Masters Final Portfolio by alex baldwin-cole

a.b.c. Alexander Baldwin Cole

2015/2017 ARC8054 - B5048957

Contents

Introduction to a.b.c

Page 4

Critical Analysis - Themes

Page 5

Linked Reserach - Live Build

Page 6 -

Thesis - Matter

Page 30 - Page 83

Charette - Wonder & Success

Page 84 - Page 87

Building Fabric - Folly

Page 88 - Page 95

Building Fabric - Detailed Design

Page 96 - Page 121

Urban Hacking - Rotterdam Trip

Page 122

Urban Hacking - Symposium

Page 123 - Page 129

Urban Hacking - Majority Minority

Page 130 - Page 139

Tools For Thinking About Architecture

Page 140 - Page 141

Construction Management

Page 142 - Page 143

Critical Analysis - Where to Now?

Page 144 - Page 146

ARB Criteria

Page 147 - Page 148

Page 29

Introduction

Introduction to Alexander Baldwin-Cole My name is Alexander Baldwin-Cole. Born in Essex, England, 23/06/1993. I know it sounds like the ultimate of cliché’s but “As long as I can remember I have wanted to study Architecture”. It’s probably the same old story but its mine. A father in construction business, mother is creative. Put 1 + 1 together = Architecture or something similar. Unlike many of my piers having a pretty strong concept of the field I wanted to progress into made things easy when university began to loom. So after all that I ended up Studying my Undergraduate Architecture Degree at University of Kent’s Canterbury Campus. Despite all the small niggles of the course that frustrate me, I thoroughly enjoy living and studying in Canterbury. I left the course excited to begin my year in industry, after a little break first of course. During my year out I worked for a small architectural firm called Clague in Canterbury. I found the job initially challenging but soon found my niche of jobs in the form of technical projects. I was assigned to work with the in house Architectural technician on a number of Building Regulation and Tender Documents, while also assisting on planning application where possible. It was at this point in my career I realised I had an interest in the way things are put together, both in terms of buildings and smaller scale products. I have since begun experimenting with joinery and furniture design, as a means to test my abilities of design in a different format to my Architectural studies. Towards the end of my year out I decided not mess about and looked to return to studying for my Masters in Architecture. The only issues was that I was looking for a change from Canterbury. So I looked to my original University Applications and found an old favourite in the pile, Newcastle. A few visits and a successful interview and portfolio later and the next chapter in my career began. It is at this point which this portfolio or story of study begins. A new chapter, a new city and a whole lot of new experiences.

Critical Analysis - Themes June 2017

Critical Analysis Approach As part of the ongoing Critical Reflection throughout this portfolio, I’ve investigated a number of design themes that run through the majority of the work I’ve undertaken over the past 6 years. These are listed below, they have each been assigned a colour which will be used to identify elements of the portfolio that I feel best represents these themes (As seen below).

The portfolios order has also been considered in regards to these themes, as I have moved projects that I feel have more relevance to me as a designer towards the start of the portfolio, instead of merely running through the two years chronologically.

Designing with the Detail / Early Stage Tech Incorporation Coming into studying my Master of Architecture at Newcastle University I had realized that I had both the proficiency and interest for technical design. It had become more apparent to me once I looked back over the various projects I undertook during my Undergraduate studies at the University of Kent at Canterbury. I often looked to include or design in my technical approach from the offset of the design work. I believed this should always be considered, as it allows for the atmospheric / joyful elements of the design to be more successfully accomplished if the intertwine / work around the proposed technical approach.

Flexible Modular Systems This is a theme I have known about being interested in for some time. My earliest architectural influences were those often associated with the High-Tech Architecture movement, such as Richard Rogers or Norman Foster. A lot of their schemes include bold external frameworks / exoskeletons which allow for a very flexible internal environment. This theme is closely intertwined with the first theme I identified, due to the requirement of implementing the system into any scheme as early as possible.

Function Follows Form Due to my general pragmatic approach to design I’ve come to realise I’ve often looked to lay out my buildings based on how the internal spaces need to work in relation to each other. This isn’t an advantageous idea, but is one that isn’t always openly present the work we produce at university.

Drawing People to New Experiences The greatest experience I’ve been luckily enough to be part of over the past two years is that of the Live Build project. One of the surprising themes that ran through this project and into my year long Thesis project, was the study of drawing people into new spaces / places. Upon reflecting on my other work I’ve come to realise that this theme has been present in quite a few projects due to its relationship with the theme ‘Function Follows Form’. Over the past two years it has primarily taken the form of designing spaces looking to educate / experience new areas of the landscape or new cultures.

Getting Hands On / Down & Dirty I initially looked to undertake a degree in Architecture due to my early interest in making / creating everything and anything as a child. This has now become a significant element of what makes me, me. I believe this now established hands on skill to be one of the strongest in my design repertoire, and founding element of my character as a now 24-year-old. There have been many times through all the years I have been studying Architecture that I have undertaken hands on prototyping / designing through making periods of investigation. I feel it is often the most effective way of initially undertaking design work and is something I look to continue for the rest of my time as a designer. -

Linked Research - Live Build January 2016 - May 2017 Module Brief The proposed project involves the development of three structures: a Wildlife Hide, a Welcome Point and a View Point (later put on hold); at Bakethin Reservoir in Kielder National Park, Northumberland.

“This Linked Research project will give you the opportunity to participate in an ongoing programme of live build projects. The first ‘primer’ task is to design and construct a deployable “Grandstand’ to facilitate discussion and debate in various locations. You will work in collaboration with Vienna-based artist Stephanie Misa , the School of Fine Art and a range of local partners. The main project will be the design and construction of a bird hide at Kielder, Northumberland where you will work with a variety of organisations including the Kielder Art and Architecture programme. You will also collaborate with engineers and utilise innovative new hygromorphic materials. You will have the opportunity to produce the world’s first permanent building integrated demonstration of these technologies.” - Graham Farmer, Director of Architecture at Newcastle University -

Project Timeline The planning application for the three projects was submitted 14th June 2016, validated 11th July 2016 and planning approval was received on 20th September 2016. The technical design process progressed early September, and has continued throughout the construction. Work on site commenced with the groundworks contractor (THC Landscaping) on the 13th December 2016; the project is still under construction with a project finish date in mid to late February.

GC1.1, GC2.1, GC6.1, GC8.2 GC10.2, GC10.3, GC11.2

Live Build Rochester - Site Experience During the early stages of the Linked research module we had the opportunity to work on-site assisting the 6th years. Most of our group had little or no site experience prior to working on the module. The few days spent on site in Rochester gave us an essential insight into the skills we needed to develop. One of the greatest lessons we learned was the importance of working together as a team, a task often harder than it sounds once stress, exhaustion and differing opinions started to take hold. Secondly was the importance of pre-organisiation, making sure that if one job is finished early or needs to be put aside for a while there is always something else ready to start.

GC1.1, GC8.2, GC8.3

Live Build Project Masterplan The structures will form part of a wider Bakethin Masterplan, from Kielder Water and Forest Park Development Trust and Kielder Art and Architecture. We were asked by the client to provide a coherent design package, which together would form a journey for visitors starting at the castle carpark and then heading towards Kielder lake. Thus, providing not just a bird watching experience but instead aim to meet the needs of many and reinforce the Kielder brand.

GC5.3, GC6.1

Live Build Site Visit The first site visit involved the whole group, this was important in order for us all to gain a larger perspective on the area, thus informing a richer group perspective of site and richer designs. We first travelled to the three specific sites, as well as other completed installations dotted around the lake, this gave us an understanding of the wider Kielder Architecture package. Following this we then drove up to the tallest hill which surrounded Kielder lake. This gave us an obvious broader understanding of the lake and surrounding area, as well as atmosphere, but also how the project situated itself into this Northumberland landscape and other key Kielder locations. Later site visits were conducted to survey and photograph all three sites to a greater level than had been achieved before. Marking up of trees as well of tree trunk positions was an obvious task for the Welcome Point, as the structure was intended to wrap around the forest landscape. For the site of the Wildlife hide, the water positions, the existing bird hide, and gradients were all painstakingly annotated and later realized through drawings.

GC5.1, GC5.3

Live Build Initial Design Team - Framed View In order to provide options for the clients, we as students divided into three groups of three. The aim was for each group to explore differing design concepts, thus offering the clients a number of designs to choose from.

Welcome Point The design has an intentionally bold, striking form, which opposes the verticality of the tall pine trees that cover the site. The wrapped monolithic form, a theme continued from the bird hide, developed as ribbons that would fulfil the various function required in the proposed brief. The ribbons of timber interlink forming benches, shelter, bike lock up spaces as they flow between the trees. Openings in the sheltered portion highlight the distinctive views to the canopy above.

GC1.1, GC1.3, GC5.3, GC7.2, GC5.2

Live Build Wildlife Hide The existing hide was a hidden none event for the average visitor to the area. To revitalise the bird hide under the concept of framed views we aimed to create a new special experience, the form and orientation of the hide is focused on framing four significant views across the site. The wrapping design is expressed in the roof creating a permanent protective cover to the structure.

GC1.1, GC1.3, GC5.3, GC7.2, GC5.2

Live Build Viewpoint The viewpoint is an intriguing and sturdy intervention that the public can interact with, altering their perceptions of the Bakethin Reservoir. the position of the timber frames strung up under a set of springs, can be manipulated allowing the user to frame any view they deem intresting. The structure provides a unique peronal experience to each user that encounters and operates it. the design encourages the public to experience kielder in a different manner to just simply walking around the lake.

GC1.1, GC1.3, GC5.3, GC7.2, GC5.2

Live Build

Viewpoint Detailed Design After the initial presentation, the detailed design stage was undertaken following the feedback issued by the clients. My first job during this stage was the detailed design of the Viewpoint, making sure to design in the necessary features for constructing the installation.

+3460

y treated timber

Naturally treated timber

ed timber facing edge

Blackened timber facing edge

+3460

+170

+3460

Information panel attached In between frames

Fold down seat set in between timber frames

Fold down seat set in between +511 timber frames

Naturally treated timber

Blackened timber facing edge

Information panel attached In between frames

Fold down seat set in between timber frames

Fold down seat set in between +511 timber frames

+3460

+511

+170

y treated timber

Naturally treated timber

ed timber facing edge

Blackened timber facing edge

Datum Point

Section AA Section AA

+170

-646

Datum Point -646

Section BB Section BB

D P

-1048

Datum Point

D P

-1048

+511

+170

Datum Point

Section AA Section AA +3460

-646

Datum Point -646

Section BB Section BB

+3460

Naturally treated timber

Blackened timber facing edge

+3460

Fold down seat set in between timber +511frames

+511

+170

Naturally treated timber

Blackened timber facing edge

+170

Datum Point

Section CC Section CC

-646

Datum Point -646

Naturally treated timber

Blackened timber facing edge

Datum Point

D P

-1048

Datum Point

D P

Fold down seat set in between

Datum Point -646

+3460

+170

Naturally treated timber

+170

Datum Point

+3460

timber frames GC1.1, GC6.2, GC8.2

+170

-646

+3460

Section DD Section DD

Fold down seat set in between timber +511frames

+511

+3460

Fold down seat set in between timber frames

+170

Naturally treated timber

+170

Datum Point

+170

Live Build Welcome Point Detailed Design My next job during the detailed design stage was to assist in the detailling and then prototyping of the Welcome Point. The aim was to figure out how enable the design to be quickly and easily constructed on site and fulfil the design ambitions laid down by the Clients. Unfortunatly due to delays in the delivery of the timber for the Welcome Point, the fabrication wasnâ&#x20AC;&#x2122;t initiated at is still yet to be.

GC8.1, GC8.2, GC6.1, GC8.3, GC10.2, GC10.3, GC11.2

Live Build Welcome Point Prototyping - Hugh Miller Early on into the detailed design stage we had the opportunity to work with an ex student Hugh Miller, a now established furniture designer in Liverpool. The aim was to prototype parts of the Welcome Point using similar techniques as we would producing the pre fabricated elements in the University Workshop.

GC1.1, GC1.2, GC1.3, GC8.2, GC9.1, GC5.1

Live Build Welcome Point Prototyping - University Workshop Following on from the prototyping session at Hugh Millerâ&#x20AC;&#x2122;s Liverpool Workshop, we looked to prototype part of the newly designed roof structure added into the the design of the Welcome Point part way through the detailed design stage. This would give us not only the opportunity to explore the structural details on the roof but also to work through our work flow within the workshop we would be using to pre-fabricate Welcome Point.

GC1.1, GC1.2, GC1.3, GC8.2, GC9.1, GC5.1

Live Build

GC1.1, GC1.2, GC1.3, GC8.2, GC9.1, GC5.1

Live Build Detailing Roof - Bird Hide My most challenging task of the entire live Build project was the detailing, or rather more engineering required to create the roof. the main issues we the creation of a 6.4m long beam out of maximum length 4.8m beams. Then the design of how the beam would connect to a column and the foundations for the column. Finaly the actual roof had a very tight design ambition of showing now screws while also being top hung and over sailing the wall line. This would involve an number of intense discussions with our assigned Engineer Artem.

GC8.1, GC6.1, GC8.2, GC8.3, GC9.3

Live Build Roof Construction Sequences Due to having other responibilities during this year I couldnâ&#x20AC;&#x2122;t always be on-site, so during the period of time that the roof was going up I had to produce a series of construction sequence diagrams for people to continue the work on site without me. This was one of the challenging tasks of being the sole designer of the roof that all questions could only be directed at me. So I had to constantly micro the construction team during this stage, while also working myself. It was nothing short of exhausting but very exhilerating when the roof all came together.

GC8.1, GC6.2, GC8.2, GC8.3,

Live Build Metal Fabrication - Bird Hide Roof & Wall Junctions A fair few metal elements were required to be fabricated for the wall and roof construction of the Bird hide. Unlike the ones specified for use in the Welcome Point weâ&#x20AC;&#x2122;d have to fabricate these ourselves, due to time and cost issues. The assistance from the Fine Artâ&#x20AC;&#x2122;s Metal Workshop would turn out to be vital in the construction of the Bird Hide.

GC6.2, GC8.1, GC8.2, GC8.3

Live Build Pre-Fabrication - Central Roof Beam & Column Learning from the previous Live Build Project, we learnt the value in pre-fabricating elements off-site. This was required for the central beam due to its length and complicated design, as it allowed us to acuratly and cleanly construct the beam. The use of a cut lists throughout the project was vital to keep track of the various elements and to reduce wastage.

GC6.2, GC8.1, GC8.2, GC8.3

Live Build Pre-Fabrication - Roof Scissor Beam Due to confusion while on-site and one vital dimension being left off of the working drawings for the roof construction, elements of the overhanging roof would require to be pre-fabricated at both the University Workshop and the Kielder Workshop. A scissor joint was required to allow the roof to overhang at the ends of the birdhide, while resting on the wall line and being connected with a number of smetal plates.

GC1.1, GC1.2, GC1.3, GC6.2, GC8.1, GC8.2, GC8.3

Live Build On Site Construction The time spent on site over this year was the most rewarding / stressful / exciting / tiresome experience Iâ&#x20AC;&#x2122;ve undertaken to date. I whole hartedly enjoyed it however, due to having the opportunity to get stuck in with constructing something that was once the subject of a discussion over coffee and resembled little more than afew sketches. During this process I have learnâ&#x20AC;&#x2122;t alot about how to work on-site, construction techniques, sourcing materials, yet I still have a lot to learn and aim to carry on learning.

