Part 1 Academic Portfolio [2016-2020] MA(Hons) Architecture

PART 1 ACADEMIC PORTFOLIO 2016-20 AIMAN BIN AZMAN S1629586

MA(HONS) ARCHITECTURE ESALA, THE UNIVERSITY OF EDINBURGH

REFLECTIVE STATEMENT

Architecture and place - reflecting on my four years of architectural education, I realised how these two elements have always influenced my design thinking by considering the existing natural and built environment as well as its inhabitants. ESALA’s approach in integrating cross-disciplinary courses of architectural design, art, theory, history, as well as technology and environment together has further developed this personal understanding. The courses enhanced my communicative, drawing and model-making skills in conveying architectural concepts and ideas alongside acquiring technical, environmental, and structural knowledge within buildings. The provison of a placement period then allowed me to apply them in real-life situations.

The relationship between architecture and place has been explored further through my Dissertation where I researched on the ‘sense of place identity’ theory, being the pinnacle of my researching and critical analysis skills by successfully sustaining an in-depth research and a coherent argument. My Tectonics design project then serves as the culmination of my architectural studies, as I applied the ‘sense of place identity’ concept and knowledge on structural, environmental and technical strategies gained from previous courses in fulfilling tectonic agendas.

All in all, while I believe that architecture is the driving force in creating a sense of place where the built environment pivots on the relationship between people and the surrounding environment, architecture is much more than that. In fact, architecture as a discipline is a knowledge set of conventional solutions, often operating in a self-referential system in combatting new social and environmental issues. As architects, we should always anticipate the future and seek new, innovative design solutions. Thus, I am keen on applying this knowledge set in practice back home in Malaysia, giving back to my country by sharing the lessons gained from abroad. Hopefully, I would acquire new ones in supplementing the next steps in my architectural education journey.

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BODY OF WORK

Y1

S1

S2

AD1a ARCHITECTURAL DESIGN: ELEMENTS

AD1b ARCHITECTURAL DESIGN: ASSEMBLY

A&D ART & DESIGN

AH1b ARCHITECTURAL HISTORY: REVIVALISM TO MODERNISM

AH1a ARCHITECTURAL HISTORY: INTRODUCTION TO WORLD ARCHITECTURE

TE1 TECHNOLOGY & ENVIRONMENT: PRINCIPLES

2016-17

EC1 EXTRA-CURRICULAR ACTIVITIES: SUMMER VOLUNTEERING

Y2

Y3

Y4

AD2a ARCHITECTURAL DESIGN: IN PLACE

AD2b ARCHITECTURAL DESIGN: ANY PLACE

TE2a TECHNOLOGY & ENVIRONMENT: BUILDING ENVIRONMENT

AH2b ARCHITECTURAL HISTORY: CULTURE & THE CITY

FF ELECTIVE: FOUNDATION FRENCH LANGUAGE 1

TE2b TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

AD3 ARCHITECTURAL DESIGN: EXPLORATIONS

APR ARCHITECTURAL PRACTICE: REFLECTION

AT ARCHITECTURAL THEORY

API ARCHITECTURAL PRACTICE: INTERNSHIP

APWL ARCHITECTURAL PRACTICE: WORKING LEARNING

EC2 EXTRA-CURRICULAR ACTIVITIES: GRAPHIC DESIGN

AD ARCHITECTURE DISSERTATION

AD4a ARCHITECTURAL DESIGN: TECTONICS

TE3 ELECTIVE: TECHNOLOGY & ENVIRONMENT 3

AD4b ARCHITECTURAL DESIGN: LOGISTICS

2017-18

2018-19

2019-20

AP1 ACADEMIC PORTFOLIO: PART 1

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ARB/RIBA GENERAL CRITERIA GC 1

Ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC 2

Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

GC 3

Knowledge of the fine arts as an influence on the quality of architectural design.

GC 4

Adequate knowledge of urban design, planning and the skills involved in the planning process

GC 5

Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

GC 6

Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

GC 7

Understanding of the methods of investigation and preparation of the brief for a design project.

GC 8

Understanding of the structural design, constructional and engineering problems associated with building design.

GC 9

Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

GC 10

The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

GC 11

Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

ARB/RIBA PART 1 GRADUATE ATTRIBUTES

GA 1 Ability to generate design proposals using understanding of a

body of knowledge, some at the current boundaries of

professional practice and the academic discipline of architecture GA 2

Ability to apply a range of communication methods and media to present design proposals clearly and effectively

GA 3

Understanding of the alternative materials, processes and techniques that apply to architectural design and building construction

GA 4

Ability to evaluate evidence, arguments and assumptions in order to make and present sound judgments within a structured discourse relating to architectural culture, theory and design

GA 5

Knowledge of the context of the architect and the construction industry, and the professional qualities needed for decision making in complex and unpredictable circumstances

GA 6

Ability to identify individual learning needs and understand the personal responsibility required for further professional education

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PAGE NAVIGATION: COURSE INTRODUCTION Colour-coded according to Year

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Course Title Course Code Course Organiser Course Year, Semester & Abbreviation

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Course Description Reflective Statement with Fulfilled General Criteria in Text Course Learning Outcomes

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PAGE NAVIGATION: PROJECT DETAIL Colour-coded according to Year

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Project Summary/Brief Project Response/Text Key Reference Image Caption Annotations Images Further Project Response/Text

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SEMESTER 1 AD1a ARCHITECTURAL DESIGN: ELEMENTS A&D ART & DESIGN AH1a ARCHITECTURAL HISTORY: INTRODUCTION TO WORLD ARCHITECTURE

YEAR 1

2016-17 SEMESTER 2 AD1b ARCHITECTURAL DESIGN: ASSEMBLY AH1b ARCHITECTURAL HISTORY: REVIVALISM TO MODERNISM TE1 TECHNOLOGY & ENVIRONMENT: PRINCIPLES EC1 EXTRA-CURRICULAR ACTIVITIES: SUMMER VOLUNTEERING

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ARCHITECTURAL DESIGN: ELEMENTS

Y1 S1: AD1a ARCH08001

Course Organiser: Soledad Garcia Ferrari

Course Description

Reflective Statement

The first design course introduces students to the foundational knowledge and skills appropriate to the practice of architectural design. Design is seen as a process involving imagination, representation and communication, analysis and research, iteration and reflection. Throughout the semester, students work on a series of design projects, which require individual and group submission of models and drawings. Working in a studio environment, students undertake a number of studies that introduce some of the essential elements of architecture, such as path, threshold, opening, membrane and enclosure. These studies are underpinned by a concern for the role of place and embodiment in the experience of architecture and the built environment.

Studio exercises are supplemented by a series of lectures on practical and theoretical issues associated with the design process.

Being my first design course, it was quite daunting at first to execute and present my own design proposals every week. However, as the first project allowed me to approach the architectural elements of ground, wall, frame and canopy, I have discovered my passion and delight in conveying my design through sketching and model-making. As I acquire the design basics, the Writer’s Retreat Project then introduced me to not only consider the architectural elements of ground, wall, frame and canopy, but also the environment, orientation, programme, spatial quality and materiality, as well as the building-user relationship. (GC 1, 5) Thus, this course became my first step in pursuing my architectural design studies.

LO1 Awareness of basic architectural elements and issues that inform their disposition in architectural designs; LO2 Awareness of different dimensions of the design process, from analysis and research individually and in teams to iteration and reflection in the formation of architectural designs.

LO3 Awareness of appropriate representational and communication methods to prepare and present design proposals.

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Design Project 1 | Architectural Design: Elements

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Head in a Window

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Y1 S1: AD1a

Based on a photograph of a familiar person, this project aims to design and construct a stylized, threedimensional portrait bust of this person, interacting with the basic architectural element of a window (frame).

This may take the form of an imaginative, metaphorical assemblage, evocative of the characteristics of the person. As a beginning of a series of exercises focused on the understanding of space, from this project, literal exploration of space to more abstract representations of spatial qualities is developed.

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I chose to represent my youngest brother, who has a very cheerful, fun and goofy character.

In realising the model, I took precedent from Naum Gabo’s wire abstract sculpture Head No. 2, representing the face anatomy through several shapes as my main model element. Next, for representing my brother’s playful personality, the use of the three prime colours with reference to De Stijl’s Movement art are able to satisfy this, as well as framing the model.

The result was a model representing the playful character of my brother, with facial plates formed from irregular shapes, framed by the bright, pop-up colours made famous during De Stijl’s Movement. /2

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Photos of my brother

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Naum Gabo’s Head No. 2 wire abstract sculpture

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Theo van Doesburg, Composition VII (the three graces) 1917

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Sketches

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Watercolour representation

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The final Head in a Window model

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Design Project 1 | Architectural Design: Elements

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Ground & Wall // Path & Threshold

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Y1 S1: AD1a

With Hannah Davis This project explores ground and wall as architectural elements for the making of path and place. Many places rely on the ground to establish a primary sense of place and all architecture must condition the ground in some way for both practical and qualitative reasons. In relation to the ground, we set up walls beside us, among us. We are separated from the outside and contained within these walls. Whereas the ground is the domain of our feet, the walls reach up to our hand and become the boundary of our senses (including sight and touch). The placing and shaping of walls establishes a new world of experience.

Using clay, I was able to represent the qualities of earth itself, as well as creating the different types of surfaces the ground can be. On the other hand, Hannah’s ground model focuses on terrains and ground contours.

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The next exercise was to establish walls with the concepts of path and threshold. By exchanging our models, my take on Hannah’s ground was focusing on sense of scale. By constructing blocks, the scale of the ground dramatically changed. The blocks can be used as seats, and views are blocked on different parts of the space due to the erected walls as thresholds.

Hannah did not add anything on my ground but modified the position of the ground surfaces by cutting through a tunnel, creating a pathway surroudned by ‘natural’ walls of the ground.

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My ground model

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The different ground surfaces

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Hannah’s ground model

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My take on creating a wall model from Hannah’s ground model

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Section drawing of the wall model

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Hannah’s take on creating walls on my ground model

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Design Project 1 | Architectural Design: Elements

GC1

Frame & Canopy // Order & Enclosure

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Y1 S1: AD1a

With Kit Yuan This project explores frame and canopy as an architectural element for the making of path, place and shelter. Unlike walls, which often grow heavily up from the ground, the frame appears as something placed lightly on the ground.

To the frame is applied a cladding, a non-load bearing skin to enclose an interior from the elements. The canopy (elemental roof) is linked to the order of the frame (post, beam, rafter, and ridge) or wall (slab, vault or dome). By setting up a frame or wall we not only define a place, but also the act of sheltering and the first canopy. The canopy encloses the open structure of a frame roof or closes the ‘fifth elevation’ to the sky.

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From my previous ground+wall model, I added wooden frames with different heights and widths along the path for a sense of order.

Interestingly, Kit shaped metal wires into a tree bark-like structure with branches as frames up a sloping ground for her frame model.

In creating a canopy with an enclosure in mind, I layered transluscent cards, resembling tree leaves, corresponding to the tree bark-like frames. The transluscency reflects the nature of leaves of trees that are porous to sunlight, allowing some sunlight to pass through.

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My frame model

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Kit’s frame model

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My take on creating a canopy from Kit’s fram model

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Plan and section drawing of the frame model

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Design Project 1 | Architectural Design: Elements

GC1

Scale, Space & Representation

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Y1 S1: AD1a

This project explores the qualities of space in architecture, reflecting on relations between the architectural elements studied. In all the previous exercises, above it is embedded the idea of architectural space. This final project is aimed to focus on the concept of space through exploring physical and perceptive conditions, which draw on the ideas of ground, wall, frame and shelter, with the intention of combining these elements to create space from place.

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Utilising a ‘twin’ concept together with a geometrical approach, I opted to represent an architecturallyenriched space that utlises the ground with walls, frames and canopy.

I created a viewing platform that overlooks a vast horizon towards the east, enabling one to experience sunrise. By elongating the height and size of a canopy structure along an irregular ground surface, the adddition of stairs and a bench at its peak allows one to experience an incredible journey throughout the space.

The roof strips reflect the stairs beneath, adding qualities of light and shadow into the space and journey.

All in all, this project is a culmination of the study of the archietctural elements (ground, wall, frame, canopy) and I had fun exploring the possibilities in integrating the elements and also experimenting and thinking through model-making.

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The space model

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Initial paper macquette

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Sketches and design development

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Design Project 2 | Architectural Design: Elements

GC1

Writer’s Retreat

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Y1 S1: AD1a

Site Analysis with Peffy Xu, Finley George, Anna Simpson & Kevin Ching Following on from the initial experiential approach to space in architecture through exploring relationships between ground, wall, frame, and canopy, this project explores the possibilities for developing the design of a retreat space for a writer, considering structural and constructive aspects on a specific geographical location in the city of Edinburgh.

River Almond - Survey of a Place for Writing The site for the writer’s retreat is located alongside River Almond, Edinburgh. In small groups, we visited and analysed the site in terms of access routes and environmental factors.

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The site is a sloping ground divided by River Almond, with islands in between. However, the maximum water level height would icnrease by 2m, flooding the islands. /3

Collectively, the group decided to place our retreats at the west side of the site, with a bridge connecting across the river. The west side is much more private with less public access. Communal services (kitchen & bathrooms) are located at the bridge’s end, exclusively for the retreat users.

My retreat is lcoated at the riverbank with a steep slope at the water’s edge.

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River Almond photo during site visit

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Group masterplan with individual macquettes on site model (Circled: My retreat location)

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Site plan (drawing by Peffy)

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Site section with my retreat in place

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Design Project 2 | Architectural Design: Elements

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Y1 S1: AD1a My retreat underwent several iterations during design development.

Cross-laminated timber (CLT) was chosen for the material due to its structural performance, as well as its visual resemblance with the site’s natural surroundings.

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The finalised design sees a double-storey retreat cabin; with the top floor as the bedroom, where the writer would be amongst the trees, being one with nature to relax, sleep, or continue writing.

The unique feature of the retreat is half of the building is covered with glass walls, allowing natural sunlight to illuminate the rooms. The porous nature of the surrounding trees are able to provide shading and indirect sunlight for the writer.

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Also, the writer is able to get fresh air using the balcony with a view of the river stream. A ladder is provided for accessing the upper bedroom.

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Initial sketches

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Materials rendering experimentation

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Retreat prototypes for design development

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Writer’s Retreat 1F plan

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Writer’s Retreat GF plan

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Bedroom

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Entrance

Writer’s Retreat section

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Multi-purpose space

Writer’s Retreat 1:50 model

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Balcony

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ART & DESIGN: THINKING THROUGH DRAWING

Y1 S1: A&D ARCH07001

Course Organiser: Giorgio Ponzo

Course Description

Reflective Statement

Informed by lectures from artists, designers, sculptors, animators, jewellers and architects reflecting on “How I think through drawing�, this course aims to set out architectural and landscape architectural design as a practice-based knowledge and subject. The course introduces a range of ways of drawing and making, re-drawing and re-making, and experimenting with both analogue and digital media. Each project is structured in different phases and aims at building awareness and confidence in understanding reality and communicating ideas through drawings.

Thinking and drawing have to be read as re-thinking and re-drawing, in a series of iterations that will add precision and sophistication. In this course, drawing is a practice that generates ideas, both in their making, for the author(s), and in their fruition, for a public. In this sense, we want to produce critical drawings, drawings that show things that cannot be seen, drawings that make reality richer and more clear at the same time.

After almost 3 years of not attending art classes since high school, I was excited to learn Art & Design here. Unexpectedly, the course has exceeded my expectations as I now understand the relationship between architectural design and drawing, where drawing is a critical element of design action, as well as a practice of architectural design thinking (GC 3). Through both specific thematic projects (Inside/Outside and Time), I applied thinking through drawing on the architectural aspects of the Adam House and Royal Commonwealth Pool, enhancing my observational skills, as well as communicative and representative skills through art. All in all, this course helped me understand more of the spatial qualities in buildings, and helped my critical thinking through observation and representation which is beneficial to be applied to the Architectural Design courses (GC 5).

LO1 Demonstrate experimentation and fundamental understanding of drawing using a range of techniques and materials.

LO2 Demonstrate an awareness of Art and Design process in researching, testing and developing ideas to find creative solutions.

LO3 Communicate ideas and complete work in a well-structured and coherent way.

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Design Project 1 | Art & Design: Thinking Through Drawing

Inside/Outside // How Lights & Shapes Shape the Room

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Y1 S1: A&D

Groupwork with Alvaro Anegon Ramos, Hussain Haitham, Alex Porter & Nora Nanova A set of three drawings which together present an identified sequence of spaces from inside to outside in Adam House. These should explore drawing and projection, the representation of qualitative aspects of spaces, the sequencing of spaces and, through observational and analytic drawing techniques, should demonstrate an awareness of a particular aspect of the building’s design, construction or use which you have discovered.

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1/ Light and Shade Exploring the distribution of light, I focused more on how light is spread throughout the upper studio room in Adam House. I took an abstractive approach with white ink and charcoal shading to represent this. /2

2/ Shaping the Shapes By exploring the shapes present in the room through windows, furniture and walls, the final drawing resulted in an abstract culmination of those shapes; representing the identity of the room through its identifiable colours and shapes.

3/ Blending Light & Shapes Next, we made a model to blend the concepts of light and shapes in the room, with layers representing the skylights and multiple heights in the room. The final result is an abstract collage that blends light with the shapes of the room.

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Design Project 2 | Art & Design: Thinking Through Drawing

GC1

Time // Movement Through Time

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Y1 S1: A&D

Groupwork with Juliana Yang, Shona Carr, Li Zhi Hua & Lizzie Slater A set of 3 drawings which together present explorations of a place or object in time at the The Royal Commonwealth Pool. These should explore frame and duration, temporal representation and, through analytic and synthetic drawing techniques (analogue and digital), should demonstrate an awareness of a particular aspect of material degradation or construction.

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1/ Large Timescale Movement Studying the density and circulation of people around the building, we did an abstract mapping art - a large timescale of the building’s internal movement with blue ink, representative of the pool’s identity.

2/ Spatial Motion

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Architecturally, vertical movement is dominant in the building, consisitng of stairs; the spectator seats and circluar stairs towards the diving platform.

Thus, we did a spatial motion collage with a focus on verticality.

3/ Momentary Maneuvers The third drawing focuses on the swimmers in the pool. By studying their diving maneuvers, I created a timelapse charcoal drawing, capturing every moment of the anatomy of a diver throughout the diving movement.

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ARCHITECTURAL HISTORY: INTRODUCTION TO WORLD ARCHITECTURE

Y1 S1: AH1a ARCH08003

Course Organiser: Ian Campbell

Course Description

Reflective Statement

The course begins with an examination of Ancient Egyptian, Greek, and Roman architecture, the architecture of the Middle Ages, Islam, Pre-Columbian America, and the first great re-evaluation of Antiquity in the Italian Renaissance. It goes on to survey the Renaissance in Britain and northern Europe and the subsequent influence of the Italian Baroque in these areas. Later, other significant cultural traditions in the history of architecture are introduced, such as those of India, China, and Japan. Semester 1 concludes with an examination of the theoretical, cultural, and stylistic aspects of the architecture of the European Enlightenment. Throughout the course the development of building technology and the social, religious, and political understanding of buildings are recurring themes. Excursions into the related fields of landscape architecture and urban design necessarily appear from time to time.

Being my first course that requires critical thinking and personal arguments on architectural history, I was really satisfied with the learning process. The end of semester examination, and presentation especially, has helped me further understand the architectural history topics through deeper research. An example was the Fluorentine Architecture presentation, where I had to critically examine and memorise the arguments behind said designs (GC2, 3). Expanding from the Arts & Design course and my fascination towards the relationship between architectural design and drawing, I further explored the merits of perspectival and orthogonal drawings on my essay. In short, I enjoyed the process of researching and critically examining topics of architectural history around the world, allowing me to construct well-founded arguments (GC 7).

LO1 Demonstrate knowledge of the history and theories of architecture and their related arts before c.1800.

LO2 Demonstrate appreciation of the significance of a critical approach to architectural precedent in the context of design.

LO3 Demonstrate development of verbal and visual communication skills in key themes of the module demonstrating a critical and reflective approach.

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Individual Presentation | Architectural History: Introduction to World Architecture

Brunelleschi & Florentine Architecture

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Y1 S1: AH1a

Describe the constructive model and the mathematical proportions – and the ideologies behind them – in Florentine Architecture, especially the Cathedral of Brunelleschi (1420-36) and other buildings in that city.

Mathematical Ideologies

This individual presentation outlines the mathematical ideologies behind Florentine architecture, focusing on Brunelleschi’s works in Florence. This includes his dome on the Florence Cathedral, The Old Sacristy of San Lorenzo, and the Foundling Hospital.

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Florence is known as the birthplace of the Renaissance and this can be seen through Florentine architecture.

During the Renaissance, there were many ideologies.

One of them was inspired from the Greek philosopher Plato, where he focused on mathematical perfection.

Also, Pythagoras’ discovery of harmonic whole-number ratios of 1:1, 1:2, 2:3, and 3:4 was used. Next, ideality became their dominant ideology, including perfect shapes.

Inspiration from God’s cosmic order was also represented mathematically through Leonardo Da Vinci’s Vitruvius Man. Da Vinci solved the problem of squaring the circle of how to create an area of a circle within a square with the same area.

Florence Cathedral - Brunelleschi’s Dome The Florence Cathedral was not fully designed by Brunelleschi, as he was responsible for the dome. The cathedral begun construction in 1292 and was always intended to have a dome exceeding Romanesque cathedral of Pisa in size. The architecture was Gothic due to its pointed arches and ribbed vaults. The directors consulted engineers and architects all across Europe on building the dome until Brunelleschi was appointed to be in charge.

Key References

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Fazio, Michael, Marian Moffett, and Lawrence Wodehouse. A World History of Architecture. 3rd ed.

London: Laurence King, 2013.

Millon, Henry A., and Vittorio Magnago Lampugnani.

The Renaissance from Brunelleschi to Michelangelo : The Representation of Architecture. New York: Rizzoli International Publications, 1994.

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Leonardo Da Vinci’s Vitruvius Man

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Axonometric detail of dome structure

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Herringbone brick pattern

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The Old Sacristy of San Lorenzo’s use of geometrical ideologies through circles and squares.

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The Foundling Hospital

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The plan was to build an 8-sided dome with a span similar of that of ancient Rome’s Pantheon, which is very wide. Also, the octagonal base of the dome did not have a true centre point. Brunelleschi made an engineering achievement, as domes were generally semi-circular and built with arches, but he resorted to a pointed dome; similar to the Gothic pointed arch structure. As domes do not exert pressure only downwards, they also exert force outwards. The challenge was how to raise the dome and not cracking the walls below.

The Old Sacristy of San Lorenzo The Old Sacristy by Brunelleschi is also geometrically simple and perfect as there are simple shapes of circles and squares. Philosophically, the circle is a reference to God, where a circle has no beginning and end. The room is also a perfect square as seen from the plan. The circular dome was built in the square ceiling by using pendentives, relating to the Vitruvius Man problem of squaring the circle. The circle does not touch the sides of the square, showing a sense of lightness. The greyish Pietra Serena columns and cream walls outline the shapes, showing simplicity and calmness. As it was a Renaissance building, Roman elements were adopted such as flutes and Corinthian columns.

The Foundling Hospital The Foundling Hospital was also built by Brunelleschi and was regarded the first Renaissance building. It has Roman elements such as Corinthian columns. Mathematically, the column-column distance is equal to the wall-column distance, which shows simplicity and ideality.

In conclusion, Florentine architecture by Brunlleschi was heavily inspired by mathematical ideologies.

Brunelleschi’s solution to make the dome light was by making it hollow. Also, he made a double shell; an inner and an outer shell with eight major ribs on the outside.

Inside, there are two unseen ribs between the major ribs, making a total of 24 ribs in the dome, locked by horizontals, making a skeletal-like structure. As the dome was built, a herringbone brick pattern was used to support the dome itself during construction. To hold the shells together, chains inside the dome is put; like a wooden barrel with iron rings holding the wood together. Brunelleschi also built an ox-driven hoist to lift loads hundreds of feet up.

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Essay | Architectural History: Introduction to World Architecture

GC1

Perspectival Projection vs Orthogonal Projection Compare and contrast the merits of perspectival projection for architectural drawings as opposed to orthogonal projection.

This essay argues that the merits of perspectival projection over orthogonal projection revolve around the understanding of the drawings by different individuals, and the associated difficulties in constructing the said projections. By exploring the origins of both projections, historical evidences such as Raphael’s ‘Letter to Leo X’, the Renaissance emergence, as well as some notable figures are looked in depth. Thus, the essay concludes that both perspectival and orthogonal projections provide the means to fully understand a building in and out, despite their merits for different uses and people.

Key References Ackerman, James S. Origins, Imitations, Conventions.

Cambridge, Mass. : MIT Press, 2002.

Branner, Robert. “Villard de Honnecourt, Reims and the Origin of Gothic Architectural Drawing.” In L. T. Courtenay (ed.). The Engineering of Medieval Cathedrals, vol. 1 (1997): 63-80.

Fazio, Michael, Marian Moffett, and Lawrence Wodehouse. A World History of Architecture. 3rd ed.

London: Laurence King, 2013.

Saalman, Howard. “Giovanni di Gherardo da Prato’s Designs Concerning the Cupola of Santa Maria del Fiore in Florence.” Journal of the Society of Architectural Historians, vol. 8, (1959): 11-20.

1 Comparing the merits of perspectival and orthogonal projections in terms of understanding, perspectival projection prevails mainly because human eyes see the world through perspectives. Quoting Fazio, Moffett and Wodehouse;

“Because most of us readily understand perspective drawings, this drawing type provides architects with a powerful tool for communicating the appearance of buildings not yet constructed in a way that non-architects can understand.”

However, some people experience difficulties in understanding perspectival projections especially for their professional work as perspectives issue optical problems due to blind spots of the flawed human eye vision. Some features are hidden and cannot be shown in a perspective although several drawings from different angles and positions are constructed. This produces problems for a number of specific people mainly architects, draftsmen and engineers as they are caught in this optical limitation; especially when taking measurements of structures.

Claiming to be the first surviving orthogonal drawing in Italy, the Florence campanile drawing by Giotto was actually flawed with perspective features where the draftsmen found difficulties in measuring depths of its structures.

Leon Battista Alberti opposed Italian architects whom favoured representing building structures in perspective.

He was the first to oppose the use of perspective as he stated, “To assure an accurate drawing of a proposed or existing building, architects must use only images in which all advancing or receding parts are projected onto the plane and are thus represented by a fixed measure, which is known today as orthogonal projection.” Alberti also stated that perspectival drawings are pictorial and contrary to the needs of architectural construction, demonstrating the problems faced by those involved

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in the architectural profession. For these people to apply perspectival projections into their work, certainly there will be inaccurate readings and measurements that results in fault and distortions.

Raphael’s ‘Letter to Leo X’ stated how many people were mislead by following the painter rather than the architect as they will never understand measurements correctly and will always detect errors when locating every structure of the building. Raphael also wrote about the convenience of orthographic elements in the letter where he stated that the plan, exterior wall and interior wall are the three parts of a drawing of a building, and with all the three means, one can fully study each part of a building precisely, inside and out.

Specific tools are necessary to draw buildings to scale that may not be commonly available during the sixteenth century. Today, computers help construct orthographic projections to scale, which makes it exceptionally easier.

Hence, the difficulty to draw orthogonal projections depend on the availability of specific tools where people in the 21st century has the upper hand to draw them easily with advanced technology compared to those in the sixteenth century. Furthermore, it is more time-consuming to construct orthogonal projections due to first taking measurements, then scaling them down to tabletop sizes and finally drawing the plans, sections and elevations.

3 2 It is more convenient to draw perspective views of buildings just like how painters paint buildings. This is because what is drawn on paper is what the eye sees. The obvious limitation to construct a perspective drawing is the ability to observe. If one could not observe, the drawing would be wrong but this can be prevented through practice.

However, Alberti again opposed perspective representations by arguing that perspectives are painters’ affairs while architects draw orthogonally to take precise measurements. A quote by authors Wolfflin and Simon worth noting is that they said the painterly manner had lead to a total extinguishment of three-dimensional form during the Renaissance. In history, among the first ones to be trained to be architects rather than figural artists were Palladio and Antonio da Sangallo the Younger, and both of them successfully overcame perspectival elements in representing receding and projecting structures in drawings. This proves how an architect differs from an artist or a painter where architects are more precise in minute elements to fully show the building and how they need to solve the problems of incorporating perspectives in orthogonal drawings. Saying that, in constructing orthogonal drawings, precise measurements of even the minute details of a building must be taken and this may be a burden and an inconvenience to construct especially curvilinear and polygonal elements compared to flat walls.

In terms of understanding, it depends on the audience’s background and intentions where normal people can understand perspectives of buildings better while others like engineers need orthogonal drawings for work involving accurate measurements. In terms of difficulty in constructing the drawings, it depends on the flexibility and affordibality of the drawer to develop observational skills, to gain access to advanced technology and to acquire specific tools. Despite the contrasts, both projections share the same objective that is for people to understand the building completely.

In conclusion, both perspectival and orthogonal projections are required for all people to fully understand the designs of the architect and for the architect to successfully convey the space and dimensions of the building.

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ARCHITECTURAL DESIGN: ASSEMBLY

Y1 S2: AD1b ARCH08004

Course Organiser: Fiona McLachlan

Course Description

Reflective Statement

This course introduces the theme of assembly in architectural design. It is focused on the capacity of structure, construction, and materials to create architecture. These physical factors as are considered alongside more ephemeral conditions such as light and sound. The way architecture establishes variable distinctions between exterior and interior spaces is also examined. The course asks students to develop these themes through consideration of a relatively simple programme such as a dwelling. To this end, students work on an integrated series of design exercises and projects. Students produce design proposals that are represented by a range of techniques ranging from expressive to scale drawings and models.

The first part of the course allowed me to further understand the importance of materiality in buildings through the Material World project by understanding its tectonic properties. A precedent study of David Adjaye’s Dirty House has showed me how different materials create different spatial qualities for the user and the public (GC 7). Hence, the assembly of a building is understood as seen on my material considerations in my Violin Maker House project, where I developed an understanding between architecture, structure, construction, materials and aspects of the environment - the parts to the whole in architectural design (GC1, 5, 8).

In conclusion, this design course sums up my first year in studying architecture and I am confident in applying my architectural knowledge in terms of building assembly in real-life situations.

LO1 Awareness of principles of assembly, materiality, specific constructional and environmental logics and how they inform the design of architecture.

LO2 Capacity to manipulate architectural form in the consideration of interior, exterior space and context in the resolution of simple programmes.

LO3 Skills in the representation of simple architectural designs, including design process, in the portfolio format.

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Design Project 1 | Architectural Design: Assembly

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Brick // Modesty Box

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The first five weeks of the semester work as a block of Material World mini-projects with a series of architectural assemblies. The first week focuses on brick.

“You are to design a single storey building to be used as a sports changing room in parkland. The building must be predominately made of brick, but you can use other materials for the roof, windows etc. The spaces should make as much use of daylight as possible, while maintaining the privacy of the people who are changing.

You must consider the assembly of the brick, and the qualities of the wall, inside and outside, dividing and enclosing space.”

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Girls

Brick may seem like a simple material, but its modularity makes it interesting. Various orientations and patterns can be arranged, thus creating an intriguing surface texture. When considering the use of brick for a children’s sports changing room, the type of surface wall must be carefully picked. A pitched glass roof would allow light to be reflected on the walls, creating soft, indirect light into the space.

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Separating the changing rooms by gender, an identical twin approach was done, separated by large brick walls on each side as if the building was split into two. These split high walls allow circulation between the two buidlings. With the rugged surface of brick, the walls create an intense feeling for the children when walking through, before entering the sports field to meet their match. Thus, the whole building acts as an entrance arch into the sports field.

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Plan drawing showing the split entrance for circulation

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Modesty Box model

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Toilets

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Changing area

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Entrance + buffer space

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Entrance to sports field

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3/ Section drawing that shows the use of

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Site visit to Edinburgh Sculpture Shop to see rugged brickwork

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Circulation study sketches

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Indirect light study sketches

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Design Project 1 | Architectural Design: Assembly

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Timber // Teahouse

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Next, the mini-project focuses on timber and steel. “You are to design a small teahouse set in an extraordinarily beautiful location. The site is surrounded by trees, beside a river, and with distant views to a waterfall beyond.

The views are best from over 3m above adjacent ground level. You cannot use the trees for any form of support the teahouse must be freestanding. This is a very small teahouse, being remote, it can only seat 6 people at one time at the table, but informal places to sit and drink may be created in addition to the table. Views from inside to outside are very important to the success of the place.�

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Rather than steel, I chose timber for its structure and both interior and exterior cladding due to the site context being surrounded by trees, providing a sense of place and naturality. Situated at a riverbank, I was keen on having a space looking over the water, where I looked up precedents of buildings that leans towards the water whilst still being grounded.

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Through several studio exercises regarding timber frame structure, I opted to model my teahouse as one half showing its interior frame structure, while the other being compelte with cladding.

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As a double-storey building, the teahouse comprises of a lighter, social area whilst having some tea at the ground floor. The stairway that leads to the upper floor ultimately brings the person to the main tearoom, with the tea table placed adjacent to a large glazed window to enjoy views of the Falls of Glen Puddock, as the space sits over the riverbank. /2

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Timber frame structural study

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GF & 1F plans

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Elevation & section drawings

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Teahouse model - one half showing cladded timber while the other demonstrates the timber structure inside

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Small tea table area

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Restroom

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Main tearoom

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Tea bar/bakery/kitchen

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Design Project 1 | Architectural Design: Assembly

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Stone // Steam Room

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“You are to design a small stone building for use as a spa steam room. Assume a location outdoors near a spa hotel.

Guests will arrive in bathing trunks/ suit, robe and sandals.

The building must be predominately built of stone, but you can use stone as a solid material, or as cladding. There must be at least one window and one door. The building should have a steam room and a relaxation ante-room/s, it will be a small building, catering for a maximum of around 8 people. Consider a simple place to lie and rest, protected from the elements, soaking up the steam, in a remote location. Consider how to accommodate a larger void and a number of smaller elements by using plan and section.”

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Underground entrance walkway Lobby Fireplace Changing area Steam room

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By visiting the Dirleton Castle, I got to first-handedly witness the traditional use of stone in constructing walls, with its quality in creating depth and privacy such as through slender openings for light to go through.

The user’s journey throughout the building starts from an outdoor entrance, with stairs and a pathway going underground, leading into the lobby warmed by a fireplace, to the changing area, and towards the end, the steam room. This linear underground journey utilises the sloping topography of the site.

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In the steam room, I incorporated the use of contemporary stone cladding for its interior and exterior, but in a traditional manner. The steam room’s southern walls are covered with thin, slender openings, allowing strips of light into the room for a relaxing, dramatic experience.

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Section

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Elevation

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Visit to Dirleton Castle, exploring the use of stone and its architectural appearance

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The contemporary use of stone for cladding on the LA Live Hotel and Residences by Gensier (architect)

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Design Project 1 | Architectural Design: Assembly

GC1

Concrete // Boathouse

“You are to design a boathouse for a small rowing club on an inland loch. The club owns 8 kayaks (length 3300mm width 780mm) and 2 double rowing shells (length 7200mm, width 560mm). These will be stored in the main space. Assume that people change in an adjacent location.

This building is just for storing and viewing. Club members need a space to view the loch, socialise, make warm drinks and eat packed food. You should consider how the ground around the building is modified by walls, steps and slopes.”

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The boathouse’s typology revolves around an L-shape, considering adjacencies between spaces.

In this case, the public social space being adjacent with the private boat storeroom. /5

Being a rower myself, I know how things go during training sessions in a boathouse. For example, sufficient space is needed to store, lift and dock the boats and oars. Not to mention spaces to wash and clean the boats before and after rowing sessions.

Hence, several circulation diagrams were created together with the L-shaped typology.

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With the use of concrete, form flexibility is advantageous. Thus, I decided to utilise concrete in creating repeating pitched roofs for daylight penetration strategies and as an interesting facade.

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Section BB

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Section AA

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Circulation + Typological Exploration Diagrams

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1:100 Model

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Lifestyle Sketch

The final design sees a standalone concrete boathouse with a repetitive pitched roof design that resembles that of a rowing team in action on the water. With a large shutter door, boats are easily carried to the docks. The docks are spacious enough, sufficient space for pre- and post-rowing activities such as warm-up exercises and boat-cleaning sessions.

A service yard is also connected directly with the storeroom for boat logistics.

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Boathouse Lobby Restrooms Social Area Boat storeroom Docks Service Yard Viewing Docks

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The social area is covered with curtain walls, maximising daylight penetration and provide sheltered views towards the waters. All in all, a lively and functional boathouse is created for the rowing club members to train, relax and enjoy themselves.

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Design Report | Architectural Design: Assembly

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Precedent Study // Dirty House, Shoreditch, London by David Adjaye

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With Mirza Ismail As preparation for the next Assembly project, students were assigned to explore a building’s design, circulation and assemblage in pairs. Mirza and I chose to study the Dirty House in Shoreditch, London. Interestingly, this house is unique, juxtaposing living and working in one building.

David Adjaye’s Dirty House is a redesigned warehouse consisting of two art studios and a top floor living space. Most of the reamining structures remain except for the walls which were extended upwards to form a parapet on the second floor. The owners needed studio spaces as well as a home. For the two owners, two types of accommodation were built separately with major differences in terms of spatial organisation..

The two-storey high studio spaces occupies the volume of the older building. Tinted reflective glass helps with the privacy of the studios. On the second floor, the living space is positioned at the centre and is surrounded by a timber-decked roof terrace and the main bedroom. The other bedroom is located on the first floor.

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The interior organisation is reflected on the exterior in the contrast between the floating plane of the roof (for living) and the solidity of the studio walls (for working). The effect is heightened by the light colour of the roof and by the dark, anti-graffiti paint on the external surfaces of the lower levels of the building.

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Photos of Dirty House in Shoreditch, London

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Plans with spatial organisation

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Exploded axonometric showing the assembly with circulation & spatial organisation

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Axonometric drawing showing the facade

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1:100 Model with interior views

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However, the position of the windows create a visual illusion where the ground floor inside is actually a double-height space.

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Design Project 2 | Architectural Design: Assembly

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Strangely Familiar // House for a Violin Maker

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“Designing a private house is a very special project, particularly if you have a specific client, who will come with their own priorities and rituals. Commonly, houses include activities of work. Incorporating public spaces within a house introduces thresholds between a realm, which is essentially private and spaces where visitors may come for a service or to buy an artefact. The house then becomes a hybrid of living and working.”

Hence, this project aims to balance the rhythmic activities of living and working, emphasising on the ‘assembly’ of space, the boundaries/thresholds real or implied between spaces, the relationship of spaces in section, movement between spaces, and the relationship of inside to outside spaces. The brief calls upon designing a house for a small family with one person who works from home as a violin maker.

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Understanding the Work - Violin Making

Understanding the Site Leamington Road & the Union Canal

‘Boundaries’ Parti

Factory-made violins can be made in just a few days, while hand-made violins could take months.

Watching a video on how a violin is being made in a workshop on Youtube called “Video Violinmaking High Definition”by Edgar Russ, a violin-making workshop at home does not need to be too spacious but just enough to have a main working table and space to store tools and materials.

The site is opposite of Leamington Road, with the Union Canal at its north. The best views would be towards the canal. However, the sunpath will move southwards from east to west. This means the use of sunlight must be carefully planned in order to get the view and have sufficient natural light into the house.

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“Video Violinmaking High Definition”by Edgar Russ, Video source: https://youtu.be/nTp46vARaJ8

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Site Model (Collectively created by Unit 1 students)

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Initial design sketches

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Development sketches with daylight analysis diagram

Also, opposite the site sits a tenancy flat, where tenants on the high floors can look over the site easily. Trees also surround the site, including people’s gardens. The buildings in the context mostly have stone exterior.

The main concept, or parti of the house revolves around ‘boundaries’. With a simple aggregation of stacked cuboids onto each other with one end cantilevering over the other, the boundaries between living and working is clear. The idea was to have a small garden under the cantilevering floor, but then I realised that the space would not receive any sunlight, rendering it useless.

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Moving on, the space was developed into a partial external space for spectators to sit and watch music performances from the adjacent music room stage. Folding external doors allow the space to be both enclosed and open to the public. Thus, the ‘boundaries’ parti is consistent, through flexibility of a private space that can be opened up to the public.

Realising the living room on the top floor would be dark as it is North-facing, pitch roofs exploration is doen through sunlight analysis diagrams.

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Design Project 2 | Architectural Design: Assembly

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Y1 S2: AD1b The Violin Maker Studio House The Violin Maker Studio House is a unique house, especially in Edinburgh mainly because of its dsitinctive concrete structure with dark timber cladding on the top floor.

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By having an external stairway, this separates working and living distinctively, signifying the boundaries for the public/owner’s clients, and for the private/family members. Also, the use of timber cladding reflects its interior function as a living space while the dense concrete exterior on the ground floor reflects the working space.

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The music studio at the Northern end also functions as a performance stage, with its external doors being able to fold inwards, revealing seats for spectators passing by along the canal. This again adds another layer of the boundary parti, with a play in flexibility between private and public.

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The living room has large glass windows for a magnificent view of the canal, especially during sunsets as the water reflects the soothing red sunset sky. The most distinctive feature of the house is its facade, mainly its use of material and the repetitive pitched roofs and clerestory windows that help maximise natural light penetration throughout the day.

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Entrance Lobby Violin Display Social/Waiting Area Violin-Making Workshop Public Restroom Music/Performance Studio Spectator Area (Folding Doors) Rope Walk along Union Canal Fenced Entrance to Private Stairway Leamington Road

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Dining + Kitchen Living Room Utility Room Bathroom & Restroom Child Bedroom Master Bedroom

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1 & 2 Entrance Lobby & Violin Display

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GF Plan

Section BB 3 Social/Waiting Area

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Plans & Sections

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Interior space on 1:100 Model

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Design Project 2 | Architectural Design: Assembly

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Y1 S2: AD1b Assembly The utilisation of reinforced in-situ concrete as the structural strategy is decided to reflect the function of the workspace through the robustness of concrete. Also, the flexibility of concrete in terms of form allows the walls to be shaped with the pitched roof design.

Black-painted Scottish Larch cladding covers the top floor level, defining its functiona s the more private, living space in the building.

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Materials: Scottish Larch Flooring Black-painted Scottish Larch cladding

Scottish Oak flooring

Scottish Larch cladding In-situ Concrete 1/

Exploded Axonometric

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Axonoemtric Drawing

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1:100 Model on Site

Frosted Glass

Plasterboard Finish Ceramic wall tiles Exhibition Marquee Carpet

Acoustic Panels

Zinc Roof

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ARCHITECTURAL HISTORY: REVIVALISM TO MODERNISM

Y1 S2: AH1b ARCH08005

Course Organiser: Ian Campbell

Course Description

Reflective Statement

This course surveys key topics in architectural history from the early nineteenth century to the late twentieth century. It examines the nineteenth century stylistic revivals, and introduces the apparently contradictory theme of modernity in architecture. It also discusses the nineteenth century development of new and more sophisticated typologies along with the novel materials and technologies that made this possible.

As a continuation in the Architectural History course series, this course introduces me to the different eras with its associated social, cultural and political influences on its architectural styles such as Revivalism and Modernism (GC 2, 3). My presentation on the Crystal Palace introduced me to the technological perspectives in architectural history - the benefits of prefabrication and modular systems - which eventually becomes a big impact throughout my architectural design studies later on. Hence, I again enjoyed researching the motives behind such architectural designs, especially during my research and visit to the Scott Monument for my critical analysis essay where I explored the ‘Battle of the Styles’ theme (GC 7).

The revivalist and the modern are also discussed in terms of the conflict between industrial and anti-industrial that saw the architectural technology of the Crystal Palace juxtaposed with the emergence of the Arts and Crafts Movement. The course traces the complex ideas that lie behind the emergence of Modernism in the early decades of the 20th century. It concludes by considering the revision of Modernism in the 1950s and 60s and the recent emergence of a Postmodern consciousness.

LO1 Knowledge of the major movements in nineteenth and twentieth century architecture LO2 Skills in researching, analysing and writing in relation to LO1 LO3 Verbal and visual communication skills in relation to LO1

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Individual Presentation | Architectural History: Revivalism to Modernism

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The Crystal Palace and Its Wider Impact

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Consider the Crystal Palace in terms of its influence and as a symbol of its times.

This individual presentation highlights the background of the Crystal Palace that housed the Great Exhibition 1851 in Hyde Park, London and its wider impact throughout the times. It was the 1st modern world’s fair to introduce new technology, scientific discoveries, architectural innovations, and as a major showcase for British design and manufacturing industry.

However, there are constraints such as it being largescale, a temporary building, and bult within a short time. Joseph Paxton’s modular solution in building a large glasshouse through standardisation and mass production was able to counter these constraints. In conclusion, the Crystal Palace’s development has led to the modern and contemporary architecture we see today through its economically efficient methods of modularisation and standardisation.

Key References Crook, J. M. The Dilemma of Style: Architectural Ideas from the Picturesque to the Post-Modern. Chicago: University of Chicago Press, 1987.

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Introduction to Metal Framework and Glass

Joseph Paxton & the Great Exhibition 1851

The Modular Solution

The Crystal Palace Influence

Throughout the 19th century, iron and steel were generally not admired for their architectural qualities. Architects prefer the use of traditional materials and methods; especially masonry and timber.

In January 1850, a building to house the Great Exhibition 1851 in Hyde Park, London was commissioned. With requirements of a budget of £300,000 and a year to design and construct, it seemed impossible to build. Out of the 245 designs submitted, none were approved, leading to an opportunity for Joseph Paxton to propose his design.

One of the major problems that caused the 245 designs got rejected was the building being temporary. The building must be able to be dismantled when the exhibition ends, as it was not acceptable to have a large permanent building in Hyde Park. It also must be large enough to exhibit around 110,000 displayed items and accommodate around 90,000 visitors. The designing process and construction of a building of this size will not be able to be completed in a year using traditional materials and methods.

The Crystal Palace and Great Exhibition 1851 led to the British Arts and Crafts Movement inspired by John Ruskin and William Morris. This movement countered the machine age and aimed to reform decorative and fine arts in Britain that eventually spread around Europe and North America.

The use of metal frameworks and glass was not applicable on architecture of buildings during that time. They were mostly used on greenhouses by gardeners. This is because the Victorian English admired tropical plants from India, Africa, and the Far East. By importing these plants, the plants need the humid heat of their native countries to stay alive. Britain’s climate and weather was not favourable, thus lightweight iron framing systems with glass infill panes were used to construct large greenhouses. One of the known greenhouses during that time with these structures is the glasshouse in Kew Gardens, London.

Fazio, Michael, Marian Moffett, and Lawrence Wodehouse. A World History of Architecture. 3rd ed.

London: Laurence King, 2013.

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D Burton & R Turner, Glasshouse at Kew Gardens, London (1845-47).

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Joseph Paxton, Crystal Palace, Hyde Park, London, 1851.

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The transept of the Crystal Palace, designed by Sir Joseph Paxton, at the Great Exhibition of 1851, Hyde Park, London.

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Shreve, Lamb and Harmon, The Empire State Building, New York (1931)

Joseph Paxton was a gardener and a greenhouse builder with no professional experience in architecture. One of his greenhouse designs built was the glasshouse in Chatsworth House. He used cast iron as its structure that allows complex cross-sections to be produced easily.

Also, he incorporated techniques of industry, which were standardisation, modularisation, and mass production which were very economically efficient. His submitted design budget was estimated to be £150,000, and guaranteed completion in time. Meeting the requirements, Paxton’s design was accepted.

Joseph Paxton’s solution was erecting a large glass house. The 600m long by 120m wide and 34m high building would be able to house the exhibition. By using metal framework, the building would be easy enough to construct and dismantle. Being modular, the building’s iron-and-glass sections need a small number of different components, allowing mass production. Due to increased efficiency of rapid production, the building was completed in just 10 months.

However, if the building were permanent, these methods would have problems due to its low thermal qualities where it would be too hot in the summer and too cold in the winter. The low durability of the brittle glass envelope would also corrode.

Next, due to economically efficient methods of modularisation and standardisation of the Crystal Palace construction, these methods were being incorporated in new projects as it saves large amount of time and money, elading to its increment use. The Crystal Palace became a symbol of Britain’s achievement into the 20th century as it was regarded as the 1st major glass-clad framework.

Being constructed using new methods with metal-andglass clad framework of a lightweight skeletal structure, the Crystal Palace became an inspiration for modern architecture. Throughout the 20th and 21st century, more and more buildings were built through these methods such as the Empire State Building in New York with steel framework and the Louvre Pyramid in Paris with glass and steel.

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Essay | Architectural History: Revivalism to Modernism

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A Critical Analysis of The Scott Monument

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Choose a building in Edinburgh dated between around 1750-2005 and write a critical analysis, taking into account the following factors and any others that may be appropriate: style; materials; function; decoration and relationship of this to structure; ideological and/ or historical basis/sources (if any) of these; history; importance in architectural history generally, or for the City, or in the architect’s career/development; in your opinion whether the building is convincing /successful in its design and function.

Through research adn visiting the Scott Monument (1840-46), a number of factors have been taken into account to construct a critical analysis about the successfulness of its function and design. While the essay discusses the physical and historical elements of the Scott Monument, it also highlights the ‘Battle of the Styles’ between Gothic and Classical architectural styles in Edinburgh, questioning the Scottish identity.

In conclusion, the Scott Monument truly serves its purpose to acknowledge Sir Walter Scott, being ornamented with his famous characters, built in a Gothic style that was the style portrayed in his writings, having a museum about him and providing a spectacular view of his home, Edinburgh.

Key References Eastlake, C. L. A History of Gothic Revival. Cambridge, 2012.

Holmes, N. M., and Stubbs, L. M. The Scott Monument: A History & Architectural Guide. Edinburgh, 1979.

Lowrey, J. “From Caesarea to Athens: Greek Revival Edinburgh and the Question of Scottish Identity within the Unionist State.” Journal of the Society of Architectural Historians. Vol. 60, No. 2 (2001), pp. 136-157.

Mackenzie, R. S. Sir Walter Scott: The Story of His Life Boston, 1871.

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The Scott Monument (1840-46)

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Pointed Arch Stained-Glass Windows

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Museum room’s walls carved with Sir Walter Scott’s writings’ titles

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Blackening of the Binny sandstone

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Background

Questioning the Scottish Identity

Architecture and Materials

Criticism

As the name obviously implies, the Scott Monument, is a monument dedicated to the memory of Sir Walter Scott (1771-1832). Being a well-known writer, he created his own romanticised image of Gothic architecture and the Middle Ages. So, his writings are true to how the Romantics viewed this building technique.

The architectural style of the monument is obviously Gothic as the ribbed vaults, pointed arches, tall stainedglass windows, verticality and flying buttresses seen on the exterior are all Gothic style attributes. The four massive arches connecting together above the statue are very faithful to that of the central tower of any Gothic cathedral. Also, the Melrose Abbey as a precedent has inspired the ornaments, capitals and niches of the monument to be Gothic.

