damla tunc - 3.2 portfolio
- masterplan: position, proposition, proposal
- the burnley textile atelier as a solution
- cradle to cradle strategy
- wider community masterplan
- multiplicity: spatial sequence
- scheme developments
- internal programme
- rethinking the sewing rooms
- understanding the craft
- rethinking the selling space
- the conveyor belt
- a day in the atelier
- community sale space
- landscape masterplan
- elevational studies
- 1:20 detail of brick envelope
- 1:20 detail of woven veneer facade
- structural strategy
- construction sequence + building regulations
- environmental strategy
- 1:200 plans
- 1:200 sections
- 1:200 elevations
- internal renders
- external renders
RIBA plan of work.
Developed a brief and programme based around creating a circular fashion economy and providing creative jobs/hobbies to young people Interviews with the Pennine Community Farm were conducted to analyse the job market in Burnley, along with an interview with a tailor to further reach a narrative against global fast fashion
Created a narrative of designing a space that will encourage sustainable fashion by providing donation boxes and encouraging learning about the history of textiles Created accessible learning and making facilities for locals wanting to learn or get into the creative fashion industry
RIBA stages of each page will be highlighted with a colour-coded tag on the bottom left corner
Tracking the building use and its carbon footprint allows future projects to make improvements for a more environmentally conscious approach Gathering feedback through surveys can provide insights into the users’ experience in the building, aiding in identifying areas for improvement and enhancing the overall functionality of the space By continuously monitoring the building use and carbon emissions, we can work towards creating, greener future
Encouraged low carbon construction techniques, prioritising using local or recycled materials Prioritised circular economy strategies by material reuse and lifespan considerations Considered cost, sustainability and climate impact of the materials used
revisited from 3.1, re-evaluated on page 21
prioritise deep retrofit of existing buildings, prioritise fabric first principles for building form and envelope, fine tune internal environment with efficient mechanical systems
prioritise building re-use, prioritise ethical and responsible sourcing of all materials, prioritise low embodied carbon and healthy materials, promote use of local materials, consider modular off-site construction systems, design building for disassembly and the circular economy
provide low flow fittings and appliances, provide rainwater and greywater recycling and attenuation but consider operational implications of complex systems, provide on-site black water cleansing and recycling if viable, create sustainable urban drainage that supports natural aquatic habitats and human amenity
prioritise site selection with good proximity to public transport, provide high quality pedestrian links to local amenities
prioritise building and site re-use, create mixed use development with density appropriate to local context, create habitats that enhance bio-diversity, create a range of green spaces, zero local pollution from the development
provide spaces with strong visual connection to outside, design spaces with appropriate occupant density for activity, design spaces with good indoor daylighting, lighting and glare control, design spaces that are inclusive and universally accessible
create secure places for privacy, create places for social interaction, create vibrant mixed use places, provide high quality permeable links to social amenities, create inclusive places for community interaction
carry out whole life cycle analysis of key building systems, measure overall running costs, measure added value of occupant health and wellbeing, measure added value of sustainable outcomes of building
After the construction work reaches an end, it is important to teach the users on how to effectively utilise the space and maintain carbon offsets This stage allows final inspections before the building is ‘in use’ and open to the public A deconstruction and reuse methodology must also be included to think of the life span of the building before its use
(stages 0-3 are covered in 3.1)
Sourcing materials locally and involving local people in the construction process can lead to reduced transportation carbon footprint and lower costs overall This approach can foster Burnley’s local economy as more money is circulated within the community, and help to create a sense of ownership over the project
Adopting a cradle to cradle approach with a focus on materials and environmental strategies in order to aim zero carbon/low carbon building Resin, top coats and renders investigated to ensure they aren’t toxic and won’t interfere with disassembly process; selecting the right materials could impact the operational and embodied carbon levels of the building
The masterplan places the building in its immediate context, showing the relationship between the people and the built environment. Recapping 3.1, it shows the proposed building and the route towards the market with the trail of the bee, which produces a new path for people whilst enhancing their wellbeing through nature.
position
The project is situated in Burnley, a town which was known to be the top producer of textiles during the Industrial Revolution. The design aims to explore spatial, social, and environmental implications with a circular economy strategy; taking the fashion industry back to its traditional roots.
proposition
The design of the building emulates textile fibre's through a woven veneer façade wrapping around the atelier building, visible from the proposed green walkway coming from the marketplace. The project speculates about the future of fashion in an increasingly fast-paced industry, combatting this by situating clothing donation points around the town to encourage secondhand/upcycled fashion.
proposal
Physical and intangible processes are integrated into one circular design structure. The entire design is split into two, spatially dividing the programme depending on the user, whilst creating a physical bond through a glass elevated walkway over the newly pedestriansed landscaping proposal.
the future of textiles.
