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Mending The Broken Spirit

Shanaire Blythe 1


Content Page

Concept

p.3 -­ 4

Initial Planning

p.5 -­ 6

Massing Iterations Structural Integration

2

p.7 -­ 13 p.13 -­ 15

Construction Detailing

p.16

Environmental Analysis

p.17 -­ 18

Elevation Treatment

p.19 -­ 21

Program

p.22 -­ 25

Final Resolution

p.26 -­ 32

Visuals

p.33 -­ 38


Concept

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3


Cinema Proximity to Longton

Site region Vue Cinema

Forum Theatre

The Square, High St, Newcastle Under Lyme, Newcastle , ST5 1PT

Bethesda St, Stoke-­On-­Trent , ST1 3DW

4.2 Miles from site

3.0 Miles from site

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Film Theatre

Staffordshire Reels on Wheels

College Rd, Stoke-­On-­Trent , ST4 2EF

33, Meigh Rd, Werrington, Stoke-­ On-­Trent , ST9 0JY

2.6 Miles from site

2.8 Miles from site

As Longton is a place where the people acts not as a FRPPXQLW\EXWDVLQGLYLGXDOVWKLVFUHDWHVDGLVFRQQHFWLRQ within the community, which is preventing them to strive forward.

Odeon Cinema Marina Way, Festival Park, Stoke-­On-­Trent , ST1 5SN 3.6 Miles from site

As Longton is a town the feeling is that it should have it’s own cinema so that the surrounding community can utilise the facility HQDEOLQJWKHPWRFRPPXQHZLWKRQHDQRWKHUDVWKLVLVDSODFHRIVRFLDOLVLQJDFWLQJDVDQRGHZLWKLQWKHWRZQ7KLVSUHYHQWV as shows the need to venture to other town for this facility, as from my research the town want to preserve it’s identity rather than relying on other towns.

4

As this disconnection is down to the lack of social LQWHUDFWLRQEHWZHHQWKHORFDORI/RQJWRQEXWLQFUHDVLQJ this interaction, longton can regain it self as a working community once more.


FUNCTIONAL BRIEF

Initial Planning

Film Making Process

You are required to respond to and challenge the following functional brief. This will act as a continuum across the year group within which you are able to test your proposals, and generate your own schedule of accommodation. You do not need to meet the areas stated exactly; if you can justify why you are acting against the brief, you can contradict it at all levels. However, you should bare in mind the project drivers, with particular reference to the following: > relationship or tension between public/private > relationship or tension between formal/informal

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Initial Schedule of accommodation COMPULSORY ACCOMMODATION FUNCTION Foyer

AREA (m2) 300

Building Services

250

Utility Space

150

Administrative Space

200

Expo/workspace

250

Circulation

550

External public realm External service space TOTAL

800 -1200 300 2800-3200

DETAILS >main access to public areas and possibly private. >reception >informal breakout/expo space 150 m2: biomass boiler plant room 100m2: refuse 50 m2: facility storage (cleaners, furnishings) 30 m2: services (network servers/meters) 70 m2: WC – male, female, disabled, possibly to include shower provisions 50 m2: office 40 m2: reception 40 m2: business development office 10 m2: meeting room 1 10 m2: meeting room 2 20 m2: meeting room 3 30 m2: meeting room 4 linked to business units as communal large scale/prototype workspace and use for relevant activities – you must determine these. Stairs/lifts/corridors/balconies (approx. 80% efficiency of main space) Can be subdivided Deliveries, parking, refuse area etc.

Visual Effects

Computer Graphics

Green screen Room Animation

Rendering

Modelling

You must then select one of the optional accommodation schedules to add to the compulsory schedule above: OPTION 1 FUNCTION Business units x 15

AREA (m2) 850

Resource Spaces

500

TOTAL

1350

DETAILS 20 m2 x 5: small 50 m2 x 5: medium 100 m2 x 5: large 350 m2: manual workshop / lab 50 m2: digital workshop / lab 75 m2: AV labs 25 m2: reprographics

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0DNLQJWKHVH/RĂ€SURMHFWRUVDVDIRUPRI community engagement, required a workshop Cinema/Theatre to watch the productions

OPTION 2 – determine details of this schedule area with your tutor. FUNCTION AREA (m2) DETAILS D6-1 Trading Infrastructures 1000-1500 Integrate your conceptual proposal, which was developed in D6-1. This will be determined as a response to your studio’s design approach and themes. TOTAL 1000-1500

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Private Building Services Administrative spaces Utility spaces External service spaces Staff entrance

Drama Sector for Acting

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5


The 5 processes of Film making Development

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Master room (Where the production comes together, Compositing URRP

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CG With CG comes four additional rooms (Animation, Modelling, Digital art, and printing

Adjacency diagram to give an indication to which room I would like to place together

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Organogram showing the edited schedule of accommodation

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Total area = 1877.5m2

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47.3m

Having these dimensions it gives me an indication to how many รRRUV , ZRXOG QHHG WR JR ZKHQ GLYLGLQJ WKH รRRU SODWHV 7KLV was also done to give me an indication the area in which Iโ€™ll EHZRUNLQJ

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Massing Iterations Taking the Organogram I used them to help generate initial adjacency massing aid in visualising a IRUPIRUWKHEXLOGLQJZKLFKGXHWRWKLVLVGHSLFWHGE\WKHURRPVDQGWKHUHRULHQWDWLRQ

The mass represents four evenly GLVWULEXWHG VWRULHV LW WKH EXLOGLQJ ZDV WR EH RQH PDVV ULVLQJ IRXU stories. This is to do with, that the total schedule of accommodation adds up to a footprint of 3668m2.

