MA(Hons) Arch Academic Portfolio by Angus Bolland

ACADEMIC PORTFOLIO MA[HONS] ARCHITECTURE Part 1 Angus Bolland s1127410 2011-2015

ESALA

ANGUS BOLLAND Physical recovery and rehabilitation for the elderly. Leith Walk, Edinburgh

[REFLECTIVE STATEMENT] The creation of this portfolio has given me the opportunity to revisit and reflect on the work and learning carried out in my undergraduate course. It has allowed me to view my earlier projects in a new light after having developed my own skills, knowledge and understanding over the course. I began the course of study without any real ideas of the discipline of architecture in which to ground my projects. My only real understanding came from programmes watched on television and limited classes from school. The broad range of activities and the intensity of projects allowed me to quickly break through any worries about what I did or did not understand about the idea of â&#x20AC;&#x153;architectureâ&#x20AC;?. I was able to learn from these previous projects and improve my overall understanding and design skills. These initial design courses, and design and drawing history formed a base idea with the importance of communication and clarity of drawings being expressed at this early stage building your knowledge base literally from the ground up. I feel that my designs have improved in articulation along with consideration through the years as I have increased in understanding in the historic and technical side of the construction through the courses undertaken (T+E, Arch History etc). These courses allowed me to implement some of the systems that I was learning about in my own design projects. The Placement year and 4th year tectonics course were two areas of the course that I found most rewarding and enriching. Through the placement I was required to take on much more responsibility in my actions as my decisions and drawings no longer only affected me, I was part of a much larger process. I felt this sense of responsibility inspired me to develop my ability to work effectively in the practice environment. Towards the end of my placement I felt I had developed in terms of understanding the requirements of the Architect in society and also my own ability in terms of knowledge of the construction process, presentation and how to interact with clients etc. In Tectonics I drew Oversize storage section

on my experience from placement and implement the processes learnt with the design. I could now draw on my increased understanding from these completed courses. This increased knowledge 10 allowed me to 20create a much further resolved project than any previous design. The course has allowed me work on a variety of interesting and diverse projects; I hope to continue similar projects in my further studies. Angus Bolland 2015

[CONTENTS]

Y1 s1 [ARCHITECTURAL DESIGN]

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[HUMAN GEOGRAPHY]

[ARCHITECTURAL THEORY]

[TECHNICAL REVIEW]

Elements p.7

(In)Place p.36

Introduction to world Architecture p.13

p.41

[ARCHITECTURAL HISTORY]

[ART + DESIGN]

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

Explorations p.65 p.74

[TECHNOLOGY + ENVIRONMENT] 3

ZONE Architects p.88 p.90

[ARCHITECTURE PLACEMENT]

p.77

Reflection p.93

[ARCHITECTURAL DESIGN]

[ARCHITECTURAL HISTORY]

[ARCHITECTURE PLACEMENT]

[ARCHITECTURAL DISSERTATION]

[ARCHITECTURAL HISTORY]

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL DESIGN]

Through and Beyond the frame p.16

Assembly p.19

Revivalism to Modernism p.30

[TECHNOLOGY + ENVIRONMENT] 1 - Principles

p.32

p.42

Culture + the City p.47 (Any)Place p.49

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

p.59

Working Learning p.80 ZONE Architects p.85

The Necessity of Scars p.97 Tectonics p.101

[ACADEMIC PORTFOLIO]

Part 1 p.116

Oversize storage section

Y(Year) # s(Semester)# [UNIT TITLE]

Project Title

Brief Duis tristique tempor elit, vel accumsan magna. Pellentesque eget lorem malesuada, vehicula urna quis, fringilla massa. Etiam sed augue leo. Ut porttitor viverra elit, non vehicula leo pellentesque non. Project Description Mauris blandit mi a diam suscipit cursus. Nunc ut elementum arcu, ac suscipit tortor. Pellentesque bibendum libero at leo tincidunt eleifend. Nam sapien mi, blandit id pharetra non, maximus vitae massa. Maecenas suscipit euismod orci ut congue.

Project Material

Learning outcomes 1. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Quisque placerat urna sapien, non vehicula neque ultricies ut. 2.Ut sed dui non leo vehicula porta. Sed tortor turpis, consequat eu metus vitae, efficitur posuere ante. 3.Aenean feugiat accumsan varius. In gravida purus eu fermentum pretium. Vivamus luctus leo massa, sed dapibus elit ultrices non.

Page of Portfolio 4

GC Mapping ON - OFF GC

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[ACADEMIC PORTFOLIO] General Criteria Mapping These criteria are mapped throughout the portfolio where projects, have addressed certain criteria.

[GENERAL CRITERIA] GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. GC 2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences. GC 3 Knowledge of the fine arts as an influence on the quality of architectural design. GC 4 Adequate knowledge of urban design, planning and the skills involved in the planning process.

[PART 1 GENERAL ATTRIBUTES]

1. ability to generate design proposals using understanding of a body of knowledge, some at the current boundaries of professional practice and the academic discipline of architecture. 2. ability to apply a range of communication methods and media to present design proposals clearly and effectively 3. understanding of the alternative materials, processes and techniques that apply to architectural design and building construction 4.ability to evaluate evidence, arguments and assumptions in order to make and present sound judgments within a structured discourse relating to architectural culture, theory and design. 5. knowledge of the context of the architect and the construction industry, and the professional qualities needed for decision making in complex and unpredictable circumstances. 6. ability to identify individual learning needs and understand the personal responsibility required for further professional education.

GC 5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale. GC 6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors. GC 7 Understanding of the methods of investigation and preparation of the brief for a design project. GC 8 Understanding of the structural design, constructional and engineering problems associated with building design. GC 9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. GC 10 The necessary design skills to meet building usersâ&#x20AC;&#x2122; requirements within the constraints imposed by cost factors and building regulations. GC 11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL HISTORY]

[HUMAN GEOGRAPHY]

[ARCHITECTURAL THEORY]

[TECHNICAL REVIEW]

Elements p.7

Introduction to world Architecture p.13

(In)Place p.36 p.41

[ART + DESIGN]

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

Explorations p.65 p.74

[TECHNOLOGY + ENVIRONMENT] 3

ZONE Architects p.88 p.90

[ARCHITECTURE PLACEMENT]

p.77

Reflection p.93

[ARCHITECTURAL DESIGN]

[ARCHITECTURAL HISTORY]

[ARCHITECTURE PLACEMENT]

[ARCHITECTURAL DISSERTATION]

[ARCHITECTURAL HISTORY]

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL DESIGN]

Through and Beyond the frame p.16

Assembly p.19

Revivalism to Modernism p.30

[TECHNOLOGY + ENVIRONMENT] 1 - Principles

p.32

p.42

Culture + the City p.47 (Any)Place p.49

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

p.59

Working Learning p.80 ZONE Architects p.85

The Necessity of Scars p.97 Tectonics p.101

[ACADEMIC PORTFOLIO]

Part 1 p.116

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Y1 s1 [ARCHITECTURAL DESIGN] ELEMENTS

GROUND, WALL, FRAME, CANOPY The first five weeks of the semester focused on a series of short exploratory projects looking to address some of the fundamental architectural elements. These elements: ground, wall frame and canopy allowed exploration into the principles of light/dark, mass/void, space/enclosure, path/threshold and texture/surface. GROUND The ground project looked at using massing to create an environment which could be inhabited. The ground was shaped by being built up on hardcore material before being smoothed. This allowed for organic forms to develop.

Model 1:100

GROUND

Plan (drawn at 1:100)

WALL The project looked to develop a modular system to create zones. the project was imagined in a park landscape where the screens were created of different densities. This regimented system would contrast the park landscape.

WALL

LEARNING OUTCOMES: 1. Awareness of basic architectural elements and issues that inform their disposition in architectural designs. 2. Awareness of different representational and communication methods 3. Awareness of different dimensions of the design process from analysis and research individually and in teams to iteration and reflection in the formation of architectural designs

Elevation (drawn at 1:100) Model 1:100

Plan (drawn at 1:100)

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Y1 s1 [ARCHITECTURAL DESIGN] ELEMENTS

GROUND, WALL, FRAME, CANOPY

FRAME The frame structure creates an observation platform using the Forth Rail Bridge as a precedent. The frame allows the steep site to be integrated as the structure sits on top. The structure sits in water allowing it to become partially submerged.

Model 1:50

CANOPY

CANOPY The canopy is formed by planes tied to a tensile structure strung between nail which form pillars. The infill panels were a combination of translucent and opaque planes. This creates a variety of covered environments suitable for differing tasks.

FRAME

Model 1:100

Plan (drawn at 1:100)

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Y1 s1 [ARCHITECTURAL DESIGN] ELEMENTS

GROUND, WALL, FRAME, CANOPY

SPACE The space project focuses on creating a shelter. The idea of this wrapping ground plane to become the roof of the space is a key feature. The shelter is positioned on a plinth in an extent of water. This gives the impression that the lightweight structure is floating on the water.

DEVELOPED CANOPY The final week of the project asked us to revisit a previous element. The project looked to enclose an amphitheatre using a similar method to the previous project. Timber supports were added to some of the panels, this allowed for more variation in the height of the structure.

Model 1:100

Section (drawn at 1:50)

DEVELOPED CANOPY

Model 1:100

SPACE

Plan (drawn at 1:50)

Section (drawn at 1:50)

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Y1 s1 [ARCHITECTURAL DESIGN] ELEMENTS

RENGA Brief The objective of the project is to explore the siting and anchoring for the design a Renga Platform. The place to be designed should shelter twelve people during the time of writing a renga poem. The requirements for the platform are specific, but open to many other interpretations. As well as a place to sit and write, the setting should allow for individual reflection. During a day-long event, there will be breaks for group walks into the surrounding landscape, times for conversation, and a place to eat lunch together. However, the place will not always be used for renga. Like a small park, the designed place will also be used for individual and group recreation, a place to walk and sit, a place to picnic, a place to watch and listen.

