R O S E A N G L E C O M M U N I T Y C H U R C H D E S I G N R E P O R T L U C Y T A Y L O R
Lucy Taylor
U n iv e r s ity o f Dund e e A R 3 0 0 0 5 I nte g r a te d De s ign 3 Conceiving and Constructing Architecture
Link to YouTube voiceover presentation: https://youtu.be/q0AGs5aushE
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TABLE OF CONTENTS: Part I
4
Introduction
6
Critical Reflection
10
Site Visits
24
Site Analysis
36 Site
42 Brief
48
Precedent Studies
Part II
62
Design Development
102 Technology
116 MP+L
Appendix
130 Between Thinking and Making
132 Drawing to Understand
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Lucy Taylor Part I
INTRODUCTION Fa ith
+
Community
Faith brings communities together. The intention of this project was to create a multi-generational hub to be used by all, nestled into the residential Roseangle area of Dundee. With two primary functions - the church sanctuary and the community hall - this project focuses on the interconnection between these versatile spaces and their various users. The key driver was to create a space that would be used much more than the traditional Sunday service, one which could be constantly full of life, enjoyed by all. The site sits at the base of the narrow, cobbled Westfield Lane – an intimate location which feels safe, quiet, sheltered. The feeling of a change in scale is brought to our attention upon entering the space, where the uniformed timber structure is broken to showcase the high, dramatic, contrasting church roof. Creating an obvious heart to the building. The following report will explore the design decisions made to ensure a safe, welcoming environment was created, as well as the technical aspects integrated within its design, contributing to a multi-generational space which can be enjoyed by all for many years to come.
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Fig.2 Development model showing concept of 2 primary spaces KEY SPACES MASSING MODEL 1:200 ROOF PLAN
P R I M A R Y
/
S E C O N D A R Y
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CRITICAL REFLECTION In tegr a ted
Des ig n
For centuries, churches have been a common place of shared worship for Christian believers around the world. They are safe, sacred spaces which encourage the coming together of community through belief. Traditionally, Christian Churches form a cross in plan – the nave in which seating is positioned either side of the central aisle representing the vertical beam and each transept branching out to form the horizontal element of the cross. This familiar plan can be seen in grand churches such as that of The Notre Dame in Paris.1
Fig.A. Notre Dame Floor Plan
However, modernity has altered the traditional form recognised within places of faith. Spaces such as the Agri Chapel in Japan2 or the San Alberto Magno Chapel in Chile3 are two examples of church sanctuaries within more modernist, cubic settings. This approach to church design creates more freedom, the need for presbyteries, transepts or an ambulatory is exchanged for a much more open and liberated plan. Versatile. These spaces are much wider and less rigid than previously experienced. Movement around the space is less restrictive and the width of the aisle is opened, wider, more space to breathe.
Fig.B. Agri Chapel
Fig.C. San Alberto Magno Chapel
Breath, movement, freedom. In this ever-changing world, versatile spaces are welcomed. Multi-functional places to worship, communicate, play, learn are encouraged in order to ensure buildings are continuously used and enjoyed. Traditionally, churches lay silent until the swelling of a Sunday service. Why design a beautiful space for it to be used one day a week?
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Without community, there is no faith. Taking influence from Alvar Aalto’s Saynatsalo Town Hall, the message of harmony is clear throughout.
Public and private.
Nature and technology.
A place for the community of
Saynatsalo – an industrial Finnish island – to come together through shared space. Surrounding a centralised courtyard, spaces including a library, offices and shop fronts are arranged within the red brick, U-shaped building. This collective orientation of spaces come together through the unified facade, providing a safe home for all those who share it, to enjoy. A strong message of community is encouraged throughout.4
Fig.D. Saynatsalo Town Hall 2nd + 3rd Floor Plans
Seen within my own proposal, the connecting artery is where the main entrance lies. Each key space meanders out from this centralised hub like veins around the building. To the north is the church sanctuary and the south, the community hall. Raised above, the mezzanine café, which overlooks the activity beneath. In clear view of the comings and goings of all users. The centralised connection point encourages the overlap of visitors. With multi-generational design in mind, the space supports and encourages children, parents, elderly visitors to engage in a union of society. Located in a diverse neighbourhood of families, students and the elderly, a multi-generational place of worship was integral to my design. Easily accessible and in a safe and secure site, my proposed community church welcomes all. Inspiration taken from the fine artist, Robert J. Lang, where his detailed works of origami are beautifully folded to produce such sensitive, intricate artworks.5 The lightweight forms created from single sheets of paper seem delicate yet their strength is proven as they hold with no need for glue. Taking precedence from the work of Lang into my design has been conveyed within the roof of my main church sanctuary. The asymmetric folded form has been developed with south light in mind – an opening created for a dramatic skylight in this lantern-like shape.
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Fig.E. Lang’s Geometric Origami
The folded zinc roof sits lightly upon the timber structure beneath. Each face within bounces light in a different direction, brightening the space. Upon entering the main church body, the visitor is lead along a walkway ramped upwards, bringing you higher into the area and ultimately, higher to the heavens. The scale of such space is high and open, fresh air circulating the brightly lit, warm interior. Seating is arranged facing directly south, towards the light. The aisle leading up to the altar is long, spanning corner to corner creating a sense of anticipation. Looking up, the angled roof reaches its peak above the altar, glorifying the priest or spokesperson who addresses the audience beneath. Moving to the opposite side of the building, home to the second key space, being the community hall. A bright and well-ventilated area, with a beautiful towering timber structure above framing the versatile hall. In a similar language to Aalto’s Saynatsalo Town Hall,6 seating is integrated within the timber columns along the longest edges. Allowing for spectators, a waiting area, a seat to tie undone shoelaces or catch your breath. Enough storage and changing branching off from the hall, the space encourages groups of all kinds to come, use and enjoy. After school activities for children such as Scouts or Girl-Guiding. Sporting events such as martial arts or dancing. Lunchtime bowling for an older generation. The space is suited to all – and intends to be used frequently within the area. Each of these key spaces are united by the first-floor café. Designed to encourage friendships from all walks of life. Overlooking the lanes branching off to Seafield and Westfield, activity can be viewed from all angles. A waiting area for parents, an after-church coffee for friends. This open, public space provides a living room for neighbours to come together, host conversations and enjoy. In a world where generations rarely cross paths, Roseangle community church encourages interaction, conversation, friendship. A free, liberated space which can be adapted to suit each individual’s need. Easily accessed and connected with the surrounding main streets, the proposal blends into the existing topography remaining respectful and homely while obtaining drama, awe, excitement.