Lack of creative job opportunities in Burnley has resulted in young people moving out of the town in search for inventive industries to fuel their vision, an opportunity for the abandoned town of Burnley to regenerate to what it once was: the future of textiles. This sectional isometric shows the building occupied by young people, wearing the upcycled clothes.
Organic agriculture
Biological nutrients
life cycle analysis - &rchitecture position + response to climate emergency
Technical nutrient
Disassembly and separation
Processing
Process/Sort
Textile
(biological cycle)
Compost
Manufacturing
Donate
Building
(technological cycle)
Processing
Building
Upcycle/Repair Garment
Burnley youth
Distribution
A whole life cycle analysis will be undertaken to show the adaptability, de-constructability and recycling of construction materials
Re-use and de-construction analysis will be explored on key areas of the scheme to finalise a sustainable and adaptable design that can evolve and meet the needs of users and changing environmental conditions
The disassembly of the woven façade will allow a structure similar to that of upcycled textiles; small modules can be taken out and ‘sewn’ back into the pattern after repair
Garment for sale
Individual
A crucial component within the scheme’s development is the importance of the health and wellbeing of the chosen economic actors (creative young people), and their interaction with the proposed spaces Creating a welcoming and inclusive environment to community members in order to ensure a place that fosters positive relationships, promotes understanding, and supports the growth and development of individuals
Building end product
Transportation
Manufacturing and prefabrication
Community
Social value is added by reestablishing Burnley’s textile history and preserving its history, thus providing cultural enrichment and economic development
Multi-functional spaces and modular furniture will be utilised within the scheme to allow easy reconfigurations and to meet the changing needs of the community, aligning with circular economy principles
Climate
Consideration of the RIBA Sustainable Outcomes and 17 UN Sustainability Goals throughout the whole scheme from planning to handover in order to ensure a proactive and holistic stance against climate change This way, the design not only reduces environmental impact, but also contributes to the overall health and wellbeing of the community
masterplan - creation of expanded public connections and opportunities.
The macro masterplan shows the relationship of the building not only to its immediate context, but to the wider Burnley area. The proposed elements such as the market stall, donation points and green walkway all connect the town and encourage the creative students and workers to circulate in the vicinity of the building.
University campus in close proximity to the site
Easily accessible textile atelier for the community Green walkway to enhance wellbeing
Stall connecting the proposal to the wider community
multiplicity: spatial sequence
The questions asked in Holger Kleine’s ‘The Drama of Space’ (2017) informs us of the temporality and multiplicity of the scheme’s language The resulting vignette collages help to depict the atmospheric user experience, reading the building in its urban context and understanding the spatial dramaturgy
Walking down Standish street, the building immediately awakens curiosity within the user with the vernacular brick building blending in with the surroundings before dramatically contrasting with the sleek woven façade.
The verticality of the clothing conveyor belt seemingly appearing never ending adds a dramatic experience in the building, seeking the attention of users and passers-by.
The landscape proposal evokes emotions in the users walking through it after their day in the building, with the serenity of the surroundings concluding their visit positively.
Spatial continua is created through the glass walkways adjoining onto the two buildings, allowing seamless views and interaction.
Whilst walking down the proposed green walkway, the building reveals itself to the user through the branches. The intricate woven façade casting shadows intrigues and invites the users inside once again.
building
Circulation core - Fire protected area
Fire exit
Assembly point
The old design has limited space for sorting the donated clothes
1000
Staff room gets effective views onto the landscape proposal, could change this to prioritise the views of more public areas
Two unisex bathrooms, one regular and one accessible
Very enclosed space, lack of windows and community interaction with the space
Addition of new circulation cores complying with Part B building regulations
Double height space created over reception area in place of old circulation core
2000 2200
Group sorting worktop Cutting worktop
Double height space creates a bright and airy atmosphere and provides direct interaction between users on both levels
1000
Refuge point added here for first and second floor (Part B regulations) 150 1050
The previous 3.1 design did not include a fire protected area around the fire exit stairs, therefore not meeting Part B fire safety building regulations. With the addition of an enclosed space around the fire exit stairs, a refuge is created for users, along with wheelchair refuge points on the first and second floor cores. 1500
1500
The new addition of the sorting rooms above the landscape allows extra space for sorting the donated clothes and offers views to the landscape proposal, connecting the user to nature and allowing passer-by's beneath to view the activities inside
Flexible layout rooms with folding doors to allow fluid transition of activities in both rooms
Modular worktops on wheels allow ease of rearranging depending on required use and activity
the internal programme.