GC1.1, GC1.2, GC1.3, GC6.2, GC8.1, GC8.2, GC8.3

Live Build On Site Construction

GC1.1, Gc1.2, GC1.3, GC8.2, GC8.3

Live Build Finishing Touches

GC1.1, GC1.2, GC1.3, GC8.2, GC8.3

Live Build

GC1.1, GC1.2, GC1.3, GC8.2, GC8.3

Live Build - Critical Reflection June 2017

Conclusion To Live Build Reflecting back on the Linked research live Build project, I can see how my pre-university interests and skills have finally had a channel in which to be expressed. This project has confirmed to me a feeling that first emerged during my year out, that I should look to direct my career towards spending more time on site than in an office. Now if that’s possible to achieve while being an architect, brilliant. I feel that I would however spend the priority of my time stuck behind a desk instead of getting ‘Down & Dirty’. Throughout this project I had to work through issues that have a lot of relevance to Architectural Technical Stages, yet the difference is I then firsthand resolved them on site. The greatest joy during the project was the numerous times issues arose on site that needed to be resolved there and then. I’ve learnt that no matter how well you pre-plan and design, there will always be an issue to overcome on site. It was a great feeling to be able to on a couple of occasions to present a resolution to the issue, discuss it within the group, make my case as to why it would work and start work again. The roof design is my eyes the greatest design achievement I have accomplished since I first started University. It was a very testing period, which when the roof was topped out I was glad to get a break. It pushed my technical skills, my knowledge about joint, working on-site and my abilities as a carpenter. The result is in my opinion fabulous and to have been designed near solely by myself I will give myself a pat on the back for it. This module has proven to me that what was once an idea of a career, is in fact very possible if I work hard, find the right opportunities and have a bit of luck. This module has made me realise that I need to work in a workshop not at a desk, with the hope of eventually starting up my own company / design studio.

Thesis - Matter January - May 2016 Why Matter? I chose this module as I believed it was the best one on offer that would allow me to hone my skills, by that I mean my ability to work with my hands. The presentation given by the tutors of the module lead us to believe that much of the exploratory work would be hands on based work, with limited need for conventional drawings. I didn’t choose it so I wouldn’t have to work as a normal Architecture student would (however that is an advantage), I chose it as I am becoming ever more interested in wood working and finding new ways of crafting objects. It was after all, model making which initially directed me to the field of Architecture so many years ago. It would seem fitting that my last ever (hopefully) design module be based around craft and a hands-on approach to architecture.

Why Does It Matter? The aim of this module is to work and design with the material from the beginning, which is seen as going against the grain of normality. I see this as a massive error, as surely introducing the material as early as possible is what we should always be striving for in design. Designing with it’s flaws and advantages at mind will produce a more “Pure” design, even if the designing doesn’t opening express the materials characteristics.

Fake Cladding Systems These two cladding systems are exactly what this project is not about, where the from of the project has been completred and then the final cladding is meerly plasterred onto the form of the project. The results of this is unintergrated approach is in my opion a design which reaks of sloppy design.

Transfer Slabs

Le Corbusier’s – Unite D-Habitation Ground Floor Transfer Slab

Richard Rogers – Leaden hall Building Central Public Plaza / Foyer

SALK’s – Finnish Forrest Research Institute Main Atrium

Above are three examples of transfer Slabs, the purpose of these are to allow open airy spaces on the ground floor. All the examples are achieving the same job but by using different materials,. The important aspect is how the choice of material has rather drastically changed the form and design of the transfer slab to work with the Characteristics and Properties of the material.

Where Am I Going With This? To be honest for the first time in my Architectural education I have no prior concept or result to influence my development or thought pattern. I honestly don’t know where this project will end up, nor what I will explore. All I do know is that I am going to throw myself into this thesis with an open mind. I will attempt to evaluate my chosen craft and try and find a new or alternative benefit to the field of Architecture through hands on research and experiments. GC7.2, GC2.1, GC2.2, GC3.3, GC4.2, GC9.3

Matter Levels of Detailling The next three examples show the a varying level of detailling and finishing from “Pure” detailing which is what I’m aiming for to “Faked” detailing.

FT Architects - Archery Dojo Pure detailing, using the material for what it is. Expressing it and designing around the materials properties using the exciting “Chidori Joint”. This maticulous approach is directly related to the Japanese culture of ritual and obedience. The maticulous approach to detail in this roof has created not only a beautiful architectural element but also a sculptural one too.

Hugh & Howard Miller - Constellations Bar The design features an expressed lattice Timber structure, which the designers have detailed the design purely where they could. They’ve expressed the timber and designed with it’s strengths and craft ability at mind, however in some areas the design has been “faked” due to the complexities in the design e.g. The Cross Lattice Roof Structure where only in one direction are the beams complete.

J Mayer H - Metrapol ParasolW This final structure looks beautifully designed and detailed from afar, however up close you can see a series of clunky varying details. This is obvious of the route the design took, where the material was applied to a finished design resulting in scrappy detailing. Although the actual form of the design has been carefully considered and design to improve and frame elements of the surrounding townscape. it’s a shame the same level of detail wasn’t put into the detail design side of the project. GC7.2, GC2.1, GC2.2, GC3.3, GC4.2, GC9.3

Matter Chidori Joint Chirdori is a joint system, found in wooden toys traditional to the town of Hida Takayama, in which three wooden sticks are orientated in three different directions and joined together at a single point, simply throughtwisting; no nails or adhesives are required. Below are series of examples of the joints and a few projects which feature the Chirdori system, including Kengo Kumaâ&#x20AC;&#x2122;s GC Prostho Museum. The Town of Hida Takayama, where the Chidori system originated, was a major centre for the production of wooden furniture and

Kengo Kuma - GC Prostho Museum For this project, the joint is ised to create a three-dimensional lattice, made of wooden members, 60 x 60 mm in cross section, which supports the building. These sort of structural systems developed near solely in Japan due to their specific Environmental conditions. As metals have an apptitude to rust, joint systems that use metals were not very dependable in a country with such frequent rainfall and high humidity. The Chidori system has not been widely used in architecture due to it involving considerable cutting of cross-sections. But the structural problem was solved by creating a thick wall out of a jungle gym-like lattice. Inside the building, the three-dimensional lattice also functions as a display case for the museumâ&#x20AC;&#x2122;s collection. Another beneficaly design feature of Chidori joints as a sturctural system is they allow the lattice structure to be expanded and retracted with relative ease as seen in the GC Prostho Museum

GC7.2, GC2.1, GC2.2, GC3.3, GC4.2, GC9.3, GC3.1, GC3.3

Matter

Steam Bending Steam bending is a traditional method of bending timber, a once vital process for the manufacture of weapon, tools and water vessels. Advancements in technologies have made the practice far less common, other than in excellently crafted instruments. Steam Bending is a low energy, economical and ecological method of manipulating wood which doesn’t require the cost or drying time of gluing multiples pieces of wood together to form a shape. Recently there has been a resurgance in crafts such as Steam bending, as the world become more mechanised and computerised by the day people are looking back to the past and appreciating the skill, time and experties rewuired to master traditional crafts.

“The revolution will not be digital” Tom Raffield

Tom’s fascination with the traditional practice of steam bending began whilst studying at Falmouth College of Arts, where he discovered the traditional technique of using a chamber wouldn’t allow him to create the complex 3D bends he had envisaged. Years of research and experimentation allowed him to develop a new steaming method to turn his design visions into reality. Tom was co-founder of the award-winning collective design company Sixixis, recognised for unique aesthetic, forward-thinking designs and now, through his own company, Tom continues to create spectacular, ecologically sound, innovative furniture and lighting. Handcrafted in his studios in Cornwall, England, the range of contemporary lighting and furniture Tom now creates is based on beauty, integrity and a desire to create unique, high-specification products that will be cherished by their owners.

The First Step The last few pages were elements of research I undertook as an initail stage of the design module. It was a way to figure out why I choose the module and what I could look to develop my thesis into. I see a very vibrant connection between the two varying timber working methods i’ve looked at, the best way of explaining my thoughts at this stage are graphically.

As uncertain as the series of images above are for anyone reading it, imagine how they are for me. The only logical step is to crack on and experiment with the japanese joints and Steam Bending. As in order to design with the materials properties at heart I need tof ully understand not only the materials properties but the processess too.

GC7.2, GC2.1, GC2.2, GC3.3, GC4.2, GC9.3, GC3.1, GC3.3

Matter Contact Meeting During my first meeting with my tutors Graham Farmer & Paul Rigby we went through a presentation which I sumarised into the first few pages of this document, regarding my first initial thoughts about the module and the direction I would take. Below I will sumarise the main points presented to me and the directions I should begin to direct myself down.

The Art of Japenese Joinery - Kiyosi Seike My tutor suggested I look at this book, which is beautifully isllstrated with a number of details and traditional japenese timber joinery. The expectation was that by the end of the year I’d be producing work as maticulous as seen in the book and the images below. So the only way to reach the expected level of skill is practice. You can see my inital attempts across the page, where I used a cheap soft wood for an inital attempt.

Kengo Kuma - Complete Works Kengo Kuma is a Japanese architect and professor at the Graduate School of Architecture at the University of Tokyo. He is frequently compared to contemporaries Shigeru Ban and Kazuyo Sejima, Kuma is also noted for his prolific writings along with his large and small design work. Kengo Kuma is an architect I looked at briefly during my initial design studies due to the variety of work he produces, from grand scale architectural project down to intricate tea seats. I looked at his work due to a quick internet search about “Chidori” joints and came across his GC Prostho Museum project, which features the infamous Chidori joint. I’ve now decided to carry on looking at his work due to the multitude of small/medium scale work he has produced in which he was create enticing spaces rich with wood working. Most of which produce incredible internal spaces and very warm atmospheres. The importance of this in my own work is that the end result of this thesis work is to produce an Architectural space. As good as creating joints currently is there needs to be an end result. Graham during my last meeting suggested to me that the atmosphere’s Kengo Kuma creates is something I should look to strive to. Looking at how someone feels within the space and interacts with it, and considering the human touch element such as how does the door handle feel when you hold it.

SunnyHills Cake Shop encased within intricate Timber Lattice

Noh Stage In The Forrest

Nakagawa-Machi Bato Hiroshige Museum

Kengo Kuma is promising Architect to continue to study throughout this project, this is due to the varying scales and building types he works with. The beauty of the SunnyHills Cake shop is the intricate Lattice timber work which creates a vibrant dappled light quality in the space and is representative of his more adventurous smaller scale work. The Noh Stage is contrastingly more representative of the more traditional side of Japanese architecture, the simplicity and calmness of the project reminds me of a spiritual space, such as a Dojo or a Temple. While the Nakagawa-Machi represents a far more industrial scale of work, yet within the project are strong elements of Kengo Kumas ethos. It is safe to say that there are lessons to be learnt from all his work.

GC7.2, GC2.1, GC2.3, GC3.3, GC4.2, GC9.3, GC3.1, GC3.3

Matter

Basic Wood Joints Study I like working my problems out in my sketch book not just because it helps me get my head around the issues before committing to physical work, but also as it allows for a track record of my thoughts and ideas etc. By sketching out my chosen joints Juji-Mechigai-tsugi, Sammi-Gummi and Ari-dome I believed I might get a better understanding of how to construct them.

Ari-dome (Housed Dovetail)

Sammi-gumi (Open slot Mortise)

Juji-Mechigai-tsugi (cross -shaoed stub tennon)

Self Review For the most part I am content with the outcome of these initial joints, except for the Ari-dome due to an error in fabrication. The Sammai-gumi locks into place will relative efficiency while the Juji-mechigai being of a more advanced level of joint needs refinement. The next step is to take the plunge and use Hard wood, as the examples above are using the less dense softwood which makes them a lot harder to craft to high level of accuracy

GC1.3, GC3.2, GC3.3, GC8.3, GC7.1

Matter Steam Box Fabrication Inorder to Steam bend timber, I needed to make a steam box. After some research into the method I found a simple enough design for a ‘Steam Box’. On first look the ‘Box’ is far more complex than I initially thought, due to the requirement of a Thermometer, Condensation Drip Hole, Steam Vent and Dowel placed within the ‘Box’ to elevate the timber off the base and allow the steam to completely circulate around the timber.Another issue was that while it is very easy to acquire a ‘steam bending kit’ in America which features everything youneed such as the steamer, brass fixing and thermometer. Within the UK all those parts must be separately purchased and pieced together ‘hopefully’ all fitting nicely together and creating a solid seal where needed.

Above are some of the initial sketches and early fabrication photographs. One of the most important design elements is the box’s requirement to be as air tight as possible. As the tighter the box the less heat will escape and thus the heating process will be more efficient.

GC3.3, GC2.3, GC3.2, GC2.1

Matter Initial Feedback The feedback during my meeting at the end of week one was for the most part encouraging, with some new avenues of thought being proposed. One issue I brought up was the lack of reading I was doing compared to several other students, as such I was loaded up with books to read. Lesson never complain about not having enough reading, that said however delving into the theory behind my work has been interesting this week. As I still have little idea of the direction I am heading other than a few future ideas for prototyping. The ‘Why’ behind this Thesis is still eluding me, then again as it is only week two having an open mind is surely beneficial.

Complex Wood Joint Study - Chidori One of the more negative comments was about the Chidori joint I mentioned during my first meeting and the Soft wood joints I experimented with in Week One. The basic message was that I should immediately start working with the correct materials. As the soft wood examples although useful as an initial trail, should be left alone now and more complex work should be undertaken. This is due to despite soft wood being easier to work it is in fact harder to produce high quality finished products due to a less dense grain. The reason why hardwood is mainly used for intricate timber work is down to the level accuracy you can achieve with it.

Meranti Due to a lucky “in my interest” issue with ordering a surplus supply of “Meranti” hardwood was already available in the workshop. Occasionally referred to as Red Lavan, Meranti is normally found in South East Asia. it is a highly workable, steam-bendable hardwood and as of my now is my new obsession. To undertake this joint, I needed to do some research and figure out how exactly this complex interlocking joint works. Although at the same time I wanted to see if I had the ability to figure out the joint myself, well to some ends anyway.

GC3.3, GC2.3, GC3.2, GC2.1, GC7.1

Matter Approaching The Joint When approaching the joint I decided I didn’t just want to completely copy a design off the internet, although the actual design is relatively standard and will only work a certain way. It was more that I wanted to figure out for myself exactly how the joint fits together, the only way to do that was to mark up some basic dimensions and jump straight in.

Attempt One This was my first attempt, and I managed to complete the joint in under two hours, im rather pleased with the outcome. That being said there are of course places to improve. Despite looking rather concise on the outside, I’ve obviously removed too much material in some places as one of the elements is very loose when the ‘Chidori’ is complete. Also, some of the internal faces are rather rough/not perpendicular, I’ve already learnt not to cut the faces down to the desired dimension initially, allow some excess to slowly excavate.

Attempt Two Having learnt from my first attempt I wanted to approach the joint again, this time taking more care with my initial cuts. I purposefully left excess material on the interlocking edges with the intention to chisel and sand them down to a more precise cut. This joint is tighter than the previous version due to this approach and some of the faces are a lot more concise. In some places, due to the time it takes to carefully remove the excess, frustration can set in and One or Two of the faces are messy and not perpendicular. I believe a Third attempt is required.

GC3.3, GC2.3, GC3.2, GC2.1, GC7.1, GC8.3

Matter Existential

and

The Thinking Hand

Embodied

Wisdom

Architecture

–

Juhani

Pallasmaa

This book talk about the idea of the “Thinking Hand”, in which she refers to a resurgence to a world of hands on approach, fully embodied design process. In which knowledge and experience come together for the designer and are learnt and taught through touch, habit and intuition. Upon reading the opening chapter I understood why this book was assigned to me. Below are a few of the quotes that I have picked out that had a ressonance with my investigation. “Learning a skill is not primarily founded on verbal teaching but rather on the transference of the skill from the muscles of the teacher directly to the muscles of the apprentice through the act of sensory perception and bodily mimesis.” Pg 015 “You cannot make what you want to make, but what the material permits you to make. You cannot make out of marble what you would make out of wood, or out of wood what you would make out of stone [….] Each material has its own life, and one cannot without punishment destroy a living material to make a dumb senseless thing.” Pg 55 - This inciteful passage come from Brancusi and his statement that “You cannot make what you want to make, but what the material permits you to make”, is pretty much a one sentence description of my thesis. “Tireless repetition is an essential feature of Renzo Piano’s way of working. “This is very typical of the craftsman’s approach. You think and you do at the same time. You draw and you make. Drawing […] You do it, you redo it, and you redo it again.” Piano has appropriately named his studio ‘Renzo Piano’s Building Workshop’ to reflect the idea of teamwork, and to suggest the long traditions of craftsmen’s and artist’s workshops ……” pg 68 - The connection with the process of making continues to be important, and a wise designer should seek a deep personal friendship with craftsmen, artisans and artists to reconnect him or her to the intellectualised world.

