YULIYA LAPSHYNA
MUTATIO from Latin - Interchange
ACKNOWLEDGEMENTS
I would like to thank the following people for their dedication and support during this project: Head of the Year - Matthew Wickens Personal tutor - Cat Martin Landscape consultant - Tim Osborn Structural consultant - Gennady Vasilchenko-Malishev Tectonic consultant- John Griffiths Environmental consultant - Anne-Marie Fallon My friends for their constant support and patience throughout this project, My flatmates for maintaining my sanity during the extremely difficult times in lockdown, and lastly my family, without whom I would not be here.
Fig. 0 - My own drawing. Showing mixed styles, mediums and techniques.
CONTENTS
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THE STORY brief client site
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SCHEME DESIGN concept diagrams landscape approach plans sections elevations perspectives
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STRUCTURAL AND TECTONIC STRATEGY
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ENVIRONMENTAL STRATEGY
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REGULATORY COMPLIANCE
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DESIGN PROCESS design diary post-reflection
the story
PROJECT ASPIRATIONS
PROPOSAL
Art, Music and Ballet
In the contemporary society children are usually bounded by a certain number of rules and restrictions, which put limitations on their creative ability. Instead of using the close connections between art, music and ballet to draw inspiration from, kids are often divided and spread out in between those different creative areas, without the ability to observe, learn and improve.
My proposal is for a new building called Bristol Creative Association (BCA). It aims to challenge the current concept of teaching art, music and ballet. The goal is to design a vibrant ‘community’ centre that will create a synergy between the main three creative areas, allowing for an integrated teaching approach.
Despite proposing to design a primarily after-hours school, I am intending to maximise the opening hours, by allowing usual citizens to enjoy the facilities. This inspiring environment surrounded by vegetation also aims to help the user to slow down and wonder; enjoy the view, the music or learn how to perform art themselves.
Ultimately, this building positions itself to being a creative hub in central Bristol.
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DESIGN APPROACH
Fig. 1 - Edgar Degas ‘Rehearsal’. Combines everything - the art, the music and the ballet.
By combining performing arts, music and ballet, the school seeks to create a vibrant space where students can learn and get inspired from each other. Through subverting the idea that each creative area has to be taught in isolation, it uses all the three mediums to bring the diversity of knowledge and experience into their environment. This prevents the preconceived notion of students only being able to learn one chosen area, widely broadening their expertise. The centre allows for an invisible physical interconnection of spaces, where they will get direct access to other mediums, yet without interrupting each other.
Having a place to go to after school teenagers will benefit from personal development in a safe and captivating environment. Social aspect is further enhanced by the fact that citizens of all age would be able to use the provided facilities due to the availability and flexibility of auditoriums. Thus, the building will be occupied with various social and age groups during the day.
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BRIEF PRECIS INTERCONNECTED SPACES
BEACON
The main ambition of this project is to create the space for cultural and creative exchange between art, ballet and music. Nowadays, creative studies are usually divided by subjects and even further sorted by the specific area in the chosen sector. Therefore, students do not experience other creative courses. However, I believe that by going back to the ‘old’ standards of education, when children had to know and experience all the creative fields, it would be more beneficial for everyone involved.
Another aim of this project is for the building to be a grand gesture; a central piece of attention in the surrounding area. Having visited Bristol and the potential cite it seems that the area is lacking a special feature that will help to activate the riverside and enhance the existing cityscape.
Fig. 6 Fig. 2
Fig. 3
LIGHT Light creates spaces. It shapes rooms and directs people. From experience light is one of the main aspects that allows people to enjoy spaces they work in. Especially when it comes to creative areas, where the presence of the correct lighting is crucial. Some of the constraints that will affect my natural lighting strategy will be: - no direct sunlight, - ability to manually control the amount of light in auditoriums, - each subject-specific room needs its own lighting strategy.
Inside there is a different atmosphere than on the outside, internal world of creativity, art, music and ballet. A world where everyone is destined to meet, collaborate and inspire each other. Ultimately, the project is intended to become a catalyst for a ‘creative’ movement in the area.
FLEXIBILITY
in terms of use
Areas have to be flexible. Both in terms of time and space. Therefore, while it is primarily an after-hours school, the building will also provide services for workshops, lectures and events, allowing citizens to fully utilize the available facilities.
ADDITIONAL ELEMENTS OF IMPORTANCE ‘layering’ of the social space views landscape/community
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Fig. 4
Fig. 5
CLIENT INFORMATION FUNDING Lottery funding and Bristol City Council would be able to provide some of the funding and support certain community services which my building is aiming to provide.
END-USER INFORMATION 6AM
12PM
6PM
12AM
0+ 10-18 12+
MAIN CLIENTS Art
The only art related activity that I found in Bristol was RWA Drawing School and some Art Courses in Universities. Moreover, the only art related workshop facilities that were available for citizens were family-run businesses located on the outskirts of the city. Therefore, RWA Drawing School could benefit from expansion into a new central building.
Fig. 7 - Age of users and time of the day each group will mostly occupy the building.
0+ for morning workshops. 10-18 for after-hours school. 12+ for evening programme.
Mon Music
Not many music-teaching courses were found in Bristol, apart from some very small independent facilities and university courses which are targeted at older audience. Having St Georges Bristol as a client would mean that they will be able to improve their facilities and expand the programme, as the proposed building will have a similar acoustic features.
Tue
Wed
Thu
Fri
Sat
Sun
Art Workshops Music Workshops Dance Workshops Art Classes Music Classes Dance Classes Rehearsing
Ballet
Apart from the existing Bristol Russian Ballet School which is located on the outskirts of the city and lacks refurbishment there was no ballet schools which targeted younger generation. Therefore, a proposed client for this function of the building would be a North Star Academy, which is located close to London; as it could highly benefit from opening another facility in Bristol.
Evening programme Social space Fig. 8 - Proposed timetable of activities in the centre.
10-15 years 15-18 years social external space to be used by everyone, including students, allowing for cultural and creative interchange.
SECONDARY CLIENTS Secondary bodies which could benefit from utilising the provided facilities.
150 students overall + staff 20 +- 50 students for each subject the number of teaching spaces based on the calculations Nt = Ns x Hs/Hw x 100/F per 50 students per each department and 80% net utilisation factor 18.75 min of teaching spaces at once
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SCHEDULE OF ACCOMMODATION MAIN FACILITIES
Art Department
The programme of Bristol Creative Association will consist of four main areas: the Social Space, an Art Department, a Music Department and a Ballet Studio.
The Art Department will have to be visually connected to both Music and Ballet departments, in order to allow for a constant flow of inspiration, ideas and ‘prime image sources’ (i.e. drawing by looking at the students from ballet class). Classes should have an open floor plan to allow for an unrestricted movement in space.
Social Space
The main gathering space, where the interchange of knowledge and ideas between the departments will occur. This will include both the internal venue, as well as the external courtyard. The fundamental aspect will be the interconnection of all the other spaces on multiple levels. It should become a heart of the building.
1 student spends around 4 hours in the studio in a day. 20 students per day. 4.6m2 min per student space per art department = 90m2-100m2 total 2 art studios for 10 people = classroom 50m2
Music Department
Music department should have a physical connection to other departments in terms of allowing others to hear the melodies. This should stimulate and inspire fellow students, create the overall atmosphere in the building and potentially attract tourists. Auditorium should have a flexible arrangement; spaces and acoustics must adapt.
Integrated exhibition space Storage 20m2 2 Toilets 10m2 OVERALL - 130m 2
Ballet Studio
Compared to other departments, I believe that Ballet Studio will be the one feature which will require privacy from the external audience; meanwhile still allowing for views in from the Art Department. Spaces should also be adaptable to allow for different studio configurations. 1 student spends around 1-2 hours in the studio in a day. 20 students per day. 8 music studios for different instruments (for 1 to 1 classes) 215m2: typical wind instrument room - 27m2 x2 typical string instruments room - 27m2 x 3 typical electric piano room - 27m2 x3 Storage 45m2 Toilets 10m2 Auditorium for 150 people + 50 flexible seating: stage 50m2, auditorium 250m2 Auditorium support 35m2: sound & lighting control room - 30m2 observation room - 5m2 Toilets 35m2 OVERALL - 640m 2
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1 student spends around 2 hours in the studio in a day. 20 students per class, with 5m2 per person. 1 dance studio for 20 people = 100m2 Changing Rooms + Lockers 30m2 Storage for equipment 40m2 2 Toilets + 2 Showers 20m2 OVERALL - 190M 2
ADDITIONAL SPATIAL REQUIREMENTS
POSSIBLE ADJACENCIES
Entrance Waiting Space with Coat Storage Administration 5% Cafe/Bar (internal communal spaces) Plant 10% Circulation 15% external social area
art studio
OVERALL st.
piano room
art studio
wc 30%
storage
FACILITIES - 700 M2
mus. auditorium
20%
EXTERNAL AREA - 460 M2
dance studio
st.
aud. sup.
aud. wc
wc 10%
CAFE - 230 M2
5%
ADMIN - 110 M2
15%
CIRCULATION - 340 M2
show.
mus. mus. mus.
ch.r.
mus. central social space/ cafe
plant room
mus. wc
PLANT - 430 M2
admin
entrance
ballet
10%
waiting area
music
SUPPORT - 430 M2
art
10%
TOTAL BUILDING AREA - 2300 M2 PROPOSED SITE AREA - 1800 M2
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THE SITE: LOCATION SITE LOCATION @1:15000
SITE LOCATION @1:2000
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A A
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NATURE OF THE SITE The site has an extremely flat nature due to the existing parking. The surrounding area varies in character, from rather classical architecture on the west side, to more industrial buildings on the north side. Close proximity to the canal is one of the main features. 5 minute walk
10 minute walk
SECTION AA @1:500
music venues private music teachers, recording studios adult ballet classes art classes art galleries
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There are no existing specialized facilities which can provide all the proposed functions, despite only a few of private art/music/dance teachers mainly targeted towards the older generation.
SECTION BB @1:500
SITE ANALYSIS & CONSTRAINTS SITE PHOTOGRAPHS
WIDE SITE ANALYSIS
View 1 - from the south side of the canal.
GRAIN OF THE CITY
EXISTING PEDESTRIAN FLOW
VEHICULAR NETWORK
KEY VIEWS
View 2 - from carpark to the East.
View 3 - onto the other side of the canal. Showing possibilities for panoramic scenes.
POTENTIAL CONSTRAINTS
View 4 - from The Grove on the North.