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FOOTNOTES 1 “Cathedral of Notre Dame, Ile de la Cite, Paris”, RIBA, accessed May 6, 2021, https://www.architecture. com/image-library/RIBApix/image-information/poster/cathedral-of-notre-dame-ile-de-la-cite-paris-planelevations-sections-and-perspectives/post erid/RIBA100874.html 2 “Agri Chapel / Yu Momoeda Architecture Office”, Arch Daily, accessed May 6, 2021, https://www.archdaily. com/884875/agri-chapel-yu-momoeda-architecture-office 3 “San Alberto Magno Chapel / Juan Pavez Aguilar + José Requesens Aldea”, Arch Daily, accessed May 6, 2021, https://www.archdaily.com/642089/san-alberto-magno-chapel-juan-pavez-aguilar-jose-requesensaldea?ad_medium=gallery 4 “SÄYNÄTSALO, FINLAND, 1952”, Eardley Design, accessed May 6, 2021, https://eardleydesign.com/halls/ saynatsalo/ 5 “Robert J. Lang Origami”, accessed May 6, 2021, https://langorigami.com/ 6 “AD Classics: Säynätsalo Town Hall / Alvar Aalto” Arch Daily, accessed May 6, 2021, https://www.archdaily. com/783392/ad-classics-saynatsalo-town-hall-alvar-aalto IMAGES (Figure A) Notre Dame Floor Plan. Chest of Books (online). Available at: https://chestofbooks.com/ architecture/James-Fergusson/Illustrated-Handbook-of-Architecture---Christian-Architecture/535-P.html (accessed 6th May 2021) (Figure B) Agri Chapel. Arch Daily (online). Available at: https://www.archdaily.com/884875/agri-chapelyu-momoeda-architecture-office/5a261b96b22e38ced100007d-agri-chapel-yu-momoeda-architectureoffice-photo?next_project=no (accessed 6th May 2021) (Figure C) San Alberto Magno Chapel. Arch Daily (online). Available at: https://www.archdaily.com/642089/ san-alberto-magno-chapel-juan-pavez-aguilar-jose-requesens-aldea?ad_medium=gallery (accessed 6th May 2021) (Figure D) Saynatsalo Town Hall 2nd + 3rd Floor Plans. Eardley Design (online). Available at: https:// eardleydesign.com/halls/saynatsalo/ (Figure E) Lang’s Geometric Origami. Robert J. Lang (online). Available at: https://langorigami.com/artwork/when-rebecca-met-shuzo-123/
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SITE VISITS
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Fig.3 View down Westfield Lane
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SITE VISIT Immed ia te
Ob s e rv a t io ns
This section explores my opinions on each of the varying sites to contribute towards my final chosen location. PERTH ROAD Travelling West along Perth road we notice the lively street-scape wide roads meet narrow pavements, brushing past other pedestrians on a busy day. Highly populated with shop frontages from Tartan Cafe all the way along to the join of the roads, at Hawkhill. Residential streets branch off, some wide, narrow, one way, steep. The existing Kwik Fit building is met on the south side of Perth Road, with the intimate Westfield Lane snaking down the side of the existing brick wall. WESTFIELD LANE The change in scale from the wide Perth Road to the narrow, cobbled Westfield lane creates a dramatic contrast. This pedestrianised alley faces onto gardens and garages of the houses either side. A beautiful route to travel along with pockets of space finally opening up to the large grassy site and car park at the base of the lane. ROSEANGLE The route of Westfield Lane eventually branches out onto the sloping, cobbled road of Roseangle. A relatively busy street taking the traffic from the parallel streets of roseangle, into the city centre. The street takes you up east, to adjoin with the wider Perth Road. The diagrams on the following page demonstrate the change in scale when travelling along each of the named streets. Each pocket represents the swelling and shrinking of public space, changing the atmosphere experienced by the individual passing through each location.
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PERTH ROAD
WESTFIELD LANE
ROSEANGLE
Fig.4 Pockets of space diagrams
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SITE VISIT Potentia l
Site s
An appraisal of each of the potential sites with a view to my final selection: PERTH ROAD South facing site on a slope, this site faces directly onto Perth Road. To the north is the University Life Sciences building and past that the main road of Hawkhill. The existing site is used as a car park and a place for Community Fridge, a charity fun food bank. + South Facing
- Noisy
+ Wide Site
- Context of university buildings
KWIK FIT Opposite the Community Fridge sits the Kwik Fit garage. Nestled in between Westfield Place and Westfield Lane the side slopes downwards with a North facing frontage. An existing brick wall follows the lane down, covering the whole west side of the site.
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+ Rich context
- Steep slope
+ Potential for Tay views
- Little/no parking
WESTFIELD LANE Tucked away in a residential area at the base of Westfield lane sits the grassy site. With an adjoining car park stemming off from Seafield Road, the site can be accessed from both Perth road by foot or Roseangle by car. Sheltered and safe, the surrounding trees and buildings provide an enclosure for a potential new build. + Quiet + residential
- Narrow site
+ Multiple access routes
- Dense context
ROSEANGLE The final possible site is the most southern of the sites, sitting on the south side of Roseangle next to Dundee Church for the deaf. A large, unused grassy area sits to the south of it, opening up the site. + Great Tay Views
- Steep Slope
+ Large open area to the south
- Noise of cars over cobbles
Figs.5-8 Sketches of each site
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SITE VISIT Chosen
Site
-
We s tfie ld
La ne
I decided upon the Westfield Lane site due to the scale and intimacy of the surroundings. The journey to approach the site from Perth Road is quaint, homely, comfortable as the surrounding houses and gardens give a feeling of safety. The site itself is nestled amongst existing tenements and the existing piece of land sits almost completely unused. My ambition was to create a hub to this diverse community - to allow a chance for each generation to connect in space open to all.
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WESTFIELD LANE SERIAL VISION
Fig.9 Westfield Lane serial vision (North to South)
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Fig.10 Nolli plan of Dundee, highlighting Westfield Lane site
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Figs.11-13 Travelling south from Perth Road south
Fig.14 View of site facing north
Figs.15-17 Travelling south down Westfield Lane
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Fig.18 View of site facing south-west
Fig.19 Travelling south down Westfield Lane
Fig.20 View of site facing north
Fig.21 View of site facing south Fig.22 View of site facing west through tenements
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PRODUCED BY AN AUTODESK STUDENT VERSION
Lucy Taylor
SITE UTODESK STUDENT VERSION
KWIK FIT
PERTH ROAD
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PRODUCED BY AN AUTODESK STUDENT VERSION
RIVER TAY PRODUCED BY AN
ROSEANGLE
Fig.23 Site section through Westfield Lane
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SITE ANALYSIS
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Fig.24 Groupwork - layered cross sections of Westfield Lane
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SITE ANALYSIS W id er
Contex t
DUNDEE UNESCO CITY OF DESIGN In 2014 Dundee was named the first and only UNESCO City of Design in the UK. The city was recognised due to its contributions to medical research, comics, video games and the new V&A, the first design museum in Scotland and only V&A outside of London. Due to the fact Dundee is a vibrant and forward thinking city, I intended to bring this energy forward into my design, creating a dynamic form reflective of the city’s design culture. WATERFRONT The city is currently undergoing a £1 billion development the entire stretch of the waterfront, 8km alongside the River Tay. The project is split into 5 zones; Riverside, Seabraes, The Central Waterfront, City Quay and Dundee Port. This project is being carried out in order to transform the city, improving its business links and travel appeal. The Westfield Lane Site is within 5 minutes walking distance of the waterfront, taking you to the Seabraes area of the redevelopment. LANDMARKS A city with many cultural ties, both new and old. Some key landmarks include the new V&A, Verdant Works, The RRS Discovery and The McManus Galleries. Each of these landmarks are no more than a 20 minute walk from my chosen site in the West End of Dundee.
Fig.25 Waterfront development zones
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McManus Galleries
Chosen Site
V&A Dundee
Verdant Works
RRS Discovery Fig.26 Map highlighting key landmarks
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SITE ANALYSIS Hi story ROADS Between the 80’s and 90’s it can be seen that the main road of Roseangle became more frequently used as it widens to accommodate the busier usage. Westfield Lane, Westfield Place and Seafield Road have remained mostly unchanged over time however a smaller road named ‘Seafield Square’ in the 1860 map was removed in order to build more tenements later on. IMMEDIATE CONTEXT We can see highlighted in red, the development of the Kwik Fit site as well as immediate context surrounding Westfield Lane. The area has become much more populated over the past 160 years to accommodate the growing population in the Roseangle area. GREEN SPACE As time has passed, green space has drastically reduced in the Roseangle area. With Magdalen Green a 5 minute walk away, there isn’t much need for parks or recreational green spaces as there is a huge amount of open, grassy land to the south of the area. Each property still holds onto it’s own garden plot however most large span green space has been used to develop new proposals needed in the area, such as my Community Church.
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Fig.27 Map analysis
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SITE ANALYSIS L o ca l
Chur che s
Fig.28 Map of Roseangle highlighting churches
(From West to East)
Logie and St John’s Cross Church Christian Believers Church of Scotland
St Peter's Free Church Christian Believers Member of Free Church of Scotland Presbyterian Church
Gate Church International Christian Church Focus on Community
St Andrew's Cathedral Catholic Church Mother Church of Diocese of Dunkeld
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LOGIE+ST JOHN’S CROSS CHURCH
ST PETER’S FREE CHURCH
GATE CHURCH INTERNATIONAL
ST ANDREW’S CATHEDRAL
Figs.29-36 Church sketches and massing diagrams
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SITE ANALYSIS Cir cula tion
+
Ac c e s s
CIRCULATION AROUND THE SITE As demonstrated on the diagrams to the right, there are two primary circulation axis’ around the site running from North>South down Westfield Lane and West>East through the tenements of Seafield Road. These are the routes in which pedestrians usually take around the previously unpopulated site. ACCESS AND PARKING The key access route for vehicles is shown with on-street parking available the entire length of Seafield Road. This on-street parking is an addition to the small existing car park which I intend to keep at the south of the site.
