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TA B L E O F CO N T E N T S
list of figures
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reflective statement
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charrette* studio overview
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primer
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staging
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thinking through making week
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realisation and refinement
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bibliography
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*Unfortunately, I wasn’t able to participate in Charrette exhibition due to a visa appointment in Russia.
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LIST OF FIGURES
1 Photo taken by Matthew Margetts 2 Ibid. 3 Utrecht Library /Wiel Arets Architects (2011) Available at:https://www.archdaily.com/136377/utrecht-librarywiel-arets-architects (Accessed on 9 January 2018). 4 Fosters and Partners, Stansted Airport (1991) Available at https://www. fosterandpartners.com/projects/ stansted-airport/ (Accessed on 11 January 2018). 5 Hedrich-Blessing, Detroit: The Invisible Content of a Photograph (2012). Available at: https://www.cca. qc.ca/en/issues/9/let-us-assure-you/1591/ detroit-theinvisible-content-of-a-photograph (Accessed on 10 January 2018). 6 Image from ARC3013
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R E F L E C T I V E S TAT E M E N T
This time last year we were about to submit dissertation proposals and were just putting together the last bits of the portfolios. And here I am, a moment later, writing this statement. This year became one big experiment that revealed my deepest aspirations about architecture. I won’t deny that the studio choice had been spontaneous. Well, that’s what I thought. Being always keen on atmosphere, poetics and experience in architecture, my best move, I decided, would be to go for a complete opposite narrative. Focused on infrastructure, flexibility and interaction, Culture and Legacy widened my idea of what our society needs and what are our opportunities as architects. Mags and Cara are both continuous flux of thought, which is sometimes overwhelming, but always inspiring. Moreover, the contrast of characters in the studio was fascinating (both personality and work-wise). Such diversity of minds and approaches have made me find answers to the questions I didn’t even know I had. Looking back at it, I couldn’t wish for better people to spend my year with. My graduation project’s narrative was inspired by the colossal amount of time spent on the dissertation. In particular, the concept of non-place. Being a constant traveler myself, I understand the importance of places of transition. And, although it is a subjective feeling, it made me wonder, how can I lead more thoughtful design of these places? For me, it wasn’t about manifesting the importance of non-place through a dazzling building. Alternatively, conversations and reading have led me to pay attention to detail of our day to day experience. It made me realise that comfortable place is designed simply through applying common sense to our everyday: eliminate the steps where people are carrying heavy bags, design distinct signage around the building and provide enough seats. I must be
socially and culturally responsible for my decisions. Stokeon-Trent is Flâneur’s home and it is my ambition to help calm its chaotic experience of travelling. I believe that such small steps can lead to a bigger contribution to a quality of life. Although design was the most enjoyable thing to do this year, other modules had a vital impact on both the forming of my project and my aspirations as an architect. The Theory into Practice essay made me once again reevaluate why am I doing what I am doing. Architecture used to be my raison d’être this whole year, although I get more and more excited about design in its broader definition. My hope for the next year is to get experience in both architecture and other design-based profession, such as editorial or graphic design.This will both broaden my knowledge and satisfy my craving for something new. I spent a large part of the year wondering what I am doing, what we are all doing. I looked forward to the end of it thinking that it would uncover some large part of my life and everything would suddenly take its place. Now, when I got there, there is no there. Although it made me realise that despite all the stress I did not let the thought or the fear of the future obscure the joy of the present moment. University have made me who I am. I came to the realisation that each year at the university became a fundamental test of my love of architecture. I would have lied if I said there weren’t moments of self-pity distributed throughout these years, but, after all, I had the time of my life.
‘THE VOYAGE OF DISCOVERY IS NOT IN SEEKING NEW LANDSCAPES BUT IN HAVING NEW EYES.’
Marcel Proust
CULTURE. LEGACY. CHANGE. TIME. CONNECTION. ENGAGEMENT. INTERACTION. NETWORK. FLEXIBILITY. PERMANENCE. INTERCHANGEABILITY.