To do this type of massing, I’ll cutting out the rooms at a 1-­500 scale, and organising them in a way WKDW,ÀQGZRXOGEHEHQHÀFLDOWRWKHEXLOGLQJSURFHVV7KHQWKHPDVVLQJZRXOGEHFXWRXWJDLQDQG fastened with glue to give an indication of the overall form

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Iteration 1 Generated From

Showing the individual pieces used to generate the form

Iteration 4 Generated Form

The form greats a very strong frontage onto Caroline street, and quite to SHGHVWULDQVFDQEHTXLWHLQWLPLGDWLQJ

This one also moved away from the heavy fronted form and rather than having a compact U shape, it’s a lot

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PRUH Ă XLG DQG RSHQ FUHDWLQJ D FDOP IURQWDJH SOHDVLQJ WR SHGHVWULDQV +DYLQJ WKH room on the rim of the site, this creates a more shallow pan design, which is good when FRQVLGHULQJQDWXUDOOLJKWLQJRIWKHVSDFHV7KH8OLNHVKDSHRIWKHEXLOGLQJDOORZVIRU ZLQGFKDQQHOOLQJLQWRWKLVZKLFKLVJRRGIRUDFURVVYHQWLODWLRQJLYHQRSHQLQJRQERWK VLGHRIWKHEXLOGLQJ

Iteration 2 Generated Form

Iteration 5 Generated Form

Looking at the way the form is I can get some interesting cantilevers internally to the structure. With iteration 2,

As with some of the previous I tried WRKLQWDVWRZKDWWKHEXLOGLQJPLJKW look like if it’s full skin was on. This PDVVLQJKDVJRQHEDFNZDUGVLQ , FDUULHG RQ WKH GXDO KHLJKW VSDFH IRU WKH FLQHPD EXW LQVWHDG RI KDYLQJ LW LQ WKH EDVHPHQWUHJLRQ,¡PPDNLQJLWPRUHYLVLEOHVWDUWLQJIURPWKHÀUVWà RRUWRWKHJURXQG making the room quite cellular as without say is something I was trying to prevent, as ,DOVRWULHGWRNHHSWKHSXEOLFGRPDLQWRWKHÀUVWWZRà RRUVZLWKWKHUHVWLQFOXGLQJWKH LWPDNHVIRUDQXQFRQIRUPDEOHZRUNLQJHQYLURQPHQW EDVHPHQWEHLQJSULYDWH7KLVLQVRPHZD\LVFUHDWLQJDKLHUDUFKDOVWUXFWXUHZLWKLQWKH EXLOGLQJ

Iteration 3 Generated Form

Showing the stack process used, using the individual piece to generate a form

Moving away from the heavy frontage LGHD WKLV FUHDWHV D VOLJKWO\ FRQÀQHG VSDFH 7KH ZD\ WKH EXLOGLQJ FUHDWHV this U shape, gives the impression of a central atrium, which will allow good use of natural light, lighting the rooms that around WKHDWULXP:LWKWKLVPDVVLQJWKHEXLOGLQJVGRUHPDLQVKDOORZSODQEXWLQFHUWDLQDUHDV \RXJHWOLNHURRPEUHDNLQJRIILQWRRWKHUURRPVZKLFKGRHVQ¡WDGGJRRGÀUHVDIHW\ which is something that would need some consideration.

7


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This stage was used to help me work out how I can place room depending on certain properties. As you can see I EURNHXSWKHURRPLQWRURRP that don’t need light, that is GD\OLJKW7KLVZD\LWFDQEH placed under ground without any issue as it doesn’t require day light, and also heating ZRXOGEHDOVRFRVWHIIHFWLYH Perspective view

Plan view

With this steel frame arrangement, it is to give a feel of how initially shape WKHEXLOGLQJ7KHJLYH\RXPRUHDSHUVSHFWLYHYLHZZLWKWKHEHORZQHEHLQJ a top down view. They would need some more work to see the different VSDQQLQJ GLVWDQFHV DQG ORRN LQWR WKH GHSWK RI WKH EHDP PHPEHUV DV WKHVHZRXOGLPSDFWRQWKHDFWXDOFHLOLQJWRĂ RRUGHSWK

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External vertical Circulation

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Pile type foundation due to the soil composition

8

Lift shaft

It is noted that the section was taken in the least pleasing are, as you can see it cuts through the walls on certain sections with the GRRUVEHLQJKLJKOLJKWHG

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Pixar Head Quarters

Eye Film Museum

Architect: Bohlin Cywiniski Jackson Year: 2000 Location: Emeryville, California, United States

Architect: Delugan Meissl Associated Architects Year: 2005 – 2011 Location: Shell Terrain, Amsterdam, The Netherlands

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Using Pixar atrium idea, in applying it to my design, I’ll start out with a cylindrical shape to represent the area circulation, with the room dotted around . The Progression of the form is shown on the sheet.

It also has the feel as it the circulation starts small, then in the middle its enlarges and them tappers down at the top.

Multipurpose atrium Rooms springing off the sides of the atrium

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Generating masses with internals to get a feel of how the space is envisioned.

A physical massing to check how it works in the physical realm.

9


+DYLQJ WKH VWDLUV ÀQLVK RQ WKH The cafe servery area is VLGH RI WKH EXLOGLQJ LV DGGLQJ too small along with the to it as some contrast internal eating space.

,QLWLDOSODQRIWKHEXLOGLQJVHHLQJKRZLWÀWVLQFRQWH[WWRWKHVLWH The ramp also cuts too much into Also I can make these stair the circulation space ÀUHVWDLUVFORVLQJLWRIIDQGLW DFWVDVFLUFXODWLRQEHWZHHQ , ZDQWHG WKH IURQW WR EH TXLWH DOOà RRUUHPRYLQJWKH DQ LQYLWLQJ VSDFH EXW , WKLQN WKH central stairs which caused diagonal cut jars to much with the circulation issues due to too much space. EXLOGLQJRQDZKROH

Along with having the circulation space open, I would also like to PDNH WKH FLQHPD PRUH D IRFDO SRLQW RI WKH EXLOGLQJ PDNLQJ LW more of a statement for the area. 1RZWRUDWKHUKDYLQJWKHFLQHPDDVDDQRWKHUURRP,¡OOEHPDNLQJ LWDIHDWXUHZLWKLQWKHEXLOGLQJ8VLQJWKHFLQHPDWRKHOSEUHDNXS the circulation space, with also keeping the space as an interactive space.

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The front entrance has EHHQ DQJOH IRU ERWK ZLQG channelling and also to make it inviting for the users RIWKHEXLOGLQJDVVLPLODUDV the pervious design.

