Sarah Evans 220298872 Front and backstage-Blyth Radical Empathy Studio ARC3001
Contents page Studio Brief Theming Framing Testing Bibliography Final design Refining List of figures AI Declaration: I used Artificial intelligence, ChatGPT, to help with summarising written text, editing and re- tracting unnecessary text to make more reflective, critical writing. Software used: InDesign, Adobe Photoshop, Adobe illustrator, Procreate, Sketch-up 1-8 9-24 25-60 61-98 98-112 113-128 129-130 131
Our Studio... Our studio themes this year have been focusing on empathic design, specifically for young people, and how we create spatial justice in Blyth for people aged between 13-19. Empathy to me is about actively listening to others thoughts, needs and wants to understand their experiences. We started our studio year with the task of meeting with a local school in Blyth, Bede academy, and talking to their students to discuss their thoughts on their town. To be an active listener it was important to come with an open mind and always as the question, Why? Radical Empathy allows for fun, playful designs for people to engage with. For our co- design workshops we tried creating new ways of engagement rather the traditional method of sitting opposite from one another. Talking and creating side by side meant the barrier between designer and client became diminished and useful, honest conversations could be had. The radical way of thinking pushes past the first answer, such as more seating and more lights on streets, and asks why these are needed, dissecting what the true issue really is. The co-design approach meant a good understanding of the young people are their wants rather than designing on assumptions. It involves people affected by the project to have helped in development of ideas and decision making. This approach helps create spaces that are more responsive, inclusive, and have lived experience of people using them at the heart. Glossary Figure 1 1 2 Agency- Ability for individuals, or communities to actively shape the space they occupy Backstage- Place of retreat and making where young people can withdraw from judgement and visibility Blyth- Small coastal post- industrial town located in Northumberland Circular economy- an economic model based on reuse Crane system- Overhead gantry crane used to move adaptable pods throughout the warehouse space Ethical making- Process focussed on repair, reuse, sustainability and Collective care Fear character- Showing the emotional distress which comes with the emotion of fear Front-stage- Public and visible spaces within the project for interaction, Performance and collective activity Hide- To obscure yourself from others Observing- To watch others while taking a step back Performing- To enjoy being loud and social Seek- wanting to explore and be seen by others Shipping container- A reused industrial structure adapted within the project to create movable pod spaces for young people Visibility- The condition of being seen, exposed or observed Warehouse- Flexible open space Young people- Aged from 13-19 years of age Figure 1
Arnsteins Ladder of Citizen Participation This diagram helps support the importance of co-design by showing why local people should have agency in shaping their built environment. As an architect, I think co-design is about using our knowledge to help creates spaces that people actually want and need, rather than simply informing them about changes that have already been decided. Instead of treating engagement as a one-way process, it should be about sharing influences and allowing people to have a proper role in shaping the design. Co-design precedent “Towards spatial justice“, speaks about how architecture often creates for communities rather than with them. This project is about giving young people of Blyth agency in their built environment. The architecture becomes adaptable through participation and occupation over time. This continual communication is important for creating with, rather than for. The exclusion from decision-making leads to less creative spaces. Co-design Precedent Figure 2 Figure 3 Figure 4 3 4
Exclusion Lack of ownership lack of creative in frastucture Left out of conversations youth centre closures Young people of Blyth Why? “Young people are the least consulted group in the design of cities despite being among the most impacted users“ -UN-Habitat Figure 5 Figure 6 5 6
Blyth is currently undergoing regen- eration through the energising Blyth master plan, with £90 million in government investment going to- wards the deteriorating town centre. New educational infrastructures such as the Energy central institute and energy central hub, aim to help with the future of renewable energy and technological innovation. How ques- tions remain how included all locals of Blyth are in these investments, and who what the true say in the future of Blyth. Energy central campus Energy central institute Energy central learning Hub The energy central learning hub is the first phase in the energy central campus. The building provides teaching spaces, workshops and specialist training facilities for education and apprenticeships. The second phase is the energy central institute which will focus on higher education, innovation and research. Death of the high street Since COVID-19, high streets across the UK, have seen dramatic increase in shop closures. Many town centres once social and active, now are having to close their shops due to the changing times of online shopping and higher rent. In Blyth, Keel Row shopping centre was once the major retail destination in the town, however in February 2024 the council closed the centre saying it was no longer commercially viable. The closure of Keel Row and move to more education in the town centre, shows a shift in how town centres are now being designed. “We liked Keel Row” - Bede Student “Always come to Newcastle to wonder and shop”- Bede Student But is this what the young People of Blyth want? “I like to go shopping with my friends” - Bede Student Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 7 8
On my first visit to Blyth, Northumberland we set off on a walk around the town with my first impression being how much of the streets had roadworks and cones everywhere. This started my idea of the front-stage and backstage spatial conditions. I understood the high street to be the front-stage where social interaction and the more public persona is felt. Where as the roadworks made it feel like the backstage, something usually hidden and made messy through exploration and invention. Blyth Northumberland Figure 12 9 First Impressions Key move My idea for the backstage and front- stage came from this first impression, important concept in my portfolio
First task was to come up with co-design methods that were engaging. We Chose... - Interactive mapping to create a line of enquiry and map out Blyth through emojis. - Exquisite corpses character based on issues young people discussed in the workshops - Talking point on the walk discussing, issues/needs, memories, dreams/want ...OUR MANIFESTO TELL US HOW YOU FEEL Co-design and collaboration first is our vehicle for change Spatial justice for the youth is IMPORTANT Purposeful design that fosters belonging Prioritising generosity and care Being responsible, transparent and accountable as designers Diverse perspetive matters, no ego Versitle and durable design that prioritises people over profit Harness ambition Champion re-use over demolition, sustainability is crucial Honouring the value of heritage Walk around Blyth.. ...Emotional mapping... ...Exquisite corpses and day in the Promoting creativity allows for greater ambition The art of co-design,Jeremy Kerr et al., 2023 Started by walking around Blyth town to ask the students of Bede academny what they thought of their own town. Many responses showed that they felt judged for being young people, and the town offered little for them. This was repeated in the emotional mapping, leading me to explore the character of FEAR and being scared of judgement from the public and peers. Workshop process to manifesto Figure 13 11 12
Workshop 1 bright colours Love for beach and quayside Deja vu nightclub The first exercise entailed the Bede academy students getting in groups and mapping out what they know about Blyth. I have picked up on certain aspects that stood out in this mapping exercise. The second exercise was emotional mapping, using different emojis and colour coding to express what they liked, dislike and feel indifferent about in Blyth. Angry Boring Excited Happy Sad Lighthouse still dont know Driving age School off campus Figure 14 Figure 15 13 14
Workshop 2 For the second workshop at Bede academy school, from our discussions from the first workshop we created categories of what was important to the young people. From that they created exquisite corpses where they got to represent in their own drawings what it meant to them, throwing in the wild card representing inclusion in the design process. Day in the life Exercise The next task was to take the exquisite corpse and take them round Blyth. I have focussed on the Fear character. This day in the life showed the characters experience. When out in public the character shows emotional distress, while in a safe space like their home they feel more relaxed and at ease. This indicates how important safe space is for a character like Fear. Figure 16 Figure 17 15 16 Key move I chose to look at fear character closest during my project, looking at fear of judgement and visibility for young people.
