Design Realisation Report

UCL.BARTLETT. DESIGN REALISATION REPORT NAME JOLENE HOR PROJECT TITLE VENICE BEACH ART CENTRE UNIT 26 DR TUTOR: PEDRI GILL & DIRK KROLIKOWSKI DR PRACTICE TUTOR : ALEXIS GERMANOS

01 02

BUILDING FORM S Y S T E M S , P L A N N I N G & CO N T E X T

1.1 INTRODUCTION 1.2 SITE

1.3 HISTORICAL BACKGROUND 1.4 SITE ISSUES

BUILDING

CONSTRUCTION

1.5 PROJECT BRIEF

1.6 SITE STUDY

2.1 MAIN STRUCTURAL STRATEGY

1.7 SITE STRATEGY

2.2 LOAD ANALYSIS

1.8 BUILDING STRATEGY

2.3 CONSTRUCTION SEQUENCE

1.9 SPATIAL ORGANISATION

2.4 FOUNDATION

1.10 ACCESS AND CIRCULATION

2.5 STEEL FRAME STRUCTURE

1.11 GENERAL ARRANGEMENTS

2.6 SPACE FREAM ROOF

1.12 STRUCTURAL STRAEGY

2.7 BUILDING ENVELOPE

1.13 ENVIRONMENTAL STRATEGY

2.8 KEY SECTION

1.14 FIRE ESCAPE STRATEGY

2.9 KEY JUNCTIONS 2.10 RAINWATAER AND DRAINAGE

[40%]

[30%]

03 BUILDING

PERFORMANCE

3.1 VENTILATION

3.2 HEATING & COOLING 3.3 NATURAL LIGHTING 3.4 ARTIFICIAL LIGHTING & ELECTRICITY 3.5 ACOUSTICS 3.6 WATER INGRESS, SANITARY AND WASTE WATER DISPOSAL 3.7 SUSTAINABILITY OF STEEL AND ITS IMPACT ON THE ENVIRONMENT

[15%]

04

ENTREPRENEURIALISK + DELIVERY 4.1 PLANNING , SITE , SURVEY 4.2 PLANNING CONSTRAINS

4.3 LOCAL AND FINANCIAL CONTEXT 4.4 PORECUREMENT ROUTE 4.5 CONTRACTUAL RELATIONSHIP WITH CLIENT 4.6 ROLES OF ARCHITECTS, CONSULTANT CONSTRACTORS & SPPLIERS 4.7 RISK, HEALTHY AND SAFETY

[15%]

01

BUILDING FORM S Y S T E M S , P L A N N I N G & CO N T E X T

1.1 INTRODUCTION 1.2 SITE 1.3 HISTORICAL BACKGROUND 1.4 SITE ISSUES 1.5 PROJECT BRIEF 1.6 SITE STUDY 1.7 SITE STRATEGY 1.8 BUILDING STRATEGY 1.9 SPATIAL ORGANISATION 1.10 ACCESS AND CIRCULATION 1.11 GENERAL ARRANGEMENTS 1.12 STRUCTURAL STRAEGY 1.13 ENVIRONMENTAL STRATEGY 1.14 FIRE ESCAPE STRATEGY

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1.0 I N T R O D U C T I O N

01

1 INTRODUCTION

Venice Beach is well known for its vibrance and art culture. Back in the early days, it was a place where the the unsual was possible. It was a place where creativity was across the air.

The vibrance of Venice Beach remains until today. Unfortunately, althought the place is still very much alive, there are only a handful of effort taken to make the enrich the site.

The promenade along Venice Beach is filled with street performancers , street market and street art.

These are the key elements that brings live to Venice Beach. However, when sun sets, the site transforms into a dead town where homeless wonders the streets.This reflects that without the art on the street, Venice Beach is merely just a beach.

The project proposes an art centre where the essence of Venice Beach will be surely mantained.

It is a place where the art vendors on Venice Beach will be able to not only showcase their art but also share and teach other. The project is an effort to mantain as well as enrich the art culture on Venice Beach. The building also hybrids into a performance space where performing art based on Venice Beach can also be showcased.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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1.2 S I T E

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2 SITE

Venice Beach is an island right in the middle of an urban sprawl of about 495 square miles (1,290 km²). This is twelve times the size of Paris. Venice is like Camden Town in London, an eclectic microcosm which has constantly been redefining its own rules.

site with canals in 1930s

venice beach location

current site condition JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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3 HISTORICAL BACKGROUND

Before Venice beach was a place where many withe the passion of art gathered, it was a pier which was found by Abbot Kinney who had a vision for the beach.

1926

1920

1905

Venice was founded as a seaside resort town by Abbot Kinney, a wealthy tobacco mogul.

Kinney’s main goal was to evoke the old-world charm of the Mediterranean Venice, but also served as apart of the city’s transportation. Kinney had dug several miles of canals to drain the marshes for his residential area, built a 1200-foot-long pleasure pier with an auditorium, ship restaurant, and dance hall, constructed a hot salt-water plunge, and built a block-long arcaded business street with Venetian architecture.

1924

1921

The pier was rebuilt and operating.

148 oil wells were producing over 40,000 barrels of oil daily. Jobs were created, but environmental destruction was wide spread and polluting the surrounding residential area and beaches

1930

Oil was discovered on the Venice Peninsula.

1970

Work was begun on the $80,000,000 Ocean Park urban redevelopment project. All buildings along the beach west of Main Street from Ocean Park Blvd. south to the Venice boundary were demolished. Two large apartment building skyscrapers and an adjoining golf course replaced Ocean Park’s historic business district.

Depression hit hard. Various Venice banks went bankrupt and the Venice Pier went into receivership. However, when liquor consumption became legal again and bingo games were modified into a game of skill, the economy benefited.

1931

The Ocean Park Pier experienced yet another devastating fire that destroyed the entire complex.

1964

1933

Both piers reopened. Distraught by the inability of the City Council to adequately govern Venice, the residents held an election and the voters decided that Venice be officially annexed to the City of Los Angeles.

It was like Los Angeles annexing Disneyland.

Tobacco baron, Abbot Kinney died of lung cancer from years of heavy smoking, leaving his eldest son, Thornton, to take over the busines. One month later, his amusement pier burned to the ground. The only attractions spared by the fire were a new roller coaster and the bandstand tower.

1946

Los Angeles Parks and Recreation Department declined to renew the lease, although the company had just recently refurbished the pier entrance and repaired the aging deck. Profitable or not, the city’s plan was to widen the beaches thus removing all piers.

The pier was ordered to be dismantled. Venice was in a severe state of decay and in desperate need for redevelopment. In the early 60’s, the city instituted a policy of “Code Enforcement” where all buildings had to be upgraded to current building standards.

Venice experience a rebirth in the 70’s but not as a major tourist destination. The focal point was on maintaining the character of Venice so as not to chase out the low income population.

1967

A new group of people had made their way into the confines of Venice. The “Beats” as they were referred to brought a Bohemian life style. Life centered around art, poetry and new-jazz.

1976

The invention of the polyurethane skate wheel, outdoor skating became the rage. Venice’s wide Ocean Front Walk and bicycle path made it an ideal location for skating.Venice saw the likes of mural art. Buildings all around town were brilliantly livened up with scenes depicting landscapes, everyday life and tributes to Venice artists such as Jim Morrison of the legendary band, The Doors.

A historical timeline that projects the evolution of venice beach and important highlights.

JOLENE VENICE BEACH ART CENTRE

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DESIGN REALISATION

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4 SITE ISSUES

After doing a site study, the following are issues on site that were the key push factors for the project.

VENICE BEACH

Venice Beach is well known for the art culture on the beach that gives the place its character. It is a place outside the norm where everybody is prone to his or her creativity which sometimes gives amazing as well as bizarre pieces of art. Along the promenade, these different form of art can be seen.

The aim of the project is to mantain as well as enrich the art culture of street art and performance in Venice Beach.

01 ORGANISATION OF VENDORS

In the beginning, it was easy for anyone to showcase their art on Venice Beach. However in 2008 modifications were made to the rules on “vending” on the Venice Beach boardwalk where vendors had to obtain a permit for a designated space under an ordinance unanimously approved today by the Los Angeles City Council. Vending spaces are free, and are available on a “first come, first served” basis daily- this means that vendors would come by the beach as early as 5am to camp and pick their desired spot since the permitable vending hours only starts at 9am.

03 NO PLATFORM TO GROW

04 IMAGE OF VENICE

Although the Boardwalk on Venice Beach is alway filled with vendors, there isn’t a proper facility where vendors are able to store their belongings. This results in many inconvinience where they have to transport their goods everyday early in the morning as well as in the evening.

Venice beach is a space where all kind of art is acceptable and appreciated. That being said, there is a potential for new typology of art to be formed - just as how bands such as The Doors were formed in 1965.

In the early days, Venice Beach has been a place where many bizzare art is created.

On top of that, when there is rain, these vendors have no shelter and therefore have to relocate or find for shelter.

However, there isn’t a proper platform where a hybrid of street art and performance can be formed since most of the time, the performance area (zone P) and the vendors area (zone I) is at different place.

Venice beach has always been known to be a character of its own. However, with new organisations such as snapchat and airbnbs moving into the site, there might be a possibility how it may bring a threat to the culture of the place and change it since the activities that makes up character of the beach seems so temporary where there is no permanant structure to ensure the continuity of the image of Venice Beach.

02 NO PROPER FACILITIES

The project suggest something a little more permanent than what is on site to ensure and ensrich the character and culture of Venice Beach.

