The Light Temple: Exhibiting Light As An Object of Architecture

The Day Chambers

The Light Temple: Exhibiting Light as an Object of Architecture Natalie Liassi Hussain Jamalullail MArch 1- USE PS2 2018

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Table Of Contents: “Light is not so much something that reveals, as it is itself the revelation.”- James Turrell

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Re-use: PS2 The Intensive Week

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Introduction to the site and the idea of re‘use’

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25 Newman Passage & The Annex

The proposed strategy 1

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The window & the object of claimed

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The Ancient Light

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The Poetic & The Pragmatic

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The Site & The Study of Light

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The Context

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The 4 Chambers The ‘art of bodily masses’ and the space containing wall

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Chamber 1: The Play of Brilliant The play of material that delivers light

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Chamber 2: The Day The pouring of light and the reflection of material

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Chamber 3: The Dusk

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Chamber 4: The Magnifying

The experience of air density and filtered light

The magnified and the focused of light

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The Entrance & The Circulation The approach on the entrance and the vertical circulation

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Exploded Axonometric Drawing The techtonic of the light temple

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The Massing The monolithic mass

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The Ground Floor Plan The Entrance

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The Floor Plans GA drawing

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The Sections Atmospheric

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The Elevations Atmospheric

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RIBA plan of work The proposal plan of work

The plan of the current building

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Construction Sequence General outline on the construction sequence

The study of natural light & artificial light

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The Detail Drawing The details of the monolithic concrete architecture

Ancient Light: The virtue and the enjoyment of light

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Material & Services The proposed strategy 2

The law and history of The Right of Light

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Program and Services

The Perspective Contradiction to the site

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Bibliography

RE-USE: PS2 Intensive Week Introduction to the site and the idea of re‘use’

Atelier USE: Intensive week Site: Newman Passage, Fitzrovia London

1. Lecture: Sally stone On taking Away Building: Caixa Forum, Madrid, Herzog de Meuron 2008 2. Lecture: Sally Stone On taking Away Building: Kupperschmulle Gallery Duinsburg, Herzog and de Meuron 1999 3. Building: 168 Upper Street in London by Amin Taha + Groupwork 4: Lecture: Adaptive Re-use - HollySpilsbury

Introducing Ps2 we were given a rather interesting site to produce a proposal. This proposal initially during intensive week was a roof installation which would then become the initial step for the concept of the project. Although we were free to influence from the whole passage the core of the installation and project was the KBHT studio. This site is rather interesting, a hidden gem in the centre on London mostly used by local pedestrian users who use the passage as a short-cut to avoid the busy streets of London.

Although this site is quite central it still maintains a vintage atmosphere or I would rather say antique feel. Scouting around the site we noticed a rather interesting label that was located underneath a window in the passage, this label has “ANCIENT LIGHTS” written on it. Although the label was big with bold letters no one had ever noticed it before and no one knew why it was there, until today.

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25 NEWMAN PASSAGE & THE ANNEX The light, the window & the object of claimed

The Ancient Lights signage below the annex’s window.

Upon the visit to the site, we had discovered an Ancient Light label attached to one of the building there or to be more exact to the rear window of the 25 Newman Passage. Several questions were raised in relation to this finding. First is the about the claim itself, the definition and the objects of the claim. Secondly is the connection between the subjects and the objects of claim.

We were intrigued with the label and made a further research on it. The label, the window and light as the object of claim are connected in a rather interesting way.

1) The claim itself is suggesting an authority over the claim due to its posession of time (age) being on the site.

2) While the claim of light is in a way purely about light that is illuminating, however a window would do injustice to the claim because of its dual connections. The view deemed by the users inside the building and the lights that is coming in.

3) The claim of lights is not fixed as the sunlight is always changing and moving in daily basis.

