BASIL SPENCE

BASIL SPENCE PROJECT GROUP 18 Karolos Michailidis, Claudia Caneva, Jimena Madera, Vadim ismagilov

“ Humans beings are creators, finding powerful images into the minds of their fellow men.

And all of these images are built of fine particles of thought �.

Roy. H. Williams

INTENT This project is a study of the nature and use of macchines and mecchanisims, natural and man made; in relation to film.

The art of film making was identified as an attempt to capture and reproduce specific elements of the mecchanisms of life with the use of a man made macchine.

In the process of creation, the director has the power to isolate and focus specific elements of the each mecchanism, fragments of the whole composition. Reproducing these elements in isolation, he creates the illusion of a new, single independent system.

Through architectural composition we choose to break off the illusion created by this process, revealing the true nature of the mecchanisms.

1.

2.

3.

4.

BRIEF

1.00- 1.01 1.02- 1.03

Brief Site

SITE ANALYSIS/CONCEPT

2.00- 2.03 2.04- 2.05

Concept Site Analysis

DEVELOPMENT

3.00- 3.01 3.02- 3.08

Journey Composition

PROPOSAL

4.00-4.07 4.01 4.02 4.03 4.04 4.05 4.06 4.07

Plans Site plan Ground floor plan Plan platform (Restaurant) First floor plan Second floor plan Third floor plan Fourth floor plan

4.08-4.13 4.09 4.10 4.11 4.12 4.13

Journey Arrival l0 Platform l1 Small Cinemas l3 Main Cinema l4 Exit Foyer l2

4.14- 4.17 Sections 4.14 Section A-A’ 4.15 Section B-B’ 4.16 Section C-C’ 4.17 Section D-D’ 4.18- 4.19 Elevations 4.18 Elevation North- Elevation West 4.19 Elevation South- Elevation East 4.20-4.26

Visuals

5.

TECTONICS

5.00-5.16 5.01-5.04 5.05-5.08 5.09-5.10 5.11-5.16

Tectonics Structure and Stability Construction sequence Materiality Construction details

6.

ENVIRONMENT

7.

Conclusion

6.01-6.08 6.01 6.02 6.03 6.04 6.05 6.06

Environment Intro Water Power Light Vent. heating/cooling Acoustics

7.01-7.02 Final Crit Evaluation Final model Pictures

0.0

CONTENT

The city of Bristol is situated on the lowest bridging point on the River Avon, 5 miles inwards from the sea. The city took advantage of this geographical position using trade as its main source of income and wealth. Foods and goods would travel form ports in England, Europe and Africa, arriving at Princes Wharf, south of the city centre. This area of the city gained even more popularity with the arrival of the Bristol harbour railway in 1872, the rennovation of the Princess street bridge and the fairbairn steam cranes; all testimonies to the cities growing wealth.

The site was severly bombed in the 1940 blitz and in 1948 a series of projects where set forth in order to rebuild the area.

Today, the docks have been closed and the existing rail tracks are in use only once a year for the city festival, and as a tribute to the cities great history.

Lat. 51°26’50.74’’N Lon. 2°35’57.35’’W

1.0

BRIEF

The site outlined by the project brief spans from the waterfront facing the city centre, back south to Cumberland road, at the edge of the subbarban part of the city. East of the site is the museum of bristol, whose rennovation has been at the centre of major contreversy.

Initial reactions to the site:

Broken connections fragmented site historical layers industrial residue allusions to an important past

1.1

BRIEF

THE SITE

1.2

KEY ELEMENTS

site

ACCESS ROUTES (present)

ACCESS ROUTES (proposed)

Wapping wharf development

site

wharf development

The Wapping Wharf development is aimed at reviving the area spaning beteween the old jail house gates, to the western edge of the site up to wapping road on the east; covering the exiting car park behind the museum of Bristol. The new development will include housing blocks, restaurants, hotels and cafes. The plan also includes a new pedesrian route from Southville to the waterfront and a public square.

Proposed alterations

DESIGN PROPOSAL Institue as the heart of the development

2.

3.

1.

The location of the site encouraged us to make the film institure an integral part of the development. The Wapping Wharf proposal was modified in order to “wrap�around the film institute. the new institute building would be penetrated from the back of the Wharf development and act as a threshold between the back of the development towrds the suburs of Bristol and the waterfront facing the city centre.