This often results in fights between vendors to get the best spot possible.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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PROJECT BRIEF 5 PROJECT BRIEF

BRIEF

PROGRAM PROPOSAL

+ STREET ART

STREET PERFORMANCE

= STREET ART + STREET PERFORMANCE

The brief was developed as a direct response to the current art culture of Venice Beach. Based on the information gathered through recorded interviews, observation, research and historical documentations, it is clear that the art culture of Venice Beach must be well preserved to ensure the character of Venice Becach.

The scope is to create an art market for the art vendors on Venice Beach to showcase their art to the public in a much formal way without changing the character of the space. Various arts can be explored such as hand craft, sculpture, painting and graffiti art. There would also be space for these artist to teach the public more about their art. Spaces to cater different types of art is designed with careful consideration to enable creativity.

The building can also be transformed into a performance space for street performers. The intent of having both street art and street performance under one roof beside proposing a much more formal and permanent effort to ensure the character of Venice Beach is also to create a platform for perhaps a different type of art to be developed.

The project is created to challenge the system of art.

Furthermore, it is very important that the project respects the three project criteria demanded by the local council.

These include a social, economic and environmental brief. (Newham, 2012). The social brief is supported by the local council guidelines and planning requirements. It is important that the building has a strong supporting role within the communit by providing high quiality built environment that will benefit the social context.

It is vital that the project is economically competitive. Since it is a building that transforms based on the way it is being used, it needs to be efficient and simple as it transforms especially since the use of the building should be able to change without much hassel. Therefore, heavy machinary or space transformation which required alot of man power should be avoided. Hence, a modular design is both economical and flexible for this design.

The project’s environmental role needs to contribute in protecting and enchancing the natural, built and historic environment. It needs to consider to improving and helping the biodiversity of the site.

ART MARKET

PERFORMANCE SPACE

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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6 SITE STUDY

STREET ANALYSIS STREET VIEW

SITE

MAPPING OF STREET

STREET SECTION

ANALYSIS

The intersection displays the most amount of activities happening where there is a high density of people and circulation.

Main intersection with shops and parks at the junction.

The street at the back of the residential area, there isn’t much activity flow.

The street are bussier where there are shop fronts. People tend to stay longer by the shop fronts compared to the street market. Also, people do not stay too long around unless there is a performance or at the park relaxing.

Street at the back of residential facing the park and beach.

Street with shops facing the park and beach.

Cycling Jogging Skate

%

Spectating Plays

Standing & Talking Stading Sitting Doing Something

minutes

100

75

80

60

60 Leisure Walk

Residential Shops Park

Through Jen Gehl’s study of public spaces, a conlusion was drawn that staying activities last considerably longer than transient activities.

Perhaps that seems obvious but it is nonetheless important to stress that time and this staying activities can be decisive dactor in how animated a street scene apears. The proposed program would create a more permanent space for the activities happening on the street and therefore bring more life to the street.

40

45

B U I L D I N G TY P O L O GY

30

The use of different geometries in buildings.

A N A LY S I S

15

20

Percentage of frequency of activity.

Duration of each activity TEXTURE OF SITE JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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6 SITE STUDY

04 VEHICLE ACCESS

SITE TRAFFIC & CIRCULATION

0 1 TY P E S O F AGE GROUP 85+ 80-84 75-79 70-74 67-69 65-66 62-64 60-61 55-59 50-54 45-49 40-44 35-39 30-34 25-29 22-24 21 20 18-19 15-17 10-14 5-9 0-4

597 515 688 813 758 634 1150 954 2239 2419 3167 3430 3737 4275 3976 1823 261 414 453 656 914 1078 1891

1.62% 1.40% 1.87% 2.21% 2.06% 1.72% 3.12% 2.59% 6.08% 6.57% 8.60% 9.31% 10.1% 11.6% 10.8% 4.95% 0.71% 1.12% 1.23%

PEDESTRIAN

A high percentage of the pedestrians are tourist and locals walking around. There is a high count of people around the age of 22-44. This age group are stereotypically more open to new possibilities. The highest occupation industry is art as art really is an important part of Los Angles.

02 INTERSECTIONS These point are the main intersection on Venice Beach where pedestrian coming from Santa Monica Beach, the parking lots and main roads meet. Point B could be taken as the main entrance of Venice Beach.These are strategic points as it would have a high footprint.

03 DIRECTIONS

Jan Gehl did a study on the influence of traffic on the behaviour of adult and children pedestrian , the results shows the follow.

Pedestrian priority street 64%

36%

Pedestrian Street 29%

71%

Street with car traffic 14%

86%

In conclusion, the lesser the car traffic, the lesser the fear of parents allowing their children to run free. As Venice Beach has very little car traffic, it is safe to say that parents do not have to worry about the danger of traffic.

There are a few alternatives of directions from these main points, making it an even more strategic point of the beach.

05 PARKING LOTS

OCCUPATION

Entertianment Management Sales & Related Business Administrative Education Food Service Healthcare Personal Care Legal Engineering Computers & Math Construction Facilities Sciene Social Service Production Transportation Healthcare Support Repair Law Enforcement

This road is the last road which cars can access before Venice Beach. It acts as a boarder. It is clear that it is difficult for Vehicles to access the inside of Venice Beach.

18.5% 16.6% 11.5% 7.8% 7.0% 6.3% 4.2% 4.1% 3.6% 2.9% 2.2% 2.2% 2.0% 1.7% 1.6% 1.8% 1.2% 1.1% 1.1% 1.0% 0.6% LOS ANGLES VENICE BEACH

4251 3799 2629 1781 1608 1448 968 936 819 676 512 497 457 381 361 334 277 263 261 221 135

The various parking lots makes it convineint for people to park their cars and therefore increasing the accessibilty of the site.

PESDESTRIAN

The minimal traffic also allows pedestrians especially skateboarders and cyclist to move around without fear.

The downside is that during construction, it would be difficult to bring materials in as well as heavy machineries and huge vehicles.

31% tourist

25% locals 17% joggers 27% cyclist/ skaters JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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7 SITE STRATEGY

07 B U I L D I N G INTERACTION

01 N O R T H E R N L I G H T S

The paint pods will require north lights to ensure that harsh shadows are not created.

Therefore, the paintrooms are located at the north facade to allow a fair amount of direct nothern lights into the pods.

E D C B

04 S E R V I C E P O I N T

02 B U I L D I N G P E R M E A B I L IT Y Since there is a heavy flow of cyclist circulation, to attract more people into the building, a path that allows cyclist to ride into the building should be considered for the convinience of the cyclist, increasing the building permeability and footprint into the building.

03 ACCESS Multi access point into the building that would also blur the boundaries between interioir and exterior.

Service area is located at one end of the building to seperate it from the other part of the building to unsure no disruption if the building needs to be serviced while occupied. On top of that, since vehicles are not allowed site unless premied, the service point has to be located relatively close to the last vehicle access point for convinience incase heavy machineries are needed to service the building. Since it not ideal to have the service plant right at the main entrance, it is tucked behind it where there is less circulation but at the same time relatively near to the last vehicle access point.

05 I N T E R S E C T I O N POINT 2 The second intersection point does not have as much density and activity flow compared to the main intersection point into venice beach but it does have a gathering point where people do stop and therefore it is a good point to place a second entrance into the building.

06 I N T E R S E C T I O N POINT The main entrance is placed somewhere visible to at the main intersection point of Venice Beach since it is the most strategic point of the beach.

A

% Turned Head

Stop %

75% A

21% E

25% A

E

The study of the height of the building vs. our field of vission is carried out to ensure that the building interacts with the passers by on the street. Also an experiment carried out by Jen Gehl shows the different type of facades with the different number of doors interact differently with passer bys. Facades that have element and more windows made 75% turn their heads and 25% of it to stop.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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8 BUILDING STRATEGY

AN A LY S I S OF P RE CE D E N T BUI LDINGS To have a better understanding of the scale off each space, two reference with similar functions and building typology is studied. The plan of the buildings were analysed for its scale of space as well as spatial organisation and circulation flow.

The Shed, Harworth Thompkins

The shed is a temporary theatere structure. The space is arranged based on the sequence spectators move through the building- from the main entrance, to holding lobby then into the performance space straight out from the building. The circulation is a one way flow.

Sainsbury Centre, Foster & Partners

The Sainsbury Centre is an art centre. The space of the building is also arranged based on the sequence visitors move through the building- however, being an art centre, the circulation flow is less rigid and the scale of the building is slighly bigger.

After studying both plans, the balance between the two building typogy is picked up and adopted in to the new plan. The spaces are arranged in a manner where circulation may have different level of rigidity - when it is a market space, the ciruclation space is more random and lose whilst when it is being used as a performance centre, the circulation flow is most likelt to be one more and more rigid.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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9 SPATIAL ORGANISATION

03 S P A T I A L ORGANI SATION circulation space

workshop

open hall

bar / cafe

program specific space

office

unused space

The blue spaces marks the program specific spaces where it is either only used when it is a market space or changes function when it is used as a performance space. The figure above maps the spaces which are permanent and spaces that changes according to the way the building is being used.

The blue spaces marks the program specific spaces where it is either only used when it is a market space or changes function when it is used as a performance space. The figure above maps the spaces which are permanent and spaces that changes according to the way the building is being used.

02 CIRCULATION open horizontal circulation controlled horizontal circulation vertical circulation access points

There is no definate circulation of the space. It will vary based on the arrangement of the market booths. The buidling is very pearmeable which allows entrance from every side of the building. Vertical access on each side of the building to ensure the circulation of the building.

The circulation of the building when it is used as a performance space is more controlled - there are only several entry points into the building. This is to ensure that audience have a ticket should it be required.

Vertical access on each side of the building into spaces where the circulation is controlled.

01 ZONING public private

The building becomes an open plan that allows the accesibilty of people throughout the building making very public. Only a few spaces are marked as private for services and only accessible to vendors as well as those who working in the building.