Located on the Bristol Feeder Canal, the site benefits from a relatively steady tidal levels, meaning minimal risk of flooding. No houses on the site itself is in conservation, except from the Hand Crane in front of the site to the South.
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SITE STRATEGY
PRIVATE noise prone areas
SHORT STAY
LONG STAY
PUBLIC
SITE ENCLOSURE AND GREENERY
ACCESS
SUNLIGHT & IDEAL PROGRAMME LOCATIONS
CRUCIAL ADJACENCIES
Being located in the very open area the site benefits from the opportunity of becoming a focal point of attention in the neighbourhood.
The site is situated within a close proximity of the local bus stops; has an uninterrupted vehicle access. One of the design consideration is retaining a pedestrian route along the river’s edge.
Potential to create a long stay social space to the east of the building as a part of Bristol’s Feeder Canal riverside regeneration plan.
To the north there is the Queen Square; to the West - Arnolfini, the famous contemporary gallery.
Classrooms and Administration to face north for diffuse daylight.
Despite the aforementioned features the riverside is very quite. Meanwhile it has a huge potential to be transformed into a vibrant community space.
Public areas, such as auditorium and cafe will benefit from being positioned along the river’s edge.
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Although the traffic around the site is relatively low, acoustics should be carefully addressed.
Community spaces to face south for unobstructed views and constant sunshine.
LANDSCAPE APPROACH
LINK TO THE EXISTING There is an existing proposal put forward by the Bristol City Council, which aims to transform Bristol Floating Harbour into recreational area with parks. Therefore my building would contribute to this idea, creating an additional point of interest along the waterfront.
PROPOSALS demolition
possible additional trees to guide people towards the entrances
The key reason for choosing this site was the lack of human engagement with the edge of the canal in that area despite its central location, available views and huge redevelopment potential. Thus, my proposal would animate the existing waterfront.
connectivity to Arnolfini - shared surface
new pedestrian flow
The site is predominantly industrial in character, meaning a rather simple landscaping strategy needs to be implemented.
keeping the walkway
very open site reinforces ‘community space’ idea; thus forces to create various routes trough the building to the waterfront
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scheme design
CONCEPT DIAGRAMS
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4 CLEARLY DEFINED SECTORS
CENTRAL TRANSITIONAL SPACE
PRIVATE/PUBLIC
VIEWS TROUGH
BULK OF THE BUILDING DISPERSING TOWARDS THE WATERFRONT
RAISED PROGRAMME FOR PRIVACY/REDUCED NOISE LEVELS
CONCEPT DIAGRAMS
PROJECTED FAÇADES DEFINING MAIN ENTRANCES
LANDSCAPING GUIDING TO THE ENTRANCES
VISUAL CONNECTION BETWEEN PROGRAMMES
VERTICAL/HORIZONTAL CIRCULATION
CLEARLY DEFINED ENTRANCE
COMMUNITY/SOCIAL SPACES
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ROOF PLAN 1:500@A3
Scale 1:100 0
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Scale 1:500 0
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LANDSCAPE STRATEGY: OVERVIEW
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LANDSCAPE STRATEGY: IN DETAIL The key aim of the proposed scheme is to extend my architecture into the landscape and start engaging with the audience even before the user entered the building. An existing surrounding industrial language implies on the landscape proposal being quite simple. Therefore, a series of external projected facades were introduced. These are performing a number of tasks for external envelope of the building: creating a sheltered walkways; framing the views; and ultimately acting like ‘trees’ by creating alleyways which are leading to the entrances. The overall bulk of the building disperses towards the canal, opening up the waterfront and enhancing the public engagement with it.
New trees are planted directly in the ground instead of planter boxes to create an atmosphere of a transitional space. Their strategic locations were chosen to frame the views and direct people towards the entrances.
Connectivity with Arnolfini via shared surface. Due to very low traffic possible to turn it into a paved square. A granite external ‘carpet’ creates a smooth transition with the concrete flooring in the proposed scheme.
External seating areas: benches next to the building, activated waterfront.
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Extensive
green
roof
2 external balconies: 1 on top of auditorium mainly dedicated to social space and external practice space for ballerinas. Is surrounded by greenery on the edges to reduce the wind/noise and improve security. 1 mainly dedicated for art students.
Planted edge for improved security. Geometry based on the proposed building itself
LANDSCAPE STRATEGY: ENGAGING WITH THE WATERFRONT
EXISTING ACCESS DOWN TO THE WATERFRONT VIA LADDER facing south
PROPOSED ACCESS DOWN TO THE WATERFRONT View facing north. Retaining the docks, yet allowing public unobstructed access. Engaging with existing waters edge in order to animate the waterfront.
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GROUND FLOOR PLAN +0 000 1:200@A3 1. Auditorium 2. Retractable seating store 3. Plant room 1 for auditorium 4. Ticket office 5. Cloak room 6. Central lobby 7. Lifts lobby 8. Piano lift 9. Administration 10. Female toilets 11. Changing rooms 12. Showers 13. Male toilets 14. Café (internal) 15. Café (external) 16. Café’s kitchen
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Scale 1:100 0
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GROUND FLOOR: CENTRAL LOBBY
The main purpose of the lightwell over the central atrium is to define and highlight the space with natural light, where most students would tend to gravitate to for social interaction. Artificial lighting is strategically positioned to emphasize the round nature of the ‘drum’.
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FIRST FLOOR PLAN +5 000 1:200@A3 1. Auditorium below 2. Auditorium control room 3. Art supplies storage 4. Toilets 5. External balcony 6. Void 7. Lifts lobby 8. Piano lift 9. Music practice rooms 10. Ballet studio 11. Art studio 1 12. Art studio 2 13. External fire stair
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Scale 1:100 0
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CENTRAL ATRIUM Central staircase is emphasized by light. Open nature of the atrium further emphasizes the idea of the interconnection between three creative sectors, as generous flexible transitional spaces would be occupied with students practicing art/music/ballet; with music bouncing off and flowing in and out of the social gathering areas.
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SECOND FLOOR PLAN + 8 000 1:200@A3 1. External practice space 2. External social space 3. Toilets 4. Void 5. Lifts lobby 6. Piano lift 7. Music practice rooms 8. Ballet Studio below 9. Art Studio 1 below 10. Art studio 2 below
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INTERCONNECTION & VIBRANCY CIRCULATION One of the key design considerations is the notion of a dynamic social space. The scheme aims to achieve an animated circulation by having a central visually and acoustically vibrant hall from where all the users are then directed to their activities. Two secondary vertical routes are available. The showers for the Ballet Studio are located on the ground floor, which further promotes the movement in-between floors.
VERTICAL CIRCULATION
HORIZONTAL CIRCULATION
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INTERCONNECTION & VIBRANCY INTERNAL & EXTERNAL VIEWS The key scheme objective was to create an interconnection among the Art, Ballet and Music sectors. The proposed scheme initially targets this via direct visual connections between all the studios. Furthermore, the central hall allows visual links between the floors, thereby joining the public (the ground floor cafe, auditorium) and the private (the school) aspects of the community.
external views
internal views
Extensive glazing provides both visual and physical connections with its external environment: allowing students to engage with their surroundings; as well as letting in an occasional passerby to wonder trough the architecture as if it is a part of the existing neighbourhood.
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FIRST FLOOR: CORRIDOR ‘Not just a school, but a community where people are free to practice wherever they want, constantly getting inspired from each other.’
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LONG SECTION 1:200@A3 1. Auditorium 2. Control room 3. Retractable seating store 4. Plant room 1 for auditorium 5. Ticket office 6. Toilets 7. Central atrium 8. Plant room 2 9. Ballet studio 10. Changing rooms 11. Showers
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THE AUDITORIUM
The main purpose of substantial glazing areas in auditorium - to open up the spectacular underrated existing views, as well as to allow the light to shape the spaces.
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AUDITORIUM: FLEXIBLE ARRANGEMENT One of the key aspirations of my brief was to create a flexible spatial arrangement, allowing the majority of areas to be constantly utilized throughout the day. A series of studies below show potential uses of the flexible auditorium. These are possible due to its technical configurations: mechanically operated blackout blinds, lights and acoustic ceiling panels, all controlled by the user as well as retractable seating system. Operable sliding doors at the front of auditorium allow to extend its premises, providing additional external seating space. Furthermore, the stage itself is strategically spacious to allow for a more flexible seating arrangement.
MORNING
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LUNCHTIME
LECTURE MODE
CONCERT MODE
retractable seating - out, sliding doors - closed, blackout blinds - down, screen - down.
retractable seating - out, sliding doors - opened, blackout blinds - hidden, screen - hidden.
AUDITORIUM: FLEXIBLE ARRANGEMENT
AFTERNOON
EVENING
PRACTICE MODE
GIG MODE
retractable seating - out/hidden, sliding doors - closed, blackout blinds - hidden, screen - hidden.
retractable seating - hidden, sliding doors - opened/closed, blackout blinds - hidden, screen - hidden.
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SHORT SECTION 1:200@A3 1. Administration 2. Music practice rooms 3. Ballet studio 4. Female toilets 5. Changing rooms 6. Male toilets 7. Café 8. Café’s kitchen 9. Art studio 1
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BALLET STUDIO
A user-operated curtain is located on the ground floor of a double height ballet studio space, which could be closed for privacy or a different acoustic mode.
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SHORT SECTION 1:200@A3 1. Central atrium 2. Lightwell
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CAFÉ: DIFFERENT MODES
MORNING
public gathering on the new external steps; cafe extends outside to occupy sunlit east edge of the canal
AFTERNOON
cafe is moved inside to the shared central space, giving the external area with no direct sunlight to art lessons
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SOUTH ELEVATION 1:200@A3
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A BEACON
An initial idea for my scheme was to create a ‘Beacon’ in the neighbourhood, which would attract visitors. Therefore, externally the building is portraying one image and atmosphere - a rather self-contained architecture with simple colour palette and materials. However, once you are inside - a whole different world opens up in front of you with well-lit spaces, vibrant social atmosphere and constant dynamic interchange of ideas.
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EAST ELEVATION 1:200@A3
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FRAMING VIEWS BALCONY ON THE FIRST FLOOR
Being an artist myself I recognize the importance of a correctly framed image. Therefore, the language of the facade on the external first floor balcony creates framed views which could be extremely advantageous for art students.
