The New ARCH Vol2 No1 (2015) by S.ARCH

International Journal of Contemporary Architecture

The New ARCH Peer-reviewed open-access E-journal

ISSN 2198-7688

Vol. 2, No. 1 (2015) April 2015 www.The-New-ARCH.net

Editor-in-Chief Arch. Marina Stosic, GERMANY E: Editor@The-New-ARCH.net

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Cover Illustration HELICOIDAL SKYSCRAPER, Studio Nicoletti Associati, Italy

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

ISSN 2198-7688

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A WORD FROM THE EDITOR-IN-CHIEF In the last 40 years our demand on nature has exceeded what the planet can replenish. Thus, our increasing demands on nature became unsustainable because we are eating into our natural capital, making it more difficult to sustain the needs of future generations and thus making vulnerable their future. As reported in the tenth edition of the Living Planet Report® we currently need 1.5 Earths to meet the demands. These demands include the renewable resources we consume for food, fuel and fibre, the land we build on, and the forests we need to absorb our carbon emissions. As of today, almost 7.3 billion humans live on the planet with the growth rate of about 90 million people per year (10,300 per hour; almost 3 humans every second). Additionally, in the last 60 years the world population lifetime has been increased by more than 20 years, i.e. from 48 to 70 years. So, more than 9 billion people could live on the planet in 2050.

Founding Editor & Editor–In–Chief Architect Marina Stosic

But the humans growth rate may be soon drastically decreased mainly by the lack of freshwater. And talking about water, let us remind that a litre bottle of water delivered to the point of sale needs the equivalent of 100–150 grams of oil and 30 grams of plastic, which needs 50 grams of oil, plus 50–100 grams of oil for filtering, bottling and shipping. In a bottle, the water represents under 5% of the value of the energy. Recalling this 5% of the energy, not to forget is the fact that one in three people on the planet does not have access to electricity and 1/4 of the world population consumes 2/3 of the energy. On the other side, it is interesting that in order to produce a single litre of biofuel about 1,000 to 4,000 litres of water are needed, making the circle process of water somehow strange. But, is it unique or just one among numerous examples most close and most understandable to us? Architecture and building contribute also to similar and other circle processes, which also might be strange. In this course, a question arises: What is the role of us architects?

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

ISSN 2198-7688

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EDITORIAL BOARD

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

ISSN 2198-7688

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___________________________________________________________________________________________________________ Editorial Board

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

ISSN 2198-7688

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

ISSN 2198-7688

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The Design explores the Relation between Traditional Architecture, made of Wood and Bamboo, and Contemporary Architecture. Rafael de La-Hoz, associated with ADRI-HIT, wins a design competition that includes five museum and a sports centre in Meishan, China

Designing like a Master – Studio Nicoletti Associati

Laila Amer Alqahtani Furnishing and Indoor Environment for Hyperactivity and Distracted Attention (in the Context of Sustainable Design)

Ilija Lalošević Refurbishment of Historic Buildings in Kotor after Montenegro Earthquake 1979

Drazen Juračić, Haris Bradić Design of Energy Efficient Architecture. The 1st Prize at the Competition for Design of the Faculty of Pharmacy and Biochemistry of the Zagreb University, 2014

Laila Amer Elqahtani, Lamis Elgizawi Colour Sustainability in Hospitals Interior Spaces

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About the Journal

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Instructions for Authors

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Authors‘ Papers

Total and Responsive Architecture. Interview with Luca Francesco Nicoletti and Nikola Novaković

The Journal

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Editorial

CONTENT

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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THE DESIGN EXPLORES THE RELATION BETWEEN TRADITIONAL ARCHITECTURE, MADE OF WOOD AND BAMBOO, AND CONTEMPORARY ARCHITECTURE

RAFAEL DE LA-HOZ, ASSOCIATED WITH ADRI-HIT, WINS A DESIGN COMPETITION THAT INCLUDES FIVE MUSEUMS AND A SPORTS CENTRE IN MEISHAN, CHINA

Five Museums – Meishan, Chinat Source: Rafael de La-Hoz Arquitectos

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Within the framework of a restricted architecture competition organised by the authorities of the Meishan city, Sichuan province, in the south of China, the Spanish architectural studio Rafael de La-Hoz, associated with the Chinese design institute ADRI-HIT (Architectural Design and Research Institute of Harbin Institute of Technology), wins the design competition to design a large leisure complex which includes five museums and a sports centre. A museum of Culture, a museum of the City, a museum of Science and Technology, a library, a wide exhibition hall and a sports centre will shape this complex over a total surface area of 260,000 sqm. The plot of this project will be located in natural surroundings, close to various buildings of the University of Meishan. The design of the complex is inspired by the important personality of the Song dynasty, in particular the poet Su Dongpo - the most versatile genius in the history of Chinese literature. The master plan is based on the

traditional drawings of buildings made of bamboo and on Su Dongpo’s poems, while the buildings represent bamboo leaves, and the bands of the landscape – water and vegetation – represent bamboo branches and logs. The winning pattern brings out the essence of the terraced rice paddies of Sichuan province and reinterprets the abstracted smooth curvatures of traditional Chinese roofs and their symbolic architecture characterised by wooden structure. The project aims at exploring the relationship between traditional and contemporary architecture. Surrounded by nature, located between the Dongpo lake and the Min river, Meishan is a growing university city in Sichuan province, within the People’s Republic of China. One thousand years ago, the city of Meishan was the government of the State. It became known as the “town of the learned people” under the Song dynasty. Founded in 1920, Rafael de La-Hoz is a very active architectural firm with a wide international scope.

Five Museums – Meishan, Chinat Source: Rafael de La-Hoz Arquitectos

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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Five Museums – Meishan, Chinat Source: Rafael de La-Hoz Arquitectos

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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DESIGNING LIKE A MASTER STUDIO NICOLETTI ASSOCIATI

Studio Nicoletti Associati’s founder Manfredi Nicoletti founded the office in 1957 focusing his attention on ecological and bioclimatic issues within buildings. One of the first major works that embodied the ideas maturing out of his research was an expansion of Manhattan into the Hudson River thats design was completed in 1968. The cardinal concept behind this project was that the design of the form derived as a response to the specific necessities of the site. The buildings of the expansion in fact were not protected within the city by other buildings, but were totally exposed to the raw climate conditions of the Hudson. In this specific site the major issue to consider were the winds.

HELICOIDAL SKYSCRAPER

coming from the Hudson river not only on the structure of the building itself but also as a filter to the city behind.

The HELICOIDAL SKYSCRAPER and underlying buildings were designed to minimize the impacts of the winds

Nicoletti believed the city was essential in creating healthy living conditions for people. Healthy living conditions within the city permitted the city to be the

Helicodial Skyscraper – New York Crescent Project – Manhattan, NY 1968 Source: Studio Nicoletti Associati

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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main activator of human knowledge: and only through vibrant and active human knowledge could crises related to our developing in the biosphere be resolved. With this notion in mind in 1972, Manfredi Nicoletti, created a first of a kind course dedicated to studying the relationship between the ‘morphology (FORM) of a city and its ‘ECOLOGY’, at the University of Rome. In the opening speech he speaks of having a naive and utopian DREAM, a hope though that he believed had NO alternative. These were the years in which the developed world was experiencing one of the most severe energy crises while at the same time architects were challenging each other to build the tallest skyscrapers. Between 1972 and 1974 in New York and Chicago the two skyscrapers that were to remain the tallest until 1998 were built. The need for tall buildings was an evident manifestation of the exponential growth of cities. “The office was responding to the problematics that were becoming noticeable due to this population movement. The potentials of the city and the reasons for the difficulties urbanists were encountering in creating healthy new centers for human life were being investigated.” His curiosity led him to bring together experts in various fields to investigate the nature of this evolving city: the effects people had on it and the effects the city in turn had on people. The book Nicoletti published in 1978 was entitled “Urban Ecosystem”, a term attributed to him and a book that was the first to talk about this critical topic. He was using the plurality of visions the city’s noosphere (human knowledge) contained to understand how to collaborate with the biosphere in order to create a healthy urban ecosystem. In this book he speaks about inclusion, about dynamic and participatory designing, an organic and total design as the foundation of the ecological approach. Nicoletti believed in the equal inclusion and integration of all disciplines during the creation of a building or a city, versus specialized participation. “Meanwhile the effects of exporting unsustainable urban cultures of countries with enviable ‘high living standards’ were being noticed in places that had picked up these development strategies in the hope that they were also picking up the living standards collaterally. Tropical climate cities were building crystal boxes. Western urban cultures were being transferred without any sort of INTEGRATION to Middle Eastern, oriental cultures with effects that today we know.”

“We are creating harmful relationships with our biosphere through an incorrect use of knowledge.” One of the problems is the awkward use of architectural language. Architectural language patterns created for other uses were being adapted and repaired to ‘fit’. This need for repair arises from an unsound use of memory. Memory applied as imitative use feels safe. Without an obligatory and often awkward adaptation to the almost limitless number of factors that impact a building or a city, this memory can only produce misfit bodies. “Memory is important to give past a continuity. Memory is important for it gives us language, creativity, and most importantly individuality. In our case, Memory is important for it gives us the language of architecture. We though tend to use ‘accredited’ language based on imitation, that requires covering, bandaging, refitting and patches to adapt it to the real necessities. We create forms, conceived of a non-contextual but safe language, while instead we should be creating using a responsive architectural language.”

CASA MONCADA “CASA MONCADA is an example of one of our office’s oldest built projects in which the form derives from contextual memories that respond symbiotically to the urban ecosystem. The social housing complex was designed in the 80s for a noble family of Palermo in Sicily. Palermo is located in the very south of Italy nearly at the same latitude as northern Africa. Needless to say for this project we used the memories and the culture of Sicily. Bagheria is the oldest area of Palermo in which many aristocratic villas are located. All these villas are designed to be an exception within the ordinary urban fabric of the city. Our client commissioned us to create social housing that had the same relevance and exceptionality as the aristocratic villas. The need to protect from the blazing sun is clearly visible examining the typical Sicilian palazzo. Large porticos at the ground floor and Islamic mashrabiyas are used to filter the sun. In the same way our building is protected by a bioclimatic skin that envelops the whole building

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

ISSN 2198-7688

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Casa Moncada – Bagheria, Italy Source: Studio Nicoletti Associati

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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creating a passive filter from sun beams. This skin is not a patch adapted to the building but is formed by a combination of different architectural elements: structures, balconies, railings, slab overhangs.

He united the techniques of these martial arts into one harmonious idea, ONE TOTAL THOUGHT, where all the forms could live together and where the only method he formalized was that there was no ONE method.

A simply designed building core is elegantly and functionally protected by a modern interpretation of a mashrabiya.

We can re-think architecture in a similar manner.

Passive bioclimatic solutions such as the external mashrabiya and the internal well are used to create natural ventilation, cooling and sun protection of the building. Once again, as in the Helicoidal Skyscraper of New York, the integration of passive solutions into the building is what created the ultimate form. I avoid discussing the topic of sustainability in isolation. I avoid taking any aspect that will influence the design of my creation in isolation. Designing is taking into consideration the realities as ONE scope and not as a series of isolated factors.” “Only through a TOTAL all-encompassing design process, can we create with and not against.” “But what exactly ARCHITECTURE.

mean

Let’s think of the various martial arts as the various disciplines in architecture: structures, M&E, form, sustainability, acoustics etc. If we were to use the Bruce Lee’s One Total Thought, these disciplines would not be taken separately but inclusively during the architectural design of a building. Could these architectural disciplines be unified by not only compositional scope but also by bioclimatic scope through what we can call Total Architecture; a dynamic architectural language that exists in symbiosis with its surroundings. It would be an architectural language in which no element works independently of the necessities of the location in which it lives in. Responding to the context is therefore the method of this new language of form created through a Total Thought Design: Above all it will be a method.”

TOTAL

Bruce Lee, had a similar perspective. Lee was a master of a large number of martial arts such as karate, judo and kung fu. Through the deep knowledge of these arts he decided to create a new form of martial art. This new martial art though was not created in contrast to the other forms.

PUTRAJAYA WATERFRONT RESIDENTIAL COMPLEX “It is an example of our way of using this method where building elements merge to live harmoniously with surrounding.”

Putrajaya Waterfront Residential Complex – Kuala Lumpur, Malaysia Source: Studio Nicoletti Associati

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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Putrajaya Waterfront Residential Complex – Kuala Lumpur, Malaysia Source: Studio Nicoletti Associati

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

ISSN 2198-7688

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“Putrajaya is a locality south of Kuala Lumpur and is the administrative district of Kuala Lumpur constructed on an artificial Laguna almost 10 km long. Putrajaya is so near the equator that the sun is perpendicular almost all year long and can shine both from the south and from the north. The client commissioned us to design iconic buildings and asked us to integrate bioclimatic solutions of the traditional Malay architecture. We began by studying traditional Malaysian residential construction and then applied our total architecture method to the local traditional principles. The architectural elements in traditional construction are all Passive bioclimatic solutions. Large roof overhangs, cross ventilation, attentive use of vegetation not to block wind but only sun beams, ventilation of roof space, urban layout.

Putrajaya Waterfront Residential Complex – Kuala Lumpur, Malaysia Source: Studio Nicoletti Associati

These passive solutions are those that we find most effective because they integrate the various elements of the building maintaining the balconies, structures, parapet and facades functional. These elements exist but are not recognizable one by one. Together they form the structure of the bioclimatic mechanism of the building. The language of the building could not be more organic. When by organic I mean the total fusion of sustainability technology and traditional construction to create something nontraditional. The building we were commissioned to design had to be conceived in such a manner that each of the seven buildings functioned in a similar manner with the same performance standards no matter where the buildings were to be situated. This was also done to give the client maximum flexibility in site planning. The result is what you can see in the Putrajaya Waterfront Residential Complex.”