The co-learning space features three rooms separated via folding doors to create permeable thresholds between the spaces People wanting to take up sewing as a creative hobby or work towards being a permanent worker in the sewing atelier can work together to enhance their creativity and exchange ideas
The sewing atelier includes sewing machine tables for two which can be joined to create a more integrated work area The room is divided into two via folding doors to allow fluid interaction between workers, along with having a glass window overlooking the lounge to promote visual user interaction The space is open plan to create a stimulating environment and increase productivity The floor to ceiling windows also encourage a healthy work environment by offering effective views to the outdoors and letting in optimum daylight
After an exhilarating working/learning day in the atelier, the relaxing community lounge offers a space where users are comfortable to relax and feel a sense of belonging to the sustainable fashion community For users interested in joining the community, the lounge acts as a soft point entry into the scheme where they can ask and learn about circular fashion, observe the workers in the sewing atelier through the windows or witness the students in the co-working area from the double-height space
The sorting and designing rooms contain group cutting tables and boards where the workers begin to brainstorm the next life of the garment The fabric cutting stations are organised to allow collaboration and exchange whilst workers cut away unusable fabric and meticulously deconstruct the clothing piece to make use of its every component The components are categorised one last time before being transported to the sewing atelier to finally get transformed
The clothes get donated to the reception area or delivered via bikes from the donation boxes Washing and drying machines are provided for workers to clean the donated clothes before sorting them into organised categories such as ‘in need of slight repair’, ‘in need of redesigning’, and ‘in need of cutting and transforming’ Visitors are allowed to watch this sorting process through a window into the room to fully understand the sustainable upcycling process The workers hang the clothes onto the conveyor belt with a category tag for the workers upstairs to continue the design process
The ground floor selling space contains the garments upcycled by the learners/workers upstairs The space is open to the public wanting to start their own sustainable wardrobe and let go of fast fashion brands Unlike normal retail stores garments don’t get released seasonally, but instead have an organic process of creation to meet user demand and need Whilst this benefits the environment, it also increases demand as the pieces are exclusive and one of a kind Any garments not sold after 3 months get transported to other Textile Ateliers with the hope of finding a new home Locals with benefit vouchers can take what they need free of charge, whilst other users can purchase the items at a reasonable price to help contribute to the local economy and generate wages for the workers in the atelier
inside the atelier.
The sewing rooms aim to bring together the community to collaboratively create life-long garments in an integrated space The glazing facing interior spaces allows visual interaction between users in different areas of the scheme, allowing them to observe the designs of others and be inspired by the creativity Thus, the building and its users act as one system, inspiring, engaging and depending on each other to create a sustainable fashion economy
customized furniture designed to meet the requirements of several users
providing sufficient storage capacity
(Source: Archdaily 2018:online)
Pegboard walls are used in this library to create flexibility within the space and allow alternative set-ups and occupations during the day The bespoke, modular furniture is designed to be packed up and hung on the walls, along with itinerary objects and daily items A similar approach at flexibility will be utilised in the Burnley Textile Atelier, where the pegboard walls in the sewing rooms will be used to hang upcycled clothes This system acts as an efficient storage for the users whilst being a unique display and exhibition of the created garments for visitors This pegboard wall can be used in many areas of the building such as the main reception area where visitors frequent the most
visual connection to outdoor landscape proposal
direct visual and physical connection between tailoring machines to promote user interaction
girls shirt, white ripped collar, could be fixed with a different material replacement, maybe just on top of the existing material to limit costs?
tears repaired with colourful zig zag stiches, creates a trendy, rugged look
buttons lack character, could be replaced with colourful ones
exposed stitching gives the garment an effortless look
patterns cut out from old denim to add a unique design aspect, could be done with other materials colourful buttons replace the original white ones, the latter sewn onto the body of the shirt to add a creative touch
colour palette suitable for a girls shirt, could also be unisex
understanding the craft.
The locals come to the reception of the building to donate their unwanted clothing, or clothing that is in need of repair To make donation easier and more accessible for all, people can also donate at their closest donation point scattered strategically around Burnley
The workers and volunteers separate the donated clothes into piles The clothes that have gone out of fashion or only have a minor fault are put into the repair pile The clothes that are unusable due to having major faults are put into the upcycling pile where they are cut into pieces and salvaged
patchwork to mend holes
In order to fully show the inclusivity and visually represent the aim of the Textile Atelier, an upcycling/repair study was undertaken on a white shirt This process took approximately 1 5 hours and only required the tools listed on the right, showing that anyone of any ability can do the task
A colour palette was determined initially before selecting scrap materials from previously upcycled projects The shirt which had holes and cuts was first repaired by hand sewing before being creatively redesigned with patterned and colourful patchwork The buttons were replaced to match the aesthetic of the new shirt, and appeal to the target audience for the shirt which is young girls By doing this study, the creative and practical process of the craft was determined, and the required timescale
sewing machine scissors thread and needle measuring tape
The clothing is attached onto the conveyor belt where it travels to the sorting and sewing rooms upstairs
&rchitecture - textile atelier damla tunc
The workers and students work collaboratively to upcycle and repair the clothing items
The clothing items are put up for sale in the shop downstairs Eligible people in need can get the clothing for free Any garments that don’t get sold are sent to other Textile Ateliers around the UK to create a circular fashion economy
inside the exchange.