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NORTH ELEVATION 1:200@A3
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PROJECTED FAÇADES DEFINING ENTRANCES PERSPECTIVE VIEW FROM THE GROVE
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WEST ELEVATION 1:200@A3
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CREATING A SOCIAL SPACE BALCONY ON TOP OF THE AUDITORIUM
A space on top of the auditorium is aiming to flourish social interaction between students. It benefits from spectacular views on the canal, as well as a constant unobstructed sunshine throughout the year - two factors which make it attractive to the final users. There are two main areas: a larger one being primarily dedicated to the Ballet students to come together and practice in, and a smaller one being left for all the students to utilize as their potential lunch spot away from the public eye. The use of these areas is not limited to the aforementioned activities, yet the nature of the architecture (planting/seating areas) will naturally dictate its final purpose.
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CREATING A SOCIAL SPACE PERSPECTIVE VIEW FROM PRINCESS STREET
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FRAMING THE EXISTING LANDSCAPE
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structural and tectonic strategy
STRUCTURAL STRATEGY: THE MACRO APPROACH MACRO
LAYERING IN MACRO
Macro is about the overall approach to the structure. How building sits on site, its key structural aspects and construction strategy.
PRIMARY & SECONDARY STRUCTURE
GROUND FLOOR
FIRST FLOOR
THE INITIAL GRID
The running idea trough the whole scheme is layering of the social space, layering of the different activities and age groups. This is celebrated in Macro: horizontally trough the layering of the projected facades and vertically trough the strategic positions of the double height spaces/atrium.
5x5m main grid
1m secondary grid
To rationalize the structure a grid was developed. The main grid is 5mx5m, which ensures that a safe beam span/opening width can be designed, without a need for further reinforcement. A subsequent grid is introduced to organize secondary spaces.
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primary structure
secondary structure
Due to predominantly long spans the structure mainly consists of load-bearing in-situ reinforced concrete walls. The ground-to-first floor section of the stair acts as a ‘column’ and further supports the cantilever in atrium.
GROUND WORKS
capping beam
CEILING TRUSSES
pile foundation positions
15m long pile foundations with pile caps are required to reach the underlying bedrock formation. Figures based on geological surveys done on site.
According to an equation (depth of the cantilever slab= span/10) the cantilever slab in the atrium had to be minimum 400mm deep. Therefore, in order to reduce the amount of concrete used in the floor, at the same time providing a backspan for the overhang, a series of 350mm deep concrete ceiling beams were introduced. These provide two lines of support for a 4m cantilever, meanwhile allowing to run the services between them (easy access for maintenance).
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STRUCTURAL STRATEGY: EXPLODED ISOMETRIC PRIMARY & SECONDARY STRUCTURAL ELEMENTS
Pile foundations to be connected together with a capping beam to account for possible misalignment of the piles and increase lateral stability. Primary structure elements and the stairs to be cast in-situ.
PRIMARY STRUCTURE
SECONDARY STRUCTURE
IN-SITU CAST FLOOR PLATES
PILE FOUNDATIONS
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STRUCTURAL STRATEGY: EXPLODED ISOMETRIC OVERALL MATERIAL APPROACH ROOF
SECOND FLOOR
Suspended ceiling to run the services; timber panels are strategically positioned in the central hall, corridors, classrooms and the auditorium for improved acoustics.
FIRST FLOOR
GROUND FLOOR
Slatted timber system on the walls for controlled acoustics. The structural wall in auditorium has wallcolumn-wall pattern which reduces the overall tonnage of concrete, at the same time keeping the required stability and allowing the space for services.
FOUNDATION
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STRUCTURAL STRATEGY: CHALLENGING CONCRETE POSSIBILITIES As materiality of my proposed design is primarily concrete, I wanted to challenge this material and explore its structural possibilities. There are several methods used: in-situ reinforced concrete for primary structure; recycled aggregate concrete for secondary structure; bubble-deck concrete technology for non-structural elements; fiber-reinforced external concrete cladding; ‘DUCTAL’ stair and expressed facades; and thermal breaks.
IN-SITU REINFORCED CONCRETE The primary structural walls will be made of in-situ reinforced concrete. These will provide lateral stability of the building and transfer vertical loads into the piles as compression axial forces. The load-bearing walls will be cast along with floors, floor by floor, leaving reinforcement out for subsequent joinery of the stair and facades.
RECYCLED AGGREGATE CONCRETE There is a possibility to reuse the existing materials on site, which would be left after demolition and excavation. The obtained recycled materials would replace aggregate in the concrete mixture. In order to establish the correct replacement ratio there are several concrete strength tests to be conducted. And although in theory the use of recycled aggregate would merely reduce the stability of the concrete, the application of such a material would be confined to secondary structural elements.
examples of existing materials on site
top mesh
insitu concrete
BUBBLE DECK CONCRETE TECHNOLOGY A Bubble Deck technology is a method which allows to eliminate a certain percentage of the concrete from the middle of the slab which is not performing any structural function thus just adding to the dead weight of the slab. The highly dense polyethylene hollow spheres are conceived within a welded reinforced mesh and then concrete is cast in-situ on top, creating a monolithic bi-axial concrete slab. Overall it can reduce the amount of concrete used by up to 50%, resulting in economic and environmental savings, such as costs, materials and most importantly CO2 emissions. As Bubble Deck technology only performs 72-91% shear capacity and 87% of bending moment of the solid concrete deck - it cannot be used where primary load-bearing walls are. Therefore, throughout the scheme it is used in the ground/first/second floor plates as well as in non-structural walls.
balls cage
bottom reinforcement
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Fig. 9
precast concrete
STRUCTURAL STRATEGY: CHALLENGING CONCRETE POSSIBILITIES DUCTAL - FIBER REINFORCED CONCRETE THERMAL BREAK Due to the specifics of my scheme there was a need for a certain construction technology which would allow seamless attachment of internal to external in-situ concrete elements and eliminate a possibility of thermal bridging. The solution was to introduce thermal breaks, which allow to keep the continuity of a concrete element, at the same time providing the needed continuous insulation. These elements are used throughout the design at places such as projected balconies, facades and internal cantilever (to support an implemented environmental strategy).
Fig. 11
Fig. 10
vertical thermal break for external facades
horizontal thermal break for floor slabs
DUCTAL - FIBER REINFORCED CLADDING A cladding was chosen for the external envelope of the building in order to keep the continuity of the concrete language of the scheme. The same DUCTAL manufacturer was chosen (refer to notes on drawing in the top right corner), due to the desired technical properties of their concrete technology. The cladding allows the external facade to be self-ventilated, reducing annual temperature fluctuation within the wall structure and allowing any moisture to be drained from the bottom of the facade. The insulation is located on the external side of the primary concrete structure, which allows to minimize thermal bridging.
ventilation gap 20mm, also used for moisture drainage
INTERNAL
Scheme requirements to construct lightweight yet strong facades led to the implication of a relatively new material - DUCTAL (fiber reinforced concrete). Compressive strength of DUCTAL is 200MPa, which is 4-8 times stronger than normal concrete. Its tensile strength is ~50MPa, which is ~10 times stronger than a normal concrete. This gives opportunity to reduce the thickness of a concrete element by 50-100%, minimizing its dead weight and improving its overall structural performance. Moreover, DUCTAL is extremely durable material, making it an ultimate choice for external projected facades.
EXTERNAL
steel reinforcement thermal break
continuous insulation
section 1:20 @A3
Bracket/ insulator to fix T or L profile
section key
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TECTONIC: THE MESO APPROACH
SECTION TROUGH THE BALLET STUDIO & WC/CHANGING ROOMS PART I 1:50 @ A3
MESO The Meso approach considers how final users experience the building, their transition from exterior to interior.
LAYERING IN MESO
Layering idea is enhanced in Meso Tectonic: trough the layering of the wall construction elements, cladding on top of insulation, on top of the primary structure.
EXTENSIVE GREEN ROOF Light vegetation on 50mm growing medium/sedum Filter membrane 50mm drainage element, water reservoir and root barrier, connected to rain water harvesting system. Water proofing membrane 150mm rigid insulation DETAIL Vapour control layer 1:25 @ A3 50mm screed laid to fall 200mm Bubble deck concrete slab
SECTION KEY EXTERNAL STRUCTURAL WALL BUILD UP (from inside to outside) 300mm in-situ reinforced concrete wall 100mm thermal and acoustic insulation (polyurethane foam) Breather membrane Ventilated area minimum 20mm T or L profile on brackets DUCTAL facade board
PLANT ROOM
DETAIL 1:25 @ A3 BALLET STUDIO SUSPENDED CEILING 350mm projected beams to support the span of 10400mm. Lighting/Ventilation services fixed in between.
smooth gravel edge channel 300mm
BALLET STUDIO
metal parapet coping
steel reinforcement
EXTERNAL PROJECTED FACADE
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150mm DUCTAL screen (fiber reinforced concrete). Fixed back to the structural concrete wall.
SECTION TROUGH THE BALLET STUDIO & WC/CHANGING ROOMS PART II 1:50 @ A3
TECTONIC: THE MESO APPROACH DETAIL 1:25 @ A3
BALLET STUDIO
INTERNAL NON-STRUCTURAL WALL 240mm Bubble-deck technology wall with 18mm plywood and 12.5 plasterboard on both sides
CHANGING ROOM
SHOWERS
FIRST FLOOR BUILD UP (BALLET STUDIO) 9mm moisture-resistant MDF, 12mm WBP plywood with marine adhesive, 3-layer counterbattens nominally 75mmx20mm PAR in long-grain American Southern Pine, with Dual density shock dampening elasomer blocks at 220mm centres, 65mm screed with hot-water underfloor heating, 50mm rigid insulation for acoustic purposes, 270mm Bubble-deck concrete slab, 18mm plywood panel, 8mm ceiling finish
DETAIL 1:25 @ A3
GROUND FLOOR BUILD UP
FOUNDATIONS Capping beam connecting 15m long pile foundations to reach the bedrock formation
50mm polished concrete finish 65mm screed with hot-water underfloor heating Vapour control layer 75mm rigid insulation 150mm Bubble-deck concrete in-situ slab Damp proof membrane 40mm sand blinding 150mm hardcore
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TECTONIC: THE MESO APPROACH SECTION TROUGH THE AUDITORIUM 1:50 @ A3
DETAIL 1:25 @ A3
AUDITORIUM ROOF
1100 high
SECTION KEY
Planter boxes Rainwater drain Concrete Thermal break
65mm polished concrete to exterior envelope Water proofing membrane 18mm plywood 150mm rigid acoustic insulation Vapour control layer 50mm screed laid to fall 300mm Bubble deck concrete slab 400mm projected ceiling beams
DETAIL 1:25 @ A3 DUCTAL EXTERNAL FACADE Depth of the balcony is based on the calculation for normal in-situ concrete, yet taking into account improved properties of DUCTAL and adding a safety factor on top.