Ground Floor

First Floor

Art Centre

A different zoning is formed when the space is used as a performance area. There are more private zones formed by sliding panels to create space for performers to get ready.

Ground Floor

First Floor

Performance Space

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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10 ACCESS & CIRCULATION

The circulation flow of the building differs throught the day depending on if it is being used as an art centre or a performance space.

The arangement of the movable booths in the main hall will determine how people move about in the space.

When it is being used as an art space, the circulation flow is random and uncontrolled.

However, when it turns into a performance centre, the circulation of the building becomes more controlled and audience move from one space to another in a timely manner. There various type of circulation is explored in the following diagrams.

Ground Floor

Ground Floor

Ground Floor

First Floor

First Floor

First Floor

ART CENTRE There are many access points into the building as the doors on each side of the building is opened.

The circulation inside the building is uncontrolled as patrons are free to move in between the spaces of the movable booths.

PERFORMANCE SPACE OPTION 1

PERFORMANCE SPACE OPTION 2

One way, Rigid.

Similar to “The Shed�, the ciculation is from the main entrance - foyer- holding lobby- performance space and exit at another door. This circulation is much more controlled. and it will alllow the front part of the building to be abled to be closed off as soon as audience has moved into the performance spavce as there is an alternative exit.

The entry points and exit points are seperate.

This will ensure the safety and privary of some areas of the building such as the office.

Two way Less rigid.

This circulation will be more efficient when there is a higher occupancy of people in the building since it has more exit points.

Entry points will be used as exit points as well.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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11 GENARAL ARRANGEMENTS

SCALE 1:300

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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11 GENARAL ARRANGEMENTS

SCALE 1:300

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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11 BUILDING SECTIONS

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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12 STRUCTURAL STRATEGY

PRIMARY STRUCTURE After careful consideration, steel frame structure is chosen to be the skeleton of the building. As there is heavy pedestrian circulation on site, construction time is essential for this project to be constructed as quickly as possible to reduce the construction and obstruction on site. Each member of the structure used is typical and mostly the same dimensions, the steel structures are measure ,cut and finished n a workshop before it is shipped to site. Once arrived, each member are assembled and just bolted to place. The skeleton would be erected very qickly. Therefore, less labour work is required to erect the building.

On each side of the building, a core on each side made of cast in-situ concrete is formed as part of the primary structure.

The main aim is to reduce the scale and complexity of theproject to minimise the workload of specialist subcontractors, in turn reducing project costs.

BUILDING ENVELOPE The building envelope should be easy to install and mantain therefore, corrugated metal sheet was chosen as the extrior cladding of the building. Corrugated steel wall cladding sheets are the most robust profile with a traditional look, lightweight, easy to install, fire resistant and particularly cost effective. Timber panels were chosen to clad the interior. Structural bonding where the system utilises structural adhesives to fix internal and external cladding panels. A sheer smooth facade is acheived and it remaines flexible throughout the life of the product.

MODULAR BOOTH The 2mx2mx2m modular booths which are made of timber are used to create and manipulate the space interiorly. Each booth acts as a small studio for the artist and can be converted into seating rake when the building is used as a performance centre. The booths has a few hinges that allows the conversion of the multi function booth with simple push and pull systems.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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13 ENVIRONMENTAL STRATEGY

VENICE BEACH

CLIMATE DATA

Avereage Temperature

[3]

[6] [5] [7]

The temperature and precipitation reading shows that over all, through out the year, Venice Beach has a fairly thermal comforting condition. Therefore heating and cooling of the building are not huge concern of project.

Average Sunlight

Windrose

Average Temperature

[2]

[4]

Windspeed

It is important to understand the site environmental conditions before starting construction. Therefore, the first environmental strategy is to map out the current site conditions that the building would be able to overcome or take advantage of.

[3]

1. Northfacing roof light 2. Northfacing light for paint cubicles 3.Low E glass on space frame 4. Sound from the street and adjacent road 5. Large sliding doors that allows opening for natural ventilation.

6. Mechanical roof openings to allow control over ventilation and heat loss control of the building.

7. Mechanical acoustic panels that allow control over reflection of sound wave.

8. Airbourne salt from nearby sea side.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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14 FIRE ESCAPE STRATEGY

IFTS REGULATIONS:

STAIRS REGULATIONS: a. In a single stairway condition ensure clear width of stair for means of escape when the lift is parked. b. Platform size of 800mm wide and 1250mm deep with access width of 800mm minimum c. Doors either 800mm or 900mm wide (for 1100mm wide x 1400mm deep platform). If possible position doors at

ESCAPE: The enclosed areas present greater risk of fire. For these, the <18 distance rule applies, they therefore comply with Building Regulations Section B2. The advantage of the building is that its mostly open and acts as a pavilion with a ramp to get in to the main space, which act as the main fire escape. The building is also risen only by 750mm, which allows to create very easly accessible fire escape routes from the risen platform.

Approved Document Part M4(2), Point 2.16 a. There is a clear landing, a minimum of 1500mm x 1500mm directly in front of the door at every floor level. b. The car is a minimum of 1100mm (W) x 1400mm (D) inside. c. Doors have a minimum clear width opening of 800mm. d. Controls are 900-1200mm above the car floor. e. Level landings to top and bottom min 1200mm and clear of any door swings.

HEALTH AND SAFETY CONSIDERATIONS: Site Security: In order to prevent the public accidentally accessing the site, a substantial fence, with secure entry will need to be constructed around the site perimeter.

A well managed site will prevent accidental risks, particularly given the sites constraints and the works that will be undertaken at height.

Working at Height: Harnesses and scaffolding will be provided by the contractor and will be assembled prior to the first

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

02 BUILDING

CONSTRUCTION

2.1 MAIN STRUCTURAL STRATEGY 2.2 LOAD ANALYSIS 2.3 CONSTRUCTION SEQUENCE 2.4 FOUNDATION 2.5 STEEL FRAME STRUCTURE 2.6 SPACE FREAM ROOF 2.7 BUILDING ENVELOPE 2.8 KEY SECTION 2.9 KEY JUNCTIONS

2.10 RAINWATAER AND DRAINAGE

[30%]

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02

1 MAIN STRUCTURAL STRATEGY The following section is an in-depth analysis of the key structural, functional and material components that makes up the Venice Beach Art Colloborative Art Centre. The building is designed around a scheme of pre-built components and onsite aseembling. The construction sequence of the assembly of the building that breaks down into different stages will be explored in the construction sequence.

[5]

[2]

[1]

[3]

[4]

[6] Key Exploration 1. Steel frame structure : main structural skeleton of the building 2. Space frame roof 3. Clading and materiorality of building 4. Sealing and insulation of building through construction 5. Rainwater collection and drainage 6. Cantilevered mezzanine level

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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2 LOAD ANALYSIS A key element to building contruction are the loading system. Any load on a building structure has to be transmitted into the foundation and distributed to the ground. This is to ensure that the building strcture is safe and not in danger of failing or falling down die to fatugue.

With the consulation of the structural engineer, the distribuion of load is mapped out to understand the stress points of the building.

The consistent columns which are planted into an organised grid runs through the building. The column acts as a vertical path where load is transfered from any part of the building down to the ground.

Member under compression Member under tension

The space frame is able to withstand its own load while spanning a large distance.

At the same time, the load of the cantilevered level is beared by the space frame as it spans 6m and a singular column unable to withstand the load.

A The live load are typically the people using the space along as well as the moving booths. The live load is absorbed by the casted concrete on metal decking that sits on the I-Beam will be transfered by the columns to the foundation.

B. The dead load otherise the weight of the building structure , materials and satic components are distributed through the columns and beams to the pad foundation.

C. Part of the load of the mezzanine platform which cantilevers and is supported by the primary columns while part of the laod is distributed to be held by the space frame of the roof.

The steel beams transfers horizontal loads across to column points.

D. Horizontal load will be caused by the environmental load. The site can experiecne 7m/s wond speeds (Windfinder, 2017). The steel ost and beam structure would be able to withstand the horizontal environmental loads.

The steel columns will transfer load vertically to the pad foundation.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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3 CONSTR UCTION SEQUENCE As mentioned, time is one of the key to complete the project so that the site would be able to be cleared and be unobstructed as soon as possible. To increase the speed of the construction, most of the components of the building is prefabricated in a workshop and brought onto site for assembling. The workflow of the building construction is therefore essential to ensure the efficiency of the construction.

Hoarding around the site is set up to protect the public from accessing the site for safety precautions.

An excavator is brought to site to excavate the site to prepare the the ground for foundation works. The location of each pad is marked and excavated to its required depth.

The pad is filled with hardcore before being compressed. Form work is then built and filled with concrete and reinforcement to form the pad foundation

Prefabricated steel columns are delivered in the first batch and set into grid to be bolted to the concrete foundation pads. A slab is then poured over.

Prefabricated steel beams are then delivered in the second batch and assembled according to the grid of the columns.

Simultaneously, corrugated steel floor decking is delivered and cut onsite to be placed above each level of structural steal beams to minimise labour time.

Once the beam on the ground floor has been asembled, the rest of the columns and beams are aseembled to construct the skeleton of the building.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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3 CONSTR UCTION SEQUENCE

Member of space roof are delivered onsite and the first section of the space roof is constructed on ground site.

At the same time, secondary structure is added to the steel structure to strengthen the structure for the load of the roofâ&#x20AC;&#x2122;s space frame.

The space frame is lifted by a crane and fixed onto the steel structure.

The second section of the space frame is assembled on ground site and again, lifted onto the steel structure.

Installing of M&E systems are fixed between the space frame and left exposed on a tray.

Metal decking are assembled to intermediate floors to construct floors.

Concrete is mixed and poured onto levels where steel decking have been completed.

Steel cables are fixed at the end of the mezzanine level to hold itself in tension to the space frame.