The first floor consists of open spaces of the floor’s transepts and the octagon-shaped museum room. Inside the room, glass displays and tall stained-glass windows are alternately placed, including the entrance door. The room’s walls are carved with Sir Walter Scott’s writings’ titles. The tall, vertical stained-glass windows have frames shaped of pointed arches and create colourful hues of light in the room. Each glass display contained descriptions and relics about Sir Walter Scott and Kemp. Although the museum room is sheltered, it is quite chilly especially in the winter due to the high walls where heat rises to its ceiling. At the four transepts, flying buttresses can be seen right above them and lots of statuettes and statues of Sir Walter Scott’s characters are seen on the exterior.

The open spaces on each floor have picturesque views of Edinburgh Castle, Arthur’s Seat and Calton Hill.

Criticism surfaced around the Scott Monument even before its construction. Kemp’s design was criticised as plagiarising Melrose Abbey rather than it being a precedent. After completion, the statue was said to look dwarfish due to its position under the vault. Early visitors also commented the monument having no importance and being a failure as it looked like a Gothic church’s spire stuck on the ground. A once Director of National Gallery of Scotland, Mr. Stanley Cursiter, said the monument was becoming too ‘ugly and old-fashioned’ to attract visitors, although its fame remains high. Despite the criticism, it still remains as one of the country’s well-known structures, attracting more visitors each day with its rich architectural history.

The development of the Scott Monument was a long process. On October 5th 1832, a public meeting discussed a construction of a monument for Sir Walter Scott. A choice between an Egyptian obelisk and a Gothic cross was proposed, where the cross was deemed too costly despite its positive acclaims. Quoting Sir John Hope in December 1835, he suggested, “No architectural monument should be adopted of which a statue did not form a part.

This resulted in a statue being part of the memorial.

A competition to design the memorial was decided in spring 1836. After designing in five days, George Meikle Kemp (1795-1844) entered the competition under the name of John Morvo to avoid discrimination as he had no professional architectural experience. Kemp’s design was mostly influenced from a gothic cross and parts of Melrose Abbey, forming them into a Gothic spire. It was also quoted as a full derivation of Melrose Abbey. As for the statue, John Steell was selected to become its sculptor.

It was unusual as most of the architecture in Edinburgh’s New Town were known to be neoclassical, being called ‘Athens of the North’ due to finding an identity for nationalism reasons in the early 19th century. An example of this ‘Battle of the Styles’ between Gothic and Classical architectural styles is the classical Scottish National Gallery sited at the west end of Princes Street Gardens and the Gothic Scott Monument at the east. Some authors saw the Scott Monument as a rejection to the style of an alien culture (Greek) to question the Scottish identity, urging Scotland to study its own history as the classical style was a symbol of England’s past. However, the Gothic Revival flourished in England in the early 19th century inspired

by A. W. N. Pugin, that also contributed to the ‘Battle of the Styles’ in that period. Nevertheless, the monument’s Gothic style reflects Sir Walter Scott’s writings perfectly and seemed the wiser choice.

In terms of materials, the monument and statue was built of Binny sandstone and Carrara marble respectively. In 1940, the building was closed due to World War II and reopened in 1946, but was then criticised of its stonework’s increasing blackness. Upon discovering that the shale oil in the Binny sandstone caused itself to be black when exposed to air, cleaning attempts were dismissed as it may turn out worse than improved. Over 140 years, ‘plastics’ were used for maintenance of slight decay with various stone types that blended with the stonework’s colour. This distinctive blackened stonework has made its appearance interestingly unique.

All in all, the Scott Monument has been a great importance as a major image of Edinburgh and Scotland. Regarding its primary function as a memorial, this monument has been a great success while being a different but unique style. In conclusion, the Scott Monument truly serves its purpose to acknowledge Sir Walter Scott, being ornamented with his famous characters, built in a Gothic style that was the style portrayed in his writings, having a museum about him and providing a spectacular view of his home, Edinburgh.

31

TECHNOLOGY & ENVIRONMENT: PRINCIPLES

Y1 S2: TE1 ARCH08002

Course Organiser: Kate Carter

Course Description

Reflective Statement

This course introduces you to critical structural, technological and environmental principles that underpin architectural design. It seeks to help you understand not only how buildings need to work functionally to keep their occupants safe and secure, but also how such considerations can produce deeper, more meaningful architecture. You will learn how buildings can be seen as interacting systems and that structural, material and environmental strategies are interlinked.

This course served as my first introduction to the technical aspect of architectural design, I was exposed to the principles of architectural structures, environmental systems, and the use of materials in architecture. The technical report on ECAfe, Hunter Building allowed me to outline the significance of the concepts underlying structural and environmental systems in architectural design through calculations; and the Building Performance project as well, being a medium to apply said understandings on a technical design project. Thus, these exercises improved my knowledge in implementing technical and evironmental strategies that considers the building-user relationship within architectural design (GC 1, 5, 6, 8, 9).

The course will: 1. Introduce students to the technical and environmental aspects of architectural design; 2. Provide an introduction to the principles of architectural structures, environmental systems, and the use of materials in architecture; 3. Outline the significance of the concepts underlying structural and environmental systems in architectural design; 4. Establish the importance of environmental factors within the context of sustainable design.

LO1 Understanding of the key concepts in the physical behavior of structural systems and their application in architecture.

LO2 Appreciation of the integral nature of material assembly and environmental systems to the development of architectural designs.

LO3 Breadth of knowledge and understanding of the principles of architectural structures, material assembly, environmental systems and sustainability in the built environment.

32

1

Technical Report 1 | Technology & Environment: Principles

GC1

Building Hierarchies // ECAfé, Hunter Building

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Y1 S2: TE1

With Anson Leung The first project allows me to develop skills in understanding structural and constructional hierarchies in building design in pairs. Thus, this was an important first stage in my studies to integrate my understanding of building technology with architectural design.

Hunter Building

74 Lauriston Place, Edinburgh

Structural Strategy The building is a non-form active structure. Supported by the discontinuous external load-bearing walls and a grid of columns, there is no axial component of internal force within the structure.

Internal bracing walls, which are attached to one another perpendicularly in plan, act as supplementary supporting structure.

The thick exterior wall provides sufficient weight and distance from its centre of mass to counteract the turning moment by wind to structure. The grid of columns strikes a balance between the abundance of internal space and the support of the live load (load imposed by human activities) and the static load (load imposed by the weight of structure and furniture).

/1

The Hunter Building is a four-storey teaching facility with a basement. Built in 1970, the building features a series of multi-cellular spaces of workshop and studio with a gross internal area of 8242m².

Due to the simplicity of structure, one can safely assume that the building is easy to construct and requires little temporary support during construction. Yet, due to the nature of the structure, there are more connection between structures and a shorter size span.

Skin and Structure The reinforced concrete walls and columns are identified as the main structure of the building with stone claddings and glass windows as the skin.

The structure acts as the load-bearing component of the building while the skin is not resistant to load.

/2

The south wing is mainly supported by the concrete exterior wall despite the series of windows on the south façade.

Columns and interior walls only provide support at the west end of the south wing.

/3

Materials

1/

The Hunter Building entrance

2/

Discontinuity of external load-bearing wall

3/

Load Path Diagram

4/

Stone claddings on concrete (Top), Minor Brick Constructions (Bottom Left), Steel Frame and Glass Window (Bottom Right)

5/

Section and Plan

The exterior walls are composed of concrete reinforced with steel rods. The surface of the concrete is cladded with stone. Nevertheless, the exterior walls are discontinuous and are often inserted with floor-to-ceiling windows for daylight absorption. The steel frame of these windows, which occasionally can be 3-storey tall, provides support to the glass skin, yet are insignificant in terms of the support to the building. Minor usage of bricks can be observed at the staircase from the Lauriston Place entrance.

The interior walls and columns are reinforced concrete. As a highly durable material, concrete is resistant to compression and fire. In addition to its strength, concrete can be moulded to suit specific structural needs.

Plan and Section Analysis

/4

The north wing features a greater width between the two exterior walls which results in a greater bending moment to the ceiling. The floor-to-ceiling windows break the vertical continuity of the exterior wall, rendering it incapable of transferring load back to the ground. Given a multicellular plan of interior bracing walls is not feasible due to the functional need of an open space as a dining place, the grid of columns acts as the main supporting component of the north wing in plan. The grids of columns on each floor are aligned together in section, allowing the load to be directly transferred to the ground.

/5

33

Technical Report 1 | Technology & Environment: Principles

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Y1 S2: TE1 Case Study: Waffle Ceiling Structure

A) Weight per Square Meter of Concrete Slab

B) Bending Moment and Shear Force Diagrams

C) Second Moment of Area I Load per meter, w = 8.05kN

/1

/2

/4

Centre-to-Centre Distance, L = 4500mm = 4.5m

/3 Step 1: Find the Volume

The waffle ceiling construction at the ECAfé is structurally efficient in contrast to the non-form active nature of the building. The waffle ceiling structure allows the building to reach a longer span given the same amount of material. Instead of using a series of internal load-bearing walls, the grid of constructions columns and post-and-lintel constructions provide sufficient support to the multistorey building and form a more spacious environment, granting more freedom to interior treatment.

The voids within the solid floor slabs save materials and most importantly reduce the static load to the structure while providing adequate strength to support the load from above. Due to the rigidity of concrete, the ceiling structure is capable of minimizing the deflection by load thanks to its density and strength. With the supporting action of the columns, the structure can resist load from three orthogonal directions, achieving an equilibrium state.

Volume of a solid slab per meter square:

1.0 x 1.0 x0.45

= 0.45 m³ Volume of a void former:

0.6 x 0.6 x 0.3

= 0.108m³ Thus, volume of a solid slab per meter square with void former:

0.45 - 0.108

= 0.342m³

Given the density of concrete is 2400kg/m³, Mass = Density x Volume

= 2400 x 0.342

= 820.8kg Step 3: Find the Weight Take the acceleration of gravity g as 9.81m/s², Weight = Mass x g

= 820.8 x 9.81

= 8052.048N ≈ 8.05kN

However, without the voids (waffle construction), the weight of the solid floor slab would be: Volume x Density x Gravitational Force = 0.45 x 2400 x 9.81 =10594.8N ≈ 10.6kN ECAfé waffle ceiling structure

3/

Columsn spanning within the ECAfé

4/

Axonometric of concrete waffle slab

Cross-section of concrete waffle slab

Concrete slab is a uniformly distributed load (UDL)

Step 4: Find the Vertical Reaction Forces, Va and Vb As the load is symmetrical (UDL), Va = Vb

Thus, Va = Vb = (w x L) / 2

= (8.0 x 4.5) / 2

= 18.1125kN ≈ 18.1kN

w = 8.05kN/m

Using the second moment of area formula,

w = 8.05kN/m

Due to the slab being non-rectangular, second moment of area is calculated in symmetrical sections:

Step 2: Find the Mass

The weight of the slab is 8.05kN per square meter

1/

2/

Step 1: Sketch a Free Body Diagram

Va

Vb

Step 2: Use the Maximum Bending Moment Formula as Load is Symmetrical (UDL)

Max BM = wL²/8

= 8.05 x (4.5)²/8 = 20.3765625kNm

≈ 20.4 kNm

18.1kN

Step 5: Sketch a Shear Force Diagram

+18.1kN 0 kN

Step 3: Sketch the Bending Moment Diagram

18.1kN

0 kN

For A, I

= bd³/12 = 800 x (450)³/12 = 6 075 000 000 mm ≈ 6.08 x 109 mm

For B, I

= bd³/12 = 600 x (300)³/12 = 1 350 000 000 mm ≈ 1.35 x 109 mm

Thus, I = A- B

= (6.08-1.35) x 10

= 4.73 x 109 mm

-18.1kN

0kNm 20.4kNm (max BM)

This suggests the existence of waffle structure can reduce the weight by 2.55kN per square meter, easing the static load the structure and saving 0.108m³ of concrete per square meter.

34

2

Technical Report 2 | Technology & Environment: Principles

GC1

Building Performance // The Green Stone House

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Y1 S2: TE1

This project provides a platform for me to demonstrate the knowledge and understanding I have gained in the course and apply it to the design of a simple building envelope through design, material systems, U-values, and thermal performance - allowing a prediction of the building’s environmental performance.

1 Design

1

3

5

4

The Green Stone House design is a one-storey house for a person (or couple). The siting of the house is on the Bauks View gardens, with a southeast view of Arthur’s Seat.

The structure and skin are separate, with a timber frame structure and stone cladding as its skin. Being economically friendly, the timber frames have low CO2 emissions compared to steel frames or concrete. The Ecosmart Stone Cladding used is a beautiful, waterproof natural stone with thermal insulation, blending with the stone-surfaced buildings surrounding it. The planted sedum roof responds perfectly to the green grass and trees in the gardens.

2 6

/1

7

1 2 3 4 5 6 7

Entrance Lobby Home Office Wood-burning stove Living Area Kitchen + Dining Bedroom Bathroom

/2

The spatial configuration is simple, the house being divided into two sides by the double-pitched roof, one being the kitchen and living room while the other being the workspace, bedroom and bathroom.

In terms of heating, the house has a passive solar design as the main glazing faces south and allows summer and winter sunlight to enter. This maximises the use of natural light throughout the seasons, saving heating costs. In the day, clerestory windows between the roofs allow sunlight to enter the living room and kitchen that acts as a sunspace, heating the adjacent rooms through thermal transfer when it gets cold. A wood-burning stove is also placed in the living room for extra heating.

Planted Sedum Roof

Clerestory Windows /3

To conclude, the Green Stone House is an all-in-one small living space that responds to its surroundings perfectly by utilising sunlight and its environment.

Double-pitched Roof

Stone Cladding

1/ Site Plan

2/ Plan 3/

West Elevation

4/

South Elevation

5/

Axonometric Drawing

/4

/5

35

Technical Report 2 | Technology & Environment: Principles

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Y1 Y1S2: S2:TE2A TE1 2 Material Systems

Stage 2 Material Systems : Calculate U Value : Wall This is a simplified U value calculator. It is less complex than those used in industry but gives accurate predications of a building element's thermal resistance.

Instructions for Use: Only provide information for those cells coloured green.

You only need to enter the number of building materials in your chosen construction.

Enter the following constant values for surface resistances: internal resistance= 0.12 m2/KW [wall], 0.10 m2/KW [roof] external resistance= 0.04 m2/KW, If the construction has an unvented cavity: surface resistance = 0.18 m2/KW

If your construction element is not framed: use this spreadsheet only.

U Value Calculator : Non framed wall construction

3 Thermal Performance

0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.04

0.00

If your construction element is framed: use the spreadsheets below.

enter name that describes your building construction Building Element NameTimber Frame Wall with Stone Cladding CONDUCTIVIT thickness RESISTIVITY YK value of of material R value of material material mK/W /m W/mK INSIDE name of building material surface resistance on internal face building material 1 Ecosmart Stone Cladding 0.027 37.037 0.056 building material 2 Aluminium Tie (Cavity) 205.000 0.005 0.020 building material 3 Breathing Membrane 0.000 0.001 0.140 0.140 0.000 0.140 0.160

Enter the following constant values for surface resistances: internal resistance= 0.12 m2/KW [wall], 0.10 m2/KW [roof] external resistance= 0.04 m2/KW, If the construction has an unvented cavity: surface resistance = 0.18 m2/KW

Instructions for Use: Only provide information for those cells coloured green.

You only need to enter the number of building materials in your chosen construction.

U Value Calculator : Non framed roof construction

RESISTANCE R value of element/m2K/ W

Timber Frame Wall with Stone Cladding U Value Calculator : Framed wall construction: U value through frame element

Sterling OSB/3 Sheathing Board Softwood Studs VCL Timber Battens (Service Void) Plasterboard

This is a simplified U value calculator. It is less complex than those used in industry but gives accurate predications of a building element's thermal resistance.

If your construction element is not framed: use the spreadsheet below. If it is framed use spreadsheet below this one

enter name that describes your building construction Building Element Name CONDUCTIVIT thickness RESISTIVITY YK value of of material R value of material material mK/W /m W/mK INSIDE name of building material surface resistance on internal face building material 1 building material 2 building material 3 building material 4 building material 5 building material 6 building material 7 building material 8 building material 9 building material 10 surface resistance on external face OUTSIDE if internal cavity enter surface resistance here U value through building element in W/m2K

building material 4 building material 5 building material 6 building material 7 building material 8 building material 9 building material 10 surface resistance on external face OUTSIDE if internal cavity enter surface resistance here U value through building element

Stage 2 Material Systems : Calculate U Value of Roof

7.143 7.143

0.012 0.300 0.002 0.038 0.012

7.143 6.250

INSIDE name of building material surface resistance on internal face building material 1 building material 2 building material 3 building material 4 building material 5 building material 6 building material 7 building material 8 building material 9 building material 10 surface resistance on external face OUTSIDE if internal cavity enter surface resistance here U value through building element in W/m2K

CONDUCTIVIT YK value of RESISTIVITY thickness material R value of of material W/mK material mK/W /m

RESISTANCE R value of element/m2K/ W 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.00 0.04

0.00

Pitched Green Roof with Rafters U Value Calculator : framed roof construction: U value through frame element

If your construction element is framed: use this spreadsheet below.

enter name that describes your building construction Building Element NamePitched Green Roof with Rafters

RESISTANCE R value of element/m2K/ W 0.12 2.07 0.00 0.00 0.09 2.14 0.00 0.27 0.08 0.00 0.00 0.04

0.18 in W/m2K

enter name that describes your building construction Building Element Name

0.20

INSIDE name of building material surface resistance on internal face building material 1 Sedum Planted Roof Oldroyd XV Green Drainage building material 2 Layer building material 3 Waterproof Membrane building material 4 Softwood Board (Decking) building material 5 Softwood Rafter Kingspan Kooltherm K107 building material 6 Pitched Roof Insulation Board building material 7 VCL building material 8 Plasterboard building material 9 building material 10 surface resistance on external face OUTSIDE if internal cavity enter surface resistance here U value through building element in W/m2K

CONDUCTIVIT YK value of RESISTIVITY thickness material R value of of material W/mK material mK/W /m

RESISTANCE R value of element/m2K/ W

1.000

1.000

0.060

0.10 0.06

0.150 0.000 0.140 0.140

6.667 7.143 7.143

0.020 0.002 0.022 0.225

0.13 0.00 0.16 1.61

0.050 0.002 0.012

2.78 0.00 0.08 0.00 0.00

0.018 0.000 0.160

55.556 6.250

0.04

0.18 0.19

U Value Calculator : framed wall construction: U value through cavity element

U Value Calculator : framed roof construction: U value through cavity element

enter name that describes your building construction Building Element NameTimber Frame Wall with Stone Cladding CONDUCTIVIT thickness RESISTIVITY YK value of of material R value of material material mK/W /m W/mK INSIDE name of building material surface resistance on internal face building material 1 Ecosmart Stone Cladding 0.027 37.037 0.056 building material 2 Air Gap (Cavity) 0.000 0.020 building material 3 Breathing Membrane 0.000 0.001

enter name that describes your building construction Building Element NamePitched Green Roof with Rafters

building material 4 building material 5 building material 6 building material 7 building material 8 building material 9 building material 10 surface resistance on external face OUTSIDE if internal cavity enter surface resistance here U value through building element

Sterling OSB/3 Sheathing Board Blown Mineral Fibre Insulation VCL Air Gap (Service Void) Plasterboard

0.140 0.035 0.000 0.000 0.160

7.143 28.571

0.012 0.300 0.002 0.038 0.012

6.250

RESISTANCE R value of element/m2K/ W 0.12 2.07 0.02 0.00 0.09 8.57 0.00 0.04 0.08 0.00 0.00 0.04

0.18 in W/m2K

0.09

U Value through Framed Element

2 0.20 W/m K

U Value through Cavity Element width of Frame Element width of Cavity Element frame spacing

0.09 0.05 0.55 0.60

Combined U value

2 0.10 W/m K

2 W/m K m m m

Now go to Stage 2 Materials Systems : Calculate your Roof U value

Wall U-Value: 0.10W/m2K

INSIDE name of building material surface resistance on internal face building material 1 Sedum Planted Roof Oldroyd XV Green Drainage building material 2 Layer building material 3 Waterproof Membrane building material 4 Softwood Board (Decking) Air Gap (Cavity between building material 5 rafters) Kingspan Kooltherm K107 Pitched Roof Insulation Board building material 6 (between rafters) Kingspan Kooltherm K107 Pitched Roof Insulation Board building material 7 building material 8 VCL building material 9 Plasterboard building material 10 surface resistance on external face OUTSIDE if internal cavity enter surface resistance here U value through building element in W/m2K

CONDUCTIVIT YK value of RESISTIVITY thickness material R value of of material W/mK material mK/W /m

1.000

1.000

0.060

0.10 0.06

0.150 0.000 0.140

6.667 7.143

0.020 0.002 0.022

0.13 0.00 0.16

0.050

0.05

0.000

0.018

55.556

0.175

9.72

0.018 0.000 0.160

55.556

0.050 0.002 0.012

2.78 0.00 0.08 0.00

6.250

0.04

0.18 0.08

U Value through Cavity Element width of Frame Element width of Cavity Element frame spacing

2 0.19 W/m K 2 0.08 W/m K 0.05 m 0.40 m 0.45 m

Combined U value

2 0.09 W/m K

U Value through Framed Element

Now go to Stage 3 : Thermal Performance

RESISTANCE R value of element/m2K/ W

Roof U-Value: 0.09W/m2K

Assessment

Possible Improvements

The Green Stone House has an SAP rating of 79, which is good as having a 100 rating means having zero energy cost.

There are a number of ways for The Green Stone House to improve and reach the target standard.

One of the factors affecting SAP ratings is the structural elements. The thick, continuous insulation throughout the walls and roofs results in U values of 0.10W/m2K and 0.09W/ m2K respectively. These very low values means the house is having good heat insulation. Thus, lower energy cost is needed to heat up its internal spaces. The next factor is the heating and hot water system. The use of condensing gas boilers as the main heating system is very effective especially in saving cost. Also, having a wood-burning stove for extra heating is beneficial as it has very low C02 emissions. Another factor is internal lighting. As the house is south facing, the spaces are mostly lit by natural sunlight throughout the year, which contributes to less use of artificial lights.

As seen on the plan, the house should be receiving high amounts of solar gain as it is south-facing. However, the glazing areas are not that large. A way to increase solar gains would be orienting more glazing southwards and increasing the areas of glazing in the said direction. Also, no rooflights were incorporated in the design, where they are very useful to allow sunlight into the house. More solar gain will result in less energy demand.

However, despite the good SAP rating, the energy demand still exceeds the target demand, reaching only 53% of the target.

This needs to be revised properly for a better building in terms of energy-saving. Thus, the house can be considered a ‘passed’ building but it can be improvised.

Next, the internal spaces of the house are too big as some areas are unnecessary and a waste, especially the spacious living space. Large volumes of internal space result in high energy demand for heating. Therefore, the spatial configuration can be altered to increase its efficiency, as the building houses only a maximum of 2 people, not an average-sized family.

Another way to improve the house’s performance is by increasing its insulation thickness. Some improvements in the use of heating systems can also be done, such as installing solar panels. The use of renewable energy can greatly improve the SAP rating of the house.

36

Technical Report 2 | Technology & Environment: Principles

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Y1 S2: TE1

3a Key Data

3b Heat Loss via Fabric

3c Heat Loss via Ventilation

3d Heat Gains

A: Key Data

B: Heat Loss - Fabric

The first section of this worksheet asks you for some key data about your project. Information that requires input from yourself is shaded in green whilst values calculated by the spreadsheet are shaded in yellow. Make sure you have key dimensions, areas of different building elements and the thermal properties of your building materials to hand before embarking on this.

Section B deals with heat loss through the building fabric such as walls floors and roofing Section C deals with heat loss through ventilation, infiltration and exfiltration.

This package is based on the UK government SAP 2009 calculation method but has been simplified fo use in an educational context.

You should input values in the table below based on the design of your building. building services infiltration this section examines air loss through the building due to open You should know all the relevant element areas - remember to subtract doors & windows from wall and roof areas. You should have U values for all the main building elementschimneys, of flues and extract fans. your design.

student name

student name building name building location

Aiman Bin Azman

building name

Green Stone House

Fabric Heat Loss

building location

Brown Street, Edinburgh

element doors

enter number of storeys

1

windows (type 1)

enter number of sides protected

2

if your building is protected by an adjacent tree shelter belt or other buildings

enter the number of sides of the building that are protected you should enter the internal floor areas of your building and then the internal volume of the heated part of the building volume/m3 area/m2

ground floor optional first floor optional second floor optional third & others

45.50

156.98

Aiman Bin Azman Green Stone House Brown Street, Edinburgh

ground floor

area/m2 U value/W/m A x U/ W/K 1.89 1.50 2.84 12.12

4.45

walls : unframed

total floor area/m2

45.50

dwelling volume/m3

roof framed construction only

18.18

0.15

72.49

0.10

0.67

total area of elements/m2 total fabric heat loss W/K

steady state design temperatures these are set design temperature reflecting common internal and external conditions in winter

enter internal temperature

20.00 C

enter external temperature

-1.00 C

to proceed, click on the tab below marked 'B' fabric loss

This package is based on the UK government SAP 2009 calculation method, but simplified for use on an educational project.

Aiman Bin Azman Green Stone House Brown Street, Edinburgh

7.14

0.00

m per hour

number of chimneys

1

x40

3 40.00 m /hr

number of open flues

0

x20

3 0.00 m /hr

number of fans or vents

2

x10

3 20.00 m /hr

infiltration due to chimneys flues and fans

0.09

5.57

building fabric infiltration this section examines air loss though gaps in construction joints, windows external doors and compensates for whether the building is sheltered.

this indicates the rate of heat loss for every degree temperature difference between inside and outside.

from section A

internal air temperature

-1.00 C 20.00 C

from section A

total fabric heat loss/W

722.32 W

this indicates how much heat loss is experienced by the building through the building fabric at the above external and internal temperatures

to proceed, click on the tab below marked 'C' ventilation loss

Total fabric heat loss: 722.32W

1.51

lights, appliances, cooking & metabolic

309.32 W

this sum is worked out for you based on the size of your building

from water heating/W

61.29 W

this is heat from the buildings hot water system calculated on building size

total internal gains/w

370.62 W

For overshadowing, enter 'A' for heavy (>80%), Enter 'B' for moderate (60-80%) Enter 'C' for average or unknowng (20%-60%), Enter 'D'for minimal (20%) glazing orientation overshadowi glazing heat gains area/m2 ng

you should enter either 0.25 for steel or timber frame: 0.35 for masonry construction if there is no draught lobby to the building enter the value 0.05 here

total solar gains/W

additional infiltration

1 0.00 A.C.H 0.25 A.C.H

draught lobby?

0.05 A.C.H

window infiltration

0.00 A.C.H

C

1.6

20.10

B

0.7

10.21

C

7.52

234.51

D

2.3

62.10

326.91 W

this assumes 100% draught stripping

total infiltration rate external air temperature

internal gains

north north east east south east south south west west north west rooflights

structural infiltration

34.40 W/K

Aiman Bin Azman Green Stone House Brown Street, Edinburgh

passive solar gains

this takes into accoun the height of the building through the number of storeys 2 153.95 m

student name building name building location

This section calculates energy gains from passive solar radiation based on window size & orientation.

It does not however take into account unheated conservatories that should be ignored.

You should enter the glazed areas of your building according to orientation.

number of storeys in building 63.00

Section D deals with heat gains to the building from people, machines, lighting in addition to passive solar gain.

3

expressed in air changes per hour 0.38 A.C.H air loss in buildings is normally expressed in terms of air changes per hour

optional other 3 156.98 m

D: Heat Gains

60.00 m3/hr

0.00

roof unframed either constructions only or

1.50 1.50 1.50

either constructions only or walls : framed

constructions only

student name building name building location

number

optional windows (type 2) optional rooflights

overall dwelling dimensions

C: Heat Loss - Ventilation

0.68 A.C.H

number of sides of building sheltered from section A

shelter factor

2 0.85

to proceed, click on the tab below marked 'E' heating demand

Total internal gains: 370.62 W Total solar gains: 326.91 W

this is a correction value to take into account how shetered the site is

adjusted infiltration rate

0.58 A.C.H

effective air change rate

0.67 A.C.H

Where ACH is low, this corrects infiltration rate to reflect measured behaviour

total ventilation heat loss: W/K

34.61 W/K

this is calculated as Ventilation Heat Loss = 0.33 x n x V where 0.33 is a correction factor, 'n' is the air change rate & V is the building volume

to proceed, click on the tab below marked 'D' internal gains

Total ventilation heat loss: 34.61 W/K

37

Technical Report 2 | Technology & Environment: Principles

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y1 S2: TE1

3e HeatingDemand Demand E: Heating Section E summarises the heating demand for your building through a calculation of heat loss and also heat gain

Aiman Bin Azman Green Stone House Brown Street, Edinburgh

student name building name building location heat loss fabric heat loss

34.40 W/K

1.51

3f Heating Systems F: Heating Systems

ventilation heat loss

34.61 W/K

From section C, this is the heat lost through gaps in construction, windows, chimneys & flues

total heat loss

69.01 W/K 2 1.52 m

heat loss parameter

This is the total heat lost per square metre are of the building

heat gains

From section D

interal gains solar gains

370.62 W 326.91 W

total useful gains

697.53 W

internal temperature

code 0 1 2 3 4 5 6 7

type no system electric storage heaters gas fire [open] gas fire [closed] open coal fire woodburning stove gas boiler condensing gas boilers

0.01 100 63 72 37 65 75 94

10.11 C

These are the heat gains of the building expressed as a temperature value to be 'set off' against the design comfort temperature when calculating the amount of heat required in the building

9.89 C

heating demand

base temperature' is the range needing heat to bring the building up to the designfabric comfort heat temperature loss

ventilation heat loss degree days 860 internal gains This is a conversion factor taking account of UK climate characteristics allowing calculation solar gains of

0 8.00 4.50 4.50 3.00 5.00 4.50 4.50

0.00 0.42 0.19 0.19 0.29 0.03 0.19 0.19

internal gains ventilation heat loss 1

fabric heat loss heating demand

-400.00

-200.00

0.00

200.00

400.00

600.00

800.00

2

The SAP rating for your building is:

enter code from table 'A' - heating systems efficiency of main system

7 94 %

if you have a secondary fire, then enter code from table 'A' - heating systems efficiency of main system

5 65 %

pass fail

79

1

79%

poor very poor

Good SAP Rating 0

space heating requirement - main system space heating requirement - secondary fire

1364 kWh/year 219 kW/h/year

water heating energy required for water heating

1718 kW/h/year

This is calculated for you based on the size of your building.

20

40

60

80

100

120

This compares your building with current best practice comparisons your building good practice % of target Energy Demand/kWhr/yr 1583 840 53% Energy Cost £ 214.29 £ 161.47 75%

CO2 Use The total amount of CO2 your building emits in a year through energy use for heating and lighting. It does not account for energy used in the construction of the building - this is known as embodied energy .

Your building CO2 consumption is: Your DER is:

solar gains

-600.00

The energy cost factor for this building is:

The 'energy cost factor' calculates your SAP score as a combination of energy efficiency & fuel cost based on the data amassed from your building. It is expressed as a fractional number.

good fair

1424 KWhr/year

heating demand breakdown

-800.00

SAP Rating SAP is short for 'standard assessment procedure' that rates new housing in the UK.

my building excellent

1 0.1

an annual space heating requirement.

space heating requirement

G: Ratings and Summary

Section H summarises your building performance

emissions: kgCO2/kWh efficiency: % fuel price:p/kWh

select your main heating system

From section A: this is the design comfort temperature for your building

base temperature

student name Aiman Bin Azman building name Green Stone House building location Brown Street, Edinburgh table 'A' heating systems

does your building have an open fire or stove?

Enter 1 for yes, 2 for no. fraction of total heating from secondary fire

20.00 C

intenal temperature rise from heat gains

Section G deals with heating system characteristics in terms of efficiency, fuel cost & emissions

CHART 1 fabric heat loss ventilation heat loss

From section B, this is the heat lost through walls, floors, roofs, windows etc.

Summary

CO2 emissions - from your building over the year space heating - main system 265 kgCO2/year space heating - secondary fire 5 kgCO2/year hot water heating 333 kgCO2/year lighting 86 kgCO2/year Fuel costs for your building for the year space heating - main system £109.10 space heating - secondary fire £10.96 hot water heating £77.31 lighting £16.93 total energy cost

per per per per

690 KgCO2/year 15

DER stands for 'dwellings emissions rate' that calculates CO2 use per square metre of your building.

SAP rating for new housing in the UK: 79 (GOOD) Dwellings Emmisions Rate (DER): 15

year year year year

£214.29 per year

to proceed, click on the tab below marked 'F' heating systems

Space heating requirement: 1424 kW/h/year

Energy required for water heating: 1718 kW/h/year Total energy cost: £214.29 per year

38

EXTRA-CURRICULAR ACTIVITIES: SUMMER VOLUNTEERING

Y1 S2: EC1

Refugees Community Volunteer Madrasah Hashimiah, Malaysia Organiser: Kindness Malaysia Date: Jul 2017 (9 days) Cause:Human Rights

Reflective Statement /Restructuring the office layout

I volunteered for 1 week in helping a school for Myanmar refugees (Rohingyan) at Selangor, Malaysia by restructuring and redesigning the school’s corporate identity and its office layout under supervision of the responsible NGO, Kindness Malaysia. I developed personal and public awareness on the current state of refugees, and the importance of human rights. /Corporate Identity Rebranding Strategy: Proposed a thematic brand toolkit of letterheads, cover photos, and templates to be used by the organisers

/A new Wall of Appreciation (for donors etc)

/New pantry for the employees and refugees alike

/New organised office space for working comfort

Media Head Director (Committee) CHANCE 2017: Jelajah Pangkor, Malaysia Organiser: Malaysian National Committee UK Date: Jul 2017 (1 week) Cause: Social & Community Service

Liaison

Lead designer and photographer for banners, posters, T-Shirts and gifts as the Media Director for a volunteering programme that reached out to the poor families, school children and the community in Pulau Pangkor, Malaysia.

I acquired first-hand experience on event management, cooperation among committee members and liaison with management and community leaders.

/Designed the event’s identity through the logo and banners with a heart theme and a pastel colour pallette.

/Working with the state’s governing body, this event was endorsed by the Chief Minister of Perak, Malaysia.

/The act of giving whilst having a sense of community with the Pulau Pangkor residents.

/Leading a mural painting activity for a school in creating a lively area for the schoolchildren

/One of the events was a Charity Colour Run, where I was part of the photography team.

/Whilst being part of the committee, I worked together with the volunteers as well in helping out the Pulau Langkawi villagers.

Media Co-Director (Committee) MTD 2.0: Langkawi, Malaysia

Completing my 1st year studies, I got involved in three volunteering events back home in Malaysia during the summer, being both as a volunteer and as the organising committee.

Applying my architectural knowledge in spatial relationships during restructuring and redesigning the Refugee School’s office layout, it was my first exposure in applying architectural design thinking in a real-life situation - necessary spatial qualities, circulation, office comfort, etc (GC1). As the organisers were pleased with the results, I had a boost in confidence with my architectural designdriven decisions.

Utilising my graphic design skills, I also helped the team propose a Corporate Identity Rebranding Strategy for the Refugee School organisers to use - a thematic brand toolkit of letterheads, cover photos, and templates to be used by the organiser - to attract more donors and raise human rights awareness. Alongside that, leading the multimedia team as Media Director and Co-Director in two other volunteering events has also sharpen my graphic design skills and helped me understand its importance in communicative methods and media to present design proposals clearly and effectively (GA 2).

In conclusion, being involved in these events has improved my confidence in architectural design thinking, as well as providing a medium to apply those knowledge in real-life situations.

Organiser: Biro Pelajar Luar Negara (BPLN) Date: Aug 2017 (1 week) Cause: Social & Community Service Successfully led mural painting activity at a school and in charge of principal photography throughout the outreach programme that benefited the villagers in Pulau Langkawi, Malaysia. I acquired experience on team management and developed personal soft skills.

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SEMESTER 1 AD2a ARCHITECTURAL DESIGN: IN PLACE FF ELECTIVE: FOUNDATION FRENCH LANGUAGE 1 TE2a TECHNOLOGY & ENVIRONMENT: BUILDING ENVIRONMENT

YEAR 2

2017-18 SEMESTER 2 AD2b ARCHITECTURAL DESIGN: ANY PLACE AH2b ARCHITECTURAL HISTORY 2B: CULTURE & THE CITY TE2b TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

40

ARCHITECTURAL DESIGN: IN PLACE

Y2 S1: AD2a ARCH08007

Course Organiser: Douglas Cruickshank

Course Description

Reflective Statement

First year architectural design, Elements & Assembly, examined ways in which architecture is indebted to its own means of construction; it introduced students to a tectonic vocabulary and a range of materials and building systems. Architecture conceptually is an intriguing enquiry of the mind. How to produce a building from one’s own ability as a hard ask, it will bring with it huge rewards and is essentially a creative act.

This course has been challenging. Moving away from ‘basic’ representations of ground, wall, frame and canopy, making 5 research models per week has been tiresome as every model is heavily conceptually driven in representation. Thus, this conceptual research eventually informs the concept for the Architecture School project, together with that of my groupmates’. Being in a group of only 3 people was also daunting because other groups had up to 6 people. I knew our workload would be much more compared to others, but we would have much less arguments between us. Thus, I learnt how cooperation and teamwork is essential in designing, especially considering real-life situations within the architectural profession. As none of the people in my group knew how to use CAD, I volunteered to learn and create digital drawings. This has been greatly beneficial as the knowledge I got benefitted the whole team as well as a personal skill enhancement.

In Place followed by Any Place begins my search for what is architecture and how I relate to that search. In Place picks up far more complicated themes to what makes an architecture. In researching different aspects of what an architecture can have, I had the opportunity to learn and begin to incorporate my personal interpretation of what architecture is.

LO1

Throughout the Architecture School project, we had a few bumps along the way, with a loss of coherence of our concept towards the final review. Having a tutor who specialises in conceptual challenges, this has helped me understand and appreciate the importance of having a constant concept throughout the design process. As a group, we eventually looked back at our initial design concepts and further accentuate its presence in the final submission, especially mt ‘tears in space’ concept that utilises deconstructivism (GC 3). In the end, it paid off. Thus, I learnt that a strong concept or theory behind a design is crucial and essential in creating architecture.

Nevertheless, this course has taught me a lot about the design process. Several key knowledge regarding tectonics were acquired, as we researched further about the site context: Edinburgh Castle Rock, pedestrian movement as well as ‘vistas’, together with the ‘geological lines’ concept - making the Architecture School being truly ‘in place’(GC 1, 5, 7). All in all, these knowledge I gained is being put in good use towards the future.

Investigate through design-research architectural and urban issues that impact on architectural design decisions.

LO2 Respond to brief and site by synthesizing a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

LO3 Effectively explore and communicate design ideas and propositions, articulate by visual means an architectural argument, individually and in teams, in a range of digital and analogue formats.

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1

Design Project 1 | Architectural Design: In Place

GC1

Thinking Through Models

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S1: AD2a

The course started by thinking through models. Every four weeks I would present models with specific themes, where these ‘Architectonics’ would inform the design strategy for the upcoming Architecture School project. /1

/1

/2

/2 /3

/3

/5

/5 /4

/4

1 Form & Space

2 Organisation

1/ Quick Mass:

Here, fundamental shapes of a circle and a square intersect one other, constructing quick masses of volumetric spaces.

1/ Hollow Blocks:

Stacking cubes onto each other, this model helped me to be aware of the spaces created from having openings and why organisation of spaces is crucial.

2/ Visual Tension:

The model explores the visual tension created from columns. The further the distance between columns, the weaker the visual tension, creating a welcoming open space, whereas closer columns create stronger visual tension, creating an enclosed space.

2/ Solid Blocks:

The density and different shades of colour added depth to the spaces when organised and joined together. The cantilevered spaces generate a partial enclosure or shelter.

3/

This model gives a general idea of how positive and negative spaces work.

3/ Push and Pull:

I explored the potential of pushing and pulling solids into the creation of a legitimate building in real life. With careful organisation, the model has a good sense of stability and firmness, which is crucial for any building.

4/ Trilaterals:

These triangular planes were quite difficult to organise, especially in maintaining the continuity of the structure by joing the sides onto each other.

5/ Texture Functionality:

Here, I explored how textures can affect the ways spaces can be organised. These wooden blocks have interesting textures in their cross-sections due to the trees’ growth rings. I juxtaposed these blocks in a way how the textures reflect its functions. For example, the two cuboids with vertical lines act as legs, carrying the weight of the triangular blocks above.

Negative Space:

4/ Clashing Composition:

The curvilinear features allow the person in the space to follow the intended path whilst the orthogonal vertical walls then provide a space to stop during the journey. This study shows that different forms can create intriguing spaces when blended together.

5/ Tears in Space:

By cutting and folding, the different heights and volumes occupied by the folded planes create unique and distinct spaces. Its ability to flip upside-down creates an entirely different form, especially when light goes through, creating shadows.

42

Design Project 1 | Architectural Design: In Place

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S1: AD2a

/1

/1

/2

/2

/3 /4

/3 /4

/5

3 Circulation

4 Scale & Proportion

1/ Moving Upwards:

The poles and wire were placed in a vertical manner, ascending upwards. This signifies a circulation in a building, where there is movement that goes upwards.

2/ Urban Flows:

This model represents the urban circulation of Edinburgh. This city is central to different intensities of movement. The round shape of the model depicts this. Also, the use of similar but different materials (different wire thicknesses & contrasting black & white cards) portrays the different flows of movement by different mediums.

7N Architects Studio Circulation

3/ Spatial Motion:

I observed how a professional architecture firm studio is organised and more importantly, its circulation. This initial model is an abstractive representation of the studio, with a line depicting the circulation throughout.

4/ Simplification:

As a development model from the previous representation, I solely focused on the public circulation in teh studio. The public could only access the entrance and the top floor as they are not allowed to enter the working area, as depicted by the model.

1/

Triangular Folds:

The folding creases givesout different spatial impressions when viewed in different scales.

2/ Triangular Frames:

In this model, triangle cut-outs with different sizes were positioned and arranged in a jumbled manner. This complex arrangement gives out a sence of varying scales due to the different heights and widths of the triangular frames.

3/ Irregular Scales:

In a centralised position, irregular triangular folds were joined together. This created a balanced use of curves and edges, with consideration of scale and proportion.

4/ Gradual Increments:

The gradual increment of scale creates a rhythmic space, providing an interesting journey throughout.

5/ Shell of the Moment:

Representing a moment in time by considering the scale and proportions of the human body, tI used time-lapse photos of myself running and jumping in a straight line Looking at the proportions of my own body carrying out the actions led me to develop a series of abstractive representations. This wave-like feature is derived from the momentum of my body right before the jump and the force that drives my body down back to the ground.

43

2

Design Project 2 | Architectural Design: In Place

GC1

Architecture School

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S1: AD2a

Groupwork with Ewan Malloch & Jemma Brown The project is expected to develop from the analysis of models and site analysis.

Knowledge of the physical conditions of the site, the social and cultural makeup of the school population, should feed into the design itself. The chosen site neither requires complete submersion of the proposed building in its environment nor suggest complete autonomy of the singular building. Instead, some level of negotiation is suggested, enabling a certain freedom for the design, but yet requires some level of accommodating the local.

The project is particularly interested in developing the my skills in the laying out of a building: circulation and access systems; communal and public spaces; considerations of function and use; spatial organisation.

The designs are expected to suggest spatial qualities and functional rigour; to consider inhabitation as a social act; and to account for the building’s relation to its locus- being in place.

1/

2/

Site Plan

3/

Site Section AA

4/

Site Section A’A’

5/

Site Section BB

6/

Panoramic view from NCP Car Park

The Place NCP Car Park, Edinburgh

Castle Terrace, Edinburgh

The site we worked on for our architecture school project is a multi-storey car park known as the NCP Car Park Edinburgh Castle Terrace. The car park is a huge space and has interesting surroundings. The best part of the site is its section. The car park acts as a divider and connector between two different roads of different levels; the Castle Terrace (above) and King’s Stables Road (below). The difference of height is from 9m to 12m.

From the Castle Terrace level, the Castle Rock can be seen directly without any obstruction. I believe that a beautiful vista is a bonus feature for an architecture school where students can have beautiful views and sceneries when working.

/3

The magnificent Edinburgh Castle can be seen directly on the North-East direction, providing a beautiful vista from the site.

As seen from the sections on the right, the Castle Terrace level has a slight slope.

This is mainly due to the contour lines adapted from the Castle Rock.

/4

NCP Car Park view from King’s Stables Road

We were given unlimited freedom on redesigning the site. We can decide to remove the car park in its entirety and even redesign the landscape such as the steepness of the slopes of the different levels. Also, we have no restriction on just designing our architecture school only on the car park. The school can be located on the gardens below the Castle Rock as well.

/2 B

A

/1

/5

/6 B

A

44

Design Project 2 | Architectural Design: In Place

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S1: AD2a The Typology Individual Proposals

Geological Lines

Spatial Arrangement

As a group, each of us proposed one of our previous models that we believe can be juxtaposed with one another, and blend with the site context in forming an architecture school.

We found a similar concept from all three proposals: Lines.

When thinking about organisation and circulation, adjacency diagrams work best. We first classified the spaces from the brief into two: Public and Private.

From here on, a number of options were proposed to get a general understanding of the organisation and circulation in our architecture school.

My proposal

Looking back at the fundamentals of designing, everything has lines including the sky, the ground, and even movement.

As simple as it may seem, a line can do all sorts of wonders. A line cuts, binds, extends, contracts, splits, connects and can even create cracks on the ground.

/Circulation Models

/Plotting urban lines in Edinburgh and Scotland through the site

/Tears and Folds Ewan’s proposal

/Geological lines of the Castle Rock

/Circulation Through Ramps Jemma’s proposal

/Adjacency Diagrams

After we plotted and drew the lines from the surroundings, we picked a few major lines such as the viewing lines from the Castle Rock and motion lines of pedestrians walking along Castle Terrace everyday. We then shaped spaces by cutting and folding the lines just like my ‘tearing’ model.

/Typlogical Models

/Interlocking Spaces

/Tears and folds of the geological lines

/Spatial layout sketches in plan and section derived from the geological lines

45

Design Project 2 | Architectural Design: In Place

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S1: AD2a The Architecture School

/5

/1 Design Studios

Studios are publicly seen along the Castle Terrace, with a large inviting ramp down towards its -1 Floor public cafe and exhibition halls.

/2 Cafe, Exhibition, Crit & Seminar Rooms

/3 Workshops, IT Lab, Indoor & Outdoor Social Areas

/6

/4 Library, Cafe, Social Area, & Lecture Hall

B

A

The -2 Floor is more private, with workshops and IT labs for students and workers alike.

Along the Kings Stables Road, the -3 Floor invites people into its library, cafe and lecture hall (for public lectures).

/7

1/

2/

GF Plan (Castle Terrace)

3/

-2F Plan

4/

-3F Plan (Kings Stables Road)

5/

Site Section BB

6/

Site Section AA

7/

Site Plan with Lines

8/

Lifestyle Render

Being folded and shaped by the geological, visual and motion lines through the site, ramps dominate the circulation within the architectural school, inside out. As seen on the Lifestyle Render above, outdoor ramps provide direct circulation between King’s Stables Road and Castle Terrace.

-1F Plan

In Place All in all, the architectural school folds and stands within this network of geological, visual, and motion lines from the Castle Rock, pedestrian movement through both King’s Stables and Castle Terrace roads, as well as views towards the Castle truly being ‘in place’.

A B

46

TECHNOLOGY & ENVIRONMENT: BUILDING ENVIRONMENT

Y2 S1: TE2a ARCH08028

Course Organiser: Michael Lewis

Course Description

Reflective Statement

TE2A: Building Environment examines building design in relation to exterior and interior environmental performance. Building on the Stage 1 courses ‘Technology and Environment: Principles’ and ‘Architectural Design: Assembly’, the course develops skills and abilities to assess, analyse and design buildings in relation to exterior environmental conditions. These include microclimate modification, energy and water conservation and integration with landscape as well as interior conditions such as natural and artificial lighting control, acoustic performance, and ventilation strategies.

This course has provided me further understanding on environmental strategies in architectural design - in terms of siting, orientation, lighting, wind patterns, materiality, construction and more, expanding my knowledge from previous courses in Architectural Design as well as Technology and Environment: Principles (GC 5, 8).

The course places emphasis on designing for passive environmental performance, but introduces mechanical systems as a supplement. The course also examines the application of sustainable building practices, including qualitative and quantitative assessments of environmental performance. Case study project site visits and design-based coursework place emphasis on design integration and applying theory to practice.

The first assignment introduced me to the Wikihouse system, which taught me about new ways of construction systems through digital fabrication, with its associated environmental and technical benefits. The Microclimate Pavilion project then allows me to consider environmental strategies in architectural design through solar, ventilation, water and sound devices in creating a microclimate building to achieve internal conditions of comfort and protection against climate conditions (GC 1, 9). This course thus provides the basis knowledge in applying environmental strategies for my eventual Architectural Design: Tectonics project in 4th year.

LO1 Apply key interior and exterior environmental principles in the development, testing and analysis of architectural designs using appropriate visual techniques.

LO2 Recognise key interior and exterior environmental principles in a design project or case study, and communicate these concerns using appropriate visual techniques.

LO3 Demonstrate an awareness of key environmental principles in architectural design and critically reflect on this learning throughout the course and in the assessment tasks which are given.

47

1

Technical Report 1 | Technology & Environment: Building Environment

GC1

Environmental Case Study // Fountainbridge Wikihouse

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S1: TE2a

This report asks me to investigate and analyse the successes and failures of one of two Wikihouse projects with connections to ESALA. From this diagnostic analysis, Alongside creating a basic overview of the WIkiHouse building method, I drew my own environmental sections and completed a detailed environmental analysis of my selected case study, which is the Fountainbridge Wikihouse. The report ends with a microclimate performance summary.

Fountainbridge Wikihouse, Edinburgh

1 Wikihouse Building Method

2 Site Climate Analysis Fountainbridge, Edinburgh

Spacers sssembly

Pegging frames

Foundation soles

Frame component + Polysterene insulation

Membrane installation

+ Spacers + Frame component

This area in Edinburgh is a short walk west from the city centre, with the Union Canal ending here at the Lochrin Basin. Fountainbridge, and Edinburgh as a whole, experience steady climates with few extremes of temperature and adequate precipitation throughout the year. Precipitation readings stretch throughout the year, reacting to the changing location and intensity of the storms. The generous precipitation is dependable and frequent.

Fog is normal during the autumn and winter seasons, with infrequent thunderstorms. However, in winter, intense gales and winds may occur.

Summer temperatures are moderate while winter temperatures are inclined to be mild. The Köppen Climate Classification sub-type for the climate in this area is “Cfb”. (Marine West Coast Climate).

Edinburgh Climate Analysis Assembled portal frame

Interior panels installation

Exterior panels installation

Completed Wikihouse

1 Portal Frame Assembly

2 House Assembly

3 Finishing

By aligning the frame components including a polysterene insulation and spacers, the frame is attached into a box-beam cross section. This is done by closing friction joints with wooden mallets.