The selling space aims to effectively display the garments upcycled in the ateliers, open to the public wanting to purchase The daylight let in from the floor to ceiling windows along with the recycled concrete displays blending in with the exposed concrete flooring, makes the space look larger and more bright Contrasting with the sewing rooms, the intentional lack of character with the monotone use of concrete in the selling space aims to put emphasis on the displayed colourful garments, allowing the user to be immersed in and appreciate the art of textiles created locally
By casting the modules hollow, the displays will be much lighter in weight and allow easy moving around the selling space, creating new possible layouts
The curved seating adds unique dimension to the interior space, breaking up the harshness of the concrete by adding an organic shape The integrated seating also allows users to sit back and appreciate the garments on display
Tall
concrete fabric timber aluminium
(Source: Dezeen, 2015:online)
Acne Studios, Sophie Hicks Seoul, South Korea, 2015
-floor to ceiling windows behind displays, providing efficient interior lighting
-seamless concrete floor to concrete display tables; creates a fluid display which seems integrated into the concrete foundation
(Source: Dezeen, 2021:online)
Glossier Flagship store, Adriana Deleo London, UK, 2021
-cushioned curved seating to provide users the space to rest and observe the garments
-simplistic and clean interior, giving heavier focus on the actual product for sale
-counters at different heights to give importance to certain products/add depth and dimension in the store
“the cycle of clothes”.
The conveyor belt acts as a system to ease the transport of clothes between floors as well as being a visual landmark both internally and externally, enticing people to stand and watch the journey of the garments through a glass wall
The clothes get donated/delivered to the ground floor where the workers sort and separate them They are then hung onto the steel pegs on the belt and the motorised system moves them vertically The workers on the first floor await the pieces from a balcony, finally pausing the motor and removing the clothes from the back to begin their journey towards a new life in the sewing rooms
perspective section through internal spaces.
(22)
With a passion for fashion, Owen heads to his weekly sewing lesson after finishing his part time shift at the local café.
(16)
High school student Vanessa donates her clothes that no longer fit her and observes the conveyor belt on her walk home.
(20, 21)
UCLAN students Louise and Halima excitedly browse through the upcycled clothes in the hopes of finding their new statement piece.
(25)
William returns to the Atelier after collecting the donated clothes from the donation points via bike.
(24)
With hopes of becoming a future costume designer, Maryam comes to start her shift as lead tailor in the sewing rooms.
18)
Environment-conscious teenager Molly visits to learn more about the environmental benefits of a slow, circular fashion cycle.
landscape masterplan for exchange.
The plot next to the site which was once unused and abandoned now occupies weekly flea markets sponsored by the Textile Atelier, giving the local community an opportunity to sell their own clothes and contribute to boost the local economy Residents can hire a stall and sell, swap or wish to donate their clothes between themselves, creating a circular fashion economy which benefits the user, the environment and the local economy
The market stalls sit between existing buildings in Prague’s historic Smichov district. Planters and trees surround the stalls, encouraging the fluid interaction between the user, the market and nature. A similar concept is adapted into the Burnley flea market to ease user exchange and create a welcoming atmosphere for the public.
existing
community strategies.
As future architects, according to standard 5 in ARB’s code of conduct, we are responsible for considering the wider impact of our work, a way in which to enhance the natural environment. This landscape masterplan compromises of RIBA sustainable outcomes strategies in order to serve the needs of the individual, the community and of Burnley’s environment.
old car park
due to the site previously being occupied as a car park, there was a need for new car parking EV vehicle charging points are proposed next to the site to encourage more sustainable vehicles and provide parking for the public visiting the Atelier
A bike storage is provided on site to promote more sustainable transport methods and the physical well being of users The clothes in the donation boxes are also collected via bikes to reduce the carbon emission of the deliveries
high quality pedestrian links are prioritised around the Atelier in order to promote sustainable transport The narrow road next to the site was pedestrianised in 3 1 as a way of increasing circulation in an unused area, developing this road as the main entrance to the building
Permeable links have also been created on the east elevation for wheelchair users and users walking down from the residential areas and university campus in the north
the community
sale space will be open to the public every Saturday as a way of creating interaction and fostering communication between locals
The proposed green walkway leading to the site will serve as a public park, improving the wellbeing of users as they walk to the atelier from the market, and creating a space for enjoying nature together
a
green spine is created through the scheme, surrounded with accessible green spaces open to the public The pedestrianised route includes planters with seating for local people and workers in the Textile Atelier to use during their breaks, alongside acting as audience seating for the annual Burnley fashion show showcasing garments from the atelier These spaces promote the well-being of the user, the social cohesion of the community and sequester carbon and air pollutants for the wider benefit of Burnley
exploring the façade details.