Site Sections drawn at 1:1000

Site Crammond Island Individual Haiku The water moves up The frozen ground disappears The tide is changing

LEARNING OUTCOMES: 1. Awareness of basic architectural elements and issues that inform their disposition in architectural designs 2. Awareness of appropriate representational and communication methods 3. Awareness of different dimensions of the design process, from analysis and research individually and in teams to iteration and reflection in the formation of architectural designs.

Location Plan (drawn at 1:50,000)

Site Plan (drawn at 1:20,000)

Site Photographs

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Y1 s1 [ARCHITECTURAL DESIGN] ELEMENTS

RENGA The platform as positioned to east of the island. This meant that the platform would benefit from the early morning sun. The frame was inspired by the dragons teeth which line the walkway to the island from the shore. This frame wraps over the platform forming the main structural element. It is then clad with timber to form a perforated facade which allows the platform to be open to the elements. The plan of the building opens out to the water giving expansive views allowing the user to fully experience the environment. A path is created to link the platform to the existing path networks. The timber path shares the same language as the platform itself and remains above the high tide line.

Frame perspective sketch

Plan (drawn at 1:200)

Elevation (drawn at 1:200)

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Section (drawn at 1:100)

Model 1:100

Exterior

Interior

Y1 s1 [ARCHITECTURAL HISTORY] INTRO TO WORLD ARCHITECTURE

DRAWING ARCHITECTURE Elizabethan In which ways was the Elizabethan architectural sensibility influenced by continental examples contained in pattern books and architectural treaties? Throughout the Elizabethan period the architecture took inspiration and was influenced by examples taken from continental Europe. The examples from Europe were often sent over to England in the form of pattern books and architectural treatises. In the 1560â&#x20AC;&#x2122;s the centre for exchange of culture was Antwerp in Belgium. The Flemish illustrators sent over a stream of influential material to England for 30 years from 1560. The material that was sent over took a variety of forms including, Bible illustrations, topography/ travel books, books on borders & cartouches and pattern books for architects.

LEARNING OUTCOMES: 1. Knowledge of the history and theories of architecture before c.1800 (assessed by exam) 2. Demonstrate appreciation of the significance of architectural precedent in the context of design 3. Develop verbal and visual communication skills on key aspects of the module

Elizabethan measured perspective

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Y1 s1 [ARCHITECTURAL HISTORY] INTRO TO WORLD ARCHITECTURE

DRAWING ARCHITECTURE Gothic What was the role, if any, of formal drawing and architectural sketches in such processes? Formal drawings were used in the construction process of many Gothic structures. One of the techniques used with formal drawings is to create a 1:1 scale drawing of the intricate sections of masonry. This would then allow the masons to use the drawing as a template to carve the desired stone blocks with greater accuracy. This technique has been noted to have been used by the Parisian master mason Pierre Robin. Robin created a “Complete drawing” of his church which allowed other masons to complete his design. Before the gothic period drawings were simply used as rough representational devices, they could not have been used to construct the structure. This is because they were not drawn to scale and did not show any structural information. The older buildings did not used to require detailed “formal drawings” this is because the buildings were previously highly geometric.

Chartres Interior Elevation

Stone Mason Column

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Y1 s1 [ARCHITECTURAL HISTORY] INTRO TO WORLD ARCHITECTURE

DRAWING ARCHITECTURE Egyptian “What representational devices did the Egyptian craftsmen use to build the Great Pyramid? Can these be described as early modes of drawing?” The creation of the Great Pyramid in Egypt still remains a mystery although many theories have been thought of to try and answer this question. Hundreds of years before the reign of the Pharaoh Khufu (for whom the Great Pyramid was built) a grid system was created. This system was used to first create images of the Pharaoh and Gods but it is also thought that this system was used the Egyptian architecture for building structures including the Pyramids. The grid system is likely to have been used as the relief of the pyramid can be lined up with an appropriate grid pattern. Pyramid Plan

It is known that the Egyptians had a great knowledge of surveying the land as they had to annually re-establish field boundaries after the Nile flooded. Because of this knowledge partnered with the discovery of trenches and post holes discovered on the eastern side of the pyramid. These posts and trenches line up exactly with the inner layout of the pyramid, creating the idea that the craftsmen/architects had a series of trenches and posts dug to represent the full internal chamber layout of the pyramid. This could then have allowed the chambers to be built in the correct position. BIBLIOGRAPHY Romer, John., (2007) “extracts from Coda: the commanding landscape and The plan inside the Pyramid” “A World History of Architecture” (M. Moffett et al), pp. 20-23, Laurence King; 2 edition (11 Feb 2008)

Pyramid Elevation

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Y1 s1 [ART + DESIGN]

AROUND, THROUGH + BEYOND THE FRAME Group Project Working in groups we had to critically analyse an architects and artist. Assimilate and communicate their ideas in a 3d sculpture. This asked us to work together and look for representational techniques to communicate the ideas of the painting in 3 dimensions. Working in the art school we are asked to experiment with representational techniques in order to achieve the best result. Architect Lebbeus Woods Group Angus Bolland Nick Botteril Camile Galland Ance Ergil

LEARNING OUTCOMES 1. Awareness of a range of representational techniques and how these may be activated within art and design practice and support the wider communication of ideas 2. Awareness of a variety of media and methods of production in contemporary art and design practice, and a capacity to appropriately evaluate them in relation to the development of art and design practice 3. Ability to work to deadlines and explicitly convey ideas and resolved solutions in a well structured and coherent way

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Y1 s1 [ART + DESIGN]

AROUND, THROUGH + BEYOND THE FRAME Individual Project The individual art project focused on individual exploration of the city. I explored the old town closes looking to find an environment of interest. I was interested by the perspective created by these narrow streets and how they draw the viewer in. I looked to introduce colour as a visual indicator.

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[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL HISTORY]

[HUMAN GEOGRAPHY]

[ARCHITECTURAL THEORY]

[TECHNICAL REVIEW]

Elements p.7

Introduction to world Architecture p.13

(In)Place p.36 p.41

[ART + DESIGN]

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

Explorations p.65 p.74

[TECHNOLOGY + ENVIRONMENT] 3

ZONE Architects p.88 p.90

[ARCHITECTURE PLACEMENT]

p.77

Reflection p.93

[ARCHITECTURAL DESIGN]

[ARCHITECTURAL HISTORY]

[ARCHITECTURE PLACEMENT]

[ARCHITECTURAL DISSERTATION]

[ARCHITECTURAL HISTORY]

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL DESIGN]

Through and Beyond the frame p.16

Assembly p.19

Revivalism to Modernism p.30

[TECHNOLOGY + ENVIRONMENT] 1 - Principles

p.32

p.42

Culture + the City p.47 (Any)Place p.49

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

p.59

Working Learning p.80 ZONE Architects p.85

The Necessity of Scars p.97 Tectonics p.101

[ACADEMIC PORTFOLIO]

Part 1 p.116

Oversize storage section

Y1 s2 [ARCHITECTURAL DESIGN] ASSEMBLY

Scale 1:50

allows the room to become a more sociable space as all occupants face each other. The relaxation room has two spaces for lying down, one of these spaces is found in the space “inside” a thick wall. By puncturing the wall creates an almost claustrophobic space creating a space of escapism and thus relaxation.

Images from trip to Blackness Castle

MATERIAL WORLD

STONE

STEAM ROOM

STEAM ROOM Section B-B Scale 1:50

Brief The material world project is made up by a number of short week long design projects. These projects each focus on a specific material with particular attention paid to the qualities of the material and therefore how they can be used in the design project. The design of the buildings relates to the specific requirements of the individual briefs. Stone - Sauna Concrete - Boathouse Brick - Changing room Timber - Tea house

Images from trip to Blackness Castle

STEAM ROOM Section B-B

Blackness Castle field trip

Scale 1:50

Architectural Assembly Portfolio

ANGUS BOLLAND S1127410 Section1:100 (Drawn at 1:50) STONE STEAMROOM

MATERIAL WORLD

One of these designs is then developed further.

Stone - Sauna

This project looked to design a steam house relaxation centre for a hotel complex. My design looks at using stone to create suitable spaces for the steam room. The steam room is located in a circular room which allows the room to become a more sociable space as all occupants face each other. The relaxation room has two spaces for lying down, one of these spaces is found in the space “inside” a thick wall. By puncturing the wall creates an almost claustrophobic space creating a space of escapism and thus relaxation.

MATERIAL WORLD

Architectural Assembly Portfolio

ANGUS BOLLAND

This project looked to design a steam house relaxation centre for a hotel STEAM ROOM complex. My design looks at using stone Elevation A-A Scale 1:50 to create suitable spaces for the steam room. The steam room is located in a circular room which allows the room to become a more sociable space as all occupants face each other. The relaxation room has two spaces for lying down, one of these spaces is found in the space “inside” a thick wall. By Architectural Assembly Portfolio puncturing the wall creates an almost claustrophobic space creating a space of escapism and thus relaxation.

STEAM ROOM Elevation A-A

STONE

Images from trip to Blackness Castle

STEAMROOM

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Scale 1:50

ANGUS BOLLAND

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LEARNING OUTCOMES: 1. Awareness of principles of assembly, materiality, specific constructional and environmental logics and how they inform the design of architecture 2. Capacity to manipulate architectural form in the consideration of interior and exterior space and simple programmes 3. Skills in the representation of simple architectural designs, including design process, in the portfolio format

Plan 1:100 (Drawn at 1:50)

Architectural Assembly Portfolio

ANGUS BOLLAND

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boats as I felt that this was important. A sloping roof creates a larger window for viewing the river.

