Rethink Sustainability Ambition by Y.Chen

MArch Stage6 NEWCASTLE UNIVERSITY ARC8083 2021 - 2022

- Yuan Chen 190496272 -1-

CONTENTS

Thesis Outline

Research of Sainsbury Center

Main Problem and Thesis

Proposal

Realization of Norman Foster

Active Strategies Passive Strategies ARB Criteria Bibliography Critical Reflection

35 57 65

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THESIS OUTLINE INTRODUCTION An undeniable reality is that buildings all over the world have possibility to be placed in a continuous cultural system, which is the common result of society, culture and politics. Our Studio interested in questioning and challenging the perspective and methodology of conser vation of existing buildings and heritage. We regard these existing buildings or heritag e as a process under a system and then make a new understanding of its significance whether it is expansion, continuation or reconstruction. Norman Foster (Manchester, 1935) is one of the most famous and influential architects in the United Kingdom. Through the research of Norman Fosters’ ideas and works, we inspired to focus on an existing building by Foster –either a new building or an intervention upon an

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(ARC8064)

The aim of the thesis ( WHAT) One of the interesting things from Norman Foster is that he focused on exploring sustainable building in an early age. When he was a student, he was trained to be sensitive to how the environment and building interacted. Since the concept of ecological building was first proposed in 1960, ‘Green building’ or the word -- ‘SUSTAINABLE’ becoming one of the heating issue debated all around the world. However, Green buildings with ‘sustainable’ label always hardly deserve its name. This result always cause by “law of unintended consequences”---- Due to other unexpected interactions, what is gained in one field will be lost elsewhere. As Banham pointed out in his 1984 book, the creation of buildings cannot be divided into two intellectually independent parts - structure and mechanical services, in which architects design the form of structure and leave mechanical considerations to engineers and experts. It is not enough for architects to add technology and services afterwards to create "habitable conditions". They must deal with these buildings according to their environmental background in order to create a reasonable internal environment. Similarly, buildings separated from the environment and surrounding things also appeared in the 20th century. The problem still exist.

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The aim of my thesis is trying to challenge the existing paradoxical sustainable ambitions in the so call ‘sustainable’ buildings. And then, re-exploring the relationships between ecology and buildings. I take Sainsbury center as the research object of Foster's building of my choice. Sainsbury center is one of the representative works of Norman Foster's concept of sustainable architecture,opened to public in 1978. The Sainsbury Centre is an art gallery and museum located on the campus of the University of East Anglia, Norwich, England. However, the reality of ‘sustainable’ is not the same as the vision in this building. The loss of the internal environment and the preservation conditions of the collection are not suitable enough.

The way seek to deal with it in design (HOW) The research of climate of the site and the microclimate within and around the buildings is important. In consideration of the unsustainable issue are often hidden behind sustainable labels and reputation of a building, revealing the paradoxical ambitions in the building is the first step to do. Build a zero carbon museum to reveal the differences between the old and new concepts of sustainable development

The Reasons why this is something important to for the area of inquiry you have chosen to work on according to the given brief (WHY) Building zero carbon buildings is the general trend in the world. The zero carbon Museum has re established people's understanding of ecology. Ecolog y is an unavoidable topics in preser vation. Experimental Preservation pays particular attention to the ongoing discussions on heritage, conservation and ecology. It explores tools for working in historical structure and the renovation, expansion and reuse of existing buildings from contemporary architectural methods. Heritage is understood as the most sustainable building resource because it allows us to make full use of existing buildings and sites through protection and reuse them in an everchanging process to meet current needs. In order to better preserve heritage buildings and make buildings adapt to landscape, ecology and surroundings, it is an essential condition

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Research of Sainsbury Center

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NORMAN FOSTER

Early Research - From Group Work Alvar Aalto

Increasing international interest about environmental issues in around early 1960s Human Needs

Metro Bilbao: Otl Aicher

Louis Khan

Natural Light

Social Background

Rachel Carson - Silent Spring [Book] Built an awareness of the fragility of the planet

Intereted about Environment

Art/ Artist

Human

Whole Earth Catalogue [Book] Disseminated the first image of earth from afar

Collaboration Project Samuel Beckett Theatre (Unbuilt Project)

SUSTAINABILITY

Geodesic Dome

Buckminster Fuller

“Everything inspires me, Sometimes I think I see things others don't

TECHNOLOGY/ ENGINEERING

Inspiration(s)/Motivation(s)

