MAKE.nism Design Report.pdf

7/30/2019 MAKE.nism Design Report.pdf

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Make.nismResilience through education

ARC550 Design Report

Studio 7 Eirini Christofdou 110216663


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of the record // inspiration

Figure 1 University of the Neighbourhood, Wilhelmsburg, Hamburg, Germany

This photograph shows the local children helping the students from the School od Architecture & Urban De-

sign from HafenCity University pull up a treehouse. The treehouse used old plastic bags which were donated

for free, and knitted a tear-drop like swing. The workshop focuses on using local resources and re-appropria-

tion of waste materials to create innovative and unique furniture. The pedagogical philosophy used in the UdN

is that of civic engagement and contribution. Everyone who lives on site, needs to contribute to the construc-

tion of the University and conduct a thesis project within the community of Wilhelmsburg.

I have attended the Baumhaus workshop as a participant in July 2012.

Projekt Baumhaus

i


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MAKE.nism is a speculative Masters level architectural designthesis, based on real events and real people who live and work in the

Lower Ouseburn Valley in Newcastle, United Kingdom.

This project is an alternative lifelong learning education centre at the

heart of the LowerOuseburn, 49 Lime Street.

MAKE. Inspired by civic pedagogy, and the potential of opening upthe architectural education and practice to the public, this centre aims

to explore the impact cultural production and creative practices can

have on the regeneration of a post-industrial and sensitive area. This

project was born from my personal desire to envision a future where

I, as an architect, will be a member of a community, observing exist-

ing habitation patterns and actively create events and spaces through

cross-collaboration with other (trans)local actors.

MAKE.nism Dr. Melanie Dodd, muf_aus, in her thesis, Betweenthe lived and the built, comes to the conclusion that the architect

plays multiple roles and takes on many personae, that of a student,

an educator, a space maker, a craftsperson, an artist, a policy-maker

and so on. Challenging the current architectural education system,

this centre encourages local architecture students to immerse them-

selves in a vibrant artist community, where local experts become the

educators. Taking a hands-on approach, students will be asked to aid

the community/communities to develop tools, strategies and social

mechanisms to withstand future challenges.

James Longfeld - the civic architect. A second year PhD studentfrom the University of Newcastle, James chose to move into Byker

Wall and continue the legacy of participatory design on Ralph Erskine.

During the course of this project, James become my voice, as he will

be leading a studio as part of the Part II Linked Research module.

This report is documenting any encounters I have had with various

actors in Ouseburn and creates a theoretical framework in which this

project develops.

Abstract

ii


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Lower Ouseburn Valley

Figure 2 Axonometric drawing of Ouseburn Valley, by Jessica Evansiii


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contents

abstract

i inspiration

ii abstract

iv contents

01 Introduction

3 Introducing Studio 7

5 Dening resilient communities

6 Failure of the capitalist economic model

8 Investing in social capital

11 The civic architect

02 On site

15 Lower Ouseburn Valley

16 A timeline of regeneration schemes

18 An urban framework for Ouseburn

19 Capturing the character of Ouseburn

21 Who invests in Ouseburn?

03 In site

25 Mapping local skills and resources

27 49 Lime Street: Canvas Works

04 Meeting James

33 Creating a persona

05 Brief development

37 Developing the brief

39 Phasing

41 Creating a stakeholders map

43 Education as a tool to raise social value

45 Reawakening Lime Street50 Initial spatial moves and site analysis

06 Bibliography

07 Appendix

58 Appendix 01:Live no more?

59 Appendix 02: Space in the making. Ethics in the making.

iv


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01 Studio 7


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2

By 2010 the Lower Ouseburn Valley will be a thriving, sustainable,

urban village in aunique riverside location within the city of Newcas-

tle [...] A wide range of businesses especially those related to crea-

tive, innovative, multi-media and cultural activities will be prospering

in the area. The Valley will also be home to a stable mixed residen-

tial community. A wide variety of services and leisure opportunities

will be available for residents, employees and visitors to the area.3

Figure 3 Disused space on Lime Street


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3

Introducing Studio 7

Living with the catastrophic consequences of the global eco-

nomic meltdown, the topic of resilience in urban communities

has never been more timely. Studio 7 is set to dene the termsresilience and community by borrowing values, research

methodologies and theories from other disciplines as varied as:

ecology, economics and sociology.

We will consider this denition of resilience and explore and

develop spatial strategies that explore alternative to existing

models of production, living and working. We will look to

develop resilient networks based on social, cultural and

economic ecologies.4

Project objectives

This design report aims to introduce the themes and ealry

research that have created the theoretical framework of MAKE.

nism. It also positions me, as the author and designer of this

theisis project, within the context of Studio 7 and the Lower

Ouseburn Valley.

Through this report the threads that helped weave the story of

this project will be evident. The tone of this report will alternate

from a more personal - when reacting to things- and to more

formal, academic tone, when analysing concepts and theories.

A sequence of events, some purposeful and some unplanned,

led to the formation of MAKE.nism as an intention and designprogramme.

In the rst section of the report, all the initial research undertak-

en by Studio 7 as a collective of 13 postgraduate students. This

section sets a global and abstract scale in which this project ex-

ists. There was a variety of tactics used to understand the terms

resilience, community and social capital within the global

ecology we inhabit.

The second section deals with the process of familiarising my-

self with Ouseburn as a place. It deals with the supercial and

the rst impressions of my encounter with the place. We used

more conventional methods to understand Ouseburn, research

its history, as well as using walking as a method to explore

a place and by creating a Studio 7 Urban Framework for the

Lower Ouseburn Valley.

From the third section onwards, the focus of the report shifts

and it talks about the chance encounters and the process of

revisiting Ouseburn and analysing it as a system of resources.It

traces all the steps taken to establish and develop the brief for

MAKE.nism.

3 Newcastle City Council, Regeneration Strategy for Lower Ouseburn

Valley, Newcastle: NCC, 2003, pp.4

4Sampson, J., M.Arch Course Handbook: Studio 7 -Resilient

Communities, Shefeld: SSoA, 2013




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4

Towards a studio denition of a Resilient CommunityDenition based on workshop held on 06.02.13.

A resilient community values time

A resilient community values people

A resilient community requires active participation

A resilient community requires social and economic diversity

A resilient community enables and values connections

A resilient community encourages learning and experimentation

A resilient community is exible and manages change through feedback

A resilient community has a level of built in tolerance, and nally

A resilient community is a place where people can feel happy and enjoy life.

Figure 4 Speed dating knowledge swap at Dening resilience workshop (06/02/2013)


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5

What is resilience?

Stemming from the law of elasticity, from the eld of physics,

resilience is the ability of a substance or object to spring back

into shape, after pressure has been applied to it5. In the

context of Studio 7, resilience is not limited to an entity,it

denes the ability of an individual or a system to recover from

a shock or stress. Resilience is a dynamic process, where the

system develops an ability to self-organise itself and built

capacity to adapt and withstand future shocks6.

As a phenomenon, resilience can be applied to various

systems: ecology, culture and psychology. James Neill, a

lecturer at the Centre of Applied Psychology, in the University of

Canberra, Australia, talks about cultural resilience as the

capacity of a culture to maintain its identity, yet through critical

self-reection and everyday practices of its norms, to develop.

Being resilient suggests that a culture is capable to react to

other cultures, external threats and internal re-structuring7.

Personal methodology

Inspired by my participation to civic workshops in the UK,

Germany and Romania, which i will talk about later on in the

report, I am interested in furthering my research to the value

of civic, live and contextual education. Through MAKE.nism

I hope to test the ability of education as a mechanism thatenables connectivity and inspires active participation from the

member of a community. Using education and the process of

exchanging skills and knowledge, it will allow a community to be

culturally more resilient.