AUDITORIUM
Thickness of slab = span/30 3750mm/30 = 125mm for normal reinforced concrete Chosen DUCTAL thickness - 150mm
Timber panels fixed back to concrete columns on brackets
DUCTAL external facade
Rainwater drain Thermal break
DETAIL 1:25 @ A3 AUDITORIUM GROUND FLOOR BUILD UP
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9mm moisture-resistant MDF, 12mm WBP plywood with marine adhesive, 3-layer counterbattens nominally 75mmx20mm PAR in long-grain American Southern Pine, with Dual density shock dampening elasomer blocks at 220mm centres, 65mm screed with hot-water underfloor heating, Vapour control layer, 75mm rigid insulation, 150mm Bubble-deck concrete in-situ slab, Damp proof membrane, 40mm sand blinding, 150mm hardcore
TECTONIC: THE MESO APPROACH ELEVATION OF THE AUDITORIUM 1:50 @ A3
DUCTAL EXTERNAL FACADE Due to the very high structural performance of DUCTAL the facade on is fixed back to the main structure at the slab/balustrade position.
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TECTONIC: THE MESO APPROACH SECTION TROUGH THE ADMINISTRATION & MUSIC PRACTICE ROOMS 1:50 @ A3 DETAIL 1:25 @ A3
SECTION KEY
cavity closer
continuous thermal envelope
MUSIC
concealed window sill detail
FIRST FLOOR BUILD UP 18mm floor finish 65mm screed with hot-water underfloor heating 50mm rigid acoustic insulation 340mm Bubble-deck concrete slab Suspended ceiling
MUSIC SUSPENDED CEILING Acoustic panels - 3300mmx600mm. For services in Administration Sector the ceiling is suspended by 500mm. For services and acoustics in Music Practice Rooms the ceiling is suspended by 370mm. GROUND FLOOR BUILD UP
DETAIL 1:25 @ A3
50mm polished concrete finish 65mm screed with hot-water underfloor heating Vapour control layer 75mm rigid insulation 150mm Bubble-deck concrete in-situ slab Damp proof membrane 40mm sand blinding 150mm hardcore
FOUNDATIONS Capping beam connecting 15m long pile foundations to reach the bedrock formation
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ADMIN
TECTONIC: THE MESO APPROACH ELEVATION OF THE AUDITORIUM 1:50 @ A3 DUCTAL EXTERNAL FACADE 150mm DUCTAL screen (fiber reinforced concrete). Fixed back to the structural concrete wall. Acts as a privacy measure and a shading device.
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TECTONIC: THE MICRO APPROACH MICRO Micro tectonic is about the celebration of an individual detail.
DETAIL 1:5 @ A3
LAYERING IN MICRO
Layering in Micro Tectonic is further supported by layering of the key materials which are used in tandem throughout the building (concrete and timber) in the individual elements, such as stairs and balustrade. STAIR TO FLOOR CONNECTION DETAIL 1:20 @ A3
DUCTAL stair cast in-situ in sections. Attached to the floor slabs/walls trough the steel reinforcement.
BALUSTRADE CONSTRUCTION 25mmX50mm timber battens fixed back to the bubbledeck concrete floor plate, 2x12mm plywood, 60mmx50mm timber battens with hidden glass frame, Curved glass balustrade starting at 350mm high to provide the view for younger end-users, 2x12mm plywood cladding 1m sections.
to define threshold
LED DETAIL Matte finish glass LED light Steel L-sections
stair waist - 150mm
STAIR CONSTRUCTION Internal: in-situ cast DUCTAL, handrail at 900mm. External: 50mmX75mm timber battens 2x12mm plywood 1m sections, handrail at 1100mm DETAIL 1:5 @ A3
STAIR & BALUSTRADE IN DETAIL The building’s key idea is to be a BEACON; to play with users’ initial perception of it in terms of materiality. Therefore on the outside the building is extremely simple, with limited palette of materials and colours. However, once the observer is inside the building - a whole new world opens up in front of him/her, with contrasting timber elements, landscape which impinges trough the substantial openings and vibrant social atmosphere. Thus the idea for a central staircase was to recreate the same interplay with humans’ initial perception. This is done trough using the same materials, as the building uses, however this time in inverse order: on the outside the stair is clad in lightweight timber, however on the inside there is exposed structural DUCTAL concrete which is celebrated in stair goings and handrails.
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to separate handrails
STAIR & BALUSTRADE CONSTRUCTION DETAIL 1:20 @ A3
HANDRAIL DETAIL Matte finish glass LED light Steel L-section
TECTONIC: THE MICRO APPROACH STAIR & BALUSTRADE IN DETAIL
STAIRCASE ISOMETRIC
BALUSTRADE ISOMETRIC
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TECTONIC: THE MICRO APPROACH DETAIL 1:20 @ A3
DUCTAL PRECAST STRUCTURAL FRAME The top of the lightwell only needs to support the weight of the glass panels. Therefore the same DUCTAL (fiber reinforced concrete) was chosen for the frame of the lightwell due to its high structural capacity and incredibly low weight for that performance. The DUCTAL ribs are precast, assembled on site and then attached by a crane.
DETAIL 1:20 @ A3
FIXED GLASS CONNECTION Glass planes are fixed back to the DUCTAL frame with trough bolt with spacer. Together they are linked with silicone weather seal. DETAIL 1:20 @ A3
FIXED GLASS Glass on top of the lightwell is fixed and angled at 5 degrees for drainage purposes.
WINDOW DETAIL Lightwell contains a series of mechanically operated north-facing windows, which significantly improve ventilation flow rate.
SECTION TROUGH THE LIGHT-WELL 1:50 @ A3
CENTRAL ATRIUM 66
WC
RING BEAM Is introduced at the top and bottom of the circular lightwell to keep the structural stability.
DETAIL 1:20 @ A3
TECTONIC: THE MICRO APPROACH MUTATIO The main idea of my scheme is the interchange of different artistic mediums, people and interests. Therefore threshold details were one of the key design aspects. My idea was to challenge the usual enclosed classrooms/practice spaces, allowing the external viewer to be emerged in the creative atmosphere, passively engage in the practicing process or get inspired during the observation. Such a design not only provides a social space for all the users, but also creates comfortable seating locations for art students, who are willing to paint dancers/musicians.
THRESHOLD DETAIL
EXPLODED ISOMETRIC
SEATING SPACES On the first floor a seating area in the threshold is dedicated to ballet studio dancers, so that they can leave their belongings needed for a class underneath the benches. A more traditional changing room with lockers is available on the ground floor. On the second floor the same seating area is given back to the corridor, for all the students to sit in, socialize and art students to observe and paint in.
Timber outer frame, with timber benches and fixed window (max size 4mx4m). Slatted timber acoustic panels in the Ballet Studio.
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environmental strategy
ENVIRONMENTAL STRATEGY: OVERALL OVERSHADOWING LIGHTING is one of the key aspects of my design, which defines and controls both external and internal spaces. The site benefits from unobstructed sunshine for the majority of time throughout the year, which has its benefits and potential challenges. Lighting for the particular rooms is discussed in more detail later in the document.
9AM
12PM
3PM
Summer Solstice
Equinoxes
Winter Solstice
The main aim for the building is to turn into a ‘creative hub’ in the neighbourhood. Thus, in order to draw people in and create those social collective spaces it has to have three main factors: convenience, sunshine and activated facade. The chosen location provides extremely easy access and primary views onto the building; the nature of the facade generates interaction with the building prior its actual access. Finally, from the sunlight studies it is obvious that a shared surface between the Arnolfini and my proposed scheme benefits from unobstructed sunshine for the most part of the year, making it a desired social space. While the external cafe terrace/steps down to the edge of the canal on the east side of the building obtain sunshine during first half of the day. This means that they will potentially be used by public in the morning, while in the afternoon become dominated by students practicing (need for a constant daylight without direct sunlight) and socializing without much of a public distraction.
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ENVIRONMENTAL STRATEGY: OVERALL MATERIAL CHOICE One of the building’s key concept is to play with users’ initial perception of it in terms of materiality. On the outside the architecture is extremely simple, with limited palette of materials, colours and finishes. However, once the observer enters the building - a whole new world opens up in front of him/her, with contrasting timber elements, acoustic panels and defined threshold elements.
CONCRETE LANGUAGE There is a preconceived notion that a concrete is inherently more unsustainable than timber, however if one takes a look at the actual CO2 emission figures for using glue-laminated timber - they are almost the same. As the building form and shape varies, meaning it could not be tied down to a completely consistent grid, the choice was to go for a primary concrete structure; this would allow the needed flexibility in terms of structural form. In addition to that, concrete allows to perform various heat conservation strategies; and along with its wider structural possibilities this makes it the most suitable material for my proposed scheme, both in terms of environmental and structural strategies. There are two ways which allow to further lessen the CO2 emissions from concrete usage. First one is to reduce the overall concrete tonnage, which is done in this scheme trough the use of Bubble Deck Slab and DUCTAL (high-performance fiber reinforced concrete, which allows to build thinner elements with the same structural capacity). Second way is to reduce the carbon footprint of the concrete itself, which is done by implementing reused aggregate in non-structural elements.
EXTERNAL ELEMENTS
INTERNAL ELEMENTS
The exterior fabric of the building is clad in lightweight DUCTAL (fiber reinforced concrete) cladding panels, with external insulation behind them.
Internally the school has a mixture of exposed in-situ concrete structure and wooden panels, which act as a sound absorber and create a softer atmosphere.
in-situ concrete
concrete external cladding
DUCTAL projected facades
European oak
treated European oak
MATERIALS IN DETAIL: CONCRETE FINISH The primary structure is made of exposed rough in-situ cast concrete; the floor have a polished concrete finish; external cladding has a smooth matte finish; DUCTAL projected facades and the stairs have a more polished matte finish.
MATERIALS IN DETAIL: BUBBLE DECK SLAB TECHNOLOGY While Bubble Deck Slab technology allows to reduce the overall tonnage of concrete, it also helps to lower the sound transmission more than any other conventional concrete slab/wall. This occurs due to the three dimensional structure of the slab and presence of the hollow polyethylene spheres in the middle of the structural element. The aforementioned hollow spheres also positively impact on the thermal insulation, improving slab’s thermal resistance up to 39% compared to a corresponding solid slab of the same depth.