Intereted about Engineer-ing

Past/ Histroy

'Doing the most with least' The relationship between weight, energy and performance

Father’s Job

Science Fiction Comic/ Novel/ Film Aircraft

The physical environment that he grew up : Histroaical buildings surrounded

Historial Construction/Tradition

The Story of Site / Context

Fusion

Anthony Hunt High - Tech Engineer

Le Corbusier & Frank Lloyd Wright - Towards A New Architecture [Book] : The juxtaposition of timeless buildings from the past next to the aircraft and hydroplanes of the time (The fusion of different worlds)

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NORMAN FOSTER Early Research

1970s

American architect Ian McHarg wrote the book "Design Integrates Nature", which marked the official birth of ecological architecture.

1960s

American architect Paul Soleri proposed a new concept of ecological architecture.

The energy crisis caused various building energy-saving technologies such as solar energy, geothermal energy, and wind energy to emerge, and energy-saving buildings became the forerunner of building development.

the World Conservation Organization put forward the slogan "sustainable development" for the first time. At the same time, the energy-saving building system was gradually improved, and it was widely used in developed countries such as Germany, Britain, France and Canada.

Green Building Development VS

Norman Foster's Career The world's first green building standard was released in the UK.

1980

1960

1963

1966

1969

1972

1975

1978

Buckminster Fuller visited Sainsbury Center & Questioned: How much the building weigh

Before 1972

1980

1981

1984

After 1972 Met Fuller

1987

1990

1993

Interested in sustainability

Sainsbury Center Constructed Before 1972, Nor man Forster completed his underg raduate deg ree at the Architecture School of Manchester University, and his master's deg ree at Architecture School of Yale University. During this period, Norman Foster also worked in different fir ms. Nor man Foster completed the study of orthodox Architectural Education and cultivated his own attitude towards architecture.

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In 1972, Norman Foster met one of the most important people in his life - Buckminster Fuller. They became very important partners in life. After a journey of visiting Norman Foster's buildings, Fuller asked Foster a question: How much does your building weight? This question shocked Norman Foster and aroused Norman Foster's thinking. Foster became more determined to practice and explore sustainability in architecture.

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Foster has been very concerned about the environment since he was a student. Whether it is new buildings or building renovation, he applied his concept of sustainable architecture to the design. The principle of sustainable d e s i g n h ave a l way s b e e n i n t e g r a t e d w i t h p r a c t i c e.

NORMAN FOSTER Early Research

The Architecture of the Well - tempered Environment The Architecture of the Well-Tempered Environment is a book to discuss architectural history through the study of mechanical environmental controls and their subsequent manifestation in the design of a building in the very early era. Banham states that the creation of buildings cannot be divided into two intellectually separate parts – structures and mechanical services, where architects design the structure’s form leaving mechanical considerations for engineers and specialists. It is not enough for architects to add technology and services to create "livable conditions" afterwards. They must deal with these problems according to their environmental background in order to create a good environment. The book questioned the modernist experimental approach of the 1960s, this method has been strongly supported by technological prog ress, but it ignores the basic requirements of light, ventilation and temperature regulation. It points out the defects in the architectural discourse at that time and urg es people to retur n to the str ucture adapted to their living environment (literally). Over reliance on updated technology to cover up the shortcomings of the building, leaving the mild environment behind.

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SAINSBURY CENTER

A building designed by Norman Foster

Sainsbury center is one of the representative works of Norman Foster's concept of sustainable architecture,The Sainsbury Centre is an art gallery and museum located on the campus of the University of East Anglia, Norwich, England. The building, which contains a collection of world art, was one of the first major public buildings to be designed by the architects Norman Foster and Wendy Cheesman, completed in 1978. The building became grade II* listed in December 2012.

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SAINSBURY CENTER Sainsbury Structure

According to Chris Abel, the building exemplifies Foster's early work of "a regular structure embracing all functions within a single, flexible enclosure, or 'universal space'" where "the design is all about allowing for change, internally and externally.".Similarly, Norman Foster also wants to implement his concept of sustainability in this building. Double skin structure has become an important means to solve these problems. The adjustable doublelayer skin structure can not only plug in small service functions to create a free exhibition space, but also has the function of adjusting internal temperature, sunshine and ventilation in Norman Foster's concept, but also achieves the purpose of energy saving by relying on artificial equipment.