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Figs.37-39 Site analysis diagrams
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SITE ANALYSIS S ha do ws
a nd
Wind
SHADOWS + SUN PATH The diagrams shown demonstrate the winter solstice on 21st December at 10am and 2pm as well as the summer solstice on 21st June at 10am and 5pm. This indicates that the surrounding heights of buildings still allow for a large amount of morning and south light to flood into the site. Afternoon light is blocked slightly by the height of the existing tenements to the west. WIND DIRECTION In Dundee, the strongest winds tend to come from a south-west direction. This means that the site is somewhat sheltered as the buildings to the west protect it from the much stronger winds.
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Fig.40 Shadow analysis
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SITE
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1:1250 SITE LOCATION PLAN
Fig.41 Site location plan
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SITE S ite
Stra tegy
The two main roads of Perth Road and Roseangle are the primary arteries in which people will use to access the site. Pedestrians from Perth Road can easily travel south down to the site via Westfield Lane or also through the connecting streets of Seafield Road. Pedestrians and vehicles can access the south via Roseangle from the South when going through Seafield Road. Seafield Road and Westfield Lane are the primary access routes. Other ways of accessing the site come from Bellefield Avenue or Magdalen Place, which pass the local ‘Cherry Blossom Nursery School’ where parents may pick up children before dropping them at the community centre for an after nursery class, for example.
local nursery
Fig.42 Site diagram
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Figs.43-46 Site strategy diagrams
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SITE
Ma teria l
Stud y
By exploring the site further and grouping each material into similar colour ways, it becomes evident that brick work and cobblestones are the most prominent found around the site. Rough textures and mossy materials can also be seen, giving a rich depth of context to the area.
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Fig.47 Material images
This analysis of existing materials helped inform my final choices of materiality which will be used in my building. Brickwork meeting the cobblestone ground was the first decision made before moving onto more detailed materiality choices.
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BRIEF
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Fig.48 Community hall render
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BRIEF Fa ith
The faith brief could be interpreted in a number of different ways, I chose to focus mine around community. Multi-generational use is a driving force of the proposal where a hub for all surrounding neighbours to come together will be created. I developed the brief to include versatile classrooms which could also be used as meeting rooms or studios for various activities. I also adapted the previously listed ‘faith support spaces’ to become the Minister’s office and prayer rooms.
REQUIREMENTS AREA Sacred space
150m2
Prayer rooms
2 @ 18m2
Minister’s office 16m2 Versatile classrooms
2 @ 50m2
Community hall 180m2 Toilets 30m2 Changing 45m2 Storage 25m2 Cafe 80m2 Kitchen 20m2 Caretaker’s office 14m2 Staff office 20m2
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BRIEF
Build ing
Occu pa nc y
Below describes the occupancy load factor of each space and the maximum occupancy capacity within each area of my proposal.
ROOM LOAD FACTOR CAPACITY Sacred space 0.5 300 Prayer rooms 6 3 Minister’s office 6 2 Versatile classrooms 1 50 Community hall 0.5 360 Cafe 1 80 Kitchen 7 11 Caretaker’s office 6 2 Staff office 6 3
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BRIEF
S c hedule
o f
Ac c o mmoda tio n
The interconnection of spaces was well considered around the following key points: • Community hall and church sanctuary at opposite ends of building [to ensure noise didn’t travel from loud sporting activities to peaceful church services, for example] • Immediate connection between main entrance and cafe • Changing directly next to hall • Faith support spaces alongside sanctuary • Cafe next to classrooms [to provide a waiting area for parents, for example] The following diagram highlights the main public spaces in grey. By sketching out the following schedule of accommodation (Fig. 42) , it made the arrangement of spaces much clearer from my initial ideas. Each main space (in grey) are positioned at each side of the building (north/south/east/west) allowing for liberated centralised space for cores and circulation. This helped determine the interconnection of each area of the space in order of hierarchy.
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Fig.49 Schedule of accommodation
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PRECEDENT STUDIES
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Fig.50 Monifieth church sketch
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SAYNATSALO TOWN HALL A lva r
Aa lto
Designed by Alvar Aalto in 1949, the town hall consists of two timber framed brick buildings. Located in a small Finnish farming town, the building creates a centre point to the community. MATERIALITY The glazed ground floor corridor balances the monolithic brick facade and window seats are created around the ground floor level. ELEVATION Contrast is created between the two different elevations which can be witnessed from either within or out with the courtyard. The parti diagram below highlights the highest point of the town hall which seems dramatic compared to the rest of the low lying building. INSPIRATION The use of brick facade was a key driver in the design of my own community church. The window seat detail was another element in which I have developed and used within my design.
Fig.51 Parti diagram representing elevation
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Fig.52 Architect’s section through courtyard
Fig.53 Sketch of elevation through foliage
INTERIOR VIEW: JOURNEY TO CHURCH SANCTUARY
Figs.54-55 INSPIRED BY: SAYNATSALO TOWN HALL, ALVAR AALTO (Left) Development sketch of potential corridor leading up to church (Right) Aalto’s window seats
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THE LARICK CENTRE Co llective
Arc hite c ture
This multi-purpose community centre and cafe in Tayport is single storey and houses many versatile ‘community rooms’ which can be used by various groups for different part time activities. MATERIALITY Clad in a combination of timber and corrugated steel the building creates a contrast between materials in the different segments of the building. THRESHOLD The entranceway is met after timber clad columns lead the visitor towards the front door. This can also be seen along the south side at the cafe which allows for undercover outdoor seating. INSPIRATION The brief timber colonnade as seen at both the entrance and cafe inspired me to create a threshold of columns which wrap around 2 sides of my building, leading up to the main entry point.
Figs.56-58 Personal images of the centre
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T H E L A R I C K C E N T R E CO L L E CT I V E A R C H I T E CT U R E
S I M P L I F I E D
P L A N
Fig.59 Sketch plan analysis
Fig.60 Sketch of entrance
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DRAYTON GREEN CHURCH Pier cy
+
Compa ny
Completed in 2018, this London based church is part of an existing listed building. MATERIALITY Use of brick and standing seam zinc on the exterior is respectful to the existing listed building creating a neutral pallet of materials in which I wish to carry forward into my design. ROOF FORM The interior of the church sanctuary reflects the zig-zag form of roof above. Clad in plywood, the warm interior aids the acoustics within the space. INSPIRATION The folded roof form being made with zinc was something which I took forward into my lantern-shaped church sanctuary roof
Figs.61-63 Architect’s interior images
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Fig.64 Sketch of entrance
Fig.65 Brick and standing seam zinc exterior cladding
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WESTHILL COMMUNITY CHURCH McLea n
Archite c ts
This recently built church on the outskirts of Westhill in Aberdeenshire conveys the key ideas in which I wish for my design to bring to Roseangle. A multi-generational space for all, the church provides a space for faith as well as a cafe, meeting rooms, a nursery, an area for fayres, and so on. Constructed with curved glulam beams and partly clad in zinc, this church demonstrates 2 key forms when approaching the exterior. PLANS The main church sanctuary is a versatile space in itself with movable furniture allowing for it to be used out with the regular Sunday service time. The secondary spaces are grouped to the double storey block allowing for users to travel through the versatile class/meeting rooms without disturbing the church or cafe areas. INTERVIEW After speaking with the community church’s building manager, Hugh Kelly, I was interested to hear how important the need for versatile space was. The journey through the building was also important as the connecting corridor which is flooded with light from the skylights above transports you past the church sanctuary towards the west facing cafe. INSPIRATION
INSPIRED BY: MONIFEITH CHURCH, LEE BOYD
Versatility being the key driver of Westhill’s Community Church, I chose to take this idea forward into my spaces via the flexible class/meeting rooms and church sanctuary.