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THE ANCIENT LIGHT The law and history of The Right of Light

We also found that there are several other Ancient Light claims throughout London. The origins for these signs can be found in English Common Law and the legal right to access light. The Prescription Act (1832) which introduced Ancient Lights and basically said that if someone had been enjoying light through a window for a minimum of 20 years then they could effectively block any attempt to build in front of it if the new building diminished the amount of light they received and caused them a nuisance. In more detail an infringement may give the neighbouring owner the right to seek an injunction to have the proposed development reduced in size.

The label of the Ancient Light on one hand proves us that natural light is valuable as a substance that illuminates the context. On the other hand, the label shows a poetic expression of the connection between light and time. For this project we bring forward these two ideas. The practicality of light and the poetic of the label itself.

2.Tottenham St. The hope fitzrovia

3. Rupert ct.

4. Horse and Dolphin yard

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Image of subject

Focal point

Light source

THE POETIC AND THE PRAGMATIC OF Ancient Light: The virtue and the enjoyment of light

Light as the subject

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The enjoyment of sun light as the main source of illumination

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Light as object of exhibition

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Heavenly alomst fantasy like light and atmosphere

The mix of ligh and shadow to create a controlled atmosphere

The shade and the refuge within the shade

Intense brightness Total darkness - the inability to reflect light

The purple and the softness diffusion of light.

1. The Play of Brilliant 2. The Day 3. The Dusk 4. The Magnifying (focused of light)

The level of darkness is just enough to make us rest.

The Poetic The realm of poetic explores the visible light spectrum and the events that events that are associated with that particular atmosphere. These atmospheres are the results of the present and absent of light, the intensity of light and the shade of light as to produce shadow.

4 LIGHT STUDIES THAT WILL BROUGHT FORWARD:

The yellow colour of the dust - and the human physical reaction

The Pragmatic The pragmatic celebrates the sunlight as the major source of light that brings illumination to a particular place. The idea is to intensify-focus-channel the light to another point through a physical device that will be created.

light cutting through spaces light reflected on solid.

The appreciation to the present of light together with its absent through the existance of the surrounding environment.

THE SITE & THE STUDY OF LIGHTS

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The study of natural light & artificial light

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morning

To further investigate on the condition of the site and the surrounding light, several studies have been made.

evening

1) The study of sun path and the angle of the sun at the site.

This study is crucial to inform the overal strategy of our design.

The light, (location and angle) will be the main element that drive the our architecture design.

2) The study of shadow on the site. The shadow casted on the site are informed from the height and the mass of the surrounding building. This study is also crucial to inform the position of our architecture design.

evening

Light Sources

Our main source of natural light is the sun. The sun is a star that is a huge ball of gas. This energy is released as light and heat.

The light that comes from the sun is known as white light. Other forms of natural light include the moon and the stars. The stars provide only small amounts of light at night as they are billions of kilometres away from Earth. Some animals can produce their own light that is known as bioluminescence. A chemical reaction is produced in special light-producing cells.

SUN PATH STUDY WINTER AND SUMMER morning light -study model

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afternoon light -study model

Incandescent Sources: When certain objects are heated to a high temperature, they begin to emit light. Both infrared and visible light is produced in the process.

Luminescent Sources: Light can be produced by accelerating charges in a luminescent material. One common way of doing it is by passing current through the material.

Gas Discharge Sources: Passing electricity through certain gases at a very low pressure can produce light too.

evening light -study model

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THE CONTEXT The plan of the current building

After several survey on the site we have proposed to use majority the buildings 13-15, 3 and 7 as the main site of this project. The location of these buildings are perfect for our proposal because of their position. The studio itself plays a crucial role to this proposal as it is orientated on the south west side of the passage, regarding the ancient light building, thus almost like an irony the temple of light becomes the source of light to the passage. However we are also cutting through most of 13-15 Rathbone street this is due to the lack of space in the studio to satisfy the needs of the proposal.

Arriving to the site we felt that the particular building took away from the character of the passage as a chunky air duct takes over the facade also apart from aesthetic reasons the position of the building is ideal because it takes most of the uninterrupted sun radiation from around the passage as well as allowing light to fall into the passage during most time of the day.

The alterations of 13-15 Rathbone street are quite big as the half of the building is cut through as well as its supporting structure and lift. Thus both the lift and columns are to be replaced.