In contextualising education, in a real environment with real

stakeholders and real limitations, students will associate with l

ocal experts and local students, to create a knowledge and

skills commons for the community groups in Ouseburn8.

Alluding to the principles of alternative economic models, like

the cooperative and time banking, and alternative models own-ership, like community land trusts, the brief of the project is de-

veloped on harvesting local resources to develop an alternative

regeneration scheme. Furthermore, it is inspired by the practice

of mutualism and permaculture, which was investigated in the

early stages of the project. MAKE.nism is a vehicle for personal

and therefore social transformation, as it is an education centre

which allows for multiplicity of voices and alters the normative

architectural education model from a hierarchical structure, to a

hierarchy in ux9.

Defning resilient communities

5 Collins, Denition of resilience, Collins English Dictionary -

Complete and Unabridged [Online]. Glasgow: Collins, 2003

6 ibid

7 Neill, J., Dening resilience, [Online] http://www.wilderdom.com/psychol-

ogy/resilience/, 09th May 2006

8 Dodd, M., Harrisson, F., Charlesworth, E., Live Projects: Designing with

people, [Online] http://learningarchitecture.wordpress.com/2012/11/05/

published-live-projects-as-critical-pedagogies/ Accessed: February 2013

9 Webster, H., Facilitating critically reective learning: excavating the role of

the design tutor in architectural education.Art, Design & Communication in

Higher education, vol.2 (3), 2004, pp.4


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people that remain unemployed for longer than a year.1111United Nations, Ahead of International Youth Day, Ban warns of risk of creating a lost generation [Online] http://www.un.org/apps/news/story.asp?NewsID=42660#.UR6bJqVrV8I, August 2012,Ac-

cessed: February 2013

The diagrams on the left, present the capitalist model. Contrasting the capitalist model is to the right, the mod-

el of a copperative market. Cooperatives are based on the principle that every member in their organisation is

equal, regardless of that persons capital or social power. Even though the cooperative market takes a small

fraction of the UKs economy, it has been steadily growing over the past ten years. With a democratic and

transparent structure, the cooperative is a ne example of how an alternative model of economy can be more

resilient, as they are based on strong social networks that share the resources in a fair and sustainable way.

Despite the fact that cooperatives can be also prot-making organisations, they are governed by a strong

ethos and a moral obligation to act for the benet of the wider community they exist in. What is unique to such

alternative models is that even though they talk about the economy, they dont always start from nance.

Figure 8 Model of the capitalist economy, courtesy of Neil

Micheils, Nick Hunter & Jonathan Orlek

Figure 11 Model of a workers cooperative, where everyone has

a fair share of the prots and an equal say in decision making.

Figure 9 Growth of the economy, director benets the most Figure 12 With the growth of the market, all the members of

the cooperative benet the same.

Figure 10 Failure of the market, director is affected the

least

Figure 13 With a failure of the market all the members bear the

same loss.


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Te most pressing problem facing humanity now is how to share scarce planetary resources in ways thatare just, sustainable and support the well-being of us all.12 12 New Economics Foundation, The Great Transition,2009, pp.14

ENVIRONMENTAL

PERSONAL

POLITICAL

TECHNOLOGICAL

CULTURAL

ECONOMICAL

SOCIAL

DEF

ENCE

NEWS

NETWORKSThe social networks which

exist in order to support the

needs of society.

NEEDS

Support Network

Family

Friends

Power Network

Government

Unions

Commons

Knowledge share

Food (Sheffield)

Support Network

Leisure

Community

Local political social centre

(Sheffield)

Social Network (using technology)

Facebook

Twitter

LinkedIn

GIST

Skills Network

Kowledge share

CharitiesSocial Enterprises

The Glass-House

(London)

Collaborative Network

Religion

Arts

SKINN (Sheffield)

Figure 14 Social network in play that support and provide for the needs of the

individual, the society and of the planet

Investing in social capital


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9

Investing in social capital

We live in a time where we have to re-assess the needs of theindividual, the society and of the planet. Resources are scarces

and it is important to understand the social networks that are in

motion to support these needs.

We have so far underestimated the value of the social networks,

as things as love, trust, ethics could not be quantied in norma-

tive capital terms. The New Economics Foundation has devel-

oped a tool to measure value that goes beyond the nancial,

Social Return on Investment13 . If we understand and invest in

social networks, there will be multiple benets for the society,

environment and economy. Social networks really do matter to

people, yet they are rarely addressed or considered when deci-

sions are being made. Conventional economics do not capture

what really matters to us and there are many things which we

value, as societies and individuals, which cannot be easily cap-

tured in economic terms14

In order to empower a community to form their own alternative

system of owning and managing resources, we need to under-

stand the social networks and bonds in play, and what connec-

tions need to be created to make a local community ecology

and economy resilient to future shocks.

What is social capital?

Using Tom Sanders classications there are three types of so-

cial capital: bonding capital, bridging capital and linking capital.

Bonding capital is the close ties between people in similar

circumstances, an example would be the social structure of a

family and the relationship friends forms between them. Such

bonds are built on trust,

reciprocity, and a shared sense of belonging and identity. This

primary bond is essential for a communitys sensse of belonging

and for an individuals well being.

Bridging capital refers to the relationship people in similar

context have, like coworkers in an ofce, acquaintances. This

is a more removed form of social capital from bonding. Bridg-

ing allows people across different networks and communities

to share a view, or a goal, develop a shared belief system and

landguage and work towards achieving it. This form of capital

will allow community members to invite others, even external

stakeholders, to help them nd an innovative solution.

Finally, linking capital talks about people with different levels of

power and status meet and learn from one another. It is the

ability of groups to access networks of power and resourcesbeyond their immediate community.15

13 New Economics Foundation, A guide to: SROI [Online]

http://www.neweconomics.org/publications/guide-social-

return-investment Accessed December 2012

13 ibid

15Sampson, J., M.Arch Course Handbook: Studio 7 -Resil-

ient Communities, Shefeld: SSoA, 2013


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10

Lisa Procter

LINKING

A

rchitect

Users

Client

BRIDGING

BONDING

Map of the UK, showing the city of Sheeldwhere the Live Project group was based and the

town of Doncaster, where our Client is.

SheeldDoncaster

Live Project 09

How can 11 people of 8 different

nationalities and varyingacademic backgrounds, createa common identity for such ashort period of 6 weeks?

Nodal hierarchies within thetemporary community of theLive Project group 09. In my

personal view, this communityhad a lot of trouble setting up astructure that was resilient

enough to withstand tensions inthe network and brief.

The School of Education

Doncaster Civic Trust

The town of Doncaster

The University of Sheffield

Doncaster Council

SSoA

Toolkit for Doncaster

Website Mobile phone application

Main clients

98 Primary schools

Community

Visitors

Satwinder Samra

Live Project

09

!

KeyExisting networks

Potential networks

Skills

Funds

Trust

!

How can the architect help increase bridging social capital?Should our education occur more outside of the studio?

How involved should the architect be in the process of building a community?Should the architect share the common values and help strengthen a communitys identity, not only through

design, but also through civic action?

Figure 16 What is the role of the architect in increasing

social capital?


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11

Using the Live Project I was a member of in

2012, as an example of the three social capital

types in action, I have realised that working withreal clients in a real context, architects hold a

very important role in creating social value in a

community. Our Live Project group worked with

Doncaster Civic Trust to create an educational

Toolkit for the youth of the city to engage with

their surrounding environment and architecture.

Having to work with an established community

group, Live Project 09 had to form its own social

bonds internally very quickly during week one.