Panels too wide, pose a safety risk on site for workers assembling them, would also cost more due to more material
The windows don’t follow a pattern and are placed aimlessly. Dimensions also don’t match thus increasing costs by being manufactured and assembled separately
Pattern resembles more of a weave and has more depth than original design, however hollows are too small and don’t allow effective views outside to achieve RIBA sustainable outcomes target for good health and well being (providing strong views to the outside)
*all drawings and models in this square section are owned by the author and taken from the Technologies Part C detail design project focused around the constructability and modularity of the woven veneer façade.
1:5 detail model showing the connection between the curtain wall system and the woven facade 3 1 system is an I beam column encased in timber Too much material is used and thick column obstructs the views
This iteration model shows a slender, hollow aluminium frame with the window pane going over the floor slab This would cause issues with fire safety, therefore the final design will use the hollow aluminium frame but have the window sitting on top of the slab
Symmetrical layout with consistent sizes, making prefabrication process easier. Surface are lacks depth, no eye-catching feature on the building
Maintains intricacy of the 200x200mm weave, but keeps the hollow dimensions large enough for strong visual connection to the outside
Narrower panel= Less material= reduced cost, manufacture and assembly time
The aluminium support frame attaches onto the floor slab via a support bracket and thermal break pad The woven panels attach onto the frame with dome headed steel screws The 1400x1400mm modules can be assembled by one person manually, increasing on-site safety
42x42mm aluminium square section support bracket
steel L bracket
t-section &rchitecture - textile atelier damla tunc
c-section square section top hat section
A c-section aluminium support frame was chosen after consideration of other connections and shapes In order to adhere to &rchitecture deconstruction principles and the specific Textile Atelier cradle-tocradle strategy a bolted joint instead of a welded joint was preferred to make end of life disassembly easier Due to using less material, weighing less, and having a flat surface area to bolt the aluminium brackets onto, the c-section iteration was chosen for the final design
50x50 aluminium c-section frame steel bolt
dome headed steel screw with colour coded cap
13mm pine wood veneer panel
Toynbee Hall, Platform 5
Architects, London, UK, 2022
The inward extrusion of the brick façade creates interesting shadows and draws in the user from the street, adding a unique element to stand out against the other existing brick buildings.
Large hollows, allows strong visual connection to outside, however building has a chance of over-heating due to direct daylighting with large hollows
More narrow panels, repetitive, small surface area of direct daylighting, operable internal blinds for user comfort
Diffused lighting through smaller hollows, creates interesting shadows internally
&rchitecture - textile atelier damla tunc
detailed study of the fabric build-up at 1:20.
wall to roof
- 15mm clay brick slips with water repellent coating, reinforced with resin for maximum waterproofing on the roof, pointing mortar, fixed to cement board via primer and adhesive
- 9mm cement board
- stainless steel T and L profiles fixing onto steel structure with thermal isolators through 30mm cavity and insulation
- 60mm rigid insulation board
- damp proof membrane
- 203x133mm steel beam with 146mm c steel studwork structure, filled with rockwool insulation
- 60mm rigid insulation board - vapour control layer
- 20mm supporting deck - 13mm gypsum board
window to wall
- 60mm aluminium window frame - low E double glazed window, 20mm cavity filled with argon gas - 25mm timber window sill board
- 15mm clay brick slips with water repellent coating, pointing mortar, fixed to cement board via primer and adhesive - 9mm cement board
- stainless steel T and L profiles fixing onto steel structure with thermal isolators through 30mm cavity and insulation
- 110mm rigid insulation board - damp proof membrane - 203x133mm steel beam - 146mm c steel stud work structure, filled with rockwool insulation - 13mm gypsum board ground floor
(outdoor) - permeable paving - slot drain (around perimeter of the building)
(indoor) - 12mm plywood floor finish - 40mm sand and cement screed with underfloor heating pipes
- 0.2mm PE foil (vapour barrier)
- 100mm wood fibre insulation board - damp proof membrane - 200mm concrete ground bearing slab - 150mm compacted hardcore
The brick clad building utilises a steel structure with metal stud cavity walls The thin brick slips allow for more thicker insulation to be put in whilst remaining a relatively thin wall to save space The layers of insulation help maintain the heat inside and prevent the cold from outside entering, thus relying less on mechanical systems, reducing electricity bills and reducing embedded energy Due to Burnley being a manufacturing/engineering town, brick and steel beams can be found plenty, therefore reducing transportation costs and carbon footprint
detailed study of the fabric build-up at 1:20.