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SAINSBURY CENTER

LOCATION The building is located in the area where most of the buildings of the Campus of the University of East Anglia, but in particular is further from the center since i t wa s i n t r o d u c e d a t o n e e n d t o t h e S o u t h we s t C a m p u s. It is accessed in two ways, one at g round level along the streets that cross inside the campus alongside one of the facades of the building and the other way is a high pedestrian b r i d g e t h a t c o n n e c t s t h i s b u i l d i n g w i t h o t h e r c a m p u s. T h e U n ive r s i t y i s l o c a t e d o n t h e o u t s k i r t s o f t h e c i t y o f Norwich, in a completely r ural environment is not disturbed by the urban area as this has a very low density with an air of ancient settlement. The building of the Centre for Visual Arts is in an elevated area on campus that gives this spacious and open visual orientation is also looking at the Lake University, this gives added value to the magnificent views of this building..

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SAINSBURY CENTER

Weather in Norwich & Topography of UEA

TEMPERATURE(℃)

20° high

high temperature low temperature

18°

15°

TEMPERATURE(℃) temperature low temperature

21°

9°

7°

2°

3°

Jan

Feb

Mar

7°

9°

AVERAGE RAINFALL(mm)

14°

11° 11° 5°

8°

13° 20°

13°

May

Jun 11°

5°

Jul

13°

5°

18°

Aug 13°

8°

21°

15°

Apr 11°

10°

11°

Sep

14°

Oct

11°

8°

Nov 10°

3°

Dec 8°

8° 5°

2°

3°

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Nov

Dec

40.2

42.1

40.1

45.3

47.3

50.6

56.7

64.5

54.8

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Nov

Dec

40.2

42.1

40.1

45.3

47.3

50.6

56.7

64.5

54.8

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Nov

Dec

3°

AVERAGE RAINFALL(mm)

52.6

Jan 52.6

Jan

Feb

Norfolk has fascinating weather, not least because of its larg e coastline. It is a rather dry county, with so much of the rain passing across to the hills 'out west'. I n f a c t t h e r e i s q u i t e a N W- S E r a i n f a l l g r a d i e n t i n t h e c o u n t y, with the Fakenham area of nor th west Norfolk being the wettest. In winter and early spring, a cold nor therly airstream over the Nor th Sea can bring heavy and prolonged snow showers, especially to exposed coasts.

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SAINSBURY CENTER Campus Climate Temperature

An urban heat island is a metropolitan area which is significantly warmer than its surrounding rural areas. University of East Angelia is located on the edge of Norwich City. From a small scale, Sainsbury Cneter just at the junction between cities and villages, and climate change is in a very delicate position.

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SAINSBURY CENTER Campus Climate - Investigation

35% 52%

Averages of the 10 points from both locations compared against each other shows the air is significantly more humid on the field compared to central campus.

Map of average wind speed at each point shows higher values on the field

The field study area (blue) and the campus study area (red)

The purpose of this survey is to understand the urban microclimate change of the whole UEA campus and to assess whether there is a significant relationship between temperature, wind speed and humidity and the infrastructure distribution of the whole campus. This study is related to urban heat island (UHI) and urban microclimate theory. Relative ground temperature (right) follows a similar pattern to local air temperature (left), showing increased heat in many locations within central campus as compared to the sports field.

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https://storymaps.arcgis.com/stories/0de547438d6d4799a84012baaed9b57f

SAINSBURY CENTER Campus Climate - Conclusion

LOWER

HIGHER

Humidity

LOWER

HIGHER

Wind Speed

HIGHER

LOWER

Temperature GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

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SAINSBURY CENTER

Temperature and humidity in Sainsbury Center

T h e t wo s p a c e s a l s o s h ow a l a r g e t e m p e r a t u r e a n d humidity difference because of their distance from the glass door. Indoor temperature and humidity often change dramatically due to factors such as light and external surrounding materials, which is more intense in summer. G r o u n d p l a n o f t h e S C VA . I n t h e t e x t , t h e s p a c e from the Special Exhibition Area to the Mezzanine Galler y is loosely refer redto as ’the g aller y'.

‘GALLERY

Summer temperature profiles in the Special Exhibition Area (similar situation in Living Area)

Phased Conclusion

Winter temperature profiles in the Living and Special Exhibition

Winter relative humidity profiles in the Living and Special

Summer relative humidity profiles in the Living Area

A period of time on one of the days of a particular season

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In general, it is not particularly suitable for the preser vation conditions of the collection, especially in the living area, the temperature and humidity fluctuation range is too large, and there is a gap between the temperature and humidity of the standard collection.

