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INTRO ________________________________________________________________________________________________________________________________ 03-04 ........................ Victorian Influence 05-08 ........................ Retrofit Rebellion 09-14 ........................ The Site PROCESS + DEVELOPMENT ________________________________________________________________________________________________________________________________ 17-18 ........................ Narrative 19-20 ........................ Victorian Architecture 21-26 ........................ Layout 27-28 ........................ Interior 29-30 ........................ Roof 31-42 ........................ Facade 43-52 ........................ Element FINAL DRAWINGS ________________________________________________________________________________________________________________________________ 55-64 ........................ Plans 65-66 ........................ Elevations 67-76 ........................ Sections 77-78 ........................ Material TECHNICAL INTENT ________________________________________________________________________________________________________________________________ 81-84 ........................ Structure 85-86 ........................ Wall Section 87-90 ........................ Details 91-92 ........................ Circulation 93-94 ........................ Environmental Strategy
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(Moseley Victorian Village, 2021)
V I C T O R I A N _ I N F L U E N C E The drive behind this project is the history of the Victorian architecture present at the project site, Alcester Road. From Balsall Heath to Moseley, the road is home to true examples of Victorian style. The villages are split with their love for the style: Moseley protects and nurtures the brickwork whereas Balsall has allowed the history to fall and become hollow. My love for sustainability runs further than saving the planet but also its history and to see Victorian architecture crumble is saddening. I was once told “the most sustainable building is the one that is already built” Matthew Jones, 2020. This statement marked the beginning of my determination to design to retrofit, recycle and repurpose.
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Propaganda posters
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First came the Retrofit Rebellion. The portfolio explores the Victorian history and architecture along Alcester Road and how I built the idea of forming an army of skilled workers that are trained to retrofit, recycle and reuse materials. The idea of the army is so that they are hired to retrofit the buildings that are left in ruin or even the ones many call home but cause harm to our environment sue to not having modern reinforcements. Ideologies formed from this research had to be informed in this projects design if it is to home the group and become the advertisement of better future living.
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This spot was chosen for the craving the buildings had to be loved and this was in keeping with my project. A variety of key elements led to this site being the perfect fit for this project to blossom. The two Victorian builds at the face of the building create a wall of advertisement of what the rebellion can do for Victorian architecture. In addition, the access to the site with the public front and the private entrance through Lime Grove works well for keeping the unattractive work away from visitors. The third element was the green spaces at the back of the building. The environment is a big driver for the project and so the site being surrounded by a natural environment within an urban area is a bonus. These elements are highlighted in the diagrams on the following page.
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The drive of the project is all about the environment and how architecture can work with it rather than against it. This is the reason I researched the green spaces surrounding the site. Although the railway is lined with trees, the main green contributions to the area are the residential houses. I believe that both residential and commercial buildings can support small ecosystems to help the planet. At first I felt it was important the site faced trees to encourage people to think green as so I chose here due to the railways natural gardens however looking at the bigger picture, I understand now that the site requires more for the purpose of the area.
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Due to the site being among an urban area, natural lighting would be difficult through just windows through the walls. Doing this diagram I was able to see where I could place glazing through roof and windows to maximise natural lighting into the building. For a passive, economically friendly design, natural lighting has to be used to the maximum making this diagram even more important to understand and the result to be considered in the design process.
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The facade of this building is extremely important to the project as it to act as advertisement for the purpose of the building. The building is to promote retrofit, recycle and reuse of buildings, specifically the Victorian ones along Alcester road. Advertisement requires a position where it receives ultimate attention, somewhere that is in clear view to pedestrians. This site is in a great position as it is in direct view from the roads. The area receives heavy traffic which allows time for pedestrians to read and witness the facade and as a result be interested in visiting the building.
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To ensure that the loading and material could be delivered to the building , there needed to be sufficient access to the rear of the building, where loading is place to keep work away from visitors. By drawing out this map, I was able to see the route to the side the warehouse. This would lead to me needing to have the loading at the side rather than at the very back, where access is restricted. I also discovered that there was pedestrian access directed towards the face of the site which adds the number of views the advertising will receive.
