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Grace-Marie Spencer Architecture Portfolio

2015 - 2021 University of Kent March Liverpool John Moores University BA hons

In pure architecture the smallest detail should have a meaning or serve a purpose. - Augustus W. N. Pugin

Contents

Masters MArch University of kent 2019-2021 Year 2 1.1 Extra - Terrestrial 2020 - 2021 Year 1 1.2 Gothic 2019 - 2020

Undergraduate BA hons Liverpool John Moores University 2015 - 2018 Year 3 2.1 Dance and Drama School - The Street 2018 2.2 Weather or Not? - Every Lake Deserves a Cloud 2017 Year 2 2.3 Summer Project 2 - Tectonic Structures 2017 2.4 Library of the Future - Williamson Library 2017 2.5 Building Blocks - Shopping Arcade in Liverpool 2016 Year 1 2.6 Summer Project 1 Despina 2016 2.7 Archifilm 2015

competition and extra cirricular 3.1 CAUKIN Studio - South Pacific Prototype Housing Workshop 2020 3.2 Charity Graphics and Photography Work 2020 3.3 Competition Practical Expansion - Aquatecture 2018 3.4 DT A-Level - The Beach Hut 2015 3.5 Photography and Drawings

1.0-march 2019 - 2021 University of Kent

1.1 extra -TERRESTRIAL 2020 - 2021

E-T_Filmology E-T_0 Shingle E-T_1 Cartograph E-T_2 Learning from Dungeness E-T_3 Observatory T_1 Learning from Rye T_2 Terrestrial

This year explores and interprets the extra and terrestrial environment to a human scale. The vast power of nature is explored by looking from the micro to the macro, which is interpreted through the sense of sound within architecture.

unit 1 2020 / 2021 Terrestrial Adjective on or relating to the earth. “increased ultraviolet radiation may disrupt terrestrial ecosystems” Noun an inhabitant of the earth.

Extraterrestrial Adjective of or from outside the earth or its atmosphere. “searches for extraterrestrial intelligence” Noun a hypothetical or fictional being from outer space.

Aerial_view_of_Lydd,_Kent This year, the unit explores the terrestrial and the extraterrestrial. After experiencing a year of isolation and uncertainty, unit 1 explores this concept in relation of two places on the Kent/Sussex border. Dungeness, the UK’s closest landscape to a desert, is a growing headland of shingle. Extraterrestrial. Rye, a small town inland that once on the coast, sits on the top of a hill like a fortress.

dungeness and rye

5aextra

From the micro, they are observing how natural elements and geographic identity forms a pebble or singles (E-T_0) to the macro, where these concepts shape and give life to a landscape in a broader scale, (E-T_01). Analysing the typology of existing buildings in Dungeness (E-T_02) highlights the building technology needed to withstand the harsh environment, like a spaceship out of space. Filmology studies of the extra-terrestrial highlight the similarities from Dungeness to explore the outside the earth qualities. These studies led me to design an observatory (E-T_03) to observe sounds of Dungeness (birdsong and wind), an experimental space with a unique collaboration of wind, birds and humans placed in an exposed location like a spacecraft landing on an undiscovered planet. The building promotes wind tunnels and inhabitation from birds to let nature take over. Simultaneously, humans can transform the eery out of the earth sounds of the wind alongside the intense birdsong into music, emphasising the forces of nature, being left to rot and take over by the birds and wildlife. 9

E-T_00_Shingle - Micro

micro to macro

E-T_01_Cartograph - Macro

14g

001

002

003

004

005

Looking at the micro, each category of shinle by appearance was analysed looking at its shape and how it ended like that - water damage?

Both on a Macro and Micro scale the river running through linking the lochs act like a series of viens connecting the body as well as how the force of the water shapes the lanscape and linked with the location of forests.

dungeness

UK’s closest desert. A growing shingle peninsular exposed to the elements of the earth. The element of isolation can be interpreted here. Originally inhabited by railway workers and fishing families. The remaining fishing families have to coexsist with upcoming expensive holiday home refurbishments.

history of dungeness

E-T_02_LEARNING FROM DUNGENESS Micro - Decca Radar Station - 2018/19 Johnson Naylor Architects

build up of fabric

building fabric

Wall Build up 25mm Corrugated Zinc, mechanically fixed, 2mm gauge 20mm Horizontal timber cladding raw-sawn, thickness plained, pressure treated pine 50x50mm Vertical softwood battens for ventilation 1mm Black breather membrane: Tyvek UV Facade 50x50 Horizontal pressure treated softwoon battens +50mm Rockwall RWA45 insulation 50x150mm Stud wall at 600mm centres with noggins inbetween + 100mm Rockwall RWA45 insulation 1mm Vapour barrier 18mm WISA Spruce ply 12mm Veneered MDF panels for colour-stained, oiled Floor Build up 65mm Cut & sealed bricks, layed into herringbone pattern 15mm Bonding cement to bed bricks onto screed 80mm Sand cement screed with UFH 100mm Rockfloor thermal insulation 1mm DPM 300mm RC slab Roof Build up 25mm Corrugated Zinc, mechanically fixed, 2mm gauge stainless steel fixings 20x45mm Pressure treated softwood battens as sub-trate to metal sheets 75x140mm Glulam rafters fixed through Stamisol DW roof membrane. Glued to plywood below. 185mm WBP plywood 60mm Rockwall Rockwall rigid insulation 40x75mm Pressure treated softwoon battens +75mm Rockwall RWA45 insulation 40x100mm Pressure treated softwoon battens +100mm Rockwall RWA45 insulation Continuous vapour barrier below thermal insulation 20mm Southern Yellow Pine t&g cladding, white pre-stained

section B B

observatory Observe (listen)

Reflection

Create (music)

observing bird sounds

observing the sounds of wind

Bird and human share musical sounds and behavoirs, approaches to repition, variation, shape and balance. In certian senarios, wind can create eddies from objects like telephone wires, this creates a musical sound.

Another earth Mike Cahill 2011

The two chosen characters from filmology studies for the observatory are John Burroughs on earth one and John Burroughs on earth two. One who is grieving after the tragic loss of his family, lost faith in his musical abilitys, the other stuc in a broken mirror with his family, happy and a successful musician. Music is the commonality which can bring them together.

Another earth appears near earth creating a broken mirror effect of a replica of human existence mirrored on this ‘earth’. It represents the idea of the ‘perfect life’ before events take place. The idea of a dream as a place people are longing to experience contrast to earth where day to day is unpredictable and can lead to grief and destruction.

design development broken mirror The geometrical shape plays with the idea of difference and similarity like the shingle, all different but classed as one category. The task inspired a split through the building for the broken mirror concept, the river is the concept for the life of the building where it is the path for the birds to fly through and leads to the point where the most fragile aspect of the building is, the nest inhabiting life.

PRODUCED BY AN AUTODESK STUDENT VERSION

FLOOR PLAN SCALE 1:100 0

PRODUCED BY AN AUTODESK STUDENT VERSION

plans

ROOF 20

section A A

the observatory

programme

wind noise observation bird noise observation creating space

Living space Working space Music space

build up of fabric

relationship to dungeness

5bTERRESTRIAL

Avian and human interaction comes from Dungeness to Rye. During the pandemic, nature has resisted highlighting human impact on natural habitats. Humans and birds have long coexisted; some birds learn from human behaviour like mimicing music. Can birds and humans cohabit? 26

rye

Once almost a defensive moat, the town which was once a cinque port keeps its characteristics within the architecture. The protected skyline highlights its definitive properties of the citadel.

history of rye

rye’s character

the site

site elevations

TO PRESERVE OR ENHANCE Heritage

Womens prison Tower 1837 first UK woman’s priso

The northern wall, a part of the town wall

Womens prison Towe 1837 first UK woman’s 1 pri 1537 exercise yard for goal, south east and west walls included.

1 1537 exercise yard for goal, south east and west walls included.

TO PRESERVE OR ENHANCE

original Castle / tower

Heritage

The walls which are being altered are the 1837 walls not the reminiscence of the existing Town wall which is part of the structure which has a historic importance. The building creates a positive contribution to the existing heritage, and it would encourage more people to come and visit the building so cutting into the new wall would not have a detrimental impact in fact positively contribute to the heritage of the site and the town itself encouraging people to learn about the history. The North wall has such a historic significance it is crucial that I have preserved it however have not just left and have implemented it into the part of the design to enhance it as well as preserving while not actually touching it 34

Working with old builgings ‘Our duty is to preserve what the past has had to say for itself, and to say for ourselves what shall be true for the future’. John Ruskin

Qualities of old buildings harnessed and celebrated through a creative dialogue.

Hunt, R. and Boyd, I., 2019. New Design for Old Buildings. Routledge.

Surrounding environment to consider the hierarchy and massing of existing buildings.

Not recreating the past.

Creations that bring rhythm, subtly contrasts, clashes and shapes to buildings.

The building needs to breathe.

After researching SPAB, The Society for the Protection of Ancient Buildings, I came across this book which is a guide to tackle new designs in old buildings. I knew I did not want to end with a design like this one below. Located on my site, this planning application was declined in 2012.

THE TOWER AND THE RAVENS

The Ravens in the tower of London are a symbol of protection of the Kingdom. The starlings in Ypres Tower will watch over Rye where the defences were once crucial to the town, symbolising protection.

FORM OF THE BUILDING

The mono pitch roof was inspired by a form of the bird studying the shapes of a bird in flight from Étienne-Jules Marey studies helped me to create this form in my design.

