The Join (Final Design Project)

THE JOIN PART 2 Hun Pu

Firstly, I would like to thank my God and Savior, Jesus Christ, who has kept me and sustained me throughout the course of this project and indeed my whole time here at Bath.

I would like to thank the following for their invaluable contribution over the course of this project: Studio Tutor: Hugo Marrack Director of Studio: Martin Gledhill Landscape consultant: Tim Osborn Tectonic consultant: John Griffiths Structural Engineering: Gennady Vasilchenko-Malishev Energy & Environment: Dr Michael Lawrence I would also like to extend my thanks to Studio 4.24 for putting up with me throughout the academic year, and providing that unique sense of camaraderie that is found on this course.

Hun Pu University of Bath, Department of Architecture and Civil Engineering BSc Architecture | Year 4 | Design Studio 4.2 May 2015

Contents PART 2 PART 1

PART 2

01 Brief

03 Design Concept

05 Design Tectonic

07 Conclusion

BETWIXT AND BETWEEN

REFLECTIONS

TECTONIC CONCEPT

FINAL REVIEW

SEPARATED INDIVIDUALS AND COLLECTIVE

PRECEDENTS

DEVELOPMENT

SELF ASSESSMENT

SEPARATED GENERATIONS

REFLECTION

BRICK

JOIN INTO COMMUNUITY

PRECEDENT

PRECEDENTS

CLIENT AND FUNDING

CONCEPTS

BRICK COMPOSITION

PRECEDENTS

DEVELOPMENT

ROOF TECTONIC

PROGRAMME PROGRAMME CONSIDERATIONS

02 Site Context

04 Design Proposal

MATERIAL STRATEGY DETAIL SECTIONS

PROGRAMMATIC STRATEGY

TECTONIC ISOMETRICS

SITE STRATEGY

DETAIL SECTIONS

WESTON SUPER-MARE

INTERNAL STRATEGIES

RE-JOIN THE CENTRE

SITE PLAN

SITE CHOICE

FLOOR PLANS

STRUCTURAL OVERVIEW

SITE OPPORTUNITY

SCHEME OVERVIEW

CONSTRUCTION SEQUENCE

SITE OVERVIEW

PERSPECTIVE SECTIONS

ENVIRONMENTAL OVERVIEW

KEY SITE CONSIDERATIONS

ELEVATIONS

THERMAL AND VENTILATION STRATEGIES

SITE CONDITIONS

LANDSCAPE OVERVIEW

HEATING STRATEGY

THE JOIN

FIRE STRATEGY

NARRATIVE

ACCESS STRATEGY

06 Design Strategy

HEALTH AND SAFETY CONSIDERATIONS ESTIMATED COST

50

3. Design Concept REFLECTIONS PRECEDENTS REFLECTION PRECEDENT CONCEPTS DEVELOPMENT

52

3. Design Concept JOIN THE INDIVIDUAL AND COLLECTIVE

One joins with one and the many with the many to form the whole - genuine community.

The experience of a real sense of community is not limited nor restricted to only one aspect of experiences. It is instead a dichotomy of experiences and coming together of individuals and different collectives.

Though humans are inherently unique from one another, when one interacts with one, and the many with the many, there now exists a beautiful manifestation of what community means. Past the clash of opposing opinions and views, of interests and inclinations, a deep sense of community and belonging is experienced, contributing to a better experience of life.

This tangible gathering and harmony in-between the dichotomies of human life creates community.

The proposed scheme seeks to holistically express this coming together or joining of the individual and the collective to make the whole, in both its architecture, tectonic, structure and environment.

REFLECTIONS

What is beyond?

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3. Design Concept A CHILD’S PERSPECTIVE

At the literal beginnings of a generation is the child.

With the scheme’s desire to join people together, specifically across the generations, the inclusion of young children forms the bedrock upon which a sense of community can be felt.

The child is a curious being; full of surprises and a source of much joy for all. Children are care-free, unburdened by life’s worries, possessing a spontaneous and innocent approach to both people and physical environments. They have an unhindered curiosity - peering through window panes and over walls to see what’s happening beyond their world. And they possess an innate ability to turn the the ordinary places like underneath the stairs, steps, window sills, old wall into their special space. A place where they feel safe and secure.

The scheme seeks to create and encourage this sense of curiosity and intrigue.

REFLECTIONS

56

3. Design Concept PRECEDENTS

Sean O’Casey Community Centre

The New Generation Youth and Community Centre

As mentioned earlier, both these schemes’ programmes in themselves encourage people to gather together into a community. Moreover, both schemes’ architecture allow such interaction to happen successfully.

In O’Donnell + Tuomey’s scheme, the spaces are linked horizontally through its circulatory routes that revolve around courtyards which are glazed full-height. This enables easy navigation, as well as inviting users to freely wander down corridors to peer at the different activities happening in the centre.

In RCKa’s, the whole scheme is spatially and acoustically connected by voids and double height spaces, with views in and out enclosed rooms, expressing a real sense of interconnections and of community. There is a strong vertical relationship between the spaces.

Both these precedents seem to emphasise on the building being transparent, permeable, allowing views in and out of spaces and so connecting not only the physical place together, but the people themselves. Inherently however, as you cannot have one without the other, there are spaces that are not transparent and views that are restricted due to the nature of the room and space. There is a sense of enclosure and solidity, namely in O’Donnell + Tuomey’s, the elements themselves which are manifested as solid aspects of the building, whilst the circulation is the transparent. This seeming contradiction runs in parallel to the dichotomy in community, the seeming juxtaposition between the individual and the collective. Though different, they are the community when joined together.

The proposed scheme seeks to create this dialogue of transparency and solidity, openness and enclosure.

TRANSPARENCY AND SOLIDITY, OPEN AND ENCLOSED

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3. Design Concept INHABIT THE JOIN

In many senses of the word, the street can be seen as a joining mechanism, the means by which two or more things are connected, joined together. To carry the analogy even further, streets are the very things that join together the individual and collective conscious.

They enable both formal and informal social contact to occur between multiple people groups - essentially establishing what can be referred to as a communal space; the communal living-street. This is where social relations are begun and develop onto maturity, whose effects are felt beyond the physical realm on these spaces and impact the home, the community and ultimately the wider locale.

So what is often envisioned merely as a means of circulation and travel, in fact becomes a place where a sense of community is kindled. It becomes a place where the children may freely play, interconnected and joined both psychologically and physically to the youth playing on the opposite side, the adults chatting away against the wall and the elderly watching nostalgically over the young. This is where community happens.

The scheme seeks to encapture the essence of this atmosphere of the street.

REFLECTIONS

60

3. Design Concept PRECEDENT

Herman Hertzberger, Dutch Architect 1932 - present Hertzberger’s architecture is exemplary of an architecture that successfully creates places and spaces that are concerned not just with the destination of formal rooms, but the in-between, the threshold between two or more spaces; the ‘betwixt and between’.

He creates steps that are just for circulation but as actual places that are inhabited and used as breakout space, gathering space, both informally and formally. Underneath stairs that can be inhabited. Columns that can be gathered around. Entrances that can be lingered around.

His early tectonics of architecture are very plain, exposed fair-faced blockwork walls and concrete columns, leaving the magic and sense of place to be derived by the people themselves who use and inhabit the spaces. People are encouraged to claim the space as their own.

This attitude of the relationship between people and the physical architecture proves to be a prominent source of inspiration and reference for the scheme.

INHABITING THE IN-BETWEEN AND THRESHOLD

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3. Design Concept CONCEPTS

Open and enclosed

Inhabit the transparent and solid

Inhabit the in-between and threshold

The scheme can be simply expressed in the three diagrams above, that of creating a place that is comprised architecturally of two seemingly contradictory states; that of the open & enclosed, the transparent & solid. Fundamentally, it is not just about creating a place which captures these qualities that is important, but that these are to be inhabited. Moreover, it is inhabiting the elusive state of ‘betwixt & between’, which exists in-between these two states.

The purpose of these ideas are all under the overriding aim of the proposed scheme, which is to create a place to join together the community, joining the individual with the individual, the collective with the collective as well as joining these two together to form a real inclusive community.