“The tool is an extension and specialisation of the hand that alters the hand’s natural powers and capabilities. When an axe or sheath knife is being used, the skilled user does not think of the hand and the tool as different and detached entities; the tool has grown to be a part of the hand, it has transformed into an entirely new species of organs, a tool-hand.”pg47 It is known that you don’t truly think what you want you had to do, but instead you focus on the outcome e.g. type a letter open a packet etc. That same mindless connection can be extended to a tool in your hand. “To argue that for the purpose of drawing an architectural project the charcoal, pencil, ink pen and computer mouse are equal and exchangeable is to misunderstand completely the essence of the union of the hand, tool and mind.” Pg 50

“You start by sketching, then you do a drawing, then you make a model, and then you go to reality – you go to the site-and then you go back to the drawing. You build up a kind of circularity between drawing and making and back again.”– Pg 66 - A passage by Renzo Piano’s on his craftsman likje approach. With the architect looking at all angles while designing, checking the concept then the idea then the reality constantly, surely the most all rounded appropriate design is the outcome.

Outcome Reading extracts for this book has solidified my decision to approach my Thesis project from a craft based direction. More reading is still required to fully discover both my narrative and the direction I need to head in. I am already starting to formulate ideas as to where this project may end up or more how this thesis could contribute to field of Architecture.

Steam Bending Development The insert regarding the Steam Bending element of my thesis is rather lacking this week due to an issue with delivery of few crucial components. I have however been finishing off my work with the “Steam Box” which is now complete, bar the Thermometer and the latch. Alternative suppliers need to be located.

GC3.3, GC2.3, GC3.2, GC2.1, GC9.1, GC8.3

Matter Development Self Analysis During the meeting at the end of last week it was mentioned that as good as it is that I’ve been noting down a lot of what I’ve been looking at and the connections I’ve made, it’s no good them just being in my sketchbook. That was where this diary came from, as a place for everything and anything I look at. The writing, as long winded as it may seem and as wittering as some of the points may be, it isn’t really for the reviewers. I do hope however that it does get read eventually, it’s more of an account of the internal monologue that’s constantly going on within my head. It’s a way to make sense to myself as to why I’ve been looking at certain examples and a record of what I’ve found out and opinions I’ve made.

Steam Bending Preperation Last week when I presented my ‘Chidori’ joint, it was commented that as nice as the joint looked my tutors hoped that I wouldn’t just focus on the same dimensioned ‘machined’ profiles of the ‘meranti’. After initially agreeing to experiment with more natural shapes by sourcing un machined timber I ended up finding out this was far easier said than done. In the end I’ve settled for experimenting with a number of different profiles and testing out different styles of producing similar forms. The aim was to push the steam bending beyond just merely turning a straight piece of timber into a curved or even circular piece.

Options (Top) The aim with this option is to not only bend the timber in one direction, but attempt to also fan 3 or 4 thinner elements away from each other. (Bottom) This is a far more basic bend and will most likely be the first design I attempt to produce. It’s a basic bend with a square profile piece connecting back to itself with a joint resembling a ‘Sammai-Gumi’ joint.

(Top) With this option I am again looking to push the steam bending in two axis. By not only warping the timber into a circular form, but also skewing the far thinner profile as it rotates. (Bottom) I believe this to be the most adventurous of all the option. As I aim to try create a simple platted form with the heated timber. I only see this possibly working with a very elegant profile, most likely measuring somewhere between 5-10mm squared.

GC3.3, GC2.3, GC3.2, GC2.1, GC8.3

Matter About Swine Studio SWINE (Super Wide Interdisciplinary New Explorers) is a collaboration between Japanese Architect Azusa Murakami and British Artist Alexander Groves. Creating works that span across disciplines of art, design and film, SWINE explores themes of regional identity and the future of resources in the context of globalisation. SWINE’s work manifests a deep research into materials and modern industrialisation.

Hair highway 2104

W The screen shots below come from a video made by Swine Studio for Pearl Lam galleries, titled ‘Hair Highway 2014’. Due to a lot of my work being physical and a huge element of the creation of my pieces is all the behind the scene work it was suggested that I look at ‘Swine Studio’ for inspiration. Not knowing much about the studio, I decided to watch a few of their videos. The one below seemed to fit more with the outcome I’d be looking for due to the subject matter. I only knew the nature of the film (the process behind a product) once I got to 02:52 through the 04:27 minute long piece and the final product was only revealed towards the very end. What is beautiful about their work is that it is approached from an abstract direction. The video shows all elements of the process, from the mundane to the exciting. It’s due to it starting with the sourcing of the materials that the nature of the video is hidden until your most of the way through. The filmography of this piece is truly beautiful, not just due to the nature of the work being undertaken but because the variation in subject size. The scale of the subject videoed varies drastically, from a hand working a saw to a crafter inspecting his work in the sunlight. It shows all the care that is taken during the process, capturing all the raw beauty behind the scenes. I am going to attempt to make even a short clip of the process behind my steam bending taking inspiration from this clip. One of the greatest challenges I will face is the fact that I will be making the product and trying to film it. I can only see this being possible by recreating some of the processes to get the shots. This is down to me refusing to just set up a camera and begin working, as the aim of the film is to capture the “raw beauty” behind my work. Much like Swine Studio.

GC3.3, GC7.1

Matter Hugh Miller Furniture - The Studio

I’ve luckily had the opportunity to visit his Liverpool based Workshop studio an number of times as part of my Lined Research Project. I can personally say it is a lovely space, but never looks as clean as it’s been photographed above. Which I think is perfectly correct as after all it is a live space, it’s not a piece of art. This is perhaps where my idea of a ‘Wood Sanctuary’ begins to divert from the traditional Japanese approach. This is why I have chosen to look at Hugh’s Studio, as it has strong characteristics of both a Western and Eastern Workshop. The most important difference is the presence of work benches, while it is a standard feature in the West. It is highly controversial within the East, with the majority of the craftsman’s work taking place at low level. An important element of Japanese craftsmanship is that everything has a place. All tools have their specific location, be it a cabinet or simply a hook. While in the West we attempt to keep order in our workshops we come nowhere close. Except perhaps within Hugh’s Studio, the presence of an array of Japanese Tools all beautifully housed in hand crafted cabinets was definite shock from the normality of finding tools all over the workshop and Architecture School. As intriguing as this study is, and as refreshing as it was to visit a clean (er), empty workshop. Hugh’s Studio only resembles a slither of the spirituality found within the East, I need to look at the source. GC7.1, GC3.2, GC4.2

Matter

Steam Bending After many weeks of preparation, the steam box is finally complete (or at least I thought it was) and I could finally undertake my second craft. The delay came from having to wait for several specific products that I had purchased online, only to find out the products wouldn’t be delivered in time. Eventually all components of the box were complete. The latches were attached to the front flap to seal in the steam and help the box heat up quicker, while the thermometer would help me regulate and test out a variety of temperatures. Along with a Steam box and mould would also need to made. This is often a simple shape which you can clamp sequentially to place load along the heated timber to force into the desired shape.

The Practical Isn’t As Straight Forward As The Theory From my studies the theory behind ‘steam bending’ is relatively straightforward. After completing my box, I was relatively confident about my chances of success, after you’ve already seen the designs I had hoped to complete for the primer. One of the greatest lessons I learnt from this whole process is ‘the practical side is never as easy as the theory suggests’. There are some basic rules of thumb however. The thickness of the timber dictates the length of heating through a simple ration of 15 minutes per ½ inch of timber to heated. The other rule is that the temperature within the box should reach 212F / 100*C.

Attempt One - Simple Heating

Full of confidence I turned on the steamer (for the first time) connected all the hose’s, placed my ‘Mirnati’ within the chamber and waited. The temperature did eventually reach the required 100*C, it did however talk along time to do so and as such the box didn’t stay at the required temp for long enough time. This was due to several leaks been found along the edges of the box where a significant amount of steam was escaping. This resulted in the timber not being heated sufficiently and thus when I tried to bend it around my mould it simply snapped instead or warping as I had expected. The next option is seal the box more and look at using thinner profiles of timber and build up to more significant profiles once I can do the basics.

Attempt Two & Three - Pre Heat, Different Profiles

Following on from the initial learning experience/ failure of attempt one I looked to alter my set up. By sealing the box with tape and screwing in the sides more effectively I hoped the box would hold the steam for longer and keep the moisture in the chamber too. I also decided to try smaller profiles of timber a 10mm x 10mm and an 8mm x 45mm as opposed to the previous 16mm x 45mm. Along with this I heated the chamber up to 180F prior to placing the timber inside, I hoped this would allow the timber to be heated for longer and thus be more malleable. As you can see from the image to the right, there were some improvement but they were very mild minimal. The profile cracked at the first bend which was severely disheartening due to the length of time spent waiting around monitoring the box. It turns out the craft of steam bending is far fickler than I had initially believed. So, onto the next variation, at this point I believed that it might be the lack of moisture within the chamber causing issues. For the next attempt, I looked at pre-soaking the timber and insulating the interior of the chamber. GC8.1, GC3.3, GC2.3, GC3.2, GC2.1, GC8.3

Matter Steam Bending Exploration

Attempt Four - Pre Soaked, Insulated Chamber This time I honestly believed I had cracked the ‘formulae’ for the bending, then again I thought that every time as everything always looked more hopeful than the previous attempt. I pre-soaked the timber overnight in a hope that the lack of moisture in the box was an issue. Then by adding insulation to the internal walls of the chamber I hoped to decrease the time the chamber got up to sufficient heat, while also keeping the moisture inside the chamber instead of allowing it to soak into the chamber walls. Once I turned on the steamer I noticed the internal temperature rocked up significantly quicker than any previous attempt. I allowed the chamber to heat up to the desired 210F and then inserted three 9mm x 9mm pre-soaked ‘Minarnti’ profiles and left them for 45 minutes.

Despite all the additions and alterations, I once again was presented with near completed failure. Something seriously wasn’t right with my process or perhaps it was the timber I was using. It was time to talk to someone who had successfully achieved steam bending, as I had literally no idea what to do next.

Drying Method Prior to talking to the Fine Arts Wood Technician ‘James’, who apparently in previous years had successfully built a steam box and bent some timber I returned to the internet. Apparently, the way in which the timber is dried makes a massive difference on its ability to be steam bent. If the timber has been ‘Kiln Dried’, as I believed the Mirnati had, this results in the Lignin within the timber setting. If this happens they will not become loose and flexible again, which is the desired outcome of the steam heating. It is the creation of flexible lignin (fibres) within the timber that allows the timber to warp and bend. The best timber to use is that which has been allowed to naturally dry and it can still adjust to external temperature changes and thus its properties are alterable.

Timber Type and Other Issues From my discussion with ‘James’ I found out that despite what I had read, Miranti generally was a poor timber for steam bending due to its brittleness. The most successful timber was usually Ash, Oak and Sapelle as they react to the steam quicker than other types. I was also informed that despite what I thought moisture has nothing to do with the process, it is purely the application of heat. It was suggested that I covered the box in old carpet as this would drastically increase the temperature within the chamber. With this I looked undertake my final test before Primer, just praying that I’d have something to show for the presentation.

GC8.1, GC3.3, GC2.3, GC3.2, GC2.1, GC8.3

Matter

Steam Bending Exploration Attempt Five - Ash Having spoken with someone who has successfully achieved steam bending I was rather optimistic about this attempt. It finally felt as if everything was coming into place. Due to having an extra piece of 18mm x 9mm Ash profile I decided to test out the process first prior to using up my only supply of Sapelle and Oak. After initially heating the box to the required temperature I inserted the profile into the chamber and let it heat up for 45 minutes. Although the results weren’t exactly ground breaking, they did represent a huge step in progress from other attempts. I finally managed a bend, and not just from breaking the timber. Although improvements are obviously still possible this was a huge step for me and did in fact mean I’d have something to present for the primer. I didn’t want to just settle for a single slightly bent and broken piece as my total outcome from this whole ordeal, so I cranked up the steamer to full tilt and went for it one last time (as I had no time or materials left at this point).

Attempt Six - Ash, Oak, Sapelle and alot more Heat For the last attempt, I looked at everything I had found about the process over the many failures or learning experiences as they shall now be called and tried to find a combination of final conditions which would be most successful. I allowed the chamber to heat up to the recommended temperature and then placed the profiles in the chamber and left them for 90minutes, which was the longest time I had left any profiles in to date. Below are some images of the profiles put under pressure during the ‘bending’ part of the process, this was the first time I had the opportunity to clamp them all up and leave them to dry into the desired form. Although I am still not achieving what I had set out to achieve I have however made drastic improvements along the way. I’m not giving up on this method as I still have some more interventions and variations to add into the process.

GC8.1, GC3.3, GC2.3, GC3.2, GC2.1, GC8.3

Matter Primer Presentation

Feedback Despite the presentation only being around five minutes long, I believed I managed to get the essence of my thinking and the reasons behind my exploratory work across to the reviewers. The feedback was all generally positive with a surprising interest in the number of failures that had occurred during the ‘learning process’. One of the consistent comments was the element of time which has an important place within my work, not only the time it takes to craft joints such as the ‘Chidori’, but more importantly the time required to make the steam bending possible. An idea was put forward to me which may have some real resonance within the rest of my thesis project, which is that of planning a building 70 years in the future. This would allow you to grow and adapt the timber into a very specific shape, much in the same way boat builders used to mark up and tie down trees and come back years later to find they have grown into a perfect curve. GC1.1, GC1.2, GC3.1,

Matter Kielder Water & Forrest Park Kielder Forest is a large forestry plantation in Northumberland, England, surrounding Kielder village and the Kielder Water reservoir. It is the largest man-made woodland in England with three-quarters of its 250 square miles (650 km2) covered by forest. Prior to the 1920s, the land was predominantly open moorland, managed for grouse shooting and sheep grazing with remnants of native upland woodland existing along stream sides and in isolated craggy areas. The Forestry Commission, funded from the public purse, purchased land across the country with the brief of establishing a strategic reserve of timber for the nation. This single objective held sway until the 1960s. Since that time, management principles have changed to reflect rising awareness of environmental needs and to provide recreational facilities whilst seeking to maintain a sustainable supply of timber.

The Industry The predominant tree species within the park is Sitka Spruce, which covers 75% of the planted area; this species is especially suited to the damp northern conditions. Other species include Norway Spruce (4.5%), Lodgepole Pine, Scots Pine, Larch, Douglas-Fir, Birch, Rowan, Cherry, Oak, Beech and willow which make up the remaining planting. The park still features a heavy industrial element, 475,000 cubic meters of timber is harvested annually to supply local sawmilling, chipboard, pulp and wood fuel customers. Despite this impressive quantity of yearly timber harvest the forest remains full and healthy due to the careful planning and chopping strategies by the Forestry Commission, making it one of the largest successfully sustainable forest in Britain. As with all Forestry Commission woodlands timber is independently certified under the Forest Stewardship Council scheme.

The Beauty Despite being of man-made origin the lake and surrounding woodland park are home to some incredibly beautiful views and scenes. I’ll let the images below speak for themselves.