The lift will presumably be replaced next to the second staircase since now the building is cut in half and its ideal condition and key location will now attract investors to reuse the whole property. The bare concrete wall that serves also as an interior wall to 13-15 Rathbone street will definitely bring a different energy to the building and therefore life to the site.

The proposed location

The current ground floor plan of the site

The 4 light chambers The Magnifying Chamber The Dusk Chamber

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= m o re

The Day Chamber The Play of Brilliant Chamber Reception & Entrance

The massing strategy of the proposal

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THE 4 CHAMBERS The ‘art of bodily masses’ and the space containing wall The concept of our design is to produce an object of monument to the site (exhibiting light as the main object of architecture). To achieve this, we have looked specifically into the ancient architecture style of ‘heavy’ architecture. There are 2 concepts that outlined the basis of our approach which are the 1) The art of bodily masses and the space containing wall.

The light chambers are contained within the body (architecture: wall, and void) through several cavities and strategy (refer to the diagram). They are arranged in accordance to the intensity, presence and absence of light on the site.

The Art of Bodily Masses

In this theoretical concept, we were looking at the relationship between the bodies and the spaces of an architecture. The bodies are the complements of space - with their various forms, openings, the volume- that is perceived by the human being in an architecture. A space can only appear as a form ‘by borrowing its surface from a solid body. A space is (i.e. room) is framed and formed by the architecture masses (Janson and Tigges, 2014).

The 4 light chambers

CHAMBER 4: THE MAGNIFYING

CHAMBER 3: THE DUSK

CHAMBER 2: THE DAY

body space

CHAMBER 1: THE PLAY OF BRILLIANT body and space relationship

ENTRANCE AND RECEPTION

The Space-Containing Wall

Another concept is using thick wall that accomodates human activities. The mass itself contains chambers, niches or ancillary rooms which appears as porosity and transformed the wall into spaces. The concept that we are proposing will use heavy and thick wall as the main form of the body containing the space.

The space in this case is the light chambers, refined by the strategy that had been collected through several experiments.

The body reflected the light and is equally important as part as the whole proposal (Janson and Tigges, 2014).

A

B

A

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C The diagram shows the sectional drawing of our architectural strategy (space and body continuum) to exhibit the light throughout the whole vertical journey.

mass and porosity

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CHAMBER 1: THE PLAY OF BRILLIANT The play of material that delivers light

radiant of light through the rods

light is transferred from one point (source) at either end of the rods. Users will experience the moment when light passes through giving them the appreciation of light in a spit second.

fibre optic rods to transfer the light between points

transparent structure

light source

The Play of Brilliant Chamber exhibits the moment of light that travelled across a dark space (absence of light). The split second of the travelled light ignites the room with an intense moment of brightness. In the other occation, the light (in the concrete monolithic aesthetics) creates a sensation as if you are entering an old temple where fire light up the room in an age where electricity did not exist. As the intensity of the light increases through the room, it could give the sense that you are in the middle of a storm and lightning.

transparent outer layer of the rod light refraction and travelled through

The refracted light illuminates the space

INITIAL SKETCHES OF THE CHAMBER

In this particular chamber, the exhibition of light is made through the use of acrylic elements and fibres that refract and radiate light thus giving changes to the atmosphere of the space. WBasic artificial light is used as the light source and controlled to ignite varieties of light emotions and sensations throughout the space (refer video)

The clip shows the moment when light travelled through the specially treated straw. The outerpart of the straws are transparent with acrylic rod infused inside each of them respectively.

Press on the image for the short clip to start.

(Adobe Flash is needed)

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In this model, acrylic rods are used to represent the fibre optic rod. The rod is illuminated as light pushed through from one end of it to the other end.

CHAMBER 2: THE DAY The pouring of light and the reflection of material

The openings are placed above the eye level so that light is appreciated (through it’s presence) in it’s genuine form without being interfered by external view.