BIO ISTANBUL “BIO ISTANBUL is another example of application of our total architectural method. We were asked by Bio Istanbul to design a large development for medical research and medical commercial venues formed by a series of different campuses. Putrajaya Waterfront Residential Complex – Kuala Lumpur, Malaysia Source: Studio Nicoletti Associati

Our inspiration came from the traditional commercial and manufacturing architecture of Turkey and Islamic countries. We wanted to recreate the idea of being in a

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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Bio Istanbul – Turkey Source: Studio Nicoletti Associati

bazaar where the public moves from one building to another within one unique open space. The space not only ties together the various building but also serves to protect the people from the climate. The site is situated between a large park and one of the main roads of the medical campus. The site is over 1 km long and only 30 m wide. So the different campuses could not form a nucleus but could only be placed in a very fragmented line.

Our idea was to unify the different campuses visually and physically trough the design of a bioclimatic pergola, reminiscence of the typical Islamic souks and bazaars. The bioclimatic pergola protects the campus buildings from solar radiation coming from the south but permits a clear and uninterrupted view from inside the buildings to the green areas on the south. Moreover, the campus buildings were designed to recreate the ever changing architecture of the historical

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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Islamic centers, with wide terraces on the roofs and overhangs to further protect the buildings skin from direct solar radiations and climate conditions. We created a shadowed open and public space, connecting all the campuses and facing the park,

illuminated mainly by filtered and indirect natural light. Also in this case, a total architectural approach was proposed using terraces, overhangs, structures and an elegant pergola, to passively protect our building from the local climate.”

Bio Istanbul – Turkey Source: Studio Nicoletti Associati

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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“A redefined language of form appropriate to the needs of today can be created making use of the totality of knowledge nurtured continuously in the noosphere.” “Our memories should make use of the lessons creatures and humans have learned in the past millions of years of survival and adaptation to earth’s rhythms, and translated through today’s noosphere into a language that responds to the necessities of today. History (memory) is to be used with reason and not by mimicry. Because an architect is not a specialization, it is not a limitation. An architect is a creator. A creator that looks for a better tomorrow using the knowledge cities are vibrant with, to redefine beauty every moment.”

Casa Moncada – Bagheria, Italy Source: Studio Nicoletti Associati

STUDIO NICOLETTI ASSOCIATI ,founded in 1957, delivers world-class professional design and management services. STUDIO NICOLETTI ASSOCIATI offers award winning architectural design, progressive infrastructure engineering, highly ranked project and construction management and is known for high quality and professionalism. At over 30 professionals, STUDIO is one of the oldest and largest firms in Rome and delivers total services to a project or form flexible work teams that can integrate into a larger team in partnering and sub-consulting roles. The STUDIO practice's expanded through all major aspects of urban and building design in Italy, Europe, Africa, USA, Middle and Far East. The philosophy to conceive building design is the result of an organic growth from a specific context. A context which is both the humus and the row material of any architectural conception. Among many projects built and on the process of being built: The Astana State Auditorium for 3500 seats in Kazakhstan; The Nigeria National Complex in Abuja, including the Nigeria Cultural Centre, the Tower of Nigeria and the City Hall; The Abuja 32ha Millennium Park, opened by Queen Elisabeth in 2003; The Museum of Modern Art in Warsaw - International competition Honour Mention; The New Hall of Justice in Campobasso - European Competition First Prize; Putrajaya Waterfront development in Kuala Lumpur - International Competition First Prize.

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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TOTAL AND RESPONSIVE ARCHITECTURE Interview with Luca Francesco Nicoletti and Nikola Novaković This segment of the Journal is dedicated to the duel interview/discussion with the professionals that share some similar features in their professional work or opinions, or maybe on contrary they may have nothing in common. The aim is to bring closer various architects and deeper examine and present their similarities or differences. Our first duel brought together two European practices, and the architects Luca Francesco Nicoletti and Nikola Novakovic. They are both successful designers that apply sustainability and bioclimatic principles in their works and they do listen and incorporate the environment where they build in a very specific manner. Since the architects are not just dream creators, they are also dream builders; there is a high level of responsibility along with the licence for practicing the profession. We may ask ourselves: what is the top priority in the decision making process when we design, construct or occupy the space, but the answer is not an easy and it is different for each and every one of us. Comparing the Total and Responsive architecture we can find several similar aspects. For example: both principles implicate a high level of responsibility of the creators; sets as the most important part of designing the process of listening and learning from the surrounding; also, for these professionals it is not a matter of option but obligation to address the architectural designs with the awareness of the consequences on the ecosystems they will have thought their life-cycle. Incorporating the existing inputs the architects enriches the building connection with the surroundings and provides dialogue, nesting the creation carefully and thoughtfully.

Luca Francesco Nicoletti, was born 1976 and graduated from cum laude at Rome University "La Sapienza" in 2002. Since 1994 he was collaborating with his father also architect Manfredi Nicoletti. He is member of Architect's Chamber since 2004, visiting Professor and Lecturer at the Docomomo International Institute in London; Ajman University of Science and Technology, UAE; Rome’s Universities "La Sapienza" and “Roma Tre” and President of the Young Branch of the International Academy of Architecture. Nicoletti was partner and co-founder of STUDIO NICOLETTI ASSOCIATI that was founded in 1957 in Rome, Italy. The studio is famous, award-winning and one of the oldest in Rome working with flexible teams capable of partnering and sub-consulting roles. The STUDIO practice's expanded through all major aspects of urban and building design in Italy, Europe, Africa, USA, Middle and Far East. The philosophy behind every design of the building is that the structure is “the result of an organic growth from a specific context, a context which is both the humus and the row material of any architectural conception”. Their work is recognized as the TOTAL ARCHITECTURE – principle that incorporates rather than dismemberment all influences that interact with the building.

Nikola Novakovic, was born in 1978 and gained a Master’s degree at the University of Architecture in Novi Sad, Serbia in 2005. Short after the graduation he worked in studio in Novi Sad but after 2006 he moves to Kotor, Montenegro where he started his own enforma studio, based in Montenegro, which won several prestigious domestic and international awards along with the Yearly award for architecture by the Chamber of Engineers of Montenegro in 2013. The philosophy behind the studio enforma is based on ambition to create architecture “whose essence does not lie in global trends, epochs and styles but rather in the true and substantive ‘answer’ for every individual project, looking at it every time as a newly asked ‘question’”. Their architecture could be defined as RESPONSIVE ARCHITECTURE a kind of architecture that establish the ethical relation between the built structure and the existing environment – a sort of dialogue combing micro-location, nature, terrain, architectural heritage, orientation, social background and etc. into the harmonious sustainable creation. The aesthetic of these projects is deeply rooted into local community and tradition, keeps it with strong identity.

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In your presentation on the International Conference S.ARCH–2014 you spoke about how much the level of personal responsibility (responsibility of the author of the creation) affects the final outcome of the building or project. Tell us please what is the breaking point, the moment of disconnection between the architects and the professional responsibility, the ethic?

Luca Francesco Nicoletti

Is there a moment of disconnection? It would be like thinking that when you are married you are not a person. There is no disconnection obviously, you are both always.

Nikola Novaković

The question of personal responsibility is different from person to the person and it depends from impacts which are also different depending the personality, place, client and moment they become. We do not have the same vision of the responsibility, but the crucial point is that the objects which remain are responsive, that they respond to the environment. That is what we call responsive architecture, which is nothing but an ethical relation between built environment and impacts. But again behind all of that is a person with responsibility. Whole our life and career is consists of breaking points, but we decide should we go on easy or harder but right way. Usually in our office we spend months just to try to involve our client into the process of creating of the architecture. That is very painful process and economically very unprofitable, but that is how do I see the things. I think it is a question of do you really want it and do you have a knowledge - ethic, but also there is a financial point. Unfortunately many of our colleagues choose the easiest way, what result with a banal architecture which surrounds us on every step.

How is it possible that today we, as a modern society, do suffer from the syndrome of less responsibility more then we did in the past and what is the cause of this current state by your opinion?

Luca Francesco Nicoletti

In our society in which what we have is who we are, the minds of too many people are concentrated on personal gain. I have too many unfortunate stories of meetings I have had with fellow architects where the ‘architectural’ discussion was based on what monetary advantage was gained by the decisions made. This is not architecture.

Nikola Novaković

I can speak a lot about this question, but I will try to be short as it is possible. Few days ago I was on Alps in Austria and I saw beautiful care and approach in relation between buildings and their environment. I was little bit jealous how all society has an ethical approach on built environment, whether it is new modern construction or traditional wooden cottage. On the other side in the region of Ex-Yugoslavia, we have perfect traditional objects which have a character of each region and country, also great examples of modern style during socialism period, but after all we passed through many turbulent times especially 90 es, where whole society and culture felt apart. Criteria for good and bad approach were not the same as in the other countries: laws and states become week,…, after all people lost an idea of responsibility about the space and beauty, and on the end about common good. After whole this ugly years, period of transition comes with few investment waves. These waves are changing our coast, environment, society, urbanism of towns and life styles in general. After all, I think for most of the people it is a hard to catch what is really their responsibility in the society, what is their place and who they become. I believe that this process of redefining ourselves is coming and that we will start again to appreciate our heritage, environment and ourselves in general.

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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Do we need to question the responsibility of the users of the space more than the responsibility of the architects? Luca Francesco Nicoletti Nikola Novaković

This is a great question. I don’t know. I think that everybody has to share responsibilities, from users, builders and of course us, architects. We all have to share same idea, same feeling about what we will get and how that should be used. User can not have a relation with a ‘space shuttle’ if we do not make introduction and educate him, and on the end if he really doesn't want it. So our responsibility is to make homes, buildings, offices according the user needs and personality, not just because architecture, that is also not ethical.

On a one hand we have laws, codes, and standards in a way professional “tools” that were created in order to preserve the institutional and professional ethic, but on the other we are facing with the increasing number of architects that are irresponsible. How is that possible?

Luca Francesco Nicoletti Nikola Novaković

Let’s not call everyone architects. Many are only businessmen. Because, in our countries ethical relation with the law, society, environment, architecture as I sad before is lost, from the top then to the ordinary people. It is just a meter to finish and charge the money for the project and to meet the requirements set by the municipality or government. Second reason is market. Main problem in this new capitalism, or transition, whatever, etc. is that estate consumer needs something to buy for small money, with a beautiful view, and great position. This mass production produce pop culture, pop architecture which we call commercial or banal architecture. This problem is reflected in situation, that this products are not goods like I-phone, or new sunglasses, etc. it stays here for hundreds years! Consumers of so called architecture are mostly in relation with eclectic art and architecture, architecture of the past.

Sometimes it is even very hard to think because the global trends that supposedly represent the progress of mankind, creating a kind of subtle destruction of society. Pulling back from the tradition and culture, as well as freedom of creative thinking these trendy attitudes are manifested in the spread of mediocrity and mass production and making banal culture, culture of easy tunes. All this leads us to the banal architecture which unfortunately surround us on every step. It is a result of no question, no responsibility and no answers. It just need to satisfy market needs without thinking about circumstances. Contemporary paradox of this situations is that in this moments many architect are involved, many planners, but we still just follow a force of market needs, consumerism and cash flow.

Would you agree if we relate the term total/responsive architecture with the immanent ethic?! If you do, what is the crucial source of not applying it?! Is it spiritual, cultural or social impoverish of the creator or the individual capability to accept, connect and respond to the environmental impacts?

Luca Francesco Nicoletti

What I intend by total architecture is a simplifying, unifying of thoughts and not a dismemberment. Why it is not applied? Perhaps, because complex sounds better.

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Nikola Novaković

I like to say, can not be aesthetic, beautiful (responsive), something what is not ethic, which didn’t respond on the impacts, or reverse. We all have different believing and ideas how to respond on environmental impacts. It is a pure emotional experience based on knowledge, experience and spirit. It is certainly a projection of all life of an architect, his experience with knowledge of all the psychological, administrative, morphological and artistic impacts he had. This ethical approach for creation of something that remains and therefore reflected on the environment is very important because it becomes a principle that affects our lives and especially the users. We all have different approaches and views. This is one of the reasons because we have our built environment like this, reason because we have good and banal architecture around us.

When we speak of transition, language and dialogue with the environment what is the focal point or principle for achieving constructive conversation in the terms of architectural language?

Luca Francesco Nicoletti

It is what man has been doing for thousands of years. Learning by his mistakes and not repeating them. Talking, listening, and learning from everyone.

Nikola Novaković

Feeling the atmosphere of the site and collecting all impacts which are related on the future construction. But there is no right recipe for creating good architecture. Despite the increasing of knowledge and experience in this field, always new questions and dilemmas opens, but on the end it is a reflection of the spirit of the one who creates it. That creator - architect is the one who faces a number of issues and problems during a process of designing, so called impacts. Impacts we meet in this area are different than somewhere else, but they are also different from the project to project. The most common and influenced are: location-context, built environment, site morphology, administration, orientation, local community, economical-political aspects, social aspects,... and on the and his majesty Investor-client with or without a brief. Even these aspects are common in every part of Earth, in them we always can find inspiration for originality and uniqueness.

What would be the solution for the successful dialogue by your opinion and where do you reassess the link architects vs. environment?

Luca Francesco Nicoletti

Building and environment have always been linked. The successful dialogue is to not contrast the environment but work together with it.

Nikola Novaković

As I sad before, trying to read aspects and forces which reflect curtain location, context. I quite unwittingly entered into sustainability, because I actually feel architecture on that way. Scanning the site and tradition of the region and using the force of the site and local materials as much as it is possible. And if you have a hard attitude with strong idea, then music can start!