External walls and roof insulation is added in between strcutural columns and beams.

Interior and exterior cladding of the building is then assembled to the walls.

Internal walls are asembled to add partitions to the space as well as cover exposed load breaing structual columns.

Concrete is mixed and poured onto levels where steel decking have been completed.

As the envelop of the building completes, internal fit out begins on sheltered areas such as internal tiling.

Precast steel staircases are assembled and fix on site.

Railings are installed.

Glass panels are delivered to site and fixed into place. Interior floor and wall finises are placed into place and internal works such as distribution of building services begins. Removing of scaffolding, crane and excess building materials.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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4 FOUNDATION After careful consideration in finding the right balance between the advantages and disadvantages of environmental aspects, cost and time parameters, Pad Foundation was the most suitable foundation for this building typology. Pad footing are supports at a point load.

Initially, a raft foundation was considered before selecting pad foundations, however, due to the amount of live and dead load the building has, the raft had to be made thicker to a point that it was no longer economical to have it. The pad foundation then had more advatages.

1

2

3

4

5

6

The pad foundation system will be using a dimension of 2.0m x 2.0m x 1.0m (breath x length x depth) with a pole base of 400mm and height of 10m.

Foundation Placement Plan

NUT AND LOCK TO ADJUST LEVEL AND INCLINATION

FOUNDATION SET OUT SEQUENCE: 1. The soil is excavated for the shallow foundation.

2. The pad footing is made of lean concrete and timber formwork 3. Spacer is required to receive proper concrete cover at bottom side.

4. Reinforcement bar is added.

5. The formwork is then strengthened by adding some timber to prevent any damages while using the vibrator.

6. Using C35/40 , concrete is poured into the footing.

7. The formwork is dismantled. Should there be ny crack or honeycomb on the surface, it shall be rectified by concrete injection.

8. Timber formwork is built as a casing of concrete pedestal.

9. When each footing has a pedestal, it is then backfilled by imported soil.

10. Once it is backfilled and compacted, the footing is connected by the ground beam.

11. Reinforcement bar and timber formwork are installed along the ground beam.

12. The formwork is then strengthened.

13. The poured concrete is left to be dred for a day amd the formwork is dismantled. Within 3 days, the fresh concrete must be cured by clean water to mantain the temperature and skrinkage effect.

14. Concrete is poured for the colum. Prior to casting, the timber formwork is fabricated and fix it with additional support for strengethening to reduce any damages while using a vibrator.

7

BASE PLATE ROOM FOR FLEXIBLE LEVELLING MORTAR

8

5MM ANCHORAGE BOLTS DETAIL A 9

10

STEEL COLUMN

11

12

8MM ANCHORAGE BOLTS ROOM FOR FLEXIBLE LEVELING 13

BOTTOM FOOTING REINFORCEMENT

14

MESH SPACERS ROUGH FINISH COMPACT BASE Construction Seqeunce Diagram

MUD SLAB

SCALE 1:20 Section of pad foundation JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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5 STEEL FRAME STRUCTURE

Steel frame is a building technique with a “skeleton frame” of vertical steel columns and horizontal I-beams, constructed in a rectangular grid to support the floors, roof and walls of a building which are all attached to the frame.

Reasons steel frame structure is chosen: 1. Flexibility and simplicity of the frame structure that will not require the aesthetic of the building to compromise too much.

1. Good load carrying capacity unlike concrete structures, which have a low load carrying capacity. It is a tensile metal hence have a high strength to weight ratio. Steel structures weigh 60% lesser than concrete.

2. As the construction process is faster with steel structure since they are easy to erect, it takes less time to complete the project.

It can also be prefabricated elsewhere. It is easy to transport as they are lightweight. Steel structure construction is a safe option, there are no health hazards of using steel structures in construction.

PR EC EDEN T S T UDI ES Some precedent studies were analysed to explore the different types of construction strategies that have been adopted in the construction industry which have similar building typology.

The columns and beams are prefabricated in the facotry and tansported to site in the ordered quantity. The ground floor primary frame is errected first beforemoving up to build the skeleton of the building floor by floor.

The Shed, Jensen Architects

The building is a prefabricated modular structure that is formed around a steel framework with individual aluminium or glass panels assembled on site.

SHED’s design employs offthe-shelf components to create a modern, refined take on the region’s barn vernacular.

Connection methodology used to flush the structure during assembling.

306.6mm

Primary Beams Dimnesion: 306.6mm x 167.5mm x 11.8mm Mass per metre: 46.1 kg/m Qty Needed: 32 pieces cut into 5.7m 16 pieces cut into 7.7m 15 pieces cut into 6.3m

167.5mm

Beam to Beam

Primary Columns Dimnesion: 307.9mm x 305.3mm x 9.9mm Mass per metre: 96.9 kg/m Qty Needed: 26 pieces cut into 6.6m 26 pieces cut into 3m(*) 23 pieces cut into 3m(*)

Sainsbury Centre . Foster & Partner

After which, the secondary structure is fixed into the stucture. The main purpose of this structure is to support the envelope , transfer load from the evvelope to the primary steel frame structure, and to restrain the primary steel structure.

Beam to Beam

Column to Beam

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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6 SPACE FRAME ROOF

A space frame has been selected to hold the roof. It is a truss-like, lightweight rigid structure constructed from interlocking struts in a geometric pattern. The space frames was chosen as it could span large areas with few interior supports. This was idea to ensure an open plan of the building. Like the truss, a space frame is strong because of the inherent rigidity of the triangle; flexing loads (bending mo-ments) are transmitted as tension and compression loads along the length of each strut.

COMPONENTS OF SPACE FRAME

CONSTRUCTION / ASSEMBLY

PHASE 2 PHASE 1

Before the space truss was selected, other types of construction method was also considered. One of the obvious option was the portal frame system.

The main reason why the space frame construction was chosen was because of the flexibility and the ease of suspending panels and lightings on the frame without a ceiling. The space frame allows modification to the utilization of space by providing freedom of movement.

The space frame is built and assembled in two phases. The point indicates which point the space frame is hoisted up.

PRECEDENT STUDIES By studying the various use of space frame - permanent and tempary and as well as space frame used in different building scale, the conclusion made is that space frames are very adpatable and suitable for most situation if needed. The dimension of the members needed is also estimated from the study done before getting confirmation from the structural engineer

01. The space frame is diveded on its plan into indivisual blokcs. These units are fabricated on the ground level. It will then be hoisted up into this final possition and assembled on the temporary supposrts.

Member Members are axial elements with a ciruclar or rectangular sections. All members can only resist tension or compression.

Member of the frame

The space grid is relatively long tenion members and short compression members. A trend is very noticible in which the structral members are left exposed as a park of the architecture expression Joints In a space frame, cnnecting joints play an important role - both functional and aethistics which derives from their nationality during construction and after completition. Since joints have a decisive effect on the strength and stiffness of the structure and compose around 2o to 30 percent of the total weight. Joint designing is critical to space fram economy and safety.

Mero Connector

Mero Connector, The most poppular and has been used for numerous temporary and permanent building.

The mero connector was originally developed for double-layer grids.

02. With more work being done on the grounf, the amount of assembling work at a high elevetion is reduced.

Top chord connector

This method is the most suitable for double grid where the stiffness and load- resisting behaviour will not chnage considerably after diving into blocks such as two - way orthogonal laticed grinds, orthogonal square pyramid space drinds and those with openings. The size of each unit will depend on the hoising capacity available.

Starlight Concert, Gothernburgh

B

Sleeve

End cone

E

Threaded boltp

F

D G Cap

H

A C

A Mero Node B Mero Member C Support cone ith bearing D Base plate E Horizontal stop F Reinforced elastomer G Hook bolt H Compensation grout

Connection of connector (joints) to beam

Standstead Airport, Foster & Partner

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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6 SPACE FRAME ROOF Detail drawing of: 1. Junction of Space Frame to Roof

Kalzip structural decking provides an economical solution for long span installations and eliminates the need for purlins. For enhanced acoustic absor tion, decking sheets can be perforated and can support mass, such as increased insulation or board, which may be introduced for more rigorous .acoustic specifications

KLAZIP E CLIP KALZIP STANDING SEAM SHEET KALZIP INSULATION KLAZIP VAPOUR CONTROL LAYER TOP HAT SUB PURLINS RIVETED TO DECKING STRUCTURAL DECK 8MM BOLTS TO BOLT IN I BEAM TO TOP CHORD

I BEAM TO HOLD THE STEEL TRAPEOTRAPEZOIDAL METAL SHEETING KALZIP STANDING SEAM

PRECEDENT STUDIES

TOP CHORD MEMBERS WITH 130 O

KALZIP INSULATION KLAZIP E CLIP

EACH MEMBER ARE SPANNED 2000MMAPART

1.5 MM STRUCTURAL DECK

The space frame structure of Hamburg Airport is studied and analysed to understand the connection of a space frame to a roof.

Hamburg Airport Terminal

BLOW UP DETAIL OF SPACE ROOF JUNCTION AND ROOF SCALE 1:5

SPACE ROOF JUNCTION AND ROOF SCALE 1:30

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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7 BUILDING ENVELOPE

MATERIALITY OF WALL

MATERIALITY OF ROOF

The walls of the buildings will be formed by adding imsullation between the steel frame structure to keep the building thermally insulated and ensure thermal comfort. The exterior of the building would be cladded with perforated steel plates hung in front of a coloured skin blending in with existing buildings on site. The innterior will be cladded by timber panels which will not only create a warm ambience in the building but also acoustically perform better since the building will also be used as a performance centre.

Choosing a roof for the building was a a tricky task as there were many issues to consider. It had to be able to bring natural light in to lit the space up naturally when it is an art centre since natural light , especially nothern lights are very important for art.