Next, the frames are pegged together and placed on the foundation soles. The other frames are pegged one after another as it reaches the end of the foundation soles.

The final steps in building the Wikihouse are first by covering the main structure with a self-adhesive breather membrane for waterproofing, and lastly by installing windows and doors through framing.

The structure bracing is finished by adding sheathings and insulations on the floor by using wooden battens, concrete blocks and polysterene insulation panels. Interior and exterior panels are then fitted onto the roof, walls and gables.

1/ Monthly Average Temperature (°C) Annual average temperature: 9.1°C Average high temperature & low temperature: 12.5°C & 5.6°C Highest Average Temperature: 15.1°C (July) Lowest Average Temperature: 3.9°C (December) 2/ Monthly Average Relative Humidity (%) Annual average relative humidity: 80% Lowest readings: 75% (Summer season in April and May) Highest readings: 85% (Winter season in December)

/1

/2

/3

/4

/5

/6

3/ Monthly Average Precipitation (mm) April - July: 30mm - 60mm (Lowest and highest) July - December: 60mm (Constant) December - January: 50mm (Fell) 4/ Monthly Average Number of Rainy Days (days) Average number of rainy days in a year: 292 days Month with lowest with average rainy days in a year: 22 days in July Month with highest average rainy days in year: 28 days in January Average rainy days in a month: >20 days 5/ Monthly Average Wind Speed (km/h) Greatest average wind speed: 20 km/h (March-May) Lowest average wind speed: 17km/h (July - December) with 19km/h in September Annual average wind speed:17 km/h 6/ Monthly Dominant Wind Direction (%) Dominant wind direction: From West-South-West (WSW) / 247° The dominant wind direction in May: From East-North-East (ENE) / 67° The dominant wind direction in June: From North-East (NE) / 45°

48

Technical Report 1 | Technology & Environment: Building Environment

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

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GC11

Y2 S1: TE2a Performance Summary

3 Summer-Winter Comparison LIGHTING:

LIGHTING:

The Sun’s angle of 58° allows sunlight to enter the WikiHouse’s windows from most directions.

The Sun’s angle of 11° only allows morning sunlight into the house. At other times, tall buildings on the west and south cast shadows over the WikiHouse.

WIND:

The dominant wind direction comes from the NorthEast at 19km/h, directly hitting the WikiHouse.

WIND:

At 17km/h, dominant winds in winter come from the West-South-West direction, hitting the Wikihouse indirectly as it is blocked by the west building.

LANDSCAPE

The trees around the area are rich with leaves. The Wikihouse is placed on a wide field with small grass patches.

LANDSCAPE:

Absence of leaves on trees reduces some shade around the area. The Wikihouse is placed on a wide field with small grass patches.

THERMAL CONTROL:

Polystrene insulations within the portal frames help avoid cold-bridging as thermal mass.

THERMAL CONTROL:

Polystrene insulations within the portal frames help avoid cold-bridging as thermal mass.

ACOUSTICS:

/Summer

The use of a softwood called spruce plywood helps soundproofing the building.

WATER:

/Winter

The double-pitched roof helps rainwater to flow down easily to the soil. The red breather membrane is waterproof on the outside while still being vapour permeable outwards for condensation.

ACOUSTICS:

The use of a softwood called spruce plywood helps soundproofing the building.

WATER:

The double-pitched roof helps rainwater to flow down easily to the soil. The red breather membrane is waterproof on the outside while still being vapour permeable outwards for condensation.

4 Day-Night Comparison LIGHTING:

LIGHTING:

The Sun’s angle of 34° in Edinburgh’s vernal equinox allows sunlight to enter the WikiHouse’s windows from most directions.

Only moonlight and artificial lights from lampposts around the area light up the space softly.

WIND:

WIND:

At 18.5km/h, winds come from the West-SouthWest direction at 1820hrs, hitting the Wikihouse indirectly as it is blocked by the west building.

The wind direction at 1028hrs comes from WestSouth-West at 33.3km/h, indirectly hitting the Wikihouse due to the west building blocking the wind.

TEMPERATURE:

The temperature is low, dropping to 5.0°C.

TEMPERATURE:

THERMAL CONTROL:

At 1028hrs, the temperature is mild, reaching 6.0°C during the day.

Polystrene insulations within the portal frames help avoid cold-bridging as thermal mass, especially at night where temperatures tend to be low to contain heat inside the WikiHouse.

THERMAL CONTROL:

Polystrene insulations within the portal frames help avoid cold-bridging as thermal mass.

/Day

ACOUSTICS:

At daytime, air above is cooler than that of the air below. This causes sound to travel upwards.

WATER:

The double-pitched roof helps rainwater to flow down easily to the soil. The red breather membrane is waterproof on the outside while still being vapour permeable outwards for condensation.

ACOUSTICS:

/Night

At night, air below is cooler than that of the air above. This causes sound to travel downwards.

WATER:

The double-pitched roof helps rainwater to flow down easily to the soil. The red breather membrane is waterproof on the outside while still being vapour permeable outwards for condensation.

Geographical Location In geographical terms, the unused field is the perfect site to build a community space due to its position in the heart of Fountainbridge, where the community can socialise and relax as the location is accessible. The orientation of the Wikihouse is strategic in terms of daylight. The South-facing entrance allows maximum sunlight to enter the building.

Daylighting However, the tall four-storey building in the West greatly affects lighting from the sun during sunsets, especially in winter when the maximum sun angle is only 11°.

The four-storey building was not yet erected during the construction of the Wikihouse in October 2015. This may be the reason to why the lighting strategy of the Wikihouse is flawed today.

Rainwater Management Rainfalls are very frequent in the area, experiencing rain almost everyday with an average of 292 rainy days in a year. The Wikihouse’s double-pitched roof and waterproof membrane coating allow rainwater to flow down to the ground with ease. Still, the WikiHouse is missing an effective water management system like having gutters and waterpipes.

Wind Pattern The wind patterns in the area are very predictable as the dominant wind direction in a year is from the WestSouth-West (WSW). The only times the direction changes drastically is during the summer, with the wind coming from the North-East (NE). Due to the four-storey building located in the west, the Wikihouse usually receives indirect wind as the wind collides with the building beforehand. Direct winds only hit the Wikihouse in the summer.

Conclusion In conclusion, the Fountainbridge Wikihouse has its own strengths and weaknesses in its environmental performance strategy. However, the weaknesses do not overshadow the main objective and function of the building, which is to create a communal space for people to enjoy and socialise. In my opinion, its overall environmental performance strategy is a success.

49

2

Technical Report 2 | Technology & Environment: Building Environment

GC1

Microclimate Pavilion

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S1: TE2a

Groupwork with Tiffany Kwong, Laila Nabulsi, Toni Akintunde & Ewan Malloch In this group report, we were tasked to adapt the existing Wikihouse precedent study to improve its environmental performance and create a series of architectural devices that educate children about environmental principles. The design will environmentally resolve siting, programme, material assembly, and services as well as thermal, lighting and acoustic comfort.

5

4

2 3

6

/Site Plan

0

50

1

/Detail section cut

100m

3 5

2

1

/Existing Wikihouse orientation

5 2

4

1 /New Wikihouse orientation

The Pavilion Our pavilion functions as a children’s library that not only provides a space for children to read, have fun and play around but also a place that educates them about the environment at the same time. A number of environmental devices are positioned all around the pavilion which can be seen not only on the outside but inside as well.

1 Repositioning

2 Plans & Sections

Our group agreed to relocate the existing WikiHouse mainly due to the inefficient solar gain caused by the west building blocking sunlight from reaching the exisiting WikiHouse. In this new location, the WikiHouse is still placed in the same field. However, it is now placed near the canal. Here, solar gain can be maximised due to less blockage from the surrounding buildings.

Programme:

The WikiHouse is also now positioned away from the busy roads of Dundee Street, which is safe for children.

The children’s privacy and safety is more secured here as well. The orientation of the WikiHouse is now facing the dominant wind direction, which is the South-West.

1 2 3 4 5 6

3 Detail Section

Library Entrance Children’s Library (Bookshelves) Sunspace Solar & Thermal Control Device Glass Strips Water Device Ventilation Device Windows Plantation

50

Technical Report 2 | Technology & Environment: Building Environment

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S1: TE2a /Summer wind (North-East)

/Section cut showing interior

/Winter wind (South-West)

/Sunpath axonometric diagram

/Children sitting on the Sunspaces

/Rainwater flow

/South-facing Sunspace Panels /User-friendly thermal control device windows

/Section cut showing the glass strips as seen from the inside

4 Solar Device

5 Thermal Control Device

6 Water Device

7 Ventilation Device

On the South-East side of the pavilion, 2 sunspace panels are installed to collect sunlight and distribute heat into the building. The sizes of the two sunspaces were carelully considered to avoid overheating in the Summer and overcooling in Winter.

The sunspace panels also have another function. Children will be able to sit on the sunspaces to get warm sunlight while reading books in the pavilion.

In our water device, rainwater is collected from the pitched roofs into the hollow tubes positioned on the North-West side of the pavilion. The strips allow rainwater to flow down to water the plants below. Children in the pavilion will be able to see rainwater flowing down through glass strips, educating them the importance of using and conservation of water.

In Summer, the NE wind enters the building from a thin, but wide window placed at a low height. The cool air, which is denser than the warm air inside, will move along the floor plan, cooling the surrounding air and is pulled towards the top opening on the opposite side, due to the difference in pressure.

South-facing, the sunspaces collect heat from the sunlight and distributes the heat throughout the building.

Within these sunspace panels, a thermal controlling device is installed in the form of a window. The window can be opened and closed to control the temperature in the pavilion. This acts as an efficient thermal control device where the window can be opened up to avoid overheating and closed to avoid overcooling in the pavilion.

In Winter, the SW wind enters the space from the small, thin window placed at the top of the South West wall. The cool dense air will sink to the bottom of the room. The air will then be pulled towards the other end of the room and will exit from the other window, placed at a lower height.

This limits the movement of the cool air, only cooling air at the bottom of the room, avoiding too much heat loss.

51

Technical Report 2 | Technology & Environment: Building Environment

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S1: TE2a

Buffer

/Tree types (From left): White Birch, Ash, Elm, & Bird Cherry /Site Plan with the landscaping strategy

North-East wind

/Section cut showing the reverberation strategy

/Summer landscape /Summer

West-South-West wind

/Section cuts showing the rainwater flow from the Water Device to the plants below

/Reverberation time calculation table

/Winter landscape

8 Reverberation Device

9 Landscaping

The Wikihouse being used as a children’s library, it is expected to be noisier than the average library. Therefore it needs to be very sound absorbent to avoid high intensity sound waves that are accumulated by direct and reflected waves. We decided to take an economic approach by using books as a sound absorbent tool. Two opposite walls are to be covered by bookshelves, with gaps for the windows. Natural fibres have acoustic characteristics that give them sound absorption characteristics.

In recent years they have become a more popular alternative, they may also provide thermal insulation. Using paper books imitates this technique with a more playful approach. The more books there are, the sharper the sounds heard.

Buffer Zone

Biodiversity

A row of trees are planted on the South West of the site, facing towards the busy and noisy main road. They act as buffers to minimise noise and pollution, keeping the area peaceful and calm for the children. White Birch, Ash and Elm trees can grow up to 20m in maturity, providing a natural green buffer zone.

To promote biodiversity, a selection of trees like white birch, ash, elm and bird cherry are placed around the pavilion. These trees are all locally found in the UK. These trees are all deciduous, in which they shed leaves in Winter and has broad and full canopies in the Summer.

For our calculations, 2 layers of 10cm cardboard were used as “books”, assuming the Absorption coefficient of cardboard to be similar to that of books. Another feature used is the raising of the floor plane from the ground; the addition of airspace increases the absorption coefficient value.

An average 10 year old’s voice is at a frequency of 400Hz and with age, the frequency becomes lower. A normal theoretical reverberation time is between 1-3 seconds, however because the space has a small volume it should be less than 0.5 seconds. Between frequencies of 125Hz and 2000Hz, our Tr averaged at 0.34 seconds - ideal for the Wikihouse as a children’s library.

Access The pavilion is to be accessed from the pedestrian path from the canal side. Natural stones are paved to create pathways, leading pedestrians into the site.

Plantations for Water Device A selection of plants are purposely chosen to be planted. In the sequence of plants away from the water pipes: Calatheas, Umbella Papyrus palm, snakeplant, philodendron, peace lily and evening pimrose. All of these plants are easy to maintain and also flourishes in the shade, whilst promoting biodiversity of the site.

Summer Landscape In summer, the wind blows from North-East, where there are no obstruction from the vegetation. Wind acts as natural cooling element.

The buffer trees shades paths from the summer sun and creates cooling spaces in the landscape. A short ash tree is placed closely to the south wall of the wikihouse to provide adequate amount of shading from the summer sun during midday to prevent too much solar gain.

/Winter

Summer-Winter Comparison Overview

Winter Landscape In Winter, strong previaling wind blows from the West-South-West side of the site. Deciduous trees with wide canopies are placed at the WSW side of the site, firstly to act as a windchill buffer, minising wind penetration for at least 30%. Secondly, to minimise shading from the leaves in order to maximise solar gain in the winter, The bird cherry tree only grows up to 5m, it is relatively short in the site to prevent any overshadwing in Winter.

52

ELECTIVE: FOUNDATION FRENCH LANGUAGE 1

Y2 S1: FF ELCF07011

/1

Reflective Statement

Course Description

Having visited Paris, France during my first year holidays in 2017, I have been fascinated in learning the French culture. There, I visited numerous landmarks in Paris, such as the NotreDame Cathedral and Arc de Triomphe, also the hi-tech architecture of the Centre Pompidou as well as the Louvre Pyramid. Overwhelmed by Paris’ rich architecture, I decided to take French Language as my elective course in 2nd year.

A course for beginners with no previous knowledge of French, designed to give absolute beginners a basic, working knowledge of spoken and written French. The course is not suitable for students with previous knowledge of French. Along with each topic introduced, relevant vocabulary, grammatical and textual structures will be introduced.

Coming from Malaysia, a South-East Asian country, I am bilingual - English and Malay Language - and would like to learn French as my third language. Acquiring basic communicative, numeracy and cognitive skills in French language towards the end of the course, I have become much more confident - not only in speaking a new language, but in learning, understanding and immersing myself in new culture.

/2

I believe that architects should have the ability to efficiently understand the context of a design project, not only in physical and environmental terms, but also in social and cultural terms. Thus, developing the ability to understand cultures would benefit me in the long-run within the architectural profession. I had since then discovered theoretical concepts of ‘sense of place’ and ‘place identity’. I believe that in designing buildings, understanding the social and cultural context of the ‘place’ would lead to creating and maintaining the ‘sense of place identity’ for the existing community and surroundings - which all architects should always aim to achieve (GC 5).

LO1 Knowledge and Understanding: Basic knowledge of French up to the equivalent of A1 CEFR. Students will acquire knowledge of basic grammatical structures and a vocabulary of approximately 500 words and phrases. Students will understand basic words and phrases

Course Organiser: Helene Lovell

/3

LO2 Practice - Applied Knowledge, Skills and Understanding: Development of grammar, oral and aural skills and ability to use them in a variety of situations. Students can produce oral and written simple phrases, and understand short passages where the context is clear and identified. Students apply a basic knowledge of grammar appropriate to the level.

LO3 Generic Cognitive Skills: The students will develop the skill of using known material to make appropriate deductions and informed guesses about the meaning of material that is new to them. They can apply strategies for understanding gist and specific information.

/4

LO4 Communication, ICT and Numeracy Skills: Ability to conduct simple conversations on a limited range of topics. Students will be able to communicate at an elementary level (A1/A1+) in the target language (both written and oral) in situations of daily routine.

They will be able to ask and answer simple questions in areas of immediate need or on very familiar and routine topics.

LO5

1/

Cathédrale Notre-Dame de Paris

Autonomy, Accountability and Working with Others: The course aims to develop confidence in language learning, understanding and responding to others in appropriate situations. Students learn to work individually as well as in pairs or small groups.

2/

Arc de Triomphe, Paris

3/

The Centre Pompidou, Paris

4/

Pyramide du Louvre, Paris

53

ARCHITECTURAL DESIGN: ANY PLACE

Y2 S2: AD2b ARCH08006

Course Organiser: Douglas Cruickshank

Course Description

Reflective Statement

Any Place will develop the student’s skills in design inquiry, introducing students to a requirement for design investigation by research/exploration. The studio projects will be structured through an empirical design methodology. Starting, without site the design process is predicated on intellectual inquiry and thought. Following projects will explore the nature of the surveyed subject, and in-conjunction with the creative possibilities of its loci. Site is important but not primary, idea rules.

The course invites me to research what a library means without thinking of the site context, - being ‘any place’. My immediate response to what a library means, is a place of learning. Thus, my readings and research intallations revolve around this notion, leading to my ‘A Process of Discovery’ concept, which eventually forms the spatial and programmatic qualities in creating a design brief for a library in Rome (GC 3, 7).

Any Place will lead students through a series of parallel processes of design research and inquiry, each addressing certain aspects of the conditions listed above. The output of these processes will afterwards converge into a studio project, which will be in Rome. It is therefore expected that the architectural qualities developed throughout the initial processes of design exploration will directly inform the student responses to the specific conditions of the Rome site.

When choosing the site out of the three given choices, I looked through the lens of my research installations, fully embracing my design concept and opted with the Piazza di San Cosimato. Here, the siting of my project aligns perfectly with my concept and definition of a library as a place of learning in terms of its urban lifestyle and built environment (GC 5). As what my research through installations, models and diagrams has shown, the ‘Process of Discovery’ concept in my library design further shows that learning happens all around us through various ways, resulting in a Community Centre for the Piazza (GC 1). Alongside this, several environmental and technical factors were considered, such as outdoor lighting and natural shading, as well as tensegrity structures to hold and stabilise the libraries (GC 8, 9).

In the end of the course, I have gained so much knowledge and experience on the design process as I believe this was my first ever individual project from start to finish, covering almost all stages in the design process.

LO1 Demonstrate ability to develop architectural designs that appropriately respond to specified nonlocal conditions and that integrate an explicit investigation through research.

LO2 Demonstrate capacity to synthesize a range of programmatic components, formal, spatial and technical strategies of modest complexity within an architectural design that responds to specified urban conditions.

LO3 Demonstrate ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

54

1

Design Project | Architectural Design: Any Place

GC1

Library in Rome // San Cosimato Community Centre

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S2: AD2b

The project started with an exercise through a series of Research Installations in exploring the abstraction of what a library means. Some define a library as a storage of information or a collection. In my opinion, a library is a place of learning.

/Hybrid Drawing

RESEARCH INSTALLATIONS: Knowledge Grid

/Conceptual Sketch

/Library as a database /Information transfered out

/Information transfered in

/Zaha Hadid’s MAXXI

Museum in Rome

1 Nodes & Links

2 A Learning Journey

3 The Process of Discovery

This installation represents links intersecting in a node, depicting the library as a source of knowledge that not only stores but also distributes information. Here, a library acts as a database that collects, stores and gives out information. The immaterial flow of information flows through tentacles that spread out to the material world.

Based on Zaha Hadid’s MAXXI Museum, the building’s ‘flow’ concept is precedented in this installation. The journey of learning is as interesting as wandering into an unknown world. The MAXXI Museum’s fluidity elements increase one’s curiosity when walking through its corridors and walkways.

A conceptual development based on previous installations that focuses on the process of discovery, where the journey throughout a library consists of several steps taken in the learning process.

Although being symbolic and abstract, it does have spatial qualitites to bear in mind for the library design.

I believe that this curiosity plays a big role in the journey of learning. For a place of learning, these architectural directionality elements are important to trigger the learning atmosphere in a library.

/Some spatial qualitites can be seen as the poles are connected with one another through strings, and the shadows defining spaces.

The conceptual sketch reperesents the steps and journey.

A more clear representation can be seen and understood in the hybrid drawing.

This installation represents the hybrid drawing in a more orthoganal approach, signifyinh intensities of the actvities as nodes, with intersecting links that represent material and immaterial flow in a library (man and knowledge).

55

Design Project | Architectural Design: Any Place

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S2: AD2b

/Exploration Tool

/Marketplace

/Playground

/Pop-up events

/San Cosimato Church Courtyard

/Volumetric Interpretation

/Aerial view of the piazza

THE PLACE: Piazza di San Cosimato, Rome, Italy

/Open space on a rainy Sunday

As a hidden gem in Rome, Piazza di San Cosimato is a wonderful social location not only for children and teenagers, but adults and elderlies as well. This is due to the presence of the playground (for children), street market (for grocery shopping) and green spaces, including a courtyard that connects with the San Cosimato church. Surrounded by cafes and residential buildings, the piazza is a popular venue for people of all ages to relax and chill out. There are common screening events where a screen is put up at the piazza with provision of seats for spectators. During my visit, there was a pop-up event where tables, chairs and flags were set up.

4 Knowledge Grid Layers An installaton that acts as a tool for exploring and understanding spatial elements is constructed. The spatial elements include material-immaterial movement, activities and the environment. Each layer is labelled with different legends.

The layers can moved horizontally, rotated and flipped. By having these interchangeable layers, the different outcomes provide endless possibilities of exploring the spatial elements.

Through light, the elements can be explored through its shadows of different scales. A legend is created to have a clear understanding of each layer and its visual elements.

Volumetric elements from the previous installation is explored here, with a more centralised approach. The nodes and links are suspended above, below, in front and behind each other, providing a 2D-3D relationship. The knowledge grid can be seen more clearly as that of the curved and straight lines that act as links that revolve around the circular model, intersecting with one another.

This installation is one interpretation of the exploration tool from the previous installation.

When thinking about my library and ‘the Process of Discovery’concept, these lively events should be considered and be the main focus for the library’s design. Thus, I found this site as the site with the most engaging and interesting atmosphere due to the rich interaction between material and immaterial flows from the various activities happening. The courtyard that leads to the church from the piazza is also a very sociable space, with greenery surrounding the calm and relaxing area. Parents were seen bringing children to the playground, some playing football at the open space.

Residents of all ages were seen doing grocery shopping in the market while greeting one another.

/Father and son playing football

Thus, my aim to design a library here is to enhance, amplify and trigger the learning process created through sociable elements and events by maintaining the exisiting activities /Analytical sketches

56

Design Project | Architectural Design: Any Place

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S2: AD2b DESIGN DEVELOPMENT: Any Place Adaptation

/Plan & Section spatial study sketches

Material Flow / Navigation / Explore / Browse Immaterial Flow / Data / Knowledge / Information /Development sketches

Intensities / Densities of Learning / Discovery ㄀㨀㔀 瀀氀愀渀

Intersection between man and knowledge

㄀㨀㔀 瀀氀愀渀

㄀㨀㔀 瀀氀愀渀

㄀㨀㔀 瀀氀愀渀

㄀㨀㔀 瀀氀愀渀 ㄀㨀㔀 瀀氀愀渀

/Volumetric Site Analysis Model

㄀㨀㔀 猀攀挀琀椀漀渀 ㄀㨀㔀 猀攀挀琀椀漀渀

/Plan & Section Spatial Study Diagram

Volumetric Site Study The way I analysed the site was the way my installations work, maintaining the ‘Process of Discovery’ concept.

The volumetric site analysis model is based on the legends and analysis during site visit. The site events and activities can be seen clearly in 3-D, informing the spatial qualities and characteristics happening on the site volumetrically.

Thus, the middle part of the piazza is the most concentrated area. It is the first contact point of people coming into the piazza. The area bridges people to the major learning spaces (market, playground, courtyard/ church). Therefore, the next step is to identify the spatial qualities that fit the areas to inform and create the brief.

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䬀渀漀眀氀攀搀最攀 䜀爀椀搀

Spatial Study

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Knowledge Grid

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䤀渀搀椀挀愀琀攀猀 琀栀攀 眀愀氀欀眀愀礀猀 愀渀搀 瀀愀琀栀猀 昀漀爀 琀栀攀 氀椀戀爀愀爀礀

一愀瘀椀最愀琀椀漀渀 ⬀ 䨀漀甀爀渀攀礀

䤀渀搀椀挀愀琀攀猀 琀栀攀 眀愀氀欀眀愀礀猀 愀渀搀 瀀愀琀栀猀 昀漀爀 琀栀攀 氀椀戀爀愀爀礀

䰀攀愀爀渀椀渀最 ⬀ 䐀椀猀挀漀瘀攀爀礀 夀攀氀氀漀眀㨀 倀甀戀氀椀挀Ⰰ 伀瀀攀渀 氀攀愀爀渀椀渀最 䜀爀攀攀渀㨀 倀爀椀瘀愀琀攀Ⰰ 䤀渀琀椀洀愀琀攀 氀攀愀爀渀椀渀最

䜀 甀 椀 搀 攀 猀 琀䰀栀攀愀愀琀 爀搀 渀 爀搀礀 瀀 爀 椀 瘀 愀 琀 攀 ⼀ 渀攀椀 渀昀 椀最渀 攀⬀ 瀀 䐀甀椀戀猀 氀挀椀 挀漀 瘀愀攀 夀 攀 氀 氀漀 漀瀀 眀攀㨀 渀倀 愀 甀渀 戀搀氀 椀 挀挀Ⰰ氀 漀伀猀 攀瀀搀攀 渀猀 瀀 氀愀攀挀愀攀爀 猀渀 椀 渀 最

䜀爀攀攀渀㨀 倀爀椀瘀愀琀攀Ⰰ 䤀渀琀椀洀愀琀攀 氀攀愀爀渀椀渀最

䜀甀椀搀攀猀 琀栀愀琀 搀攀昀椀渀攀 瀀甀戀氀椀挀 愀渀搀 瀀爀椀瘀愀琀攀⼀ 漀瀀攀渀 愀渀搀 挀氀漀猀攀搀 猀瀀愀挀攀猀

一 愀 瘀 椀 最 愀一 琀椀愀 漀瘀 渀 椀 最 ⬀愀 䨀琀漀一 椀 漀甀愀渀爀瘀渀 ⬀ 椀攀最 礀䨀愀漀琀 椀甀漀爀渀渀 攀⬀礀 䨀 漀 甀 爀 渀 攀 礀

Navigation + Journey

䤀 渀 搀 椀 挀 愀 琀 攀䤀 渀猀 搀琀 栀 椀 挀攀愀 眀 琀 攀愀猀䤀 渀 氀 欀琀搀 栀 眀椀攀挀 愀 愀 礀眀猀琀愀 攀愀氀猀欀渀 眀 琀搀栀愀攀礀 眀 猀 愀渀 氀 欀搀眀 愀 礀 猀 愀 渀 搀 一愀瘀椀最愀琀椀漀渀 ⬀ 䨀漀甀爀渀攀礀 瀀椀愀最琀愀 栀 猀琀 椀 漀 昀 漀渀 瀀爀 愀琀⬀琀栀 栀攀 氀昀椀甀漀 戀 爀瀀 愀琀愀栀 爀 礀琀攀栀 猀氀 椀 戀 昀 漀爀 愀 爀 爀琀礀栀 攀 氀 椀 戀 爀 愀 爀 礀 一愀瘀 䨀䤀猀渀 漀 搀 椀爀挀渀愀攀琀礀 攀猀 琀栀攀 眀愀氀欀眀愀礀猀 愀渀搀 䤀 渀 搀 椀 挀 愀 琀 攀 猀一 琀愀 栀瘀 攀 椀 最 眀愀 愀琀氀 欀椀 漀眀渀愀 礀⬀ 瀀猀 愀 䨀愀琀漀栀渀甀 猀搀 爀昀渀漀攀 爀 礀 琀栀攀 氀椀戀爀愀爀礀 瀀 愀䤀琀渀栀搀猀 椀 挀 昀 漀愀爀 琀 琀攀栀猀攀 戀 爀眀 愀愀 爀 礀氀 欀 眀 愀 礀 猀 愀 渀 搀 琀 栀氀 椀攀 瀀愀琀栀猀 昀漀爀 琀栀攀 氀椀戀爀愀爀礀

䬀渀漀眀氀攀搀最攀 䘀氀漀眀

刀攀瀀爀攀猀攀渀琀猀 琀栀攀 洀攀搀椀甀洀猀 昀漀爀 氀攀愀爀渀椀渀最 ⠀戀漀漀欀猀Ⰰ 挀漀洀瀀甀琀攀爀猀Ⰰ 甀最 渀搀 ⤀ 䬀瀀渀氀 愀漀礀眀最氀爀攀漀搀 攀Ⰰ 䘀攀氀 琀漀挀眀

刀攀瀀爀攀猀攀渀琀猀 琀栀攀 洀攀搀椀甀洀猀 昀漀爀 氀攀愀爀渀椀渀最 ⠀戀漀漀欀猀Ⰰ 挀漀洀瀀甀琀攀爀猀Ⰰ 瀀氀愀礀最爀漀甀渀搀Ⰰ 攀琀挀⤀

㄀㨀㔀 ㄀㨀㔀 ㄀㨀㔀 䬀 渀 漀 眀 氀 攀 搀 最 攀 䄀猀爀攀挀挀栀琀椀椀瘀漀攀渀 猀 攀 挀 琀 椀 漀 渀 猀 攀 挀 琀 椀 漀 渀 ㄀㨀㔀 猀攀挀琀椀漀渀 猀 攀 挀 琀 椀 漀 渀 䬀渀漀眀氀攀搀最攀 䄀爀挀栀椀瘀攀 ㄀㨀㔀 䄀 瀀 栀 礀 猀 椀 挀 愀 氀 瀀 氀 愀 挀 攀 漀 昀 猀 琀 漀猀 攀 爀 攀挀搀琀 椀 漀 渀

䄀 瀀栀礀猀椀挀愀氀 瀀氀愀挀攀 漀昀 猀琀漀爀攀搀 椀渀昀漀爀洀愀琀椀漀渀 愀渀搀 欀㄀ 渀 㨀漀㔀眀 氀 攀 搀 最 攀

椀渀昀漀爀洀愀琀椀漀渀 愀渀搀 欀渀漀眀氀攀搀最攀

䬀 渀 漀 眀 氀 攀䬀搀渀最漀攀眀 䘀氀 氀攀漀搀眀 䬀最渀攀漀 眀 䘀 氀氀漀攀眀 搀最攀 䘀氀漀眀

Knowledge Flow

刀 攀 瀀 爀 攀 猀 攀刀渀攀琀 猀瀀 爀琀 攀 栀 猀攀攀 洀 渀刀琀攀 攀 猀 搀 瀀琀 椀栀 爀甀攀攀洀 猀 攀 洀 猀渀 攀 昀琀漀搀 猀 爀 椀琀甀栀洀 攀 猀洀 昀漀 攀爀搀 椀 甀 洀 猀 昀 漀 爀 䬀渀漀眀氀攀搀最攀 䘀氀漀眀 氀攀愀爀䬀 渀 椀渀渀漀 最氀眀 攀 ⠀愀 渀欀最 猀 Ⰰ 氀⠀攀 挀戀氀愀 漀漀 漀爀洀 漀 渀瀀 欀椀 渀猀甀最 Ⰰ 琀 挀 攀⠀ 漀 爀戀猀洀 漀 Ⰰ 漀瀀欀甀猀琀Ⰰ攀 挀爀 猀漀Ⰰ 洀 瀀 甀 琀 攀 爀 猀 Ⰰ 氀戀攀爀漀渀搀漀椀 最 攀 刀䘀攀 瀀眀 爀攀猀攀渀琀猀 琀栀攀 洀攀搀椀甀洀猀 昀漀爀 氀 愀琀 礀猀 最琀 栀 爀 漀瀀 甀渀 氀 愀搀礀Ⰰ搀 最 攀爀 漀 琀挀 甀⤀瀀渀猀 氀 搀愀 Ⰰ礀 爀攀 最琀爀 挀 漀 ⤀甀 渀 搀 Ⰰ 攀 琀 挀 ⤀ 刀 攀 瀀 爀 攀 猀瀀 攀渀 爀最 渀洀 椀 渀 最 ⠀ 戀眀漀 漀 欀 猀 Ⰰ 挀 漀 洀 瀀 甀 琀 攀 爀 猀 Ⰰ 䬀 渀攀漀 洀 眀攀 氀攀 攀愀搀椀 甀 攀 䘀昀氀 漀漀 氀 攀 愀 爀 渀 椀 渀刀 最攀 ⠀瀀戀爀漀攀漀猀 攀 欀 猀渀Ⰰ琀 猀挀 漀 洀 瀀 甀 琀 攀 爀 猀 Ⰰ 爀 漀猀甀 昀渀漀搀爀 Ⰰ 攀 琀 挀 ⤀ 琀 栀 攀 洀瀀攀氀 愀搀礀椀 甀最洀 瀀氀氀攀愀愀礀爀最渀爀椀漀 攀漀琀欀挀猀⤀Ⰰ 挀 漀 洀 瀀 甀 琀 攀 爀 猀 Ⰰ 渀甀最渀 ⠀搀戀Ⰰ 漀 瀀氀愀礀最爀漀甀渀搀Ⰰ 攀琀挀⤀

䰀 攀 愀 爀 渀 椀 渀䰀最攀 愀 ⬀ 爀 䐀 渀椀渀 猀挀 最䰀漀 攀⬀瘀愀 攀䐀 爀渀 爀椀礀猀椀 渀挀最 漀 瘀⬀攀 䐀 爀 礀椀 猀 挀 漀 瘀 攀 爀 礀 夀 攀 氀 氀 漀 眀 㨀夀 倀攀甀氀 氀戀漀氀眀 椀 挀㨀 Ⰰ 夀 倀伀甀 攀瀀 戀 氀 氀攀 漀 氀 椀䰀渀 挀 眀 氀 攀伀 倀 瀀椀爀戀 攀 渀氀最 渀 椀椀渀挀 氀最Ⰰ攀 伀 愀 爀椀瀀猀渀攀 瘀氀 攀 䬀 渀 漀 眀 氀 攀䬀搀渀最漀攀眀 䄀氀 攀爀 挀 搀䬀栀最渀椀攀瘀漀 攀眀 䄀 氀爀攀 挀搀 栀最 椀 瘀攀攀 䄀 爀 挀 栀 椀 瘀 攀 攀 Ⰰ㨀愀 爀愀 渀甀 渀 ⬀ 䐀 挀椀 渀渀 漀最 攀愀 爀 礀爀 渀 椀 渀 最 一 漀 搀 攀 猀 ⠀一䤀 漀 渀 琀搀攀攀爀 猀 攀⠀ 挀 䤀一渀琀漀椀琀 漀 攀 搀渀 爀攀猀猀猀攀⤀ 挀 ⠀ 䤀琀渀椀 漀琀 攀渀爀猀猀⤀攀 挀 琀 椀 漀 渀 猀 ⤀ 椀 瘀椀攀渀愀渀最琀 㨀攀 ⬀Ⰰ倀䜀 爀䤀䐀椀夀 渀 爀瘀攀 琀猀愀 椀攀挀 琀氀渀攀 㨀Ⰰ眀 䤀㨀渀 爀 爀 椀倀琀礀 氀瘀椀攀 愀愀 爀攀 Ⰰ攀 椀 Ⰰ渀 䤀 渀氀最 攀 琀 椀瀀 愀 洀攀 爀愀 渀渀椀琀 渀 攀氀 攀 最 氀愀攀爀愀渀爀椀渀渀椀最渀 䄀 最 瀀 栀 礀 猀 椀 挀䄀愀 瀀 愀倀爀爀渀攀 椀攀 漀愀 瘀 琀倀攀 氀 瀀 栀礀 氀 愀猀 挀 椀 挀攀愀 䄀 氀漀 瀀 瀀 昀 栀氀猀愀礀琀 漀 挀 猀 椀爀攀 挀攀 愀搀 漀氀昀 瀀猀 氀琀愀漀挀爀 攀攀搀 漀 昀 猀 琀 漀 爀 攀 搀 一 漀 搀 攀 猀 琀一 栀愀 漀 琀搀 爀攀攀猀瀀 琀爀栀攀一 愀猀漀 攀 琀 搀 渀 爀 攀攀 琀 瀀 猀瀀 爀琀栀 攀栀礀猀愀攀 猀 椀琀渀 挀 爀琀愀攀 瀀 氀瀀栀爀 攀 礀 猀 椀攀挀渀愀琀氀 瀀 栀 礀 猀 椀 挀 愀䜀氀 爀 攀 攀䰀渀攀㨀 䜀 氀洀 漀 甀洀 戀琀愀 氀 椀渀琀挀 伀 䬀渀漀眀氀攀搀最攀 䄀爀挀栀椀瘀攀 一 漀 搀 攀 猀 ⠀ 䤀 渀 琀 攀 爀 猀 攀 挀 琀 椀 漀 渀 猀 ⤀ 䜀 甀夀椀攀 搀 攀 猀

琀 䜀 栀 甀 愀 椀 琀 搀

搀 攀 猀 攀

昀 琀 椀 栀 䜀 渀 愀 攀 甀 琀

椀

瀀 搀 搀 甀 攀 攀 戀 猀 昀

椀 氀 琀 渀 椀 挀 栀 攀

愀 愀

瀀 琀 渀

甀 搀 搀 戀 攀

瀀 氀 昀 椀 椀 挀 爀 渀 椀

瘀 攀 愀 愀

渀 瀀 琀 搀 攀 甀 ⼀戀瀀氀爀椀 挀 椀 瘀 愀 愀琀渀攀搀⼀ 瀀 爀 椀 瘀 愀 琀 攀 ⼀ 愀 琀椀氀渀 椀 漀昀搀 漀 渀最 爀 愀 洀 欀渀挀渀昀 栀 漀漀 愀 爀眀 洀 渀氀 搀 攀 愀 搀 琀欀椀 最 漀 渀攀 渀 漀 眀 愀氀渀攀搀搀 最 欀渀 攀漀 眀 氀 攀 搀 最 攀 氀 氀 漀 眀 㨀

倀 甀 戀 氀 椀 挀 Ⰰ

伀 瀀 攀 渀

氀 攀 愀 爀 渀 椀 渀 最 猀 瀀一 愀挀 渀 琀瀀攀攀 愀爀 猀挀 琀攀漀攀挀 猀椀琀渀 椀搀 漀 琀攀 甀渀爀攀 猀猀 攀漀 琀漀 挀昀 琀椀 渀 漀琀渀攀猀爀 猀漀攀昀 挀 琀 椀 漀 渀 猀 漀 昀 䰀 攀 愀 爀䜀 渀 椀爀渀攀最攀 渀⬀㨀 䐀 漀琀瘀攀攀Ⰰ 爀 䤀礀渀 琀 椀 洀 愀 琀 攀 氀 攀 愀 爀 渀 椀 渀椀 渀最昀䬀漀渀爀 洀 倀 椀爀猀椀 瘀挀愀 漀眀 攀 攀渀愀 搀 䄀琀 椀 椀爀漀 漀攀搀猀攀 猀搀猀瀀 甀⠀愀攀䤀 挀 渀 琀攀 琀漀攀猀 爀椀搀 猀猀一甀 攀 䄀 瀀椀栀瘀礀攀猀 椀 挀 愀 氀 瀀 氀 愀 挀 攀 漀 昀 猀 琀 漀 爀 攀 搀 漀挀搀琀 椀攀漀猀渀 琀猀栀⤀愀 琀 爀 攀 瀀 爀 攀 猀 攀 渀 琀 瀀 栀 礀 猀 椀 挀 愀 氀 漀 瀀 攀 渀

愀 渀 漀 搀 瀀

攀 挀 渀 氀 漀

愀 猀 攀 渀 搀 搀 漀

瀀 猀 挀 瀀 攀 氀 漀 愀 渀 猀 挀

攀 愀 攀 搀 渀 猀 搀

猀

瀀 挀 愀 氀 漀 挀 猀 攀 攀 猀 搀

猀 瀀 愀 挀 攀 猀 氀琀漀 琀瀀 猀栀 爀愀 攀 渀昀 搀 氀 漀 渀眀 愀挀 猀琀 琀栀愀椀 漀 攀渀渀 搀昀猀氀 漀愀眀 挀猀琀 椀 漀 愀 渀 猀搀 愀 挀 琀 椀 漀 渀 猀 䜀 爀 攀 攀 渀 㨀 倀 椀渀 攀 琀Ⰰ琀栀 愀 瀀 琀氀 攀 攀 搀愀攀 攀愀最 爀瀀渀甀椀 戀 夀爀攀椀 瘀氀 氀愀 漀琀眀攀㨀Ⰰ䜀 倀䤀甀渀甀椀琀搀 戀椀 洀 氀 椀猀挀愀 攀 伀 渀爀昀 渀椀氀渀攀 渀 氀最椀 挀 愀 渀 搀 瀀 爀 椀 瘀 愀 䄀琀 攀 瀀⼀栀 礀 猀 椀 挀 愀䬀氀 渀瀀漀氀 愀眀挀氀 攀 漀最 攀 猀爀琀 洀 漀 一 漀 搀 攀 猀琀 栀琀 攀 栀 愀昀一 漀 爀眀 攀搀 昀昀 漀 琀搀 椀栀 漀渀 昀 攀 椀搀渀 䄀爀愀爀攀挀 椀 瘀 愀 攀渀 搀 欀 渀 漀 眀 氀 攀 搀 最 攀 攀 猀攀 猀⠀猀攀瀀 䤀 渀愀琀琀挀 攀瀀攀爀栀猀 礀 攀搀猀挀椀甀挀琀攀椀愀漀 氀琀渀漀猀 椀⤀渀 琀 攀 爀 猀 攀 挀 琀 椀 漀 渀䜀猀 甀漀椀 搀 攀 猀 琀䜀 栀愀 渀 爀攀椀 瘀瀀愀甀琀戀攀氀 Ⰰ椀 挀 搀 愀 瀀渀琀爀 攀 椀搀瘀 愀氀挀攀 琀氀 攀 漀 眀挀氀 攀攀搀 爀 攀琀 攀搀渀攀㨀昀 椀 倀 漀䤀 瀀 渀愀琀攀渀椀 渀洀 愀 愀⼀猀爀攀渀搀椀 渀 猀最瀀 愀 挀 攀 猀 椀 渀 昀 漀 爀 洀 愀䄀琀 椀 漀瀀渀栀 礀愀猀渀椀 挀搀愀 欀氀 渀瀀漀氀 愀 猀 瀀 愀 挀 攀 猀一 搀漀甀搀攀攀 猀琀 漀琀 栀椀 渀 昀 氀猀琀漀 漀 眀 猀 礀愀猀渀 漀最昀攀 猀 琀 漀 爀 攀 搀 愀琀琀攀 爀爀攀猀 攀 瀀挀 爀琀攀栀琀 椀猀攀漀攀 渀渀 瀀昀栀 椀 挀搀愀 愀 氀 挀琀椀漀渀猀

Intersection 琀栀攀 昀愀 氀 漀挀眀 猀瀀 攀猀猀 愀 搀渀甀搀 攀 愀 琀 漀挀 琀椀 椀渀漀琀渀 攀猀爀 猀Nodes 攀挀琀椀漀渀猀 漀昀 琀栀攀 昀氀漀眀猀 愀渀搀 愀挀琀椀漀渀猀

Learning + Discovery

漀甀瀀椀攀 搀攀 猀 瀀 猀 愀渀搀 瀀爀椀瘀愀琀攀⼀ 䜀 搀渀攀 猀愀 琀渀栀搀愀 琀挀 氀搀漀攀猀 昀攀椀 渀 瀀愀 甀挀 戀攀 氀椀挀 漀瀀攀渀 愀渀搀 挀氀漀猀攀搀 猀瀀愀挀攀猀

Yellow: Public Learning Green: Private Learning

/Initial typological exploration model

Knowledge 椀 渀Archive 昀漀爀洀愀琀椀漀渀 愀渀搀 欀渀漀眀氀攀搀最攀

Programmatic and Typological Exploration The library in the piazza will be part of the ‘larger library’ that acts as a community centre in the area. My ‘Process of Discovery’ concept is evident as every area is considered a ‘learning’ area.

People learn when they play, meet-up, talk and even when trading goods. Thus, the playground, speaker’s corner, outdoor reading areas and multipurpose/events space in the centre of the piazza are all necessary to trigger the act of learning in this ‘large library’. The decision to have separate libraries specifically for different people is because of the aim to amplify the site’s sociability.

Also, practically, a large building that spreads across the piazza would disrupt the existing free-moving circulation in the area. Thus, tensegrity structures would help this whilst holding the buildings as if they are floating - maintaining the free-moving circulation.

Market Area Indoor Learning Outdoor Learning Areas of Learning Permanent Structures Knowledge Archive /Programmatic Spatial Adjacency Diagram

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Design Project | Architectural Design: Any Place

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Y2 S2: AD2b THE LIBRARY: San Cosimato Community Centre My definition of a library is a place of learning. People learn when they study, play, and socialise. The library is a community centre for the piazza, where two separate libraries are part of the ‘larger library’ - a community centre. It aims to amplify and provide a proper and engaging venue for various learning that already exist in the piazza for the people of all ages.

/Physical Model

Apart from the libraries, other learning spaces in the form of a playground, outdoor seatings, market, cafe, speaker’s corner and multipurpose/events space are spread around the piazza to trigger the act of learning. Tensegrity structures help hold and stabilise the libraries, as if theya re flaoting whislt allowing freemoving circulation around the Piazza

/Outdoor seating

/Site Plan

/Roof Plan

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Main Library Entrance Outdoor Reading Cafe Stand Speaker’s Corner Marketplace Event/Screening Space Playground Waiting Area Children’s Library Ramp Outdoor Seating

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/Main Library with cantilevered Cafe space

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Main Library Reception Private Pods Periodicals IT Section Reading Space Main Library Archive Outdoor Space Children’s Library Children’s Library Archive

/Playground adjacent to Children’s Library

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/1F Plan

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Strokes Tensegrity cables that bind the learning areas together Individual Vertical Lines Columns that act as the central focus of the learning areas Curvilinear Lines Lines that help with directionality and circulation Spread-Out Vertical Lines Vertical posts that work with the curvilinears for directionality Compressed Vertical Lines Forms a rectangular archive room that stores knowledge

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Circles Circular forms that define the areas of learning within its radius

LEARNING AT ANY PLACE Throughout this semester, the Library in Rome project has kept me thinking about the meaning of learning, and the definition of a library as a place of learning. As what my research through installations, models and diagrams has shown, it is clear that ‘learning’ has a very broad definition.

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Short Section through Main Library

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Exploded Conceptual Framework

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People learn when they study, play, talk, even relax. The ‘Process of Discovery’ concept in my library design further shows that learning happens all around us - at any place through various ways, even if that includes buying and selling goods. Thus, I stand with my definition of a library - a place for learning, and this project shows that learning happens at any place.

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ARCHITECTURAL HISTORY: CULTURE & THE CITY

Y2 S2: AH2b ARHI08007

Course Organiser: John Lowrey

Course Description

Reflective Statement

The course looks at the notion of the City as the exemplary setting of our social condition. Whilst the city is understood to embody organising principles and to be constituted according to the commands of political thought, the course concentrates upon the city conceived also otherwise. It is the scene of self-conscious community and is our monument to shared memory. If the essential act of the city, politically conceived, is one of walling or penning, the city conceived socially is a scene of processing and gathering- together. The architecture and city planning of accord is the subject of the course. The lecture programme falls into two parts, the first dealing with our acts of pilgrimage and congregation for the purposes of religion, entertainment and improvement.

The second part deals with our celebration in architecture of what we share metaphysically social memory and the memorial.

A quite different approach within the Archietctural History course series, the course introduced topics regarding the City, rather than global or styles architecture.

For my presentation, I opted to critically examine about the cultural and social influences on the Louvre Pyramid by I. M. Pei, mainly due to me taking French Language course the semester before, and my fascination towards how a glass and steel pyramid structure would fit with the Louvre, an influential Renaissance architecture, as well as fitting in with the urban typology of Paris (GC 2, 3).

For my essay, I critically analysed how civic and artistic influences shape 20th century theatre architecture, where I was interested in how buildings can represent the identity of a City and its inhabitants (GC 4, 5).

Thus, the outcome that directly relates to my architectural design thinking is the design consideration on a building’s urban impact - Does the building represent its civic identity, or is detrimental to it? This topic heavily influenced my dissertation topic in Year 3.

LO1 Demonstrate knowledge and understanding of connections between architecture and social, economic and political circumstances within which it is located - tested by the Essay.

LO2 Demonstrate the ability to evaluate urban phenomena in social contexts - tested by the Exam at the end of semester.

LO3 Research, analyse and present in written and report form themes appropriate to the course content - tested by the Tutorial Presentation.

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Individual Presentation | Architectural History: Culture & The City

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Continuity or Change? // I.M. Pei’s Pyramid, The Louvre

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Under the theme of Spectacle Galleries & Museums, we were assigned as a pair to present individual critical analysis on a given historical building. In my case, the building was I.M. Pei’s Louvre Pyramid.

The presentation discusses the Louvre Pyramid as a form of continuity or change due to controversies on its architectural gesture towards the history of its city and the world. I argue that the Louvre Pyramid is a form of both continuity and change, as it is a response of the past that creates a new change in the present day, while not diminishing the Louvre’s existing functions.

All in all, in my view, the Louvre Pyramid can preserve the old and embody the new at the same time. The pyramid is a form of a necessary change that responds to the past, providing continuity in the process. The Louvre Pyramid can be regarded as both a historical achievement and critic. Thus, the Louvre Pyramid questions the new role for today’s museums as the Louvre’s significance as a museum is not diminished due to the pyramid being a piece of art itself that maintains the museum’s function as a place of learning and discovery.

Key References Fauvel, M. “From Iron to Glass: Transparency and Pluralism.” Studies in 20th & 21st Century Literature, vol. 20, no. 2 (1996): 337-347.

Hansen, R. “Architectural Controversies.” Calliope 24, no. 3 (2013): 38-41.

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I.M. Pei, The Louvre Pyramid (1989)

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Use of glass and metal

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The Pyramid adjacent to the Louvre

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Champs-Elysées as an urban axis

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Definitions: Continuity, Change, Modernism, & Postmodernism

The Use of New Materials

Perceptions towards its Historical Setting

Relationship with the Louvre & Urban Context

In this discussion, the term ‘continuity’ of the Louvre Pyramid can be defined as the consistent existence of recognition with past architectural styles that is shown in the present. ‘Change’ in this context is defined as the Louvre Pyramid being a form that totally neglects the past in creating a new language in the present day.

The glass pyramid received various perceptions due to its historical setting with the Louvre as it is located on an ancient setting of classic stone. In a perspective, the pyramid is seen as ‘a study in discontinuity’ as its shape and materials disturb the Louvre as a historical marvel.

The April 1988 issue of the Architecture d’aujourd’hui magazine described the pyramid as a “wart disfiguring a beautiful body.”

The Louvre Pyramid utilises the techniques of the past with new materials to reach new boundaries. This may support my argument that the Louvre Pyramid is both a form of continuity and change. However, the use of new materials with past techniques disaffiliates the pyramid from the past in favour of change. Also, the glass material signifies the arrival of modernity at the end of the 19th century, symbolising change.