Exquisite corpse process Student discussions “People in Blyth feel like they cant leave “ “No Freedom“ Worried about shabby looking buildings “We used to like keel row“ “I feel judged by older people in public“ “Only fun with friends“ “We need more places to hang out“ Analysis A sense of fear and judgment leaving them to not act as freely in public. Sense of feeling stuck or don’t have a choice. Wishing for change in the future Enjoy’s time with other people their age Past infrastructure looked on fondly They care about their built environment FEAR DICTATOR DECAY FUTURISTIC PARTY ANIMAL FREEDOM THE PAST Simply don’t feel they are free Looking at the quotes and worries of young people we created themes for the exquisite corpse exercise, with ‘wild cards‘ used for inclusivity. Worried how well these new buildings will last Worrying about the climate and the future of their built environment CLIMATE CHANGE Needs: - Unrestricted movement - Different options - Adaptability Needs: - Technology - Skills for future - Modern materials Needs: - Industrial aesthetic - Historical significance - Existing buildings Needs: - Sustainability - Reuse/ reclaim - Green space Needs: - Power - Teamwork - Authority to lead Needs: -Fixing and mending - Embracing the old - Creating new when needed Needs: - Socialising - Activities - People Needs: - Safe spaces - Private spaces - Comfortable Taking what the students said, analysing then creating themes for our exquisite corpse exercise Figure 18 17 18 Key move The party animal became the Antagonist to my fear character. Important key move of this project was have ‘both and‘, a Robert Venturi mindset to be inclusive.
Misunderstood Judge For Age Concerns amplified with no safe space Pe r Pressure Cities less welcoming FEARS AMPLIFIED UNDER SCRUTINY PUBLIC SPACES FAILING TEEN GIRLS BUILT FOR THE YOUTH? UNHEARD VOICES A safe space to just be “Fear“ is not only an emotion but transforms spatially. Young people aged between 13-19 tend to experience high sensitivity to how others seem then, and when environments offer little safety, privacy, or belonging, judgement can shape their behaviours, confidence, and identity. For my project, the character “fear” represents that pressure to perform, fit in, or hide. Social injustices can be created in architecture when spaces are designed around certain individual that excluded differences, some young people feel visible in the wrong way and invisible in the ways that matter. Analysing the Exquisite corpses this one stood out the most, with the themes again of judgment and mockery presented in the clown face. As a teenager we remember the desire to fit in, and not stand out but maybe if the space we took up as teenagers allowed self expression, we wouldn’t have such concerns. pressured rejeCTeD WaTCheD MisunderstooD SOCIAL PRESSURE AND SPATIAL CONSEQUENCES 20
Young people are among the least acknowledged groups in architecture and urban planning, despite inhabiting public space in ways deeply shaped by identity formation, social pressure, and emotional development. Research in adolescent psychology highlights heightened sensitivity to judgement, the desire for autonomy, and the need for spaces that offer controlled visibility. Yet conventional design processes rarely including. Social Injustices for young people Pressure on social me- Wanting change lacking in opportunity Importance of young peo- ples voices Mental health Employment & NEET (not in education, employment or training) Inner quality and discrimination In 2023, 1 in 5 young people (aged 8–25) in England had a probable mental health condition. Many wait long periods for support, with 78,577 young people waiting over a year for treatment and 44% waiting over two years. 59% reported their mental health worsened during the wait for support. - Youngminds Isolation and social At the end of 2025, nearly 1 million UK young people (aged 16–24) were not in education, employment or training (NEET) — roughly 12.8% of that age group. - House of common 16% of young people from low-income families said they worry about being discriminated against or harassed in their area. -GOV.UK 44% of young people aged 11–18 regularly felt lonely in England, and levels of community belonging were lower among older, economically disadvantaged, and SEND youth -GOV.UK 20% 16% 12.8% 44% Figure 19 Figure 20 Figure 21 Figure 22 Figure 23 21 22
EXHIBITION Translating co-design into a narrative Our exhibition talked you through the different stages of our co-design helped by our displays including a model of blyth with different layers for piles on top such as dreams, the past and aspirations for spaces. Figure 24 Figure 2523 24
This phrase reveals a deeper sense of exclusion and lack of belonging within the urban environment for young people . It suggests that public space in Blyth is for adults and people with more authority, making young people feel left out and having no sense of ownership. This spatially, is reinforced through environments that are too exposed, making young people feel judged and restricted in how they act. The project addresses this by looking at visibility control and the idea of the front-stage and backstage where users continually have choice in their level of visibility and engagement. WE GOT SOMETHING TO SAY... Forgotten hopeless angry Doubtful Lack of Pride Uninspired Sense of feeling lost Bland Uninspired monochrome uninterested Little to do Being played Feeling disregarded Being used Laughed at Not taken seriously The phrase toy town suggests a perception of superficial and lack of authenticity in Blyth perceived by the students. For young people, this reflects environments that feel designed without their input. Spaces are created that feel overly controlled and disconnected. By doing this exploration and identity formation are forgotten. Looking at the wording used by the students during our workshops and the exquisite corpses it was clear i wanted my project to help with young people self confidence and having their space in their town. This reflects a lack of meaningful engagement for young people within their town. There is little opportunity for expression and creative growth for them. As a result, the young people become observers rather than the performers of their town. This absence of adaptable, youth orientated spaces creates disconnect between user and environment creating disengagement from young people. This project looks into spatial variety and movement through the pop up pods later discussed, creating a site that evolves with its users. For our exhibition, protest signs were made of quotes from the young people, here i talk about why they might feel this way . 25 26 Key move
Inclusive characters Seen Hidden The performer and observer emerge from early exploration of visibility, judgement, and participation. These identities inform the front-stage and backstage spatial conditions within the project, creating moments of exposure, performance, retreat and observation throughout the space. The maker emerged from these of ethical making and co-design. Like the workshops we had, the maker works well with others, with keen interests in the climate crisis, an issue discussed with the Bede academy students. The explorer emerged from conversations surrounding boredom, exclusion and lack of ownership. “Blyth is Boring“ FRONT STAGE BACKSTAGE THE PERFORMER THE OBSERVER THE MAKER THE EXPLORER 27 28 “BLYTH IS BORING”
Main characters Looking through the students work I have created my own characters to use when thinking of the spatial qualities that young people would want The Observer They need space to view and watch the world, feelings of safety and comfort are important to them. They are drawn to thresholds and elevated positions where they can quietly engage with activity without being exposed. The Performer They like to be visible and expressive. They are comfortable being seen and occupy public and active spaces. The Explorer They move through space with curiosity. They enjoy discovery and the unexpected. They enjoy layered environments giving variety in choice. The Maker The maker needs access to resources and tools to cre- ate. They enjoy environments that support experimen- tation and participation. They love to display and share their work. 29 30 Key move These characters allowed me to explore my project in a playful way, but stemming from real issues discussed with the young people.