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ept Conc _2 Room WC Carrara

Digital Art

ept Conc _1 Room

375

Cinema

Pod

325

Animation Control Room

$VWKLVLVDVWUDLJKWOLQHLWMDUVDELWZLWKWKHZDOORQWKHRSSRVLQJVLGH But angling this entrance like the previous would give the impression RIWKHFLQHPDFRPLQJRXWHYHQPRUH$OVRLWRIIHUVEHEHWWHUYLHZLQJ E\SHGHVWULDQVRIHYHQIURPWKHWUDLQZLWKRXWWKHVLWHZDOOEHLQJWRR REVWUXFWLYH

External Seating

CG_Studio

Interior Seating

ting Mee Room

r

cto Dire e Offic

L

TIL

WC

ESTCODE

ESTCODE

200

P60 Carrara

L62

550

460

Carrara ED OC TSE

330 500

555

200

P60

370

Carrara

Carrara

370

P60

555 L62

550

460

Carrara

L62

550

460

Carrara

Kitch

375

500

330

440

500 325

440

L36 Carrara

P60

510

L62

550

460

Carrara

L62

550

460

Carrara

Carrara

460

555

200

200

370

TILL

440

en

200

Servery

330

375

330

325

330

440

500

500

510

L36 Carrara

P60

370

Carrara

460

555

200

L62

550

460

Carrara

Control Room

7KH PDWHULDO RI WKH FLQHPD LV WR EH D 39& PDWHULDO WR HQDEOH XVLQJ WKHOLJKWIURPWKHVN\OLJKWWRUHOLJKWWKHLQQHUVSDFHPDNLQJLWEHWWHUOLW through diffuse lighting.

Cinema

Lift

440

E

330

555

FRIDG

Interior Seating

TILL

Staff Room

ESTCODE

ESTCODE

200

P60 Carrara

L62

550

460

Carrara

TILL

ting Mee Room

tor Direc Office

WC

WC

TILL

370

P60 Carrara

External Seating

e

g Stora

555

Preparation Area

370

500

440

On this level I’ll also have an open air cinema, giving the LQGLYLGXDODOLQNEDFNWRWKH external environment.

L

TIL

555

TIL

370

L

WC

Staff Room

ED OC TSE

330 500

555 200

P60

370

Carrara

Carrara

370

P60

555 L62

550

460

Carrara

L62

550

460

330

375

500

330

440

500

325

440

L36 Carrara

P60

510

L62

550

460

Carrara

L62

550

460

Carrara

Carrara

460

555 200

200

370

TILL

440 200

n

Kitche

Carrara

Servery

375 330

325

330

440

500

500

510

L36 Carrara

P60

370

Carrara

460

555 200

L62

550

460

Carrara

440 555

FRIDGE

330

P60 Carrara

440

Preparation Area

370

500

e Storag

Now having a large skylight for lighting the intermediate space, PLPLFNLQJWKHYRLGFUHDWHEHORZE\WKHĂ€UVWĂ RRUZDONZD\

Roof Cinema

Open air cinema now more relaxed with deck chair rather than rigid cinema seats $V WKH EXLOGLQJ LV DSSHDUHG WR EH deep plan I would need a skylight to help allow light into the intermediate spaces.

Cafe

Carried the green roof idea along to the next stage Green roof around the rim for the work rooms to help give them thermal comfort

11


Structure Integration Type of Structure: Frame

Type of Structure: Frame

Material: Reinforced Concrete

Material: 6WHHO)UDPHZLWKSHUIRUDWHGEHDPV

7KH W\SH RI VWUXFWXUH LV SXW WRJHWKHU XVLQJ FRQFUHWH FROXPQV ZLWK FRQFUHWH EHDPV FDVW RQ VLWH FUHDWLQJ RQH IRUP PDNLQJ WKH VWUXFWXUHPRUHVWDEOHHVSHFLDOO\DJDLQVWZLQGORDGLQJZLWKRXWWKHQHHGRIFURVVEUDFLQJOLNHVWHHOIUDPHVWUXFWXUHV

7KLVW\SHRIVWUXFWXUHLVPDLQO\FRQVWUXFWHGXVLQJZRUNVKRSDQGVLWHFRQQHFWLRQV:RUNVKRSEHLQJWKHSUHZLHOGLQJZKLFKLVĂ€QLVKHGZLWKVLWH FRQQHFWLRQZLWKWKHXVHRIEROWV

7KHUXOHRIWKXPEIRUWKHVSDQWRGHSWKUDWLRRIFRQFUHWHLVDVHTXDWHGIURPWKHJXLGDQFHWDEOH

6WHHOIUDPHVIROORZVTXLWHDVLPLODUUXOHRIWKXPEWRFRQFUHWHZKLFKPHDQVWKHVSDQWRGHSWKUDWLRLVTXLWHVLPLODUDORQJZLWKWKHVSDFLQJ EHWZHHQWKHPHPEHUV7KLVPHDQVIRUURXJKO\WKHVDPHFROXPQDUUDQJHPHQWDVIRUFRQFUHWH

Thickness Self weight PP

(kg/m2

100 120 150

Imposed Load (kg/m2

Total Load (kg/m2

Spam P

500 500 500

740 800 860

2.4 3.0 3.6

240 300 360

With this steel frame I would propose to use a perforated steel EHDP $V LW ZRXOG PDNH WKH VWUXFWXUDO PHPEHUV OLJKWHU WKDQ LQ concrete. 6ROLG:HE

Void

$SSO\LQJWKLVVWUXFWXUHWRP\EXLOGLQJ,ZLOOEHXVLQJWKHPPVODEZLWKDPD[LPXPVSDQRIP0D[LPXPVSDQQHGQHHGVWREH FRQVLGHUHGDVWKHLQFUHDVHVZKLFKZLOODIIHFWWKHà RRUWRFHLOLQJKHLJKW 7KHSODQVVKRZWKDWXVLQJWKHPPGHSWKZRXOGFUHDWHWRRPDQ\FROXPQVZLWKLQWKHEXLOGLQJ0DNLQJWKHEXLOGLQJIHHOFHOOXODUDQ quite restricted in it’s circulation. 7KH YRLGV VKRXOG EH FXW DORQJ WKH QHXWUDO DQJOH WR DOORZ HYHQ GLVWULEXWLRQVZLWKWKHPHPEHU The area highlighted LQWKHOLJKWEOXHLVD 8 meters in length and would require EHLQJ FDQWLOHYHUV for the roof support.