1. Entrance from back of Wapping Wharf 2. Entrance from waterfront (city centre) 3. Film institute volume

1.3

site

mecchanism “different elements working together to produce a specific outcome” MACCHINE “a system or device for doing work” •Work- The transfer of energy from one physical system to another, resulting in a change from the initial condition of the bodies.

INPUT PROCESS (work executed on the imput from different parts of the mecchanism)

OUTPUT Aim: Explore the dual nature of each of the elements doing work within the mecchanism •individual function and identity •identity within the composition “ Alone you can do so little; together we can do so much”.

Helkn Keller

2.0

CONCEPT

(depending on its relationship to the other elements)

_____________________________________________________________________________________________________________________________ CODEPENDANCY DUALITY

_____________________________________________________________________________________________________________________________ DOMINO EFFECT

FRAMING

THE BUTTERFLY EFFECT

isolation and focus

“small differences in the initial condition of a dynamical system may produce large variations in the long term behavior of the system”

2.1

CONCEPT

In order to undrstand the nature of the mecchanism it is

decomposed into its separate components a

Journey through the different parts allows to:

•Focus and analyze each element individually •Reveal the relationship between the different parts

2.2

concepts

translation into architecture

DECOMPOSITION AND RECOMOSITION

_____________________________________________________________________________________________________________________________ a. Vertical relation

B. Concave and Convex

C. Dual use

D. Filtering between

E. horizontal relation

2.3

concept

VOLUME The shape gives the building a dominant presence within the urban fabric.

The rigid exterior form acts as a skin, hiding the more complex system inside.

The form is orientated such that it appears to act as a barrier beween the back of the site (Residential suburban area) and the waterfront (looking to the city centre).

Building volume

AXIS

Platform

2.4

The platfrom cuts the building, breaking the boundrary introduced by the new volume and creating a conncetion between the back and the front of the site.

The natural sloping in the site results in an elevated platfrom at the front of the building, which overhangs on the water.

This elevated condition allows for filtering from the west into the semi enclosed sace created between the museum of Bristol,the waterfront and the new building.

SITE ANALYSIS

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Secondary entrance

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Pile foundations

2.5 SITE ANALYSIS

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Primary entrance from piazza

................................................................. ...............................

3.00

Development

EXTERNAL PIAZZA

EXPOSED CIRCULATION

3.01

journey

INTERACTIVE FACADE

EXPOSED ROUTES

COMMUNAL SPACE

FOCUSED CINEMASPACES

COMMUNICATING WIH DIFFERENT SPACES

OPEN FOYER SPACES

3.02

JOURNEY

RELATING SPACES

Communication between spaces The front facade of the cinema opens out revealing views onto the piazza.

The two spaces must work in syncrony to allow for projections take place on both sides of the screen or for an open facade where occupant inside and outside face each other.

3.03

development

amphitheater organic shape contrasts the rigid shape of the building Sloping steps draw people down to face the building facade

3.04

development

Structural cores

Circulation between cores

4 cores Cores are utilised as a base for the composition, acting as a stable basepoint around which develop the individual elements of the composition. As the base of the design, the cores play a key role in the environmental and structural stategy of the building as well as architecturally.

circulation

3.05

Vertical upwards circ.

DEVELOPMENT

Horizontal circulation

Vertical downward circ.

Level 4 Entrance main cinemas

Level 3 Entrance small cinemas

Level 2 Exit cinema rooms

Level 1 offices/platform

Levels The cinemas are placed between the cores and the structure is an exploded in order for each volume to read as an individual element.

Occupants circulate upwards to the cinema spaces between the cores and back down from within the spaces. The side cinemas and the main cinema are accessed from different levels but the occupants are brought together at the communal exit foyer on the second floor.

Level 0 Public space

DEVELOPMENT

3.06

1. east internal

2. west internal

A series of copper fins further define the circulation spaces between the cores. The spacing between each fin is designed in order to allow light to penetrate the spaces, creating unique shadows on each floor. As the occupant rises, gaps in the fin facade allow clear views into the surrounding spaces.

Copper was chosen as the material for its reddish color as well as its chemical properties (copper is a particularly good heat conductor).

