Part 1 Architecture Portfolio

Andrew WilsonBA Architectural Studies

Stage 3 Session 2011/2012 AcAdemic Portfolio

Cont

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Arc 3001

Arc 3015

Arc 3015

Arc 3014

Arc 3060

Arc 3001

Arc 3001

Arc 3013

the finnish institute

dAncing Architecture essAy

sydney oPerA house

legAl frAmeworks essAy

the costs of sustAinAbility

Precedent studies Plus

the nrftA

structures coursework

chArette Project

ArchitecturAl design

PrinciPles And theories

PrinciPles And theories

ProfessionAl PrActice

dissertAtion studies



ArchitecturAl technology

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1:200 Sectional site model showing building in context

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I believe architecture is about creating buildings and spaces that are important for the community, a group of people with identities, interests and a need for sharing that need somewhere to come together, and the building selected demonstrates these qualities to an exemplary degree. “Can you imagine a building dancing? Perhaps, deep in starlit winter, the candy-coloured Baroque churches of Bavaria waltz through the night. But modern buildings are surely much primmer, more static things. At a stretch, it might be possible to imagine a starchy Modern Movement villa practising a few tentative Pilates movements, but a jig for joy? Never … Down in the oozy depths of Deptford Creek in the London borough of Lewisham is a brand new building that all but dances.” [Jonathan Glancey, The Guardian, Monday 27 January 2003].

Top: Figure 1; Site Plan

Bottom: Figure 2; Building to Context

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The Laban Dance Centre (in Deptford, South-East London) is, then, appropriately ‘the largest school for contemporary dance in the world, and one of Europe’s leading, and largest, institutions for contemporary dance artist training’ [http://www.arcspace.com/architects/herzog_meuron/laban.html]. Great care was taken by the Architects, Herzog and De Meuron, in respect to the existing surroundings of the centre, and the large embracing gesture of the Laban’s volume melts the building into the gardens and motions towards St Paul’s Church, the historical center of the old village of Deptford, along an existing axis. The building is therefore well integrated into its surroundings, but is distinguishable from the neighbouring developments and warehouses by the shimmering facades, identifying it as a metaphorical beacon for the community. The transparent and translucent walls contain the structure within a 60cm ventilated cavity. The outer skin, which provides thermal insulation and acts a visual screen, consists of polycarbonate sheeting - either transparent or in different colour tones. The coloured coating was applied to the rear face of the inner layer, lending this skin a pastel-like, three-dimensional effect. The inner skin consists largely of translucent double glazing.

The colours of this outer screen correspond to the locations of the indoor “streets”, which are painted in differing colours to allow orientation within the building, and thus also present a visual link between the interior and exterior of the building, allowing one almost to be orientated within the building despite being outside.

Figure 3; Façade showing coloured polycarbonate

Movement and communication, two central aspects of the dance centre, are also themes of the architecture. The concave entrance façade, as already mentioned, embraces the exterior and inviting the public in, making a place to gather people, and the language of movement is continued via the coloured screens again, with rhythm and transparency constantly shifting the eye, and allowing it to wander inside certain spaces before it is whisked off by a snatch of cyan or magenta. Internally, too, the building suggests a state of movement. Ramps and circulation routes lead through the complex layout of rooms and broaden into open spaces, where light wells allow daylight to penetrate into the deep volume of the building and establish visual links through the centre. Even the vertical circulation links are highly suggestive of movement; two dominant, landmarking spiral staircases pierce through the floors like enormous, black, dynamic drill bits, and are generously enough laid out so as to become places of further encounter. Mark Rappolt writes this of the movement and the staircase at the entrance: “walk left or right to move around it, or embrace it and travel upwards, a choice which compels an instant engagement with the building … Through this active experience of a shared physical environment you will have joined the neighbourhood. At the same time, and despite its immediate impact of mass and physicality, the staircase introduces themes of movement and circulation as key concepts within the building. And in so doing, it cleverly articulates the essence of the Laban Centre’s programme: the art of movement.” [http://www.contemporary-magazines.com/architech37_2.htm]

Left: Figure 4; Circulation to Use

Right: Figure 5; One of the sculptural black “screw” staircases

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ARC 3015The distribution of spaces and functions around the building is very cleverly worked, as all activities are intermixed and distributed on only two main levels, promoting communication within the entire building, connected by the aforementioned staircases. Laban is very much open to everyone: building and conservatoire alike will be used by dance students from all creeds, all classes and all around the world. It has been designed as a public building. Herzog and de Meuron's quiet genius has been to arrange its complex interior in the guise of a miniature hill town, complete with avenues, streets, winding lanes, inviting stairs, courtyards, ponds and glimpses out through its all-embracing rainbow walls. Indeed, the architects themselves describe the organisation of the Laban Centre’s various spaces in terms of ‘a small city or village’: streets, courtyards, squares and other urban features will articulate the interior space. Through deploying a system more generally associated with the largest of scales (the urban), the architects aim to break up the building into a relatively intimate network of smaller spaces. Herzog & de Meuron’s interpretation is an attempt to negotiate between the public and private aspects of the building, and rests heavily on the social and physical experience of an amorphous urban form: the neighbourhood.

Left: Figure 6; Solid to Void

Right: Figure 7; Ground floor plan

Inside, the colour is used as an aid to orientation and to lend a distinct identity to each sector of the building, further helped by three planted yards, cut in at different depths, which provide daylight to the interior and enable visual connections and spatial orientation throughout the entire building. The building contains two staircases, corresponding to two wedge-shaped ‘streets’ that run through the building from front to back, as well as a street that runs perpendicular, side to side. These are the most prominent components of a network of arteries that run around the theatre, the ‘red heart’ of the building. One is constantly reminded of the building’s function as a place for performance. And, as one might expect of a work by Herzog & de Meuron, the façade is where much of this performance takes place. One enters the building along the line of the axis with St Paul’s church, into a high public foyer, with only the café and the rehabilitation and therapy suite being the genuinely fully public areas. The rest of the ground floor then contains a smattering of dance studios and workshops, a staff area, a lecture theatre and the main auditorium, ensuring the different users of the building are suitably integrated. Most of the studios are actually on the upper floor, again ringing the auditorium, constantly providing a reminder of the purpose of the building, each with a window into the corridor and natural light through the facade. Each studio is different in size, form and colour, adhering to the cityscape principles of the architects.