ARCHITECTURAL CONCEPTS

Second interim review - Ground Floor Plan

Second interim review - 1:200 Model

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3. Design Concept DESIGN DEVELOPMENT

Tectonic review - Ground Floor Plan

Tectonic review - 1:200 Model

INDIVIDUAL AND COLLECTIVE, TRANSPARENCY AND SOLIDITY

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4. Design Proposal PROGRAMMATIC STRATEGY SITE STRATEGY INTERNAL STRATEGIES SITE PLAN FLOOR PLANS SCHEME OVERVIEW PERSPECTIVE SECTIONS ELEVATIONS LANDSCAPE OVERVIEW THE JOIN NARRATIVE

68

A TANGIBLE RELATIONSHIP WITH GROVE PARK

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4. Design Proposal PROGRAMMATIC STRATEGY

The scheme is effectively organised into two elements with seemingly opposing natures; those that lend into itself to more enclosed and individual spaces and those to more open and collective space.

1. The Enclosed, Solid Individual element This reflects the individual and more intimate nature of community, where there is a desire to be more introspective, limiting views in and out by pureposefully designed position of openings.

This element itself is split into three pure components: 1.1 Drama. This is an element that is concerned solely with the children’s theatre and supplementary accommodation including a rehearsals room and dressing rooms.

1.2 Nursery. This is comprised of accommodation required for the nursery 1.3 Education. This comprises of several rooms that are hired out to groups in the community where they can freely hold their events, meetings, club activities, etc.

2. The Open, Transparent Collective element This reflects the collective nature of community, encouraging freedom of movement and views inbetween the spaces; the sports hall, cafe, mediatheque library, gym and games room.

INDIVIDUAL AND COLLECTIVE

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4. Design Proposal SITE STRATEGY

Enclosed and Open, Solid and Transparent

The elements are arranged in order to address the different conditions on the site.

1. The enclosed solid individual elements are located to the southern edge of the site, breaking down the scheme’s urban grain in accordance to the grain of houses that face the site, further establishing and contributing to the nature of Lover’s Walk.

2. The open, transparent collective element is located to the north of the site, with the cafe and mediatheque library directly addressing and creating a relationship with the park, the sports hall with the grandeur of the local parish church to the north, and the gym and games room with the formal facade of Lower Church Street. This offers up as the more formal aspect of the proposed scheme.

SOLID AND TRANSPARENT

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4. Design Proposal INTERNAL STRATEGY

The whole scheme is simply organised off an East-West axial route.

1. A wide corridor element that runs through the scheme joins together both sides of the scheme; the northern and southern elements. Locally known as ‘The Street’ it is an inhabitable space in its own right, allowing people to dwell and rest before and after activities, reflecting the informal and public nature of streets. It flows into the reception area, cafe and games room. It can be seen as an extension of the cafe, allowing people to take their food and drinks along this element, and so encouraging an intermingling with the rest of the activites within the scheme.

It is transparent and light in nature, with glazing at both ends; the Eastern end being the main formal entrance to the building. The second, more humble courtyard entrance flows perpendicular to the grain of this linking element. This also breaks out into the double-height informal games area which is south facing that directly looks onto the Nursery Garden.

JOINING ELEMENT

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4. Design Proposal INTERNAL STRATEGY

2.The more open spaces are honoured by the lack of any formal corridors, but instead are organised from an open-plan approach allowing these spaces to freely flow into each other. The ground floor cafe is connected both visually and acoustically with the mediatheque library above, as does the gym and games room the space below, onto which the changing rooms breaks into. Both of these ends of the scheme are joined visually through the sports hall, which is seen as an ‘internal courtyard’.

3. Each of the ‘solid’ elements contain their own separate staircase allowing free uninterrupted vertical circulation. The education element is accessed off ‘the street’ on the ground and first floor. The nursery element is entered from the main reception area on the ground floor, with a designed link with the rest of the activities of the scheme on the first floor level. The drama element containing the children’s theatre is accessed primarily up the main feature staircase onto the lobby on the first floor level which is where the theatre space is located.

SOLID AND TRANSPARENT

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4. Design Proposal SITE PLAN

Urban - The Join - Park

0

20

40

60

1:1000

80

100

17

16

17

18

2 15

3

11

14

1

12

16

10

6 18 13 7 8

5

9 4

80

4. Design Proposal GROUND FLOOR PLAN

1

RECEPTION

2

CAFE

3

INFORMAL STAGE SPACE

4

REHEARSAL SPACE

5

NURSERY RECEPTION

6

DINING ROOM

7

NURSERY GARDEN

8

NURSERY ROOM

9

STAFF ROOM

10

BUGGY

11

SPORTS HALL

12

BREAKOUT GAMES AREA

13

EDUCATION SPACE

14

FEMALE CHANGING

15

MALE CHANGING

16

KITCHEN

17

STORE ROOM

18

PLANT ROOM

0

5

10

15

1:250

20

25

16

16 2

14

16

17

13 1

11

15 8 4

4

3

12

9

6

10 5

7

82

4. Design Proposal FIRST FLOOR PLAN

1

MEDIATHEQUE LIBRARY

2

READING ROOM

3

LOBBY

4

DRESSING ROOM

5

THEATRE

6

BABIES BOX

7

BACKSTAGE

8

NURSERY ROOM

9

TODDLERS ROOM

10

LAUNDRY ROOM

11

EXHIBITION GALLERY

12

MEETING ROOM

13

GAMES ROOM

14

GYM

15

STORE ROOM

16

PLANT ROOM

0

5

10

15

1:250

20

25

5 4 1

2

3

84

6

4. Design Proposal SECOND NURSERY FLOOR PLAN

1

WOBBLERS ROOM

2

BABIES ROOM

3

QUIET ROOM

4

CHANGING

5

SLEEPING

6

STORAGE/PLANT

0

5

10

15

1:250

20

25

5

3 1

4

86

2

4. Design Proposal SECOND FLOOR PLAN

1

MEETING ROOM

2

THEATRE BALCONY SEATING

3

THEATRE BREAKOUT ROOM

4

PROJECTOR ROOM

5

PLANT

0

5

10

15

1:250

20

25

3

1

2

88

4. Design Proposal THIRD FLOOR PLAN

1

CONTROL ROOM

2

STORAGE

3

PLANT ROOM

0

5

10

15

1:250

20

25

90

4. Design Proposal SCHEME OVERVIEW

Eastern approach along Lover’s Walk

1:200 MODEL PHOTOS

92

4. Design Proposal SCHEME OVERVIEW

Western approach along Lover’s Walk 1:200 MODEL PHOTOS

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4. Design Proposal SCHEME OVERVIEW

1:200 MODEL PHOTOS

96

1:125 SHORT PERSPECTIVE SECTION

98

1:125 LONG PERSPECTIVE SECTION

0

0

2.5

2.5

5

5

10

7.5

100

7.5

10

12.5

12.5

4. Design Proposal 1:125 SOUTH ELEVATION

JOIN WITH LOVER’S WALK

0

2.5

5

7.5

102

10

12.5

4. Design Proposal 1:125 EAST ELEVATION

JOIN WITH GROVE PARK

0

2.5

5

7.5

104

10

12.5

4. Design Proposal 1:125 NORTH ELEVATION

JOIN WITH PUBLIC FOOTPATH AND GARDEN

0

2.5

5

7.5

106

10

12.5

4. Design Proposal 1:125 WEST ELEVATION

JOIN WITH LOWER CHURCH ROAD

108

4. Design Proposal LANDSCAPE OVERVIEW Inherent to the vision of the scheme of creating a place of community is creating a physical relationship with the outside that is welcoming and seen as for the community. It is not only how the scheme relates to its context via the architecture and function of the scheme itself that this is achieved, but not least, how the landscape in turn encourages passersby, the local residents, students, etc to inhabit said external wall or facade, or underneath a soffit.

Across, shows a landscape plan for the scheme that seeks to welcome the public to claim and inhabit the external public realm around the building for themselves.

Brick paving to match the brick walls, extend to the perimeter of the building, marking the extent of the territory of the scheme and inviting passersby and users of the scheme to inhabit the timber or brick seat within the wall.