Negotiating visibility, judgement and comfort As these feeling are difficult to pin on a map i thought exploring what these spaces spatially would want would be helpful. The four characters behave the way young people described in the workshop: “I feel judged by older people“- The observer “Not much to do in Blyth“- The maker “I want somewhere to hang out with friends“- The performer “Blyth is boring“-The Explorer These characters act as understanding the architectural desires of the young people of blyth, fun and playful on the outside, but each have really set of emotional needs voiced by the young people of Blyth Community centre, MVRDVWhat space do they want? Space to watch and observe New thresholds and a climbing space to explore!! Big open space to perform for people and socialise The floor plans of the community centre helped in my thinking of the spatial condition of my building early on. I used the idea of this large rectangular space which explores different qualities of space inside. Figure 2731 32
Scrapyard shed Existing brick building Carpark Scrapyard warehouse Scrap materials Existing Brick building This site is in close proximity to bus stop and town centre, important for the young people of Blyth to access it. During our co-design workshops I talked to students about what changes they want to see. Many talked of renovation of old buildings. This site has the existing Eric tolhurst centre, not in use anymore, but this space sits along a main access road to the quayside yet holds no purpose. Behind it the existing building is a car park and scrapyard. Again, this space hold location wise a lot of importance yet hasn’t been cared or looked after the way it could be. My Site location The Campus sits on the coast of Blyth including places such as the river, industry and port, heritage and high street. My Site sits in close proximity to the industrial side and near the river 33 34
FRONTSTAGE BACKSTAGE Where is Front-stage and backstage on-site ?What describes the Front-stage? What describes the Backstage? - Open - Performative - Loud - Lively - Showing off yourself - Public - Messy - Working and making - Real - Hidden - Private General Site analysis Access to the building can be reached via the main high street being right next to the bus stop. A cycle route sits behind the building site, important to keep for cyclist access The site i am working on has a 2m Slope from the existing building to warehouse edge. The greenery found at the back of the site plans to keep the vegetation. 35 36
Constructivist theatre Going back to my first impressions of Blyth I wanted to explore the idea of front-stage and Backstage. Constructivist theatre as a precedent created new ideas for how I create space. This industrial language follows in Blyth architectural language of industry and the port. Constructivist theatre The fun palace precedent The fun palace concept was created by Cedric Price and Joan Littlewood was created as a way of thinking about architecture as a flexible and participatory tool rather than this fixed object. This space was designed with idea of a changing space for learning. This influential idea of how architecture can help in supporting freedom and participation while using a space aligns with my line of enquiry. This helped further my thinking of the movable pods and changing front-stage and backstage conditions within my project where spaces can shift between making, performance, retreat and public space. The fun palace also reinforced the importance of designing through empathy and co-design, recognising architecture is shaped by people, and evolving social needs. Figure 28 Figure 29 37 38
SHALL WE EXPLORE GLASGOW? For our studio group field trip we visit Glasgow in Scotland. We got the opportunity to explore and meet with local architecture practices. We visited page/ Park where they showed us the community engagement they have had for recent projects. They also spoke on how abstracting community engagement events helps reduce intimation and allows people to really express themselves and their views. Their local model maker also showed us his work with handmade models. Page/Park 39 40
Citizens theatre Visiting he citizens theatre with the studio group became an important trip for the development of my project, particularly through its industrial and exposed structure. What was most interesting for me was the industrial aesthetic created through exposed stairs, services, and structural elements . The circulation space, revealed themselves to people visiting by being coloured red helping guide you through the building. This created an atmosphere which felt honest yet performative, exposing only what they chose to. This experiences influenced my own project by reinforcing ideas around visibility, revealing, and layered occupation within industrial space. The exposed circulation and services demonstrated how functional architectural elements can contribute to a spaces character and narrative, and be embraced. This began to inform my own use of exposed structure, and visible circulation. 41 1- Co-Design and collaboration first is our vehicle for change 2- Spatial justice for the youth is important 3- Purposeful design that fosters belonging 4- Prioritising generosity and care 5- Being responsible, transparent and accountable as designers 6- Diverse perspective matters, no ego 7- Versatile and durable design that prioritises people over profit 8- Harness ambition 9- Champion re-use over demolition, sustainability is crucial Studio Manifesto Figure 31 42 10- Let young people have choice in their architecture 11- create sense of agency and ownership 12- Empower young people to express themselves 13- Involve wider Community Added from my exploration
Entities This model was created from my research on Constructivist theatre. The elements on the stage, the site, becomes the architecture and creates new places of exploration. Moveable elements keeps the external the same while having the ability to change internal conditions. Instead of viewing the site as a fixed object, the model explored how temporary interventions and shifting structures could begin to shape a places changing identity. Although this was an early concept model this helped me in my ideas for moveable shipping container pods later in my project. With regards to front and backstage the shifting spaces shows how places could incorporate duality, turning concealed spaces also into open public spaces on different occasions. 43 So many spaces to explore 44
Another one: Enclosure Enclosures idea started with the idea of performance. In the centre of the model a place where self expression comes to life and flourishes. The blue frame surrounding it supports this space, creating empathy in the structure by encouraging confidence to grow. 45 My time to shine!!! 46
How about a Game: Hide and Seek Creating this concept model explored how the game hide and seek could be translated into architecture. The wooden structure holding the pod spaces shows an open space with these hidden elements inside. A big moment in this model was the curtain at the entrance. Playing around with the idea of the front-stage and backstage, this curtain created a moment of architectural language for my building a way of signalling the indoor space either by having it closed symbolising a private space or open, symbolising a more public space. 47 Finally a public space I can relax in This model helped me in starting to create a brief about safe spaces and looking how to minimise the fear of judgment again, while also catering for people who identify with the party animal by having a large open space to be SEEN and socialise in. 48 Key move This concept model was key moment for me influencing my curtain facade as well as the pods for more hidden spaces in the warehouse, later changed to moving to aid agency and flexibility for the young people
Exploring hide and seek Looking and analysing the needs of the characters visibility and perception seem to be a big thing in how the students move around Towns and public spaces. What my project looks at is the both and approach whereby thinking of the needs of everyone and seeing how you can incorporate that in the design from the outset. The game hide and seek conceptually can create two types of spaces I am looking at, one where you are seen and one where you are hidden. These ideas started to move beyond the game and in itself help me understand how architecture can control feelings of exposure, judgement, protection, and confidence within public space. Through the co-design workshops, students spoke about how they are aware of being visible they felt in Blyth and when using public spaces and how it affects how they use these spaces. This introduced to me the idea of visibility can both empower and discourage people depending on the spatial condition. This project then aims to create space where young people are able to control how they are seen, giving them agency to the fear of judgement. This means allowing spaces for retreat, experimentation and expressive environments. Spaces that are concealed become more quiet, enclosed, observing and a place to develop confidence. Whereas exposed spaces become more open, visible, and performative where social interaction and creative work happens in the public eye. I want space for me and all my friends to enjoy 49 COLLISION between concepts Hide and seek Emotional condition Frontstage & Backstage Spatial condition Feelings emotion judgement retreat visibility observation Fear exposure concealmentCities less welcoming FEARS AMPLIFIED UNDER SCRUTINY PUBLIC SPACES FAILING TEEN GIRLS BUILT FOR THE YOUTH? UNHEARD VOICES A safe space to just be Architecture programme materiality performance making Agency Con- Where we started... Production 50
