SHARED VULNERABILITY CRITICAL ANALYSIS

However, it must be acknowledged that this direct exposure comes with risks, such as the simple risk of being stung. This is where the sharing of vulnerability aided my understanding of how by allowing to put ourselves at risk, we ultimately become less uncomfortable with vulnerability, and as Green and Ginn (2014) would define it, is an ethical practice (p.149), themselves touching on the analogy of how “getting stung really hurts”, however “the bee also dies” (p.160) The two are vulnerable to threats and once this is acknowledged it becomes an irreducible part of the human-bee relation. Therefore, through this wildflower meadow that is placed on the roof of my building and that is the main access point to my site, you immediately step foot in an element where everywhere you might walk, you find yourself in the flight line of a hive or another (Figure 3). By these means, you learn to “walk carefully, listen intently” (p. 160), grasping towards some relation with another creature and its own particular vulnerability (p. 152) leading one to “become with many”

Sustainable production and consumption through the reintroduction of traditional Bee-keeping methods and honey harvesting. To mend the fracture that has been created between city and nature.

It will take a Regenerative approach with the aim to preservation of our pollinators, attract them and provide diverse food sources.

A space where humans and nature can live and thrive together. A hub for research and education where visitors will be able to participate, learn and be active in the process.

Today, we live in an Anthropocene age, that despite not being an officially approved term, is a proposed geological era. Donna Haraway explains this era as the growing evidence for the transformative effects of human activities on the earth. As designers we have been protagonists of this epoch.

As a response, this project aspires to mend the human–non-human divide by shaping conditions for multispecies flourishing, strongly promoting the inclusion of non-humans. Aspiring to create an environment where bees and humans co-exist and where nature is regenerated.

Site analysis enabled me to study the surroundings, pivotal to discover the strengths and weaknesses of the site, and acknowledging what I would like to embrace in my project. An analysis that has informed my initial design thoughts.

I began relating my research to bees so though the analysis of the sun path and the prevailing wind it was possible for me to identify the ideal location of the hives, this being south east to embrace the morning and warm south sun. Similarly, I began to imagine where to position the different functions of my design, considering for instance the north constant light, the shadows, the noise pollution, and accessibility. Whilst also looking into the materiality within the existing site to gain sensitivity of the surroundings.

Paintworks, Bristol was chosen as the site for this project given that it gives the extraordinary possibility to effectively aim to make a change, aim to enhance the eco system. The site sits in the middle between the adjacent Avon forest to the south and the Avon river the the north, which enables my design to be a mediator for a swarming scheme to guide pollinators through a route that could effectively create a new Bee-line within Bristol.

This new Bee-line is made possible do to the fact that the route created with my project sits at less than a 5 mile radius from existent Bee-lines in Bristol, giving the possibility to attract bees naturally to the site, without the use of any human-centred mediums. Adding to the sustainability of the project.

The site if there were no bees

“No more bees, no more pollination, no more plants, no more animals, no more man.”

Huyghe’s exhibition was imperative in this design stage. Huyghe created a space where visitors found themselves in the middle of a process that generated itself immersed in sprouting growth where hills were overgrown with plants and weeds. At the centre of his work, a concrete figure with on its shoulders has a beehive.

Here lays the affinity with my project. The bees not only disseminated the seeds, they also reproduced, so that the head of the sculpture was constantly growing and after several months was swollen and overtaken.

This demonstrates the chosen site, a concrete block, does not prevent a site of becoming. Where change and growth occur independently from both the designer and the viewer.

An architect who has provided a vivid framework for the connection of materiality to emotions and that highly influenced my choices of materiality when coming to terms with this symbolic and pivotal central atrium has been Peter Zumthor. More specifically his Bruder Klaus Field Chapel, where twenty-four layers of concrete were poured into a wooden frame that was then set on fire, leaving a rough, blackened concrete surfaces behind, creating an interior space that strongly contrasts the smooth façade of the Chapel.