At the same time, it was essential to mantain relatively good acoustic qualirty of the space while it is being used as a performance centre.

The Kalzip aluminium standing seam acoustic roof system has been chosen to roof this building.

Similarly, this system was used at Madrid Terminal 4 Airport.

Kalzip roof constructions can Roof of Madrid Terminal 4 Airport, Rogers Stirk Harbour + Partner be modified to accommodate various acoustic performance requirements, by incorporating other layers such as high density insulation, acoustic boards and Rooflights that provide carefully controlled natural light throughout the flexible membranes to provide upper (departures) level of the terminal punctuates the roof. The rooftincreased sound reduction perhen oversails the edge of the building to shade the façades. Given the formance and by perforating the multi-level section, a strategy was required to bring natural light down liner to provide improved sound into the lower levels.

absorption performance.

Roofing

Internal wall cladding External wall cladding

Exterior and Interior of O.T. Theater Construction and theater technology have been made visible from the outside to expose the ‘making theater’, while technology within the wooden theater is absent as much as possible. The facade itself is also layered with perforated steel plates hung in front of an orange skin. With direct sunlight on this façade, you can see moving patterns as a result of the moire effect. The seemingly simple box shape of this theater design becomes expressive through stratification and light effects, which make the building appear different during the day and at night.

MATERIALITY OF FLOOR As it is important to ensure that the 6m spanding mezzanine level can be supported by a single column a light weight flooring with smooth cement screed finishing has been chosen. For the exterior, timber flooring which are placed right on the steel beam is chosen.

Exterior flooring

Amazonia Em Turin ,Luciano Pia

Internal flooring JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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8 KEY SECTION 3

METAL CAP ALUMINIUM CASING SCISSOR LEVERS

4

AGGREGATE ROOF FINISH METAL PLATE

LOW E GLASS ALUMINIUM GLASS FRAME METAL SHEET NODE CONNECTOR TO ACOUSTIC PANELS

INTERIOR TIMBER PANEL CLADDING 300MM INSULATION EXTERIOR CORRUGATED METAL CLADDING BOX TRACK SLIDING DOOR TO ENG. DETAIL 2

OUTDOOR TIMBER FLOOR FINISH 2MM METAL DECKING 20MM O STEEL PIPE RAILING TO ENG. DETAIL 306.6 MM X 167.5MM I BEAM L STEEL PLATE

SMOOTH CONCRETE FINISH 100MM CONCRETE 250MM INSULATION BOTTOM FOOTING REINFORCEMENT

1. Pad foundation 2. Box Track sliding door to floor and wall 3. Skylight on space frame.

4. Cantilevered mezzanine level held by steel cabel 5. Rainwater Drainage

SCALE 1:75 JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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9 KEY JUNCTION 01 Detail drawing of: Cabel support of floor plate from space frame

WOOD BLOCK

RIGID INSULATION COLOURED SKIN FOR PERFORATED METAL SHEETS TO HANG OVER

J CLIPS are used to fasten cladding onto the steel baton. This is adopted in the Sainbusry building where initial facade was not effective for the building performance and the extrior facade was easily chnaged with this metod of cladding a building.

AIR GAP WATER PROOFING MEMBRENE

3MM STEEL CABLED

EXTERIOR TIMBER FLOOR STRIPS PERFORATED METAL SHEETS ALUMINIUM PIPES OF 20MM DIAMETER AS RAINING WATER 5MM STEEL BA- AIR CAVITY 5MM INTERIOR PROOFPLYWOOD TON TIMBER WALL ING MEMCLADDING BRANCE

WELDED ON TO THE BEAM 254x146 I BEAM

COMPOSITE CONCRETE

2 MM PLATE

PROFILED METAL DECKING STRUCTURE 8MM BOLTS BOLTED INTO METAL PLATE 305x165x54 I BEAM

Detail : Outdoor terrace railing junction

Detail : Wall construction

Detail : Attachement of steel cable to hold cantilevered platform.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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9 KEY JUNCTION 02 Detail drawing of: 1. Floor to wall connection 2. Exterior sliding door treshold

EXTERIOR PORFORATED STEEL CLADDING WATER PROOFING MEMBRANE

STEEL C CHANNEL BATONS

METAL PLATE WELDED ONTO CLADDING

2000 X 1600 TIMBER CLADDING PANNELS

1MM WATERSHED TRIM

15MM PLYWOOD SHEATHING RIGID FOAM INSULATION

L PLATE TO HOLD TRACK 3MM BOLT FROM PLATE TO FACADE 4MM BOLT FROM PLATE TO TRACK

VAPOUR BARRIER MEMBRANE

1MM METAL SHEET PROTECTOR 50MM RADIUS STEEL WHEEL METAL CAP

WOODEN BLOCK 35MM ALUMINIUM FRAME

HEIGHT ADJUSTER 50MM ALUMINIUM FRAME 80MM BOLT TO FRAME TO TIMBER DOOR EXTERIOR TIMBER DOOR COATED WITH WEATHERSHIELD ULTIMATE WOODSTAIN 2800 MM

INTERIOR SMOOTH CONCRETE FINISH 10MM RADIUS WHEEL EXTRUDED ALUMINIUM THRESHOLD EXTERIOR COATED TIMBER FLOOR FINISH

50 MM PLYWOOD 10MM PLYWOOD 15MM REINFORCEMENT BAR

RIGID FOAM INSULATION 2MM METAL DECK 60MM STUD

RIGID FOAM INSULATION BOUND TO PLYWOOD 5MM PLYWOOD

SCALE 1:10 JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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9 KEY JUNCTION 03 Detail drawing of: 1. Elevating skylight roof window 2. Roof to Space Frame Junction

METAL CAP STEEL BATON TO HOLD SKYLIGHT ROOF PITCH 25MM LOW EMISSION GLASS STEEL AND ALUMINIUM PERIMETER FRAME 150MM X 150MM X 2MM THICKNESS STEEL BATON TO HOLD FRAME 2MM METAL WATERSHED TRIM

PAIR OF SCISSOR LEVERS V4A CHROMIUM STEEL

WOODEN BLOCK ANODIZED ALUMINIUM CASING RIGID FOAM INSULATION HYDRAULIC RAM, MIN 5T LIFTING CAPACITY KALZIP STANDING SEAM SHEET WATERPROOFING MEMBRANE

PRECEDENT STUDY

RIGID FOAM INSULATION KALZIP E CL 2MM METAL PROFILE 127MM X 76MM STEEL I BEAM 80MM O TOP CHORD MEMBER

Rebgässli Housing Development, Amrein Giger Architekten Glass skylight were installed to establish a direct relationship with the exterior. The glass skylight can be raised hy-draulically in a vertical direction by up to 80cm. This provides natural light and a means of intelli-gent ventilation.The roof window consists of a steel frame with alu-minium attachments. Its weight of 3500kg is car-ried by two chromium-steel scissor lvers, which also produce the vertical movement. The scissor levers are positioned differently, depending on the installation situation of each site; offset and paral-lel to one another on the long sides, or facing and parallel on the short sides. The head and foot points of one side of each scissor lever are fixed in position but have pivoting joints, which means the opposing free bearing points move laterally on a guide rail. The scissor levers are hydraulically driven and have a load capacity of 5t. Movement is controlled by a manual switch. Sensors and a wind-speed monitor guard against jamming and storm damage.

SCALE 1:15 JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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10

RAINWATER DRAINAGE SYSTEM

Detail drawing of: 1. Rainwater coolection from roof 2. Roof junction detail to glass and beam

3MM METAL CAP 20MM OF WOODEN BLOCK 1MM WATERSHED TRIM

Rainwater collected will be channeled down a rainwater downpipe from the gutter to the grey water waste tank.

WATER PROOFING MEMBRANE WATER VAPOUR MEMBRANCE WOODEN BLOCK 120MM O GUTTER

WATER PROOFING MEMBRANE 150MM RIGID INSULATION CONNECTOR MOUNTED ON STEEL PLATE TO HOLD GLASS IN PLACE 40MM THICK ALUMINIUM FRAMING TO HOLD GLASS 5 MM THICK PLYWOOD

5 MM THICK STEEL SHEET FOR CAPPING

Hamburg airport was also studied on how the glass was help between the space frame.

Hamburg Airport Terminal 120 O BOTTOM MEMBER OF SPACE ROOF

25 MM THICK LOW E GLASS

Other typical drawings of flat roofs especially those with a space frame are studied and analyse.

SCALE 1:15 JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

03 BUILDING

PERFORMANCE

3.1 VENTILATION

3.2 HEATING & COOLING 3.3 NATURAL LIGHTING 3.4 ARTIFICIAL LIGHTING & ELECTRICITY 3.5 ACOUSTICS 3.6 WATER INGRESS, SANITARY AND WASTE WATER DISPOSAL 3.7 SUSTAINABILITY OF STEEL AND ITS IMPACT ON THE ENVIRONMENT

[15%]

SECTION

03

1 VENTILATION Ventilation is important to replace the stale interior air with fresh air outside from an occupied space.

During the day, when the space is being used as a performance centre, the main hall is naturally ventilated by cross ventilation while the other rooms are naturally ventilated single sidedly. The outside air will move through the building at a recommended ventilation rate of 5 air cycles per hour (Engineering ToolBox, 2018).

To accomodate the maximum efficiency of cross ventilation, the building is design with its depth being 5 times the height which is the maximum depth that cross ventilation is effective. To increases the efficiency of the cross ventilation, the building is orientated in parallel ti the direction of the prevailing wind.

Hot air rises and gets expelled from the building when released.

Mechanical ventilation ventilate the building when cross ventilation is insufficient.

Natural cross ventilation across the building.