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ENVIRONMENTAL STRATEGY: POINT USE OF PLANT ROOMS Plant rooms are distributed throughout the scheme, enabling a direct relationship between the mechanisms, different sectors and the point of initial supply. Plant Room 1 is only serving the auditorium and is directly connected to it, while the rest of the building is treated differently. Plant Room 2 is located on the roof, with ladder access, and services running vertically directly from it trough the risers in the Ballet Studio wall, width adjusted accordingly; and horizontally behind the suspended ceiling.
PLANT ROOMS
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VERTICAL RISERS
ENVIRONMENTAL STRATEGY: OVERALL THE WHOLE COMPLEX Initial strategy for the proposed scheme was to strategically orient the spaces to benefit from sunlight/views/correct amount of noise and maximize site utilization, allowing building’s form to drive the environmental strategy fr the start. Subsequently, the auditorium was positioned facing south, to benefit from unobstructed views. Art and Ballet Studios were raised to the first floor and located facing north, for reduced noise levels and consistent daylighting levels. The site is located on the Bristol Feeder Canal, which has steady water levels throughout the year, thus risk of flooding is minimal. FLEXIBLE OCCUPATIONAL PROFILES As a typology of my building is essential a ‘SCHOOL’ it has a very flexible occupational profiles. Furthermore, its aim is to operate from 9AM until 12AM with evening programs in auditorium, meaning also different operational times in each sector (auditorium/classrooms/ cafe). Therefore, the decision was to treat each area separately in terms of environmental strategies; meaning that each element can be switched on and off when there is no need for that particular programme to be working at the time.
The central space acts as a transitional point, from where all the students and visitors are proceeded to their activities. Having a large central atrium it would be inefficient to heat that space, therefore a careful environmental strategy is developed to control the ventilation. Where the spaces have constant occupational profiles, there is mainly a heating demand, thus hot water underfloor heating is used. Where the is fluctuating occupational - an additional MVHR system is introduced to support a cooling strategy; and allow to bring the recovered heat from other sectors of the building back into the atrium.
GROUND FLOOR
TRANSIENT OCCUPANCY: UNHEATED
FIRST FLOOR
FLUCTUATING OCCUPANCY: UNDERFLOOR HEATING, MVHR
REGULAR (LOW) OCCUPANCY: UNDERFLOOR HEATING
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ENVIRONMENTAL STRATEGY: CENTRAL ATRIUM VENTILATION Building relies on the mixed mode ventilation, however natural ventilation is encouraged where airflow rate allows. Therefore having a central atrium promotes stack ventilation strategy, which in combination with MVHR unit drives the air flow trough the central part of the building.
Prevailing East winds will allow wind-assisted natural ventilation through the ground floor lobby.
MECHANICALLY OPERATED OPENINGS
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ENVIRONMENTAL STRATEGY: CENTRAL ATRIUM VENTILATION
As mentioned previously, the building relies on the mixed mode ventilation system. Sensors in the central atrium respond to air quality and temperature fluctuations during the day by adjusting side openings in the lightwell.
ACOUSTICS
HEATING
Having an atrium will create an acoustically vibrant space, which reinforces the idea of internal social space on multiple floors. Central lobby, as well as the corridors, have a flexible arrangement, allowing students to practice and study out of their classrooms, as this increases communication between artists/dancers/musicians and consequently flourishes their creativity. A series of acoustic sound absorbing timber panels are introduced to account for the excessive noise levels: on the walls and on the central staircase/balustrade. In the corridors, where there are more strict noise level requirements due to the close proximity to classrooms a suspended ceiling is introduced, made out of perforated timber panels.
Central hall has substantial glazing, which is very advantageous to the central unheated atrium, as concrete flooring would obtain and retain heat from the direct sunlight for a long time during the day. Projected facades provide certain shading for high-angle sunlight during the summer, letting in low angle sunlight during the winter period; however if there is an excess heat during any period then sensors will adjust openings in the lightwell accordingly. As central areas are essentially transitional spaces, glare will not be a major concern.
sound absorption panels as a suspended ceiling strategy sound absorption panels mounted on the walls/ staircase/balustrade
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ENVIRONMENTAL STRATEGY: AUDITORIUM SECTION TROUGH THE AUDITORIUM 1:50 @ A3
SECTION KEY
HEATING Plant room 1 for the auditorium is located directly behind the bleacher seating storage and is accessed via corridor on the same level. The auditorium is considered to be a high fluctuating occupancy territory, which has multiple modes, such as lecture mode, practice mode, a concert mode and a gig mode. Therefore in order to provide a constant thermal comfort for all the dancers/practitioners/lectures a hot water underfloor heating system is in place, supplied by water-source heat pump. OVERHEATING As auditorium is facing south, it has spectacular views onto the river; however it will be prone to overheating due to the extensive glazing areas. As an initial design decision the glazing was divided horizontally along the facade, to eliminate high angle sunlight during the summer periods. A further measure was added, to make the space more flexible and user-orientated, so that the lighting levels could be adjusted depending on the nature of the programme inside the auditorium. A series of in-built mechanically operated blackout blinds was added to both glazing levels, which can be manually controlled and adjusted based on the sunlight requirements.
in-built blackout blind
in-built projection screen for lectures and presentations
ACOUSTICS Ideal reverberation time (RT) for the auditorium in concert mode is between 1.4-1.6 sec, compared to 1 sec RT in lecture mode. Therefore a flexible acoustic strategy was required. The solution is to have suspended timber panels from the ceiling, which could be mechanically operated from the control room to suit the desired auditorium mode (corresponding diagram on the next page). The walls are designed to save concrete tonnage, provide structural support and space for services; while a combination of exposed concrete columns with wooden panels allow to have mixed acoustic surfaces for the sound to be reflected and absorbed. internal envelope Hot water underfloor heating
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600 mm
2000 mm
acoustic slatted timber panels mounted on horizontal rail system
external envelope SECTION TROUGH THE AUDITORIUM WALL, TOP VIEW 1:20 @ A3
VENTILATION
LIGHTING
The auditorium will be a highly occupied room at some periods, while during other times it might not be utilized at all. According to calculations, during the practicing mode, when only around 20 people will be using the space, they will produce 33W/m2 of heat which is possible to be removed by natural ventilation. However, during the evening performances, where around 150 people will be occupying the same volume, the heat gains will rise up to 62-87W/m2, and therefore a mechanical ventilation system will be required. The solution was to go for a Mechanical Ventilation system with Heat Recovery, as a heat exchanger will provide fresh warmer air back to the unheated central atrium while re-providing the auditorium with fresh cool air through distributed ventilation ducts mounted behind the slatted timber panel system on the walls. The latter decision was made due to the choice of incorporating a retractable seating system, which allows a more flexible room layout.
As mentioned previously auditorium would be prone to overheating, however this could easily be controlled by mechanically operated blackout blinds. A mix of artificial lighting is implemented, including wall mounted uplighting and various stage lighting. The latter lighting option is flexible to allow for different auditorium modes (lowering the lighting allows to save energy) and is operated from a control room.
concert mode - bleacher seating out acoustic ceiling panels/lighting mode 1
strategically distributed supply ventilation ducts mounted behind the slatted timber panel system on the walls fresh air intake
stale air extract
cooled fresh air to auditorium
warmed fresh air to atrium Ventilation return ducts to be taken back to the MVHR unit trough the vertical space behind timber acoustic panels.
gig mode - bleacher seating stored acoustic ceiling panels/lighting mode 2
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ENVIRONMENTAL STRATEGY: ADMINISTRATION & MUSIC PRACTICE ROOMS
MUSIC: ACOUSTICS Suspended timber panels on ceiling for string instruments. Timber panels on ceiling and walls for piano and wind instruments.
SECTION TROUGH THE ADMINISTRATION & MUSIC PRACTICE ROOMS 1:50 @ A3
Hot water underfloor heating
SECTION KEY ADMIN: HEATING Administration sector is considered to be a regular (low) occupancy territory, meaning that temperature needs to stay relatively constant throughout the day. Therefore a hot water underfloor heating system is in place (in-built in screed), supplied from Water Source Heat pump. Hot water underfloor heating
Ventilation and lighting services are taken vertically trough the risers from the plant room on the roof and distributed horizontally via the suspended ceiling. ADMIN: LIGHTING Expressed projected facade eliminates high angle sunlight during the summer, letting in lower angle sunlight during the winter period. Raised window level to the offices provides privacy and reduces a possibility of glare. Artificial lighting is lowered to reduce the energy use.
Mechanical ventilation to extract excessive heat during summer Natural Ventilation during autumn/ winter/spring
ADMIN: VENTILATION Natural ventilation only works when internal heat gains are around 30-40 W/m2. According to the calculations based on occupancy, my internal heat gains will be 50.3W/m2 during the summer, meaning a mechanical ventilation system needs to be operated, during that period. Therefore Administration Sector will operate in mixed mode ventilation when necessary, initially allowing users to operate the windows to adjust their thermal comfort and the level of fresh air.
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Hot water underfloor heating
ADMIN: ACOUSTICS Suspended timber panels to improve sound absorption (500mm gap for services). Sound absorbing timber panels on the walls for improved acoustics.
ENVIRONMENTAL STRATEGY: ADMINISTRATION & MUSIC PRACTICE ROOMS MUSIC PRACTICE ROOMS: HEATING
MUSIC PRACTICE ROOMS: VENTILATION
Hot water underfloor heating system is implemented, due to the relatively constant occupancy.
The most important factor in this sector is sound. Therefore, the choice was to eliminate any human interaction with services, restricting users from operating the windows, in order to minimize the background noise levels. This meant that there is a need for a mechanical ventilation to provide a constant fresh air supply. A MVHR system is introduced (working principal described on the previous spread) providing supplementary cascade ventilation into the corridors and atrium. The service ducts are concealed behind the suspended ceiling (370mm gap for services).