Brick paving to match the brick walls, extend beyond the perimeter of the building line to Lover’s Walk footpath, marking the space as the local entrance into the scheme.

Brick paving to match the brick walls, extend beyond the perimeter of the building line to create an outside area for the cafe, and marking the space as the formal entrance into the building.

Grass lawn with low hedging softens the perimeter of the scheme

JOIN WITH THE SITE

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4. Design Proposal THE JOIN

The perspective sections across demonstrate the essence of the scheme. a sense of both openness and transparency that join together the whole scheme, as well as the inherent need for enclosure and solidity as expressed in the brick solid elements.

TRANSPARENCY AND SOLIDITY

1. EDUCATION

2. NURSERY GARDEN

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3. NURSERY

4. Design Proposal NARRATIVE - THE INDIVIDUAL

4. ENTRANCE COURTYARD

5. DRAMA - CHILDREN’S THEATRE

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4. Design Proposal 1. EDUCATION

The Education element of the scheme is expressed in its own right as a brick mass, sitting at the point where Lover’s Walk joins with Lower Church Road. The design and consideration of how the ‘edges’ of the building can be inhabited as an informal place of gathering, particularly as the education space within is hired out to students from Weston College on a regular basis. Sheltered in the recess of the building form, this is envisioned as an intimate yet public threshold to be inhabited.

Though the building is predominantly solid, this window opening is strategically placed so that a view can be attained through the education space and into the garden beyond.

BRICK SEAT

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4. Design Proposal 1. EDUCATION

Above is an internal view of the meeting room on the top second floor level in the education ‘block’, with an opening on its south elevation to maximise natural daylight and allow the room to be naturally single-sided ventilated in the summer.

The space includes its own covered terrace that overlooks into the rest of the scheme, including the informal games area and the nursery garden.

The spatial qualities of the room are designed such that it gives a sense of privacy to the users, in a sense, giving them their own ‘little den’.

A LITTLE DEN

Sam and his friends sit on the low timber framed seats, watching their fellow nursery-mates play happily in the sun. Soon they’re going to be called into lunch, but first... “Who’s behind us?” Sam says. “Oh, it’s our parents”

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4. Design Proposal 2. NURSERY GARDEN

As the main external space that is enclosed within the perimeter of the scheme, considerable thought has been given to its design. The nursery garden is primarily accessible only through the nursery element itself, with a small gate in the garden wall. A line of brick paving lines the perimeter of the garden providing the children an opportunity to safely and securely run along the edges of the buildings and garden wall. The idea of inhabiting the ‘edge’s (walls), which is integral to the scheme’s design, is manifested here too. The children are provided with places to seat in the brick wall, the timber frame and against the garden wall itself.

In parallel with the change in level of the internal space, the garden also rises up to create mounds for children to run and play around. Shown on the plan above is also a low u-shaped brick seating, creating that sense of gathering around a fireplace. Last and not least, the garden is designed around the preservation of an existing tree on the site, both providing natural solar shading for the south facing glazing but also as a source of enjoyment for the children to play and gather round during their lunch breaks and before the day begins.

INHABITING THE EDGES

Sam stands on the timber seat and peers through the window curiously.

“Sam you’re not supposed to do that!” His friend whispers.

“I just want to see what’s happening... wait... is that my sister? What is she doing?”

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4. Design Proposal 3. NURSERY

The dining room space is one of the places in ‘The Join’ that captures a sense of intrigue and curiosity.

A little space is carved into the walls of the nursery to create a state of duality. Within the room itself, it provides a place for the children to sit during their meal times, whilst the same wall provides a place for the youth or users of the informal games breakout space to sit. To add to this drama, the games area is raised half a metre up a level acknowledging the natural change in level on the site. As a result, there is a sense of intrigue, as children peek and gaze through the window pane, curious of what the youth are playing.

BETWIXT & BETWEEN - DINING ROOM

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4. Design Proposal 3. NURSERY

On the first floor level of the nursery, the scheme seeks to celebrate the idea of threshold. Due to the nursery spaces being designed to a 3m floorto-ceiling constraint, there is an exciting change in level with the rest of the scheme. This space is envisioned as a place for the children as both breakout space as well as their own private entrance into the rest of the building and which they’ll use when attending and even partaking in the children’s theatre.

The plywood steps is seen as a space in and of itself, giving a welcoming place for the children to play on and sit. There is a vertical relationship with the rest of the nursery rooms on the top floor via a void creating moments of children overlooking to see what their friends are doing below.

Well placed rooflights add to this drama, giving both a sense of connection to the outside, as well as naturally lighting the space throughout the day.

THRESHOLD - BREAKOUT SPACE

124

4. Design Proposal 4. ENTRANCE COURTYARD

This entrance is envisioned as the one that is used on the day-to-day basis by the locals. As such, it is designed to have more of a humble demeanor; a threshold that people can relate to and feel welcome and free to linger and gather in.

Again, places to dwell and inhabit are provided: a space carved into the wall to give a sense of shelter, timber seated openings and a brick bench that arises from the ground. The courtyard is designed around an existing tree, which provides both a sense of shelter and natural shading for the occupants along the glazed southern facade.

INHABITING A THRESHOLD

The Egg Theatre, Bath, 20095- Haworth Tompkins This flexible performing space is specifically designed for children, providing a flexible yet specific environment in which a plethora of events can take place and a small scale that children can relate to subconsciously. There are spaces in the building, secret meeting places and intimate vantage points in unexpected places. There is a sense of curiosity and of discovery.

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4. Design Proposal 5. DRAMA - CHILDREN’S THEATRE

A view from the soundproof parents and children ‘box’.

Open’ state allowing natural daylight to flood into the space. ‘Closed’ state using timber shutters within the timber frames to create a controlled environment.

The children’s theatre element of the scheme is positioned in a prominent position adjacent to the park.

The theatre space itself is envisioned as that which is similar to The Egg, insomuch that the configuration of seating and nature of the space should appeal to children and families. With the physical space constrained by the form of the building, fabric seating can be provided for 120, with the ability to temporarily remove the middle seating which are installed within the permanently, recessed concrete floor. A series of timber flooring are placed over the left void in the middle space., in effect, converting an otherwise restricted theatre space into a large open floor space. This gives a degree of multi-functionality to the space which is appropriate for a community driven scheme.

Natural daylight is also designed to penetrate into the space on its east elevation in the form of a large opening. This not only accommodates the range of activities that may be performed in the space , such as musical recitals and lectures, it allows the space to have a tangible relationship with the park outside and allow the public to gain a glimpse of the activity within. This conceptually opens up the scheme to the site and on one level, joins them together as part of each other.

INTIMATE AND FLEXIBLE

Designed as a much needed breakout space for parents and children during and between showings, this is another moment in the scheme where there is a sense of secrecy, like that of a hiding place. Located on the second floor in the drama element, it holds a special vantage point over Grove Park.

It is naturally lit and ventilated through a combination of a large, clear fixed opening and an inward opening glazed window behind hitand-miss brickwork.

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4. Design Proposal 5. DRAMA - CHILDREN’S THEATRE

On the ground floor of the drama element of the building is a large rehearsal space. Forming as part of the active frontage of the scheme, the space is visually linked with the courtyard entrance, giving a sense of transparency and encouraging views into and through it. With glazing in the timber framed openings set away from the external line, it creates outside seats for the public and so creating a direct interaction with the space within. A little sitting space is carved into one of the corners of the room, that not only gives a sense of intimacy but gives structural stability to the building. The expressed recess in the concrete floor above also adds to a sense of intimacy to the space.

INHABITING THE SOLID

2. THE ‘STREET’

1. ENTRANCE THRESHOLD 130

4. Design Proposal NARRATIVE - THE COLLECTIVE

3. SPORTS HALL ‘INTERNAL COURTYARD’

JOIN THE SCHEME

Designed as a double height space, the main reception area has a sense of openness and warmth with natural daylight flooding in through the rooflights above. Envisioned as a space for dwelling and lingering in, it is a place where friends may be waiting for their mates from playing badminton in the sports hall, or parents their children from the nursery. The space extends to the southern edge of the space, benefiting from direct sunlight in the summer.