When the building is being used as a performance area to increase acoutstic qualities, cross ventilation is no longer an option. Therefore mechanical ventilation is also installed in the building to ventilate the building at those times. Some rooms such as the painting rooms as well as the control room where air needs to be dust free, mechanical ventilation is used throught the day.

Use of opening one higher than the other, on the outside wall of the ocupied space

FRESH AIR STALE AIR

Two openings on opposite external faces of a space.

Ratio of height : depth Section AA : Ventilation strategy of building

The mechanical roof is lifted with a jack to expell risen hot air to cool the building.

Building Regulation,Book F F1(1) There shall be adequate means of ventilation provided for people in the building.

[Does not apply to building or space within a building: a. into which people do not normally go, b) which is used solely for storage, c)which is a garage used solely in connection with a single dwelling

cross ventilated single sided ventilated mechanical ventilated

GROUND FLOOR

FIRST FLOOR

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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2 HEATING AND COOLING The interior spaces of the building is heated and cooled by a dry heating and cooling system. This way, only one main duct is needed to provide the heated or cooled air into the spaces to regulate the temperature.

As an environmental strategy and an effort to ensure that the building does not contribute more pollution to the earth while mechanically heating and cooling the building, Geothermal system is used to heat or cool the air to be dispersed into the building.

As the earth stores a vast reservoire of thermal energy.

The system transfers heat from the earth to the house during winter and from the house back to the earth during the summer.

Pipes that runs the air across the building is installed on the space frame of the building

Roof is sealed, hot air is contained inside to warm the building up and it is open to release heat when cooling the building.

Vents that blows out hot or cold air into the building

As heat energy is being moved and not created, geothermal systems operate at a higher efficiency than ordinary heating and cooling system.

Section AA : Heating and Cooling strategy of building

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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3 NATURAL LIGHTING Lighting is one of the most important factors of building performance. As the surrounding buildings are not high, unobstructed sunlight is allowed into the building.

Based on the document by HSE (1997), it has been reccomended that the light level of a hall similar to the one in this project is 500 lux.

1. The building was placed in EcoTect to test if the space could be lit up naturally with the recommended lux reading. The first reading on the left shows that the midde part of the building would not be able to recieve enough natural lighting.

2. A skylight roof was then introduced to the building to overcome this problem. The building was then again placed in Ecotect to test if it was enough. The reading shows that the space can be naturally lit during the day.

ECOTECT MAPPING OF LUX LEVEL

TEST 1:

120 190 260 330 360 400 450 480 540 610 680 750

Plans that shows area which are naturally lit and lit with artificial lighting during the day. Yellow indicates naturally litted while pink indicates artificial lighting

SUN PATH THROUGHT THE DAY DURING SUMMER AND WINTER SOLSTICE

JUNE 21

First test on ecotect was to find out how dark the space would be without any natural sunlight asides the large openings at the side of the building. Ass 500 lux is needed for this building typology, the results show that the current condition would not be suitable.

450 490 530 570 610 650 690 730 770 810 850 890

DEC 21

3. Since the interior of the building will be exposed to the sun for a long time each day due to openings of the roof, low emission glass is used to reflect back the heat from the sun to where it was from.

4. On top of that, to refrain from causing too much harsh shadows and glaring light into the buidling the acoustic panel which can change angles have a reflective surface on top and also functions as louvres to control the amount of light into the building.

0600

0600

The skylight from the roof is added into the model and the results show that the building can be naturally lit with sufficient sunlight and achieve the lux level.

Natural sunlight

KIMBELL ART CENTRE, LOUIS KHAN â&#x20AC;&#x153;Ccloid barrel vaults are rimmed with narrow plexiglass skylights, providing room for natural light to penetrate into the spaces. To diffuse this light, pierced-aluminum reflectors shaped like wings hang below, illuminating the smooth surfaces of the concrete vault while providing elegant and enchanting light conditions for the works of art.â&#x20AC;?

0900

0900

1200

1200

1500

1500

Low Emission Glass

GLAZING

REFLECTED OUT

SURFACE3 SURFACE 4

LONG WAVE INFRARED

SURFACE 1 SURFACE 2

Warm Climate: Absorbs heat reflected to outdoor

Sunlight absorbed

by Low E coating on #2 surface.

Cold Climate Absorb Heat conducted indoors.

Mechanical acoustic absorber with reflective panels at the back acts as louvres to control the amount of light entering the building.

Section BB : Natural lighting strategy of building 1800

1800 JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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4

MECHANICAL & ELECTRICAL SERVICES

Performance lighting are installed to hold different types of performance. Different types of performance require different type of lighting.

During the evening and night when there is insufficiet lighting, artificial lighting is used to lit the space. Electircity is distributed throught the whole building and the lights are installed in alternating phases so that not all lights are needed to be turned on when it is not needed to save power and electricty.

PERFORMANCE LIGHTING

Fuse box located on ground floor for service convinience

Up to control room where switches are located

Venice Beach main electric supply through underground wiring

5

ACOUSTICS

The performance space does not aim to be a concert hall but acoustic timber panel interior walls that improves the acoustic qulaity of the space. On top of that, to ensure that the sound does not get echoes because of the plenti hard materials in the space, acoustic absorbers are installed.

Motorised Suspended Acoustic Ceiling Panels

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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6 WATER INGRESS RAINWATER DRAINAGE As there are already toilets located nearby and at adjacent sites, toilets are not needed in huge quantity.

As a stratefy to ensure easier water ingress and outgress, both restaurant and toilets are located side by side and next to an entry. Pipe works will therefore not only be cost efficient but also it would be mich simpler as not much work needs to be done too supply water to a house of many. It would be east to maintain the systems and also pipe leaks in the building can also be avoided.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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7 SUSTAINABILITY OF STEEL AND ITS IMPACT ON THE ENVIRONMENT The main structure of the building is steel where steel is used as the main framing material. Similar to any idustrial activity, this methodlogy of construction has direct relations to a few key sustainabilty issues such as energy and waste and further imprivements are to be done continuosly.

DESIGN STAGE

OCCUPANCY STAGE

EFFICIENCY OF MATERIAL As steel has a high strength to weight ratio, it has low overall environmental impacts. As the number of columns and beams and other elements has an acurate design specification, there would low wastage.

DURABILITY Construction steel has a much longer life span than the other part of the building. Hence, it can be recused as a new product. The durability and strength of the material brings safety and long lasting functionality for the occupants, which is an important pat of sustainbale use of construction.

ENERYGY EFFICIENCY High quality and stable produves, combined with efficient structural solutions enabled by different steel-based systems such as using prefabricated steel that would be aseembled on site can reduce the life cycle energy consumption of the building.

RECYCLABILITY A possibility to design for recycling enables steel construction to have a controlled life-cycle. As it is easy to install steel structure , it can be seen that there is an ease of designing for simple dismounting, reuse and recycling of the componnet. As the building is expected to be on site for 20 years, the steel can be fully recycled once it is demolised.

CONSTRUCTION STAGE PREFABRICATION All of the steel used for the construction of the building is performed in the factory, off the construction site. The prefabricated frames and other structural elements proveds a safer working environment, and facilitates accurate and quality workmanship. The prefabrication also makes it simpler to ship material to site, increase the speed of the construction process and minimises the pollution and noise on site. One of the biggest facrtor that drove the selection of steel frame structure was the ease of assembling with minimal disruption to the site.

ENERYGY The framework of the buidlgin will have an insignificant infleunce on the operational energy of the building, however the thermal efficiency of the building envelope with the building sevices is important. The corrogated metal sheeting cladding provides a well-insulated and airtight solution.

END LIFE STAGE DEMOUNTABILITY As steel building are highly demountable, once the building has reached it end life stage, the steel that has been used as the main frame can be easily removed and collected. It can then be used for future construction.

RECYCABILITY. The recovery rate for the steel construction product is approximately 94%, that allows the material to be dully recyclable.

REUSE One can consider reusing the steel instead of recycling it as it offers a greater environmental advantage. As there is a high market for second hand steel materials on Venice Beach to produce different kinda of art, there is a significant scope the reuse of constrcution steel

WASTE During construction , there would be minimal waste since Computer Aided Design systems are efficiently integrated with the manufacture,where steel of good quality steel product with the correct and stable dimension generates almost no waste on site. The bits and pieces wasted can be recoevered and recycled into new steel.

BUILDING PHYSICS As the construction work has a good accuracy on construction works, it has a significant influence on indoor environmental performance as well as the usage of operational energy. Dry and inorganice materials in steel construction disable possible moisture problematics during delivery, erection and completion, easing the construction work and most cost efficient.

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ENTREPRENEURIALISK + DELIVERY 4.1 PLANNING , SITE , SURVEY 4.2 PLANNING CONSTRAINS

4.3 LOCAL AND FINANCIAL CONTEXT 4.4 PORECUREMENT ROUTE 4.5 CONTRACTUAL RELATIONSHIP WITH CLIENT 4.6 ROLES OF ARCHITECTS, CONSULTANT CONSTRACTORS & SPPLIERS 4.7 RISK, HEALTHY AND SAFETY

[15%]

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1

PLANNING, SURVEY, SITE

PLANNING

SURVEY

SITE

TYPOGRAPHICAL SURVEY As Ordinance Surveys are not accurate enough, his survey has to be carried out to accurately define the site and its context especially since the building is being built by the sea side where the ground may not be stable.

The survey needs to fullfill one or more of the following: >floor levels and datum >adjacent buildings/contect >overhead obstructions such as cables >incoming services >existing and planed utilities >site boundary >vertical alignment >site spot levels GEO-TECHINICAL SURVEY This is an important study for new strcuture and foundations. It establishes the loadbearing ground layer soil conditions , ground water levels by creating borehles in specific areas (Basilio, 2014).