>1
flat roof
- 1.2mm ECOREND silicone render
- 13mm gypsum board
- 100mm lightweight hollow concrete blockwork on top of 254x146mm steel beam encased in 30mm mineral wool board
- 63mm rockwool insulation - damp proof membrane
- 100mm lightweight hollow concrete blockwork - vapour control barrier
>2 - waterproof roofing membrane - 2 layers of rigid insulation, 120mm over 110mm - vapour control barrier
- 30mm cement sand screed to falls - 110mm concrete slab (supported by internal columns, not cantilevered beams) - 13mm gypsum board
cantilevered first floor to woven façade
>3 (veneer woven façade explored in tech part c in depth)
- 200x 13mm woven pine wood veneer panels with Crystic Fire Retardant Resin 5046PA and gel coat, screwed to aluminium frame via dome headed screw with colour coded cap
- 50x50mm aluminium c-section frame, bolted via L plates - 42x42mm aluminium support bracket, bolted to c-section frame via L plate, bolted to 254x146mm steel beam via thermal break pads
>4 - 80mm aluminium hollow window-wall frame
- low E double glazed window, 20mm cavity filled with argon gas
- 12mm plywood floor finish - 35mm cement sand screed with underfloor heating pipes
- damp proof membrane
- 20mm plywood support board
- 254x146mm steel beam with 80mm rockwool insulation - 20mm plywood board supported by galvanised steel L plate
- 130mm service void - 30mm mineral wool board - 13mm gypsum board - 1.2mm ECOREND silicone render
ground floor wall
-1.2mm ECOREND silicone render
-13mm gypsum board
-100mm lightweight hollow concrete blockwork
-20mm air cavity
-damp proof membrane
-146mm steel c studwork filled with rockwool insulation
-vapour control barrier
-13mm gypsum board
The woven veneer façade was fully detailed and explored in the Technologies part C project, leading to the final 1 20 detail drawing here The 200mm wide and 13mm thick panels consist of a 9mm thick plywood panel as it is readily available in the area and low in cost, and encased in 2mm recycled wood veneer panels on both sides to give it a weatherproof finish and help resist against wind loads These materials have low embedded energy, and lead to a unique panel composition that is both durable and flexible to bend
Considering building economics
Considering embedded energy
Cradle to cradle strategies
materiality and constructability.
-mineral based, easily recyclable -easy to find distributors in local area
(Source: Archdaily 2023:online)
Aspen Art Museum, Shigeru Ban, Aspen, USA, 2014
- modular construction, panels can be replaced if weathered - non toxic resin, recyclable
- uses recycled concrete, reduces environmental impact - locally readily available material
-prefabricated off site, reduced on site construction time
-moisture and corrosion resistant, reusable material -lightweight, easy to construct
(Source: Damla Tunc (author) in tech part c project, 2023)
- aluminium window frames, highly durable, 100% recyclable - prefabricated off site, shorter onsite construction
- cut from existing bricks - requires 40% less energy to construct than whole bricks
- bolted instead of welded, easier to deconstruct and reuse - standardised dimensions, less costly
Industrial House, archistudio studniarek + pilinkiewicz Mikołów, Poland, 2022
-made of recycled concrete -will reabsorb carbon dioxide through carbonation
north elevation south elevation
-light weight, easier to handle than regular brick -less material, saving costs and reducing embedded energy
(Source: Archdaily 2014:online)
13mm pine wood veneer panels with fire retardant resin is used to create the woven envelope structure which attaches onto the floor slab via aluminium frame and support brackets
The slanted brick roof gives the otherwise sheer façade some dimension by adding a geometrical pattern to the elevation The pointed roof stands out with its traditional use of brick, creating a fusion between the façade and the roof, interweaving the two and make the design seem monolithic Structure is unknown, therefore the Textile Atelier blends technologies to create a hybrid steel and brick façade structure However, solid brick may be too heavy and not conventional for a sloped roof
Harbard Close Housing, Reed Watts Architects, London, UK, 2021
Brick slips cut from existing bricks will be used on the façade and roof instead of traditional solid bricks due to their light weight and ease of construction They also use less material by reusing existing bricks, thus one normal brick creates three brick slips
(Source: Archdaily 2021:online)
-9mm plywood encased with 2mm wood veneer panel, durable against wind but also flexible -non toxic fire retardant and weather proof resin protective coat
- standardised and universal dimensions used, reduces cost as bespoke dimensions would be expensive - simple structural grid, easy construction - bolted instead of welded, easy deconstruction and reuse
- acts as thermal mass, stores and releases heat
- provides lateral stability
This stage fell into the early stages of 3 1 where site appraisals were undertaken, along with defining the issue, choosing an economic actor and beginning to set out a brief against the overarching &rchitecture brief Since there is no existing structure available for expansion or renovation like previous &rchitecture briefs, it was determined that a new construction would be the best means of achieving the economic actors requirements
