2012

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design-portfolio.architecture art design

Frederick Jackson

Frederick JacksonArchitecture + Design

Portfolio

Contents17.06.2012

Grainger Town Acoustic ChambersNominated for the 2012 RIBA Hadrian’s Medal

Final Graduation project to design a music school for Newcastle’s Grainger Town.

Born - Harrogate, North Yorkshire. 1991Lived - Cawood, YorkSchool - LeedsUniversity - NewcastleWorked - Züblin, Mercedes-Benz Sindelfingen, GermanyFilm Archive - MiddlesbroughDissertation - Camden, LondonGrad Project - Grainger Town

Middlesbrough Film ArchiveA five week project to design a film archive

building for Middlesbrough.

Jesmond Dene Banqueting HallA project to design an extension and sensitive restoration of the ruin of Lord

Armstrong’s Banquetting Hall.

Art Work + External Competitions

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Graduation ProjectDecember 2011 - May 2012

The Right to Music

130.05.2012

Grainger Town Acoustic ChambersNominated for the 2012 RIBA Hadrian’s Medal

the Unseen ProcessThe project looks into how spaces and architecture can be tuned like musical instruments. Taking music back to its roots as an acoustic art form, the music school re-interprets a traditional music settlement within the urban context of Newcastle’s Grainger Town, employing the modular form of a cluster of music chambers that sit upon the site’s existing typography whilst utilising features such as the old basement that is left, as a fragment of the now demolished Westgate House.

Working mostly with models and sectional studies, I explored how non-orthogonal volumes could be tuned like musical instruments to manipulate the acoustic qualities of a space, as well as how sound could be allowed to escape from the chambers and resonate between the neighbouring buildings and chares.

For the room schedule, that included practice rooms, a brasserie, library, performance chambers and an instrument repair workshop, I utilised the piano key mechanism to inform the layout and organisation. From the acousmatic nature of the key, to the collaboration of parts that control the release of the hammer; each chamber was themed and given its function relative to the mechanism and the process of music making.

There is a particular scale appropriate to the nature of a music school, and for that reason the community of chambers that flank an internal sunken plaza are set back from the grand formal facades of Westgate Road. They instead belong to a network of chares and alleyways that characterise the vibrancy that can be found in this area of Newcastle that exists behind the grandeur.

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The now demolished Westgate House

previously occupied the site.

The context of Grainger Town.

The immediate context of the site.

The Site

The Earl Grey Monument

John Dobson’s Railway Station

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The Musical FieldsThe initial phase of the project was to look at the site’s raw potential as a musical landscape

with out a building.

Right:Field model

studiesFar Right:

‘Tunable Pavilion’

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The Grainger Town Acoustic Chambers

In Grainger Town, there are many musical establishments each with their own knowledge and expertise, from instrument repairs and niche venues such as the jazz cafe,

My proposal attempts to unite these people on the site in the Heart of Grainger Town, whilst passing on their knowledge to community centres, based on the already existing “Crossover” scheme that promotes old knowledge for new interests.

I was interested primarily in the collaborative aspects of music making.

We started the project by focussing on the site as a musical landscape in an excercise called ‘The Fields’.

My fields proposal was focussed on creating links between the site and St John the Baptist Church , as well as how the site’s sunken typography could add to the sense that this landscape is a stage for live performances.

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The Grainger Town Acoustic Chambers

In Grainger Town, there are many musical establishments each with their own knowledge and expertise, from instrument repairs and niche venues such as the jazz cafe,

My proposal attempts to unite these people on the site in the Heart of Grainger Town, whilst passing on their knowledge to community centres, based on the already existing “Crossover” scheme that promotes old knowledge for new interests.

I was interested primarily in the collaborative aspects of music making.

We started the project by focussing on the site as a musical landscape in an excercise called ‘The Fields’.

My fields proposal was focussed on creating links between the site and St John the Baptist Church , as well as how the site’s sunken typography could add to the sense that this landscape is a stage for live performances.

The UsersIt struck me that there are many musical establishments in Grainger Town, each with their own niche

of expertise and interest, from instrument repairs and building, to venues such as the jazz cafe.

Based on the already existing Cross-Over scheme, I was interested in exploring how collaboration between musicians, genres and interests could occur on the site, and how this shared knowledge

could be passed on to community centres and new musicians.

The AgendaMusic is losing its identity as an acoustic artform, becoming a product to be consumed and

disposed. Problems of plagiarism and illegal downloads exist only as a result of music becoming a degraded artform.

I want the music school to be a place for live music, which celebrates and returns to the art and process of music making.

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Tunable ArchitectureOne of the many parallels that exist between music and architecture is the complexity of instruments and how spaces can be tuned to effect the performance sound.