Structural plan of my EXLOGLQJ DSSO\LQJ WKH 3.6 m span from column WR FROXPQ EHDPV EOXH FROXPQVUHG

$VFRQFUHWHKDVOLWWOHWHQVLOHVWUHQJWKLWQHHGVWREHUHLQIRUFHGWRUHVLVWWKHLQGXFHGWHQVLOHVWUHVV7KLVVKRZVWKHLQFUHDVHGGHSWKRI WKHFRQFUHWHEHDPVZLWKWKHLQFUHDVHGVSDFLQJ7KH\RIIHUPRUHIUHHGRPRIFLUFXODWLRQWRWKHLVVXHRIWKHURRIEHDPVEHFRPLQJ EORFNOLNH

Like how concrete frames can get chunky when start placing the columns WRRFORVHWRJHWKHUEXWZLWKWKHVWHHOIUDPHWKLVPRUHHDVLO\GRQHDVWKH PHPEHUVWKLQQHU Looking how the steel frame would connect on to the concrete EDVHPHQWV DV WKH FRQFUHWH IUDPH DQG EDVHPHQW FRXOG EH IRUPHG WRJHWKHU7KHRWKHURSWLRQZRXOGEHWRFRQQHFWWKHFROXPQWRWKHSLOH IRXQGDWLRQ DQG WKHQ HQFDVH LW LQ D FRQFUHWH EDVHPHQW ZLWK WKH VWHHO acting as reinforcement. I section column

Binders

Under goes compression in WKHXSSHUĂ€EUHV

$QFKRUEDUWRSUHYHQWFUDFNLQJIXQFWLRQLQJ as lateral reinforcement

:HE3RVW

Top Tee

Column to column connection using same KHLJKWFROXPQV)RUDPRYHHYHQGLVWULEXWLRQRI loads

Bottom Tee Holding Bolts RC Basement 0DLQ5HEDUV

Column

$QJOHG EDU LQ WKH EHDP WR UHVLVW shear loads

RC section 300x300

Under goes tension in the upper ÀEUHV

6WHHO EDVH SODWH EROWHG DQG JURXWHGWRWKH5&EDVHPHQW

0DLQEDUV

Binders

12

Fish plates wielded to WKHERWWRPDQGEROWHG to the upper to create D ERQG EHWZHHQ WKH two columns

7KH ORFDO FDUU\LQJ FDSDFLW\ RI D SHUIRUDWHG EHDP LV OLPLWHG E\ WKH VKHDU VWUHQJWK RI WKH ZHE SRVW WRS DQG ERWWRPWHH

As this is a steel frame, it would need. Bracing in order to counter wind loadings.

8SSHU Ă RRU VODE DQGEHDP

This shows the increased depth of the concrete EHDPVZLWKWKHLQFUHDVHGVSDFLQJ7KH\RIIHUPRUH IUHHGRPRIFLUFXODWLRQWRWKHLVVXHRIWKHURRIEHDPV EHFRPLQJEORFNOLNH

:HE FOHDWV ZLHOGHG WR ERWWRP FROXPQ DQG WKHQ EROWHG WR WKH DERYH

6WDUWHUEDUV RC Pile Foundation

As columns are constructed in storey heights this means that the reinforcement PXVWEHODSSHGWRSURYLGH structural continuity. This lapping helps with the WUDQVIHU RI ORDGV EHWZHHQ WKH EDUV ZLWKRXW DQ\ cracking of the concrete.

:LQG 'LUHFWLRQ WR EUDFH diversion 7KHORZHUSDUWRIWKHEUDFHLVXVXDOO\LQWKHRSSRVLQJGLUHFWLRQRIWKH wind load rooting the energy.

This shows the use of GLDJRQDOEUDFHZKLFK is also used as lateral support.


Structure Integration

Precedents

Type of Structure: Frame

Project:-­ The Unidad de Innovación, Aprendizaje y Competitividad

Material: 6WHHO)UDPHZLWKODWWLFHEHDPV

This Precedent uses a closely compacted concrete frame system, PDNLQJDOPRVWOLNHDULEVWUXFWXUH7KHZRXOGRIIHUJUHDWVXSSRUWZKHQ laterally joined.

7KLVW\SHRIVWUXFWXUHEHFDXVHLWXVHVDODWWLFH 7UXVV W\SHRIEHDPWKLVPHDQVWKDWWKHFROXPQVHSDUDWLRQFDQLQFUHDVHWRVSDQGLVWDQFHV JUHDWHUWKDQPHWHUVZLWKRXWWKHGHSWKVEHFRPLQJWRRFKXQN\

As these are suited for long space, the only down fall is that it can only support light to moderate loads. $VVXSSRVHWRWKHSHUIRUDWHG,EHDPVXVLQJWKHWUXVVEHDPVZRXOGHVVHQWLDOO\PDNHWKHURRIOLJKWHUUHGXFLQJWKHVWUXFWXUDOGHDGORDG even more. Than if concrete was used. As trusses can span distances greater than 15m easily, especially for supporting long span roofs, this means making the walkway near IUHHRIFROXPQVZRXOGEHSRVVLEOHLIWKLVV\VWHPZDVXVHG 7KHW\SHRIWUXVVWKDWZRXOGEHXVHGLVD3UDWWWUXVVDVWKHVHDUHJRRGIRUZKHQWKHSUHGRPLQDQW load acting is gravity.

35%

&RQFUHWH IUDPH FUHDWLQJ D GRXEOH height auditorium space, even with WKHLQFUHDVHGEHDPGHSWK

Project:-­ Arthouse at the Jones Centre

The concrete frames span a distance of 23 meters without any supporting columns. 7KLVZRUNVJUHDWIRUGRXEOHKHLJKWVSDFHDVWKHGLVWDQFHZRXOGFDXVHWKHEHDP depth to increase to roughly a meter.

This precedent demonstrates the use of trusses to attain a work space free of columns. This uses a pitches truss, which has a high centre and a more tapered edge.

55%

:KHQGHVLJQLQJDQGXVLQJWUXVVLW¡VFRQVLGHUHGWREHJRRGSUDFWLFHWRPDNHWKHHOHPHQWV inclined at 35 and 55 unless other wise stated. As these aren’t used for a means of circulation like Milstein hall, then following this standard isn’t an issue.