Y1 s2 [ARCHITECTURAL DESIGN] ASSEMBLY

ERIAL WORLD MATERIAL WORLD

BOAT HOUSE Section C-C Scale 1:50

CONCRETE

BOAT HOUSE

Scale 1:100

esign a boat house for a rowing tion material that was used in this material is well suited to Concrete - Boat House nt as the material must withs of the riverside . The boat hold 2 largeThis rowing boats and looked to design a boat project required for the club members house for a rowing club. The main orporated a spiral staircase to construction material that was used in used a double height space in this project ow easy manoeuvrability of theis concrete, this material is well suited was important. A sloping roof to the riverside environment w for viewingas the the river. material must with-stand the wet

BOATHOUSE

Section B-B

conditions of the riverside . The boat house was designed to hold 2 large rowing boats and kayaks. Space was also required for the club members to watch the river. I incorporated a spiral staircase to reach the upper level. I used a double height space in the boat store are to allow easy manoeuvrability of the boats as I felt that this was important. A sloping roof creates a larger window for viewing the river.

ANGUS BOLLAND

MATERIAL WORLD

CONCRETE

BOATHOUSE

Plan 1:100 (Drawn at 1:50)

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BOAT HOUSE Section A-A

Architectural Assembly Portfolio Scale 1:100

ANGUS BOLLAND

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MATERIAL WORLD

CONCRETE

Cast Model

BOATHOUSE

This This project project looked looked to to design design aa boat boat house house for for aa rowing rowing club. club. The The main main construction construction material material that that was was used used in in this this project project is is concrete, concrete, this this material material is is well well suited suited to to the the riverside riverside environment environment as as the the material material must must withwithstand stand the the wet wet conditions conditions of of the the riverside riverside .. The The boat boat house house was was designed designed to to hold hold 22 large large rowing rowing boats boats and and kayaks. kayaks. Space Space was was also also required required for for the the club club members members to to watch watch the the river. river. II incorporated incorporated aa spiral spiral staircase staircase to to reach reach the the upper upper level. level. II used used aa double double height height space space in in the the boat boat store store are are to to allow allow easy easy manoeuvrability manoeuvrability of of the the BOAT HOUSE boats boats as as II felt felt that that this this was was important. important. AA sloping sloping roof roof SectionaaB-B creates creates larger larger window window for for viewing viewing the the river. river. Scale 1:100 BOAT BOAT HOUSE HOUSE Section Section C-C C-C Scale Scale 1:50 1:50

Plan 0 1:100 (Drawn at 1:50)

ural Assembly Portfolio

ANGUS BOLLAND

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Architectural Assembly Portfolio

Section 1:100 (Drawn at 1:50)

ANGUS BOLLAND

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MATERIAL WORLD

ERIAL WORLD

Y1 s2 [ARCHITECTURAL DESIGN] NGING ASSEMBLY ROOM

BRICK

CHANGING ROOM

CHANGING ROOM CHANGING ROOM/MODESTY BOX Section B-B Scale 1:50

MATERIAL WORLD

esign a changing room located hanging room was to be built d to houseBrick 2 separate changing Images of Bricklaying workshop and model - Changing room the building is important in s crucial toThis the daily use of looked this project to design a appropriate screening bechanging room located in open eternal spaces. The plan of the changing room was to parkland. The CHANGING ROOM/MODESTY BOX ans out from the path towards be built out of brick and required to lding has been designed using house 2 separate changing areas. BRICKThe DETAIL C-C ick. flow through the building is important in

Images of Bricklaying workshop and model

CHANGING ROOM/MODESTY BOX Plan A-A

Scale this building as privacy is crucial to 1:20 the

daily use of this building. There must be appropriate screening between the internal and eternal spaces. The plan of the building shows how it fans out from Portfolio ANGUS BOLLAND S1127410 the path towards the sports field. The building has been designed using the modular unit of 1 brick.

Section 1:100 (Drawn at 1:50)

Scale 1:100

MATERIAL WORLD

BRICK

CHANGING ROOM

Architectural Assembly Portfolio

ANGUS BOLLAND

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DESTY BOX

CHANGING ROOM/MODESTY BOX

BRICK DETAIL C-C

Plan A-A

Scale 1:20

Scale 1:100

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Plan 1:100 (Drawn at 1:50)

Section 1:20

Architectural Assembly Portfolio

ANGUS BOLLAND

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Images of timber workshop and model

Y1 s2 [ARCHITECTURAL DESIGN] ASSEMBLY MATERIAL WORLD

Timber - Tea House This project was to design a timber teahouse located in a highly scenic area. The structure of the building must be thought about and how it interacts with the landscape. The building must be elevated to give the best views. Internally the building should be modest and include space for one toilet a kitchen area and suitable space or eating/drinking. I decided to elevate the building with a rising boardwalk. The teahouse is clad in timber which is sympathetic to its surrounding landscape.

MATERIAL WORLD

TIMBER

Images of timber workshop and model

MATERIAL TEA HOUSE WORLD

TIMBER

TEA HOUSE

This project was to design a timber teahouse located in a highly scenic area. The structure of the building must be thought about and how it interacts with the landscape. The building must be elevated to give the best views. Internally the building should be modest and include space for one toilet a kitchen area and suitable space or eating/drinking. I decided to elevate the building with a rising boardwalk. The teahouse is clad in timber which is sympathetic to its surrounding landscape.

CHANGING ROOM/MODESTY BOX

ssembly Portfolio

ANGUS BOLLAND Plan A-A

Scale 1:100

S1127410 TEAHOUSE Section B-B Scale 1:50

Images of timber workshop and model

Plan 1:100 (Drawn at 1:50)

Section 1:100(drawn at 1:50)

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MATERIAL WORLD

DEVELOPED TIMB

Y1 s2 [ARCHITECTURAL DESIGN] ASSEMBLY MATERIAL WORLD

MATERIAL WORLD DEVELOPED Timber - Tea House

MATERIAL WORLD

The project has been developed by creating a balcony area on the front of the front of the teahouse, this gives views in all three areas (Loch, mountain, water-fall). Windows are introduced through pop out windows on the teahouse. The teahouse is located on the river edge, in-between the current trees.

DEVELOPED TIMBER

TEA HOUSE

TEA HOUSE PLAN A-A SCALE 1:100

PERSPECTIVE from point 1

MATERIAL WORLD

DEVELOPED TIMBER

TEA HOUSE

DEVELOPED TIMBER SECTION B-B

SCALE 1:50

The project has been developed by creating a balcony area on the front of the front of the teahouse, this gives views in all three areas (Loch, mountain, waterfall). Windows are introduced through pop out windows on the teahouse. The teahouse is located on the river edge, in-between the current trees.

PERSPECTIVE from point 2

MATERIAL WORLD

DEVELOPED TIMBER

TEA HOUSE Architectural Assembly Portfolio

ANGUS BOLLAND

Architectural Assembly Portfolio

ANGUS BOLLAND

PERSPECTIVE from point 2

DEVELOPED TIMBER PLAN A-A SCALE 1:50

Plan 1:100 (Drawn at 1:50)

ELEVATION NE Scale 1:100

Architectural Assembly Portfolio Architectural Assembly Portfolio

ANGUS BOLLAND

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ELEVATION NE Scale 1:100

Elevation 1:200(drawn at 1:100)

Architectural Assembly Portfolio

ANGUS BOLLAND

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Y1 s2 [ARCHITECTURAL DESIGN] ASSEMBLY

PRECEDENT ASSEMBLY Eames House The initial project of the design assembly unit asked us to work in groups to analyse a example of a private house to use an initial precedent prior to starting our own designs. Working in groups of 2 we analysed the buildings through plan diagrams and exploded isometric drawings looking at how the building was assembled.

Group: Callum Aitken Angus Bolland

Exploded Isometric Callum Aitken

The Eames house provided a good starting point for the project as it combines both private and public areas in the building. This mixed use was a component of the design proposal for the assembly unit as well. The building is relatively simple in terms of construction with a primary frame structure and infill wall panels. These frames provide a flexible interior layout.

Exploded Isometric

Isometric

Plan Diagram

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Location of site in relation to the city of Edinburgh

Y1 s2 [ARCHITECTURAL DESIGN] ASSEMBLY

SITE PLAN Scale 1:300

n Ro Lower Granto

STRANGELY FAMILIAR House for a Dressmaker Brief Finally, having cycled through different materials in the first five weeks, you should use the knowledge you have gained to use materials in a very specific way appropriate to spaces and expression you wish to give to the house.

SECTION A-A

This project invites you • to consider spaces for everyday life and everyday rituals in a new manner • to assemble space, internally and in relation to external spaces and site * to explore thresholds between public and private space • to develop a design from intent to proposal

STRANGELY FAMILIAR

SECTION A-A

SITE INFORMATION

Scale 1:150

Location of site in relation to the city of Edinburgh

SITE PLAN

Lower Granton Road

Scale 1:300

Site The site for the project is on Lower Granton road. This area is located to the north of the city centre and is connected with good road links. Research was carried out looking at sun charts and site analysis to try and best understand the site. The sloping site and view out to the Firth of Forth are key factors when considering the design.

n Ro Lower Granto

Elevation 1:200(drawn at 1:100)WIND DIRECTION MAP OF EDINBURGH

Architectural Assembly Portfolio

ANGUS BOLLAND

STRANGELY FAMILIAR

S1127410

SITE INFORMATION

Location of site in relation to the city of Edinburgh SECTION A-A SITE PLAN

Scale 1:300 SECTION A-A Scale 1:150

n Ro Lower Granto

Lower Granton Road

Site plan + Section 1:300(drawn at 1:100)

Architectural Assembly Portfolio

ANGUS BOLLAND SECTION A-A

S1127410

WIND DIRECTION MAP OF EDINBURGH

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Y1 s2 [ARCHITECTURAL DESIGN] ASSEMBLY

This 2 point perspective shows the new design which looks at separating the work and home spaces with a glass corridor. This corridor would also be used as a display window for the shop.