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Fig.66 Sketch of entrance
ALSO INSPIRED BY: WESTHILL COMMUNITY CHURCH, MCLEAN ARCHITECTS
P R E C E D E N T
N I T Y T S
N T
S T U D Y
C H U R C H
S T U D Y
Figs.67-68 Sketch analysis of plans
I T Y
T
C H U R C H
S T U D Y
Fig.69 Glulam construction
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MONIFIETH CHURCH L ee
Boyd
Completed in August 2019, Monifieth church was the winner of both DIA best use of stone and timber 2019. The site for the project is on the main High Street in Monifieth and intends to increase links with the local community, providing open doors to modern public spaces and facilities. FORM The roof form and south facing triangular skylight is my main inspiration as it liberates all walls within the church sanctuary while letting in a large amount of beautiful south light. This creates an interesting exterior form, luring the public in. FACADE The contrast in materiality is highlighted by a clear datum line separating the large stone work at ground floor level with the more detailed brick work above. This contrast creates a striking composition to the facade. INSPIRATION As mentioned above, the geometric roof form was the main focus of this study as I have taken the unusual form and developed it to suit Roseangle Community Church. Figs.70-71 Architect’s interior images
Figs.72-74 (below) Personal images
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INSPIRED BY: MONIFEITH CHURCH, LEE BOYD
Fig.75 Roof form sketch
EL
ALSO INSPIRED BY: WESTHILL COMMUNITY CHURCH, MCLEAN ARCHITECTS
Fig.76 Sketch facade collage
INSPIRED BY: MONIFEITH CHURCH, LEE BOYD
Fig.77 Sketch section
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CHAPEL OF ST IGNATIUS S teven
Holl
Located as part of Seattle University, the form of the chapel is summarised by the following metaphor “seven bottles of light in a stone box”. FORM The abstracted roof form is home to 7 irregular volumes, letting different kinds of light in at varying times of day. Each of the 7 kinds of light represents part of the Catholic worship, creating a different feeling and atmosphere within the space. MATERIALITY Stereotomic stone base meets the tectonic zinc roof which is curved and folded to wrap around this unique form. The contrast in external materials draws your attention to the mis-match of forms found on the roof. INSPIRATION Moving forward, the use of folded zinc roof will be found within my proposal as the lightweight material will easily clad the asymmetric form of my church sanctuary.
Fig.78 Chapel of St Ignatius
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Fig.79 Sketch of timber battens supporting the curved zinc cladding
Fig.80 Sketch showing the difference in materiality
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Lucy Taylor Part II
DESIGN DEVELOPMENT
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Fig.81 Concept diagram
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DESIGN DEVELOPMENT In itia l
Ma ssin g
The key idea of 2 main spaces: the church sanctuary and community hall has remained constant throughout. Shown are development sketches and models demonstrating the progression of ideas.
Figs.82-84 Initial massing plans + models
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Key ideas: • 2 Key spaces; church (north), community centre (south) • 2 Main axis’, ensuring previously used routes are not cut off • Widen lane along east side of building
Fig.85 Initial 1:500 model
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DESIGN DEVELOPMENT Further
Ma ssing
De v e lo pme nt
Key ideas: • Centralised cafe area • Keep noisy activities to the south • Quiet church and faith spaces to the north, away from any vehicle access • Clearer, separate massing forms from exterior • Asymmetric church roof Things to change: • Group hall and changing together • Create a main entry point
Fig.86 Further development plans
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Figs.87-90 Further development models
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DESIGN DEVELOPMENT Mista k es
to
Le a rn
Fro m
After further development, the form and plans of my space had to be evaluated and adapted to continue. Key points in which needed improving upon were as follows: • Entry into church • Proportions of hall to circulation space • Outdoor space • Roof form
Fig.91 Further development plans
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L S
1 :
S E C T I O N
S K E T C H
D E S I G N
Figs.92-94 Further development model and section
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DESIGN DEVELOPMENT S implifica tion
o f
P la n
Figs.95-97 Simplified plans
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Once the floor plans had been broken down into their key primary, secondary and tertiary elements as well as clarifying the circulation within the space, the key diagram was allowed to be formed. Highlighting the key spaces and the routes around the site. The location of the main entrance was formed at the intersection of circulation routes. This was in the centre of the building and created a point in which all users of each space could interact within.
Fig.98 The key diagram
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DESIGN DEVELOPMENT D ia gra m
Deve lo pme nt
The hierarchy of spaces was adapted into the plans and all secondary
MO
elements grouped together at the building core’s. KEY SPACES MASSING MODEL 1:200 ROOF PLAN
WESTHILL COM PRIMARY
/
SECONDARY
Fig.99 Primary/secondary diagram
The location of building core’s were to be established. The main central staircase sat alongside the lift core in the entrance foyer. Changing and store rooms were also grouped alongside the community hall. A journey leading up to the church was created, with supporting window seats for visitors to sit and wait before a service. This journey up to the church sanctuary space created a sense of drama and anticipation before entering the large, double height space. Voids were also developed over the entry foyer so that visitors noticed the sense of scale when entering the space. This also allows for views up to the cafe mezzanine level, attracting them to travel upstairs for a coffee.
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Fig.100-105 Plan diagrams
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DESIGN DEVELOPMENT Entr a nce
Deve lo pme nt
Creating an obvious entry point off from Westfield Lane proved challenging as the welcoming threshold had to remain respectful to the opposing buildings and gardens. I was determined to keep the entrance in this position as I felt there should be a journey to the main foyer from either the car park or the top of Westfield Lane. The initial idea were the deep window seats to encourage an interactive facade from both inside and out.
Fig.106 Sketch of window seats
Then materiality was tested on the exterior, stone and timber initially then transitioning to red brick.
ENTRANCE THRESHOLD 3D VIEW UP WESTFIELD LANE
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Fig.107 Sketch of entrance threshold
INSPIRED BY: THE LARICK CENTRE, COLLECTIVE ARCHITECTURE
Fig.108 Render of potential entrance
The entrance still needed to be more interactive, obvious and dramatic. I decided to bring the structure out from the building and creating a colonnade. The addition of a fully glazed entry point brings light into the foyer creating a brighter and more airy space. A covered seating area supports conversations between visitors and allows for a waiting area for parents picking up children from after school activities. Giving space back to the public.
Fig.109 Sketch of developed entrance
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Fig.110 Entrance render with stained glass experiment
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DESIGN DEVELOPMENT Further
Develo pme nt
Continuing to develop in section, the space was starting to feel warmer and more realistic. Flat and pitched roofs were being experimented with the addition of skylights. More detail into the construction was being looked at to move forward with a much more finalised design. Though dramatic in height, the double height church and hall spaces were sitting at a similar height to the tall, existing tenements. Creating a proposal which slotted into the existing site comfortably and unobtrusively.
Fig.111 Sectional diagram of key spaces
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Fig.112 Sketch long section
A pitched roof was trialled over the hall space, again to remain respectful to existing buildings. Looking back now, this overcomplicated the overall form which we go on to realise.
1:200 CROSS SECTION
Fig.113 Sketch cross section through hall
1:50 DETAIL S T O N E W A L L A N D F O U N D A T I Oof N
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DESIGN DEVELOPMENT Form
Developme nt
The geometry of the main church body was taken mainly from the Lee Boyd precedent in Monifieth. The south facing triangular skylight sitting at the highest point and the 3 roof planes tapering down to the lowest single storey hight level to create a lantern effect, similar to that of origami which would sit upon the timber frame beneath. The remainder of the building’s form was trialled with both flat and pitched roof’s then a combination of the two. My final proposed form is a fully flat roof surrounding the lantern shaped church to elevate it, bringing it higher to heaven and making it stand out to by-passers, drawing them in.
INSPIRE MONIFEITH CHU
KEY SPACES MASSING MODEL 1:200 ROOF PLAN
ALSO INSP WESTHILL COMMUNITY CHU PRIMARY
/
SECONDARY
3D PROPOSED EXTERNAL VIEW FRONT (EAST) ELEVATION)
Figs.114-116 Various building form experiments
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Fig.117 Form design moves
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DESIGN DEVELOPMENT Roo f
Fo rm
When focusing toward the final geometric, lantern shaped church body, I trialled various forms by sketching, physical modelling then moving onto digital models. Starting with the simple cube shape then cutting the main triangular skylight to the south was my first move. I then tapered the roof down to the opposite corner from the skylight, as to create a funnel like volume when entering the space. The wall to the east had to be angled slightly to mirror the main entranceway to the building. This meant that each roof plane was different which will also effect the internal trusses. I believe my final resolved church form was the most simplified version possible.
The heights are respective to the surrounding tenements
allowing the space to be high and bright with the contrast in scale being felt upon entering the space.