C U LT U R E A N D L E G AC Y
The studio themes are built upon various aspects of culture, such as change, flexibility, interaction. Over the year we expored how architects can lead more interchangeable and engaging design, that would serve its home for a long time. Starting from small exercises, reading and case studies, over the year each of us gained a deeper understanding of what culture and legacy truly mean and interpreted that in their graduation project. Heartfelt thank you to Mags and Cara for their inspiration, support and unstoppable stream of ideas.
PRIMER
DISMANTLING OBJECT
One of our first tasks of the year was to buy a mechanical item and explore the themes of assemblage, interface and mediation through taking a mechanism apart. The object was to be bigger than a watch, but smaller than a suitcase, portable and have some sort of moving parts. I chose a Sony Cassette Corder - TCM - S65.
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MAPPING
As an introduction to the graduation project we thoroughly researched two cities of potential sites: Stoke-on-Trent and Sunderland. In a week, more than 30 maps of tangible and intangible information were produced. Starting with maps of rivers and roads and ending up with food traditions and local pubs and clubs, we looked at it culture with fresh eyes and started considering whichever city would be more appropriate for our project narrative.
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PH YSI C A L A N D C U LT U R A L M A P S
Pubs / Bars Clubs
pubs & clubs
parking
food
music
monuments / memorials
cycle routes
community centres
sport
theatres
cinema
retail
bus routes
education
rail
libraries
Pubs / Bars Clubs
pubs & clubs
parking
food
music
monuments / memorials
cycle routes
community centres
sport
theatres
cinema
retail
bus routes
education
rail
libraries
I N TA N G I B L E M A P S
food
pubs & clubs
monuments / memorials
retail
greenery
tourism
cinema
community centres
food
pubs & clubs
monuments / memorials
retail
greenery
tourism
cinema
community centres
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tourism grad project site location
cycle routes grad project site location
roads grad project site location
river, canals, main motorway A500 grad project site location
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CO N T R A P T I O N
After analysing a large amount of data and building our first impression about Stoke-on-Trent and Sunderland, we moved to a closer scale and looked at stories and legends of those cities. Together, we analysed it according to the key themes of the studio. Using the knowledge we gained from the dismantle exercise and mapping, each of us then designed a moveable contraption that portrayed the main idea of a particular story. Interactive and engaging, they not only became a part of a unique exhibition, but also suggested what might be interesting to expore in the grad project.
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“WE DO NOT STOP PLAYING BECAUSE WE GROW OLD, WE GROW OLD BECAUSE WE STOP PLAYING.” Benjamin Franklin
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R E TA L I AT I O N
FADE
D I F F E R E N T I AT I O N
IMMERSIVE
IDENTIT Y
D E C AY
REFUGE
CO N S E Q U E N C E
ANARCHIC
FLO W
RESCUE
DISRUPTION
PERCEPTION
SPE C TAC L E
ILLUSION
MOTION
SUSPENSE
C E N T R I PE TA L
HARMONY
I L LU M I N AT I O N
RECIPROCAL
BALANCE
FOCUS
CO N S T R U C T I O N
IDENTIT Y
RE-INVENTION
DESTRUCTION
CO M M U N I T Y
LUNAR
NET WORK
POLLUTION
E XCHANGE
CO N C E A L E D
ENTROPY
INVENTION
H E R I TA G E
C AU S AT I O N
I N D U S T R I A L I S AT I O N
REBELLION
CO N S E Q U E N T I A L
TRADITION
CO M M O D I T Y
UNEXPECTED
SUSPICION
LEARNING
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MESSAGE IN A BOT TLE
Message in a Bottle is a game based on simultaneous construction / deconstruction.The concept comes from a story from Sunderland, which is famous for ship building. There is a theory that citizens who were building ships during the day were dismantling them at night for their own profit. Therefore, the saying appeared ‘we make ‘em an’ they take ‘em’ and a person from the Sunderland area is sometimes colloquially known as a Mackem.