Figure 8; Short Section

Figure 9; Hierarchy of Spaces

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Figure 10; Exterior and interior views

The main theatre, the heart of the building, is the orientation point in the open “cityscape” of the first floor. The library and cafeteria, located behind glass walls, are visually also part of the open “cityscape.” In terms of success, then, this building allows the residents of Deptford to enjoy its benefits communally, and acts as a meeting place for them, but is also simultaneously one of those places where a group of people with a need for sharing can come together, not only from London, but from all over the world. It acts as an unusual exchange of arts and ideas, both a school for amateurs and a performance centre for top professionals simultaneously. In this way it perfectly achieves its architectural aim, through the interaction spaces and “street encounters” that are intricately threaded into the mass. The Laban centre’s website states the organisation’s aims as believing that “Contemporary dance has a vital part to play in everyone's lives … Our links with the professional dance world, local communities and other arts organizations ensure that an experience at Laban will be a rich and rewarding one” [http://www.trinitylaban.ac.uk/about-us.aspx], and to achieving this end I believe the building has had immense success, highlighted by the awarding of the Stirling prize for the building in a run-down area undergoing regeneration, and the previous Pritzker prize [“for a living architect whose built work demonstrates a combination of those qualities of talent, vision and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture”] for the architects. By creating a building that gives itself landmark status yet manages to seamlessly blend into and become sympathetic to the surrounding urban grain, a place is born where people belong, where they are not alienated, where they want to discover. It is telling that, upon visiting the building, it was possible to identify an ‘escape from the streets’ attitude amongst the youth, who swarmed en-masse after school into an urban conversation of a building that cost only £13million, to integrate into society and culture.

However, despite its attempts to welcome and accept, the building manages to dominate, and rather melodramatically for such a low structure, looms almost menacingly vertically overhead as one approaches. Rather frustratingly, the building hurries you along too quickly into its grasp, almost overplaying its role as a miniature city. It is a building I would like to have been able to admire from without, but, rather like any city, was more empowering within.

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ARCHITECT: Jorn UtzonBUILDING:: The Sydney Opera House

BUILT : 1959 -1973AREA : 17,806 m2

History

‘My job is to articulate the overall vision and detailed design principles for the site, and for the form of the building and its interior.’

(Jorn Utzon)

History-- 1956 – International Competition is launched.-- 1957 – Jorn Utzon wins Competition .-- 1958 – Demolition starts, Arup & Partners engaged as

Structural Engineers.-- 1962 – New Spherical Scheme Solution Presented.-- 1964 – Utzon made fellow of Royal Australian Institute

of Architects.-- 1965 – Utzons requests for more funding are denied.-- 1966 – Utzon forced to resign.-- 1973 – First opening performance given.

Concept & Principles

As a Cultural Symbol As a Symbol of the Australian Spirit As a Sculpture

Initial Conceptual Diagrams

Construction

CONSTRUCTING THE SAILS FROM PRE-FABRICATED ELEMENTS

CONTROLLING THE GEOMETRY TO AID CONSTRUCTION

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Character

CONSTANT CONNECTION TO THE AUDITORIUMS

PRODUCING AN OPEN AND INTERACTIVE DESIGN

Character

PRODUCING AN ICONIC SCULPTURAL FORM

USING MATERIALITY TO CREATE VARYING ATMOSPHERES

Criticism

“IT LOOKS MUCH BETTER THAN IT SOUNDS”

“YOU JUST WANT TO TURN THE VOLUME KNOB UP”

“WHAT IS THERE TODAY IS A FLAWED MASTERPIECE; POLITICS SAW TO THAT”

“IT’S ONE OF THE GREATEST BUILDINGS IN THE WORLD. THERE’S NO WAY ITS INTERIOR CAN LIVE UP TO THAT”

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simon BAKERandrew WILSONphilippa WRAY

Principles & Concepts Jorn Utzon was the sole architect, but in 1965 a new Liberal government was elected and questioned Utzon’s designs, schedules and expenses. Utzon was then effectively forced to resign as chief architect through lack of fees. Utzon’s inspiration for the Sydney Opera House came from the Castle of Kronborg, and from the naval charts over Sydney, shaping the plateau. The Opera House can be seen as a cultural symbol, a symbol of the Australian Spirit. This one building has started to define the city and the country. Not only is it symbolic but it sculptural, its iconic presence is prominent in Sydney Harbour, it's a free standing building visible from all sides, a landmark. Louis Kahn once described how the light “didn’t know how beautiful it was until it reflected off this building”.

Construction & Functionality The outer shells were made of pre fabricated concrete elements. The geometry was carefully controlled producing clean lines and making standardized components so the building could be built efficiently. This controlled geometry also translates into the layout and size of the halls. Utzons entry to the original competition was the only one to place the two main auditoriums side by side. This meant both halls could be entered directly from the south, the city side of the building and there was a more direct connection between the patron and the main function of the building. This connection between public and performance is very strong as the spaces to be used in the intervals are still connected and look towards the auditorium. This makes the building very inward looking allowing a patron to be completely absorbed the experience and not face distractions from the wider city. The audience are constantly reminded of the purpose of the building by the domineering mass of the two auditoriums.

