrette asks how can we design a heightened experience for the consumer at the very first frontier of customer interaction: the shop window.

Combining traditional features of window dressing and modern consumer behaviour studies, we intend to study how smartphone consumerism flips between the tangible experience of physical space and the intangible experience of virtual space. Where does the perceived f latness of a store window meet the actual d ig i ta l f latness of an Instagram store on screen?

This charrette proposes an installation us ing both tangible and intangible media to s imulate a heightened sense of consumer exper ience that covers a l l the touchpoints of reta i l .

111 8 B R I C K B U R N A V E N U EL e d b y B e n J o n e s

B e n i s a D i r e c t o r o f D i n g y B u t t e r f l i e s , a s o c i a l e n t e r p r i s e t h a t w o r k s a c r o s s G a t e s h e a d d e v e l o p i n g h i g h q u a l i t y p a r t i c i p a t o r y a r t p r o j e c t s .

THEMES: mapping , mult imedia, spat ia l narrat ive

OUTPUT: insta l lat ion

We will research, explore and map the empty shop, 18 Brinkburn Avenue, Bensham, Gateshead, and the surrounding street and High Street, Coatsworth Road. We will use deep mapping and spatial narratives to explore and map the street and shop

Deep mapping is a process of reading and reshaping the landscape that embraces political, social, economic, infrastructural and environmental concerns, challenging accepted knowledge and imposed belief systems. They are detailed, multimedia depiction of a place and the people, buildings, objects, flora and fauna that are within it and the activities of everyday life. They represent the people who live there and their beliefs, hopes and fears and what ties them to a place, leading to spatial narratives that shape the social, economic, political, or cultural space.

18 Brinkburn Avenue until fairly recently was a florist and has been empty for over a year. Before being a florist it was a hardware store and a butcher in the mid to late twentieth century, some of which can be seen in the items left in the shop. It has recently been taken over by Bensham & Saltwell Alive, a local charity whose aims are to improve the area and support residents in learning new skills. One of the outcomes will be to explore how this shop can be used by the charity in the future and for the community.

12C H I L L I N G H A M R O A D P R I M A R Y S C H O O LL e d b y S a r a h H o l l y w e l l & C a i t l i n M u l l a r d

S a r a h & C a i t l i n a r e b o t h S t a g e 6 s t u d e n t s o n t h e M A r c h p r o g r a m m e a t N e w c a s t l e u n i v e r s i t y .

THEMES: l ive bui ld , pol lut ion levels , des igning for chi ldrenOUTPUT: l ive insta l lat ion

This Charrette seeks to design and make creat ive solut ions for the p layground of Chi l l ingham Road Pr imary School , provid ing the opportunity to work with a real c l ient on a l ive project . Located on Heaton’s h igh street Chi l l ingham Road, the school suffers f rom high levels of pol lut ion . The a im is to create the infrastructure for a green per imeter which not only provides solut ions to the streetscape aesthet ica l ly but a lso seeks to deal with pol lut ion levels . The intervent ions must be aimed at chi ldren with an emphasis on wayf inding through the space.

Chi l l ingham Road Pr imary School i s located near to the Coast Road which has been ident i f ied as having i l legal levels of Nitrogen Dioxide (NO2) pol lut ion (50.47μg /m³) . Newcast le Univers i ty ’s Urban Observatory has a sensor at the Corner House junct ion which consistent ly shows that the levels of NO2 above the legall imit . No pol lutant has a safe level but the legal target for NO1 is 40μg /m³.

Understandably, the pol lut ion levels around the school and surrounding area are a concern for the school . Whi le the local community i s t ry ing to force the Counci l into f inding long term solut ions for the problem, the school i s hoping to educate and ra ise awareness of the issue whi le incorporat ing more vegetat ion which p lays a v i ta l ro le in mit igat ing a ir pol lut ion.

13P E S T L E A N D W A T E RL e d b y P i p p a M c L e o d - B r o w n

P i p p a i s a c u r r e n t S t a g e 6 s t u d e n t o n t h e M A r c h p r o g r a m m e a t N e w c a s t l e u n i v e r s i t y .

THEMES: l ive bui ld , market ing /brandingOUTPUT: l ive insta l lat ion

Shop design and market ing strategy for the Fruit & Nut Company: a bulk dry food store in Grainger Market .