During weeks two to ve, of the overall six weekproject we co-existed in Doncaster with our cli-

ent. At that point there were two roles we played

as architect: that of an author sitting in the Arts

Tower producing (valuable) work and one of the

civic architect who walked in the streets of the

town and participated in its everyday activities.

Finally with the end of the project, our temporary

community, of the live project group dissolved.

In this drawing I question whether the involvment

of the architect should cease with the practicalcompletion of a project? The nished product

has had a very positive impact on the youth of

Doncaster, as through the toolkit and the games,

they have rediscovered their sense of ownership

and pride for their hometown. However, I ask

whether the architect should be a member of

a community,to help further enhance resilience

through creative practices?

How can we, as architects, be more active on

a civic level? How can we make the production

of space more transparent, more inclusive andmore sustainable on social, envirionmental and

economic terms?

What will be the role of the architect in a world

where everything is so intrinscally interconnect-

ed?

Te civic architect

Doncaster Civic Trust

Borough of Doncaster

Live Project09

t t

t

thedeliveryarchitect thecivicarchitect

Whatisthemidground?

LP09civic architect

LP09the author

Balby YouthCentre

BentleyPrimarySchool

DoncasterYouth

Council

Doncaster Civic Trust Live Project group

t t

t

Figure 17 The creation Week 01Forming a community. What is our identity?Forming trust within our group. No visible hierarchy, the

membrane of the group is still thin and uid.

Figure 19 The dissolution Week 06 - onwardsDisrupting the networks

Breaking up the community , which ties are maintained?

Figure 18 The co-existence Weeks 02 - 05

Two types of architect: the author and the civic architect

While being in the process of making the Toolkit we were collaborating

with the Client and the community, but did weactually co-author the

output?


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02 Onsite


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15

Lower Ouseburn Valley

The Lower Ouseburn Valley has a distinct character which

comes from its long and varied industrial history. Having an

unusual mix of character with a very distinct topography, Ouse-

burn is an underutilised area. Since the degradation caused by

the removal of the industry, the Citys Council has been undera lot of pressure to re-introduce housing and attract investment

into the area, due to its proximity to the citys centre (just a mile

away), the Quayside and Gateshead Quays12.

Newcastle City Council has developed an urban strategy for the

Lower Valley, with the urban village as the concept for the

masterplan. They want to promote diversity in use and urban

grain, and provide services, a range of employment, leisure,

community facilities, open spaces as to make the area a desired

place to live.

Carrillon-igloo are collaborating on a masterplan for the area

(diagram above), which will follow the same principles outlined in

the Lower Ouseburn Regeneration Strategy, published by NCC.

There will be a total of seven phases, all concentrating on the

mouth of the Ouseburn river. By the end of 2017, it is expected

that there will be a new resident population of approximately

1,000 people in the Lower Valley13. MAKE.nism is developing

alongside this masterplan and deals with a very small site, the

former Canvas Works on Lime Street, in an area of high cultural

and heritage signicance.

Going beyond large urban moves, the project ivestigates how

disused buildings and vacant plots in the heart of Ouseburn can

be used to reinforce the areas character and create a stronger

sense of community?



13 Carillion-igloo, Ouseburn Mouth Delivery Partner, Newcastle: Newcas-

tle City Council, pp.20

Figure 10 Overall view of the Carillion-igloo masterplan for the Ouseburn

Mouth

Figure 9 Ouseburn in relation to the UK and Newcastle

Toffee Factory

Tyne Bar

Lime Street

Seven Stories

The Cluny

Ouseburn Farm

Northen Print

Byker Estate - The Wall

St. Anns Courts Estate

St. Anns Church

1

2

3

4

5

6

7

8

9

10


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A new class responsible for giving the Valley a new identity, was formed. The arts and culture industry has

gradually gained ground, reconstructing Ouseburn bit by a bit. One of the earliest artists studios cooperative

established in the area was 36 Lime Street Studios coop, continued growing and became a community asset.

The culture industries have developed a very strong social web, where they form a coalition to face things like

the cuts in funds by local authorities, as a unied front. Each studio had to learn to develop a system and rulesthat would allow it to continue functioning with minimal external nancial support. Therefore there was a very

interesting internal process occuring, trying to generate development by using resources efciently.

930 1940 1950 1960 1970 1970 1980 1990 2000 2010

closedsry

1963Maling Potterycompletely closed Ouseburn are regarded as an

economic asset, increasing thevalue of area.

Since the 1980s artists have come

to the Valley, occupying and

identity of Ouseburn. Many funds

the artists and this new brand ofthe area.

attract external investors, like igloo.

1939VictoriaTunnelandtheCulvertareconvertedintoAirRaidShelters

1982MetroBridgebyOveArup.

1979

cametopower

1984MinersStrikeitbecameasymbolicstruggle

1929Wall Street crash

1976Former NorthumberlandLead Works becomes the

City Farm Byker.

Urban village

1930Slum clearances begin, just a few

buildings survive demolition.

1940s-1950sSlum clearance programme

continues.

1960sLand clearance from the City Stadium

to below Byker Bank enforced using theCompulsory Purchase Orders

1997-2002Single Regeneration Budgets gives 2.4

million to recover the local economyand community in Ouseburn Valley.

1950

Valley above Ouseburn Culverends.

1968Ralph Erskine begins the design forByker estate. Tenants are encouragedto participate in the design process.

1982Tyne and Wear Development

Corporation undertakes the Quaysideredevelopment.

1985Ouseburn Trust formed

1982

more than 2,500 houses areprovided.

1939-1942WW2

7,791

Figure 12 Culture industries in Ouseburn have learnt how to be resilient as a self-sufcient organism, and by c reating a united front

to ght for common issues affecting their viability. They are perhaps a good example of a community resilience on a micro-scale.


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An urban framework for Ouseburn

In a two-day workshop, Studio 7 created 3 urban strategies to develop a more resilient Ouseburn.

We identied gentrication and the loss of identity as the key issues of regenerating the area. Ouseburn wasdened as a cultural hub, with an industrial and deteriorated aestehtic that artists in particular nd appealing.

Artists have been agents of change in the Valley since the 1970s, therefore it is important for Ouseburn to

retain its cultural identity. Lime Street became the centre of Ouseburn, as its urban grain resembles that of a

traditional high street. It also made sense to interve rstly in Lime Street, as its a main artery for trafc,

connecting the Upper segment of the Valley and Jesmond village to the Lower valley and the Quayside.

Responding to the lack of basic amenities in the area, our strategies started creating small-scale, inll interven-

tions that would create diversity in the local economy and eventually support the future residential population

of Ouseburn. Finally, as the area has a rich industrial heritage, we identied a need to gradually start converting

some spaces to public and create a green space strategy. That would make the environment more inviting and

it would create an incentive for people to move into Ouseburn.

Throughout this workshop we struggled to offer solutions that would both create a new wave of investment

and development, without however comprimising the areas unique character.

Lime Street identied as the heart of the Lower Ouseburn Valley. We encourage the preservation of buildigns of cultural and historic importance,as they add to the cultural value of the area.

Create inll mixed-use developments in Lime Street. Mix live/work units with retail and basic amenities, for instance a bank or an ATM machine.

Deal with the boundary between Ouseburn and Byker by introducing alternative residential areas, each with their own courtyard and community facilities.

Again introduce different types of housing to merge St Anns Estate with Ouseburn

One of the residential areas to be constructed by igloo.

Create a green spaces strategy: start dening disused plots as either green spaces, public spaces or productive landscapes.

1

1

2

2

3

3

4

4

5

5

6

6

Ouse Street and Lime Street converted to pedestrian routes, to generate human trafc within Ouseburn.