Criticism and Iconic Status

The basic criticism of the acoustics in the Opera House stems from the fact that the concert theatre’s volume is far too large and the opera theatre’s pit far too small, a problem arising from the 1967 decision to re-program the building and switch the locations of the two venues around, due to audiences at the time being far greater for concerts than operas. The main criticism actually levelled at Utzon himself was that construction took much longer and cost much more than anticipated, but this was unfounded, as Utzon's original design was abstract, and construction was forced to begin almost immediately after he was announced as the competition winner. The Opera House is undoubtedly one of the most recognized buildings in the world, yet, from a project management perspective, it was a spectacular failure, coming in at 1500% over budget. Iconically, however, it realised outstanding technological progress in concrete prefabrication and broke the functionalist rectangular order straitjacket of Mies van der Rohe and his generation. The Opera House was built to be more than a concert venue, it was built as a national icon, and succeeded greatly pr

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ARC 3015

Legal Framework and Processes regarding Conservation Area Consent in Pipewellgate

Word Count: 1081

Andrew Wilson

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ARC3014; Professional Practice and Management

March 2012

A major consideration regarding the viability of my project concerns Conservation Area Planning Law, a contentious topic in the history of the site in terms of legal framework and processes. The site is located on the old Brett Oils facility on the Gateshead banks of the Tyne, and lands itself within the Bridges Conservation area and the River Tyne Gorge.1

Any proposed development on the site would have to take account of a number of inter-related factors of national, regional and local planning policy, and the Unitary Development Plan [UDP] for the Brief Site comprises of the Gateshead Local Development Scheme [LDS] and Regional Spatial Strategy [RSS] Guidance 1 for the North East [November 2002], which together contribute to the Gateshead Local Development Framework [LDF], and fall under the provisions of the Planning and Compulsory Purchase Act 2004 of the National Planning Policy.2

The main constraint upon the development is that the Brief Site is within the designated Bridges Conservation Area [see UDP Policies ENV7, ENV8 and ENV93]. The inclusion of this conservation area into the proposals for the site mean that any suggested schemes must intend to meet the Council's “positive commitment to these areas, and its intention to preserve and enhance the quality of the environment”4 and should adhere to the Planning [Listed Buildings and Conservation Areas] Act 19905. The designation serves as a reminder that “conservation areas are not open-air museums but living communities which must be allowed to change over time … It is important though, that all new development should be sympathetic to the special architectural and aesthetic qualities of the area, particularly in terms of scale, design, materials and space between buildings.” 6

1 Information accessed on 11/03/12 from

http://public.gateshead.gov.uk/online-applications/propertyDetails.do?activeTab=constraints&keyVal=0006CVHKLI000 2 Information from: Brett Oils, “Brett Oils Development Brief”, (2007) pp. 21-22 3 Gateshead council, “Unitary Development Plan”, (Gateshead: Development and Enterprise, 2007) pp. 120-121 4 Information accessed on 13/03/12 from http://www.gateshead.gov.uk/Building%20and%20Development/conservation/areas.aspx 5 Great Britain, Elizabeth II, Planning (Listed Buildings and Conservation Areas) Act 1990, Chapter 9, Part II, Section 72 (Norwich: The

Stationery Office, 1990) 6 Information accessed on 13/03/12 from http://www.gateshead.gov.uk/Building%20and%20Development/conservation/areas.aspx

Figure 1. The site, within the context of the City and the Bridges.

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Within a Conservation Area the Local Council has extra controls over demolition, and to demolish an unlisted building in a Conservation area needs Conservation Area Consent. 7 Generally the council “view an application from the stand point of trying to retain the building so a case needs to be made for its demolition”8. In the Finnish Institute application the main architectural aim of the scheme is to retain the existing industrial buildings on the site, and to compliment these with sympathetic interventions in order to educate communities in building re-

7 David Chappell and Andrew Wilks, The Architect in Practice, (Chichester: Wiley Blackwell, 2010) p. 206 8 Information accessed on 09/03/12 from http://www.gateshead.gov.uk/Building%20and%20Development/conservation/areas.aspx

Figure 2. The Planning Framework concerning Gateshead, and the brief site.

Figure 3. MU19 from the UDP, illustrating the brief site.

use, thus satisfying the Council’s aim to retain character, skyline, materials and space. Conservation Policies generally presume against the loss of features which add to the special interest of the areas, and the retention of the sites existing landmark façade is key to the design outcome of proposals on the site.

The use of brownfield sites makes a large appearance at Regional and Metropolitan levels, where the Secretary of State’s changes to the RSS adopts the preference of brownfield land over greenfield land for development, and states that any development proposed should “secure the prudent use of resources by the effective and efficient use of such land by uses that look to foster social and economic cohesion”, as laid down in Development Control Policies DC2 and DC39, whilst the UDP agrees with the above position that development “should be centred upon a mixture of complementary uses that create inclusive environments that integrate with existing communities and neighbourhoods whilst maximising use of land”10. The UDP makes it clear that the broad range of uses should overlap, creating animation, inspiration and overall adding to the experience of public life. At Chapter 6 the Brief Site is delivered under Mixed-Use Policy MU19, which lists a number of uses that the Council deem as appropriate11, and the project brief given for the Finnish Institute lays down and overlaps three or four of these potential uses, so the aim in terms of Planning Frameworks should be to combine these with Conservation Policies in such a way that the public realm is enhanced. The UDP then continues, to say that the above uses are “considered permissive provided that any development is in accordance with policy ENV26 and Interim Policy Guidance Note 4 Tyne Gorge Study”12, a part of the RSS. This important study identifies the site as being within the Historic Gateshead Waterfront character area, and states or implies that “new build development that is too large in scale would mask the intricate urban grain and topography which allows for many dramatic viewing opportunities and thus has a large influence on the areas character”13. The development and design principles explicitly state that small scale development along the waterside would enhance the character of the waterside, a condition that again would comply with the Government’s Planning Policy Statement 114, and which affects the design and construction of the project. To this end the Government has focused upon promoting a combination of uses, thus making the most effective and efficient use of land. The importance of these objectives is reinforced