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Fig.118 Church form key stages
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DESIGN DEVELOPMENT Two
Dimensio na l
Ne t
Revisiting the origami artist, Robert J. Lang, I explored the possibilities of roof form via the process of creating a two dimensional net, that when cut-out and folded, created the geometric form of my church sanctuary. I found this experiment useful in developing the scale and proportions of each face of the form.
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Fig.119 Origami inspired church net
An idea in which could be used, would be to create activity sheets for children in the cafe, where they could cut, stick and colour in their very own lantern shaped church.
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DESIGN DEVELOPMENT Fina l
P la ceme nt
In my final arrangement of spaces the ground floor consists of 2 main spaces supported by 3 cores. The church is supported by the prayer rooms and store with a permanent stage facing towards the light. The foyer breaks up the church and community elements with the main staircase leading visitors up to the cafe. There is also a secondary entrance into the foyer from the tenement street to the west. The community hall is positioned nearest the car park and has plenty of storage alongside spacious changing facilities. The core running along the west of the facade is home to offices, a secondary fire stair and the toilets. There is an additional entrance primarily for staff or those accessing the hall for larger sporting events. The first floor is home to the versatile classrooms, cafe, and more toilets which are gender neutral.
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Fig.120 More finalised arrangement
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DESIGN DEVELOPMENT A rchitectur a l
La ng ua g e
Within the space, there is a continuous language of warmth, light and inclusiveness. A datum running throughout both interior and exterior, the ground floor and first floor heights differentiate in both material and purpose. Double height spaces are brighter and lighter above the timber ring beam, creating a contrast, and light, airy space above. Use of timber structure at this height will aid acoustics, reducing echo and absorbing sound. Plywood cladding remaining uniformed throughout the ground floor level maintains the warm, welcoming environment. At first floor level the space is bright and open, lots of glazing allows for the space to feel bigger and more connected with it’s surroundings.
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Fig.121 Long section
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DESIGN DEVELOPMENT Ma teria lity EXTERIOR Trying to keep the pallet of materials to a minimum while keeping the facade dynamic and enticing has resulted in the choice of 3 key materials: Zinc - choice of standing seam zinc roof was because of its long term durability as well as the eco-friendly nature of the product which is fully recyclable. This material lightens over time and is an attractive use of metal cladding. Brick - use of red brick mirrors that of the large span terracotta brick wall further up Westfield Lane, part of the existing Kwik Fit garage. This standardised material creates a thick, stereotomic ground floor level which blends into the surrounding context effortlessly. Glazing - as well as regular double glazed windows, I trialled stained glass windows into the facade of my community church. I experimented by creating a watercolour painting, mimicking that of abstracted stained glass. I liked the results however when paired as a whole facade composition, became cluttered. I chose to leave the stained glass behind to ensure a more simplistic and clear elevation could be seen.
Fig.123 Entrance facade materiality diagram
Fig.122 Watercolour painting of window design
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INTERIOR The intention of creating a contrast from the exterior materials to the internal materials meant that a different choice had to be made. Plywood - by cladding the interior walls in the smooth, light, textured wood it results in a warm and welcoming interior which can be enjoyed by all generations. Glulam - using mass timber in the form of glue laminated beams as a structural support system is a sustainable method, much better for the environment than steel. This type of construction is exposed and compliments the plywood cladding.
Fig.124 Interior render of foyer
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DESIGN DEVELOPMENT Eleva tion
Study
As mentioned in the entrance and materiality pages, the facade has come a long way. These diagrams show the development which led us to our final facade.
Fig.125 Initial facade study
Figs.126-129 Facade development
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Figs.130-131 Further facade development (East, West)
Figs.132-133 Entrance elevation diagrams
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DESIGN DEVELOPMENT Co mmunity
Ha ll
SPATIAL QUALITIES A large span space with the intention of catering to various multi generational activities such as dancing, martial arts, zumba badminton, guirlguiding, scouts, and so on. This meant that a bright, well ventilated space was required to suit some high intensity activities. By using large span glazing between the glulam columns, the first floor level is essentially fully glazed on the longest sides allowing for plenty of light and fresh air. Benches have been built into the longest walls to allow for parents/ grandparents/guardians to watch their children if the class was putting on a show, for example. By cladding the lower level in plywood, a sturdy and uninterrupted wall finish is created meaning that there’s low risk of damage to the interior by any ball sports.
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Fig.134 Hall render
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DESIGN DEVELOPMENT Church
Sa nctua ry
SPATIAL QUALITIES When entering the sanctuary space the sense of scale changes drastically from the previous, low lying corridor on the journey to the space and then the high, dramatic abnormally formed roof takes the viewers breath away. Use of the diagonally facing truss supports the roof planes in the direction of the skylight. The stage has been positioned directly below the sky light as a means of elevating the spokesperson - bringing them higher to god and giving the sense of radiating light. The addition of a ring beam (shown on model image) creates a contrast between the levels, again representing the heavens above.
Fig.135 1:50 Church model
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Fig.136 Technical church section
Fig.137 Illustrated sketch church section
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DESIGN DEVELOPMENT Resolved
Desig n
Through thorough development, we arrive at our final community church proposal. A flat roofed body surrounds the lantern shaped heart to the building. The entrance is met after a colonnade, wrapping round 2 sides of the building. Within, the key spaces are at either side of the building. The centralised foyer is located with a mezzanine level cafe above. Entry points at east, south and west sides of the community church allow for fluid circulation, with the key existing routes remaining accessible.
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Fig.138 Illustrated sketch church section
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DESIGN DEVELOPMENT Resolved
Desig n
Dia g ra ms
Figs.139-141 Elevation diagrams
Our final resolved diagrams are demonstrated above. The internal structure of the timber frame has been demonstrated in elevation through the linear and repetitive facade of columns and glazing. The clear datum throughout separates the materiality of brick and zinc. Large spans of glazing signify the entry point.
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Figs.142-144 Section diagrams
Moving on to the internal diagrams (figs. 142-144). The two key spaces are double height and are positioned at opposite ends of the building. The move of using a datum has also been used internally, separating the different floors and materials with use of a ring beam in double height spaces. The use of plywood ground floor level creates a warm, welcoming atmosphere whilst the white plasterboard first floor makes the space seem higher and brighter.
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TECHNOLOGY
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Fig.145 Structural model
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TECHNOLOGY S tructur e
The flat roof structure operates by a rhythm of repeated glulam beams supported by Douglas Fir columns. This structure is mimicked at a lower level where a canopy extends out from the building with supporting Douglas fir columns to form the exterior colonnade and interactive facade. The flat roof structure continues the entire length of the building, breaking only for the lantern shaped church form. The church roof form is slightly different, still making use of glulam and Douglas fir to form beams and trusses to support the asymmetric roof. The varying height of the roof mean that no two trusses are the same creating a slightly more complex structural strategy which is demonstrated on the models opposite.
Figs.146-147 Structural strategy sketches
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Figs.148-153 Structural model (127-129 with additional roof truss)
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TECHNOLOGY Exter na l
Ma teria lity
The list of materials used and the reasoning behind these decisions are as follows: RED CLAY STRETCHER BOND BRICK Chosen to respect and mimic the existing surroundings, red brick can be found the whole length of Westfield Lane, with the most prominent use being seen on the Kwik Fit building to the north of the lane. This use of material will form a stereotomic base to the building, creating a unified ground floor with a clear language. ZINC CLADDING This lightweight material will be used on the upper floors and roof of the building. Choice of standing seam was due to its flexible qualities, allowing it to fold over my asymmetric roof form. This material is long lasting (around 80-100 years) and extremely durable in all weather conditions making it suitable in the Scottish climate. DOUGLAS FIR COLUMNS Chosen for its strength, Douglas fir is much stronger than the majority of cedar woods. Naturally resistant to rotting, insects and decay - it was the obvious choice for my external columns. The columns are met with a steel footing protecting the base of the column.