Why Kielder? Looking at the beauty above I expect you’d ask why I’d set my eyes on this of all places as the site for my thesis. Well having spent a lot of time up there recently as part of my linked research I can tell you that the Water and Forest Park are in no short supply of dramatic ‘contemporary’ installation, which vary in size. The reason this site speaks to me so much is that it features so many elements that are beginning to become dominant features within my thesis, such as the extensive supply of timber from the man-made forest. Additionally, the socio-economic setting is rather interesting, since most the employment within the forest work has been turned over to machines the local Forestry Commission villages are struggling to sustain themselves. There is a need for upskilling within the local community, I’m hoping that this can be achieved through carpentry and timber crafts. Which still means the history of the village remains established as being intricately linked with the surrounding forest. GC7.1, GC6.3, GC4.1

Matter Kielder Art & Architecture The spectacular landscape around Kielder Water & Forest Park has become the home of a unique collection of visual art and architecture instalations. As such it is safe to say that the park isn’t against the idea of pushing the boundaries in terms of their installations. Although there isn’t a conceivable design style, there is however a recurring theme across some of the designs. There is an obvious appreciation to use locally sourced timber to echo the surrounding park, while making sure that anything that is added to the landscape is exactly that, something which adds to the landscape rather than draws away from it. One of the schemes that speaks the most to me is that of the Observation which I will consider and study further. Due to the harshness of the environment, the scale and construction methods have had to be adjusted as such. This has resulted in few large scale installations other than the observatory and the Sky Den, both of which I suspect were mostly constructed off-site.

1 2

24 3

No 1 : The Observatory

4 5

No 5 : Mirage Deck

6 7

No 9 : Freya’s Cabin

No 3 : Blacksmith’s Workshop Kielder Viaduct

No 13 : Stell

No 4 : Kielder Column

No 14 : Scanning Falstone

No 6 : Mapping

No 16 : 55/02

No 7 : Play Garden

No 19 : Salmon Cubes

No 8 : Shadow

No 20 : Stone Frigate

No 11 : Sky Den

No 10 : Kielder Keepsake

No 21 : Janus Chairs

No 2 : Cat Cairn : The Kielder Skyspace

No 12 : Kielder Water & Islands

No 23 : Silvas Capitalis

GC5.3, GC7.1, GC7.2, GC9.1

Matter

Spectre

No 25 : The Warm Room

20 No 22 : View Points

21 22

No 21 : Janus Chairs

14 13

12 10 No 18 : Robinâ&#x20AC;&#x2122;s Hut

No 15 : wave Chamber

No 17 : Belvedere GC5.3, GC7.1, GC7.2, GC9.1

Matter The Observatory by Charles bay Architects The astronomical observatory, won in competition in 2005, was completed for the Kielder Partnership in May 2008 and has been acclaimed by architectural critics, the astronomical community and the public. The first observatory to use a ‘land pier’ form and all-timber construction, it houses two permanent telescopes and is designed to suit amateurs and professional astronomers alike. During the day, the observatory serves as a belvedere overlooking Kielder Forest. The observatory is an exemplar off-grid building, entirely self-powered by means of a wind turbine and photo-voltaic panels and features as the ‘mothership’ for the renowned Kielder star camps.

Analysis - Design Based on Function As you can see from the images above the Observatory is a very dramatic intervention into the Kielder’s natural landscape, yet this is an approach that is very familiar within the Water & Forrest park. I veleive these designs are accepted because fundamentally they are providing very habital useful spaces. The design of the Observation hasn’t come out of an Architect’s vison, or from a set of principles laid down by the clients which talk about profit and return. This space has been designed to simply do the best job that it can, which is to allow anyone who is willing to come and visit to have the ability look to the stars.

GC5.3, GC7.1, GC7.2, GC9.1

Matter The Design The observatory is in the form of an all-timber ‘land pier’, jutting out over the rough landscape of Black Fell. Designed specifically for amateur astronomers and outreach work, the accessible pier form includes an observation deck for private telescopes at night and for looking over Kielder Forest by day. The observatory is orientated south east towards its sister project, the nearby Kielder Sky Space by James Turrell (Image Right). The elevated structure touches the ground lightly while providing an excellent vantage point. The Douglas fir frame and larch cladding serve as reminders of the Kielder Forest’s economic role and relate to the timber structures of the former local mining industry, pit props and trestle bridges. By day, the building is mysterious and formal in its forest setting; when opened up for observing, the rotated turrets and opened shutters make it expressive and dynamic.

Relevance The importance of this study is down to the approach the Architect has taken. As I’ve said before the space is highly functional and had been designed to be so, as such there are minimal flourishes. The finish is simple and the expressed structure is a feature which lots of visitors find humbling, as it’s not trying to be too much. This is important for my own design as it will feature several important spaces / zones which all have varying environmental and space requirements. Some of these requirements are essential to not only make the spaces efficient but for them to work at all. Although I will be aiming for a higher level of finish due to my interests in Joinery and the overall scheme’s purpose is the reestablishment of craft based skills in Keilder.

GC5.3, GC7.1, GC7.2, GC9.1

Matter What Timber Is Grown In Kielder During my research into the Kielder Forestry Commission I managed to get hold of the Design Planâ&#x20AC;&#x2122;s for the area which lay out the management strategies associated with the many areas which make up Kielder Forrest. As Iâ&#x20AC;&#x2122;ve found out form previous research the properties of the timber have a drastic impact as to how the material should be best used. The majority of the timber grown within Kielder is low quality quick growing soft wood, spruce makes up the majority (80%), with the majority of the remaining forest being made up of Larch and Douglas Fir.

: Sitka Spruce

: Larch

: Broad Leaf

: Other Evergreen Conifer

: Design Plan Boundaries

: English Scottish Boundary

H le st

Kielder

Deadwater

ill

East Kielder

Lewisburn

South Reservoir

Kershope

Humble Hill GC7.1, GC8.1, GC9.2, GC5.2, GC8.3

Matter

Sitka Spruce

Norway Spruce

Larch

Douglas Fir

The largest quantity of timber in Kielder are conifers, specifically Stika Spruce (75%), due to it thriving in the damp northern conditions.

The next most planted species is that of the Norway Spruce (4.5%), was introduced to the area due to the speed of itâ&#x20AC;&#x2122;s growth and ability to witstand the Northern harsh conditions.

larch is popular conifer within kielder, itâ&#x20AC;&#x2122;s native to the cooler areas of ther Northern Hemisphere with large quantities found in Siberia and Canada.

Douglas Fir is an evergreen conifer species native to western northern america. Very sucessful growth in forest gaps due to logging.

Redesdale

The Comb

North Reservoir

South Falstone Wark GC7.1, GC8.1, GC9.2, GC5.2, GC8.3

Matter Where Does The Timber Go? On average 50 wagons of timber leave kileder daily, these are transported south to various industrial hubs (Carlisle, Hexham & Durham). The timber is cut down into low quality products, such as packing timber (BSW â&#x20AC;&#x201C; Carlisle), chip board (Egger â&#x20AC;&#x201C; Hexham), paper (Iggesung Paper Mill) or is simple sent to the Sembcore Power Plant for Bio-fuel.

10 Miles

Forming My Thesis Question It was at this point that my Thesis question / direction of exploration began to be formed. I wondered if it would be possible to develop a strategy which enable the timber grown in Kielder to be used / made into a higher quality product, thus re-enabling the diminishing pride of the area while also aiming to re-establish the lost industry to the area.

GC7.1, GC8.1, GC9.2, GC5.2, GC8.3

Matter

Cross laminated Timber Upon researching the properties of Spruce & larch In order to determine the best use for these relatively low quality materials. I discovered that they are the primary material used in the creation of Cross Laminated Timber (CLT). CLT is a highly talked about construction technique these days, with many people relating its emergence to the impact concrete had on the built environment. The isotopic nature of the material (multi-grained) makes it unilaterally strong, while other characteristics enable it to out preform traditional materials. It has a higher fire rating that steel due to its ability to remain structural stable for longer period than steel, which once reaching a specific heat will simple buckle under the pressure. It has great thermal efficiency, a great environmental rating due to the amount of Co2 that is permanently stored in the structure and works brilliantly in areas of tectonic pressures due to its ability to flex yet remain structurally sound.

CLT in the UK Currently the UK’S demand for CLT sits at around 35,000m3 annually (equivalent to 6000 detach homes). The demand however is expected to rise of the coming years, will large developers such as Legal & General homes looking to use 50,000m3 annually alone.

European CLT Manufacturer Study

a a

? c b

b c

a b c

UK Base : 1 Kingfisher House, London

UK Base : Peveril House, Derby

EU Base : Bilbao, Basque Country - Spain

UK Base : Waddington, Lincoln

UK Base : 25 Queen Elizabeth Street, London

Manufacturing : Ybbs on the Danube - Austria

? b

Manufacturing : Fugen, Austria

Manufacturing : Ereno, Spain

Manufacturing : Main Land Europe

Manufacturing : Bad St. Leonhard - Austria

Manufacturing : Bavaria & Finland

Manufacturing : Victoria Gasteiz, Spain

UK’s CLT Supply I considered where the UK’s minimal CLT demand is supplied from. The majority is sourced and produced in South East Germany, Austria and the Czech Republic. Due to the significant presence of fast growing timber forests, similar in many ways to Kielder Forrest. The largest supply to Europe is Stora Enso, who’s manufacturing facilities buried deep within Austria at on average 900 miles from the channel tunnel, resulting in long transport distances before even entering the UK.

GC7.1, GC8.1, GC9.2, GC5.2, GC8.3,

Matter Stora Enso Stora Enso is the largest manufacturer of CLT in Europe, the Austria based company sells into the European, American & Asian market. By analyzing the scale of the factories which produce the 140,oom3 annually and comparing these against the figures of the amount of raw timber required and the number of workers which work in the factories, I began to gauge the scale of intervention I would be looking to set within the Kielder landscape. The scale of my intervention would look to be similarly sized as the Stora Enso facilities as my program would like those I looked at enable to the complete production of CLT. From the arrival of raw logs straight from the source, through the required milling process and then finally the production of CLT out of cut and sawn planks.

Ybbs on the Danube - 1:5000

Bad St. Leonard - 1:5000

GC7.1, GC8.2, GC9.1, GC9.2, GC5.2, GC8.3

Matter Analysis of Stora Enso Facility Production Line

Cut and treated 200 x 50 mm x 3m raw planks arrive from external Stora Enso Timber Processing Plant

Raw planks are loaded onto the conveyor belt

Raw planks are checked for visual and quality control plus arranged within the CAM system

Finger joints are cut intpo the ends of the planks to allow for intermediate planks to interlock

Single layer of planks is arranged and then mechanically stacked

Multiple layers of single planks arranged with alternate grains

Purabond Glue is layered between each layer of planks

High pressure press is used to cure and condense the multiple layers

Two sided grinding machine cuts raw CLT down into engineered panels

CNC machine is used to customise the panels for customer orders

Waste is collected for recycling and Biomass fuel

Order quality check is undertaken

Customers orders are mechanically stacked

Flat-bed trucks are mechanically loaded up with customerâ&#x20AC;&#x2122;s orders

Orders leave factory and head straight to construction site

GC7.1, GC8.2, GC9.1, GC9.2, GC5.2, GC8.3

Matter CLT Studies - Missed Opportunities Studying the various projects that are supposedly highly innovative uses of CLT I see a missed opportunity. The projects have been designed using the isotopic nature of the material and in the case of the Pulpit Rock Mountain Lodge by Helen & Hard an innovative method of joining the components together to form the CLT panels (Dowel Glued Timber) The overall forms and structural layout however still resemble a building which could easily be converted into numerous different construction techniques, such as concrete, Post and beam or even steel. The material hasnâ&#x20AC;&#x2122;t been truly freed from its restrictions and enabled to fully fulfil the hype. The method of detailing with the material is resembling of the initial method of construction which is now 10 years old.

Gregory Kewish + Rebecca Sturrockâ&#x20AC;&#x2122;s CLT House Designed by Gregory Kewish + Rebecca Sturrock this CLT house was one of the first of its kind to be built within the UK to use the German Specialist Pre-Fab Structural System. Unlike other CLT systems which are still based around the Post, Beam and Infill system, this building has been constructed using only the panels strength. By doubling the thickness of the wall, roof and floor elements the structure is depending entirely on the strength and stiffness of the engineered timber. This approach is high experimental, as it was the first time that anything like this had been undertaken, with even the manufacturers initially uncertain that it would even stand up. The system works like simple building blocks or a puzzle, all the pieces connect to each other and lap into carefully engineered grooves. This process resembles my initial studies into Japanese joinery, with not just the types of connections being similar, but mainly the idea of designing with the materials properties at mind, thus designing with the material for what it can be and not just using it as a cladding or infill system.

GC7.1, GC8.3, GC4.2, GC8.2

Matter Pulpit Rock Mountain Lodge - Helen & Hard From the beginning Pulpit Rock Mountain Lodge began using traditional Norwegian materials such as stone and wood combined with glass to produce a modern design with links back to its wilderness trekking roots. The Pulpit Mountain Lodge may be the most complex doweled wood building ever built. The structural concept involved a rhythm of load-bearing shear walls spaced at about 2.8m centers running the length of the building. The issues I have with this design’s use of CLT is that it could equally be built out of a basic timber frame system, a steel frame or even concrete solution could achieve a near exact copy of the design. The design may use the advantages of CLT in some ways, though it hasn’t truly pushed the design to fully incorporate the Isotropic nature of CLT. To the same extent as Gregory Kew8ish & Rebecca Sturrock’s CLT house has.

Planar CLT discussion with Engineer & The Return of Japanese Joinery During a meeting with an engineer I explained what I aimed to develop out of my thesis and aimed to create a designed based on an extensive use of planar CLT architecture. According to the engineer however what I was considering technically hadn’t been invented yet and was in his eyes one of the main issues holding back CLT from becoming widely used. To create stiff planar CLT, you would need to make it out of many different components which would interlink to create a form which was entirely structural. The issue is currently the connections between CLT are weak and for my system to work I would need to design an interlocking joint where the joint was as strong as the middle section of CLT panel. It was at this stage that my whole years experimenting3with various wood working techniques began to solidify into one compounded thesis. My earlier investigations into Japanese joinery showed me numerous techniques for interlocking timber elements to create strong yet flexible joints. It was clear that my thesis design would need to be designed around the application of this detailing approach and I should aim to design and prototype many joints, thus fulfilling the role of the facility I was looking to design. A CLT Research and Design facility made from and expressive of the very construction techniques it looked to produce.

GC7.1, GC8.3, GC4.2, GC5.3, GC8.2

Matter Site Opportunities & Existing Site Language For the location of my intervention I looked to find a Kileder; the more leisure orientated public accessible southern decided upon a narrowing point in the top part of the lake few opportunities to bridge the gap across the lake, due to

location which could side of the lake and known as the Bakethin distance between shore

bridge the two functions of the industrial northern side. I Weir, as it offers one of the lines overall exceeding 500m.

What Iâ&#x20AC;&#x2122;ve learned from the existing interventions and my own personal work with Kielder Art 7 Architecture during my Linked Research Module is that even the smallest installation / pavilion given the right site positioning, materiality and design approach can have a huge presence in the vast Kielder landscape.

407m 218m

East Kielder

Castle Hill

279m

2 447m

Deadwater The Observatory

Kielder Village

Kielder School

326m

275m

268m

Bakethin Weir

188m

222m

302m

299m

Lewisburn

265m

368m

302m

South Reservoir

3 Miles

GC1.1, GC5.3, GC6.3

South LakeSide Way 226m

218m 246m

Matter Kielder Art & Architecture â&#x20AC;&#x201C; Belvedere Towards the southern end of the lake on the northern shoreline sits the installation known as the Belvedere. Despite its size the Belveder has a huge presence within the landscape. Itâ&#x20AC;&#x2122;s shinny finish, adjacency to the lakeâ&#x20AC;&#x2122;s shoreline and openness to sunlight enables it to sparkle like a diamond in the surrounding natural landscape.