Source : P. BRIMBLECOMBE1*, N. BLADES1,7, D. CAMUFFO2, G. STURARO3, A. VALENTINO3, K. GYSELS4(1999), The Indoor Environment of a Modern Museum Building,The Sainsbury Centre for Visual Arts, Norwich, UK

TEMPERATURE(℃)

20°

21°

20° 13°

21°

13°

SAINSBURY CENTER 15°

high temperature

9°

11°

Climate comparison 11° low high temperature temperature low temperature

15° 8°

11°

18°

13°

18° 11°

7°

7° 2°

9° 3°

5°

Jan

Feb

Mar 3°

Apr 5°

May

Jun

Jul

Aug

Sep

2°

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

11°

14° 10° 14° 8°

11°

10° 5°

Best Storage Cimate for Collection 2°

TEMPERATURE(℃)

Jan

8°

5°

8° 3° 3°

Sainsbury Center Temperature and Humidity Summer Survey

TEMPERATURE(℃) 30℃

Main Exhibition Space

14-28℃ 18-24℃

30℃ 20℃

8°

18-24℃ 14-28℃

16-20℃ 18-24℃ 16-20℃

20℃ 10℃

16-20℃

18-24℃

10℃

Metal

Wood

Ceramic

Paper

Leather

Fabric

Metal

Wood

Ceramic

Paper

Leather

Fabric

HUMIDITY(%) HUMIDITY(%) 60 60 50 50 40

40-50%

50-60%

60-65%

50-65%

60-65%

50-65%

40-50%

‘Gallery'

Metal

Wood

Ceramic

Paper

Leather

Fabric

Metal

Wood

Ceramic

Paper

Leather

Fabric

Plan of the spatial distribution of (a) temperature, (b) relative humidity and (c) specific humidity in the gallery (summer)

Winter Survey

Main types of collections owned by Sainsbury Center

T he standard of temperature and humidity in the museum collection warehouse has been proved by the obser vation and test of protection and scientific research workers for a long time. The standard values of air temperature and relative humidity in the museum warehouse should be: the temperature is 15-25 centigrade, and the relative humidity is 54-56%. In addition to the above requirements, there shall also be certain restrictions on the daily change of temperature and humidity in the warehouse. It is usually stipulated that the daily variation range of temperature is 2-5 centig rade, and the daily variation range of relative humidity is 3-5%.

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Plan of the spatial distribution of (a) temperature, (b) relative humidity and (c) specific humidity in the gallery (winter) -19Source : P. BRIMBLECOMBE1*, N. BLADES1,7, D. CAMUFFO2, G. STURARO3, A. VALENTINO3, K. GYSELS4(1999), The Indoor Environment of a Modern Museum Building,The Sainsbury Centre for Visual Arts, Norwich, UK

SAINSBURY CENTER

Structure Analysis - Structure Problem in detail Interchangeable vacuum formed aluminum panels grazed & solid Sollar control aluminum louvres Handrail (aisle) Access for tuning lighting

Tuneable aluminum louvres

Artificial light

From Different Report of Sainsbury Center - The Reason of the 'unsustainable' micro-climate Thermal Water/Rain Light

Air disturbution zone

Aluminum panels

1 . S C VA c o v e r s a b o u t 2 5 0 0 r e l a t i v e l y s m a l l p a n e l s. S o m e a r e g l a z e d , b u t a l t h o u g h m o s t a r e insulated, they are affected by ther mal bridging; Tuneable aluminum louvres

2 . B e t we e n t h e p a n e l s a r e a b o u t 8 0 0 0 m e t e r s o f non insulated neoprene (synthetic r ubber) gaskets; Neoprene gaskets also act as drains and suffer leakage; 3. Glass headwalls are not insulated, although they only account for about 6.5% of the outer surface area; 4. At both ends of the building, the structure is exposed around the glass, and the panel installed between str uctural members has poor insulation and poor sealing. The net effect is that the insulation value of the external enclosure is low, resulting in high heat loss.

Toilets

The material of the rubber ring itself affects the air tightness. The specific heat capacity of steel and glass is very small and the thermal insulation is very poor.. GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

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5. The current idea of SCVA staff is that due to excessive changes in light level and humidity, the resulting environmental conditions are problematic for the preservation of works of art.