STRANGELY FAMILIAR House for a Dressmaker Design Development The design was altered to work with the site. The slope of the roof was changed to let in maximum south light. The glass corridor was moved to the front of the house to allow the display corridor to make more impact. I had the idea to incorporate a rooftop balcony but this was later withdrawn.

The design focused on the separation of work and living accommodation. This idea was brought forward from the earlier precedent study. The building was positioned to the north of the site with the residential side dug into the slope.

Original design looks at entering the house on the first floor with a garage located at the side and is carved into the slope.

An initial idea was to create a viewing window on the ground floor for the display of the dresses. The design looks at having 3 floors one for shop one for lining and the third for the bedrooms.

The connecting corridor acts as a display zone for the dressmaker. Mannequins can be positioned offering a street front for the business.

This isometric shows the proposed final design along with the plan of the proposed design.

Architectural Assembly Portfolio

ANGUS BOLLAND

S1127410

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Exploded Isometric

Y1 s2 [ARCHITECTURAL DESIGN] ASSEMBLY

STRANGELY FAMILIAR BOLLAND STRANGELYANGUS FAMILIAR

STRANGELY FAMILIARSite Plan

S1127410 ANGUS BOLLAND

S1127410 Second Floor Plan

Second Floor Plan

Site Plan

House for a Dressmaker The final proposed design focuses on framing views across the water and dealing with defining work and residential zones. This was an important factor for the protagonist as living so 3 close to your work zone requires careful consideration, anto

r er G Low

3 1

Road

anto

r Gr owe

n Ro

The final project of Architectural design assembly was entitled “Strangely Familiar”. The project was to design a 2 bedroom house for a home business located in Edinburgh.

The location of this project is in Granton which is an area to the north of the city centre. The business is a dressmaker which gave its own needs to the project. The project had to accommodate adequate shop space, a workshop and suitable space to display the dresses.

Bedrooms

View From 1.

Bathroom

Bedroom

The final project of Architectural design 3. Bedroom assembly was entitled “Strangely Famil4. design Balcony iar”. The project was to a 2 bedroom house for a home business located in Edinburgh. The location of this project is in Granton which is an area to the north of the city centre. The business is a dressmaker which gave its own needs to the project. The project had to accommodate adeFirst Floor Plan quate shop space, a workshop and suitable space to display the dresses.

I feel that the design has catered to these needs with the separated space for shop and workshop and the glass corridor which acts as a display of the dresses.

View From 1.

Perspective From 2.

Balcony

I feel that the design has catered to these needs with the separated space for shop and workshop and the glass corridor which acts as a display of the dresses.

Bathroom

Family Room

Utility Room

Glass Corridor

Kitchen

Workshop

Dining Room

Fabric Cupboard

Living Room

Bathroom

Family Room

Utility Room

Glass Corridor

Kitchen

Workshop

Dining Room

Fabric Cupboard

Living Room

Workshop The view from the site is large and expansive. A wide panorama can be seen with Granton and Leith industrial estate framing the view. These two industrial areas distract from the more scenic views found directly to the north. My proposal intends to Shop block the views to the industrial areas by creating vertical panoramas.

Ground Floor Plan

Glass Corridor Workshop

View suitable for creating “vertical panoramas”

Perspective From 2.

Living Area

Glass Corridor

The view from the site is large and expansive. A wide panorama can be seen with Granton and Leith industrial estate framing the view. These two industrial areas distract from the more scenic views found directly to the north. My proposal intends to block the views to the industrial areas by creating vertical panoramas.

Bedroom

First Floor Plan

Ground Floor Plan

View suitable for creating “vertical panoramas” View to be blocked

Bedroom

Bedrooms

Living Area

View to be blocked

Bathroom

Private Entrance

Circulation

Circulation 1.

Shop

Garage

Toilet

Entrance Hall

Changing Room

Cupboard

Shop

Garage

Toilet

Entrance Hall

Changing Room

Cupboard

Shop

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STRANGELY FAMILIAR

ANGUS BOLLAND

S1127410

Y1 s2 [ARCHITECTURAL DESIGN] ASSEMBLY

STRANGELY FAMILIAR House for a Dressmaker The building follows the line of the existing stone wall. The residential section overhangs the pavement allowing it to be seen from along the road. A stair core forms the circulation space in the building .

Garage

Shop

Workshop

Glass Corridor/ Dress Display

Family Room

Kitchen

Balcony

Bathroom

Entrance Hall

10.

Cupboard

Section A-A

Photomontage taken from view 3. 8

Section B-B

9 Lower Granton Road

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Exploded Isometric Showing Building Structure Scale 1:200

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Y1 s2 [ARCHITECTURAL HISTORY] REVIVALISM TO MODERNISM

PRESENTATION: Engineering Architecture: Joseph Paxton + Louis Sullivan The Presentation section of the course required students to deliver a short prepared presentation to their tutorial group. This presentation would then stimulate tutorial discussion. The presentation is based around an architect/movement and will be assessed on the communication.

SELECTED BIBLIOGRAPHY Hitchcock, H-R, Architecture in the Nineteenth cnd Twentieth Centuries,Penguin, 1958. Pevsner, N, Pioneers of Modern Design, (Revised Edition), Yale University Press, 2005 Hitchcock, H-R, Architecture: Nineteenth and Twentieth Centuries, Pelican, Harmondsworth,1981, Chapter 14. BushBrown, Albert, Louis Sullivan, Braziller, New York, 1960. Morrison, Hugh, Louis Sullivan: Prophet of Modern Architecture,nNorton, New York, 1963. Manieri Elia, Mario, Louis Henry Sullivan, Princeton, 1996. Siry, Joseph, Carson Pirie Scott, Louis Sullivan and the Chicago Department Store, Chicago, 1988. Sullivan, Louis, The Kindergarten Chats and Other Writings, numerous edition LEARNING OUTCOMES 1. A knowledge of the history of western architecture from the industrial to the postindustrial age. (exam) 2. Skills in research and presentation. (presentation) 3. Development of critical faculties in relation to works by themselves and by others (essay)

Paxton entered his design for the temporary building to be used for the modern world’s fair in 1851 after none of the previous applications were deemed suitable. The reason that so many projects were unsuitable was because of the demanding brief set. It was intended to be a temporary structure for the fair. The structure had to be built in under a year. It was noted that no existing standard building construction methods could fulfil these requirements this was where Paxton’s knowledge of the metal frame and glass construction helped him to secure the design. His design uses cast iron with glass as the cast iron is much quicker to produce than wrought iron. He makes use of standardisation, modularisation and mass production where possible to allow the building to be built in just 10 months, 2 months under the year deadline. The building although elegant and beautiful was not appreciated as architecture by of the time A W Pugin who pioneered the Gothic revival described it as “a glass monster”.

The Pirie Scott Store in Chicago built in1899 was Sullivan’s last major commission for a large scale buildings and it brings together the elements of form and function and organicism style in this public and private building. The building can clearly be split into two sections with the department store on the ground and first floors and then office space rising up to the 12th floor. The department store which looks to draw customers in off of the streets is lavishly decorated bronze plated cast iron sheets displaying organic shapes, these span the lengths of its street side façades. The metal framework has also allowed for large windows for the shop to display its goods, its entrance is also slightly projected outwards to help to emphasise where the building is to be entered. In the office space above he makes use of a plainer and simpler design where he makes use of wide windows to help emphasise the buildings horizontal appearance. They are also highly suited to the office environment where natural daylight helps to create a better working environment. Sullivan conceived the building to be a lasting legacy on Chicago.

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Y1 s2 [ARCHITECTURAL HISTORY] REVIVALISM TO MODERNISM

ESSAY: In what ways do Frank Lloyd Wright’s Prairie Houses break with tradition?

INTRODUCTION Frank Lloyd Wright has designed some of the most influential buildings of the 20th century; he developed his own “Prairie Style” with his own rules and constraints. This style was seen as Wrights breakthrough period as an individual architect. American architecture was originally seen as purely as an amalgamation of styles which had been brought over from Europe. This led to a large proportion of America’s public and private buildings to be considered “European” in styling and construction methods. It was due to the domination of European styling that a number of architects began working in their own “American” style. Louis Sullivan was one of these of these architects but almost ironically it was one of his former employees (Wright) who was to transform American housing with his Prairie style. EXTRACT “The Robie house of 1908-10 was among the clearest of wrights expressions of the Prairie House” It combines all of the elements required for the model Prairie House through its three floors. The house looks to create bespoke spaces suitable to the clients (Frederick Robie’s) needs, a degree of privacy from the street and separate space for his children. Wright believed that his designs should make use of arts and crafts ideas and values yet the components should be suitable to be made by machines. It was his desire to have individual bespoke components crafted by machines which limited Wright to using geometric shapes in his designs. This could have been seen as a disadvantage or hindrance but it gave his buildings a unique style against those being built at the time in Europe, European architects were mainly interested in hand crafted objects through the Arts and Crafts movement. In plan it can be seen that the Robie house is constructed out of two bands which have been joined together. The back band holds the buildings functional space including the garage, laundry room and accommodation for servants. This leaves the front band free to hold the families entertaining and living spaces. Similarities between this house and the villas of the past are apparent by Wrights use of the piano noble where the main living and dining spaces were situated on the first floor rather than on the ground floor. By elevating the entertaining rooms it meant that a view was achieved over the low external wall which provides privacy to the ground floor rooms.

SELECTED BIBLIOGRAPHY Cantacuzino, S., Modern Houses of the world (London 1966). Curtis, W., Modern Architecture since 1900 (London 2011). Frampton, K., Modern Architecture: A Critical History (London, 2011). Moffet, M., A World History of Architecture (London 2008). Storrer, W., The Architecture of Frank Lloyd Wright a complete catalog (London 2002).