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Before I opened up my sketchbook to design, it was important that I understood the vision for the building in terms of purpose, atmosphere and emotion. I wrote a narrative for these feelings and blended them together. Doing so allowed me to see these narratives come together and build an image of what stands out from each of these. The key words I took from this and carried with me were: “drawn to” - which I used for the hallway, “educated” - seen in the lecture hall, activity spaces and views into the workshops, “retrofit” being a key driver of the project and “exposed” reminded me to keep the building honest.
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Stairs in hallway, commonly on the left
Archways Use of Brick Sawtooth Roof
Stained Glass Windows Victorian Wallpaper
Public rooms at front/Private at back Plaster Work Tiled Flooring
Halfway Panelling Street Communities Victorian use of columns in Manor houses
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When working with existing buildings, there are many constrictions, particularly in urban areas. Initially I tried to remain within the original buildings walls and envisioned the placement of rooms through collage and spacial diagrams. This allowed me to see the connection between rooms and how best to design the circulation of the building. This early diagram and the placement of spaces can be seen to still have influence on the final layout despite the vast amount of development to get there. It shows how connections of spaces really drive design.
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In these plans I tried to get creative with the layout, searching for interesting ways people could move through the building and the story they would unfold based on which route they took. From the site analysis I had to keep in mind the access points which would be important for workshop spaces and getting material through the halls. I found it was important that the public and private spaces would need to be separated to ensure safety to visitors and that the building was presented to the public as a pleasant experience. Another key influence in these designs is the understanding of allowing light and green space into the building, most importantly into the centre of the building where the rooms become darker. If the workshops are placed centrally, light would be valuable for the working atmosphere.
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From the previous designs, I went with the simple plan as it was most effective for the requirements. Other changes came when discovering the latest building, the Redstone Academy, was built out of low grade material and did not follow the pledge to create a long standing building. In order to follow the pledge the decision to recycle the building rather that retrofit worked best. Doing so allowed the layout to break out of the constrictions. This allowed me to become more creative and find a layout that worked for my design. Circulation was important for both private and public sections. Material had to have a clear line to get to the workshops from loading, visitors required a comfortable flow of direction through the building and both public and private individuals need inclusive access.
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m Sala Beckett // Flores and Prats Location: Spagna, Barcelona Year: 2016 I took inspiration from this project for the hallway design. The hallway in my project is on a much larger scale but the designing of the space is similar with the stairs to one side and mezzanines. The paint work makes the space feel smaller. Tiles used on the flooring confirmed that this was what I wanted for my design as it relates to Victorian architecture but I was unsure if would be too busy. This space is well designed and really draws you to the end.
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National Museum of Roman Art // Rafael Moneo Location: Badajoz, Spain Year: 1985 The brick archways drew me to this project as they break up the long hallways and take precedent from Victorian architecture. They are impressive and would work well within my design but as I have a theme of tectonics with the divide in weight, bricks are heavy weight and I would like to introduce glazed walls and steel details for the lightweight. I will be incorporating archways as they work efficiently in bringing life to a large space.
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Airbnb HQ // Heneghan Peng Architects Location: Dublin, Ireland Year: 2016 I believe stairs can carry more than the function of access and this project proves this. It allows people to work and collaborate but is not breaking up the clear route along the stairs, the activity spaces sitting central. The stairs are very wide and own the space, which is an effect I want to achieve. For stairs to have an active function slows the circulation around the space making people stay longer and therefore experience more in hopes it draws them back again in the future.
Neues Museum // David Chipperfield Architects Location: Berlin, Germany Year: 2009 The museum first caught my attention for its well-worked renovation design, working with existing, especially historic, buildings can be difficult in terms of material, lighting and space but this design really respects the original structure. When looking further into the building, the grand stairs were centre of attention and inspired me to explore the design of my stairs further. The simplicity of the structure is made more complex by the layering of the opposing directions of the stairs, something I cannot explore my project as it is only two storeys but the geometry I can incorporate. On the other hand, I didn’t want to use concrete in my project .
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As the facade is being hugged by two Victorian buildings, it is important that they don’t clash or ruin the beauty of them. In conservation there are many rules to follow to ensure that when working with historic buildings that the new design is respectful. I chose to extract the horizontal and verticals from the neighbour buildings to influence the design for window placement, columns and heights.