Source : CONSERVATION DEVELOPMENT STRATEGY FOR THE UNIVERSITY OF EAST ANGLIA(2020)

SAINSBURY CENTER Mircro - climate conclusion

CONCLUSION

1. VISION: SCVA is a sustainable, energy-efficient building. REALITY: SCVA is poorly insulated, has poor airtightness, has a very high energy demand, and leaks.

2. VISION: SCVA displays works of art using natural light and avoids the need for airconditioning. REALITY: SCVA provides a poor conservation environment for displaying works of art.

3. In addition, the different urban landscapes on both sides of the building also lead to climate change. Under the same conditions of the outer envelope, the internal microclimate is also uneven.

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SAINSBURY CENTER Sustainable ? - Social Problem

SUSTAINABLE ? GREEN LABEL ? ?

London’s sustainability-hyped “Gherkin”, where the building’s open-floor ventilation system was compromised when security-conscious tenants created glass separations. Operable windows whose required specifications had been lowered because of the natural ventilation feature actually began to fall from the building, and had to be permanently closed. The ambitious goal of a more sophisticated natural ventilation system paradoxically resulted in even worse ventilation.

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Zhujiang city building Locate in Guangzhou, China, which known as China's first zero carbon building. According to the original idea, the unique curve shape of the building can increase the wind speed and generate wind power through the builtin wind turbine. In fact, the generator stopped running due to various reasons such as equipment.

The Federal Building in downtown Youngstown, Ohio, features an extensive use of natural light to illuminate offices and a white roof to reflect heat. It has LEED cer tification, the countr y’s most recognized seal of approval for green buildings. But the building is hardly a model of energy efficiency.

Current and Historic Carbon Emission in UK Sustainability

New Target of Green Building by UK Government

Achieving net-zero emissions by 2050 -- UK Building Carbon Emissions -Direct Emissions (MtCO2)

Carbon Emission(total) in UK

Direct CO2 Emissions from the Buildings Sector since 1990

Sub-sector share of emissions

Building Carbon Emission(total) in UK

Breakdown of Buildings Sector GHG emission(2019)

CONCLUSION : Carbon emissions from buildings account for the highest proportion of

all carbon emissions, of which residential buildings account for the largest proportion, and carbon emissions from public buildings (including museums) also account for a large proportion. Therefore, the issue of carbon emissions in public buildings also needs to be paid enough attention.

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Source : National Atmosphere Emissions Inventory （2020）Break down of UK GHG emissions by source and greenhouse gases

Thesis and Proposal

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THESIS Thesis

Designing a Net- Zero museum around the existing building to show how to alleviate the energy crisis Take Sainsbury Center as an example

Designing a buidling with natural resources to reveal paradoxical sustainable ambitions in the existing building

Designing a new building to show how the modern building meet the newest sustainable criteria

The surplus energy generated by the building itself will be used by Sainsbury Center

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Design Strategies

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DESIGN STRATEGIES Thesis

ENERGY STRATEGIES

Realization of Foster

Ventilation

Space on

Mechanic

Passive Strategies

Orientation

Outer Structure

Active Strategies

Heat

Solar

Hydro

There are three different strategies to achieve the project intentiom: Realization of Foster, Passive Strategies and Active Strategie. The three strategies are divided into different strategies. Some strategies are coincident and similar

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DESIGN STRATEGIES

Energy Strategy - Original Building SCAV & New Project

-- COMPARISON

Active Strategies SCAV

1. Air Conditioning

New Project

2. Ventilation

？

3. Artificial Light

？

1. Air Conditioning

2. Ventilation

3. Artificial Light

4. Solar System

5. Hydro Power System

6. Battery Storage

？

Passive Strategies SCAV

New Project

1. Emphasize Cross Ventilation

2. Keep Space on

3. Mechanical System

1. Emphasize Cross Ventilation

2. Keep Space on

3. Mechanical System

4. Heat Control

5. Proper Solar Orientation

6. High Performing Outer Surrounding Structure

4. Heat Control

5. Proper Solar Orientation

6. High Performing Outer Surrounding Structure

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Realization of Norman Foster

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DESIGN STRATEGIES

Realization of Norman Foster - Continuation

From campus planning...

This is a sketch of an early Norman Foster design. There are some grids on it, which are generated according to the terrain. In addition, these grids are also extended to some extent according to the early planning of UEA University. Therefore, it is the product of planning and terrain. Foster's hand painting reveals the development trend of buildings in the future..