MUTATION OF STARLINGS

Starlings are beautiful birds. Known for their mimicry and murmurations, the population has been declining. The building will be used as a breeding programme for Starlings that are known in the local area.

bird feathers to lovure design

The three different feathers of a bird have been carfully evolved. The flight feathers consist of micro vecro like connections which stick together in flight allowing a good aerodynamic feather allowing the bird to fly. The design of the louvres was inspired by the construction of the bird feather with the crosshatch effect, this would allow partial light in and create a textured element of the facade like a bird feather.

mechanical lovures

STRUCTURAL THEORY Kenneth Frampton Rappel à l’ordre: the case for the tectonic. Framework tends towards the aerial and the dematerialisation of mass, whereas the mass from is telluric, embedding itself ever deeper into the earth. The one tends towards the light and the other towards the dark. These gravitational opposites, the immateriality of the frame and the materiality of the mass, may be said to symbolise the two cosmological opposites to which they aspire: the sky and the earth…

Frampton, K., 1990. Rappel à l’ordre: the case for the tectonic. DEFINIOWANIE PRZESTRZENI ARCHITEKTONICZNEJ, p.20.

STARLINGS THAT PLAY JAZZ Rye as a rich arts culture. This inculdes two annual festivals that incorporate music including Jazz around the city. The builing proposed can act as a hub for the events annually as well as a continuation of Jazz performances throughout the year, engaging tourists and the local commutiy to the culture in a historic fabric.

evolution of jazz

the building

This building combines Jazz with a starling breeding programme. Humans will coinhabit with birds in a building which will never sleep; it will live, sing, and breathe alongside nature providing the connection between nature and humanity.

Design development and elevations

The design takes a ruined grade 2 listed building and brings new life into it whilst engaging the historical context without concealing it. Without imitating once was there, a subtle material palette and the geometrical form highlights and expresses the original structure without dominating it. The roof glazing highlights the story behind the ruin and that for many years it did not have a roof. What once was a crisp form with crisp right angles has become a form with crumbling straight lines. The introduction of the new materiality with its right angles creates a footprint of what was once there and celebrated the remaining structure by celebrating its form. The new structure acts like a canvas for the old.

macro

macro ELEVATION 2

macro stategy

plans UP DN

11 4

3 UP

21 DN

Green room

16 Circulation

17 Glazed walkway 1

8 Office

2 Toilet 1 7

3 Toilet 2

4 Vetinary prep room

18 Glazed walkway 2

9 Changing room 10 Vetinary prep room

19 Reflective acoustic room DN

20 Absorptive acoustic room

11 Vetinary surgery room

5 Vetinary examination room 6 Music practice room 7 Plant room / music storage

21 Neutral acoustic room

12 Vetinary x-ray room

22 Sound technical office

13 Music practice room

23 Lower Performance stage

14 Music practice room

24 Circulation

15 Starling aviary

second Floor

Ground Floor

first Floor

Existing walls Void Ground

Void

Existing walls Void

plans plans UP DN

DN DN

UP UP

34 34 DN DN

DN UP

28 25

29 30

24 Circulation

33 Lower viewing tower

25 Uni-sex toilets

34 Upper viewing tower 34 Upper viewing tower

(with piano)

26 Bird funnel

27 Seating area 28 Bar area 29 Storage

30 External seating 31 Upper Performance stage 32 Outdoor rooftop performance

Fourth Floor

Third Floor Void

50 50

fifth fifthFloor Floor

the building

sections

micro strategy

programme and glulam

BIRD CARE PUBLIC MUSICIANS PUBLIC STAFF SOUND TECHNOLOGISTS 55

environmental strategy gutters on monopitch feeding water. to ground where it is reused for the living wall irrigation living wall absorbing co2

summer sun altitude 62.44. ‘ azimuth -179 ‘

photovoltaic panels 90% roof surface coverage 18% efficiency

Heat exchanger for natural ventilation

Use of daylighting for natural light initiating artificial lighting and energy use

high performance external envelope, well insulated, airtight, control of vapour and breathable insulation. U-values meet Passivhaus requirements

Air inlets from exterior brought in via floor in between beams

high ceilings, natural ventilation, night time cooling, mechanical solar control to minimise cooling stack ventilation in rooms via inlets, openable windows, trickle vents and heat exchangers

atrium providing more rooms access to natural ventilation without the requirement of artificial ventilation

internal finishes to contribute to a positive warm internal environment

lovres controlling solar gain from south-east facade

minimal heating demand in summer seasons, solar gain, controlled infiltration and insulated envelope

nderfloor heating providenf even heat distribution, heat from ASHRAE Package terminal heat pump

Air inlets from earth cooling

Air inlets from earth cooling ground pipes

ground source heat pumps on North side of building next to plant room where heat is exchaned

wnter sun altitude 15.61. ‘ azimuth -178.5’

living wall

The living wall which I designed initially was to attract birds however it has many other strong properties. For example, the planting takes CO2 from the atmosphere. It is a place for birds to go nest and live and feed on. The Scott State wall is a local company which means low on body carbon in terms of travel and the frame is all recyclable so minimises the need of raw material extract. It also creates a green environment for Rye as a town connecting the town to the local landscape.

groundwork

Foundation Choosing the right foundation for the building is important due to the site’s proximity to the ageing tower and walls. The previous planning application on the site received consultation from Tribrach and Associates a consulting civil and structural engineering company. In the consultation letter there was feedback quoted below: As far as is practically possible, the supporting structure should not impinge upon the existing structure. Foundation sizes are to be minimised. Reinforced concrete strip foundations provide an adaptable foundation solution capable of distributing concentrated load and spanning over ‘soft-spots’. The final foundation scheme will be subject to the findings of a soil investigation report, prepared by a suitably qualified geotechnical engineer. After further research I concluded that the geology is a sand/ clay. After a discussion with a structures tutor, the size of the building and the proximity to existing fabric, concrete end cap pile foundations would be the most appropriate solution for the building. At the outer edge of the building where it is in close proximity to the existing fabric and its foundations, the pile foundations can be offset inwards and the load from the columns can be cantilevered to the piles.

embodied carbon

My final embodied carbon calculation A1-C4 419 kgCO2e/m2 shows an improvement from the midterm calculation A1-C4 860 kgCO2e/m2. This is due to the energy is been reduced however the material palette has been thought out carefully I have changed the steel construction to glue lamb which has saved a considerable amount of body carbon and the material is itself will have less production needed. There are areas in the building which I had to compromise for example the glazing casing where aluminium would be the most suitable to reduce heat loss and be a lot more durable without the need of maintenance which would be complex to access due to the large scale of the building and the proximity between the existing wall and the proposed wall. The decision to choose timber is primarily down to my theoretical stance of contrast between the old and the new and replicating that in a lightweight versus heavy construction. Ideally the timber will be treated which would increase the embodied carbon however it would lengthen its lifespan and need for maintenance so overall would be the most applicable solution. The use of concrete is another compromise to construct the ground works after learning about the complex process I would have to go through. Although concrete is incredibly bad for the environment It is also a durable material which would be able to withstand the buildings lifespan without structural errors which would be detrimental to the grade 1 listed monument in its proximity. When designing the living wall, I opted for a system which was local as discussed however I was aware that the frame was steel however didn’t it was recyclable so the impact on the body carbon was and is detrimental. Exploring alternatives for this frame would result in complex detailing and potentially structures that would fail under the weight of the planting system and the constant irrigation needed. The benefits of the embodied carbon from the living wall also great it is worth the compromise.

operational carbon

Component passivhaus uk Proposed Building regulations (non domestic) Wall 0.14 0.35 0.0189

Roof

0.1

0.25

0.0906/0.0981

Floor

0.13

0.25

0.1370/0.1120

details

DETAIL C Insect mesh Wall 1 401mm Thermal mass 3.83kJ/K Resistance (R) 9.1854 (m2.K). / W U Value 0.1089 W / (m2.K) Exterior Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 10mm plywood sheathing board Breather membrane 254mm glulam structure studs between with blown cellulose insulation 127mm cellulose insulation Vapour control layer 10mm plasterboard Interior

Breather membrane 5mm roofing felt system on waterproof membrane 10 mm plywood sheathing

350mm rigid insulation on vapour control layer 19 mm Aluminium facia Breather membrane 10 mm plywood sheathing 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Middle Floor 275mm Thermal mass 4.71 kJ/K Resistance (R) 7.3010 (m2.K). / W U Value 0.1370 W / (m2.K) Above 20mm oak flooring Herringbone layout 10 mm plywood sheathing 20mm underfloor heating Vapor control membrane 220 mm rigid insulation 5 mm plaster 440mm glulam beams extruding from cellulose insulation supported by 75mm oak strutting Oak herringbone strutting between beams Below

127mm cellulose insulation 10mm plywood sheathing board 10mm plasterboard 254mm glulam structure studs between with blown cellulose insulation Vapour control layer

Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens

Energy use The improved final model shows the energy reading of 264 kWh/m2/yr which is already a vast improvement to what was the into term model energy use 662 kWh/ m² . I took all the recommendations from him on board as well as applying my own knowledge in the lighting and of improved the daylighting considerably and DETAIL A 1:20 change elements to help the energy use. when analysing this model an insight I further worked the results to reduce the energy use of the building to 82.9 kWh/ m2/yr which would meet all requirements for targets. I changed the glazing ratios between 15 and 30% whereas they were on 20 to 40% however this model does not take into context the louvres I modelled So I do understand that the results are probably inaccurate. I altered the glazing to triple glazing and change the wall and roof construction to SIP. The lighting efficiency was altered to 3.23 W per metre squared and the daylight controls will change to daylight in occupancy control. With the photoVoltaic Studies I change the efficiency to 18.6% with the payback limit to 30 years and the surface coverage to 90%. All these factors reduce the energy used to a number which meets all targets for sustainable building. 350mm rigid insulation on vapour control layer