MUSIC PRACTICE ROOMS: ACOUSTICS Triple glazed windows with low-e coating and argon fill are implemented throughout the scheme, both externally and internally. Not only such a window gives a U-Value of 0.8 W/m2K, but also due to the gaps withing the glass panes triple glazing has a very low sound transmission, which is essential in my scheme, as two of the walls in music practice rooms are dominated by glass planes. Flexibility is one of the key aspects of my design, therefore all the Music Practice rooms can be used for practicing with various music instruments. However, in order to improve sound absorption of each room and target particular instruments (a suggestion only, students are not limited to particular rooms, in case they are in use) a system of sound absorption timber panels are placed, based on the reverberation time required for any particular instrument. Timber panels are placed on the ceiling only (suspended ceiling) for string instruments, in order to achieve 0.6-0.9s Reverberation Time (RT). Timber panels are located on ceiling and walls for piano (0.40.5s RT) and wind instruments (0.4-0.7s RT) - for location diagram go to previous page.
Ventilation and lighting services are taken vertically trough the risers from the plant room on the roof and distributed horizontally via the suspended ceiling. MUSIC PRACTICE ROOMS: LIGHTING As mentioned before, expressed projected facade eliminates high angle sunlight during the summer, letting in lower angle sunlight during the winter period. Facing west these rooms are not prone to overheating, yet internal blackout shutters are placed, if the room requires privacy. Artificial lighting is lowered to reduce the energy use.
MUSIC
MUSIC
MUSIC
MUSIC
CORRIDOR
INTERNALLY LINED SUPPLY AIR DUCT
INTERNALLY LINED RETURN AIR DUCT
Mechanical Ventilation with separated supply/return air ducts only, to minimize background noise levels.
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ENVIRONMENTAL STRATEGY: BALLET STUDIO
SECTION TROUGH THE BALLET STUDIO 1:50 @ A3
BALLET STUDIO: LIGHTING Dance studio is initially positioned facing north for a constant natural daylighting. Artificial lighting is fixed in-between the ceiling beams. Expressed projected facade provides both privacy for the dancers from neighboring buildings and improves daylight factor by diffusing and reflecting sun lighting. Images on the right show lighting studies with and without the additional facade, clearly demonstrating an improved daylight factor.
BALLET STUDIO: LIGHTING
BALLET STUDIO: RISERS Space in the Ballet Studio wall, dedicated to vertical risers,
without the facade
with the facade BALLET STUDIO: ACOUSTICS Suspended timber panels to improve sound absorption (500mm gap for services). Sound absorbing slatted timber system on the walls for improved acoustics, due to the large volume of the studio. Additional user-operated curtains to the walls on the ground floor (fixed behind slatted timber system), for more controlled environment, if the privacy is required.
BALLET STUDIO: ACOUSTICS Suspended timber panels (500mm gap for services). Sound absorbing slatted timber panels on the walls.
BALLET STUDIO: HEATING Underneath the sprung floor system a hot water underfloor heating is implemented to provide a comfortable continuous heated surface for dancers. BALLET STUDIO: VENTILATION
Hot water underfloor heating
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Mechanical ventilation with Heat Recovery is employed for a controlled environment, as Ballet Studio has a fluctuating occupancy, and an additional heat emitted from dancers’ bodies has to be taken into account. Furthermore, the glazing in Ballet Studio is fixed, due to the required noise levels, therefore ventilation using a displacement system is essential. Recovered warmed fresh air goes back into the main hall.
ENVIRONMENTAL STRATEGY: ART STUDIOS ART STUDIOS: HEATING
ART STUDIOS: LIGHTING
The heating is provided via hot water underfloor heating system and is supplied from water source heat pump. Plant room 2 for Art Studios is located on the roof and the services are distributed vertically down trough the Ballet Studio wall and horizontally trough the suspended ceiling, as well as the floor in case of hot water underfloor heating.
While Art Studio 2 has a clear access to the natural north lighting, which is ideal for art classes, Art Studio 1 has a different approach. A series of roof-lights are introduced at strategic positions to obtain the required constant top lighting. An opening leading onto the balcony on the east facade brings in additional reflected daylight and improves the overall daylight factor.
ART STUDIOS: ACOUSTICS
CORRIDOR
Both Art Studios incorporate the suspended ceiling approach. Moreover, due to the large volumes of the room, additional sound absorbing slatted timber panel system is placed on the walls. It is positioned at the raised level for maintenance reasons, as nature of Art activities implies constant washing of the walls/surfaces and while it is fine with concrete finish, it can be more challenging when cleaning the slatted timber panels.
ART STUDIO 1
ART STUDIO 2
ART STUDIO 1 windows/roof-lights ART STUDIO: ACOUSTICS Suspended timber panels. Sound absorbing slatted timber panels on the walls. ART STUDIO: LIGHTING
Hot water underfloor heating
Artificial top lighting with dimming control is fixed within the suspended timber ceiling and is to be manually operated to adjust the required lighting levels based on the type of Art Class. ART STUDIOS: VENTILATION Mechanical ventilation with Heat Recovery system is in place, allowing for a warmed fresh air to go back into the main hall. The choice to go for MVHR system was made due to the fluctuating high occupancy of Art Studios where in this case natural ventilation will not be able to provide the required amount of air changes per hour.
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ENVIRONMENTAL STRATEGY: RENEWABLES WATER SOURCE HEAT PUMP On the way to targeting zero carbon several renewables were considered. To supply the heating demand of the proposed scheme a Water Source Heat Pump is proposed to be installed, due to the close proximity of a large body of water. The system will be installed on the ground floor in the Plant room 1 dedicated to Auditorium. A closed-loop system was chosen as it will be the most cost efficient solution due to relatively steady nature of the water in the canal. A supply line pipe goes through the ground starting from the building to the water source and intertwines into circles. Coils are placed directly in a water source. The system pipes a low pressure refrigerant fluid to the Feeder canal through coils in the water to exchange heat with it. The heated mixture is then piped to the heat pump and heat is exchanged with the refrigerant. Heat is then supplied into the building through the hot water underfloor heating system.
central Water Source Heat Pump
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plant room
variable refrigerant flow system
hot water underfloor heating system
ENVIRONMENTAL STRATEGY: RENEWABLES GREEN ROOF AND RAINWATER COLLECTION An extensive green roof was chosen due to its particular thermal properties. Not only green roof would regulate the ambient temperature both internally and externally, but also it would provide an opportunity to perform rainwater harvesting and would encourage biodiversity in the neighbourhood (as due to the proposed building height it would be overlooked by neighboring buildings). It will only be accessible for maintenance purposes. The green roof system uses a BMI icopal wildflower sedum mat, which is sown with 38 wildflower and grass species. The amount of collected rainwater would be around 473 960 liters annually. The obtained grey water will be stored in a rainwater harvesting tank in the Plant room 2 on the roof; and while it will mainly be dedicated to watering the plants throughout the scheme, it could additionally cover some of the 663 000 liters of water needed for toilet flushes per year.
available green roof area
plant room
SOLAR PANELS
4.45
4.42 3.85
4.00 3.00 KWH/M2 TFA PER ANNUM
According to the graph based on the heating/cooling calculation required per month, during 7 out of 12 months of the year there will be an overall heating demand. With a considerable roof surface area available the use of photovoltaic panels was a design option at the early stages of the project development. However after careful calculations it was found that approximately 93-100 panels (or 360% of the existing roof area) would need to be implemented in order for this type of renewable to be cost effective. Therefore the decision was not to use this technology. Instead, a Solar Thermal Panel system would be placed on the roof to provide hot water for the showers. Such a technology would only require around 40m2 of solar tubes area to cover 90% of the hot water requirements on the hottest summer day to maximize its efficiency. Although Solar Thermals are prone to overheating during warmer seasons, in combination with green roof the temperature will stay within the desired range.
Energy required, by month 5.00
2.88
2.57
2.00 1.19 1.00 0.00 -1.00
0.55
1
2
3
4
5
6
7
8
-2.00 -3.00 -4.00
9
10
11
12
-0.77 -1.83 -2.40 -3.33
-3.49
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regulatory compliance
PART B - FIRE CONTROL In terms of fire regulations the building is considered to be a purpose group 5 - Assembly and Recreation. B1 - Means of Warning and Escape
B3 - Internal Fire Spread (Structure)
Automatic fire detectors and alarm systems to be fitted in the building. These will have standard audio alarms, supplemented by visual warning for those who are hard of hearing. Automatic sprinkler systems will be installed throughout the scheme as a suggestion from Building Bulletin 100: Design for Fire Safety in Schools 1.6; these will significantly reduce the degree of damage caused by fire.
Primary concrete structure is built out of nonflammable materials and should resist fire long enough for evacuation. All floor plates will have a 60 minute fire resistance. The cavity of secondary walls will be closed at the edges and openings by cavity barriers to prevent the concealed spread of smoke and fire. The suspended ceiling system will also require cavity barriers.
All escape travel distances are respected throughout the project with distance under 32m in auditorium, and 45m elsewhere, as there are two alternative fire exits. An evacuation lift in a fire-fighting lift shaft, that allows to evacuate disabled people, along with a fire-fighting lobby and a separate fire-fighting stair shaft are to be 60m fire protected. Both the internal and the external fire-stair are 1100mm wide with refugee space for a disabled person 1800mm on each floor.
B4 External Fire Spread External materials are treated such that chances of ignition or fire spread is limited, although such chances are very limited. There are no adjacent buildings that would potentially lead to fire spread through external means.
Art Studio 1 is treated as an inner room as fire escape route lies directly trough the Art Studio 2. Where corridors are providing access to alternative escape routes, fire doors are used. The doors are always opening in the direction of the exits and their clear width is set according to the occupancy of the rooms, with a minimum width being 1100mm.
B5 Access and Facilities for the Fire Service Primary fire vehicle access to the building is via Princess Street and The Grove. There are no dry risers in the building but there are several fire hydrant outlets on the adjacent streets.
Minimum size of the final exit which also acts as a fire exit and accounts for the internal staircase -- (200/2.5 + 60x1.1)/80 = 1.825mm. My building has 5 main exit doors, each 2000mm wide hence satisfies the regulations.
B2 - Internal Fire Spread (Linings) All internal finishes are treated to resist fire across their surface. All timber elements of linings have been treated before installation to be flame retardant. Glazed screen to the fire-fighting lobby to be 60m fire resistant.
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Refuge points Exit nodes Fire-fighting Core Horizontal Fire Escape from the furthest points Vertical Fire Escape
fire assemble point
fire vehicle access
PART M - INCLUSIVE ACCESS Site access The scheme has been designed so that it is fully accessible for all end users. Access to and trough the building is a part of the theme of community for the scheme. As such all entrances are level with the street and are wheelchair friendly.
