Design Realisation: A Creative Respite by adamstaceyu21

DESIGN

REALISATION

A D A M

S T A C E Y

REPORT

U N I T

2 1

Shaun Murray, Simon Withers, Yorgos Loizos

C O N T E N T S

S E C T I O N 1 A

S E C T I O N 1 B

S E C T I O N 2 A

S E C T I O N 2 B

The Brief

An Argument for the Proposal

A Creative Respite

Environmental Considerations

The Client

Camden local Plan Adherence

A Creative Respite

Performance Based Design Decisions

The collaborator

Camden local Plan Adherence

A Creative Respite

Performance Based Design Decisions

The collaborator

An Argument for the Proposal

A Creative Respite

Performance Based Design Decisions

A Collaborative Workflow

Hampstead Heath Management Plan Adherence

A Creative Respite

Environment Based Design Decisions

The Site

An Argument for the Proposal

A Creative Respite

Environment Based Design Decisions

The History of Artists In Hampstead

Contract Procurement

A Creative Respite

Environment Based Design Decisions

The Site

Contract Procurement

Materiality Concept

Environment Based Design Decisions

The Lineage of Kenwood House

Contract Procurement

Material Qualities

Environment Based Design Decisions

The Site

Client, Architec, Contractor Relationships

Structural Concept

Environment Based Design Decisions

The Site

Gaining Planning Permission

Structural Strategy

Environment Based Design Decisions

The Site

Contract Procurement

Structural Strategy

Building Regulations

The Site

Design Philopshies

Construction Details

Building Regulations

The Site

Studio Collective

Construction Details

Bibliography

The Site

Studio Collective

Construction Details

The Site

Specialist Consultants

Construction Details

Site Forces

Mitigating Risk

Construction Details

Site Forces

Construction Details

Site Forces

Construction Details

Site Forces

Construction Details

Planning Argument

Construction Details

Planning Argument

Construction Details

Planning Argument

Construction Techniques

Enhancement and Presevation of Wildlife on the Heath

Construction Techniques

Enhancement and Presevation of Ecology

Phasing Strategy

Social, Historical, Cultural, Economic, Opportunities

Phasing Strategy

Social, Historical, Cultural, Opportunities

Phasing Strategy

Social, Cultural, Economic, Opportunities

Phasing Strategy

SECTION 1A

B R I E F

A C R E A T I V E R E S P I T E The proposal demands a refuge for creatives, where they set aside foolish things under the ‘protective covering’ of Hampstead Heath. Where they can escape from the ‘deluge of human stupidity’ of London, a ‘refined solitude’ where undeveloped ideas and artworks take form. The proposal will house three different studios for: a composer(s), painter and sculptor. A small community where symbiotic relationships take place, art forms will inspire artwork through the inspiration of others. The scheme centres around craftsmanship, artistry and creating a building that embodies the inhabitants occupation. The project insists on the privileging and amplifying of spatial atmospheres, whilst also orchestrating the relationship between the artist and the building in every element. The dwellings will be home to established artists where they will live in an environment orchestrated for the specific purpose of creating art. The artists will apply to live here, fully endorsing the philosophy of the project. They will be tenants to the developer, with no fixed tenancy length. The tenancy will dependant on the individual(s)and their reluctance or urge to rejoin society. The established artists residency will work in an attempt to reignite the creative lineage of Hampstead, bringing it from past to present. The art created will be initially exhibited at the Kenwood House, an English Heritage owned stately home. The artists’ creations will always belong to themselves and can exhibited, used or sold elsewhere after their initial exhibitions or concerts at Kenwood House.

E Craft and consideration in detail. Artistry in design down the minute detail, shown here in the hand rails relationship with concrete.

C L I E N T

B A Y L I G H T P R O P E R T I E S

L T D .

Baylight Properties are a property development company that has a diverse portfolio. They have worked on commercial and mixed-use property in London for the last 30 years. Baylight are renowned for their intent to provide a high-quality product, prioritising craftsmanship and ensuring the highest level of architectural design. Baylight are proposing a collaboration project with English Heritage and City of London Corporation to build three highly crafted artist studios on Hampstead Heath Park. The ambitions for the project are to emulate the exquisite creativity and artistry of the inhabitants, in the architecture. Baylight wish privilege quality, carefully considered detailing and design, whilst also acting sensitively towards the site existing landscape. They wish to offer an opportunity to assist the City of London Corporation in maintaining their site and local vicinity to ensure the local ecology can flourish and develop.

D e s i g n e d

W A L M E R b y

P e t e r

C r a f t s m a n s h i p

Y A R D

S a l t e r

a r t i s t r y

An artwork of tactility and atmospheres through concrete casts. Privileging quality and craft as a priority.

In partnership with English Heritage, Baylight will fund a considerable amount of the scheme, this will mainly be done through bank loans and potentially a small amount through personal investment.

E Bust of William Murray, 1st Earl of Mansfield by Joseph Nollekens

COLLABORATOR

E N G L I S H H E R I T A G E The scheme proposes a collaboration between Baylight Properties and English Heritage. English Heritage is a charity that manages over 400 historical monuments, buildings and places across the United Kingdom. Their motto is ‘Step into England’s Story’. The scheme proposes to highlight the story of Hampstead, specifically its creative history, whilst also creating an environment to continue this great history of creativity and Hampstead, in the form of the three studios and initiatives that come with them. Fig.04

One collaborative initiative of this scheme is that English Heritage propose to offer a platform for the artwork produced in the studios will be showcased on the grounds of Kenwood House.

K E N W O O D C r a f t s m a n s h i p

H O U S E a r t i s t r y

English Heritage are offering financial assistance with the scheme, this will be entirely from charitable donations, government grants or lottery funding. They wish to collaborate with Baylight Properties because of the potentially positive initiatives that can be linked to Kenwood House, a property managed by English Heritage on Hampstead Heath and their creatives events such as: annual concerts and art exhibitions. English Heritage will have considerable pressure to ensure the project remains under budget. Time will also be a constraint that must be balanced with Baylights ambitions for craft and artistry in design.

Portrait of the Artist by Rembrandt Van Rijn

COLLABORATOR

C I T Y O F L O N D O N C O R P O R A T I O N The site at which the project is proposed is on Hampstead Heath park, the park is managed by the City of London Corporation. With funding from the government being reduced, a trust fund named, Hampstead Heath Trust Fund was set up, to raise funds in the hope of preserving and enhancing Hampstead Heath. Of this fund £8.9million income, £6.24million comes from donations. With donations declining, falling from £17.42million to £8.94million in two years. The scheme proposes the lease of the land at which the site sits on. The project will aim to enhance and preserve the existing ecology whilst also helping to maintain the parks tracks and pathways within its vicinity in an attempt to reduce the strain on declining charitable donations.

H A M P S T E A D C r a f t s m a n s h i p

H E A T H a r t i s t r y

A COLLABORATIVE WORKFLOW

A N I N T E R T W I N E D R E L A T I O N S H I P Adjacent is a diagram exploring and breaking down the inter relationships between the principle client, Baylight Properties Ltd and the collaborations proposed within this document. As seen on the right the client wishes to create collaborations between English Heritage and the inhabitant artists whereby, they produced artworks to be performed and exhibited at Kenwood House on an annual basis. Secondly, a proposed collaboration with City of London Corporation, the principle governing body that manages Hampstead Heath. The collaboration intends on working in cohesion with CLC to enhance and develop the wildlife and ecology of the proposed schemes site and its local vicinity. The diagram also highlights the intended methods of funding of this project. As seen adjacently, 70% funding will be from bank loans, 20% investment from the intended inhabitants and finally 10% from personal investment.

70%

BANK LOAN 20%

ARTIST INVESTEMENT

L I V E I N A R I S T S

ANNUAL INSTALLATIONS

10%

PERSONAL INVESTEMENT

FUNDING

B A Y L I G H T P R O P E R T I E S L T D

MANAGEMENT COLLABORATION

C I T Y O F L O N D O N C O R P O R A T I O N

E N G L I S H H E R I T A G E

ANNUAL EXHIBITIONS

CREATIVE COLLABORATION

ANNUAL CONCERTS

L I V E I N A R I S T S

B A Y L I G H T P R O P E R T I E S L T D

E N G L I S H H E R I T A G E

C I T Y O F L O N D O N C O R P O R A T I O N

T S

H I

E T

C A M D E N B O R O U G H C O U N C I L The site chosen for the proposed development of three artist studios is located within North London. Specifically, Camden Borough Council and the ward of Hampstead Town. It is important to be clear which council the proposed site sits within in order to address borough specific development plans. In the instance of Camden, they have a Camden Local Plan which sets out the councilâ&#x20AC;&#x2122;s key policies used to decide upon planning applications. This is crucial to ensuring a successful planning application and therefore will play a pivotal role in the development of the project.

Hampstead Town

London Borough of Camden

HISTORY O

ARTIST I

HAMPSTEAD Great consideration went into locating a site that has a rich history of creativity in close proximity to it. Hampstead, in the London Borough of Camden has creative residence in abundance.

1. John Constable Painter 2. Sir Arthur Bliss

The diagram on the right highlights 13 artists and musicians who live in close proximity to the proposed site. Out of 933 the borough of Camden boasts the ownership of 166 blue plaques. The proposed scheme aims to bring Hampsteadâ&#x20AC;&#x2122;s creativity from the past and into the present. Creating a hub at the forefront for leading artists working in Britain.

Composer 3. Blake William Poet & artist 4. George Du Maurier

The proposal wishes for a community based scheme linking its creative past with current artists with the hope of inspiring the artists of the future. The project will be a cohesive collaboration between Kenwood House, located to the North of Hampstead Heath, English Heritage, The City of London Corporation and Camden Borough Council. This collaboration will design and build three artists studios on the Eastern parts of the Heath, where they will work privately creating artworks which will performed, displayed and exhibited for Hampstead at Kenwood House.

Cartoonist 5. George Romney Painter 6. Kate Greenaway

Hampstead Heath Park

Artist 7. Dennis Brain Musician 8. Sir Andrew Boult Conductor 9.

Tobias Matthay Musician

10. Sir William Nicholson 5

Painter & Printmaker 11. Ben Nicholson

Artist 10

12. Lee Miller

HAMPSTEAD

Artist 13. Piet Cornelius Mondrian

7 9

Painter 10

T S

H I

E T

H A M P S T E A D

H E A T H

Hampstead Heath is a large, ancient London heath that spans almost 800 acres. The heath has undulating hills and a series of ponds, it is also home to the source of the historical river Fleet. The Heath is a site of Metropolitan Importance for Nature Conservation and also a Site of Special Scientific Interest. The site is collaboratively maintained by the City of London Corporation and charity funded schemes, relying heavily on voluntary work.