5mm roofing felt system on waterproof membrane

Breather membrane

10 mm plywood sheathing

Warm Pitched Roof (mono-pitched) 375mm Thermal mass 3.35kJ/K Resistance (R) 10.1987 (m2.K). / W U Value 0.0981 W / (m2.K) Above Photovoltaic panels 5mm roofing felt system on waterproof membrane Breather membrane 10 mm plywood sheathing 350mm rigid insulation on vapour control layer 10 mm plywood sheathing 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below 19 mm Aluminium facia and 150 x150mm gutter

Breather membrane

19 mm Aluminium facia

Scotscape irrigation

Scotscape Recycled steel subframe

Vapour control layer

Scotscape Planting modules

127mm cellulose insulation

Ground floor 676mm Thermal mass 48.04 kJ/K Resistance (R) 8.9295 (m2.K). / W U Value 0.1120 W / (m2.K) Above 20mm treated oak flooring Herringbone layout on waterproof membrane Vapour control layer 30mm underfloor heating 10 mm plywood sheathing Vapour control layer 300mm cellulose insulation 10 mm plywood sheathing Breather membrane Damp proof membrane 300 mm concrete glulam bearers in between cellulose insulation Concrete pile foundation Below

254mm glulam structure studs between with blown cellulose insulation Breather membrane

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Vapour control layer

Scotscape irrigation

10mm plywood sheathing board 10mm plasterboard

Ground wall to foundation Above W all cap timber Damp proof course 300 mm above floor level (lower wall external 3 x 215mm Engineering blocks 127 cellulose insulation internal) 300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation Concrete pile foundation Below

20mm oak flooring Herringbone layout

10mm plywood sheathing board

Existing wall underpinned and polystyrene between new concrete floor and existing wall with underpin

10 mm plywood sheathing

254mm glulam structure studs between with blown cellulose insulation

127mm cellulose insulation 127mm cellulose insulation 10mm plasterboard

220 mm rigid insulation

Acoustic floor 259mm Thermal mass 4.46 kJ/K Resistance (R) 6.4855 (m2.K). / W U Value 0.1542 W / (m2.K) Above 10mm Oak floor Herringbone layout 24mm Isocheck ukmito Slab 100mm cellulose insulation 100mm air 25mm plaster 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below

Vapour control layer Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 20mm underfloor heating Breather membrane

127mm cellulose insulation Scotscape irrigation

Breather membrane 254mm glulam structure studs between with blown cellulose insulation Scotscape Recycled steel subframe

5 mm plaster 440mm glulam beams (tapered at edges) extruding from rigid insulation supported by 75mm oak strutting

Oak herringbone strutting between beams

Scotscape Planting modules

Vapour control layer

10 mm plywood sheathing

Oak Cill Warm flat roof 1 degree pitch 484mm Thermal mass 4.96kJ/K Resistance (R) 11.0178 (m2.K). / W U Value 0.0908 W / (m2.K) Above 5mm roofing felt system on waterproof membrane Breather membrane 10 mm plywood sheathing 200mm cellulose insulation 254mm cellulose insulation on vapour control layer 10 mm plywood sheathing 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below 19 mm Aluminium facia and 150 x150mm gutter

8 A101

10mm plasterboard

24 mm Isocheck ukmito slab (acoustic) 10 mm Oak floor herringbone layout

Heating and cooling loads After changing the biomass to ground source heat pump I’m aware that I have saved energy within the building. my final heating and cooling strategy show how much heating is required for this building this is down to the daylighting analysis of the building however I have improved this because I have met all u value as passive house and I understand that my building is as airtight as can be minimise internal bridging. I am aware that do not know the details of this results properly so commenting on it is a challenge, but I am aware substantially improved my heating and cooling loads throughout the design process which is an achievement. Underfloor heating

Scotscape irrigation

Flanking strip

100mm cellulose insulation

100mm hardwood struts inbetween air

Acoustic sealant

25mm plasterboard

440mm NEW glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Existing tower wall

50X50mm Oak planks at 300mm centres for internal wall finish

Acoustic pannel

50X50mm Oak planks at 300mm centres for banister Senior Architectural system ldt curtain wall Double glazing insulated glass units and panel gaskets for curtain walls in accordance with BS373 Aluminium curtain wall frame sections Finish polyester powder coating BS EN 12206-1 Anodised finishes tonBS3897:1991 Mill finish Traditional transform drainage Horizontally capped aluminium curtain wall system with uniform film 52mm sight-lines, toggle system used vertically to allow externally frameless mullions. Mechanical solar-powered Louvres Treated Oak finish Scotscape Smartscape Ltd Fytotextile Living Wall system Modular vertical planting system 1000 x 1000 mm pannels Recycled steel carrier rails Galvanised steel screws 10-15 year’s or greater lifespan Inorganic, plastic none woven fibres, and organic fibres Fvs environmental footprint distinctive

Senior Architectural system ldt curtain wall

220 mm rigid insulation

Hydraulic Ram glazed rectangular lift

5 mm plaster

Windows Double glazed Aluminium casing Oak cills

Vapour control layer 20mm oak flooring Herringbone layout

10 mm Oak floor herringbone layout Underfloor heating

Oak Cill 10mm plasterboard

20mm underfloor heating

127mm cellulose insulation Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 254mm glulam structure studs between with blown cellulose insulation

Doors Double glazed 2110mm high doors with aluminium casing and oak cills

440mm glulam beams (tapered at edges) extruding from rigid insulation supported by 75mm oak strutting Oak herringbone strutting between beams 254mm glulam structure studs between with blown cellulose insulation 127mm cellulose insulation Breather membrane Vapour control layer Insect mesh

254mm glulam structure studs between with blown cellulose insulation 254mm glulam structure

10mm plasterboard

Oak Cill Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 10mm plasterboard

Senior Architectural system ldt curtain wall 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Oak Cill Insect mesh

20mm treated oak flooring Herringbone layout on waterproof membrane

10 mm plywood sheathing

Acoustic sealant

440mm NEW glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Insect mesh Breather membrane

Acoustic Room 2 Plywood walls, benches, floor and ceiling.

Flanking strip

100mm cellulose insulation

100mm hardwood struts inbetween air 25mm plasterboard

10mm plywood sheathing board

Acoustic Room 1 Aluminium walls, benches, floor and ceiling attached to plywood sheathing.

Acoustic Room 3 Velvet walls, benches, floor and ceiling, timber reinforcement 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Acoustic pannel

24 mm Isocheck ukmito slab (acoustic)

Insect mesh

10 mm plywood sheathing

127mm cellulose insulation

Existing tower wall

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Acoustic pannel

Internal finishes and acoustics The oak planks create a warm neutral environment but also helps with the acoustics. Late on top of plasterboard the rough edges help absorb soundwaves and reduce 1:10 shop reflections this is very important in the performance area indoors where the back of the stage is glazed for daylighting strategies however this would reflect the soundwaves badly and create echoes. The implementation of oak planks on DETAIL B 1:20 the internal finishes including the suspended ceiling creates an additional face for sound absorption and a rough texture to reflect the sounds in a more acoustically dynamic way. In the existing structures, these are primarily used for music spaces. The rough texture of the walls does create a good sound reflection barrier however the stonework creates echoing and can impact on the quality of sound negatively. Learning from the project at Saint Lukes they wanted to expose the existing stonework for the properties explained above however they did not want to compromise so they implemented sound absorbers to counter the reflection and echoing affects inside the building. I wanted to keep the Wall exposed to keep the heritage inside the building however I have installed several acoustic panels on the walls to contrast the new and old and create an optimal acoustic environment. In these areas I have also installed an acoustic floor on top of the existing floor which will also help with the acoustics in these existing buildings. 200mm cellulose insulation

5mm roofing felt system on waterproof membrane

10 mm plywood sheathing

30mm underfloor heating 220 mm rigid insulation 5 mm plaster

Breather membrane

Wall 1

10 mm plywood sheathing

254mm cellulose insulation

Vapour control layer

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

10mm plasterboard

20mm treated oak flooring Herringbone layout on waterproof membrane

Vapour control layer

Scotscape

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

127mm cellulose insulation 10mm plywood sheathing board

W all cap timber

Breather membrane

Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 127mm cellulose insulation

Breather membrane

10 mm plywood sheathing

Damp proof course 300 mm above floor level

5 mm plaster

Vapour control layer

30mm underfloor heating 10 mm plywood sheathing

3 x 215mm Engineering blocks

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

254mm glulam structure studs between with blown cellulose insulation

300mm cellulose insulation Breather membrane

Polystyrene

Damp proof membrane Existing wall

10 mm plywood sheathing

220 mm rigid insulation

300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation

20mm treated oak flooring Herringbone layout on waterproof membrane

Senior Architectural system ldt curtain wall

5 mm plaster

Oak Cill

20mm oak flooring Herringbone layout

5 mm plaster

10 mm plywood sheathing

Existing wall

20mm underfloor heating

10 mm plywood sheathing

30mm underfloor heating 10 mm plywood sheathing

127mm cellulose insulation

3 x 215mm Engineering blocks

254mm glulam structure studs between with blown insulation Oakcellulose herringbone strutting between beams