Another proof suggesting the pyramid as change can also be seen in terms of its originality being missing, resembling the Egyptian pyramids and French public gardens of the 18th century. This approach did not fit with the historical setting of the Louvre. Although it references past architectural styles, the pyramid’s style is considerably dismissed from time, signifying it as a form of change without continuity. However, based on the definition of continuity being a recognition of the past, the pyramid is also a form of continuity as it is a contemporary response towards the ancient Egyptian pyramids.

Nevertheless, the post-modernism use of previous techniques and forms with new approaches that greatly signifies the end of the 20th century obviously classifies the pyramid as both a form of continuity and change.

The pyramid is seen as a highlighting of the museum, rather than its main function as the Louvre’s new entrance.

The architect, Pei, even described his design as “not really architecture,” but “it has more to do with the art of illusion.” Thus, the pyramid itself is a piece of art.This may define the pyramid as change but in Pei’s perspective, the pyramid responds to the museum’s history of art, providing continuity. The glass pyramid acts as protection for the museum whilst enhancing the value of the arts and artefacts inside it, being a sanctification of the Louvre and artworks of artists.

Based on the definitions of both terms above, modernism and post-modernism are both relevant. Modernist principles revolve around rationality, technique, repetition, structure and abstraction.

On the other hand, post-modernism is described by Charles Jencks as “...fundamentally the eclectic mixture of any tradition with that of the immediate past: it is both the continuation of Modernism and its transcendence.”

This explains that post-modernism is a style that operates within both ‘continuity’ and ‘change’ as it considers the past styles in creating a new style. Thus, this definition of post-modernism aligns with my argument’s definition of a form of both continuity and change.

In urban context terms, although the pyramid is aligned symmetrically with the Louvre, it disturbed the carefully preserved symmetricity of its urban surroundings, being unaligned with the Champs-Elysées. This suggests that the pyramid is more of a form of change. Although the Louvre was built as a new entrance for the Louvre, it provides access to an underground shopping gallery and parking space; changing the ‘entrance to a world of art’ into an ‘entrance to a world of consumption.’

However, in my opinion, the pyramid amplifies the Louvre’s significance rather than diverting attention towards it. The pyramid functions beyond than just being an entrance for the Louvre, but conveys a complexity of significations and messages to the contemporary world of new discoveries in form of space, material, idea, function and metaphors.

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Essay | Architectural History: Culture & The City

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Addressing the extent to how twentieth-century theatre architecture has been shaped by civic as well as artistic concerns, this essay provides several examples in Britain, in which I could analyse to see whether either civic or artistic matters dominate, or whether both are present, and to what extent, in shaping twentieth-century theatre architecture.

‘Civic concerns’ in this essay is defined as factors that revolve around the place and role of theatres in the physical fabric and life of the city while ‘artistic concerns’ are factors that emerge from artistic matters of theatrical performance and standards.

Whether either civic or artistic concerns dominate the other, or whether both are present, and to what extent, is explored.

Thus, evidence support my argument where 20th century theatre architecture considered both civic and artistic concerns due to global events like post-war planning and city representation, as well as the ever-changing artistic concerns of the actoraudience relationship and support for the arts, where both civic and artistic concerns complement one another in shaping 20th century theatre architecture.

Key References Calder, B. Raw Concrete: The Beauty of Brutalism.

William Heinemann: London, 2016.

Curtis, W. J. R. Denys Lasdun: Architecture, City, Landscape. Phaidon Press: London, 1994.

Fair, A. “A New Image of the Living Theatre: The Genesis and Design of the Belgrade Theatre, Coventry, 1948-58.”

Architectural History, vol. 54 (2011): 347-382.

Fair, A. “The End of Optimism and Expansiveness?

Designing for Drama in the 1970s.” Twentieth Century Architecture, no. 10 (2012): 74-87.

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Donald Gibson, Belgrade Theatre, Coventry (1958)

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Denys Lasdun, National Theatre, London (1976)

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M. J. Gleeson, Crucible Theatre, Sheffield (1971)

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Belgrade Theatre, Coventry (1958)

National Theatre, London (1976)

Crucible Theatre, Sheffield (1971)

Coventry’s Belgrade Theatre was Britain’s first civic theatre, thus presumably been mostly shaped by civic concerns. The Belgrade Theatre was intended to be designed in relation to its urban surroundings, being a civic and community centre. The Coventry City Council’s financial aid was due to Coventry authorities noticing the under-provision of cultural centres compared with housing and industry, further proving that civic concerns were considered.

London’s National Theatre by Denys Lasdun is a great example of a modern theatre in the 20th century due to its High Brutalist concrete ‘strata’. Although being completed in the late 20th century, its earliest origin was in the 1840s, when Effingham Wilson requested for a publicfunded theatre conducted by elites that would raise the standard of plays and productions addressing an artistic concern.

Another example worth noting is Sheffield’s Crucible Theatre as it followed the achievement of the Belgrade Theatre as a civic theatre. Civic concerns are evident as its architects believe that the theatre is a piece of the circulation around Sheffield with its lobby being a ‘street’ for public to walk through and stop by for coffee or buying tickets. The theatre has become the new city’s outstanding building, realising its concept as a civic theatre.

Before being civic-inclined, the Arts Council in 1949 suggested the theatre to not be a ‘multi-functional venue’ but one that considered acoustics and its layout for artistic purposes. Its auditorium that consists of a proscenium-arch stage and boxes, as specified by The Architects’ Journal, is “basically a Victorian or Edwardian theatre,” and it was “in the best traditions of these ancestors.” Proscenium-arch stages create thrilling and rich sceneries as spectators and the stage world are separated by a ‘picture frame’. In the actor-audience relationship debates, the artistic perspective critices proscenium-arch stages as distancing actors from the audience literally and psychologically. However, the theatre’s design was confirmed long before the debate’s existence to consider this criticism.

Due to artistic concerns, sightlines were considered, resulting in the fanshaped plan to create undisturbed stage-views, providing clear sightlines for all. This aligns with Anthony Richardson’s suggestion for the theatre being a ‘people’s theatre.’ Kenneth Tynan praised how those artistic elements of the Belgrade Theatre treated its audiences ‘like first-class citizens.’ This artistic concern has helped to achieve the theatre’s civic aim of being a ‘people’s theatre’, proving how both concerns complement one another.

Quoting Coventry’s Police Advisory Committee, the Belgrade Theatre was aimed “to make a better contribution to civic design.” The City Council was convinced that the theatre would create and amplify communal sense, becoming Coventry’s civic pride. The theatre’s first Artistic Director, Bryan Bailey aspired the theatre to be ‘more than a Playhouse,’ describing the building being opened everyday with its facilities creating social atmospheres. This civic pride approach suggests that civic concerns were dominating as the theatre was actively engaging civic consciousness in finding the city’s identity.

When a site was arranged nearly a century later, the project was suspended due to World War II. The London County Council (LCC) was interested with the National Theatre idea. This support was propagandistic as it was set during The Blitz of WWII and LCC took the chance to re-plan the city, where the National Theatre idea suited well to expand central London’s cultural and economic atmosphere, therefore being a civic concern.

For artistic purposes, the auditorium type for its main stage was heavily discussed, leading to prolonged indecisions. Theatres in the 20th century were challenged by cinemas as proscenium stages work in a similar way. where the action happens in another room seen through a hole in the wall dividing the audience and actors. Thus, open stages were considered due to the international interest in reinvestigating how past theatres unified the actor-audience relationship through the Shakespearean courtyard stage and ancient Greek theatres. Responding to traditional demands, a conventional proscenium stage is built, the Lyttleton Theatre. Also, the committee designed the Olivier Theatre, an open stage theatre with scenic abilities that are better than a proscenium stage. It may appear to be an open stage, but the ‘picture’ is hauled forward into the auditorium, thus eliminating the proscenium stage’s ‘picture frame’. These discussions on deciding the auditorium type in actor-audience relationship terms is a major artistic concern that shaped the theatre.

The theatre received admirations from Modernist architects and historians as Lasdun’s National Theatre was perhaps the best accomplishment in understanding exposed concrete in a decade, and managed to represent national status through the arts, signifying the achievement from both civic and artistic concerns.

In artistic terms, Colin George claimed that a pop concert-like approach was essential for the survivability of theatres against the rise of television and cinema popularity in the 1960s. Embracing this approach, bright colours were incorporated in its public foyers. Dismissing the Elizabethan England stage concept, the Crucible Theatre’s thrust stage was shaped by the Building Research Station’s newest acoustics and technicalities. The stage being surrounded by single, ‘democratic’ tier seats has increased actor-audience intimacy as the stage is nearer to the audience.

Conclusion In conclusion, the Belgrade Theatre, National Theatre and Crucible Theatre all had both civic and artistic concerns that complement each other to achieve each other’s aims in shaping the theatres’ architecture.

Thus, my argument is well-founded as theatre architecture of the 20th century were heavily influenced by the surrounding civic concerns, especially due to responses towards global events like post-war planning and city representation, as well as the ever-changing artistic concerns of the actor-audience relationship and support for the arts.

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TECHNOLOGY & ENVIRONMENT: BUILDING FABRIC

Y2 S2: TE2b ARCH08027

Course Organiser: Dimitrios Theodossopoulos

Course Description

Reflective Statement

The course explores the applications of the principles of structural analysis and design, and also construction technology, implemented in the first year technology and design courses. Moving up the degree of complexity in design, structural stability and serviceability is examined as a result of a wider range of actions. This is further explored in tectonic expressions in processes of material system choice, architectural synthesis and assembly - the essence of how a building communicates its qualities to its users.

The short essays provide me the basic understanding of topics revolving around building fabric - its materials, structural systems and envelope systems (GC 8).

Hence, the knowledge gained is all applied to a two-part technical design project on Dirleton Castle - the Timber Walkway and North Pavilion (GC1). This project challenged me to consider the sensitivity of such a historic building fabric whilst reviving its original impression, where being sympathetic to the existing fabric is important, leading to unique design and tectonic strategies, including material choices (GC 5). Alongside this, the structural sizes decisions for the walkway were made through layers of calculations. For the pavilion, environmental strategies for drainage is applied, alongside fabric strategies through details for the walls, roof and junctions that would help in creating internal conditions of comfort and protection against the climate (GC 9). In short, the course has greatly developed my range of knowledge to be applied in architectural design to meet both aesthetic, environmental and technical requirements.

LO1 Apply the mechanisms of design of structures that address increasingly complex interactions between forms, human use and the environment of a site, in terms of imposed actions and the impact of the chosen material LO2 Demonstrate an understanding of the process of choice and assembly of material systems in the design of buildings to provide internal conditions of comfort and its aesthetic expression LO3 Communicate an understanding of the range of applications of the principles of assembly and structural performance with regards to the main material systems (masonry, timber, steel and concrete) in the design of medium-sized buildings

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Short Essays | Technology & Environment: Building Fabric

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Materials // From a Technical, Economic and Cultural Perspective

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The first of the 3 short essays asks to outline the technical, economical but also cultural parameters that affect the choice between the main natural and manufactured materials reviewed in this course.

/Use of reinfroced concrete for residential buildings due to fire resistivity

Essay 1 Referring to the load-bearing structure and its assembly, as well as strategies for the envelope, I analysed timber, steel and concrete in technical, economic and cultural perspectives on how they affect material choice to resist the applied loads and environmental conditions in medium sized buildings (up to 5 storeys high). I included case studies of how one of these material systems could overcome the limitations of another.

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/Steel trusses take advantage of standardisation and customisation of steel in creating wide, column-free spaces

Economic Perspective

Cultural Perspective

In technical terms, natural timber has different stiffness and strengths.

Being an anisotropic material, its strength relies on careful considerations in the cross-grain directions. On the other hand, steel has high compressive and tensile strength, providing large spans to resist loads. Plus, steel is ductile and weldable, allowing standardisation and customisation. Next, concrete has high compressive but low tensile strength. The formation of reinforced concrete increases tensile strength.

Economically, timber is very cost effective as timber structures are designed for low loads, strength and spans. Also, there are controlled timber supplies by timber sawmills. Steel is an expensive material due to maintenance. As moisture exposure results in corrosion, steel should be regularly painted as corrosion-resistant steel is costly. However, repairing steel structures is quick and easy, not to mention rapidly assembled, resulting in quicker economic payoff. The price of concrete remains stable despite other materials’ price fluctuations. Also, less skilled labour is required. However, concrete takes a long time (usually 28 days) to harden, slowing down economic payoff.

Culturally, timber is widely chosen due to its natural aesthetics. However, contemporary designs today also utilise steel and concrete on almost any kind of building. Material choice also depends on the building’s function. For example, it is inappropriate to use exposed steel structures in an industrial factory that uses heat-releasing machinery as the structure will melt although capable to withstand the machinery’s heavy loads. A composite material may be the choice to overcome this.

Timber is likely the eco-friendliest material of the three, due to the extremely low CO2 emissions. According to timber construction specialist company Eurban, every cubic meter of the solid spruce timber structure of David Adjaye’s Sunken House (Figure /3) has saved almost a ton of C02 emissions compared to that of a brick structure. It is also assembly-friendly as it took only 5 days to be erected, efficiently saving time and labour cost. This overcomes the limitations of manufactured materials of the long hardening times of concrete and more money-saving than steel. However, material choice still depends on the building where a tall 5-storey timber house or office building might not be the best choice compared to concrete or steel.

Conclusion

Fire resistance is important to resist environmental conditions. Steel is a good heat conductor, thus has low fire resistance. As steel melts, a burning steel-framed building will deteriorate and collapse. Being highly combustible, timber is safer than steel as wood chars only on the outside, maintaining the timber structure during a fire. Concrete is non-combustible, but its strength is affected when exposed to high temperatures, reducing its ability to withstand applied loads

Murphy/Jahn Architects, Suvarnabhumi Airport, Bangkok (2006)

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DATT + Koyori, Kant K apartment, Muko, Japan (2016)

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Adjaye Associates, Sunken House, UK (2007)

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Technical Perspective

Strength-wise, manufactured materials provide larger spans to resist loads.

Figure /1 shows a clear-span steel building, the Suvarnabhumi Airport.

Achieving a wide space without several columns, manufactured steel overcomes the limitations of natural timber due to steel’s high strengthto-weight ratio. Timber is unable to resist applied forces with such a wideopen span. However, on a medium-sized building, timber can be used but with limited spans. As a natural material, timber is prone to natural defects. A strategy to control these limitations is through engineered timber such as GluLam timber to increase span and durability.

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/Eco-friendly use of solid spruce timber

All in all, the choice between natural and manufactured materials relies heavily on the type and function of the building itself, where natural materials are chosen for its economic and natural advantages while manufactured materials are chosen for its strong technical advantages.

However, due to the merits of each material, they have potential in complementing one another, therefore leading to the popular decision in adopting hybrid material strategies today.

Due to its fire resistance, concrete is widely used for contemporary residential housing. Figure /2 shows apartment Kant K’s sections and elevations. Its use of reinforced concrete solves the limitation of steel and timber in fire resistivity, protecting people in their homes. It is uncommon to see apartments using steel or timber structures, as composite materials are preferable for safety. Reinforced concrete also solves buckling in slender steel structures. Also, a 5-storey timber residential building might not be a preferable material choice compared to non-combustible concrete.

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Short Essays | Technology & Environment: Building Fabric

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Super/Substructure // Innovative Structural Steel Frame Strategies

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Based on the effect of typical structural loads like dead load, imposed loads, wind action and fire, this essay requires a discussion on how unique and innovative structural layouts for a steel frame building can be designed to resist such loads.

Essay 2 Through case studies, I discussed unique and innovative structural steel frame strategies on stability and stiffness, the design of connections, the construction sequence and the unique resulting layout for this type of the structure. Thus, a key design priority on both case studies are idenitifed and critically analysed on why this particular technique or strategy was used.

1/

Cannon Place elevation showing the cantilevers on its north and south ends

2/

The steel-frame superstructure

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Diagonal bracing resisting horizontal and vertical loads

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Temporary diagonal steel cables being used to carry the base floor of the cantilevering north and south ends to resist abrupt loads

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Centre Pompidou’s façade with visible exposed steel-frame structures

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Gerberettes and warren trusses design connection

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Load distribution of Centre Pompidou’s structure

8/

Water-filled steel columns detail

Cannon Place, London

Centre Pompidou, Paris

Firstly, the Cannon Place office in London is a great example of a steel-framed building due to its cantilevering north and south ends above an underground station (Figure /1). Due to the railway lines of the Cannon Street Station below, traditional columns were difficult to be used to support the office building, thus led to the use of cantilevers supported by giant steel trusses as crossbracings called ‘X-frames’.

The next case study will revolve around the structural layout of the Centre Pompidou in Paris. Being a high-tech architecture building, the expression of its structural steel frames is very prominent, with its cross-bracing and steel trusses can be seen clearly on its exterior (Figure /5).

/1

The Centre Pompidou has unique cast steel structures called Gerberettes which are cantilevered arms that connect the steel columns with the steel warren trusses and the exterior cross-bracings (Figure /6). This design connection allows the concrete floor slabs to be free from columns. The Gerberettes are crucial in ensuring the loads from all six floors are transferred down the centre axis of each column to prevent bending moments. The warren trusses can withstand tension and compression forces, not to mention their ability to also redistribute shear forces to the corners and down to the ground. The load distribution of the whole structure can be seen on Figure /7.

In terms of bracing elements, the structure incorporates various types of bracing (Figure /2), where diagonal bracings are present on its grid end frames as well as unique, massive cross-bracing X-frames on the west and east sides to support the balancing north and south cantilevers which are visible and exposed over the glass façade.

As shown on Figure /3, the diagonal bracing elements are used to resist vertical (dead and imposed loads) and horizontal loads (wind load). On the other hand, the X-frame bracings on the west and east sides help the building’s stability by holding the floating cantilevers.

These X-frames act as bookends for the cantilevers that transfer loads down to the foundations. To be more specific, large 14m high steel structures cladded by concrete called hourglasses were built to support the X-frames and other structures above in terms of stability by absorbing the loads and distributing them evenly throughout the foundations. These hourglass structures can also be seen on Figure /2.

In terms of the Cannon Place’s cantilevering north and south ends, the construction methods were different than normal due to abrupt loads that arise during the building’s construction. As most buildings are constructed upwards with loads increasing moderately upon completion, this building had to be carefully constructed due to the abrupt loads of the long 21m wide x 67.5m long cantilevers.

The solution was that the central structure would firstly be built, followed by temporary supports by diagonal steel cables extending from its top to momentarily carry the cantilevers’ base floors while the floors above them were being built with X-frame bracings (Figure /4).

Thus, the strategic use of cantilevers for the Cannon Place office allows the station below to reach wider spans with less columns than before, creating a more spacious and brighter atmosphere.

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Furthermore, the Centre Pompidou’s fire resistivity is focused on its centrifugally-cast thick-walled steel columns, being water-filled for fire protection (Figure /8). /7

/8

Conclusion

/3

In conclusion, the flexibility of steel that can take advantage of customisation and standardisation allows unique and innovative structures to be designed, whilst being time- and cost-efficent. With innovative structural steel frame strategies being continously created, these allow various possibilities in resisting structural loads.

/4

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Envelope // Different Envelope Build-Ups for Different Structural Systems

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The last essay aims to outline the main differences in the construction of solid envelopes in stone - between a loadbearing masonry faced in ashlar, and a concrete frame.

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Essay 3 By using case studies in Edinburgh, the strategies for waterproofing and thermal comfort in the climatic conditions of Edinburgh is outlined. The differences in construction of solid envelopes in stone between a load-bearing masonry faced in ashlar and a concrete frame is discussed through detail: fixings on the main structure, the constituent elements and their assembly. Hence, the essay concludes that different structural systems require different envelope construction methods.

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Detail section of a typical hand-fixed cladding system

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St Vincent Place, Edinburgh

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Detail section of the St Vincent Place’s buildings’ load-bearing masonry wall faced in ashlar

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Informatics Forum Potterrow, Edinburgh and its concrete frame structure during construction

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Detail section of theInformatics Fourm’s concrete frame wall caldded with sandstone

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Typical Solid Envelope Construction

Load-bearing Masonry Faced in Ashlar

Concrete Frame Cladded with Sandstone

Firstly, a masonry wall is constructed of single blocks of bricks, concrete or stone, usually in horizontal layers, joined with mortar. As a load-bearing masonry wall, it supports the entire structure of a building, including its horizontal floor slabs. The construction of masonry walls may be in the form of a single thickness known as a solid wall construction, or two thicknesses with a cavity in between called a cavity wall construction.

The south block buildings of St Vincent Place, Edinburgh (Figure 2) are good examples of load-bearingmasonry faced in ashlar, as they consist of a cavity-wall load-bearing masonry of concrete blocks cladded with 100mm thick Stanton Moor sandstone. The sandstone cladding forms the outer leaf of the wall, being tied to a concrete blockwork inner leaf. Here, the hand-fixed cladding system is used.

Next, the case study for a concrete frame building cladded with stone is the Informatics Forum at Potterrow, Edinburgh (Figure /5). Here, concrete frames are cladded with 50mm thin Leistadter sandstone.

On the other hand, concrete frames are a network of vertical columns and horizontal beams that form the structural ‘skeleton’ of a building. Being load-bearing, the grid of beams and columns support the building’s walls, floors, roof.

In terms of waterproofing and thermal comfort, its cavity wall build-up consists of several cavity drainage and vent slots under its wall panels (Figure /3). A more detailed representation can be seen on Figure /4.

As Edinburgh’s wind-driven rainwater can often force its way through cladding into wall cavities, the cavity drainage slot works together with DPC cavity trays (in red). The cavity tray is located within the cavity and redirects water through the drainage slot, allowing it to flow out harmlessly. Also shown are the different positions of the cavity trays with the supports (in blue) for efficient water drainage: being above supporting ties and behind steel corbels at every floor. The vent slots also provide ventilation throughout the cavity for thermal comfort. Also, horizontal mastic joints (in purple) are built into the cladding that act as movement joints to prevent material expansion and contraction due to thermal expansion and moisture movement.

In terms of the construction of solid envelopes, stone cladding can be installed through the traditional hand fixed cladding system (Figure /1). It carries the load from the cladding to load-bearing fixings at the floor plate.

Briefly, the cladding is restrained using restraint fixings. Due to shrinkage and/or elastic deformation under load, the structure and envelope are subject to vertical and horizontal movement. Thus, movement joints are required. Cavity between the cladding and the backing structure will consist of insulation. Waterproofing and thermal comfort strategies will require cavity trays, a damp-proof course (DPC) and weep holes.

Cavity trays are required to redirect moisture out of the cavity through weep holes. DPCs then prevent moisture from rising through the structure by capillary action. However, the use of stone cladding on loadbearing masonry and concrete frames may have slightly different wall build-ups and may not follow the typical envelope construction system due to the different structural systems.

Figure /4 also shows its wall assembly. The 100mm thick sandstone cladding is connected by 5mm mortar joints. For the main structure fixing, stainless steel restraint ties with loose dowel fixings (in blue) are bolted onto the sandstone cladding above and below the joint with the concrete blockwork to stabilise the envelope. For floor support, horizontal stainless steel corbels (in blue) are positioned with the horizontal mastic joints within the cladding and bolted back to the concrete floors at every level of the building.

Its waterproofing and thermal comfort strategies can be seen on Figure /6. Here, the use of stainless steel drip profile (6) removes rainwater that flows in between the precast concrete cladding panel (3) and the sandstone cladding (4). The outer wet seal with weep holes (11) also help water to flow out seamlessly, waterproofing the building generously.

The wall build-up is different than St Vincent Place’s buildings due to the use of concrete frames rather than masonry structure. The sandstone tiles were initially laid face down in timber moulds. A debonding layer is then attached to prevent cracking of the stone. Lastly, the tiles would be secured to the concrete, followed by pouring of concrete to form the concrete cladding panels (3). The outer leaf consists of all the insulation, the cladding and concrete cladding panels. The inner leaf only consists of plasterboard and concrete columns. The figure shows the use of a head restraint panel fixing (13) that connects the cladding with the concrete frames. Also, the use of a load bearing panel fixing (12) provides simple support to the top of the outer leaf by transferring lateral load (wind or internal pressure load) received from the outer leaf to the primary structure of the concrete columns.

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Technical Design Project 1 | Technology & Environment: Building Fabric

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Restoring Dirleton Castle Pt.1 // Timber Walkway

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Groupwork with Mirza Ismail, Razulnizam Bin Zulkefeli & Ewan Malloch In a group of 4, we were asked to design a lightweight timber structure that includes a viewing walkway and a pavilion on the North end to recreate portions of the Great Hall area and the Dais Chamber, and “stitch” visually the medieval past of the Dirleton Castle, restoring the original impression of the volume of the area. Firstly, we designed the timber walkway.

ate Analysis

ated 20 miles East of h Bewrick on the East

mate with varying exthe year. Temperatures ezing but strutures that ble to withstand temperThe fluxuation of teme levels means that the be able to endure the moisture content varia-

vely high and frequent e shelter given by the exaterials used should be me wind and rain expor the most part is largely osure from the sun will eeds much considera-

pitation days.

es at least 10 days

Dirleton Glasgow

Edinburgh

/Dirleton Castle location in Scotland

/Timber Walkway Proposal

Timber Walkway Design Statement Precipitation Amounts High levels of precipitation all year round, every month experiences btween 8-10 rainy days. Snow days are very rare.

/Views of the site in Dirleton Castle

Dirleton Castle Dirleton Castle served for 400 years as the power centre for the de Vaux, Haliburton and Ruthven families. The castle became obsolete after the downfall of the Ruthvens and Cromwell’s siege in 1650. Even in this state, Dirleton conveys today the juxtaposition of phases, the ambitions of the owners, the need to combine defence and comfort, and the achievements of stone masons in creating imposing spaces. From 1356, after the Wars of Independence, John Haliburton rebuilt the castle, adding a new residential tower and a great hall along the E side of the courtyard.

/Plan

Maximum Temperatures Temperatures rarely drop below freezing, minimal seasonal fluctation.

Due to Dirleton Castle’s rich history, we focused on a symphatetic approach for our walkway design. The timber walkway will be situated along the edges of the castle, with some parts being above the damaged walls. We hope to revive the original impression of the area’s volume by this approach, while creating a new way of seeing the castle.

A

We aim to not disrupt the existing elements of the castle’s ruins by having a clean and elegant walkway design. The number of columns are kept to a minimum, allowing views and circulation around the castle to be maintained as visitors are able to walk under the walkway as well.

Visitors of the castle will have a more enhanced experience as the walkway acts as an elevated platform for visitors to have a wider view of the castle and its surroundings, especially views from the north-west. The journey on the walkway adds circulation for visitors to access the first floor. Also, it is designed to provide access to the future pavilion that is to be built on the north end of the first floor.

We hope to revive the original impression of the area’s volume, especially the ruined walls while providing new circulation and experience for the visitors.

A

/Elevation AA

/Columns

/Supporting Columns

/Primary Beams

/Secondary Beams

/Layered Plans of the Timber Walkway

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Y2 S2: TE2b

Material Choice: Douglas Fir In terms of strength, Douglas Fir is easily adequate for both primary and secondary structures. It is light-weight in comparision to its hardwood counterparts and so is suitable for the minimal, elegant design strategy we want to achieve. Its aesthetic characteristics were also something we desired. The straight grain and light texture would create the streamline appearance. /Columns

/Primary Beams

/Secondary Beams

/Decking

/Stairways

/Glass Panels

/Railings

/Exploded Axonometric

Structure in Detail

1

2

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Decking Douglas Fir decking was used to make the whole structure look as one.

Thus, the connection is simple and clean which makes the decking less distracting so that people can enjoy the view around the castle.

/Decking

Secondary Beam The idea for the structure is to make it look clean and elegant. Therefore, the secondary beam is hidden withincthe primary beams rather than on top to achieve the clean look which allows the connection to be bold and stronger without affecting the aesthetic look of the structure.The metal plate supporting at the bottom of the secondary beam makes the connection more rigid and stable

1

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/Secondary Beams

Primary Beam Primary beams are connected to the supporting columns to make the connection easier to assemble because of its modularity. The plate to connect the supporting column is designed at an angle so that it will be hidden within the supporting column with enough length so that it can provide a rigid and strong connection with a simple and clean finish. The primary beam connections consist of horizontal plates to provide vertical support to resist bending stress at the connection point between 2 primary beams.

2

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/Primary Beams

1

Column and Supporting Columns The supporting columns are designed to be connected to the main column where the metal plate holds them in place. The connection for the four supporting columns is designed precedenting from Pudasjärvi Campus. The plate and the metal dowel are hidden within the timber supporting elements and main column. The connection of multiple columns were made in such way to make it look simple and clean athough it is a connection of 5 timber elements.

2

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/Column & Supporting Columns

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Foundations - Base Plate The foundation for the structure was designed in a way that will minimise the damage done to the historical site. Moreover, the simple design was made to make the structure feel more clean and simple while making the base more rigid and stable.

4

/Foundations - Base Plate

/Connection Details

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Technical Design Project 1 | Technology & Environment: Building Fabric

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Y2 S2: TE2b Calculations 1. LOADS

Live load (imposed) Dead load Total q Point load p

5.0 kN/m2 0.5 kN/m2 5.5 kN/m2 4.5 kN/m2

2. TIMBER CHOICE

- Strength modification factor, kmod = 0.65 - Depth d is assumed > 150 mm. So, size factor, kh = 1.0 - Full torsional constraint of the beam is provided. So, the in stability factor, kcrit = 1.0 - Beams span is 2m, less than 6m apart. So, the load sharing factor, kls = 1.1 - The material is solid untreated timber.

So, the partial factor, γm = 1.3

Douglas Fir for columns, primary and secondary beams

Thus,

iv) Minimum Beam Depth, Zxx

18 N/mm2 18 N/mm2 2 N/mm2 9000 N/mm2

3. PRIMARY BEAMS:

Load on beam (UDL), w = q s = 5.5 x 2 = 11 kN/m a) Sizing Beam for Bending Moments

a) Sizing Beam for Bending Moments

For beam size (150 x 195) mm, Ixx = 92.69 x 10⁶

a) Maximum Deflection, Wins

So, we choose (150 x 195) mm as primary beam size. b) Sizing Beam for Shear Stress

i) Maximum Bending Moment, Mmax - Mmax (UDL):

- Mmax (Point Load):

- So, total Mmax = 5.5 + 2.25 = 7.75 kNm

i) Maximum Shear Force, V

- V (UDL):

- V (Point Load):

- So, total V = 11 + 2.25 = 13.25 kN

ii) Maximum Shear Stress in Rectangular Section, Td

V = q s L/2 = 5.5 x 2 x 2/2 = 11 kN

V = p/2 = 4.5/2 = 2.25 kN

- d = L/16 = 2000mm/16 = 125 mm

iii) Permissible Bending Stress, fm,d

- Material: Solid timber

- Service Class: 3 (External use, fully exposed)

- Load Duration: Medium-Term

(Imposed floor load, snow)

- So, total Wins = 2.75 + 0.90 = 3.65 mm

b) Final Deflection, wfin

Consider creep (long-term deformation under constant load) and modify initial deflection:

- So,

- Duration factor kdef = 2

wfin = wins (1+ kdef) = 3.65 (1 + 2) = 10.95 mm

iii) Permissible Shear Stress, fv,d

- So,

Td ≤ fv,d

0.679 N/mm² ≤ 1.1 N/mm²

Thus, the primary beam size is accepted.

- Mmax (Point Load):

- So, total Mmax = 0.993 + 1.91 = 2.9 kNm

ii) Minimum Beam Depth, Zxx

So, we choose (150 x 147) mm as size of secondary beam.

b) Sizing Beam for Shear Stress

c) Maximum Permissible Deflection

i) Maximum Shear Force, V

- L/150 = 2000/150 = 13.33 mm - So,

- V (UDL):

Maximum Permissible Deflection > wfin

13.33 mm > 10.95 mm

As Maximum Permissible Deflection is greater than Final Maximum Deflection, the primary beam size is accepted.

4. SECONDARY BEAMS:

ii) Empirical Evaluation of Depth, d

- Mmax (UDL):

- Wins (Point Load):

i) Maximum Bending Moment, Mmax

- Wins (UDL):

In SS (Special Structure) grading, therefore a C18 strength class:

Bending strength, fmk Compressive strength parallel, fc,0,k Shear strength, fv,k Mean Elasticity Modulus, E

c) Checking Deflection of Beam

Span, Ls : 1.7 m

Spacing, s: 0.5 m

So, w =qxs

= 5.5 x 0.5 = 2.75 kN/m

Load sharing is possible, therefore:

Permissible Bending Stress, fm,d : 9.9 N/mm2 Permissible Shear Strength, fv,d : 1.1 N/mm2

V = q s L/2 = 5.5 x 0.5 x 1.7/2

= 2.34 kN

- V (Point Load):

- So, total V = 2.34 + 2.25 = 4.59 kN

- So,

V = p/2 = 4.5/2 = 2.25 kN

ii) Maximum Shear Stress in rectangular section, Td

c) Checking Deflection of Beam

For beam size (150 x 147) mm,

Ixx = 39.71 x 106

i) Maximum Deflection, Wins

- Wins (UDL):

- Wins (Point Load):

- So, total Wins = 0.84 + 1.29 = 2.13 mm

ii) Final Deflection, wfin

- Duration factor kdef = 2

Consider creep (long-term deformation under constant load) and modify initial deflection:

- So,

wfin = wins (1+ kdef)

= 2.13 (1 + 2) = 6.39 mm

iii) Maximum Permissible Deflection

- L/150 = 1700/150 = 11.33 mm

- So,

Maximum Permissible Deflection > wfin

11.33 mm > 6.39 mm

Thus, the secondary beam size is accepted.

Td ≤ fv,d 0.312 N/mm2 ≤ 1.1 N/mm2

Thus, the secondary beam size is accepted.

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Technical Design Project 1 | Technology & Environment: Building Fabric

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Y2 S2: TE2b

5. SIZING THE COLUMNS a) Loads on Column

- Assume column dimension 300 x 300 mm

(Table 12: 300 x 295)

- Total area of floor carried by column,

A = 2 x 4 = 8 m²

- UDL:

A q = 8 (5.5) = 44 kN

- Point Load:

p/2 = 4.5/2 = 2.25 kN

- So, Pt = 44 + 2.25 = 46.25 kN b) Effective Length, Le

- Assuming bracing provides additional restraint to column,

Le = (2.0m/3.5m)L = 0.57L = 0.57 (3.5m) = 2m

kc,90 = 1 as there is no increase the bearing strength

because the applied length ℓ of the uniformly

distributed load q is 3.6 m > 150 mm (typical value

for most beams under UDL).

- Total load carried by each column, Pt:

d) Permissible Stress of Column, fc,0,d

e) Actual Compression Stress, σc

The check for buckling strength therefore yields:

σc 0.51 N/mm² 0.51 N/mm²

Thus, the column is safe from buckling

≤ kcy x fc,0,d ≤ 0.9678 x 9.9 ≤ 9.58 N/mm2

c) Slenderness modification factor, kcy

- The compressive strength parallel to the grain,

- The 5% modulus of elasticity parallel to the grain,

fc,0,k = 18 N/mm2

- Therefore,

E0.05 = 6 kN/mm2

6. SIZING THE FOUNDATION - Assuming:

- Floor Type: Timber - Walls: Front

- Loads From: Floors Only

- Soil Type: Stiff Clay Thus, the load category is Category C.

- Slenderness ratio,

Where the radius of gyration about the axis of the section x-x rxx = 85.2 mm,

/Timber Walkway

- Therefore, the minimum foundation width, L is 400mm.

- As we are using metal plate, provide only width, L. So, we choose (500 x 500)mm for size of foundation.

So, using these values or C18 strength, the slenderness modification factor, kcy = 0.9678

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Technical Design Project 2 | Technology & Environment: Building Fabric

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Restoring Dirleton Castle Pt.2 // North Pavilion

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Y2 S2: TE2b

Groupwork with Mirza Ismail, Razulnizam Bin Zulkefeli & Ewan Malloch Expanding on the previous project that started recreating the visitors’ experience in the Haliburton phases of Dirleton Castle around the Great Hall, we completed the project by designing and detailing a pavilion on the North end. /Development sketches

North Pavilion Design Statement In relation to the timber walkway that stands along the edges of the castle, the pavilion is situated in the middle of the northern area, wrapped by the walkway.

To not disrupt the existing views of the castle created by the timber walkway, the pavilion‘s height does not exceed the walkway’s height. Thus, a monopitched roof design is incorporated.

By having doors along the facade of the pavilion, the entrance creates a very open and inviting atmosphere for the visitors of the castle. Also, the glass facade situated behind the entrance doors allows views to reach through and into the pavilion.

Visitors of the castle will have a more enhanced experience and circulation as the pavilion has access to the walkway by a stairway and also an outdoor space behind the pavilion.

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The wide space in the pavilion can accommodate events of most kinds, especially exhibitions. The landing before the entrance can also be the screening space for events that need projections, as the floor is elevated from the Castle’s floor.

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All in all, the clean, simple and elegant design helps create a calm and interesting atmosphere for visitors of the Dirleton Castle.

/North Pavilion Proposal

/North Pavilion Plan

A B

1 2 3 4 5 6 7

B

Outdoor Space Entrance Lobby/Flexible Exhibiton Space Enclosed Multipurpose Space Outdoor Area Viewing Rock Slit Stairs up to Timber Walkway Timber Walkway

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/Detailed Section AA

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/Sections BB (above) & AA (below)

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Technical Design Project 2 | Technology & Environment: Building Fabric

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Y2 S2: TE2b Structural Steel Strategy

Exploded Axonometric Structural Analysis

The pavilion is supported by a steel frame structure made up of steel columns, beams and studs. All connections are made with steel plates and bolts to allow easy assembly and disassembly of the pavilion. The size of each steel unit are as follows:

/Frame Structure /Zinc Roof

Frame Structure

Sizes: 1

125x125mm

Steel I-Column

:

2

160x125mm

Tilted Steel I-Beam :

As primary columns to support beams Bolted with the primary columns to support studs

3 200x125mm Steel I-Beam :

Bolted with the rear primary columns at the highest end of the pavilion to support the tilted beams and parapet

4

Bolted within the tilted beams to support the roof

120x120mm

Steel I-Stud

:

5 160x125mm Steel I-Beam :

Connections:

/Floor Envelope

Floor Envelope

/Steel Floor Framing

Steel floor framing

Bolted with the front primary columns at the lowest end of the pavilion to support the tilted beams and gutter Foundation pads

/Insulation /Foundation Pads

A

/Douglas Fir Cladding Insulation

Insulation

Douglas Fir Cladding Douglas and Fir Cladding Zinc Roofand Zinc Roof

B

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A

B

S琀攀攀氀 昀氀漀漀爀椀渀最 猀礀猀琀攀洀 愀氀氀漀眀猀 昀漀爀 愀 昀爀攀攀搀漀洀 椀渀 瀀氀愀渀 漀昀 琀栀攀 戀甀椀氀搀椀渀最 眀栀椀挀栀 挀愀渀 戀攀 愀氀琀攀爀 愀挀挀漀爀搀椀渀最 琀漀 琀栀攀 挀氀椀攀渀琀 搀攀猀椀爀攀.䤀琀 愀氀猀漀 瀀爀漀瘀椀搀攀 愀搀攀q甀愀琀攀 猀琀椀昀昀渀攀猀猀 愀渀搀 猀甀瀀瀀漀爀琀Ⰰ 琀栀攀爀攀戀礀 愀猀猀甀爀椀渀最 甀猀攀爀 挀漀洀昀漀爀琀. T栀攀 昀氀漀漀爀 椀猀 攀氀攀瘀愀琀攀搀 昀爀漀洀 琀栀攀 最爀漀甀渀搀 戀礀 甀猀椀渀最 猀琀攀攀氀 挀漀氀甀洀渀猀 挀愀瀀 眀椀琀栀 戀愀猀攀 瀀氀愀琀攀 琀漀 瀀爀攀瘀攀渀琀 搀愀洀瀀渀攀猀猀 愀渀搀 愀氀氀漀眀 戀爀攀愀琀栀愀戀椀氀椀琀礀. 䤀一 琀栀攀 猀愀洀攀 琀椀洀攀Ⰰ 椀琀 挀愀渀 洀椀渀椀洀椀猀攀 挀漀渀琀愀挀琀 眀椀琀栀 琀栀攀 猀椀琀攀 昀氀漀漀爀.

Structural Steel Frames S琀攀攀氀 F爀愀洀攀 猀琀爀甀挀琀甀爀攀猀 S琀攀攀氀 昀爀愀洀攀 挀愀渀 瀀爀漀瘀椀搀攀 愀搀攀q甀愀琀攀 猀琀爀攀渀最琀栀 愀渀搀

Steel frames as the 䤀琀 structural provide 攀愀猀攀 漀昀 椀渀猀琀愀氀氀愀琀椀漀渀. 愀氀猀漀 愀攀氀椀洀椀渀愀琀攀strategy 漀渀-猀椀琀攀 戀攀挀愀甀猀攀 攀愀挀栀 戀攀愀洀猀 挀愀渀 戀攀 瀀爀攀-挀甀琀 椀渀 adequate挀甀琀琀椀渀最Ⰰ strength and ease of installation.

It also 琀栀攀 昀愀挀琀漀爀礀Ⰰ 爀攀搀甀挀椀渀最 挀漀渀猀琀爀甀挀琀椀漀渀 琀椀洀攀 愀渀搀 氀愀戀漀甀爀 攀昀昀漀爀琀. cutting, as each beam are factoryeliminateS on-site made, efficiently reducing construction time and labour effort, as well as cost.

S琀攀攀氀 F爀愀洀攀 猀琀爀甀挀琀甀爀攀猀 S琀攀攀氀 昀爀愀洀攀 挀愀渀 瀀爀漀瘀椀搀攀 愀搀攀q甀愀琀攀 猀琀爀攀渀最琀栀 愀渀搀 攀愀猀攀 漀昀 椀渀猀琀愀氀氀愀琀椀漀渀. 䤀琀 愀氀猀漀 愀攀氀椀洀椀渀愀琀攀 漀渀-猀椀琀攀 挀甀琀琀椀渀最Ⰰ 戀攀挀愀甀猀攀 攀愀挀栀 戀攀愀洀猀 挀愀渀 戀攀 瀀爀攀-挀甀琀 椀渀 琀栀攀 昀愀挀琀漀爀礀Ⰰ 爀攀搀甀挀椀渀最 挀漀渀猀琀爀甀挀琀椀漀渀 琀椀洀攀 愀渀搀 氀愀戀漀甀爀 攀昀昀漀爀琀.

Steel Flooring System

S琀攀攀氀 昀氀漀漀爀椀渀最 猀礀猀琀攀洀 愀氀氀漀眀猀 昀漀爀 愀 昀爀攀攀搀漀洀 椀渀 瀀氀愀渀 漀昀 琀栀攀 戀甀椀氀搀椀渀最 眀栀椀挀栀 挀愀渀 戀攀 愀氀琀攀爀 愀挀挀漀爀搀椀渀最 琀漀 琀栀攀 挀氀椀攀渀琀 搀攀猀椀爀攀.䤀琀 愀氀猀漀 瀀爀漀瘀椀搀攀 愀搀攀q甀愀琀攀 猀琀椀昀昀渀攀猀猀 愀渀搀 猀甀瀀瀀漀爀琀Ⰰ 琀栀攀爀攀戀礀 愀猀猀甀爀椀渀最 甀猀攀爀 挀漀洀昀漀爀琀. T栀攀 昀氀漀漀爀 椀猀 攀氀攀瘀愀琀攀搀 昀爀漀洀 琀栀攀 最爀漀甀渀搀 戀礀 甀猀椀渀最 猀琀攀攀氀 挀漀氀甀洀渀猀 挀愀瀀 眀椀琀栀 戀愀猀攀 瀀氀愀琀攀 琀漀 瀀爀攀瘀攀渀琀 搀愀洀瀀渀攀猀猀 愀渀搀 愀氀氀漀眀 戀爀攀愀琀栀愀戀椀氀椀琀礀. 䤀一 琀栀攀 猀愀洀攀 琀椀洀攀Ⰰ 椀琀 挀愀渀 洀椀渀椀洀椀猀攀 挀漀渀琀愀挀琀 眀椀琀栀 琀栀攀 猀椀琀攀 昀氀漀漀爀.

This allows for a freedom in plan of the building which can be altered according to the client’s desire.

It also provides adequate stiffness and support, thereby assuring user comfort. The floor is elevated from the ground by using steel columns capped with base plates to prevent dampness and allow breathability. It minimises contact with the site floor, being symphatetic to the existing fabric.

W椀琀栀椀渀 攀瘀攀爀礀 眀愀氀氀Ⰰ 琀栀攀爀攀 眀椀氀氀 戀攀 䤀 猀琀攀攀氀 猀琀甀搀猀 愀渀搀 U 猀琀攀攀氀 猀琀甀搀猀 挀漀渀渀攀挀琀攀搀 琀漀 猀琀攀攀氀 挀漀氀甀洀渀猀 愀渀搀 搀漀漀爀 昀爀愀洀攀猀 眀栀椀挀栀 愀挀琀 愀猀 戀爀愀挀椀渀最猀 琀漀 爀攀猀椀猀琀 氀愀琀攀爀愀氀 昀漀爀挀攀猀. 䤀渀 琀栀攀 猀愀洀攀 琀椀洀攀 琀栀攀猀攀 猀琀甀搀猀 愀氀猀漀 栀漀氀搀 琀栀攀 椀渀猀甀氀愀琀椀漀渀 眀椀琀栀椀渀 琀栀攀 眀愀氀氀 攀渀瘀攀氀漀瀀攀.

72 W椀琀栀椀渀 攀瘀攀爀礀 眀愀氀氀Ⰰ 琀栀攀爀攀 眀椀氀氀 戀攀 䤀

Technical Design Project 2 | Technology & Environment: Building Fabric

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S2: TE2b Wall Details 1

The toungue-and-groove system is applied to the Douglas Fir cladding because of its interlocking feature that leaves no gaps through the cladding, keeping snow and rain from entering the envelope.

2 3 4 5 6

Ventilated cavity is applied in the wall assembly to avoid moisture build-up inside the cavity and prevent dampness. Cavity tray DPC also helps to avoid water build-up and keep the durability of the timber frame, as well as provide direct water flow down to the ground. The 2mm breather membrane is an adequate size for an air-tight building paper that has a hydrophobic face on the outside and a hydroscopic face on the inside for waterproofing.

The 45mm rigid insulation, being a lightweight insulation that offers a lot of protection that also increases the structural stability of the pavilion, works together with theplywood sheet in providing stiffness to the wall. The 125mm mineral wool insulation is a generous thickness of stone wool material that provides thermal, fire and acoustic insulation effectively.

7 8 9 10

1

12.5mm

Gypsum Fibreboard

2

45mm

Rigid Insulation

3

42x32.5mm U-steel stud

4

2mm

Vapour Barrier (VCL)

5

125x60mm

Steel I-Beam

6

125mm

Mineral Wool Insulation

7

22mm

Plywood Sheet

8

2mm

Breather Membrane

9

22x22mm

Timber Batten

10

22mm

Tongued-and Grooved Dougles Fir Cladding

/Exploded Axonometric Wall Assembly Detail

/Pavilion facade

Typical Wall Detail Section

Wall-to-Sliding Door Detail Section

Wall-to-Flor Detail Section 1

1 2 3

2

1 2

3

3 4 5 6

4

4 5 5

6

/Cavity Tray DPC 7

7

8

8

9

9

/Toungue-and-groove Douglas Fir cladding

10

1

22mm

Tongued-and-Grooved

Dougles Fir Cladding

2

2mm

Breather Membrane

3

22mm

Cavity + 22mm Vertical

Timber Batten

4

22mm

Plywood Sheet

1

2mm

Cavity Tray

5

42x32.5mm U-Steel Stud

2

20mm

Timber frame

6

125mm

Mineral Wool Insulation

3

2mm

Top Rail for Sliding Door

7

2mm

Vapour Barrier

4

60mm

Aluminium Frame

8

45mm

Rigid Insulation

5

24mm

Double Glazed Sliding Door

9

12.5mm

Gypsum Fibreboard

6

4mm

Bottom Rail for Sliding Door

10

210x210mm Steel I-Beam

7

20mm

Douglas Fir Decking

11

2mm

Cavity Tray DPC

8

20mm

Timber Frame

12

3mm

Synthetic Sheet

Timber Batten

9

2mm

Vapour Barrier (VCL)

13

10mm

Base Plate

Tongued-and Grooved Dougles Fir Cladding

10

165mm

Mineral Wool Insulation

14

1

12.5mm

Gypsum Fibreboard

2

45mm

Rigid Insulation

3

42x32.5mm U-steel stud

4

2mm

Vapour Barrier (VCL)

5

125x60mm

Steel I-Beam

6

125mm

Mineral Wool Insulation

7

22mm

Plywood Sheet

8

2mm

Breather Membrane

9

22x22mm

10

22mm

6 7 8 9

10 11 12 13 14

Concrete Pad

73

Technical Design Project 2 | Technology & Environment: Building Fabric

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y2 S2: TE2b Roof Details

Drainage Strategy

The monopitched roof has a much more cost-effective construction method as they are much simpler than constructing a typical gable roof and take much less time to assemble. They also provide the illusion of extra space in the buillding’s interior. The parapet design gives added fire protection as it protects the roofing from wall fires. It also supplies a level of wind resistance as it creates uplift and reduces wind force on the pavilion.

Monopitched Warm Roof

Rain Chain

We decided on a warm roof build-up so as to eliminate cold bridging especially at the eaves of the roof. The pavilion’s drainage strategy works through the pitch as the single shallow angle of the roof directs the precipitation down into the hidden gutter.

Instead of a conventional down-pipe, we adopted the use of a rain chain. The rain chain provides an interesting and elegant alternative to a standard downpipe. It also mitigates the impact on the ground below. This was essential given the historic site.

Zinc roof is used due to its durability, being corrosion resistant and is self-healing (any scratching will recover given time). Apart from having a low maintenance regime, a zinc roof is eco-friendly as it requires less energy to be made compared to other metal roofs and has better aesthetic approach.

In terms of waterproofing, the building is fully-sealed using uniterrupted, continuous breather membrane and vapour barrier around the pavilion’s exterior and interior of its envelope, including the roof amnd its jucntions.

This creates a water-tight envelope and roof with minimal thermal bridging. The use of flashings on the parapet also avoid precipitation from entering the pavilion as it redirects them for efficient waterproofing of the pavilion.

2mm

Zinc Roof

2mm

Breather Membrane

15mm

Plywood Sheet

25mm

Profiled Metal Deck

Flashings

195mm

Mineral Wool Insulation

Flashings that sit on the parapet and gutter help guide the water down into the hidden gutter and help to avoid splashing and water building up on the roof.