I explored ideas about how spaces can be tuned, I liked the idea that musical collaboration on the site could unite around this new process of tuning and learning about the properties of a room.

The RoomsThis phase of the project looked into the ideas and themes of the spatail requirements. I continued my study from the tunable pavilion of the fields exercise and modelled different ideas about how space could be

tuned acoustically.

Above:Concert

atmosphericRight:

A rehersal roomFar Right:

Piano Key Model

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key top - human input

acoustmatic sound

key leads - first adjustable part

pivot capstain screw

collab

oratio

n of p

arts

hammer + shank - sound makers

strings - tunable sound emittance

sound - wider impact

The Piano Key MechanismThe Piano has a hidden process behind its shell, where parts collaborate and can be tuned individually to effect the final sound.

Using this as a starting point, I used the mechanism to inform my room schedule on the site, drawing parrallels between each music chamber and the corresponding component of the mechanism.

The Unseen ProcessWhilst persueing my interest in the similarities between instrument mechanisms and how spaces and architecture could be tuned, I modelled the piano key mechanism - that has a hidden process behind its shell, where parts collaborate and can be individually tuned to

control the final sound.

I considered how these parts might translate into a room schedule, informing the layout and

function of the different components.

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As I am taking Music back to its roots as an acoustic artform, I aimed to reinterpret tradtional music settlements and create a community of buildings nestled in this urban context, as opposed to a large mass block as the now demolished Westgate House had once been on the site.

A Traditional Music SettlementAs I am taking music back to its routes as an acoustic artform, I aimed to reinterpret a traditional music settlement on the site. This is a direct contrast to the block mass of Westgate House that used to impose itself on both the

site and its surroundings.

The music settlement I felt to be a more appropriate scale to the nature of a music school - where individual chambers have a

connection to interstices and outdoor space.

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As I am taking Music back to its roots as an acoustic artform, I aimed to reinterpret tradtional music settlements and create a community of buildings nestled in this urban context, as opposed to a large mass block as the now demolished Westgate House had once been on the site.

Building model in the context

of the group site model

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Early painted study of

interstices

Basement Floor Plan -4.5m Entry Level Floor Plan

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Entry Level Circulation to use Performance Spaces Performance Views

Existing Excavation

Proposed Excavation

First Floor Plan

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overlay study drawingsSketch exploring

facadism, inner + outer skins

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An impromptu rehersal inside

the Horowitz Performance

Chamber

Piano Dampner Opening in Chamber

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model development - Horowitz Performance Stage

Horowitz Performance

Chamber study models

Section close-ups

North - South Section

East - West Section

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Existing, Exposed Westgate House Basement

the sunken performance chamber has circular openings in

its roof to allow curious onlookers a view

Seating provides a place to sit and watch a lunchtime performance

The sunken plaza is flanked my a wall of practice rooms,

imitating the surreal verticality and vibrant openings

that can be found behind the facades of Grainger Town

Busking boothes are stacked and can perform in the

building, or taken away to perform around the North East

ii noitces North - South reverse section

North - South reverse relief

section

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Westgate Road Elevation

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Middlesbrough Film ArchiveSet in Middlesbrough, the Film Archive is a place where people can watch films about the industrial heritage of the town.My design proposed a variety of atmospheric sequences that could be created through variations of intimacy, light and texture, based on mark cousin’s notion that “film is a dark place where light matters.”I also looked into how salvaged materials could be used within the building from neighbouring demolitions.

The final scheme also proposed an idea about casting heat resistant concrete around towers made of timber and objects donated by the people of Middlesbrough that could be burnt away once the concrete was set, leaving a charred inprint within the core of the building, and fixing the building within the mind and memory framework of the town’s community. After the community has been united around this ritual burning, people could enter these spaces and look in at different levels to identify objects they had donated. I produced a sequence of images that imagined the towers when lit to look like chimneys with the flames of Middlesbroughs industrial heritage emerging from the top.

The Middlesbrough Film Archive brief provided a platform upon which architectural ideas about light, depth and materiality could be explored. I used this opportunity to look into my interest in the work of Louis Kahn and Peter Zumthor that formed at the end of second year.

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proposalproposal

PreservationMy design philosophy was based around the idea of thoughtfull dem-olition where necessary, responding to the brief’s requirement of a “new shop front” with a sensitive indication of the archive’s presence.