The Day Chamber exhibits the purest form of light as it enters through openings. Unlike the concept of window, these openings only allow one way of mediation, (to bring the light in and not for people to look outside). The openings are created in a form of holes or light well, punched through the body of the architecture. They capture the moment of the rays that would enter specific during the day (refer to diagram).

An experiment was made using 3 light models to represent the chambers. Physical model is necessary to ‘hold’ the light since it is intangible yet observable. The monolithic model in addition represents the body of the architecture.

In the initial conceptual drawing, the imagined space for the day chamber has the light that is pouring in thus giving life to the space due to the absence of light. The space (the wall & the surrounding material) absorbed the light and acted as the reflector and reveal themselves.

Press on the image for the short clip to start. (Adobe Flash is needed)

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In this models, we can observe the light as it enters the opening elegantly. The positions of the opening play a crutial role to inform the light that pushes through the them.

CHAMBER 3: THE DUSK smoke is removed from the space

The experience of air density and filtered light

SUNRAY

RED LIGHT SPECTRUM

red wave is filtered out red spectrum is reflected thus intensified

The chamber of dusk and dawn captures the moment of transition between day and night when the sky becomes red or orange. The phenomena is caused by the red wave being the main reflection that occured through the atmosphere. (the blue wave is filtered off). The intensity of the sky ( gas molecules, dust and dirt) then makes the reddish colour become more visible.

sun overhead

sun near horizon

smoke is infused to the space

In the initial conceptual drawing, the light that enters to the space is imagined to be red as the light waves get filtered to only allowing red wave to pass through illuminating the space with only a single colour. The sketch also depicts a moment when the atmosphere becomes intensified with external element (particles/ dusk/ vapour). The intensification occurs when the external element reflect the red wave further.

red wave

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blue sca

observer on earth

Diagram to explain the reddish colour during sunset red wave is filtered

red wave is reflected and intensified

Press on the image for the short clip to start. (Adobe Flash is needed)

users

INITIAL SKETCHES OF THE CHAMBER

Press on the image for the short clip to start. (Adobe Flash is needed)

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In this models, we were trying to experiment the red light spectrum as it is being filtered off from the lense. Smoke is infused to the space to allow more reflection to occur thus intensifying the whole atmosphere

CHAMBER 4: THE MAGNIFYING sunray

The magnified and the focused of light using the concept of lense

the chamber is placed at the topmost position to allow plenty of sunlight to enter.

rooftop

water-lense

CHANNELING AND INTENSIFYING

water and specially treated glass that acted as the convex lense

reflecting focused

sunray

inside space

The final chamber captured the moment of sunlight as it is focused and reflected and from a point. The concept emerged from the practical idea of the light beam passing through a convex lens thus focused onto a focal point. This basic exercise shows a basic characteristic of light as a tangible material/wave/ beam that is able to be mould and transformed.

the sunrays that passed through the become obvious in the dark room

focused on a point (focal point)

The spiral staircase towards the rooftop (source of light)

convex lense focal point

light beam

These diagrams show the incorporation of the magnification of light into our scheme. The convex lense acted as the light reflector. In this case, a specially treated glass and water (pool) is used to imitate the convex lense characteristics. Sunrays that passed through the water, would be directed to one point. The rays are unique depending on the sun location during the day. The room is remained dark to allow the rays to becoming more observable.

focal length Light passing through a converging lense

light towards of water-lense

INITIAL SKETCHES OF THE CHAMBER

source journey

sunrays

the

Another element that we are trying to incorporate in this chamber is the journey up towards the source of the light. Using Hyogo Prefectural Museum of Art as the precedent, the staircase is illuminated with the sunlight allowing the user to navigate and walk towards the source of light (rooftop)

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In this models, we were trying to mimic the atmosphere as light enters through an opening and pass through a convex lense. The focused ray is observable as the whole area is absent of light.

THE ENTRANCE & THE CIRCULATION The approach on the entrance and the vertical circulation

The Light Tower and Vertical Circulation Attached to the whole arrangement of the chambers is the vertical staircase. The staircase itself formed a vertical tower allowing the light to enter through the opening that is carved out at the top of the tower. The atmosphere, as the users move themselves up, suggests a vertical journey towards the light.