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CO N C E P T M O D E L S
My first model aimed to indicate the idea of a grid to only enable restricted movement of the interactive elements, such as handles. In the next one I tested how manageable the handles would be when using wiremesh.
1 Key: 1 - player 1 / 2 player 1 is constructing 3 cubes one on top of the other to get 3 ships in a row. 2nd player is doing the same with cubes that have a car on it 2 - slopped platforms enable cubes to slide to either of the sides 3 - holes in the jar, where cubes are falling in the process of building 4 - 6 cubes are in the game
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The goal of the game is to be the first player to build a cube tower with 3 signs in a row. If you do you win. One player is constructing, while another is deconstruction and trying to build his own tower.
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In the process of the game, cubes fall out from the jar and return back to the players.To start a new game, the cubes must be dropped back into the jar through the opening at the top.
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FIELD TRIP
With our studio we visited Hull, winner of City of Culture 2017 and two cities in the Netherlands: Rotterdam and Delft. As a studio we achieved a good balance between tours and educating building visits and wondering around the cities, which is also an essential part of an experience. Looking back at it now, I realise that unconsciously I adopted some ideas found in the buildings we visited in my graduation project. Moreover, this week showed the diversity of characters in our studio and how these influenced our design approach. Spending time with members of our studio outside of the studio itself enabled me to understand their designs from a more personal perspective.
Rotterdam Centraal Station Architects: Jan Benthem, Adriaan Geuze, Marcel Blom, Jeroen van Schooten Year: 2014 A spacious central station provides a beautiful arrival for travellers and makes the experience of movement more enjoyable. The geometry is designed in a way that the eye smoothly transits from one element to another.
Erasmus Bridge Architect: Ben Van Berkel Year: 1996
De Rotterdam Architects: OMA Year: 2013
I have always found bridge design fascinating in terms of the interplay between aesthetic and engineering. When walking from a distance, Erasmus bridge reminds of a very elegant, lightweight structure. Although getting closer to it reveals the monumentality of its concrete support. Despite the striking geometry of the bridge itself I explored accesses to it, how inviting they are and how they relate to its context.
I found the interior of De Rotterdam even more impressive than its monumental appearance from the outside. It reminded me of a futuristic films where the infrastructure of a whole city is fitted in a shell of an enormous and powerful building. Open circulation and intersection of spaces inspired me to interconnect spaces in my design. Such approach would enable a long horizontal perspective through the building volume and would empower the concept of movement in my design.
Markthal Architects: MVRDV Year: 2014
Mariakapel Architects: Kraaijvanger Architects, Chris Knol Year: built in 14th century, reconstructed in 2014
Cube House Architect: Piet Blom Year: 1977
Kunsthal Architect: Rem Koolhaas Year: 1992
TU Delft Library Architects: Mecanoo Year: 2010
Markthal is the first MVRDV project I got to visit. I found most exciting the scale and multifunctionality of the building. Market hall and the apartment building are blended in a way that they are adjacent to each other but are at the same time very separate. I was so intrigued by the residential experience that I sneaked in to one of the apartment blocks. Taking inspiration from MVRDV, it is my ambition to integrate design and artistic experience into ideas that could transform society.
Although the chapel is a smaller scale building compared others we visited, it is arguable that the same amount of thought was put to its design. Each element of the bulilding is fundamental. The serene atmosphere inside made me realise how rare one can experience this silence in day to day experience. Creating a calm and contemplative space became one of the main aspirations for my design project.
Looking at it now, I understand that Cube house was a hell ahead of the time it was built. I found its eccentric geometry very playful and the building itself becomes a bright yellow splash in the desaturated residential architecture in Rotterdam. However, it is questionable whether the inhabitation of the space is as exciting as the look of it. Being a rectangle lover myself, I might find it challenging to live there, but who knows.