300mm cellulose insulation

300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation

Oak Cill

New concrete underpin

Polystyrene

10 mm plywood sheathing

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

New concrete underpin

Senior Architectural system ldt curtain wall

Middle Floo

Pile foundation

Wall cap timber

Existing Ground Level

DETAIL C 3D GROUND FLOOR LEVEL 1:10

1:10

Oak Cill Damp proof course 300 mm above floor level 127mm cellulose insulation

Vapour control layer

Breather Membrane

5 mm plaster

20mm oak flooring Herringbone layout

DPM (Damp Proof Membrane)

3 x 215mm Engineering blocks Breather membrane

Vapour Barrier

damp proodf membrane 300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation

10 mm plywood sheathing

Insect Mesh

Concrete pile foundation

30mm underfloor heating 300mm cellulose insulation

DETAIL A 1:20

ELEVATION 1 1:20

details

350mm rigid insulation on vapour control layer 5mm roofing felt system on waterproof membrane 10 mm plywood sheathing

Breather membrane sh

19 mm Aluminium facia Scotscape irrigation

Breather membrane 5mm roofing felt system on waterproof membrane 10 mm plywood sheathing

ELEVATION 1 1:20

Scotscape Recycled steel subframe

Vapour control layer

Scotscape Planting modules

350mm rigid insulation on vapour control layer 19 mm Aluminium facia

127mm cellulose insulation

Breather membrane

254mm glulam structure studs between with blown cellulose insulation

10 mm plywood sheathing

Breather membrane

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

127mm cellulose insulation

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

10mm plywood sheathing board 10mm plasterboard

Vapour control layer

DETAIL A 1:20

254mm glulam structure studs between with blown cellulose insulation

Scotscape irrigation

Vapour control layer

350mm rigid insulation on vapour control layer

10mm plywood sheathing board 10mm plasterboard

Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens Breather membrane

5mm roofing felt system on waterproof membrane 10 mm plywood sheathing

Breather membrane

19 mm Aluminium facia Scotscape irrigation Scotscape Recycled steel subframe

Vapour control layer

Scotscape Planting modules

127mm cellulose insulation

Scotscape irrigation

254mm glulam structure studs between with blown cellulose insulation

Breather membrane 254mm glulam structure studs between with blown cellulose insulation Scotscape Recycled steel subframe

Breather membrane

Scotscape Planting modules

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Vapour control layer

10 mm plywood sheathing 8 A101

Flanking strip

100mm hardwood struts inbetween air

127mm cellulose insulation

10mm plywood sheathing board 10mm plasterboard

Scotscape irrigation

100mm cellulose insulation 127mm cellulose insulation

Scotscape irrigation

10mm plasterboard

24 mm Isocheck ukmito slab (acoustic) 10 mm Oak floor herringbone layout Underfloor heating

Acoustic sealant

25mm plasterboard

10mm plywood sheathing board

440mm NEW glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

10mm plasterboard 254mm glulam structure studs between with blown cellulose insulation

Existing tower wall

Vapour control layer

127mm cellulose insulation

Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 20mm underfloor heating

Scotscape irrigation

Acoustic pannel

Breather membrane

Breather membrane 254mm glulam structure studs between with blown cellulose insulation Scotscape Recycled steel subframe

5 mm plaster

Scotscape Planting modules

440mm glulam beams (tapered at edges) extruding from rigid insulation supported by 75mm oak strutting

Vapour control layer

Oak herringbone strutting between beams

10 mm plywood sheathing

Oak Cill 8 A101

10mm plasterboard

24 mm Isocheck ukmito slab (acoustic) 10 mm Oak floor herringbone layout Underfloor heating

Scotscape irrigation

Flanking strip

100mm cellulose insulation 100mm hardwood struts inbetween air

10 mm Oak floor herringbone layout Underfloor heating

Acoustic sealant

25mm plasterboard

Acoustic pannel

24 mm Isocheck ukmito slab (acoustic)

440mm NEW glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Flanking strip

100mm cellulose insulation

Existing tower wall

10 mm plywood sheathing

100mm hardwood struts inbetween air

Acoustic pannel

Acoustic sealant

25mm plasterboard

440mm NEW glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Existing tower wall

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Acoustic pannel

Senior Architectural system ldt curtain wall

Breather Membrane

Vapour control layer

Acoustic pannel

24 mm Isocheck ukmito slab (acoustic) Insect mesh

Vapour Barrier

10 mm Oak floor herringbone layout Underfloor heating

Oak Cill 10mm plasterboard 127mm cellulose insulation Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 254mm glulam structure studs between with blown cellulose insulation

100mm cellulose insulation

1:10

10mm plywood sheathing board Insect mesh Breather membrane

Flanking strip 10 mm plywood sheathing

100mm hardwood struts inbetween air

Acoustic sealant

25mm plasterboard

440mm NEW glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

440mm glulam beams (tapered at edges) extruding from rigid insulation supported by 75mm oak strutting

Existing tower wall

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Acoustic pannel

wn cellulose insulation

DETAIL B 1:20 1:10

200mm cellulose insulation 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

5mm roofing felt system on waterproof membrane

Breather membrane 10 mm plywood sheathing

254mm cellulose insulation

Warm monopitched roof Wall 1

Vapour control layer

DETAIL B 1:20

Scotscape wall

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 127mm cellulose insulation

Breather membrane

200mm cellulose insulation Warm monopitched roof

5mm roofing felt system on waterproof membrane

10 mm plywood sheathing

Breather membrane

Wall 1

5 mm plaster 10 mm plywood sheathing

254mm cellulose insulation 50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

254mm glulam structure studs between with blown cellulose insulation

Senior Architectural system ldt curtain wall

Vapour control layer

220 mm rigid insulation Senior Architectural system ldt curtain wall

rboard

5 mm plaster

Oak Cill

20mm oak flooring Herringbone layout

Scotscape wall

440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting

5 mm plaster

10 mm plywood sheathing

lose insulation sheathing board

20mm underfloor heating

W all cap timber

rane

Breather membrane

Damp proof course 300 mm above floor level

10 mm plywood sheathing

127mm cellulose insulation

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

254mm glulam structure studs between with blown cellulose insulation

254mm glulam structure studs between with blown Oak cellulose herringbone insulation strutting between beams

Polystyrene

50X50mm Oak planks at 300mm centres for internal wall finish Acoustic absorbant infront of reflective glazing

5 mm plaster

ol layer 3 x 215mm Engineering blocks

Mechanical solar-powered Louvres

Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 127mm cellulose insulation

Senior Architectural system ldt curtain wall

Oak Cill

Existing wall

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above). 300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation

Senior Architectural system ldt curtain wall

220 mm rigid insulation 5 mm plaster

Oak Cill

Existing wall underpinned and polystyrene between new concrete floor and existing wall with underpin

20mm oak flooring Herringbone layout

5 mm plaster

10 mm plywood sheathing

Mechanical solar-powered Louvres

20mm underfloor heating

Middle Floor 10 mm plywood sheathing

50X50mm Oak planks at 300mm centres for internal wall finish Acoustic absorbant infront of reflective glazing

127mm cellulose insulation

Wall cap timber

New concrete underpin

Oak Cill

5 mm plaster

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

20mm oak flooring Herringbone layout

30mm underfloor heating

Senior Architectural system ldt curtain wall

300mm cellulose insulation

3 x 215mm Engineering blocks Breather membrane

Middle Floor

damp proodf membrane 300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation

10 mm plywood sheathing

Warm flat roof 1 degree pitch 484mm Thermal mass 4.96kJ/K Resistance (R) 11.0178 (m2.K). / W U Value 0.0908 W / (m2.K) Above 5mm roofing felt system on waterproof membrane Breather membrane 10 mm plywood sheathing 200mm cellulose insulation 254mm cellulose insulation on vapour control layer 10 mm plywood sheathing 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below 19 mm Aluminium facia and 150 x150mm gutter

Oak herringbone strutting between beams 254mm glulam structure studs between with blown cellulose insulation

Oak Cill Damp proof course 300 mm above floor level 127mm cellulose insulation

Vapour control layer

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above). 50X50mm Oak planks at 300mm centres for internal wall finish

Existing wall underpinned and polystyrene between new concrete floor and existing

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above). 50X50mm Oak planks at 300mm centres for internal wall finish

Existing wall underpinned and polystyrene between new concrete floor and existing wall with underpin

50X50mm Oak planks at 300mm centres for banister

Senior Architectural system ldt curtain wall Double glazing insulated glass units and panel gaskets for curtain walls in accordan Aluminium curtain wall frame sections Finish polyester powder coating BS EN 12206-1 Anodised finishes tonBS3897:1991 Mill finish Traditional transform drainage Horizontally capped aluminium curtain wall system with uniform film 52mm sight-line Mechanical solar-powered Louvres Treated Oak finish

50X50mm Oak planks at 300mm centres for banister Wall cap timber

Existing Ground Level

Senior Architectural system ldt curtain wall Double glazing insulated glass units and panel gaskets for curtain walls in accordance with BS373 Aluminium curtain wall frame sections Finish polyester powder coating BS EN 12206-1 Anodised finishes tonBS3897:1991 Mill finish Traditional transform drainage Horizontally capped aluminium curtain wall system with uniform film 52mm sight-lines, toggle system used vertically to allow externally frameless mullions.