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Everyman Theatre // Haworth Tompkins
Location: Liverpool, UK Year: 2013
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As the design was advertisement focussed, I researched how I could represent it through design. The Everyman Theatre uses panels displaying actors in an effective way of representing the theatre. The panels could be used in my design to show the propaganda posters or a new design of advertisement. These panels could move to face down the streets allowing pedestrians to view the adverts, and therefore what the building holds, from a distance. The design also works in two layers, this threshold matches the Victorian buildings with the servant and serving layers. The building was also a refurbishment and placed next to existing buildings. They chose a similar palette of materials, Local red brick, Steel and Concrete, which worked well and was a great example to use as precedent for my project.
21st Century Museum // SANAA / Kazuyo Sejima + Ryue Nishizawa
Location: Giappone, Kanazawa Year: 2004 This project was chosen for its roof design. Though the setting is very different to that of my own project, it explores a range of heights and finds a way to allow them to sit in harmony and not clash. As the two existing buildings of my project are at different heights but not enough to work well together, the museum is a great example on how to get them to work. The use of the lower height breaks up the tall spaces and also a change in shape of space creates the same effect. I can’t change the shape of the existing buildings but a change of roof structures in the new spaces may be just as effective. In the diagram I liked the change in heights however I did not feel the low facade fits within the topography of the street, such as the Redstone Academy that I will be recycling.
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FRAC Dunkerque // Lacaton & Vassal
Location: Dunkirk, France Year: 2013
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This project works with an existing building which is the reason I chose to research it and how the architects approached their project. The design is almost like a copy and paste of the original but the transparency creates a ghosted version. I was really interested in doing a glazed facade and showing the steel work which is reminiscent of the Victorian industries. Unfortunately from the facade study I didn’t feel the effect worked with the red brick and the topography of the site. I did take on the copy and paste effect as I felt it would allow my facade design to fit well next to the existing buildings, which is the hardest part when working with historic buildings. Their design was respectful to the original building as they used a different material so I will need to ensure that I do the same for my project.
Valentino, Old Bond Street // David Chipperfield
Location: Westminster, UK Year: 2015 The topography of this project is similar to that of mine as it is an urban area placed between two buildings with different yet similar façades. When the horizontals are at different heights it can be difficult to follow them but Chipperfield does so in a design that doesn’t contrast its neighbours. He chose a mix of the horizontals taken from the two façades and drew his own which are what allows the design to be separated and not clash. I felt this design was a create way to link to the facades on my project site and the Victorian shapes that can be emphasised in this style. The next steps are to see how the advertisements, material and contrasting heights can be merged with a design like this one. I also want to explore how to make the design threshold more welcoming to pedestrians.
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Kingston University Town House // Grafton Architects
Location: London, UK Year: 2020
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Following David Chipperfield’s project, I researched into similar designs that explored the materiality, changing heights and inviting thresholds that I wanted. The threshold in this University design would not work for my design if it steps back from the existing buildings as the advertisement won’t be seen from the important viewpoints. Instead, if it steps forward it might overpower the focus on the Victorian architecture and from looking into the Frac Dunkerque, this is something to avoid. I do like how there can be two façades however, and this design could work with the Everyman Theatre panels which solve the advertisement problem. Their overall design works with different heights as part of the aesthetic so I feel positive a design like this could work for my project.
Taylor and Chatto Court London // Henley Halebrown
Location: London, UK Year: 2021 Although very similar in design to Kingston University, this design worked with a postwar red brick building, the material which will be used through out my building design and is the material of the existing buildings. This precedent was to learn how the architects responded to existing brickwork and bringing more depth to an otherwise flat facade. The depth is less that the Kingston also and follows smaller horizontals which is more relative to the buildings I am working with.The shape is a bit more square and panels would have to be square for the advertisement. I feel that the second facade for my design would require more detail as it isn’t just flats and glazing and the purpose is very different. The brick archways in this design also inspired my design .