CONCLUSION Frank Lloyd Wright has designed some of the most influential buildings of the 20th century; he developed his own “Prairie Style” with his own rules and constraints. This style was seen as Wrights breakthrough period as an individual architect. American architecture was originally seen as purely as an amalgamation of styles which had been brought over from Europe. This led to a large proportion of America’s public and private buildings to be considered “European” in styling and construction methods. It was due to the domination of European styling that a number of architects began working in their own “American” style. Louis Sullivan was one of these of these architects but almost ironically it was one of his former employees (Wright) who was to transform American housing with his Prairie style.

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Y1 s2 [TECHNOLOGY + ENVIRONMENT] Assignment 1 – Building Hierarchies

Assignment 1 – Building Hierarchies

Royal Museum of Scotland – Main Hall

Royal Museum of Scotland (Main Hall)

The Royal Museum of Scotland was built in 1865 it now forms part of the National Museums Scotland complex. The building was designed to exhibit a number of important national artefacts; it was one of the best examples of Victorian architecture in Scotland and was designed by Sir Francis Fowke. The key space in the original building is the main hall; this was the original entrance point to the museum. This space uses many elements of Victorian architecture including cast iron construction and overhead lighting. It acted as the central hub to the other wings completed in 1874 and 1888 respectively. The building has a heavy Victorian renaissance façade, built out of sandstone. This imposing façade acts as a strong contrast to the lightweight, modern interior structure. This modern interior space was clearly inspired by Joseph

BUILDING HIERARCHIES National Museum of Scotland Work in pairs to study the structure of a building, and present a short report (up to 4 pages) to explain how the structure works. Include the following:  An image with an annotated diagram representing the structure superimposed over it.  A brief description of the structure, including the material, the relationship of the structure to the ‘skin’ of the building, and the way that loads are transferred to the ground.  A section through the building illustrating the main structural elements.  A plan of the building identifying the key structural elements. Group Callum Aitken Angus Bolland

Paxton’s Crystal Palace built in 1851. The main hall’s structure soars to a height of 24 metres, and has a length of 81 metres. This size of structure was only possible due to the use of cast iron as a building material. The use of cast iron allowed the columns to be built high yet slender with a diameter of 250mm. The structures roof appears to use a similar construction technique, yet on inspection it can be seen that the roof is made of wooden trusses rather than iron. Wood was used here to create a light and strong roof. The

main reason that the metal frame construction method came about is because of the reduced costs and ability to produce larger quantities of ferrous metals. A ferrous metal is a metal that contains iron. The use of cast iron as a building material became more widely acceptable after it was used in bridge construction. The iron structure in the main hall holds the first and second floor walkways along with the glass roof. However the hall is surrounded by thick, structural sandstone walls which take the majority of the buildings weight.

Callum Aitken – s1128969

The relationship between the main halls iron structure and the external sandstone skin of the building is complex. The two elements are bridged by an internal vaulted corridor. This space is narrow in comparison to the hall with large heavy pillars on either side holding the weight of the building. The external skin of the museum gives no indication of the internal structure, adding to the public’s overall experience.

Angus Bolland – s1127410

The central load is split over the halls forty iron columns. This gives forty point load locations split over the whole room, each point with an area of 49x103 mm2. Splitting the weight between so many points allows the columns to be so thin and elegant. Combining this new Victorian technology with traditional stone building techniques carries the accumulative load of the building.

Section

Plan – Ground Floor

Wooden frame roofing structure

Annotated image

Cast iron pillar Sandstone walls

Cast iron column

Sandstone

Wooden trusses help lighten the roof structure

LEARNING OUTCOMES 1. Understanding of the key concepts in the physical behaviour of structural systems and their application in architecture 2. Appreciation of the integral nature of material assembly and environmental systems to the development of architectural designs 3. Breadth of knowledge and understanding of the principles of architectural structures, material assembly, environmental systems and sustainability in the built environment

Floors supported by iron columns and stone walls

Cast iron columns used to support floors and roof

Vaulted stone basement level

Loads applied to structure

Basement space uses a vaulted structure creating a strong base for the main building

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Y1 s2 [TECHNOLOGY + ENVIRONMENT]

The University of Edinburgh : Architecture

Technology and Environment 1 : Principles

Your Name Building Name

Technology and Environment 1 : Principles

Stage 2 Assignment Sheet: Materials Systems

Thermal Environment Assignment: Stage 1 Assignment Sheet

either print and fill in, or digitally paste your work in this assignment sheet Your Name Angus Bolland

locate your design on the site photograph

Angus Bolland House by Woodland

Building Name

H: ratings and summary

House by Woodland

Section H summarises your building performance

stage 2 assignment sheet 1 of 3

stage 1: sheet 1 of 2

design : sketch or paste your drawn wall element here. [3D section/isometric] : at a

design sketch or paste your drawn design proposal here

ASSIGNMENT 2

scale of 1 :10 or 1 : 20

Elevation 1

Angus Bolland House by Woodland Edinburgh

student name building name building location

W/m2K

0.16

U Value of wall element from spreadsheet Include a copy of the spreadsheet at the end of your submission

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

The energy cost factor for this building is:

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

The SAP rating for your building is:

BRIEF: You are asked to design and then assess a simple retreat for a site in Edinburgh, close to the Royal Observatory. It is a small one storey building consisting of: • A living space that includes dining and kitchen facilities • A bedroom • A bathroom It should be of a relatively simple form and be reasonably cheap to construct. The proposal should take advantage of sunlight, any views on the site and potential sheltering features. DESIGN: The house by woodland looks to provide the homeowner with a relationship with the surrounding forest area. Light is introduced into the building through the strip windows; these windows wrap the exterior of the building. The strip windows almost give the appearance that the roof is not attached to the walls. However the roof will be connected in the buildings corners. Larger windows are found on the four sides of the building. The building is formed by two rectangular spaces one for living space and the other contains the bedroom. A sheltered area is created in the space between the building and the woodland.

my building excellent good fair pass

Elevation 2

fail poor

Plan

very poor 5 0 0 m m

1000mm 2000mm

Building Name

100

120

140

160

CO2 Use

stage 1: sheet 2 of 2

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

The house by woodland looks to provide the homeowner with a relationship with the surrounding forest area. It is situated at the south edge of the site with views into the woodland but not located too close to the surrounding trees this allows sunlight to enter into the building. The prevailing south westerly winds found at the site are controlled by the woodland area at the south of the site. Light is introduced into the building through the strip windows; these windows wrap the exterior of the building. The strip windows are located at 2 metres which adds a degree of privacy to the house as the site is very open. The strip windows almost give the appearance that the roof is not attatched to the walls. However the roof will be connected in the buildings corners. Larger windows are found on the four sides of the building which face away from the road. These larger windows extrude down from the strip windows. The building is formed by two rectangular spaces one for living space and the other contains the bedroom. A sheltered area is created in the space between the building and the woodland. The building has a flat roof allowing the house to fit into the open landscape of the site. Strong angular geometry is used in the building as it creates the best spaces with 50sqm it also allows the building to be built efficiently and use standard building products. The building would have a contemporary white exterior render. This will give the building a clean exterior contrasting against the surrounding woodland.

Elevation 2

Elevation 1

Angus Bolland House by Woodland written reflection write or paste your written design rationale here. Your Name

Your building CO2 consumption is:

724 KgCO2/year

Your DER is:

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

CO2 emissions by use

space heating - main system

space heating secondary fire

space heating - secondary fire hot water heating

hot water heating

lighting

Isometric

H: ratings and summary Section H summarises your building performance

The University of Edinburgh : Architecture

Your Name

Building Name

Technology and Environment 1 : Principles

The University of Edinburgh : Architecture

Angus Bolland House by Woodland

Your Name

Building Name

stage 2 assignment sheet 2 of 3

design : sketch or paste your drawn roof element here [3D/isometric section] at a scale of 1 : 10 or 1 : 20

U Value of roof element from spreadsheet Include a copy of the spreadsheet at the end of your submission

0.14

W/m K

Technology and Environment 1 : Principles

Angus Bolland House by Woodland

stage 2 assignment sheet 3 of 3

design : sketch or paste your junction drawing between wall and roof here. [2D section] at a scale of 1 : 5

The University of Edinburgh : Architecture

Stage 3 Assignment Sheet : Thermal Performance

SAP Rating

either print and fill in, or digitally paste your work in this assignment sheet Your Name Angus Bolland Building Name

Angus Bolland House by Woodland Edinburgh

student name building name building location

Technology and Environment 1 : Principles

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

The energy cost factor for this building is:

House by Woodland

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

document write or paste here the key consumption data derived from the predicting performance spreadsheet. Include a copy of the spreadsheet at the end of your submission Building SAP rating Building CO2 emissions Dwelling Emissions Rate DER 79 983 21

The SAP rating for your building is:

document write or paste here the conclusions you have drawn from calculating your building’s

thermal response.

my building excellent

The task of calculating the buildings thermal properties of the building causes the architect to look at the design decisions which have been taken. After calculating the buildings performance it becomes apparent where changes can be made to create a more thermally efficient house. The important factors that I have found can have a strong effect on the building are also influenced by the site. The site is open which allows for a large amount of solar gain to be captured. I decided to locate my building by the south side of the site where woodland offered shelter from elements but reduced the amount of direct sunlight. I also noted that the selected heating system used in the house can greatly affect the buildings performance. It was also made apparent how much insulation was required to create a house with a suitable u value. I feel that my building has made good use of the solar gain with its use of windows. The building has a flat roof which helps to reduce the buildings verticality but it also helps reduce the amount of roof area which would be greatly increased if a pitched roof was used in the design. The building was designed with varying roof heights for the living accommodation and the bedroom space as I did not feel it was necessary for large ceiling heights in the bedroom area of this modest house. The building does not make use of a wood burning stove as a secondary heating system as it does not improve the SAP rating and would create another opening in the roof allowing more heat loss. After achieving the ratings for thermal response it becomes clear the amount of effort required in creating a building with high a high SAP rating.

good fair pass

fail poor very poor

100

120

140

160

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

Your building CO2 consumption is:

983 KgCO2/year

Your DER is:

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

document write or paste here the strategy you have employed to reduce your buildings CO2

emissions by 10%. In order to reduce the buildings CO2 emissions by 10% a variety of strategies can be used. An obvious change would be to use a condensing gas boiler rather than the standard gas boiler. The building could be positioned in a more open area of the site allowing the building to capture the maximum solar gain. Both of these changes would not affect the design of the building however changes can be made to the number of windows on the building which would reduce the heat loss as the windows offer no insulation. However after testing the use of the condenser boiler and moving the building to a more open area of the site I found that the CO2 emissions can be greatly reduced without the need to alter the design of the building.