At this stage, site analysis had been undertaken to understand the conditions of the surroundings and their possible impact on the future scheme At the end of this research and analysis stage, the aim of the ‘Burnley Textile Atelier’ had been created Early ideas on building regulations such as fire safety and health and safety on site were brought up
This stage was dedicated to developing the brief and curating a specific programme for the scheme The idea for the Burnley Textile Atelier emerged from the textile-rich history of Burnley, and its current day unsustainable fashion industry which it houses in its own borders In accordance with this, an idea for bringing back the sustainable fashion industry in the city and going back to its industrial revolution roots began, along with encouraging youth to be given creative job opportunities to support the local economy and remain in Burnley instead of migrating
At this stage considerations of building regulations began to emerge, along with making massing models on a scaled physical site plan to refine the spatial layout of the building through talking to the guest tutors and getting outsider perspectives on the spatial coordination, the long iterative process lead to an adequate level of resolution
This stage involved working with visiting engineers to resolve the building at zoomed in scales of 1:20 and 1:5 in order to understand the requirements for manufacturing, constructing and delivering the scheme.
All emergency exits and circulation cores have been improved from beginning iterations to ensure user safety in the case of fire whilst taking up less surface area Travel distances have also been ensured, as well as refuge points on the floors above
sloped site ground is excavated with appropriate machinery, the ground is compacted and concrete strip foundation is cast
concrete cores are cast using shutter formwork the scheme is short in height (average 9500mm between two buildings) thus reduced cost in building the formwork, more ecological
steel structure erected on site connections are bolted instead of welding to allow easy disassembly and quicken construction process on-site, thus reduced costs
after the steel structure is complete, steel joists are connected to create a load-bearing floor, along with insulation and poured screed on top for acoustics and thermal qualities
All balustrades have abided by appropriate dimensions to warrant the safety of the Burnley Textile Atelier’s users All dimensions have been kept consistent to ensure familiarity and reduce risks of falling Thermal bridging strategies are implemented into the steel structure and brick slip, with thermal break pads placed between each steel-to-steel joint to reduce heat transfer and maintain a comfortable interior environment The building employs both natural and mechanical ventilation to control the moisture levels and air quality Operable windows, stack ventilation and the MVHR system together create a comfortable internal environment for the users
internal non-structural walls erected along with folding bi-doors fire stairs wrapping around circulation cored installed glass partition walls inside building is triple glazed for acoustic properties and too maintain a comfortable interior for the users
external walls installed with layers of weatherproof membranes to ensure airtight envelope prefabricated aluminium window frames installed, easing on-site assembly and reducing construction time roof structures on the brick building are erected Window panes installed lastly after the completion of external walls
aluminium support frame is bolted around perimeter of the large building to primary steel structure to prevent thermal bridging woven veneer panels assembled in modules (explored in tech part c) to aid faster construction time veneer and pine wood bought locally to prevent transportation costs
finally all the services are installed such as the rainwater collection spot drainage system and the MVHR system Solar panels and solar collectors installed on angled and flat roof facing the south Landscaping proposal underway with new vegetation being planted
Due to the project being only speculative there is no measure taken for hand over, however in theory once the construction is finished, the building would be handed over to the clients and on. The building can now be enjoyed by the youth and young adults.
damla tunc
general arrangement plan at 1:200.
general arrangement plans at 1:200.
key:
1- reception
2- textile sorting room
5- clothing conveyor belt
7- storage room
10- public lift
11- fire stairs
14- staff room
15- WC
16- wheelchair access WC
17- communal lounge area
18- connecting glass walkway
19- office
20- sewing room
21- education space (cutting, sewing designing)
22- exhibiting space
relationship to immediate context at 1:200.
key:
1- reception
3- washing room
5- clothing conveyor belt
12- outdoor communal area
13- retail space
14- staff room
17- communal lounge area
18- connecting glass walkway
19- office
22- exhibiting space
relationship to immediate context at 1:200.
east and south facing views at 1:200.
perspective visualisations of the proposal.