Oak Cill

Damp proof course 300 mm above floor level 127mm cellulose insulation

Vapour control layer

Breather Membrane

5 mm plaster

Concrete pile foundation

20mm oak flooring Herringbone layout

DPM (Damp Proof Membrane)

30mm underfloor heating

3 x 215mm Engineering blocks

300mm cellulose insulation

Mechanical solar-powered Louvres Treated Oak finish

Breather membrane

Vapour Barrier

damp proodf membrane 10 mm plywood sheathing

Insect Mesh

Scotscape Smartscape Ltd Fytotextile Living Wall system Modular vertical planting system 1000 x 1000 mm pannels Recycled steel carrier rails Galvanised steel screws 10-15 year’s or greater lifespan Inorganic, plastic none woven fibres, and organic fibres Fvs environmental footprint distinctive

300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation

Concrete pile foundation

Acoustic Floor

1:10 Existing floor Existing wall

DETAIL A 3D SECOND TO ROOF LEVEL 1:10

Mechanical solar-powered Louvres Treated Oak finish

Acoustic Room 3 Velvet walls, benches, floor and ceiling, timber reinforcement

Acoustic Room 1 Aluminium walls, benches, floor and ceiling attached to plywood sheathing. Acoustic Room 2 Plywood walls, benches, floor and ceiling. Acoustic Room 3 Velvet walls, benches, floor and ceiling, timber reinforcement

Acoustic Floor

1:10

50X50mm Oak planks at 300mm centres for internal wall finish

Doors Double glazed 2110mm high doors with aluminium casing and oak cills

Acoustic Room 2 Plywood walls, benches, floor and ceiling.

Windows Double glazed Aluminium casing Oak cills Doors Double glazed 2110mm high doors with aluminium casing and oak cills

50X50mm Oak planks at 300mm centres for banister

Windows Double glazed Aluminium casing Oak cills

Acoustic Room 1 Aluminium walls, benches, floor and ceiling attached to plywood sheathing.

Hydraulic Ram glazed rectangular lift

50X50mm Oak planks at 300mm centres for interstitial ceiling (services above).

Hydraulic Ram glazed rectangular lift

Existing Ground Level

Doors Double glazed 2110mm high doors with aluminium casing and oak cills

Breather Membrane Acoustic Room 1 Aluminium walls, benches, floor and ceiling attached to plywood sheathing. Acoustic Room 2 DPM (Damp Proof Membrane) Plywood walls, benches, floor and ceiling.

Existing floor Existing wall

DETAIL A 3D SECOND TO ROOF LEVEL 1:10

Acoustic Room 3 Velvet walls, benches, floor and ceiling, timber reinforcement

Vapour Barrier

Insect Mesh Existing Ground Level Breather Membrane DPM (Damp Proof Membrane)

Vapour Barrier

Insect Mesh

details

ELEVATION 2 1:20

Ventilation During the design process I was aware of ventilation issues in my building from the start. I was aware of there complex program of the building which I need to address on the fact that surgery and animal keeping requires strong ventilation systems to adequately get rid of pollutants and contaminants. I had always intended to use a MHVR System until I change my final design. The final design allows more wall surface on the first two floors which allows all rooms to be able to be naturally ventilated through a mixture of heat recovery systems openable windows trickle vents and ground source chips providing fresh air into the buildings especially the veterinary spaces which is crucial to have Adequate ventilation. The use of the atrium which is external has also helped achieve a naturally ventilated building again with more exterior wall surfaces exposed resulting in more opportunity to provide an openable window for the ventilation systems. My final ventilation strategy is all natural with a mixture of stacks ventilation and single sided and cross ventilation within each individual room.

SECOND FLOOR DETAILED PLAN 1:20

Breather Membrane Vapour Barrier

Final design daylighting The final design shows I progression in the daylight analysis meaning that I have improved the amount of daylight in the lower floors. There is still a limiting amount of daylight in the lower floors. Because of the veterinary spaces, large windows would not be applicable and there will always be a requirement for artificial light due to the complex procedures required for aviary veterinary spaces. There is still an amount of natural daylight in the lower spaces but to maximise this further the south wall would have to be cut which would be invasive for a scheduled monument. On the North side it has shown that cutting into the wall which I have compromised on has worked however due to the ground level on the north side of the north wall being 2m higher, this has limited daylighting drawn into the ground floor. Overall, the design of the building I have placed rooms that do not need or would not benefit from daylighting into the first two floors for the reason that they would require artificial light even if an admirable amount of daylight was provided. Although the work of the facades has provided greater daylight, the quality of the spaces would not be compromised due to inefficient amount of daylight. To conclude providing daylight into the lower buildings was a difficult design challenge without impacting the grade 1 listed scheduled monument too much. I fell like due to the limitations this was issue was tackled to the best of my ability.

Wall 1 401mm Thermal mass 3.83kJ/K Resistance (R) 9.1854 (m2.K). / W U Value 0.1089 W / (m2.K) Exterior Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens 10mm plywood sheathing board Breather membrane 254mm glulam structure studs between with blown cellulose insulation 127mm cellulose insulation Vapour control layer 10mm plasterboard Interior Middle Floor 275mm Thermal mass 4.71 kJ/K Resistance (R) 7.3010 (m2.K). / W U Value 0.1370 W / (m2.K) Above 20mm oak flooring Herringbone layout 10 mm plywood sheathing 20mm underfloor heating Vapor control membrane 220 mm rigid insulation 5 mm plaster 440mm glulam beams extruding from cellulose insulation supported by 75mm oak strutting Oak herringbone strutting between beams Below Warm Pitched Roof (mono-pitched) 375mm Thermal mass 3.35kJ/K Resistance (R) 10.1987 (m2.K). / W U Value 0.0981 W / (m2.K) Above Photovoltaic panels 5mm roofing felt system on waterproof membrane Breather membrane 10 mm plywood sheathing 350mm rigid insulation on vapour control layer 10 mm plywood sheathing 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below 19 mm Aluminium facia and 150 x150mm gutter Ground floor 676mm Thermal mass 48.04 kJ/K Resistance (R) 8.9295 (m2.K). / W U Value 0.1120 W / (m2.K) Above 20mm treated oak flooring Herringbone layout on waterproof membrane Vapour control layer 30mm underfloor heating 10 mm plywood sheathing Vapour control layer 300mm cellulose insulation 10 mm plywood sheathing Breather membrane Damp proof membrane 300 mm concrete glulam bearers in between cellulose insulation Concrete pile foundation Below Ground wall to foundation Above W all cap timber Damp proof course 300 mm above floor level (lower wall external 3 x 215mm Engineering blocks 127 cellulose insulation internal) 300 mm concrete between 419mm glulam bearers taking load from block work to pile foundation Concrete pile foundation Below Existing wall underpinned and polystyrene between new concrete floor and existing wall with underpin Acoustic floor 259mm Thermal mass 4.46 kJ/K Resistance (R) 6.4855 (m2.K). / W U Value 0.1542 W / (m2.K) Above 10mm Oak floor Herringbone layout 24mm Isocheck ukmito Slab 100mm cellulose insulation 100mm air 25mm plaster 440mm glulam beams (tapered at edges) extruding from cellulose insulation supported by 75mm oak strutting Below

20mm oak flooring Herringbone layout

Vapour control layer

Mechanical solar-powered Louvres Treated Oak finish Scotscape Smartscape Ltd Fytotextile Living Wall system Modular vertical planting system 1000 x 1000 mm pannels Recycled steel carrier rails Galvanised steel screws 10-15 year’s or greater lifespan Inorganic, plastic none woven fibres, and organic fibres Fvs environmental footprint distinctive

10mm plasterboard Activator

Motor

W all cap timber

Activator drive shaft

127mm cellulose insulation

Breather membrane 254mm glulam structure studs between with blown cellulose insulation

Hydraulic Ram glazed rectangular lift

10mm plywood sheathing board

Windows Double glazed Aluminium casing Oak cills

Oak vertical boards with 20 mm shadow gap on 50 x 50 mm horizontal battens

Doors Double glazed 2110mm high doors with aluminium casing and oak cills

Vapour control layer 254mm glulam structure studs between with blown cellulose insulation Breather membrane

W all cap timber

Acoustic Room 2 Plywood walls, benches, floor and ceiling. Acoustic Room 3 Velvet walls, benches, floor and ceiling, timber reinforcement

10mm plywood sheathing board

127mm cellulose insulation

10mm plasterboard

Acoustic Room 1 Aluminium walls, benches, floor and ceiling attached to plywood sheathing.

Primary radial arm

U values Working in bin meant that I could detail the walls to meet passive house standards u values which I spent time concentrating on to understand that the heat transfer would be minimal and therefore reduce the need of artificial heating and cooling. The values are noted below compare to UK building regulations and passive house standards.