How can we reduce judgement for young people through the emotional and spatial concepts of hide and seek, frontstage, and backstage? LIN E O F ENQUIRY:Whatis m y q u estio n? Young people in Blyth describe feeling watched, judged, or unwelcome in public space. Feeding back into the exquisite corpses during the workshop, the character fear was shown to have shaking legs and a clowns head. This suggests those feeling of judgement. The idea of the young people feeling that as well as unseen, ‘NOT MY TOWN‘, quote suggests, my line of enquiry explores these as spatial ideas. This project wants to create a space specifically for the young people of Blyth, with their involvement and encourage their opinion. Why fear? REASONING: My Interpretation Figure 30 51 Disengagement Artificial public spaces Lack of belonging Need for ownership Need for authenticity Need for choice “Toy Town.” This reflects frustration with spaces that feel artificial, themed, or overly curated. Environments that mimic “play” without offering real agency often feel patronising. This critique reveals a desire for authentic materials, industrial honesty, and roughness—qual- ities your project embraces through Corten steel, channel glass, exposed structure, and reclaimed elements. “Not my town.” A statement of exclusion. Young people do not see themselves represented in the town’s spatial priorities, nor do they feel wel- comed into many public interiors. This becomes the strongest justification for your intervention: space as a tool for giving own- ership back, through backstage routes, elevated perches, hidden zones, and a building that responds to youth movement rather than restricting it. Lets start to build my brief “Blyth is boring.” This is less about entertainment and more about a lack of spaces young people can claim as their own. “Boring” describes en- vironments where everything is pre-finished, over-controlled, or catered toward adults. It highlights their need for open-ended, adaptable, and participatory space—places where they can create, move things, make noise, or simply gather without surveil- lance. What they have What they need 1 2 3 1 2 3 52
A Quick Visual brief Visibility/ concealment Agency/ Flexibility Some want to be seen others want to observe Moving and making An overview brief of what my project is looking at 53 EmpathyExpression Express yourself with others All together under one roof. We can make this work!! 54 Key move Making a space that all the characters can enjoy.
Precedents exploring space Looking at my manifesto and line of enquiry I looked at precedents that spatially looking at visibility in spaces Figure 32 55 Lets show you your town... “Five senses are important” “We want our own landmark” “I feel myself at the Gym” “Want to be hidden but still involved” “Need space for after school to feel safe” “I would say Blyth is pretty decayed” Quotes from students: 56 Another visit to Bede Academy was us showing our model from the exhibition. Here we discussed our thoughts to the previous workshops and to get the opinions of the young peoples on our projects.
Test run This model was a trial and error into my thinking through drawing. Using props used for constructivist theatre, I tried to imagine how they would portray on my site. The different levels show how the building will offer multiple environments. The rods holding them together represent a flexible structure which could be adjusted for the users benefit. 57 Lets Create!!! 58
Reveal and Conceal SCENE 1 HIDE SCENE 2 SEEK REVEAL AND CONCEALBy Sarah Evans For my thinking through making drawing process I created a stop motion exploring my hide and seek concept and visibility control. Using theatrical set with curtain, scaffolding, and movable props, I tested how architecture can shift between being seen and hidden. The Seek scene explores openness, performance and confidence through movement and exposure. The Hide scenes explore protection, observation and internal self- expression. Together, they helped me in understanding how young people can navigated space emotionally and physically together, and how it is important for agency to have architecture that allows for both hiding and seeking. 59 Translating the Stop motion Revealing structure = revealing identity Movement of the wheel = dynamic self expression Uncovered set = Openness and vulnerability Exposed Scaffolding = growth and becoming Fear becomes courage Growing in height = gathers confidence Platform = subtle visibility Hidden Expression explodes in space Colour= Emotional expression 60
Time for] testing Time for relfection Reflecting on what this project has looked at so far and I how I have created the initial brief. 62
Programming my equation + + = Workshop Warehouse space Vintage Market and donation for old clothng 63 ]+ + Initial Programming To start testing it was important to think about the program of my building. Going with the idea of inclusivity and catering to all, these spaces may not typically be seen together but fit into my project. And here why... exhibition and stage space Cafe space 64
Exploring qualities of space Thinking of the different spaces in my building, I started to brainstorm what i wanted the spaces to feel and have in them. Industrial styled architecture allows for open, adaptable spaces my brief needs. Thinking about the front-stage and backstage conditions shows how making , performance, and public interaction overlap rather than remain separate. 65 =Combining spaces Here, I explored through precedents lines between what is private and public and what is front-stage and backstage. Figure 33 66
Precedent: Victoria Warehouse Relevance: - Exposed industrial structure -Flexible events - Raw material atmosphere - Large spans - Lighting - Industrial materiality - Imperfect character, embracing new and old together Victoria warehouse became an important precedent on developing my project due to its industrial character and the duality of the new and old building. The exposed raw materiality and visible serves creates an authentic environment exposing the structure rather than concealing how the building works. What is important is having flexible space to create in, which this precedent has helped influence the adaptable architecture design. The open space shows how this helps to influence social interaction, movement and changing occupation. Thinking on the both and it is important to have these big public spaces as well as smaller more private ones.. This is where the Pods and crane come in. Figure 34 67 Precedent: Manchester craft and design centre The Manchester craft and design centre became important for understanding how to make the open space lively and inhabited. The Mezzanine walkway helped influence my own idea of this to keep the open space warehouse that has multiple levels. The sense of community that was created through creativity is what i want to take through into my project. Figure 35 68
This research into contradiction and complexity fits my narrative of the duality and inclusive design approach it was looking at. The playful exploration Venturi took in his work almost mimicking the expected, I saw as an opportunity to include in my work. I saw these moments as a type of transitional space from the front and backstage. 69 How to ProgrammeContradiction Old Expected Heavy Normal Front Hide Reveal Rough Observe Public Low New Unexpected Light Abnormal Back Seek Conceal Refined Observed Private High Starting to think about how contradictions come into play in physical spaces, what I have already looked at and its counterpart along with some new ideas. Contradicting movement of spaces Expected Static spaces - Exhibition space - Cafe seating -Community gathering space -Circulation routes Structural systems -Market stalls -Garden spaces -Workshop layouts - Catwalks -Payments spaces -Services I tried thinking carefully on spaces in my buildings which would be flexible and which are static. However, I realised in doing this these are all what I deem to be normal so although useful in imagining the space important to try to contradict the expected. What I am making flexible 70