Speed limit for vehicles lowered to make Ouseburn a destination and not just a passing-by area.

7

8

78

Figure 13 An Urban Framework for Ouseburn, Physical model of

Ouseburn at a scale of 1:2000.


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Capturing the character of Ouseburn

When I rst visited Ouseburn, it felt quite odd as a place.

They were layers of juxtapositions on top of each other. There are big clashes within the Valley, you have the large scale of the six bridges crossing

the Valley, with the delicate crafts happening inside the artists studios.

During our visit as a studio, the Open Studios day was on, and all the doors were open.

The making, the crafts, the artists all open to the public; watching the making of Ouseburn in action.

On my second visit, when these photographs were taken, all the doors were closed and no one walked in the streets.

What needs to be done to have activity outside of the studios and behind closed doors? Onto the streets? What is Ouseburn missing that will at-

tract more people to visit it, work or live there?

Photographs 14: (top left) Lime Street, textures around Lime Street, (third row) A view of Toffee

Factory, (fourth row) Ouse Street Arts Club, disused buildings on Lime Street, detail on railings,

(above) view of the arches and the Byker Metro Bridge


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Walking has been one of the methods we have used as a studio to

discover and understand Ouseburn. Some of the walks we did were

simple wanders and others were more strategic, with predeterminedparameters that dened the route, or destination of the exploration.

The map on the left shows a combination of a deriv (wander) and a

strategic walk (following the route of the Victoria Tunel overground),

performed during the Open Studios weekend (23-24 November

2012).

Ouseburn Trust has named the area a cultural hub16, and during our

walks we have encountered many artists and saw the different skills

available in Ouseburn. I have started collecting interesting leaets,

business cards and contact details of artists, brochures and exhibition

booklets. What stood out was that the whole two-day event was held

as a way to rstly promote local talent and to raise awareness on the

fact that the City Council would dramatically cut the funding for cul-

tural businesses (see scanned image of CityLife, a monthly free local

newspaper, December 2012).

In an effort to understand who are the main stakeholders and funding

bodies that help regional development set up and grow, I have started

mapping all the sponsors and funders printed on exhibition booklets

around Ouseburn. The conclusion was that the majority of the studios

and artists were sponsored by the Arts Council of England and they

would too be affected by a series of cuts. The second largest fund

came from the European Regional Developmnet Fund (2009-2013)

from the European Union. Once these fund schemes expire, what are

the resources the cultural industries can support themselves onto?

How can they utilise the skills and drive the artists in Ouseburn pos-

sess to bring about an alternative regeneration scheme? How could

creative practices help a community grow, without the aid of an exter-

nal funding body?

Alongside this investigation, we were given a tour of Byker by James

Longeld, a PhD student who is based in the Byker Estates, and as-

sists the efforts of Northern Architecture to collect memories of the

locals and create a digital archive. James interest in understanding

the role an architect takes in a local regeneration scheme, resonated

with me. Instantly, there was a theme around which the project would

be based one: the civic architect.

James Longfeld Architect: through James I can dene the future

role of the architect as a citizen, member of a community, consultant,educator and researcher. Already working in the University of New-

caslte, Department of Architecture, James is hired as a full-time staff

member in the MAKE.studio ofce. Leading on from his research on

contextual education, James will invest a lot in the future progress of

the project. Using his role as an educator, tutor and researcher, he

possesses the ability to instigate dialogues between various stakehold-

ers, act and inspire agency to others.

16 Ouseburn Trust,About Ouseburn, [Online] http://www.ouseburn-

newcastle.org/home/enjoy/artsculture/ Accessed: November 2012

Figure European Regional Development Fund & Arts Council

England are the two main funding streams for the Ouseburn cultural

industry.

Who invests in Ouseburn?

Figure 16 (right) Printing at Norther Prints (23/11/2012)

Figure 15 Mapping the walks , collage at a scale of 1:500.


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03 Insite


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24

M

RiverOuseburnis

t he mo s t v a luabler es our ceinth

eare

a

R

R

R

R

R

!

!

!

!

!

!

!

!

!

!

Figure 15 Harvesting local resources in the Lower Ouseburn Valley

Figure 16 Housing in Ouseburn Figure 17 Creative practices Figure 18 Car-related businesses, storage & scrap yards


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25

The Lower Ouseburn Valley; a unique yet

largelyuntapped resource for the City isat a critical point.17

Using a tool, Clear Village18 devised to measure a communitys

well-being, I have started mapping existing resources and skills

Ouseburn has.

This chart (shown on the left) maps the potential of a community

to develop over time. It analyses the following four areas as they

are key to a communitys growth and resilience: architecture

and infrastructure, natural environment, economy and

governance, and social dimension and community.

The potential in Ouseburn lies with the internal production of

culture, as it has an abundance of artists and skills ranging from:

glassmakers, furniture designers to recording artists. There is

also a vibrant micro-businesse economy, which focuses mainly

on digital technologies and creative practices.19 On the a whole,

Ouseburn a has a reasonable level of development in motion.

However, with the upcoming regeneration of the Valley, how will

the special class of artists and producers of culture be affected?

Ouseburn Trusts and the Ouseburn Futures (replacing

Ouseburn Management Board) are evidence of the willigness of

locals to come together to discuss local matters. Even thoughall the events are open to the general public, the connes of

each community group (artists, residents, bussiness owners etc)

are kept, thus the discussions are not openly shared.

There is a potential to create a centre which acts on one level as

a civic forum, utilising the wealth of human resources

available in the area. On another level, this centre can develop

into a resource management organisation.

A vision for a resilient Ouseburn started forming: Ouseburn

coud become an exemplary alternative education centre, where

the skills of local experts and craftspeople would be harnessed.By creating connections, and utilising disused land and derelict

buildings, these conversations could slowly transform into an

alternative community-led regeneration scheme, which focuses

on sustaining the character of the area and help re-skill local

experts to face future threats.

At this point of the design process, I have started shaping the

brief and agenda of the studio, as an alternative education

centre which would nd local experts and local students, and

re-skill them, in an effort to create a stronger community

network that will use existing resources in a more efcient way.

Mapping local skills and resources





18 Clear Village:an international non-prot organisation whose aim is to

ignite resilience in communities [Online] http://www.clear-village.org/who-

we-are Accessed: December 2012

Figure 19 Clear Village, Well-being analysis:Repairing broken communities

[Online] http://www.clear-village.org/our-work/projects/repairing-broken-

communities Accessed: December 2012


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26

Figure 20 Studying the urban density of the Ouseburn Valley: 1860s



Figure 20 Studying the urban density of Lime Street: 1860s



Historic maps from: EDINA-DIGIMAP, Historic maps, [Online] http://digimap.edina.ac.uk/digimap/home

Accessed February 2013


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27

Studying the urban grain of Lime Street

By studying the evolution of the urban grain and the

differing typologies in Ouseburn Valley, it was

apparent that there was degradation in the urban density

as industries starting shutting down. Lime Street however,

remained quite active in time, undergoing constant

alterations.

The disused buildings and vacant plots were transformed

from industrial sites to artists studios. Nonetheless, Lime

Street, and Ouseburn as a whole, still lacks the critical

mass of people to make it bounce back and reinventitself. At either end of the street there are some

community assets which themselves attract people, like:

the Ouseburn Farm, 36 Lime Street, Seven Stories and

Stepney Bank stables. Contrasting these hubs of

activities, walking along Lime Street many buildings are

still disused, or are used for storage. Many plots remain

unitilised, diffusing the character of Lime Street, as the

core of alternative cultures.