SITE Masterplan of site planning by council

Tt is essential to consider the current planning that has been done by the council, in this casd Los Angles Planning Department.This is to ensure that the project does not conflict with any other plans that has been set out. As seen on the map above, there are no current limiations, restriction or intended use for the site. Approval from the Planning Department needs to be aquired in order to build on the desired land.It is also important that as Lead Designer,, the architect attends all meetings with the Building Officer and Newham Surveyor.

Meeting are to be recodede by the Lead Designer. It is also important that the application process is submitted before Detail Design so that the Building Control permission is obtained before work begins on site (Basilio, 2014).

Types of survey to be carried out

A few survey is to be carried out to understand the site and issues better. The results of the survey could indorm the design or highlight issues that needs to be tendered. Carrying out a survey would ensure that there would be less risk of unforseen circumstances once construction work has started. The normal procedure is for the client to comission the surveys.

However, the specifics need to be defined by the architect or the engineers. Above is a list of surveys that should be carried out for a better understanding of the site.

Planning of site for construction works

The site has a limitation for heavy vehicle access as well as pedestrian routes. There is only one access point into the site. However, that access point, as seen in the image below is a very busy pedestrian junction. Should that it be hoarded up for truck access , it will cause a huge obstruction on site. Therefore, it is left open where pedestrians still can access the junction. However, as mapped out in the diagram the usual pedestrian and cycling route around the site has to be rerouted in order to make way for construction.

When trucks are entering the gates, the gates will be opened to allow safe passage. This system was adopted by London City Airport residential constrcution site.

Heavy circulation on main junction of site JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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PLANNING CONSTRAINS

CURRENT DEVELOPMENT POLICY The Local Coastal Program (LCP ) is a policy and regulatory document required by the California Coastal Act that establishes development, land use, development, coastal access ,natural resource protection, as well as public recreation policies for the Venice Coastal Zone.

This project would be one of the first that would be developed under this policy and construction is aimed to start mid 2020 once the policy has been implemented.

As the site can be considered to be a sensitve sight for its close proximity to the sea, it is important to understand and obey constrains set to preserve its relationship with the sea.

[SEC 11,SUB B, Clause 1 &2] SECTION 11: COMMERCIAL AND INDUSTRIAL DESIGN STANDARDS

[SEC 10,SUB H, Clause A&B] SECTION 10: LAND USE AND DEVELOPEMENT REGULATIONS FOR SUBAREAS. H.NORTH VENICE 2. Height a.Venice Coastal Development Projects with a Flat Roof shall not exceed a maximum height of 40 feet; or 45 feet for Venice Coastal Development Projects with Varied Rooflines, provided that any portion of the roof that exceeds 30 feet is set back from the required front yard at least one foot in depth for every foot in height above 30 feet. b. Walk Streets. Not withstanding Paragraph a above, Venice Coastal Development Projects fronting on Walk Streets shall not exceed a maximum height of 38 feet.

This development has complied to the Coastal Act of Los Angles where there is certain clause that are amended to cater for Venice Beach. This policy is set to be realised in year 2020 and will be implemented by the Department of City Planning (LAPD). What set aside this policy is that LAPD has went to tremendous effort to prepare, adopt and certify LCP as the coastal planning tool hand in hand with the input of the public. .

The site is classified under exhibit 3a : North Venice Following are a few important planning constrains that were included in the LPC.

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LOCAL AND FINANCIAL CONTEXT

CONSTRUCTION COST The client for the project is Perry Farrell. He is an American singer-songwriter and musician, best known as the front man for the alternative rock band Jane’s Addiction The ban that he leads was formed on Venice Beach where Farrell resided until 2010. As Farrell had to work hard when his father passed away - living in his car on Venice Beach and made money through construction and waiting tables.

Whilst trying to earn a living, he found his band members and formed Jane’s Addiction. His life turning point happened on this beach and he has developed a sentimental value for the site and wants to support and contribute to Venice Beach Local Coastal Program. His intention is for the building to be a place where art can bring people together forming something unique that will not only enrich Venice Beach as an eccentric beach but also allow patrons on the beach to self-develop and perhaps be life changing just like himself.

Farrell has many visions for the building and would be very much involve in the project. The project would be privately funded by Farrell himself.

As Ferrell had an aim to push Venice Beach to be known worldwide, he held an international wanted to give the opportunity for people not just in Los Angles or America to be a part of the project. The competition was won by a U.K based practice of architects.

BUILDING OPERATION COST

COST PER UNIT/ m2

Steel Frame Structure: Space Roof : Flooring of hall

Interior Cladding :

Exterior Cladding: Back of House

1545m2 1265 mm2 995 m2 1545 m2 1545 m2 540 m2

£ 760/m2 £980/m2 £1876/m2 £ 1200/m2 £1578/m2 £ 2105/m2

CONSTRUCTION COST = £ 1,174,000 = £ 1,339,700 = £ 1,866,620 = £ 1,854,000 = £ 2438,010 = £ 1,140910

Total Construction Cost

=£9,713,240.00

VAT : 20% Construction Costs

=£1,942,648.00

CONTINGENCY : 7% Construction Costs

=£679,926.80

MANAGEMENT CONTRACTOR FEE

Architect 8.8% £90,000 Quantity surveyor 3.5% Structural engineer 4% Environmental engineer 2% Planning Consultant 0.7%

= £ 944,765.12 = £ 339,963.40 =£ 388,529.60 =£ 194,264.80 =£ 67,992.68

TOTAL FEE COST

=£1,935,515.60

VAT: 20% Fee Cost

=£387,103.12

TOTAL BUILDING COST

=£31,958,433.50

The aim of the project is to provide a space and therefore and opprtunity for people to showcase their creativity in art with different formats.

As the project is self funded, there isnt a set organisation that would operate the building when the building is being constructed. However, once the building has been constructed, people can start applying for jobs to manage the building.

During the day, when the space is being used as an art centre, vendors are able to come in to sell their artwork or choose to just display their work. According to what they inded to do with their artwork, they would have to pay an amount as a rent.

When the space is being used as performance centre there would be a fee when one would like to sit in for the performance.

The money generated will go into operating the building ie electricy, water, hiring others to run the building.

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PROCUREMENT ROUTE

There are a few types of contracts that can be chosen from that will determine the client’s contractual relationship. As there are many options including bespoke options, however the main three types of contracts are Traditional, Design and Build and Construction Management. Three of these options are explored and understand deeply in order to choose the best suited contract for this project.

This following diagram outlines the pros and cons of each.

All of the three have distinct focuses for the client: time saving, cost saving, or quality assurance. It is the priority of these elements that determines the contract chosen. Highlight in red are the element that is most at risk in each of these procurements.

As the client, Farrell would like to maintain the quality of the build and construction within a limited time period.

C L I EN T

ARC H ITEC T

DESIGN & BUILD CONTR ACTOR

Q UA N T I T Y S U RVE YO R

CIVIL E N G I N EE R

S ERV I C E EN G I N E ER

Construction Management is the most appropriate procurement type. This allows him to be advised by an American and employ each contractor individually. The project will therefore retain the quality as set out in the UK Architects design and be overseen by the American Architect.

Since he has past experience with construction the main con of this procurement is overwritten.

TIME

S TRUCTURAL EN G I N E E R

G EN ERAL C O N T RACTOR

N O M I N AT ED SUBCO N T RAC TO R

CLIENT’ S ADVISOR

QUANT IT Y SURVEYOR

ARCHI TE CT

QUAN TI TY SURV E YOR

ARCHI TE CT

STRUCTURAL ENGINEER

-Full design documents are produced pre-tender -The design is flexible and variations and instrctions are permitted -Specialist subcontractors can be appointed -Control of the design through the architect -Contractor’s Designed Portion; allows mechanical and electrical engineers to design to their own specifications -Benefits complex projects -Cost risk are mitigated (may be lump sum payment), unless multiple changes are made

SERVIC E ENGINEER

MANGEMENT C ONT RAC TOR

STRUCTURAL ENGINEER SE RV I CE ENGINEER

SUB CON TRAC TOR

SUB CON TRACTOR

SUPPLIER

SUB CON TRACTOR

TIME COST

TRADITIONAL PRO

C LIE N T

CLIENT

QUALITY

TIME

PORCUREMENT CON

-Time is a constraint as full tender package is required -Cost can increase if significant number and amount of changes are made -Incomplete package of drawings could result in delays, and incur further costs and legal action

COST

PRO

QUALITY

QUALITY

CONSTRUCTIO N MANAGMENT

DESIGN & BUILD

-The design and construction stages overlap making it time saving -Lump sum cost payment guarantees maximum price of the project -There is one role responsible for the project -Benefits complex projects -Novation creates competition and improves the quality of the design -The client has the least risk -Named sub-contractors allowing the client to influence the main contractor’s choice of sub-contractors

COST

CON

-The quality of the project is at risk as it is the cheapest route to meet the specifications and often results in poor building quality -The design is not flexible, changes will have a cost and time impact

PRO

-The design and construction stages overlap making it time saving -Complex and specialist projects benefits as packages are individually appointed to the best suited subcontractor -Flexibility in the design as changes can be made during construction however there is an impact on the cost -Potential saving in cost with a competitive tender process -Quality of the project is maintained with each package being subcontracted to the most suited specialist -Suits all building types -Efficient process with the early appointment of a construction manager to oversee the process

CON

-Not suited for an inexperience client as there is a high risk in hiring trade contractors - No fixed cost as the cost is determined per package -Quality diminished if there is a lack of available specialist

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5 ROLE OF ARCHITECT, CONSULTANTS , CONTRACTORS & SUPPLIERS To ensure a project that runs smoothly, each person in the project team have to play their part.It is important to understand the role of each consultant and contractors when the project is on going.