It was very interesting to visit one of the first OMA projects. Primarily I focused on the level of consideration of detailing and materials in the building. Each door or handrail exceed its conventional function and become a significant design element. Such meticulous planning illustrates that every experience can be beautifully designed and that taking care of small things like hand rails adds a whole new level of complexity to a design.
This building was exceptional in the case of my expectations. Not that I was expecting something bad, I did not know what to expect. Hidden in the hill, the interior reveals itself as one spacious coworking space. One of the features I noticed is that the silence enhanced my experience and let me concentrate on what I see and touch rather than on what I hear. The monumental cone in the middle of the space adds to the atmosphere of the space.
BK City Architects: Fokkema, Braaksma & Roos, Kossman.dejong, Octatube, MVRDV Year: 2009 BK City is a exceptional example of the transformation of a nearly 100 year old building into a contemporary and bright infrastructure. I was stunned by the complexity of space orientation and also how the building design complements the life that’s lived there. We were all thrown into a world of creativity and making. It was like moving through a showroom of what life is like for an architectural student.
STAGING
STOKE - ON-TRENT
Stoke was new to me as a place, however my unfamiliarity with local traditions allowed me to see Stoke’s architectural culture with fresh eyes. The chosen site is located on the interchange of transport paths, however it lacked a distinct point where travellers could change between transport modes. Instead, the fact that the site is so connected to the three main transport networks warranted a gentrification of, what is now, an inefficient and undesirable space. Therefore, designing a transport hub was quite an obvious decision to make in terms of area’s needs. Although, the idea poses some challenges. Transport and space are not always collaborators. Although increasing mobility and intense use of spaces of transition such as train stations, airports or bus terminals proves that transport and space will be intimately intertwined in the future. In my design such collaboration is not only important, but inevitable.
The main focus is on translating these needs into an expressive, responsive building that would establish a strong connection between the place and the user. Although there are some outstanding examples of impressive transport hubs such as Oculus in New York or Kings Cross in London, it is evident that most spaces composed by extreme forms of modernity are designed around the interest in consumerism and are almost stressful to be in. This poses a challenge to design a zen space that would become a moment of quiet and slow down the chaotic travelling experience. My hope for the building is to become a tranquil space for contemplation in a world of whistling images, to let anyone who comes across it to pause and feel some kind of harmony in them and think about where they are in their lives.
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LEFT: EXISTING WAREHOUSE TOP: CAR PARK ON THE SITE
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access The site has only two points of pedestrian and transport accesses, as it is obstructed by the warehouse and the canal.
sun path 16:56:03 - longest day 7:33:41 - shortest day1
warehouse
noise The main noise sources are the A500 and the trains passing. The building, however, is going to be well acoustically insulated in order to achieve an effect of alienation.
railway station 6600 daily arrivals and departures 13% visitors stay overnight 36% most dominant group - adult couples 8% new visitors 92% repeat visitors Stoke-on-Trent railway station is a mainline railway station serving the city of Stoke-on-Trent. It lies on the Stafford to Manchester branch of the West Coast Main Line. The station is adjacent to the canal and the A500.
canal The canal, historically, was the life blood of the city, facilitating the transportation, primarily, of raw materials with which to produce pottery.
a500 36000 vehicles per hour - busiest period 1200 vehicles per hour - quietest period
1 - Stoke-on-Trent Railway Station 2 - Staffordshire University 3 - Existing warehouse 4 - Stoke-on-Trent 6th form College 5 - Stoke-on-Trent City Council
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NON-PL ACE
‘If a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place’1. Globalisation and urbanisation are creating ever more ‘non-places’ - anonymous, homogenised spaces where we spend so much of our time, in ‘a world, surrendered to solitary individuality, to the fleeting, the temporary and the ephemeral’2. My design, influenced by the concept of flâneur3 and psychogeography4, explores the passage of time, identity and alienation in ‘non-places’.