The chambers will be attached and connected to this tower as the nodes that they need to stop before reaching the top. The tower uses the Edinburgh Sculpture Workshop by Sutherland Hussey Harris as the precedent for the form and the opening (Griffiths, 2015).

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The Light Tower

The

The light tower consists of the vertical circulation (staircase and lift) that connects the whole chambers. The tower itself is another experience of tall space with a (very) high source of light, enough to illuminate the staircase.

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Edinburgh Sculture Workshop

The Temple Staircase bring forward the idea of starting a visit into a holy place, placed higher than the rest of the surrounding context. It suggests the entering of an ascending journey, unknown what lies inside apart from the monolithic mass of the temple that can be observed from the outside. The staircase itself is placed as the starting point of the journey to call the public to walk through it. It cause the user to use their energy to push themselves forward to reach the temple.

The Vertical Circulation

The Temple Staircase as The Entrance

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The Entrance

3 Wat Arun Temple, Bangkok Thailand

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The entrance to the light temple uses the idea of the ascending staircase that had been widely used in the ancient temple. This suggest a majestic and monumental position of the architecture that becomes the vehicle of a ‘spiritual’ light journey.

Exploded Axonometric Drawing The techtonic of the light temple

Reinforced concrete wall

Fire protected lift

Polished concrete floor slabs and chamber details

Reinforced concrete wall Staircase

Steel reinforcement

Existing studio facade preservation

Reinforced concrete foundation Steel reinforcement

South West View

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The Massing Model The monolithic mass

The Massing Model Pictures of our final physical model alongside with its surrounding context. This model is crucial to further understand the volume of the building and its scale and most importantly how the light reaches the site. The site model was made with plywood and the building model was casted with concrete in scale 1:200. With this model we wanted to mostly highlight the essence of the material alongside with the locationa of the windows and general form of the building.

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THE GROUND FLOOR PLAN The Entrance

existing party wall

The approach on the entrance and the vertical circulation

existing facade

existing walls and columns to be demolished highlighted with a dashed line

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FLOOR PLANS

automatic sliding door sensor at the beginning of the staircase

void: light well (through all floors)

1ST FLOOR PLAN

2ND FLOOR PLAN

The Reception

Chambe 1- The play of Brilliant

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FLOOR PLANS

drainage gutter to architect’s details and specification

3RD FLOOR PLAN

4TH FLOOR PLAN

Chamber 2- The Day

Chamber 2- The Day (continue)

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FLOOR PLANS

Smoke extractor to architect’s detail and specification

drainage gutter to architect’s details and specification

5TH FLOOR PLAN

6TH FLOOR PLAN

Chamber 3- The Dusk

Chamber 4- The Magnifying

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ROOF PLAN Aerial view of the Light Temple

magnifying glass to architect’s details and specification

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SECTIONS C-C

SECTIONS A-A

Atmospheric

Atmospheric

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SECTIONS B-B

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WEST SOUTH ELEVATION

NORTH EAST ELEVATION

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NORTH WEST ELEVATION

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The Entrance to The Light Temple This image shows the entrance to the Light Temple, an ascending journey to a higher place. As the user enters the site, they experience the journey through the 4 chambers. The entrance is giving them a hint of the temple-like-atmosphere of the architecture. On the right side of the image is the current facade of KHBT studio attached to the temple as the fragment of the site.