Parking No visitor parking spaces are provided due to the proximity to the town center, station and public car parks. Disabled parking can be found in the adjacent The Grove Car Park; street access to this location from the site is level. A controlled drop-off location is available alongside the entrance gates for emergency situations. Building Internally There are no level changes withing the floor plans. The entrances will be clearly signed with appropriately illuminated signs. All entrance doors are have automatic opening options and have a clear opening of 2000mm. All other internal non fire-escape door are minimum 900mm. Two accessible lifts serving all floors - 1 passenger lift for 13 people max and 1 passenger lift for 26 people max which is able to fit the piano in. All balconies are wheelchair accessible. Various positions for accessible seats in auditorium due to its flexible seating. Sanitary provision Accessible toilets have been provided on all levels of the buildings. Accessible showers are available on the ground floor.
PART K - PROTECTION FROM FALLING, COLLISION AND IMPACT K1 - Stairs, Ladders and Ramps All stairs have been designed to have the appropriate rise and going based upon their use class in compliance with the standards prescribed in Approved Document K. K2 - Protection from Falling Throughout the scheme care has been taken to prevent users from falling. This includes all stair handrails and balustrades which are designed at a height of 1100mm. Central staircase has the main handrail at 1100mm, with a secondary handrail at 900mm to account for younger final users. Planter boxes are installed in front of the 1100mm hight balustrade on top of the auditorium for further protection. These also help to lower the wind levels and absorb the sound. Accessible seats Accessible WC Lift/ Vertical disabled access Balustrades and railing Large glazing
K4 - Protection Against Impact with Glazing My building is predominantly glazed on 2 sides which are all fairly accessible from the street sides and from the inside the lobby space. Moreover due to the notion of interconnection there is a substantial amount of internal glazing. Therefore all large internal and external pieces of glazing will be marked with clear manifestation to prevent collision. They are also robust enough to resist breaking and if broken will break into separate pieces.
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CDM - BUILDABILITY AND SAFETY MANAGEMENT Prior to Construction General Construction Site Risk - A CDM manager should be appointed by the contractor from the start in order to assess the potential risks that may arise and consult the design team on how to best mitigate or erase these. On-site Demolition - A full survey is required prior to the demolition in order to identify any potential risks, this will include potential structural hazards and mapping of utilities. Additionally, the area will be cordoned off during demolition. Site Management - A clear site boundary will be determined and hoarding will be erected around appropriate areas so as to prevent public access onto the construction site. The landscaping work extends towards the riverside, and therefore some caution is required to prevent people from falling to the river. A suitable rescue equipments must be stationed by the river and appropriate barricades and signage around this area. Fire - A fire strategy will be agreed with the local fire service and fire safety points will be appropriately located and clearly signed. High Risk Activities - Construction methods will be analyzed prior to construction to ensure that high risk activities can be mitigated, by completion off-site. During Construction Use of a Crane - The work will be planned so that use of the crane, for larger elements, will occur at periods of time when ground work is not occurring below. Disturbance - To avoid any major disruption due to noise and vibrations the work will be carried out at an appropriate time. As much as possible, construction will be timed to cause minimal disruption on the adjacent buildings, as the site is located in a rather public area. Phasing - The construction will be phased to avoid risks of multiple activities occurring simultaneously. Personnel Welfare and Training - All workers on site will be required to wear PPE at all times. All personnel will have the relevant training and experience for the activity that they are undertaking. Scaffolding and Harnessing - Scaffolding and harnesses will be used to mitigate any potential risks from falling. Deliveries- All deliveries will arrive via the primary vehicular access to the site and will be unloaded appropriately onto a hard-standing material bay. The traffic route of Princess street must remain open during construction at all time, since this street is a fairly narrow street of two lanes that is used as a means of access from Wapping Warf to the Old City. Any construction vehicle must try to work around in the designated area within the perimeter. Post Construction Window Maintenance - All windows will be cleaned by trained personnel. Roof Maintenance - A cherry-picker and harnessing will be used to minimize risk of falling when cleaning gutters or maintaining extensive green roofs. Risk of Slipping - Anti-slip materials will be used where appropriate and clear signage will be introduced to notify visitors of wet areas when they occur.
CONSTRUCTION SEQUENCE 1. Demolish the existing buildings. 2. Excavate the site, create security perimeter. 3. Construction of the pile foundations and pile caps. 4. Construction of the floor slabs, floor by floor, loadbearing walls and the stair. 5. Construction of the projecting facades. 6. Insulation and external claddings. 7. Internal fit-out. 8. Green roof and landscaping. site boundary
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demolition of the existing buildings
BUILDING SPECIFIC CONCERN BASED ON TYPE Part B4.3.2.8 - Fire Control Due to the nature of the central opening/atrium there is a need for a fire engineered solution such proposed sprinkler system as well as a smoke and heat exhaust ventilation system (referring to BS 9999:2017). The escape routes to the protected stairway and external fire-stair lie at least 4.5m away from the central opening. Part E3 - Resistance to Sound As the atrium is a large volume of space, this will be prone to large reverberation time. According to Part E3 7.17, large entrance halls require a minimum of 0.2m2 total absorption area per cubic meter of volume. Therefore appropriate sound absorption panels are hung from all parts of the ceiling and walls. sound absorption panels as a suspended ceiling strategy sound absorption panels mounted on the walls
Safety According to Building Bulletin 100 point 2.6 one of the risks found in school type buildings is an unauthorized access to the site. Along with an appropriate guarding in place one of the measures was the separation of school services, with main classrooms starting from the first floor. Auditorium - BS5588 PART 6 1991 Fire Precautions 16 seats in a row with 325mm seatways. Stepped gangways provided on both sides, which are under regulations of their raised angle being no more than 35 degrees.
PART L2A - CONSERVATION OF FUEL AND POWER Water Source Heat Pump A body of water sits right next to the site and thus water source heat pump is an obvious method for conserving fuel on the site.
Green Roof and Water Recycling Rainwater is harvested from the considerable area of extensive green roof. It is later used as grey water in the toilet systems and for watering the plants throughout the scheme.
Point of Use Plant Plant rooms are distributed through the scheme, enabling a direct relationship between the mechanisms and the point of supply.
Ventilation Wherever possible the scheme has been designed to use passive ventilation. MVHR MVHR allows for the recovery of heat from warmer areas of the scheme that need cooling and transfers it to cooler areas, reducing the heating and cooling demand on all spaces. Photovoltaic Array The use of photovoltaic panels was a design option, as there is a considerable flat roof area available. However after careful calculations it was found that approximately 93-100 panels would need to be implemented in order for this type of renewable to be effective. Therefore the decision was not to use this technology.
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design process
DESIGN PROCESS: WEEK 1 IT ALL STARTS WITH A SKETCH
At the start of the project I was selecting a theme for a brief I would be making. The decision was to base it on the problem I personally experienced growing up while studying in an Art School. Studying art at a young age and being situated in-between Music and Ballet schools, we were always fascinated by the sounds of music instruments and occasional appearances of ballerinas running around. However, the access to the neighboring buildings was restricted, hence we were never allowed to actually observe the music/ballet lessons, which in my opinion would otherwise bring flourish creativity of art students. Therefore, the final decision was to create an environment, where all the three aforementioned sectors could interact and flourish - a school. Furthermore, while occasionally painting on the streets myself, I often noticed that art attracts attention of the public, as people would frequently stop to look at the painting. Therefore, I wanted to push the idea even further and add a public aspect to the classical school, by allowing an occasional passerby to enter and interact with the building without strict limitations. And finally, by having all the features mentioned previously the scheme would aim to become a creative hub in the neighbourhood, opening and promoting art, music and ballet to the general public.
attempting to sketch project aspirations
analyzing the site
Having had personally experienced studying in an art environment, I had some of the knowledge about the daily routine, the atmosphere and the spaces art students could potentially require. However, two thirds of my brief was still an unknown territory for me, thus a huge portion of research based on the existing typologies and analysis of my set aims went into the final set of needed accommodation. After the programme and potential adjacencies were established it was time to design. As the initial idea was quite complex, I could not clearly define it and therefore in order to start thinking I had to get my pen on paper and just draw. Only after I was able to find the right site for the building - the actual design started to take shape. My aim was to make the scheme inseparable from its location, therefore the initial building shapes came from analyzing the site, pubic movement and desired views trough the building and for each creative sector.
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DESIGN PROCESS: WEEK 2 A VISUAL CONNECTION
Once the initial shapes were defined I started to look at my next key objective - the visual connection between different sectors. However before fully defining the plan, I wanted to translate my ideas about how space should feel and how the light would define the transition in and out of the building.
vertical circulation and visual connection - plan view
visual connection - sectional view
perspective showing spatial aspirations
The other key aim of my brief was to alternate people’s perception of spaces, therefore I started to play around with framing views and diverting the light.
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DESIGN PROCESS: WEEK 3, CRIT I SIMPLIFY THE PLAN, COMPLICATE THE SECTION
To the first crit I brought a set of rough plans, sections to show my initial thinking. At this point the form of the building was based on initial site analysis and movement patterns, with celebrated central social space, clear views trough the building and Art/Ballet Studios facing north for required lighting levels. I was initially designing from the outside-in. The classrooms were divided over 4 floors, with some areas being double height space which allowed the desired visual connection.
long section
ground floor plan
short section
massing model, testing how building sits on site
The main criticism I faced was the fact that the plan was overcomplicated, with various geometries ‘smashing’ into each other, while sections were too basic. Therefore, the external suggestion was to simplify the plan and instead focus on developing the section. I realized that at this point in order to progress I had to start moving away from a bigger picture (the site) and begin to design from the inside-out, focusing on particular spatial requirements for each sector.
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DESIGN PROCESS: WEEK 4 AN ATTEMPT TO RATIONALIZE
After the first crit I started to focus more on the individual room requirements. A 5mx5m grid was developed to create a certain order in all the different geometries and ensure that the scheme has feasible dimensions.
ground floor plan
first floor plan
long section
short section
By focusing on a section rather than a plan, Art/Music and Ballet sectors became more structured, obtaining clear visual links.