A trust fund called, Hampstead Heath Trust Fund, operates by raising funds in the hope of preserving and enhancing Hampstead Heath. Of this fund £8.9million income, £6.24million comes from donations and legacies. With donations declining, falling from £17.42million to £8.94million in two years, a project with the intention to aid and benefit its surrounding context has become ever more pertinent.

16 15

12 3

A site of great natural beauty and tranquillity, it was the only location where the proposed scheme of three creative respites could be located.

4 10

9 6 7

1.Kenwood House 2.Proposed Site 3.The River Fleet (Source) 4.Vale Of Health Pond 5.Whitestone Pond 6.Mixed Bathing Pond 7.Hampstead No.2 Pond 8.Hampstead No.1 Pond 9.Parliment Hill

10.Highgate NO.1 Pond 11.Highgate Mens Bathing Pond 12.Model Boating Pond 13.Bird Sanctuary Pond 14.Kenwood Ladies’ Bathing Pond 15.Stock Pond 16.Thousand Pound Pond 17.Wood Pond

LINEAGE O

KENWOOD H O U S E

Kenwood House was formerly a stately home where it was the home to such aristocrats as the Guinness and Murray families. The house sits within the Northern boundary of Hampstead Heath. From 1951 to 2006, Kenwood House hosted music concerts within their gardens. The concerts were originally classical but in more recent years they began to host predominantly Pop Concerts. In 2008 it was announced that the concerts would continue to take place within the grounds of Kenwood House where they now host 8 concerts a year.

Fig.11

These concerts took place in close proximity to a number of sculptures which are exhibited within the gardens. Sculptures from artists such as: Henry Moore, Barbara Hepworth and Eugène Dodeigne. Complimenting this strong connection to art in its many different forms, Kenwood House opened an exhibition in 2012, ‘The Treasures of Kenwood House’. Here they exhibited works from Rembrandt, Van Dyck, Gainsborough. Kenwood House is managed and maintained by English Heritage, the same organisation that manages the ‘Blue Plaque’ iniative. As stated previously, Kenwood House provides a platform for creatives, through their concerts, exhibitions within the building and on the grounds. The proposal wishes to work in a symbiotic relationship with Kenwood House to allow the artists living on Hampstead Heath park to showcase their work at Kenwood House on a yearly basis, to generate an initiative which is positive socially, economically and culturally for the community of Hampstead.

Fig.12

Fig.13

98.1m

C O N T E X T

104.0m

109.3m

D Fn

114.0m

Path (u

Collects

Path

(um)

)

98.6m

Viaduct

Hampstead th (u

109.2m

Ponds

P R O P O S E D S C H E M E I N

)

th (

96.5m

)

Pa Sluice

th (u

Issues Issues

(um

)

Path (u

Sinks

Issues

Path (um)

E T

M A P P I N G S I T E C O N S T R A I N T S A principle design philosophy is site sensitivity and ecological enhancement, therefore mapping and categorising trees become a key site constraint. Mapping the location of trees and their approximate canopy span became a design driver, curving and manipulating the architecture around the existing landscape. The proposal also wishes to maintain the existing trees that are not diseased or dying. Those trees are categorised in purple on the site plan adjacent. These trees will be replaced with young, additive trees which enhance the landscape. Finally, there were two directions of unmade paths where very little footfall passes across them, using these existing self-discovered paths will become a constraint for massing and developed de-sign.

98.1m 104.0m

109.3m

D Fn

UNMADE FOOTPATHS

114.0m Path (um)

Collects

Path (u

(um)

h (um

)

Pat

98.6m

SITE BOUNDARY

Viaduct

Hampstead Ponds

Pat

h (um

)

109.2m

96.5m

MATURE TREES )

Sluice Pat

h (um

)

ADOLESCENT TREES

Issues Issues

(um )

Path (um)

Sinks

Issues

DEAD/DISEASED TREES

Path (um)

Play Area

E T

I N I T I A L S I T E M A S S I N G Having mapped in detail the existing trees, the unappointed architect provided the client with an initial massing for the site. Although the diagram shows areas of massing overlapping adolescent and mature trees, this is an initial spatial massing upon the site therefore the studios are unlikely to fill the hatched areas completely. This site plan begins to explore in plan the gradual sloping topography of the site. The topographyâ&#x20AC;&#x2122;s gradient gradually slopes from North to South. When designing consideration will be taken to ensure the sites existing topography is not altered to an unrecognisable manner.

98.1m 104.0m

109.3m

D Fn

114.0m

PROPOSED STUDIO LOCATION

Path (um)

Collects

Path (u

(um)

h (um

)

Pat

98.6m

UNMADE FOOTPATHS Viaduct

Hampstead Ponds

Pat

h (um

)

109.2m

96.5m

SITE BOUNDARY

MATURE TREES

)

Sluice Pat

h (um

)

Issues Issues

ADOLESCENT TREES Pa

(um )

Path (um)

DEAD/DISEASED TREES

Sinks

Issues

Path (um)

Play Area

T S

H I

S I T E B A S E D

E T

O B S E R V A T I O N S

2 16

T S

H I

S I T E B A S E D

E T

O B S E R V A T I O N S

3 17

E T

S U N P A T H A N A L Y S I S Sunlight and daylight are important forces to consider when designing the artist studios, especially painters and sculptors. Typically, in an artist studio, the optimum light comes from the North. Within this design, casting shadows and orchestrating light to create different scales of spatial atmospheres are a key design driver. They will become a device for inspiring artwork and creation as opposed to a means for viewing a canvas. The trees and the canopy of the trees within the site will become natural gnomons, casting shadows throughout the day onto and into the studios. Meanwhile the building itself will be designed to cast its own shadows and create diffusive surfaces that control the light that permeates into the space. Thus, creating manmade and natural gnomons and permeable surfaces that create an evolving machine that controls natural light throughout the day.

98.1m 104.0m

109.3m

D Fn

114.0m Path (um)

Collects

Path (u

(um)

h (um

)

Pat

98.6m

Viaduct

Hampstead Ponds

Pat

h (um

)

109.2m

96.5m

)

Sluice Pat

h (um

)

Issues Issues

(um )

Path (um)

Sinks

Issues

Path (um)

Play Area

E T

W I N D A N A L Y S I S With over 20% of the prevailing winds coming from the South West, design considerations need to be taken when considering materiality and wall thicknessâ&#x20AC;&#x2122;s when designing the composerâ&#x20AC;&#x2122;s studio. Specific spaces of the composerâ&#x20AC;&#x2122;s studio will be in sound proofed rooms, whilst other spaces will be designed to use the natural landscape and man-made elements of the development to create scales of interference and noise. Allowing the composers to harness and record this. The wind chart highlights that wind will not be a site force that influences design when considering structure and foundation as there are many natural wind blocks, the proposed development also does not intend on developing vertically to the point where wind forces become a structural decision. Whilst constant prevailing winds are a design driver, using the wind for interference and recording. Another driver wishes to use the wind musically, sculpting and forming wall plates that are exposed to the environment to create noises that can be used musically.

98.1m 104.0m

109.3m

D Fn

114.0m Path (um)

Collects

Path (u

(um)

h (um

)

Pat

98.6m

Viaduct

Hampstead Ponds

Pat

h (um

)

109.2m

96.5m

)

Sluice Pat

h (um

)

Issues Issues

(um )

Path (um)

Sinks

Issues

Path (um)

Play Area

F O R C E S

CONSTRUCTION ACCESS OPTION.01

S I T E

PROPOSED SITE

A C C E S S I B I L I T Y

A key site force when appointing contractors post planning approval will be delivery, access and storage of construction materials to the site. The clients brief from the outset holds a philosophy of site enhancement and sensitivity, therefore gaining access for the delivery of materials to the site in a manner that does not damage the current ecology and wildlife of the site is of up-most importance. For this reason, a contractor with experience and a reputation for managing deliveries to complicated and sensitive sites is paramount. Minimising damage to the site and its vicinity will strengthen the argument for planning approval. The diagram to the right highlights potential routes at which the contractor can gain access, using only paved roads and made footpaths. Highlighted within the diagram is an area of contention when considering delivery as there are no made footpaths leading to the site. ACCESS CONSTRAINTS FOR CONSIDERATION

CONSTRUCTION ACCESS OPTION.02

CONSTRUCTION ACCESS OPTION.03

CONSTRUCTION ACCESS OPTION.04

F O R C E S

C O N S E R V A T I O N A R E A S Camden Borough Council has set out clear boundaries in Hampstead where there are conservation areas. Although the site at which the proposed development sits on is not in a conservation area, it would be prudent to understand the framework in place for the closest conservation area. This is Hampstead Conservation Area. Hampstead conservation area, gained designation in 1968 and has remained a conservation area since.

Key: Hampstead

Fitzjohns Netherall

South Hill Park

Mansfield

Frognal

West End Green

Dartmouth Park

Holly Lodge Estate

Highgate Village

Redington

2 6

F O R C E S

G E O L O G I C A L C O N S I D E R A T I O N S A site force to consider when developing a design strategy and looking further ahead to technical design is, the geology of the site. This will have an impact on the foundations that can be used for the development. The geology where the site is located is primarily Sandstone. Sandstone is a bedrock which has high load bearing capacities, thus making it good for supporting foundations due to its stability and strength. SAND / GRAVEL

SAND

UNKNOWN

PROPOSED SITE

SANDSTONE

F O R C E S

F L O O R R I S K C O N S I D E R A T I O N S Another site force consideration was the flood risk of the site. As shown on the image to the right, there is no flood risk within the vicinity of the proposed development. Although there is no immediate flood risk, the client wishes to reduce the strain a development can have on its wider context, regardless of its size. Therefore, the proposed development will develop a system for rainwater and brown water collection and diversion through sculptural SWALEs to divert it through to the source of the Fleet. The SWALE will be design in a sensitive but sculptural manner to not only benefit the hydrology of Hampstead Heath but also create an aesthetically pleasing sculptural piece of landscaping.

PROPOSED SITE

P L A N N I N G ARGUMENT

T H R E A T E N E D B Y F U N D I N G

C U T S

The site at which the project is proposed is on Hampstead Heath park, the park is managed by the City of London Corporation.

Fig.18

With funding from the government being reduced, a trust fund named, Hampstead Heath Trust Fund was set up, to raise funds in the hope of preserving and enhancing Hampstead Heath. Of the funds £8.9million income, £6.24million comes from donations. Donations have been declining, falling from £17.42million to £8.94million in two years. Hampstead Heath is at threat of becoming unmanageable, with charitable donations declining and as supported adjacently, government funding for park has been cut considerably. The need for assistance for alternative and previously unconsidered initiatives is becoming more relevant. Therefore the proposed development wishes to build upon the Heath, with the intention of enhancing, preserving and developing the land within its vicinity. The initiative looks to collaborate with the City of London Corporation to assist with the management of the Heath in order to reduce the strain upon alternative forms of funding.