A new solid core for Middlesbrough

Proposal

28.11.2011

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Satellite Image - most towns ‘hug’ their river banks, Middlesbrough’s riverside territory has been cleared to make way for large scale developments, many of which the local residents do not understand as they have no level of involvement. They

are relatively alien & commercial visions that do not relate to the context & history of the town

Middlesbrough is a fragmented patchwork town

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Boho 1enterprise & development scheme

Middlesbrough Collegewith Young People’s Learning Agency and Skills Funding Agency

Train Station Film Archive site

Bus Station

LibraryMIMAMiddlesbrough Institute of Modern Art

University

scale 1:1000

Northern Regional Film & Television Archive A tired and derelict urban area A ‘landlocked’ site between the railway platform and historic square

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site context plan

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front sketch back sketch

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front sketch back sketch

Site Plan

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proposalproposal

PreservationMy design philosophy was based around the idea of thoughtfull dem-olition where necessary, responding to the brief’s requirement of a “new shop front” with a sensitive indication of the archive’s presence.

A new solid core for Middlesbrough

Proposal

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proposalproposal

PreservationMy design philosophy was based around the idea of thoughtfull dem-olition where necessary, responding to the brief’s requirement of a “new shop front” with a sensitive indication of the archive’s presence.

A new solid core for Middlesbrough

Proposal

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below the railway lines - the archives are housed in temporature controlled cells along cut out of an existing tunnel that has been re-opened.

Building model showing facade

intervention and railway platform link to cafe via a

raised deck

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existing railway retaining wall

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ing

tunn

el re

-use

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a

b

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5

landing+1.28m6

87

9 10a 10b10c

10d

10e

1111a

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1212a

11b

Exchange Square

cafe

landing+ 1.5m

RAILWAY PLATFORM

-sion to platform acts as an extension to the public domain and an outdoor

view

of p

latfo

rm

void

void

void

void

void

c

d

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1617 18

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2021

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void

void

void

void

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a-d. group screening1. reception area2. gallery with projection installations3. lightwell-tower4. lightwell- tower5. open space toplit with a view of the lattice of staircases that draws the view-ers attention upwards6. view to projection on wall7. services8. circulation for educational-archive use with original columns preserved9. ict + video editing10. individual boothes11. teaching space11a. meeting room11b. locker/changing

13. archive boothes set into ground cut through vaulted tunnel walls14. outdoor seating with projection showing

front for Middlehaven/college15. open gallery for installation15a. views down to reception and framed view of Exchange square monument16. reclaimed timber cafe seating boothe17. kitchen18. service19. main auditorium20. calm space to sit/wait/read/think21. viewing deck to transporter bridge22. calm seating area23. formal art gallery space

existing used as feature

key

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East-West Section

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The structural concept was to encase reclaimed materials between the concrete frame of the building. The materials are re-used as a textural and atmospheric addition without any structural requirements meaning they could be salvaged directly from neighbouring demolitions. I created a number of 1:5 scale studies to explore this idea and found it interesting that they could be arranged as sculptural forms themselves.

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“People are moved by the pure ex-perience of space and material. The closer that people feel they are to the material substance, the more secure they feel in their reaction”

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“People are moved by the pure ex-perience of space and material. The closer that people feel they are to the material substance, the more secure they feel in their reaction”

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PEOPLE OF MIDDLESBROUGH DONATE OLD OBJECTS AND MATERIALS OF INTEREST

The towers are clad in junk objects donated by the Middlesbrough community. Salvaged materials, buckled bike wheels, broken furnature and ornaments - all useless objects but carry with them a degree of sentiment and memory.

SITE IS CLEARED AND TIMBER TOWERS ERECTED

TOWERS CLAD IN TOPROC HEAT RESISTANT CONCRETEThe brief asked us to look into the potential of re-using materials from derelect sites around Middlesbrough. It struck me that many materials could not be used in the fabric of the building, but may still be of interest if used in

work of Zumthor and Rachael Whiteread for ideas of casting imprints in concrete.

Tower Casting

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A sculptural intervention that acts as a ‘stitch’ of varying scales and textures between Exchange Square and the railway platform.

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A sculptural intervention that acts as a ‘stitch’ of varying scales and textures between Exchange Square and the railway platform.

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The ritual burning of the waste content provides an opportunity for the community to gather in the square and

furnaces and Middlesbrough’s industrial past.

After the event, people can en-ter the towers and look inwards

as dramatic lightwells allowing people to identify objects that they donated to the project.

an initial memory and sense of attatchment to the building en-gaging with the local residents of the town.

THE CHARRED INPRINT OF THIS COMMUNITY EVENT REMAINS IN THE CORE OF THE BUILDING

THE WASTE CONTENT OF TOWERS BURNT AWAY

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1.

2.

Detail Drawings Parapet roof to in-

-cluding door frame

SCALE 1:20SCALE 1:50

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RED DENOTES STRUCTURAL BAY DETAILING LOCATION

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3.

4.

Detail Drawings

SCALE 1:50

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3.