CLIENT The client provides the architect with preliminary statement of Employer’s Requirements, which defines the initial brief, expected outcome of the project and information on construction costs. The client and architect further develop and formulate the Employer’s Requirements which set out the requirements for both programme and design. These are to be used throughout the project and issued to the contractor; therefore it is client’s responsibility to ensure the document is prepared carefully as no changes will be possible once the Design&Build contract is set.

His role in the project is to appoint design team consultants, contractor and COM coordinator. It is client’s responsibility to ensure that COM file is prepared and available for inspection. Due to the chosen procurement routes the client is responsible for decisions and approvals of architect’s and contractor’s production information.

ARCHITECT

CONSTRUCTION MANAGER

The architect as lead designer is appointed under standard RIBA conditions of engagement. His role as a designer and coordinator of the design team starts with the development of the brief with the client, considering the wider impact of the project and his work. The architect is to prepare design and specification information to RIBA Stage 3 followed by a planning permission being granted for the project.

During construction the architect will carry out site inspection and hold meetings with the client and construction manager to reflect on the works carried out in accordance with the construction programme. Post-handover, meetings will be held as per Schedule of Services, to ensure successful operation and management of the building; and to evaluate feedback and consider potential improvements for future expansion of the scheme. .

As the project is procured through the Construction Management method the client employs a Construction Manager early on in the project. The Construction Manager is responsible for advising the client and communicating with the design team as well as consultants and contractors.

SUPPLIERS CONSULTANT The information produced by the architect in terms of design and specification to Stage 3&4 requires an input from consultants and specialist consultants, which are part of the design team. Design team consultants involved in the project, in accordance with RIBA Plan of Work 2013 involve: - Project Lead; - Architect; - Building Services Engineer; - Civil and Structural Engineer; - Acoustic Engineer; - Access Consultant; - Fire Consultant; - Landscape Architect; - Planning Consultant; - Cost Consultant; - Construction Lead; - Contract Administrator

CONTRACTOR The Construction Management procurement route means that the client has a direct relationship with the main contractor, sub-contractors and suppliersThe main contractor will be responsible for the main construction of the project and will be advised by the U.K. and American Architects.

The contractor is selected through tender upon the project is granted planning permission. Potential contractors submit information to be assessed by the client and architect; contractor is selected based on the quality of design proposals balanced against price, but it is essential that the proposals satisfy client’s requirements.

Contractor’s Information must be submitted to the client before going out to tender, this includes: Drawings, details, specifications; Instruction for materials, goods and workmanship.

The contractor does not carry any construction works but manages the project for fee, thus is required to ‘set out, organise, supervise and secure the carrying out and completion of the project through the Works Contractors, who are directly contracted to him. Although the Management Contractor is responsible for operating the terms of the contract, the consequences of any default by a Works Contractor do not fall upon the Management Contractor if he complies with such terms’ (Practice Note - Deciding on the appropriate JCT Contract 2011, p.18).

To ensure the ease of the project, material suppliers need to be located in America countries. This is to be cost efficient at getting materials from other places may be too much of a hassle and might even be more expensive. However, if a suitable supplier cannot be sourced, then international suppliers will have to be considered.

Suppliers should be made aware of the quality standards of the client and be inspected by the American Architects.

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The design team is split into two teams that address different design areas such as structure, interiors, exterior and services. The team will come together to produce a cohesive design.

The Construction Management contract allows the client employ the architects directly to advise on the design of the project.

American Architects American architects need to be hired to carry out the construction process. The architect will be appointed by the client himself. The choice of the American Architect has to be through the recommendations of the UK Architects and Construction Managers. This appointment is important to not only the client but also the architect in UK as it will ensure the quality and time aspect of the project is maintained and the building can be delivered efficiently.

STAGE 2: CONCEPT DESIGN

-The structural design and building service system proposal is reviewed -Basic specifications and cost information is produced -A project strategy in line with the procurement chosen is developed.

-The project brief is reviewed and finalized -Sustainability strategy for the project is prepared -The handover strategies are reviewed.

STAGE 3: DEVELOPEDDESIGN

UK Architects The UK Architect is a large practice of architects used to carrying out international projects. They are not only expertise in this building typology where spaces are flexible and have also design many successful art gallery spaces in London. The firm is technically advance using computer tools and computer aided design to explore the design without being on the site.

The project team dedicated to this project are: 1.

Senior Architect: Oversea the project. Corresponds directly to client and informs Project Manager.

2.

Project Architect: Manages the project and reports to the Senior Architect. In correspond with other consultants.

3.

2 Part 2 Architects: Main designers of the project.

4.

2 Architecture Assistants: Draft plan and make amendments to drawings besides contributing ideas

-As the project is a competition entry, this stage is relatively short as only amendments of the building to suit the clientâ&#x20AC;&#x2122;s desires are to be made.

-The client appoints a Construction Manager -The project aim and intentions are developed.

-The site and proposed project is analyzed once again to understand the constrains or any other parameters to work with outside the competition brief. Feasibility studies is carried out -The initial project brief and budge is developed and iterations are made -Site information is reviewed -Handover strategies are discussed and put out together after determining the project roles and contractual tree.

-A develop design is produced.

-Building services and structural proposals as well as specification will be coordinated with consultants to be updated.

-Cost information and Project Strategies are updated.

-American Architects are appointed by client -American Architects to gain relevant local paperwork -Drawings are submitted to the American Architects to apply for approval for planning permission -Other third-party consultation eg: Geo-Technical Engineer, Surveyor and Structural Engineer is carried out.

STAGE 4: TECHNICAL DRAWING

The procurement chosen would determine the role of an Architect in a project.

As the Construction Management was chosen, the expertise from UK and American can be combines at different stages of the RIBA 2013 Plan op work stages.

STAGE 1: PREFABRICATION & BRIEF

CONTRACTUAL RELATIONSHIP WITH CLIENT

-Once instructed by client, the technical design will be carried out while waiting to gain approval from the Los Angles Planning authorities.

-Drawing packages which includes all architecture structural and building services information is produced.

-Specialist subcontractor design portions are indicated.

-Information on specification is finalized -UK Architects will handover the project to the American Architects.

STAGE 5: CONSTRUCTION

04

3

American architect is to coordinate with Construction Manager on the off-site manufacturing and construction of the project.

The deal with site design quires as they become apparent is resolved.

The sustainability strategy is updated UK Architects have to make strategic site visits to inspect work and construction quality.

CLIENT (PERRY FARREL)

INFORM

UK ARCHITECT

AMERICAN CONSTRUCTION MANAGER

COMMUNICATE

ADVISE

COMMUNICATE

AMERICAN CONSTRUCTION MANAGER

UK ARCHITECT AMERICAN CONSTRUCTION MANAGER

UK CONSULTANT

UK ARCHITECT

ADVISE

COLLABORATE & COORDINATE

UK CONSULTANT

ADVISE

AMERICAN ARCHITECT

ADVISE

COMMUNICATE

HANDOVER STAGE

ADVISE

BRAZIL ARCHITECT

AMERICAN ARCHITECT

UK ARCHITECT AMERICAN CONSTRUCTION MANAGER

BRAZIL ARCHITECT

UK CONSULTANT

UK ARCHITECT AMERICAN CONSTRUCTION MANAGER

COLLABORATE & COORDINATE

UK CONSULTANT ADVISE [IF REQUIRED]

ADVISE COMMUNICATE

BRAZIL ARCHITECT

AMERICAN ARCHITECT ADVISE

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RISK, HEALTH & SAFETY

Every project has an element of risk attached to it. Risk comes in many different forms such as; project risk, environmental risk, business risk and external change risk.

Project risk are events within the project that can impact the delivery of the business outcome. Environmental risk is events that occur outside of the project, but can still impact the project. Business risk effect the outcomes that effect the operation after handover. External change risk is when events outside the scope of the project can have great impact on the project. This can be as extreme as political change within the country influencing project outcomes (Design Buildings, 2017).

RISK & MITIGATION EXCAVATION Risk: Damage to neighbouring properties Mitigation: Geological survery and monitoring Risk: Rock Dust Mitigation: Use dust suppression system, and give workers appropriate PPE Risk: Collaspe of excavation Mitigation: Properly excavate the inspect works

CONSTRUCTION Risk: Personal Injury Mitigation: PPE and correct timing Risk: Crane Collapse Mitigation: Installed and operated by trained persons and have weekly inspections Risk: Falling Building Material Mitigation: PPE and controlled movement of building material, Ensure certified methods of attaching material Risk: Falling Mitigation: Properly fixed ladders and scaffolds with barriers and signs.

Risk: Fire Mitigation: Appropriate types of fire extinguishers and training for staff, flammable materials are stored correctly Risk: Public injury Mitigation: Ensure the site is cordoned off so they can not gain access Risk: Collapse of structure Mitigation: Use trained builders to install structure and inspect work when complete

HEALTH AND SAFETY

Possible health and safety related issues that can occur on site are: Misuse of equipment, Weather causes slippage or bad visibility Fire, Tripping or falling of structure Electrical injury ,Tension cables breaking To prevent accidental injury, anyone within the site boundary (yellow line) must be wearing the following: Hard hat High visibility vest Safety boots Have completed a health and safety induction on the site Work taking place on any level above ground floor without a balustrade must wear harness. Additionally, if workers are at work outside enclosed area at water edge, e.g. working on the pontoon structure or pile foundations, life vests must be worn.

It is important that throughout the entire project the risk management and risk assessment is continuously considered and updated. By doing this, one can possibly eliminate or reduce the effect an unforeseen negative event may have. Ussing CCTV will also help keep the site safe and identify possible before they occur.

Health and Safety precautions on site.

JOLENE HOR VENICE BEACH ART CENTRE DESIGN REALISATION

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