Scotscape irrigation

20mm oak flooring Herringbone layout Secondary radial arm Scotscape Planting modules Oak column rotating fins

Scotscape Recycled steel subframe Oak fins

Glazed single leaf door, aluminium frame

glulam column

DETAIL C 3D GROUND DETAIL C 3D GROUND FLOOR LEVEL 1:10 FLOOR LEVEL 1:10

details

GLAZED WALKWAY SECOND FLOOR

BIRD FUNNEL THIRD FLOOR

1:10

Vapour Barrier

DPM (Damp Proof Membrane)

Insect Mesh

Vapour Barrier

Insect Mesh

MECHANICAL LOUVRES SECOND FLOOR

1.2 gothic 2019 - 2020

gothic 1

Gothic 11 This year Unit 1 is interested in all interpretations of the term Gothic, and in particular, how this resonates with our own city, Canterbury. We are fascinated by Gothic’s capacity to be inclusive, eclectic, innovative, not self-conscious, or pompous, beautiful at a glance, and messy close up! Canterbury sits at a nexus in its history - we cannot go into detail here - but two very peculiar things are happening right now - a unique and fleeting collision of events. The first is the restoration of the cathedral and its precinct. For the first time in hundreds of years, and perhaps for the same period into the future, the cathedral is undergoing a scope of restoration that affords us unprecedented access to a World Heritage Site, scheduled ancient monument, Grade 1 listed building, and globally significant flagship of Gothic architecture. At the same time, outside the cathedral precinct, Canterbury is a town in drastic retail decline. This Unit is NOT about the heritage restoration or conservation of Gothic (or Gothic Revival style) Architecture, it is about finding a 21st Century interpretation of what is ‘Gothic’!

gothic 111

gothic iv

Gothic v 66

4agothic

4a consisted of several exercises linked in with idea of discovering our own interpretations of what modern Gothic is. Using articulation and observation, I went from presenting my initial interpretations of Gothic to designing a Pavilion. 67

Moving on from Gothic 0, we were task with an observation exercise based on the Canterbury Cathedral. I chose a detail which I interpreted in a 2D survey drawing at a scale of 1:2/1:5.

gothic 1 and 11 tasks

I chose this detail originally because of the step, I liked the way the stone from different ages were laid on top of one another and appears to slope slightly.

For Gothic II, we were asked to look closer to home and find a household product that can be represented as the ‘gothic’ of the everyday. We were asked to choose a piece of packaging (bottle/box/tub etc), observe, and analyse it and then represent it in a 2D graphic. 68

gothic 111 - GATE AND CASTLE STUdY OF CANTERBURY

gothic iv - the site The site I was given was located just off the area where Ridingate once stood. My site was split into three levels and located on the city wall, next to the bus station. The lowest level was on the bus station land, the middle level was a ramp up to the wall and the highest level was the top of the wall. One of my key objectives was to work with the site, integrating all levels and engaging pedestrians that use the walkways that penetrate my site.

We were tasked with designing a small pavilion with three interconnected spaces (threshold/programmed/rhetorical space) that (as part of a collection of seventeen), engages with the line of the ancient wall around the city of Canterbury. Its design develops themes that the work-to-date has and is establishing, foregrounding them into a physical landscape with a contemporary and historical context, and programmatically houses a chapter of a manuscript that records a part of the history of the city. 25m2 sites as assigned. The manuscript will be the chapter in the historical and contemporary story of the city and will be a parallel activity to the design element of ‘Palimpsest’. The manuscript I was tasked with was to research the city walls, the gates and the castle.

gothic iv - the Pavilion

The circulation of the visitors is designed to be quite relaxed, a person who arrives at the pavilion should really either start at the highest level or the lowest level and they will be taken on a maze-like experience through the level changes. It was also designed to engage the passer by making them enter and move around the pavilion and having access to the stairs if they wanted to experience the full pavilion .

the pavilion - representing the town gates

section The lower level was designed to make the person feel encircled by the pavilion with tall heights of the structure and minimal views out. The middle level was intended to be an interim level with more views outwards but still with an enclosed feeling. The top level was designed to be the most exposed, like ruins, the space would be scattered around the pathway.

the pavilion - representing the town gates

The pavilion was intended to be eye catching and different so I used two materials that would stand out, the first and main material is blue plastic which is extremely unusual and the bold colour would certainly attract attention, cover sheets would be wrapped around some of the plastic which would have the information of the manuscript engraved into it.

detial of the pavilion Blue plastic will make the pavillion eye catching.

The copper will be touched by the public which will speed up the weathering effects in areas of the material like statues that are coninuously touched.

Copper will make the pavillion eye catching.

The copper will allow the public to make their own Gothic graffiti, the inspiration of this came from under a bridge in London where it encourages the public to mark their name.

Morris, W. News from Nowhere- BOOK CLUB

This book was a story about a socialist utopian take on London in the 1800s which mimics Morris’s views on society influencing this literature. The main basis of the novel was a quest to find beauty, happines and freedom which is gradually build up thorugh the journey down the river Thames. It can be seen as a paradise senario representing heaven that health and happiness is greater than wealth and heirachy.

4bgothic v

For 4b, we were asked to refer to the exercises in 4a as well as experience and learning that I have developed and then we were asked to develop a set of guiding principles, philosophy, materiality and ethics. 77

the site

The site was chosen as it has potential to engage passers-by as it is located on a car park which is a key entrance to the Westgate Gardens.

the site

Pedestrian Movement on Site Wind Direction

Flood Zone 2 - Risk 1-3.3%

Food+Beverage

Flood Zone 3 - Risk greater than 3.3% The site itself is reasonably quiet being located next to Westgate Gardens and the river, with a steady flow of pedestrian movement, even though it is neighbouring a quite a busy road.

Due to the proximity of the river, the site sits on a flood plane which can be considered in the design.

Average midweek pedestrian number in 15 minutes at midday.

Retail

Historical Buildings Residential Cultural

Average midweek pedestrian number in 15 minutes at midday.

the wall The wall between the graveyard and civic site became an interest as it acts as a barrier between the sacred and civic land which highlighted a potential to place the building there and textually as well as visually changes throughout the areas on the wall.

LIFE AND DEATH

The contrast is around the good and the bad effects of time which is mirrored on the site where the wall separates the sacred and the civic land, life and death, movement and stillness that all reflects the concept of time.

effects of time

This collage represents the effects of time showing life, death, decomposition and destruction.

site brick study

DESIGN DEVELOPMENT

LOST BUILDINGS

The book, Lost Buildings by Jonathan Glancey is the base for the programme of the building which translates into an archive of buildings that have not been built or destroyed reflecting the effects of time.

ARCHIVE OF GHOST BUILDINGS Catagory from chapters of Lost Buildings book

SACRED

Each chapter of the book, (plus an additional chapter of the effects of time of the Canterbury history), is placed in a separate structure which contains the archive information of buildings in that chapter. The buildings are connected by circulation. The location of the rooms and relation to its neighbours has been thought carefully with consideration to the sacred and civil areas of the site.

HISTORICAL

CIVIC

Room Room Room Room Room Room Room Room Room Room 89

A- Lost in peace B- Left of the drawing board C- Acts of God D- Lost in dreams E- Lost in myth F- Lost in war G - Self Destruction H- Lost too soon I- Lost in time (Canterbury Archaeology) J- Political losses

ROOF PLAN

PLAN

THE ARCHIVE VIEW

In conclusion, Gothic is built up from a variety of styles, shapes and scales which together create layered structures that communicate a story through the building.

ELEVATION AND INTERIOR VIEWS

2.0-ba hons 2015 - 2018 Liverpool John Moores University

2.1

Dance and Drama School – The Street

This development sits at the confluence of the two Liverpool cathedrals, the city’s cultural space has blossomed around them. Within Hope Street, the arts now flourish within a grid of public cultural institutions including the Everyman Theatre, the Philharmonic Hall and Unity theatre. The school, located within this hub, will further catalyse the artistic dimension of Hope Street by drawing in the public and wider educational estate into a new shared space of performing arts and entertainment. By bringing together their separate dance and drama schools, LMJU will enhance the quality of their performance teaching through architecture configured to exploit the synergies of shared resource and experience. A black box theatre space will enable simple production of performances for audiences of up to 220. Shared stage and costume making workshops will go to furnish more formal performances within a 230-seat theatre, and all of this will be available for use by the wider city educational establishment supported by smaller studios and practice rooms, dedicated educational zones and IT areas. Just opposite the Everyman, visitors will be enticed into the cultural domain via a walk-through street within the building, giving access to both its facilities and views onto the activity within. Continuing along this alleyway, visitors will arrive at an open public space in the form of a garden area designed for their quiet relaxation or other external events. In this way, the school will become a new element in the Hope Street cultural grid and form an important element of the Liverpool cultural landscape.

ELEVATION FROM HOPE STREET 98

HOPE STREET 99

100

101

Plan 1:200 Third Floor

102

103

Perspective Section A:A

104

Black Box theatre: This space is located in the basement. Because of this, air is brought into the space by the earth tubes and the hot air is removed Sectionthrough AA air vents. Social performance area: This area backs onto a sat of fan doors which can open up and provide a fresh air source into the space, pushing the hot air into the street and out of the glass roof.

hting

taken out

Water As the building is located in the city centre, the water will be supplied directly from the mains from Hope Street. Installing a dual flush toilet contributes to water conservation and uses that the water with two days consumption of 135L per day. The new toilets use as little as 2.64 litres per flush which is only 20% lower and watery say. Rainwater and greywater

ural lighting will be used on average five hours a day.

Greywater from the building is going to be recycled and reused. The greywater is cleaned using the sand filter method and will be used in toilets therefore saving fresh water.

g theatre lighting will be in different groups. The first set of lighting will be wall mounted for the public movements; se lsolights also change intensity for different ambience. There is also stage lighting for the performances.

wn lighting will also be used to provide additional guidance.

Rainwater will be harvested via the roof directs the water towards the edges where drainpipes are installed and will filter underground into a storage tank.

diunted wall lights will be installed in the stairwells.