New Building SAP rating 86

New Building CO2 emissions 724

fuel running costs

space heating - main system

space heating secondary fire

space heating - secondary fire hot water heating

hot water heating

lighting

New Dwelling Emissions Rate 15

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Y1 s2 [DIGITAL SKIN]

Brief Following a series of template video processes student will work in teams of six to develop a response to the architectural context of Inspace through the theme of digital skin. Group Angus Bolland Robert Rattray Connel Binnie The project looked at the idea of observation and addiction in modernity. The multiple screen component allowed us to replicate the form of “one arm bandit” machine. This machine was “played” by the user with the eye being incorporated into the machines cycle representing how the user is being observed in the city. The video is available to watch as part of the ESALAtv youtube video. the link is:

https://www.youtube.com/ watch?v=x0K1YE1ZUCQ

Click HERE for video https://www.youtube.com/watch?v=x0K1YE1ZUCQ

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[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL HISTORY]

[HUMAN GEOGRAPHY]

[ARCHITECTURAL THEORY]

[TECHNICAL REVIEW]

Elements p.7

Introduction to world Architecture p.13

(In)Place p.36 p.41

[ART + DESIGN]

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

Explorations p.65 p.74

[TECHNOLOGY + ENVIRONMENT] 3

ZONE Architects p.88 p.90

[ARCHITECTURE PLACEMENT]

p.77

Reflection p.93

[ARCHITECTURAL DESIGN]

[ARCHITECTURAL HISTORY]

[ARCHITECTURE PLACEMENT]

[ARCHITECTURAL DISSERTATION]

[ARCHITECTURAL HISTORY]

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL DESIGN]

Through and Beyond the frame p.16

Assembly p.19

Revivalism to Modernism p.30

[TECHNOLOGY + ENVIRONMENT] 1 - Principles

p.32

p.42

Culture + the City p.47 (Any)Place p.49

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

p.59

Working Learning p.80 ZONE Architects p.85

The Necessity of Scars p.97 Tectonics p.101

[ACADEMIC PORTFOLIO]

Part 1 p.116

Oversize storage section

Y2 s1 [ARCHITECTURAL DESIGN] (IN)PLACE

of 3 students we ith analysing a line Observations ty of Line edinburgh. in we looked at how of areas changes As a group we were assigned a line the station as the a city. We had to drawn across . follow this line as closely as possible and document our findings. We would use this information to help select an appropriate site for the neighbourhood project.

angus bolland | architectural design Group Arthur Kirkwood Linda Kolstin Angus Bolland

LEARNING OUTCOMES: 1. Ability to develop architectural designs that appropriately respond to a specified site and that contain an explicit investigation through research . 2. Capacity to synthesize a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design. 3. Ability to effectively explore and communicate design ideas and propositions, individually and in teams , in a range of digital and analogue formats.

line analysis

stills analysing angus bolland | architecturalVideo design

journey following line.

line analysis

Density study. i carried out a density study to access how the level of footfall varies across the waverley valley. these results were then graphed.

Market street section drawn at 1:50 the market street section

shows how nature and the natural landscape affect the city this is a quiet zone close to the station.

Old Town section GC

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Course Timeline

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Y2 s1 [ARCHITECTURAL DESIGN] (IN)PLACE

Neighbourhood Platform Theatre of the city The project looks to create a public theatre space within the heart of Edinburgh’s Old Town centre. An existing stairway and shop form the site with the building connecting between the original Upper and Lower Bow streets. The proposal will create a number of new theatre spaces suitable for flexible use. An upper theatre directly accessible to the upper street is connected to a “viewing vault” theatre dug into the castle bedrock. Space beneath Victoria street is exploited as their is an existing cellar network below street level. This space houses a multi use space and WC facilities.

Victoria Street Elevation

Night Visualisation 38

Model 1:100 GC

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lland | architectural angusdesign bolland | architectural design

al design

theatre of the city

angus bolland | architectural design theatre of the city theatre of the city

e of the city 3

3 1

4 3

1. 2. 3. 4.

isometric showing street level isometric showing terrace level

viewing vault amphitheatre foyer stairwell victoria street

Upper Bow Level 1. 2. 3. 4.

terraced seating glazed roof victoria terrace upper bow

<--

ng subterranean level

multi â&#x20AC;&#x201C; use room toilets backstage corridor

Victoria Street Level

<--

layered isometric line drawing

1. 2. 3. 4.

<--

Basement Level

Y2 s1 [ARCHITECTURAL DESIGN] (IN)PLACE Neighbourhood Platform

Viewing vault visualisation

Section N-S (drawn at 1:100) 40

Exploded Isometric GC

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Y2 s1 [HUMAN GEOGRAPHY]

The human geography course was undertaken as my outside subject. I felt that it would help improve my knowledge and understanding about how people use and inhabit the world.

How has iconic architecture affected Edinburgh’s city centre urban growth? Over the centuries Edinburgh has grown economically, the city has developed and new areas have been urbanised. A variety of historical buildings and districts that have grown over the centuries creating a diverse urban landscape with many iconic buildings. I propose to assess the impact of two of Edinburgh’s iconic buildings ,The Castle and Old College together with the New Town on Edinburgh’s urban growth.

Assessment was carried out in the form of a class essay and a degree project.

The course aims: • To introduce students to key theories and concepts in geography • To examine the relationships between human societies and the landscapes they use and shape • To examine the importance of geographical enquiry to key contemporary debates that include globalization, sustainability, social inequality and nationalism • To develop skills in written and verbal communication, critical thinking and independent learning The course is designed: • To encourage the development of students’ oral and written communication skills, including discussion in tutorial groups, and the development of a range of writing skills (essay, report and peer review) and analytical skills. To assess critically a range of theoretical and conceptual issues in human geography • To develop skills of constructive criticism and analysis • To encourage you to read widely using bibliographic databases and other library resources.

The photos that I have taken look to capture the city’s urban qualities at a variety of scales. Urban can be referring to a single building, a block of building’s or the city as a whole entity and is general category of which can be filled by many items. These photographs offer something more than just written words. An exact definitive image can be portrayed allowing readers who are unfamiliar with the topic to engage more with the text. However photos are not necessarily the most “real” forms of communication as videos can capture not only the visible but also the audio. Photography is more accurate than artwork but can appear sterile as little enhancement can be made without extra editing and artwork can evoke more feeling.

“the basic signifying unit (the photograph) itself does not change, the chains of cultural connotations with which it may be attached are only temporary.” (Bate, 2009) p 42 These iconic buildings came into existence as a result of the urban growth of an ambitious city. They developed over the years as the urban life of Edinburgh changed with the city’s requirements and needs altered. The photos which I captured show how these buildings sit in the city, how they relate with each other and the urban growth. These pieces of architecture have become synonymous with the Edinburgh that we know today and it is clear that the city would not have developed in the same way without them.

In what sense does capitalism have a geography? Capitalism is all that we have experienced, all that we know. But, it was not always like this. There was a time when the world was not centred on gain or greed, people used to simply survive. The world has changed now, the development and dispersion of the capitalism is now felt across the globe. Capitalism is a familiar phrase to many however its definition and how it has conquered the world is not. The capitalism system is still continuing to develop (Shaw, 2005) and spread to the remaining strongholds of indigenous life. An example of this change caused by capitalism is how the Inuit of northern Canada have become dependent on snowmobiles over the last decade. This could be seen as a small change but when considered more carefully the wider implications can be seen. By switching from traditional quamutik (sleds) to snowmobiles the Inuit lose a sense of self sufficiency as they are now connected into the large capitalist world be the need for fuel to run the snowmobiles. This then creates the need to gain a sustainable source of income to keep the machines running pulling this once independent community into the mainstream world of Capitalism. This is a strange thought to think that the Inuit now rely on personal transportation in the same way that modern Britain does. This example is significant in showing how what may be seen as a small harmless change for the good of a remote community may lead to the community struggling in the future. The Capitalism model although following one set of rules gives highly different results all over the world. While one developed business generates huge profits its subcontractors, generating the majority of this profit due to outsourcing are highly dependent on these large companies to keep. This creates an ownership of communities, it is not as simple as owning a product which has been purchased it is subtler, as many communities are employed by a single TNC. This system links and connects the geographical world as it has spread over the world throughout the years creating unequal and unfair economic and social geographies.

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Y2 s1 [TECHNOLOGY + ENVIRONMENT] 2 Microclimate Pavilion

Brief The University of Edinburgh has acquired a parcel of land in George Square Gardens in which to build a small building with adjacent exterior gathering space. This design is intended to serve as a pilot project for climate responsive design; the building must therefore be highly attuned to the climatic conditions of the site in addition to providing a key programmatic need. The building should conform to a rough 9 meter x 18 meter footprint, but exact building configuration, internal layout, method of enclosure, orientation, siting, integration with landscape, and micro-renewable strategies are up to your discretion.

Project

Internet Cafe

Group Angus Bolland Arthur Kirkwood Linda Kolstin

LEARNING OUTCOMES LO1 Capacity to recognise key material, structural and/or environmental principles in architectural design. LO2 Ability to apply these principles to architectural designs that address human comfort, sustainable concerns, material assembly, and/or structural systems LO3 Ability to communicate the relationship between material, structural and/or environmental performance in architectural design.

