Off I go back out to sea, The farewell wave to my family, In the distance goes the Royal and Alexandra A fair way now to the frozen Kara Shall I return to see their faces I often wonder as I visit these places A storm, a wave a swirling surge That's all it'd take for me to purge Landing the catch is our only goal These Arctic chills take there toll With endless days and sleepless nights The wicked sea soon shows her might Deckhand, Skipper, high or low we pull together keep each other in tow Hands to the winch winding in the trawl gut and ice ready for the market stall Fix up our gear for the return to port mop up the deck, give the nets a sort through the fog I see that famous tower I'm home at last! 'tis the finest hour. Ryan Geoghegan Tapestry Poetic narrative of voyage to sea
Transcript
Off I go back out to sea, The farewell wave to my family, In the distance goes the Royal and Alexandra A fair way now to the frozen Kara
Shall I return to see their faces I often wonder as I visit these places A storm, a wave a swirling surge That's all it'd take for me to purge
Landing the catch is our only goal These Arctic chills take there toll With endless days and sleepless nights The wicked sea soon shows her might
Deckhand, Skipper, high or low we pull together keep each other in tow Hands to the winch winding in the trawl gut and ice ready for the market stall
Fix up our gear for the return to port mop up the deck, give the nets a sort through the fog I see thatfamous tower I'm home at last! 'tis the finest hour.
Ryan Geoghegan
Tapestry
Poetic narrative of voyage to sea
Fishermen's Archive Portfolio
Ryan Geoghegan
University of Nottingham Project 2 K13DSA
4231716
The port of Grimsby, once the busiest fishing fleet in the world served the rest of the UK with 112000 tonnes of fish at its peak (1960'S)
The distance travelled by the trawlerman - often across dangerous stretches of water in Arctic conditions - were as far as 2500 miles away. Favourite sites in the fertile North sea included the coast of Fairilse and the waters off Iceland.
Perilous journeys cost the lives of up to 5000 men, making the industry the deadliest. Compared to coal mining, for every life lost 8 men died at sea. 669 whole boats were recorded missing bewteen 1812 and 1960, never to return home to Grimsby.
Distance Travelled
Favourite Fishing Grounds of Grimsby Fleets
Grimsby Telegraph Archive Headlines
A typical journey from Grimsby was taken in small boats holding a crew of around 8-12 members, the men usually worked on the same boats under a skipper who chose the location. With up to 10 months of the year spent at sea up to 14 days at a time the men formed strong friendships, despite the hardship endured they would bond together over cards, food and games. The loss of a member at sea would have a devastating effect to morale and production on board, the loss would be mourned much like a family member, the bonds formed on board would serve the men throughout their lives with their experiences and losses shared for generations to come
Life on Board
From family games to collective grief
Family Connection
The form of a traditinal trawler boat consists of a cabin, deck and lower deck, the Captian of the ship would order the deckhands on the lower levels who would in turn direct the lower deckhands, the ranking of the trawlerman would usually be based on experience and the wage would be decided amongst the men as per their contribution on board, yet despite this formation the men on board the boat would often pull together when needed with the Captain hauling the catch just as a deckhand would, likewise, the hierarchydiminishes in the cabin lodgings with the crew coming together respectfully at meal times.
Hierachy of Order
A team effort of equality
Hierarchy Diagram
My site is located 1.4 miles inland from the River Humber in the Alexandra Docks, this area is also known as the Riverhead as the River Freshney runs into the waters of the dock here. I have positioned my site on the water of the docks running underneath anexisting "Rolling Scherzer Bascule Bridge" named Corporation Bridge, which opened in 1924. This drawbridge, bridge which is no longer functionally in use is seen as a landmark to Grimbarians. A proposed Marina is currently under construction north of my site bringing boats back once again to the heart of Grimsby.
Site Location
Bridging the Town to the Sea
Aerial of Riverhead
After the initial site visit I revisited Grimsby on a weekend hoping tobecome more accustomed with the town and itshistory. My journey illustrated as a collage shows my starting point as the railway station , I visited an existing fisherman's memorialsituated outside St James' Minster, it became apparent how car orientated the town is making it difficult to navigate, the map below shows my route in which I sought to enter the Fish Docks only to find how segregated anddesolate it was compared to the rejuvenated town centre.