Expressive materiality was used in my buildings, with the aim to evoke emotions to the visitors when in my design, to develop the awareness and emotional connection to the theme of the building, a connection that Zumthor refers to as a “measuring tool for experience”.

Within the building you are guided through a unique and innovative multi-dimensional path which responds to and works directly into our changing social, cultural and economic environment. That explores how the honey bee can inspire human beings in all three realms of life, where you can see hands-on what sustainable honey production means.

A place to be active participants in the acquired understanding of the desperate need of the inclusion of non-humans in architecture, to spend time being, or becoming with them.

The aim for the the building to be a reflection of a natural life cycle was pivotal in the choice of materiality. Primarily the use of timber as both the main primary structure and means for the wall build-up was symbolic given that it is delivered from a living organism.

The material approach is careful, earthy and secure. Based on the idea of exploiting wood. Its texture, so deeply connected with nature, creates the feeling that the inside structure is part of the outside world too and blends it with the surroundings. With the careful use of bee bricks, bird and bat boxes and insect hotels comes multi-species flourishing.

Exposed Cross Laminated Timber and Glulam Timber is used inside to produce a home like feeling, giving the idea of warmth, comfort and belonging that people should perceive by the centre.

They were chosen for their great strength, renewability, easy workability and good thermal insulation, making them ideal for a sustainable design.

Wood, warm, which contrast perfectly with the cold appeal of the brick elements in the façade, that are solid and cold without altering the homey feeling.

Cross Laminated Timber:

Stores carbon during its service life, creating a so-termed ‘carbon sink’. This results in a reduced global warming potential impact in its production stage. Has a low embodied energy in manufacture and quick construction on site given that it enables a reduction of up to 30% in construction time.

Most of the current CLT buildings are yet to reach the end of their service life. This has led to a lack of end of life data, however assumptions can be made on its end of life; these demonstrate the clear advantage of reusing/recycling CLT, or it being considered as a bioenergy source, from a sustainability perspective.

(a)reuse (in part or in total), (b) incineration (with or without energy recovery), and (c) landfill.

Wood fibre insulation

Is made from the waste soft wood material. Captures CO2 and is renewable. However, The dry process of manufacture can also include PMDI glue, this can be justified as it leads to better resistance to water uptake, greater compressive strength whilts also being a process that uses less energy than wet.

Is reusable and recyclable.

Glulam members

Manufacturing is a resource effective process. Less environmentally intensive, with very low energy use in its manufacture process. Captures CO2, is renewable and can be reused or recycled.

Western Red Cedar Timber Cladding

Highly sustainable wood type, capable of removing greenhouse gasses from the atmosphere, is renewable and biodegradable, durable and resistant. It is widely available locally, reusable and repurposeful

Concrete elements

High embodied carbon. Justified as high thermal mass contributes to passive heating.

Green Roof

(Outside To Inside)

- Wildflower Meadow

- Substrate 200mm

- Bauder filter Fleece 1mm

- Drainage layer 50mm

- Bauder FSM1100 damp proof

Layer 8mm

- Bauder PE Foil (x2) 0.4mm

- Woodfibre insulation

- Vapour control Layer

- 120 mm CLT

- Glulam beam (in elevation)

Clt Wall

(Outside To Inside)

- 25mm Vertical natural oak cladding

- 40mm timber battens

- 40mm ventilation timber battens

- 15mm plasterboard

- Damp proof membrane

- 400mm wood fibre insulation

- Vapour control layer.

- 120mm exposed CLT

- Glulam column (in elevation)

Clt Floor (Outside To Inside)

- Timber floor finish

- Raised floor

- Service cavity

- 120mm CLT slab

- Glulam beam (in elevation)

Foundations

(Inside To Out)

- Timber floor finish

- Screed

- Vapour control layer

- Insulation

- Damp proof membrane

- Concrete slab

- Concrete pile foundation

North lights introduce natural constant light

High levels of insulation

Natural shading and noise screening

Electricity is partially generated by Photovoltaic Solar Panels

Highest efficiency lighting with daylight sense dimming, minimise light use and cooling

Natural cross and stack Ventilation

Green roof reduces Heat Island effect

Summer sun is occluded by louvered Brise

Geothermal Ground – source heat pump

Bicycle shed

Natural ventilation was the driving force in my environmental strategy adopted through the use of cross and stack ventilation creating a natural flow of air throughout the building. The vacuum in the central atrium, the interior openable widows and roof light opened by 24v electric actuators are pivotal in creating this effects.