Rainwater Calculation: Rainwater Harvested Available for Grey Water Re-use = Roof Area x Annual Rainfall x Run-off Coefficient x Filter Coefficient 6533X836.6X0.0.9X0.9=4,427,061 litres per annum Suggested Storage tank size = annual water available * 0.05 4,427,061 2X0.05=221,353.066 Sewage

he street, the roof glazing will provide a lot of natural light however when dark, mounted wall lights will help guide people through the street like street lamps.

ara-classroom, IT rooms, workshop, offices, green room, changing rooms and toilets recessed lighting with white lighthe will illuminate the information area sufficiently. In the changing rooms additional lighting will be placed around the mrors. ed

Because of the city centre location, the building will be connect to the mains sewer line removing black water from the building.

public areas need artificial lighting to create an ambience within the spaces. This will be done using wall lights with ying intensity settings and that change for different times of the day. Ventilation and Cooling ENVIRONMENTAL STRATEGY

Section BB

orescent tubes behind frosted glass will provide the lighting in studios.

ting

This building will be naturally ventilated where possible saving energy from artificial ventilation. Stacked ventilation is used through the building. Solar radiation can enhance or accelerate the stack ventilation by pushing heat upwards through the light wells and the roof light above the street. The top of the light well and the roof glazing will be controlled by a thermostat to open up and let hot air out when needed.

en the building is occupied, heating and hot water will be supplied from a LTHW system that uses a biomass er burning wood chips and a backup boiler. The heating will be sent to radiators by indirect hot water cylinder Being a city, there is through a lot ofannoise air pollution soarelying on windows being opened for ventilation and cooling ch sources waterin from a storage tank indirectand system. Alongside this ground source heat pumps provide an sourceAs of well heat to radiators underfloor heating asto well hasthe hot ventilation. water supplies The to deep earth is used as a heat sink is additional not enough. asthe this, earthand tubes will be used aid wers andcooling taps. air that is drawn through tubes into the building. During hot nights, ventilation and cooling will occur by the odchip has a low carbon intensity which is better for the environment. Heating is needed for 13 hours maximechanisation therefore cooling building morning. m a day and lowered to 6 hours max in the summer.the When occupiedfor thethe heating will be switched on and off en vacated. dance studios be heated by under flooritheating that will be placed the sprung floor. In thewill performance areas, is important that theunderneath strategy used is not noisy disturbing performances. Heat is genstreet will have a glazed roof which will heat up the space, this can provide heat to the surrounding spaces off erated a lot by the lights and audience who occupy the space. This means there needs to be quick ways of cooling street. and ventilating spaces. It is green also important to consider workshop, offices, changingthe rooms, classrooms, room, toilets and IT room willthat have different radiators topeople provide feel heat differently, so getting the t to theseamount spaces. right is crucial to users comfort. od chips are used instead of wood pellets as they are UK sourced. A 50m squared storage for the chips will uire 2-3 deliverys per year. Main theatre: for the theatre. It is located in the basement where deliveries of wood chips can be e plant room is important theatre overhung so that be natural Cool this. air isHaving brought ily movedThe to the storage is then into the plant room.itA can hydraulic lift will be ventilated. used to accomplish this into the space under the chairs conce in thetrolled basement provide pipes and airshafts to through both sides a ofmass the street passing it through bywill Altair mechanical louvres of without concrete taking heatthe out of the air. The air is pushed up to the effecting the aesthesis. The concrete used in the roof and walls will be used as thermal mass, which absorbs top of the theatre and exited by mechanical louvres. t energy and emits it during the cooler periods like the evening and night.

Black Box theatre: STRUCTURAL STRATEGY

Solar Shading This building should last for 60 years, so when designing, consideration of the effects of the weather and climate patterns within a building’s lifespan is essential. This means preparing the building for future regulations. Solar shading methods will be a requirement by 2040, so this needs to be considered. On the sociable performance area, the theatre overhangs over the glazing. The east and west glazing areas will have mechanical louvres installed. North facing glazing does not require passive solar strategies.

ENVIRONMENTAL STRATEGY

This space is located in the basement. Because of this, air is brought into the space by the earth tubes and the hot 105

Water

2.2

Weather or Not? Every Lake Deserves a Cloud

With this project I was required to design a weather station for climate change on a hill top in the scenic Lake District. My defining design concept encapsulated a transition from ether to matter, from sky to land. Clouds, a primary element of our weather and essential to our skyscape experience, are within them sensually disorientating. Light-weight structures helps to create an elevating experience, drawing the eye-line upwards towards a focus on the sky. The associated transition from dark rooms into brighter areas enhances this experience increasing emphasis on the clouds.

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SECTION B

PLAN 1

PLAN 3

PLAN 2

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SECTION A

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LAB

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GRIDSHELL ROOF

ENVIRONMENTAL STRATEGY

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2.3

Summer Project 2 Tectonic Structures

This project required me to build a tectonic structure incorporating water, land and air. My idea came from a kingfisher which dives into water, nests on land and flies through the air. Each cube represents a different position of a kingfisher. The different pattern of timber and the variety of openings create a different experience in each of the cubes.

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2.4

Library of the Future

My Library of the Future concept originated from personal observation of paper making when I was taken by the idea of the transformation of trees into books, wood into thought, a fusion of nature and knowledge. My aim was to create a library that will help to encourage learning within the community. Together with the current research on the Williamson Tunnels, this library will have regular presentations from researchers and universities to create a hub of knowledge and communal activity.

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ENTRANCE TO TUNNEL

BASEMENTARCHIVE

GROUND

FIRST FLOOR

ELEVATION

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SECOND

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2.5

Building Blocks– Shopping Arcade in Liverpool

This project helped developed my master planning skills. The locations of Paris and Liverpool were explored, I then independently redeveloped an urban space in Liverpool. The Liverpool site was in a derelict area, which I developed into an arcade of shops and a social/cultural zone. Encircled by the shopping buildings is a multipurpose, sunken stage space and seating area where cultural activity can take place. Performers, lecturers, clubs and societies create performances for the public who can enjoy them there or simply rest. A canopy gives weather protection to shoppers and visitors enabling an enjoyable experience all year round. The canopy mimics the trees in the upper part of the site giving a rural aspect within the urban space.

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2.6

Summer Project 1Despina

“Despina can be reached in two ways: by ship or by camel. The city displays one face to the traveller arriving overland and a different one to him who arrives by sea. When the camel driver sees, at the horizon of the tableland, the pinnacles of the skyscrapers come into view, the radar antennae, the white and red wind-socks flapping, the chimneys belching smoke, he thinks of a ship; he knows it is a city, but he thinks of it as a vessel that will take him away from the desert, a windjammer about to cast off, with the breeze already swelling the sails, not yet unfurled, or a steamboat with its boiler vibrating in the iron keel; and he thinks of all the ports, the foreign merchandise the cranes unload on the docks, the taverns where crews of different flags break bottles over one another’s heads, the lighted, ground-floor windows, each with a woman combing her hair. In the coastline’s haze, the sailor discerns the form of a camel’s withers, an embroidered saddle with glittering fringe between two spotted humps, advancing and swaying; he knows it is a city, but he thinks of it as a camel from whose pack hang wine-skins and bags of candied fruit, date wine, tobacco leaves, and already he sees himself at the head of a long caravan taking him away from the desert of the sea, toward oases of fresh water in the palm trees’ jagged shade, toward palaces of thick, whitewashed walls, tiled courts where girls are dancing barefoot, moving their arms, half-hidden by their veils, and half-revealed. Each city receives its form from the desert it opposes; and so the camel driver and the sailor see Despina, a border city between two deserts.” ― Italo Calvino, Invisible Cities

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2.7

Archifilm

For this project I designed three models: a landscape, an abstract and a small architectural model, which had to be photographed in a professional and artistic way. After visiting Yorkshire Sculpture Park in the Autumn, I was impressed by the range of vibrant colours of the natural surroundings and this inspired me to develop the thematic concept of ‘Fire and Danger’. My first model represents a flame twisting and turning unpredictably. My second model is a is a retreat which is dangerous as it is raised but has no safety features. People may go to a retreat to escape danger and relax but in this instance, they may still be at risk. This third model represents the fire meeting the water. The water is able to control the fire showing how powerful both elements are.

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3.0Competitions and extra cirricular

3.1

South Pacific Prototype Housing Workshop CAUKIN

During the summer of 2020, I took part in this virtual workshop run by CAUKIN. Through a series of workshops and seminars, I learnt about the issues raised around housing in the South Pacific. The work was to come up with a community built housing scheme that would be used or considered for future CAUKIN projects in the South Pacific. My work was research based which contributed to my dissertation. The workshop took place of the work I would be doing in Fiji with CAUKIN building a community centre. With an increasing amount and severity of cyclones in the Pacific Islands, the impact on Fijian buildings, especially in rural areas, needs to be addressed. The current problem is there are a variety of vernacular, some because of globalisation. With a lack of building codes and education, poorly built and maintained buildings by communities, results in the buildings vulnerable to destruction in a cyclone. Fijian community resilience, noted to be strong, will be studied to determine how important this is to aid cyclone resilience within building construction. Construction methods will be investigated alongside the use of materials to discuss how globalisation has changed the traditional vernacular and whether this has been successful. With an emphasis on residential buildings that can withstand cyclones, this crucial discussion highlights the effects of globalisation in Fiji by introducing Western materials and construction techniques. Another consideration is how climate change, such as increased cyclones impact Melanesian countries.

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Grace-Marie Spencer - South Pacific Prototype Housing 2020 Workshop, Page 1

A1 MODULAR OPTION 1 - THE SQUARE, THE HEXAGON, THE OCTAGON

The aim is to aid communities whilst creating a cyclone, resilient building typology that is research-based whilst rapidly built and inexpensive for the

THE VISION

community. The community will, therefore, have an opportunity to build up a sustainable village improving on the sustainability goals.