Wide Scale Context

370m

352m

North Reservoir

North Haul Road 256m

Belvedere Kielder Damn

South Falstone

GC1.1, GC5.3, GC6.3

Matter Design Opportunities – Bakethin Weir The Bakethin Weir has the potential to enable a dramatic yet settled intervention into the landscape. Due to its position within a natural amphitheater, elements of the program can be hidden away from wide views, while other aspects of the surrounding landscape can be designed into and expressed through the intervention. The map to the left which shows the extent of the Kielder lake and parts of the surrounding mountainous terrain indicates parts of the landscape which could be designed into the intervention.

Site layout Stratergy

Responding to Existing Site Language

Industrial Programme Snakes Through Facility

Northern Side Industrial Axis vs Southern Side leisure Axis with Axis

All Stages are Expressed Along the Public Facade

Leisure Elements Create Enclosures and Frame Visitors Attention Towards the Landscape

Visitors Access Routes Weaves Through Facility Access is Mitigated Depending on Programme

Design Brief Within the overall design I’m looking to create a number of interventions which respond to and become part of the site. The element which will be most significant within the overall landscape will be a visitor’s tower. The aim is that this forms an extension of the already established Educational pavilions present across Kielder Forrest & lake Park, various views will indicate and direct views out of the tower towards the surrounding beauty, while also representing a dramatic example of what’s possible with CLT. The second intervention will be a bridge allowing easy movement from the publicly accessible south to the northern side of the lake. The main bulk of the facility will be nestled into the sloping landscape with the aim of mitigating its presence. The main facility will be formed of a series of spaces used to research, prototype, produce and test CLT. With the aim of moving away from the now outdated means of detailing the material, thus enabling the UK major foothold in the booming CLT market.

GC1.1, GC2.1, GC3.3, GC7.2

Matter Site Plan Location By positioning the facility on the northern side of the lake I aimed to draw people across from the Leisure Orientated South Side to the Industry Based North. Thus blending the two main programs of Kielder, while also creating a new mitigated presence within the Kielder Landscape in the form of an expression of .....

â&#x20AC;&#x2DC;Their Timber, Built by Them, Their Wayâ&#x20AC;&#x2122;

Site Plan - 1 : 1000

GC1.1, GC2.3, GC5.3, GC7.2

Matter Programs of the Site My intervention within the site of Kielder looks to tie in with both parts of the sites existing program of Industry & Leisure / Education. Firstly iâ&#x20AC;&#x2122;ve looked to work within the existing timber industry present within kielder, to produce a program that consists of the following. Raw Milling of Kielder logs, Fabrication of CLT panels, Design & Prototyping Studios for the creation and testing of new joints and systems & Testing of CLTâ&#x20AC;&#x2122;s tectonic and fire resiliance. Thus hoping to restablish the diminishing industry in the area & Production Line - 1:100 beyond. by creating a centre based on puting the UK at the forefront of- emerging CLT market. Production Line 1 : 100

GC1.1, GC9.1, Gc8.2, GC7.2, GC9.3

Matter

14 13

15 17

- Materials Arrival 17

3 Arrival - Plank Kiln - Materials

- CLT Storage 18 & Quality Control Point 13

- Service Store

6 - CLT Assembly, Gluing & Pressing - External Demonstration 16 10 - Factory12Workshop - Product Storage & Quality Control Point

- Tectonic Testing Shake Table - Control Point

15 Testing - Cafe Shake Table - Tectonic

1 1 Demonstration 16 Point - Internal - Control -Tower Base - Cafe 17

11 Workshop - Assembly - Prototype

9 -&Prototype Workshop - CLT Storage Quality Control Point 13

- Plank CNC

2 1

4 Planning - Product&Storage Quality Control - De-Barking, Pallette&Assembly 8 Point - Service10 Store- Factory Workshop 5 - Plank Kiln

2 3

18 4

7 18 16 - De-Barking, Planning &16Pallette Assembly 8

15 1

7 6

5 10

10 4

9 6

18 Demonstration -CLT Pavillion Garden - Internal

17 -Tower - Plank CNC 11 - Assembly 1 - Materials Arrival 7 - CLT Storage & Quality Control Point Base 13 - Tectonic Testing Shake Table -- Materials Arrival 7 CLT Storage & Quality Control Point 13 - Tectonic Testing Shake Table CLT Assembly, Gluing & Pressing 12 External Demonstration 18 -CLT Pavillion GardenPoint 2 - De-Barking, Planning & Pallette Assembly 8 - Service Store 14 - Control Diagrmatic Ground Floor14Plan - 1 :600 - De-Barking, Planning & Pallette Assembly 8 - Service Store Control Point 3 - Plank Kiln 9 - Prototype Workshop 15 - Cafe - Plank Kiln 9 - Prototype Workshop 15 - Cafe 10 - Factory Workshop 16 - Internal Demonstration 4 - Product Storage & Quality Control Point 10 - Factory Workshop 16 - Internal Demonstration - Product Storage & Quality Control Point Diagrmatic Ground Floor Plan 1 :600 17 -Tower Base 5 - Plank CNC 11 - Assembly 17 -Tower Base - Plank CNC 11 - Assembly 6 - CLT Assembly, Gluing & Pressing 12 - External Demonstration 18 -CLT Pavillion Garden - CLT Assembly, Gluing & Pressing 12 - External Demonstration 18 -CLT Pavillion Garden

5 16 2 3 4 5

Diagrmatic Ground Floor Plan - 14 :600 Diagrmatic Ground Floor Plan - 1 :600 4

5 6

4 8

6 4

- Testing Control Pod

- Furnance Testing

- Quality Control Pod

- Testing Control Pod

- Furnance Testing

- Quality Control Pod 1

- Production Control Pod

- Education Pod

- Design Studio

- Circulation Pathway

- Public Observation Pod

- Production Control Pod

- Education Pod

- Design Studio

- Circulation Pathway

- Testing Control Pod

2 - Furnance Testing - Testing Control Pod

4 6

GC7.2, GC8.3, GC9.3

- Public Observation Pod 4

4 5

5 5

3 4

4 8

- Production Control Pod

5 - Design Studio - Production Control Pod

- Education Pod

8 - Circulation Pathway - Education Pod

Matter Education / Leisure Program vs Production Line Program By analysing the exisiting CLT factories of Austria nd SE germany, I looked to design the project around the factoriues Exploded Axonometric - 1 : 250 production Line, wiule also considering how the Education / leisure program can be interwined. An example of this is the Glass Front which exporesses the Stages of the Production Line. the quality control / storage points of the production line are located to the public front of the facility, enabling people in the forrestry tower and the external CLT pavilion garden to understand the processess undertaken within the building by merely studying the facade.

GC1.3, GC2.3, GC7.2, GC9.1, GC8.3

Matter Exploded Axonometric - 1 : 250

Building Form The form of the facility has come from setting the industrial elements of the program to the industrial axis of the northside of the lake and the leisure elements to the leisure orientated axis of the southern side of the lake. The Tower and Public Instalations have been designed to express the Sculptural Opportunity of CLT and what my proposed structural system has to offer. While the testing facilities design bridges the gap between the needs of the program and the joy of the site opportunities.

Tower Framed Views

Forestry Tower

Glass Front Storage

Management Pods

Framing and expressing the Landscape

Production line stages expressed along glass fronted bays

Production line control points are hung from the roof structure

GC1.3, GC2.3, GC7.2, GC9.1, GC8.3

Matter Drawing People Into the Facility

Secondly by creating a New Destination for for visitors based on Education & Experiencing the Landscape, while drawing from the Existing Design Language of Kielder Art & Architecture Instalations. This formed the decision for the tower which possesses carefully Designed Views, aimed to educate the visitors about how the Park is Managed but also to draw people to Specific Parts of the Landscape. Care has been taken as to when the visitors should be emersed within the fabrication & Testing Program, and when to draw their attention out of the facilty towards the surrounding natural amphiteathre of the Bakethin Weirs Northern Lake Side.

Visitor Discovery Routes

Visitor Discovery Routes Foyer (View to North Peak)

Level 1 (Site Layering)

Level 2 (Small to Large Scale)

Level 3 (Site Scale)

Level 4 (Forrestry Management)

Cafe (North Lake View)

Landscape Programme

Jurney Through Facility

Bridge Crossing

Forrest Education Centre (Entrance)

Internal Demonstration Area

Foyer (View to North Peak)

Jurney Through Facility

c a

Arrival - Northern Side

f Jurney Through Facility

Tectonic Testing (Shake Plate)

Testing Facility Roof Top

Fire Testing (View Through Skylight)

Roof Top View-Point

Education Pod Entrance

Factory Observation Pod

Education Pod End

Foyer (View to North Peak)

Level 1 (Site Layering)

Level 2 (Small to Large Scale)

Level 3 (Site Scale)

Level 4 (Forrestry Management)

Cafe (North Lake View)

Level 1

Tower View - level 2

layering of the Site

The first view of the facility is of the Tower dominantly protruding from tree canopy on the North Side of the lake, with the bridge leading you across

Level 2â&#x20AC;&#x2122;s view is all about showing the scale of the site, the view directs you down to the shore line, then to the opposing Shoreline and finally to the mountains beyond

Vistior Discovery Route Stage

Arrival - Northern Side

Tower View - Level 2

The firest view of the facility is of the Tower dominatly protruding from the tree canopy on the North Side of the lake, with the bridge leading you across

Level 2â&#x20AC;&#x2122;s view is all about showing off the site, the view directs you down to the shore line, then to the opposing shore and finall to the mountanous peaks beyond

GC1.3, GC2.3, GC7.2, GC9.1, GC8.3, GC3.3

Programme

First Visibilty of Tower

Programme

Jurney Through Facility

Landscape

Site Arrival

Landscape

Matter

Visitor Discovery Routes Visitor Routes Visitor Routes e e

f f

e e

d d b b

f f

c c

a a

d d c c d d

c c

b b

g g

f f

Factory Floor Observation

a a Pod

e e

Education Pod - Observation Point

Off of the Education Pod is access to two Observation Pods, which allow the public to overlook part of the factory floor enabling them to engage with the programme safely

At the end of the Education Pod is an Observation Point, directing visitors attention to the prominent Peak to the NE and to one of the Workers Circulation/Release Pod

Public Access & Observation Pods Public Access & Observation Pods

Workers Circultation & Process Control Pods Workers Circultation & Process Control Pods

Vistior Discovery Route Stage

Factory Floor Observation Pod

Education Pod - Observation Point

Off of the Education Pod is access to two Observation Pods, which allow the public to overlook part of the factory floor, enabling them to engague with the production line safely

At the end of the Education Pod is an Observation Point, directing visitors attention to the prominent peal to the NE and to one of the workers Circulation / Release Pods

GC1.3, GC2.3, GC7.2, GC9.1, GC8.3, GC3.3

ght)

Matter Education / Leisure Program - The Forestry Tower Following on from the exisiting design language established by the Kielder Art & Architecture Instalations, the Forestry Tower has been designed to enable the Education and Exploration of the visitors. Each level has a framed view that directs the visitors to a different aspect of the surround landscape. While the top view of the tower looks to educate the visitors about how the surrounding landscape is managed by the Forestry Commison due to the number of visible design plan areas.

Tower Framed Views

Level 2 View The design of this view aims the visitor to experience the scale variation across the site by directing them down towards the shore line then across the adjacent shore. While the other end of the view forces the viewer up towards the surrounding peaks of the Bakethin Weirâ&#x20AC;&#x2122;s Ampithetre-esc context.

Level 1

Level 2

layering of the Site

Scale Variation of the Site Tower Framed Views

Tower TowerFramed FramedViews Views

Level 2

Level 3

Scale Variation of the Site

Size of the Site

Level 1

Level Level Level2122

Layering of the Site

Scale Variation of layering Scale ScaleVariation Variation of the Site of of the theSite Site

Level 3

Level Level Level Level 3332

Size of the Site

Size of the Site Size Scale Sizeof of Variation the theSite Site of the Site

GC1.3, GC2.3, GC3.1, GC8.2, GC9.1

Level 4

Level Level Level 444 3 Level

Forest Management View & Info

Forrestry Management Forrestry Forrestry Management Management Size of the Site Information Information Information

Matter

Tower ViewTower - level 2 Forrestry

Level 2â&#x20AC;&#x2122;s view is all about showing the scale of the site, the view directs you down to the shore line, then to the Level 2â&#x20AC;&#x2122;sfinally Framed View opposing Shoreline and to the mountains beyond

Vistior Discovery Route Stage GC1.3, GC2.3, GC3.1, GC8.2, GC9.1

Matter Section - Tower & Production Line This section is cut down the center of the facilty, it shows the scale of the Forestry Tower in comparison to the rest of the facility. Nestled between the main facilty and the Forestry Tower sits the public CLT pavillion garden, thus showing the entire scale of designs possible with the use of CLT.

Section AA

Section BB

Tower Journey

Testing Facility Facade

As the visitors ascend the Forestry Tower the experience various views of the landscape, the flexible panel system enables the form of the tower to open and close as needed.

The facade of the testing facilty opens up to the Public CLT pavilion garden, thus enabling an extensive look at the Tectonic Shake Plate.

GC1.1, GC5.3, GC8.1, GC9.1,

Matter

Section AA - 1 : 250

Section BB - 1 : 250

Control Pod

Hung Walkways & Cable System

The production line control pods are hung from the triangular roof trusses, enabling structure free zone for the production line to run through.

The 1st floor walkways are hung from the roof enabling the management and education program to be flexibly laid over the top of the production line. A cables sytem is also hiung from the roof, enabling large components to be effortlessly moved around the facilty.

GC1.1, GC5.3, GC8.1, GC9.1,

Matter Section - Rear Control Pods & Testing Facility This section is cut along the management transition route towards the rear of facilty. It shows the various spaces that are housed within the roof structure, which has been made possible due to the truss roof system. Along with the transition pods that are located between the Production Line bays. The stages of the Production line have been separated into individual bays, this is to reduce the risk of fire speading throughout the structure. it also enables services to run between the bays back to the rear of the building.

Sectio

Production Line

Management Circulation Pods

the production line runs along the industrial axis of the surrounding north side of the bakethin Weir (back to front in drawing)

Pods are located above the roof line where circulation between management pods is required

GC1.1, GC5.3, GC8.1, GC9.1,

Matter

Section BB - 1 : 250

Design Studio Pods

Testing Facilty

The design studio spaces which are required for the development and research of new CLT methods is located above the assembly part of the production Line, thus enabling complete control over any new intervention.

The roof of the Testing Facilty has been designed to offer the visitors a magnificent view across the Kielder Landscape

GC1.1, GC5.3, GC8.1, GC9.1,

Matter Roof Design The roof of the main part of the facility has been designed as a Repeatable Module, which expresses CLTâ&#x20AC;&#x2122;s ability to respond to te Structural, Environmental and Atmospheric Conditions of the program. While offering the opportunity to wrap the Management & Visitors Program over the top of the factory Floor.