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Fig.154 Red brick
Fig.155 Standing seam zinc
Fig.156 Douglas fir
Fig.157 All external materials working together on facade
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TECHNOLOGY In terna l
Ma teria lity
The list of materials used and the reasoning behind these decisions are as follows: PLYWOOD Made with many layers of wood bonded together, plywood is relatively cheap and long lasting. It can be painted to mimic other types of more expensive wood. Douglas fir is the most common type of soft wood used to make plywood, creating a connection between my exterior columns and internal walls. It also provides a warm and welcoming atmosphere creating a comfortable environment to be in. PLASTERBOARD Plasterboard being a cheap and easy way to clad interior walls, was a simple choice for the upper levels of the building where I required a simplistic, white backdrop to the activity going on within. Plasterboards being fully recyclable and easily painted allows for simple upkeep. Using white plaster board on the upper floors and ceiling meant that the space seemed brighter and more open. GLULAM BEAMS As part of the mass timber family, glulam is the future of structural building. With similar structural qualities to steel or concrete but with much lower carbon emissions, this was an obvious choice for the internal structural frame to the building. Keeping the beams exposed across the ceiling created a warmth and connection with the timber used on the ground floor level and the columns seen on the exterior.
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Fig.158 Plywood
Fig.159 Plasterboard
Fig.160 Glulam
Fig.161 All internal materials working together in the community hall
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TECHNOLOGY D eta il
Br ick /Zinc
Fa c a de
When exploring facade and my use of materials I looked further into the connection of each different material build up. As shown on the detail part section, the connections are clear from the ground up detailing all elements of the wall, floor and roof construction.
Fig.162 Part elevation
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Fig.163 Part section
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TECHNOLOGY D eta il
Looking closer into the section details on the previous page, we can look at the build up of a few of the individual elements. TIMBER JOIST ROOF Insulation, DPC and the surface membrane sit upon the timber battens. The internal glulam beams support the roof. At the parapet of the wall sits the zinc capping, sloping downwards slightly, into the roof. This is to ensure rain water drips onto the roof rather than down the side of the building, resulting in long term stains. STRETCHER BOND BRICK CLADDING This traditional form of cladding is tied back to the thermal insulation layer, through the ventilated cavity. The load bearing block-work is the primary structural element which is then joined with timber battens which host the services. The wall is then clad internally with plywood. TIMBER JOIST FLOOR/CONCRETE SLAB FOUNDATION The timber floor sits upon screed which lays upon the timber joists and insulation. The concrete slab foundation is then wrapped in an additional layer of insulation to avoid cold bridging.
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Fig.164 Zinc capped parapet detail
Fig.165 Brick and block work wall detail
Fig.166 Timber joist floor detail
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TECHNOLOGY Envir o nment
The following section looks further into the heating/cooling systems within the building and use of natural and artificial lighting. HEAT I decided to make use of underfloor heating for several reasons: • Liberates wall space, uninterrupted by the alternative of radiators • Quiet • Even temperature distribution • Separated from ventilation, reducing draughts This will prove to be a successful heating method in the larger areas such as the church sanctuary as visitors will be sat at a low level, feeling comfortably warm. VENTILATION Making use of natural ventilation, primarily the stack effect, was a key driver in the positioning of the glazing within my building. The majority of windows can be found at a high level and can be opened for the release of warm air which has risen. In my key space of the church, clerestory glazing has been input for a similar purpose, to remove old, hot air with new fresh air.
Fig.167 Section through cafe showing underfloor heating and natural cooling systems
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LIGHT Whilst designing the spaces, I tried to position each space as to utilise as much natural light as possible. Hall: Glazed on east, south and west sides for maximum natural light at all times of day Foyer: East and west double height glazing allowing for both cross ventilation and bright, natural light at most times of day. Hall: South facing skylight and clerestory glazing on north, east and west sides. Cafe: West facing windows for afternoon sun when the space is at its busiest. East facing light from the foyer void will also flow into the space. Artificial lighting is also implemented in all areas of the building in the form of hanging pendant lights so that the community church can be enjoyably used in the evenings too.
Fig.168 Section through cafe showing west facing natural light
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MP+L
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Fig.169 Conservation area of Dundee
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MP+L
Co ncept
+
D es ig n
PROPOSAL Faith brings communities together. The intention of this project was to create a multi-generational hub to be used by all, nestled into the residential Roseangle area of Dundee. By combining the 2 main elements of both a church and a community centre, the facility is intended to be used by all age groups which already live in this area of West-end Dundee. SITE The Westfield Lane site is situated in the conservation area of WestEnd Dundee, also known as Roseangle. Travelling to the site you notice the heritage, scale and intimacy of the surroundings. This journey from Perth Road feels quaint, homely, comfortable as the surrounding houses and gardens give a feeling of safety. The site itself is nestled amongst existing tenements and the existing piece of land sits almost completely unused. My ambition was to create a hub to this diverse community - to allow a chance for each generation to connect in space open to all while remaining respectful to the rich, existing surroundings.
Figs.170-173 Site strategy diagrams
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CONTEXT + ACCESS The path of Westfield Lane is narrow and enclosed by a series of existing properties, gardens and brick walls. I intend upon keeping all walls with the exception of the most southerly wall as I wish to open up the site. Key routes of access are along the north-south axis from Perth Road down to the site. This route can only be taken by pedestrians however is already popular in leading south from the busy main road. Another main access point is via Seafield Road which leads north from the main road of Roseangle. Cars can also take this route and there is existing parking at the south of the site in which I will keep within my proposal. The final main route of access to the site is the West-East axis which leads visitors through the building to reach Westfield Lane ensuring I haven’t cut off an existing access route. DESIGN SOLUTION My final proposal comprises of the 2 key spaces including both the church sanctuary and community hall. I have developed the form of my church space to include a skylight allowing optimum south light to enter the space even though this space is at the most northerly point of the site. The height of my building has also been taken from the nearby tenements to ensure continuity in the street scape.
Fig.174-177 Site diagrams
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Technica l
Desig n
FIRE The fire safety strategy is simple, with staircases catering to each side of the building - one for the first floor classrooms/meeting rooms to the south and the second for those using the cafe in the centre of the building. The most southerly staircase is in a fire protected core. On the ground floor level there are 5 different fire escape routes, all leading out to areas suitable as an assembly point.
Ground floor plan highlighting stairs and escape routes
11m
11m 16m
20m
5m 17m
Ground floor plan highlighting distance between openings, all 20m or less Figs.178-179 Fire diagrams
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SUSTAINABILITY Making use of mass timber as a construction method is an extremely effective choice in terms of sustainability. Mass Timber is the collective term for the range of engineered wood products that can more accurately be described as solid laminate timber systems. The main Mass Timber systems available include cross laminated timber, glued laminated timber, laminated veneered lumber, dowel laminated timber and nail laminated timber. Mass timber is a renewable material with much lower carbon emissions than that of other building materials such as concrete or steel. It has a high strength to weight ratio and excellent fire performance due to its char layer. It is due to these factors that I have chosen to use glue laminated mass timber as the primary structure for the community hall segment of my building. This allows for high ceiling heights with a wide span, reaching the width of the hall.
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Co sting BUILDING TYPE - Public This community church covers a wide variety of activities for a diverse group of the public. High volumes of people will be using the space all at once. The costing of this building will be MODERATE. SITE + ACCESS - Reasonably Accessible With parking to the south of the site and road access from Seafield Road the site is reasonably accessible for construction vehicles however these roads may prove narrow for certain vehicles. Pedestrian access is widely accessible from all directions. Due to the tight nature of the site with regards to building machinery the overall cost will be MODERATE. STRUCTURE - Glulam Beams/Mass Timber Mass timber has been chosen as large spans can be covered instead of steel, for example, for a much more sustainable option at a relatively LOW cost. TOPOGRAPHY - Flat Site The site is on a very slight slope, changing in 5 metres from the north of the site down to the south. This makes building simple as it can be levelled off easily resulting in a LOW cost. HISTORY - Conservation Area Building on such a sensitive site while paying respect to the existing buildings may result in potentially HIGH costs as the building of the project will need to be carried out carefully, GEOMETRY - Mixed The church sanctuary form is an abnormal shape with a slanted roof. This unusual form will result in HIGH building costs as its complex geometry may prove difficult for contractors. The surrounding flat roofed element to the building will be much LOWER cost as the simple form can be manufactured and built easily and quickly.