Hampstead Heath Trust Fund The fund was set up to raise funds in order to preserve and enhance Hampstead Heath for generations to come. 2016 Income: £17.42 million Spending: £8.83 million 2017 Income: £14.96 million (Down £2.46 million) Spending: £8.19 million (Down £0.64 million) 2018 Income: £8.94 million (Down £6.00 million) Spending: £9.14 million (Up £0.95 million) 24

P L A N N I N G ARGUMENT

T R A N S P O R T L I N K S An argument put forward to the Camden Borough Council and relevant planning officers is the lack of detrimental affects the small development of artist studios will have on transport links to and from Hampstead Heath. As shown adjacently within the diagram, there are several existing public transport links, coupled with existing parking provisions. The residents of the site will not have a parking provision within the Heath to preserve its tranquillity and natural beauty. Whilst also promoting health and exercise. Secondly, there will be no additional strain to the transport and parking of Hampstead Heath during public workshops and events due to the previously mentioned ample provision of public transport links and parking. Previous events held at Kenwood House provide additional support to the argument, hosting thousands at open air concerts yearly.

KEY: Parking

Bus Stops

Underground Station

P L A N N I N G ARGUMENT

PROPOSED SITE

S I T E A C C E S S I B I L I T Y The previously panel, posed an argument for the development regarding macro-scaled transport links. This page provides the argument at a micro scale, regarding public footpaths. Hampstead Heath a public park, open to the general public. As previously stated, it is managed by the underfunded City of London Corporation. The diagram adjacent highlights the current made and unmade footpaths within the vicinity of the proposed development. As the diagram shows there are no existing made or unmade footpaths which intersect the proposed site, thus during construction and inhabitation the proposed scheme will not have an effect on the general publicâ&#x20AC;&#x2122;s experience of Hampstead Heath, nor will the development impede the management of the site. Finally, the client wishes to assist in the management and maintenance of the foot-paths within the vicinity of the site, whilst also providing an additional, non-obstructive footpath through the centre of the site. This additional footpath will encourage the public to walk through and admire the studios from a non-invasive distance.

ENHANCEMENT A

PRESERVATION O

W I L D L I F E O

T H

H E

E T

The scheme has responded to the Hampstead Heath Management Plan, the client and the design team are proposing to protect and enhance wildlife that inhabits Hampstead Heath. The wildlife will become an integral part of the design. Consideration for their existing habitats will be taken through surveys from ecological specialists. Bird/bat boxes, insect habitats will be integrated into the design of the studios in order to enhance Hampsteads Wildlife.

B I R D S O F T H E

H E A T H

Lesser Spotted Woodpecker

Whitethroat

Garden Worbler

Jackdaw

Stook Dove

Hobby

Common Grebe

Comnmon Tern

Kingfisher

Siskin

Redwing

Fieldfare

Swallow

Wheateater

Woodcock

Meadow Pipit

Daubentonâ&#x20AC;&#x2122;s Bat

Nyctalus Noctula

Pipistrelle

Fox

Hedgehog

Mole

Badger

A N I M A L S O F T H E H E A T H

Natter Bat

ENHANCEMENT A

PRESERVATION O

E C O L O G Y

E C O L O G I C A L S E N S I T I V I T Y Throughout the timeline of the project, site sensitivity will be a key site force. The client wishes to enhance the wildlife of the site, adding to this through integrated design systems and collaborations with wildlife specialists. Complimenting this strategy philosophy, the client wishes to develop a strategy to conserve and develop Hampstead Heathâ&#x20AC;&#x2122;s ecology. The client intends on appointed sub consultants from the initial stages of design, such as: arborculturalists, ecological and biodiversity specialists to help develop a development which enhances these forces within the site and local vicinity. Complimentary to this point, the client wishes for no unnecessary removal of healthy and mature trees. Therefore, a personal tree protection order will be put upon all trees within the site. Every dying or diseased tree within the site will be removed sensitively to ensure that the environment is not affected. These removed trees will be replaced and re-planted with alternative healthy trees which are specifically chosen to continue to enhance the sites ecology.

S O C I A L , HISTORICAL,

BAYLIGHT

CULTURAL,

ECONOMIC, OPPORTUNITIES

O P E N H O U S E L O N D O N Open House London was founded 20 years ago by Victoria Thornton. Open House London started with the intention of opening the doors to Londonâ&#x20AC;&#x2122;s best buildings. Open House is annual event, usually in September, where buildings across London are opened to the public for a weekend.

P r a i s i n g H a m p s t e a d s C r e a t i v i t y There is a proposal to collaborate with Open House London to hold guided walks across Hampstead, visiting houses of artistic significance. These walks will take the visitors through Hampstead Heath Park, to the site of the artists studios where talks from the architect(s) and artists will be held. From the studios visitors will be taken to Kenwood House where the artwork of the artists living on the Heath. The proposal of the walking tours will enhance and privilege Hampsteadâ&#x20AC;&#x2122;s artistic history whilst also being a cultural, historical and economic benefit to Hampstead as a town.

X PROPERTIES LTD

S O C I A L ,

Heath Management

Flora & Fauna

Biodiversity

Ecological Education

Music

Kenwood House

Art Workshops

Painting

HISTORICAL, CULTURAL, OPPORTUNITIES

Wildlife

Sculpting

H A M P S T E A D S C H O O L S C O L L A B O R A T I O N The client wishes to create a scheme which is community centred, bringing the creative lineage of Hampstead from the past into the present whilst inspiring for the future.

Kenwood House

The proposed scheme wishes to create relationships with local schools within Hampstead Heath, whereby workshops will be held on the proposed site. The workshops offered will be: ECOLOGICAL BASED With the intention of creating a site of diverse ecological systems and flourishing wildlife, the site could be a microcosm for ecological significance. Workshops and educational activities could be held for school trips to improve knowledge of the significance of biodiversity has on our local environment. ART BASED Secondly, workshops with the resident artists can be held with local schools. The workshops can help improve current school projects, whilst also inspiring the next generation of artists from Hampstead.

Educational School Trips

Proposed Site

S O C I A L ,

Culturally Positive

CULTURAL, ECONOMIC,

Exhibitions

Painter

OPPORTUNITIES

Kenwood House

Sculptor

Composer[s] Concerts

H A M P S T E A D S C H O O L S C O L L A B O R A T I O N The client wishes to continue their community based schemes with an initiative, agreed upon with the residents of the scheme. This proposal states that once the artworks have been exhibited and performed at Kenwood House, they will then travel to numerous local galleries where their work will be exhibited further for Hampstead and Camden. Not only will this scheme benefit the local art galleries, it will have a positive impact on the cultural and social infrastructure of Hampstead. The initiative will also have a positive impact to local businesses and galleries economically with an increased number of visitors to Hampstead. The artists will also benefit from having multiple platforms to exhibit their works.

Proposed Site

Social

Travelling Exhibitions

Benefits

Local Galleries

Economic Income

SECTION 1B

ARGUMENT F

PROPOSAL

C A M D E N L O C A L P L A N The Camden Local Plan is a document which lists the key policies which the planning department for the borough of Camden will use to assess a planning application. Camden Borough council will use this document as a device to aid the decision to grant or deny planning applications. Every council has a local plan, formally known as a LDF. Each borough will adapt their LDF from the London Plan to suit their specific needs and requirements. Following this, the document will list key policies set out by Camden Borough Council and how the proposed scheme addresses and responds to these requirements.

C A M D E N L O C A L P

ADHERENCE

P O L I C Y A 2 O P E N S P A C E S

D E S I G N R E S P O N S E

P O L I C Y A 3 B I O D I V E R S I T Y The Council will protect and enhance sites of nature conservation and biodiversity. We will:

In order to protect the Council’s open spaces, we will: - Resist development which would be detrimental to the setting of designated open spaces; - Exceptionally, and where it meets a demonstrable need, support small scale development which is associated with the use of the land as open space and contributes to its use and enjoyment by the public; - Preserve and enhance Hampstead Heath through working with partners and by taking into account the impact on the Heath when considering relevant planning applications, including any impacts on views to and from the Heath; - Conserve and enhance the heritage value of designated open spaces and other elements of open space which make a significant contribution To the character and appearance of conservation areas or to the setting of heritage assets; - Seek developer contributions for open space enhancements using Section 106 agreements and the Community Infrastructure Levy (CIL). - We will resist proposals which would be detrimental to the amenity and character of the space or reduce the public’s use and enjoyment of the open space and its setting. - Promote and encourage greater community participation in the management of open space and support communities seeking the designation of Local Green Spaces through the neighbourhood planning process;

D E S I G N R E S P O N S E

- Although in open space, the scheme wishes to develop the local area whilst maintaining its designation as open space. - The scheme proposed is small scale and it wishes to contribute to the context in a positive manner whilst also hosting events to add to public enjoyment.

- The client wishes to collaborate with the City of London Corporation throughout the life-cycle of the schemes use to ensure Hampstead Heath’s preservation ecological as an open space.

- Assess developments against their ability to realise benefits for biodiversity through the layout, design and materials used in the built Structure and landscaping elements of a proposed development

- Throughout the design, biodiversity will be considered and incorporated into the design of the scheme.

- Seek to improve opportunities to experience nature, in particular where such opportunities are lacking;

- Require the demolition and construction phase of development, including the movement of works vehicles, to be planned to avoid disturbance to habitats and species and ecologically sensitive areas, and the spread of invasive species;

-Once planning is approved, a specialist contractor will be appointed who will insure the sensitive delivery of construction materials and development will not affect the ecology and biodiversity of the site.

TREES AND VEGETATION The Council will protect, and seek to secure additional, trees and vegetation. We will: - As stated previously, the client wishes to adhere to Section 106 agreements and CIL to create a site within Hampstead Heath where wildlife, flora and fauna thrives.

- The client wishes to create a scheme where the wider community of Hampstead and the Borough of Camden can benefit educationally from the management of the site and the surrounding Hampstead Heath.

- Resist the loss of trees and vegetation of significant amenity, historic, cultural or ecological value including proposals which may threaten the continued well-being of such trees and vegetation;

- Detailed tree surveys will be undertaken from Stage 2 to ensure there is no unnecessary loss of trees and vegetation. The scheme proposes that any loss of tree will be replaced within a close proximity.

- Require trees and vegetation which are to be retained to be satisfactorily protected during the demolition and construction phase of development

- Specialist sub-contractors will be appointed alongside a contractor who specialise in constructing buildings within a sensitive context.