Final Comparison In comparison to concrete steel is 100 times stronger when in tension and FDQEHVWUHWFKHGWLPHVPRUHWKDQFRQFUHWHEHIRUHIDLOLQJ &RQFUHWH FDQ JHW WKLV VWUHQJWK WUXH WKH PHDQV RI UHLQIRUFHPHQW EXW QRW ZLWK WKH FRVW RI PDNLQJ WKH EXLOGLQJ TXLWH EORFN OLNH (VSHFLDOO\ ZKHQ WKH means of cantilevered spans come into play.

Steel frame for supporting WKH FRQFUHWH Ă RRU DQG VHFRQGDU\Ă RRUEHDPV

2QH LVVXH ZLWK WKH FRQFUHWH ZRXOG EH WKH FRQQHFWLRQ EDFN WR WKH VWHHO IUDPHGFLQHPDVWUXFWXUH7KHRQO\ZD\LWFDQEHDFKLHYHLVE\EROWLQJDVWHHO EHDPIURPWKHFLQHPDWKDWZRXOGWKHQEHEROWVWRWKHFRQFUHWHFROXPQ DOORZLQJWKHVHFRQGDU\URRIVXSSRUWVWREHDGGHG %XWZLWKWKHVWHHOIUDPHLW¡VFDQHDVLO\E\EROWHGPDNLQJWKHPDWHULDOLW\D FRQWLQXRXVà RZUDWKHUEHLQJEURNHQDVWKHFRQFUHWHIUDPH The chosen structure type for this design is steel framed. It would incorporate WKHXVHRIWKHWUXVVV\VWHPDQGWKHSHUIRUDWHGEHDPV &RPELQLQJWKHWZRFUHDWHVWKLVK\EULGVWUXFWXUHXVLQJWKHSHUIRUDWHGEHDPV as the main load carriers and the truss for the roof support giving a change RIG\QDPLFWRWKHURRIVWUXFWXUHDVWKLVZLOOEHLQWHQWLRQDOO\EHOHIWH[SRVHG

The concrete which is good in compression, especially when reinforced ZLWK VWHHO PHPEHUV VSDQV WKH WKUHH VWRUH\V ZLWKRXW RXW DQ\ DGGLWLRQDO EUDFLQJDVFRQFUHWHLWVHOIQDWXUDOO\SURYLGHVUHVLVWDQFHWRZLQGORDGLQJ

13


Structure Integration Structural Bay at 1-­50

4900 mm

7KHVSHFLĂ€FW\SHRIWUXVVXVHGLVWKH Pratt truss, as they are good when the majority load acting is gravity, DQGZLWKWKLVFDQWLOHYHULVZLOOEH

7KLV EHLQJ WKH OLJKWZHLJKW VLGH RI WKH URRI WKH ÀQLVKLQJ RI WKH URRI  ZRXOG LQFOXGH D DFRXVWLFDEVRUEHUVDORQJZLWKDSHUIRUDWHG steel decking to prevent echoing.

The grid lines change as you move around WKH EXLOGLQJ GXH WR the change in the XVH RI WKH GRXEOH height space.

7KLV VLGH RI WKH URRI ZLOO EH heavier then the rest as it is supporting the green roof element of the design.

+7600.00 Roof

'LDJRQDO EUDFLQJ WR KHOS resist wind loading and any lateral swaying of the EXLOGLQJ

The roof uses purlin trusses as the secondary supporting trusses, WKDWLVFRQQHFWHGEDFNWRWKH main truss sending the loads to the respective columns.

Exposed concrete topping Ă RRU VODE RQ WKH VWHHO decking as a live load WUDQVIHU EDFN WR WKH PDLQ structure +3800.00 First

7KLV P VSDQ ZRUNV ÀQH IRU this type of truss with its dead weight and rain as live load it ZRXOG KDYH WR ZRUU\ DERXW leaving the roof remaining light.

The cinema is made from a self supporting steel truss separate IURPWKHEXLOGLQJEXWMRLQDWWKH roof line to create a continuous envelope, to prevent and cold EULGJLQJ

It also makes the roof more EUHDWKDEOH KDYLQJ LWV DSSHDU light with it’s secondary PHPEHUV

This 2.7 m cantilever was done to leave the space underneath free of columns, using them to PRUH GHĂ€QH WKH FLUFXODWLRQ space.

3HUIRUDWHG,VHFWLRQEHDPV

6HFRQGDU\ EHDPV EROWHG WR WKH VROLG ZHEELQJ RI WKH SHUIRUDWHGEHDP 0.00 Ground

7KH &LQHPD XVHV D à RRU WR ceiling height truss making it’s self supporting and rooted. It away can reduce on the DPRXQWRIVWHHOPHPEHUVDVLW makes the internal space free of any columns.

Supporting Steel deck for FRQFUHWHWRSSLQJVODE PP

5HLQIRUFHG FRQFUHWH EDVHPHQW acting as a reinforcing wall for the surround soil, with a still frame encased within the concrete, acting as reinforcement aside IURPWKHUHEDUVXVHG

This 7.7m span is need for this green room space, as it needs WR EH IUHH FROXPQV DQG DOVR relatively light in the roof. By NHHSLQJWKHVSDFHDERYHRQO\ for circulation

EDVHPHQW The chosen foundation is piled, the choice came when looking at the ground investigation around the site. Which shows a predominate EXLOGRIFOD\DQGVLOW

14

Pile cap for joining the column DQGWKHSOLHV [PP


Construction Detail

15


Environmental Analysis

16


17


Elevation Treatment

The Italian pavilion is made using I I.light transparent concrete. This type of transparent concrete uses resin to allow the transfer of light through from one side of the material to the other. ,DOVRIRXQGDQRWKHUW\SHRIWUDQVSDUHQWFRQFUHWHPDQXIDFWXUHGE\DFRPSDQ\ FDOOHG /L7UD&RQ /XFFRQ DQRWKHU FRPSDQ\ WKDW XVHV ÀEUH RSWLF IRU WUDQVSDUHQW FRQFUHWH WDNLQJWKHQDPHIURPOLJKWWUDQVPLWWLQJFRQFUHWH7KLVIRUPRIWUDQVSDUHQW FRQFUHWHXVHVÀEUHRSWLFIRUWKHWUDQVIHURIOLJKWIURPRQHVLGHRIWKHPDWHULDOWRWKH other. The advantage to this than the previous is that you can create more organic VKDSHVDQGIRUPZLWKWKHÀEUHVDVWKHOLJKWWKHUHVWULFWHGWRWKHPRYHPHQWWKURXJK WKHWXEHV

$QH[DPSOHRIĂ€EUHRSWLFVWUDQVSDUHQW FRQFUHWHLOOXVWUDWLQJWKHVSDFHGHĂ€QLQJ properties.