Steel Structure 2mm

Vapour Barrier (VCL)

45mm

Rigid Insulation

12.5mm

Gypsum Fibreboard

1

1.2mm

Aluminium Parapet Cap

2

2mm

Continuous Breather Membrane

3

1.2mm

Aluminium Flashing

4

12mm

Plywood Sheet

5

120x110mm Hollow Rectangular Steel Beam

6

120mm

7

200x125mm Steel I-Beam 12mm

Plywood Sheet

9

1.2mm

Aluminium Flashing

10

2mm

Zinc Roof

11

7mm

Aluminium Bulb Clip

37mm

3 4

5 6

/Rain chain detail

/Exploded Axonometric Roof Assembly Detail

A uniform uniterrupted facade was important to our design ambitions and so the gutter is hidden so as not to interrupt the clean entrance facade of the pavilion.

/Rainwater flow

1

1.2mm

Aluminium Flashing

2

2mm

Aluminium Gutter

3

2mm

Hidden Hanger

4

3m long

Rain Chain

5

30mm dia

Outlet

6

25mm

Pipe Reducer

Roof-to-Wall Junction + Gutter Detail Section

8

9

10

11

12

13

4 5 6

1

7

2

3

4

5

6

Mineral Wool Insulation

8

12

2

Hidden Gutter

Roof-to-Wall Junction + Parapet Detail Section

1 2 3

1

Aluminium C-Bracket

14

15

16

17

18 7 8

1

2mm

Zinc Roof

2

2mm

Continuous Breather Membrane

3

1.2mm

Aluminium Flashing

4

2mm

Aluminium Gutter

5

1.2mm

Aluminium Flashing

6

9.5mm

Vent Slot

7

195mm

Mineral Wool Insulation (Roof) Mineral Wool Insulation (Wall)

13

120x120mm Steel I-Stud

9

14

195mm

10

8

125mm

11

9

160x125mm Steel I-Beam

10

2mm

Continuous Vapour Barrier (VCL)

11

45mm

Continuous Rigid Insulation

12

12.5mm

Gypsum Fibreboard

Mineral Wool Insulation (Roof)

15

125mm

Mineral Wool Insulation (Wall)

16

2mm

Continuous Vapour Barrier (VCL)

17

45mm

Continuous Rigid Insulation

18

12.5mm

Gypsum Fibreboard

12

74

SEMESTER 1 AD3 ARCHITECTURAL DESIGN: EXPLORATIONS AT ARCHITECTURAL THEORY

YEAR 3

SEMESTER 1-2 2018-19

APWL ARCHITECTURAL PRACTICE: WORKING LEARNING

SEMESTER 2 APR ARCHITECTURAL PRACTICE: REFLECTION API ARCHITECTURAL PRACTISE: INTERNSHIP EC2 EXTRA-CURRICULAR ACTIVITIES: GRAPHIC DESIGN

75

ARCHITECTURAL DESIGN: EXPLORATIONS

Y3 S1: AD3 ARCH10001

Course Organiser: Simone Ferracina

Course Description

Reflective Statement

This course extends Stage 2 level architectural design and communication skills by foregrounding experimentation. It is focused on developing students’ familiarity with different approaches to architectural design experimentation and the processes that this entails. Students are asked to develop an approach to specific design themes based on the identification of problems, opportunities, sources, methodologies and inventive strategies. The course is offered in a number of parallel design studios that sustain the overarching pedagogical aims through varying and distinctive subthemes.

This Architectural Design course is one of my most enjoyable courses throughout my studies, mainly due to the freedom in exploring my own interests within architecture. As a fan of photography and a cinema enthusiast, I opted to join the Unit 5 Studio: Cinematic Space. Here, I worked in a group throughout the course, where every week, we would present our findings through sketches, drawings, diagrams and installation models regarding the thematic exploration.

LO1

Starting with a filmic analysis of a movie scene, the explorative diagrams and large installation models we created were well-received by the tutors and critics, but with that comes more and more new demanding questions on our concept of spatial transitions (GC 3). I really enjoyed this process where my representation skills have been enhanced dramatically alongside my critical design thinking skills . The next stage requires application of our filmic analysis onto the closes of the Royal Mile, where we further studied the Chalmer’s Close due to its resemblance with the film scene. During this stage, we visited the surrounding buildings and had chats with the people there, truly understanding the area from the site inhabitants’ point of view (GC 5). We applied our filmic analysis from the surrounding buildings, calling them micromoments, and as a collective, the macromoment at the close.

The last stage then asks us to design a photographer’s live-work atelier that is shaped by both filmic and contextual analysis. The resulting design sees spaces filled with cinematic aspects of spatial transitions between interior and exterior (GC 1, 2, 7).

Overall, the explorative aspect of this course has allowed me to go beyond my boundaries in design thinking - where I was able to confidently and suiccessfully create, explain and propose original concepts to be incorporated into a design proejct.

Demonstrate ability to adhere to a design methodology that builds on the conceptual framework and key theoretical, cultural, and representational concerns outlined in the project brief.

LO2 Demonstrate knowledge of the ways in which research and analysis of context, program and construction inform architectural design and the ability to synthesize these concerns to develop a coherent architectural proposal.

LO3 Demonstrate ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written production.

76

1

Design Project | Architectural Design: Explorations

GC1

Cinematic Space // Spatial Transitions between Interior and Exterior

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y3 S1: AD3

Groupwork with Razulnizam Bin Zulkefeli & Mirza Ismail As a group, we began the project with a series of drawings that translate the cinematic sequence into analytical, graphic explorations of the key moves, architectonic characteristics, and players of a selected film. Next, the drawings are translated into physical models that will help produce a new set of drawings that both survey the devices and expand on their possibilities, testing and exploring the limits of representational modes.

Gate Mechanism TIMELINE

SCENE SEQUENCE 1:03

3:30

5:30

6:08

7:03

1 SEQUENCE MAPPING: Filmic Analysis

/“The Passenger - Penultimate Shot” from the 1975 film Passenger directed by Michelangelo Antonioni.

From a selection of film scenes, we picked the Passenger (1975) for our sequence mapping analysis. The scene is a penultimate shot, which is a one-take of a 7 minute long tracking shot.

5:45

6:45

7:15

/Film Scene Timeline

The Passenger - Penultimate Shot

In short, the scene starts in a dark and confined room with the camera looking out to the bright and lively outside world. A window consisting of vertical bars stands between the interior and the exterior space. As the camera gradually moves closer to the window, the bars start to disappear as the camera appears to be moving through the bars. Finally, the camera enters the outside world. Then, the camera rotates clockwise and eventually makes a 180° rotation, looking back and advancing back towards the room.

6:22

At the filming site for the scene, the area was designed and constructed specifically for the scene. The confined room is actually a film set, including the window. The window is actually designed in a way that it could be opened to allow the camera to move through, acting similarly to a gate.

However, in the movie, this gate mechanism is hidden. This creates the illusion of the camera that seems to pass through the window as the bars dematerialise where the windows actually opened up to allow this to occur.

/The gate mechanism on set

/Gate analysis sketches

/Focal length study

Throughout our investigation on the gate mechanism of the window, we found out that the images produced by the camera imitates the image produced without the presence of the mechanism, as shown on the Filmic Analysis Drawing 2 below. /Focal length study in context

/Object tracking analysis

Inside

Outside

In the scene’s end, the experience is inverted, as now the camera moves gradually from the outside world towards the dark room with the bars of the window being the boundary that separates the two worlds.

Outside Inside Inside

Outside

1. Camera Movement

2. Camera Rotation

1. Space Revelation

/Filmic Analysis Drawing 1: The Unfolding of Space

/Filmic Analysis Drawing 2: The Hidden Mechanism between Inside and Outside

77

Design Project | Architectural Design: Explorations

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y3 S1: AD3 Spatial Transitions between Interior and Exterior Revolving around the multiple explorations and findings of the filmic analysis, we integrated the investigations into one overview drawing that demonstrates the overall theme and research of our filmic analysis: Spatial Transitions between Interior and Exterior

Throughout our exploration of the Passenger film scene, the spatial transition of the window between interior and exterior spaces creates a metamorphosis, where the journey to and fro between the interior and exterior spaces has its own spatial quality in terms of circulation and real-virtual experience.

Thus, the graphical representations have been integrated together with the gate mechanism of the window, resulting in an overview axonometric drawing and an installation model in the studio to convey our exploration theme.

/Final Filmic Analysis Drawing: The Spatial Transition between Interior and Exterior

/Pin-Up Exhibition with Analysis Drawings and Installation Model /Installation Model

78

Design Project | Architectural Design: Explorations

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y3 S1: AD3 2 SURVEY OPTICS: Contextual Investigation Closes of the Royal Mile For our next step in our investigation, we applied our exploration theme of spatial transitions between interior and exterior onto the closes of the Royal Mile, Edinburgh, which bears a strong resemblance with our filmic analysis in terms of its linear circulation.

1 3

4

Of all the closes in the Royal Mile, we decided to further explore Chalmer’s Close. This is because Chalmer’s Close has a close resemblance of the linear movement in the Passenger film scene.

At a larger scale, the close is juxtaposed in a rich context that includes tall hotels,churches of different styles, a tree plantation area and its connection to Jeffrey Street which looks over Waverley Station and across towards Calton Hill. The interior-exterior relationship can also be applied in different ways as the Royal Mile (High Street) and Jeffrey Street could resemble exterior spaces while the close becomes the interior. Another way to look at it is the ‘tunnels’ of the close being the interior and all spaces outside the ‘tunnel’ as the exterior. This flexibility on applying the interior-exterior relationship allows us to explore our themes much further.

/The Royal Mile with its Closes

/Chalmer’s Close

2

5

1/ Jury’s Inn

/Site Plan with Context Study 2/ Forsyth’s Tea Room

5

Micromoments & the Macromoment

3/ Scottish Book Trust

3

Moving forward, we analysed the buildings surrounding the close: The Jury’s Inn, Scottish Book Trust, Carruber’s Church Centre, Forsyth’s Tea Room, & Bailie Fyfe’s Close Platform. - with their interior-exterior circulation relationship.

This resulted in circulation models that are able to convey more information in terms of transitional spaces between interior and exterior. Further exploration has resulted in researching the hidden mechanisms behind the transition journey through each building. These mechanisms thus create the experience in these buildings. We call these micromoments.

4 2

4/ Bailie Fyfe’s Close Platform

1

Combining the micromoments, a macromoment is created, resulting in a virtual area in the shape of a spline that connects each micromoment study and circulation model with Chalmer’s Close, creating a mechanism of an activating space of interaction through spatial transitions. /Contextual Investigation Overview Drawing showing the Micromoments and Macromoment

5/ Carruber’s Church Centre

79

Design Project | Architectural Design: Explorations

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y3 S1: AD3 3 DOMESTIC OVERLAY: Architectural Application 2 8

9

Thus, the outcome of this exploration results in the creation of a photographer’s playground.

The film scene’s linear directionality and gate mechanism became the basis of the design as the micromoments of the buildings surrounding Chalmer’s Close further develops the micromoments and macromoment of the spaces.

Hence, each step into every corner of the spaces fascinates the mind and therefore creates a rich and conducive environment for a photographer’s live-work atelier for everyone to experience.

3

5 10

ya lM

The buildigns are fitted with a gallery, workspaces (studio, dark room, storage), a photography shop, and a residential home (bedroom, bathroom, kitchen, living room). Here, the photographer is able to live and work in his own world, as the photographer’s gallery, workshop and domestic space are filled with cinematic aspects of spatial transitions between interior and exterior.

Ro

Throughout our cinematic space exploration on spatial transitions between interior and exterior, both the hidden mechanism filmic analysis of The Passenger film scene and the contextual exploration around Chalmer’s Close have been heavily applied into our architectural proposition for a photographer/videographer’s live-work atelier.

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ARCHITECTURAL THEORY

Y3 S1: AT ARCH10002

Course Organiser: Dimitra Ntzani

Course Description

Reflective Statement

This course explores the relationship between theory and architecture. We will use a range of case studies to look at how theory can challenge assumptions and offer new ways of thinking about key problems. This will involve the close reading of:

The broad variety of architectural theoretical themes has unexpectedly developed my interest and knowledge in further exploring architectural theories. As a large leap from Architectural History, I had a few difficulties in fully understanding every week’s theoretical theme. However, the critical reflections journal has helped me to be more precise in selecting the key aspects within each theoretical theme, and therefore develop a better understanding (GC 2). While I tend to agree along the principles of some theories, I was also able to develop a series of concise arguments and raise questions in the journal and the essay. While I was able to find resemblance of some theories with real-life architectural practice, I was able to relate some of the architectural theories with my own experience, as seen on my essay regarding hermeneutics in design (GC 6). In short, this course enhanced my analytical and research skills - which serves as a great exercise for my Year 4 dissertation research.

1. Philosophical texts, 2. Architectural Theory texts, 3. Exemplary Architectural projects.

The course will enable you to explore the relationship between architecture and other cultural practices. It will also provide you with an expanded interpretive framework for understanding architectural production.

The lectures involve thematic explorations of architectural discourse and practice and tutorials trigger discussions on architecture as a power apparatus, notions of place and space, the everyday nature of technology, architecture and the body, pop culture and architecture, media and design, etc. We will engage with a wide range of theories including critical approaches to modernism, deconstruction, phenomenology, continental philosophy and more.

LO1 Knowledge of contemporary design theories and the ways in which they can inform specific approaches to, and practices of architectural design.

LO2 Ability to demonstrate and analyse through careful argument how architectural production fits within wider philosophical, historical, social, political and economic discourses.

LO3 Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing.

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Critical Reflections Journal

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The Critical Reflections Journal consists of 6 journal entries (1800 words overall), which each entry responding to one of the Architectural Theory lectures from weeks 1-10.

Short texts play a crucial role in architectural production. They appear in architectural folios, exhibition flyers, competition templates, CV cover letters, and also in conference proceedings.

This assignment invited me to produce clear, comprehensive and engaging short texts and present my own thoughts on the course thematics, while following academic writing conventions.

The Critical Reflections Journal provides plenty opportunities to engage critically with architectural theory and practice by producing succinct, wellsupported accounts of my own position on selected topics.

I tend to reflect better when considering how these theories would work in contemporary times - the theories have been presented if not years, but decades ago - are they still relevant today? Thus, in my journal entries, I aim to relate and explore how these architectural theories are applied today, whether in architectural design thinking, in 21st century buildings, or even in architectural practice and logistics, and produce my own arguments regarding the theme.

Key References 1 Derrida, Jacques. “Point De Folie - Maintenant L’architecture. Bernard Tschumi: La Case Vide - La Villette, 1985.” AA Files, no. 12 (Summer 1986): 69.

Dumbaze, Peter. “Why Tschumi Matters.” TLmagazine. Last modified September 2, 2016. https://tlmagazine.com/why-tschumi-matters/.

Jones, Peter Blundell. “Parc de La Villette in Paris, France, by Bernard Tschumi.” The Architectural Review. Last modified June 7, 2012. https://www.architectural-review.com/ buildings/parc-de-la-villette-in-paris-france-by-bernard-tschumi/8630513.article.

/1 Bernard Tschumi, Exploded Folie, 1984

2 99%Invisible. “An Architect’s Code.” Last modified May 28, 2013. https://99percentinvisible. org/episode/episode-80-an-architects-code/.

Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. London: Penguin, 1977.

McMullan, Thomas. “What Does the Panopticon Mean in the Age of Digital Surveillance.”

The Guardian. July 23, 2015. https://www.theguardian.com/technology/2015/jul/23/ panopticon-digital-surveillance-jeremy-bentham.

3 Baster, Jenny, Ann Minogue, Michael P. O’Reilly, and Vivian Ramsey. ICE Manual of Construction. London: ICE Publishing, 2011 Clamp, Hugh. Which Contract? 4th ed. London: RIBA Publishing, 2007.

Coyne, Richard, and Adrian Snodgrass. “Is Designing Hermeneutical?” Architectural Theory Review 2, no. 1 (1996): 12-22.

Royal Institute of British Architects. RIBA Plan of Work 2013 Overview. London: RIBA, 2013.

/3 RIBA Plan of Work 2013

1 Why Theory?

2 Governance

3 Interpretation

In Architecture and Disjunction, Bernard Tschumi stated the follies of his Parc de la Villette’s aim of an “architecture that means nothing.”

(Tschumi 1996, 203) Being a 1980s project, the theory’s relevance is questioned in today’s context. Thus, I argue that his theory on the follies stay relevant due to the follies’ “nothingness.”

Michel Foucault writes about panopticism in Discipline and Punish, referencing Jeremy Bentham’s Panopticon, (Foucault 1997, 200) where I stand that panopticism is still architecturally relevant today although it is becoming subtle.

In “Is Designing Hermeneutical?,” Adrian Snodgrass and Richard Coyne comprehend the hermeneutical circle with “the circular relation of the whole and its parts in any event of interpretation.” (Coyne et al 1996, 12) Thus, in architectural practice, the hermeneutical cycle is questioned of its presence in design processes, where I believe design processes do work in a hermeneutical cycle.

Is Tschumi’s Theory Behind the Parc de la Villette’s Follies Still Relevant?

The follies’ aim revolve around architecture’s obsession with presence, as seen on the postmodern movement’s historical references that disregard present social, political and cultural contexts. According to Tschumi, the follies seek to “dislocate and deregulate meaning.”

(Figure /1) (Tschumi 1996, 201) Thus, the Parc de la Villette was not necessarily a park as its follies never had a fixed function, rather being constantly changing, having no meaning, being nothing. This contrasts Jacques Derrida’s description of architecture to be “in service, at service,” as the follies’ “emptiness” allows people to interact with them through unlimited interpretations. (Derrida 1986, 69) However, Peter Blundell Jones criticised the follies’ relevance in 2012, saying “the follies are anything but empty,” and the unlimited interpretations create a formal presence that recalls historical references from 1920s artworks and how the Park resembles an outdoor exhibition, referencing Paris’ historical context. (Jones 2012)

Martin, Louis. “Against Architecture.” Log, no. 16 (Spring/Summer 2009): 155.

Tschumi, Bernard. Architecture and Disjunction. Cambridge Mass: MIT Press, 1996.

/2 Rough plan and section of The Pelican Bay State Prison, 2013

I believe Tschumi’s intention was to not bound architecture to a specific time. Tschumi himself stated that the follies are “in constant production, in continuous change,” and “unsettle memory and context.” (Tschumi 1996, 201) Peter Dumbaze supports this by saying that architectural design processes allow years to pass by, from initial ideas to countless proposals and construction, leading to architecture’s problem of engaging contemporary surroundings. (Dumbaze 2016) Dumbaze stressed that the follies’ empty language counters this problem as they instantly respond to what happens in the moment as people would interact uniquely with the follies regardless of when, either in the 1990s or in 2018, forming present-day identity, being constantly relevant.

This discussion relates to Louis Martin’s description that architectural theories cannot be falsified. (Martin 2009, 155). Hence, I conclude that Tschumi’s theory behind the follies will always stay relevant due to the “nothingness” that constantly changes their function(s) with time continuously.

Panopticism in Today’s Context

Foucault defines panopticism as a “political anatomy” that relates to discipline. (Foucault 1997, 208) The Panopticon’s architecture explains this as the circular building holds a central watchtower, allowing the supervisor to observe prisoners while the separated prisoners have no visibility –“He is seen, but he does not see; he is the object of information, never a subject of communication.” (Foucault 1997, 200) Prisoners discipline themselves as panopticism creates fear of punishment through assured power.

Thomas McMullan compares CCTVs to the Panopticon as today’s datadriven surveillance in prisons, public buildings and online has subtle panopticism as cameras act as the central watchtower. (McMullan 2015) The difference was that prisoners are aware of being watched in the Panopticon while today’s data-driven surveillance is invisible to the eye, where people are less aware.

Thus, I believe that the Panopticon’s architectural features of separating prisoners and a watchtower create the physical means of being watched, which are absent in today’s surveillance systems. However, the Pelican Bay State Prison, opened 1989, is an exception as it adopts these physical means. (99%Invisible) This prison has Panopticon’s architectural features (Figure /2); control rooms that monitor the pods digitally from the upper level and cells with no windows, separating prisoners. However, according to Foucault, the Panopticon aims to “alter behaviour, to train or correct individuals.” (Foucault 1997, 205) This solitary confinement by the architecture is abusive to human rights as prisoners spend almost 23 hours in cells which has caused depression and suicide. (99%Invisible) Hence, does this prison’s architecture really adopt panopticism or is Foucault’s theory irrelevant today?

All in all, Foucault himself stressed that the Panopticon should not be perceived as a dream building, but a “diagram of mechanism of power reduced to its ideal form.” (Foucault 1997, 205) Thus, I conclude that today’s surveillance systems, either digital or physical, aim to retain discipline through assured power, as Foucault’s theory stays architecturally relevant.

Hermeneutics in Architectural Practice

Donald Schon defined design as a “reflection-in-action,” where design progresses by a dialogic exchange with the design conditions through the hermeneutical cycle. (Coyne et al 1996, 22) According to Martin Heidegger and Schon, designing starts with a pre-understanding of the design situation and then followed by a response by “reflectingin-action” throughout the process, progressing in a circle, going “back and forth.” (Coyne et al 1996, 22) Hence, constant inter-referencing between the whole and its parts is present throughout the design process, embracing the hermeneutical cycle.

Next, the different procurement routes in architectural practice, ‘traditional’ and ‘design and build’ are defined. The ‘traditional’ method separates design and construction stages, being a linear process in accord to RIBA Plan of Work 2007, while ‘design and build’ integrates both. (Clamp 2007, 31) In ‘traditional’ methods, the hermeneutical cycle is absent as contractors are not involved in the design process, resulting in potential losses in time and cost-saving due to inconsideration on the construction side such as material availability and better economical material substitutes for the designed structure.

(Baster et al 2011, 82) In contrast, the hermeneutical cycle is present in ‘design and build’ as one person manages both design and construction, allowing parallel working and inter-referencing between both sides to occur simultaneously. (Clamp 2007, 32) Despite the differences, I advocate that design processes do work in a hermeneutical cycle due to RIBA’s decision to update its Plan of Work in 2013 (Figure /3). The new Plan of Work considers both procurement routes and recognises the importance of responding to Design Queries emerging from site works, allowing backword steps to its prior stages, thus enabling “reflection-in-action” to occur despite different procurement routes. (RIBA Plan of Work 2013 Overview) Therefore, I may conclude that the design process do work in a hermeneutical cycle in practice.

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Journal Entries | Architectural Theory

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/4 Linear directional routes of Alvaro Siza’s Building on the Water in Huai’an City, China, 2015

Key References 4

/5 Layers of routes in Zaha Hadid’s MAXXI Museum in Rome, Italy, 2009

Williams, Austin. “Chemical Plant Offices in Huai’an City, China by Álvaro Siza.” The Architectural Review. Last modified February 12, 2015. https://www.architectural-review. com/today/chemical-plant-offices-in-huaian-city-china-by-lvaro-siza/8678180.article.

5 3DScan. “Pros and Cons of 3D Laser Scanner vs. Traditional Survey Techniques.” Last modified April 11, 2015. http://www.3dscan.it/en/blog/pros-and-cons-of-technology-3dlaser-scanner-than-traditional-survey-techniques/.

Burns, Carol J. “On Site: Architectural Preoccupations.” Drawing/Building/Text. Edited by Andrea Kahn. New York: Princeton Architectural Press, 1991.

Higgins, Sean. “Drone LiDAR vs Photogrammetry: A Technical Guide.” SPAR 3D.com.

Last modified August 31, 2016. https://www.spar3d.com/news/lidar/drone-lidar-vsphotogrammetry-technical-guide/ Royal Institute of British Architects. RIBA Plan of Work 2013 Overview. London: RIBA, 2013.

Saunders, Sarah. “Researchers in Guatemala Use LIDAR 3D Scanning in Mirador Basin, Discover Ancient Network of Superhighways.” 3DPrint.com. Last modified January 18, 2017. https://3dprint.com/162011/lidar-scanning-in-mirador-basin/.

Smith, Eric. “LiDAR and Surveying.” Doherty Smith and Associates. Last modified July 31, 2015. http://www.dohertysmith.com.au/blog/lidar-and-surveying/.

6 Lefebvre, Henri. “Chapter 14: The Right to the City.” Writings on Cities. Oxford: Blackwell, 1996.

McKnight, Jenna. “Alejandro Aravena Makes Housing Designs Available to The Public for Free.” Dezeen. Last modified April 6, 2016. https://www.dezeen.com/2016/04/06/ alejandro-aravena-elemental-social-housing-designs-architecture-open-source-pritzker/.

Purcell, Mark. “The Right to the City: The Struggle for Democracy in the Urban Public Realm.” Policy and Politics 43, No. 3. (July 2013): 311.

Stavrides, Stavros. “Common Space as Threshold Space: Urban Commoning in Struggles to Re-appropriate Public Space.” Footprint 9, No.1 (June 2015): 10-11.

Zilliacus, Ariana. “Half A House Builds A Whole Community: Elemental’s Controversial Social Housing.” ArchDaily. Last modified October 24, 2016. https://www.archdaily. com/797779/half-a-house-builds-a-whole-community-elementals-controversial-socialhousing.

/7 The Mirador Basin, 2009 /8 Villa Verde in Constitución, Chile, 2016

4 Bodies

5 Space and Place

6 Urban | Public | Commons

Jonathan Hale describes ‘habit’ as a provider of the bodily skills essential for people’s daily functional efficiency, relating the body with ‘habitus’, a term Pierre Bourdieu and Maurice Merleau-Ponty commonly use. (Hale 2016, 24) Thus, I advocate that architecture can challenge ‘habitus’ as architecture creates different engagements for people, producing routes as supported by the direct linear route of the Building on the Water and the multiple complex choice of routes on the MAXXI Museum.

In architectural design, site information is important, being part of Stage 1 of RIBA’s Plan of Work 2013. (RIBA Plan of Work 2013 Overview) Today, technological advancements help innovate site surveying methods. Thus, which methods are preferred today; technological or traditional? I believe that both methods should be used together for a complete understanding of the site.

Henri Lefebvre’s “right to the city” concept revolves around city democratisations in achieving the utopia: a city managed by urban society without the state and capitalism through transduction. (Purcell 2013, 311) This relates to Stavros Stavrides’ term, “common spaces” or commons, which are spaces people create in establishing a common world without authorities of public spaces or controlling individuals of private spaces. (Stavrides 2015, 10-11) Thus, architecturally, commons may be an act of transduction.

Architecture Challenging ‘Habitus’

Hale, Jonathan. “Chapter 2: Embodied Space: It’s Not What You Think.” Merleau-Ponty for Architects. London: Routledge, 2016.

Schumacher, Patrik. “The Meaning of MAXXI – Concepts, Ambitions, Achievements.”

MAXXI: Museum of XXI Century Arts. New York: Rizzoli International Publications, 2010. https://www.patrikschumacher.com/Texts/The%20Meaning%20of%20MAXXI.html.

/6 Revelation of roads, canals, corrals, pyramids, and terraces at Mirador Basin, Guatemala, using LiDAR, 2017

Bourdieu defines ‘habitus’ as a “structured and a ‘structuring structure’,” exaggerating its controlling effect on engagement as individual roles are less significant. (Hale 2016, 24) In contrast, Merleau-Ponty’s view on ‘habitus’ revolves around the body’s significance to counter the imposition of social rules. (Hale 2016, 24) ‘Habitus’ relates to routines that often occur subconsciously like Merleau-Ponty’s experience of moving around his apartment in the dark without thinking. (Hale 2016, 21) In short, Bourdieu’s definition means that routines affect the body in a one-way direction, where bodies have no control in routine restructuring while Merleau-Ponty’s definition advocates the body and routine relationship, where routines change as decided by the body itself.

In buildings, architecture provides routes that create routines. Alvaro Siza’s Building on the Water has a linear design and circulation.

(Williams 2015) This resembles Bourdieu’s definition as its linear routes direct people linearly throughout the building (Figure /4).

Without individual control of the routes due to the building’s linear directionality, the routine controls the body.

Zaha Hadid’s MAXXI Museum (Figure /5) has a flow concept, where complex lines accentuate the directionality of the routes, communicating in all directions, layered in front, behind, above and below. (Schumaker 2010) Resembling Merleau-Ponty’s definition, this complexity creates different routines - depending on the person’s choice which route to use, that changes the routine.

Therefore, despite the different definitions of ‘habitus’, it can be concluded that architecture is able to challenge ‘habitus’ as architecture can stimulate different route engagements that create different routines, either direct or complex, as seen in both architectural examples in reference to Bourdieu and Merleau-Ponty’s definitions.

Architectural Site Survey Methods: Technological or Traditional?

Carol Burns mentioned two contrasting conceptions of the site within architectural thinking: the constructed site and the cleared site.

(Burns 1991, 149) The former stresses on “visible physicality,” where architecture is perceived in physical terms that include both site and building. (Burns 1991, 153) Meanwhile, the cleared site assumes the site as “unoccupied,” where space is “pure” as architecture dismisses relationships with existing site conditions. (Burns 1991, 149-152) Traditional site survey methods are defined as site visits, where surveyors are physically present on site with measuring equipment such as total stations. (3DScan 2015) This resembles the constructed site where the surveyor on site experiences the site’s physicality. The technological method is defined as using devices such as UAV (unmanned aerial vehicle) LiDAR that analyses the site without the surveyor’s presence.

(Higgins 2016) This resembles the cleared site as LiDAR can dismiss obstructions like trees to reveal clear topographies using laser light to measure distances. (Smith 2015) Researchers used LiDAR in revealing hidden architectural structures at Mirador Basin by dismissing the context of trees (Figures /6 and /7). (Saunders 2017) Thus, LiDAR may be useful for large projects but is limiting in terrain modelling as distortion occurs. (Smith 2015) In an area, LiDAR captures more points in a random manner compared to traditional methods. Thus, for a detailed architectural design, the traditional survey is used to collect discrete points in producing terrain models with site context, which is absent in LiDAR imaging. (Smith 2015) Therefore, it is important to analyse the physicality of the constructed site as well as the purity of the cleared site to access different site understandings that create different engagements in architectural design. In conclusion, both technological and traditional methods should be used simultaneously for a complete understanding of the site, further enhancing architectural design thinking.

Commons: An Architectural Act of Transduction

Lefebvre described transduction as a methodical operation that constructs “a theoretical object from information related to reality and a problematic posed by this reality.” (Lefebvre 1996, 151) According to Mark Purcell, Lefebvre rejected the idea of the socialist utopia, an unachievable urban society. (Purcell 2013, 319) Instead, Lefebvre defined urban society as ‘virtual’ but is achievable as an emerging society working towards the ideal. (Purcell 2013, 319) Through transduction, investigation of ongoing practices in the city is applied on theoretical reflection to create a developed version of urban society that reflects the ideal utopia if the practices flourished. Briefly, transduction dismisses “abstract utopianism” while stepping back from what is happening to advance forward and proclaiming that urban society is present, continuously emerging. (Purcell 2013, 320) An architectural example is Alejandro Aravena’s low-cost “incremental” social housing, Villa Verde in Chile. (McKnight 2016) There, housing for middle-class families is unaffordable. (Zilliacus 2016) ‘Half’ the houses were constructed - including the foundations, electricity and plumbing, allowing inhabitants to design the other half (Figure /8).

(Zilliacus 2016) As a commons, needy people are able to design their own homes. Also, all project documents are posted online and free to download for public knowledge. (McKnight 2016) This provided incentive for hesitant government agencies and developers that avoid high risks to invest on forward-thinking designs. This hesitance would prevent rapid urbanisation from occurring in achieving the utopia.

Therefore, through this example, commons are architecturally an act of transduction as this social housing project considers people’s involvement in creating a common world and is the ongoing practice flourishing in the city in creating the urban society or utopia that Lefebvre’s definition of transduction sought to achieve.

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Hermeneutics in Designing // In a Cycle or a Spiral?

Essay Question 4: Hermeneutics Reflect on your experience of the course, your studio practice and/or your architectural experience more broadly and critically examine Snodgrass and Coyne’s claim that design is hermeneutical. Draw parallels between your experiences and examples from the course in order to show the wider significance of your reflections.

The Hermeneutical Cycle

Key References Coyne, Richard, and Adrian Snodgrass. “Is Designing Hermeneutical?” Architectural Theory Review 2, no. 1 (1996): 65-97 Coyne, Richard. “Introducing Hermeneutics to an Architectural Audience.” Reflections on Technology, Media & Culture. Last modified May 9, 2015. https://richardcoyne.com/2015/05/09/introducinghermeneutics-to-an-architectural-audience/.

Gadamer, Hans-Georg. Truth and Method. London: Sheed and Ward, 1975.

Jahnke, Marcus. “Towards a Hermeneutic Perspective on Design Practice.” Designfakulteten.

Accessed on December 11, 2018. http://www. designfakulteten.kth.se/sites/default/files/ towardsahermeneuticperspectiveondesignpractice_ finalversion_jahnke.pdf.

Jahnke, Marcus. Meaning in the Making: Introducing a Hermeneutic Perspective on the Contribution of Design Practice to Innovation.

Gothenburg: Faculty of Fine, Applied and Performing Arts, 2013.

Pre-Understanding Explanation

Explaining the Parts

Expanding from my Critical Reflections Journal Entry 3 Interpretation: “Hermeneutics in Practice”, I decided to further analyse this theory critically by comparing the hermeneutical cycle with the hermeneutical spiral. As the essay requires a reflection on my personal experiences and examples from my architecture course, this essay tends to somewhat be a reflective statement from my three years of design work, in relation to hermeneutics. Here, I argue that the hermenutics in designing work in a spiral and is the more accurate term to be associated with designing as it advocates creating new meaning based on my personal experience, but still encompasses the theories that make up Coyne’s and Snodgrass’ claim that designing works in a hermeneutical cycle.

New Understanding

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New Explanation

/1 Hermeneutical Cycle diagram

/2 Hermeneutical Spiral diagram

Coyne and Snodgrass defined the hermeneutical cycle as “the circular relation of the whole and its parts in any event of interpretation.” They explained that in any sentence, we only understand the meaning of the whole sentence by understanding the meanings of its words beforehand, and understand each word by primarily understanding the whole sentence. Thus, to understand the whole, we must essentially know the meaning of its parts and to acquire the meaning of the parts, we must inherently understand its whole. The parts and the whole give out sense upon one another, creating a circular process of understanding, the hermeneutical cycle.

Responding to Martin Heidegger’s “fore-structures” that explain how everyone has a pre-understanding of any matter in any interpretive situation, Hans-Georg Gadamer calls them “prejudices” that are constantly being replaced by developed interpretations through revision, creating a continuous understanding process. Thus, both Heidegger and Gadamer claimed that any attempt of interpreting is founded by what people know beforehand, a pre-understanding. These pre-understandings are thus constructed from experience. They are replaced by better ones through a “dialectical process of question and answer.” Relating to Schon’s “reflection-in action,” the dialogue between designer and design situation is essential to advance the design process forward, working within the hermeneutical cycle as the question-answer structure produces Schon’s to-and-fro operation of understanding.

This relates to Gadamer’s “horizon” as “the range of vision that includes everything that can be seen from a particular vantage point.” These horizons make up a person’s understanding context and through dialogue, enable “fusions of horizons,” where pre-understandings coalesce in developing new understandings.

This circular understanding relates to Schon’s definition of design as a “reflective conversation with the situation,” known as a “reflection-in-action”. He explained that in designing, the designer firstly engages the design brief with existing understandings followed by the design conditions “talking back,” leading to a “reflectionin-action” as a response by the designer. This repeats continuously. Thus, the “dialogic exchange with the design situation,” as he described, goes “back and forth, back and forth…,” forming a cycle throughout understanding the parts and whole. Every action is developed from a previous response that introduces new questions which continuously develops design further through constant revision. Hence, designing works in a hermeneutical cycle, where continuous inter-referencing between the parts and whole is present throughout.

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The Hermeneutical Spiral

Understanding the Whole

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However, Jahnke suggested that Paul Ricoeur’s hermeneutical spiral is a better term for designing due to flaws in Gadamer’s theories. Although Coyne and Snodgrass explained Schon’s theory that considers problem-setting rather than problem-solving, Gadamer’s interests limit interpretations with history, where Jahnke criticised that the practice of creating new meaning is absent. He countered with Ricoeur’s hermeneutical spiral that emphasises critique and poetic re-description within designing. Although critiques are present in Gadamer’s question-answer structure, the horizon is limited to history, while the hermeneutical spiral encompasses critical distancing. In sociology, critical distancing enables detachment from the present situation to look back with a critical mind. This produces a continuous tension throughout the interpretive situation - a spiral, opening the work to new understandings poetically.

Personal Experience Parallels: A Critical Reflection

Conclusion

Critically examining my architectural studies experience with hermeneutics, Gadamer’s prejudices resonated with my approach to design briefs. In the first-year project, without any formal architectural knowledge, I approached the design situation with my pre-conceptions of what a ground, wall, frame and canopy mean. Coyne and Snodgrass explained “Descartes’ ideal of a prejudiceless transparency of mind is unattainable,” where everyone has a pre-knowledge of understanding based on personal experience, as there is no such thing as approaching a subject with an open mind through the tabula rasa, a blank slate. Also evident in the Architecture School project, I initially defined what architecture is within my horizon which continuously developed throughout designing by gaining new understandings throughout the project.

I believe these prejudices are evident in architectural discussions, be it between students or architects. This is due to architects interpreting design briefs, client’s requirements, regulations and plans in practice.

Based on these critical reflections, I somehow agree with Jahnke’s claim that Ricoeur’s hermeneutical spiral is the more accurate term in designing due to its advocation of “futurity-oriented” design practice. However, in my opinion, Coyne’s and Snodgrass’ claim is equally as strong as Jahnke’s claim but lacks in-depth explanation on how new meaning is developed. On the other hand, Jahnke’s claim of Ricoeur’s spiral is better is only justified by what the theories of the hermeneutical circle has already stated.

According to Jahnke, the hermeneutical spiral blends the hermeneutical cycle’s “centring movement of reflection” and “decentring movement of communication with others.” This means that in designing, the spiral exposes designs created within the hermeneutical cyccle to new insights. When we decided to start over our architecture school project, we did not start back from scratch but found a new approach on the design in response to the criticism.

As we thought that the design was finished, we found ways of further development, as new understandings emerged.

This clearly corresponds to both the hermeneutical cycle and hermeneutical spiral.

Speaking of horizons, the constant dialogic exchange in lectures, tutorials and reviews allowed horizons to fuse together in generating new understandings, questions and answers throughout designing. The conceptual understanding exchange in the architecture school project led to “new insights,” as what Jahnke described, by sharing our existing horizon of understanding in triggering new understandings as the fusion resulted into the lines concept. As new understandings emerge, design concepts also develop as how the lines concept becomes geological lines and from ‘a boundary as a transition space between two different spaces’ concept becomes ‘transitional spaces between interior and exterior.’ According to Jahnke, these new understandings suggest that designing is equally significant in the learning process as the finalised results, which I agree. Applying to architectural practice, Coyne emphasises that to design is to interpret, similar to generating new understandings throughout the design process in architecture. This to-and-fro understanding process of the hermeneutical circle is evident on RIBA’s Plan of Work 2013 that enables inter-referencing between the construction and design stages in architectural projects.

The hermeneutic theories of Schon, Gadamer and Ricoeur all remain significant in design which relates with Louis Martin’s description that architectural theories cannot be falsified. Also, the claims by Coyne, Snodgrass and Jahnke all revolve around the notion that designing operates hermeneutically. Thus, I conclude that although the hermeneutical spiral is the better term to be associated with designing as it advocates creating new meaning, it still encompasses the theories that make up Coyne’s and Snodgrass’ claim that designing works in a hermeneutical cycle. In addition, this spiral applies heavily in today’s architecture as evidently, architects around the world have been developing new understandings based on new and innovative architectural discoveries that would define the future of architecture.

In the architecture school project, we eventually found new ideas to explore our geological lines concept in a micro scale. This was because our broader understanding of the whole and its parts at the ‘end’ of the project led to new understandings, as how the hermeneutical cycle works where there is no start or end in designing. I remember my tutor saying that our project was unfinished as the conceptual thinking is embedded within our minds, constantly developing as we live. As Jahnke advocates Ricoeur’s hermeneutic spiral, Ricoeur’s descriptions of the communicative dimension explain how these dynamic reflections and understandings create the ongoing tension throughout interpretations, exposing the work to new, unexpected interpretations. This is true as I believe that learning and understanding is continuous and neverending where I ensured I did not repeat the same mistake of my previous projects in approaching new design projects.

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ARCHITECTURAL PRACTICE: WORKING LEARNING

Y3 S1-2: APWL ARCH10027

Course Organiser: Mark Cousins

Course Description

Reflective Statement

The MA (Hons) Architectural Practice: Working Learning is an honours level course that introduces students to architecture as a professional practice. The course addresses a range of topics - the architect/client relationship, the role of professional bodies, legislative framework and modes of procurement – in order to offer students a framework of professional knowledge, preparing them for future employment.

As the short essays developed my theoretical understanding of the issues of professional practice during Semester 1, they greatly helped me to apply said knowledge during my placement in Semester 2 (GC 6). As my placement would start after all of this course’s submission deadlines, I approached this course as a theoretical framework before actually applying them in practice later on.

During Semester Two, students are out on actual Practice Experience, so this course is an introduction to workplace practice and learning. Knowledge gained through the lecture series (and whilst on Practice experience) is then tested through a series of distance-learning assignments. These assignments are intended to structure work-based learning during the Practice experience period, offering students an opportunity to analyse and reflect upon their work experience.

As most issues have been theoretically discussed on the short essays, the Design Report showed me their real-life application such as the planning process, regulations and design considerations, as well as environmental solutions as the building I chose to report is a listed building (GC 4, 10, 11).

While waiting for my placement period, I developed an essay that focuses on BIM adoption, where I believe is the current technological shift within the construction industry as a whole, affecting architects in practice.

All in all, the course has been really helpful as preparation before my placement period to apply said knowledge in practice.

LO1 An understanding of business management and knowledge of the legal and statutory frameworks within which Architectural Design is practiced and delivered.

LO2 An understanding of the role of the client, Architect and related professions in the costing, procurement and realisation of architectural design projects.

LO3 An understanding of the role of the Architect in society, including knowledge of professionalism and emerging trends in the construction industry.

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This assignment is intended to test students’ understanding of issues of professional practice introduced in the lecture series. Through four short essay questions, it asks students to investigate a selection of those issues in greater detail.

Prceded by a series of introductory lectures on Architectural Practice, they aim in developing my understanding of the necessary legal, professional and statutory responsibilities of the architect and their affiliations with certain insitutions.

As the lectures and short essays commenced in Semester 1 before the placement period (Semsester 2), I was able to theoretically observe and understand the principles within the architectural profession that I will encounter and experience duing my placement and in the near future.

Key References 1 BBC News. “How the Tragedy Unfolded at Grenfell Tower.” Last modified May 18, 2018. https://www.bbc.co.uk/news/uk-england-london-40272168.

De Simone, Daniel and Symonds, Tom. “Grenfell Tower: Cladding Changed to Cheaper Version.” BBC News. Last modified June 30, 2017. https://www. bbc.co.uk/news/uk-40453054.

FireAngel. “Scotland Updating Fire Safety Legislation Following Grenfell Tragedy.” Last modified May 10, 2018. https://www.fireangel.co.uk/blog/ scotland-updating-fire-safety-legislation-following-grenfell-tragedy.

Scottish Government. Building Standards Technical Handbook 2017: Domestic. June 28, 2017. https://www.gov.scot/publications/buildingstandards-2017-domestic/.

Welch, Adrian. “Grenfell Tower Cladding.” E-Architect. Last modified August 3, 2018. https://www.e-architect.co.uk/london/grenfell-towercladding.

2 Butterfield, Ethan. “The Pros and Cons of Employee Ownership.” Architect Magazine. Last modified July 27, 2009. https://www.architectmagazine.com/ practice/the-pros-and-cons-of-employee-ownership_o.

Esop Centre. “Employee Share Ownership: An Introduction.” Last visited October 23, 2018. http://www.esopcentre.com/what-is-employee-shareownership/.

1 Regulation

2 Office Structures

Architectural design in the UK is subject to a wide range of regulatory requirements. Describe the governmental purpose and architectural implications of a selected regulation of the Building Standards (Scotland).

An increasing number of architectural firms are choosing to organise themselves as an Employee Owned business.

In what circumstance is this form of office structure advantageous, and why?

In the UK, regulations are enacted in architectural design, covering a wide range of standards. After 2017’s Grenfell Tower fire in London, Scotland improved its regulations of fire safety. Thus, this essay revolves around Scotland’s Building Standards on fire safety in high-rise domestic buildings.

There are governmental purposes in Scotland’s Building Standards. Primarily, fire safety regulations aim to ensure life safety, especially to domestic building dwellers. However, the safety of every person is not guaranteed due to human flaws of not being aware or being dormant during the fire.

Next, as people are less likely to react quickly in a fire, the regulations ensure the building’s design allows fire and rescue services to run efficiently.

Another governmental purpose is to ensure the sustainability of the building itself, avoiding its complete destruction in a fire.

Stated in the Scottish Government’s Building Standards: Technical Handbook 2017 (2.2.7: High Rise Domestic Buildings), high-rise domestic buildings take longer evacuation and rescue times compared to other domestic buildings, especially when fire commences at a much higher floor level.

Thus, non-combustible materials with long fire resistance durations are required in constructing all separating walls, separating floors and openaccess balconies. Also, supporting structures on non-combustible structures of separating floors and walls should also be non-combustible, and at least have the same fire resistance durations.

Nevertheless, architectural implications are present in these fire safety regulations such as the careful consideration of wall and floor compositions in domestic buildings. For example, London’s Grenfell Tower did not comply fully to the regulations, and eventually led to its tragic fire destruction. The rapid fire spread was contributed by its flammable cladding. The wall cladding composition was ACM (aluminium composite material) with polyethylene filler and foam insulation, and test results showed that this combination did not meet current building regulations. It was reported that fire-proof cladding were only installed on its ground floor, where nobody lived. Therefore, Scotland’s Building Standards of having all separating walls and floors to be made up of non-combustible products are necessary to ensure people’s safety.

According to the Employee Ownership Association’s chief executive, Deb Oxley, architectural firms are opting to being Employee Owned. Despite the numerous forms of office structures, there are increasing numbers of architectural firms choosing to be organised as Employee Owned businesses.

Thus, this essay will revolve around the advantages of the Employee Ownership model in architectural firms in different circumstances.

Also, reports showed that a cladding material change from zinc to a less fire-resistant material, ACM, happened during the Grenfell Tower’s refurbishment before the fire. The choice reduced refurbishment costs from roughly £9.2m to £8.5m.

Thus, another architectural implication on fire safety regulations is the economical choice of materials. Whether a significant amount of cost can be reduced by choosing a cheaper material, a thorough cost-benefit analysis must be done with people’s safety taken into primary consideration.

Primarily, the advantage of employee ownership in architectural firms is the increasing improvement of performance levels as employees have a vested interest in maintaining success of the firm, resulting in increased productivity levels. According to Oxley, firms with Employee Ownership Trust (EOT) models enable most of the equity being owned on behalf of the employees, thus everyone is equally responsible for the firm’s success.

In conclusion, Scotland’s Building Standards, especially on fire safety, are necessary in ensuring people’s safety, where its architectural implications further secure this.

Firstly, there are direct and indirect employee owned ownership plans, where direct employee ownership plans allow employees to hold shares or choose to buy shares in the firm at discounted and tax-efficient rates, while the latter means the firm is either fully or partly owned by a trust on its employees’ behalf.

Furthermore, as employee engagement and communication transparency increases within the firm, performance and job satisfaction rises as employees are able to participate in the firm’s discussions and decision-makings. Thus, the firm’s business plan is representative of all of the aspirations of the trustees, employees and shareholders alike, creating common values and goals with mutual gains through a ‘corporate glue’.

Also, Employee Owned businesses get to keep their best talents which maintains the firm’s performance.

Employees in architectural firms such as architects are highly valuable, being highly experienced while having type-A personality. Through employee ownership, the firm’s financial success is tied with that of its valuable employees in the long run, creating a positive effect of staff retention.

Also, financially, the model is an additional form of remuneration for employees to stay in the firm, where it being tax-effective is favourable in the employees’ point of view.

Next, the continuity of the firm is more ensured as recruitment improvements arise. Employee-owned schemes provide huge ownership opportunities to new employees, as the recruitment of young and qualified architects is made much simpler due to the direct incentive of the firm’s beneficial ownership stake, which is a favourable aspect for these young architects.

In conclusion, Employee Ownership schemes are advantageous to architectural firms in the circumstances of improving the firm’s productivity levels, increasing employee engagement, preserving experienced employees and ensuring the continuity of the firm.

Hricko, Matthew, Solomon, David, and Staruck, James. “Why Architecture and Engineering Firms Make Great ESOP Candidates.” Stout. Last modified September 1, 2011. https://www.stout.com/insights/article/why-architectureand-engineering-firms-make-great-esop-candidates.

Oxley, Deb. “Employee Ownership and the Professional Services Sector.” HR Magazine. Last modified April 7, 2017. http://www.hrmagazine.co.uk/articledetails/employee-ownership-and-the-professional-services-sector.

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3 Contracts

4 Professionalism

Consider how the architect’s design responsibility differs between ‘Traditional’ and ‘Design + Build’ contracts?

The ARB maintains the register of architects in the UK but how successful are they at safeguarding the architect’s title and function?

Procurement is the combination of tasks managed by the client to realise a building or an engineering structure. Both procurement methods that consist of the ‘traditional’ and ‘design and build’ contracts, are formalised through legal contracts. Thus, this essay discusses the architect’s design responsibility differences between ‘traditional’ and ‘design and build’ contracts.

/1 Traditional Contract Procurement Structure

Key References 3

In theory, the ‘traditional’ contract separates design and construction. Clients are in consent of architects being responsible for designing, while contractors are then appointed for construction.

Figure /1 clearly shows this separation of design and construction between architects and contractors.

Baster, Jenny, Minogue, Ann, O’Reilly, Michael P., and Ramsey, Vivian, ICE Manual of Construction. London: ICE Publishing, 2011.

Clamp, Hugh. Which Contract? 4th ed. London: RIBA Publishing, 2007.

4 Architects Registration Board. “ARB 2017 Annual Report.” Accessed November 6, 2018. http://2017.arb.org.uk/arcontent384/uploads/2018/06/ ARB_AR_2017.pdf.

Architects Registration Board. “ARB’s Purpose, Objectives & Priorities.”

Accessed November 6, 2018. http://www.arb.org.uk/about-arb/accountability/ arbs-purpose-objectives-priorities/.

Architects Registration Board. “ARB’s Response to the Call for Evidence on Architects’ Regulation,” Accessed November 6, 2018. http://www.arb.org.uk/ wp-content/uploads/2016/05/ARB-Response-to-Call-for-Evidence.pdf.

Architects Registration Board. “What We Do to Regulate Use of the Title ‘Architect’.” Last modified October 3, 2018. http://www.arb.org.uk/publicinformation/regulate-use-title-architect/?download_pdf=4431.

Chappell, David, and Dunn, Michael. The Architect in Practice. 11th ed.

Hoboken: John Wiley & Sons Ltd, 2015.

UK Parliament Department for Communities and Local Government. Periodic Review Report: Architects Regulation and the Architects Registration Board.

London: TSO, March 2017.