Interview: Mirjana Uzelac Filipendin

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Bio Istanbul, Turkey Source: STUDIO NICOLETTI ASSOCIATI

Villa in Ljuta, Montenegro Source: enforma

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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Authors’ Papers

Laila Amer Alqahtani

Furnishing and Indoor Environment for Hyperactivity and Distracted Attention (in the Context of Sustainable Design) 11

Ilija Lalošević

Refurbishment of Historic Buildings in Kotor after Montenegro Earthquake 1979 22

Drazen Juračić, Haris Bradić

Design of Energy Efficient Architecture The 1st Prize at the Competition for Design of the Faculty of Pharmacy and Biochemistry of the Zagreb University, 2014

Laila Amer Elqahtani, Lamis Elgizawi

Colour Sustainability in Hospitals Interior Spaces

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DOI: 10.14621/tna.20150201

Furnishing and Indoor Environment for Hyperactivity and Distracted Attention (in the Context of Sustainable Design) Laila Amer Alqahtani Interior Design Department, Princess Noura Bent Abdel-Rahman University Postal 12345, Riyadh, Saudi Arabia, drlailaq@gmail.com

Abstract Non-government institutions have been upgrading the level of services provided to people with special needs since their numbers have increased worldwide, due to the recognition of new diseases, such as hyperactivity, distracted attention and learning difficulties, which increase in number annually. The main aim of the research is to investigate the criteria of furniture design and class arrangement which reflect the needs and desires of students with ADHD and staff, but unfortunately, schools are often designed and built without fully considering the needs of the community who uses them. Such considerations contribute to develop their ability to learn, i.e. create an appropriate and compatible learning environment with student’s abilities to enhance academic performance. To achieve the aim of the research, the researcher reviewed the literature and previous research to identify: 1- the characteristics and behaviour of ADHA students, as well as the patterns of their movement behaviour in the classrooms; 2- the problems of the students and teachers, which are related to dealing with the elements of furniture. The researcher conducted a field study to observe the behaviour of a group of students, as well as the problems related to the elements of furniture. This is in addition to an interview with a group of specialists to deal with such students. However, this methodology depends on exploring possible options for choosing suitable materials. Since there are many options for choosing sustainable materials that have garnered little attention, material efficiency, using less new materials to achieve the same goals is a rich opportunity to create sufficient spaces for students who suffer from hyperactivity and distracted attention. The research method involved a selected sample of teachers of ADHD students aged from 4 to 12 years from five schools in Riyadh. The aim of this study is to develop design criteria that reflects the foundations and considerations of interior design in the context of the Saudi Code of designing special places for people with special needs according to principles of sustainable material use.

Keywords:

Distracted attention, ADHD, Sustainable materials, Furniture design, Indoor environment, Furnishing educational spaces, Schools for children with ADHD, Riyadh

Article history:

Received: 11 April 2014 Revised: 02 January 2015 Accepted: 23 January2015

It is difficult, if not impossible, to separate instructional activity from the physical environmental setting within which it occurs. — Lackney & Jacobs

1. Introduction Affecting three to seven percent of the population, Attention Deficit Hyperactivity Disorder (ADHD) is one of the most common of the childhood behaviour disorders. Associated with this disorder’s core symptoms of inattention, hyperactivity and impulsivity are a variety of disruptive classroom behaviours (e.g., calling out, leaving seat, interrupting activities, etc.). Consequently, it is not surprising that these students often require behavioural interventions. Attention deficit and hyperactivity disorder (ADHD) is a complex disorder that affects the sense and communication. Furniture design is one of the key factors that can contribute to address this condition. This research tried to integrate furniture design and layout as a method of increasing positive classroom behaviours for students with (ADHD) to support improved academic performance of such students. In addition to concern to take into account the principles of sustainability and Saudi CODE. Interior designers must carefully consider which materials, colours, texture and form to achieve the appropriate furniture design for people suffering from hyperactivity and distracted attention. The materials can be natural or synthetic, virgin or recycled, simple or high-tech, local or exotic. It can be evaluated as part of a whole design assessment .The interior’s purpose should inform the palette of materials used. It’s important for the designer to pick natural materials. Especially for students with special needs such as those suffering from hyperactivity and distracted attention.

___________________________________________________________________________________________________________ L. Alqahtani: “Furnishing and Indoor Environment for Hyperactivity and Distracted Attention …”, pp. 1–10

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2. How does attention deficit / hyperactivity disorder affect development of students at school? ADHD is a hidden disability. It is a disorder that is often invisible. Children with ADHD act impulsively because of the defect with the verbal memory. They often engage in the same depreciate behaviour repeatedly because of the deficit with the working memory. They have problems following rules because of the deficit in selfregulation. Some students with AD/HD mainly show attention deficit only, others mainly show hyperactivity, while some show both symptoms. Students consistently exhibit these symptoms in different settings (including at home and at school), leading to obvious difficulties in learning and social interactions. Such students often fail to remain seated, stay in queue or listen to teachers' instructions attentively; Have difficulty concentrating on lessons and doing class work, frequently make careless mistakes during examinations, thus adversely affecting academic results; Poor compliance to school regulations and get punished frequently [1]. The behavioural Characteristics of Students with ADHD can be summarized as follow: Hyperactivity: − Fidgets with hands/feet (Over stimulated). − Squirms in seat/leaves seat unexpectedly (Under stimulated). − Shows preferences for gross motor activities (i.e., running). − Shows frustration during fine motor tasks (i.e. Writing, art projects). Impulsivity: − Inability to delay responding. − Difficulty waiting turn in social and academic situations. − Interrupts/intrudes on others. − Emotional outbursts/reacts based on feelings not facts.

− Initiation of sensation seeking activity when insufficiently stimulated. Disorganization: − Misplaces or loses belonging. − Difficulty handling materials with multiple pieces. − Messy desk appearance. − Difficulty completing tasks and tests within a time framework. − Overestimates time intervals. − Haphazard, illegible penmanship.

3. The classroom environment – the silent curriculum ADHA is a disease whose treatment requires avoiding stimuli and distractions to increase concentration. The correlation between furniture design and the design of ceilings, walls, floor contributes in the formation of a space that has great impact on the disease’s treatment [2]. A sense of unity is therefore preferred that can be achieved by using finishing materials so that the ceilings are of the same colour as the walls and the floor, with the same lines, durability, degree of isolation, and level of sound absorption . A complex interior or architectural design can create stress for people with ADHD [3]. The environment of educational Spaces include several elements, including climate, light, acoustic and the contact to the outdoor environment. Educational spaces' design requirements have to meet the needs and characteristics of ADHD students [4]. A clear, simple design for the school buildings facilitates the occupants’ use of the space, maintains the psychology of movement, and provides time and effort expended in a space , all of which essential in the treatment of people with special needs. Moreover, furniture design and layout help to regulate movement and control ADHD students and contributes to enjoyment of the space.

3.1. Seating

− Attraction to “novel” environmental conditions.

Most schools provide a combination of chairs, desks, or tables made of wood, steel, or plastic for each student. When students sit on those inflexible surfaces, about four square inches of bone supports 75% of their total body weight. The result is physical discomfort that distracts them from concentrating. Thus, they squirm, fidget, rock and, eventually, need to get out of that chair. Inevitably, boys are more hyperactive in class than girls [5].

− Restriction of activity when experiencing excessive stimulation (inattention).

Dynamic seating options used as a method of increasing positive classroom behaviours of students with ADHD

− Poor performance on tasks requiring planning (i.e., tests). Inattention/Distractibility: − Difficulty filtering irrelevant sensory information.

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Figure 1. Balance ball chair for ADHD [7]

Figure 2. Music Cloud Chair and Rock On – Interactive Rocking chair for children with ADHD ___________________________________________________________________________________________________________ L. Alqahtani: “Furnishing and Indoor Environment for Hyperactivity and Distracted Attention …”, pp. 1–10

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[6]. Instead of chairs the use of therapy balls for students with ADHD as an alternative classroom seating option. For all participants, both in-seat behaviour and legible word productivity improved when seated on the therapy balls (Figure 1). The intervention was effective` with 3 students with ADHD who varied in terms of gender, concomitant diagnoses, and medications. In addition, the teacher's and students' general preferences for therapy balls for seating supported the social validity of the intervention [7]. There is a need to an informal, flexible and simple design for seats. Gradation and simplicity of form and colour help to maintain shape and function. Interestingly, this simple design contributes to providing security and revives wide spaces with highly technical details and bold lines by using linear relations and colour gradation in the space to reduce visual stimuli and environmental impact. Simple colour gradation of furniture connecting the colour of the walls, floor, and ceiling facilitates selfcontrol, provides a sense of security and greater calm in the space, increases concentration, and eliminates distractions. At the same time, natural lighting is one of the important elements that achieve adequate lighting of the area. Teaching children with Attention Deficit Hyperactivity Disorder (ADHD) is usually done on a one-on-one basis. So in a class of handful students, when the teacher is busy with one student, the rest are usually occupied in lesser engaging and stimulating activities in the off-task area. Rock On is a special rocking chair meant for the students who are not being taught, for the moment, by the teacher and are waiting for their turn. This fun rocker sports different activity boards to keep these students calm and engaged. This is done by satisfying their need for other kinds of sensory stimulations, on top of vestibular stimulations. Rock On is a passive way of keeping the children active and intrigued. (Figure 2) [8].

3.2. Arranging the classroom It takes considerable thought and planning to select the student’s location in the classroom, as well as introduce supportive classroom features. Here are some suggestions (see Figure 3, for a visual summary) [9] [10]: − Arrange the classroom in a traditional rowseating pattern, because this is the most structured and predictable option. Placing the student at a table with five other classmates detracts from the student’s attentiveness. − Simply placing the student in a desk is not enough; his placement in the room is crucial. That desk should be positioned in the front row, where he or she is less likely to be disturbed by others.

Figure 3. Node Chair for steelcase share − Remove the student from potentially distracting areas, such as near windows. − Place the student directly next to teacher's desk. Close proximity to the instructor may also alleviate an additional dilemma of the student with ADHD— to provide for immediate feedback and close monitoring, reluctance to ask for help when experiencing difficulty. − Surround the student with ADHD with wellbehaved, attentive classmates as desk neighbours. This placement will automatically encourage positive peer interactions. Additional opportunities for peer interaction can be arranged by placing tables in the back of the classroom for occasional cooperative learning activities. − Designate a stimuli reduced area of the room, where a student who is fidgety and overly aroused can complete his or her assigned task. One way of achieving this is by creating an isolated peninsula in the back of the room, a square-shaped area surrounded on three sides by bookcases (books facing outward to prevent distractions) or other “obstacles.” Clear this area of any overly-stimulating visual information so as to prevent overload. You could include some plush chairs and pillows to provide the student a safe, comfortable place in which to focus. If the area is large enough, you could even use it as a whole-group meeting/presentation area. − Establish “stations” that permit students to move from one section of the room to another as each completes short segments of a longer assignment. − Place needed reference materials in a table in one corner, media in another, hands-on resources in another, and perhaps informal seating in another.

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− Establish one section of the room as a Quiet Quarter, another as Permitted Pair Partnering, another as a Small-Group Section. Permit disciplined movement from one area to another.

3.3. Noise abatement Noise distractions are one of the biggest drains on the concentration of such student. So that reducing classroom noise and reverberation helps all students and the teacher enjoy a more pleasant listening, learning, and teaching experience. A quieter classroom environment also improves student and teacher motivation and morale: 1 Putting felt or rubber caps or tennis balls on chairs and table legs will help to reduce distracting noises when moving chairs and desks; 2 Covering the table surface with fabric helps in reduction noise levels; 3 Arranging the classroom so that instruction occurs away from noise sources is also helpful [11]. If the classroom has an external heating, ventilation, and air conditioning (HVAC) system, as is the case with most portable classrooms, the main instructional areas should be planned away from this area if the HVAC system is a source of noise [12]. Mobile bulletin boards and bookcases may be placed at angles to the walls to decrease reverberation in the classroom. This may also be useful in partially blocking noise from the computer, bathroom, or learning centre areas.

3.4. Choose a peaceful colour White is cold, harsh, and may cause anxiety. Red is a high-energy colour that spikes a child's blood pressure and contributes to stress and aggression. Orange encourages creativity and may chase away the blues. To reduce anxiety, go with warm earth tones. Blue hues are known for slowing down the heart rate, reducing respiratory rhythm, and encouraging calm and focus. In general, stick with muted or pastel shades, and avoid primary colours [13].

3.5. Using sustainable material Sustainability has a direct impact on the health of both our members and the communities we serve,” [14]. In addition, environmental interior design focuses on materials’ intended applications, aesthetic qualities, environmental and health impacts, availability, ease of installation and maintenance, and initial and lifecycle costs. Interior designers must first evaluate, compare, and rank potential materials and products based on each individual project before providing sample options to the client [15]. This section examines the current situation and future outlook for critical materials used in

sustainable energy applications in the design of furniture for individuals with ADHD. These materials have the capacity to transform the way we capture, transmit, store, and conserve energy[16]. Interior materials and finishes are a component of buildings whose overall lifecycle impacts may be significantly greater than those associated with the initial manufacture and installation of the products. Interior finishes are replaced many times during the course of a building’s service life. Materials and finishes are also frequently replaced prior to functional obsolescence for aesthetic reasons. The CSA Standard S478-95 Guideline on Durability in Buildings compares the interior components in a typical office building to the design service life of the building itself. Some of the materials are simply rare in their overall abundance in the Earth’s crust or do not commonly occur in single deposits with significant concentrations. Others are difficult to recover economically [Critical Materials for Sustainable Energy Applications. Therefore, the interior materials used should minimize resources and waste, as well as their impact on the environment throughout the lifecycle. Indoor environmental quality includes statements for nine specific characteristics, including four for indoor air quality and five for human comfort [17]. Indoor air quality: − Meet the minimum requirements for indoor air quality. − Prevent exposure of building occupants to environmental tobacco smoke. − Prevent indoor air quality problems that result from the construction or renovation process. − Specify low-emitting materials and furnishings. Human comfort − Provide a high level of individual occupant control of thermal, ventilation, and lighting systems. − Provide appropriate thermal conditions. − Provide a connection between indoor spaces and outdoor environments of lifecycle design · Minimize the amount of materials used. − Facilitate disassembly for recycling or reuse. − Specify salvaged or refurbished materials. Indoor materials have the ability to support healthy environments, to reduce transportation energies that carry secondary health concerns, and to influence thermal performance and improve air quality, including minimizing outgassing, toxicity, and mould. Additionally,

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the selection of proper materials can positively affect the respiratory and digestive systems, as well as the eyes and skin [18].

pulp, paper maché, and paper cored board. Four common methods of constructing furniture from cardboard sheet are found in the survey folding, fabricating, and laminating.