- Expect replacement trees or vegetation to be provided where the loss of significant trees or vegetation or harm to the well-being of these Trees and vegetation has been justified in the context of the proposed Development;

- As stated two points above, the client intends on replacing all trees that are lost, dead or dying.

- Expect developments to incorporate additional trees and vegetation wherever possible.

- The client wishes to preserve and enhance the ecology of the site and local context, in collaboration with the City of London Corporation to ensure it aligns with their goals and aspirations.

6.60 Hampstead Heath Woods Site of Special Scientific Interest (SSSI), which is Camden’s only SSSI. SSSIs are designated by Natural England due to their nationally important habitats and species and/or geological features and must be given the highest protection in accordance with legislation.

C A M D E N L O C A L P

ADHERENCE

P O L I C Y D E S I G N

D 1

D E S I G N R E S P O N S E

The Council will seek to secure high quality design in development. The Council will require that development: A. Is sustainable in design and construction, incorporating best practice in resource management and climate change mitigation and adaptation;

A. The scheme will use current best practise benchmarks for sustainability in design and construction.

B. preserves or enhances the historic environment and heritage assets in accordance with Policy D2 Heritage;

B. The scheme wishes to promote and enhance the local context of Kenwood House and Hampsteadâ&#x20AC;&#x2122;s historic environment and heritage assets through community centred schemes.

C. Comprises details and materials that are of high quality and complement the local character; D. Integrates well with the surrounding streets and open spaces, improving movement through the site and wider area with direct, accessible And easily recognisable routes and contributes positively to the street frontage;

C. The client wishes to use the highest quality materials in collaboration with pioneering specialists. D. Open spaces and movement through the site will be maintained and enhanced in symbiosis with the City of London Corporation.

E. Promotes health; F. responds to natural features and preserves gardens and other open space; G. incorporates high quality landscape design and maximises opportunities for greening for example through planting of trees and other soft landscaping, H. Incorporates outdoor amenity space; I. For housing, provides a high standard of accommodation; and J. carefully equipment.

integrates

building

K. The Council will welcome high contemporary design which responds context

F. As addressed in the previous page, scheme intends on enhancing the ecology biodiversity of the site. G. Specialists in landscaping, ecology biodiversity will be appointed to maximise natural landscape of the site.

the and and the

H. As previously stated the client wishes to enhance the open spaces within the sites immediate context. I. Accommodation will be specifically designed to the residents occupying it.

services quality to its

L. respects local context and character;

K. The client wishes to design a contemporary scheme, utilising craftsmanship of the highest quality to create a development which showcases architecture at its finest. L. Although not in a urban context, the scheme will react sensitively to its context, using similar and cohesive materials to its local environment.

ARGUMENT F

PROPOSAL

H A M P S T E A D H E A T H M A N A G E M E N T P L A N The Hampstead Heath Management Plan is a document which covers general policy objectives and proposal regarding the management of Hampstead Heath. The plans and policies have been developed and adapted from earlier management plans which were produced by the City of London Corporation who have managed Hampstead Heath since 1989. The following page will list the general policies and objectives set out in the management plan,and pose responses that the proposed scheme wishes to adhere to and enhance within the management plan.

HAMPSTEAD H

MANAGEMENT P

ADHERENCE

H A M P S T E A D H E A T H M A N A G E M E N T P L A N

D E S I G N R E S P O N S E

A. As the primary objective, to manage and preserve the Heath as an open space and maintain its unique wild and natural aspects and its ecology

A. The client wishes to collaborate with the City of London Corporation to enhance and develop the site to a point whereby it becomes a site of great wild and natural beauty.

B. To pursue positive management policies in line with the Interim Hampstead Heath Management Plan 2006â&#x20AC;&#x201C;08 and the statutory requirements, while maintaining a balance between competing needs

B. The client wishes to have a symbiotic relationship with the management team of Hampstead Heath to ensure the management of the site aligns with the management plan for Hampstead Heath.

C. To maintain to a high standard the recreation and sporting facilities on the Heath for the enjoyment of all members of the community D. To protect the flora and fauna of the Heath and promote conservation

D. The client will ensure the appointment of ecological specialists who advise through the design and construction of the scheme to ensure the flora and fauna are preserved.

E. To develop effective consultation procedures so that all interested parties have an input to the development and running of the Heath

F. To prevent encroachment and resist any development which adversely affects any part of the Heath

F. Although a development, the scheme will not have adverse affect on the Heath. It wishes to have positive impacts on the Heath in general.

G. To ensure the safety of all users of the Heath and the security of City assets

H. To provide information and develop public understanding of the Heath and its ecological systems through an effective communication and Education system

H. As part of the scheme, the client wishes to involve the wider community of Hampstead and Camden with educational workshops involving the enhancement of ecological systems.

I. To promote the personal development of all staff in order to improve the service provided

ARGUMENT F

PROPOSAL

5 5 / 0 2 W A T E R

K I E L D E R S H E L T E R , 2 0 0 9

Architects: Sixteen*(makers) Location: Kielder United Kingdom

Forest,

Northumberland,

55/02 is a shelter located within the kielder forest. The name of the project signifies its geographical location, and privileges this a location of great importance. The shelter and orientation of façades and seating is orchestrated to prioritise key sightlines and views out onto the lake and forest. The design attributes key views and uses the shelters form to highlight this, sensitive towards its views, the shelter is experimental in form and material, especially within its ecological context.

S E R P E N T I N E P A V I L L I O N , 2 0 1 4

S T O N E H E N G E V I S I T O R C E N T R E ,

Architects: Smiljan Radić

Architects: Denton Corker Marshall

Location: Hyde Park, London, United Kingdom

Location: Stonehenge, Wiltshire, United Kingdom

Radić’s 2014 Serpentine Pavilion creates a symbolic folly within a historically rich park in London. Similarly, the architecture does not pay homage to its urban context. The pavilion is additive to its context, creating a sculpture of architecture within the landscape of Hyde Park.

Stonehenge visitors centre is 1.5miles away from the stone circle but still within the boundaries for the World Heritage Site.

Radic’s pavilion further strengthens the argument for elegant architecture that is additive to its context. It enhances the park and creates a datum of architectural importance.

This project is cohesive with the two previous precedents as an example of architec-ture built within a context whereby it usually would not have been granted planning permission had it no have been due to its architectural significance, use and positive impact upon its surrounding context. Therefore, sharing similarities to the proposal at hand for the artist studios.

The Serpentine Pavilion is an example for the philosophy of the artist studios within Hampstead Heath, further strengthening the argument for the approval of three highly crafted artist studios within Hampstead Heath.

2 0 1 3

The design of the visitor’s centre takes a sensitive approach towards its landscape in form, size and materiality.

C O N T R A C T PROCUREMENT

C L I E N T A M B I T I O N S Understanding the clients ambitions regarding design is crucial to deciding upon what procurement method to choose. As stated earlier in the document, the principle client is Baylight Properties Ltd. Baylight Properties Ltd. Are a well established, reputable development company, having developed in London for over 30 years. They have worked with a diverse range of architects, privileging high quality contemporary design. The diagram adjacent begins to approach the key ambitions of Baylight to aid in deciding upon the right procurement method.

COMMUNITY

TIME

QUALITY

BIODIVERSITY

HIGH END FINISH

CLIENT AMBITION

ARTISTRY

BESPOKE DESIGN CRAFTSMANSHIP SITE SENSITIVITY

Cost

C O N T R A C T PROCUREMENT

U N D E R S T A N D I N G P R O J E C T A S P I R A T I O N S Below are the three main contract procurement methods. It is key to select the best contract for the specific project and client. The diagrams below highlight the two main considerations for the specific contract procurement method. It is key for the client to find the two qualities which align best with their aspirations for the project. Although the diagrams below highlight the most commonly used methods, it is also important to understand that there are alternative options as well.

D E S I G N

A N D

B U I L D

T I M E

Q U A L I T Y

C O S T

M A N A G E M E N T

T R A D I T I O N A L

T I M E

Q U A L I T Y

C O S T

Q U A L I T Y

C O S T

C O N T R A C T PROCUREMENT

W H Y T R A D I T I O N A L ?

T I M E

Having discussed the clientâ&#x20AC;&#x2122;s desires, the procurement method that is the best fit for this specific project will prioritise craftsmanship, artistry and quality of build. Therefore, the project will be tendered under a traditional procurement contract. The client has stated that the highest of care and quality for the site and the project must be taken from initial design through to hand over. As the project is a community-based scheme, the cost must be controlled within a set budget. Time was not highlighted as a priority, but consideration must be taken to ensure the project does not overly exceed the reasonable deadlines set. Design and Build was not considered as it does not consider quality with great importance, which is the key importance for the client. Design and Build also takes control away from the architect which could have again have a detrimental affect on the quality of construction and materiality of the project. Finally, A management contract did not align with the aspirations of the clients as there is not a great pressure on time when compared to the pressure and insistence on ensuring the highest level of quality possible.

Q U A L I T Y

C O S T

C L I E N T ARCHITECT CONTRACTOR RELATIONSHIPS

T H E I M P O R T A N C E O F C O H E S I O N

In contract with

The diagram adjacent shows the key relationships between client, contractor and architect, along with an initial exploration into the specialists and sub-contractors that would be appointed during the life-cycle of the project. It is important to create clarity over the specifics of roles and responsibilities from the initial stages of the development to mitigate the risk of confusion leading to mistakes.

In control of

CONTRACTOR

A R C H I T E C T

C L I E N T

The diagram explains who appoints who along with who would have governing control over whom through a traditional procurement contract method. Consultants

Planning Consultant

Consultants

Quantity Surveyor

Sub-Contractors

Specialist Consultants

Arborculturalists

Concrete Specialist

Groundwork/ Demolition

Foundations

Ecologist

Timber Specialist

Roofing

Civil Engineer

Sustainability Consultant

Steelwork Specialist

Glazing

Structural Engineer

Plumbing

Electrical

Mechanical Engineer

Joinery/ Carpentry

Concrete Fabrication

Timber Specialist

Scaffolding

Steelworks Specialist

Internal Fit out

Delivery, Access, Storage Specialist

Furniture

G A I N I N G P L A N N I N G PERMISSION

G A I N I N G P L A N N I N G P E R M I S S I O N

Reviewed by main committee of enforcement division

1 Week

Approval

Refusal

Appeal in writing to minister

Discussions with relevant agencies on requirements & detailed formal proposal developed

Detailed proposal submitted

4 weeks

Reviewed by sub-committee of enforcement division

No Queries

Written decision sent by post

Approval Refusal

Decision sent to applicant, possibly with conditions

Approval

Submit preliminary planning clearance application to enforcement division

Planning permit issued subject to restrictions & conditions

Appeal in writing to minister

Reviewed by director enforcement

No queries

C O N T R A C T PROCUREMENT

R I S K S

ACTIONS

-Baylight Properties will develop a strategic brief for the artist studios. For example, prioritising craftsmanship, artistry and high quality design.