CLT Roof CLT System Roof System

400mm Thick CLT Triangular Truss Rotated Truss Trimmed within Roof Space 400mm400mm Thick CLT Thick Triangular CLT Triangular Truss Rotated Truss Rotated RotatedRotated Truss Trimmed within Roof Space 20o Vertically 20o Vertically 20o Vertically

Rotated Tru

Single Sided Skylights fitted within the System CLT Tr CLT Roof CLT System CLT Roof Roof System System SingleSkylights Sided Skylights fittedthe within the System CLT Triangular Roof Trusses is Main Roof Inte Single Sided fitted within System CLT Triangular Roof Trusses is Main Roof Interventio to Allow Extensive Daylight 400mm thick CLT Triangular Roof truss Rotated 200 Vertically Rotated truss Trimmed within Roof Space 3.4m Trusses Centres SetElement at Set3.4m at 3.4m Centres Centres to Allow Extensive Daylight Structural Element H to Allow Extensive Daylight Structural Hung fro Rotated Rotated Trimmed Rotated Truss within Truss Trimmed Trimmed Roof Space within within RoofRoof Space SpaceTrusses Set atTrusses Truss sace Rotated RotatedTruss Trusses Set at 3.4m Centres

hin he the CLT System Triangular CLTRoof CLT Triangular Trusses Triangular is Main Roof Trusses Roof Trusses is Main isare Main Roof Interventions Roof Interventions such Interventions as Observation suchsuch as Pods Observation as Observation are PodsPods are are oofSystem Interventions such asRoof Observation Pods tlight Structural Element Structural Structural Element Element Hung from the Hung Triangular Hung from from theRoof Triangular the Trusses Triangular Roof Roof Trusses TrussesDaylight Trusses set at 3.4m Centres Singe Sided Skylights within the System allows Extensive Hung from the Triangular Roof Trusses 1 : 100 Roof Section 1 : 100 Roof Section

1 : 100 Roof Section 1 : 100 RoofRoof Section 1 : 100 Section

CLT Triangular Roof Trusses form Main Roof Structure

GC1.1, GC8.1, GC9.1,

Interventions such as Observation Pods are Hung from the Triangular Roof Trusses

Visitor Routes

Matter

Education Pods & Circulation d c enables Public Interaction with the production line The placement of the educational Podâ&#x20AC;&#x2122;s withinb the roof structure but also offers signifigant views out towards the landscape, once visitors have journyed the length of it. the same consideration has beenf given to the workers / circulation routes through the program when a needed. Drawing them away from their Manufacturing Roles out towards the Natural Surroundings.

1 : 100 Roof Section c

Visitor Routes

f e

Pods

Workers Circultation & Process Control Pods c

Public Access & Observation Pods

GC1.3, GC5.1, GC8.1

Worker

Matter CLT Joint Redesign During a conversation with Steve Webb of Webb & Yates Engineers, I was directed to explore steel free connections for CLT by drawing on my previous experience with interlocking Japanese joinery & njecting a fixing polymer into the joints as a locking pin. This would enablew the expression of true Planar Architecture, freeing CLT from a structural grid. Thus enabling CLT to fully enguage with the building market by fulfilling its potential.

Traditional Traditional Traditional Timber Timber Timber Joints Joints Joints

Okkake-Daisen-Tsugi Okkake-Daisen-Tsugi Okkake-Daisen-Tsugi

Sao-tsugi Sao-tsugi Sao-tsugi

Rabbated Rabbated Rabbated oblique oblique scaff oblique joint. scaffscaff joint. Thejoint. potential The The potential potential of thisofdesign this of this design design comescomes from comes the from length from the length the of the length of overlap the of overlap theand overlap the and presence and the presence the presence of of of not only not the not onlymain only the main the twomain elements two two elements elements interlocking, interlocking, interlocking, but addibut but addiadditionally tionally ationally third a third element a third element which element which binds which binds thebinds joint the together. joint the joint together. together.

Lapped Lapped rod Lapped mortise rod rod mortise and mortise tennon and and tennon joint. tennon joint. Silimarly joint. Silimarly Silimarly to theto the to the Okkake-Daisen-Tsugi, Okkake-Daisen-Tsugi, Okkake-Daisen-Tsugi, this joint this this joint features joint features 3features elements 3 elements 3 elements of of of whichwhich onewhich acts oneas one acts a binding acts as a as binding arod. binding Although rod.rod. Although Although the two themain two the two main main elements elements elements don’t don’t interlock, don’t interlock, interlock, the cuts the and the cutscuts overall and and overall form overall form of form of of the connections the connections the connections are far are more far aremore achievable far more achievable achievable in form. in form. in form.

Okkake-Daisen-Tsugi

Rabbated Oblique scaff joint. The potential of this design comes from the length of the overlap and the presence of not only the two main elements interlocking, but additionally a third element which binds the joint together.

Sao-tsugi

Lapped rod mortise and tennon joint. Similarly to the Okkake-Daisen-Tsugi, this joint features 3 elements of which one acts as a binding rod. Although the two main elements Prototyping Prototyping Prototyping Panel Panel Panel Joints Joints Joints don’t interlock, the cuts and overall form of the connections are far more achievable in form.

Glulam Glulam Splicing Glulam Splicing Splicing

Having Having taken Having taken inspiration taken inspiration inspiration from from the methods from the methods the used methods for used exused for tending tending Glulam tending Glulam beams Glulam beams bybeams splicing by splicing bythe splicing smaller the the smaller timbers smaller timbt together together together and taking and and taking note taking note of the note ofrecuring the of the recuring recuring “fixing” “fixing” ele“fixine mentsments present ments present inpresent a vast in ain number vast a vast number of number japanese of japanese of japanese and tradiand and tra tonal tonal European tonal European European timber timber Joints timber Joints anJoints engineer an engineer an engineer and myself and and my havingformulated taken inspiration from formulated formulated this design this this design during design during a the during tutorial a methods tutorial abased tutorial based discusbased disc used for extending Glulam beams by splicing sion. sion.sion.

Glulam Splicing

smaller timbers together and taking note of the recuring “fixing” element present in a vast number of japanese and traditional European timber joints, Steve Webb and I formulated this design during a tutorial based discussion.

GC3.1, GC7.1, GC8.1 Planing Planing Planing

Gluing Gluing & Gluing Pressing & Pressing & of Pressing Components of Components of Components

CNC Components CNCCNC Components Components

This part ThisThis of part the part ofprocess the of the process signifies process signifies the signifies initial the the initial working initial working of working of ofAs with As the with As actual with the actual the production actual production production line, elements line,line, elements elements of theofCLT the of CLT the CLTParts Parts of the Parts of panels the of panels the would panels would require would require CNC require in CNC order CNC in order to increate order to creat to c

n n ff --

of ain of

g g of of ks. ks. rr to to

LT nd nts.

comes from the length of the overlap and the presence of not only the main two elements interlocking, but additionally a third element which binds the joint together.

Okkake-Daisen-Tsugi, this joint features 3 elements of which one acts as a binding rod. Although the two main Matterelements don’t interlock, the cuts and overall form of the connections are far more achievable in form.

Prototyping CLT Joints

t t m t f s

Prototyping Panel Joints

Following on from my initial testing and protototyping of the japanense joinery and my experiments with with steam bending I decided to conclude my work with CLT by prototyping the three joints I had studied to examine the potential for steel free CLT connections. I looked to follow the production line i set out within my facilty, by working through similar work flow steps.

Sao-tsugi Sao-tsugi

Lapped Lapped rod rod mortise mortise and and tennon tennon joint. joint. Silimarly Silimarly to to the the Okkake-Daisen-Tsugi, this joint features 3 elements Okkake-Daisen-Tsugi, this joint features 3 elements of of which one acts as a binding rod. Although the two main which one acts as a binding rod. Although the two main elements the cuts elements don’t don’t interlock, interlock, the Splicing cuts and and overall overall form form of of Glulam the connections are far more achievable in form. the connections are far more achievable in form. Having taken inspiration from the methods used for extending Glulam beams by splicing the smaller timbers together and taking note of the recuring “fixing” elements present in a vast number of japanese and traditonal European timber Joints an engineer and myself formulated this design during a tutorial based discussion. Planing

Prototyping Panel Joints

This part of the process signifies the initial working of Planing the raw material and the later first CNC of the planks. As the planks I purchased required planning in order to This them part of the process signifies the initial working of work down to a coherent size. the raw material and the later first CNC of the planks. As the planks I purchased required planning in order to work them down to a coherent size.

Glulam Glulam Splicing Splicing

Having Having taken taken inspiration inspiration from from the the methods methods used used for for exextending Glulam beams by splicing the smaller timbers tending Glulam beams by splicing the smaller timbers together together and and taking taking note note of of the the recuring recuring “fixing” “fixing” eleelements present in a vast number of japanese and tradiments present in a vast number of japanese and traditonal tonal European European timber timber Joints Joints an an engineer engineer and and myself myself formulated this design during a tutorial based discusformulated this design during a tutorial based discussion. sion. Planing This part of the & process signifies the initial working of Gluing Pressing of Components the raw material and the later first CNC of the planks. As the planks I purchased required planning in order to As with the actual production line, elements of the CLT work themGluing down to coherentofsize. & aPressing Components

As pan pre

As with the actual production line, elements of the CLT panels or the entire panels themselves will be glued and pressed to create the isotropic CLT panels / components.

Par the wh prio

panels or the entire panels themselves will be glued and pressed to create the isotropic CLT panels / components.

Gluing Gluing & & Pressing Pressing of of Components Components

CNC CNC Components Components

As production line, As with with the the actual actualCNC production line, elements elements of of the the CLT CLT Components panels or the entire panels themselves will be glued panels or the entire panels themselves will be glued and and pressed to create the isotropic CLT panels / components. pressed to create the isotropic CLT panels / components. Parts of the panels would require CNC in order to create CNC Components the bespoke jointing system. The CNC can either occur

Parts the would require in order Parts of of Assembly the panels panels of would require CNC CNC inPanels order to to create create Components into the bespoke jointing system. The CNC can either the bespoke jointing system. The CNC can either occur occur when the panels are complete or elements can be CNC the panels arepanels, complete or elements can be CNC’d CNC Aswhen is required with elements need to be prior to the assembly of the panels. priorto toassembly the assembly ofthe thepanels. panels.into Panels Assembly of Components prioir into

when the panels are complete or elements can be CNC Partstoofthe theassembly panels would require CNC in order to create prior of the panels. the bespoke jointing system. The CNC can either occur when the panels are complete or elements can be CNC prior to the assembly the panels.into Panels Assembly of of Components

As is required with panels, elements need to be CNC’d prioir to assembly into the panels.

As is required with panels, elements need to be CNC’d prioir to assembly into the panels. Securing Panels Fixing bolts are forced into the panels, thus fixing the joints and the panels in place. The bolts stop the panels from sliding on the vertical axis, creating a fixed joint.

Construction & Design Features Securing Panels

Interconnecting Panels

C’d C’d

Fixing bolts are forced into the panels, thus fixing the Securing Panels joints and the panelsSecuring in place.Panels The bolts stop the panels from sliding the vertical a fixed joint. Fixing boltson are forced intoaxis, the creating panels, thus fixing the

The panels are able to be slid into place down the vertiInterconnecting Panels Panels cle axis, allowing Interconnecting for them to lowered into place on site.

the

The panels are able to be slid into place down the verti-

The Fixing bolts are forced into the panels, thus fixing the The panels panels are are able able to to be be slid slid into into place place down down the the vertivertijoints and the panels in place. The bolts stop the panels cle axis, allowing for them to lowered into place on joints and the panels in place. The bolts stop the panels cle axis, allowing for them to lowered into place on site. site. from sliding on the vertical axis, creating a fixed joint. from sliding on the vertical axis, creating a fixedGC7.1, joint.GC8.1, GC3.2, GC3.3 Interconnecting Panels

Fix join fro

The cle

Matter CLT Joint Testing Okkake-Daisen-Tsugi

Sao-tsugi

Glulam Splicing Inspired

GC7.1, GC8.1, GC3.2, GC3.3

Securing Panels Matter

Assembly of Components Assembly into Panels of Components into Panels

Securing Panels

Interconnecting PanelsInterconnecting Panels

As is required with panels, As is required elements with needpanels, to be CNC’d elements need Fixing to be CNC’d bolts are forcedFixing into the bolts panels, are forced thus fixing into the thepanels, thus Thefixing panelsthe are able to The be slid panels intoare place able down to bethe slid vertiinto place down the vertiprioir to assembly intoprioir the panels. to assembly into the panels. joints and the panels in joints place. and The thebolts panels stopinthe place. panels The bolts stop clethe axis, panels allowing for them cle axis, to lowered allowing into forplace themon to site. lowered into place on site. from sliding on the vertical from axis, sliding creating on the avertical fixed joint. axis, creating a fixed joint.

CLT Construction & Design Features Securing Panels Construction Construction & Design Features & Design Features Securing Panels

Assembly of Components into Panels Assembly of Components into Panels

Interconnecting PanelsInterconnecting Panels

As is required with panels, elements with needpanels, to be CNC’d bolts are forcedFixing into the panels, thus fixing thepanels, thus Thefixing panelsthe are able to The be slid intoare place down vertiAs is required elements need Fixing to be CNC’d bolts are forced into the panels able to bethe slid into place down the vertiprioir to assembly intoprioir the panels. joints and the panels in place. The bolts stopinthe panels cle the axis, allowing for them to lowered into to assembly into the panels. joints and the panels place. The bolts stop panels cle axis, allowing forplace themon to site. lowered into place on site. from sliding on the vertical creating fixed joint. from axis, sliding on theavertical axis, creating a fixed joint.

ConstructionConstruction & Design Features & Design Features

Structural Wall PanelsStructural Wall Panels Structural Wall Panels

Double thickness wall Double panels allows thickness for awall far panels greaterallows forces for to be a far ab-greater forces to be absorbed. No additional sorbed. structure Noisadditional needed at structure connection is points, needed the at connection points, the panels simply need to panels be housed simply at the need foundation to be housed level.at the foundation level.

Double thickness wall panels allows for a far greater forces to be absorbed. No additional structure Structural Wall Panels Structural Wall Panels is needed at connection points, the panels Double to thickness panels allows for farthe greaterallows forces to be ab-greater forces simply need bewallhoused atawall foundation level. Double thickness panels for a far to be absorbed. No additional sorbed. structure needed at structure connection Noisadditional is points, needed the at connection points, the panels simply need to be housed at the foundation level.at the foundation level. panels simply need to be housed

Fixing Bars

The structural systemsThe works structural by interlocking systems works panelsby being interlocking lowered panels being lowered into position. The adjoining into position. panels have The adjoining an overlapping panelsconnection have an overlapping connection joint, creating a strongjoint, connection creatingbetween a strongpanels connection aimingbetween to be aspanels aiming to be as strong as the panels themselves. strong as the panels themselves.

The structural systems works by interlocking panels being lowered into Interconnecting PanelsInterconnecting Panelshave an overlapping position. The adjoining panels The structural systemsThe works by interlocking panelsby being lowered panels connection joint, creating ainterlocking strong connection structural systems works being lowered between into position. The adjoining panels have an overlapping into position. The adjoining panelsconnection have an overlapping connection joint, creating a aiming strongjoint, connection aimingbetween to panels to between be aspanels strong asbe asthe creating a strong connection panelspanels aiming to bethemselves. as strong as the panels themselves. strong as the panels themselves.

Pre-Fabrication of Pods Pre-Fabrication of Pods

Interconnected panelsInterconnected are fixed in place panels by fixing are fixed bars,inmade placeout by of fixing bars, made out of either steel, timber or either the usesteel, of a timber high pressure or the use polymer of a high injection. pressure polymer injection. This stops the panels being This stops able to themove panels andbeing flex at able thetojoint, movecreatand flex at the joint, creating a fixed connection.ing a fixed connection. Fixing Bars Fixing Bars

Interconnecting Panels

Interconnecting PanelsInterconnecting Panels

Elements of the designElements can be pre-constructed of the design can andbethen pre-constructed placed into and then placed into the overall structure. This the overall allows for structure. easier expression This allowsoffor elements easier expression of of elements of the building, due to whole the building, components dueof tothe whole structure components working of with the structure working with and without the rest ofand the without buildingthe strcturally. rest of the building strcturally.