'Day in Grimsby' Collage
Segregated and Souless
Route through Grimsby
It was during my visit to Grimsby that I determined my site location, a post industrial maritime jewel close to the heart of the town centre in the Alexandra Docks, a display of nautical themed artefacts lay in such close proximity notably the sunken trawler alongside the Ross Tiger situated outside of the Grimsby Fishing Heritage Centre.
With Buoys and jetties I felt that this site was one of the few which captured an essence of the former town, an intangible air of mystery shrouded the site making it a suitable location for my typology.
Site Images
A Rich Maritime Jewel
Photographic viewpoints
Constructed upon a former Gothic Church the Chapel of Reconciliation is stowed in history rooting it to the site, located directly on the border of the demolished Berlin Wall the chapel is a symbolic structure unifying the divide between the two sides, the broken fragments of the demolished wall were incorporated within the rammed earth heavyweight interior ring which houses the simple chapel prayer room, the brick and loam are to represent a healed land-scape in this broken territory.
The history of the site and the respect given to the former church is evident through a modest window in the floor viewing the foundations of the former church, this along with the fragments of the Berlin wall give the building a strong sense of genius of place responding sympathetical-ly and symbolically to the site.
I chose this precedent due to its sensitive nature in dealing with a political issue in which lives were altered but also the construction of the building with its heavyweight core has par-allels to the sunken archive space of my design com-pared to the lightweight outer ring of loam paralleling the name structure which wraps around the perimeter of thecirculation space, ever present, a unified existence.
'...Building wasintended to resonate with the fragility and vulnerability of peace and reconciliation...'
Cross Section
Longitudinal Section Site Map
Heavyweight vs lightweight diagram
Floor Plan overChurch foundations
Precedent Studies
Chapel of Reconciliation, Berlin Sassenroth & Reitermann
Chosen in collaboration with Piet Oudolf for the prestigious Serpentine Pavilion of 2011 this structure is designed to work with contrast, this is achieved through the selective use of materials and lighting within the navigation of the building, viewers are made to walk around the dark perimeter of the structure which reveals onto a designed garden space completelyenclosed and in stark contrast to the darkness endured to get there.
'This experience will be intense and memorable, as will the materialsthemselves - full of memory and time.'
Zumthors aims was to create an escape and sanctuary in the middle of a busy city making us really look at the nature after being enclosed through the journey of the building, this hortus conclusus or closed garden provides a quiet reflective space connected to nature through architecture.
This precedent was chosen for its ability to hide and reveal, the dark circulation spaces highlighting the viewers optical senses whilst creating a sense of curiosity until the big reveal of the contrasting colourful rich garden is revealed. The use of material was carefully selected too,highlighting the tactile experience of the viewers journey, this sense of reveal and wonder shall be taken forward in my design.emphasising the experience of journey from safety to uncertainty.
Site Plan
Fauna Plan
Precedent Studies
2011 Serpentine Gallery Pavilion Peter Zumthor
Viewers of the museum un-dergo an axial journey each whose architectural narratives seek to capture the emotion and hardship endured by the Jewish. A 'Void' cuts through the zigzagging plan of the museum creating a space which embodies absence, The sense of not being able to reach a destination becomes a central focus for the museum stripping theviewer of their power. My building shall have notions of contemplation such as being flush with the dock where the archive can be consumed and drowned as we comprehend the loss endured.
Inaugurated in 2001 thiscontroversial design is a mark between before and after, its deliberate void spaces an embodiment to the 'literal annihilation of culture.' Zones of confusion and chaos replicate the terror that victims of the Nazis endured.
"This museum contributes to a landscape of memory..."- Shelley Hornstein 'Losing Site '
The bold form of the building scars the landscape as a memory never to be forgotten, this continual visibility forming an active collective memory, the museum helped Berlin move on through its tarnished past acknowledging the Jewishcommunity and forming a consciousness of the Holocaust ensuring that nobody should ever have to endure the exclusion and tragedies faced in the War.
Ground Floor
Cross Section
Cross Section
Precedent Studies
Jewish Museum BerlinDaniel Libeskind
Daniel Libeskind concept Drawing
This precedent was chosen for its similarity in narra-tive paying homage to fish-ermen, although the building lacks a clear function with no set rooms I find its ma-terial palette useful and suit-able given the environmental conditions. The rising form seen in the elevations could work well in my design as a resurgent nuance to the return of trawlerman back to their home
Located as part of the urban agglomeration of Quebec this former fish processing factory is now part of a discovery path along theislands coast, its layout reminiscent of the incinerated plant's process-ing chains and long sorting tables. The undulating form represents a stormy sea paying respect to the workers at sea. The strategic location of the site allows for the building to become meeting place, however its surroundings lack welcomeness, the plan of the design was one which would open in on itself, a soft material palette entice viewers into the building where they catch views of the marina, Eastern cedar and marine plywood are known for their resistance in saline environments ensuring the building will withstand the harsh climatic conditions.