3.6. Different applications for using sustainable materials for hyperactivity and distracted attention student

Figure 4 shows four common methods of constructing furniture from cardboard sheet, as determined from the survey -folding, fabricating, laminating, and mechanical fastening—since cardboard varies in the size of fluting and paper type and quality.

In recent years concern for the environment has affected every aspect of life. Sustainability is more than a marketing scheme. To those who truly seek to improve where and how they live, sustainability involves avoiding the depletion of natural resources. So sustainable interior design applications are thus defined as the balance between interior design applications and use of the Earth’s resources or natural resources that benefit humans and the Earth now and in the future [18]. Sustainable interiors would be designed in such a manner that they sensibly address the impact of all their functions, parts, and elements on the global environment. The author also defines environmentally conscious interior design as professional practice that attempts to create indoor spaces that are environmentally sustainable and healthy for the occupants [19]. Sustainable interior design practices are actions that lessen environmental impact due to site selection, water use, energy use, and material selection [20].This paper focuses on sustainable material selection that is suitable for users afflicted by hyperactivity and distracted attention. Examples of sustainable design applications in this paper include specifications of new types of sustainable furniture [21]. Sustainable furniture can be made of wood, bamboo, cardboard, metal, plastics, and fabric. In addition, it is worth noting that cardboard can be a sustainable option where durability is not a major concern, but certified and recycled sources should be sought. The potential of using reclaimed furniture, which is widely available from antiques shops and easy to fit into any interior scheme, should, however, not be discounted. Vintage finds can include chairs, tables, sofas, and beds, as well as accessories, from lamps to pictures to sculpture [Sustainability in Interior Design looking at furniture is a good way to understand sustainable construction, since furniture design demonstrates construction techniques on a small, manageable scale. Cardboard offers a good opportunity for the design of sustainable furniture products. Cardboard can be fully recycled and can be made from up to 100% recycled paper and cardboard. Cardboard will not replace many of the current applications for which plastic is used, but there should be a conscious effort to replace as much as possible .There are six classes of material defined in this typology: corrugated cardboard, paperboard, tube,

Another example of using cardboard to make furniture is the Kraft and Solo benches by Brazilian designer Domingos Totora. These Kraft benches exemplify their devotion to sustainability by barely hiding the material. Slices of recycled cardboard pulp, 1 cm thick, are held together with a water-based glue, proudly proclaiming their origins. The bench varies in width, depending on the number of slices of cardboard used. Viewing the piece, one can easily imagine the source material being put out on the streets of cities across Brazil for recycling. Other work, such as the Solo bench—recently a nominee for Design of the Year by Design Museum London— showcases the malleability and potential of the material and its ability to easily change textures. The Solo bench is finished and sanded so finely that it takes on the appearance of stone. Even on close inspection, it is difficult to pick up on the fact that what you are seeing and touching is recycled cardboard. Only the color, a brownish hue familiar to anyone who has ever taken out the trash, hints as its origins. [22]. Sustainable furniture can be made of smart materials. Smart materials or Self-healing materials have the structurally incorporated ability to repair damage caused by mechanical usage over time. The inspiration comes from biological systems, which have the ability to heal after being wounded. Initiation of cracks and other types of damage on a microscopic level has been shown to change thermal, electrical, and acoustical properties, and eventually lead to whole scale failure of the material. Self-healing materials can be used by incorporating them in interior design and furniture finishing works, because of the significantly effectiveness in improving the performance of their surfaces over the long run by fixing cracks and scratches aphid, therefore providing solutions to reduce the cost of damages occurring during their life cycle. Until now, these materials are not commercially available so that it's urgent to carry out more researches [23].

4. Results and dissections The main objective of the research is to explore the guidelines for furnishing and other components of educational space (wall and ceilings and floors). So that contributes to containment students with ADHD enabling them to overcome learning problems. Design

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Figure 4. Classroom arrangement

based on the study of all functional, technical, and aesthetic requirements, -combined with taking advantage of modern catalogues of furniture and processes used in the design of modern educational classes- can be achieved a successful experience of

communicational, educational and promotional guidelines that are compatible with the characteristic of students with ADHD. The field study was based on observation and data collection of five specialized schools in Riyadh.

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Diagram 1. Classification of selected sample according to teacher specialization

Diagram 2. Classification of selected sample according to teachers' knowledge

Diagram 3. Classification of selected sample according to the years of experience

Table 1: Summary of results from the questionnaire and survey General Characteristics

Morphological characteristics of the furniture

Educational spaces can be re-designed and formed to meet the requirements Both of the individual and group education. Furniture is flexible, movable and can be redesigned. Furniture is Comfortable and suitable for children. The environment of classrooms is enjoyable and help the students to concentrate on Lessons. The colours of walls, floors and furniture are impartial colours. Classrooms are Well-ventilated and quiescence. The environment of classrooms Limit the movement of pupils Increasing their Increase their commitment Classrooms have contact with outdoor.

Furniture do not hinder the movement.

Fulfilling

Indifferent

Ineligible

An intentional Sample selected from teachers who have varied practical experience. The sample can be classified according to three types. 1 – According to teacher specialization is as shown from Diagram 1 that 37.9% of the teachers were classified as major, and 32.9% of them were general practitioners for learning difficulties, and 29.4% of them were experienced teachers. 2 – According to teachers' knowledge about the most recent in the field of design factors of indoor environment and appropriate Furniture is as shown from Diagram 2 that 50.6% of the teachers have no knowledge about the design factors of space, 43.5% of them do not care, and 5.9% are sometimes updated on recent publishing. 3 – According to the duration of educational experience is as shown from Diagram 3 that 41.2% of the sample are 10 years of experience or more,

Furniture have no Sharp edges Scale of furniture is suitable to students in different ages Furniture is easy to be maintained and resistant to fracture The colours of furniture are suitable. Furniture is comfortable Furniture is durable, made of appropriate materials and have good appearance. Furniture is in harmony with the other Components of space. Furniture is not movable Furniture is suitable to chaotic behaviour of students with ADHD.

29.4% of them are 5-10 years of experience and 29.4% are less than 5 years of experience. The field study is the first study in KSA to explore the educational spaces for children with ADHD. The researcher gathered one of the most detailed pictures of such spaces from two aspects. The first one is about the general characteristics of the educational spaces and the second is about general and morphological characteristics of the furniture of educational spaces. Such study will be of great value and practical assistance to designers. Summarizing these results reduces the complexity of the problems and the richness of the data. Table 1 provides an edited version of results from the questionnaire, showing that the majority of the sample

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were indifferent as well as ineligible with either the general characteristics of the educational spaces or the morphological characteristics of the furniture of educational spaces. This mean that the educational spaces are in need to be redesigned as well as the furniture. From the interviews with teachers the following themes emerged: the relationship between colour, mood and behaviour; differences and difficulties in movement and co-ordination; the importance of control and predictability for the children (to provide feelings of security. The greatest challenge to accommodate children with ADHD is the behavioural contradiction i.e. for one child we may wish to increase certain behaviour, for another reduce it. Such differences point to the need for a classroom realm that can not only be adjusted to each child, but which can allow the child to increase their interactions with it. Based on their experiences, Interviewees expect that all students will benefit from Flexible and informal Furniture.

5. Conclusion Review of previous literature showing that the third component of a strategy for effectively educating students with ADHD involves physical classroom accommodations. Students with ADHD often have difficulty adjusting to the structured environment of a classroom, determining what is important, and focusing on their assigned work. They are easily distracted by other students or by nearby activities in the classroom. As a result, many students with ADHD benefit from accommodations that reduce distractions in the classroom environment and help them to stay on task and learn. Certain accommodations within the physical and learning environments of the classroom can benefit students with ADHD. Specially-designed furniture should, be differ from standard classroom furniture. This does not have to be expensive. Furniture can be designed based on principles of sustainability. Educational spaces and furniture affect children of ADHD category. The comparison of teachers' answers showed that the current classrooms are not suited to the educational process. As well as furniture does not achieve the aesthetic and functional aspects. In addition to that, there are many visual distractions such as walls drawings and decorations works that distract and obstruct the educational goal. So that the case study cleared that the physical classroom space is in need to be redesigned with the consideration of several physiological and psychological aspects of students. These factors include individual and group attention spans, seating, lighting, sound, and temperature preferences. Such students require informal seating,

soft illumination, peaceful colours, and calm educational space. Designers need to take advantage of the potential within students suffering from hyperactivity and attention deficit. Their kinetic energy can be exploited as a source of one of the energies required within interior spaces, such as electrical, thermal energy, or light energy. Therefore it can be exploited as a kind of sustainable materials means that applied to achieve higher efficiency of the interior spaces at the lowest possible cost or the optimal exploitation of available and reused materials. It can also exploit solar energy in warm areas to be converted to electrical energy or light within general spaces, as well as within spaces reserved for student with hyperactivity and distracted attention. For these types of spaces materials should be selected that meet sustainability requirements, such as a floor that takes advantage of the kinetic energy of users to emit thermal or electrical energy inside the space. In the spot light of the previous study, the researcher invites the owners of schools to embrace an integrated and efficient design of the educational spaces as general, furniture In particular. The goal is to create an educational environment that helps to direct and control the movement of students, as well as accommodate them with their behaviour. This study is the starting point to publish those designs in all educational media and to insert them into Saudi Building Code and construction specifications. There is an urgent need for a clear strategy to increase the efficiency of the performance both schools and educational services. The strategy has to contribute to create distinctive learning environment that help to improve the behaviour of students with ADHD.

References [1] http://www.dhcas.gov.hk/english/health_pro/file s/SeriesI_ADHD_Eng_text.pdf [2] UNESCO Bangkok, 2009, Teaching Children with Disabilities in Inclusive Settings. Bangkok: pp. 109. [3] http://www.archdaily.com/177293/designing-forautism-lighting/oct2011 [4] Rafat Ali (1996), "Triple architectural creativity", Enter-consult Research Center, the Arab Republic of Egypt, pp. 25. [5] http://www.ncmle.org/journal/PDF/Jan09/Redesi gning.pdf [6] Dana Kuhn and Sarah Lewis, (2013), "The effect of Dynamic Seating on Classroom Behavior for Students in a General Education Classroom". Research had been approved and accepted in partial fulfillment and requirements of the degree

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the Master of science in occupational Therapy from the University of Puget sound. [7] Schilling, O. L., Washington, K., Billingsley,F.F., & Deitz, J. (2003). "Classroom seating for childern with attention deficit hyperactivity disorder": Therapy balls versus chairs. American Journal of Occupational Therapy, 57, 534-541. [8] McKnight, Lorna, Designing for ADHD: In search of guidelines, ChiCI Group, University of Central Lancashire. [9] Carbone, Eric Arranging the Classroom with an Eye (and Ear) to Students with ADHD.TEACHING Exceptional Student, v34 n2 p72-81 Nov-Dec 2001 [10] U.S. Department of Education, Office of Special Education and Rehabilitative Services, Office of Special Education Programs, Teaching Children with Attention Deficit Hyperactivity Disorder: Instructional Strategies and Practices. Washington, D.C., 2006. [11] Florida Department of Education, Technical Assistance Paper, Number Fy2001-9, Auditory Processing Disorders.

[16] Resnick Institute Report, Critical Materials for Sustainable Energy Applications, California Institute of Technology, September 2011. [17] Kang, Mihyun, and Guerin, Denise A., The state of environmentally sustainable interior design practice, American Journal of Environmental Sciences, (2009). [18] USGBC Research Committee, A national green building research agenda, November 2007. [19] Bacon, Leigh M., Interior designer’s attitudes toward sustainable interior design practices and barriers encountered when using sustainable interior design practices, Master’s thesis,College at the University of Nebraska, May 2011. [20] Rider, T. (2005). Education, environmental attitudes and the design professions: A master’s thesis. (Unpublished masters thesis). Cornell University, New York.

[12] Peggy B. Nelson & Susan B. Blaeser,2010, Classroom Acoustics: What Possibly Could Be New? http://www.asha.org/Publications/leader/2010/1 00921/Classroom-Acoustics.htm

[21] Bacon, Leigh, "Interior Designer's Attitudes Toward Sustainable Interior Design Practices and Barriers Encountered when Using Sustainable Interior Design Practices" (2011).Theses from the Architecture Program. Paper 104.http://digitalcommons.unl.edu/archthesis/10 4

[13] http://www.additudemag.com/adhdblogs/27/100 05.html

[22] Phaidon, Vitamin Green, Phaidon Press, New York, 2012.

[14] HFMMagazine.com, May 2012.

[23] Nermin Ahmed Sabry Helal, 2010, Self-Healing Coatings In Interior Design & Furniture Between Fact And Fiction, International Design Journal Volume 4, Issue 3.