9 Information from: Brett Oils, “Brett Oils Development Brief”, (2007) p. 21 10 Ibid, p.21 11 Gateshead council, “Unitary Development Plan”, (Gateshead: Development and Enterprise, 2007) p. 62 12Ibid p. 62 13 Gateshead council, “Interim policy Advice 4; Tyne Gorge Study”, (Gateshead: Spatial Strategy Team, 2006) p. 13 14 The Office of the Deputy Prime Minister, “Planning Policy Statement 1: Delivering Sustainable Development”, (Norwich: The Stationery

Office, 2005) p. 12 Prof

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within Planning Policy Statement 1 – ‘Delivering Sustainable Development’15. In this sense, then, the proposed Finnish institute development on this site fits the governmental aim of making efficient and effective use of land, and is a development that proposes to put social inclusion and education at the forefront of its activity. However the scheme will have to work hard to improve the quality of the public inclusion into the currently negative and private site. However it would also have to retain the existing character, skyline, materials and space.

15 Ibid

Appendices: Image Credits Figure 1: Photograph courtesy of Bing Maps, accessed 15/03/12 Figure 2: Gateshead Council, ‘Local Development Scheme’ (Gateshead Council, 2005) p. 5 Figure 3: Gateshead council, “Unitary Development Plan”, (Gateshead: Development and Enterprise, 2007) p. 62

Bibliography Books: Chappell, David and Willis, Andrew. The Architect in Practice, Chichester: Wiley-Blackwell, 2010, p. 206

Reports: Gateshead council, Unitary Development Plan; Gateshead: Development and Enterprise, 2007

Gateshead council, Interim policy Advice 4; Tyne Gorge Study; Gateshead: Spatial Strategy Team, 2006

The Office of the Deputy Prime Minister, Planning Policy Statement 1: Delivering Sustainable Development; Norwich: The Stationery Office, 2005

Brett Oils, Brett Oils Development Brief; 2007

Acts of Parliament: Great Britain, Elizabeth II, Planning (Listed Buildings and Conservation Areas) Act 1990, c. 9, Part II, Section 72

Websites: Gateshead planning applications website, accessed on 11/03/12 from http://public.gateshead.gov.uk/online-applications/propertyDetails.do?activeTab=constraints&keyVal=0006CVHKLI000

Gateshead Conservation Areas website, accessed on 13/03/12 from http://www.gateshead.gov.uk/Building%20and%20Development/conservation/areas.aspx

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ARC3014: Professional Practice and Management

Mid-year practical experience during Part 1 studies Name: Andrew Wilson General Information Dates of Experience 12 Feb 2012 – 12 March 2012 Category of Experience n/a

Experience Level Part 1 Location UK School of Architecture/Monitoring Institution

Newcastle University

Professional Studies Advisor John Kamara PSA's Email John Kamara PSA's Phone No John Kamara Placement Provider Newcastle University Stage 3 Placement Address

School of Architecture, Planning and Landscape Newcastle University Newcastle upon Tyne NE1 7RU UK

Placement Phone No +44 (0) 191 222 5831 Placement Website http://www.ncl.ac.uk/apl/ Student's Phone No 07796991691 Student's Email [email protected] Brief Description of Placement Provider

Newcastle University’s Stage 3 of the K100 architectural studies course

Employment Mentor Kati Blom Mentor's Profession Architecture tutor Membership of Professional Bodies

SAFA, ARCHITECTA, Rakennustaiteen seura

Registration Number n/a Mentor's Email [email protected] Mentor's Phone No +44 (0) 191 222 6003

ARC3014: Professional Practice and Management Name: Andrew Wilson Project Details (repeat boxes as necessary if recording more than one project) Project Name The Finnish Institute

Project Description The brief is to design new premises for the Finnish Institute, which is currently situated in London. By this hypothetical move to Newcastle the Institution is seeking new perspectives in reaching the British audience. The task is to design a building, which works as a link between cultures. Encounters will increase not only between Great Britain and Finland, but also among countries around the Nordic Sea, in the spirit of new cultural era taking shape in the Quayside. The EU is currently encouraging the cooperation between local governments on regional level. This relocation of the Finnish Institute is therefore in harmony with changes in political activities in future.

Project Tasks 3

One objective of the project is to investigate how culture gives shape to architecture, and how architecture shapes us and our future. The project will address these rather abstract goals by introducing a real client. The task is to find the way to reinterpret Finnish values and the legacy of Finnish design in an English North Eastern setting at Tyneside. The other educational goal is driven from the above mentioned objective. Individual designs during the first period of course will evolve around the theme of catalyst and innovation. This project is focusing on the spatial implications of catering for various cultural agents, which are either representing or claiming to represent innovations, and can together with the Finnish Institute work for a positive change in society. Some agents are research institutes or agents, which are interested in social or other innovations. The potentials of the prototype are looked in the initial design phase for a small stage set for the chosen agent and matching activity

Work Stages Hours as participant Hours as observer A-B Preparation 38 n/a

Appraisal 8 n/a

Design Brief 30 n/a C-E Design 91 n/a Concept 20.5 n/a Design Development 70.5 n/a Technical Design n/a n/a F-H Pre-Construction n/a n/a Production Information n/a n/a Tender Documentation n/a n/a Tender Action n/a n/a K Construction n/a n/a Mobilisation n/a n/a Construction to practical completion

n/a n/a

L Use n/a n/a Post Practical Completion

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Totals 129

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ARC3014: Professional Practice and Management Name Andrew Wilson Work Stages – summary of hours from all projects