Geothermal Ground–Source heat pump provides space and water heating in the winter and colling in the summer. Water is extracted from the pump, using a thermodynamic ground. Processed to elevate the temperature of the heat pump of at least 4 units. With a Carbon Intensisty of 0.11. kgCo2/kWhr

Recycling Rainwater collection

I Breather Membrane

Brick tie

Cavity tray

Perpend joint

Steel lintel

Rendered insulation

Brick tie

Sealant

Air seal foam

Composite window

1:5 Brise Soleil

Woodfibre Insulation apour control layer apour joint tape

CLT floor and wall panel

Glulam beam

Soft wood batten studding

This brief for this Design Studio 2 Project questions the nature of a community and access to space.

The aim is to design an activity centre for 14-18 year olds, it will be a place to gather, a space for social, cultural and sustainable exchanges. Resulting in being a resource for the city.

In this space people will meet and support each other towards common goals that contribute to Bristol's social sustainability and amend inclusivity.

Will facilitate activities for people and will be public, but non institutional.

Overall, A building (1000m2 that will extend to 3 storeys) where you can make yourself at home with a green ‘uncontrolled’ landscape.

Create a space that enables young people to feel at home and signals that they are cared about and can aspire to great things. A flexible building that responds to the changing demands of its occupants. To form a vibrant heart, that engages and welcomes visitors and is alive with activity and opportunity. It aims to support creative learning whilst focussing on health and wellbeing.

Design an activity centre for 14-18 year olds, create a community network. The aim is for the Centre to be managed and run by the youth, they are put at the centre of the site concept and the running which aims to promote the establishment of a new connection in the living environment. This creates an element of care which adds to the longevity of spaces. Inclusivity is at he heart of this proposal.

St George, east site was chosen for the variety of opportunities it offers. It is a vibrant site, with the park right next to it that is full of activities that attract the youth and hopefully will invite the young to the Centre. It is easily accessible with public transport and the surroundings create opportunities for great views.

Since the beginning I knew that I wanted to incorporate into my design what Inspired me through my research. One Intention in the design being to bring the outside in.

One way in which I wanted to bring the outside in was to have the horticultural area linking visually and physically to the building. The other being to have a winter garden at the heart of the building that would promote well-being.

The youth centre was placed on the north east of the site given that it would be close to the road, In this way a quick emergency exit from the building and site would be possible and the transport of the construction materials to the site for the building and in the future the various crops and restocks be more efficient.

Video Link of the thoughts behind my book: https://www.youtube.com/watch?v=8UxaJiaUzWI

As you might have noticed, my portfolio was entirely hand drawn, this because I thought it was the must truthful way of expressing my personality. The sensitivity that comes with hand drawing is something that inspires me. However, when in practice I discovered the art of the digital, which I so highly feared. I came to discover the limitless opportunities that it offers, giving room for creativity and expression, something I believed came only with hand drawing. In practice, I have discovered myself further and can confidently say I am more and more fascinated by this subject.

One of my primary roles in the office has developed to be the office’s Rhino and Enscape renderer… who could have imagined!

What I Like about this project I worked in in practice, is its intent and the affinity with my work. The sustainable design of this project is based on geometric simplicity, which allows the surroundings to be highlighted, while a careful selection of materials brings warmth and comfort to the human scale.

Here in practice in New York I have felt on myself how strongly they believe and trust in the young. A small, but interesting project for its process, is this Bookcase. I designed It by hand, brought it into AutoCAD, then Rhino, Enscape and finally Photoshop. And now It has been constructed on Maddison avenue in the Upper East Side in Manhattan, NY. This little imprint left in the city, my first, might seem insignificant, but meant so much to me.