Aid the c l ient in choosing a company name which resonates with the object ives of the bus iness . Provide shop des ign proposals inc luding colour schemes, layout and shop s ignage.

Introduce a market ing strategy for the company through creat ion ofa website, soc ia l media accounts , logo des ign and press re lease. Assess f ix tures and f i tt ings to match the overal l shop des ign inc luding label l ing for products to ensure ingredients are c lear ly shown.

An opportunity to gain a detai led shop design proposal as wel las the des ign and fabr icat ion of a prototype gravity dispenser at a lower cost than reta i l va lue.

Cl ient i s a lso want ing to extend their product range to further encompass the healthy eat ing / reduced waste movements. Other ideas were an onl ine store, exhib it ion and franchise.

M O R E T H A N M E A N W H I L E S P A C E SL e d b y D a n R u s s e l l

D a n i s a s o c i a l l y e n g a g e d a r t i s t w i t h a B A i n A r c h i t e c t u r e . H e i s a l s o a n A r t i s t D e v e l o p m e n t C o o r d i n a t o r a t t h e N e w B r i d g e P r o j e c t . H e w i l l b e l e a d i n g w i t h H o l l y R i c h , E u a n L y n n & S a m K e n n e d y w h o a r e a l l m e m b e r s o f t h e N e w B r i d g e C o l l e c t i v e S t u d i o

14THEMES: sound, story-te l l ingOUTPUT: sound col lages

We are going to work predominantly in a non-visual way. We are going to be doing architecture, and exploring an area with architects’ hats on.

We are going to experimentally create a series of audio pieces to tell the story of the area along the spectrum of abstract to accessible. NewBridge has got a High Street- Facing gallery and a secluded, overgrown car-park out back (backing onto the Trinity Square development).

Guided walks, podcasts, musique concrete, sound collages, radio shows, experimental music, pop music, snippets of conversation, ideas for the High Street: what’s there? What’s gone? What matters?

The project will be process-led but will culminate in sounds of some sort being recorded and edited in pleasing ways.

We are going to go beyond the surface, thinking about uses, shops, Community Land Trusts, assets of community value, libraries, Woolies, Get Carter, Owen Luder, Tescoification, cinemas, pubs, fibre-optics, pigeons, morning rush, after-work drinks, public realm, private frontier.

W H A T L I E S B E H I N DL e d b y T o m R a n d l e & S o p h i e B a l d w i n

To m & S o p h i e a r e b o t h a r c h i t e c t s a t L e v i t t B e r n s t e i n i n L o n d o n .15

THEMES: consumption, fashion, re-useOUTPUT: shopfront insta l lat ion, event

The fashion industry is one of the worlds leading polluters. By 2030, apparel consumption is projected to rise by 63%. Fast fashion is the antithesis of sustainable practice.

What Lies Behind encourages a slowing down of the manufacturing process with an awareness of every component, material and detail involved in an items production.

For this charrette, we ask you to study the retail streets of Newcastle, searching for materials to re-appropriate and combine to create new garments. There is an emphasis to be made on the narrative of each found element, using digital, analytical and sensory mapping techniques to record the process from inception to product.

The smart phone currently plays an inherent role in the ease of online consumption and allows for instant results from a single click. Within this charrette however the phone can play a crucial role in disrupting the speed associated with consumption. Using the phone as a recording device, with both photography and film to capture the evolving and complex nature of manufacture which is often hidden behind the face of a singular object.

T H E W A S T E O F T I M EL e d b y M a g s

M a g s i s a L e c t u r e r a t N e w c a s t l e u n i v e r s i t y .16

THEMES: susta inabi l i ty, waste, data/ infographics/diagramsOUTPUT: exhib it ion

The project will look at the carbon footprint of the Charrette week. Critically appraising the use/reuse of material with a view to highlight our practices as an architecture department.

The results will be displayed in engaging and interesting ways.

K E Y T H I N G S T O R E M E M B E R

A l l o c a t i o n l i s t w i l l b e p i n n e d u p a t 0 9 . 3 0 a m o n M o n d a y m o r n i n g .

Yo u n e e d t o c h e c k w h i c h c h a r r e t t e y o u a r e i n a n d b e i n t h e r e l e v a n t c h a r r e t t e b a s e b y 1 0 . 0 0 .

C O N T A C T D E T A I L S :

c a r a . l u n d @ n e w c a s t l e . a c . u k

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