The existing building with no purpose now, used to be a set of offices and auction site. For my project I wanted to create new space for the young people of Blyth, however trying to as much of the existing building for sustainable purposes. Reading the existing building Existing building Ground floor Existing building First floor Site view 1:500 Figure 37 Figure 36 71 Something seems Ordinary/ theatrical complexity though ordinary form Materiality While researching Robert Venturi I came across the guild house. I used it alongside the Eric tolhurst building to analyse. Both have appear quite ordinary structures, yet there is a sense of theatrics with them both. From the big bold writing of the name of the building to the awkward shape that feels contradictory to the simplistic materials used. Venturi described the guild house as embracing the “ugly and ordinary“, as a rejection of modernism. This shift of ideas meant looking at the existing building with more empathy looking to preserve what is already there and find beauty in the ordinary. For me this became the clear front-stage of the building for public use. Figure 37 Figure 38 72
Positioning my warehouse Looking firstly at the massing for the warehouse space i tried different iterations for my new building, and how it sat next to the existing building and outer context. I wanted a large warehouse fitting the style of the industrial port and industry near to the site, reflecting the heritage of the area. Different iterations explored roof shape, with me finally going for the portal frame shown on the right, due to the strong open space environment and the sunlight hitting the pitched roof. Portal frame with a pitched roof was chosen in the end. 73 How this fits together The new building is large and open for adaptability. This is where agency takes place. The walkway for me became an important move for the layout. I saw it as a space to observe both the front-stage and backstage acting as a transitional space. The idea was to use it as an extra pathway towards the quayside, for people of Blyth to explore and create something new rather and change peoples minds that “Blyth is boring“. 74
Exploring moments Taking my programming exploration and line of enquiry i wanted to start to explore moments I may have in my Building Here was all about exploring vintage market. I imagined a mix between new and old structure, where you can walk and browse in linear circulation. What I explored Final outcomes Performance The vintage market did include the existing Eric tolhurst building with the new steel structure, to replace demolished walls. At the two ends of the building where windows were knocked down to become an open walkway people can move around in. Here was exploring open space circulation and how to keep a space open and how to incorporate circulation. This helped inspire my mezzanine creating two extra floors in the warehouse space. The industrial style of the crane and port in Blyth, helped further this design. This moment drawing was about exploring observation of a space. I imagined this as some walkway with people at higher levels and hidden spaces watching and observing. This became inspiration for my walkway, which sits between the new warehouse building and the existing building, with a channel glass walkway above. 75 Modelling on site Modelling on site helped me think about my grid for the new warehouse and where my columns could be put. 76
INDUSTRIAL Blyth The industrial language in my project is inspired by Blyth heritage of shipbuilding, coal mining, dock infrastructure, warehouses, and energy production. The traces of industrial occupation remain seen by cranes, large span warehouse structure and docks. Rather than removing these industrial qualities, the project aims to celebrate them through the exposed structure, visible servicing, crane system, and flexible spaces. The collage explores the industrial architecture of Blyth showing appreciation for these buildings. 77 How could we re-use industrial materials and language in our Building? 78 Key move Deciding to embrace the industrial aesthetic lead me to my portal frame for flexibility and openness, as well as material choice of Corten steel facade making a dramatic facade that opens and closed like a curtain
Reuse of Shipping containers The moveable pods and overhead gantry crane system became an important architectural response to my ideas of adaptability, participation and changing use of the building. Inspired by Blyths industrial dockside infrastructure and the movement of objects inside a warehouse space, the crane system allows pods to be moved, suspended, and reconfigured depending on the needs and wants of the young people. Rather than creating a fixed programme the pods allow for flexibility within the building, allowing spaces to shift between performance space, retreat spaces, learning spaces, workshops and temporary use. The language of the crane also conceptually fits into the front-stage and backstage narrative. The open warehouse space which becomes flexible seating and circulation space becomes the front-stage, where the pods create a backstage threshold where people can retreat too. The pods are adaptable spaces, that are suspended and moved throughout the building for making, retreat, performance, and or exhibition, to help with evolving over time and agency of young people. Move Suspend Adapt Occupy Figure 39 79 Pods on site The existing warehouse found at the back of the site will be kept to keep the pods in store when not in use in the building or outer context. Here I am exploring how the pods have moved in and out the building. Sufficient storage is required for how large these pods are. 80
Competition- UK Based Young people across the UK are invited to design adaptable pods that encourage creativity, occupation, performance, retreat, learning and community interaction. The competition explores how small moveable spaces can create new opportunities for agency, participation, and imagination within Blyth and future projects beyond the site. Figure 40 81 Pod entry examples Performance Pod Multi Layered, perform inside or on top of the pod. Making Pod This pod uses the external shell, to create fold out tables to work on, giving choice to using the inside space of the pods or the outside space. Exhibition Pod Neutral colours allow for focus to be on the exhibition, with the multiple entrances gives opportunity for different flows of circulation. Retreating Pod The flexibility to open and close the space gives agency to the user. Here are some examples of how the pods could be designed with occupation of the space in mind. All will be made from recycled shipping containers, so these are just precedents that could be used in choosing a design. Figure 41 Figure 44Figure 43 Figure 42 82
Remodelling I looked at how the pods would fill the space from my existing model. However what i realised was the building needed to be more open for more flexibility and agency for the young people when designing the layout of the warehouse with the pods. This led to the use of the portal fame. 83 84
Choosing my structure The portal frame was chosen as it allows for large open space inside the building, with limited need for extra columns and beams in the space .This was important for the flexible space needed for the pods and the use of the crane, needs the open space. Initial exploration into the shape of MY roof allowed me to chose quickly materiality. Glulam due to the strength and sustainability aspects was chosen. While helpful in exploring site dimensions and context, the portal frame was chosen for the open space and industrial aesthetic. Thinking more about the moveable facade and how I wanted it to move. The curtain style bi-fold was chosen in the end. 85 Exploring through sketching I am starting to think how the pods are configured and how the crane will work in the space, being able to lift the pods up and be placed on different levels of the mezzanine. The crane becomes part of the flexibility regime of the project, helping to move the pods to be suspended and relocated through out the building. Different uses may need different pod configurations so I explored what some of them might be.... 86