7KLVLQVWDOODWLRQEUHDNVXSWKHRULHQWDWLRQRIWKHSDQHOVE\VWDJJHULQJWKHRIIVHWPDNLQJWKH image on the reverse seems more in motion. Like how the material creates these silhouettes, WKH\FDQEULGJHWKHOLQNRQWKHH[WHUQDOPDNLQJWKHLQWHUQDODFWLYLW\EHFRPHPRUHSURPLQHQW with only hinting at the activity.

0L[LQJEULFNZLWKFRQFUHWHWRNHHSWKH HOHYDWLRQLQFRQWH[WZLWKDWZLFHE\WKH texture that it would create on the front of WKHEXLOGLQJ

The purple line represent the glazing line under the cinema. I tried to replicate this on the other side with the glazing continuing the line down to the ground.

With the facade I wanted it keep in context with the area, I a way representing it surrounds VRLWGRHVQ¡WEHFRPHVRPHWKLQJRIFRQWUDVW

$'&RPSXWHUPRGHOXVHGWRWHVWWKHRYHUDOOIHHORIWKHEXLOGLQJLQXVLQJWKLVW\SHRI FODGGLQJ,WDOVRVKRZVWKHSUHYLRXVGLDJRQDOUXQWKDWZDVLQĂ XHQFHGE\WKHFLQHPD interrupting the glazing.

+DYLQJWKHJOD]HIURQWDJHRQWKLVULJKWVLGHLWHQDEOH SHGHVWULDQZDONLQJWRZDUGVWKHEXLOGLQJWRVHHWKH cinema how it looks internally also while seeing it SURWUXGLQJIURPWKHEXLOGLQJ

,FDPHDFURVV,WDO\¡V3DYLOLRQIRUWKH([SRLQ6KDQJKDL7KLVEXLOGLQJKDVP\ LQWHUHVWDVWKHEXLOGLQJXVHVWUDQVSDUHQWFRQFUHWHIRULW¡VEXLOGLQJVIDFDGH

/RRNLQJDWWKHEXLOGLQJLWORRNVIDLUO\VROLGDQGRSDTXHGXULQJWKHGD\EXWGXULQJ WKHQLJKWGXHWRWKHOLJKWHPLWWLQJIURPWKHLQWHUQDOVSDFHJLYHWKHEXLOGLQJWKLV ting of glow on the external.

The way in which the transparency is used creates an area on the external IDFDGHVLQGLFDWLQJDUHDVRIDFWLYLW\6RLQDZD\LWLVPDNLQJWKHEXLOGLQJLQWHUDFWLYH to it’s surroundings.

7KLVLGHDRIWKHH[WHUQDOLQWHUDFWLRQLVVRPHWKLQJ,FDQEULQJIRUWKZLWKP\IDFDGH treatment, using the transparency to express the cinema inside, while during the VD\DFHUWDLQVHFWLRQZLOOEHKLGGHQ 18

Looking at the design again, I would rather have the cinema more apparent along the facade rather than having it half hidden away E\WKHWUDQVSDUHQWFRQFUHWHWKLVLVZD\P\LQWHQWZDVWRJRZLWKDIXOOJOD]HGIDFDGH7KLVZDVWKHFLQHPDFDQEHVHHQH[WHUQDOE\DOO moving along Caroline street that run in front the site. I also though to take this glazing and wrap it on the spin, creating three unique LGHQWLWLHVRIWKHEXLOGLQJWKH6SLQJOD]LQJDQGREMHFW$VWKHJOD]LQJZLOOEHQRUWKIDFLQJWKLVLVPDNLQJXVHRIWKHFRROGLIIXVHOLJKWLQJ ZKLFKPHDQVWKHUHZLOOEHQRQHHGIRUFRQWUROOLQJHOHPHQWVDVWKHEXLOGLQJZLOOQRWJHWRYHUKHDWHG


7KLVLOOXVWUDWHVWKHHQWLUHW\RIWKHJOD]HGIDFDGHZLWKWKHFLQHPDH[SUHVVLQJLWVHOIE\WKHH[WUXVLRQDQGWKHSXOOLQJDZD\IURPWKH PDLQEXLOGLQJ)DFDGHIDFLQJWKHPDLQDFFHVVWRVLWH

$VWKHVHWZRJOD]LQJZLOOEHIDFLQJVRXWKZHVW,¡YHDGGHGWRWKHPORXYUHVZKLFKZLOOKHOS LQWRFRQWUROVRODUSUHYHQWLQJWKHEXLOGLQJIURPRYHUKHDWLQJHVSHFLDOO\LQWKHVXPPHU The reason I used colts shadovoltaic louvred solution, is for two main reasons. 7KH ÀUVW LV WKDW XVHV JODVV ORXYUHV LQVWHDG of the conventional aluminium ones. 7KH DGYDQWDJH EHLQJ ZKLOH LW¡V UHGXFLQJ LQWHUQDOKHDWJDLQVLWZLOOVWLOOEHPD[LPLVLQJ the natural daylight intake, which is a massive advantage, that it doesn’t have to compromise one for the other. The other UHDVRQ ZRXOG EH WKH SKRWR YROWDLF FHOOV HPEHGGHGLQWRWKHJODVV7KHDGYDQWDJH of this is that while it’s protecting from VRODU JDLQ RQ WKH à \ LW¡V DOVR LQWHUQDOO\ JHQHUDWLQJ HOHFWULFLW\ IRU WKH EXLOGLQJ reducing the strain on from other sources.