Toilet

Shower

Living

Cooking

Community

Hut

The idea of this programme is to create a cultural plan that looks back on tradition whilst using modern technologies. There will be three aims to help create this plan.

Learn – Build – Share

ADVANTAGES:

THE HUT

THE VERANDAR

Easier to attach walls sure to same size edges. One wall and roof same method of construction easier to repeat without learning additional skills.

section

Keeping the symmetrical idea of (Arya, A. and Agarwal, A., 2007), a square shape building will reduce the wind damage onto the structures.: “Simple, compact, symmetrical shapes are best. The square plan is better than the rectangle since it allows high winds to go around them.” DISADVANTAGES: Difficult to construct non 90 degree angle.

OR:

KEY

A1 MODULAR OPTION 2 - THE SQUARE, THE RECTANGLE

Storage

Toilet Shower Hut Hut

Living Hut

Cooking Hut

Community Hut

Fire pit Living Hut

The post is risen 1 meter off the ground to find the right balance between storm surge resilience and feasibility of building. The recommended height of 2-10 meters above the ground helps avoid flooding from storm surges; however, this would require a lot of material and steps which would become more expensive and add much effort for the people who live and build themselves structure, reducing the likelihood of

Cooking Hut Bamboo partitians

PLAN

10m

Structure

Seating

The underground store, also used for a fire pit will be built within the floorboards so can be set into the ground and built by a treated timber frame lined with Adobe for thermal qualities. A door like structure will cover them up in a storm so it can become storm protection for emergency supplies, harvested crops and possessions.

them building these structures.

Living Hut Cooking Hut

Overhang – A minimal overhang will prevent uplift on the roof and separation of the roof from the walls.

ADVANTAGES: Easier to construct with 90 degree angles. DISADVANTAGES: Redesigning walls and roofs will need to different construction processes meaning more to learn on site.

The hip roof at 45-degree pitch is one of the optimal pictures to survive cyclone conditions. The thatching has been problematic in cycling previously, but if constructed well, it can be resilient. The important thing is to consider two use more leaf on the roof as possible, which helps it to reinforce one another.

The openings, windows and doors, will be kept open in the kitchen cooking during cooking, allowing ventilation across the hut, as well as the thatch, being able to filter out the smoke. When a cyclone hits the village, the opening requires shutting to prevent significant damage to the hut.

Each wall will have the opportunity to build a window, door or both within them; this gives the communities to adapt each wall to provide for their needs. The openings will have a robust timber shutter system to bolt up if there is a storm or for other reasons. Glass will not be used for the opportunities due to shattering in winds.

To prevent uplift and to anchor down structures; rocks, coconut shells or any other available material will fill into the platform.

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Grace-Marie Spencer - South Pacific Prototype Housing 2020 Workshop, Page 2

A1 MODULAR OPTION 1

The feedback given recommended the living/cooking/bathroom all connected as the changing climate results in frequent rain; however, they still lead an outdoor lifestyle, which is why there is a flexible option to provide a veranda between the core spaces. The verander space also provides the communities with a place to relax and socialise. The choice of a semi-communal kitchen developed from local feedback. Combining the Fijians private kitchen lifestyle alongside Vanatu’s communal Kitchen life, the open fire kitchen will provide a semi-communal space for the surrounding living house. The kitchen space will allow the community to cook collectively; however, enough space for each family. The site of the area will also provide an opportunity to socialise in this space.

SEPERATED

A1 MODULAR OPTION 2 SEPERATED

ADVANTAGES: Toilet huts suitable distance from living huts to smell. Flexible allowing private veranda space. Ability to add connectors and additional huts easily. More private.

DISADVANTAGES: No shelter from rain when moving between huts. More distance to travel between huts

SEMI-ATTACHED

ATTACHED

SEMI-ATTACHED

ATTACHED

ADVANTAGES: Allow connections to become a veranda like area where people can hang out or adapt. Areas between verandas can also be used as exterior social space.

DISADVANTAGES: Creates potential wind traps for distruction. More construction work required alonside additional materials, money and time needed. Toilet huts still relatively near living huts.

MASTERPLANNING EXAMPLES A1 A1

River village example layout

DISADVANTAGES: Attached to toilet huts resulting in potential bad smells. No allowance for veranda space or too much flexibility to adapt.

THE SUSTAINABLE PLANTING AND FOREST SCHEME - THE SCREEN A1

ADVANTAGES: Awnsering Fijians’ requirement of attached living so can shelter from the frequent rain. Flecibility of adding and subtracting based on families requirements.

The timber planting can also help to provide fuel for the fire; sourced through the thinning process. The thinning process allows the remaining trees greater access to light and to grow stronger. The planting is grown around the exterior of the villages acting as a screen by absorbing some wind energy without damaging any is truthful trees. The sustainable planting scheme includes bamboo; however, it is challenging to grow well for structural use, so instead, used for thatching, reinforcements, and partitions. The bamboo cakes a lot less time to grow so is available promptly.

A1 A1

coastal village example layout

A1 A1

hillside village example layout

Some key issues need addressing when designing a massing scheme. Firstly to avoid creating wind tunnels, having buildings lined up creates perpendicular rows of space which the wind will travel through, whereas creating a staggered zig-zag layout will prevent this. Blocking the wind also needs considering, creating obstacles which will disrupt the free flow of the wind can cause damage. The open spaces are just as important in the Pacific Island communities due to their outdoor living lifestyle; therefore, considering these spaces is vital to a successful masterplan. The hierarchy is essential to the Melanesian lifestyle; it helps create a fundamental structure in the village layout where a central space is essential. The community buildings can adapt to different uses which will provide a church, education and structure to set up stronger economies. During storms, these buildings can provide additional shelter and storage for livestock, harvested crops and emergency supplies.

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The crops will be planted at the highest point of the site to minimise the effects of storm surges mainly if the village lies on the coast. A report https://www.theguardian.com/world/2020/ feb/20/a-farm-to-withstand-a-cyclone-rebuilding-after-fijisworst-storm looked at a farm In Fiji post-cyclone. The critical finding was areas with tree cover helped to protect the crops where the “branches that fell formed a protective blanket” and areas that “there were no trees, the crops were completely unprotected.” When the storm surges hit “most of the land had been eaten away by the strong waves that swept 30-50 feet inland, except the area held in place by the roots of a massive heritage tree.” The problem placed is that the trees will take time to grow (25+ years) so the village will be at risk.

KEY Toilet Hut

Shower Hut

Covered Walkway

Church Hut

Cooking Hut

Livestock Hut

Community and Education Hut

Living Hut

Planting

3.2

Calendar and Graphics Charity Work

I have grown up in Hartley Wintney and I love the village with its community and history. I have always had a passion for photography and the idea of printing photos of the village has been growing for several years. After the success my friend and I had, producing the Hartley Wintney 2020 calendars for charity, I decided to pursue this further. I created a range of graphics of the village, housing commissions and vilage photography, fundraising for CAUKIN project in Fiji.

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3.3

AquatecturePractical Expansion

Sea Wall from Recycled Materials

Residential

Manufacture Solar from Botanical Collected Materials

The impending threat of climate change is a worry to us all, over population leaves humanity struggling to sustain a healthy/ comfortable existence. With an ever-increasing population comes the need to expand, adapt and repair issues we continue to create. Practical Expansion is a project that aims to tackle these issues head on: India is our projects starting place, with a colossal population, which generates considerable waste and with space becoming a premium commodity, we believe offering our solution here will help. To ease the Expansion, we have created a design that offers: construction work on an ever-expanding Utopian city, made from our simple modular floating hexagons and A-frame structures, as well as jobs collecting waste from the ocean’s garbage patch. Food from our botanical gardens and eco-friendly fish farm. Fresh water from our Solar Still’s and power from our Solar panels. General living areas, as well as dedicated area’s for community interaction, storage, personal space for relaxation, sanitation and comfort. This design aims to acclimate to any climate by allowing for insulated buildings, indirect sunlight for comfort and diminished heat gain as well as protecting against large waves by being situated above deep ocean and having an integrated sea wall.

Ground Floor Plan

Roof Plan

First Floor Plan

Expansion

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Residential Manufacture Botanical from Solar Collected Materials

Sea Wall from Recycled Materials

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Ballast Keel

Coral Reef

Fish Farm

FIRST FLOOR

Open Base to Attract

GROUND FLOOR

RECYCLED PLASTIC 138

Solar Still (Watetr Filtering) Sunlight Condensation

Evaporation

Clean Water Collection

Seawater Saturated Materials

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3.4

The Beach Hut

This project was for my A-Level Design Technology coursework. My brief was to design a beach hut in Muddeford. The beach hut design is going to provide a place of retreat which can be used as storage and a place to sleep over. The two-storey beach hut is inspired by a shell. The small amount of available area had to be utilised to the space works efficiently. After researching curved architecture forms, I decided to use glass reinforced concrete to create the form I proposed like the Heydar Aliyev Centre by Zaha Hadid.

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01 Cuba

07 Germany

Photography and Drawings

02 Ireland

08 Italy

03 Spain

09 Malta

04 England

10 Greece

05 Edingburgh

11 Wales

06 France

12 Czechia 141

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05 09

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A great building must begin with the immeasurable, must go through measurable means when it is being designed, and in the end must be unmeasured. - Louis Kahn

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