Hours as Participant

Hours as Observer Total

A-B Preparation 38 38

Appraisal 8 8

Design Brief 30 30

C-E Design 91 91

Concept 20.5 20.5

Design Development 70.5 70.5

Technical Design

F-H Pre-Construction

Production Information

Tender Documentation

Tender Action

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Mobilisation

Construction to practical completion

L Use

Post Practical Completion

Totals 129 129

Activities – non-project related

Task Hours completed Description

Office Management 8 Tutorials

3.5 Crits

5 Design Seminar and reflections

General 1 Design Exhibition Visit

12 Professional Practice Lectures

1 Revit tutorial

3 Design lectures

4 Precedent Studies

9 Essay Writing and research

Totals 46.5

ARC3014: Professional Practice and Management Name: Andrew Wilson Reflective Experience Summary Task performance and learning during this period of experience General Design work, learning carried out through general design experimentation and conceptual ideas. Not performed all weekly tutorial tasks to best of abilities I feel, but still think I have benefited overall Personal development & role performance evaluation As stated above, overall I feel better developed, but the design is currently only in relatively early stages. Lectures and exhibition visits have helped gain understanding and ideas. Aims for next period of experience n/a Further skills needed and actions to take to achieve aims Could work harder on use of models to achieve conceptual aims and ideas, and will need to improve verbal communication skills at tutorials – got ideas in my head, but sound “confused” when I convey them! Additional student comments, support required from placement provider n/a I confirm that I have worked in the above office between the dates stated and that the description of project details, tasks undertaken and learning achieved is accurate. Signature: ANDREW WILSON Date:15/03/12

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ARC3014: Professional Practice and Management Name: Andrew Wilson Student / Employment Mentor Appraisal Review of workplace experience: projects; work stages covered; key achievements / benchmarks gained Finnish Institute, using work stages A-D. During the period of experience I have increased my understanding of how to develop architecture that is described through a brief that is written by both the requirements of the Institute but also by a chosen client and their needs. Working on a personal and human level with real clients has hugely improved my communication skills, but there is still much to work on! Review of other experience: A number of extra-curricular lectures have been attended, all of which have helped me understand the role of the Architect in society and in the industry of construction. A group project analyzing the Sydney Opera house gave me good experience working with a group and with other people, and enabled me to work on my research techniques.

CPD completed: The group work has made me greatly appreciate that everyone has different styles of working, and this has also helped me to distill my own personal “style” of working and of Architectural language.

General student requests and discussion: I have had a few issues with feedback, and it is helpful to know how personal involvement in a project is developing at regular intervals, so this is something to be worked on. I really appreciate the inclusion of a real client into the brief, to add a certain special “ingredient” into everyones work.

Review of Reflective Experience Summary: Although it doesn’t feel like it I think I have improved my time management capabilities hugely over the period, and have learnt to sit and distill my thoughts into physical work much more effectively. Again, the inclusion of a client into the brief has hugely helped, as I have had to consider the fallout effect on other people at every design stage. Preparation for next 3 months/period of experience

TO BE COMPLETED BY MENTOR: Comments and advice Have you directly employed the student during this period of experience? YES NO I confirm that the student named above has worked under my direct supervision between the dates stated and that the description of project details and tasks undertaken is accurate. Mentor Name: Mentor Signature: Date:

Dissertation

ARC 3060

Title Image. Photo by Author, 23/12/10 Figure 1. Image adapted from Martin Spring,

“Sustainability in Practice,” Architecture Journal, Volume 233, number 12, p. 42.

Figure 2.1. Sustainable Development Commission, “Stock Take”, (London sd-commission, 2006) p. 7.

Figure 2.2. Ibid. Figure 3. Royal Commission on Environmental

Pollution, “The Urban Environment”, (Norwich: The Stationery Office, 2007) p. 115.

Figure 4. Janet Utley and Les Shorrock, “Domestic Energy Fact File” (Watford: BRE 2008), p. 36.

Figure 5. David P. Jenkins, “The value of retrofitting carbon-saving measures into fuel poor social housing”, Energy Policy 38.2 (2010): p.2. accessed December 6, 2011, doi:10.1016/j.enpol.2009.10.030

Figure 6. Photograph courtesy of GoogleMaps, accessed 21/12/2011

Figure 6.1. Image taken from: Energy Saving Trust “Energy Efficiency Best Practice in Housing; advanced insulation in housing refurbishment”, (London: EST 2005) p.8.

Figure 6.2. Image taken from: David Thorpe, Sustainable Home Refurbishment: The Earthscan Expert Guide to Retrofitting Homes for Efficiency (London: Earthscan, 2010) p. 41.

Figure 6.3. Image accessed on 28/10/11 from http://www.permarock.com/products/external_wall_insulation_systems/track.aspx

Figure 7. Image accessed on 28/10/11 from www.rod-neep.com/home/birds/sparrow02.jpg

Figure 8. Image accessed on 08/12/11 from http://www.guardian.co.uk/environment/ethicallivingblog/2009/apr/27/green-your-home-external-wall-insulation#

Figure 9. Image accessed on 09/12/11 from www.action21.co.uk/existing_buildings.html

Figure 10. Image accessed on 08/12/11 from http://www.ukstudentpassivhausconference.org.uk/uploads/4/7/2/1/4721930/robert_prewett_ph_student_conf.pdf p. 15

Figure 10.1. Ibid. p.12. Figure 11. Image accessed on 01/12/11 from

http://www.greenspec.co.uk/insulated-render.php

Figure 12. Image accessed on 03/12/11 from Copeland insulation publication http://tinyurl.com/dyq3xch

Figure 13. Image accessed on 21/12/11 from http://www.eurobrick.co.uk/index.html?mod=dcontent&id=4

Figures 14 – 19. Are author‟s own work, compiled from the Questionnaire survey answers

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1 John Hills, Fuel Poverty, the Problem and its Measurement,

(London DECC, 2011) p. 70-71. 2 David P. Jenkins, “The value of retrofitting carbon-saving

measures into fuel poor social housing”, Energy Policy 38.2 (2010): p.2 accessed December 5, 2011, doi:10.1016/j.enpol.2009.10.030

3 David Thorpe, Sustainable Home Refurbishment: The

Earthscan Expert Guide to Retrofitting Homes for Efficiency (London: Earthscan, 2010) p. 41.