Taking central stage of the space is the main feature staircase that rises up through the void joining those below with those above, both acoustically and visually. Above depicts how the staircase forms as part of the threshold that is to be inhabited. The brick wall not only gives the staircase structural stability, but provides a place for people to sit against and rest.

132

4. Design Proposal 1. ENTRANCE THRESHOLD

This is envisoned as the main formal entrance into the scheme, characterised by its brick paved patio that encourages people to dwell in large groups, as well as providing outside seating for the cafe. Alongside this elevation of the scheme, the building literally opens up to the park, allowing the cafe to spill out onto the grass lawns via generous double door openings.

Against the backdrop of a more formal elevation is still the necessary consideration of giving the public opportunities to interact with the edges of the scheme. Such that here, a modest timber bench is placed, to give passersby just somwhere to sit and rest in the shade whilst enjoying the warmth of summer outside. Along the facade are also seats within the timber frames, which form the permanent part of the cafe’s outside seating.

INHABITING THE THRESHOLD

Here, lying just off ‘The Street’, is a moment within the scheme where a state of duality exists, of ‘betwixt & between’ . And of curiosity.

The opening in the wall provides both seating on this side of the wall as well as for the nursery’s dining room, allowing a co-existence of the two sides being joined together. There is a also sense of what is beyond, subtly hinted by the timber head lining which actually continues to protrude back into the dining room to form part of the framed seat for the children.

For the youths using the informal games area, there is a sense of intrigue. For what is beyond that perforated brick wall? It is a nursery room, where children can see it as their secret, hiding place from the youth below. They can freely peek and peer past the brick through its small openings, unbeknown to their older friends below.

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4. Design Proposal 2. ‘THE STREET’

Locally known as ‘The Street’, this internal, open corridor is the main axial route by which the three elements and rest of the scheme are joined together, hence the name. Being so integral to the scheme, it is envisioned as a busy thoroughfare, onto which users from the library, the cafe, the gym and games room, as well as from the meeting rooms to converge onto and use as an open breakout space. With it’s 4.8m width, it provides seating on both sides, encouraging people across the scheme and indeed generations to commune and interact - creating a sense of community.

On the ground floor, ‘The Street’ again captures a sense of transparency and interconnection between the different spaces with which it joins.

Used as an informal games area which can be populated with pool and snooker tables, people can bring their drinks here to play, or merely just to watch their friends and mates play, and even have a view into the local basketball game in the sports hall.

As such, the space is amply lit by south facing glazing and rooflights above that seemingly light up the space. Ventilation strategies have thus been considered to provide comfort for the occupants.

JOINING THE WHOLE

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4. Design Proposal 3. SPORTS HALL

The 28 x 18m Sports hall is conceptually envisioned as an ‘internal courtyard’, which is the medium through which visual transparency is achieved throughout the scheme. A language has been achieved of frames, with undertones of the external timber facade treatment that enables this connection between different spaces, allowing friends to openly watch their mates play in the hall behind a wall of glass, or from above over the balcony. In such a way, people in the cafe, mediatheque library, gym and games room can attain a sense of connection, of join, of community.

Functionally, it is designed with a multi-functional agenda, so that large events can appropriately be held. Being naturally lit and ventilated through clerestory windows and timber shutters, it is ideal for large gatherings to take place.

TRANSPARENT INTERNAL COURTYARD

138

4. Design Proposal 3. SPORTS HALL

With the natural change in ground level on the site, the sports hall is raised half a metre up from the level of the cafe. And so here, in a double height volume, an informal stage space is provided for the users as both a threshold to claim and also as a space for local gigs, acoustic nights, local amateur performances, or just to sit and have a coffee. From here a view is given through into the sports and beyond into the games area and gym; there is a sense of openness and connection.

TRANSPARENT INTERNAL COURTYARD

140

5. Design Tectonic TECTONIC CONCEPT DEVELOPMENT BRICK PRECEDENTS BRICK COMPOSITION ROOF TECTONIC MATERIAL STRATEGY DETAIL SECTIONS TECTONIC ISOMETRICS DETAIL SECTIONS

1:500 tectonic conceptual model

142

5. Design Tectonic TECTONIC CONCEPT

Mass and Frame

The Tectonic concept continues the scheme’s desire to reflects the juxtaposition between the individual and collective, which is integral to the experience of the building, both internally and externally.

1. The enclosed solid individual elements are expressed as masses. These ‘masses’ are such that they are experienced as enclosed and intimate within, with limited openings and recesses created to form thresholds, from the mass being carved and eroded into.

2. The transparent collective element is expressed as frames, juxtaposed against the mass elements. They are envisioned as open and transparent, with modulars of full-height glazing giving ample light and natural ventilation within.

Again the tectonic inhabitation within these elements are vital to the scheme.

MASS AND FRAME

Flat and pitched - collective and individual - to join into the whole

144

5. Design Tectonic DEVELOPMENT

+ Parapet = Flat + Pitched

As the three individual elements are formed two-dimensional in such a way in order to address the site conditions, namely the nature of the site’s urban grain, their development into three-dimensional double pitched roof forms were derived in order address in a contemporary and appropriate way, the architectural conditions of the site.

The surrounding buildings are predominantly composed of pitched parapet roofs as shown in earlier site photos. However, rather than blindly imitating this roof form, the scheme seeks to give subtle hints of this reference, which in turn helps to ground the scheme in its context. By investigating the essential components that make up the parapet roof, which is joining of the flat and pitched, it led the scheme to simply separate them and bring them out three-dimensionally. So when experiencing the scheme, though posessing seemingly contraditory roof forms, together they make the whole.

The scheme developed this simple language of the flat and pitched, not only being consistent with the idea of the seemingly opposite collective and individual being joined together that makes the whole, but at the same time to ground the scheme contextually.

FLAT AND PITCHED

Post Second Interim Crit

Week 9

Development of the expression of the scheme began with the collective element expressed both structurally and tectonically different and separate from the individual element. The former being expressed by the language of frames referring to the expression of its exposed concrete frame structure.

The latter being expressed as a brick solid mass, due to the innate characteristic of its loadbearing structure.

The language of mass and frame continued, with the frame now inhabiting between the three masses, reinforcing the openness and transparency of this ‘collective’ aspect of the scheme, and so in turn reinforcing the solid nature of the three individual elements.

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5. Design Tectonic DEVELOPMENT

Tectonic Review

Final Review

A key refinement of the tectonic strategy began when the scheme came to be unified as an entirely brick expressed building; not just for the three masses, but for the frames as well. Structurally, the frames remained to be expressed as a concrete structure interally, and the concrete blockwork walls in the masses.

Futher refinement and sophisticated simplifying of the tectonic expression of the frame and mass was made prior to the final review. The scheme was now unified on two levels; expressing the concrete frame and infill blockwork throughout the scheme, and brick facing externally.

MASS AND FRAME

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5. Design Tectonic BRICK “They cannot see that we must lay one brick at a time, take one step at a time.”

Dorothy Day

One that joins with one that joins with many to make the whole.

Brick as a material is appropriately apt for a building that is for the community. Brick has a long history in construction and building, harking back to the very beginnings of civilisation. Being a common material, local residents in Weston super-Mare, even across the globe to be able to relate with its modest, humble scale.

In Alvar Aalto’s Experimental House, there is a real sense of the idea that though the brick may essentially be one small object, when joined together into a collective, and then when these are both composed together, it makes a beautiful whole - a rich expression of what community means.

The scheme proposes a rich red blend of brick namely Ibstock’s Heritage Red Blend that stands out as a beacon in the local area. Lime mortar is used wherever possible so that the bricks can be reused after the building’s lifetime.