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Sainsbury Center

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DESIGN STRATEGIES

Realization of Norman Foster - Continuation

Sainsbury center was built on a certain module and explored one of the most advanced design methods of that era. Extending the modulus was in line with Norman Foster's idea at the beginning

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DESIGN STRATEGIES

Realization of Norman Foster - Continuation

From the mass of Norman Foster...

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DESIGN STRATEGIES

Realization of Norman Foster - Continuation

The above is based on the sketch. Some of Foster's sketches extend the inference: the continuation of the courtyard, the extension of the campus axis, the extension of the modulus and so on

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Active Strategies

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DESIGN STRATEGIES Energy Strategy

NET-ZERO ENERGY - Active Strategy

Active Strategies

Solar

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Hydro

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DESIGN STRATEGIES Energy Strategy

NET-ZERO ENERGY - Active Strategy Calculation (some statistics according to UEA report) * According to UEA annual report: Main Campus Area Consumption< FUEL(MWh)

YEAR

GAS

ELECTRICITY

2016-2017

71,738.0

21,249.3

* The global formula to estimate the electricity generated in output of a photovoltaic system is :

Energy (kWh)

Total Solar Panel Area (m2)

Solar Panel yeild of efficiency

Annual average solar radiation on title panels (shadings not included)

Performance ratio, coeficient for losses (range between 0.5 and 0.9, default value =0.75

* SITE AREA around 7200 m2 E ( kWh ) = 0.82 * 7200/cos35° *35 degrees ( in UK ) * 45%-75%（different type) * 101.2 W/m2 = 384，869.071

0.75

77%

Average solar irradiance UK

Conclusion:

Assuming that Sainsbury centre accounts for one tenth of the total energy consumption area of the campus (calculated according to the building area), if the area in the red box is full of solar panels, it can fully supply all the energy consumption of Sainsbury Centre. GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

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SCAV Solar Area

DESIGN STRATEGIES Energy Strategy

NET-ZERO ENERGY - Active Strategy ‘Active’design makes use of active building ser vices systems to create comfortable conditions, such as boilers and chillers, mechanical ventilation, electric lighting, and so on.

Renewable Energy

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DESIGN STRATEGIES Plan

Museum Function ‘Active’design makes use of active building ser vices systems to create comfortable conditions, such as boilers and chillers, mechanical ventilation, electric lighting, and so on.

Exhibition, Education and Service Area Collection Library Partition Technical Work Area Administrative and Office Area

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DESIGN STRATEGIES Plan

Renewable Energy

Hydro Area Solar Area Courtyard GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

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DESIGN STRATEGIES Plan

15 14 7

13 1. Triangular Water Landscape 11. Office 0

2. Surface Water Landscape 12. Office 3. Water Landscape

13. Solar Panel Farm

4. Rainwater Garden

14. Reception

5. Sainsbury Center

15. Security

6. Transformer Substation 7. Courtyard 8. Monitoring Room 9. Toliets 10. Storage Room GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

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10m

DESIGN STRATEGIES Plan

20 3

7 5

17 1. Unloading Area

11. Battery Storage

21. Water Landscape Tunnel

2. Transport Corridor

12. Water Tank

22. Cresent Wing (Original Building)

3. Distribution Area

13. Water Tank (Visible)

4. Office and Meeting Room 14. Turbine 5. Office

15. Maintenance Room

6. Storage

16. Restaurant

7. PV Combiner Boxes

17. Outdoor Cafe

8. Load Regulator

18. Kitchen

9. Possible DC Loads

19. Courtyard

10. DC/AC Static Converter

20. Lounge

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10m

DESIGN STRATEGIES Energy Strategy

NET-ZERO ENERGY - Active Strategy

Water Landscape

Water Tank / Water Garden Water Tank / Pipe Room Hydro Generator

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Pipes ( to the lake)

DESIGN STRATEGIES Energy Strategy - Hydro Power Sainsbury Center

Water Tank / Water Garden

Water Landscape

Water Tank / Water Garden

Battery Storage Water Tank / Pipe Room

Hydro Generator Hydro Generator

This picture shows the scene of water flowing from different areas, from rainwater to landscape, then through the hall of SCAV, and then into the new building for power generation. Water Pipe GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

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DESIGN STRATEGIES Energy Strategy - Hydro Power

The rain garden between the two buildings is really fun !