In this drawing the existing building has been changed, once cut in half the final design decided to keep the existing building to reduce embodied carbon. For the walkway to fit, instead the warehouse was moved further up site to create the gap between the new and old buildings. DISCLAIMER I am exploring how the cane system worked, having collecting the pod from the storage and placed into the warehouse the crane lifts the pod into the air, to then be attached to a pulling system on the sides of the building to pull the pod into the spaces above. How do we move the pods around? 87 crane and structure The steel frame crane system sits independently to the mezzanine circulation due to the sensitivity of the overhead gantry crane. The crane allows for adaptability and choice in the shipping container pods positions. Exposed structure, services and crane reinforce the industrial language of the project while support flexibility, movement and change. 88 Key move The overhead gantry crane means it is possible to move the pods where the young people want them, giving them full agency .
Frontstage and backstage The organisation of the building into front-stage and backstage was decided on levels of public space, adaptability and functions of the architecture. The existing building acts as the front stage, containing the vintage market, cafe, exhibition and performance spaces. These types of spaces are usually social and publicly visible, encouraging interaction, gathering and expression. The openness of the vintage market reinforces the idea of public exchange and reuse, activating the street edge going towards the quayside. The warehouse and pod configurations therefore are the backstage. With inspiration from industrial infrastructure and a theatrical production space, these spaces are more adaptable and honest. Here workshops and spaces for young people to upscale clothing and ability to change occupation over time allows ownership for the young people to make decisions. Rather than the backstage being something hidden, this project sees it as the space where controlled visibility comes to life, to encourage self expression to all. 89 My own fun palace Using the Fun palace i have explored in section how my space is created . (explain the drawing over) 90
How the pods develop in space The warehouse starts after construction no pods and a large open space. The first pod appears, first group of young people find out about the building and start up-scaling clothes from local charity shops. Word spreads and more pods start to appear in the warehouse. Now, further Blyth here of this opportunity for a space to make their own and the pods spread from the warehouse to the outercontext. This page explores how the pods start to fill up the space starting from contstructing to later down the line, where the pods move out of the building and into the wider context of Blyth, and potentially further. 91 Pod configuration exploration Pods conform to make a runway. Pop up event is taking place on the weekend for a big Northumberland clothing swap, where all are welcome to swap and donate clothes. Busy day in the warehouse where all space is taken over by the pods, people still wanting more private spaces to work in. More people use the middle space to create a temporary workshop, still giving space for those wanting Privacy. A showcase/exhibition is taking place with pods on higher levels observing down onto the show taking place on the ground floor. The crane cant be used today as the technician is not here to move the pods, so the young people take space on the ground floor, leaving higher levels for Observation. The pods leave the warehouse for the summer markets by the quayside. Leaving the warehouse closed for the day. The pods on the ground floor have been configured to create new thresholds, creating more hiding places. All the pods have been hidden in the mezzanine. 1 9 8 7 6 5 4 3 2 1 2 3 4 5 6 7 8 9 92
The Pompidou The pompidou as a precedent helped explore the exposed infrastructural langiage ans large flexible spaces for my shipping container pods.Its visible structure, circulation and services informed the crane system and pods, where movement and adapability becomes part of the architecture. The exposed structure and industrial style informed my thinking into the steel for the facade and thee exposed steel mezzanine as circulation for my building Figure 45 93 Exploring Materiality Reclaimed patchwork scrap materials Exposed fixings and joints Perforated metal Curtain thresholds Embracing rust Channel glass Large scale Glulam frame Corten steel Facade 94 This is an image of my mezzanine taken from my sketch up model
Moveable Facade Early Development Precedent analysis This precedent explore the opening and closing facade I am using for my building. This aids the control of visibility into the warehouse and also acts as a way of controlling solar gain. Conceal Figure 46 95 Reveal What I took from this precedent is the exploration is the performing style I wanted to include in my facade. The Corten steel reinforces my ideas with the industrial aesthetic, fitting into Blyth’s context. Further development The perforated panels allow filtered light and partial visibility to create a more layered spatial condition inside. The perforations create shadowing inside the building onto the mezzanine, creating a more theatrical space inside the warehouse. The curtain style, bi folding facade reinforces the exploration of the front-stage and backstage, allowing for more control over visibility for the young peoples space. 96
Thinking through theory The core argument in my theory into Practice, looked further into Robert Venturi’s idea of contradiction as a design method. I explored architecture as an adaptable and participatory building shaped by occupation, movement, and changing needs of the young people and Blyth. Influenced by ideas of contradiction, performance, and co-design my project wants to show the continuous shift between visibility and agency. The project positions architecture as an evolving social infrastructure where users are not passive occupants, but active participants shaping space and experience. 97 Venturi Threshold Looking at the Robert Venturi, Vanna Venturi house, Philadelphia, I was inspired by these revealing thresholds he used to open up the circulation into the space. Thinking about my hide and seek concept, i wanted to include this in my work, where the entrance leads you into the space, through an angled threshold. Figure 47 98
Upscaling market system Front-stage Backstage Market/ exhibition space sorting/storage/ workshop/ repair/ making 99 The building is not something that is fixed in time, but slowly transforms and evolves with its users encouraging expression 100
Inclusive and empathetic approach Due to the site slope I chose to cut and fill rather than completely flattening the site. The approach is used to minimise excessive excavation, and try work with the site. This also meant decreasing the size of the warehouse ground floor ceiling level in order for the warehouse to align with the the A bee brick slab edge covers the concrete cut and fill, incorporating willdlifes needs into how the building works. Figure 48- TECH WORK Figure 49- TECH WORK 101 A ramp connected to the metal walkway was also added for accessibility as well, creating a gradual transition space towards the warehouse, classified as the backstage in this project. Entrance ramp 102
Thinking through making Our thinking through making group project evolved collecting scrap pieces of metal and creating a structure to analyse for our own projects. Looking at the different modifications we made to the structure we analysed how this can be interpreted through empathy. This precedent shows what i too from the model, which was taking reclaimed material and turning them into a facade. Figure 50- TECH WORK 103 Reusing the scrap metal I created different panel configurations that could be used as cladding on my facade. The scrap metal would be welded together then joined into a steel framework for cladding. 104
reclaimed facades The reclaimed facade was an idea of reclaiming the materials that had been demolished on site for the new building, having the idea of a circular economy on the site, with minimal waste. The brick and scrap metal have been reclaimed into a cladding system on either end of the building, acting as a memorial of the materials from the previous site. This drawings shows as well the window for the workshop, where can observe down on the metal walkway. 105 Bridge connecting two spaces move The channel glass walkway acts as the transitional space between the front-stage and backstage. From the warehouse a door separating the space then from the front-stage, the existing buildings space, curtains are open or closed signalling an exhibition is happening. The glass channel material was chosen due to its beacon like aesthetic, acting as a way of enticing people to take a new more exciting route to the quayside rather than just on the pavement. Figure 51 106 Key move The reclaimed facade helps reduce carbon emission by recycling and reclaiming site materials, aiming for a more sustainable design approach Key move The glass channel bridge walkway became to me this transition space from front-stage to backstage, that became visible to the public.