COMMUNITY OF THE INDIVIDUAL

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5. Design Tectonic PRECEDENTS

University of Limerick, Limerick, 2012 - Grafton Architects

Timberyard Social Housing, Dublin, 2009 - O’Donnell + Tuomey

LSE Student Centre, London, 2014 - O’Donnell + Tuomey

The precedents above highlight the key moves that the scheme makes in forming the three brick masses, namely: 1. Creating a sense of depth and light through recesses and openings, voids and double heights within the brick volume 2. Eroding away the mass to create a sense of shelter; creating intimate thresholds and vantage points 3. Composing together form, texture and tone to make a holistic form

FORMING THE BRICK MASS

1:250 BRICK COMPOSITION ELEVATIONS - (TOP-BOTTOM) EDUCATION - NURSERY - DRAMA 152

5. Design Tectonic BRICK COMPOSITION

Running Bonding

Flemish Bonding

Stack Bonding

Perforated Bonding

Fundamental to the tectonics of using brick, is its composition of bonding joins The physical expression of the brick are limited to four types of bonding, as illustrated above: the running, stack, Flemish and perforated bonds. Every appearance that a bonding pattern makes is the result of careful rationalisation and composition, in order to achieve its simple but dramatic expressions: 1. The running bond is the most commonly and predominantly used pattern in the scheme, which simply expresses and joins together the mass.

2. Stack bonding appears when suggesting a place for sitting and inhabiting 3. Flemish bonding is expressed with every header protruding by 60mm, emboldening the sense of depth and texture to the forms. It is used in an absolute approach, entirely wrapping round the vertical cores.

4. Perforated bonding, which is the simple inverse of the Flemish bonding, is achieved by a hit-and-miss approach; removing the brick rather than protruding, It is used as both a lighting and ventilating means to a space, appropriately used to identify covered terraces and vantage points.

COMPOSING THE BRICK MASS

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5. Design Tectonic ROOF TECTONIC

A holistic three-dimensional experience of the three brick masses means that every edge and corner needs to be resolved as much as possible, not least the roof edge detail.

As depicted across, the roof line is made up of a series of brick specials that are angled in parallel to the relevant roof pitch of each elevation.

The dimensions of each special is constrained by the maximum dimensions of a generic brick size 215 x 65 x 102.5mm - rationalising the aesthetics of the mass as a whole and reducing cost.

The result of this roof detail completes the three masses in its entirety as objects to be experienced from the human perspective.

SEAMLESS BRICK MASS

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5. Design Tectonic MATERIAL STRATEGY

As the proposed scheme seeks to join together individuals and collectives into community, so it aims to express the physical and tectonic join of the material palette that are found in the scheme. Concurrent with the simple yet beautiful joining of generations together, so the scheme reflects this in joining together of a simple palette of materials.

1. Insitu concrete structure that is left exposed internally to act as thermal mass 2. Outer brick leaf that wraps around the structure 3. Inner infill fair-faced blockwork that are exposed 4. Hardwood joinery timber frames in-between the concrete structure and openings 5. Birch plywood internal finish and furnishings. 1200mm high in the Nursery (to reduce waste) and as 1200 x 2400mm modules in the Sports Hall.

6. Brown roof vegetation

COMMUNITY OF MATERIALS

A

B

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5. Design Tectonic 1:50 DETAIL SECTION

This detail section though the Nursery seeks to reinforce the idea of creating places of curiosty, the secret places, as well as the idea of inhabiting the threshold, the edge, ‘betwixt & between’.

The following 1:10 detail sections seeks to highlight: 1. A perforated brick wall giving privacy to the occupants but allowing views out 2. A bespoke wall detail to express ‘betwixt & between’ tectonically

BETWIXT & BETWEEN

Fixed hardwood timber framed window

20mm timber flooring. Set 50mm back from perimeter with steel angle to finish 50mm concrete screed with underfloor heating pipes 50mm rigid insulation to prevent unwanted heated of room below 200mm insitu concrete slab and beam. Smooth soffit finish.

Ibstock’s Heritage Red Blend brick fixed to insitu concrete beam with Halfen channel

Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm

Inward opening hardwood timber framed window

100 x 215 x 440mm fairfaced blockwork 160

5. Design Tectonic 1:10 DETAIL SECTION A

A HIDING PLACE

100 x 215 x 440mm fairfaced blockwork CATNIC steel lintel

Fixed double glazing pane

Hardwood timber seat jamb

Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm

65mm hardwood timber seat

20mm timber flooring. Set 50mm back from perimeter with steel angle to finish 50mm concrete screed with underfloor heating pipes 200mm rigid insulation to prevent unwanted heated of room below

300mm conrete raft foundation

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5. Design Tectonic 1:10 DETAIL SECTION B

INHABITING BETWIXT & BETWEEN

A B

C

D

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5. Design Tectonic 1:50 DETAIL SECTION OVERVIEW - MASS

This detail section through the Nursery is typical of the tectonics also found in the Education and Drama elements of the scheme. Overall, this section seeks to reinforce the idea of inhabiting the mass which is eroded away to form openings and recesses.

The following 1:10 detail sections seeks to highlight a number of considered tectonic designs: 1. A seamless roof detail 2. A window seat 3. A window opening set back to create a sense of depth to the wall 4. How the mass touches the ground and extends its reach

INHABITING THE MASS

Brick tiles to match proposed bricks, fixed to steel rail system Waterproof membrane 20mm plywood 100mm rigid insulation Vapour barrier 50mm cross laminated timber Brick special 65 x 102.5mm x (max)215mm 200mm timber beams 600mm insitu concrete ridge beam tied to concrete structure

215mm insitu concrete beam tied to concrete structure

Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm 100mm insulation 100 x 215 x 440mm fairfaced blockwork

166

5. Design Tectonic 1:10 DETAIL SECTION A

ROOF DETAIL

Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm 100mm insulation 100 x 215 x 440mm fairfaced blockwork

CATNIC steel lintel Hardwood timber frame Hardwood timber famed window with double glazing

65mm hardwood timber seat 20mm plywood fixed to blockwork

20mm timber flooring. Set 50mm back from perimeter with steel angle to finish 50mm concrete screed with underfloor heating pipes 50mm rigid insulation to prevent unwanted heated of room below 200mm concrete slab

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5. Design Tectonic 1:10 DETAIL SECTION B

WINDOW SEAT

100mm insulation Ibstock’s Heritage Red Blend brick fixed to concrete slab with Halfen channel and dowel Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm 100mm insulation 100 x 215 x 440mm fairfaced blockwork CATNIC steel lintel Halfen brick support system Ibstock’s Heritage Red Blend brick fixed to lintel with Halfen dowel Hardwood timber famed side-hung inward opening window with double glazing

Hardwood timber frame Ibstock’s Heritage Red Blend brick sill 20mm plywood fixed to blockwork

170

5. Design Tectonic 1:10 DETAIL SECTION C

RECESSED WINDOW OPENING

100mm insulation Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm 100 x 215 x 440mm fairfaced blockwork CATNIC steel lintel Hardwood timber famed side-hung outward opening window with double glazing

Recessed brick wall to form seating

Hardwood timber frame seat Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm stack bonding Fixed double glazing Red brick paving to match wall brick Hardwood timber sill flush with internal timber floor finish Waterproof membrane 200mm insulation 172

5. Design Tectonic 1:10 DETAIL SECTION D

MASS MEETS THE GROUND

Fixed double glazing unit

Side hung openable hardwood timber framed window

Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm bonded in hit-and-miss pattern Brick reveal

Brick wall build-up Ibstock’s Heritage Red Blend 102.5 x 65 x 215mm Steel wall ties 100mm insulation 215mm insitu concrete column Ibstock’s Heritage Red Blend 102.5 x 65 x 215mm

Brick sill Floor build-up 20mm birch plywood 50mm concrete screed with underfloor heating pipes 50mm rigid insulation 200mm insitu concrete slab (exposed soffit)

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5. Design Tectonic 1:20 DETAIL SECTION

Second Floor Plan - Theatre breakout space

Above shows that the space is provided with a view into the park through a large fixed opening, whilst being naturally ventilated by manually openable windows behind the perforated brick, which allow fresh air intake. The warmed air then escapes via stack effect because of its double height volume out through openable windows at high level.

NATURAL VENTILATION - THEATRE BREAKOUT SPACE

1. One storey pre-fabricated timber framed glazing with integrated seats, user controlled timber blinds and side and top hung openable windows.