[15] Cargo, Alicia, An evaluation of the use of sustainable material databases within the interior, University of Florida, January 2013.

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DOI: 10.14621/tna.20150202

Refurbishment of Historic Buildings in Kotor after Montenegro Earthquake 1979 Ilija Lalošević Faculty of Architecture, University of Montenegro 81000 Podgorica, Montenegro, ilalos@t-com.me

Abstract

1. Introduction

The configuration of the structure, as well as type and quality of materials and elements are often not appreciated by engineers and architects dealing with renewal of historic buildings in the old urban nuclei and rural settlements. It is very important to realize that all historic buildings are not weak simply because they are old and made out of stone or other masonry. Rather, some historic buildings, like some modern buildings, are weak because they were poorly and unskilfully built, because they were inadequately altered during their history, or because they were bad maintained. Many other historic buildings are strong due to good materials that were used, the quality of workmanship, design and structural forms. Successful seismic strengthening and repair of historic buildings should be based on an evaluation of seismic resistance of their original structure, deliberate addition of modern structural elements, and careful choice of strengthening techniques. In the paper, aspects of traditional seismic structural and building issues and strengthening methods of historic masonry buildings are discussed, focusing on Kotor, World Heritage Site, Montenegro. The principal seismic properties of traditional historic structures are presented based on their behaviour observed during the 1979 and previous earthquakes. Strengthening methods and techniques used in the process of refurbishment after the earthquake are presented. Recommendations for improving the evaluation procedures and choosing appropriate strengthening techniques for historic structures are made.

When dealing with refurbishment and conservation of historic buildings, the extremely variable quality of building materials and construction systems is evident. Except for timber buildings, most historic structures are unframed masonry buildings, made of unburned earth, brick or stone, connected with binding mediums. Each of these materials varies widely in form and mechanical and other properties.

Keywords:

Refurbishment, Conservation, Consolidation, Kotor, Building heritage

Article history:

Received: 23 April 2014 Revised: 18 March 2015 Accepted: 31 March 2015

Masonry structures generally are considered to be less resistant to earthquakes. Masonry materials, both mortar and stone/brick are stiff and brittle, have quite high compressive, but low tensile and shear strength. Masonry constructions have a high mass, hence their high inertial response to the earthquakes, they are rigid and have low ductility and low capacity for redistribution of stress. However, the earthquake resistance of historic buildings can vary between quite good and poor, depending on the conditions of the building affected. The 1979 Montenegro earthquake brought to light, among disadvantages, numerous advantages and qualities of the traditional way of constructing historic buildings, especially in the Kotor region, included in the UNESCO’s World Heritage List. Due to the conditions after the earthquake and treats of destructions, especially having in mind high concentration of the cultural heritage, the old urban core of Kotor (Figure 1) within the medieval walls was also inserted in the World Heritage in Danger List. After successfully preservation and reconstruction works the town was withdrawn from the World Heritage in Danger List in 2003. By exploring the previous earthquake history, by analysing relevant data, dates of occurrences, intensities, magnitudes etc., and by “in situ” investigations, continuity and interruptions in the “local seismic culture” could be better understood and followed. The shorter the return periods are, the most widespread seismic culture is. Due to the numerous

___________________________________________________________________________________________________________ I. Lalošević: “Refurbishment of Historic Buildings In Kotor after Montenegro Earthquake 1979”, pp. 11–21

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Figure 1. Kotor, Old Town with the fortress

earthquakes (dates and intensities of the stronger earthquakes: 1559-IX, 1563-X, 1608-X, 1632-IX, 1639-IX, 1667-X, 1750-VIII, 1780-IX, 1979-X),[1] good building tradition, and economic prosperity during Byzantine, Serbian and Venetian role, in the Kotor region there are evidences of the more appropriate earthquake-proof technical procedures.

3. Design

2. Location

The building configuration, structural form, and design, have significant effects on the relevant conduct during an earthquake. The Montenegro 1979 earthquake, like many others, demonstrated that the simplest structures have the greatest chance of survival. Simple buildings can easily be built, maintained and repaired. On the other hand, their response to the earthquake can relatively easily be analysed and determined.

One of the most significant issues to be analysed regarding settlements, ensembles and individual buildings, is their location. The part of the old town of Kotor on the foot of San John Hill, funded on the rock, suffered slight damage during the earthquakes, and still have preserved the highest concentration of the oldest buildings from XII and XIII century. One of the reasons of collapse of the west side of St. Tryphon’s Cathedral in the 1667 earthquake, was different movement of the two parts of the building, due to the kind of soil (rocksend). Settlements built on the rock (Perast, Drazin Vrt) suffered less damage than those funded on the mealy ground (Risan, Prcanj, Dobrota), even with identical or very similar design and quality of structures. It is interesting to point out the example of the churches built on the monolithic stone (St. George, Orahovac) and island (St. George Monastery, Perast), suffered less damage than other similar relevant cases (Our Lady of the Rock Church on the artificial island etc.).

Although criteria for earthquake resistant design have been established for the new buildings [2], they can be usefully applied to the existing ones, both before the earthquake, to assess their vulnerability, and “post festum”, to explain their behaviour during the seismic events.

It has been also recognized that the building plan in general is symmetrical. Symmetry simplifies construction and improves response to earthquakes. If centre of mass, through which the earthquake forces act, coincide with the centre of rigidity, which is the point of resistance to the earthquake forces, there will be no torsion forces affecting the building. On the contrary, lack of symmetry, which is rather rare concerning historic buildings, produces torsion effects, which can be very destructive. For the most number of the relevant historic buildings their overall shape is compact and not too elongated. Otherwise, there are more chances of different

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Figure 2. Kotor, Pince’s Palace, (“Palazzo del Provvedittore”) XVI c

Figure 3. S. Tryphon Cathedral, Kotor, Ideal reconstruction, XII c

discrepancy exceptions.

between

horizontal

dimensions

are

Although the excitement and the damage of the building depend upon the relationship between its natural frequency and the frequency of the earthquake, general recommendation is: the building should not be too high. Actually, usual height of a historic building in the relevant region doesn’t exceed its fourfold shorter horizontal dimension, recommended for the modern buildings [3]. That’s why overturning effects are rather rare in the case of historic buildings. Of course the exceptions are belfries. For instance, as already mentioned, in the occasion of severe 1667 earthquake two belfries of the Romanesque St. Tryphon Cathedral (Figure 3) collapsed at all (“restanno atterati li doi Campanili del Duomo et ridote in fragmenti anco le Campane”) [4]. The influence of that earthquake on the local seismic culture, can be seen in the fact that the belfries built after 1667 had no damage at all, during the recent 1979 earthquake. Much more damage suffered similar structures from XIX and the beginning of XX century. Figure 4. S. Luke Church, Kotor, XII c

earthquake movements being applied to the terminals. Elongated plan (60 x 6 m), beside sand soil, has been the main reason for the collapse of the central part of the Prince’s Palace at Kotor during the 1979 earthquake (Figure 2). Fortunately, the cases with extreme

It is also important that the building vertical crosssection is regular, setbacks and especially reverse setbacks, i.e. enlargements in the building upper region should be avoided. Still, in some cases, functional reasons dictated exactly like irregular vertical cross section, for example at belfries. It is well known that St. Luke’s Church belfry collapsed and was rebuilt a several times during 800 years of the building history (Figure 4) [5].

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Figure 5. Tripkovic Palace, Dobrota-Kotor, XVIII c

the fear of destruction and to decrease “the local seismic culture” [6].

Figure 6. S. Marry of the River Church, Kotor, XIII c

The most representative palaces in the Kotor Bay, built by captains and ship-owners under the influence of Venetian architecture, have the main facades with added central upper part which form loft (Italian: “belvedere”). Although originally there were attempts to connect this part with the rest of the building (with iron ties and wooden beams), during an earthquake the high stress concentration occurs at the region of discontinuity, producing cracks, partial, or even total collapse of the central part (Figure 5). It is interesting to point out that palaces with “belvedere” mostly have been built in the second half of XVIII century, hundred years after the 1667 earthquake, enough to surmount

Irregularity is appearing in dome churches cross section too. However, these constructions vary radically in their seismic response, depending on their size, shape and whole construction system of upper parts of the building. For instance, at the primary dome of St. Tryphon’s Cathedral which was collapsed in 1667 earthquake, appeared problem of discontinuity of construction, and self-standing pillars, non adequate elements carrying the heavy dome, and suffering from extreme seismic vibrations (effect of so called “soft ground-floor”). The dome on St. Anne Church was damaged in 1667 earthquake too, due to sudden discontinuity, bad connection with a construction bellow, and that construction itself, transversal and jack arches, shown as bad supporting structure. The similar reasons had caused damages to the XVIII and XIX century domes, sometimes with additional one, bad quality of the masonry. The St. Mary of the River Church’s (Figures 6, 7, 8) and St. Luke Church’s domes have been conceived and built more adequately; their narrowing and discontinuity are less expressed. They have been carried by strong pilasters and transversal and attached arches, which are in monolith connection with walls and vaults. In the base

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with often mentioned relationship between those churches with the building constructions of Puglia (Italy) and Byzantine area, two seismically very sensitive regions.[10] The good seismic response of these churches is closely connected with typological characteristics of the medieval Byzantine “inscribed cross churches” [11], as well as by local and Romanesque building practice. Those, as well as other historic earthquake–proof buildings have quite uniform and continuous distribution of strength. Their load bearing elements are uniformly distributed, continuous and without changing section suddenly. Should be noted similarity of St. Luke’s Church, the most successful seismic-proof historic building in Kotor, with the prescriptions of the much later Piro Ligurio’s manuscript manual (Figure 10) [12].

4. Elements and techniques Reasonable resistance of the historic buildings can be often explained by the evidence of traditional techniques for structural consolidation. Study of old techniques and elements is essential in the process of repair and strengthening of historic buildings, whatever traditional or modern techniques being applied. Figure 7. S. Marry of the River Church, Kotor, XIII c, interior

of the dome, there is a ring made of long slates of excellent stone which successfully accepts forces and gathers all arches. At St. Luke’s Church, above the mentioned ring there are two additional rows of long (45-55 cm) and low (13, 10 cm) very precisely dressed slates of the same stone (Figure 9). This certain collar, made completely reconcile with contemporary theories [7], had a crucial role in reception tensile forces in the base of the dome, and had a significant contribution in stability of whole building. [8] Such a way of constructing a circular tie in the bottom of the dome is already known from the much older Byzantine buildings, where were some cases with stone blocks connected with iron anchors, so they can behave as a kind of a chain [9], In order to improve overall, and in the same time seismic stability, upper part of the dome very often was made of lightweight stone, tuff. St. Luke’s and St. Mary of the River churches have during the eight centuries’ long history kept the authentic structure, despite numerous strong earthquakes. However, during the period when these churches were built, there were no recorded strong earthquakes, while the seismic components were taken from the previous construction practice. This hypothesis would be in line

The walls of the historic buildings in the Boka Kotorska region were made of the local limestone, as binding medium always was used lime mortar. The local limestone is too hard and non adequate for the elements of more remarkable dimensions, that’s why for the doors and windows frames, consoles, balconies, stairs etc., have been used limestone from Korcula island, near Dubrovnik. It is interesting to point out that the way of wall construction was almost the same from XVI to the end of XIX century. There are two stone faces of the wall: external and internal; in the middle there is mixture of smaller pieces of stone and lime mortar. It wasn’t practiced to connect two faces of the wall by bond headers, even this should be the case. Despite of this fact, evidence of detachment of the two faces of the wall is rather rare, due extremely good quality of mortar used. For instance, during restoration works sometimes stone cracks before the mortar in the joint. Due to the good quality of mortar and masonry, various phases of the building are not resulting cracks along the joint, even during strong earthquakes. There were various types of mortar: with addition of oil, brick dust, red earth (‘terra rossa”) etc., They were used for the different purposes, from foundations, to the pointing, but the quality is usually very good. Wall mortar is one of the main reasons for the survival of masonry structures during earthquakes in the long building history of Boka Kotorska region.

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Figure 8. S. Marry of the River Church, Kotor, XIII c, cross section

Figure 9. S. Luke Church, Kotor, XII c, cross section ___________________________________________________________________________________________________________ I. Lalošević: “Refurbishment of Historic Buildings In Kotor after Montenegro Earthquake 1979”, pp. 11–21

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Figure 10. Pirro Ligorio: Delli rimedi contra I terremoti per la sicurezza degli edifice, vol.XVIII, State Archive Torino

Figure 11. Archivio di Stato Venezia, Provveditori di Terra e da Mar, F. 432 / dis.1, a C. Malacreda, 1616 ___________________________________________________________________________________________________________ I. Lalošević: “Refurbishment of Historic Buildings In Kotor after Montenegro Earthquake 1979”, pp. 11–21

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Not earlier than in XIX century, were beginning both oblivion of traditional technologies for the preparation of mortar, as well as striving for becoming cheaper masonry and the building as a whole, causing lower constructive characteristics of the walls.

Walls with similar elements, buttresses and escarpments, used for various purposes, for example fortifications (Figure 11) [14] of course, have also good seismic response, being conceived and designed to be strong enough to accept artillery shots.

It is important to point out the difference between qualities of the walls, taking into account the sort, mechanical characteristics and the shape of stone blocks. For instance, the walls of Romanesque buildings have a very good seismic response, due to mechanical characteristics of the local limestone and its nature due to whom it is taking out of the quarry in the shape of the elongated blocks. Such walls, with good mortar applied; transmit horizontal seismic forces well, due to the resistance between the layers of masonry elements, depending on mortar shear strength, friction between contacting horizontal joints, and proportions of stone ashlars.