The fins play an importanmt role in the environmental stategy of the building. Phase changing material is introduced inside the fins, making the two cores act as “giant radiators�. The material absorbs heat from the surrounding by melting. The heat which is stored inside the fins is then released into the atrium spaces when the spaces become to cold.

3.07

development

l 5 +21.8m roof

int. elevations composition

L 4 +13.8m entrance main cinema L 3 +10.4m entrance cinema east L 2 +7m exit foyer L 1 +3.5m offices

1. east internal

L0 ground floor L 5 +21.8m roof

L 4 +13.8m entrance main cinema

1.

2.

L 3 +10.4m entrance cinema west L 2 +7m exit foyer L 1 +3.5m offices L0 ground floor

2. west internal

3.08

development

PROPOSAL

4.0

4.01

site plan (roof in context) Scale 1/1000 @ A2

B’

A’ D’

C’

C

B A D

Level +0 1. Main entrance 2. Back entrance 3. Reception/ tickets 4. Circulation from exit foyer 5. Circulation to cinemas 6. Fire escape/elavators L2-4 7. Circulation l1 8. Services 9. Meeting rooms 10. Mediateque 11. Cafe 12. Shop

A’ 9.

D’

8.

2.

5.

C’ 9.

7.

12.

4.

5.

10.

6.

3.

1.

6.

C

4.02

11.

plan ground floor

Scale 1/200 @ A2

Level +0 1.Retractable platform 2.Dining Area 3.Bar 4. Kitchen 5. Services

1.

4.

3.

5.

2.

Scale 1/200 @ A2

4.03

plan platform (restaurant)

Level +3.5M 1. Circulation to offices 2. balcony 3. Offices 4. Services 5. Platform for circulation to cinemas 6. Exhibition platform

A’ D’

4..

6.

2.

3.

1.

5.

5.

C

4.04

plan first floor

Scale 1/200 @ A2

C’

LEVEL +7M 1. Exit cinema III 2. Exit cinema I 3.Exit cinema II 4.Common exit foyer 5. Bar 6. Circ. to L0 7. Services 8. Fire escape/elav. L0,3,4 9. Circ. to cinema entance

A’ D’

7..

C’

4.

6.

5.

6.

4.

9.

8.

2.

3.

9.

8.

3.

C 1.

Scale 1/200 @ A2

4.05

plan second floor

Level + 10.4 1. Cinema III (glass facade) 2. Foyer cinema III 3. Cinema I 4. Cinema I internal foyer 5. Services 6. Fire escape/elavators L0,2,4 7. Circulation Main Cinema

A’ 4.

5.

D’

C’ 7.

3.

5.

6.

7.

2.

1.

6.

C

4.06

plan third floor

Scale 1/200 @ A2

LEVEL + 13.8M 1. Circulation to main cinema 2.Main foyer 3. Entarnce main cinema 4. Kids game room 5. Services 6. Fire escape/elav. L0,2,3,

A’ D’

5.

C’

3.

2.

3.

5.

1.

6.

1.

6.

4.

C

Scale 1/200 @ A2

4.07

plan fourth floor

“Architecture exists, like cinema, in the dimension of time and movement. One conceives and reads a building in terms of sequences. To erect a building is to predict and seek effects of contrast and linkage through which one passes…in the continuous shot/sequence that a building is, the architect works with cuts and edit, framings and openings…”

Kester Tauttenbury

4.08

JOURNEY

MEETING ROOMS .......................................................................................................

BACK ENTRANCE ..........................................................................

CAFE AND SHOP

.......................................................................................................

MAIN ENTRANCE

.......................................................................................................

..................

................

.........

....................................................... ....................................... . . . . . . . . . .. ... ... ... .... ... ... ... .

ARRIVAL

..................

People arriving from opposite sides of the city filter into the building from both sides and meet in the central open ground floor atrium.

The cores on each side define two other atrium spaces which can be acessed from the main space.

The ground floor spaces are designe as full high atriums in order to allow the occupants to read the different spaces above as separate elements suspended between teh cores, and witness the occupants circulating between them.

The cafe is positioned in order to open up onto the piazza and share its seating area with the existing cafe of the museum of Bristol.

................................