2. Two storey pre-fabricated timber framed glazing with integrated automatic double doors and automatically sensor controlled top-hung clerestory windows

176

5. Design Tectonic TECTONIC ISOMETRICS

East facade elvation

The design tectonics of the timber framed glazing units are derived from a number of considerations: - Relation to a modest human scale encouraging a sense of familiarity with users - Provision of seating for users to claim and inhabit as their private or communal space shared with others - A large degree of user controllability - A degree of sensor based control to complement manual control and provide a holistic ventilation approach as appropriate to the function of the spaces - Modulation and rationalisation of frames for prefabrication to reduce cost in producing bespoke parts and ease installation

FACADE CONDITIONS

3. Nursery Garden South facade - Two storey pre-fabricated timber framed glazing, with integrated user controlled timber blinds and side-hung openable windows and automatically sensor controlled horizontally pivoted clerestory windows

4. Nursery Garden South facade - Two storey pre-fabricated timber framed glazing, with integrated seats, user controlled timber blinds, side-hung openable windows and automatically sensor controlled horizontally pivoted clerestory windows

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5. Design Tectonic TECTONIC ISOMETRICS

Nursery garden south facade elevation

In addition to the considerations mentioned earlier, consideration of the scale of children are implemented for these facades opposite, namely, the modulation of the frames are derived directly from the height dimensions of a child sitting.

FACADE CONDITIONS

A

B

C

D 180

5. Design Tectonic 1:50 DETAIL SECTION OVERVIEW - FRAME

This detail section through the South facing facade demonstrates typically the same principles for the East facing facade. Overall, this section seeks to express the tangible inhabitation of the frames, the transparent elements of the scheme.

The following 1:10 detail sections seeks to highlight a number of considered tectonic designs: 1. An expressed roof 2. A brick frame 3. An integrated ventilation design 4. A consideration for the scale of children

INHABITING THE FRAME

50mm dark metal coping profile Hardwood timber frame lining 50mm rigid insulation Brown flat roof 120-150mm substrate made up of excavated materials from site to encourage natural biodiversity 25mm drainage 20mm single plywood Waterproof membrane 130mm rigid insulation Vapour barrier 200mm insitu concrete slab Hardwood timber frame lining

70mm hardwood timber top hung, automatically sensor-controlled shutters (two leafs of hardwood boarding with rigid insulation between) 1000mm insitu concrete beam

A

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5. Design Tectonic 1:10 DETAIL SECTION A & B

Ibstock’s Heritage Red Blend brick coping special, fixed to concrete upstand 100mm rigid insulation Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm Insitu concrete upstand Brown flat roof 120-150mm substrate made up of excavated materials from site to encourage natural biodiversity 25mm drainage 20mm single plywood Waterproof membrane 130mm rigid insulation Vapour barrier 200mm insitu concrete slab CATNIC steel lintel Hardwood timber horizontal pivoted window automatically sensor-controlled

B

BROWN ROOF

Hardwood timber transom Hardwood timber transom

Intgrated timber blinds controlled by the user Hardwood timber framed window, side hung outward opening

Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm

Recessed channel in timber frame for integrated timber blinds

Hardwood timber transom

184

5. Design Tectonic 1:10 DETAIL SECTION C

INTERACTIVE TRANSPARENT FRAME

Recessed channel in timber frame for integrated timber blinds Hardwood timber framed window, outward opening

Hardwood timber transom

Fixed double glazing Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm

20mm timber flooring, set back 50mm from perimeter finished with steel angle 50mm concrete screed with underfloor heating pipes 200mm rigid insulations Waterproof membrane 300mm insitu concrete raft foundation

Timber piece Hardwood timber seat, flush with brickwork

Ibstock’s Heritage Red Blend brick 102.5 x 65 x 215mm stack bonding

Red brick paving to match proposed brick

186

5. Design Tectonic 1:10 DETAIL SECTION D

LOW SEATS FOR CHILDREN

Ibstock’s Heritage Red Blend brick coping special, fixed to concrete upstand Brown flat roof build up 120-150mm substrate made up of excavated materials from site to encourage natural biodiversity 25mm drainage 20mm single plywood Waterproof membrane 130mm rigid insulation Vapour barrier 200mm insitu concrete slab Prefabricated hardwood timber framed glazing unit fixed back to concrete structure Side hung timber frame window opening Integrated timber blinds to provide solar shading when needed Timber seat Games room floor build-up 20mm timber flooring 50mm concrete screed with underfloor heating pipes 50mm rigid insulation 200mm insitu concrete slab Brick wall build-up Ibstock’s Heritage Red Blend 102.5 x 65 x 215mm Ibstock’s Heritage Red Blend 102.5 x 65 x 215mm, protruding 60mm 215mm insitu concrete column Steel wall ties 100mm insulation 100 x 215 x 440mm fairfaced blockwork Changing room floor build-up 5mm marmoleum floor finish 200mm rigid insulation Waterproof membrane 300mm concrete raft foundation increased in depth when column load points

188

5. Design Tectonic 1:50 DETAIL SECTION

INHABITING THE FRAME AND MASS

190

6. Design Strategy STRUCTURAL OVERVIEW CONSTRUCTION SEQUENCE ENVIRONMENTAL OVERVIEW THERMAL AND VENTILATION STRATEGIES HEATING STRATEGY FIRE STRATEGY ACCESS STRATEGY HEALTH AND SAFETY CONSIDERATIONS ESTIMATED COST

Roof Plan

First Floor Plan

192

6. Design Strategy STRUCTURAL OVERVIEW The proposed scheme is simply joined together structurally as an insitu concrete frame structure derived from a primary 4.8m centre grid.

Insitu load-bearing columns - support insitu concrete floor plates Insitu load-bearing RC columns increased size - support primary ridge beam of double pitched roofs Insitu concrete floor plate - spans between concrete columns Infill fairfaced blockwork Primary beams - 1000mm concrete beam in Sports Hall - 600mm concrete ridge beam in children’s theatre, nursery and education mass Secondary beams - 200mm timber beams Ground Floor Plan

JOIN THE MASS AND FRAME TOGETHER

1.

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6. Design Strategy CONSTRUCTION SEQUENCE

1. Excavation begin preserving trees along west and southern edge. Excavations are stored on site for use as substrate for brown roof. Raft foundations set with increased depth at column load points.

2. Primary insitu concrete frame structure is formed in parallel to the construction of concrete floor and roof slabs throughout the scheme, thereby providing lateral stability. Concrete ridge beam in the three masses are formed together.

2. External walls are faced with a single leaf of Ibstock’s Heritage Red Blend brick. Internally between columns, walls are infilled with fairfaced blockwork that are left exposed. This provides a protected internal environment for further works.

4. Timber framed glazing systems are prefabricated off-site to ensure easy and quick installation, which are fixed back to concrete structure.

5. Internal walls and finishes begin work. Fenestrations are installed with timber framed windows and doors.

6. Roof finishes also begin work, including using excavations to be used as substrate for brown roof. Brick tiles are prefabricated off-site to ensure easy and quick installation.

CONSTRUCTING THE MASS AND FRAME

Ground Floor Plan

First Floor Plan

Nursery Second Floor Plan

Second Floor Plan

196

Third Floor Plan

6. Design Strategy ENVIRONMENTAL OVERVIEW Due to the nature of the scheme being a public building with a variety of uses and high levels of activity, an appropriate mixed mode environmental strategy is needed during both the summer and winter. This approach continues to reflect the juxtaposition of the architectural and tectonic expression of the individual and collective.

The scheme seeks to reduce energy consumption in the following ways:

Sustainable materials and construction techniques:

Mechanical ventilation is kept to a minimum through the implementation of efficient natural ventilation strategies:

- Timber sustainably sourced from local sources

- Openable windows in timber frame units allow natural single-side and cross ventilation

- Lime mortar is specified where possible instead of cement based, reducing carbon emissions and so bricks can be recycled at the end of building’s life

- Openable windows allow natural single-side ventilation in individual rooms The requirement for artificial light is reduced through the maximisation of natural lighting through:

- Concrete using GGBS to replace portland cement reducing carbon emissions.

- Excavations of the site are retained as much as possible to be used as substrate for the scheme’s Brown Roof reducing carbon emissions in transport

- Directly received daylight - Overhead rooflights

Services:

- Borrowed diffused light through voids - Borrowed diffused light through adjacent open-plan spaces.