Vaults and arches are very often used constructive elements, playing crucial role in the earthquake stability of the buildings. Not adequately executed arches, especially vaults, usually cause strong damage and even collapse of the whole structure. On the other hand, some of them, especially pointed arches precisely cut out from the good limestone, with extremely thin joints, are extraordinary seismic proof constructions, what that was proved by their stability through numerous earthquakes, including the last one occurred 1979. Of course, iron ties have been very important additional, sometimes crucial element for their stability (Figure 12).

Walls strengthen with pilasters, especially in churches, carrying the dome, contribute to the raise of inertial moment of the building and to its overall stability. Those elements were suggested by mentioned old manuals for the improvement of the building earthquake resistance [13].

In buildings with unconnected walls and wooden floor structures, they will separate, and cracks will develop along vertical joints, usually in the openings region. If the walls are connected properly with the floors, they have to oscillate harmoniously, and the behavior and earthquake response is much better. In the traditional workmanship in Boka Kotorska region, walls have been usually connected by ties, be iron, or wooden beams of the floor structure with iron terminals, “keys” (Italian: “capochiave”) on the opposite facades (Figure 13). Longitudinal beam inside the facade walls connecting perpendicular floor beams was rather rare because decay caused by climate. Nevertheless, wooden floor beams of the larger buildings with internal constructive walls were properly connected on the medium walls by the oblique scarf joint and special iron anchors (Figure 14). Taking into account the nature of the earthquakes movements and the seismic behavior of the buildings, it is evident that the level of the most desirable connection is in the top of the structure, under the roof (Figure 15). Otherwise, roof timber rafters or vaults push and disintegrate the walls. Besides connecting it, is important that roof is stabile by itself, and as light as possible.

Figure 12. S. Tryphon Cathedral, Kotor, interior

Almost all buildings originally properly tied suffered no, or very little, acceptable damage. In these cases introducing numerous reinforced concrete elements was useless, even contra productive, not only for the building authenticity but also for the overall building stability. That’s why reinforced concrete slabs, wall jackets, vertical internal or external pillars, sometimes destroying the very strong building corners, and especially heavy concrete roofs, should be avoided. The best practice would be: proper tying and connecting, rebuilding of collapsed parts, grouting, and only eventually, minimum, and wise introducing reinforced concrete elements when necessary.

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Figure 13. Gregorina Palace, Maritime museum, Kotor, XVIII c.

Figure 14. Ivanovic Palace, Dobrota-Kotor, XVIII c., detail ___________________________________________________________________________________________________________ I. Lalošević: “Refurbishment of Historic Buildings In Kotor after Montenegro Earthquake 1979”, pp. 11–21

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Figure 15. Radimiri Palace, Dobrota-Kotor, XVII c

console of the balcony, in the same time, is keystone of the arch above the door, in a way that long fragile lintel was successfully bridged over (Figure 16).

5. Conclusions and recommendations Despite of widespread presumption that historic buildings, especially masonry structures in seismic prone regions are weak, it is a fact that sometimes they are very resistant. This is proved even by the evidence of their existence so long time in those areas. Figure 16. Beskuca Palace, Prcanj-Kotor, XVIII c., detail

It is important to point out attention paid by the old masons to the openings. The vaults and arches have been constructed over the openings, in order not to load stone lintels of the doors/windows frames, but to distribute weight to the piers. That’s because the fact that the lintels can crack even due to the static load. Moreover, due to dynamic seismic forces, lintels broke and walls crack around the openings, being weakened in those places. It should be remarked example of a special sort of this construction noticed on a palace at a maritime settlement Prcanj, near Kotor. The central

In the region of Boka Kotorska Bay there is evidence of the numerous seismic proof constructions and techniques, due to simultaneous strong seismic activity, economic prosperity and cultural links within wide Mediterranean region from Venice to Constantinople. The most recent earthquake in the region, like in other similar cases, has demonstrated that we can usually rely on the most existing constructive elements: foundations, walls, vaults, floors etc. Although, there are evident attempts to tie the structure, generally insufficient anchorage and particularly inadequate interlocking between rafters, beams and walls, in the roof and floor levels, are often serious disadvantages, as well as unsatisfactory stiffness of floors.

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However, it is important not to ignore entire traditional buildings or their parts, because some of them are weak. Contrary, solution for the strengthening and repair must be based on the actual seismic resistance and capacity, structure state, and “seismic history”. From the historic preservation point of view, it is necessary to consider, analyse, assess and preserve and/or retrofit those elements relevant for seismic response of the traditional structures. For the successful preservation of an old structure, a team work of experts from different profiles is needed. The main question in this process is how far we should go as to the level of safety and the extent of the interventions. Methods and techniques for repair and strengthening have to provide economically justified and technically consistent seismic safety, as well as acceptable damage level in the future earthquakes. If structural interventions doesn’t go beyond obtaining reasonable security, preventing sudden collapse and preserving human lives and building integrity, but not damage at all, original structural system usually can be satisfactory preserved. In order to improve, not destroy authentic structural system, being the important value of historic building, a special approach in earthquake engineering must be developed taking into account the most important principles of historic preservation. Consolidation of these buildings can not be performed using seismic design codes for modern structures, and should consider traditional materials and techniques. Of course, modern technology can be used, but always having in mind that basic problem in structural consolidation of these buildings is compatibility of the introduced techniques and materials with old ones. Introduction of new elements for repair and strengthening should be minimum, possibly reversible, and must assure the best response to the future earthquakes and preserve authenticity as very important building characteristic.

References [1]

[2]

Mihailovic, J., Seizmicki karakter i trusne katastrofe naseg juznog primorja (Seismic Character and Earthquake Catastrophes of Our South Adriatic Coast), Beograd, SANU, 15-17, 1947. Dowrick, D.J, Earthquake Resistant Design, A Manual for Engineers and Architects, John Wiley&Sons, London, passim, 1977.

[3] Ibidem, 82. [4] Historical Archives, Kotor, SN, 934 [5] Canak Medic, M, St. Luke in the New Theory, Matica Srpska, Zbornik za likovne umetnosti 21, Novi Sad 59, 1985. [6] Lalosevic, I, Aseizmicki pristup u tradicionalnom graditeljstvu Kotora (Seismic proof approach in the traditional architecture of Kotor), Godisnjak Pomorskog muzeja Kotor XLI-XLII, Kotor, 173, 1993-1994. [7] Tahirovic, I, Otpornost zidane kupole na djelovanje zemljotresa, uzroci za pojavu pukotina i njihov pravac i podrucja rasprostiranja,(Resistance of the Masonry Domes…) Kulturna bastina Balkana I seizmicki problemi (The Balkan Cultural Heritage and Seismic Problems), CANU, Titograd, 171, 180, 1983. [8] Lalosevic, I, Aseizmicke karakteristike crkve Sv. Luke u Kotoru (Seismic proof Characteristics of the St. Luke’s Church in Kotor), Simpozijum: Crkva Sv. Luke kroz vjekove (Symposium: Church of St. Luke’s through the Ages), Kotor, 58, 1997. [9] Repair and Strengthening of Historic Monuments and Buildings in Urban Nuclei, Buildings Constructions in the Balkan Region, vol.6,UNDP, Vienna, 50, 1984. [10] Korac, V., Monumental architecture of Medieval Kotor, Spomenik SAN, CV, Beograd, 1956, 148, 151; Canak Medic, M., The Architecture of Nemanja’s Period , The Monuments of Serbian Architecture in Middle Ages, Beograd, 136, 1989. [11] Restoration of Byzantine and Post-Byzantine Monuments, Proceedings of the International Symposium of Thessaloniki, passim, 1985. [12] Proposal of an earthquake-proof house (“casa antisismica”) in manuscript: Pirro Ligorio, Delli rimedi contra I terremoti per la sicurezza degli edifice, vol.XVIII, State Archive Torino, Published in: Costruire in Laterizio, 16/90, Interventi in zone sismiche, II, Milano, 249, 1990. [13] Proposal of an earthquake-proof house (“casa antisismica”) in manuscript: Pirro Ligorio, op. cit. [14] Archivio di Stato Venezia, Provveditori di Terra e da Mar, F. 432 / dis.1, a. Malacreda Cesare, 1616.

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 2, No. 1 (2015)

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DOI: 10.14621/tna.20150203

Design of Energy Efficient Architecture st

The 1 Prize at the Competition for Design of the Faculty of Pharmacy and Biochemistry of the Zagreb University, 2014 Drazen Juračić1, Haris Bradić2 1

Faculty of Architecture, University of Zagreb Fra Andrije Kačića Miošića 26, 10000 Zagreb, Croatia, drazen.juracic@zg.t-com.hr 2 Faculty of Architecture, University of Sarajevo Department of Architectural Construction and Building Technology Patriotske Lige 30, 71000 Sarajevo, Bosnia and Herzegovina, harisb@af.unsa.ba

Abstract

1. Introduction

This Paper is a presentation of the First Prize entry on the International competition for the new Faculty of Pharmacy and Biochemistry building, by architect Dražen Juračić. The main idea was to incorporate the new building within the context characterized by distinct topography, oak forests and, above all, by Mirogoj cemetery and its sepulchral Arcades, master pieces of Herman Bolle and of Zagreb historicist architecture and urbanism. The new structure follows the slopes of the terrain, enabling entrances on different levels. Besides the functional and aesthetic properties of the building recognized and awarded by the Competition judges, the design is also particular for its low energy needs and CO2 emission, creating strong sustainable relation between men, building and environment. Shape factor of the heated part of the building is 0.2, and the percentage of transparent vs. non-transparent areas is 37%. Great attention was given to installation of highly insulated windows with maximum U-value of 1.1 W/m2K, and assembling of the double skin facade. The mean U-value of the enclosure between the heated and non-heated areas (garages) and the outdoor environment is U=0.51 W/m2K. The final result is 85.6 kWh/m2/year for all energy needs: heating, cooling, dhw, etc.

The main purpose of the FPB (Faculty of Biochemistry and Pharmacy) building is to provide an array of efficient, highly technological, flexible, scientific and educational facilities: laboratory, practicum, classrooms and supporting facilities for teaching, student standards, etc. Net area of the building is 9,895 m², with corridors and area under walls of 3,616 m2, overall area is totalling 13,511 m². Important aspect of the building is its sustainability, i.e. its energy efficiency. The main goal was to design a building with minimum energy needs, excellent internal comfort, i.e. temperature, humidity, natural insolation, ventilation, air quality, etc. This was achieved by assembling a thermally well-insulated envelope, using solar energy (passive and active) and recovering heat from the outgoing air. All of the above design requirements are additionally emphasized by the delicate position of the new faculty building: along the Mirogoj arcades, next to the masterpiece of Herman Bolle and of the Zagreb’s historicism.

2. Location

Keywords:

Design, Architecture, Historic environment, Location potential and constraints, Renewable energy sources

Article history:

Received: 09 March 2015 Revised: Accepted: 31 March 2015

To place the FPB building within the Mirogoj plateau, in the axis of the Alagovićeva Street, is a complex task that must provide answers to important questions about urban and conservatory issues: the first question is how to design a large building within the Mirogoj ensemble? How to preserve the visual contact of the city with the most prominent historical achievement built on the Zagreb necropolis? To allow visual of the Arcades from the city hills, Mlinarska str, Jurjevska str. and Cmrok park, the new building must not exceed the height of their pediments.

___________________________________________________________________________________________________________ D. Juračić, H. Bradić: “Design Energy Efficient Architecture. The 1st Prize of the Competition for Design of …”, pp. 22–29

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Figure 1. Location

The FPB building must enable clear views of the Arcades, and leave space for pedestrian paths from the Alagovićeva Street towards the Cemetery complex on the north (Figure 1).

3. Organisation of the building The main layout indicates compact and logical organization of the functional facilities (Figure 2). The ground floor and the floor below contain classrooms, students’ practicums, library and the Faculty administration. Research laboratories and staff offices are located in a separate wing on the same levels, and they expand also to the first floor (+1) entirely intended for the teaching staff. The lowest floor (-2), directly accessible from pedestrian path/scalinade, contains a students’ lounge, café, shop and technical facilities. Chillers and heat pumps are on the roof, as well as photovoltaic cells, all of them surrounded by greenery. They are connected to the mechanical room located on lowest level (-2) via installation ducts. Entrances are dispersed to complement the clearness and readability of the building as well as efficient

integration of its facilities. The main entrance (Figure 3) is articulated as a propylaea that opens up towards the Mirogoj sepulchral arcades on the north. The entrance axis divides the classrooms on the east from the practicums and laboratories on the west. Another entrance (Figure 4), from the Gubčeva zvijezda square via Zmajevac scalinade , is to be accessed by tram users, mostly students, who enter the lowest level of the building by passing by the lounge, café and shop. The driveway from the Zmajevac Street reach the -1 level and semi-open garage with 187 lots. The fire fighter access is also from the Zmajevac Street, as there are no other option, because the building will be built before the northern bypass.

4. Articulation The building must be unnoticeable not only from the direction of the Mirogoj plateau but also from the Jurjeva, Mlinarska, Ksaver Streets and Cmrok park. The building by its form and size, abstract envelope, green roof, gardens and green walls mimics the environment.

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Figure 3. A rendering of the upper entrance

Figure 2. Layout of the building

Figure 4. A rendering of the lower entrance

Figure 5. Section ___________________________________________________________________________________________________________ D. Juračić, H. Bradić: “Design Energy Efficient Architecture. The 1st Prize of the Competition for Design of …”, pp. 22–29

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It is hidden among the oak tree crowns on the north and north-west, and overtopped by trees from the botanic garden on the south (Figure 5). The façade is cladded with large greenish and greyish HDL panels. Horizontal movable glass lamellas in front of the windows reflect vibrant images of tree crowns and the sky. The interior space design is compliant with the main idea clarity and fluency. Longitudinal corridors are accentuated by broadenings and visual penetrations to the exterior (Figure 6).