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Y2 s1 [TECHNOLOGY + ENVIRONMENT] 2 Microclimate Pavilion

Design Features: Maximising solar gain Shelter from wind Summer shading Cross-ventilation & stack-effect cooling Wind break shelters exterior space Thermal mass through dark concrete floor, reducing heating cost Locally sourced materials and low embodied energy Sloping roof with rainwater collection The design is positioned in the North West corner of George Square. The building is partially submerged and is held between two curved concrete walls. This allows for an open facade to give views out to the gardens and offer an accessible entrance. The angled folded roof open the cafe area up to the garden allowing for daylight to be maximised. This also provides opportunities for potential water collection using the roof.

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Y2 s1 [TECHNOLOGY + ENVIRONMENT] 2 Microclimate Pavilion Building Performance The building envelope has been designed to absorb and release the suns heat during the daytime. U values have been calculated for the differing envelope conditions (roof, floor, glazing). Lighting The lighting strategy involves a mixed use of uplight LEDâ&#x20AC;&#x2122;s and florescent tubes which is diffused off of the roof in order to reduce glare on computer monitors. Acoustic Sound absorption panels have been integrated into the buildings fabric. This reduces the reverberation of acoustic waves in the building. Water Collection Rainwater is collected from the roof and stored in tanks in the wall. This grey water can be used for servicing the toilets.

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Y2 s1 [TECHNOLOGY + ENVIRONMENT] 2 Environmental Case Study 3 Kendram Isle of Skye Scotland Rural Design Architects Brief The environmental case study assignment set the task of selecting a contemporary building as a case study to analyse in terms of environmental strategy reflecting on the semesters teaching. The building has many key features that work with and against the environment. Building Shape/Wind: The building has been designed to work with the environment. It allows the strong winter wind to move around and over the building. This external wind movement can be seen in the plans and sections. The building has been â&#x20AC;&#x153;dug intoâ&#x20AC;? the site allowing it to blend into the landscape. Grass Turf roof/Thermal Mass: A green turf roof has been used in the building; this reduces the buildings physical visible impact. It also provides a high amount of insulation and thermal mass to the building as the thick roof will have a low u value. Thermal mass is also a factor in this building as the structure has been built on a large concrete slab.

LEARNING OUTCOMES LO1 Capacity to recognise key material, structural and/or environmental principles in architectural design. LO2 Ability to apply these principles to architectural designs that address human comfort, sustainable concerns, material assembly, and/or structural systems. LO3 Ability to communicate the relationship between material, structural and/or environmental performance in architectural design.

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[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL HISTORY]

[HUMAN GEOGRAPHY]

[ARCHITECTURAL THEORY]

[TECHNICAL REVIEW]

Elements p.7

Introduction to world Architecture p.13

(In)Place p.36 p.41

[ART + DESIGN]

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

Explorations p.65 p.74

[TECHNOLOGY + ENVIRONMENT] 3

ZONE Architects p.88 p.90

[ARCHITECTURE PLACEMENT]

p.77

Reflection p.93

[ARCHITECTURAL DESIGN]

[ARCHITECTURAL HISTORY]

[ARCHITECTURE PLACEMENT]

[ARCHITECTURAL DISSERTATION]

[ARCHITECTURAL HISTORY]

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL DESIGN]

Through and Beyond the frame p.16

Assembly p.19

Revivalism to Modernism p.30

[TECHNOLOGY + ENVIRONMENT] 1 - Principles

p.32

p.42

Culture + the City p.47 (Any)Place p.49

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

p.59

Working Learning p.80 ZONE Architects p.85

The Necessity of Scars p.97 Tectonics p.101

[ACADEMIC PORTFOLIO]

Part 1 p.116

Oversize storage section

Y2 s2 [ARCHITECTURAL HISTORY] CULTURE + THE CITY

PRESENTATION JEWISH HISTORY MUSEUM Berlin Daniel Libeskind

The museum is highly complex piece of architecture where the form is not dictated by site conditions but by events in history, each being remembered in a suitable manner. The museum is not without flaw though. Due to its irregular windows and many angled walls displaying of the artefacts is done in a slightly contrived manner as screens and mezzanine walkways have been added to achieve a better viewing experience. Despite these shortcomings the building certainly fulfils the original brief of bringing the Jewish presence back to the city of Berlin. The museum is not only a response to a program, but an emblem of hope.

1988-99 The presentation focused on the buildings concept, void and the creation of experiential routes through the building.

SELECTED BIBLIOGRAPHY:

Daniel Libeskind Jewish Museum Berlin, Bernhard Schneider, Prestel Publishing Daniel Libeskind Kein Ort an seiner Stelle, Kunst Daniel Libeskind The space of Encounter, Daniel Libeskind, Hudson http://daniel-libeskind.com/ http://www.archdaily.com/91273/adclassics-jewish-museum-berlin-daniellibeskind/

LEARNING OUTCOMES: 1. Knowledge and understanding of connections between architecture and the social, economic and political circumstances within which it is located. 2. The ability to evaluate the urban phenomena in social contexts 3. Research, analyse and present in written and report form themes appropriate

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Y2 s2 [ARCHITECTURAL HISTORY] CULTURE + THE CITY

ESSAY With reference to two examples, discuss the effect that the housing of relics had on church planning.

Introduction Churches are not only a place for worship but also a place for exhibition of relics. Many churches act as destinations of enlightenment where these relics are displayed for public view and act as the climax of a pilgrimage journey. These relics usually relate specifically to church where they were held, however this is not always the case as they were often traded between nations. The examples that I am going to analyse in relation to church planning are the Sainte-Chapelle and St Peters Basilica. These churches deal with the housing of their relics in differing but an equally impressive and interesting manner. Excerpt The Sainte – Chapelle was constructed in Paris Between 1243 and 1248 when it was consecrated. The Gothic church was added to the Royal Palace in Paris by King Louis IX and is of the highly decorative Rayonnant period.

SELECTED BIBLIOGRAPHY:

Field, D M. The World’s Greatest Architecture Past & Present. Stevenage: Regency House Publishing, 2005. Hibbard, Howard. Bernini. Harmondsworth: Penguin Books, 1984. Jordan, Alyce. Visulizing Kingship in the Windows of the Sainte-Chapelle. Turnhout: Brepols, 2002. Merz, Jorg Martin. Pietro da Cortona an Romsn Baroque Architecture. London: Yale University Press, 2008. Wittkower, Rudolf. Gian Lorenzo Bernini The Sculptor of the Roman Baroque. London: The Phaidon Press, 1966.

“a repository of relics…from Constantinople” This highlights how the chapel was purpose built to house a number relics which the king had acquired from Constantinople for a vast sum of money (the crown alone cost more than twice the construction cost of the chapel), the centrepiece being the thorn crown of Christ . The church is of a relatively small scale but with high sides meaning that flying buttresses are unnecessary; this allows the stone frame structure of the church to be filled with highly ornate stained glass (fig4) which depicts imagery from the old and new testaments. The use of a large amount of stained glass creates a precious building for a precious relic. Conclusion From these buildings it is clear to sea how to church planning has developed. The Church plan now incorporates an element of display and refinement which was previously insignificant as the relics were previously concealed in smaller private religious buildings. The precious relics of the religion are rightfully housed in key religious buildings, this maintains the ideas of pilgrimage as you are taken on a journey to view the relic. Whether this is towards the Vatican and St Peters through the streets of Rome or through the Royal Palace in Paris, both routes deliver as sense of expectation as you travel towards the church. This connection to the viewer is now much more important in the journey and viewing. The relics are located in the focal points of the church leading you through the building, displayed in works of art emphasising the importance of the relic to the viewer achieved by careful church planning.

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Y2 s2 [ARCHITECTURAL DESIGN] Drawing with satellites Students are asked to produce drawings over five days. Idea lead, since the results cannot be imagined, the students should a range of strategies in response to three starting points. The conceptual and technical notion of our body’s relationship with the instruments that are ‘out there’ and the devices that we hold in our hand is akin to the experience of drawing. Whether mediated through a pencil that offers a very short feedback, or a GPS receiver that has no display and it’s ‘marks’ only visible after they have been downloaded and processed later, drawing occurs in the reconciliation between the representation and the concept.

SUMMARY A journeys destination is definitive , however there are infinite variations on the route taken. Beginning at the studio we each mapped our journey until our inevitable return back to the studio. Our lines were independent of time as our time of return was unknown. Prolonged use of the gps tracking program led to unexpected fluctuations in our lines. Our differing ‘apparent’ social networks have resulted in contrasting paths.

Group George Baxter Angus Bolland Soichi Honda Sidharta Thomas

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Y2 s2 [ARCHITECTURAL DESIGN] ANY PLACE

Concept Models Prior to moving into building design we were asked to create a number of study models analysing the spoken word on a variety of levels. These models could then form a base to take ideas onto the given site.

LEARNING OUTCOMES: 1. Ability to develop architectural designs that appropriately respond to specified non-local conditions and that integrate an explicit investigation through research. 2. Capacity to synthesize a range of programmatic components, formal and spatial strategies of modest complexity within an architectural design that responds to specified urban conditions. 3. Ability to critically explore and effectively communicate design ideas and propositions individually and as part of a team, in a range of digital and analogue formats, including portfolio.

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Y2 s2 [ARCHITECTURAL DESIGN] ANY PLACE

PECHA KUCHA Produce a short presentation of 2 selected library projects to present to the year group. This gave a base level of understanding the diversity of library buildings.

Buildings: Chemical & Biological Library Giuseppe Rebecchini 2003 Lateran University Library King Roselli Architteti 2006

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Y2 s2 [ARCHITECTURAL DESIGN] ANY PLACE

ROME SITE VISIT Site investigation of specific sites in our allocated research groups. We were tasked with creating a series of site information drawings including sections and street elevation information. We had the opportunity to explore the city prior to selecting a site for the library. The photographs and sketches document the selected site and the experience of the city as a whole.