Following the example set by the artists who set up 36

Lime Street studio, I chose to pick a site on this particular

street which is disused, as part of the projects objective,which is to regenerate the area sustainably with existing

resources.

The specic site on which the project will be developed is

the land occupied by 47-49 Lime Street, with an area of

just over 2,000 square metres.Even though the site is in a

sensitive area which has a rich industrial heritage, the

remaining building on site is not listed. In the following

section the sites history as a canvas works will be

outlined.

49 Lime Street: Canvas Works

Figure 23 View of the site on Lime Street, showing the boundaries of the site to south and a

connection to the plateau above, linking it to St.Annas Estates.Can we integrate the residential

population of Ouseburn with the creative industries?

Figure 24 View of the site on Lime Street. (Google maps)


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theres a lot of energy to be harnessed, a

lot of people interested and a lot potential21

In his thesis, Michael Beirne has interviewed several key

stakeholders involved in the regeneration of the Valley.

Everyone acknowledged the nervousness of local residents and businesses towards thenew developments in the area.

However some local stakeholders were not invited to participate in decision-making

because of internal conicts of character and interests.

This project aims to be a platform which is all inclusive and is not run entirely by the

usual actors. By adopting creative

processes and focusing on practical learning as a means to

instigate dialogue within the community groups, the stance of the project shifts from just

talking and planning to taking action.

How do you create a brief that builds up in a series of

actions, aimed at creating a strong community network? How does this building

become a local community resource, that is self-sustaining and gives momentum to

local-area regeneration schemes?

21 Beirne, M., Can local people think strategically? Assessing governance in the Ouseburn Valley, University of

Newcastle [Online] http://ouseburntrust.org.uk/index.php?page=resources, pp.37 Accessed: December 2012


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29Figure 27 View of the site on Lime Street

Figure 26 (left) Where are the people on Lime Street?

Figure 25A view of the river and the Canvas Works, 1970

20 Ouseburn Trust, LiveWorkPlayBuild, Ouseburn Trust [Online] http://

ouseburntrust.org.uk/index.php?page=liveworkplaybuild

21 Beirne, M., Can local people think strategically? Assessing governance

in the Ouseburn Valley, University of Newcastle [Online] http://ouseburn-

trust.org.uk/index.php?page=resources Accessed: December 2012

19 NPA Newcastle,Archaelogical photographic recording of former Can-

vas Works at 47-49 Lime Street, Newcastle: Newcastle City Council [Online]http://ouseburntrust.org.uk/index.php?page=liveworkplaybuild

Te history of Canvas Works

In an archaelogical survey19 commissioned by the Newcastle

City Council in 2007, it was discovered that the site was de-

clared as a canvas works in 1820s. There were a few other

small sail making businesses in Ouseburn supporting the major

shipbuilding yards of the Tyne further downstream.

For many years the Stoeke Canvas Works company remained

on site, slowly shrinking as the shipbuilding industry died. By

mid 1950s the former works were left vacant.By 2006 the

majority of the buildings on site had been demolished, collapses

or overgrown. Today, there is only one building remaining, which

is structurally unsafe as it is supported to the adjacent building

and scaffoldings to keep it upright.Site ownership

The site is currently owned by Ouseburn Trust and they have

been looking to collaboratively develop it o create live-work

units, as to reintroduce housing at the heart of the industry.

One of their visions is to explore different development types

and invite self-builders and tenants to construct these units as a

community20.

People have always been involved, but the

community is getting involved more widely now

because the regeneration team has gone, or has in

part, with funding withdrawal. [...] There will be things

we can be doing, but in terms of strategic

development, that would be much more difcult for a

collective of volunteers to do. 21

Ouseburn Trust has been an advocate for the preservation of

community assets like the 36 Lime Street, the Victoria Tunnel

and the Ouseburn Farm. The site is an example of the areas

degradation resulting from the lack of funding streams and lackof development initiatives. Despite its wealth of cultural assets,

the area is missing human presence, as no one seems to be in

the streets, but cars.

This is the best location to regenerate as it is at the pulse of

Ouseburn, and it would be symbolic that the former industrial

core of the Valley would transform into the civic centre for

developing alternative community-led renegeration schemes.


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04 MeetingJames


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Deningthebound

aries

MeetingattheHub

Selecting a sitein central Ouseburn

Figure 28 Walking with James around Ouseburn and Byker. Getting an insiders view.

Figure 29 The different roles James embodies, inspiration for the persona I am

creating for MAKE.nism. The architect will have a similar set of roles to play.

The different roles of James Longfield

Researcher / Academic

Interested in innovating

creative practices for

alternative architectural

practices embedded in a

community

Avid observer of the events

happening in Byker and

Ouseburn. Records the social

implications of regeneration

and developments

Citizen

Member of the Byker

community

Educator/Learner

Leading a Linked Research

studio this t erm. Teaching

active research methods and

community-based design.

Instigator

Encouraging and helping

organise community-led

regeneration schemes.


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MAKE.nism was created and developed in a way that would satisfy a

need to make the architectural education I receive more live. A lot of

our preparatory work and brief development occurs in isolation, de-tached from the place. Acknowledging that this is a useful phase and

research methodology, as it allows one to obtain a lot of information

from online sources, it felt only appropriate to take a step forward and

attempt to situate myself in Ouseburn23.

There were two possible routes to take to contextualise this process:

1. take residency in a studio and live in Ouseburn full time

[some applications and enquiries were made, unfortunately the

dates and conditions of residencies would not t in with the

demands of the M.Arch course]

2. nd local experts and key stakeholders through research and

contact them for an interview

James Longeld was one of the rst people i have talked to in person,

on site. Prior to our meeting, I have spent time researching into civic

pedagogy, the idea of the civic architect and to reveal the socio-

political make up of the Valley24.

During our meeting (15/12/2012) James and myself discussed of

alternative models of architectural practice where the architect is an

active citizen member of a community. Sharing his experience of living

, researching and practicing in Byker, James was testing the

limitations and possibilities of active research. Perpetuating the par-

ticipation methods used by Ralph Erskine in the 1970s, James was

putting in action all the theories used in his PhD. The overall aim was

to create a more uid, creative research methods which were respon-

sive to context and circumstances; it was an attempt to capture the

process of creating in motion.

Adopting the idea that an architect plays multiple roles, James was

set to lead a Linked Research studio, an alternative to dissertation for

Part 2 students at the Schools of Architecture & Urban Design. Fur-

ther exploring the idea of civic architecture, James and the students

will be more social, observing directly and indirectly existing habitation

patterns, and designing processes and projects that repond to the

local social and economic climate of Byker and Ouseburm.

At this point of our covnersation we both agreed to have James as an

essential member or client in MAKE.nism. Through an exchange of

more emails, we have established this persona that I would work from

through the entirety of this project, and started loosely shaping the

brief and selecting sites together.

James becomes the persona I embody in this project

James becomes one of the members of the client team

A brief starts building around the idea of an urban studio for

architecture students, located in Ouseburn

Creating a persona

23 Appendix 1, Christofdou, E. Live no more?

24 Appendix 2, Christofdou, E. Space in the

making, ethics in the making.


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05 Briefdevelopment


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36

49-51

LIME

STRE

ET

interac

tionsp

ace

urba

nrealm

conn

ectivi

ty//p

ointo

fexchang

e

isolati

onsp

ace

Shop-front: Lets talk about space

Medium-stay residences

Hostel

Kitchen

Performance Digital room Broadcast ideas

localm

aterials

recycling

practic

allea

rning

works

hops

teaching

spac

es

prototyp

es

Tools

Wi-fi

Establishing

creative commons

Printing

Recycling

Discussion

Research

R

R

Local waste

Scrap materials

Community garden

Food

Shop

Temporary structures

Prototypes

Figure 30 An initial spatial bried for MAKE.nism. It explores the unison of the MAKE.studio, the

civic kitchen, the residences and the future performance spaces.