Final decisions on Existing Building Important to note the changes my existing building went through during the project. Initially it wall be be gutted leaving only the exterior walls left. The final proposal sees some internal walls being demolished but kept to a minimum in line with the kids wants of keeping old buildings and restoring them. The chosen demolished walls where to help with circulation of space, and create more openness in some places. 107 Ground floor Second floor New walls Demolished walls 108 Key move These demolished walls were the final choice for my design helping to retain the memory of the old building while, creating more open flowing space.
Rotating walls, create flexible space The rotating walls were introduced within the vintage market and donation space to create adaptability and changing occupation throughout the week. Spaces can be cornered off if students are using the space, stopping the public from entering. Figure 52 109 Technology work Work from my technology report explains further the Glulam portal frame as the primary structure. Curved Glulam frames proved the a strong primary structure, supporting long spans. The Glulam creates a more comfortable more warm area rather than steel which would be used typically in warehouses. However this project, although called a warehouse uses to term to describe an open flexible space. Figure 53- TECH WORK Figure 54- TECH WORK 110
Mezzanine and circulation The mezzanine circulation creates layered movement and visibility through the warehouse, allowing young people to move between spaces of observation, sometimes in the pods, and participation, when the workshops are in the open space. Although are used as circulation, the walkways become thresholds for the pods to take space in, creating options for larger open spans to more hidden spaces. The openness of the mezzanine means space can be very visible or more hidden with the pods either creating space or having the hidden space inside the pod. Gates open and close to allow for the pods to enter onto a floor. 111 Final quick section A final quick sketch of my building showed the various spaces i have explored in this project looking at front-stage, backstage, concealed and exposed. 112
113 Context of my building My building is positioned between the River blyth quayside and existing warehouse structures to the north of the site. Visible from the river, and approached from the high street, the architecture embraces Blyth industrial heritage, while offering new space for young people. N 114 5 5 6 7 1- Entrance 2- flexible workshop space 3= Workshop with machinery 4= Loading bay 5- stair cores 6- Plant room 7- storage space7- storage space 8- Pods storage warehouse 9- community led garden 10- mesh walkway 11- Pod payment area 12- donation and market space 13- further market/ exhibition space with rotating13- further market/ exhibition space with rotating walls 14- Stair seating Up Up Up Up Down Ramp 8 9 10 2 1 2 3 4 11 12 13 14 Ground floor 1.200
115 Up Up Up down down down down 1 2 2 3 4 5 6 7 8 9 10 11 12 1- Mezzanine space 2- Stair cores 3- Bendheim glass channel stage walkway 4- catwalk space 5-seating 6-kitchen 7- storage7- storage 8- staff room 9- public cafe area 10- concealed cafe area 11-further quieter cafe space 12- Entrance from ‘backstage ’ to ‘frontstage’ first floor 1.200 116 down down down 1- Mezzanine walkway 2- Fire stair cores 3- Storage 1 2 2 3 3 Second floor 1.200
roof view 117 Roof view 1.200 118 Ground floor 1.200 Inspired by Sarah Wigglesworth and Jeremy Till, this drawing explores how the pods move in and arround the building, eventually starting to leave the building and enter wider context
Technology report 1.20 Section and elevation 119 Figure 55 Figure 56 The facade creates both opportunity for hidden and revealing the space of the workshop, the space for the young people. The perforated Corten steel acts as both a shading strategy and another to create a more atmospheric space inside the warehouse, to help with creativity when up-scaling clothes.. entrance axonometric 120 What is going to be in there?- The explorer Hope there is somewhere nice and quite and hidden- The observer What is behind this entrance- The explorer Can we design our own pod?- The maker I can be as loud as I want in there?- The performer
A LIFE TIME OF A POD 122 The shipping containers taking from the shipping dock, and placed into the lorry by the crane to take to the warehouse. The young people start to create their own design for the pod in the open space of the warehouse. The pods are then moved, suspended, and configured around the the building. Once the pods are placed around the building then the young people can start to inhabit the pod however they want. Pods start appearing all over the UK, in support of young people claiming a space of their own. The pods once they had their use, are transported to other places across the UK who need them, to hep their young people.
perspective section 123 Perspective section 124 The section shows different moments of inhabitation, with the crane system extending a pod into the outer context, representing the idea of the pods moving out of the building to help other young people around the UK.
Hidden 125 A moment of hiding for the observer character in the building, looking out on other people using the space. Seen 126 This space, the young people using it enjoy being seen and collaborating in big groups to help each other out and start to create their own workshop in the open space of the warehouse.