Detail Drawings Cladding systems & deck section

4.

SCALE 1:20 SCALE 1:50

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Jesmond Dene Banqueting HallThe project was to design a modern extension to the existing ruin of the Jesmond Dene Banqueting Hall. The brief specified the need for a victorian cook school, an exhibition outlining the history of the Dene as well as a recording studio and offices for the ‘Living History North’ organisation, who record memories of World War II Veterans.

This brief made us consider disabled access to the hall down the 10m drop of the slope, as well as the landscaping strategy that gave us to opportunity to shape the Dene’s already dynamic landscape.

I intended to create an extension that avoided pastiche and contrasted with the existing building fabric, making obvious any new intervention to this romantic Victorian ruin. I felt a largey degree of sensitivity and the appropriate use of materials would be essential to this project.

25.05.2010

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The North facade + extension site

The project was to design a modern extension to the existing Jesmond Dene Banqueting Hall. The brief speci-

Veterans.This challenging brief forced the consideration of disabled access to the Hall, as well as a landscaping element which encouraged us to create a sensory element to the Dene’s already dramatic landscape.I intended to create an extension that avoided the pastiche, but rather contrasted and made obvious any modern interventions to this Romantic Victorian ruin. I felt sensitivity and appropriate material choice would be essential to this project.

Living Memories in the ParkJesmond Dene Banqueting Hall

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-tle. Sometimes referred to as ‘The Green Wedge’, the Ouse Burne Valley spans from Jesmond to the River Tyne - a large, man-made Victorian landscape which can be attributed to the wealth and fortune of Lord Armstrong. This rare land-scape has strong links with the city, with many opportunities to introduce highly populated areas such as Jesmond to any project or activities taking place within this area. There is also the opportunity to create educational links between the Victorian Landscape and the surrounding schools such as Heaton Manor.The Dene itself is an extremely beautiful setting. Mature trees line both sides of the steep banks

water falls. This project is set in Lord Armstrong’s Banquetting Hall. The Hall itself is a ruin, with the gatehouse and reception space inhabited by local artists. The burnt down kitchen block on the North side of the Hall provides the site for a new extension.

an extremely sensitive approach was needed. It became clear that any modern extension should contrast with the heavy rough existing stone, but regress into the landscape in order to preserve the dominance and importance of the Hall.

Site Section showing South Facade

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The North facade + extension site

The project was to design a modern extension to the existing Jesmond Dene Banqueting Hall. The brief speci-

Veterans.This challenging brief forced the consideration of disabled access to the Hall, as well as a landscaping element which encouraged us to create a sensory element to the Dene’s already dramatic landscape.I intended to create an extension that avoided the pastiche, but rather contrasted and made obvious any modern interventions to this Romantic Victorian ruin. I felt sensitivity and appropriate material choice would be essential to this project.

Living Memories in the ParkJesmond Dene Banqueting Hall

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-tle. Sometimes referred to as ‘The Green Wedge’, the Ouse Burne Valley spans from Jesmond to the River Tyne - a large, man-made Victorian landscape which can be attributed to the wealth and fortune of Lord Armstrong. This rare land-scape has strong links with the city, with many opportunities to introduce highly populated areas such as Jesmond to any project or activities taking place within this area. There is also the opportunity to create educational links between the Victorian Landscape and the surrounding schools such as Heaton Manor.The Dene itself is an extremely beautiful setting. Mature trees line both sides of the steep banks

water falls. This project is set in Lord Armstrong’s Banquetting Hall. The Hall itself is a ruin, with the gatehouse and reception space inhabited by local artists. The burnt down kitchen block on the North side of the Hall provides the site for a new extension.

an extremely sensitive approach was needed. It became clear that any modern extension should contrast with the heavy rough existing stone, but regress into the landscape in order to preserve the dominance and importance of the Hall.

Site Section showing South Facade

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First Floor Plan Ground Floor Plan

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Visual impression of the new extension at ground

is obscured by dark zinc panels inset as a screen be-hind the stone, that directs the visitor into the smaller stone arched entrance which I observed from the site visits had a quality that drew people towards it.

frame to the historic masonry, and only has a glazed connection to it.The bridge leading to the lift encourages people to lean over and observe the planting in this area.

invertibrates can be observed from the bridge.

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Elevation - East facing facadeThe slate roof on the Hall sits above the original stone with a glazed connection between the two. The imposed steel frame allowing for two elements to be separate.

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A-Level Artwork2007 - 2009

Portraiture

Oil on canvas 2009

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Artwork + External CompetitionsA selection of work outside of architecture.

varied work

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Oil on canvas 2007 Oil on canvas 2007

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Oil on canvas 2008 Oil on canvas 2008