Our initial site visit to Burnley helped us to understand the position and agenda of &rchitecture, an atelier which puts the community first The first hand engagement with the Pennine Lancashire Farm and COTTS during
our research methodologies have shaped our understanding of an architect as a whole; someone who prioritizes and nurtures the needs of the community and environment As a third year who began university during Covid, this was my first site visit where we actually conversed with the community and had the opportunity of asking them questions and interviewing them This gave me first hand understanding of how the community system works in Burnley, and their issues which need resolving, something I wouldn’t have been able to find out online
Unlike past years where we started new studio projects in the new term, going back to and refining 3 1 allowed me to explore the design in detail, and expand on elements such as the environmental strategies and spatial layout I was able to build upon the efficiency of the proposed environmental strategy from 3 1 Looking back at my 5 point reflection from 3 1, I was able to successfully fulfil all of the aims such as exploring the building more from different views, and modelling the woven façade at 1:5
&rchitecture’s societal agenda of shifting the needs of the local community to the forefront of architectural design challenges the traditional role of the architect and emphasizes the importance of collaboration, inclusivity, and social impact I believe that by embracing this philosophy in my third year of architecture, I have contributed to the rejuvenation of society while creating designs that truly serve the local communities they are intended for
Our first site analysis was conducted as a group, collaboratively master planning and discussing the constraints and opportunities Looking at the map with new sets of eyes allowed us to see the same city in different ways, interpreting the urban fabric differently This helped me identify key locations around the site, such as old mills dating back to the industrial revolution Their proximity to the site inspired me to establish a network between all the mills and The Burnley Textile Atelier, weaving the urban fabric together as a community I proposed clothing donation boxed scattered around key locations of the city such as the old mills and canals where cotton once travelled from, tying all of the donation boxes back to the Atelier via a circular fashion route
Analysing each building material whilst considering building economics, embedded energy and cradle-to-cradle strategy helped me in understanding the on site and off site manufacturing, construction, assembly and delivery
I believe that I can take forward these valuable lessons I learnt from detailing in 3 2 into my placement year where will be working with the RIBA Plan of Work and people from different professions to create details of construction and assembly sequences
As part of RIBA stage 0 in 3 1, the atelier read J K Gibson-Graham’s book ‘Take Back the Economy’ The chapter titled ‘Take Back the Market’ inspired me to explore the corrupt and exploitative market system in the 21st century, encouraging me to find a micro solution for the issue in the context of Burnley, a city with a restrictive market system that forces young people to go into unfavourable jobs for the sake of income Combined with Burnley’s rich textile past, the influx of fast fashion giants in the high street and factory context completely disregards the community and focuses on their profit After reading the chapter, seeing the issues in real life opened my eyes to the possibility of a Textile Atelier proposal to help create new job opportunities, raise new apprentices and create a life-long sustainable job-cycle where workers are not exploited but encouraged to improve their performance in a healthy working environment whilst upcycling sustainable clothes to re-sell
Analysing the technological build up of the Liverpool Everyman Theatre allowed me to understand the cohesion of multiple systems in one building The environmental strategies used helped me to grasp the importance of designing for the future, involving sustainable strategies and consideration of climate change from the beginning stages of RIBA stage 0/1 I believe the deep analysis of technological and natural systems in this building will benefit me massively as I continue my path to become an architect who hopes to one day contribute to battling climate change through infrastructure
These elective lecture series centred on the imbalance of power between figures in the built environment, such as between the government and architect, or between the architect and user I found these lecture series extremely insightful on how some of the buildings currently, especially social housing, actually represent a hierarchal system which benefits the ‘capital’ and rarely the ‘labour’
These examples of authority in architecture can be found in other typologies too, such as a high school head teachers office being placed furthest down the corridor to create separation and authority between the teacher and students, or in a panopticon prison system where the criminals have no sense of privacy and feel as though they are constantly under surveillance
The Technologies
Part C design project immensely helped me during my process of refining and detailing my building in 3 2 Focusing on a 1:5 scale of the façade system and experimenting with constructability, build and life safety and climate allowed me to gain a better understanding of the overall building Although a very small part of the scheme, the woven façade represents the aim of the Atelier whilst appealing to the eye and creating a landmark in the city, thus it was a very beneficial detailed project which made me question and understand my building fully before drawing 1:20 details in
Through writing an essay titled ‘The Corbusian Dream Socioeconomic Power in 20th Century Social Housing and Master Planning’, I developed a better understanding of how society plays a part in the way architects build, and the inherent classism in my chosen typology, Le Corbusier’s social housing The ideas that emerged from my research closely aligned with &rchitectures atelier position of tackling societal issues and breaking the boundaries of the built environment through communication and involvement The power dynamic between architect and user in which the architect dictates the needs of the user without any dialogue is harmful to society and produces buildings which don’t resonate with the user, much like designing a building with no economic actor or societal agenda in mind,