7KHW\SHRIJOD]LQJWKDWZLOOEHXVHGRQWKHIDFDGHZLOOEHKDQVHQWKHUPRVSDQVWUXFWXUDO JOD]LQJV\VWHP7KHIUDPHOHVVÀQLVKRIIHUVIRUDà XVKHGÀQLVKPD[LPLVLQJRQGD\OLJKWLQWDNH 7KH ERWWRP VHFWLRQ LVQ¡W FRYHUHG E\ WKH louvres, the reason this is that the need isn’t there as that section of the glazing ZLOOEHVKDGHGE\WKHH[WHUQDOHDWLQJDUHD and the viaduct.

$VWKH\KDYHYDULHGVHOHFWLRQVWKHRQH,¡OOEHXVLQJIRUWKLVGHVLJQLVWKHWKHUPRVSDQWULSOH skin insulating glass unit which has a U value of 0.8 W/m2.7KHJOD]LQJZLOOEHPPWKLFNRQ either side with a 12mm insulating cavity. The inner pane is a 20mm heat soaked toughened glass for that increased thermal property.

$VWKLVVLGHRIWKHEXLOGLQJZLOOEHJHWWLQJWKHIXOOLQWHQVLW\RIWKHVXQHVSHFLDOO\GXULQJWKH summer this is why I this section is fully louvred.

7KHJOD]LQJLWVXSSRUWHGE\WKHXVHRIVSLGHU EUDFNHWVWKDWDUHWKHQDWWDFKHGWRJODVVĂ€QV7KH UHDVRQ,XVHGJODVVĂ€QVWKDWWKHE\EHLQJJODVVLW has the transparent properties which prevents the EORFNLQJRIGD\OLJKWWUDQVPLVVLRQV$OVRLWKHOSVWR maintain the continuos facade feel.

GLASS PARAMETERS TABLE

6SLGHUEUDFNHWZLWKJODVVĂ€Q supporting the glazing.

Showing the glazing and supporting ÀQV

,¡YHEURNHQWKHJOD]LQJXSDVLWZRXOGEHUDWKHUGLIÀFXOWLPSRVVLEOHWRJHWRQHVSDQQLQJWKDWGLVWDQFH+RUL]RQWDOO\,¡YHEURNHQXS the glazing to ever 2m increment and horizontally from the ground up, looking at 3m, then 2m, then 2.6m. Breaking up the glazing like this offers for a good division regularizing the spacing of the separation.

Dimensions

LS4

A mm (max)

1800*

B mm

min. 350, max. 550

C mm

65

D mm

10

Angle of rSXEXMSRĂ—

0 - 85

$V,¡YHFKRVHQWRJRZLWKFDUULHUWKLVWDEOH LVDVSHFLÀFDWLRQJXLGHOLQHZKHQFKRVHQ VSHFLÀFGLPHQVLRQV

C

D

B

* All dimensions are in mm )RUP\EXLOGWKHGLPV,ZHQWIRUZKHUH A >1700 B > 500 C > 57 D > 10 A

5HODWHV EDFN WR WKH OHWWHULQJ RQ WKH SDUDPHWHUVWDEOH This simple calculation takes the length of the louvre and looks for the optimum vertical separation due to the sun’s maximum angle during the summer. The reason for doing this is that it will potentially reduce the amount RI RYHUDOO ORXYUHV WKDW ZLOO EH QHHGHG ZKLFK PHDQV GXULQJ WKH ZLQWHUPRUHVRODUJDLQFDQSHQHWUDWHLQWRWKHEXLOGLQJ

2m

2.6m

2m

3m

/RRNLQJ DW WKH JOD]LQJ RQFH PRUH ,¡YH FKRVHQ WR EUHDN up the continuity with corten steel panels, as I though the strong glaze frontage was slightly over powering. In EUHDNLQJ LW XS LQ WKLV ZDV LW  LV DOVR LQHYLWDEO\ IUDPLQJ WKH internal space. The cladding coating will also change to match this organic corten steel colour as it’s not shown KHUHLWZLOOEHLQWKHÀQDOUHVROXWLRQ

19


6LQFH,GLGQ路WXVHWUDQVSDUHQWFRQFUHWH,路YHFKRVHQWRXVHLWDVWKHFODGGLQJPDWHULDOIRUWKHVSLQHRIWKHEXLOGLQJ

20


Final Schedule of Accommodation

Building Program 7KHEXLOGLQJVHUYHVWZRIXQFWLRQVRQHDVEHLQJDQLQVWLWXWLRQRIĂ€OPSURGXFWLRQXVLQJYLVXDOHIIHFWV 9); WHFKQLTXHVLQD ZD\WDNLQJLQVSLUDWLRQIURPROGĂ€OPPDNHUVOLNH$OIUHG+LWFKFRFN VNHWFKERRN OLNHKRZXVHG9);ZKLFKPDGHKLPVWRRG RXWGXULQJKLVWLPHOLNHLQWKHĂ€OP%LUGV   Roof Open Air Cinema (239.1m2

7KH VHFRQG IXQFWLRQ RI WKH EXLOGLQJ LV WR DGGUHVV WKLV LVVXH DURXQG WKH ORFDO FRPPXQLW\ RI ORQJWRQ WKDW LV WKLV EURNHQ FRPPXQLW\VSLULW7KHPDLQUHDVRQIRUWKLVLVVXHLVWKDWWKHFRPPXQLW\PHPEHUVGRQ¡WLQWHUDFWZLWKHDFKRWKHUDQGWKLV DWWLWXGH KDG QRZ EHFRPH WKH QRUP DQG KDV VSLUDOOHG GRZQ WR ODWHU JHQHUDWLRQV +RZHYHU ZLWKLQ P\ EXLOGLQJ XVLQJ WKHLGHDRIÀOPSURGXFWLRQJLYLQJWKHFRPPXQLW\PHPEHUVDFKDQJHWRGRDVWKHSURIHVVLRQDOVGRWKHUHLVKRSHWKDW WKHFRPPXQLW\FDQHYHQWXDOO\UHEXLOGLWVHOIWKURXJKLQWHUDFWLQJZLWKRQHDQRWKHUQRWEHLQJVWUDQJHUVWRRQHDQRWKHU 7KHUHIRUHWKHEXLOGLQJZLOODOVREHDFWLQJD+XEWRUHLQIRUFHGWKHDLGLQJRIWKHLVVXH

Primary Building Function External Seating (34.34m2

Servery (28.1m

2

Kitchen (20.8m2

Internal Seating (52.57m2

Female Toilet (12.2m2

Male Toilet (12.1m2

Projectionist Room (42.5m2

Meeting Room (27.1m2

'LUHFWRUVRIĂ€FH P2

First

Cinema (146.5m2

 &RQFHSWURRPWKHVWDUWRIWKHĂ€OPPDNLQJ process where the idea are generated.