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37

hostel medium-stayresidences

kitchen

*performance *digital room

MAKE.studio

workshops

exhibition

shop-front

Phase two

Phase three

Developing the brief

Regeneration is all about re-use of resources whether these be

derelict or brown eld sites, redundant buildings or human resources

whose potential exists but whose immediate skills have become

unwanted.25

MAKE.nism aims to utilise all the existing wealth of resources,

cultural and social network available in Ouseburn, to design and

procure a series of buildings that are sensitive to the place and

its unique identity. MAKE.nism follows the objectives of the City

Councils Urban Strategy that call for a balanced mix of land

uses26. Challenging the Carillion-igloo masterplan, this scheme

proposes an alternative form of small-scale, inll

and community-led development at the heart of the art scene

in the area, Lime Street.

Being in a prime location on Lime Street, MAKE.nism provides

a new civic forum, in the form of a kitchen alongside an alterna-

tive education centre, MAKE.studios. These studios will focus

on reappropriating derelict buildings and sites in Ouseburn as

initiatives of the community members. Temporary residential ac-

commodation will be developed for these experts, or artists, to

live in during their residencies. A hostel will allow non-locals to

experience Ouseburns redevelopment in the

making and share their own knowledge and expertise.

Encouraging diversity of uses and actors, MAKE.nism inspires

to be a community-led project. The series of buildings that

make up the scheme are to be delivered in three phases. Each

phase aims to expand the community network which will be

supporting the development of MAKE.nism throughout its

course. Local experts, self-builders, academics, residents,

artists will be recruited to share their knowledge and act as

educators for local students.

MAKE.studio (Phase two): a self-build studio and workshop

spaces for architecture students from the School of

Architecture & Urban Design, of the University of Newcastle.

Through the creation of the studio spaces, workshops,

exhibition spaces and the civic kitchen, local experts will be

invited to teach local students in an alternative civic educational

model.

Accommodation (Phase three): responds to the lack of

affordable residences for local artists and proposes the

construction of medium-stay residences and a small-size hostel.

By encouraging artists and external actors to stay in the Lower

Ouseburn, there will be diversity in voices and an exchange of

knowledge and skills. MAKE.nism will provide the local

community groups with spaces and skills to enable them to

take leadership in the re-appropriation and transformation of

disused spaces and derelict buildings in the area.



26 ibid, p.13

Figure 31 Diagram of all the spaces that will be constucted

during phase two and three.


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38

Figure 32 Phase one. Site in context (highlighted in green) Figure33 Phase one. Site surveys, structurally unsafe building

Figure34 Phase two. Stage two. Site demolitions and clearance Figure 35 Phase two. New building with recycling yard and garden

Figure 36 Phase three. Building up the hostel and residences

Phaseone

Phasetwo

Phasethr

ee


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39

As a strategy to full the projects objectives, MAKE.nism will be

delivered in three phases. The idea behind this arrangement, is

that time is given between the completion and start of the fol-lowing phase as to source the necessary funds and resources.

Also each phase starts with a series of participation exercises

performed by the architecture students led by James, as to

establish a community network that will support the project.

The spatial implications of doing so would mean that each stage

is designed to be nal and yet able to expand or adapt to the

forthcoming design moves.

On the left, the diagrams illustrate the phasing strategy, which

is separated into three phases. With each phase, there is a new

set of stakeholders introduced that form the client body. To best

represent each client bodys interests and requirements, each

phase is separated contractually from the others.

Phase one:

1. Site in context

Site highlighted in green

2. Land transfer/site surveys

Ouseburn Trust donates the land to Canvas Works

On going site surveys

Ground conditions

Structural stability

Land contamination

Phase two:

3. Site demolitionDeclared structurally unsafe, the building is demolished

Site cleared

4. MAKE.studio/ New build

Self-build with students and local experienced self-builders

Recycling yard

Setting up a garden

Phase three:

5. New build

Hostel and medium-stay residences erected

Garden and kitchen extended

Phasing


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40

Client

Board of trustees

Board of directors

Peter Kay:

Ouseburn Trust

Chief officer

Sheila Spencer:

Ouseburn Trust

Chair

Dale Bolland:

NCC Economic

officer

Local resident trustees James LongfieldLocal architect &

Land giftedby landowner

Researchfunds

Landowner

Future Homes Fundavailable for self-buildcommunities

North Sea RegionProgrammesupporting innovation &

sustainable communities

Tuition fees used tofund part of the project

!

!

Users//Participants

Fu

nders

Civic

architec

t

Local experts

Local residents

!

!

R

Premises

Local

authorit

y

OuseburnFutures

Visitor&eventsgroup

Riverusersgroup

Environment

groupArts&Culturegroup

Businessgroup

PDDPgroup

Ouseburn

Futurescoordinatinggroup

CanvasWo

rksCBS

LiveProje

ctO

ce

CanvasW

ork

sCLT

Canvas WorksCommunity Land Trust

Figure 37 Stakeholder map, with the main client body,

Canvas Works and the two separate entities that r un the

education part and the hostel part of the brief.


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41

Creating a stakeholder map

Being located at the core of cultural activities, there are a great

numbers of actors and stakeholders connected in an intricate

social network. But which are the most crucial actors to leadthis community-led regeneration initiative?

In the history of Ouseburn, artists played a catalytic role in

reviving the Valley. Their unique and authentic identity has been

reected on the contemporary history of Ouseburn. Inevitably

they have the skills that make this place so special and they will

be a part of this social mechanism. It is crucial for the artists to

be heard at this moment of time, as they face the risk of eviction

due to increasing rents, as a consequence of higher land values

caused by the igloo regeneration.

To ensure that the character of Ouseburn remains as the

redevelopment ensues, other actors which have already been

advocating for protecting the cultural assets of the area will

need to be included. Peter Kay and Sheila Spencer of Ouseburn

Trust, have an established network of contacts which could

prove very useful during the design and procurement of the

project.

In an effort to combine a bottoms-up and a top-down approach

to sourcing funding and networking, there will be a range of

actors that could link the project to funding and could inuence

local authorities during decision-making,like Dale Bolland the

Economic Ofcer of the City Council. Also, individuals with a

capability to create social bonds within the community groups

and help shape the projects objectives, for instance James

Longeld.

Phase one: Establishing a community network and a client

body

The main actors would be asked to help expand Ouseburn

communitys network and help bridge across different

community groups to create connections, making the whole

system more resilient.

James Longeld is a key gure at the inception of this project and

throughout its course, acting as both a citizen and member of the

community, as well as a professional consultant.

11, Ouseburn Trust,About Us, [Online] http://ouseburntrust.

org.uk/index.php?page=About-Us Accessed on: 09 February

2013

James Longeld Architect: through James

I can dene the future role of the architect as a

citizen, member of a community, consultant,

educator and researcher. Already working in

the University of Newcaslte, Department of

Architecture, James is hired as a full-time staff

member in the MAKE.studio ofce. Leading

on from his research on contextual education,

James will invest a lot in the future progressof the project. Using his role as an educator,

tutor and researcher, he possesses the

ability to instigate dialogues between various

stakeholders, act and inspire agency to others.

Dale Bolland Newcastle City Councils Economic Ofcer: Dale

has been involved in the Ouseburn Futures organization from its

inception in the summer of 2012. Dale has been an active member in

the discussions regarding the regeneration of Ouseburn. He remains

an important linkto the Citys Council and someone who can have

access to funds, like the Future Homes Fund, a 25 million fund for

people who are interested in self-build homes/work units. Ouseburn

Trust has already assembled a team of local experienced self-build

workforce to assist with the project.