Pre-Fabrication of Pods

Pre-Fabrication of Pods Pre-Fabrication of Pods

Fixing Bars

Interconnected panelsInterconnected are fixed in place by fixing bars,inmade panels are fixed placeout by of fixing bars, made out of either steel, timber or either the usesteel, of a timber high pressure polymer injection. or the use of a high pressure polymer injection. This stops the panels being able to move andbeing flex at thetojoint, This stops the panels able movecreatand flex at the joint, creating a fixed connection.ing a fixed connection.

Interconnected panels are fixed in place by fixing bars, made out of either steel, timber or the use of a high pressure polymer injection. This stops the panels being able to move and flex at the joint, creating a fixed connection.

Elements of the designElements can be pre-constructed andbethen placed into and then placed into of the design can pre-constructed the overall structure. This allows for easier expression elements of the overall structure. This allowsoffor easier expression of elements of the building, due to whole components structure working the building, dueof tothe whole components ofwith the structure working with and without the rest ofand the without buildingthe strcturally. rest of the building strcturally.

Elements of the design can be pre-constructed and then placed into the overall structure. This allows for easier expression of elements of the building, due to whole components of the structure working with and without the rest of the building strcturally.

GC1.3, GC5.1, GC8.1, GC8.2, Gc8.3

Matter

GC1.1, GC2.1, GC7.2,

Thesis - Critical Reflection June 2017

Conclusion To Thesis Reflecting on my thesis I can see both my influences from Newcastle University and personal interests have shaped my project and how I have reused and built on previous ideas to strengthen it. This project has enabled me to push my abilities in designing within a natural landscape, a design feature first introduced to me in the Live Build Project. It has allowed me to conclude on a number of themes that run through a variety of projects. The main ideology of the project was expressing the beauty of Kielder Timber, this came about due to my intrest in experimenting / working with the materials I plan to design with. Or rather my interest of “Getting Hands On / Down & Dirty”, this followed by my interest in technical and pragmatic approaches to design projects led me to the investigation into Cross Laminated Timber and the exploration into steel free CLT Panel connections. The overall design strategy was based on a theme that only became apparent to me recently, I noticed while looking through my work that there are a number of times I have created programs which looked to educate / aid, visitors / users of the spaces. This idea is deeply rooted within this project due to the established educational design language of the Kielder Art & Architecture Installations. Surprisingly this idea of education through spaces is closely associated with the Live Build Project and potentially my future endeavors. One of the interesting things with educational installations is they can vary in size and there always needs to be someone who understands what’s trying to be achieved and bridge the gap between idea and completion. The benefit of these sorts of installations is they can often be relatively small in size, thus resulting in a quicker project times. One of my greatest frustrations with the field of Architecture is the length of the projects, which span months or even years from the first sketch to the end result. As you can see in the next project, Educational Art installations can be designed, prototyped, sourced, constructed, exhibited and demolished in a very short period of time if necessary.

Charette - Wonder & Success September 2015 Charette Brief

The aim of this week was to create links between the multiple years and courseâ&#x20AC;&#x2122;s present at Newcastle University. The project I was assigned to was called Wonder & Success and was led by Hazel McGregor. We aimed to design and build a temporary architectural spectacle which would appeal to multiple sense. The final piece aimed to incorporate an element on interactivity. Within the group we would need to design the feature, source the materials all within the assigned budget, build the structure and then dismantle said art piece all within a week. As you can see from the following pages I believe we were very successful in our efforts.

Development Models Above is a collection of design development drawings and testing models produced during the charrette week. The design we concluded on was to make a tunnel formed out of paper tubes with lights shone through them to produce interesting shadow effects both through the tunnel on the floor and on the external shell of the hung tubes to create an anti-cave effect. As an older student within the group, I was assigned as a team leader for the frame. A challenge I greatly enjoyed due to the technical difficulty and importance of my role. GC1.1, GC3.2,

Charette

Construction Timeline A timeline of photographs showing the construction of the frame, the creation of 1000â&#x20AC;&#x2122;s of paper tubes and the final assembly of the instalation. The majority of the work excluding the paper rolling was achieved in the final two days of the charrette week, due to issues with material deliveries and the complexity of the design. It was a great group effort by everyone involved and an excellent first week at Newcastle.

GC1.1, GC3.2, GC8.2

Charette

GC3.2

Charette

Charette - Critical Reflection June 2017

Conclusion To Charette Instalation The charrette week was my first experience of Newcastle University and it operates, it was a brilliant idea for the first week back from summer. Getting everyone in the school to mix up and produce something over a week, really got the design juices flowing. As one of the Masters students within my design group, a lot more responsibility was directed towards me. Which I was more than happy to take on. My main role was figuring out how it was going to stand up, e.g. designing the timber frame and figuring out how all the design features we were planning or would plan over the coming week would connect to or work within the overall structure. This as I’m sure you’ve realized by now was right up my alley, as it involved sourcing timber based on an initial design idea. Then due to a cock up during the ordering process I was required to redesign the structure which required a technical model to be knocked up. The whole week taught me what is possible within a week, mainly due to the construction of the installation being started and completed within 2/3 days after the initial design stage. Following on from some of the themes I’ve talked about in the previous Critical Reflections, the speed of idea to product during this project was something that really interested me. That improved speed of concept to creation is common throughout a lot of hands on / prototyping designs. As by merely working through the problems you can after just a few hours see a lot of progress. GC3.2

Building Fabric January - May 2016

Thinking Through Making Week The first week of this design module saw us undertaking a variety of different seminars. These were run by a number of people associated with the Uni and not, who came in to talk us through and teach us how to work various materials. The purpose of this was to get us thinking about the materials from the start of our designs instead of just applying them to forms at the end like wallper.

Rachael Armstrong - Chemical Droplet Workshop

Amy Linford -Concrete

the experiment involved us filling a glass vessle with Glucose and olive oil, then adding colouratives and then plaster-of-paris. The aim was for the plaster-of-paris to draw the colouratives through the top glucose layer, as water is extracted from the P-O-P by the glucose.

This was interesting session, as having never used concrete before but always having wanted to give it ago. We learnt 2 very important lessons: make sure the mixture is correct and make sure you cast is strong. I never realised just how heavy a small amount of concrete can become.

Matt Rowe - Jesmonite

Holly Hendry - Articulated Structures

Jesmonite is a safer version of fiberglass with casting features similar to concrete. it consists of gypsum based material in an acrylic resin with a thickening agent often used. The aim was to just experiment with mixing and working with material.

We experimented with a foam mixture which grows up to 8 times in size during casting. As with the other sessions, the time spent on the casting mould was vital for the end products outcome.

GC2.3, GC3.1

Folly What we took from Thinking Through Making Week The aim of the TTMW was to expose us to a number of materials we hadn’t had a chance to interect with before and to gain hopefully an interest in looking at materials differently. The first stage of our design work asked us to look in depth at materials and detailling before delving into detailled large scale design. I decided to look at elements of glass that had been reused and up-cucled, as I found a connection with this and my persona of ‘Flattery’. Below are a number of studies I undertook to look at the detail within these examples of up-cycling. The most interesting study was the glass botlle wall, as the contrast between what you percieve vs what is actually there is very different.

Plane Window & Windscreen Green House I looked to do a study on the subject above, due to the odd nature of the materials used in form and source. The method of hanging and interlocking the two different components also interested me. This inspired me to look at old glass for what it could become. Hanging Shell’s The overlapping form of these turquoise shell piece interested me, by how a non-uniform module could create a repetitive pattern. Also method of connecting the shells together is very intricate and delicate, yet resembles the study above in various ways.

Glass Bottle Wall I was interested to drawn in a sectional axo the study above, due to how the concrete engulfs the bottles and holds in almost in Suspension. The bottles become caves of light within a solid object.

GC1.1, GC2.3, GC7.1

Folly

Suspect Location of Origin Mapping During the interviews we asked the POI’s where abouts they lived. They answered in a multitude of different ways. We had everything from “round the corner”, “Over there”, “10 minutes bike ride” to “The other side of the city”. As best as we were able the diagram above maps the POI’s location of interview against their proposed home location. GC1.1, GC8.1

Folly

View aa The aim is interact with the long view which is formed by the tall trees bordering entrance to museum park through/under the Kunsthal Musuem.

50 Metres

Site Circulation During my time in Rotterdam I noticed alot of the public spaces are merly used as pedestrian through routes to avoid the roads laiden with traffic. Museum Park is one of these such places, the area has a sense of life around it only due to the number of people who pass through it.

Interaction with Views Above are a series of studies based around View AA, the focus point is the Kunsthal Museum which acts as one of the entrances to the Museum Park. Using a grid system the different â&#x20AC;&#x153;portalsâ&#x20AC;? can be placed in various configurations and can allow direct views to certain aspects of the musuem while diverting the view from other parts. GC2.1, GC4.1

Folly A

Ground to Roof Plans - 1:25 The contrast between the open ground floor and enclosed first floor makes the viewer ready for the next levels subtle openings. Removal of the majority of light from the space, allows the small openings to have a high contrast in light level, even on a overcast day. On the top level, the cladding panels open up to reveal views out into the Museum Park. The two main views are flanked by panels with bottles placed within them to create small light effects. GC1.1, GC1.2

Folly

A GC1.1, GC1.2

Folly

Section AA - 1:25 Shows a cut through of the 4 levels of the folly and their various light qualities, which change as you circulate up the structure. The expressed timber beam and steal node structural system is expressed across all levels, with the different cladding systems attached directly to the frame. The follyâ&#x20AC;&#x2122;s technical design is linked to the design ambitions of the folly, Flattery. Iâ&#x20AC;&#x2122;ve looked to express and flattering the details and materials across the design, instead of hiding the complexities away. GC1.2, GC1.2, GC8.1, GC8.2

Folly

Axonometric Assembly The contrast between the open ground floor and enclosed first floor makes the viewer ready for the next levels subtle openings. By removing the majority of light from the space allows the small openings to have a high contrast in light level, even on a overcast day. On the top level, the cladding pannels open up to reveal views out into the Museum Park. The two main views are flanked by panels with small openings along them. GC1.2, GC8.1, GC8.2

Building Fabric - Detail Design March - May 2016

The Next Step - Katendrecht The next stage for this project is the development of a brief for the site of Katendrecht. The aim is to continue the obsession with our persona and assigned craft, we are looking to develop our work while still linking it to the previous folly design stage.

Ferry Terminal

Metro Stop & Track

Pedestrian Path

History of Katendrecht Rotterdamâ&#x20AC;&#x2122;s perhaps most successful port transformation so far is Wilhelminapier that has transformed from a storage and passenger port into a truly metropolitan piece of inner city. Right next door is Katendrecht which morphed into a hipster hang-out that becomes increasingly bourgeois, thus attracting the middle classes back into the city. Katendrecht still features many empty plots with great expectations and the old buildings are still being renovated block by block. Wilhelminapier has accepted continuous construction, when the current projects are completed 3 large plots available for future development. If this port transformation is compared to other large scale developments in Europe, such as the London Docklands, there is a big difference. Besides the typical industrial heritage that is transformed into hip flats, creative offices and cool restaurants the Rotterdam transformation also features remainders of the industrial port that are still up and running. The Area still remians partially functional, lesuire and industry remain hand in hand in Rotterdam, unlike in many other european ports. GC1.1, GC5.3, GC2.1, GC4.1

Building Fabric

Katendrecht Site Opportunities

Speeltuinvereniging Katendrech

A Community Playground Project established in 1929, completed in 1942. The park has remained relatively untouched since its completion with maintenance being undertaken by volunteers.

2: De Scham

3: Fenix Food Factory

4: The Globetrotter

1: Brede Hilledjik

De schalm is a local community primary school established in the 1960â&#x20AC;&#x2122;s, which is heavily integrated in the developing Katedrecht community.

The Fenix food factory is a calibration between couple local entrepreneurs who offer honest products. Based within an old Warehouse in the formerly known as a sailor neighbourhood, the food factory is local entrepreneurism at its best.

The Globetrotter is a Community Catholic primary school for Dalton education. Consisting of three schools, giving each in their own way in shaping our vision of education and Dalton education.

Brede Hillijk is what can be seen as the high street of katendrecht. Located on the first floor in the middle of a new block is a collective garden project, showing that it is entirely possible to achieve beautiful green soaces in the city.

GC1.1, GC5.3, GC2.1, GC4.1, GC5.3

Building Fabric Cedric Price - Fun Palace Cedric Price (1934-2003) was one of the most visionary architects of the late 20th century. Although he built very little, his lateral approach to architecture and to time-based urban interventions, has ensured that his work has an enduring influence on contemporary architects and artists, from Richard Rogers and Rem Koolhaas, to Rachel Whiteread. The Fun Palace was one of his most influential projects and continues to inspire many designers due to its radicalism. Unfortunately in 1975 still uncompleted, Price declared the ten-year-old project obsolete. Its time had passed, so the world would never get to see the outcome of much debate and speculation within the world of Architecture.

Above is a collection of hand drawings for the scheme “Flexibility within the complex is not confined to the variation of the form and disposition of the enclosures and areas provided, but also by the ability to vary the public movement patterns through the adjustment of mechanical movement aids (lifts, escalators etc).”

Technoetic Arts: A Journal of Speculative Research Volume 3 Number 2. © Intellect Ltd 2005. Article. English language. doi: 10.1386/tear.3.2.73/1

The Fun Palace: Cedric Price’s experiment in architecture and technology Stanley Mathews Hobart and William Smith Colleges Abstract

Keywords

This article examines how in his influential 1964 Fun Palace project the late British architect Cedric Price created a unique synthesis of a wide range of contemporary discourses and theories, such as the emerging sciences of cybernetics, information technology, and game theory, Situationism, and theater to produce a new kind of improvisational architecture to negotiate the constantly shifting cultural landscape of the postwar years. The Fun Palace was not a building in any conventional sense, but was instead a socially interactive machine, highly adaptable to the shifting cultural and social conditions of its time and place. This constantly varying design for a new form of leisure center began in 1962 as a collaboration between Cedric Price and avant-garde theater producer Joan Littlewood. Littlewood had conceived of a new kind of theater designed to awaken the passive subjects of mass culture to a new consciousness. Her vision of a dynamic and interactive theater provided the programmatic framework on which Price would develop and refine his concept of an interactive, performative architecture, adaptable to the varying needs and desires of the individual. By assembling their own pedagogical and leisure environments using cranes and prefabricated modules in an improvisational architecture, common citizens could escape from everyday routine and serial existence and embark on a journey of learning, creativity, and individual fulfillment. The Fun Palace was one of the more innovative and creative proposals for the use of free time in postwar England. It also provided a model for the 1976 Centre Pompidou in Paris.

Cedric Price Fun Palace Joan Littlewood architecture improvisation cybernetics.

London in the 1960s witnessed one of the most unusual architectural projects ever conceived. ‘Swinging London’ was already a Mecca of some of the most exciting developments in popular culture, from the counterculture anthems of the Beatles and Rolling Stones, to the psychedelic fashions of Carnaby Street and the tantalizing scandal of Mary Quant’s miniskirts. A decade before Andy Warhol began to paint soup cans, the artists of London’s Independent Group had reveled in the vernacular imagery of Pop Art. Not to be outdone, architects joined the fray. Young architects in the Archigram group began to produce psychedelic, science TA 3(2) 73–91 © Intellect Ltd 2005

“Price was quite explicit on this point, and shortly before his death, he told me: ‘The Fun Palace wasn’t about technology. It was about people’.”

“The plan shows the structural ‘Tartan Grid’ that price and newby designed. There is no main entry, and people could have entered at any point. Stair towers and columns are located along the sides, while the centre of the structure is left open and unobstructed. In these centre bays, pivoting stairs and escalators provide access to the upper levels.”

“Environmental control is achieved not only by movements of screens, ‘walls’, roofing panels, but also by warm air screens, Ultra Violet light, optical barriers, static vapour zones etc.” “The Fun Palace was not a building in any conventional sense, but a socially interactive machine, highly adaptable.”