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From the development of the facade, I realised that this task required more attention as I am working with existing buildings. After coming across Amin Taha and Rachel Whiteread’s work I was drawn to exploring the process and how I can implement it into my own design. The focus of this element is the material and process of forming this facade and how to ensure any material used follows the brief of the project. This visual is of the chosen facade and threshold into the building.
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168 Upper Street // Amin Taha + Groupwork
Location: London, UK Year: 2018
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These precedent studies are the most influential to the project and the final facade design. Taking on Lacaton and Vassal’s copy and paste idea, I wanted to be able to create a Victorian facade but through modern architecture. Amin Taha and Groupwork have achieved this to a high quality. This facade was achieved through a digital model which was made from photographs and a point cloud survey. First models were made off site which were the used to mould the panels to. The formwork was poured in-situ into the polystyrene panels. A key part of this project was emsure it did not mimic the existing and was honest in its materials. This is the reason for the terracotta colour but also why the architect decided to break the rules for the window placements to bring a modernity to the design.
Concrete Casting // Rachel Whiteread
Rachel Whiteread’s work is innovative and unique but links well from Amin Taha’s 108 Upper Street design. The concrete casts Whiteread produces are inverted as if poured into the house and the walls were removed. I love this inverted idea as it means I can create a Victorian facadw that does not mimic the original instead it celebrates the architecture in a modern twist. I still enjoyed how the windows broke all rules in Amin Taha’s design so I will be exploring bringing the two together. The next problem is using concrete as this its production is high in carbon emissions. I also felt that concrete being grey doesn’t represent a clean fresh start for the street.Whiteread’s work is also sculptural and isn’t functional whereas it would need windows and functional doors in my design. This is another example where Amin Taha’s design would need to come through, but I feel like both work well for my project.
Gran Boathouse, Norway (2010)
House, London (1993)
Cabin, New York (2016)
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For the design I wanted to pursue required the use of concrete. Concrete is known for its negative impact on the planet as it’s production process is a high carbon contributor. This is against the environmental pledge and brief to this project therefore I had to research into other materials I could use to create a similar effect. Greenspec offered cement substitutes made from by-products options included: Pulverised Fuel Ash (PFA), Ground Granulated Blast-furnace Slag (GGBS), Silica fume and Limestone fines. GGBS is a by-product from the steel industry and as part of my structure requires steel, I felt that using the by-products from my own building’s production follows the recycle part of the manifesto. GGBS also can whiten the concrete the more that is used which will be a closer representation of plaster - a common material used in Victorian homes. (Greenspec, 2021)
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To explore recycling material further, I researched which materials I could use as aggregate for the GGBS concrete. Brick rubble would be left from the demolition of the poorly built original building. I decided to try my own attempt at using brick as aggregate in concrete.
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1. Make a model of the opposite of the eventual print
2. Coat with PVA to avoid the model sticking to the plaster
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4. Mix stone mould plaster with water. More plaster makes it thicker, more water thins
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7. Pop out plaster from mould when dry
8. Carefully peel away model
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01 Entrance 02 Victorian Building 03 Cafe 04 Counter 05 Kitchen 06 Public Toilets 07 Reception 08 Community Room 09 External Seating 10 Activity Area 11 Ceramic Workshop 12 Glazing Workshop 13 Masonry Workshop 14 Timber Workshop 15 Finished Storage 16 Office 17 Assembly Lift 18 Harness Lift 19 Loading 20 Lockers 21 Cafeteria 22 Private Toilets 23 Main Office 24 Meeting Room 25 Outside Workshop 26 Electric Charging Point Parking 58