The Juxtaposition of Material The monolithic concrete mass is used to express the monumental characteristic of the Light Temple contradicting the material of the site

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PROGRAM & SERVICES The proposed strategy 1

chamber 4

chamber 3

chamber 2

INFORMATION ABOUT USERS (ON AVERAGE) OCCUPYING THE LIGHT TEMPLE

chamber 1

CHAMBER 4- THE MAGNIFYING Floor Plate Dimension = 40 square metre Max capasity of visitor per session = 8 person Average duration of stay per visit (per person) = 15 min

reception

light tower

visitors - 32 person per hour Average visit per day (8 hours) = 256 person

Enclosed space within the whole scheme

CHAMBER 3- THE DUSK Floor Plate Dimension = 64 square metre Max capasity of visitor per session = 9 person Average duration of stay per visit (per person) = 15 min visitors - 36 person per hour Average visit per day (8 hours) = 288 person

Open space within the whole scheme

The scheme consists of 2 type of spaces i.e. enclosed and open. The enclosed room will be fully air covered and tight, without any opening. The open space will be exposed to the outside through the opening (e.g. void). The open and enclosed spaces are intentionally made for the users to experience the space more - connection to the outside environment.

CHAMBER 2- THE DAY Floor Plate Dimension = 64 square metre Max capasity of visitor per session = 9 person Average duration of stay per visit (per person) = 15 min visitors - 36 person per hour Average visit per day (8 hours) = 288 person

CHAMBER 1- THE PLAY OF BRILLIANT Floor Plate Dimension = 64 square metre Max capasity of visitor per session = 8 person Average duration of stay per visit (per person) = 15 min

5% chamber 3

visitors - 32 person per hour Average visit per day (8 hours) = 256 person 5%

ENTRANCE & RECEPTION

chamber 1

Floor Plate Dimension = 110 square metre Max capasity of occupants per session = 22 Average duration per stay (per person) = 10 min staffs - 10 person

10% reception

24 hours

per hour visitors - 132 person max Average occupants per day (8 hours) = 1066 person

FIRE ESCAPE

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Thermal mass & Installed heating system

Passive ventilation

The thick concrete wall is itself contained a huge thermal mass that can store heat naturally without the need of (additional) insulation. In 3 of the spaces, additional heating system is installed as the spaces hold more users (staffs & visitors) daily.

The open spaces allow plenty of passive ventilation to occur throughout the scheme. In each of the chamber, a ventilation duct will be included to allow the flow of air. The hot air from the heat will also push the air out through the opening placed on top of the light tower.

MATERIAL & SERVICES The proposed strategy 2 40%

The material strategy of the light TEMPLE

5%

0%

30%

Thick concrete wall One of the biggest element of our scheme is using thick concrete wall to get the heaviness of a monolitihic and monumental architecture. This is achieved by using traditional architecture style of wet construction.

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Window with red translucent filter In chamber 3 - The Dusk, a round window with red translucent filter is installed to just allow red wave to come through. domestic water

electric line

rainwater harvesting

Imperfection as the aesthetic Throughout the architecture, the imperfections that are produced on the wall create a pure and original architecture. Light that come through illuminates the ‘disfigured’ to give it’s own figuration.

Water service strategies The water strategy for the scheme is divided to two parts. The domestic water is kept to the minimum to only supply to the toilet, pantry and the ‘water-lense’ on the chamber 4. We also suggest a rain water harvesting system to be installed and recycled for the domestic usage.

Electricity strategy The electricity usage (as shown in the diagram) varies depending on the type of chamber.

Chamber 2 fully uses artificial light thus use 100% electricity. The other spaces use electricity minimumly in domestic light and ventila-

Illuminating columns In the Chamber 1- The Play of Brilliant, the illumination is achieved by installing several tranparent columns with infused fibre optics rods within. Artificial light is used as the source of light, placed at the end of each rod.

Monolithic mass The main feature of this scheme is to achieve a monolithic mass architecture.

Wet concrete is used as the overall strategy and formed the body of the space. additional ventilation

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fire escape route

Additional ventilation

Fire protected staircase

An additional ventilation is installed for the smoke (intensification) in the chamber 3- The Dusk.

The fire escape route is straight forward using the protected staircase that is connecting every chambers.

The Detail Drawing The details of the monolithic concrete architecture

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scale 1:20

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1- Pool water system to be discussed with the engineer for details and specifications.

2- Excess water drainage system.

3- The Water-lense 4- Service ducts casted in the concrete wall.

5- Monolithic bare concrete wall and ceiling finishing.