5. Flexibility The FPB building has been design to allow technical and spatial alterations i.e. to enable new activities and functions. The structure with shallow beams facilitates free layout of floor plans and efficient conduction of installation systems in suspended ceilings. On the ceilings there are connections for all installations

(except for sewage, which are, for obvious reasons, in the floor). This enables laboratories to be equipped with traditional 75 – 90 cm deep fixed cabinets, but also with more modern, easily movable cabinets and counters. Should partitioning be required to increase the number and size of practicums and laboratories, the modular facade window line enables construction of partition walls on each connection of windows at the width of 165 cm (sufficient for installation of 75 cm wide cabinets with 90 cm of usable space and 90 cm cabinets with 75 cm of usable area). Other rooms are also designed to be easily transformable. The café can be transformed to cafeteria, which will probably be needed, because there are not many restaurants in the neighbourhood due to the relative isolation of the new Faculty building. It goes without saying that spacious and well-illuminated corridors and foyers of the FPB building may host different gatherings, exhibitions, ad hoc discussion circles, workshops, etc.

Figure 6. 3d models ___________________________________________________________________________________________________________ D. Juračić, H. Bradić: “Design Energy Efficient Architecture. The 1st Prize of the Competition for Design of …”, pp. 22–29

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6. Architectural physics, feasibility study and calculation of all energy needs of the building 6.1. Envelope of the building Under the design, the FPB building has a highly insulated envelope (Figure 7), whose maximum U-values do not exceed 0.22 W/m2K, and stationary flow of water vapour and high values of external envelope mass, satisfying the thermal stability of the structure during summer use. The temperature differences between vertical and horizontal structural elements were reduced to minimum. The shape factor of the heated part of the building is 0.2, and the percentage of transparent against non-transparent surfaces is 37%. Great attention was given to installation of highly insulated windows, whose maximum U-value is 1.1 W/m2K, and assembling of the double skin facade. The mean U-value of the

entire border between the heated and non-heated areas (garages) and the outdoors is U=0.51 W/m2K. The double skin facade under the solar radiation generates hot air that is used for heating and cooling. Besides, it also prevents excessive insolation through transparent surfaces by means of automatic venetian blinds in the double skin facade. The data presented in Table 1 are part of the competition design.

6.2. Proposed energy efficiency solution The Faculty of Biochemistry and Pharmacy (FBP) is part of the Northern Campus of the Zagreb University. The energy efficiency concept of the Northern Campus is based on the principles of as rational as possible functioning at maximum use of renewable energy sources (RES). This means that the highest possible level and 24/7 use of RES must be enabled, i.e. it is important to ensure as many energy users as possible even when it is not required solely for classes.

Figure 7. Envelope structure ___________________________________________________________________________________________________________ D. Juračić, H. Bradić: “Design Energy Efficient Architecture. The 1st Prize of the Competition for Design of …”, pp. 22–29

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Table 1. Geometric properties of the building REQUESTED DATA

AREA OR RATIO

Gross volume above the ground

74.540 m3

Gross area above the ground

13.511 m2

Net area above the ground

12.160 m2

Facade area

9.818 m2

North facade

1.589 m2 402 m2

North glazed area

1884 m2

South facade

709 m2

South glazed area East facade

2.947 m2

East glazed area

1.115 m2

West facade

3.398 m2

West glazed area

1.416 m2

Gross volume above the ground / Gross area above the ground

5.5

Gross volume above the ground / Net area above the ground

6.1

Volume above the ground / Facade area

7.5

Figure 8. Energy flow

The main source of energy will be an energy plant with three-generation gas installations for production of electricity and energy for heating and cooling, and air heat pumps with high COP1. After the energy plant is constructed in the Borongaj campus, three-generation in the FBP building will use synthetic natural gas (SNG) produced from wood, which will enable the building to use only renewable energy sources. Given that this is an educational institution, the project proposes the use of

recuperators to recover waste heat generated by the occupants during different activities. The project proposes use of the BLUE&GREEN energy concept – a synergy between BLUE, natural gas (future SNG) and GREEN, i.e. renewable sources of energy (Figure 8). ELECTRICITY: GREEN – Green electricity from photovoltaic roof cells

Coefficient of Performance ___________________________________________________________________________________________________________ D. Juračić, H. Bradić: “Design Energy Efficient Architecture. The 1st Prize of the Competition for Design of …”, pp. 22–29

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BLUE – Blue electricity from gas engine – threegeneration cogeneration system

all types of energy to ensure optimum spending and system maintenance (Figure 9).

HEATING:

Climate chambers with high level of heat recovery (above 90%) will provide air conditioning and ventilation, allowing for less spending of thermal and cooling energy for air heating and cooling. This device that two thermal packages with highly sensitive accumulation mass, used to exchange the fresh and exhaust air. All air conditioning systems and local exhaust systems intended for laboratories are highly automatized to enable minimum use of energy during the period of work and preparation. In addition, all air conditioning and ventilation systems are equipped with high-efficiency engines (HEE). The climate chambers are on the roof of the building connected with the air distribution elements through vertical and horizontal ceiling vents.

GREEN – Green thermal energy, heat pump and solar water heating collectors BLUE – Blue thermal energy, exchanger of gases and waste heat of gas engine from the threegeneration system COOLING: GREEN – Green cooling energy, heat pump BLUE – Blue cooling energy, absorption cooling system of three-generation Electricity produced by gas engines – generators of the three-generation system and photovoltaic cells on the roof of the building would be sold to distributers of electricity, while the building itself would use the grid electricity. The gas engine cogeneration system of high performance of 84-87% is installed on the -2 level, in the boiler room, while the photovoltaic solar cells are located on the flat roofs of the building. Electricity production is fully automated, with a switching device and transformer for energy transmission to the grid and energy supply from the electric utility. Gas engines – cogenerators of the three-generation system, enable the building to have independent electricity generation, whereas the production of electricity by means of photovoltaic convectors will be commercial. Thermal energy for domestic hot water and water for heating is generated from several energy sources. The main source of thermal energy is the three-generation system, i.e. the waste heat from gas engine cooling and heat of gases from the gas engine, used to via heat exchanged produce water for heating and domestic hot water used in toilets, laboratories and cafeteria. Additional sources (RES) that cover one portion of the energy needs are heat pump (air-to-water) and solar collectors for water heating (Diagram 1). All installations for production of thermal energy are located on the -2 level, in the boiler room and on the roof of the building. Water cooling is done via the tree-generation system, i.e. the waste heat from cooling of the gas engine – cogenerator, which ignites the absorption cooling power generator as the main source of cooling energy. Additional energy generator (RES) is a heat pump (air-towater). All installations for production of thermal energy are located on the -2 level, in the boiler room and on the roof of the building. For other needs of the Faculty, systems would be installed in the boiler rooms to supply technical-technological power generators in the form of joint station of technical gases, vacuum and compressed air, water and sewage processing, and technical rooms for maintenance. The systems are automatic, both in the management and monitoring and measurement part of

Diagram 1. Total energy needs

Figure 9. Total energy and CO2 emission

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Table 2. Materials used in construction of the FBP building TYPE OF MATERIAL

CO2 t / t

TOTAL USED t

TOTAL CO2 t

Wood

-0.54

6.7

3.6 t

Granite

0.09

67.8

6.1 t

Asphalt

0.14

39.2

5.5 t

Reinforced concrete

0.22

16,520.0

3,634.4 t

Ceramic tiles

0.30

6.3

1.9 t

Glass

0.85

1,268.9

1,078.6 t

Stone wool

1.12

201.6

225.8 t

Mineral wool

1.28

11.8

15.1 t

Steel

2.78

7.9

22.1 t

Aluminum

11.5

85.8

986.7 t

1.28

725.76

928.9 t 6,908.7 t

TOTAL CO2

Interior heating and cooling is provided through combination of static surface heating and cooling, and, if so required, ceiling mounted fan convectors. The main heating and cooling piping run through vertical and horizontal vents in the suspended ceiling. The interior heating and cooling system is highly automatized to save energy. All fan convectors will be equipped with HEE. The lighting systems installed in the building are highly efficient LED fixtures, regulated, supervised and managed using the control for space illumination and natural light penetration, with shading and cooling properties. All energy systems have the measurement and regulation equipment installed, management and energy to use as minimum energy of all types as possible, with rational selection of energy ratios and optimal maintenance expenses during the building’s lifetime. Note: The calculations have been done using the Ki Expert 2013 Software (in line with EN ISO 13790:2008) and the input data on the envelope, climate and energy needs of the building. Table 2 shows the data on the total amount of carbon emissions from the construction.

7. Conclusion Use of renewable energy sources and the above mentioned systems will reduce the total energy needs of the building by 30-40%. The surplus electricity generated by photovoltaic cells (ca 5,5 kWh/m2/year) will be sent to the electric grid. The actual result will depend on the quality of windows, facade systems, the level of use of energy plants and the way the interior space is used. Mean U-value of the entire envelope, i.e. the space between heated and nonheated (garages) space and the external environment is U=0,51 W/m2K. This result indicates that the envelope has excellent thermal insulation, which reduced the total energy needs for heating and cooling to minimum. The final results of all energy calculations range between 85,6-88,0 kWh/m2/year, which makes this building a low-energy building with small amount of CO2 emission and high share of renewable sources. Nowadays, the ideas of sustainable energy use form integral parts of contemporary design from its earliest stage (e.g. design project). Good-quality architecture now has a new dimension, i.e. energy efficiency that is easily measurable and detectable. Energy efficiency objectives set in this case has been fully met.

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DOI: 10.14621/tna.20150204

Colour Sustainability in Hospitals Interior Spaces Laila Amer Elqahtani1, Lamis Elgizawi2 1

Interior Design Department, Princess Noura Bent Abdel-Rahman University Postal 12345, Riyadh, Saudi Arabia, drlailaq@gmail.com 2 Architectural Engineering Department, Mansoura University Mansoura, Egypt, lamiselgizawi@yahoo.com

Abstract

1. Introduction

Colour selection is one of the key areas of interior design. Colouring is an art that has its aesthetic moods, criteria and applications, in addition to its different contrasting functions. At the same time, colour has its pure scientific origins and rules that is closely linked to light. The quality of the visual environment has a positive effect on the occupant’s feeling of well-being and in the case of hospitals and healthcare buildings; this can affect staff performance and patient recovery. The paper aims to analyse the sustainability of the colours in the interior spaces of hospitals and improve the performance of the interior spaces of hospitals in line with the humanitarian needs of the user. The cost of hospital staff and patient treatment is considerable; therefore, measures to maximize performance through improved environments and saving energy by using sustainable colours will generally be cost-effective for these reasons, it is essential to consider lighting and colour design at the early stages of specifying and designing a building. Colour can play a major role in creating sustainable environments. An Applied study using software to create colour criteria when designing interior space elements to maximize the daylight factor which is effecting in patient physiology performance. With respect to the sustainability dimension, the research addressed the relationship between the design of interior space colours and day lighting of hospitals and the users’ psychological and physiological aspects to serve adult people.

Well-designed, ambient environments will have transitions of lighting and colour design to allow the eye to adapt to changes in lighting levels. Sometimes a relatively minor change to the colour design or lighting of spaces can solve an on-going, apparently insurmountable, problem (for example, extra lighting on walls with accent colour to brighten up a gloomy area). Colour design and lighting consultants can often pinpoint the reason why a place does not “feel” right. For example, a change of wall or floor colour from light to dark or vice-versa can affect a whole area dramatically and may suggesting appropriate solutions. For the healthcare industry, the issue of environmental impact is especially paramount. The profession is committed to doing no harm, yet many issues related to the design and operation of healthcare facilities contradict this principle tenet [1].

1.1. The main objective of the research The research aims to analyse the sustainability of the colours in the interior spaces of hospitals and improve the performance of the interior spaces of hospitals in line with the humanitarian needs of the user, psychological, and the provision of energy. This is achieved through the following objectives:

Keywords:

Interior spaces, Sustainability, Hospitals, Colour criteria, Physiological impact

Article history:

Received: 20 April 2014 Revised: 17 November 2014 Accepted: 22 January 2015

Study the methodology of sustaining colour in the field of interior design.

Study of the application of modern technologies in the standard software of the relationship between color, light, and positive energy.

The extent of the impact of the humanitarian needs of the patient and psychological interior design.

___________________________________________________________________________________________________________ L. Elqahtani, L. Elgizawi: “Colour Sustainability in Hospitals Interior Spaces”, pp. 30–36

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Examine the impact of color performance of elements of the interior spaces to improve the provision of energy.

1.2. Methodology Approach to the analysis and applied study: -

Analytical and theoretical study to apply, disseminate and utilize in the design of interior spaces colorimetric hospitals.

Tools rely on the survey study within application of specialized programs Ecotict.

2. Philosophies of healing and interior environment Historians report that healing was a highly developed art in Atlantis (9500 B.C.) with three different schools of thought on the treatment of illness. Some healers used spiritual methods (flower essences, crystals, and colour therapies); priests used homeopathy, an integration of spiritual and scientific methods; and the allopathic healers used herbs, drugs, and surgical treatments similar to practices used by today's orthodox physicians (Gerber 1988). As new views evolve about the relationship between stress and illness and about the influence of positive attitudes on healing, more emphasis will be placed on design of the patient care environment [2].

2.1. Hospital users and sustaining environment Hospital design needs to reflect the wide range of their users, whether patients, visitors or staff. For patients and visitors, entering a hospital is often a stressful and uncertain time. To meet their needs, the strategy is to provide flexibility in services and to adopt a patientoriented attitude towards improving the hospital environment [3].