4.09

ARRIVAL

BACK ENTRANCE; arriving at an elevated level from the back of the site

4.02

PLATFORM

CROSSING THE BUILDING

EXIT WITH ACCESS TO THE PIAZZA

4.10

PLATFORM

FOYER SPACES

......................................................................................................

CIRCULATION IN CORES

.......................................................................................................

cinema rooms

..........

..................

.....................

.........................

II.

I.

Each of the escalators on the ground floor leads to one of the smaller cinema rooms. balconies connect the suspended cinema spaces to the circulation in the cores, allowing the occupants to filter out of the cores through the gaps in the fins and into the cinema rooms.

Cinema Room I. This cinema room is designed as a flexible projection room, with an internal bar/foyer and couches for special evening projections. The large elongated volume is suspended above the exhibition platform.

Cinema II. This second cinema space is characterized by its glass facade. This was designed to create a further connection betwen the interior spaces and the piazza. This space is used for projection but also as extra seating space for the external performances in the piazza.

The foyer balcony proceeding the cinema overlooks the cafe below.

...........................................

4.11

SMALL CINEMA

FOYER SPACES .......................................................................................................

CIRCULATING IN CORES

......................................................................................................

..........................................

...............

...................

......................

..........

.................................................

MAIN CINEMA ROOM The main cinema is situated on the highest level and is placed above the main atrium space. The roofs of the two other cnema rooms are used as foyers for this space.

The main foyer space is over Cinema I, whilst the second foyer space is used as an entertainment/ game room.

The channel glass on the facade of the main foyer opens out allowing views out onto the piazza.The main cinema room is only used for important projections so the floor can closed off when necessary.

main cinema

4.12

exit side cinemas

.......................................................................................................

exit main cinema ......................................................................................................

circulating down to main atrium

....................

...

....................

..........................................................................

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4.13

RESOLUTION

SECTION A-A’

4.14

sections

SECTION B-B’

sections

4.15

SECTION C-C’

4.16

sections

SECTION D-D’

sections

4.17

ELEVATION NORTH (FRONT FACADE)

ELEVATION WEST

4.18

elevations

ELEVATION SOUTH (BACK FACADE)

ELEVATION EAST

elevations

4.19

1. Long perspective section

4.. IInternal 4 nternal v visual isual

2. Internal visual

5.. IInternal 5 nternal v visual isual

3. Short perspective section

6. Internal visual

4.20

visuals

1. Long perspective section

perspective section

4.21

2. Internal visual

4.22

inernal visual

3. Short perspective section

perspective section

4.23

4. Internal visual

4.24

inernal visual

5. Internal visual

6. Internal visual

INTERNAL VISUAL

4.25

A sensible man will remember that the eyes may be confused in two ways - by a change from light to darkness or from darkness to light; and he will recognize that the same thing happens to the soul.

Plato

external visual

4.26

5.00

TECTONICS

GLOBAL STABILITY

PLATFORM AND BALCONIES supported by beams connected to cores and columns

The volumes of the 3 cinemas are suspended above ground level at a height of 10.4m for the two side cinemas and 13.8m for the central cinema room. In order to support these massive volumes, it was necessary to ensure both vertical and horizontal stability of the volumes.

The main structure consits of 4 reinforced concrete cores with steel trusses running between them. A set of columns and beams further support the cinema rooms and circulation platforms between these volumes. On the ground floor, ground beams and pile foundations are used.

CONCRETE CORES

CONCRETE CORES Directionof main trusses CINEMA I Glass facade

CINEMA III main cinema

CINEMA II Luxury

LONG SECTION

SHORT SECTION

In the long section, swaying is resisted predominantly by the concrete cores thanks to the trusses spanning between them. Columns are used to prevent swaying in the cantilevering parts of the structure.

In the short section, swaying is controlled by cross bracing between the columns, roof diaphragm and smaller trusses spanning between the cores.

5.01

global stability

FOUNDATIONS The building is supported by CFA piles of 800mm diameter. They are designed to be end bearing piles only ignoring the cohesion and friction of the adjacent soil. Piles are bored to the depth of the sandstone at about 2025m. Reinforced concrete ground beams interconnect piles to avoid movement from the ground level.