Empathetic economy 127 Step 1: Design Backstage the young people are deciding through collaboration what designs they are going to make from donated clothes and materials. Step 2: Production Stepping into the pod for quite space, a young person of Blyth starts to create their designs from he recycled materials. Clothes made on-site are sold at the vintage market to local costumers supporting the young peoples business set up. Step 3: Selling 128 Clothing designs can also be created as exhibition pieces to be modelled on the runway in the first floor existing building. The public come and join the young people to celebrate their work. Step 4: Exhibitions Step 5: Donations again The process restarts itself by more donations coming in of old clothing and material for the students to use in their designs
List of figures Figure 1- Radical Empathy studio self portraits Figure 2- Images from Towards spatial justice report, pp. 8-9 Figure 3- Images from Towards spatial justice report, pp. 10-11 Figure 4- Images from Towards spatial justice report, pp. 12 Figure 5- Photo taken outside Energy learning Hub, Blyth Figure 6- Collage of news headlines exploring social injustice for young people Figure 7- Aerial image of Blyth site from Google earth Figure 8- Energy Central institute proposal, Blyth. Image from https://www.energycentralcampus.co.uk/ Figure 9- Energy central learning hub, Blyth. Image from https://www.energycentralcampus.co.uk/ Figure 10- Worries for Blyth high street. Image from https://www.chroniclelive.co.uk/news/north-east-news/keel-row-closure-blyth-northumberland-28399871 Figure 11- Keel Row struggling to stay open. Image from https://www.bbc.co.uk/news/uk-england-tyne-66254326 Figure 12- Aerial photo of Blyth. Image from https://www.facebook.com/NorthumberlandCC/photos/blyth-has-been-successful-in-securing-money-from-the-future-high-streets-fund-wh/10157750328096522/ 13. Images taken from the co-design, workshop annd images of exquisite corpses and day in the life zine booklets. Figure 14- Iteratiions of mapping Blyth, done by Bede academy students Figure 15- Iterations of emotional mapping created by Bede academy students Figure 16- Exquisite corpse designs by young people including, Party animal, the past, decay, dictator, futuristic, climate change and fear Figure 17- Example of the day in the life booklets using the character fear Figure 18- Exquisite corpses with needs for each character included Figure 19- Newspaper clippings of injustices for young people across the UK Figure 20-People pointing down at girl image. source. https://uk.pinterest.com/business/hub/ Figure 21- Group discussion image. source. https://uk.pinterest.com/business/hub/ Figure 22-Photograph of queue outside job centre image. source. https://uk.pinterest.com/business/hub/ Figure 23- Photograph depicting stress and pressure leading to isolation image. source. https://uk.pinterest.com/business/hub/ Figure 24- Dream Blyth, Radical empathy booklet for exhibition Figure 25- Images of displays for Radical empathy exhibition during theming phase Figure 27- Images of community centre, MVRDV architecturs. Available at: https://www.designboom.com/architecture/mvrdv-adept-community-center-copenhagen-kube-house-of-culture-in-move- ment-09-02-2016/ Figure 28- Collage of constructivist theatre stage props. source. https://uk.pinterest.com/business/hub/ Figure 29- Annotated image of Cedric Prices Fun Palace. Available at: https://www.arkitektuel.com/fun-palace-cedric-price/ Figure 30- Curtain background for revealing my line of enquiry. Available at: https://uk.pinterest.com/pin/226024475044229065/ Figure 31- Curtain revealing my manifesto for my project. Available at: https://uk.pinterest.com/search/pins/?q=curtain%20stage&rs=typed Figure 32- Collage of architectural precedents exploring visibilty, particiaption and industrial spatial conditions Figure 33- Exploring different spatial conditions for my project. Source. https://uk.pinterest.com/business/hub/ Figure 34- Images of Victoria warehouse. Available at: https://www.google.com/search?sca_esv=e9b8a03e27f61160&udm=2&fbs=ADc_l-aN0CWEZBOHjofHoaMMDiKpaEWjvZ2Py1XXV8d8KvlI3hg2cL- ua8k0b5ikl_6e-_EuCrJXF2omMOMbPtXIscilQlfTWJ4o6kRAc14Hx65kj5RE041e1qFN3cBDm91PRkIOJUMqlW4TDSQK7aOtODtHveWicH-qCAxHyWegcz7AcltgLBzEPuCnVjclgrz6ZE-iQ6Af91m5khPA3h2- c9PF5Mc67XLw&q=victoria+warehouse+manchester&sa=X&ved=2ahUKEwiIk9qBytaUAxWKQkEAHcEEARQQtKgLegQIFhAB&biw=2552&bih=1316&dpr=1 129 Figure 35- Images of Manchester craft and design centre. Available at: https://www.google.com/search?q=manchester+craft+and+design+centre&sca_esv=e9b8a03e27f61160&udm=2&biw=2552&bi- h=1316&ei=h18VauD1Ep6mhbIPmpzSuQ4&oq=manchester+craft+and+&gs_lp=Egtnd3Mtd2l6LWltZyIVbWFuY2hlc3RlciBjcmFmdCBhbmQgKgIIADIFEAAYgAQyBRAAGIAEMgUQABiABDIFEAAYgAQyBRAA- GIAEMgUQABiABDIFEAAYgAQyBRAAGIAESPolUABYiBtwAXgAkAEAmAFCoAHzCKoBAjIyuAEByAEA-AEBmAIXoALmCcICChAAGIAEGIoFGEPCAg0QABiABBiKBRhDGLEDwgIIEAAYgAQYsQPCAgsQABiAB- BixAxiDAcICBBAAGAPCAg4QABiABBiKBRixAxiDAZgDAJIHAjIzoAeydbIHAjIyuAfjCcIHBzAuMTIuMTHIB1aACAE&sclient=gws-wiz-img Figure 35- Aerial image from Google earth of my site in Blyth. Available at https://earth.google.com/web/@55.12867296,-1.50477621,12.24442408a,165.38992547d,35y,4.2179793h,0t,0r/data=CgR- CAggBQgIIAEoNCP___________wEQAA Figure 36- Existing floorplans of the Eric tolhurst centre building. Available at: https://publicaccess.northumberland.gov.uk/online-applications/search.do?action=simple&searchType=Application Figure 37- Images of the guild house, by Robert venturi. Available at: https://www.google.com/search?q=guild+house+robert+venturi+&sca_esv=e9b8a03e27f61160&udm=2&biw=2552&bih=1316&ei=rl- 8VatHtA8LRhbIP_LCjkQw&ved=0ahUKEwjR_NaZytaUAxXCaEEAHXzYKMIQ4dUDCBE&uact=5&oq=guild+house+robert+venturi+&gs_lp=Egtnd3Mtd2l6LWltZyIbZ3V
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