-Consultants and specialists will then be requested by the design team. For example, ecological specialist, arboricultural specialist will be requested as the ecology of the site is the main site force.

-The design team will produce a design proposal for the design team meeting the brief set by Baylight Properties.

-Design team meetings will continue up until the application is submitted, and agree upon a finalised design for the planning application.

-Baylight will then appoint a design team based on: fee, design philosophy and strategy.

-All necessary site surveys will be undertaken. In particular, a detailed tree survey.

-Design team meetings will be held monthly to ensure a cohesive strategy. -Initial meetings with the assigned planning officer will commence.

-Planning policies will be reviewed and understood.

-Quantity Surveyor will begin a cost analysis appraisal.

-Pre application discussions will begin between client and design team.

-A risk register will be reviewed.

-The brief is discussed and finalised.

-Design collaborations begin with PCSA specialists, such as Mark West.

START: 2019

-Risk assessments will take place. Preparation & Brief

Strategic Definition

Concept Design

RISK -Baylight Properties may not have the skills and experience to develop a suitable brief. -If the brief is unclear and inaccurate the design team cannot provide an accurate fee proposal.

-Gaining accurate site surveys will be expensive and will take considerable time. -Inaccurate surveys can delay the process considerably and could cause potentially problematic if mistakes go unnoticed. For example, inaccurate tree surveys can lead to massive design alterations. -Specific consultants must be appointed to prevent any time and money being wasted when developing a brief.

BRIEF

-Once final design team and planning officer meetings are concluded, the design team will produce final drawings and reports. -A detailed planning application is submitted with all supporting documents and drawings.

-Meeting planners early will ensure a steady relationship, aligning goals and requirements. Without this there is a risk of not gaining planning permission. -Without design team meetings, a lack of communication can cause confusion and disagreement regarding design strategies. -Without cost analysis, the design could become too ambitious and require alteration.

ACTIONS

-A tender package of drawings will be compiled for all three artist studios by the design team.

-The appointed contractor appointed under a traditional procurement contract will begin work on site based upon information issued from the design team.

-During handover the architect will rigorously check the building for snagging issues, they will then inform the contractor if there are any amendments to be made.

-Once handover is completed, artists can move into the studios.

-Baylight Properties will issue the drawing package out to tender. -The client will review and appoint a contractor whose skills align with the initial strategic brief. -The contractor will be appointed under a traditional procurement contract method. -The design team will continue working on the construction drawings.

-Specialist sub contractors will have been appointed to undergo ground-works in a manner that does not impact the ecology of the site. -Specialist concrete fabricators will have begun work on casting concrete elements to be delivered when necessary. They will work to the specific parameters and formwork assigned in drawing packages issued by the architect and sub consultant to architect.

-Finally, the contract administrator will then orchestrate the hand over of the building.

-If planning permission is not granted, there will be cost and time implications, as well as design philosophies and visions needing to be altered.

In Use

Handover

RISK RISK RISK

-There must be assurances that there is cohesion within the design team and consultants to ensure all drawings and documents are correct. Otherwise amendments will need to be made with significant time and cost implications

-Community based initiatives can begin to be booked and organised.

-Once all construction and snagging issues have been rectified, building control officers will inspect the building to ensure it compiles with building regulations.

Construction

Technical Design

Developed Design

RISK

-Meetings with the planning officer will continue.

ACTIONS

RISK -Detail in the tender package must be very high to ensure the most accurate quote from prospective contractors. -A risk to the client are that the quotes come back higher than anticipated, thus requiring amendments and a re-issuing of tender documents. -Benchmarking construction details and 1:1 samples must be provided to ensure quality assurances with the client. For example, samples of cast concrete elements. -With such a high level of detail required in design, the tender package could take a considerable time to produce, therefore it must be factored into scheduling and budgets.

DESIGN & PLANNING

TENDER 44

-When construction begins it is paramount that previous surveys have been thoroughly checked to ensure any unforeseen issues. -It is essential there is constant communication between design team, contractor and sub contractors to ensure there are no mistakes which could financially and time costly. -Contractual assurances from the contractor must be in place to ensure there is no risk of damage to the ecology and wildlife of the site. -The subcontractors must be appointed after great scrutiny to ensure the quality of the project is not compromised. -To ensure the time scale of the project is not compromised, elements of construction that can be done offsite should take place immediately.

-Dependant on the quality of construction, there could be a large number of snagging issues. This would be costly financially and time wise as an additional construction contract will need to be appointed to allow issues to be amended.

-Now construction is over, the principle risks at this stage will be dependant on the durability and quality of the studios.

-Snagging issues will impact the opening of the building which will affect the timeline for artists to move and begin working towards a collaborative exhibition at Kenwood House. It will also impact Baylight Properties ability to recoup financial investment in the development.

CONSTRUCTION

INHABITATION

COMPLETION: 2020

A C T I O N S & A S S O C I A T E D

D E S I G N PHILOSOPHIES

C O N C R E T E D E S I G N F A B R I C A T I O N

Conceptual models were made to explore and translate design philosophies to the client and design team. The model explores the inter-relationships between hand poured, bespoke, concrete casts at ground floor level. It also develops how materiality and form can control and diffuse light and shadow into spaces, controlling atmospheres, which is a key strategy for design for the artist studios. Specifically, the painter and sculptor. The model also explores conceptually the relationship with the topography of the site and the embedded nature of the forms with the natural landscape.

S T U D I O

98.1m 104.0m

109.3m

D Fn

114.0m

COLLECTIVE

Path (um)

Collects

Path (u

(um)

h (um )

)

Pat

98.6m

Viaduct

Hampstead Pat h (um )

109.2m

Ponds 96.5m

)

Sluice Pat

h (um

)

Issues Issues

(um )

Path (um)

Sinks

Issues

Path (um)

A C O L L A B O R A T I V E S Y N E R G Y W I T H N A T U R A L

Path (um)

Play Area

C O N T E X T

S T U D I O COLLECTIVE

O R C H E S T R A T I N G A R T I S T I C S Y M B I O S I S

SPECIALIST

Concrete Casts by Mark West

CONSULTANTS

C O N C R E T E D E S I G N F A B R I C A T I O N

Following the traditional contract procurement method appointment, we began to appoint specialists specific to the projectâ&#x20AC;&#x2122;s aspirations.

MARK WEST

The first, and one of the most important, is appointing appropriate concrete specialists to ensure a high level of craft and quality within in the casting of the concrete. For this reason, Mark West has been appointed as a pre-contract service agreement specialist, whereby he will work collaboratively with the design team to explore, develop and test the desired design for the concrete within the scheme. Once appointed the contractor will appoint with agreement from the design team and Mark West, a specialist sub consultant for concrete fabrication. This is to ensure that the design intention is continued through to construction.

PCSA SPECIALIST

Sub consultancy to architect

CLIENT

CONTRACTOR

ARCHITECT

Appointed By contractor

SPECIALIST SUB CONSULTANT

CONCRETE FABRICATION SPECIALIST

MITIGATING R

F O R E S E E I N G T I M E F R A M E S

Surveyors appointed & surveys undertaken

Hand pouring off ground floor level wall planes will begin under instruction of Mark West, specialist casting consultant.

Baylight Properties Ltd appoint an architect. A fee is agreed between architect and client. Brief and design philosophies agreed.

1mth

Awaiting decision on planning application

Contractors will respond with fee proposals & Baylight will appoint a contractor.

Construction for all three studios will commence once site preparation and ground-works are completed

3 months

2 months

6 months

Glazing systems will be delivered and fitting prior to electrical fit out. The studios must be watertight.

Floor & wall casts are delivered and assembled.

Electrical and plumbing fit out will commence on all three studios

The architect will inspect snagging issues and inform the contractor of issues that need resolving.

4 months

3 months

2023

2022

Strategic definition & Brief

Joinery, internal furnishing and doors will begin to be constructed off site, along with glazing systems.

4 months

2021

2020

2019 3 months

Structural steelworks will be delivered and installed by specialist sub contractors.

1mth

4 months

6 months

3 months

2 months

First design team meeting, discussing concept design and agreeing upon consultants to appoint preplanning.

A design is devloped. In collaboration with Mark West, a specialist in casting concrete.

Detailed drawing packages are compiled by design team.

Groundworks & site preparation will begin once drawing packages are released.

Floor plates are delivered and assembled.

Roofs for all studios are delivered and assembled

Internal fit out and furnishings commence. Specialist joiner will be appointed for bespoke furnishings

Monthly design team meetings take place, where a design is agreed upon. A formal planning application is compiled and submitted.

Concrete casting samples at 1:1 are produced. Accompanied by other specific samples to provide additional information. Although a small development, the client has allowed 6 months to enable an accurate fee proposal from prospectus contractors

Appointed specialist concrete fabricators will begin off site casting simultaneously.

Similarly, steelwork specialists will begin to construct structural framework.

N.B additional time has been factored in at every stage to mitigate unforeseen complications, for example: planning refusal or approval with conditions.

Continued design collaboration with concrete and steelwork specialists

BRIEF & APPOINTMENT(S)

CONCEPT DESIGN

DEVELOPED DESIGN

TENDER & CONSTRUCTION

USE

SECTION 2A Materials, Structure, Construction

A C R E A T I V E R E S P I T E

S I T E 1 : 1 0 0

P L A N

@ A 2

Composers Respite

Sculptors Respite

Painters Respite

A C R E A T I V E R E S P I T E

P A I N T E R S 1 : 5 0

@ A 2

R E S P I T E

Composers Respite

Sculptors Respite

Painters Respite

Studio

Kitchen

Living Room

A C R E A T I V E R E S P I T E

P A I N T E R S 1 : 5 0

@ A 2

R E S P I T E

Composers Respite

Sculptors Respite

Painters Respite

Bedroom

Kitchen

A C R E A T I V E R E S P I T E

C O M P O S E R S G R O U N D

F L O O R

R E S P I T E 1 : 5 0

Dining Room

@ A 2

Communal Living Room

Kitchen

Composers Respite

Noise Collection Studio 1000mm Below GFl Sculptors Respite

Painters Respite

Noise Deflection Studio 1000mm Below GFl

A C R E A T I V E R E S P I T E

C O M P O S E R S F I R S T

F L O O R

R E S P I T E

1 : 5 0

@ A 2

Bedroom 02 Composers Respite

Sculptors Respite

Painters Respite

Bedroom 01

A C R E A T I V E R E S P I T E

L O N G 1 : 5 0

S E C T I O N @ A 2

A C R E A T I V E R E S P I T E

S H O R T S E C T I O N 1 : 5 0 @ A 3

MATERIALITY C O N C E P T

The respites wall plates will cast from concrete, drawing inspiration from Second World War Bunkers, where they sit within a natural landscape as a form of brutal beauty and the Malmo Flower Kiosk where the raw aesthetic draws connotations back to a bunker’s typology. The Malmo Flower Kiosk also praises and privileges the joinery of every element of its architecture.