Dedicated heating plant room located in ‘drama’ core enabling ease of access and close proximity to ground source heat pump.

Underfloor heating is provided by a ground source heat pump located under the proposed relandscaping of Grove Park. The heat exchanger is located in a dedicated plant room.

Service and utility plant room located away from main entrance on main street for ease of access and avoid cross-circulation

Solar gains are reduced by considered orientation of form and shading by preserved existing trees in courtyard

Plant room with air exchange unit located above sports hall to provide mechanical ventilation when required

In controlled theatre environment, mechnical cool air is taken through ductwork to level of users to cool efficiently. Warmed air is received back into air exchange unit in plant room on top floor.

Plant rooms located in all three ‘masses’ to provide mechanical ventilation when required.

One side of external walls designed to be dismantled when servicing plant rooms.

NATURAL AND MECHANICAL

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9 1

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6. Design Strategy THERMAL AND VENTILATION STRATEGY

Thermal mass of exposed walls and concrete soffits help to regulate and stabalise air temperature, avoiding spikes in summer and troughs in winter months.

Collective: 1. Cool air can be drawn through large manually openable windows integrated in facade. High level openable windows allow warmed air to escape. Integrated timber blinds help to reduce warming by direct sunlight in summer.

2.High level openings above in double height volume allow warmed air escape through stack effect and cross ventilation in cafe and library space.

3.Openable rooflights help to draw warmed air out of the spaces particularly in summer months.

4. Brown roof acts as insulation to keep building cool in summer and warm in winter.

5. Solar shading is provided in summer by tree, whilst allowing low sunlight in winter to warm the spaces through its bare branches.

Sports hall’s ventilation and thermal requirements are primarily monitored and controlled by sensor.

6. High volume of sports hall allow space to be naturally ventilated.

7. Cooler air can be drawn through openable windows on north facade.

8. Due to high level of activity occurring primarily at ground floor level, hot air can gather at the top before escaping through clerestory mechanically openable windows.

Individual: 9. Short depth of rooms allows natural single-sided ventilation to occur. Where rooms are more than 7.5m, openings on both sides of room allow cross ventilaion to occur.

NATURALLY PASSIVE

6 5 5

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1

6. Design Strategy THERMAL AND VENTILATION STRATEGY

The overall principle is that mechanical ventilation means are used only when needed. Air temperature and quality are monitored and controlled by sensors in the building.

1. Underfloor heating is provided by ground source heat pump under re-landscpaed Grove Park on a sensor control. Provided in all inhabitable spaces including primary corridors due to them being inhabited throughout the day.

Collective: 2. Plant room adjacent to dedicated sports hall plant room, contains air handling unit that provides mechanical ventilation into cafe and library space. Ducts are located at high level under concrete ceiling of first floor and roof, providing and taking out cool and warmed air respectively. Principle applies to similar places, namely, informal games area.

3. Gym and games room are supplied cool air at low level and receives warmed air at high level mechanically when needed.

4. Sports hall’s ventilation and thermal requirements are monitored and controlled by sensor. Dedicated plant room contains air handling unit which takes cool air into sports hall space at low level. The warmed air is taken back into unit at high level and recycled.

Individual: 5.Plant rooms located on top floors provide mechanical ventilation into relevant spaces.

6. Children’s theatre is almost predominatnly mechnically ventilated due to nature of function, with fresh air intake at low level where occupancy resides by ductwork that is carried through the floors from thetop level plant room. Exhausted warmed air rises due to high volume of theatre space and taken at high level back into plant room to be recycled.

MECHANICALLY ACTIVE

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6. Design Strategy HEATING STRATEGY

As part of the wider re-landscaping works on Grove Park, a ground source heat pump is installed to provide the sufficient heating required for the scheme. A continous system of pipes will be buried in a horizontal ground-loop configuration, at least 1.5m below the surface of the new ground level in the park. The pipes contain a water and antifreeze mix at a low temperature, which, when pumped though the pipes is gently heated by the surrounding soil’s naturally higher temprature, typically 10˚C - 13˚C. The warmed fluid’s temperature is raised 3˚C - 5˚C, which is all that is required. This is then fed into the evaporator/heat exchanger unit located in the plant room adjacent to the staircase core of the drama element. The unit extracts the heat from the warmed fluid and returns it cooled to the pipes for the next cycle. The heat exchanger then delivers the hot water and powers the central heating system, after the fluid has been processed through the compressor and condenser.

This system of heating is ideal for the scheme: - Its delivery of low temperature through underfloor heating, is retained cyclically by the concrete structure’s inherent thermal mass, reducing otherwise potential spikes and troughs in heating requirements - The public and frequent use of the building throughout the typical day renders an alternative high output heating system unnecessary Ground source heat pumps are widely seen as an efficient and sustainable way of heating a building, since its source comes from the natural, renewable energy heat from the ground. Though pumping the fluid round the system requires electricity, for every 4kW of heat energy output only 1kW of electricity is consumed, giving a Co-efficient Of Performance (COP) of 4:1.

The approximate area (3000m2) in which the pipes are installed.

ENVIRONMENTAL RELATIONSHIP WITH THE PARK

FE SE <45m

<18m

FE

<45m

SE

<18m <45m

<45m FE

<45m <45m

SE

<18m

SE

<45m FE

<18m

<18m

<18m <18m

<32m Ground Floor Plan

First Floor Plan

SE SE <45m

SE <18m <18m

Nursery Second Floor Plan

Second Floor Plan

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<18m

Third Floor Plan

6. Design Strategy FIRE STRATEGY

B1. Means of Warning & Escape

B2. Internal Fire Spread (Linings)

- Automatic fire detection and alarm system fitted in accordance with BS5839-1.

- All interior finishes and fixtures to be fire retardant

- All areas of the building are within 45m, in two directions, or 18m, in single direction, of a storey protected exit.

- Minimum 60min fire resistance rating on all vertical cores

- Escape routes are signed and lit to BS5266 with low level lighting indicating route of escape and fire stairs clearly marked with backlit Exit signs.

- Additional hand-held extinguishers provided in higher risk areas; kitchens

- All floors to be compartmentalised with 60min fire rating

- All doors to vertical cores to be fitted with automatic release mechanism

B3. Internal Fire Spread (Structure)

- All exits & routes at least 900mm wide

- Primary concrete frame and blockwork structure inherently fire resistant

- Hand-held fire extinguishers distributed throughout building - Corridor between two storey exits to be fitted with sub-dividing fire doors held back on automatic release mechanisms

B4. External Fire Spread - All party walls to have a 60min fire resistant rating

- Storey exits maintain a clear width of 1100mm wide

- External wall finish constructed from inherently fire resistant brick.

- Disabled refuge points within vertical fire cores and fire protected lobbies

- Installed sprinkler system will reduce extent and intensity of fire.

- Double height circulation space in the informal games area, gym and games room to be compartmentalised via automated smoke curtain system with 30 minute fire rating.

B5. Access & Facilities for fire service

- Public lift shaft to be fire rated in order to provide alternative escape route

- Primary Fire vehicular access from Lower Church Street and Grove Park on the East and West front respectively

- All areas of the theatre, with lines of seating, are within 32m of 2 exits more than 45o apart - Doors to Theatre corridor to be self-closing and fire resisting

- Access to 15% of building perimeter for fire pump appliance in accordance with paragraph16.2.a.

- Side entrance to Theatre space to be fitted with fire curtain

- No floors are above 18m therefore no provision is made for fire fighting shafts.

- Nursery storey corridors to be sealed and fitted with sprinkler system - Doors to Nursery corridor are children-safe, self-closing and fire resisting - Double height circulation space in Nursery corridor to be compartmentalised via automated smoke curtain system with 30 minute fire rating.