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VENTILATION - Natural Making use of clerestory glazing throughout, ventilation will flow naturally throughout the spaces resulting in LOW costs. However, due to high levels of activity in the community hall, mechanical ventilation will be used additionally at a MODERATE cost. HEATING - Underfloor Underfloor heating is relatively energy efficient and can heat large span spaces quickly at a relatively LOW cost. However, installation of the underfloor heating is relatively HIGH but will pay off long term. LIGHTING - Mixed Lots of glazing has been used on each face of the building to provide natural lighting in the day time however as this space is also intended to be used in the evenings when it gets darker, artificial lighting can be seen throughout resulting in MODERATE costs. MATERIALS Glulam - LOW Brick - MODERATE Glazing - HIGH Standing Seam Zinc - HIGH
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Business
Mo de l
THE TEAM ARCHITECT Responsible for the design and planning of the project, the architect must also appoint the planning consultants and construction team while remaining in communication with the client. STRUCTURAL ENGINEER Ensures that the structure in which the architect has designed works and will hold all forces both internally and laterally. Their role can also include making the designed structure more simplified and efficient in terms of both construction and cost. MECHANICAL AND ELECTRICAL ENGINEERS Ensure that all heating and ventilation strategies are working and installed appropriately. Also deal with the lighting strategies and all other services within the building. QUANTITY SURVEYOR Constantly analyses the cost of the project from the design stage and throughout the construction stage to ensure the budget is not exceeded. CONSTRUCTION MANAGER Oversees the team of contractors which the client has helped select alongside the architect. The construction manager directs the team of workers to ensure everything runs smoothly. FIRE ENGINEER The role of the fire engineer is to ensure that all fire rules and regulations are met safely and effectively within the project.
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THE PRACTICE - Private Limited Company LEAD ARCHITECT Also known as the founding director, this architect who started the company will sometimes appoint a board of directors to assist with the running of the PLC. ASSOCIATES Experienced senior architects who often have specialist areas within the company such as landscaping or structure. These architects can oversee projects from beginning to end. ARCHITECT These qualified members of the team will be organised by their senior architects and associates above them in the company. Having completed their part 3, the architect can complete any given project from beginning to end as part of a team. ARCHITECTURAL ASSISTANT Assistants can be either part 1 or 2 graduates from university and are working towards their final RIBA part 3 exam. They complete the slightly more menial of tasks such as model making or cad drawing however are always included in team design meetings and discussions. INTERIOR DESIGNER An optional but useful role to an architectural company, the interior designer specialises in the interior finish and furnishings of the design, making the building ready to use. They will often work directly alongside the architect to ensure the client’s vision is met.
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Hea lth
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Sa fet y
SITE LOCATION + CONSTRUCTION (Diagram A) As mentioned previously, the site has road access from Roseangle via Seafield Road. With parking to the south of the site construction materials can be delivered safely as close to the construction site as possible. This area will be made secured so that so pedestrians nearby aren’t affected during the construction of this project. The diagram highlights the main route which contractors will take to access and park at the site. ASSEMBLY POINTS (Diagram B) In terms of fire health and safety, when evacuating a large group of people there must be an adequately sized area in which those users can safely wait and assemble. Assembly points should be positioned as far away from the building which is equal to twice the height of the overall structure, in my case, around 22 metres. Shown are the allocated assembly points which are each around 25 metres away from the closest set of fire escape doors. BUILDING USE (Section C) Within the building all staircases include handrails which meet regulations as well as the balustrade height at the mezzanine cafe being at the correct level to ensure no children accidentally fall over. I have chosen to for my balustrade to be 950mm high to ensure that when seated, cafe users can safely see over onto the entrance foyer below.
Fig.180 Diagram A
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Fig.181 Diagram B
Fig.182 Section C
CONSTRUCTION DESIGN MANAGEMENT (CDM 2015) The CDM are a set of guidelines set out to ensure the health and safety on site of all scale construction projects - no matter how small. These guidelines are to be followed at all points during the construction, use and maintenance of a project. The rules, roles and responsibilities of both the client and the designer are listed as follows: CLIENT - Clients can be for both domestic and commercial works - At the beginning of any project, the client must first appoint a principle designer to lead the work. - Decides what is to be constructed, when and where - Appoints each different contractor - Provide any pre-construction information they have - Co-operate with anyone involved within the project PRINCIPLE DESIGNER - Once appointed, the designer must ensure they understand the wants of the client clearly - They must risk assess potential health and safety issues and eliminate them - Prepare and modify their design to make them as safe and risk-free as possible - Provide design information - Co-operate with all other members of the design/construction team
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APPENDIX
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Fig.184 Drawing to understand
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BETWEEN THINKING + MAKING Ma teria lity
of
Churc h
Sa nc tua ry
Project carried out using SketchUp and VRay to test and determine the suitability of materials in my key space being the church sanctuary. Floor, roof and wall materials all trialled to find the best combination to move forward with. My final composition included plywood walls, painted timber roof and polished tile floor. The materiality varies in my final design but this task was useful in experimenting with various atmospheres created.
Fig.185 Material Experimentation Grid
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Figs.186-188 Material Experimentation
Figs.189-190 Final Composition
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DRAWING TO UNDERSTAND Trepto w
Cr ema to rium
Group project with Ben Hoskins and Emma Morrison AXEL SCHULTES ARCHITECT Berlin, 1999 The crematorium is raised on a masonry plinth, similar to that of ancient Egyptian temples. Facing east, a promenade of trees leads you up to the space. The symmetrical elevation is met, taking visitors along the central axis into the foyer. Contained within are three chapels surrounding the randomly arranged pillars. The irregular forest of concrete columns, with their capitals of light, support the structure by connecting to the sides of the opening above. The crematorium represents the thin line separating life from death. Nondenominational building layers signify elements which are perceived from material undertones, including water, fire and sand. Columns rise but do not touch the ceiling, leaving natural light to flood in. DISTANT - crematorium cross section INTERMEDIATE - abstracted columns in elevation INTIMATE - cross section of column
(Following Page) Fig.191 Final Group Hand Drawing
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BIBLIOGRAPHY In tro duction Reflection
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Critic a l
Arch Daily “AD Classics: Säynätsalo Town Hall / Alvar Aalto” Accessed May 6, 2021, https://www.archdaily.com/783392/ad-classics-saynatsalotown-hall-alvar-aalto Arch Daily, “Agri Chapel / Yu Momoeda Architecture Office” Accessed May 6, 2021, https://www.archdaily.com/884875/agri-chapel-yumomoeda-architecture-office Arch Daily “San Alberto Magno Chapel / Juan Pavez Aguilar + José Requesens Aldea” Accessed May 6, 2021, https://www.archdaily. com/642089/san-alberto-magno-chapel-juan-pavez-aguilar-joserequesens-aldea?ad_medium=gallery Eardley Design, “SÄYNÄTSALO, FINLAND, 1952” Accessed May 6, 2021, https://eardleydesign.com/halls/saynatsalo/ Lang Origami, “Robert J. Lang Origami” Accessed May 6, 2021, https:// langorigami.com/ RIBA, “Cathedral of Notre Dame, Ile de la Cite, Paris” Accessed May 6, 2021, https://www.architecture.com/image-library/RIBApix/imageinformation/poster/cathedral-of-notre-dame-ile-de-la-cite-paris-planelevations-sections-and-perspectives/posterid/RIBA100874.html
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BIBLIOGRAPHY Boo k s
Ching, Francis DK and Mulville, Mark. European Building Construction Illustrated. Sussex: Wiley, 2014. Deplazes, Andrea. Constructing Architecture: Materials Processes Structures, A Handbook. Fourth Edition. Basel: Birkhauser, 2018. Hertzberger, Herman. Lessons for Students in Architecture. Seventh Edition. Rotterdam: NAI010 Publishers Wilson, Peter. The Modern Timber House in the UK: New Paradigms and Technologies. Edinburgh: Arcamedia, 2017.