Water Tank / Water Garden

The glass floor can see the water flowing below. The feeling of flowing water is no longer mysterious

The water in the tank is amazing.

Water Tank / Pipe Room

Hydro Generator

Pipes ( to the lake)

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This sectional perspective view can clearly see the relationship between rainwater garden, water tank, turbine and drainage pipe. The water tank can be viewed as an aquarium, observing the dripping and slipping of water, while the turbine is running continuously - which can be seen through the transparent glass on the floor.

DESIGN PROPOSAL Rainwater Collection System

Water Landscape 1 GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

Water Landscape 2 -48-

Water Landscape 3

DESIGN STRATEGIES Energy Strategy - Hydro Power WATER LANDSCAPE GARDEN

The pictures here illustrate the equipment of the two rainwater Gardens.Meanwhile, these two renderings show how the rainwater flows in these two rainwater gardens. GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

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DESIGN STRATEGIES Energy Strategy - Hydro Power WATER LANDSCAPE IN THE HALL

These two figures illustrate the water landscape in the Sainsbury lobby, including the landscape on the ground floor and in the basement. GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

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DESIGN STRATEGIES Energy Strategy - Hydro Power HYDRO GENERATOR IN BUILDING

These renderings illustrate how the space is organized in the hydropower area, and how to make the space interesting through design

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DESIGN STRATEGIES Energy Strategy

NET-ZERO ENERGY - Active Strategy

Converter

Load Regular PC Combiner Boxes on PC Side

Solar Panel Farm

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DESIGN STRATEGIES Energy Strategy - Solar Power

Next to the machine is the substation.

Substation Room

There are many interesting machine here.

Solar Plant Generator I'm shuttling between the solar trees and the nature trees.

Device Layer Solar Panel Farm

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DESIGN STRATEGIES Energy Strategy - Solar Power

Load Regular

Converter Possible DC loads

Battery Storage

Solar Panel Farm

This picture shows how the energy of light is collected and flowing in the building, and how different devices are reflected in different spaces. GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

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DESIGN STRATEGIES Energy Strategy - Solar Power MACHINE SPACE IN THE BUILDING

These renderings show the arrangement of machines in the exhibition space.

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DESIGN STRATEGIES Energy Strategy - Solar Power SOLAR PANEL FARM

Before

These renderings show how the artificial solar tree is intertwined with the tree growth in nature.

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After

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DESIGN STRATEGIES Exploded Diagram

Surface

Structure

First Floor

Elevator and Staircase

Ground Floor This picture shows different layer of new project GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

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DESIGN STRATEGIES Exploded Diagram

Stuff Transport

This picture shows how different groups of people move in this building.

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Visitors

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Passive Strategies

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DESIGN STRATEGIES Energy Strategy - Passive Strategy

SCAV

1. Emphasize Cross Ventilation

2. Keep Space on

New Project

1. Emphasize Cross Ventilation

2. Keep Space on

In the passive strategy, more attention is paid to how to use natural light and natural ventilation to reduce the use of artificial power. In the original design of Norman Foster, some ideas have been used. For example, keeping the opening of a large space is conducive to the smooth air. For example, the layout along the campus axis makes use of the formation of ventilation corridors.

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Research of Sainsbury Center Problem of the Surface

Because Sainsbury center needs to protect the collection, in order to avoid excessive indoor lighting, many changeable plates have lost their original functions and have to rely more on indoor artificial lighting. (the original idea was to change plates without relying on artificial light source)

Problem

New in project

Section

The neoprene rubber ring between plates provides a shortcut for water leakage

Due to the poor thermal insulation of steel plate and neoprene rubber ring, they have to rely on artificial power to adjust the temperature

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Plan

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DESIGN PROPOSAL Energy Strategy

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DESIGN PROPOSAL Energy Strategy

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DESIGN PROPOSAL Section 1:250

Original Building New Project New Furniture of New Project

PRODUCED BY AN AUTODESK STUDENT VERSION

Power Museum

Transformer Substation

Sainsbury Center Water Landscape

Solar Farm

PRODUCED BY AN AUTODESK STUDENT VERSION

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DESIGN PROPOSAL SECTION 1:60

PRODUCED BY AN AUTODESK STUDENT VERSION

Cold Wind Natural Wind Hot Wind

This picture shows different temperature of wind come through the whole building. -67PRODUCED BY AN AUTODESK STUDENT VERSION