PART B

206

6. Design Strategy ACCESS STRATEGY

Approach: Both entrances to be appropriately signed and well lit Both entrances allow ease of access through two sets of 1000mm double automatic doors and level threshold

Horizontal and vertical circulation: No change in internal floor level on upper floors and all corridors have widths well in excess of 1000mm to maintain clear routes for wheelchair users Ground floor has 1:>20 gradient in accordance with Part M to adjust to external level change Vertical lift located in dedicated lift core close to the reception desk and main staircase

Sanitary provision: Disabled WCâ&#x20AC;&#x2122;s are provided on every floor level that are accessible by the public

Navigation: Reception provides initial point of orientation from which visitors can gain information Axial circulation aids navigation

PART M

3.9

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2.5a

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6. Design Strategy HEALTH AND SAFETY CONSIDERATIONS

Pre-Construction

3. Building Use

1.1 CDM consultant to be employed within the design team early on in the project to ensure CDM regulations are achieved throughout the design and construction process and all members are aware of their responsibilities. All reasonable attempts to be made to identify site risks before commencing construction.

3.1 All vertical glazing above first floor to be inward opening to allow ease of maintenance internally with the exception of: 3.2 Sports Hallâ&#x20AC;&#x2122;s clearestorey top hung glazing. Rail and harness points to be provided along roof edge 3.3 Access to brown and brick roofs through ladder access in all four cores.

2. Construction

3.4 Harness points provided at regular intervals on the education, nursery and drama brick roofs to reduce the risk of falling due to pitched profile.

2.1 Facilities provided on site for workers including WCs, food prep, changing & meeting spaces.

2.2 All workers on site to be appropriately trained in health & safety and personal protective equipment (PPE) to be worn at all times.

3.5 Strips of paving on brown roofs provided for ease of maintenance of vegetation.

2.3 First Aid kits clearly mark around construction area.

3.7All balustrades to be a minimum of 1000mm high to avoid risk of falling.

2.4 Primary entrance to the site located in close proximity to site office to ensure security and establish a clear point of control.

3.8 All external paving will be treated with a non-slip coating to reduce the potential for slipping

3.6 Flat brown roof profile reduces the risk of falling

3.9 Service access separated from main pedestrian access to reduce cross circulation

2.5a Boardings will be erected around the site to ensure maximum site security. Loverâ&#x20AC;&#x2122;s Walk will be kept clear.

2.5b Fencings will be erected around Grove Park only when re-landscaping works begin to reduce inconvenience for residents.

2.6.Temporary stability will be provided to structure.

2.7 Scaffolding will be implemented across the site and stairs will be erected as soon as possible to reduce the risk of falling.

2.8 Pre-fabricated timber frame elements will be craned in place to reduce risk of falling and excessive lifting.

2.9 Areas of overhead working will be clearing indicated and nets employed to avoid risk of items falling from above.

CDM

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6. Design Strategy ESTIMATED COST Construction Estimate: Unit Rate (Cost/ sqm=2500) x GFA = 2500 x 5000 = £12,500,000 (10% for complexity) = £13,750,000 Grove Park re-landscaping Costs: Area x £1200/sqm = 2500 x 1200 = £3,000,000 ………………

SUB-TOTAL A = £16,750,000 Contractor Preliminaries + Profit: 15% of SUB-TOTAL A = + £2,512,500 ………………

SUB-TOTAL B (A + Contractor Prelims + Profit) = £19,262,500 Design + Construction Contingencies: 10% of SUB-TOTAL B ………………

SUB-TOTAL C (Net Construction Estimate - excl.VAT) = £21,188,750 CONSULTANTS FEES - Allow 20% x SUB-TOTAL C = +£4,237,750 = £25,426,500 Architect Project Manager Planning Consultant Quantity Surveyor CDMC Structural Engineer MEP Engineers Landscape Architect Acoustic Engineer Lighting Designer Facade Engineer Fire Engineer STATUTORY FEES - 0.025% x SUB-TOTAL C =£5300 Planning Application Building Control or Approved Inspector ………………

TOTAL PROJECT COST ESTIMATE (excl.VAT) (SUB-TOTAL C + CONSULTANT FEES + STATUTORY FEES) = £25,431,800

BUILDING THE JOIN

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7. Conclusion FINAL REVIEW SELF ASSESSMENT

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7. Conclusion FINAL REVIEW

The final crit saw the emergence of fully rendered external views and perspective sections of the whole scheme, alongside fully resolved 1:250 plans and elevations and a 1:200 final model. The scheme was fairly well received by the critics with comments focusing on the way the scheme treated the northern aspect of the scheme, and how the scheme could be pushed and further refined in regard to this. One comment was made concerning the language of frame and mass, and how a different take on the concept could prove helpful in resolving the North elevation.

Overall it was an enjoyable and positive experience, with the critics seeking to give helpful and constructive comments aimed at refining the scheme and bring to full coherence.

EXHIBITED FINALE

Strengths of the work presented: The spatial qualities of the spaces reflect the values and aims of the scheme The materiality and tectonics of the scheme are coherent with the values and aims of the scheme The micro studies of thresholds in the scheme reinforce the values and aims of the scheme The structural strategy is consistent with the with the values and aims of the scheme On the whole, the scheme addresses the site well creating a strong relationship with the park The scheme strongly relates back to the brief of the project ‘betwixt & between’ The visual representation of the scheme successfully conveys the atmosphere of the scheme as a whole and the spaces within Weaknesses of the work presented: Inevitably, some parts of the scheme are less well resolved than others: The North Elevation remains to have less of a positive impact on the church and footpath, relative to the other elevation aspects of the scheme The tectonics and materiality of the Children’s Theatre interior have been less well considered and resolved than I would like The environmental strategy has been less thoroughly considered than I would like How would you attempt to improve the project work if additional time had been available?

I would like to respond and address the aforementioned weaknesses, especially resolving the North Elevation and environmental considerations I would like to refine the structural solution of the three brick mass elements I would like to thoroughly investigate the nature of uses of the cafe, library and gym

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7. Conclusion SELF ASSESSMENT

Project experience: For me, it is the little things in life that I enjoy the most; a quiet moment in the countryside, lounge time with friends, a drink by the lake, or a walk with my family. And I guess this attitude had continued to inform the way I have approached this project. Maybe in this report, a sense of that can be acquired. But namely, right from the outset, I was trying to think and design at the ‘micro’ scale of the scheme; how a wall could be cut away to form a little place to sit, or how an entire corner could be removed to create shelter beneath. These intrigued me and turning over countless pages of Herman Hertzberger’s books only fueled this obsession.

However, I have become more than acutely aware during the course of this project, that Architecture cannot and should not be limited to singular, isolated moments, however delightful. Ironically, just as the scheme’s brief argues that individuals and collectives, or groups, should not be isolated and separated from each other, so Architecture is the same. Only when design is viewed in its whole, including structure, environment, detailed design, etc comes together harmoniously, does Architecture truly come alive, and frankly, is beautiful. A challenge, and somewhat terrifying one at times, this project has revealed to me.

The project experience was a particularly trying one near the beginning stages of the project, namely developing the brief, initial responses and addresses of a difficult site, and testing early planning arrangements. Confusing feedback from early reviews also caused me concern over the validity of the scheme’s proposals. However, as the result of stubborn determination and encouragement from fellow peers the scheme started to come together and after the second interim review, the journey through the scheme became surprisingly linear, allowing me to develop, resolve and enrich the scheme. This was during the stage of the project when I could delve into designing the seemingly ‘little’ things in the scheme.

Such as the Nursery’s dining room seat, and the staircase brick seat and the Nursery garden. By being excited with the tectonics of the scheme very early on, it formed a passionate grounding from which I was able to delve deeply into the detailed design and tectonics of joining. Such that it became a happy obsession; drawing brick by brick and ensuring that openings were drawn to brick dimensions. I believe that through such considerations, though maybe unnecessary at times, gave the scheme depth of character and simple sophistication.

Overall, the project experience was a very enjoyable one, on which I will look back and fondly reminisce both the moments of happiness and despair, of confidence and doubt, of revelation and setback. Last and by no means least, sharing in both the individual and collective experiences of my third ‘home’ with my fellow peers and colleagues; Studio 4.24. Playing countless makeshift games of table tennis and ordering of pizzas and Thai curries late into the nights, has truly been an enlightening experience.

The joining of these all these experiences together during the course of this project, have ultimately served to help me progress onto the next stage of my architectural journey, leaving me satisfied to present this proposal, ‘The Join’, as the culminating project for my Part 1 degree of my time here at Bath.

FINAL REFLECTIONS