Ouseburn Trust: the current landownerof the former Canvas Works

site, the Trust is an ideal collaborator as their primary aim is to work

with local community groups in creating a socially driven regeneration.

The Trust is comprised from members of different disciplines. Their

work includes exploring local heritage, reinforcing the community andregeneration. Overall their vision for Ouseburn is a sustainable, diverse

and vibrant cluster of arts and culture in the Northeast.

Sheila Spencerkey member of the Ouseburn Trust: both have ex-

plicitely shared their interest in creating on-site affordable residences.

Having served years on the board of the Trust, Sheila is well connected

in Ouseburn and has links to inuential agents in Newcastle. Sheila will

assume the role of an informal champion.

Peter Kay Chief Ofcer of Ouseburn Trust: is involved in innovative

ways of delivering projects with a strategic use of local resources. He

is also a Member of the Development Trust Association and of the

Institute of Consulting. Peter will play an instrumental role in setting

up the organizational body. Peter is particularly focusing on building

economic and social capital with local communities of interest. Peter

as well as Sheila will be members of the board of trusteesand an

informal champion.


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42Figure 38 Using the University of the Neighbourhood as a case study, I examine whether an

architect should be a member of a community?


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43

Education as a tool to raise social value

Case Study: Universitt der Nachbarschafen,Hamburg, Germany

UdN - Universitt der Nachbarschaften located in Wilhelmsburg, Hamburg

(Germany). In 2008, the disused former Health Authority building in the centre

of WIlhelmsburg was occupied and renovated by architecture and urbanism

students of the HafenCity University (HCU) in a two year process as a part of

their curriculum27.

UdN has developed as a testbed for a contemporary form of education, one

where the acquirement and exchange of knowledge is located in the heart of

a neighbourhood, of a broken community. Designed to be interdisciplinary and

intercultural, the process of designing urban space is practiced on a 1:1 scale,

aiming to improve or close local resource circuits28. Actors and agents both

participate in the producation of spatial transformation and the building as well

as its surrounding become part of the performance.The building, its culture

kitchen acts as a meeting point of many community groups: residents, local

orchestras, artists and so on.

The building is scheduled to be demolished by the end of this summer, mak-

ing this spatial intervention a temporary one. In the span of ve years UdN has

achieved to create new links within the community and inspire locals to take

action in the matters concerning their neighbourhood.

An education centre can be a platform that opens up debate ,

allowing the individual to socialise in a real context and examine

the symptoms which cause harm in the ecology of Ouseburn.

Through constructive collaboration and reective practices,

a group of individuals can offer remedies to reinvogorate the

spirit of the local community. Adopting a more horizontal model

of education and exchange of skills, everyone is considered a

master, an expert.

By investing capital and time in education (both the facilities and

assembling the pedagogical model) there will be a social return

that will help push forward an alternative regeneration scheme.

MAKE.nism will focus on re-skilling locals, learning through

making and lifelong learning, as a means to cause positive

implications on the wider community, and increase the areas

social value.

MAKE.nism, more specically MAKE.studios serve more than

just education centres, they also have a wider civic role in the

community of Ouseburn. This education centre is based on

the idea of social inclusion and social transformation through

personal experience29.

28 Clear VillagesDesign residency in Hamburg, [Online] http://www.clear-village.org/our-work/events/hamburg-

summer-workshop, 2011 Accessed: December 2012

27 UdNUniversity of the Neighbourhood blog, [Online] http://udn.hcu-hamburg.de/ Accessed: July 2012

29 Ahrentzen, S. & Anthony, K.H.,Sex, stars and studios: A look at gendered educational practices in architecture,

Journal of Architectural Education, 1993, vol.47 (1), pp.11

Photographs 39 Personal photographs from the Baumhaus workshops in UdN (July 2012)


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Can temporalityimprove resilience?How can you use temporary interventions to raise funds and create

diversity?


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45

Reawakening Lime Street: Phase one

47-49 Lime Street2013

Ouseburn is dormant, with nothing on the streets to suggest the thriving creative industries it hosts.In an effort to breathe some life into Lime Street, James, Sheila and Peter start to set up a client body that will

help Ouseburn redene its identity through community-led renegeneration.

Collage 40 The site as it stands today, 2013.

Canvas WorksCommunity Land Trust


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46

Collage 41 Working alongside the Ouseburn Festival

Ouseburn Festival: Contextualising educationJuly 2013

The rst step towards using education as a tool to raise social value, is to contextualise education. Archi-

tecture students will be asked to perform studies in the community of Ouseburn and start using the Canvas

Works site as an exhibition space and consultation centre. Members of the public will be consulted about theon-site development and they will be invited to participate in designing temporary structures along with the

students.

LivePro

jectO

ce

Part 2 students Reaching out to

members of thepublic


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47

Collage 42 A temporary school

Demolition of buildingAugust 2013

Canvas Works reimaining building is demolished because it was declared structurally unsafe.To suggest the

impending development on site, a temporary studio and kitchen spaces will be established as the rst steps

towards the education centre and civic forum. This is an infformal procedure inspired by the workd ofTetsuro Nagata.


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48

Collage 43 Site 2013 A temporary studio for the community

Architecture is too important to be left to architects.Giancarlo de Carlo,, a quote derived from the book Architecture and Participation (2005) by D. Petrescu, P. Blundell Jones & J. Till


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49

How can we use highereducation as a mechanism tocreate more social value on a

local scale?How should the architectural education reform to become more resilient?


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50

Initial spatial moves & site analysis

Very

den

edb

ound

ariesan

de

dges

Connec

ttoSt.

Annes

Estates?

How will the building meet the street?

Should it take up the wole front and

replicate old Canvas Worksfaade?

Where will the civic core of the project

be? How open is it towards the street?

How removed is it?

View

sout

Vehicular&p

edestrianroute

//secondaryr

oute

LimeStreet

Scale?

RiverOuse

burn

Should the scale match that of theadjoining industrial building?

Newcastle city centre

River Tyne & Quayside

Utilise the steep drop ofthe site to built up

Having dened the inital brief, it was necessary to start placing the spaces on-site, to regulate the footprint

of the building. The site is very clearly dened on three sides but very exposed to Lime Street and the urban

realm. Through a series of simple massing sketches, I have started strategically organising the main spaces of

the education, accommodation and the civic functions (kitchen, gallery) on the site.

The total area of the site is 2,000 square metres, and the brief has been estimates to be roughly 1,800 square

metres. There is a danger of losing valuable shared ground oor that will create zones between the different

thresholds of the urban realm, communal spaces, private spaces and spaces for isolation.

Acknowledging the fact that this is design work in progress, these diagrammatic spatial arrangements broughtout a few key conepts that would help organise the spaces in zones.

Evolving the design/Things to do nextThere is a need to address the public realm on Lime Street, and break up the faade in order to create a

primary access point and secondary entry points. The public core of the building, containing the kitchen,

exhibition space and possibly some teaching spaces, will need to be accessible by all members of the public.

There will be a need to differentiate teaching and studio spaces in two types of use: one that can be used by

members of the public and a second type, which is more private and can only be used by the

artists and students of MAKE.nism.

To dene the boundaries of the building the next step will be to build a physical model and start massing.

Also sections at various scales, investigating spatial arrangement to thresholds details will allow me to see the

edge of the building (in terms of exclusion/inclusion) in more detail.

Figure 30 Site analysis of Canvas Works on Lime Street// There are a few factors that will need to be dened during the design process: scale (will it match the adja-

cent industrial buildings), zoning of spaces to give a variety of shared and public spaces and also frontage to the street.