HORIZONTAL STABILITY The lateral stability is ensured by a combination of steel cross bracing and diaphragm acting from the slab at the roof and floor levels.

global stability

5.02

LEVEL 0

LEVEL 1

GROUND FLOOR

3.5m, offices and platform

LEVEL 2 7.0m, exit foyer

5.03

STRUCTURAL PLANS

LEVEL 3

LEVEL 4

10.4M, ENTRENCE CINEMA I AND II

18.5M, ENTRENCE CINEMA III

LEVEL 5 21.8M, ROOF LEVEL

global stability

5.04

I. CORES

II. PRIMARY STRUCTURE 1.

2.

3.

4.

5.

2.

6.

1.

III. CINEMAS

IV. SECONDARY STRUCTURE

3.

1.

3.

5.05

construction sequence

1.

V. EXTERIOR SKIN

I. CORES 1. CONCRETE CORES: c45 concrete, 400mm thickness, durability class xc4 2. TRUSS:1m deep HOWE truss connecting cores, 355x25 top and bottom CHS

II. MAIN STRUCTURE

3.

2.

1.

1. UB 406X178X85 2. UB 914x305x224 3. UB 457x191x161 4. MAIN TRUSS: 2m deep, 406x32CHS top and bottom chord, 244.5x25 diagonal and post members 5. MINOR TRUSS: 1.5m deep, 406x25CHS top and bottom chord, 244.5x25 diagonal and post members 6. PERIMITER COLUMNS: diameter 457, CHS 32

III. CINEMAS 1. CINEMA I ( luxury) 2. CINEMA II ( glass facade) 3. CINEMA III ( Main cinema)

IV. SECONDARY STUCTURE 1. UKPFS 300X100X46,alluminium frame

V. EXTERIOR SKIN 1. CHANNEL GLASS, K-60 pilkington profilit translucent linear channel glazing 2. opaque roor, 200mm concrete slab, 250mm polyfoam insulation 3. photovoltaic pannels, shuco photovoltaic modules2.1x1.2x1m, efficiency 15%

construction sequence

5.06

EAST ELEVATION COMPOSITION A. facade without translucent skin

copper fins

..............................

columns and beams support for translucent facade PANELS

.....................

CINEMA III. Glass facade

..................... cross bracing ..........................

pile foundations

..........................

5.07

construction sequence

A. facade during daytime

B. facade during night time (ground lights highlight facade properties)

construction sequence

5.08

steel roof structure - concrete roof slab - photovoltaic pannels

main facade - translucent channel glass

internal fins - copper

ground floor - clear glass

cinema I - High insulation wall pannels - Clear glass facade

cores - reinforced concrete - Pre- fabricated walls

5.09

materiality

platform - concrete slab - translucent floor section

FACADE Translucent channel glass was chosen as the main facade material.

OKAGEL syste was chosen in order to achieve a U-value of W/m^2K. The system allows large amounts of diffuse daylight to enter the building whilst providing a high degree of insulation and preventing the building from overheating.

- Two layers of channel glass with 60mm nanogel insulation between the pannels.

- Pannels: Pilkington ProfilitTM translucent channel glass, 331x7mm

structure and support - Alluminium frame providing encasing for glazing units - Frame bolted back to 300x100x46PFS sections providing general facade structure

DETAIL CONNECTION BETWEEN PANNELS

DETAIL CONNECTION FACADE- FLOOR SLAB

5.10

materiality

5.11

CONSTRUCTION DETAILS

D1

ROOF DECK

D3 cinema glazed facade

D2

ROOF OF CINEMA

D3

FLOOR DECK

D4 ground floor glass facade

CONSTRUCTION DETAILS

5.12

PLATFORM Section 1!80

5.13

CONSTRUCTION DETAILS

D1 restaurant

D2 platform

D3 platform translucent pannel

CONSTRUCTION DETAILS

5.14

section connection concrete core- translucent facade panels

detail Bolted connection of truss member- column

5.15

CONSTRUCTION DETAILS

detail Roof structure

200mm concrete slab __________________________________________ steel decking __________________________________________

UB 457x191x161 __________________________________________

Roof Truss 406x32CHS 244.5x25 diagonal and post members __________________________________________

CONSTRUCTION DETAILS

5.16

6.00

ENVIRONMENT

KEY FIGURES

In the environmental study of the building, five main principles where employed: i.Conservation – storing energy in the building ii.Recuperation – energy recycling iii.Generation – on-site energy generation

BUILDING U-VALUES

iv.Control – active control systems adjusting building performance

I.