“The aim was to a ‘Creative and constructive outlet, a way to open the british public to new experiences and the possibilities of life long learning and discovery’.” “Price’s first drawings presented the puzzling spectacle of a three-dimensional matrix with bits and pieces stuck into it here and there. It was a scaffold of constant activity which would never reach completion, because the ultimate plan, programme and goal were never finite and always changing. He thought of it as a skeletal framework, like a Meccano set or garden trellis, within and around which the activities might grow and develop.” “He often claimed that his own creativity was ‘generated and sustained through a delight in the unknown.”

“Fun Palace was intended explicity as a response to the social and economic crises that faced post war World War Two England, and especially to the way in which technology was changing the distinctions between work, education and leisure.” “The Fun Palace project began to resemble a modern, secular version of the W collaborative coming-together of various disciplines reminiscent of the nineteenth-century visions of the construction of medieval cathedrals.”

My Anlysis

This mechanical civic centre is a highly flexible space which allowed the user to create spaces which are highly functional. This building aimed to be a response to the post war identity loss within Britain. Rotterdam was hit far harder than Britain and because of this is still struggling to find it identity, as such Rotterdam would benefit from such an inovative scheme. This scheme is a moveable masterplan under a roof with expressed functions within an overall frame. GC2.2, GC3.1, GC4.2, GC7.1

Building Fabric

Buckminster Fuller - Automatic Cotton Mill Buckminster Fuller, working with 20 graduate students from the architecture and textile schools of North Carolina State College at Raleigh, conceived the vertical cotton mill, also known as the “fountain factory”-- a spherical design based loosely on Fuller’s Dymaxion House. Cotton would be suctioned upwards through the building and then processed downwards toward the ground floor. The central mast core was both functional and structural: it housed the elevator, utility lines, air ducts, and water supply, and suction tubes; it also suspended a triangulated, open truss-work floor with tensioned cables. The open trusses allowed goods to transfer between floors at multiple points. The shell of the geodesic sphere, was made of double-layered plastic skin for insulation and return air flow. Although Fuller’s mill was never built, industrialists and the architecture community alike praised his design.

Above: The unrealised “Fountain factory” Left: Montreal Biosphere A convieved design for the United States’ pavilion for the 1967 World Exposition

“Architects have never enjoyed a position of such supreme prominence as they did in the worldview of Buckminster “Bucky” Fuller. To him, architects alone were capable of understanding and navigating the complex interrelationships of society, technology, and environment as viewed through the comprehensive paradigm of systems theory”

“The “totally new start in cotton mill conception” would be a machine as a man, “similar to the digestive, shunting, secretive, and regenerative process of the human anatomy”.”

“The “structural nakedness, though unintended by the architect, creates a beautifully legible transparency that fully reveals the ingenuity of Fuller’s design”.”

“The 90% Automatic Cotton Mill was a successful model that remains unrealized, in part and in whole”

“As an architectural achievement, the Biosphere epitomizes Fuller’s idealization of the promise of technology. Through holistic consideration, systemization and mass-production, he saw this project as an example of how architects could wield and deploy the instruments of innovation to create new species of hyper-efficient machines for the good of mankind.”

My Anlysis This unrealised Buckminsters Fuller design is a highly expressed structure, which represents a giant glass ball. The form allows for freedom of space internally, an intervention similar to the “Fun Palace” could easily work within its structural framework, as the internal design of the proposal has been designed so that the building works functionally.

GC2.2, GC3.1, GC4.2, GC7.1

100

Building Fabric The Brief From looking at the site both in terms of its physical and historical attributes I feel that the design for my building should first ‘flatter the existing site’, any intervention into Katendrecht will need to be designed with the aim of improving the area e.g. Flattery. There are a number of elements within the site that feel they could benefit from being enhanced such as; ‘no real high street, minimal leisure spots, a need to create jobs’ etc. The development of Katendrecht is well underway with much improvement being visible, especially considering where it has come from. Unfortunately unlike the redevelopment of other port cities throughout Europe after WW2, Rotterdam is still struggling to find its identity. I feel that Rotterdam has missed its ‘Fun Palace’ project, despite the intriguing architecture that pops up all over Rotterdam I don’t really believe that a scheme has been realised that truly encapsulates the Rotterdammer’s needs. Unlike other European Port redevelopments, Rotterdam and Katendrecht have retained elements of its Industrial past. This isn’t something to be avoided, it should instead be celebrated. It is because of these reason I feel that the scheme should feature the following; ‘An element of Industry, Aspects of leisure/social, A connection to the water all wrapped up in a bold innovative design’.

Photo-Montage - Crystal Palace with an Industrial Makeover Above is a colleague of where I feel my project is heading. I have based the idea around a grand open glass structure, in this case it is the proposed rebuilding of the 19th C wonder “The Crystal Palace Exhibition Hall”. This will form the shell/ main form of the building in which a variety of spaces and uses will intertwine, while also continuing my obsession with glass and Flattery. The envelope of the building will house an element of industry, which will create jobs for the area along with a function for the city. Carrying on from my folly design I feel a recycling plant would fit with my past work and persona. In terms of a social aspect either a shopping centre could be beneficial for the area, yet may pull business away from the already struggling city centre. Instead perhaps a more leisure based activity, such as a concert space or night club.

GC1.1, GC2.3, GC3.2

Building Fabric

Vermeer - The Astronomer - 1668

Vermeer Analysis Above is a collection of Vermeer and similar Dutch style painters from around the time of glass development. The design for my Folly was about interacting through the building envelop and both ways. The Vermeer paintings show the importance glass plays in bringing the external into the internal. Above is an analysis og how light entering the space draws activity to that zone.

GC2.2, GC2.3, CG3

101

102

Building Fabric

Development Sketches A Series of Sketches and notes which helped inform my decisons and generally develop the scheme

GC1.3, GC2.3

Building Fabric

Massing Model This model was developed as a working model, in which I used it to design the overall masterplanning of the spaces which would be positioned under the roof. I tried a variety of layouts for a number of reasons before settling on the final solution.

Massing & Roof Model This model was a stepping stone in the development of the roof design. Through itâ&#x20AC;&#x2122;s creation I was able to figure out the number of roof arches I would require along with their positioning in regards to the protruding Glass Workshops. The other important decision was how to design the two ends as to stop the building looking like a section of an never ending tunnel.

GC1.1, GC1.3

103

104

Building Fabric

Crusher

Cullet Mill

Bottle Supply Hopper

Hot Workshop

Recycling Plant Powder Shifter

Powder Conveyor

Cold Workshop

Baking Machine

Store

C Workshop

Store

B In-House Accomodation

Offices Start-Up factory

D N 0

2 3

10m

Ground Floor Plan The Ground Floor was been designed as a open civic space, featuring a Public lecture space. The spaces have been arranged based on the light qualities required, because of this the workshop is located on the southern edge of the building with direct access into the Start Up factory and the Glass Recycling Plant. The Glass Workshops have been located to the rear of the building to create buffer zone between the public habited spaces and the at risky zones.

GC1.1, GC1.3, GC8.2

Building Fabric

105

Observation Level

Gallery

In-House Accomodation

Specialist Gallery

D N 0

2 3

10m

First Floor Plan The Gallery has been split across the two edges of the building and connected by walkways, with the Normal Gallery on the southern edge of the building with the Special Gallery located on the North side. The walkways can also access the upper level of the Glass Workshops which feature as an observation level.

GC1.1, GC1.3, GC8.2

106

Building Fabric

Terrace

Terrace Cafe

D N 0

2 3

10m

Second Floor Plan The cafe has been fitted into the roof space connected between the Lift cores and fitted around the puctuating form of the Glass Workshops.

GC1.1, GC1.3, GC8.2

Building Fabric

107

Section BB - 1:100 D

D N 0

2 3

10m

Roof Plan The Roof Plan shows where I have opened and closed the roof, in relation to the internal spaces as and when they require different light qualities.

GC1.1, GC1.3, GC8.2

108

Building Fabric

Building

Building Fabric

Section BB - 1:100

Sunken Ground Floor

Central Service Piers

The Lower levels are sunken into the ground with a sloped surrounding landscaping. This allows daylight to penetrate deeper into the building.

In order to reduce the overall span of the Glulam Arches, I added 2 piers in the centre of the building. These also function as light cores for the upper areas, along with featuring Environmental and daylight functions too.

GC1.1, GC8.2, GC9.1

Building Fabric

109

Supsended Walkways

Accomodation

In order to reduce the impact on the flow of the ground floor with a series of colummns below the walkway, I decided to hang it from the roof instead. This allows a more flexible positioning oif the walkway, along with keeping the ground floor more open. Observation

Location the Accomodation on the Northern side is the outcome of its required adjaceny to the Glass Workshops. The need for natural light within the space lead me to open up the facade dramatically, enabling a flood of diffused light to enter the space.

Level

GC1.1, GC8.2, GC9.1

110

Building Fabric

Entrance Foyer

Public Lecture Plaza

GC1.1, GC8.2, GC9.1

Building Fabric

Roof Cafe

Roof Terrace

Final Model Lighting Studies Above are a series of perspectives from my Final Model. The aim was to express the varying light qualities found across the differing spaces within the building. GC1.1, GC8.2, GC9.1

111

112

Building Fabric

Final Sectional Model

GC1.1, GC8.2

Building Fabric

Final Sectional Model This model was developed as a continuation of the Technical Structural model I produced as part of the Tech review Stage (see page 91-92). The aim of this model was to not only show the internal arrangement in greater detail but more inportantly express my roof design, which is the main techincal and architectural element of the design. GC1.1, GC8.2

113

114

Building Fabric

Technical Development One of the complex parts of the technical design was creating the roof frame. The issue was creating a steel node which would allow 6 secondary timber beams to connect into a steel node sitting on the main glulam beam. The node also needed to connedct to a cable system which suspends the cladding system over the top of the framework roof.

GC1.3, GC1.2, GC2.3, GC8.1

Building Fabric

115

Building Fabric

Facade Connection Bracket

Facade Connection Bracket Fixing Pin

Steel Cable System

200 x 500 mm Timber Beam

Steel Cross Beam Node

3000 mm Centres

1000 x 400 mm Glulam Arch

Roof Construction Axonometric

Technical Axonometric The Technical Axonometric above shows how the the steel beam node connects to the Glulam Arch with the use of a broken fixing pin. Attached to the top of the fixing pin for the cable system which the cladding system is attached to.

GC1.3, GC1.2, GC8.2

116

Building Fabric Building Fabric

Second Floor Plan - 1:100

Roof Plan - 1:100

First Floor Plan - 1:100

Ground Floor Plan - 1:100

Technical Build Up Secti

GC1.1, GC1.2, GC6.2, GC8.2, GC9.3

Building Fabric Building Fabric

al Build Up Section - 1:25

Technical Section

The Technical stratergy was to continue the development of the exposed structure first established in the Folly Stage of design. This

GC1.1, GC1.2, GC6.2, GC8.2, GC9.3

117

118

Building Fabric

Detail A

Building Fabric

Building Fabric 30mm Kingspan Thermaroof Overlay laid over 50mmKinspan OPTIM-R Roofing System

Detail A

Tyvek Waterproof Membrane 500 x 400 mm Gulam Cross Bracing Beam 30mm Kingspan Thermaroof Overlay laid over 50mmKinspan OPTIM-R Roofing System 150 x 100 mm Timber Baton

Tyvek Waterproof Membrane Tyvek Vapour Control Layer 500 x 400 mm Gulam Cross Bracing Beam 18mm Plywood 150 x 100 mm Timber Baton 22mm Plywood

Tyvek Control 1000 xVapour 400 mm GulamLayer Beam

18mm GlazingPlywood System connected to external Timber Structure 22mm 6 pointPlywood Steel Connection Node 1000 x 400 mmNode Gulam Beam Cladding Cable Glazing System connected to external Timber Structure External Timber Cladding 6 point Steel Connection Node 30mm Tensioned Cladding Steel Cable Cladding Cable Node Steel Roof Truss External 100 x 50 Timber Timber Cladding Baton 30mm Tensioned Cladding Steel Cable Suspended Ceiling Steel BlindsRoof Truss

100 x 50 Timber Baton

Detail DetailAA B

Suspended Ceiling

This detail shows how a solid element of the roof cladding and a glazing element connects with the external timber frame.

Detail B

Blinds

30mm Kingspan Thermaroof Overlay laid over 50mmKinspan OPTIM-R Roofing System Tyvek Waterproof Membrane 500 x 400 mm Gulam Cross Bracing Beam 30mm Kingspan Thermaroof Overlay laid over 50mmKinspan OPTIM-R Roofing System 150 x 100 mm Timber Baton

Tyvek Waterproof Membrane Vapour Control Layer 500 x 400 mm Gulam Cross Bracing Beam 18mm Plywood Board 150 x 100 mm Timber Baton 22mm Plywood Board

Vapour Control 1000 x 400 mmLayer Gulam Beam

18mm Board Node 6 pointPlywood Steel Connection 22mm Plywood Board Cladding Cable Node

1000 x 400 mm Gulam Beam External Timber Cladding

6 point Steel Connection Node 370mm Post Tensioned Concrete Slab Cladding Cable Node Steel Roof Truss External 100 x 50 Timber Timber Cladding Baton

370mm Post Tensioned Concrete Slab 12mm Plywood Board Steel Roof Truss Plaster Board

100 x 50Mullion Timber Baton Glazing DoublePlywood Glazing Board 12mm Plaster Board Glazing Mullion Double Glazing

Technical Details - 1:10

Detail BB This detail shows how the solid elements of the roof overlap with the external frame at the first floor level connect with floor slab.

GC1.1, GC1.2, GC6.2, GC8.2

Technical Details - 1:10

119

Building Fabric Building Fabric Openings in base of Glass Elevator Core extracts Hot stagnent Air out of central Atrium Openings in base of Glass Elevator Core extracts Hot stagnent Air out of central Atrium Openings in base of Glass Elevator Core extracts Hot stagnent Air out of central Atrium

Cross Ventilated Office Space/ Workshop, can be controlled by staff to ensure personal comforts. Cross Ventilated Office Space/ Workshop, can be controlled by staff to ensure personal Cross Ventilated Office Space/ comforts. can be controlled Workshop, Cross Ventilated Office Space/ by staff to ensure personal Workshop, can be controlled comforts. Cross Ventilated Office Space/ by staff to ensure personal Workshop, comforts. can be controlled by staff to ensure personal comforts. Cross Ventilated Office Space/ Workshop, can be controlled by staff to ensure personal comforts.

Building Fabric Building Fabric

Opening in Elevator Core’s roof and skylights heat top half of the space increasing air movement up through the stack Opening in Elevator Core’s roof and skylights heat top half of the space increasing air movement up through the stack Opening in Elevator Core’s roof and skylights heat top half of the space increasing air movement up through the stack

Section Stratergy Section AA AA -- Ventilation Ventilation Stratergy Skylights allow Daylight to penetrate into the heart Glazed Elevator shafts allow diffused light to enter Section AA - Ventilation Stratergy of the building into the social Zones. covered central spaces.

Service Core running through length of building where appropriate Service Core running through length of building where Mechanically monitored appropriate Gallery Space, Humidity & Temperature control as space/ artwork dictates. Service Core running through Mechanically monitored length of Space, buildingHumidity where Gallery & Hot / Fresh Air outlets in appropriate control as space/ Temperature Central Atrium can be artwork dictates. controlled as needed. Mechanically monitored Hot / Fresh outlets in Gallery Space,AirHumidity & Central Atrium canspace/ be Temperature control as controlled as needed. artwork dictates. Hot / Fresh Air outlets in Central Atrium can be controlled as needed.

Glazed Elevator shafts allow diffused light to enter Section AA - Ventilation Stratergy covered central spaces.