“attractive”, “inviting”, “cheerful”, relaxing, with positive distractions in waiting areas and an environment that facilitates autonomy and independence. • Convenient and accessible–clear signs, and easy way finding were important (Figure 1). For patients and visitors, colour and lighting design can bring a welcome distraction from the problems that have resulted in hospitalization. This can be accomplished with a careful selection of details such as décor, landmarks, artwork, colour, the skills of interior landscape gardening and window designs [5].

2.2. The built environment’s impact on human health This problem is magnified in healthcare facilities, which often include spaces harmful materials as building materials and finishes that cover floors, walls, ceilings, and the furniture upon which patients are examined, sit, and sleep. Building occupants are exposed to these chemicals through touching chemically contaminated building and furniture surfaces and through exposure to the chemical concentrations in the indoor air. When it comes to the indoor environment of healthcare facilities, physicians are primarily concerned about infection control, especially because weakened immune systems [6].

3. Sustainable healthcare design In the short term, sustainable healthcare design seeks to address the multitude of issues that contribute to the built environment’s negative impact on human health. The long-term goal is for buildings to be restorative, contributing positively to the physical, emotional, and even spiritual well-being of occupants. By reducing

A UK study on improvements in patient recovery found that patients were released one-and-a-half days earlier in a refurbished environment compared with an unchanged one. A USA research project established eight consistent themes in what patients and their families look for in the hospital’s built environment, they wanted an environment that [4]: • Facilitates connection to staff and facilitates connection to the outside world. This included an indoor environment that revealed sights and scenes from nature. • Conducive to a sense of well-being; that is “homely” (particularly in long-term care),

Figure 1. Patients finds landmarks way finding [1]

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environmental impacts such as daylight performance, healthcare facilities also reduce environmental contaminants. This reduction, in turn, helps decrease the potential for negative health impacts to the surrounding community as the result of toxic waste disposal and incineration, which release these contaminants into the soil and air. An examination of the specific benefits sustainable design offers to a healthcare facility and its occupants shows that many are inextricably intertwined. They include improved patient outcomes, improved patient and staff safety, improved patient and staff satisfaction, better community image and loyalty, greater cost savings, and increased productivity. As an increasing number of sustainable design strategies are introduced in healthcare facilities, a corresponding body of evidence grows to support the idea that green building practices translate into improved patient outcomes.

Figure 2. Life cycle materials [2]

3.1. Sustainable design elements and strategies Sustainability is measured in all kinds of ways in our life. In the energy we save and the water we conserve. Moreover, in how financially responsible we are as an employer, manufacturer, and service provider. Therefore, we set goals and assess our progress in six key areas: economics, the environment, labour, human rights, society and product responsibility.

Figure 3. Design elements – art [3]

A number of critical elements contribute to a sustainable healthcare facility. Indoor air quality, colour, materials and resources, day lighting strategies, connections to nature, cleaning practices, and food service are among them and are discussed in more detail in the following sections. The design, construction, and operations of buildings, in general, use an enormous amount of materials that generate significant by-products and waste. When designing a facility, considering the type of materials and resources that can reduce the impact of the materials’ life cycle is essential – Figure 2 [6]. Common criteria for selecting finishes for a facility, aesthetics, durability, and maintenance, product’s life cycle, it will have on the environment and people over its useful life. Though a true life cycle analysis of all materials is difficult, some material issues should not be overlooked, such as the impact of materials on indoor air and durability of materials.

3.2. Benefits of sustainable healthcare design In the short term, sustainable healthcare design seeks to address the multitude of issues that contribute to the built environment’s negative impact on human health.

Figure 4. Design elements – colour and lighting [7]

The long-term goal is for buildings to be restorative, contributing positively to the physical, emotional, and even spiritual well-being of occupants. By reducing environmental impacts, healthcare facilities also reduce environmental contaminants. This reduction, in turn,

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helps decrease the potential for negative health impacts to the surrounding community. As an increasing number of sustainable design strategies are introduced in healthcare facilities, a corresponding body of evidence grows to support the idea that green building practices specially clear daylight effect translate into improved patient outcomes. These effects have been shown to be related to such issues as improved indoor air quality, a connection to the natural environment, access to sunlight and views. Color does, of course, also have a practical and functional use in patients’ accommodation.

3.3. Physical design elements The design, construction, and operations of buildings, in general, use an enormous amount of materials that generate significant by-products and waste. When designing a facility, considering the type of materials and resources that can reduce the impact of the materials’ life cycle is essential, some material issues should not be overlooked, such as the impact of materials on indoor air and durability of materials. Also, durable and easy to maintain materials should be selected to reduce waste and prevent unnecessary expenditures for material replacement and maintenance [6]. • Art: One goal of art is to provide an image that offers stress reduction: Figure 3 • Ceiling: The ceiling should provide a positive distraction or indirect lighting where patients are recovering. • Colour: Colour perception can impact patients healing. When choosing colours, keep in mind that the elderly experience colours differently. • Lighting: The lamp colour temperature is important because it can change the colour of floor and wall materials by dulling or enhancing their colour. This can also be affected by direct or indirect lighting [7] Figure 4. • Interior Design and material selection process. The following areas of sustainable design should be explored. • Recycled Content • Resource Reuse • Regional Materials • Certified Wood • Furniture and Medical • Low Emitting Materials: Adhesives and Sealants, Wall and Ceiling Finishes, Flooring Systems, as LEED (Leadership in Energy and Environmental

Figure 5. Example of sustainable wall finishes materials [8]

Design) is considered for Healthcare builds on the early work of the Green Guide for Health Care [8] Figure 5.

4. Colour psychology There is a considerable amount of published material, some empirical and much anecdotal, giving advice on colour application using theories of colour psychology. However, from experience it is suggested that this should not be followed indiscriminately. Contextual variables such as building materials used in construction, window positions or lighting, size of space, nearness of adjacent buildings or surface quality of materials can all dramatically affect colour appearance and behaviour of colour and override colour psychology recommendations. These problems can be solved by a well-planned colour scheme which bases the colours selected for the building on a wide range of criteria which colour psychology theories cannot always cover. Some guidance is given below and in recommendations on the usage of colour should also be applied carefully as overuse of a certain colour can cause problems. For example, overuse of green or blue colours, renowned for their calming effects, in mental healthcare environments may actually exacerbate depression. A priority should be that colour and lighting schemes should be developed that enhance the building and create spaces where harmony is visible. Patient satisfaction is the new buzzword. It is the difference between providing what a patient needs and what a patient wants. It is important not only to satisfy clinical needs, but also to meet psychological

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expectations, which compassionate care [9].

includes

comfort

and

As it is well documented that noise in hospitals can interfere with patient healing, lead to stressed and less satisfied healthcare workers, and raise the risk of medical errors, the acoustical design of the room played a key role in making that vision a reality. The combination of design elements and materials in these suites ensures that every noise that can enter or leave the patient room has been addressed and abated as much as possible,” said Carol Fellows, nurse manager with the University of Minnesota Children’s Hospital, Fairview. “As a result, these Adopt Room suites are promoting less patient and family anxiety, faster recovery, and improved patient satisfaction.” [10] Colour and daylight do, of course, have a practical and functional use in patients’ accommodation. Used with subtlety in all environments, it can be used to control reflected light, to make the most of available daylight and to help reduce glare and material performance [11].

Figure 6. Location of Children’s Hospitals and Clinics of Minnesota, USA

5. Case study for room colour change sustainability in Children’s Hospitals and Clinics of Minnesota, USA The selected case study is located on Minneapolis, MN (44.9°C – 93.2°C) as shown on Figure 6, then selecting a random room to be simulated to measure the effect of changing room colours on daylight factor, which is considered major factor in Physiological side for the patient. The selected room is located on the north side of the hospital as shown on Figure 7. The weather data used for Autodesk Ecotect for Minneapolis city was analysed as shown on Figure 8.

Figure 7. Location of the selected room for simulation

All the daylight studies were made to measure the average daylight factor over the year assuming that the average overcast skylight is 8500 lux and the window transparency is 0.9. Analytical study with chosen patient room as shown in Figure 9 to measure -by using software Ecotect-the effect of changing daylight as one of the important factor of environmental impact with patient psychology when we change the colour of walls ,ground floor and furniture.

5.1. Wall colour study • Current case: Analysing the current room Figures 10 and 11 with the current walls colour which is pale yellow (216,216,178) with (0.831) the result surface reflectivity is 14.03% daylight factor.

Figure 8. Minneapolis, MN climate data summary

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Table 1. Results of changing walls colour

Figure 9. Adopt room headwall at the University of Minnesota Children’s Hospital – Fairview in Minneapolis [10]

Wall plaster color

Surface reflectivity

Daylight factor

Yellow (216,216,178)

0.831

14.03 %

Green (170,221,173)

0.786

12.41 %

Red (233,156,128)

0.690

11.67 %

Blue (165,185,243)

0.727

11.87 %

Table 2. Results of changing ground floor colour

Figure 10. Wall colour – Ecotest results

Ground floor colour

Surface reflectivity

Daylight factor

Yellow (216,216,178)

0.592

14.03 %

Green (158,233,159)

0.794

15.71 %

Silver (212,212,212)

0.831

16.09 %

• Changing the walls colour to green (170,221,173) with (.786) surface reflectivity is 12.41% daylight factor. • Changing the walls colour to red (233,156,128) with (.690) surface reflectivity and achieving 11.67% daylight factor. • Changing the walls colour to blue (165,185,243) with (.727) surface reflectivity and achieving 11.87% daylight factor So from the results it can be concluded that the pale yellow colour in plaster walls achieved the best possible day lighting (see Table1).

Figure 11. Wall colour study

• Ground Floor colour study • From the previous study cases Figures 11 and 12 the yellow walls plaster was the optimum case for walls which has colour of walls that is yellow (216,216,178) with (0.831) surface reflectivity and ground colour grey (151,151,151) with surface reflectivity (0.592) is 14.03 % daylight factor.

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• Then changing the ground colour to green (158,233,159) with (0.794) surface reflectivity 15.71% daylight factor. • Then changing the ground colour to sliver (212,212,212) with (0.831) surface reflectivity and achieving 16.09% daylight factor. The results above it can be concluded that the yellow colour in plaster of walls achieved the best possible day lighting (see Table 2).

5.2. Furniture colour study From the previous study cases .the case that has colour of walls that is yellow (216,216,178) with (0.831) surface reflectivity and ground floor colour that is sliver (212,212,212) with (0.831) surface reflectivity using yellow colours for furniture to achieve 16.09% daylight factor. From the previous study cases .the case that has colour of walls that is yellow (216,216,178) with (0.831) surface reflectivity and ground floor colour that is silver (212,212,212) with (0.831) surface reflectivity using yellow colours for furniture to achieve 16.09% daylight factor. However, changing the furniture colour to green and blue and white colour which exists, and keeping the walls and ground colours as previous case the daylight factor changed to 16.45%. Finally we can conclude that the best case study will be the case that has colour of walls that is pale yellow (216,216,178) with (0.831) surface reflectivity and ground floor colour that is silver (212,212,212) with (0.831) surface reflectivity with green sofa, white bed, blue chair.

5.3. Results The analysis in this case study was divided on 4 stages. The first stage is to analysis the current room with the current colour of the walls. Second, changing the walls colours with three other colours and try to conduct the best daylight factor case in the three obtained cases. Third, working on the optimum case in the wall colours and change the ground texture and colour in two other cases to obtain the best ground case. Next by the same sequence, the best case with walls and ground colour change furniture colours. Then we get the perfect colours selection of walls, ground and furniture. Finally we can conclude that the best case study will be the case that has colour of walls is pale yellow (216,216,178) with (0.831) surface reflectivity which get very comfort physiological reflect to the patent and ground floor colour that is silver (212,212,212) with (0.831) surface reflectivity and the furniture green sofa, white bed, blue chair.

The paper aims to realize that the concept of hospitals’ interior design is different from that of all other buildings. The selection of colour, floors, ceilings, walls, furniture, and lighting has its great impact on the wellbeing of sick people and the medical staff. Therefore, the selection is based on certain criteria, specifications, and strong scientific causes that take under its consideration not only the psychological and physiological impacts but also the aesthetic effects on the concerned people.

6. Conclusions With respect to the sustainability dimension, the research addressed the relationship between the design of interior space colours and day lighting of hospitals and the users’ psychological and physiological aspects to serve adult people.

References [1] Michaela Whitman, Sustainable Healthcare Design, HDR Architecture Inc., pp. 147-163, 2009. [2] Lei rock, Cynthia. Beautiful Barrier-free Design: A Visual Guide. New York, Van Nostrand Reich-hold, 1991. [3] HSJ Health Service Journal, .Jan 2014 Website http://www.hsj.co.uk/collections/be1.htm [4] Fowler, E. US Research. Joint Commission, Journal on Quality Improvement. July 1999. [5] Lawson, B. and Phiri, M. Architectural Environment and its Effect on Patient Health Outcomes, University of Sheffield, 2012. [6]

Cynthia McCullough, Editor Design for healthcare facilities, Sigma Theta Tau International HSN, 2010.

[7] Interior Design Manual Hospitals, For New Construction, Vend Renovations of Hospitals and Clinics - Department of Veterans Affair, 2008. [8] USGBC LEED U.S Green Building Council, Website: http://www.usgbc.org/leed, December 2013. [9] Consumer Perceptions of the Healthcare Environment: An Investigation to Determine What Matters, A copy of which can be obtained from either organization, December 1997. [10] John Spohn, Designing For Health: Making Hospitals More Hospitable for Children and Their Familie, Contract Magazine Online, 2009. [11] Hilary Dalke, Paul J Littlefair, David L Loe, Color for hospital design, A Report on an NHS Estates Funded Research Project London South Bank University, 2004.

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The Journal

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About the Journal

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