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4 Sustainable Development Commission, “Stock Take”, (London

sd-commission, 2006) p. 7.

5 Ibid, p. 7. 6 Great Britain, Elizabeth II, Climate Change Act 2008, Chapter

27, Part 1 (Norwich: The Stationery Office, 2008).

7 Janet Utley and Les Shorrock, “Domestic energy fact file”

(Watford: BRE 2008), p. 18.

8 Department of Energy and Climate Change, “Statistical

Release; Estimates of Home Insulation Levels in Great Britain”, (London: DECC, 7 September 2011) p. 1.

9 Energy Saving Trust, “Sheffield EcoTerrace: A Refurbishment Case Study”, (London: EST, 2010).

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10 Sustainable Development Commission, “Stock Take”,

(London: sd-commission, 2006) p. 32. 11 David P. Jenkins, “The value of retrofitting carbon-saving

measures into fuel poor social housing”, Energy Policy 38.2 (2010): p.1 accessed December 5, 2011, doi:10.1016/j.enpol.2009.10.030

12 John Hills, Fuel Poverty, the Problem and its Measurement,

(London DECC, 2011) p. 70-71.

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13 Friends of the the Earth and The Marmot Review Team, “The

Health Impacts of Cold Homes and Fuel Poverty” (London: FotE & MRT 2011) p. 25.

14 Department for Transport, “Reported Road Casualties in Great Britain: Main Results 2010; Statistical release” (London: Department for Transport, 2011) p.1.

15 Fuel Poverty report accessed 13/11/11 at http://www.bbc.co.uk/news/business-15359312

16 Governmental Fuel Poverty website accessed 29/12/11

http://www.poverty.org.uk/80/index.shtml 17 Janet Utley and Les Shorrock, “Domestic Energy Fact File”

(Watford: BRE 2008), p. 36.

18 Janet Utley and Les Shorrock, “Domestic energy fact file”

(Watford: BRE 2008), p. 10. 19 Ibid. p. 10.

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20 UK Government Fuel Poverty website, Accessed 08/11/11.

http://www.poverty.org.uk/80/index.shtml 21 Department of Energy and Climate Change, “Statistical


22 Rob Veck, “External wall insulation suddenly looks a sexy

proposition”, Website accessed 07/11/11 http://www.guardian.co.uk/environment/ethicallivingblog/2009/apr/27/green-your-home-external-wall-insulation#

23, Bjørn Jelle, Arild Gustavsen and Ruben Baetens “The path to

the high performance thermal building insulation materials and solutions of tomorrow”, Journal of Building Physics; October 2010, Volume 34, Issue 2, p. 99.

24 Department of Energy and Climate Change, “Statistical Release; Estimates of Home Insulation Levels in Great Britain”, (London: DECC, 17 June 2011) p. 3.

25 Stephen Kennett, “It‟s what‟s on the outside that counts” Building Magazine; Volume 275, Issue 8617(7) 19th Feburary 2010, p. 61.

26 Ibid. p.61.

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27 Energy Saving Trust “Practical refurbishment of solid-walled

homes”, (London: EST 2006) pp. 18-21. 28 David Thorpe, Sustainable Home Refurbishment: The

Earthscan Expert Guide to Retrofitting Homes for Efficiency (London: Earthscan, 2010) p. 57.

29 http://www.greenspec.co.uk/insulated-render.php accessed on

29/12/11

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30 Robert Prewett, „Passivehaus diaries; keeping it all in‟,

accessed on 29/11/11 http://m.building.co.uk/technical/ecobuild/passivhaus-diaries-keeping-it-all-in/5013384 article

31 Ibid.

32 Martin Spring, “Sustainability in Practice,” Architecture

Journal, Volume 233, number 12 p. 42.

33 Ibid, pp. 43-44. 34 Stephen Kennett, “It‟s what‟s on the outside that counts”,

Building Magazine; Volume 275, Issue 8617(7) 19th Feburary 2010, pp 60-61.

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35 Chris Wood, “Part „L‟ – Question of compromise?”, Context

Magazine, Volume 90, July 2005, pp. 19-21. 36 Dr Alan Davies, “Why do we love old buildings so much?”,

Accessed on 20/12/11, http://melbourneurbanist.wordpress.com/2011/05/11/why-do-we-love-old-buildings-so-much/

37 Planning (Listed Buildings and Conservation Areas) Act 1990, c.9, Part II, Designation, Section 69.1a

38 English Heritage, “Energy Efficiency in Historic Buildings;

Insulating Solid Walls” (London: English Heritage, 2010) p. 10.

39 Ibid, p. 10. 40 Dennis Rodwell, “Balancing Energy Conservation and

Building Conservation”,Context Magazine, Volume 77, 2002, p. 24.

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41 Article accessed on 02/12/11 from

http://www.buildingconservation.com/articles/heritagepbill/heritagepbill.htm

42 Ibid.

43 Sustainable Development Commission, “Stock Take”,

(London sd-commission, 2006) p. 7. 44 Climate Change Act 2008, c.27, Part I, Carbon Target and

Budgeting, Section 1.1 45 Tim Yates, “Refurbishing Victorian Housing; Guidance and

assessment method for sustainable refurbishment”, (Watford: IHS BRE Press, 2006) p.3.

46 Information accessed on 21/12/11 from

http://www.eurobrick.co.uk

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48 Information accessed on 21/12/11 from http://www.eurobrick.co.uk

49 Jonathan Hale, The Old Way of Seeing; How Architecture Lost

its Magic, And How to Get It Back, (New York: Houghton Mifflin, 1995), p. 1.