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  2II VLWH ÀOPLQJ WKLV LV XVLQJ WKH GHFD\ areas from the sensory map, driving live EDFNLQWRWKHVHDUHDV

 &RPSXWHU*UDSKLFVURRPZKHUHDOOWKH production is tied together, overlaid and FRPELQHGIRUDĂ€QDOSURGXFWLRQ

 $QHFKRLFFKDPEHUXVHGDVDUHFRUGLQJ studio for voice overs, great for doing so GXHWRLWVVRXQGDEVRUSWLRQSURSHUWLHV

  *UHHQ VFUHHQ URRP WKLV RIIHUV WKH RSSRUWXQLW\ WR ÀOP WKH LPSRVVLEOH LQ conjunction with the CG suite.

Staff Room (52.4m2

CG Suit (90.2m2

Female Toilet (12.2m2

Lecture Space/ Studio Space (57.9m2

Male Toilet (12.1m2

Concept Room_2 (27.2m2

Concept Room_1(30m2

Ground

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2

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Biomass Boiler plan Room (26.6m2

Biomass Storage (15.1m2

Server Room (14.7m2

Secondary Building Function

$QHFKRLF&KDPEHU P2

Changing Room_2 (20m2

Basement

Control Room (14m2

Green screen Room (55.8m2

Changing Room_1(23.1m

2

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 /HFWXUHURRPJLYLQJ WKHORFDOVDEULHIRQ ÀOPSURGXFWLRQDQGWKH IDFLOLWLHVWKDWWKHEXLOGLQJ offers.

 3XEOLFĂ€OPLQJVWXGLR VSDFH*LYHVWKHSXEOLF the opportunity to use HTXLSPHQWDYDLODEOHJLYLQJ them the chance to go through the design process.

 3XEOLF,7VXLWH7KH computer on this side ZLOOEHORDGHGZLWKWKH VRIWZDUHIRUWKHSXEOLFWR use and get a similar feel of WKHEXLOGLQJXVH

 7KH3XEOLFFDQWKHQYLHZ there production in this pods which act like mini cinemas throughout the space.

21


Trading Strategy

This trading strategy is highlighting the areas of improvement of some of the areas in longton which I categorized as areas of decay during D6-­1. 0RYLQJRQ)URP'WKHVHDUHDKDYHLPSURYHGVRPHZKDWDVDUHD%KDGQRZEHFRPHWKHVLWHDUHDDQGDUHDV&'DQG$DUHQRZDUHDVZKHUHYLGH UHFRUGLQJZLOOEHGRQH$GGLQJOLIHEDFNLQWRWKHVHVSDFHV 22


Trading Strategy Updated

Site Map A

This Update of the trading strategy gives and indication to how the areas A,B,C and D will FKDQJHGDQGXVHGDIWHUWKHEXLOGLQJKDV ÀQLVKHGEXLOGLQJ $OVRWRQRWHWKHUHZLOOEHRWKHUDUHDVOLNH A,B,C and D around the city, which at a ODWHUGDWHEHXVHGDVVHHQRQWKHVLWHPDS A.

23


Final Form 7KHÀQDOIRUPLVEURNHQXSLQWRWKUHHVHJPHQWVZKLFKVWDUWHGWRFRPHWROLJKWGXULQJ the development process. 7KHVSLQH 7KHVHFWLRQWKDWKROGVDOOWKHEXLOGURRPVZKLFKDUHDPD[LPXPZLGWKRI PHWHUVDORQJWKHVRXQGVHFWLRQDQGPHWHUVRQWKHZHVWVLGH

*OD]HGIURQWDJH 7RDOORZSHGHVWULDQVYLHZVLQWRWKHVSDFHEULGJLQJWKDWOLQN EHWZHHQWKHLQWHUQDODQGWKHH[WHUQDO

7KHREMHFW 7KLVEHLQJWKHFLQHPDDVLWLVEHLQJSURMHFWHGWKURXJKWKHEXLOGLQJDVD PDVVFRPLQJRXWRIWKHEXLOGLQJ

24


Final Resolution

Context plan at 1:1250, Showing the wider context of the scheme

25


6LWHSODQDWVKRZLQJWKHEXLOGLQJLQLW·VLPPHGLDWHFRQWH[W

26


Basement at 1:200 1 2 3 4 5  7 8 9

Changing Room_1 Green screen Room Changing Room_2 Services Control Room $QHFKRLF&KDPEHU Biomass Storage Biomass Plant Room Lift Shaft

1

3 2 4

5

9

6

7 8

27


Floor plans -足 Ground at 1:200 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

Public ITC suit Public Video area Concept Room_1 Concept Room_2 Male Toilet Female Toilet Lecture Room/Studio Space Reception Area Waiting Area Lift Pods Exhibition Space External Public Realm Parking Refuse Delivery

23

10

25

18 24 11

19 20 21

12

17 22 13 14 15

16

28


First at 1:200 26 27  29 30 31 32 33 34 35 36 37 38

Computer Graphics Suite Staff Room 'LUHFWRUV2IĂ€FH Meeting Room Male Toilet Female Toilet Kitchen Servery Internal Eating Area External Eating Area Cinema Projectionist Room Lift

26

36

38 27

37 28

29 30 34

31

35

32 33

29


Roof at 1:200 39

Open Air Cinema

39

30


Front Elevation

Section AA

Section AA

31


R E N D E R S 32


PUBLIC IT SUITE LOBBY

33


MAIN ENTRANCE AND RECEPTION

34


(;7(51$/38%/,&5($/0

35


Centre Piece

36


Thank You Fin... ...shanaire-足blythe@hotmail.com

37


Third Year Architecture Project "Mending the Broken Spirit"