HEATING DEMAND monthly heating demand in kWh ̔ 985 607kWh

II. III. IV. V.

COOLING DEMAND monthly cooling demand in kWh ̔ 133 592kWh

6.01

ENVIRONMENT

I.water Rainwater harvesting will be used to collect and store water in our building. Useful roof area for harvesting is estimated to be 2467 m2. The flat roof has varying pitches sloping towards the inside to the concrete cores where 4 water tanks are located. Average monthly rainfall data for 150 years has been taken to assess the volumes of water that can be collected. Based on these estimates, the rain water collection allows the building to be self-sufficient in terms of water supply. When the harvested water exeeds the building water demands at a particular time, the eccess water will be guttered down to the drainage.

The general efficiency of sanitary equipment is improved by using waterless urinals, low flush toilets and sprinkler taps. cores ........................

water flow ........................ roof plan showing direction of pitch

Void at the back of the cores allows for the lacement of water tanks as well as the pipes for the underfloor cooling system in the cinema rooms

6.02

ENVIRONMENT

II.POWER Entertainment buildings are extremely demanding in electricity consumption. Film projectors, escalators and office equipment require a great deal of energy. To compensate for this energy demand,we have decided to take advantage of the Wapping Wharf masterplan development and the Museum of Bristol, integrating them on the environmental startegy. By shearing resources, we can increase on-site energy generation and produce electricity which can then be distributed throught the whole Princes Wharf district. The aim of the Bristol City Council is to cut electricity demand by 30%. In order to achieve this standard, we cover a total roof area of17060 m2 with photovoltaic pannels. PV modules are designed to be adjustable to increase the electricity output. Assuming PV modules are 15% efficient and generation capacity is 100 kWh/m2, it is possible to receive 204720 kWh per year. If there is an excess electrical power generated it can be fed back to the energy district energy and distributed. The rest of clean, renewable power will be supplied from Bristol Port Wind Park.

PHOTOVOLTAIC PANNEL

6.03

ENVIRONMENT

III.LIGHTING In order to minimize the need for artificial lighting in the main spaces of the building, the facades are composed of translucent glass panels. The building was oriented in order to receive a maximum amount of sunlight in the mian sapces. The goal was to provide a minimum of 5% daylight factor in all areas including circulation zones, offices, cafe, restaurant and educational spaces. This would allow for luminaires to be switched off 67% per cent of the working year, substancially cutting down the electricity requirements. In the smaller foyer spaces proceeding the cinema rooms and the cinema spaces, controlled artificial lighting is necessary to create a smooth transition from the bright central atrium to the dark cinema rooms. Lighting levels are monitored and adjusted by dimming system which further increases energy savings. Manual switching is used in areas where it is viable such as the cafe, restaurant, office spaces and meeting rooms. Luminaire efficacy is taken as 45 luminaire-lumen per circuit-watt to comply with Building Regulations.

RAIN WATER

RAIN WATER

SOLAR ENERGY

NATURAL LIGHT

ARTIFICIAL LIGHT ARTIFICIAL LIGHT

ARTIFICIAL LIGHT

6.04

ENVIRONMENT

IV. VENTILATION To reduce the overall building energy consumption, hybrid ventilation is employed. Cinemas and cinema foyers are mechanically ventilated with under floor displacement ventilation. The main atrium spaces is naturally ventilated and driven by buoyancy stack effect. Three outlets are located on the roof discharging the stale air into the atmosphere.

Critical spaces for ventilation are cinemas. Calculations have been carried out to estimate air flow rates and areas of the ventilation openings. Extract ventilation is provided for sanitary spaces, restaurant, bar and café.

•Displacement ventilation Inside the cinema rooms, air diffusers are mounted underneath the seats and the air supplied is drawn upwards by convection currentnts resulting from the occupants bodies. Air is fed via the ducktwork from air handling units connected to the energy piles. The air handling unit is located within the core and draws air into the main cinema space through ducktwork located within the floor slabs spanning between the cinema room and the cores.