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DESIGN PROPOSAL SECTION 1:5

PRODUCED BY AN AUTODESK STUDENT VERSION

6 5

8 1 2

3 4 9

1. Steel Panel 2. Ventilation Louver 3. Thermal Block 4. Controller 5. Shutter Roller 6. Ventilation Louver 7. Blinds 8. Steel Panel 9. Partition GC1 //GC2//GC3//GC4//GC5//GC6//GC7//GC8//GC9

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Courtyard Sainsbury Center

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Hydro Plant

Solar Plant

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Courtyard

ARB CRITERIA The General Criteria at Part 1 and Part 2 GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. GC1 The graduate will have the ability to: .1 prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; .2 understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; .3 develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user. GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. GC2 The graduate will have knowledge of: .1 the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; .2 the influence of history and theory on the spatial, social, and technological aspects of architecture; .3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach. GC3 Knowledge of the fine arts as an influence on the quality of architectural design. GC3 The graduate will have knowledge of: .1 how the theories, practices and technologies of the arts influence architectural design; .2 the creative application of the fine arts and their relevance and impact on architecture; .3 the creative application of such work to studio design projects, interms of their conceptualisation and representation.GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process. GC4 The graduate will have knowledge of: .1 theories of urban design and the planning of communities; .2 the influence of the design and development of cities, past and present on the contemporary built environment; .3 current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development. GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. GC5 The graduate will have an understanding of: .1 the needs and aspirations of building users; .2 the impact of buildings on the environment, and the precepts of sustainable design; .3 the way in which buildings fit in to their local context. GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. GC6 The graduate will have an understanding of: .1 the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society; .2 the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; .3 the potential impact of building projects on existing and proposed communities.

GC7 Understanding of the methods of investigation and preparation of the brief for a design project. GC7 The graduate will have an understanding of: .1 the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; .2 the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; .3 the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation. GC8 Understanding of the structural design, constructional and engineering problems associated with building design. GC8 The graduate will have an understanding of: .1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; .2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; .3 the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices. GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. GC9 The graduate will have knowledge of: .1 principles associated with designing optimum visual, thermal and acoustic environments; .2 systems for environmental comfort realised within relevant precepts of sustainable design; .3 strategies for building services, and ability to integrate these in a design project GC10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. GC10 The graduate will have the skills to: .1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; .2 understand the cost control mechanisms which operate during the development of a project; .3 prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. GC11 The graduate will have knowledge of: .1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; .2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; .3 the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry. -70-

The Graduate Attributes for Part 2 GA2 With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have: .1 ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations; .2 ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals; .3 ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals; .4 critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design; .5 understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation; .6 problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances; and .7 ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

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BIBLIOGRAPHY

FOSTER, Norman. 2017. Talking and Writing. Madrid: Norman Foster Foundation.

SUDJIC, Deyan. 2004. Norman Foster: Works 4 SUDJIC, Deyan. 2017. Norman Foster: Works 5

KOOLHAAS, Rem and OTERO-PAILOS, Jorge. 2014. Preservation is Overtaking Us. New York: GSAPP Books, Columbia University

SUDJIC, Deyan. 2014. Norman Foster: Works 6

RUSKIN, John. 1849. The Seven Lamps of Architecture. London: Smith, Elder & Co.

__ How much does your building weigh, Mr. Foster? 2010. Documentary directed by Carlos Carcas and Norberto López Amado.

SUDJIC, Deyan. 2017. A Life in Architecture.

SUDJIC, Deyan. 2003. Norman Foster: Works 1

SUDJIC, Deyan. 2005. Norman Foster: Works 2

SUDJIC, Deyan. 2006. Norman Foster: Works 3

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CRITICAL REFLECTION

Through the study of the whole year I learned a lot about experimental preservation and Norman Foster ideas and intellectual anxieties, and thought critically about it. In the first semester, the students in the whole studio jointly did the research on Norman Foster. For me, the research direction is a novel and interesting direction, some research on the relationship between climate and microclimate. .After a struggle, I finally confirmed the theme. I have been stumbling on the way of design promotion, and occasionally feel inspired and efficient. But occasionally, the whole design will suddenly stagnate, and only minor repairs and changes will be made in some very small places of the design. Although there are some difficulties from time to time, the whole design is also moving slowly in the direction that I find interesting. Compared with other groups, the topic of our studio is also closer to work practice, which I believe will enable us to enter the work and study in the future.

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