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FIGURES LIST Figure 1 (cover page) - Taylor, L. (2021). 1:200 Model Image. PART I Figure 2 - Taylor, L. (2021). Development Model. Figure 3 - Taylor, L. (2021). View Down Westfield Lane. Figure 4 - Taylor, L. (2021). Space Diagrams. Figures 5-8 - Taylor, L. (2021). Site Sketches. Figure 9 - Taylor, L. (2021). Westfield Lane Serial Vision. Figure 10 - Taylor, L. (2021). Nolli Plan Dundee. Figures 11-22 - Taylor, L. (2021). Site Images. Figure 23 - Taylor, L. (2021). Site Section. Figure 24 - Morrison, E. (2020). Layered Cross Sections. Figure 25 - Taylor, L. (2021). Waterfront Digital Sketch. Figure 26 - Taylor, L. (2021). Landmark Map. Figure 27 - Taylor, L. (2021). Map Analysis. Figure 28 - Taylor, L. (2021). Church Map Sketch. Figures 29-36 - Taylor, L. (2021). Digital Sketches. Figures 37-39 - Taylor, L. (2021). Site Diagrams. Figure 40 - Taylor, L. (2021). Shadow Analysis. Figure 41 - Taylor, L. (2021). Location Plan. Figure 41 - Taylor, L. (2021). Site Diagram. Figure 43-46 - Taylor, L. (2021). Site Strategy Diagrams. Figure 47 - Taylor, L. (2021). Material Image Grid. Figure 48 - Taylor, L. (2021). Hall Render. Figure 49 - Taylor, L. (2021). Schedule of Accommodation Sketch. Figure 50 - Taylor, L. (2021). Digital Sketch Collage. Figure 51 - Taylor, L. (2021). Parti Sketch. Figure 52 - Arch Daily, AD Classics: Säynätsalo Town Hall / Alvar Aalto [online]. Available at: https://www. archdaily.com/783392/ad-classics-saynatsalo-town-hall-alvar-aalto [accessed 20/03/2021] Figure 53 - Taylor, L. (2021). Digital Sketch. Figures 54-55 - Taylor, L. (2021). Digital Sketches. Figures 56-58 - Taylor, L. (2021). Personal Images. Figure 59 - Taylor, L. (2021). Digital Sketch.
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Figure 60 - Taylor, L. (2021). Digital Sketch. Figures 61-63 - Arch Daily, Drayton Green Church / Piercy&Company [online]. Available at: https://www. archdaily.com/940883/drayton-green-church-piercy-and-company [accessed 04/03/2021] Figure 64 - Taylor, L. (2021). Digital Sketch Collage. Figure 65 - Arch Daily, Drayton Green Church / Piercy&Company [online]. Available at: https://www.archdaily.com/940883/drayton-green-church-piercy-and-company [accessed 04/03/2021] Figure 66 - Taylor, L. (2021). Digital Sketch. Figures 67-68 - Taylor, L. (2021). Digital Sketches. Figure 69 - Glulam Solutions, Westhill Church [online]. Available at: http://www.glulamsolutions.co.uk/westhill-church-project/ [accessed 01/05/2021] Figures 70-71 - Lee Boyd, Monifeith Church [online]. Available at: https://leeboyd.com/monifeith/ [accessed 20/02/2021] Figures 72-74 - Taylor, L. (2021). Personal Images. Figure 75 - Taylor, L. (2021). Digital Sketch. Figure 76 - Taylor, L. (2021). Digital Sketch Collage. Figure 77 - Taylor, L. (2021). Digital Sketch Section. Figure 78 - Steven Holl Architects, Chapel of St Ignatus [online]. Available at: https://www.stevenholl.com/ projects/st-ignatius-chapel [accessed 08/05/2021] Figure 79+80 - Taylor, L. (2021). Digital Sketches. PART II Figure 81 - Taylor, L. (2021). Sketch Diagram. Figure 82 - Taylor, L. (2021). Sketch. Figure 83-85 - Taylor, L. (2021). 1:500 Model. Figure 86 - Taylor, L. (2021). Sketch. Figures 87-90 - Taylor, L. (2021). 1:500 Model. Figure 91 - Taylor, L. (2021). Sketch. Figure 92-93 - Taylor, L. (2021). 1:200 Model. Figure 94 - Taylor, L. (2021). Digital Sketch. Figures 95-97 - Taylor, L. (2021). Digital Sketches. Figure 98 - Taylor, L. (2021). Sketch Diagram. Figure 99 - Taylor, L. (2021). Diagram. Figures 100-105 - Taylor, L. (2021). Diagrams. Figure 106+107 - Taylor, L. (2021). Digital Sketch. Figure 108 - Taylor, L. (2021). Render.
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Figure 109 - Taylor, L. (2021). Digital Sketch. Figure 110 - Taylor, L. (2021). Entrance Render. Figure 111 - Taylor, L. (2021). Diagram. Figure 112+113 - Taylor, L. (2021). Digital Sketch. Figure 114 - Taylor, L. (2021). Digital Sketch. Figure 115 - Taylor, L. (2021). 1:200 Model. Figure 116 - Taylor, L. (2021). Digital Sketch. Figure 117 - Taylor, L. (2021). Design Moves Sketches. Figure 118 - Taylor, L. (2021). Form Development Digital Models. Figure 119 - Taylor, L. (2021). Net of Church Form. Figure 120 - Taylor, L. (2021). Annotated Plans. Figure 121 - Taylor, L. (2021). Section. Figure 122 - Taylor, L. (2021). Watercolour Painting. Figure 123 - Taylor, L. (2021). Diagram. Figure 124 - Taylor, L. (2021). Render. Figure 125 - Taylor, L. (2021). Elevation. Figures 126-129 - Taylor, L. (2021). Elevations. Figures 130-131 - Taylor, L. (2021). CAD Elevations. Figures 132-133 - Taylor, L. (2021). Diagrams. Figure 134 - Taylor, L. (2021). Render. Figure 135 - Taylor, L. (2021). 1:50 Model. Figure 136 - Taylor, L. (2021). Detail Section. Figure 137 - Taylor, L. (2021). Sketch Section. Figure 138 - Taylor, L. (2021). 1:200 Model. Figures 139-144 - Taylor, L. (2021). Diagrams. Figure 145 - Taylor, L. (2021). 1:100 Model. Figures 146-147 - Taylor, L. (2021). Sketches. Figures 148-153 - Taylor, L. (2021). 1:100 Model Images. Figure 154 - Azutura, Old Red Brick [online]. Available at: https://www.azutura.com/old-red-brick-texturewall-wall-mural-wallpaper [accessed 10/01/2021] Figure 155 - Prefa, Roof Systems [online]. Available at: https://uk.prefa.com/product-catalogue/roof-systems/roof-system-prefalzr/ [accessed 20/01/2021]
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Figure 156 - Lassco, Douglas Fir Board [online]. Available at: https://www.lassco.co.uk/product/new-douglasfir-board/ [accessed 18/02/2021] Figure 157 - Taylor, L. (2021). Render. Figure 158 - Dreamstime, Plywood [online]. Available at: https://www.dreamstime.com/illustration/ birch-plywood-pattern.html [accessed 18/02/2021] Figure 159 - Sketchup Texture Club, Plaster [online]. Available at: https://www.sketchuptextureclub.com/ textures/architecture/plaster/clean-plaster/clean-fine-plaster-pbr-texture-seamless-21679 [accessed 18/02/2021] Figure 160 - Dylan Brown Designs, CLT and Glulam [online]. Available at: http://dylanbrowndesigns.com/ resources/clt-and-glulam-seamless-textures-revit-compatible/ [accessed 18/02/2021] Figure 161 - Taylor, L. (2021). Render. Figure 162 - Taylor, L. (2021). Part Elevation. Figure 163 - Taylor, L. (2021). Part Section. Figure 164 - Taylor, L. (2021). Roof Detail. Figure 165 - Taylor, L. (2021). Wall Detail. Figure 166 - Taylor, L. (2021). Floor Detail. Figure 167+168 - Taylor, L. (2021). Diagrams. Figure 169 - Taylor, L. (2021). Digital Drawing. Figures 170-177 - Taylor, L. (2021). Site Diagrams. Figures 178-180 - Taylor, L. (2021). Fire Diagrams. Figures 181-182 - Taylor, L. (2021). Diagrams. Figure 183 - Taylor, L. (2021). Part Section. Figure 184 - Hoskins, B, Morrison, E, Taylor, L. (2021). Hand Drawing. Figure 185 - Taylor, L. (2021). Material Experimentation Grid. Figures 186-188 - Taylor, L. (2021). Material Renders. Figures 189-190 - Renders. Figure 191 - Hoskins, B, Morrison, E, Taylor, L. (2021). Group Hand Drawing.
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PROFESSIONALS TUTOR Douglas Pearson TECHNOLOGY CONSULTANT James Robertson YEAR LEADER Neil Cruickshank WESTHILL COMMUNITY CHURCH BUILDING MANAGER Hugh Kelly
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