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DESIGN PROCESS: WEEK 5 CONSULTANTS ON BOARD
With week 5 came two crucial tutorials - structural and landscape. I found that these consultations helped me to have another wider look at my plans after I have been simplifying the original geometry and focusing more on the internal layout. After the landscape tutorial a decision was put forward to swap the position of the cafe to the east side of the building, which would still allow the public to access it easily, yet will help to activate and engage with the edge of the canal. Along with the sunlight and existing fascinating views on the city this would potentially make a more social environment. The second decision was to engage with the neighboring art gallery (Arnolfini) by creating a shared paved square. This was possible due to the low traffic on the existing street.
grid development
sketching facade aspirations
developing a connection with bigger area
introducing greenery
During the structural tutorial I was introduced to a new concrete technology called DUCTAL (fiber-reinforced concrete), which is substantially stronger than a typical reinforced concrete and which would allow me to create a desired structure and floor span. A second external fire stair was added, after the careful consideration of fire regulations. A substantial glazing in the south facing auditorium was highlighted as a potential problem, which would require a careful design strategy.
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DESIGN PROCESS: WEEK 6, CRIT II TOO MANY IDEAS
During the second crit the main criticism was that I was trying to fit too many ideas into one scheme, which at the relatively small scale of our project could be overwhelming. Furthermore, not all the internal spaces were resolved, therefore I was suggested to start considering each element in more detail. At the point of second crit my scheme was too schematic as I was still playing around with internal and external spatial arrangements.
TICKET OFFICE
PLANT
RETRACTABLE BLEACHER SEATING STORE
external perspective Long Section 1:200 @ A3
ground floor plan
long section
external perspective
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DESIGN PROCESS: WEEKS 7-8 MACRO TO MESO
From the second crit I recognized the importance of starting to consider a more detailed aspect of the project as soon as possible. Therefore I moved on from MACRO (wide) to MESO (more detailed) design approach. Straight after the second crit the University has closed its on-campus facilities due to a series of unforeseen events, subsequently moving to an online presence, meaning that the workshop was no longer available. At this point in the project, where it was the time to develop and refine tectonic details of the scheme it was a very unfortunate circumstance, which meant that all the further scheme development was moved into sketching and 3D modeling.
experimenting with facade ideas
developing the lightwell
experimenting with the central ‘drum’
I was still not satisfied with the exterior appearance of my proposed design, as the notion of ‘interconnected spaces’ being a key objective of my scheme was not achieved. Thus, by creating a series of massing models I was able to refine this design aspect. Another key issue, highlighted during the following tutorial, was regarding a lightwell on top of the central atrium. My initial design decision was to construct it out of structural glass, which potentially was not feasible and could lead to overheating due to its size and location. Therefore, after numerous sketches and concept models a solution was proposed - to project the existing walls past the roof level, inclining the top glass planes for the rainwater run-off and introducing a series of mechanically operated windows on the north side of the lightwell. Another experiment was done to test whether additional columns would reinforce the central ‘drum’, however the results showed exactly the opposite, hence the idea was not moved forward.
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DESIGN PROCESS: WEEK 9, TECTONIC REVIEW STILL PLAYING
Prior the tectonic review I was still ‘playing around’ with my scheme, developing and refining it in terms of the bigger design decisions. As it was time to start considering the overall structure more in-depth I made a massing model with all the primary walls, to see if my ideas on paper will provide structural stability in real life. This helped me to define primary and secondary structure. In addition I was able to push the idea further, as a new tectonic concept of column-wall-column was developed in the auditorium. This structural language allowed to save the overall concrete tonnage, at the same time providing improved acoustics and space for hiding the services.
column-wall-column
testing the structure
detailed design section
Along with considering the services for the building I came up with the notion of splitting the plant rooms to enable the direct connection between the mechanisms and the point of supply. I wanted to get the overall design right before moving onto the details, even if it meant that there will be less time for considering the smaller details. This was the part where I struggled to get the amount of detailing needed in order to push and develop the design further, hence the main criticism I faced during the tectonic review was the lack of specific construction details and environmental considerations. Looking back at it, I would not reduce the amount of time I spent on major design development, however would definitely not neglect the importance of detailed design at the earlier stages of scheme development.
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DESIGN PROCESS: WEEK 10, POST TECTONIC MESO TO MICRO
After the tectonic review I moved on from MESO (considering each room) to MICRO (considering construction details and tectonics) approach. A new precedent inspired me to reconsider the overall structural approach, hence as a result a series of ceiling beams were introduced. The latter decision allowed to substantially reduce the concrete mass, as well as rationally place Ground Floor Plan +0.000 the suspended ceiling and distribute the services. 1:200 @ A3
SHOWERS
KITCHEN
CHANGING
ADMIN
LADIES WC
MEN WC
CAFE
COUNTER
CENTRAL HALL
TICKETS
CLOACKROOM
PLANT AUDITORIUM
RETRACTABLE BLEACHER SEATING STORE
ground floor plan
detailing internal perspectives
adding suspended ceiling and room-specific details
My main focus was on acoustics, materials and details in each individual space. Therefore the next few weeks, prior the final review, I spent going into each room and considering its specific structural and environmental requirements.
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DESIGN PROCESS: FINAL REVIEW WORK, WORK, WORK
For the upcoming final review I realized the amount of detail-related work I had left to do. Hence, the design development was based around refining tectonic details and creating a material representation of my ideas. While focusing of regulatory compliances, I found and resolved several design issues. The post-review comments were mainly based on missing environmental information, which I later resolved in this final report.
an attempt to visualize our final review
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POST-REFLECTION Going into this project I was not sure what will come out of it. The only thing I knew is that I wanted to push my vision and bring as much of my artistic background as possible. I wanted to combine all the knowledge and skills obtained trough the years of studying architecture here at Bath University and celebrate them in the final scheme. I wanted to create a project which would express my ideas and vision yet will seamlessly blend with the environment it had to be submerged in. Although we were recommended to start thinking about our final project 6 months prior its actual beginning, I could not settle for one definite concept and therefore went into this project with many overwhelming ideas, which at first I struggled to compile and explain even to myself, as I simply didn’t know where to start. So as it always happens, I knew that by attempting to draw something on paper it would become more real, or as I say - ‘it always starts with a sketch’. Later on, after visiting a dozen sites I managed to find just the one, which would ideally suit my brief, and this is from where I started to truly shape my building. Too often I found myself struggling to fit many different ideas into one scheme. Sometimes I found myself struggling with the lack of art involved in some areas such as regulations, as our university course is based on the real world problems, making sure that we properly understand the logistics of constructing and servicing a building. However, this is where I found I learnt the most; this is what truly differentiated this project from all other projects we have done during the course of our study - by considering every aspect of the design from the beginning, whether it is as big adding another floor or a small as choosing a light bulb - the final scheme became more ‘real’. Due to a series of unfortunate events our course was suspended from campus after week 6, straight after 2nd interim review, and moved into an online presence - with our homes becoming our temporary ‘offices’ and our tutors essentially acting as our ‘consultants’. This took away the main advantage we had - being submerged in the Studio environment, constantly communicating and learning from our peers. This also meant that we were not able to utilize the workshop facilities, which in any other circumstances would allow us to construct and test the tectonics of our buildings. In spite all the difficulties this situation brought, it allowed us to develop a high level of self-control and motivation by creating a ‘real-world’ experience where you are acting as a ‘principal designer’, solely responsible for the on-time design delivery, and where consultants and suppliers are not always able to directly communicate with you. During the course of this project I rarely went back to the poetic side of the brief I wrote in December, being constantly involved in analyzing behavioral patterns of the final users, their needs, the site, the overall logistics, details and environmental considerations. However, after the final crit, when I sat down to make this document I realized that all my initial aspirations were pretty much translated in the proposed scheme - the light, defining spaces; the Beacon, attracting an occasional passerby; and the notion of Interconnected spaces. I realized that once I initially set out those ideas, they were always at the back of my head when I was designing this scheme.
‘What If I had more time?’ - A question that I would argue every architecture student asks. There is never enough time and especially this year I would argue it was an incredibly tough aspect of our project. Personally, I would be willing to spend more time in the workshop, resolving all the micro-tectonic details, which would help me to to develop the building even further and show where the potentials problems could be. I believe that every design aspect, no matter how big or small, is equally vital to the final architecture. Or as a famous controversial quote states:
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‘God is in the details’ - Ludwig Mies van der Rohe
IMAGE CITATIONS Fig. 1 - Degas, E., 1873. Ballet Rehearsal. Available at: https://artchive.ru/edgardegas/works/3855~Ballet_rehearsal Fig. 2 - Pinhao, C., 2013. Unnamed. Available at: https://stylegossipblog.wordpress.com/2013/02/15/carlos-pinhao/ Fig. 3 - Kahn, L., 1982. National Assembly Building Of Bangladesh. Available at: http://mosqpedia.org/en/mosque/302 Fig. 4 - Wharton, B., 1972. Louis Kahn At The Auditorium Of The Kimbell Art Museum. Available at: https://www.kimbellart.org/exhibition/louis-kahn Fig. 5 - mir.no, 2014. Kazakh Hero. Available at: https://www.facebook.com/125505240629/photos/kazakh-hero-astana-kazakhstanmario-cucinella-architects2014source-designandcreat/10153167942080630/ Fig. 6 - Boullée, E., 1784. Cenotaph For Newton. Available at: https://www.archdaily.com/544946/ad-classics-cenotaph-for-newton-etienne-louis-boullee Fig. 9 - Cobiax, 2019. SVF Slab System. Available at: https://tn-sea.com/images/meeting/092419/crsi___concrete_reinforcing_steel_and_voided_slab.pdf Fig.10 - Schöck, 2018. Schöck Isokorb® XT Type W. Available at: https://www.schoeck.co.uk/en-gb/isokorb-xt-type-w Fig. 11 - Schöck, 2018. Schöck Isokorb® XT Type D. Available at: https://www.schoeck.co.uk/en-gb/isokorb-xt-type-d
REFERENCES Cobiax.com. n.d. COBIAX | Voided Can Do More. [online] Available at: https://www.cobiax.com/intl/technologie/ Ductal. n.d. Why Use Ductal?. [online] Available at: https://www.ductal.com/en/engineering/why-use-ductal FIGUERAS GROUP. n.d. RETRACTABLE SEATING SYSTEM. [online] Available at: https://www.figueras.com/asia/seats/movable-seating-systems/201_retractable-seating-system.html Floors, H., n.d. Harlequin Woodspring - Harlequin Floors. [online] Harlequin Floors. Available at: https://uk.harlequinfloors.com/en/products/floors/sprung-floors/harlequin-woodspring-sprung-floor Stil-acoustics.co.uk. n.d. Stil Acoustics | Timber Acoustic Panels : Seamless Acoustic Plaster. [online] Available at: http://www.stil-acoustics.co.uk/