/2 Design + Build Procurement Structure

In contrast, the ‘design and build’ contract involves integration. Both design and construction involves the contractor, where design is developed upon the ‘client’s requirements’. Figure /2 shows the more complex features of the ‘Design and Build’ procurement method.

In the architect’s design responsibility terms, the ‘traditional’ contract’s separation between design and construction is being more artificial as projects become more complex day by day. Design work is not only managed by the architect, but specialist subcontractors also take part in design responsibility on specific details such as air conditioning and piling.

Disputes often occur in light of building defects due to the increasing responsibility division between architects, contractors and specialist subcontractors.

Meanwhile, in ‘design and build’ contracts, the design responsibility of the contractor (or architect) revolves around the ‘client’s requirements’, by creating a proposal or ‘contractor’s submission’.

Despite the benefits of single-point responsibility on design and construction being handled under one person, disputes on responsibility of inconsistencies between ‘client’s requirements’ and/or ‘contractor’s submission’ still occur.

The aim of the Architectural Registration Board (ARB) is to deliver the Architects Act 1997 by regulating architects and protecting their services’ clients in the UK. However, how successful is this?

In buildability terms, the ‘traditional’ contract enables the creation of high-quality designs due to overall decisions being controlled by the architect in the design stage. However, the lack of contractor involvement in the design stage may result in potential loss of time and cost savings, as material availability and better economical material substitutes may be unconsidered. In ‘design and build’ contracts, parallel working often occur, where designing of details still continue during construction stages, minimising delay and cost.

However, this may result in a poor-quality design due to methods of saving cost is more prominent although the design still complies with the ‘client’s requirements’.

Next, the ARB collaborates with business directories to prevent false listings under the ‘architects’ listing. For the public to know which businesses are registered, architects are encouraged to link their websites to the online Register. Raising awareness is also done through no-cost advertising, attending events and online. Thus, being able to differentiate registered and non-registered architects, clients are more confident in working with architects who qualify to bear that title.

The title ‘architect’ is protected under Section 20 of the Architects Act 1997. The title is legally used by persons whose names are on the Register, achieving the standards set by the ARB. These consist of university qualifications and practical experience that provide the necessary architect’s skills. Thus, the ARB ensures a person using the title to be professionally educated and qualified, maintaining the architect’s function. It could note that there is no requirement to be ARB registered in order to submit building approvals or administer building contracts; therefore UK architects can be under-cut by ‘architectural consultants’ who are unregulated, but offer the same services.

Despite being registered, the architect’s performance can be damaging to the architect’s function and title due to unacceptable misconduct and incompetence of the ARB’s Standards of Professional Conduct and Practice. Penalties that consist of a warning, a fine, a suspension and a removal from the register can be applied on the guilty architect by the Professional Conduct Committee, depending on the offence’s seriousness.

In success terms, the March 2017 Periodic Review Report stated that all 1654 investigations on misuse of the title ‘architect’ were managed and successfully concluded by the ARB. 25 of the cases were successfully prosecuted in the Magistrates’ Courts, where there have been zero unsuccessful prosecutions since the ARB’s establishment. Also, the total number of registered architects increased positively, reaching a high of 39,986 registrations in 2017 compared to 2012’s 34,328 registrastions.

In conclusion, through effective methods and engagements, the ARB is successfully protecting the architect’s title and function, according to the Architects Act 1997.

All in all, the architect’s design responsibility in both ‘Traditional’ and ‘Design and Build’ contracts should take overall consideration of the work responsibility, buildability of the building, design quality, time and cost-saving aspects of the project.

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Design Report | Architectural Practice: Working Learning

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Design Report // The Refurbishment of McEwan Hall and the Re-landscaping of Bristo Square

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This work-based learning assignment in Semester 2 asks to consider the implications of issues raised in the lecture series on a design project. It aims to familiarise me with conventional professional media, in this case, the ‘Design Report’.

In the UK, a ‘Design Report’ is a document submitted to a local council in support of a Planning Application. It explains the concepts behind a building proposal to the planning authorities, making reference to any pertinent factors that are considered to be material considerations by the Planning Authority.

As I haven’t secured a placement, I utilised this exercise as a means of gaining further understanding of professional practices, through research into a specific project.

Thus, I chose to write a design report on the Refurbishment of McEwan Hall and the Relandscaping of Bristo Square in Edinburgh. /1 Impression/Digital render as design proposal - LDN Architects

Client

The University of Edinburgh

Architect

LDN Architects

Services Engineer, Lighting Designer, Building services engineering (MEP), Fire Engineer, & Sustainability/BREEAM

Buro Happold

Structural Engineer

SKM: Anthony Hunts

Landscape Architect

Ironside Farrar

Acoustic Consultant

Sandy Brown Associates LLP

Quantity Surveyor

Sweett Group

CDM Co-ordinator

Thomas and Adamson

Business Consultant

Jura Consultants Limited

Estimated Construction Cost

£21,500,000

Procurement Method

Traditional

Project Brief The client, the University of Edinburgh, acknowledges McEwan Hall as its flagship building. However, the building was being ‘tatty’ with accessibility and operational problems that led to McEwan Hall not intensively being used.

Thus, the University of Edinburgh considers new potential uses to be added. Also, both its public and private spaces lack accommodation, further imposing operational hindrances.

While McEwan Hall functions primarily as a graduation hall, it is also built for examinations, lectures and concerts. The University of Edinburgh made their brief clear: to ensure the core functions of McEwan Hall are addressed while also allowing a range of other activities to be accustomed.

The key targets are:

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2.

3.

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Fabric Maintenance and Restoration Improved Accessibility Improved Operation Enhanced Facilities

The challenge of the project was to balance between restoration and change in terms of fulfilling McEwan Hall’s original role while also being relevant in the 21st century. Thus, a new lower ground entrance was addressed to solve circulation and accessibility problems (especially for the disabled) while creating a public space. Hence, the overall project focuses on the McEwan Hall’s relationship with Bristo Square.

Listed Buildings

Circulation

/2 Site Plan 2013

Existing Site The existing site’s landscape was designed by Percy Johnson Marshall in the early 1980s. Designwise, the secluded areas has caused attacks on female students. Thus, the University of Edinburgh suggested for a more open landscape for Bristo Square.

Adjacent listed buildings: • • •

Reid School of Music (Category B) Teviot Row House (Category A) McEwan Lantern Pillar (Category B)

Also, the location plan shows the circulation routes in accessing Bristo Square.

Site History

McEwan Hall McEwan Hall holds 2000 seats, designed for graduations, examinations, lectures and concerts.

Listed as a Category A (“Building of national or international importance, either architectural or historic, or building or fine little-altered examples of some particular period, style or building type”) building, it was designed by Robert Rowand Anderson together with the adjacent Medical School, completed in 1897.

Site Area

However, practical flaws were found: • • • •

Insufficient accessibility for the disabled No facilities for reception, entrance and a public foyer Insufficient storage and technical facilities In need of structural and fabric repairs

McEwan Hall Tenements Landscape University Health Centre Bristo Square Potterrow

/3 Site Plan Map circa 1896

/4 Site Plan Map circa 1972

/5 Site Plan Map circa 1984

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Y3 S2: APWL Design Solutions The project’s design solution addresses the limitations while minimising impact on existing fabric. The design would protect, restore and celebrate the original architecture while creating a contemporary image that is informed by it. The new additions would also be interpreted as part of the building’s continuous history: • • • • • •

A public stair and lift that connects all levels Amped wheelchair access to both hall and stage A foyer accommodation at the basement Basement alterations (provide toilets and storage facilities) Accessible spaces for visitors and staff below reception A Bristo Square entrance

Planning Engagement

Accessibility

In the design process, consultations and meetings were held with authorities such as the City of Edinburgh Council and Historic Scotland throughout 2010-2013. Several notable consultations were as below:

Referencing Figures /6, /7, /9 and /10, a new public stair and lift is added to link all levels, enabling 2nd Tier access.

Ramps are provided for wheelchair access throughout: from the corridor to the Hall, to the Stage, toilets and from the old and new entrances. This results with all people to participate in events, regardless of mobility difficulties.

The wheelchair routes are shown on Figures /9 and /10.

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Historic Scotland

They welcomed the proposal, especially the new entrance. The contemporary style does not diminish the listed building’s primacy, as the new landscaping strategies create an open space with clear views of the McEwan Hall. In short, the design strategy includes the building’s importance and their ‘limited interventions’ would safeguard and improve a nationally important building’s future use.

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Wheelchair routes

/8 South Elevation

New service lift Ground removal for service lift Stair removal for enlargement

City of Edinburgh Archaeological Service

New male toilets

New female toilets

Toilets removal Ceiling structure removal Store removal

New foyer

New basement entrance formed

Environmental Assessment

Addressing noise, the new Bristo Square entrance would include pop-up electrical outlets for events. Environmental Assesment would be concerned were the square is being used intensively, creating noise complaints to the Council. However, the events are likely to be controlled as the area’s usage is unlikely to dramatically increase. External lighting on the building, external steps and on the pavement provides direction and safety. As the lighting levels would be low, there would be no issues.

Added structures

Figures /8 and /9 show the new entrance providing an accessible entrance for all that starts from Bristo Square as a vertical cylindrical pavilion. As the pavilion encloses the level change from Bristo Square to McEwan Hall’s basement, the ramp and steps provide universal accessibility.

The re-siting of the McEwan Lantern Pillar to the south-east corner of the new square would have no concerns with a conservation mitigation strategy.

•

Removed structures

/6 McEwan Hall Basement Plan Removals

/9 McEwan Hall Basement Plan Refurbishments Floor removal for lift and stair

New basement entrance from Bristo Square

New lift and stair

Steps removal

Railings removal /7 McEwan Hall Ground Floor Plan Removals

/10 McEwan Hall Ground Floor Plan Refurbishments

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Y3 S2: APWL Landscape

Sustainability

The idea of a new entrance at basement level was created together with new accommodation during excavation to install new tanking. Thus, rooflights were implemented to provide daylight.

This project is sustainable due to the aim in ensuring a Category A listed building is restored and adapted with contemporary surroundings to improve its use.

As said, the accessibility and operational limitations of McEwan Hall were the focus by addressing them with minimum impact on existing fabric.

Ironside Farrar, the landscape architect, listed a few key landscaping strategies that addressed with the contextual problems: • • •

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Level of Bristo Square raised Entrance pavilion added with a ramp and steps for access for all (does not dominate the view towards McEwan Hall) Entrance pavilion is positioned off-axis for a more visible view from Bristo Place

Overall, the existing fabric’s performance is also being upgraded through dome insulations and double-glazed windows. The design received a Very Good rating from Buro Happold’s BREEAM assessment study.

For the new entrance, the pavilion structure would be steel, with curved glass as its external walls.

During finalisations, the circular shape of the pavilion was developed into an elliptical shape.

Thus, the landscape’s circular space is also changed into an elliptical space in response to Bristo Place’s axis (Figures /11 and /12).

The conservation approach weighs on repairs rather than replacement of the existing fabric. Thus, all repairs would be carried out with traditional materials. New contemporary adaptations are also sympathised using similar quality materials as of the original. The original displacement ventilation system is to be restored and developed to improve its performance and reduce energy consumption.

/11 Finalised landscape basement plan

/13 View of Bristo Square with the McEwan Hall and McEwan Lantern Pillar

+ Key References BuroHappold Engineering. “McEwan Hall.” Accessed February 9, 2019. https://www.burohappold.com/projects/mcewan-hall-2/.

Historic Environment Scotland. “Teviot Row and Teviot Place, University of Edinburgh McEwan Lantern Pillar.” Last modified November 26, 2018. http://portal.historicenvironment.scot/designation/LB27994.

Historic Environment Scotland. “University of Edinburgh, McEwan Hall, Including Railings, Gates and Gatepiers between Hall and Reid School of Music, 15 Bristo Square, Edinburgh.” Last modified August 22, 2017. http:// portal.historicenvironment.scot/designation/LB27993.

LDN Architects. “McEwan Hall.” Accessed February 9, 2019. https://www. ldn.co.uk/architecture-projects/mcewan-hall/.

/12 Finalised landscape ground floor plan

The City of Edinburgh Council. “Edinburgh Urban Design Panel: McEwan Hall / Bristo Square.” Last modified November 28, 2012. http://www. edinburgh.gov.uk/download/downloads/id/2329/12_11_28_-_mcewan_hall_ and_bristo_square_-_reportpdf.

The City of Edinburgh Council. “The Refurbishment of McEwan Hall with a Basement Extension, a New Entrance Pavilion, New Staircase and Lift Installed in The North Tower and The Re landscaping of Bristo Square.” Accessed February 13, 2019. https://citydev-portal.edinburgh.gov.uk/idoxpa-web/ applicationDetails.do?activeTab=documents&keyVal=MOJCPIEWLO000.

Bristo Place centre line

McEwan Hall centre line

Marshal Street centreline

Pavilion centre line

New elliptical landscape

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Intersection point /14 Perspective section render - LDN Architects

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Essay | Architectural Practice: Working Learning

BIM Adoption in Small Architectural Practices

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The final assignment is an essay offering a personal reflection on a topic relevant to contemporary professional practice. The choice of topic is open but should engage with architecture as a profession in its wider social and economic contexts. Students might choose to focus on, and extend their understanding of a topic raised in the lecture series.

As the submission was due a couple weeks before the start of my placement in the end of March, I conducted a self-directed research on BIM adoption as the topic for my reflective essay. /1 Percentage of organisations adopting BIM in the UK - National BIM Report 2018

In this reflective essay, I advocate that small practices should utilise BIM to always be on par with the competition and to secure their future within the continuously evolving architectural profession. The advantages of BIM adoption are efficient management, communication and collaboration within the architectural industry.

In my experience of seeking for a Part 1 Architectural Assistant job in the UK, I unexpectedly noticed that most UK practices, either big or small are recruiting Part 1 applicants with BIM experience as a requirement. I believe that it is important for young potential architects to polish the current skills crucial within the architectural profession. Hence, this clearly shows BIM’s significance in the architectural industry as most practices are actively recruiting young potential architects with BIM experience to fully utilise today’s technological shift in the architectural profession.

Key References Dobson, Adrian. 21 Things You Won’t Learn in Architecture School. Newcastle upon Tyne: RIBA Publishing, 2014.

Harper, Roger. Year Out: A Rough Guide to Gaining Professional Experience. London: RIBA, 2000.

Klaschka, Robert. BIM in Small Practices: Illustrated Case Studies. Newcastle Upon Tyne: NBS, 2014.

Malleson, Adrian. “National BIM Survey: Summary of Findings.” National BIM Report 2018. RIBA Enterprises Ltd, 2018.

Malleson, Adrian. “Two-thirds of Practices are Now Using BIM.” RIBAJ. Last modified July 5, 2017. https://www. ribaj.com/intelligence/uk-national-bim-survey-designcommunity-adoption-bim-adrian-malleson.

/2 3D sketch perspectives of different options using BIM - Poulter Architects

Technological Shifts and the Emergence of BIM

Case Study 1: St Peter’s Avenue, Knutsford by Poulter Architects

Case Study 2: Private house project at Lee Bay, North Devon by Jonathan Reeves Architects

Critical Reflection

For the architectural profession, its biggest impact from a technological shift was the introduction of ComputerAided Design (CAD) in the 1980s. CAD has impacted architectural practices drastically as they migrate from traditional table-top drawings to a computer-based design environment.

Poulter Architects, founded by Jeremy Poulter, operates as a sole proprietorship. Having experienced using BIM, Poulter saw its potential in transforming the method in communicating building design, leading to his small practice becoming an early adopter of BIM.

Jonathan Reeves Architects consists of 2-10 employees is directed by Jonathan Reeves. Through a private house project at Lee Bay in North Devon, this relatively small project requires efficient communication due to the project being a residential placement dwelling on a cliff top site that is highly sensitive.

Thus, based on both case studies above, I will provide a critical reflection to support my stance on why small practices should utilise BIM to be able to compete within the progressing architectural profession. Referencing both case studies, the most beneficial aspect of BIM is the seamless communication within an architectural project that involves architects, clients, planners and contractors.

The problem for small practices with traditional 2D drawings is people tend to spend too much time in understanding and amending them. As larger projects would obviously use BIM for coordination reasons, it may be unnecessary for smaller projects to use the same method.

However, BIM solves the drawings communication problem as the computerised 3D environment can contain high-quality information and be easily managed through coordinated models. Thus, relatively smaller projects by small practices would be able to be completed much quicker and more efficiently with BIM due to clients and contractors understanding the architect’s drawings.

As data-sharing became much more apparent, a new technological shift took place within the architectural profession through Building Information Modelling (BIM). According to BIM advocates, BIM promotes efficient collaboration within the architectural industry.

Collaboration is important due to the different procurement methods adopted by practices which affect communication between design and construction. BIM offers seamless data-sharing between the two stages, promoting collaboration while producing stable information. BIM is most advantageous when data is shared between architects with contractors, specialist subcontractors and suppliers as the whole project, including design and construction, can be seen working in unity.

It is worth noting that more practices are adopting BIM regardless of type and size. According to NBS (National Building Specification), since the UK Government’s BIM Mandate in 2016, 2017 was the year of UK’s greatest increase in BIM adoption. The National BIM Report 2018 reported that 66% of small practices have adopted BIM in the UK (Figure /1). This proves that a majority of small practices knows the benefits of BIM and have adopted the new technology. Also, a 90% BIM adoption from all practices in the UK is very much achievable in three to five years. Hence, we can expect that BIM is being adopted by more and more small architectural practices in the years to come.

For the project, the client organised a small competition to appoint the project to the practice with the best initial designs. Poulter Architects created an outline 3D model with BIM, where 2D sketches and 3D perspectives were extracted (Figure /2). The outstanding visual communication at such an early stage allowed Poulter Architects to win the competition.

For concept designing, the advantage of using the BIM model was that not only multiple options can be explored in 3D, but its every implication could be examined quicker than undergoing the laborious process of testing out every option by drawing different plans and sections over and over. In developing planning applications, BIM allows quick and easy rendering of plans, sections and perspectives without tedious methods of exporting files to render with different software. BIM’s render quality is perfect enough for design communication within the scale of his projects.

In the technical design stage, General Arrangement (GA) drawings such as wall compositions are easily modified and extracted from the model, where BIM operates as a robust drawing management programme. This again prevents arduous revisions and making amendments to the plans and sections for GA drawings. Finally, BIM’s abilities on the project’s construction stage was very helpful in solving on-site problems where BIM assisted in identifying perfect datum levels and making amendments to the existing brick coursing. Thus, there were minimal site queries as the on-site works progressed competently due to BIM’s fully-coordinated design that avoids uncoordinated junctions and laborious design solutions from happening.

Due to issues regarding poor construction and supposed ground movement on the existing single-storey bungalow, the solution was to demolish it and build stronger piled foundations. The owner requested for a sustainable and environment-friendly dwelling as a replacement.

With BIM, the cliff top site was 3D-modelled using survey information, allowing accurate existing building modelling and initial massing investigations of proposed designs to take place, which is always beneficial for earlystage design explorations.

Once again, detailed proposals of plans, sections and 3D perspectives are easily extracted from the 3D BIM model.

Thus, different design options in 3D allows discussions and communication with clients and planners to be much more effective. Also, multiple contextual views from vital vantage points requested by planners due to the site’s sensitivity were easily produced. Collaboration with engineers were efficient, as designs created by structural engineers for the ground beams and piles were 3D-modelled and incorporated into the overall BIM model, accurately displaying the details for later stages.

In the end, Reeves stated that although the use of BIM from start to finish required more work in the earlier stages especially modelling intricate junctions and dealing with complex site levels accurately, it allows late design changes to occur relatively easily and be communicated efficiently within the entire project community.

Next, there are concerns by small practices in starting to adopt BIM. According to Ray Crotty, small practitioners who embrace change quickly would be able to compete with the bigger practices that has staff training and structuring issues, where small practices would have the advantage in speed and cost in adopting new working methods. Hence, the long-run benefit for small practices is that their fees are protected due to BIM’s advantage on speed, accuracy, improved coordination and quality control.

Also, the true challenge in adopting BIM is not cost, but management change. A smaller practice has quicker adaptability with change whenever opportunities arise, whereas larger practices would have to undergo tedious management approvals. Thus, I believe that small practices have the upper hand in getting started with BIM. Lastly, the quality of work would become more simplified and rewarding, together with a more enjoyable working environment. According to David Miller Architects’ director, BIM has allowed his practice to grow in a difficult market and take on more challenging projects.

Thus, new and more opportunities would arise for small practices that adopt BIM, allowing them to thrive in the competition within the architectural profession.

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ARCHITECTURAL PRACTICE: REFLECTION

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Course Organiser: Mark Cousins

Course Description

Reflective Statement

This course focuses on the writing of a series of reflective journal entries exploring aspects of architectural practice. The journal entries should engage, provoke and/or ruminate on specific issues or related activities carried out during the Practice Experience period. This course is seen as complimentary to Architectural Practice: Working Learning.

Similar to AD:Working Learning, my placement period started during the same week of the Reflective Journal submission, and therefore, I again approached this course as a preparation/self-led research before being involved in practice.

However, the Reflective Journal summed up my journey in securing my practice placement through CV preparation, as well as researching the current issues and requirements in securing an architectural job in practice - such as issues on BIM adoption, demand for sustainable design, urban globalisation and construction management through collaboration (GC 4, 6, 10, 11). The last journal entry would see my reflective statements on my my first week in practice, and my initial impressions in reference to the discussed issues in the Journal. Hence, the course ends with a personal career progression plan, where I am now more confident in securing my future within the architectural industry.

This course is intended to: 1. Provide an opportunity to reflect, appraise, analyse and present my newfound knowledge and understanding gained through direct experience and focus on aspects of the architectural profession or related activity.

2. Allow me to research and investigate specific topics relevant to the practice of architecture (or a related activity).

3. Encourage me to articulate and illustrate my work experience (or related activity) in a coherent and professional manner.

4. Invite students to gather information (text and drawings) relating to the practice of architecture (or related activity) and to assemble this material into a lucid format

LO1 Demonstrate an ability to identify key themes and issues in practice and the workplace.

LO2 Show understanding through critical reflection of the academic, social and cultural contexts of practice and the workplace.

LO3 Demonstrate an ability to communicate effectively and rigorously the process of your practice period.

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Reflective Journal Students are asked to reflect in an active way on their Practice Experience, as the the Journal is intended as an academic companion to the work.

However, students will not be penalized if they are unable to secure employment. Practice reflection allows students to record how they engage with applying their knowledge from Architectural Practice: Working Learning in real contexts.

In Semester 2, the submission for the Reflective Journal was due in early April, when I just started my placement for a week. Thus, I was not able to write and reflect my experience within these entries.

Nevertheless, I took this as an opportunity to further understand and prepare myself with issues of architectural practice before working in one, and it has eventually helped me during my placement period in becoming aware and more attuned to the specific issues prescribed in these journal entries. In the end of the journal, I have laid out a clear career progression plan for my professional architectural journey.

Key References 1 UEM Sunrise Berhad. “Corporate Profile – About.” Accessed January 29, 2019. https://uemsunrise.com/corporate/about/corporate-profile.

Yayasan Khazanah. “Activities and Happenings.” YK Link 5, no. 8 (August 2018): 6.

Yayasan Khazanah. “YKPSP Activities in August 2018.” YK Link 5, no. 8 (August 2018): 8.

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1 Presentation Preparing My CV CV Preparation

Job Seeking

Upon being briefed on the upcoming practice experience period during second year, I returned to Malaysia that summer to attend Winning the Job Market (WJM) 2018. WJM is a programme that develops necessary skills in securing jobs through CV writing, interview techniques and social etiquette. I took this opportunity to prepare myself for the upcoming placement period. Thus, this module showed me a general view in acing job interviews.

Throughout the semester, I searched for Part 1 Architectural Assistant job vacancies in Edinburgh and Manchester. Unexpectedly, vacancies were less. Another area I investigated was work culture.

I found that most practices use BIM and some offer BIM training and mentoring schemes for employees.

Attending a company visit to UEM Sunrise, a Malaysian GLC within the construction industry, I discovered the different career paths of an architecture degree. Architecture degree holders are able to branch out into different design-led practices such as UEM Sunrise, a township and property development company. In an Interactive Engagement Event, a timed engagement session through a speed dating concept allows participants to undergo semi-formal interviews. I was interested with UEM Sunrise as it was the most architecturerelevant. They were also interested in me joining their design team. There, I found out that the company uses Building Information Modelling (BIM) in their projects, which is a skill that I should develop. As my studies would end in 2020, they kept my details on file for future reference. Thus, this opportunity has given me a positive perspective in landing a job later.

Throughout the first semester of third year, I constructed my CV and cover letter, narrowing down my strengths in the architectural field. As I have zero professional work experience, I included an ‘achievements’ section that chronologically lists my design-related experience such as my positions as media directors and my participation in exhibitions to signify my involvement in architectural events.

These experiences would showcase my design and leadership skills appreciated by potential employers. Also, I created a LinkedIn profile for an online CV, as well as an online portfolio/website.

Up until February 2019, I have not received any interviews. Upon two weeks of applying, I sent follow-up emails, requesting their current decision timeline. Most applications were rejected as most practices were not recruiting Part 1 positions.

However, my details and documents were kept in file for future opportunities. Thus, the additional steps I took to gain employment were as follows.

I targeted to apply for paid internship positions in new locations which are London and Kuala Lumpur (Malaysia), as more vacancies are available. Meanwhile, I took the initiative to learn BIM software through online courses as BIM skills are becoming attractive for employers within the architectural profession.

Conclusion Eventually, in March, I have successfully secured a paid internship position through a phone call interview with Archicentre, a practice in Malaysia.

My personal reflection on this job-seeking experience is that young potential architects should be aware of the current issues within the architectural profession where in this case, BIM skills are appreciated by employers as BIM utilisation is the current technological shift within the architectural profession. Hence, this awareness would help young potential architects for their future career development.

AIMAN

BIN AZMAN Part 1 Architecture Student +44 7491 518973 aimanbinazman@gmail.com

EDUCATION 2016 - Ongoing | University of Edinburgh, UK

3rd Year Master of Arts with Honours in Architecture student Modules:

2014 - 2016 | Kolej Yayasan UEM, Selangor Cambridge International A Levels graduate Economics Mathematics Physics

aimanbinazman.wixsite.com/portfolio linkedin.com/in/aimanbinazman 136/2f2 Duke Street, EH6 8HR, Edinburgh, UK DOB: September 18, 1996

Architectural Design, Art & Design, Architectural History, Architectural Theory, Architectural Practice, Technology and Environment.

A* A A

2009 - 2013 | Sekolah Sultan Alam Shah, Putrajaya Malaysian Certificate of Education graduate

10 GCSE O-Levels equivalent achieved

CAREER OBJECTIVES An enthusiastic architecture student keen to gain first work experience in a professional architectural firm by participating in projects and contributing to the firm’s success through further use of my abilities in conceptual thinking and model-making, both physically and digitally. Interested in enhancing my architectural knowledge that will benefit my future studies and career.

SKILLS

(9A+,1A-)

ACHIEVEMENTS 2017 | 2000+ Models Exhibition, Edinburgh - Participant Exhibited 20 of my unique architecture models together with other students in an open exhibition that showcased up to 2000+ models attended by professional architects.

2017 | CHANCE: Jelajah Pangkor, Malaysia - Media Director Lead designer for banners, posters, T-Shirts and gifts as the Media Director for a volunteering programme that reached out to the poor families, schools and the community in Pulau Pangkor, Malaysia and endorsed by the Chief Minister of Perak.

2017 | Mahasiswa Turun DUN: Langkawi, Malaysia - Media

Software

Associate

Successfully led mural painting events at a school and in charge of principal photography throughout the outreach programme that benefitted the community in Pulau Langkawi, Malaysia.

Autodesk AutoCAD Sketchup Pro Rhino 3D Photoshop CC Illustrator CC InDesign CC Lightroom CC Lumion V-Ray Microsoft Word Microsoft Powerpoint

2017 | Colour Runnerity: Langkawi, Malaysia - Charity Volunteer Volunteered in the first ever charity 5km colour run around Pulau Langkawi by setting up the checkpoint stands, distributing race packs, medals and certificates and keeping the runners hydrated throughout the run.

2017 | Colours of Malaysia, Edinburgh - Volunteer

Hardware

Volunteered as a food and drinks vendor for the annual event by The Edinburgh Malaysian Students Association (EMSA) to share the diverse Malaysian culture by setting up booths and cleaning up after the event.

Laser-cutting machine Woodwork equipment

Languages

2012 | F1 In Schools Regionals, Malaysia - Participant

Malay English French

In charge of designing an F1 model for my team as the Design Engineer by utilising the CAD software Solidworks and succeeded in advancing to the nationals.

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IELTS Band 7.5 DELF A2

REFERENCES Michael Lewis

Tutor/Lecturer University of Edinburgh michael.lewis@ed.ac.uk

AWARDS Benek Cincik

Tutor/Lecturer University of Edinburgh bcincik@ed.ac.uk

2014 | Yayasan Khazanah Global Scholarship Award 2013 | Academic Excellence Silver Award 2012 | Mathematical Olympiad Honourable Mention 2012 | Best Secretary Award

/1 My CV as of March 2019

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2 Speculation

3 Globalisation

Challenges to the Profession The Technological Shift with BIM As Computer-Aided Design (CAD) became widespread in the 1980s, it impacted architectural practices to work in a computer-based environment. offering time-saving advantages on overcoming repetitive drawings and amendments. Today, BIM is widely used. According to Adrian Malleson, 2017 saw the greatest increase in BIM adoption since the UK Government’s BIM mandate in 2016, signifying that the design community, including architectural practices, recognises BIM’s advantages. The National BIM Report 2018 reported that within three to five years, a 90% BIM adoption in the UK is achievable.

BIM allows more efficient data-sharing between different workers from the design and construction teams, creating a more collaborative environment with clear communication. This is beneficial in situations where designs are being passed to specialist sub-contractors or suppliers. Thus, regardless of the different procurement routes, BIM provides clear communication for all stages in construction projects.

Key References 2 Dobson, Adrian. 21 Things You Won’t Learn in Architecture School. Newcastle Upon Tyne: RIBA Publishing, 2014.

ECHOtape. “Why Building Resilience is the Future of Sustainable Building.” Last modified May 29, 2018. https://www.echotape.com/blog/why-building-resilience-is-the-future-ofsustainable-building/.

MATA Architects. “BIM in a Small Architecture Practice.” Last modified February 28, 2018. https://www.mata-architects.co.uk/blog-mata/2017/11/9/bim-in-a-small-architecturepractice.

RIBA. “‘UK Must Build Flood Resilient Homes’ says RIBA.” Last modified May 3, 2018. https://www.architecture.com/knowledge-and-resources/knowledge-landing-page/ukmust-build-flood-resilient-homes-says-riba.

Unabridged Architecture.“Sustainable V. Resilient.” Last modified October 8, 2017. http:// www.unarch.com/sustainable-v-resilient/.

3 Engineering.com. “Petronas Twin Towers.” Last modified October 13, 2006. https://www. engineering.com/Blogs/tabid/3207/ArticleID/72/Petronas-Twin-Towers.aspx.

LDN Architects. “McEwan Hall,” Date accessed March 23, 2019. https://www.ldn.co.uk/ architecture-projects/mcewan-hall/.

As a small practice, MATA Architects shared their challenges in adopting BIM where their monetary and time investment in adapting to new software is greater compared to larger practices due to limited resources. Nevertheless, all their staff underwent external training to embrace BIM. This created a culture change within the practice in workflow and traditional procedures. BIM has benefitted MATA Architects as they are able to compete with larger practices in smaller teams.

My viewpoint is that this technological shift benefits new architects as they tend to be more aware of BIM’s implications and can efficiently develop their BIM skills compared to established architects who are likely lacking in training.

Public Consciousness Increasing Demand for Sustainable and Resilient Design The increasing demand for sustainable and resilient design is currently challenging the architecture profession, mainly in the UK such as RIBA’s call to build flood-resilient homes. The occurrence of natural disasters such as floods and earthquakes led to destruction and uninhabitable homes. Thus, although sustainable green buildings are important, resilient designs are becoming a new focus.

Sustainability and resilience in design are different.

For example, in durability terms, sustainable design requires the building to meet typical environmental conditions while resilient design needs greater performance enclosures in protecting occupants in emergencies. Nevertheless, a resilient design usually incorporates a sustainable design. Hence, an energy-efficient green building is important in creating resilience, according to Alex Wilson, the founder of Resilient Design Institute.

Conclusion In conclusion, issues regarding technological shifts and resilient designs allow the new generation of architects to prepare themselves in encountering other challenges when entering their architecture careers for the betterment of the architecture profession. As a personal reflection, I am beginning to learn BIM as I believe that this technology will be adopted by most, if not all practices in the future. Also, this research is helping me to define my interests in practices that adopt sustainable and resilient design.

Globalisation & Homogeneity Today, the public sees cities as areas filled with skyscrapers, creating a homogeneous public consciousness towards the built environment.

This homogeneity is caused by globalisation.

Globalisation is defined as a movement towards global societal standardisation in cultural, economic, social, political and technological means. Globalisation’s main factors are the rapid urbanising of developing countries and the global market forces that favours urban development.

As images are being shared across the globe, the public share similar ideas of how the living and built environment should be, creating a public consciousness. Cities of developed countries like China develop similar patterns established by successful urbanised cities such as New York City.

At Chongqing, development has started since the late 20th century until today, looking very similar to NYC due to skyscrapers becoming the main recognisable features of a city for the public eye.

Thus, globalisation has created a homogeneity in the built environment.

Recalibration of Public Consciousness As the flagship building of the University of Edinburgh, McEwan Hall needed refurbishment due to maintenance, restoration and poor facilities that did not comply expectations for the university users contemporarily. The university did not want the hall’s core functions to be changed. Thus, as a response, LDN Architects proposed to create a design that balances their approach of fulfilling the hall’s original functions whilst allowing it to be relevant today. In other words, this project approaches globalisation by creating a new environment that fits within the contemporary public consciousness. whilst preserving McEwan Hall’s originality. LDN Architect’s solution was to restore and celebrate McEwan Hall’s original architecture that informs its new contemporary image by creating a new entrance and re-landscaping Bristo Square into a public area. Thus, this project shows how architects could successfully recalibrate the public’s approach to the built environment, where a contemporary environment can still preserve a place’s/building’s original role and appearance.

/2 Petronas Twin Towers, Kuala Lumpur, Malaysia

/3 Islamic geometry concept of Floor Plan

Malaysia’s Cultural Approach to Globalisation In some countries, globalisation has affected cultural importance, as a new international culture is created. For example, a country of diverse cultures, Malaysia, undergoes globalisation as seen on its capital city, Kuala Lumpur (Figure /2). There, skyscrapers are still being built today amidst the renowned Petronas Twin Towers. As one may observe, the rich traditional culture of Malaysia appears missing in the twin towers due to its international style adopted from globalisation.

However, the Tower’s floor plan design is based on Islamic geometric patterns, composed of superimposed squares with little circular shapes, showcasing Malaysia’s Islamic heritage (Figure /3).

Next, the exterior design is inspired by Malaysia’s cultural heritage, consisting motives from traditional Malaysian handicrafts such as ‘songket’ and timber carvings. Hence, although the Petronas Twin Towers is considered an international-style building of globalisation, it is very much culturally Malaysian-influenced.Thus, we can see how the architect is able to approach the international style through globalisation while still incorporating the local culture, hence recalibrating the public consciousness towards the built environment through preserving cultural importance.

Conclusion In short, I may conclude that as the public consciousness to the built environment changes, architects should be able to constantly adapt and positively recalibrate the created homogeneity to allow the built environment to remain innovative and unique for the public in the future of globalisation.

The Hong Kong Institute of Architects. Globalization and Localization of Architecture and Urban Planning: Teacher Notes. Hong Kong: Hong Kong Institute of Architects, 2012.

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4 Collaboration

5 Consolidation

Construction Management BIM’s Impact to Traditional Roles

Data Management

Securing a Placement

Career Progression Plan

BIM adoption increases opportunities in collaboration within architectural projects and may prompt changes in the traditional roles of professionals within the construction industry that includes architects, engineers and contractors.

Today, all professional staff in the construction industry can be involved in all stages in a construction project that includes design and construction. Thus, the industry covers a variety of professional roles that include architects, engineers, and contractors.

This wide range of different roles requires efficient collaboration and communication for a project to be successfully completed. According to BIM adopters, they advocate that BIM promotes more effective collaboration within professionals in the complex construction industry, where more efficient data-sharing between members is made possible.

Construction principles were able to be embedded within the building information through BIM during the initial design stage to produce the basis for later stages of construction. The practice was then appointed to fulfil the construction information for the contractor. Thus, owing to the initial embedded information, deadlines were met efficiently. Proceeding with the engineer’s input, the contractor decided to change the structure from masonry to steel frame. Issues would arise without careful collaboration for this late change. Thus, the engineer is assisted with the steel frames being modelled through BIM as additional visualisation for the overall model consisting of every element with its information. Annotated model drawings were easily extracted from the BIM model for engineers to make full use of the visual data in every steel element, easing the late change process.

As I applied for Part 1 jobs in the UK, most practices had no vacancies and kept my information for future opportunities. Thus, I opted to seek employment in Malaysia and received a response from a small practice that was considering my application but for an unpaid internship position. Being aware with issues regarding unpaid employment, I advocate that any professional work deserves pay and decided to turn down the offer. I also noticed that practices are looking for applicants with Building Information Modelling (BIM) skills. Hence, I took an online course that teaches basic BIM.

Overall, I now have a clearer mapped-out career progression plan. As I plan to work professionally in Malaysia to contribute back to my country, there are specific Part 1 and 2 programmes accredited by the Board of Architects Malaysia (LAM), similar to that of the RIBA. Thus, I will be completing my Part 1 here in the University of Edinburgh first. As I have a bond with my current scholarship holder to work with Malaysian Government-Linked Companies (GLCs), I can defer the bond to further my Part 2 studies either in Malaysia or the UK that is recognised by LAM. Then, I aim to serve my scholarship bond in a GLC by securing a position in the design team of a township and property development company, UEM Sunrise. UEM Sunrise has already adopted BIM and therefore, securing employment there would be beneficial for BIM experience.

Visualisation

Key References 1 Baster, Jenny, Minogue, Ann, O’Reilly, Michael P. and Ramsey, Vivian. ICE Manual of Construction. London: ICE Publishing, 2011.

Dobson, Adrian. 21 Things You Won’t Learn in Architecture School. Newcastle Upon Tyne: RIBA Publishing, 2014.

Klaschka, Robert. BIM in Small Practices: Illustrated Case Studies. Newcastle Upon Tyne: NBS, 2014.

The Voice Online. “The Construction Industry – Professional and Managerial Roles.”

Date accessed March 19, 2019. https://www.voice-online.co.uk/career-sector-information/ construction-industry-%E2%80%93-professional-and-managerial-roles.

2 CIDB Malaysia. Malaysia Building Information Modelling Report 2016. Kuala Lumpur: Lembaga Pembangunan Industri Pembinaan Malaysia, 2017.

Lembaga Arkitek Malaysia. “List of Recognised Architectural Programmes.” Date accessed March 26, 2019. http://www.lam.gov.my/accreditation/list-of-recognised-programmes.

Career Progression

Axis Design Architects Ltd, directed by Rob Annable, have been developing methods in communication and data-sharing in the built environment for a decade which led to BIM adoption, eventually becoming the practice’s primary tool across all work stages. Annable stated that his practice experimented basic visualisation methods with BIM during a time when BIM was not widely adopted in the UK. In the Birmingham Municipal Housing Trust project, their initial role was to submit a planning application, where they used BIM to reference developed house types onto a 3-D site model, allowing detailed house designs and site strategies to be developed simultaneously.

BIM helped in decision-makings during discussions with the client as a live design tool, visualising the impacts of the proposed design on the site’s surroundings. During a consultation event, the public and clients were provided laptops and projectors to view the proposals easily, providing seamless visualisation of the design.

Conclusion Hence, we can see BIM’S effect on architectural practice and how the traditional roles of professionals in the construction industry has changed. BIM allows architects to produce better coordination in drawings, communication and datasharing with engineers and contractors. Hence, all professionals within an architectural practice can undertake more work and responsibility due to efficient collaboration provided by BIM, as the ‘separation’ between the design and construction stages are becoming vaguer today due to different procurement methods adopted by architectural practices. BIM’s ability to allow different members in an architectural project to work on the same file simultaneously allows involvement of contractors and engineers throughout all work stages. As for the clients, BIM can create visualisations throughout every stage of an architectural project, allowing clients to clearly understand the design and provide input in discussions. Also, these visualisations are easily accessed through smartphones and tablets for clients and contractors to use on site.

In short, BIM has advanced how architectural practices work today through efficient collaboration within the construction industry as this allows more innovative architecture to be realised in the future.

In March, I received a phone call interview with Archicentre, an architectural practice in Subang Jaya, Malaysia and successfully secured a paid internship position. As a multi-disciplinary architectural practice, Archicentre’s multiaward-winning designs are driven by sustainable regionalism that shapes socially responsive built environments with works varying from large-scale city planning to residential projects. There, I met architects and other architectural professionals, finding out that an architecture degree would give access to other professions such as a CAD draftsman.

This journal entry was written during my first week of the internship, as I worked on a residential apartment project called M-Centura in Kuala Lumpur, being tasked with amending architectural drawings of plans, sections and details as the building is being constructed on site. Surprisingly, I was not required to use BIM for this project but I worked with traditional Computer Aided-Drawings (CAD). As my works mostly revolve around amending drawings, I believe that with BIM, these tedious repetitive works would be much less as any change made to one part of the design will update the overall BIM model, efficiently saving time.

In terms of interest, I am very comfortable in my current employment environment where Archicentre’s design philosophy embraces regionalism in contemporary context, balancing the old and new. I believe that this would create a unique identity in approaching architectural globalisation. Thus, I plan to develop my career further by being involved in projects that blend traditional and contemporary design. Lastly, after gaining enough experience, I am considering to then undertake LAM’s Part 3 exams to be a fullfledged architect in Malaysia.

Thus, I suspect that in Malaysia, not all projects necessarily need BIM for now as some projects tend to be done more efficiently through traditional methods. However, as the BIM adoption rate in other countries are significantly increasing, all architectural practices should be adopting BIM soon to compete globally within the evolving architectural profession.

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Reflective Statement After attempts in securing a placement in the UK and back home in Malaysia, I finally secured an internship position with Archicentre Sdn Bhd, Malaysia. Being assigned to two high-rise residential projects in Kuala Lumpur; M Centura and M Arisa, I worked closely with project architects and draftsmen in presentations and submissions for Development Order (DO), Building Plan (BP), tender, construction and detail drawings. I was also responsible in drawing several main facilities (lift lobbies, gymnasium, multi-purpose hall, RWDP, etc) and amendments of overall plans, sections and elevations of both buildings. This has greatly improved my CAD skills, as well as understanding the structural and technical details of a building in more depth, as I was responsible in completing the tender drawings (GC 8). However, I believe that these tedious drawing amendments would be made easier and quicker with BIM adoption, being time-efficient in reaching deadlines as well as communication with other parties.

Also, I shadowed architects during visits to site, city councils and fire departments for purposes regarding cosntruction, planning and fire safety. Thus, in person, I gained knowledge in planning permissions and building regulations regarding high-rise projects and how architects approach them. Alongside those, I also attended supplier and technical meetings, where exposure to the construction industry is acquired through liaison among architects, clients, developers, contractors, suppliers and engineers (GC 4, 6, 10, 11). I got to see in person how an architectural project needs efficient communication and collaboration between all parties involved. As a bonus in being an intern in a renowned practice, I occasionally met with Ar Dr Tan Loke Mun, Archicentre’s founding director and one of Malaysia’s renowned architects, as well as visiting his ever-famous S11 House - Malaysia’s first Platinum Level GBI (Green Building Index) residence.

/My workstation at Archicentre Sdn Bhd

All in all, the three months placement period was a huge and meaningful experience for me, as it was my first time ever being employed. The issues discussed from the Working Learning and Reflections courses all had successfully prepared me well during my time here. Referring to my essay regarding BIM adoption, I was quite surprised that very few of the projects utilised BIM, mainly because of the contractors and planners preferring traditional methods. However, talks with Archicentre’s BIM manager explained that Malaysia is currently adopting BIM at a large scale, and would mostly be utilising BIM in a few years time, which would be the period when I would be working within the architetcural industry.

The priceless and countless advice given by the architects and draftsmen there were all very motivating for me approaching the final year of my Part 1 studies. Thus, I cherished my moments there in Archicentre and am looking forward for more professional challenges in the future.

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Archicentre Sdn Bhd // Subang Jaya, Malaysia Returning back home to Malaysia in mid-March, I succesfully acquired an architectural internship position in Archicentre through a phone call interview. Thus, I was assigned to work with a team responsible for two high-rise residential projects in Kuala Lumpur; M Centura and M Arisa, with the latter being my main project.

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Y3 S2: API

Phase 1 Phase 2

/Site Plans (Phase 1: M Centura, Phase 2: M Arisa)

Amendments of Drawings As an intern, my main job was to aid and work closely with the project architect and draftsmen throughout the work stages. My main work throughout my 3 months of internship was amending the plans, sections and elevations for presentations and submissions for Development Order (DO), Building Plan (BP), tender, construction and detail drawings.

As M Arisa project was in the tender stage, it is the 2nd Phase of both (M Centura and M Arisa) projects. Thus, I was able to confidently amend the drawings based off of the M Centura drawings which was already in its on-site construction phase.

/M Arisa Roof Plan (with colour-coded spaces) showing Podium and its Facilities

Drawing amendments were made through AutoCAD with reference from 3D models using SketchUp with the help from working colleagues.

CAD skills greatly improved.

Residential Units Layout Proposals

/M Arisa Long and Short Sections

/M Arisa Level 50 Plan showing Sky Garden and Residential Units

/M Arisa Residential Units Address Matrix

Being a high-rise residential building project, I was tasked in proposing to the project architect several plan studies of the residential unit layouts. The whole building consists of 8 different unit types (6 main layouts and 3 variation layouts), for a total of 1552 residential units as shown on the address matrix.

I worked with AutoCAD for the layout proposals and finalisations, and updated the residential units address matrix using Excel. Improved design thinking for housing units /4 Out of 8 M Arisa Residential Unit Types Floor Plans

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Placement | Architectural Practice: Internship

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Y3 S2: API Fire Escape Drawings Being my first exposure to drawing technical logistic drawings for Fire Escape in Malaysia, it was quite daunting at first. However, after several readings and help from my working colleagues, I was able to successfully complete the Fire Escape drawings for all levels in time with little to no errors. I believe that this first exposure would help me a lot on the Logistics course in my final year.

Using AutoCAD for the drawings, I priorly read a few pages from the Uniform Building ByLaws (UBBL) book for a better understanding of fire safety and building regulations in Malaysia.

Thus, basic knowledge about Malaysia’s building regulations is acquired.

/M Arisa Level 12 Fire Escape Floor Plan

/The UBBL Book as reference for Fire Safety and Building Regulations in Malaysia

Facilities Design and Detail

Others

While being residential building, M Arisa also houses communal facilities such as a pool, kindergarten and gymnasium. I was assigned to help amend the design and detail drawings of some of these facilities, mainly the gymnasium, multipurpose hall, lift lobbies, and the guardhouse.

Meetings, Networking & Site Visits Shadowing the project architects, I attended several supplier and technical meetings, where exposure to the collaboration within the construction industry is acquired through liaison among architects, clients, developers, contractors, suppliers and engineers alike. I also took the chance in networking by having small chats with them regarding the construction industry during my M Centura site visit.

Thus, I personally consider them as mini-projects to improve my architectural design skills. Discussing with other colleagues, we were able to update the base designs, as I completed the drawings.

/I also shadowed an architect for another project in visiting the State Fire Department in Selangor for Fire Escape Drawings approval

/M Centura construction site visit in Sentul, Kuala Lumpur

S11 House Visit with Ar Dr Tan Loke Mun Being an intern in Archicentre, all its employees would have a chance to visit the S11 House, the home of Ar Dr Tan Loke Mun, the founding director of Archicentre.

In the suburb of Petaling Jaya, Malaysia, a sustainable home is pushing the limits of preservation and efficiency through the use of reclaimed materials and reducing the carbon footprint through passive and active energy systems. Known as the S11 House, Malaysian architecture firm Archicentre teamed up with contractor Atlantic Builders to complete this sprawling home as a Malaysia’s first Platinum Level GBI (Green Building Index) residence.

/GF Lift Lobby plan and corresponding section

/Gymansium plan and elevations

/Multi-purpose hall plan, sections and elevations

Rainwater collected on the canopy roof drains directly into the series of rainwater harvesting tanks. These are aligned in series for sedimentation control and the water from the last tank is used for all the toilet flushing, gardening and car washing requirements. The waterpipes resemble columns.

/Visiting the renowned S11 House with Ar Dr Tan Loke Mun

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EXTRA-CURRICULAR ACTIVITIES: GRAPHIC DESIGN

Y3 S2: EC2

Reflective Statement For 2 years plus, I held the position of Media Director for a Malaysians studentled society here in Edinburgh, and have been involved in several student-led events, including the aforementioned volunteering events. As the Media Director, I was responsible in creating event posters, flyers, logos, photography, public engagement, and social media management.

Juggling this position together with my studies was not a big problem, as this position allowed me to sharpen my communicative and representation skills, a win-win situation in regards to architctural design representation (GA 2).

Thus, I see this as an opportunity to enhance my graphic representation for my architectural design courses - being more engaging and demonstrating clearer comunicative drawings and diagrams of my design proposals (GC 3).

/Selected posters, banners, logos and infographics showing my graphic design variety throughout my involvement as Media Director

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SEMESTER 1 AD ARCHITECTURE DISSERTATION TE3 ELECTIVE: TECHNOLOGY & ENVIRONMENT 3

YEAR 4

2019-20 SEMESTER 2 AD4a ARCHITECTURAL DESIGN: TECTONICS AD4b ARCHITECTURAL DESIGN: LOGISTICS AP1 ACADEMIC PORTFOLIO: PART 1

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ARCHITECTURE DISSERTATION

Y4 S1: AD ARJA10002

Course Organiser: Liam Ross

Course Description

Reflective Statement

This course provides the student with an opportunity to investigate an architectural topic negotiated with a member of academic staff. The student will undertake sustained and in-depth research and present a coherently argued, fully referenced and appropriately illustrated piece of academic writing. Preparation and research for the course is undertaken fist; this provides the student with an opportunity to plan and organise the study materials and research methods required in the eventual writing of the Dissertation.

As seen from my reflective statements from previous courses such as In Place, Any Place and Architectural History, it may be evident that I am very much interested in the concept of ‘identity’ and ‘place’. During my placement in Archicentre, I was introduced to the concept of ‘sense of place’ from a chat with a working colleague, regarding a project that aims to embody the identity of the place itself. Thus, I opted to further research the ‘sense of place’ concept, as I have done similar approaches to my In Place design project where I utilised the surroundings (Castle Rock, pedestrian circulation) and Any Place design project where the existing activities and built environment is enhanced (marketplace and communal playground).