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3. Creating an open, public space

2. Arranging spaces in zones

1. Controlled central courtyard

HOSTEL

LIVING

LIVING

LIVING

WORKSHOPS

TEACHING

STUDIOS

STUDIOS

KITCHEN

GALLERY

URBANREALM:LIMESTREET

RIVEROUSEBURN

CENTRAL COURTYARD

Accommodation

Civicfundtions

Teachingspaces&studios

MAKE.stu

dios&work

shop

MAKE.s

tudios&workshop

guarded

shared

courtyard

forusers

LimeStreet

RiverOuseburn

Acco

mmod

ation

Civicfundtions

Teachingspaes&kitchenassharedspaces

Accommo

da

tion

MAKE.studi

os&worksh

op

private

shared

public

LimeStreet

RiverOuseburn

HOSTEL

LIVING

COMMUNAL

SPACES

KITCHEN

GA

LLERY

URBANREALM:LIMESTREET

RIVEROUSEBURN

openingupentirellytoforma

publicspace

LimeStreet

RiverOuseburn

MAKE.stud

ios&works

hops

Teachingspaces

&studios

Accommodation

HOSTEL

COMMUNALEN

ERY

M:LIMESTREET

Organising the spaces on the periphery of the site, opening up

completly to Lime Street. There is no denition between the urban

realm and private spaces, but there is a a new public space cre-ated for everyone to use. This spatial arrangement can develop to a

cultural park.

Creating three zones to dene the different types of spaces and

uses. The rst zone is open to the public and it contains the kitch-

en, gallery and some teaching spaces. The further you progress

in the site, the more private spaces become. Accommodation is

pushed at the edge of the site, stacked up vertically to enjoy the

view.

Replicating the former faade of the building, the street frontage

is completely covered with only one formal access route through

the gallery/kitchen. This allows for a large shared courtyard to be

created as a core, which can be used by all the members/users of

MAKE.studios or residents. Access to the buildings is controlledand spaces are arranged in three clusters: living, teaching, sharing.


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05 Bibliography


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1 Dodd, M., Harrisson, F., Charlesworth, E., Live Projects:

Designing with people, [Online] http://learningarchitecture.

wordpress.com/2012/11/05/published-live-projects-as-critical-pedagogies/ Accessed: February 20132 UdN, Projekt Baumhaus, [Online] http://udn.hcu-hamburg.de/

de/?p=827, Accessed: February 20133 Newcastle City Council, Regeneration Strategy for Lower

Ouseburn Valley, Newcastle: NCC, 20034Sampson, J., M.Arch Course Handbook: Studio 7 -Resilient

Communities, Shefeld: SSoA, 20135 Collins, Denition of resilience, Collins English Dictionary -

Complete and Unabridged [Online]. Glasgow: Collins, 20036 Neill, J., Dening resilience, [Online] http://www.wilderdom.

com/psychology/resilience/, 09th May 20067

Webster, H,Facilitating critically reective learning: excavatingthe role of the design tutor in architectural educationArt, Design

& Communication in Higher education, vol.2 (3), 2004, pp.48New Economics Foundation,The Great Transition,2009,

pp.149 United Nations, Ahead of International Youth Day, Ban warns

of risk of creating a lost generation [Online] http://www.un.org/

apps/news/story.asp?NewsID=42660#.UR6bJqVrV8I, August

2012,Accessed: February 201310New Economics Foundation,A guide to: SROI [Online]

http://www.neweconomics.org/publications/guide-social-return-

investment Accessed December 201211 Ouseburn Trust,About Us, [Online] http://ouseburntrust.org.

uk/index.php?page=About-Us Accessed on: 09 February 201312Newcastle City Council, Census 2001 population,[Online]

www.newcastle.gov.uk (updated August 2011)13Newcastle City Council, Regeneration Strategy for Lower

Ouseburn Valley, Newcastle: NCC, 2003, pp.414Carillion-igloo,Ouseburn Mouth Delivery Partner, Newcas-

tle: Newcastle City Council15Ouseburn Trust, LiveWorkPlayBuild, Ouseburn Trust [Online]

http://ouseburntrust.org.uk/index.php?page=liveworkplaybuild16Clear Village: Well-being analysis:Repairing broken com-

munities [Online] http://www.clear-village.org/our-work/projects/

repairing-broken-communities Accessed: December 201217NPA Newcastle,Archaelogical photographic recording of

former Canvas Works at 47-49 Lime Street, Newcastle:

Newcastle City Council [Online] http://ouseburntrust.org.uk/in-

dex.php?page=liveworkplaybuild18 Beirne, M., Can local people think strategically? Assessing

governance in the Ouseburn Valley, University of Newcastle

[Online] http://ouseburntrust.org.uk/index.php?page=resources,

pp.37 Accessed: December 201219 Clear Villages,Design residency in Hamburg, [Online] http://

www.clear-village.org/our-work/events/hamburg-summer-work-

shop, 2011 Accessed: December 2012

References (in chronological order)


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20Ahrentzen, S. & Anthony, K.H., Sex, stars and studios: A

look at gendered educational practices in architecture, Journal

of Architectural Education, 1993, vol.47 (1), pp.1121 D. Petrescu, P. Blundell Jones & J. Till,Architecture and

Participation, 2005


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07Appendices


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Live

nomore?

StartingstudioworkasaY6studentisastrangefeeling.

Itha

stobethetransitionfromparticipatin

ginaliveprojectwithrealclients,

exec

utedinrealtime,

togoingbacktoamodeofworkwhichisalmostcom-

plete

lyremovedfromasenseofbelonging.

With

theendoftheLiveProjectsquestion

saboutthelegacyofthese

projectsandtheroleofthearchitectarise

(youcanndmoreaboutthis

educationalinitiativeatSSoAswebsite:http://www.ssoa.group.s

hef.ac.u

k).

Wha

tisthetruelegacyofaLiveprojectw

hichonlylastssixweeks?What

isthetruelegacyofaprojectwhichquite

literallydisconnectsarchitecture

stud

entsfromtheclientsandthecommunityaftertheculminationofthe

project?Itisinevitable,

inordertoaccommodatetheneedsoftheacademic

calendarandtheRIBAvalidation(checklis

t),

LiveProjectsneedtogiveway

toothermodulesandstudiowork.

However,isntthisruptureofcommunica-

tion

almostantitheticaltotheSchoolsphilosophyofthearchitectbeingan

activ

ememberofacommunity?

Mov

ingintostudio,

howlivecanmyedu

cationcontinuetobe?Whatwill

bem

yroleinthecommunityinwhichStudio07isbasedupon?ShouldI,

afuturearchitect,besituatedinthatcommunity?OftenIwonderhowcanI

utilis

etheskillsIhavedevelopedoverthe

yearswithoutbeinganexpert?

How

canarchitectsworktogether,andno

tinafeelgoodsortofway,really

workwithacommunity,andcreateabottom-upviewofaplace?Howdowe

main

tainasenseofrealtimeandlivelinessintheprocessofcreatingspaces

and

socialinteractions?

Shouldarchitectsbephysically,emotionally,andmentallypresentinacom-

mun

ity?

Ifso,whatroledoweassumeandhowd

oweinuencedecisionmaking

ona

localscale?Shouldarchitectsconso

lidatethemselvesonasite,

ina

com

munity,empoweringitspeopleandfa

cilitatingconversationsbetween

stakeholders?

Wha

tdowegainfromsettingmore(a)live

practices?

Wha

tdowehavetooffertocommunities

throughamore(a)livecollabora-

tion?


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