Peter Zumthor’s Secular Retreat (above) using a form of hand poured concrete, where it is poured in stages to give a great sense of craft and workmanship. This form of concrete forming draws aesthetic connotations to Dazzle Camouflage where the camouflage acts as a form of depth deception. The Respites will be cast in a similar process to the Secular Retreat allowing for the form of the architecture to broken up along multiple planes. 58

Similarly to the Secular Retreat, 55/02 by Sixteen Makers uses pressed and formed steel to create elegant wall and roof forms to privilege the workmanship of the material. Every form within this project is bespoke, purposeful and individual, The Respites has taken inspiration from this design intent and the metal work, which will be used to create the Roof forms for the Painter and Sculptor’s respites.

M A T E R I A L QUALITIES

C O N C R E T E Across all three Respites the primary material will be concrete, the external facing building elements will be cast using similar techniques to Peter Zumthorâ&#x20AC;&#x2122;s Secular Retreat. Internal finishes will be polished pre-cast concrete elements to distinguish between the change in spatial atmospheres between inside and outside. Although using hand poured casting techniques will be time consuming and expensive, the client has stated from the outset that they wish to prioritise quality, craftsmanship and artistry therefore this form has been chosen and considered within the costing strategy and timeline.

S T E E L Within the Painter and Sculptorâ&#x20AC;&#x2122;s respite, the roof structure will take inspiration from the design, and construction techniques of the steelworks of 55/02 by Sixteen Makers. Developing upon bespoke craftsmanship, the roofs will be purposefully designed using environmental considerations and strategies to enhance the project whilst also adding to the artistic aesthetic of the respites. Whilst not only drawing connotations to the aesthetic of 55/02, the construction process will be in collaboration with Stahlbogen GmBh where they will construct and weld the roof elements in factory for delivery and erection on site. Consideration will be considered for roof elements which cannot fit on lorries or gain access to the site, therefore they will come in segments to be welded on site.

STRUCTURAL C O N C E P T

A D I V E R S I O N A R Y M E S H O F S T R U C T U R A L

I N T E R F E R E N C E

The structural concept for the respites stems from the natural landscape of the site. Towards the North of the site there lies a mesh of natural interference created by the trees growing towards the light. The structural strategy will create a manmade mesh of interference in the foreground in front of the natural mesh, paying respect and privileging the relationship between these two intertwined elements. Where the trees grow towards the light, the structural columns grow towards the respites with purpose of elevating the architecture on a plinth as if they were Nelsonâ&#x20AC;&#x2122;s Column. The mesh of structural columns will provide support for the respites and there are more than structurally necessary.

STRUCTURAL STRATEGY

S T R U C T U R A L P A T H D I A G R A M

Adjacent is a plan showing the structural strategy for the painterâ&#x20AC;&#x2122;s respite. Within the painterâ&#x20AC;&#x2122;s respite there are three main floor plates within the building. The strategy is sculpted to suit each individual floor plate, breaking the floor up into structural grids of around 2m x 2m. At every point where the structural grid dissects another the largest structural columns will join it to ensure the load is transferred down through the column and into the foundations.

2120.7

In between the main columns there will be smaller, more delicate columns joined to the concrete ensuring the load of the weight of the floor plate is evenly distributed.

2046.1

Below every reinforced concrete wall plane there will be a series of columns below to ensure an even spread of load is being transferred through the columns. The diagram on the far right illus-trates the grid and orientation of the columns with that grid, whereas immediately right the dia-gram illustrates the necessary column placement to ensure a sound structural strategy.

2044.8

2307.7

2060.6

2121.2

STRUCTURAL STRATEGY

L O A D P A T H

D I A G R A M

IMPOSED LOADS The Intention of the structural strategy of the Creative Respites will transfer all imposed loads down to the ground, creating an equilibrium that will create stability. All three respites will need to withstand wind loads, although significantly reduced to shielding from surrounding trees. The respites will also need to be able to withstand the loads from the occupants, their equipment and furnishings. Rare it may be, the respites will need to be able to withstand snow loads on the occasion it snows. LOAD TRANSFER The imposed loads on the respites will be transferred into the ground through steel columns using pile foundations or reinforced concrete wall planes that will be transferred into the ground through the foundations. ROOF STRUCTURE The roof structure of the painterâ&#x20AC;&#x2122;s studio will be a mixture of self-supporting and held up using load bearing steel columns. Elements of the roof structure will be self-supporting due to the folds and bends within the roof design.

COMPRESSION BENDING MOVEMENT TENSION IMPOSED FORCES

CONSTRUCTION D E T A I L S

W I N D O W S E C T I O N

P L A N

1 : 5

The build-up and design of the window detail has developed from the clients initial philosophies of: craft, artistry and workmanship. The detail exposes and praises the craft of the window and its relationship with the concrete, with a capping detail inspired by the Malmo Flower Kiosk, as seen on the right. The window detail embodies the artistry of the occupant, it praises raw, exposed craftwork and the rustic nature of an artistâ&#x20AC;&#x2122;s studio.

14mm Double Glazing Window Stainless Steel Flashing Detail

Timber Clipping Detail Catnic Insulated Lintel Detail

40mm Factory Cast Polished Concrete Panel 250mm Reinforced Concrete 100mm Rigid Insulation 100mm MetSec Secondary Structure Damp Proof Membrane Breather Membrane

250

100

CONSTRUCTION D E T A I L S

U N I N S U L A T E D R O O F S E C T I O N

1 : 5

Following the same design strategies of detailing the roof details embodies the bespoke, individuality of the artistâ&#x20AC;&#x2122;s work, whether it is a sculpture, a painting or a composition. The artworks are completely unique and individual. Whilst drawing inspiration from the occupants of the respites, 55/02 by Sixteen Makers shares a similar philosophy of individuality, showing unique systems connecting wall and roof planes in a similar manner to the detail shown adjacent and in the following pages.

15mm Finished & Formed Steel Roof

Binding Bolts Joining Roof & Wall

Stainless Steel Flashing Detail

Capping Detail around Pre-Cast Concrete Wall min. 215mm Reinforced Concrete Wall Plate

Stainless Steel Additional Capping Detail

CONSTRUCTION D E T A I L S

I N S U L A T E D R O O F S E C T I O N . 0 0 1

1 : 5

50mm Pressed Steel Roof 251mm Reinforced Externally Finished Concrete 100mm Rigid Insulation 40mm Factory cast Polished Concrete Panel 15mm Bent Steel Flashing Bracket 100mm MetSec Secondary Structural System 50mm Hanging Bracket Stainless Steel Screws Damp Proof Membrane Pressed Stainless Steel Detail Flashing Plasterboard Internal Ceiling Finish Breather Membrane

251

100

CONSTRUCTION D E T A I L S

I N S U L A T E D R O O F S E C T I O N . 0 0 2

1 : 5 20mm Pressed Stainless Steel Roof

200mm Hand Poured

Reinforced Concrete

Damp Proof Membrane 100mm MetSec Secondary Structural System 50mm Polished Concrete Plasterboard Internal Finish 100mm Insulation Breather Membrane

CONSTRUCTION D E T A I L S

I N S U L A T E D W A L L S E C T I O N

1 : 5

50mm Factory Pre-Cast Polished Concrete

As stated previously within the window and roof details, the external wall build up looks to embody the raw, robust aesthetic of the natural landscape it resides within, whilst the internal finishes are polished and soft to encourage a sense of relaxation whilst within the living spaces. Whereas the studios act as a threshold between the two environments, taking on a more robust internal finish.

133mm Reinforced, Load Bearing Hand Poured Concrrete Damp Proof Membrane 100mm Rigid Insulation 100mm MetSec Secondary Structure 50mm Bracket Polished Concrete Poured Slab Breather Membrane

CONSTRUCTION D E T A I L S

I N S U L A T E D F L O O R S E C T I O N

1 : 5 Breather Membrane

Polished Steel Pre-Cast Joinery Flush with Floor Level min 120mm Internally Finished Pre-Cast Concrete

100mm Rigid Insulation

min 180mm Externally Finished Reinforced Pre-Cast Concrete

129

100

235

CONSTRUCTION D E T A I L S

F O U N D A T I O N S Y S T E M . 0 0 1

1 : 5

60mm Structural Column

20mm Fixing Bracket

Softcore Infill to Allow for Drainage 150mm Concrete Piling Cap

Strucural Pile. Depth confirmed by Structural Engineer

CONSTRUCTION D E T A I L S

F O U N D A T I O N S Y S T E M . 0 0 2

1 : 1 0

Internal drainage system for musical water feature 350mm Sand Internally finished concrete floor slabs 403mm Reinforced concrete floor foundation slab Polished Steel Pre-Cast Joinery Flush with Floor Level Damp Proof Membrane Soil Concrete footing

100

403

350

450

793

CONSTRUCTION D E T A I L S

T Y P I C A L W A L L B U I L D

U P

Externally finished concrete Damp proof membrane Rigid Insulation MetSec Secondary Structure Fixing bracket Polished pre-cast concrete

CONSTRUCTION D E T A I L S

T Y P I C A L F L O O R B U I L D

U P Internal floor slabs will be joined at 2000mm centres using bepoke metalwork brackets

Polished concrete floor slab Breather membrane

100mm rigid insulation

Damp proof membrane

Externally finished reinforced concrete

Floor plates will be bespokely joined using metal joint. Structural columns will be connected at every joint to ensure stability. 72

CONSTRUCTION TECHNIQUES

R O O F F O R M B E C O M I N G C O N C R E T E

C A S T I N G

A technique that will be explored is the use of roof forms for concrete casting forms. This as a strategy for casting will reduce wastage as the form-work will not be dismantled and discarded post use, it will be used for the roof.

P R O C E S S

The diagram across illustrates the stages of process broken down from initial sheet metal cutting, to form-work assemble and the final, hand poured cast. The process would go: 1. Roof form in plan cut from source metal sheet. 2. the roof form is then pressed and bent into the form as per the architectâ&#x20AC;&#x2122;s drawings. 3. The process will be repeated, identical forms will be created.

and

two

4. The form is then assembled with a base and two ends. 5. A series of pours takes place by hand over several days. Once the concrete is sufficiently dry the form-work is carefully dismantled and cleaned for re-use as its original purpose, a roof. Once the form-work is dismantled the concrete wall plane is them ready for installation.