50 Erik S. Beehn, accessed on 29/12/11 at http://www.erikbeehn.com/templatePages/pdfWriterSta.php?navGallID=Statement

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52 „Sustainable Development Commission, “Stock Take”, (London sd-commission, 2006) p. 7.

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54 For further information (accessed 09/01/12) see

http://www.fitariffs.co.uk/FITs/

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Hale, Jonathan. The Old Way of Seeing; How Architecture Lost its Magic, And How to Get It Back, New York: Houghton Mifflin, 1995, p. 1.

Thorpe, David. Sustainable Home Refurbishment: The Earthscan Expert Guide to Retrofitting Homes for Efficiency. London:

Earthscan, 2010, pp. 41-57.

Jelle, Bjørn P., Arild Gustavsen and Ruben Baetens Journal of Building Physics “The path to the high performance thermal building insulation materials and solutions of tomorrow”, October 2010, Volume 34, Issue 2, pp. 99 – 1231

Jenkins, David P. “The value of retrofitting carbon-saving measures into fuel poor social housing”, Energy Policy 38 (2010)

832-839. Accessed December 5, 2011, doi:10.1016/j.enpol.2009.10.030 Kennett, Stephen. „It‟s what‟s on the outside that counts‟ Building Magazine; Volume 275, Issue 8617(7) 19th Feburary 2010

pp. 60-61. Rodwell, Dennis. “Balancing Energy Conservation and Building Conservation”, Context Magazine, Volume 77, November

2002, pp. 24-25 Spring, Martin. “Sustainability in Practice,” Architecture Journal volume 233, number 12 pp. 41-44. Wood, Chris. “Part „L‟ – Question of compromise?”, Context Magazine, Volume 90, July 2005, pp. 19-21.

Department for Transport. Reported Road Casualties in Great Britain: Main Results 2010; Statistical release. London:

Department for Transport, 2011. Department of Energy and Climate Change. Statistical Release; Estimates of Home Insulation Levels in Great Britain.

London: DECC, 2011. Energy Saving Trust. Practical refurbishment of solid-walled homes. London: EST, 2006. Energy Saving Trust. Sheffield EcoTerrace: A Refurbishment Case Study. London: EST, 2010. English Heritage, “Energy Efficiency in Historic Buildings; Insulating Solid Walls” (London: English Heritage, 2010) p. 10. Hills, John. Fuel Poverty, the Problem and its Measurement. London : DECC, 2011. Sustainable Development Commission, “Stock Take”, London: sd-commission, 2006. Utley, Janet, and Shorrock, Les. Domestic energy fact file. Watford: BRE, 2008. Yates Tim, “Refurbishing Victorian Housing; Guidance and assessment method for sustainable refurbishment”, (Watford: IHS

BRE Press, 2006) pp.1-4

Great Britain. Elizabeth II. Climate Change Act 2008, c. 27, Part 1. Great Britain. Elizabeth II. Planning (Listed Buildings and Conservation Areas) Act 1990, c.9, Part II, Section 69.1a

Greenspec Insulation. “Solid wall retrofit insulation” Accessed on 21/12/11 http://www.greenspec.co.uk/insulated-render.php Prewett, Robert. “Passivehaus diaries; keeping it all in”. Accessed on 29/11/11

http://m.building.co.uk/technical/ecobuild/passivhaus-diaries-keeping-it-all-in/5013384.article Mascall, Roger. “The Heritage Protection Bill; Fundamental Reform for England and Wales?” Accessed on 02/12/11 from

http://www.buildingconservation.com/articles/heritagepbill/heritagepbill.htm Davies, Alan, “Why do we love old buildings so much?” Last updated 11 May 2011

http://melbourneurbanist.wordpress.com/2011/05/11/why-do-we-love-old-buildings-so-much/ Eurobrick official website, accessed on 21/12/11 at http://www.eurobrick.co.uk Erik S. Beehn, accessed on 29/12/11 at http://www.erikbeehn.com/templatePages/pdfWriterSta.php?navGallID=Statement Feed-in-Tariffs Government website, accessed 09/01/12 at http://www.fitariffs.co.uk/FITs/ BBC News. “Fuel Poverty report”. Last updated 19 October 2011. http://www.bbc.co.uk/news/business-15359312 UK Government. “Official Fuel Poverty Website”, accessed 01/12/11 at http://www.poverty.org.uk/80/index.shtml Veck, Rob. “External wall insulation suddenly looks a sexy proposition”, Last updated 7 April 2009.

http://www.guardian.co.uk/environment/ethicallivingblog/2009/apr/27/green-your-home-external-wall-insulation#

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Arc 3001; ‘middlesbrough film Archive’

A new home for the nrftA in middlesbrough*

* The original A1 pages for this project are located in the accompanying A1 portfolio case

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MIDDLESBROUGH FILM ARCHIVE

SItE SELECtIOnSite A - ‘Alber t Road ’ Site

Site B - ‘E xchange Square ’ Site

Site C - ‘ School Yard ’ Site

Area600m²

+S tation Platform

Area600m²

+E xchange Square

Area600m²

+Arches / Tunnel

The project proposes a new shop window’ for the NRFTA (Northern Region Film and Television Archive – http://www.nrfta.org.uk/) located in Middlesbrough. Currently the NRFTA functions from two primary locations: an archive located in Newcastle and a new state of the art archive and restoration facility situated within the University of Teeside Campus . Neither facility offers much by the way of a visitor experience yet the organisation is keen to engage with the public and to raise its profile. Whilst the NRFTA hold a significant col lection of official footage such as ‘The Tyne Tees Collection’ they are keen to increase their col lection of unofficial histories of home movies and amateur footage. With mobile phones able to make movies these more personal perspectives are only going to proliferate. The Middlesbrough Film Archive project seeks to provide an engaging and inspiring front door for the NRFTA, one that will both showcase existing collections whilst also providing repository for the ever growing number of unofficial histories. The project asks how architecture might engage with the public and also questions how personal histories might be collected and displayed.