6- Smoke extractor to engineer’s details and specifications.

7- Underfloor heating 8- Damp proof membrane & damp proof epoxy grouting 9- LED light strip to architect’s details and specification.

10- Outdoor, waterproof light to architect’s details and specifications.

11- Water duct casted in the concrete wall.

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scale 1:20 29

scale 1:200

The Detail Drawing 2

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The details of the monolithic concrete architecture

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6 7 8 1

scale 1:20

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1- Concrete structure with steel reinforcement.

2- Monolithic bare concrete wall and ceiling finishing.

3- Polished concrete floor for finishing.

4- Transparent rod, transparent structure and fibre optic to architect’s details and specifications.

5- Underfloor heating.

6- Artificial light source to architect’s details and specifications.

7- Service ducts casted in the concrete wall.

8- LED light strip to architect’s details and specification.

9- Heating system 10- Polished concrete floor finishing 11- Water duct casted in the concrete wall.

12- Concrete screet 13- Regulating mortal layer 14- Waterproofing system formed by: high- density polyethylene modular sheet (HDPE) with polypropylene geotextile for underground structure for underground structure drainage and double bituminous sheet.

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scale 1:20 30

scale 1:200

The Construction Sequence

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3 - (KH B T)

13-15

General outline on the construction sequence

1) Surveying on the current building on the site

2) Removing the facade of the current building

3) Shifting the vertical structure and removing floor slab

4) Constructing the foundation for the Light Temple

The start of the construction consists of the unpacking the current architecture condition of the selected buildings. The condition of the site includes the current load bearing structure of the buildings, the facade, the services and the circulation.

Using no.13-15 building, the next step is to remove the back envelope of the building thus expose the vertical structure of the context. Building no.3 (KHBT studio), our proposal is to keep the facade and infill with concrete for the foundation of the Light Temple.

The next stage is to build a new vertical structure for the context (if necessary) based on the initial structural survey.

This step is made to remove part of the floor slabs of the 13-15 building.

The building will appear as if pushed inside to allow room to build the new proposal.

Step 4 in this general outline is to construct the foundation for the Light Temple as consulted by the engineer. We proposed the foundation to be extruded up till 3m height above ground level. Part of the foundation will fill KHBT studio but retaining the facade of the studio.

5) Installing the steel structure and the service ducts

6) Installing the framework, slab and pouring in concrete

7) Repeating step 5 and 6 for the consecutive floor

8) Fitting in additional elements and services

Our proposal uses the traditional wet consruction. The steel structure (of the ground level) is first formed. Service ducts are also installed in between the steel structure before concrete is casted. The steel structure reinforced the whole concrete structure of the temple.

The next step is then the installation of framework and for the first floor slab. Wall-ties & Form (WTF) aluminium framework is used as the mold for concrete wall and slab. The framework is installed (floor by floor) to allow the concrete to form properly.

The installation of steel structure, service ducts and framework for walls and slabs is repeated to form the consecutive floors based on the plans provided.

The final step is to apply finishing to the whole mass to produce a continuation of concrete of the facade. This is made to achieve an overal aetheric of a monolithic mass sitiing in between the context. The installation of other tertiary elements are made once the concrete is hardened.

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Strategic De nition

Preparation and Brief

Concept Design

Developed Design

Technical Design

Construction

Handover and Close Out

In Use

Core Objectives

Identify client’s Business Case and Strategic Brief and other core project requirements.

Develop Project Objectives , including Quality Objectives and Project Outcomes , Sustainability Aspirations , Project Budget , other parameters or constraints and develop Initial Project Brief Undertake Feasibility Studies and review of Site Information .

Prepare Concept Design , including outline proposals for structural design, building services systems, outline specifications and preliminary Cost Information along with relevant Project Strategies in accordance with Design Programme . Agree alterations to brief and issue Final Project Brief .

Prepare Developed Design , including coordinated and updated proposals for structural design, building services systems, outline specifications, Cost Information and Project Strategies in accordance with Design Programme .