Elevations Floor Plan
Precedent Studies
Place Des Gens De Mer Memorial, Quebec Bourgeois Lechasseur
Process Studies
Model Making of various forms
Through Modelling I explored the spatialarrangement of my archive, my initial response situated in the centre of Alexandra Docks had a geometric, symetrical layout, I explored changes in level with two central courtyard rooms, one elevated inwater and the other sunken, the archive was accessed via a projected rope bridge. The second phase model was situated underneath the Corporation Bridge, this explored the notion of journey with a focus on the visitors experience of the names and connection to water. Yet the archive space remained unresolved. The third phase solidifies the design and access to the archive, parasitically centred against the existing bridge columns the archive space sitsunderneath the dock water level.
Process Studies
Names of Lives Lost
The attribution of names of the 3000 men whise lives were lost at sea shall encompass as a continuous ribbon the perimeter and interiortransitional zones of my design, through their united sacrifice these men contributed to the success of Grimsby, each name, irrespective of rank, age or creed is connected to his neighbour. Their immortalised return to Grimsby waters is finally complete.
The construction of the names shall make use of scrap trawler steel, smelted down and reshaped into the written cast, this result shall provide arobust outer structure, theapertures in the names allowing for light to pass through and shadows to form, the gente ripple of the dock water reflecting the names shall offer a sincere commemoration to those lost.
Process Studies
Mechanical Engine Turns Once More
Engine Room Components
Residing underneath the pivot floor of thewatchtower lies the mecanical engine room, this device turns the pivot floor of the watchtower audibly resembling the clinks and chugs of a trawlers engine room. The impressive machineary can be visited by the viewers and seen from the dockside though the large glazed window entiing people to explore.
An often overrlooked aspect of sailing the engine room pays homage to the men who sail below, by bringing the room to water level it can be explored and admired in its mecanical marvelry.
Process Studies
Watchtower Cladding
The external cladding of the watchtower holds an important aesthetic function to encourage viewers into the building whilst maintaining strength in the moisture environ-ment. I experimented with wooden vertical cladding with a copper paint wash this oxidisation effect would resemble rust on the trawlers and age the building helping it blend into the surroundings, The use of copper was also incorporated into another cladding model, the overlapping timber and copper tiles replicating the shimmer of fish scales, the streaked staining of the copper would trickle down the timber creating unique patterns.
Process Studies
Views from the Building
This interactive model based on a ships navigating wheel shows the key views which can be seen from thearchive building and watchtower, the user steers the wheel just like the viewers to the building would do to navigate the turning of the pivot floor this directs to various views around the site notably the Dock Tower, Alexandra Mill and Corporation Bridge. Each anchored clipper holds the polaroid with a description of the related view.
The interactive features of the design are toencourage a younger generation to take interest in the history of their town, the watchtower acts as a beacon connecting the town centre to its maritime past whilst steering the way for a prosperous future.
This sectional modelexplores the relationship between the submerged archive and the commemorative pillars. The importance of structures below the surface is highlighted with the pillars rooting to the dock floor extended underwater to pay homage to the sunken trawler boats lying somewhere in the depths of the ocean. The distance of the pillars from two reference points within the building relates to favourite fishing grounds of the Grimsby fishermen some as far as 2500 miles away, the corresponding pillar being 25 metres from the archive.
The submergence of the archive aims to give views a sense of being under-water, the calming dappled light from the diffused light passing through provides a suitable atmosphere for the typology.
A lightweightsedum roofsystem comprising of native plants shall be used for the chapel, this will create a pleasent view from the bridge level whilst contributing to the biodiversity.
A shingle system of wooden and copper slates shall be applied to the tower and sloping ramp exterior, this shall settle into the landscape and age the building react-ing with the moist surrundings
The 10 pillars commemorating the lost vessels and respective dis-tance from Grims-by shall be cast of Corten steel, the inaccesibility of these highlights the longing for return.