1 Mark Augé, Non-Places, an Introduction to Supermodernity, (Brooklyn:Verso, 2006), p.10. 2 Ibid. 3 Flâneur - a French term meaning ‘stroller’ or ‘loafer’ used by nineteenth-century French poet Charles Baudelaire to identify an observer of modern urban life 4 Psychogeography describes the effect of a geographical location on the emotions and behaviour of individuals.
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places significant places that enable human interaction: 2 libraries, 1 cinema, 12 restaurants and pubs, 7 community centres, 8 retail facilities.
non-places Diagram shows concentration of non-places such as car-parks, green spaces (not to confuse with parks) and empty streets.
movement by foot rail traffic
proposal The building will sit on the intersection of transport and pedestrian movements. It will both create a beautiful arrival experience and become a destination rather than a place of transition.
INITIAL IDEAS
Constantly changing life-styles provoke architecture to be flexible and create a framework for the future activity. This design aimed to create a beautiful contemplative transition from train station to canal level, which will be filled with life during the City of Culture year, and other cultural events in Stoke. Inspired by the concept of non-place, it will encourage architects to explore various forms of soft control over the space and to work with contingency. Using a minimum of strict devices in the building I want to create a flexible platform that could be easily adopted for cultural or commercial use.
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MASSING
I explored various forms whereby changing the arrangement of main functional spaces. Earlier concepts were rather spread on a side or built up. Ultimately, I decided to locate the main void of the building below the site level, as shown on the next page. A series of diagrams illustrate the interaction between the design of key parts and their possible arrangements at the early stage of the design development.
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INITIAL PLANS AND SECTION
Located in a short distance from transport networks and city centre, the building is comprised of multiple voids and functions: public and private. A low entrance intends to evoke a sense of compression to make the sensation of movement in the larger space even more dramatic. Floating voids of the interior space are composed with black concrete panels with imprinted texture on it. They seem to float like black storm clouds throughout the space. The function of movement toward it or through it. Movement is as powerful as the building, if not even more so.The building takes care of the arrival experience of both pedestrians and drivers. Instead of driving into the side or a garage - the car park is a part of the design, creating an impression of a car showroom within the building. Upon entry to the building, the user is confronted with the infrastructure of spaces in one large void. Inviting staircases usher one down to explore. The building facilitates 200 parking spaces, 500 seats, 10 rooms for medium or long stay and an multifunctional space that could be converted into an auditorium or an event space. A matte black colour dominates the interior spaces that are designed for contemplation and rest, while lighter colours designate circulation and movement.
Journey maps illustrate different routes for users depending on how long they are staying for.
short term: coffee break before a meeting medium term: half a day stay long term: overnight or a couple of days stay
Level interaction enables all the services to be visible from almost any location within the building.
floor -2 - 6000 m (canal level) ground floor 0 (train station level) floor -1 -3000
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PRECEDENT
Utrecht University Library Architect:Wiel Arets Architects Location: Utrecht,The Netherlands Area: 36250 m2
The library appears in this context as a solid composition of volumes, which show on the facade a play of alternating transparent and opaque panels. They are blurred by a repeated texture, printed on the glass and carved in relief on the black concrete panels. Utrecht University Library has inspired me to adopt concrete construction with imprinted texture on it, enhancing its sculptural qualities and tactile experience of the building. Moreover, one of the key spaces in my building is a coworking space, designed to create a comfortable and flexible working environment for students, professionals and travellers.
REUSING EXISTING INFRASTRUCTURE
After exploring ways to adopt the existing warehouse structure into my design, I decided to demolish most sections of the building, retaining the steel truss structural grid. Potentially, the 6m high void could be filled with temporary structures (CLT construction) for the City of CultureYear and other cultural events.The diagram on the right shows the use of the steel-truss grid, incorporating platforms, circulation links and voids that enable various programmes to occur. Service distribution systems in Stansted Airport are contained within the 'trunks' of the structural 'trees' that rise from the undercroft through the concourse floor. Similarly, in the warehouse truss structure I want to incorporate columns that would also hold the majority of required services for future events. (next spread).