As I already have a main theoretical framework to research on my dissertation, I was interested in Islamic architecture - the mosque, in particular. This is because coming from Malaysia, an Islamic country, coming to the UK I saw various mosques in various forms. Some may have the traditional domes and minarets while some in the form of houses or even churches - like the Da Al-Arqam mosque in Edinburgh opposite of the Edinburgh College of Art building. Thus, I found out about a unique mosque in Plainfield, Indiana, USA where the architect, Gulzar Haider has a unique approach in balancing the identity of a mosque, and the identity of the place itself (GC 3, 5, 6). Hence, my dissertation revolves around Islamic architecture in the West, by studying the works of Gulzar Haider in reference to the theories of ‘sense of place identity’ (GC 2).

All in all, I enjoyed writing the dissertation. My tutor, John Lowrey, have given tremendous support and encouraged me to go beyond my comfort zone in this study. Whilst not within his area of expertise, his critical thinking and background of architectural history have been invaluable to me in approaching my dissertation from several different perspectives. In conclusion, the course has been the pinnacle of my researching and critical analysis skills, where I successfully sustained an in-depth research whilst presenting a coherently argued, fully referenced and appropriately illustrated piece of academic writing.

LO1 Detailed knowledge of the chosen subject demonstrating sufficient understanding of relevant cultural, historical and philosophical themes; LO2 Ability to construct and synthesise an intellectual argument expressed against stated objectives and presenting original conclusions; LO3 Ability to produce a substantial piece of academic writing, coherent, attractive, illustrated, wellwritten, using correct referencing conventions and the acknowledgement of sources.

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Dissertation | Architecture Dissertation

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Islamic Architecture in the West // Manifesting a Sense of Place Identity - Studying the Works of Gulzar Haider Abstract The concepts of ‘place’ by Christian NorbergSchulz, David Canter and Edward Relph address architects in ‘place-creation’, emphasising the consideration of users and the environment in creating a ‘sense of place’. This calls attention to create a ‘place identity’ where the built environment consists of attributes identifiable within the locality.

For diaspora Muslims in the West, ‘place-creation’ is complicated. As prayer is important in a Muslim’s life, Muslims are identifiable via mosques with distinctive, traditional Islamic architecture; especially domes and minarets. However, Western mosques function differently than those from Islamic countries, where Western mosques tend to represent the minority’s ‘place identity’, questioning the need for traditional forms. Hence, the works of Gulzar Haider, an immigrant Muslim architect, are examined as they revolve around how Islamic architecture should be in non-Islamic environments through the modern Islamic Society of North America (ISNA) mosque and post-modern Bai’tul Islam mosque.

By identifying the principles behind both mosque designs, this dissertation proceeds to outline the concepts of ‘place’ present within Western Islamic architecture and the shortcomings between ideal and practice in creating a ‘place identity’ that considers both Muslims and non-Muslims in the West. In doing so, this dissertation illustrates how Muslims manifesting a sense of ‘place identity’ in the West through Islamic architecture is a constant attempt in claiming their ‘place’ within the wider Western community, and underpins the significance of the concepts of ‘place’ within architectural design in creating a sense of ‘place identity’ for all.

Islamic Architecture as a ‘Sense of Place’ for Muslims

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Insertion of Personal Genius into Another’s Loci

/5 Modernist exterior of ISNA Mosque, Plainfield, Indiana, USA

/1 Canter’s visual metaphor

/2 Reconstruction of the House of the Prophet, Medina, ca. 622, serving as the basis of Islamic architecture

/3 Minarets at the Fox Theatre, Atlanta

/4 Domes present in the Trump Taj Mahal at Atlantic City, New Jersey

Schulz’s emphasis on the Roman concept of the genius loci (the spirit of the place) in defining place as the relationship between man and genius (spirit) of a locale has led to his statement that to create a place, one must identify the hidden meanings behind the locale itself. Similarly, Canter’s emphasis on considering ‘place’ and ‘action’ for architects creating a ‘sense of place’ also revolves around uncovering the meanings of the locale by identifying its three constituents of place: activities, physical attributes, and conceptions. These relate with Islamic architecture and place for prayer, referring to the fundamentals of Islam through ‘the five pillars.’ Despite the ‘portability’ of Islamic prayers where they can be done at ‘any place’, the significance of prayer in a Muslim’s life has inevitably led to the creation of mosques for an Islamic ‘sense of place’.

As Relph’s definition of place focuses on ‘place identity’, he raised the concern of the insertion of “one’s own genius into somebody else’s loci” that would potentially disrupt the existing ‘place identity’. Approaches

In the first mosque, the House of the Prophet in Medina, although fundamentally built to house spaces for prayer and Prophet Muhammad’s domestic purposes, it eventually became the basis for mosque creation, seen in the Great Mosque in Damascus. In the Great Mosque, Canter’s place-creation is evident: the remains of the demolished Roman temple and Christian Church being the surrounding physical attributes, were adapted to suit the activities of Islamic rituals for Muslims, and the conceptions of a mosque that represent Muslim power and place for prayer for political and religious agenda, leading to the creation of minarets, domes and other standard mosque architecture recognisable today.

As discussed, Western Islamic architecture can be traced back to late 1700s, as a representation of the exotica, purely adopted on the Alhambra and Mosque in the Kew Gardens by Sir William Chambers. Even after Muslim immigration, in the 1960s Gulzar Haider encountered buildings that still used Islamic architecture for exotica and entertainment as seen in the Fox Theatre and Trump Taj Mahal. The Shriners’ Syria Mosque, however, sympathetically utilised Islamic architecture and place identity in creating their own corporate identity that represents their charitable intentions, notably the use of the Alhambra’s inscription that means “There is no victor/conqueror except God.” As these buildings are arguably insertions of personal geniuses into another’s loci by mis-using the place identity of Islamic architecture to serve their own, is not the implementation of Islamic architecture’s place identity in the West an act of intrusion of personal genius into another’s loci as well, disrupting the existing Western ‘place identity’?

Hence, the ‘uncovering of the hidden meanings behind the locale’ and emphasis on ‘place’ and ‘action’ are all seen here through the adaptation from a regional-based architecture in Damascus, in architecturally forming features that represent Muslim power and identity, as well as to house Islamic activities and rituals. Ultimately, an Islamic ‘place identity’ is formed as these mosque features represent the ‘sense of place’ for practising Muslims, especially to those experiencing diaspora in the West, in having a ‘place attachment’ to these mosques.

to architectural assimilation is evident throughout the history of Islamic architecture as highlighted in the Ketchaoua Mosque that has gone through a complex ‘mosque-cathedral-mosque’ process during French colonialism in 1845. Most original features of the Ketchaoua Mosque remained when it became the St Philippe Cathedral by the French colonialists, and its reclamation by the Algerians during independence also preserved the cathedral’s features, adapted for Islamic use. Hence, the issue of identity heavily links with Islamic architecture and its assimilative approaches, especially when considering its use in the West.

Having underexposed and overexposed approaches for immigrantbuilt mosques in the West, their functions differ from that of normal mosques in Muslim countries. As they tend to focus more in signifying Muslim presence within the Western community, there is an extent on how much Islamic architecture should be assimilated within a nonIslamic environment to not disrupt the existing ‘place identity’, therefore exploring the notion that the insertion of a personal genius into another’s loci is not always detrimental as how Relph phrased.

/6 Axonometric of ISNA Mosque, revealing the ‘concealed dome’ through “anonimity through dissimulation”

Gulzar Haider’s ISNA mosque design is an example of an approach to balance out the two geniuses, one existing and another anew, in one locus, one place. To explain this, it is worth repeating Haider’s approach to the four communities (immigrant Muslims, indigenous Muslims, new Muslims, and non-Muslims) on how Islamic architecture in non-Islamic environments should respond to. Hence, considering the Muslim minority within the non-Muslim majority, Haider’s decision to veil the ISNA mosque by distinguishing the exterior and interior through the divine concepts of Al-Batin (The Hidden) and Al-Zahir (The Manifest) appears to be an attempt to balance out the different ‘sense of places’ of the different groups in Plainfield. Through “anonymity through dissimulation,” ISNA Mosque’s exterior sympathises Plainfield’s place identity by using similar architectural forms and materials, while its interior utilises a mosque’s place identity with functionally simplified forms of traditional mosque architecture.

Despite comments from Wael Al-Masri that criticises the resulting ISNA mosque architecture that appears to close-off from the outside world that may worsen the diaspora situation, Haider’s version of architectural assimilation in integrating Islamic architecture into a non-Islamic environment is a benevolent way of inserting one’s genius into another’s loci, which referring to Haider’s ideal approach, would not disrupt the existing place identity, but rather enrich it by welcoming a new addition within the unified community. This, however, reminds of the dangers of Haider’s approach to achieve such ideals. Hence, the insertion of a personal genius into another’s loci is not always damaging but needs serious caution and care.

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Dissertation | Architecture Dissertation

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Y4 S1: AD Manifestation of a Sense of Place Identity - An Ideal

/7 Bai’tul Islam mosque, Toronto, Canada

Al-Masri, Wael M. “Architecture and the Question of Identity: Issues of Self-representation in Islamic Community Centers.”

Master of Science thesis, Massachusetts Institute of Technology, 1993.

Biondo III, Vincent F. “The Architecture of Mosques in the US and Britain.” Journal of Muslim Minority Affairs 26, no. 3 (December 2006): 399-420.

Canter, David. The Psychology of Place. London: Architectural Press, 1977.

Haider, Gulzar. “Muslim Space and the Practice of Architecture: A Personal Odyssey.” In Making Muslim Space in North America and Europe, Comparative Studies on Muslim Societies; 22, edited by Barbara Daly Metcalf, 31-45. Berkeley, Calif.; London: University of California Press, 1996.

Haider, Gulzar. “‘Brother in Islam, Please Draw us a Mosque.’

Muslims in the West: A Personal Account.” In Expressions of Islam in Buildings: Proceedings of an International Seminar Sponsored by the Aga Khan Award for Architecture and the Indonesian Institute of Architects, Held in Jakarta and Yogyakarta, Indonesia, 15-19 October 1990. Exploring Architecture in Islamic Cultures, 155-186. Geneva: Published by the Aga Khan Trust for Culture on Behalf of the Aga Khan Award for Architecture, 1990.

Norberg-Schulz, Christian. Genius Loci: Towards a Phenomenology of Architecture. London: Academy Editions, 1980.

Relph, Edward. Place and Placelessness. London: Pion Ltd, 1976.

Sime, Jonathan D. “Creating Places or Designing Spaces?”

Journal of Environmental Psychology 6, no. 1 (1986): 49-63.

Proposing strategies to work towards the ideals of manifesting a sense of place identity for Muslims in the West through Islamic architecture, the utilisation of the concepts of ‘place’ may be able to balance out the two place identities. Referring to Sime’s suggestion regarding the dangers of historical ignorance in designing that may affect local inhabitants’ sense of place and to avoid the dangers of inserting personal genius into another’s loci as said by Relph, designing a Western mosque should always consider its users and surroundings. This includes identifying the three constituents of place in Canter’s visual metaphor: the activities, physical attributes and conceptions associated with a mosque and the Western setting. Also considering Karlyn Sutherland’s thesis advocation in creating a restorative environment, the resulting Western mosque design could perhaps create a place attachment towards the mosque for both communities, simultaneously accepting the mosque and Muslim community as part of the place.

/8 Architectural contrast between Bai’tul Islam and the Peace Village houses

Through Gulzar Haider’s works, his approach in representing the place identity of Islamic architecture in the West went through a transformation of principles. Haider’s ‘anonymity through dissimulation’ approach in Plainfield’s ISNA mosque leaned towards internalisation. Almost a decade later, he opted with a more externalised approach of ‘assertion through architecture’ in Bai’tul Islam, Toronto.

Key References

Propositions and Expectations

There are factors that potentially affect this change such as Bai’tul Islam’s clients being a minority within a minority where these Ahmadi Muslims are declared heretical within Islam itself, whilst being immigrants. With the Ahmadiyya Movement, the driving politics of identity is apparent for this community, where Bai’tul Islam would be their headquartersmosque in Canada to represent their place identity. Also, the existing physical context of Bai’tul Islam’s site may affect Haider’s approach.

The site was in a remote agricultural field and therefore the consideration of surrounding architecture as done in Plainfield, is negligible.

Another factor is the emergence of the post-modernism era that affects architects globally. This change of era gives Haider a new perspective in rediscovering architectural ‘meaning’ and ‘philosophical inquiry’ through studying tradition. This shows how global politics in architectural discourse are a huge influence in architecture, where Haider’s fascination of modernism seen in his functionally simplified forms in the ISNA mosque changed to the post-modernist approach with Bai’tul Islam’s distinctive traditional Islamic architecture. However, the most notable point is the growing ‘dome and minaret envy’ within immigrant Muslims that neglects Haider’s ‘anonymity through dissimulation’ in favour of ‘assertion through architecture’. To Haider, this proves how immigrant Muslims have matured and how their previous methods in assimilating within the Western community were successful only to an extent, leading to new efforts in asserting their identity in a more externalised manner, such as the Muslim World Day Parade in NYC.

/9 The 1991 Muslim World Day Parade in NYC - New efforts in asserting Muslim place identity in NYC through externalisation

Hence, it is evident that socio-political forces of identity politics, changing eras within global architectural discourse, and community maturation greatly influenced Haider’s change from internalisation towards externalisation. As Haider revisited the Wimbledon ‘house’ mosque after 25 years, its ‘Islamisation’ reminded Haider of his own change. This led to Haider’s statement that the privilege of being Muslims in the West is the freedom to question Islamic tradition, as they are free from “inertial ties of national and ethnic prisons,” being “grounded but not yet rooted.”

Facing challenges in “recovering from recent history” and “discovering the future,” the results would be understanding the essence of Islamic tradition. These conclusive statements by Haider seem to lean towards his distancing from Islamic tradition as an immigrant in the West along with his changing design principles following the changing era from modernism to post-modernism, that all has provided him mediums to question and challenge such traditions that eventually led to a new understanding of the essence of Islamic tradition, where the need to assert Islam’s place identity in the West through architecture becomes more apparent.

Nevertheless, Haider’s constant efforts in manifesting the sense of place identity for Muslims in the West through Islamic architecture has outlined the ideals of such endeavour from practice. As seen in AlMasri’s criticisms towards Haider’s works, they prove the difficulties in achieving a balanced assimilation of different place identities in practice.

All in all, with the ideal in mind, Haider’s architectural approaches are steps towards the right direction that simultaneously enrich cross-cultural dialogues within the wider Western community in manifesting a sense of place identity for Muslims in the West.

Hence, Islamic architecture in Western mosques serves as an instrumental role in communicating Muslim identity within the overall community, especially considering the 9/11 tragedy in 2001. As Biondo’s paper revealed that American Muslims have been isolating themselves without any interfaith efforts to build bridges with Christian or Jewish leaders in 2004, the situation is drastically different from today. Although Islamophobia is still apparent today, efforts in maintaining the Islamic place identity in the West are persistent and globally recognised. Along with most Western mosques today boldly having minarets, domes and other standard mosque architecture, the initiatives by these mosques in combatting Islamophobia such as UK’s Visit My Mosque Day, further expresses Muslims as part of the Western community.

In conclusion, the role of Islamic architecture in manifesting a sense of place identity for Muslims in the West is one that needs careful consideration of the concepts of ‘place’ as well as the architect’s understanding of the essence of Islamic tradition and future, despite the shortcomings of the ideal in practice. After all, Gulzar Haider’s works have already been proven as successful in expressing Islamic place identity in the West, despite his different approaches and constant search for the ideal Western mosque design.

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ELECTIVE: TECHNOLOGY & ENVIRONMENT 3

Y4 S1: TE3 ARDE10002

Course Organiser: Remo Pedreschi

Course Description

Reflective Statement

The course follows on from the 1st and 2nd year courses in Technology and Environment. The course is concerned with contemporary building technology primarily the industrialisation of the construction industry, the building façade and large complex structural framing systems.

Upon completing my placement period, I noticed my lacking knowledge in contemporary building technology. Thus, i chose this course for my Year 4 elective. Further understanding contemporary facade and structural systems eventually helped me for next semester’s Tectonics course, as well as the in-depth understanding of the benefits of industrialisation and modular housing. I also learnt that the construction industry is currently approaching Industry 4.0, where Modern Methods of Construction (MMC) are necessary in moving forward, and architects have to adapt with this change (GC 6). Thus, the essays and technical report explore these issues in further detail, providing me knowledge of the latest and current developments in contemporary building technology (GC 8, 9).

The manner in which buildings are constructed is continually changing, responding to cultural, social, and technological conditions. During the next forty years (the probable length of your career) the means available to construct buildings will have changed radically. Traditional construction methods and techniques are being replaced by increased industrialisation and prefabrication. New disciplines and roles are evolving for the design teams. Each new project raises new issues for the design team and their builders. Change is an inherent characteristic of the construction industry. Designers need to approach the use of technology with this in mind, in an informed rather than an empirical manner. The course will provide a framework for the critical review of contemporary building construction.

LO1 Students will understand the key differences informing the design of steel and concrete structures.

LO2 Students will be able to analyse and review contemporary construction methods and technology.

LO3 Students will be able to make informed decisions integrating issues of building technology into their design work.

LO4 Students will have gained an understanding of structural framing using reinforced concrete and steel, the building envelope and the use of manufacturing and prefabrication in construction.

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Short Essays | Technology & Environment 3

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Industrialisation // From On-Site to Off-Site

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The shift from traditional on-site construction towards increasing off-site pre-fabrication and manufacture is a major source of technological change for the building sector. The implications of these changes for the building designer is discussed in this essay.

From On-Site to Off-Site 2016’s The Farmer Review of the UK Construction Labour Model raised concerns facing the construction industry, revealing symptoms of poor industrial performance such as low productivity, workforce size issues, and lack of improvement culture, R&D and innovation investments. These led to the advocation of off-site pre-fabrication and manufacture as a Modern Method of Construction (MMC).

Thus, this essay focuses on the implications of such change, specifically towards the building designer by discussing their approach towards building performance, new design strategies and BIM utilisation.

Overall, the technological shift from on-site to off-site solutions is impactful towards building designers, where all professions within the construction industry should embrace to avoid the symptoms of poor industrial performance as stated by the 2016 Farmer Review.

Key References Building Engineering Services Association. TR 39 An Offsite Guide for the Building and Engineering Services Sector. London: Building Engineering Services Association, 2015.

Chevin, Denise. “Marrying BIM and Offsite to Improve Housing Quality.” CIOB. Last modified November 8, 2017. http://www. constructionmanagermagazine.com/onsite/marrying-bim-andoffsite-technology-improve-housin/.

Farmer, M. Modernise or Die: The Farmer Review of the UK Construction Labour Market. Last modified October 17, 2016. http://www.cast-consultancy.com/wp-content/uploads/2016/10/ Farmer-Review-1.pdf.

Rogers Stirk Harbour + Partners. “Y:Cube - Projects.” Date accessed October 3, 2019. https://www.rsh-p.com/projects/ycube/.

/3 BIM model of the Orchard Village for Clarion Housing project masterplan - DMA

/1 On-site assembly of the Y:Cube project using off-site volumetric solutions - RHSP

/2 Birmingham New Street Station

Off-Site Benefits towards Building Performance

The Viability of Off-Site Solutions

An initiative for BIM Utilisation

In embracing the new shift towards off-site solutions, building designers are pressured to address building performance during designing, as off-site construction’s benefits are increased productivity levels, much less risks of accidents, higher quality and improved sustainability.

Figure /1 shows the on-site assembly of the Y:Cube project in London, an innovative affordable housing project by Rogers Stirk Harbour + Partners (RHSP).

Next, building designers must develop new design strategies in guaranteeing the viability of off-site solutions for projects with late decisions to adopt such solutions.

This becomes a challenge for building designers as decisions to adopt off-site construction tend to be absent during early project phases. As design briefs are usually ‘traditional’, building designers should consider off-site design strategies because traditional design tends to be a complication for late adoption of off-site solutions, while off-site design strategies have no issues in undergoing traditional construction. In fact, the early fixity in off-site design and specifications benefits the traditional approach.

Lastly, the shift towards off-site solutions leads to building designers utilising Building Information Modelling (BIM). BIM’s function has evolved from being a 3D visualiser to a 360-degree analytical tool, supporting industrialisation by providing essential granularity for onand off-site technologies for efficient use of standardised modules.

As building designers, RSHP utilised off-site construction technology in the Y:Cube’s building performance.

Through a volumetric timber system approach, units were prefabricated and manufactured in factories using renewable timber along with pre-glazing and cladding processes. Upon completion, each unit was transported on site for assembly without any use of scaffolding, creating a noiseless and efficient process. The on-site construction took five months with a 60-year design life. Being modular, the units are completely deployable for future relocations.

A perfect complication example is the Birmingham Gateway redevelopment project (Figure /2). The original design used traditional approaches before the realisation of the infeasibility of on-site construction due to ongoing operation of the station. Thus, additional time and funds were required for investments in off-site-based re-designs, leading to project inefficiency.

For example, David Miller Architects (DMA) utilised BIM in their Orchard Village for Clarion Housing project that uses volumetric off-site solutions with fitted out prefabricated units. DMA was challenged with how to efficiently configure the units to fit within the masterplan.

Through an accurate BIM model (Figure /3), design issues for curved modular apartments and complicated structural requirements of load-bearing walls for modular placement were quickly resolved. Hence, BIM plays a large role for building designers in adopting off-site solutions into their design.

Thus, the benefits of off-site construction are clear where increased productivity of both off- and on-site leads to higher efficiency levels, achieving economies of scale by simultaneously saving time and reducing cost. Safety and health of the workforce are more controlled as manufacturing occurs in cleaner and protected facilities.

As testing and assembly of modules happen off-site, product quality is more assured with minimal on-site defects. Furthermore, as wastage and carbon footprint levels are substantially reduced, off-site construction becomes a sustainable alternative. Overall, these allow great reduction of project costs, hence the wide use of off-site construction by building designers on affordable housing to suit economical needs.

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Short Essays | Technology & Environment 3

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Facades // Innovative Metal Cladding

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By selecting a material the short essay describes the key characteristics of its performance and use in the design and construction of facades. Evolving trends in recent applications are also discussed.

/2 Billowing of titanium cladding under wind loads on the Guggenheim Museum Bilbao

Innovative Metal Cladding Metal, a material that is solid, malleable and ductile, is widely used within the construction industry. Facade systems are sensitive to aspects of enclosure design such as structural behaviour and durability. For decades, metal cladding is commonly used in facades for industrial buildings due to being lightweight and low-cost. Hence, this essay discusses how metal cladding utilises their key characteristics in performance and use on evolving trends in recent applications through case studies.

In conclusion, metal cladding is increasingly being used as facades for its architectural expression, sustainability, low maintenance, and flexibility to adapt to new technology, complex geometry and innovative façade systems. These are all by virtue of the key characteristics of metal in enclosure design through its structural behaviour and durability, making metal a favourable material for facades today.

Key References Clark, Ed, and Gilpin, David. “Selfridges, Birmingham.”

The Arup Journal 1 (2005): 3-10.

Griffiths, Alyn. “FaulknerBrowns Architects Adds Weathering Steel Facade to New Hebburn Central Community Centre.” Dezeen. Last modified October 9, 2015. https://www.dezeen.com/2015/10/09/ faulknerbrowns-architects-hebburn-central-communitycentre-library-newcastle-rusted-steel/.

Mendelsohn, Ashley. “The Unexpected Low-Tech Solutions That Made the Guggenheim Bilbao Possible.”

ArchDaily. Last modified October 18, 2017. https:// www.archdaily.com/881663/the-unexpected-low-techsolutions-that-made-the-guggenheim-bilbao-possible.

Webanck, Aude. “Chapter 5 | The Design-Assist Process: Unique Solutions through the Hybridization of Cultures and Knowledge.” Enclos. Date accessed October 24, 2019. http://www.enclos.com/assets/docs/Insight03Chapter05-TheDesign-AssistProcess.pdf.

/1 Corten-clad facade of the Hebburn Central and its on-site assembly of the prefabricated Corten sheets

/3 The Selfridges Building, Birmingham and detail section of its metal disc facade construction.

/4 Metal cladding used in the multi-layered façade of the National Museum of African American History & Culture

Architectural Expression

Technological and Free-Form Adaptivity

Innovative Facade Systems

Recent applications of metal cladding are mainly due to its architectural appearance. In 2015, the Hebburn Central community centre utilised natural weathering characteristics of steel for its façade (Figure /1). The appearance recalls the rusty hulls of ships of Hebburn’s history of shipbuilding in the 20th century. Hence, the architectural use of the weathered metal cladding reflects the area’s industrial identity. The oxidised steel used was Corten, due to its naturally evolving life-appearance, and zero maintenance. Also, from a sustainability perspective, on-site waste and cutting was minimal as the steel sheets were prefabricated off-site, utilising the modern method of construction. However, this is not unusual as metal cladding have always been prefabricated offsite for decades in low-cost industrial buildings. Taking only 20 months with a tight budget, the overall project was cost- and time-efficient, benefitting from low-cost metal cladding and off-site strategies for the façade. This case study shows the nature of metal provides unique architectural expressions and project cost efficiency whilst being sustainable.

Next, through technological advancements of computer software, rather than the traditional use for simple, lowcost industrial buildings, the use of metal cladding has evolved in the complex, non-orthogonal steelwork of Guggenheim Museum Bilbao in 1997. Through computer software, three complex layers of steelwork structure were constructed to create the free-form curves of the museum, eventually enveloped with titanium cladding. As titanium was primarily chosen compared to other materials due to its strength and resilience whilst being lightweight, it also does not oxidise. Through experiments in perfecting the combination of chemicals and heat during the steel rolling process, the billowing of paper-thin (.38 mm) titanium sheets is able to reflect Bilbao’s fluctuating sky (Figure /2). Hence, metal cladding is favourable due to metal’s characteristics that allows flexibility in adapting to complex free-form geometry that requires specific qualities for its cladding.

Furthermore, another recent metal cladding application in façade systems is the multi-layered façade through design-assist methods on the National Museum of African American History & Culture. In reaching new standards of performance in innovative architecture and construction today, design-assist helps with the collaboration between architects and engineers. The museum’s façade was required to express traditional African American craft with 21st century materials. As metal is malleable, cast aluminium were used in the form of Corona panels for cladding, being cast into patterns and shapes from traditional African American iron crafts. Through designassist between architects and engineers, a hybridisation of metal cladding and glass curtain-walling is created. These 21st century materials are able to manifest the intended traditional expression through the multi-layered façade of permeable cladding consisting of bronze-coloured cast aluminium panels (corona panels), steelwork, and glass curtainwalls as the façade system (Figure /5).

The permeable façade results in solar control, allowing daylight penetration whilst creating beautiful shading in the museum (Figure /6). This shows how metal is able to adapt and fit in with different materials in innovative facade systems.

In 2003, the Selfridges building has also utilised CAD/ CAM software due to its free-form structure and distinct disc-shaped metal cladding (Figure /3). The use of 15000 anodised aluminium discs in its unique metal façade results in detailed fixings and construction where the sprayed concrete panel is covered by liquid membrane vapour barrier, insulation and an outer, sprayed coloured membrane on a glass reinforced render before being cladded with the discs (Figure /3). The benefits of hard-anodising aluminium are that it protects against corrosion and does not chip, flake or peel; favourable characteristics for durable cladding. Also, it requires minimal maintenance as no special cleaning products are needed. Again, metal’s malleability to be shaped using latest software technology allows unique architectural expressions to be produced in facades.

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Short Essays | Technology & Environment 3

Concrete and Steel Structures // Beyond Orthogonal Frames Advancements in steel and concrete manufacturing, analysis and construction site control have allowed designers to go beyond the orthogonal frame in terms of forms, construction speed, variety of sizes and flexibility of space (like open floor, atria, spatial intersections etc). The essay question asks to outline and compare two areas of technical advancements that have overcome such limitations.

Beyond Orthogonal Frames Technological advancements in concrete and steel enable buildings to be constructed beyond orthogonal frames, overcoming limitations of form and space flexibility. Thus, through the case studies provided, concrete and steel provide the design possibilities and the associated structural strategies to withstand dead and lateral loads, each having their unique ways in overcoming the limitations commonly associated with orthogonal frames, especially form and space flexibility.

Bizley, Graham. “Hadid Makes History.” Concrete Quarterly, no. 230 (Winter 2009): 6-9.

Iyengar, H., L. Novak, R. Sinn, and J. Zils. “The Structural Design of the Guggenheim Museum, Bilbao, Spain.”

The Structural Engineer 78, no. 12 (The Institution of Structural Engineers, 2000): 20-27.

Kara, Hanif, and Paul Scott. “Design and Construction of the Phaeno Science Centre, Wolfsburg, Germany.”

The Structural Engineer 85, no. 14 (The Institution of Structural Engineers, 2007): 33-38.

McManus, David. “ARCAM – Architectuur Centrum Amsterdam.” e-Architect. Last modified May 22, 2016. https://www.e-architect.co.uk/amsterdam/amsterdamarchitecture-center.

Zeballos, Carlos. “Richard Meier: Jubilee Church.”

Architectural Moleskin. Last modified October 5, 2010. http://architecturalmoleskine.blogspot.com/2010/10/ richard-meier-jubilee-church.html.

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Steel - Guggenheim Museum, Bilbao

In the Phaeno Science Centre in Wolfsburg, Zaha Hadid Architects (ZHA) utilised reinforced concrete (RC) in breaking free from traditional beams and columns through a ‘single entity’ structural form, achieving a fluid envelope without construction joints (Figure /1).

On the other hand, steel structures also overcome orthogonal frame limitations as seen in the free-form structure of Frank Gehry’s Guggenheim Museum, Bilbao.

As free-from structures were generally framed in RC, the project’s scale needed a lighter material: steel. Steel’s lightweight allows the structure to span efficiently between discrete support points/spatial joints, creating columnfree spaces while still having significant stiffness against lateral loads from the curvature of various geometry.

The standardisation of spatial joints in its multi-layered steel structure creates an organised structural system that is reasonably constructed through shopprefabricated horizontal ‘bands’ of stable truss-work and shop-bolted connections that sped up erection processes (Figure /5).

As the primary structural layer forms its skeleton, the secondary (horizontal curvature) and tertiary (vertical curvature) layers complete the free-form expression in holding the façade sheets. Thus, the structural system revolves around a relatively dense, ‘diagonalised’ multilayer lattice grid-work of steel members that is structurally stable and strong in withstanding dead and lateral loads (Figure /6).

To realise the concept of a floor melting down into 10 cones of undefined geometry, self-compacting concrete (SCC) was chosen to form the cone walls and concourse slabs. As each cone is irregularly unique with large openings, they have up to 50° wall inclinations that need 8m pouring heights, causing difficulties in ensuring adequate concrete compacting through traditional methods of guiding vibrators with tubes. The self-compacting admixture of SCC tackles this problem, alongside increased durability and strength in resisting dead and lateral loads.

Dense reinforcements were necessary to control inevitable cracking in such large expanses of concrete, especially with no construction joints, resulting in closely fixed small bars with horizontal bars at 100mm spacings (Figure /2).

Thus, detail drawings of the complex steel reinforcement fixings were essential. A drawback of using SCC is the need of continuous supply for pouring to avoid cold joint formations due to quicker setting times. Also, steel props were needed throughout the pouring process to support the ‘single entity’ RC structure as every ‘component’ depends with one another.

/1 Absence of construction joints in Phaeno Science Centre

The Jubilee Church in Rome by Richard Meier sees concrete being utilised as a hybrid structure in the form of ‘free-standing sails’ that overcome the limitations of orthogonal frames in creating a wider space within a volume using 90ft-high curving structures, an approach to greater space flexibility (Figure /3). As a hybrid, these ‘sails’ are interestingly shells that does not form roofing, but rather the building structure itself. To maintain the whiteness despite Rome’s weather conditions, TX Millenium cement was developed for the concrete.

Prefabricated concrete blocks were industrialised to control quality and reflected Rome’s traditional prefabricated stone-block construction. Due to the dual-curved structures, a machine was designed with a platform and rigs to place the blocks (Figure /4). Joints were also specially worked out with the blocks held by post-tensioned reinforcing from horizontal and vertical cables, and vertical rebars, successfully resisting lateral loads such as wind and earth movements whilst achieving the intended ‘sail’ forms.

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Concrete - Phaeno Science Centre, Wolfsburg

/5 Shop-prefabricated horizontal ‘bands’ of stable truss-work for Guggenheim Museum, Bilbao

/6 Multi-layered irregular lattice steel structure

Steel - ARCAM Exhibiton Centre, Amsterdam /2 Dense reinforcement during construction

Concrete - Jubilee Church, Rome Key References

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/3 Jubilee Church’s ‘sail’ structures

Another advancement in steel structures is René van Zuuk’s ARCAM Exhibition Centre, overcoming design constraints of orthogonal frames on limited space and conservation. The project had to integrate a demolished pavilion’s concrete foundations and floor (Renzo Piano’s design). Design restrictions also apply, such as openedup waterfront views and being closed-off from the streets. Due to the sensitive location and brief, the design resulted in a compact, 3-storey building enveloped within a trapezoidal monolith volume. The non-orthogonal framework of steel structure helps achieve the ‘folding’ envelope with curved steel frames forming wall curvatures (Figure /7). The existing concrete foundations and floor is integrated harmoniously with the steel structure, utilising conservation strategies.

With these irregular framework and integration strategies, the compact steel structure of the building ensures the resistance to dead and lateral loads. Thus, steel structures are able to tackle the limitations of space and design restrictions through utilising efficient spatial flexibility through irregular structural forms.

/4 The special machine, ’La Macchina,’ used for construction

/7 ARCAM Exhibition Centre and its section detail of curved wall, showing the curved steel frame

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Short Essays | Technology & Environment 3

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Case Study // V&A Dundee Museum of Design

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The final essay requires a case study report on a building completed within the last 10 years that shows innovation in at least two of the areas dealt with in the lectures this semester. I was to cover the intentions of the designers, the structural strategy and performance, manufacturing of the fabric and why these advanced methods were used, and construction issues on site.

/3 Formwork covering the building’s construction /1 V&A Dundee Museum of Design, Scotland

V&A Dundee Museum of Design Opened in 2018, V&A Dundee is Scotland’s first design museum, whose design reflects Dundee’s history as a centre of commerce and shipbuilding. This essay explores V&A Dundee’s technological innovations as a building with a non-orthogonal hybrid structure, an advanced building-ground interface for foundations, and a hybrid façade system that utilises prefabrication.

In conclusion, V&A Dundee fully embraced technological innovations within the construction industry, successfully realising the architect’s design intent.

Key References BAM. “V&A Dundee - BAM Case Study.” BAM. Date accessed December 2, 2019. https://www.bam.co.uk/howwe-do-it/case-study/v-a-museum-of-design-dundee.

Butler, Wayne, Dan Clipsom, Graeme Moncur, and Martin Surridge. “V&A Docks in Dundee.” The Arup Journal, no. 2 (Arup, 2019): 40-47.

Concrete Quarterly. “Behind the Scenes at the Exhibition.”

Concrete Quarterly, no. 265 (Autumn 2018): 4-9.

Severfield. “V&A Dundee.” Severfield. Date accessed December 2, 2019. https://www.severfield.com/Projects/ victoria-and-albert-museum-va/.

/2 3D digital model with analysis showing stresses on the perimeter walls

/4 Hybrid facade construction (Curtain walling and prefabricated concrete planks)

New Digital Technology

Advanced Building-Ground Interface

Non-orthogonal Hybrid Structure

Prefabricated Hybrid Facade System

Situated at the waterfront of River Tay, the design intent of the architect, Kengo Kuma, was to express Scotland’s rugged coastline cliffs, leading to a building that produces different impressions from different perspectives; a cowry shell, sails, and stratified rock formations. As an irregular form, the building consists of two inverted pyramids separated on ground level that are twisted to join together at the upper levels. Digital software such as Building Information Modelling (BIM), and Virtual Reality (VR) were used to achieve such complex design through a 3D digital model.

Various structural strategies were considered; either pre-cast blocks or steel frames. However, precast blocks would provide difficulties in creating complex shapes due to the project scale, while steel frames require columns and beams that would break up interior space and might cause corrosion problems from the wet environment. Hence, a hybrid structural system of concrete and steel was decided.

In-situ concrete was chosen for its flexibility in technical ability and freedom to create intended shapes, while long-span steel beams and trusses were used as floors and roofs to achieve large clearspan areas, creating column-free galleries (Figure /2). A specialised in-situ concrete mix including 27% fly ash, silica fume, micro silica and limestone was developed. Strengthening the mix, micro silica increases durability from salts in the air from wet surroundings by helping infill pores and densify concrete. Also, plasticisers increase flowability in preventing trapped air during concrete pouring within the mould with complex angles and dense reinforcements.

Being over River Tay for on-site construction, a cofferdam was made as an advanced buildingground interface, allowing the enclosed area to pump out water and excavated dry. Temporary piles were inserted into the riverbed, allowing construction of foundations. Also, formwork was needed throughout the construction of the structure, floors and roof due to their reliability towards one another (Figure /3).

Once the formwork and cofferdam were dismantled, the floors and roof finally bear the loads and forces from wall inclinations.

As a hybrid, the facade consists of prefabricated concrete planks and glass curtain walling for exterior cladding, while MDF veneer panels for interior cladding (Figures /4, /5). The façade needed almost 2500 prefabricated planks spanning up to 4m for a total of 9km length that varies in shape.

Utilising prefabrication, the modern method of construction (MMC) allowed mass-customisation of the complex, unique angles for each plank to be mass-produced, efficiently saving time and cost whilst maintaining quality control. Each plank was fixed to stainless-steel brackets on the concrete walls with cast-in stainless steel hooks (Figures /4, /5). A VS-1 glass curtain walling system is used in the form of a flush mullion profile, that presents uniformity across the building’s elevations whilst withstanding loads from the marine environment.

Forces and stresses were detected and analysed from the digital model, allowing rapid and optimum design adjustments on parameter thicknesses, wall curvatures, reinforcement amounts and overhang lengths for eventual structural strategies whilst still maintaining the architectural vision (Figure /2). Also, rising sea levels were considered, where the building and cladding were designed to resist maximum wave loads. With VR and 3D-printed models, visualisation is efficiently achieved for all teams to understand the overall design.

/5 Wall detail with internal MDF veneer panels and external uniquely prefabricated concrete planks

The entire structure operates as one, continuous mass as the external walls are tied to two central cores through slabs and roofs. To resist loads vertically in supporting gravity and horizontally in tying walls together, the floor is a 2.5m deepsteel truss structure with long-span steel cellular beams and trusses. Wall thickness adjustments were challenging to accommodate the complex stresses created from the twisting form, but with 3D analysis, a reduction from 600mm to 300mm concrete was achieved.

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Technical Report | Technology & Environment 3

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Prefabricated Construction // A Technical Review on Modular Housing

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The Technical Review/Report should take the form of a review of contemporary state of the art for the selected topic. It should provide an informed assessment of the current technology and make reference to current products, improvements, innovations and applications. Highly innovative products and methods should be examined within the current context and opportunities and limitations must be thoroughly discussed.

Prefabricated construction is a strategy that encompasses the manufacture of preplanned components or modules, efficiently producing high-quality buildings. Modular housing utilises prefabricated construction with building’s components built offsite and later assembled on-site. Due to its social and economic benefits, affordable housing is provided, tackling problems such as the housing crisis and urban density.

This report explores the advantages as well as drawbacks of adopting prefabricated modular housing methods in comparison to traditional methods, with the help of several UK based case studies. By covering topics in design, construction, social impact, sustainability, and urban density, the understanding of prefabricated modular housing will hopefully offer new insights to the technological advancements in construction.

Key References Farmer, M. Modernise or Die: The Farmer Review of the UK Construction Labour Market. Last modified October 17, 2016. http://www.cast-consultancy.com/wp-content/ uploads/2016/10/Farmer-Review-1.pdf Hairstans, R. Building Offsite. Architecture and Design Scotland. Date accessed Ocotber 10, 2019. http://www. forestryscotland.com/media/320961/building_offsite_an_ introduction.pdf.

Knaack, U., Chung-Klatte, S. & Hasselbach, R. Prefabricated Systems: Principles of Construction. Basel, Switzerland: Birkhäuser, 2012.

North London Housing. Factory-Made Housing – A Solution for London?. London: New London Architecture. Date accessed Novemebr 5, 2019. http:// newlondonarchitecture.org/docs/factory-made_housing_ nla_reseach.pdf.

/Several types of prefabricated modular construction systems

/PTE’s customisable housing catalogue providing a range of design options and possibilities according to customer preferences by utilising prefabrication

Design The early stages of prefabricated design are very important for the success of the design process.

Unlike traditional methods, late changes to prefabrication are limited and almost impossible to execute without impacting the overall project. This is beneficial to architectural practice, as the design phase is carried out in a short time and architects are no longer required to provide further alterations and amendments. This enables architects to proceed with the project efficiently, granting them flexibility in undertaking additional projects. Prefabricated construction allows multiple projects of varying complexities to be executed at the same time, in comparison to one or two when using traditional construction.

New technologies are being developed, providing innovations in prefabricated modular design.

Today’s digital technology is being utilised as technological advancements challenge the industry to produce high-quality products whilst encouraging new forms of collaboration and partnerships. These technologies include BIM (Building Information Modelling), VR (Virtual Reality) and AR (Augmented Reality). With these technology, standardisation is utilised within the design of prefabricated modular housing. The assembly of repetitive components is possible due to a systemised production line that allows for greater time and cost efficiencies, resulting in a standardised design model.

Construction Although, standardisation can lead to the production of repetitive monotonous design. Pollard Thomas Edwards (PTE) use standardisation and customisation in their modular housing development at Beechwood West,9 utilising the benefits in the efficiency of replicability. Customisation allows residents to customise these standardised designs according to their living preference.

With the help of digital technology, PTE provided 3D models of their Beechwood West housing designs which allowed residents to customise them in a simple configurator software. They can choose house types, room layouts, materials for finishes, and add spaces or room extensions, see Figure 3.

Creating customisable housing at affordable prices through standardisation of prefabricated modular design.

Carl Vann, Partner at PTE stated “…if the standardised [factory-made] product is refined and working well, then an integrated approach to BIM and a more sophisticated factory automation can start to deliver flexibility and thence bring forward site-specific solutions and customer choice,” This further highlights the advantages of digital technology in prefabrication design.

Thus, digital technology plays an important role in the innovation and development of prefabricated modular design. It provides the opportunity of standardisation and customisation, highlighting the advantages of prefabricated modular housing compared to traditional methods of construction.

The construction of prefabricated modular housing encompasses factory-made components that are delivered to site for assembly. There are many forms of modular construction systems.

In volumetric systems, 3D structural units are manufactured in factories. These units, called modules, are completed with fixtures and fittings as they are then joined on site, usually stacked by cranes without the need for additional structural support.

Hence, modular construction methods are different compared to traditional methods, especially in terms of time and cost. As modular methods are repetitive, lower costs can be achieved with more efficient use of labour.

A variation of the volumetric system is the frame and panel system, where structural elements are prefabricated and delivered to site in flat panels.

The use of panels has different systems, where in the open panel system, insulation, cladding and finishes are installed on site while the closed panel system has all installations done off-site before site delivery.

Also, errors in fabrication can be managed quicker and easier, as components are built away from site in cleaner and protected facilities. The safety and health of the workforce are more controlled compared to traditional on-site activities with higher risks in working at height, using heavy machinery and outdoor conditions. As tests are done off-site, quality is more assured as on-site defects are reduced. Also, environmental impacts like air and noise pollution are minimalised. In addition, compared to traditional methods, modular processes require relatively smaller construction spaces on site due to fewer materials and machinery, including fewer worker numbers.

Posts and beams are used to frame the volumetric units for assembly, where infill panels are inserted to create walls. The benefit of this system is a greater flexibility in customising room layouts, compared to solid-wall modules.10 Pods, like the modules in the volumetric system, are fully fitted with fixtures and finishes in the factory. The difference is that pods are relatively smaller, typically in the forms of complete bathrooms or kitchens.

Modular construction has its benefits but also drawbacks such as negative public perception due to a bad history and the intimidation of modern methods of construction (MMC) towards designers, builders and clients.2 Also concerned is accreditation, such as building regulations, planning permissions, insurance and mortgages, that takes time to catch up with such innovation in residential property.

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Technical Report | Technology & Environment 3

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Y4 S1: TE3 Performance of over 2000 traditional high-rise projects 18% 33% 13%

Summary Pros: 36% On or before completion date 1-3 months late 4-6 months late More than 6 months late

/Bristol Housing Development - ZEDPods /Apex House, London - HTA Design LLP

Social Impact & Sustainability In the new global economy, affordable housing has become a serious issue. Across the world, there is a shortage of housing, with the need for more houses, for low income. Traditional construction methods can be costly and time-consuming. To make positive changes we need to ensure the houses we build are affordable to the people who need them, meeting societal needs. Prefabricated housing provides a faster, more cost-effective approach to construction.

Offsite construction has been recognised for use in the UK Government 2025 Vison for Construction, supporting the obstacle of the housing shortage in the UK. In sustainability terms, the built environment is responsible for a large amount of the world’s consumption, producing half of the worlds CO2 emissions and consuming large amounts of water and energy. Prefabricated buildings have a lower carbon footprint than those of traditional construction. There are fewer deliveries onsite, and thus there is a decrease in emissions from vehicles, resulting in a lower carbon footprint.

Unlike traditional construction techniques, offsite manufacturing often allows for the disassembling of parts after construction. Parts such as prefabricated walls and floor panels can either be used in different buildings or can be properly recycled. Prefabrication allows for greater efficiency, reduced waste and increased quality. We can also see an increase in the energy efficiency of a building when using modular construction techniques, with an increase in the use of sustainable materials such as; solar panels, rainwater baffled tanks etc.

Urban Volume & Density ZEDpods are currently involved in a project in Bristol that proposes 11 homes, situated on the Chalk Road car park. Housing is in demand in Bristol and across the UK, with young adults struggling to save for a deposit due to high rental prices in cities.

Thus, this project aims to provide housing to low income and needy people. The housing will provide affordable rent, with access to transport and local facilities, with rent being set at social rent levels.

Each apartment meets government guidelines on the minimum acceptable area of living space, and each will include a private outdoor space.

The houses utilise cross-laminated timber construction, with prefabricated walls, floors, and roof. Tripled glazed windows and doors are used, saving energy and improving soundproofing.

The scheme includes low carbon surfaces on the interior, as well as LED lighting and energyefficient appliances. The energy costs of these pods are characteristically 80% lower than those seen in traditional builds. The structure sits on stilt, with the foundations consisting of a steel base, filled with crushed local stone or concrete ballast. Similar to a raft foundation, the patented system has low contact pressure, applying no more weight than a standard vehicle.

ZEDpods demonstrate an example that has a positive impact on both society and sustainability.

This project rethinks the use of existing land in an innovative, paving the way for future solutions to the housing crisis.

Prefabricated construction techniques can be used to help us combat the housing crisis. However, as the demand for housing grows, we must also consider the volume and density of our cities. With increasing developments in offsite construction, the possibility of high-rise prefabricated structures has become available.

Comparing statistics of low and high-rise buildings and their construction times, we can see that highrise are completed at a much slower rate than lowrise, with high-rise buildings causing increased delays on site. Prefabricated construction increases productivity, as the construction process is much less affected by weather conditions. There is also a decrease in the use and reliance of skilled trades and improved ergonomics within a factory setting.

In London, modular construction is effective in reducing construction time and the number of on-site deliveries. However, due to there being a limited number of factories specialising in modular components in the UK, modules are transported long distances to reach construction sites. An increase in the production of these modules, with increasing popularity in use, could result in logistical problems for dense cities.

Due to the demand for housing and the problem of increasing density within cities, prefabrication can allow increased construction speed. Delivering high-rise residential strategies through offsite modular construction allows homes provision at an increased rate. Modular offsite construction permits us to efficiently utilise our already dense cities.

The combination of high-rise housing and modular construction techniques means we can build quicker, reduce noise, waste and pollution onsite, with the use of repeated elements offering flexibility and adaptability. The need for minimal foundations and lightweight adaptable configurations means that prefabricated systems are suitable for innovative opportunities that traditional systems cannot deliver.

An example of high-rise modular construction is Apex House situated in Wembley, London. The modules comprise of prefabricated steel frames and concrete floors that arrive on-site - fully fitted with furniture, plumbing and electrical services. The modules are then assembled, placed in position by a crane and connected to each other on the already built reinforced concrete core structure.

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Ability to utilise digital technology

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Utilises standardisation and customisation

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Higher product quality

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Reduced on-site defects, waste and pollution

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More controlled safety and health of workforce

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Provision of more affordable solutions

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Increased sustainability

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Lower overall project cost

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Limitations on late design changes

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The use of modular construction resulted in a smaller workforce, thus there was no need for large areas for welfare facilities and site offices, desirable in a city construction site. Modular construction reduced the building timescale by up to a year compared to traditional methods, enabling an earlier handover and quicker returns on investment and additional income for the client. This demonstrates the logistical and financial gains of prefabricated construction.

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ARCHITECTURAL DESIGN: TECTONICS

Y4 S2: AD4a ARCH10003

Course Organiser: Iain Scott

Course Description

Reflective Statement

This is the last in the sequence of Architectural Design courses of the Undergraduate Degree programmes in Architecture at ESALA. The curriculum has been designed to gain an increasingly finer understanding of the complexities embedded in the making of any architectural design proposition. Starting in Architectural Design: Elements, and moving on to AD: Assembly, AD: Any Place, AD: In Place I have tested the effects of materiality on building assembly, as well as the interplay of scale and site. In AD: Explorations I was encouraged to expand design methodologies through experimentation, as well as to assess critically and communicate these through a variety of representational strategies and conventions. In AD: Tectonics I am asked to integrate all these methodological findings with new technical conditions, namely structures, environment and building construction, into a consistent design proposition. The intention is that of reflecting upon the role that tectonics can play in defining each of my design interventions.

This final design project for my Part 1 studies has been a fun and challenging experience. When my tutors asked to propose a productive activity in Granton, my first response was to find out Granton’s identity. This may be due to my recent dissertation submission that focuses on ‘sense of place identity’. It was a spontaneous response, but somehow allowed me to investigate what Granton’s history was, its current development, as well as its potential to be something more - leading to my productive activity proposal, a self-build manufacturing business. I have been fascinated with the concept of self-building after discovering Wikihouse projects, and recently found out about digital fabrication and its importance within the industrial world that is approaching Industry 4.0 through the Technology and Environment 3 course. Hence, this productive activity seems the right path to keep moving on. The gasholder caught my interest, as making use of this disused structure would enhance Granton’s identity.

Thus, my design approach seems to be a culmination of all my knowledge from previous courses: Applying the theoretical concept of ‘sense of place identity’ by utilising Granton’s landmark, the gasholder (GC 2). Also the implementation of a self-build manufacturing business that reflects Granton’s industrial identity. I also tackled the issue of industrialisation and modular construction by introducing self-building in the area, where I envision that this would raise awareness of selfbuilding and digital fabrication. In terms of living, self-building allows people to customise their way of living. Hence, through both of these approaches, I would address the Unit 1:Productive City brief, where working and living can co-exist together, creating a self-building community that is anchored to Granton’s iconic Gasholder (GC 1, 5, 6, 7). Also, my knowledge on structural, environmental and technical strategies gained from previous courses all helped fulfil my tectonic agenda for the project (GC 8, 9). Logistics is also applied through structural handling of the gasholder, as well as planning and legislations regarding the urban strategy (GC 4, 11).