Prepare Technical Design in accordance with Design Responsibility Matrix and Project Strategies to include all architectural, structural and building services information, specialist subcontractor design and specifications, in accordance with Design Programme .

O site manufacturing and onsite Construction in accordance with Construction Programme and resolution of Design Queries from site as they arise.

Handover of building and conclusion of Building Contract

Undertake In Use services in accordance with Schedule of Services

Procurement

Initial considerations for assembling the project team.

Prepare Project Roles Table and Contractual Tree and continue assembling the project team.

Administration of Building Contract , including regular site inspections and review of progress.

Conclude administration of Building Contract .

Stages

0

Tasks

*Variable task bar

Programme

Establish Project Programme

. Review Project Programme

The procurement strategy does not fundamentally alter the progression of the design or the level of detail prepared at a given stage. However, Information Exchanges will vary depending on the selected procurement route and Building Contract . A bespoke RIBA Plan of Work 2013 will set out the specific tendering and procurement activities that will occur at each stage in relation to the chosen procurement route.

Review Project Programme

.

*Variable task bar

(Town) Planning

Pre-application discussions.

Pre-application discussions.

Set up project team, discussion on programme to address the client’s brief and requirement.

The initial project brief. Refer page 7 and 8 for current site constrains, details, demolision & renovation.

The concept design: outline structural design, preliminary material cost information, and the end of project brief.

The developed design: structural and mechanical services strategy.

Drawing package starting from page 17.

Planning applications are typically made using the Stage 3 output.

A bespoke RIBA Plan of Work 2013 will identify when the planning application is to be made.

*Variable task bar

Key

The procurement route may dictate the Project Programme and may result in certain stages overlapping or being undertaken concurrently. A bespoke RIBA Plan of Work 2013 will clarify the stage overlaps. The Project Programme will set out the specific stage dates and detailed programme durations.

The technical design of consultant aspects in sufficient details to enable construction or specified work to start.

As per constructed information

Formal hand over, documents and inspection

U K G ov e rnm e n t In fo rm a tio n E xch a n g e s

Not required.

Required.

Required.

Required.

Not required.

Not required.

Required.

Duration

1 week

2 weeks

3 weeks

2- 3 weeks

3 - 4 weeks

16 - 32 weeks

2 weeks

Constructed information updated in response to on-going client feedback.

Assert management updates and facilities management info

As required.

© RIBA

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Bibliography

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Compensation in respect of ancient lights. (2018). British Architect, (1874- 1919), p.285.

Encyclopedia Britannica. (2018). Ancient lights | law. [online] Available at: https://www.britannica.com/topic/ancient-lights [Accessed 7 Jan. 2018].

Ferrando, J. (n.d.). Architectural material & detail structure.

GOV.UK. (2018). Rights to Light. [online] Available at: https://www.gov.uk/government/publications/rights-to-light [Accessed 19 Feb 2018].

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Maps, A. (2018). Ancient lights signs – Google My Maps. [online] Google My Maps. Available at: https://www.google.com/maps/d/viewer?mid=1LbMDY8ArklFbDeDHrNSPnx1T8Yo&ll=51.52102588058151%2C-0.08045650000008209&z=13 [Accessed 10 Feb. 2018].

Partem, A. (1904). The question of ancient lights. British Periodicals, (1874-1919), p.51.

Phillips, D. and Yamashita, M. (2012). Detail in Contemporary Concrete Architecture. London: Laurence King Publishing.

TheFreeDictionary.com. (2018). ancient lights. [online] Available at: https://legal-dictionary.thefreedictionary.com/ancient+lights [Accessed 1 Jan. 2018].

The R.I.B.A and Ancient Lights. (2018). Architects Magazine, (1900-1907), p.72.

TreeHugger. (2018). Ancient Lights: Preserve your Rights (in England Anyways). [online] Available at: https://www.treehugger.com/culture/ancient-lights-preserveyour-rights-in-england-anyways.html [Accessed Feb. 2018].

Wiliams, W. (1902). Ancient Lights. Architects magazine, (1900-1907), p.108.

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