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AT M OSPH E R E : WA R E H O U SE
Refurbishment of the warehouse building would enable its re-use to establish a strong connection between the existing structure and new building through material use. I am going to integrate the warehouse skin and body into my design concept. The steel truss structure and the roof are going to become a shell with a grid of steel supports that could potentially hold temporary CLT modules and platforms for the future events. I believe that such a form of soft control over the space will really help to push Stoke artists’ imagination and creativity and create beautiful interventions, exhibitions and markets in that place. I don’t intend to separate the 6m height into two levels, as I would like to keep the industrial character and scale of the space.
ATMOSPHERE: CITY OF CULTURE YEAR
ATMOSPHERE: 5 YEARS AFTER CITY OF CULTURE YEAR
MASSING MODEL
My design process is normally built upon particular atmospheres and spaces that I then link together as a whole. Although, such approach is dangerous because I tend to focus too much on the design of an individual space rather than the whole experience. Therefore, this time using walls and platforms as two main elements I experimented with 1:500 scale massing models. I mainly focused on the potential accesses to the building and the movement through it. This exercise enabled the evaluation of which space orientation works the best for which spaces. Moreover, working at such small scale allowed me to only focus on the basic shapes and routes rather than thinking about the details of each space.
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CO U R T YA R D CO N C E P T M O D E L
Although I have started designing from a smaller scale, there were some key ideas that I needed to test in a larger model. In the courtyard, for example, I intended to create a visitor experience of restorative contemplation, in contrast to the active environment outside of the space. However, the area and juxtaposition of architectural elements must enable arrangement of temporary exhibitions or markets. It was inspired by MoMA Sculpture Garden, which is one of my favourite spots in New York City. In comparison to High Line, which becomes more and more crowded, MoMA sculpture garden is quiet and serene place.
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THINKING THROUGH MAKING WEEK
In Thinking Through Making week, I explored the hierarchy of structures in my building. The building’s narrative is serene and quiet space that could also be easily filled with life and activity. As my first ever cast, I decided to experiment with textures and the colour of concrete in my initial model. Taking inspiration from Utrecht University Library, I imprinted floral pattern on some of the models’ facades.
The second model became a more precise representation of the initial idea. A concrete frame structure creates multidimensionality and at the same time allows all the other elements of the building, including visitors to pop out and be appreciated.
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REALISATION AND REFINEMENT
SKETCHING IS A WAY TO RECORD THE OUTCOME OF A PROCESS THAT HAS ALREADY TAKEN PLACE.
Shirt Kuramata
Draft elevation 0
10m
Draft section 0
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L ANDSCAPE PROPOSAL
It was essential to consider not only the movement through the building but also the movement towards it. Therefore, I am suggesting a landscape proposal for the site surrounding the hub. The main route from the train station is directed by concrete tiles that reduce in scale closer to the building. Such effect catches one’s attention the moment he or she leaves the platform. However, the layout of spaces allows one to walk straight to the destination or wander around.
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T R A I N S TAT I O N
T R A I N S TAT I O N C A R PA R K
E X I S T I N G WA R E H O U S E
CANAL
A500
L ANDSCAPE PROPOSAL
Bicycle racks purposefully do not align with the tile grid, but are arranged diagonally towards the building entrance.
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ATMOSPHERE IS AN EXCLUSIVE QUALITY, DIFFICULT TO ANATOMISE AND OFTEN MORE EASILY IDENTIFIED IN ITS ABSENCE Alison Morris
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Ground floor 1 - entrance 2 - end of trip facilities 3 - lockers 4 - reception 5 - events hall 6 - courtyard 7 - WC 8 - plantroom 9 - water taxi pick-up point
A spacious entrance hall creates a focal point in the building. The layout creates long perspective throughout the building and takes advantage of orientation.The design has been driven by the maximum openness of the interior. right: the view from one of the entrances towards reception.