LO1 Demonstrate an understanding of tectonic, structural, constructional, environmental and contextual matters.

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As a reflection, architects are tasked in designing these new kinds of spaces - in this case, spaces that can house both working and living, and through new innovations in architecture - in this case, digital fabrication. Therefore, architects should always anticipate and ponder the future of living and its possibilities, as well as how architecture would adapt. All in all, this project has allowed me to apply all of my knowledge and previous studies and therefore is the pinnacle design project of my Part 1 studies.

Ability to research, analyse, synthesize and integrate with design an appropriate technological approach.

LO3 Demonstrate skills in deploying specified two-and three-dimensional representational techniques correspondent with accepted architectural conventions.

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Design Project | Architectural Design: Tectonics

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A Self-Building Community // Living and Working in Granton, Edinburgh Unit 1: The Productive City By anchoring itself to Granton’s industrial place identity of its iconic Gasholder, A Self-Building Community establishes a new community hub that integrates Working and Living through the juxtaposition of a self-build manufacturing business, residential units and leisure facilities within one architectural complex. Ultimately, A Self-Building Community would transform Granton, a neglected part of Edinburgh, into a productive and lively area whilst enhancing circulation towards its Waterfront.

Through site visits, urban analysis diagrams as well as identifying Granton’s ‘sense of place identity’, I am interested in continuing the industrial identity of Granton, as well as enhancing circulation towards the Waterfront.

In topological terms, both of these approaches seem to direct my attention towards Granton’s Gasholder, where it is the main landmark for a long time. Hence, I am moving forward with the Gasholder’s area as my project location.

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Y4 S2: AD4a

Urban Analysis At the North of Edinburgh, Scotland, rests Granton, a waterfront district with a rich industrial history.

Currently, Granton is part of Edinburgh’s largescale Waterfront Regeneration Programme. For the project, Granton’s urban analysis goes through both /Living and /Working perspectives.

Ready-Mixed Concrete

Sense of Place Identity

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1 THE TOPOS: Granton, Edinburgh Site analysis wiith Razulnizam Bin Zulkefeli & Mirza Ismail

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/David Canter’s visual metaphor

Leisure

15%

Industrial

25%

Business

Public Admin & Defence

Cultural

Self-Employed

Historical

Pro, Science & Tech

Commercial

Construction

Education

Finance

Mixed-Use

Retail

Construction Equipment Supplier Actavo

Garden Building Supplier Forest Craft

Timber Treatment & Preservation

20%

Using Canter’s visual metaphor of place, Granton’s Sense of Place Identity can be described through:

/Activities & Facilities

Activities: The industrial history of Granton and the current industrial businesses reflect the activity of the place itself.

/1

Granton Gasholder

/2

Scottish Gas HQ

/3

Edinburgh College (Granton Campus)

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Disused Granton Gas Works Train Station

Physical Attributes: Having a waterfront, Granton possesses high potential for leisure purposes, but lacks the facilities and circulation towards it.

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National Museums Collection Centre

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Madelvic Car Factory

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Madelvic House

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Granton Harbour

Conceptions: The gasholder remains the main landmark of Granton for a century, and therefore becomes the public conception towards Granton.

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Granton Waterfront

Premier Services Scotland

Wirecloth Manufacture United Wire

/Residents Employment Industry (%)

Timber Recycling

Move On Wood Recycling

/Industrial & Manufacturing Businesses

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/Area of Interest: Granton’s Gasholder

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/Aerial perspective of Granton, Edinburgh 5 1

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Y4 S2: AD4a 2 WORKING: A Self-Build Manufacturing Business A self-build manufacturing business integrates furniture and housing manufacturing together with self-build modular systems, precedented from IKEA, U-Build and Wikihouse systems. In short, it is a small-scale manufacturing business specialising in self-build timber products in the forms of furniture and pods through digital fabrication services.

Services provided:

/ Rapid Cutting Service

The business recieves from and supplies cutting files for clients, providing quick modular components cutting services.

Why Self-Build?

Production Cycle

Vision and Impact: A Self-Building Granton

Prefabricated Modular Technology

The production cycle of the self-build manufacturing business utilises digital fabrication, where the customised products are saved digitally and shared within an open-source digital supply chain online. Despite the eventual life cycle of the product, it can be easily disassembled, with its data stored within the online warehouse, allowing its files to be reused, precedented and updated to design and manufacture future products; a cycle.

Aside from providing job opportunities for /Working, a self-build manufacturing business in Granton provides /Living and /Leisure opportunities as well. Granton residents would be able to customise their own way of /Living through self-building.

With self-build pods and pop-up booths, markets and events are easily established, creating /Working and /Leisure opportunities whilst enhancing circulation towards the Waterfront. Ultimately, Granton would be a new productive, communal and leisure space in Edinburgh.

Self-build has been known to be associated with user-friendly furniture in terms of self-assembly.

However, self-build today also refers to houses or sheds built by people without the necessary building skills through modular technology.

Flat-packed furniture made famous by IKEA are modular and prefabricated.

Similarly, the construction of prefabricated modular housing encompasses factory-made components that are delivered to site for assembly.

Being modular, the assembled product are easily disassembled, allowing flexibility while being cost- and time-efficient.

Design

Supply

Manufacture

Disassembly

/ Design Development Service Customers with an idea but need assistance making their concepts into reality can seek self-build consultations for aid in customising and self-building. / Running an Online Open-Source Warehouse The business runs an online open-source warehouse, where anyone in the world can look up, save, share, discuss and contribute their own self-build designs.

Use

/IKEA furniture products utilise modular technology and self-building

Self-Build

Delivery/ Collection

Customisation & Digital Fabrication Customisation allows customers to customise designs according to their living preference. With the help of digital technology, 3D models of each design unit allows customers to customise them in a simple configurator application in the Internet and smartphones.

For those uninterested in designing their own products, they can choose products from an endless selection of choices in the ever-growing catalogue enabled through the online Open-Source Warehouse. The products vary from furniture types, to room layouts, and wall extensions creating customisable living that is accessible and affordable.

/Digital Fabrication Workflow

/Digital fabrication precedented from U-Build and Wikihouse systems

/Vision collage

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Y4 S2: AD4a 3 LIVING: Dwelling Prototypes Ribbonised Furnished Living

Prototype 1: Furniture Maneuver

Prototype 2: Intro-Vertical Living

After deciding the productive activity (selfbuild manufacturing business), I envisioned a living lifestyle where these self-build products would make an impact for the dwellers. Thus, the Ribbonised Furnished Living concept is proposed through two Dwelling Prototypes, where life is tied by one ribbonised furniture.

The concept of life tied by one ribbonised furniture would make a workaholic routine much more clear. A linear and direct route of circulation is able to cater this person’s routine of going to work early in the day. Private activities such as sleeping and self-preparation are zoned within the main circulation, while leisure activities such as relaxing and reading are situated along it.

By establishing the ‘boundaries’ for each activity, the furniture’s form is shaped as a ribbon to suit the said activities whilst still maintaining the main circulation for the person’s daily routine. With integrated shelves, boxes and drawers, the one furniture ribbon is able to maneuver and tie the working-living lifestyle of this person

The unit houses private spaces for an introverted user with a personal kitchen and living area. A vertical circulation allows for a clear hierarchy between private (above) and leisure (below) activities within the unit.

While maintaining the one ribbonised furniture concept, the application of one shared wall between units within a cluster allows for the one furniture to be bound towards the same wall.

Improvements: Communal Living As a conclusion, my dwelling prototypes seem to lean towards creating a lifestyle based on the dweller’s personality. As this ought to not be a bad thing, the profiles I considered were those with workaholic and introverted personalities, which fall in a relatively negative personality compared to others - supporting these kinds of behaviour might be dangerous to the person themselves in the long-run.

1. Main Circulation

2. Private + Leisure Zoning 3. Establishing Boundaries

4. Massing

5. Form Shaping

1. Downward Circulation

2. Ribbon + 1 Wall Concept

3. Activities Zoning

4. Levels Extrusion

5. Massing

6. Form Shaping

Thus, the concept of communal living sheds a new perspective. Small adjustments to my prototypes, such as having communal and shared spaces with other residents/units, would create a much better living environment for these people whilst still catering with their personalities and maintaining the ribbonised furnished living concept.

Hence, communal living would certainly be implemented in the final dwelling strategy.

/ Exploded Axonometric

/ Plan

/ Exploded Axonometric

/ Lifestyle

/ Plans

/ Lifestyle

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Y4 S2: AD4a 4 THE TYPOS: Typological Exploration From Linear to Radial Considering the functional and spatial requirements of the / Living, /Working and /Leisure programme, gasholder geometry, and environmental factors, a transition from a linear to radial typology is developed.

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1/ Linear Programme

2/ Gasholder Geometry

3/ Radial Grid Adaptation

4/ The Buffer Zone

5/ /Living, /Leisure and /Working Zoning

6/ Cascading Typology

The project’s programme’s functional and spatial requirements work in a linear arrangement, resulting in a linear typology from /Working, to /Leisure and finally /Living.

Granton’s gasholder possesses a unique radial geometry originating from its central axis followed by its columns and trusses, creating a radial grid framework.

Thus, the linear programme is adapted with the gasholder’s geometry, juxtaposing the linear arrangement of the programme in a radial manner according to the radial grid, creating programme sectors.

To prevent noise and vibrations from reaching the living areas from the factory, a buffer zone as the in-between link has to be implemented.

Hence, /Leisure becomes the in-between buffer link between /Living and /Working, where /Living and /Leisure are zoned within the gasholder and /Working being positioned around it. The gasholder acts as a circumferential borderline while still linking / Living and /Working together.

Finally, rsponding to the sloping context of the site, a cascading typology is implemented according to the programme as well as the gasholder’s radial grid - vertically.

Circumference as porous, transparent walls

Radii as solid walls

A Centrifugal Approach Thus, the resulting spaces are connected centrifugally - where each sector houses a specific programme. The radii would act as both the separator and the connector between sectors, which are represented by solid walls.

The circumferential parts of the sectors would be the opposite - a stopping force or barrier between interior and exterior, but opens up to the other, being more porous and transparent, therefore represented by curtain walls.

Programme:

/Development Models

Warehouse Services (Retail + Education) Factory Leisure Living Living

Warehouse

Leisure Services

Factory

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Y4 S2: AD4a 5 THE TECTONIC: Living, Working & Leisure 1

Communal rooftops Provide residents of the same floor a privately shared outdoor space, with collectively-designed self-build pods that are unique for each floor, creating distinct identities.

South-facing animated facade Folding perforated metal shutters together with the bracings of the gasholder and the building itself create an animated facade; according to the residential routine. Different viewing angles towards the radial facade also enhances this animation.

2 Ribbed skylights

Cascading residential units

Maximises natural light into the building with built-in stack effect ventilation systems.

/ 1-6F: Residential Units

40 flexible cascading residential units are arranged along the gasholder’s radial geometry.

Cascading typology Along with the residential units, the Working building follows the same cascading typology, creating a gradually increasing cascade of floors that echoes the gasholder’s radial geometry both vertically and horizontally.

Braced steel cores Cross-braced steel cores at both ends provide lateral stability and is fitted with stairs and elevators for vertical circulation.

4

Customisable communal living

3

Steel trusses

5

Despite having individual residential units, the ground floor functions as a communal area fitted with communal kitchens and living rooms. These spaces are ever-changing according to the custom designs of its residents as the furniture are all self-build products. Along with a cafe, these spaces are fullyaccessible to the public as well.

Trusses are used to achieve large floor spans

7

/ GF: Communal Area

/ 2-3F: Offices

Transparent showroom

8 / 1F: Showroom

ETFE roof The transparent ETFE roof forms a series of barrel vaults arranged in a radial manner, maximising natural light. The roof are supported by deep trusses to minimise the use of columns.

As the first floor functions as a showroom for the products, an indoor full-height curtain wall allows the public to see the CNC factory below, creating a transparent showroom that showcases the end-products as well as how the products are built.

Vertical circulation Vertical elevator that connects the top floors with the lower ground level.

15 6

9

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Multi-use pavilion

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14 / GF: Businesses

The pavilion is to be fitted with self-build pods for leisure purposes such as markets, events and exhibitions.

An engaging factory The ground floor functions as the main floor that connects all of its uses as an engaging factory with its retail buisness services, manufacturing factory, auditorium and educational services - being fully engaging with the public around selfbuilding.

/ GF: Pavilion

Programme: / LIVING 1 2 3 4 5

/ WORKING Rooftops Residential Units Cafe Communal Living Room Communal Kitchen

/ LEISURE 6

7 8 9 10 11 12 13

Administrative Offices Showrooms Main Entrance Self-Collection Warehouse CNC Cutting Factory Auditorium Consultation Rooms

14 15 16 17 18 19 20

Design Studio Administrative Building Entrance Meeting Rooms Warehouse/Factory Offices Loading/Unloading Warehouse Packaging Conveyor Belt Printing Factory

16

/ -1F: Offices

17

Services lift

Pavilion

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20 / -2F: Warehouse

CNC cutting factory and self-collection warehouse are both connected to the lower ground warehouse by a services lift for material circulation.

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Y4 S2: AD4a 6 THE PROGRAMME 17 9 8

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/Site Plan 0

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80m

/GF Plan 0

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10

20m

1 2 3 4 5 6 7 8

Working Building Pavilion Living Building Marketplace Gasholder Parking Service Yard Warehouse parking

9 10 11 12 13 14 15 16

Granton Waterfront Industrial buildings Granton Castle Walled Garden Scotttish Gas HQ Forthquarter Park Edinburgh College (Granton Campus) Morrisons Disused Granton Gas Works Train Station

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

0 / LEISURE

/ WORKING Main Entrance Trolley Restrooms Self-Collection Warehouse Check-out Design Lab CNC Cutting Factory Services Lifts Auditorium Lobby Auditorium PA System Room Store Consultation Rooms Design Studio Offices Administrative Building Entrance Service Yard

/3F Plan

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20m

/ WORKING Pavilion Marketplace

1

Administrative Offices

/ LIVING

/ LIVING 20 21 22 23

Cafe Residential Entrance Lobby Communal Living Room Communal Kitchen

24 25

Parking Gasholder

2 3 4

Residential Corridor Communal Area Overlooking Pavilion Typical Residential Unit

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Y4 S2: AD4a

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/Section AA Living, Leisure & Working

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/Section BB

A

Section AA shows a glimpse of the lfiestyle present within the architectural complex, where living, leisure and working is seen to co-exist together at the gasholder.

A

The Working Building Section BB shows the activities within the Working building, fitted with the more public Showroom on the 1st Floor, self-service collectionw arehouse,, factory and educational facilities on the Ground Floor, as well as the more private Lower Ground warehouse.

B B

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Y4 S2: AD4a 7 STRUCTURAL STRATEGY: A Hybrid Structure

Existing Gasholder Free-standing steel structure not connected with other structural systems. Made up of steel trusses and cross-bracings.

The structural strategy revolves around the radial geometry of the existing gasholder, placing loadbearing structures according to a radial grid that spans with a radius of 7m intervals. In addition to the steep sloping landscape, innovative strategies are to be implemented. Thus, a hybrid structure between steel and reinforced concrete is used.

RC Shear Walls Reinforced concrete shear walls that provide additional lateral stability for both buildings along the radii of the radial grid. These extend from the lowest floors to the top.

Cross-Braced Steel Cores These cores at either end of the Living building provide lateral stability along the circumference of the radial grid.

Cross-Bracings Due to large spans, cross-bracings are implemented at both ends of every sector’s circumference on the three buildings for stability.

Steel Structure Steel I-columns are positioned according to the radial grid, spanning 7m along the radii. Due to the increasing spans along the circumference, steel trusses are used along the radii.

I-Column (365.3 x 322.2)mm I-Beam (187.8 x 300)mm Truss (100 x 300)mm

RC Retaining Walls

/Structural Axonometric

Due to the building submerging itself into a steep sloping landscape, reinforced concrete retaining walls are used to retain the soil’s rigidity.

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Y4 S2: AD4a 8 ENVIRONMENTAL STRATEGY The overall enviornmental strategy focuses on daylight and wind patterns due to the gasholder’s large scale and radial geometry, and the wide, spacious area of the site, with a sloping landscape. Also considered was having well-lit residential homes, being South-facing.

1 Multi-Layered Solar Shading Facade

3 Curtain Wall Daylight Penetration

5 Open Air Pavilion as Noise Buffer

7 Curtain Wall Daylight Penetration

9 Ribbed Skylights

The gasholder structure, folding shutters, steel bracings and glazed sliding door all act as a multi-layered solar shading facade at the residential balconies, as the residential units are all South-facing.

South and North-facing curtain walls maximise both active South daylight and passive North daylight penetration into public spaces.

The pavilion acts as a noise buffer coming from the Working building to the Living building. The open air pavilion allows natural ventilation throughout, coming from Edinbugh’s South-West and NorthEast winds.

Similar to the Living building, the Working building is also lit through South and North-facing curtain walls. Reflected daylight also helps with the pavilion’s lighting.

Skylights above the factory, showrooms and offices help maximise daylight penetration. The stack effect is also in place, drawing air through the space via the louvred panels within the vertical elements of the rooflight structure.

2 Green Outdoor Comfort

4 Cascading Open Air Rooftop

6 Transparent ETFE Roof

8 Stack Effect Ventilation

10 Industrial Ehaust Extractor Fans

The greenery from trees and grass from the marketplace and Forthquarter Park provides comfortable outdoor spaces and fresh air for the adjacent Living building.

Open air rooftops take advantage of direct daylight, allowing green plantations. The cascading typology allows daylight to reach the pavilion throughout the day.

Having the Living building opposite the pavilion, the transparent ETFE roof maximises daylight penetration.

The 1st floor showroom and its lower floor (entrance lobby) takes advantage of the stack effect ventilation assisted with mechanical ventilation.

Industrial exhaust fan ejects harmful chemical fumes, smoke, and hot air from the insides of manufacturing units. This invariably makes the air in the enclosed space better and more breathable.

Residential Zone

Noise Buffer Zone

Working Zone

Summer June 21 Sun Angle 58°

Building Envelope Summer June 21 Sunlight Angle (58°) Winter December 21 Sunlight Angle (11°) East Sunset

Airflow

4 1 Winter December 21 Sun Angle 11°

East Sunset

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South-West Wind

3

North passive daylight

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2 North-East Wind

West Sunrise

Greenery

Cantilevered Entrance

GF Lobby

Outdoor Leisure Space

Leisure Pavilion

Outdoor Leisure Space

Retail + Factory + Warehouse

Towards Waterfront

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Y4 S2: AD4a 9 DWELLING STRATEGY /Residential Units 001

/Residential Unit 012

Self-Build Wall

Self-Build Wall

Customisable Furnished Living The ‘life tied by one ribbonised furniture’ and ‘1 shared wall’ concepts from both Dwelling Prototypes are maintained for the finalised dwelling strategy. As the residential unit has its boundaries shaped by the radial geometry of the gasholder, the furniture design that shapes the user’s lifestyle revolves around this ‘radial sector’ typology.

Wall Box Shelf /Unit 031

Bed /Unit 001

Bed /Unit 001

Wall Box Shelf /Unit 062 Overhead Box Shelf /Unit 007

Overhead Box Shelf /Unit 007

Stool /Unit 100

Stool /Unit 100 Dining Table /Unit 091

Study Table /Unit 015

Study Table /Unit 015

Utilising self-building in the users’ lifestyle, the self-build furniture produced by the manufacturing business are fully customisable by the users themselves: allowing infinite possibilities and freedom in designing their / Living lifestyle. Thus, this customisable furnished living strategy engages with all kinds of people and household types, such as a single working person, a home-working couple, a group of students or even a new established family.

Integrated Kitchen + Dining Table /Unit 002

Kitchen /Unit 123

Overhead Box Shelf /Unit 005

Overhead Box Shelf /Unit 111 Wardrobe /Unit 059

Wardrobe /Unit 059

Coffee Table /Unit 022

Shelf /Unit 101

Shelf /Unit 101

Sofa /Unit 088

Sofa /Unit 186

Bathroom Cupboard /Unit 030

Bathroom Cupboard /Unit 030

Wicker Chair /Unit 025

Wicker Chair /Unit 025

Coffee Table /Unit 099

Coffee Table /Unit 099

Ideally for 2 single person or 2 couples (Max. 4 persons)

Ideally for 1 single person or a couple (Max. 2 persons)

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2 Double Beds 1 Kitchen for 2 1 Dining for 6 1 Living for 4-6 2 Bathrooms 2 Closet Spaces 1 Balcony

1 Double Bed 1 Kitchen & Dining for 2 1 Living for 2-3 1 Bathroom 1 Closet Space 1 Balcony

Self-Build Interior Wall Detail In buildability terms, both units in every sector are separated by a self-build wall that is easily assembled and disassembled, allowing quick and less complicated solutions to fit different needs in different times.

Shoe Shelf /Unit 055

3m

/Sandwiched Axonometric

1/ 236mm Self-build chassis

/Exploded Axonometric

The chassis in the form of a box, customisable for different sizes and uses and easily built and dismantled without complex tools/ instructions 2/ T-Slot Joint 5

One out of infinite possible joint systems that is easily slotted and rotated to connect self-build chassis components

3/ 200mm Optional insulation 3

The cavity within and around the self-build chassis provides space for insulation, mainly for external walls

4 4/ 37mm Services cavity 2

Allows ‘plug-and-play’ pre-certified services to simply be wiredinto the self-build chassis

1

5/ 30mm Plasterboard panel 4

/Axonometric showing the 2 units in 1 sector

5

Internal finish with Magnesium Oxide board. Panels are moisture and fire resistant, can be painted and easily removed to gain access to services cavity. They simply slot onto the self-build chassis ‘grips’ - no measuring/cutting required

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Y4 S2: AD4a 10 DETAILS: Living Building 1/ Communal rooftop, total t: 740mm

Detail 1: Residential Balcony

Continuous Wrapping Insulation

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Insulation wraps around the rooftop’s build-up to the doubleglazed sliding doors and around the balcony floor build-up, ensuring continuous insulation throughout the building

Timber decking flooring, t: 30mm Timber joist, t: 30mm Double layer SBS roofing membrane Weatherproofing membrane Mineral wool insulation, t: 150mm Composite roof slab (In-situ concrete over corrugated steel deck), t: 150mm Structural steel truss (with services running through cavity) bolted onto 300mm structural steel I-beam, d: 300mm Sheathing board, t: 15mm Vapour Control Layer Mineral wool insulation, t: 45mm Plasterboard ceiling, t: 20mm

1

Rooftop/ Floor Thickness: 740mm

Steel Trusses

Steel trusses provide long-span floor strategies, whilst providing optimal structural support especially from additional loads from the communal rooftop

Motorised Folding Perforated Bronze Metal Shutters

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Floor-ToCeiling Height: 2760mm

tial Residen r rio Unit Inte

These shutters provide solar control on the south-facing residential balcony

4F Exposed Steel Bracing

FloorTo-Floor Height: 3500mm

A unique architectural feature at the balconies with exposed crossbracings that span across two floors - mirroring that of the gasholder

Double-Glazed Floor-to-Ceiling Sliding Balcony Doors Double-glazing ensures optimal thermal performance from external environment SouthFacing Facade

3F

2/ Residential balcony floor, total t: 740mm

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Timber decking flooring, t: 30mm Timber joist, t:30mm Weatherproofing membrane Mineral wool insulation with timber joists support, t: 150mm Composite floor slab (In-situ concrete over corrugated steel deck), t: 150mm Structural steel truss (with services running through cavity) bolted onto 300mm structural steel I-beam, d: 300mm Sheathing board, t: 15mm Vapour Control Layer Mineral wool insulation, t: 45mm Plasterboard ceiling, t: 20mm

3

3/ Residential unit floor, total t: 740mm Timber decking flooring, t: 30mm 4 Timber joist + Services cavity, t: 180mm Composite floor slab (In-situ concrete over corrugated steel deck), t: 150mm Structural steel truss (with services running through cavity) bolted onto 300mm structural steel I-beam, d: 300mm Cavity, t: 60mm Suspended plasterboard ceiling, t: 20mm

Through-Floor Services Distribution Distribution of pipework, vents and mechanical services through steel trusses and under timber flooring (in between timber battens)

4/ Residential balcony facade Floor-to-ceiling insulated double-glazed sliding balcony doors, h: 2760mm Glass balustrade, h: 1100mm Exposed structural steel bracing, t: 100mm Motorised folding perforated bronze metal shutters, t: 122mm

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Design Project | Architectural Design: Tectonics

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Y4 S2: AD4a Detail 2: Living Building Entrance Lobby 1/ Ground floor, total t: 510mm (excluding foundation depth)

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Timber decking flooring, t: 30mm Timber joist, t: 30mm Vapour Control Layer Mineral wool insulation with timber joists support, t: 150mm Weatherproofing membrane Composite ground floor slab (In-situ concrete over corrugated steel deck), t: 150mm Underground services cavity, t: 150mm Reinforced concrete ground slab raft foundation

Floor Thickness: 740mm

2/ Entrance facade

ering Cantilev tial Residen r o Unit Flo

Interior Exposed Steel Cross-Bracings Cross-bracings echoing that of the gasholder that provide lateral structural support as well as a unique architectural feature Floor-ToCeiling Height: 7260mm

Floor-ToFloor Height: 8000mm

Double-thermal glazing curtain wall, total t: 75mm [Glazing, t: 25mm + Cavity, t: 22mm, Glazing, t: 25m + Laminated safety glass, t: 3mm] Insulating block as underground thermal break + Mineral wool insulation, t: 230mm Weatherproofing membrane Reinforced concrete ground slab raft foundation 3/ External paving Granite natural stone paving, t: 30mm Compacted aggregate base 4/ Gasholder column

Double-Height Curtain Wall

Maximises natural light penetration into the public lobby

Gasholder frame column Gasholder frame column reinfroced concrete base + foundation

Continuous Wrapping Insulation

Insulation continues to wrap from the residential balcony floors to the glazed curtain wall and through the ground floor timber flooring

ntrance Public E rior te In y b Lob Exterior

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Paving

Below-Floor Services Distribution

Distribution of pipework, vents and mechanical services under composite ground floor slab

RC Ground Slab Raft Foundation

The reinforced concrete raft foundation distributes point loads over the entire footprint, reducing the load per unit area. This is suitable for the site’s ground instability from its industrial use history

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Y4 S2: AD4a 11 LIFESTYLE: A Self-Building Community All in all, the lifestyle present within the SelfBuilding Community revolves around the productive activity itself. By introducing a selfbuild manufacturing business in Granton - at its Gasholder, specifically - Granton provides both Living and Working opportunities simultaneously; a customisable furnished living with communal spaces, utilisation of digital fabrication that reaches out globally, as well as job opportunities in various fields such as retail, construction, education and more.

Alongside those, Leisure opportunities are also created to not only those who live and work there, but to people outside of Granton as well, as self-build products provide the medium for Leisure facilities through a marketplace, events, exhibitions and more.

Ultimately, the circulation towards Granton’s Waterfront is enhanced dramatically, creating Granton itself as Edinburgh’s new leisure and communal hotspot - a productive and lively Granton.

/Lifestyle Overview

/Living

/Living

/Elevation

/Leisure

/Working

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ARCHITECTURAL DESIGN: LOGISTICS

Y4 S2: AD4b ARCH10025

Course Organiser: Fiona McLachlan

Course Description

Reflective Statement

The course requires students to take an aspect of design production and treat it as a process within a complex system such as the creation of a building. The aim is to begin to make connections between your learning in practice and your design work.

By interviewing Martin Berry from LDN Architects reagrding his Redevelopment of St John’s Church, Edinburgh project, we found out that its planning, design, and construction were all legislative-driven, making it a legislative-driven project (GC 4, 5, 6, 7, 8, 9). St John’s Church is a special A-Listed Building as it is bound to Ecclesiastical Exemption in legislative terms, where alterations or extensions to said building do not need to follow that of the usual Listed Building regulations.

Hence, this led to our report revolving around the logistics of a historic building.

Hence, the logistical report lists down the relevant legislations and the architect’s response (GC 10, 11).

Architecture Design: Logistics focuses on the management of the flows of resources between the stages of basic design and final handover, in order to meet the requirements of all agents involved in the processes of implementation of an architectural project. It involves a broad understanding of what constitutes resources, to include material, human (including collaborative work) and temporal aspects of production.

For the Individual Drawing, I took a similar logistical approach as my Tectonic project revolves around Granton’s Gasholder, a B-Listed Building, making it a legislative-driven project as well. Here, I considered as well the structural handling logistics of the gasholder, as it had to be dismantled and later eassembled after the buildings inside have been built. Steps to dismantle the gasholder is precedented from the previous owner of the Granton Gasholder itself, National Grid, who is repsonible in dismantling the disused gasholders around the UK.Hence, throughout the planning period, the council would seek consultation from Nartional Grid regarding this.

In conclusion, the logistical theme of legislation has helped me understand the importance of abiding by regulations, especially for special buildings such as how I applied them on my Tectonics project.

LO1 Demonstrate knowledge and understanding of a specialist theme in relation to the design and procurement of buildings.

LO2 Demonstrate ability in applying knowledge of a specialist theme to enhance a design proposition.

LO3 Display aptitude in communication through the production of incisive text and graphical outputs.

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Design Report | Architectural Design: Logistics

GC1

GC2

GC3

GC4

GC5

Legislative-Driven Redevelopment of St John’s Church // Logistics of a Historic Building

GC6

GC7

GC8

GC9

GC10

GC11

Y4 S2: AD4b

Groupwork with Razulnizam Bin Zulkefeli & Mirza Ismail

This logistical report aims to analyse the Redevelopment of St John’s Church, Edinburgh

by LDN Architects. The theme of investigation is legislation, and how it drives the planning, design, construction and other logistical decisions for a project on a historic A-Listed Building.

1818 - Original St John’s Church building by William Burn 1882 - Alterations & addition of chancel by Peddie & Kinnear

2

1

1916 - Addition of church hall

4 1936 - Addition of chapel

3 LDN Architects

CLIENT

STRUCTURAL ENGINEER

Vestry of St John’s Church of the Evangelist

MAIN CONTRACTOR

John Dennis & Company (Scotland) Ltd

FEE & COST BREAKDOOWN

Confidential

PROCUREMENT

Traditional

FORM OF CONTRACT

SBCC Standard Building Contract With Quantities for Use in Scotland (SBC/Q/Scot),2011 Edition, incorporating Amendment 1

START ON SITE DATE

12 September 2016

DURATION ON SITE

18 Months

COMPLETION DATE

27 March 2018

GROSS INTERNAL FLOOR AREA

1,026m2

Elliott & Company

5 2018 - Extension and refurbishment by LDN Architects

/Church hall extension, St John’s Church

/St John’s Church, Edinburgh

Redevelopment of St John’s Church, Edinburgh

Project Timeline

Brief

1816 Groundbreaking - Start of St John’s Church construction

LDN Architects were appointed in 2005 to develop proposals to modify the church. Before appointing LDN Architects, the Vestry of St John’s had culminated a brief: • • • • •

/The built form of St John’s has been altered, adapted and extended during its 200 year history

1817

Pre-2005

Construction completed

The Vestry of St John culminated a brief

19 Mar 1818

A flexible hall/ performance/ exhibition space accommodating seating for up to 100 people Continuing operation of the Cornerstone Cafe Office space Two meeting rooms Retail space no smaller than current arrangements

Consecration on Maundy Thursday

2005 LDN Architects appointed to develop proposals

1882 Alterations by Peddie & Kinnear (Addition of chancel)

26 Mar 2010

28 Nov 2012

17 Apr 2015

12 Sep 2016

May 2019

Planning Permission applied

Consent Renewal Planning Permission applied

Planning Permission re-applied

Start of construction

Awarded the EAA Edinburgh Building of the Year 2019

1916

LDN Architects. “Church of St John the Evangelist Design Statement.” The City of Edinburgh Council.

Last modified April 18, 2015. https://citydev-portal. edinburgh.gov.uk/idoxpa-web/applicationDetails. do?activeTab=documents&keyVal=NMZXFREW09Z00.

The City of Edinburgh Council. “Report of Handling.”

Last modified June 17, 2015. https://citydev-portal. edinburgh.gov.uk/idoxpa-web/applicationDetails. do?activeTab=documents&keyVal=NMZXFREW09Z00.

The Hall: Allows flexible creation of smaller and larger spaces to cater for groups of different sizes.

•

The Terrace: The Terrace is made up of the Cornerstone Bookshop, Cafe and One World Shop. These and the hall are the heart of the Cornerstone Centre.

•

Accessibility: A new central staircase and a lift connect all parts of the building, making it fully accessible for all.

•

Office Space: A mezzanine floor has been added, providing new desk and meeting space for hire for charitable organisations

Historic Scotland response

Phase 2 (12 months)

30 Jun 2010 Planning Permission granted

Original building developments

2012

Historic Scotland.

“Ecclesiastical Exemption.”

Date accessed March 10, 2020. https://www. historicenvironment.scot/archives-and-research/ publications/publication/?publicationId=ae94333e-582740a2-b123-ab0c0113cee5.

•

2005 2010

Key References

Curator of Archaelogy response

15 Jan 2013

17 Jun 2015

27 March 2018

Consent Renewal Planning Permission granted

Planning Permission granted

Construction completed

St John’s Redevelopment Project

2016

Programme

Phase 1 (6 months)

18 May 2010 17 Jun 2010

2015

Addition of church hall

2019

ARCHITECT

1800s

1

Post-completion

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Design Report | Architectural Design: Logistics

GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y4 S2: AD4b Planning Process Submission Drawings

Selected Relevant Legislations Planning Permissions Application

Historic Scotland Consultation

Edinburgh City Local Plan 2010

Report of Handling

Ch. 3 - Policy Des 3 - Design Development Design Statements

Building Warrant Application

CECAS Consultation

APPLICATION GRANTED/NOTICE OF DEVELOPMENT

SUBMISSION & CONTENT OF APPLICATION

VALIDATION

CONSULTATION

CONSIDERATION

REVIEW

LDN Architects submitted the drawings and relevant information regarding the proposal for the church redevelopment.

In order to obtain the planning permission and the building warrant, the architect had to ensure all of their submissions comply with relevant planning policiesand building standards.

Relevant Policies: Policy Env 1, Env 4, Env 6, Des 3 and Des 11.

Edinburgh City Council assessed the application submitted by the architect and reviewed it under relevant legislative conditions as St John Church is a Category A listed building located within the New Town Conservation Area. The council assessed based on the New Town Character Appraisal and the application was considered under ecclesiastical exemption.

The council sought relevant consultations from specialised consultees regarding the issue pertaining to the church.

Edinburgh City Council under the provision of Development Management Procedure 2013 (DMR) sought after consultation from the Historic Scotland and the Curator of Archeology from CECAS regarding matters relating to the historical importance and possible alterations and excavations of the building.

Edinburgh City Council produced a report of handling, suggesting possible guidelines and information for the architect to follow regarding the criticality and the historical importance of the church.

The applications were approved with the condition that the archeologist need to be present during ground breaking activities and the relocation of memorials need to be recorded, analysed and reported to the Head of Planning. Some of the exisiting memorials located in the undercroft were left untouched and any planning for proposed stone and metalwork needs to be submitted to the Planning Authority.

Policy Des 3 addressed the vital importance for the development of the design for a building in the city centre that needs to consider its impacts on neighbouring properties and its surrounding townscape. For any new development within the city centre, any new proposals are expected to have similar characteristics and can generate a coherent sense of place. The new design need to provide an attractive immediate outlook for its users and visitors and can facilitate adaptability for future needs of different functions and promote opportunities for mixed uses.

Ch. 4 - Policy Env 4 - Listed Building Alterations and Extensions This policy seeks to determine that any application for alterations and extensions of a listed building should consider every possibility to retain the originality of the building or any alternative viable use must be explored.

Any unnecessary damage to historic structures must be avoided and a thorough structural condition report has to be submitted which demonstrates any substantial alteration and extension being clearly justified.

City of Edinburgh Council Archeology Service (CECAS) In the planning process, the architect identified possible issues that will affect the areas of the church’s historic fabric and possible human remains located in the undercroft vaults before undertaking any ground breaking activities. LDN Architects, with the advice from the City Council had received consultation from the Curator of Archeology of CECAS. The aim was to preserve Listed Buildings and archaeological remains in situ as a first option, but alternatively where this is not possible, archaeological excavation or an appropriate level of recording may be an acceptable alternative.

New Town Conservation Area Character Appraisal New Town Conservation Area Character Appraisal guides new redevelopment within the area of New Town to ensure that the building has a positive impact and enhance the area. The redevelopment does not necessarily need to replicate its surrounding, but any physical change needs to always refer to its historic and urban design context.

Historic Scotland The consultation with Historic Scotland was a followup to the advice sought by the City Council regarding the application for Listed Building Consent by LDN Architects. This was due to the application being deemed to be accompanied with relevant information regarding any proposed extension and alteration under the Town and Country Planning (Development Management Procedure)(Scotland) Regulations 2013, with the church being an A listed building within the Conservation Area.

Ecclesiastical Exemption

by Historic Scotland As the church being listed in category A and regarded as an architectural interest that reflects Scotland’s history, the proposal for redevelopment of the church was processed under special circumstance known as “Ecclesiastical Exemption”. It only can be applied for any place of worship within Listed Buildings where they do not have to abide by the same rules as other Listed buildings, and redevelopment can be carried out without the need for Listed Building Consent as were stated in Section 54 of Planning (Listed Buildings and Conservation Areas)(Scotland) Act 1997 and Edinburgh Local Plan Policy Env 4. The exemption is applied for any congregation that wish to use their building in a more diverse way and meets with the modern facilities to accommodate their activities.

However, Christian denominations usually voluntarily agreed to seek listed building consent for external works and the city council therefore expected them to do so.

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GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

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Y4 S2: AD4b Architect’s Response

Basement Floor Plan

Ground Floor Plan

1st Floor Plan

1/ Traditional Procurement Route For the St John’s Development project, the traditional procurement route was used, primarily due to St John’s Church being a historic A-Listed building. Martin Berry, the architect behind the project, said that the decision to use the traditional procurement route would allow more control on the design, details and material choices that would abide by the legislations tied on a sensitive, historic A-Listed building.

Thus through the traditional procurement route, fully developing the design before tender gives the client certainty about design quality and cost, as well as complying against legislations that would otherwise could allow contractors to change the materials or details that are not allowed.

STORE

MEETING ROOM

ENTRANCE

STORE CAFE

KITCHEN

OFFICE

SHOP

SHOP

OFFICE

SHOP

HALL

WC

SERVERY

LOWER TERRACE

BEFORE

BEFORE

WAITING AREA

AFTER

AFTER

LIFT

OFFICE

WC

RECTOR OFFICE

OFFICE

TEAPOINT

GLAZED SCREEN

VOID

OFFICE

ENTRANCE

KITCHEN/ SERVERY

MALE WC

ACCESSIBLE WC LIFT

FEMALE WC SERVICES LIFT

LIFT SHOP

SHOP

SHOP

STAIR

CAFE

KITCHEN

MAIN ENTRANCE

ENTRANCE LOBBY

ACCESSIBLE WC

STAIR

RECEPTION

SERVICES LIFT

CHAIR STORE

MEETING ROOM/ HALL OVERSPILL 1

MEETING ROOM/ HALL OVERSPILL 2

HALL

HALL EXTENSION

LOWER TERRACE

2/ Alterations and Extension The Redevelopment project sees quite a major change in its spatial organisation - especially the basement floor, where the cafe and retail spaces were swapped in favour of a better circulation strategy. The addition of a lift connects the three levels vertically whilst being accessible.

The church hall was also reorganised, with a much larger lobby entrance, and flexibility strastegies for the church hall itself by using retractable walls.

The major addition is the church hall extension, occupying the East side of the church, as well as a new mezzanine floor within the church hall as office rooms.

As these decisions were most likely executed from a design-wise standpoint, it was mostly legislativedriven, as the church is an A-Listed Building and subjected to ‘Ecclesiastical Exemption.’

•

Church Hall Refurbishments

• Basement Alteratiions and Refurbishments Store & Meeting Room

• New organisation of space

The church hall was initially an open plan hall, where chairs were arranged and stacked at the north wall when not in use. The servery was positioned at the West side, near the entrance - presumably to be near with the old kitchen location.

Male & Female WCs

In the basement level of the church, the middle south rooms (store and meeting room) were refurbished into toilets, rather than having isolated and multiple toilets around the church building. Also, an entrance is built through the meeting room, allowing access to the toilets from the church.

Additional Mezzanine (1st) Floor New 1st Floor

New meeting rooms were relocated to the new 1st floor within the existing hall, with better ventilation and natural lighting compared to the old meeting rooms at the basement of the church.

Thus, the refurbishments separated the open plan space to accommodate the entrance lobby fitted with stairs to the new offices above, reception area, new lift, an accessible toilet, and a proper chair store.

The hall is also flexible, with retractable doors that form walls to separate the hall into smaller meeting rooms flexible for different types of events.

• Interchange of Facilities Cafe & Retail Spaces Swapped Cafe

Retail

•

The West Entrance door is relocated to be in the middle, establishing it as the new main entrance to the church hall. The East Entrance at the new extension becomes the second entrance.

The most obvious change is the interchange of the cafe/ kitchen (purple) and retail spaces (green).

This allows a clearer organisation of space, utilising the public access from the West to visit the shops, as well as having kitchen facilities to be connected by a dumbwaiter/service lift for the church hall’s extension above.

• Accessibility

Entrances

•

Church Hall Extension

New extension, with kitchen/servery spaces & services lift

Addition of Lift & Services Lift The lift connects the lower terrace and upper levels to the church hall and new meeting rooms, introducing an accessible vertical circulation, rather than just having stairs.

The extension maintains the hall area, whilst providing a relocated servery and its own kitchen. The new kitchen/ servery is now located above the new cafe kitchen beneath, connected by a dumb-waiter/services lift, maximising efficiency.

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GC1

GC2

GC3

GC4

GC5

GC6

GC7

GC8

GC9

GC10

GC11

Y4 S2: AD4b 3/ Not Touching

4/ Material Choices

5/ Lift Overrun Material Consideration

•

The material choice that affects the external appearance of the project is not as restrictive as other buildings, as the church is ecclesiastical exempted from certain requirements in material choice.

Due to the addition of a lift, additional work of an extension of a roof upstand for ventilation ductwork had to be increased in width to incorporate a lift overrun. Thus, material consideration was vital, where lead is used to clad the lift overrun to match the appearance of the existing gutter which is also made of lead which have a traditional look - very suitable with the surrounding appearance.

Separation of the new extension and old building by using glass wall

Fulfilling the client’s request, the glass envelope is used between the extension and the old church building, thus creating a clear separation between old and new.

•

/The glass strip that separates the old and new

The extension wall sympathetically not touching the existing external wall

•

Stone

Stone is an important aspect in the project to have sympathetic approach in the appearance of the building especially for its external appearance.

•

Timber

Timber (oak) creates high quality finish and a healthy environment for its aesthetic purposes.

A clear sympathetic preservation method that also fulfills the technical needs of the design. The existing church wall is a wall with 2 exposed sides and very wet. Having a gap between the existing wall and new extension wall avoids having moisture problems.

For construction purposes, the gap is wide enough for someone to build. A specific door is provided into the gap, for cleaning and future maintenance purposes.

•

•

Zinc

Zinc is used for the extension of the the church which is utilised in a modern way. The usage of zinc makes the distinction between old and new to be clear while blending in. /The new extension wall not touching the church’s existing wall, with a built-in door for maintenance access.

•

The site is in the centre north side of the hall roof close to the main east elevation of the church. The lead upstand of the housing is barely visible above the ridge as seen from St.Giles cemetery and can be seen in only glimpsing views form Lothian Road and from Princes Street. The extension to the already approved ventilation duct box is limited.

The subdued tones of the lead work are appropriate to the location and do not adversely impact on the character of the church or the hall.

/Lead cladding of the lift overun before lift overrun extension.

Glass

The planner was keen on glass for the seamless distinction between the old and new, and important for environmental strategies to maximise natural light. Extensive use of glass for the extension’s front facade with triple glazing ensures good thermal performance.

New mezzanine (1st) floor not touching existing windows

The build-up of the new first floor is positioned at the same level with the existing windows as shown in Section BB. However, in order to comply with the minimum floor ceiling height that is necessary for fire safety and regulations, they have to achieve 2m height for fire escape for the upper floor. /Section C-C showing the lift overrun

As a result, the new floor is positioned at the window level and was designed to carefully not touch the existing windows.

Lift overrun position /Sympathetic use of stone to /Oak flooring and timber blend in with existing wall cladding for interior

/The mezzanine floor built at the height of the existing windows level, but designed in a way that does not touch the windows.

New mezzanine floor

Existing windows

Existing lift overrun cladded with lead /External view of the church /Extensive use of glass extension, showing the zinc cladding

Further lead works

/Roof plan showing existing lift overrun and new extension works

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GC6

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Y4 S2: AD4b 6/ Two Construction Phases

No Public Access Phase 1 Area

ABC Phase 1’s New Spaces

Phase 2 Area

7/ Economic Continuity

No Contractor Access Construction Site

Phase 1 •

Public Access

ORGAN PUMPS

Public access from the West entrance to the church’s main entrance is unaffected.

STAFF ROOM

WC

Contractor Access

STORE STORE

MEETING ROOM

STORE

STORE

KITCHEN

MEETING ROOM

PLANT

SHOP

CAFE

A Portakabin was used by the Cornerstone Bookshop temporarily during Phase 1, placed west of the church hall, at the upper terrace. A separate Planning permission, advertisement consent and building warrant were needed for the Portakabin and ramp.

STORE

MEETING ROOM

SHOP

OFFICE

SHOP

OFFICE

Client’s access to the graveyard has to be maintained for ongoing maintenance. So, contractors were not allowed to pass some doors (shown in diagram) as those were used by the client.

Throughout both phases, contractors were allowed to use some office rooms provided by the client, which was unanticipated.

ORGAN PUMPS

TOWER

The East entrance is also publicly closed.

Contractors were appointed specific routes around the site:

MEETING ROOM

OFFICE

OFFICE

Access to the lower terrace is closed and therefore inaccessible to the graveyard.

•

The retail businesses being a large source of funding, the client need the stores to be back on business as soon as possible. It was important to define this request before tender, allowing the contractor to plan ahead and avoid additional costs and late explanations. The use of the traditional contract is useful in allowing this to be done.

LOWER TERRACE

/Exterior view of Portakabin

The Portakabin siting is acceptable within the conservation area and would not have any adverse impact on the listed building setting, as it is set well back into the return of the church from the road.

When Phase 2 commenced, the West side refurbishment of the lower terrace is completed, allowing the Cornerstone Bookshop to operate normally and the public to visit the bookstore.

/Basement Floor Plan

/Interior view of Portakabin

Phase 2 •

Public Access

Public access to the lower terrace is from the West entrance is opened, but only limited to the West side as the works there are completed.

UPPER TERRACE

The East entrance is still closed to the public.

WC SERVERY

CHURCH HALL

/Ground Floor Plan

•

Contractor Access

As Phase 2 focuses on the East side, the contractor access the site from the publicly closed East entrance

ORGAN PUMPS

OFFICE

OFFICE

MEETING ROOM

ORGAN PUMPS

TOWER STAFF ROOM

WC

SHOP

MEETING ROOM

FEMALE WC

STORE

SHOP

MEETING ROOM

MALE WC

STORE

Portakabin and Ramp position

PLANT

/Ground Floor Plan SHOP

SHOP

OFFICE

SHOP

LOWER TERRACE

/Basement Floor Plan

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2

Individual Drawing | Architectural Design: Logistics

Legislation // Logistics on Granton’s Gasholder

GC1

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Y4 S2: AD4b

The final assignment of the course is an individual design application through an analysis drawing that must demonstrate my ability in applying knowledge of a specialist theme to enhance a design proposition.

Expanding from my group logistics report that focuses on the legislation theme, I applied the knowledge I gaind into my Tectonics design project. Similar to LDN Architects, I also underwent a design approach revolving around a historic building, Granton’s Gasholder.

Situated in Granton that is part of Edinburgh’s large-scale Waterfront Regeneration Programme, as well as the gasholder being a B-Listed Building, the project is heavily legislative-driven; with concerns regarding design, planning and structural handling of the gasholder itself.

I utilise the Edinburgh Local Development Plan (Nov 2016) and Granton Development Framework (Feb 2020) as my reference in assessing the physical, social and environmental qualities of the gasholder and site.

For the design, I approached these legislations from 3 design perspectives (/1): • • •

the Programme Not Touching the Gasholder Enhancing Waterfront Circulation

Next, the planning process is laid out through a sequential diagram (/2), followed by the structural handling of the gasholder (/3) The gasholder has to be dismantled first to allow construction works of the buildings inside the gasholder’s circumference, and then reassembled.

Thus, as each criterion shows how I applied logistical issues of the relevant legislations into the design proposition, my Tectonics project as a whole becomes much more well-founded, covering all stages of design, planning and construction.

/Individual Drawing - Logistics on Granton’s Gasholder

131

ACADEMIC PORTFOLIO: PART 1

Y4 S2: AP ARCH10005

Course Organiser: Miguel Paredes Maldonado

Course Description

Reflective Statement

An Academic Portfolio is a comprehensive chronological record of all the assessable work a student produces during a specified phase of their undergraduate architectural education.

This work will include design project work (presentation material and sketch books), essays, reports, and dissertations, along with the project briefs, essay questions, and course outlines.

The Academic Portfolio 1 course in this course is focussed on work produced in the BA and the MA (Hons) Architecture degree. Through the course, you will curate all work already assessed and represent it comprehensively and chronologically within a portfolio format.

This course requires me to create a portfolio that essentially summarises my Part 1 architectural education as well as my relevant extra-curricular activities throughout these four years. Compiling and presenting all my works in a clear and understandable manner allowed me to personally reflect my four years in studying architetcure with reference to the attainment of the ARB/RIBA Part 1 Graduate Attributes and General Criteria by outlining my learning outcomes, diverse knowledge and skills through a variety of media - sketches, drawings, photos, text excerpts, etc.

Hence, my Part 1 architectural education is culminated within this reflective portfolio.

LO1 Compose a coherent, well designed and integrated architectural design portfolio that documents and communicates architectural knowledge, skills and abilities, and that synthesizes and presents work produced using diverse media (sketch books, written work, computer work, drawings and models, etc).

LO2 Integrate knowledge in architectural design, technology and environment, histories and theories of architecture and the related arts, professionalism and regulatory frameworks as evidenced through the content of the portfolio.

LO3 Reflect on personal development with reference to the attainment of the ARB/RIBA Part 1 Graduate Attributes through an introductory summative statement, and understand the relationship of the General Criteria to the student’s work, as demonstrated through a referencing system in the portfolio.

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End of Part 1.