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Ceramics 1. Raw material storage 2. Storage with conveyor belt (to distribute material) 3. Modelling Bays 4. Storage with conveyor belt 5. Kiln 6. Glazing Bays 7. Stacking Bay 8. Finished work Glazing 1. Supports for glass panels 2. Supports being worked on 3. Workbench with storage 4. Storage with large glass panel support 5. Finished work
Timber 1. Wood storage 2. Workbench with storage 3. Miter saw 4. Dust collector 5. Compressor 6. Sanding table 7. Table saw 8. Jointer 9. Planer 10. Lathe 11. Drill press 12. Router table 13. Band saw 14. Drum sander
Masonry 1. Raw material storage 2. Workbench with storage 3. Conveyor belt 4. Modelled material 5. Drying cupboard 6. Large kiln 7. Finished work 60
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T H E _ A T R I U M Steel Beams
Recycled Cladding from Original Building
Glazed Wall Allowing View to Green Space Brick Archways Steel Lazer-Cut Facade in Victorian Wallpaper Pattern
Recycled Brick Recycled Timber from Original Building Grand Stairs on the left GGBS Cement Mix with Recycled Brick Aggregate
Halfway Panelling
Victorian tiles
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Light Blue: 6000m (Double Steel Beams) Dark Blue: 2400m Grey: 1500m Pale Red: 2400m Burgundy:1250m Bright Red: Irregular Grid
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Foundation 1. 50mm Charred pine timber panelling 2. Breeze block wall within 150mm re-purposed steel frame 3. KS1000 RW / LPCB insulated wall panel vertically laid 4. Wall tie within 50mm cavity 5. Terracotta brick facade 6. Radon barrier 7. Finished tile flooring 8. Underfloor heating within 100mm reinforced concrete 9. EPS 300 ‘L’ Element 10. EPS 300 ‘G’ Element 11. 3 Layers of EPS 100 12. 150mm Compacted hardcore 13. Reinforced concrete ringbeam 14. Earth
Wall - Roof 1. Verge flashing, with 150mm sealed butt straps 2. Terracotta brick facade 3. Wall tie within 50mm cavity 4. KS1000 RW / LPCB insulated wall panel vertically laid 5. Breeze block wall within 150mm re-purposed steel frame 6. PIR insulation board 7. Internal flashing with 150mm overlap 8. Air seal - 20 x 9mm PVC foam tape 9. Self-drilling self-tapping primary fixings with air seal 10. Stitching screws at maximum 450mm centres with butyl rubber sealant 11. KS1000RW / LPCB insulated roof panel 12. Exposed re-purposed 203x102mm steel I-beam 13. Steel beam clamp 14. Patterned steel shading screen fixed to steel structure 15. Triple glazed curtain wall with 350mm steel columns
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Guttering 1. Insulated membrane lined gutter 2. Exposed re-purposed 203x102mm steel I-beam 3. Steel eaves beam to engineer’s details 4. External closure flashing with 150mm overlap 5. KS1000RW / LPCB insulated roof panel 6. Gun grade sealant to panel joint inline with internal air seal 7. Self-drilling self-tapping primary fixings with air seal 8. Internal flashing with 150mm overlap 9. Multibeam steel purlin to engineer’s details 10. Stitching screws at maximum 450mm centres with butyl rubber sealant
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SOLAR SHADING Solar shading on glazed walls to reduce overheating from summer sun. TRANSPIRED SOLAR COLLECTOR Black corrugated steel cladding stores heat and is slowly released into the building creating natural heating. SOLAR PANELS Rotating panels follow sun path to gain maximum sunlight and improve efficiency. TREES Trees also act as solar shading. PERMEABLE PAVING Allows water to seep through paving and reach tree roots. RAINWATER COLLECTION Rainwater runoff from the roofing is collected through drains and can be reused. NATURAL VENTILATION Single sided and stack ventilation is used to regulate stale and hot air through mechanical windows in the roof and opening windows. MECHANICAL VENTILATION Mechanical backup is available when required, this is stored in the roof. FLOOR DUCTS Supplies cool air and extracts stale/ warm air.
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SOLAR HEATING As the sun is at a lower angle it can penetrate the solar shades and be used to heat the rooms. SOLAR PANELS Rotating panels follow sun path to gain maximum sunlight and improve efficiency TREES Trees lose leaves to allow the sun to penetrate the windows that were once shaded. PERMEABLE PAVING Allows water to seep through paving and reach tree roots. RAINWATER COLLECTION Rainwater runoff from the roofing is collected through drains and can be reused. NATURAL VENTILATION Single sided and stack ventilation is used to regulate stale and hot air through mechanical windows in the roof and opening windows. MECHANICAL VENTILATION Mechanical backup is available when required, this is stored in the floors and roofs. UNDERFLOOR HEATING 96
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