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1st floor 11 - co-working 12 - lounge 13 - cafe 14 - cafe 15 - terrace
Precise interior design creates a sense of flow through the building. Windows become the transition element and create a feeling of continuity between exterior and interior. right: view from the second entrance.
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C I T Y OF CULTURE YEAR
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SECTION
One of the most significant features of the building is its adaptability to almost any sorts of cultural events. Two sections illustrate the contrast between completely uninhabited environment and one of the CIty of Culture festival days. next page: renders illustrate alternative uses of the space.
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MOVEMENT DIAGR AM
I am not certain who exactly will use the building. However I evaluated three key groups of users and showed their potential flow: city of culture visitors, students and daily commuters. As well as the movement, the image quite clearly show the entrances to the building. Moreover, I made a physical model relating to the diagram to make it easier to understand.
visitor of CIty of Culture event student daily commuter
PHYSICAL MODEL
Modelling is one of my favourite things to do. It doesnt take much brainpower but at the same time a good model can explain the idea better than a dozen drawings. The final model is 1:100 scale. This size allowed me to show enough detail of both the interior and the exterior spaces. To make it more interactive, the model comes apart into 3 sections. The cuts were made specifically in places that provide a better perspective view.
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T E C TO N I C I N T E G R AT I O N
1 roof roof beam steel tension cable in Ă˜ 116 mm tube steel tension cable in Ă˜ 91 mm tube lateral tension-cable anchor lateral reinforced concrete slab steel tension cable in 73 mm tube 2 column 200 mm diametre centrifugal concrete fixed column Free standing concrete columns manufactured whereby the spun technology. I chose spun columns to enable slim columnsection for a given loading condition. They are designed to resist not only gravity loads from the building structure but also wind force arising from the road side. 3 exterior wall
5 existing warehouse floor composite concrete floor 6 existing warehouse floor steel column structure of the existing building 7 exterior wall 200 mm reinforced concrete slab vapour barrier 130 mm thermal insulation with vertical battens 50 mm acoustic insulation with horizontal battens 20 mm concrete finish
9 ground floor 10 mm screed 35 mm calcium sulphate panel* 130 mm cavity with underfloor air distribution 45 mm in-situ scrid with inlaid underfloor heating pipes 120 mm rigid foam thermal insulation DPM 300 mm concrete 6 mm polythelene under the slab Although not regulation-required 100 mm rigid foam thermal insulation under the slab
8 intermediate floor 10 mm concrete finish 50 mm reinf. screed, polythene sep. layer underfloor heating in 50 mm dry constr. system 10 mm footstep sound insulation, 200 mm reinforced concrete 10 mm screed
400 mm reinforced concrete slab 4 top floor 200 mm concrete slab vapour barrier 120 mm rigid foam thermal insulation 20 mm service cavity 40mm acoustic insulation 20 mm concrete finish
ARCHITECTURE PORTFOLIO
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photovoltaics
louvre vents
Photovoltaic cells provide energy to power some elements of the building
Louvre ventilation facilitates the release of hot air via convection
deciduous trees
mechanical windows
off-grid water treatment
thermal mass
Deciduous trees would provide shade during summer and will lose their leaves in winter , allowing the sunlight to penetrate the building
Electrically controlled windows facilitate crossventilation through internal flexible spaces
Sewage water collected is dispersed to leach drains and surrounding green space
Concrete floor structure allows large thermal mass to maintain constant temperature during the day
cross-ventilation
car recharge
Mechanical windows on western and eastern sides capture prevailing wind to provide passive cooling and cross ventilation
Car solar recharge points are supplied by energy collected from photovoltaic.
insulated roof panel
end of trip facilities End of trip facilities would encourage staff and users to use sustainable transport
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