•Natural ventilation Stack effect iakes palce in the atrium spaces thanks to the openings on the ground floor level. Buoyancy is driven by air supply from underfloor ducting. Air is drawn through the thermal labyrinth improving the whole exergy of the systems and resulting in a 1-3C increase in the supply air temperature.

6.05

ENVIRONMENT

v.COOLING/ HEATING •Cooling Geothermal piles are used to provide ground source cooling and heating. The average ground temperature remains constant at 12 C and is utilised during the whole year to meet the peak demands. Six heat exchanger loops are installed into the pile reinforcement cage. Each of the 65, 25 m deep piles can potentially generate up to 170 kW. This is enough to cover the cooling demands for our building during the peak summer days. Similarly, piles can provide heating during winter months. Given that our building structure is utilising piled foundations that reach the ground sandstone layer, it is an excellent opportunity to reduce building energy demand without the need for extra excavations and carbon emissions.

heating pile

--- Ventilation --- Heating

6.06

ENVIRONMENT

•Heating Heating is primarily delivered by CHP units and distributed via underfloor heating to the different spaces. A heat recovery system is integrated into the ventilation of the cinemas. The efficiency of the system is such that 60% of heat is recovered. Air coils are introduced in order to extract heat and feed it back into the heating system. Excess heat is also extracted from the projection rooms and then recovered. 20% of stale air is extracted and 20% of fresh air is added into the system. Heat recovery coils are installed in the Air Handling Unit.

A. COPPER FINS The copper fins cladding the cores encapsulate high crystalline paraffin. This provides additional thermal mass.

I. COPPER FINS (heat storage)

Environment temperature rises

phase changing material melts

DAYTIME

6.07

B. THERMAL MASS Thermal mass from the cores, roof and floor slabs is used to absorb heat in foyers and cinemas spaces during the day and release it during the night hours.

II.COPPER FINS (heat release)

managed temperature remains constant

NIGHTTIME

ENVIRONMENT

Environmental temperature falls

Phase changing material becomes solid

managed temperature remains constant

THERMAL CORE PANEL

ACOUSTICS Acoustic material is applied to ceiling and walls. Upholstered seats also provide acoustic absorption. Appropriate sound insulation between the cinemas is achieved by separating them physically from each other and using high insulation partition construction. This prevents flanking transmission and acts as ‘box in a box’ effect. Anti-vibration mountings have to be installed into the ceilings to prevent sound transmission.

Cinema III has a fully glazed facade behind the screen in order to allow view onto the city of Bristol and the external performance space. Double glazing with 200 mm gap is used for that with sound reduction index of 45 dB.

WALL COMPOSITION 1.

2.

3.

4.

5.

6.

gyproc plasterboard gyframe C stud Splice- 600mmoverlap with 3 gyproc wafer head Insulation Acoustic barce Brace formed from Gypframe fixing channel

ACOUSTIC SUSPENDED CEILING

6.08

ENVIRONMENT

Final Crit Evaluation In the final crit, the design was not recieved by the critters as we had envisioned it. The critics raised a series of different points which forced us to review the design from the start. Returning to our initial concept, we studied each step of the design development in order to draw out a clear narrative for the building. This process allowed us to identify the key spaces in our design and focus on finding ways of explaining their nature as we had immagined it.

The design concept focused on the understanding of individual components of the “macchine� and the relationship between them. The tectonics study of the building was therefore key to the building development. Following the crit, engeneers and Architects worked together to understand key construction details of the design.

CONCLUSION

7.00

“Between transparency and opacity

light and dark,

which is entering a transition between between accidental visions and chosen visions

from movement you walk the path in a straight line leading you to an end, to the entrance, in a sense of comfort between the two pieces, there is an understanding of the vertical condition and it transforms into a horizontal threshold... and what was light ...

now glaze�

“entre la transparencia y la opacidad que entrar sea una transicion entre la luz y la oscuridad, entre la vision indiscriminada y la elccion de la visiones desde el movimiendo caminas por del paseo, en linea recta conduciendote hacia un fin, hasta la entrada, en una sensacion de recogimiento entre las dos piezas, se produce una compresion vertical y una veztraspasas el umbral, se convierte en horizontalidad... y lo que antes era luz...ahora es veladura.