The site adjacent to Middlesbrough station is simultaneously hidden and exposed providing opportunities for varying degrees of engagement catering for the casual observer and specialist researcher alike. It is located in the no-man’s- land between the historic Middlesbrough centre and the brave new world of Alsop’s Middlehaven and sits on what might be imagined to be a new cultural axis adjacent to the Middlesbrough Archive. The site is also near the new BOHO 1 creative business incubator, and is surrounded on two sides by further incubator units. The intention is that the new building will also provide facilities that can be shared by some of these businesses along with possible links to the nearby Middlesbrough College.

MIDDLESBROUGH FILM ARCHIVE

T he pro ject proposes a new shop window ’ for the NRF TA (Nor ther n Reg ion Fi lm and Televis ion Archive – http://www.nr fta .org.uk/) located in Middlesbrough. Cur rent ly the NRF TA funct ions from two pr imar y locat ions: an archive located in Newcast le and a new state of the ar t archive and restorat ion fac i l i ty s i tuated within the University of Teeside Campus. Neither fac i l i ty offers much by the way of a v is i tor exper ience yet the organisat ion is keen to engage with the publ ic and to raise i ts prof i le . W hilst the NRF TA hold a s ignif icant col lect ion of off ic ia l footage such as ‘ T he Tyne Tees Col lect ion’ they are keen to increase their col lect ion of unoff ic ia l histor ies of home movies and amateur footage. With mobi le phones able to make movies these more personal perspect ives are only going to prol i ferate.

T he Middlesbrough Fi lm Archive pro ject seeks to provide an engag ing and inspir ing front door for the NRF TA , one that wi l l both showcase exist ing col lect ions whi lst a lso providing repositor y for the ever growing number of unoff ic ia l histor ies . T he pro ject asks how architecture might engage with the publ ic and a lso quest ions how personal histor ies might be col lected and displayed.

T he s i te ad jacent to Middlesbrough stat ion is s imultaneously hidden and exposed providing oppor tunit ies for var y ing degrees of engagement cater ing for the casual obser ver and specia l ist researcher a l ike. I t is located in the no-man’s - land between the histor ic Middlesbrough centre and the brave new world of A lsop ’s Middlehaven (http://www.alsoparchitects .com/) and s its on what might be imag ined to be a new cultural axis ad jacent to the Middlesbrough Archive. T he s i te is a lso near the new BOHO 1 creat ive business incubator, and is sur rounded on two s ides by fur ther incubator units . T he intention is that the new bui lding wi l l a lso provide fac i l i t ies that can be shared by some of these businesses a long with possible l inks to the nearby Middlesbrough Col lege.

IntRODUCtIOn

DERELICt‘COttAGE’

MIDDLESBROUGHStAtIOn

MIDDLEHAVEn

The project proposes a new shop window’ for the NRFTA (Northern Region Film and Television Archive – http://www.nrfta.org.uk/) located in Middlesbrough. Currently the NRFTA functions from two primary locations: an archive located in Newcastle and a new state of the art archive and restoration facility situated within the University of Teeside Campus . Neither facility offers much by the way of a visitor experience yet the organisation is keen to engage with the public and to raise its profile. Whilst the NRFTA hold a significant col lection of official footage such as ‘The Tyne Tees Collection’ they are keen to increase their col lection of unofficial histories of home movies and amateur footage. With mobile phones able to make movies these more personal perspectives are only going to proliferate. The Middlesbrough Film Archive project seeks to provide an engaging and inspiring front door for the NRFTA, one that will both showcase existing collections whilst also providing repository for the ever growing number of unofficial histories. The project asks how architecture might engage with the public and also questions how personal histories might be collected and displayed.

The site adjacent to Middlesbrough station is simultaneously hidden and exposed providing opportunities for varying degrees of engagement catering for the casual observer and specialist researcher alike. It is located in the no-man’s- land between the historic Middlesbrough centre and the brave new world of Alsop’s Middlehaven and sits on what might be imagined to be a new cultural axis adjacent to the Middlesbrough Archive. The site is also near the new BOHO 1 creative business incubator, and is surrounded on two sides by further incubator units. The intention is that the new building will also provide facilities that can be shared by some of these businesses along with possible links to the nearby Middlesbrough College.

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In analysing and selecting a site, many factors were taken into consideration. the most im-portant of which were:

The selection of Site B was undertaken for several reasons:> The opportunity to develop Exchange Square as a focal point along the cultural axis, and as a “shop window” for the digital city movement.> The strong possibilities of an Architectural dialogue with both Middlesbrough and Middlehaven> Equal access from BOHO, College, university, MIMA and the station> Creation of a hinge point in the division of Middlesbrough

> A dictated and appropriate dialogue between Middlesbrough and Middlehaven > Providing possibilities for an “engaging and inspiring” front door for the NRFTA > Provision of facilities to be shared by BOHO, Tees University and Middlesbrough College> Ability to complete cultural axis and provide local gathering/focal point

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Environmental and Modular Strategies

Environmental Strategy

Structural Strategy

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1:100 final model with removable floorplates, highlighting the atrium and stagger

Left; 1:50 model showing detail of 1 bay

Far left; structural bay divisions of the long hallway at 1:100 scale

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Thinking Inside the Box

Charette Project

Group 24 Sophie McLean, Alanah Honey, Andrew Wilson, Pippa wray,

Horace Wang, Hans Andreas and Song Menggi

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Part 1 Architecture Portfolio

Documents

Transcript of Part 1 Architecture Portfolio