CONSTRUCTION TECHNIQUES

H A N D P O U R E D C O N C R E T E C A S T I N G As previously mentioned, the external concrete wall planes will be hand poured over a series of days. The process must be patient, allowing for appropriate time for the previous pour to settle to ensure that the pours do not mix and ruin the desired effect. Adjacent is a diagrammatic drawing showing the process at which the forms, taken from the painterâ&#x20AC;&#x2122;s respite will develop and build over a number of days. The process will allow for simultaneous pours ensuring a consistency through the buildingâ&#x20AC;&#x2122;s external envelope. Assigned contractors must be clear of the process and outcome desired from this pouring technique to ensure there are no mistakes leading to repouring multiple forms.

P H A S I N G STRATEGY

P H A S E . 0 1 G R O U N D W O R K S

S I T E

C L E A R A N C E

The site for the Respites will be cleared, endangered or localised flora and fauna will be safely removed and stored to ensure no ecological damage. Once the site is cleared excavation will commence, as ecological sensitivity is paramount for the project, the consideration of vehicles on site is key. When heavy works are necessary, tracked or soft wheeled vehicles will be used to reduce damage. At this stage, the site must be secured and protected to ensure members of the public do not accidentally walk onto the site. Alternative routes will be provided and clearly sign posted near the site. Due to unforeseen financial circumstances the sculptorâ&#x20AC;&#x2122;s respite will be built using the same building techniques, but later.

H E A L T H & S A F E T Y C O N S I D E R A T I O N -Every person with access to the site must ensure that they are wearing appropriate dressed, wearing steel toed boots, high-vis jackets and helmets. -A controlled perimeter must be set up to ensure people walking in the Heath do not accidentally walk onto the site -Protective ear-wear must be worn when using machinery. -Any protruding roots or branches must be made clearly visible to ensure there is no tripping on the site.

P H A S I N G STRATEGY

P H A S E . 0 2 F O U N D A T I O N S

P R I M A R Y

S T R U C T U R E

I N S T A L L A T I O N

Once The site has been cleared and excavated, retaining wall for the composerâ&#x20AC;&#x2122;s basement will be formed and cast on site by hand, along with the staircase leading down into the basement from Ground Floor level. The Ground Floor foundations will also be cast for the composerâ&#x20AC;&#x2122;s studio. Whilst this work is underway the pile foundations will be dug, and the Painters studio steel structural columns will be installed.

H E A L T H & S A F E T Y C O N S I D E R A T I O N -Every person with access to the site must ensure that they are wearing appropriate dressed, wearing steel toed boots, high-vis jackets and helmets. During mixing and pouring of concrete additional protective clothing must be worn to prevent injury, such as: clothes and breathing apparatus. -The excavated areas of the site must be made clear to ensure no one falls in -There should be no unnecessary lifting of concrete mixing materials to prevent inju-ry, and where possible risk control measures should be used to ensure the lifting of materials is done with the correct technique. -Any protruding roots or branches must be made clearly visible to ensure there is no tripping on the site. -The structural columns must be securely fixed to ensure that if there are any failures they do not fall on someone causing serious harm.

P H A S I N G STRATEGY

P H A S E . 0 3 G R O U N D F L O O R

W O R K S

Having allowed appropriate time for the foundations, retaining walls and pile foundations to set, the casting and installation of Ground Floor Level External Reinforced Wall Planes to be installed. The casting process will go up to 2.6m high which is finished ceiling level. Whilst the forms have been pre-prepared off site, they will be hand mixed and poured in stages to allow for the desired finished effect on the concrete. Once poured and sufficiently allowed to set, the forms will be carefully removed with-out causing damage to the concrete. All waste will be removed from the site.

P H A S I N G STRATEGY

P H A S E . 0 4 F I R S T F L O O R ,

F L O O R

P L A T E S

Once the externally finished, reinforced concrete at Ground Floor Level has dried, the floor slabs for both the Composers studio and Painters Studio will be delivered having been pre-cast off site. The Floor plates will have been segmented into panels that fit on lorries which can gain access to the site via temporary roads. Staircases for both studios will be cast and manufactured off site and installed once the floor plates have been installed. Once the floor plates and staircases have been installed, works at first floor level and above can commence.

H E A L T H & S A F E T Y C O N S I D E R A T I O N -Every person with access to the site must ensure that they are wearing appropriate dressed, wearing steel toed boots, high-vis jackets and helmets. - Whilst concrete pouring takes place, the formwork must be suitably supported to prevent the form from collapsing. -A controlled perimeter must be set up with the up-most strictness during concrete pouring to ensure people walking in the Heath do not accidentally walk onto the site. -The structural columns must be securely fixed to ensure that if there are any failures they do not fall on someone causing serious harm. -As the building increases in height there must be a suitable scaffolding system to prevent the risk of falling -When large vehicles are used there must be a strict protocol to follow to prevent serious injury. -During material deliveries there must be a strict cordon to prevent unnecessary risk and injury

P H A S I N G STRATEGY

P H A S E . 0 5 F I R S T F L O O R

W A L L

P L A N E S

Having installed all the floor slabs, the firstfloor wall planes can be installed. The process of casting the wall plates will take the same procedure as the ground floor walls. They will be poured on site and installed by small cranes once the concrete has been allowed to set. All forms will be removed from the site for potential re-use or dis-posal.

H E A L T H & S A F E T Y C O N S I D E R A T I O N -Every person with access to the site must ensure that they are wearing appropriate dressed, wearing steel toed boots, high-vis jackets and helmets. - Whilst concrete pouring takes place, the formwork must be suitably supported to prevent the form from collapsing. -A controlled perimeter must be set up with the up-most strictness during concrete pouring to ensure people walking in the Heath do not accidentally walk onto the site. -The structural columns must be securely fixed to ensure that if there are any failures they do not fall on someone causing serious harm. -As the building increases in height there must be a suitable scaffolding system to prevent the risk of falling -When large vehicles are used there must be a strict protocol to follow to prevent serious injury.

P H A S I N G STRATEGY

P H A S E . 0 6 R O O F I N S T A L L A T I O N Having installed the first-floor wall plates, the roofs and additional structure supporting the roofs can be installed. Once the roofs have been installed, roof lights, windows and the internal finishes can commence. When the studios have become water-tight the internal fit out can commence, installing services and internal finishes such as: ceiling finishes, pre-cast polished concrete walls & floors, secondary steel structures, along with installing the insulation. Having completed the construction, a building control officer will visit the site and check the buildings. The architects will also check the building for snagging issues which need to rectify. Once all checks are completed the composer and paintersâ&#x20AC;&#x2122; respites are ready to be oc-cupied.

H E A L T H & S A F E T Y C O N S I D E R A T I O N -Every person with access to the site must ensure that they are wearing appropriate dressed, wearing steel toed boots, high-vis jackets and helmets. -A controlled perimeter must be set up to ensure people walking in the Heath do not accidentally walk onto the site -Protective ear-wear must be worn when using machinery. -Any protruding roots or branches must be made clearly visible to ensure there is no tripping on the site.

SECTION 2B performance

ENVIRONMENTAL CONSIDERATIONS

A V E R A G E R A I N F A L L

I N

L O N D O N

Rainfall information within London is important to understand when implementing environmental design strategies. It is crucial to understand this information for the respites as the design wishes to utilise and implement design strategies crucial to experiential relationships of the spaces within the respites, in particular the painter and composerâ&#x20AC;&#x2122;s respites. Knowing the average rainfall within the specific area will allow for the design to develop its environmental strategies accordingly to meet the requirements the environ-ment needs.

A V E R A G E T E M P E R A T U R E

I N

L O N D O N

Understanding the average temperature of the siteâ&#x20AC;&#x2122;s environment is crucial when designing ventilation strategies specific to the spaces within that environment to ensure comfortable spaces that do not overheat during the summer and become too cold in the winter. Combining this information with the sites wind and sun path analysis allows for the design to develop strategies to ensure an internal environment that meets the occu-pantâ&#x20AC;&#x2122;s requirements.

PERFORMANCE B

D E S I G N DECISIONS

S P A T I A L A T M O S P H E R E S I N F L U E N C I N G H E A T I N G

S T R A T E G Y

Within the scheme there are a series of spaces that require different spatial atmospheres. In the diagrams adjacent and below, thy highlight the spaces in which requires an insulated, water-tight and heated spatial atmosphere, generally living spaces. The diagrams also illustrate that the studios in which the artistâ&#x20AC;&#x2122;s work in will be watertight but uninsulated, drawing a closeness to the external environment. Within the studios of the respites, there will be log burners where they will heat the sheltered spaces using felled wood from the heath management scheme, thus making this proposal more environmentally friendly. The spaces at which need a comfortable internal environment will be heated through natural light and radiators powered by a gas boiler. Understanding the spatial requirements not only influences environmental and heating strategies, it influences design-based decisions revolving around materiality, wall, floor and roof build up. The design becomes richer when the spatial atmospheres de-sired are apparent and the relationships between these spatial contrasts become richer as it is noticeable in the wall or roof thicknessâ&#x20AC;&#x2122;s, build ups and texture.

PERFORMANCE B

D E S I G N DECISIONS

H E A T I N G H o u s d e n

H o u s e

b y

B r i a n

H o u s d e n

An example for the design intentions of the heating strategy for the creative respites would be, Housden House by Brian Housden. Housden house privileges and celebrates the services within its architecture, exposing and sculpting them through spaces as opposed to hiding and concealing them. Within the respites I wish to utilise this strategy sculpturally and functionally. Not only for the heating strategy but also exposing and praising other services, such as: electrical ducting and wiring.

PERFORMANCE B

D E S I G N DECISIONS

S C U L P T U R A L S Y S T E M S

H E A T I N G

As mentioned on the previous page, the spaces that require a controlled and comfortable internal environment will be heated using a gas boiler and a series of radiators placed within key areas, such as: living room, bedroom and bathrooms. The boiler will be placed within the kitchen, in an easily accessible space in case maintenance is required. The diagram adjacent begins to explore the design philosophy of privileging the hot water pipes and creating a sculptural piece within a functional purpose. The pipework will span across the ceiling and will be fixed along wall planes where space heating is required. The bespoke, piped radiators will be dual pass allowing hot water in and cold water to pass out to be reheated. They will heat the space through convection.

ENVIRONMENT B

D E S I G N DECISIONS

I N C O R P O R A T I N G N A T U R A L V E N T I L A T I O N

S T R A T E G I E S

The building will be mainly ventilated through natural ventilation, incorporating the philosiphies of natural ventilation within design. Across is a diagram exampling the use of cross ventilation within the living spaces of the painterâ&#x20AC;&#x2122;s respite. The same principles will be manipulated through the two other respites. The openings will be concealed using two concrete panels that match the internal and external finishes of the building, they will be manually opened by the occupant to allow them to purge the space of hot air. Below is an example of a concealed opening used in Richard Murphyâ&#x20AC;&#x2122;s House.

1450

For cross ventilation to work successfully the distance between the two openings must be a maximum of 5 times the height of the opening. Bottom right shows the windrose diagram for the site, the direction fo the wind is South Westerly therefore placing the ventilation opening will face towards the South West to ensure the greatest effiiciency.

6900

ENVIRONMENT B

D E S I G N DECISIONS

I N C O R P O R A T I N G N A T U R A L D R A I N A G E

S T R A T E G I E S

Shishiodoshi House by Avignon-Clouet Architects has been a key source for inspiration regarding the drainage systems within the artistsâ&#x20AC;&#x2122; studios where the spatial requirements do not desire a controllable internal atmosphere. Although part of the facade, the drainage system on Shishiodoshi House has a sculptural delicacy and purpose. Avignon-Clouet Architects do not conceal and hide away the drainage system, they praise to the point of becoming the faĂ§ade of the building, it is the key defining feature within the building. With this inspiration the creative respites wish to incorporate and pay homage to the sculptural beauty of Shishiodoshi House through its own privileged drainage system.

ENVIRONMENT B

D E S I G N DECISIONS

S C U L P T U R A L D R A I N A G E D E S I G N Continuing the design philosophies of craft, artistry and bespoke design, the rainwater drainage system is no different. It begins to take a sculptural form whilst diverting the rainwater from the roofs through a series of copper pipes and down into the composers studio. The rainwater drainage design within the painterâ&#x20AC;&#x2122;s studio takes a functional form but also praises and privileges this system artistically.

ENVIRONMENT B

D E S I G N DECISIONS

S O U N D P R O D U C I N G D R A I N A G E D E S I G N Once the rainwater has travelled through the sculptural system above in the painterâ&#x20AC;&#x2122;s studio, the rainwater will through the floor plates and into the composerâ&#x20AC;&#x2122;s sound collection space of their studio. The rainwater will fall and hit a series of hanging metal planes where their thickness and surface changes. The composers will hang microphones which will collect the sounds the rainwater makes as it falls and collides with this series of hanging planes. Once collected the sounds will be used within the music the composers create. Once the water as collided with the hanging metal planes, it will fall into a central drainage sys-tem that will divert it through a series of swaleâ&#x20AC;&#x2122;s back into the Fleet.

ENVIRONMENT B

D E S I G N DECISIONS

C A L I B R A T I N G S P A T I A L & E N V I R O N M E N T A L The diagram adjacent illustrates environmental considerations manipulated calibrated design intentions throughout scheme.

S T R A T E G I E S

how and the

For example, as shown on the right, North light is important for artist studios therefore the programming of the design orientated the studios towards the North, to ensure maximum sunlight. Similarly, every bedroom within each respite is orientated towards the Eastern reaches of the particular building to ensure morning light naturally woke the artists in the morning, whilst also promoting a routine based around natural light.

Sculptors Studio: Orientated towards North. Majority North facing windows & openings.

Painters Studio: Orientated towards North. North facing windows. Controlled North Sunlight through skylights.

Light Cones diagramming the design intention to orientate bedrooms towards East, for morning Sunlight. Encouraging natural sleep patterns and formal routines.

ENVIRONMENT B

D E S I G N DECISIONS

C A L I B R A T I N G S P A T I A L & E N V I R O N M E N T A L

S T R A T E G I E S

During the design stage, consideration was taken from the outset on spatial orientations and programming environmentally. The diagrams adjacent show the bedroom within the painterâ&#x20AC;&#x2122;s respite. Here the window orientation and orientation face East in order to gain morning light. The windows allow for the light to rise across the bedroom allowing for the occupant to wake up naturally and maintain a routine which is based around natural light. Basing the painter and sculptorsâ&#x20AC;&#x2122; routines through natural light was crucial as their art form and occupation require the use of daylight for their creative endeavours.

ENVIRONMENT B

D E S I G N DECISIONS

C A L I B R A T I N G S P A T I A L & E N V I R O N M E N T A L

S T R A T E G I E S

As mentioned previously, artist studios require daylight to ensure consistent, shadow free light within their studio. Within the painterâ&#x20AC;&#x2122;s studio we are utilising a lightweight pressed steel roof structure orientated North, in a saw tooth style to enable maximum daylight into the studio. Adjacent is an extract from the cutting through both composer studios. The section shows the previously mentioned lightweight system.

Short Section, and painterâ&#x20AC;&#x2122;s design of the saw tooth roof

B U I L D I N G REGULATIONS

F I R E

S T R A T E G Y

The fire strategy within all three respites has ensured fire resistant materials surround the stairwell leading to the means of escape. The doors within the means of escape will be 60-minute fire resistant doors fitted with intumescent door strips. Below are the plans of the three respites within the site (not to scale), the blue line around the entrance of the respites denotes 60-minute fire resistance, thus allowing the occupants to escape.

B U I L D I N G REGULATIONS

A P P R O V E D D O C U M E N T S It is of the up-most importance that the building meets building regulations set out by the government. In oder to meet the building regulations one must follow the Approved Documents which clearly sets out the specific guidelines one must meet when designing and constructing a building.

WINDOW CONSTRUCTION PART B PART E PART F PART L PART N

WINDOW CONSTRUCTION PART A PART B PART E PART K PART L PART M

The Approved Documents are as follows: Part A - Structure Part B - Fire Safety Part C - Site preparation and resistance to contaminants and moisture Part D - Toxic Substances Part E - Resistance to the passage of sound Part F - Ventilation Part G - Hygiene Part H - Waste Disposal Part J - Combustion appliances and fuel storage systems Part K - Protection from falling, collision and impact Part L - Conservation of fuel and power Part M - Access to facilities and buildings Part N - Glazing Part P - Electrical Safety The Section adjacent lists all the relevant building regulations that each construction area must meet to ensure it complies with building regulations.

FLOOR CONSTRUCTION PART A PART B PART L

BIBLIOGRAPHY

P A R T 1 a &

1 b

P A R T 2 a &

2 b

PAGE 5

PAGE 56

https://www.dezeen.com/2016/11/22/peter-salterlabyrinthine-london-townhouses-residentialarchitecture/

https://www.chroniclelive.co.uk/news/north-east-news/ artwork-tours-launched-kielder-water-9323351 https://twistedsifter.com/2010/02/razzle-dazzlecamouflage/ https://news.nationalgeographic.com/2016/05/picturesmemorial-day-world-war-2-atlantic-wall-bunkers/#/6WW2-Bunkers.jpg http://paulo-dos-sousa.com/pds--flower-kiosk-in%C3%B6stra-kyrkog%C3%A5rden.html

PAGE 6 https://www.logodesignlove.com/english-heritage https://www.english-heritage.org.uk/visit/places/ kenwood/history-stories-kenwood/history/collections/ https://www.magnoliabox.com/products/kenwood-househampstead-london-1238663 https://www.english-heritage.org.uk/visit/places/ kenwood/history-stories-kenwood/history/collections/ PAGE 7 https://artuk.org/discover/artworks/hampsteadheath-123257 https://en.wikipedia.org/wiki/City_of_London_ Corporation

PAGE 57 https://uk.phaidon.com/agenda/architecture/ articles/2019/january/10/look-at-john-pawson-sphotos-of-peter-zumthor-s-first-uk-house/ https://www.architectsjournal.co.uk/buildings/onsite-peter-zumthors-secular-retreat/10016288.article https://issuu.com/bartlettarchucl/docs/sixteen__ makers__01_55-02_s05_updat PAGE 62

PAGE 9 https://opendata.camden.gov.uk/ PAGE 12 https://picturethisuk.org/2015/06/14/kenwood-housegardens/

https://www.flickr.com/photos/james_ woodward/4094944927 PAGE 63 https://www.flickr.com/photos/james_https://issuu.com/ bartlettarchucl/docs/sixteen__makers__01_55-02_s05_ updat

http://www.londontown.com/LondonEvents/Heritage-LiveConcerts-Kenwood-House/f6d1f/imagesPage/138286

PAGE 66

https://www.dailymail.co.uk/news/article-2513611/ Kenwood-House-houses-masterpieces-Rembrandt-Vermeerset-reopen.html

https://news.nationalgeographic.com/2016/05/picturesmemorial-day-world-war-2-atlantic-wall-bunkers/#/8WW2-Bunkers.jpg

PAGE 22 https://digimap.edina.ac.uk/geology

PAGE 81 https://www.worldweatheronline.com/london-weather-averages/city-of-london-greater-london/gb.aspx

https://www.ramjack.com/blog/2015/august/differentsoils-how-they-affect-foundations/

PAGE 82 https://www.themodernhouse.com/past-sales/101-southhill-park/

PAGE 23

PAGE 85 https://www.theguardian.com/artanddesign/2016/dec/16/ house-year-richard-murphy-edinburgh-townhouse-ribawallace-and-gromit

https://flood-map-for-planning.service.gov.uk/ PAGE 24 http://archive.camdennewjournal.com/news/2015/oct/ jobs-fears-hampstead-heath-hit-funding-cuts https://www.theguardian.com/uk-news/2017/jul/09/ the-end-of-park-life-as-we-know-it-the-battle-forbritains-green-spaces-rowan-moore https://www.theguardian.com/cities/2017/feb/11/ukscash-starved-parks-at-tipping-point-of-decline-mpswarn

PAGE 86 https://www.archdaily.com/117640/shishiodoshi-house-avignon-clouet-architects PAGE 93 https://www.archdaily.com/117640/shishiodoshi-house-avignon-clouet-architects/5013a3bf28ba0d39630005d2-shishiodoshi-house-avignon-clouet-architects-section

https://www.localgov.co.uk/Councils-slash-15m-fromparks-budgets/45519 http://archive.camdennewjournal.com/news/2015/oct/ jobs-fears-hampstead-heath-hit-funding-cuts PAGE 27 https://www.rspb.org.uk/birds-and-wildlife/wildlifeguides PAGE 29 https://openhouselondon.org.uk/press/ https://www.logodesignlove.com/english-heritage PAGE 38 http://www.visitkielder.com/great-outdoors/55-02sixteen-makers-2009 https://www.serpentinegalleries.org/exhibitionsevents/serpentine-galleries-pavilion-2014-smiljanradic https://www.archdaily.com/461242/stonehenge-visitorcentre-denton-corker-marshall PAGE 43 https://www.gov.uk/government/uploads/system/uploads/ attachment_data/file/391694/Plain_English_guide_to_ the_planning_system.pdf PAGE 48 https://www.lafargeholcim-foundation.org/media/ news/projects/saving-materials-is-just-part-of-theattractio