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Y2 s2 [ARCHITECTURAL DESIGN] ANY PLACE LIBRARY DESIGN Bridging the Past

Located on the site of the remains of 3 pagan temples the â&#x20AC;&#x153;ruinsâ&#x20AC;? site posed a number of constraints and issues that must be considered. Primarily how the ruins would be dealt with. The project looked to address this issue by creating a series of tower blocks around the site. With the library being formed through spanning between these points. This allowed the ruins to be continued to be viewed in their original condition. The red walkway was perceived as a potential infrastructural link connecting neighbouring sites of ruin with the library holding reference material about the connected sites and the archaeology process.

Ground Floor 1:500 (drawn at 1:200) 54

First Floor 1:500 (drawn at 1:200)

Second Floor 1:500 (drawn at 1:200)

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Y2 s2 [ARCHITECTURAL DESIGN] ANY PLACE B A

Bridging the Past

The following sections show how the relationship between the book storage and the study areas. The main entrance is controlled with library users moving through the book storage space before arriving at the study and research space.

Section A 1:100 (drawn at 1:50)

Section B 1:100 (drawn at 1:50) 55

Section C 1:100 (drawn at 1:50) GC

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Y2 s2 [ARCHITECTURAL DESIGN] ANY PLACE

South Elevation 1:500 (drawn at 1:200)

West Elevation 1:500 (drawn at 1:200) D

Section D1:100 (drawn at 1:50) 56

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Y2 s2 [ARCHITECTURAL DESIGN] ANY PLACE

Visualisations: 1. Book storage and circulation 2. Isometric Diagram 3. Computer Station 4. Upper Corridor 5. Library Entrance

5. 57

4. GC

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Y2 s2 [ARCHITECTURAL DESIGN] ANY PLACE

1:50 Interior model

1:100 Form model

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Y2s2 [TECHNOLOGY + ENVIRONMENT]

Duddingston Boardwalk

Project Description This project completed as a group asked us to design a timber boardwalk located at Duddingston Loch. Emphasis was placed on ensuring that the proposed structure was capable of carrying the expected loads of pedestrians using the structure.

50M

kdef = 2.00 From Table 10

Partial factor !M for material properties Solid untreated timber;

FRAMEWORK PERSPECTIVE

Site Pan

From Table 5

Permissible bending stress fm,d

fm,d = Post Calculations

kmod ! kh ! kls ! kcrit ! fmk 0.55! 0.80 !1.1!1.0 ! 40 = = 14.89 N / mm 2 1.3 !m Primary Beam Load Testing Calculations:

!"#$%&'()*+%,-./,-.**% 0%1"2%*3%4%,5-6+%7%.5896+%

1. Loading:

%%%%%%%%%%%%%%%%4,5:96+;*3%

Public Walkway; Pernament action 2 Live load (imposed) 1.5 kN/m 2 Self weight (ceiling, floors) 0.34 kN/m 2 Total q 1.84 kN/m

5. Total uniform distributed load w on joist

<=2>"#$%=2"=4%,88?%/%3@@@%4%8@.3**3%

Once the initial design was completed a second story was to be proposed to improve the structure. The structure was then revisited.

w is a multiplication of surface load, q and maximum width of the deck that is supported by a primary beam, s :

A%4%0%/%=%%

%%%4%@5@8%/%85@.,% A4385:B6+;*3%

w = 0.92 kN/m 2. Mechanical properties

!D"2"I'2"L%K.5.-;I&M'M6%%

The max bending moment occurs at the centre of the longest joist span:

4,,...;39% 49-:5888%

w ! L2 0.92 ! 2.32 max bending moment M max = = = 0.61 kNm 8 8

!D"%#("+H"2+"##%2=$F'%NO%4%<;2//%% %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%43-..;9359% %%%%%

%%%%%%4

!"#$%&%!'()%&%!*+%&%,'#!"

!!!!!!!!!!!!!!!!!" !!!

bending stress ! m,d =

kmod = 0.55 From Table 6 Size factor kh Since d = 220 mm > 150 mm;

M max 0.61x10 6 = = 4.92N / mm 2 Z xx 124.0x10 3

kh = 1.0 Instability factor kcrit Beam under full torsional constraint;

Actual bending stress must be less that permissible strength: " m ,d ! f m ,d : 4.92 < 14.89 N/mm2.

kcrit = 1.0 Load sharing factor kls Max primary beam span = 2.9 < 6 m;

T&$)=(%&'*12"##FJ"%#$2"+>$D%!"#" % %

%%%%%%%%%%%%4

!"#$% !!"##

kls = 1.1 From Table 9

8. Check section size in shear

Moisture and Creep modification factor kdef Service Class 3, solid timber;

Permissible design shear stress must be greater than Max shear force: fv,d >

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!"#$%&!'())*!!

fv,d =

kdef = 2.00 From Table 10

kmod ! kls ! fv,k 0.55!1.1! 3.8 = = 1.77 N / mm 2 1.31:200 !m

Partial factor !M for material properties Solid untreated timber;

Permissible bending stress fm,d

#$%&!D!&$C@!!:0!2065)8!7:!:E/-!E9E78:1!45236789$! Moisture and Creep modification factor kdef

fm,d

Service Class 3, solid timber;

k !k !k !k ! f 0.55!1.0 !1.1!1.0 ! 40 = mod h ls crit mk = = 18.62 N / mm 2 1.3 !m

kdef = 2.00 From Table 10

5. Total uniform distributed load w on joist

Partial factor !M for material properties Solid untreated timber;

w is a multiplication of surface load, q and maximum width of the deck that is supported by a primary beam, s :

!M = 1.3 From Table 5

w = 3.68 kN/m L=2.9 m

w = q ! s = 1.84 ! 2.0 = 3.68 kN/m

Permissible bending stress fm,d

fm,d =

6. Max bending moment

kmod ! kh ! kls ! kcrit ! fmk 0.55!1.0 !1.1!1.0 ! 40 = = 18.62 N / mm 2 1.3 !m

The max bending moment occurs at the centre of the longest joist span: Secondary Beam Secondary Load Testing Beam Load Calculations: Testing Calculations:

max bending moment M max =

5. Total uniform distributed load w on joist w is a multiplication of surface load, q and maximum width of the deck that is supported by a primary beam, s :

Public Walkway; Public Pernament Walkway;action Pernament action 7. Check section size2 in bending 2 Live load (imposed) Live load (imposed)1.5 kN/m 1.5 kN/m 2 2 Self weight (ceiling, Self weight floors) (ceiling,0.34 floors) kN/m 0.34 kN/m 2 M 2max Total q Total q 1.84 kN/m 1.84 kN/m

w = q ! s = 1.84 ! 2.0 = 3.68 kN/m

bending stress ! m,d =

6. Max bending moment

w ! L2 3.68! 2.9 2 = = 3.87 kNm 8 8

bending stress ! m,d

3.87 kNm

3.87x10 6 = 6.40N / mm 2 303x10 3

! f m,d

40 40 Bending, fm,k Bending, fm,k 24 fc,0,ksize in shear 24 CompressionCompression parallel c,0,k parallel 8. fCheck section 8.8 CompressionCompression perp fc,90,k perp f8.8 c,90,k Shear fv,k Shear fv,k 3.8 Permissible design3.8 shear stress must be greater than Max shear force: 2 2 fv,d > ) in N/mm ) Mean Elasticity Mean Modulus Elasticity E Modulus 11000E 11000 (all values in N/mm (all values kmod ! kls ! fv,k 0.55!1.1! 3.8 From Table 3From Table 3 2

3.87 kNm

fv,d =

7. Check section size in bending

M 3.87x10 6 = max = = 6.40N / mm 2 Z xx 303x10 3

Actual bending stress must be less that permissible strength, " m , d

Z xx

2. Mechanical 2. properties Mechanical properties Actual bending stress must be less that permissible strength, " m , d 2 Elm: hardwood, Elm: Strength hardwood, Class Strength D40. Class D40. . 6.40 < 18.62 N/mm

The max bending moment occurs at the centre of the longest joist span:

max bending moment M max =

w ! L2 3.68! 2.9 2 = = 3.87 kNm 8 8

1. Loading:1. Loading:

w = 3.68 kN/m L=2.9 m

3. Section

1.3

3. Section

Max50shear force Selected a rectangular Selected asection rectangular x 122 section mm 50 x 122 mm

! f m,d

b = 50 mm

d = 122 mm d 5.34 = 122kNmm

mm Area A = 6.1 Area x 10 A = 6.1 x 10 mm 6 4 6 4 7.57 10 Imm Second moment Second of inertia moment Ixx =of inertia xx = 7.57 10 mm 3 3 3 3 Section modulus Section Zxx =modulus 124.0 10Zxxmm = 124.0 10 mm

6.40 < 18.62 N/mm .

= 1.77 N / mm

b = 50 mm

5.34 kN From Table 12 From Table 12

8. Check section size in shear Permissible design shear stress must be greater than Max shear force: fv,d >

fv,d =

4. Modification 4. Modification factors factors

Strength modification Strength factor modification kmod factor kmod External, exposed External, use;exposed Service Class use; Service 3 Class 3 Material: solidMaterial: timber solid timber

kmod ! kls ! fv,k 0.55!1.1! 3.8 = = 1.77 N / mm 2 1.3 !m

kmod = 0.55

kmod = 0.55 From Table 6From Table 6

Max shear force 5.34 kN

Size factor khSize factor kh

150 0.2 150 150 150 0.2 ( ) ( ( )0.2)0.2 ( ) 122 kh = d k=h =122d = =0.80 = 0.80 1.3 1.3 1.3 1.3

5.34 kN

q ! s ! L 1.84 ! 2.0 ! 2.9 = =5.34 kN 2 2

kh = 0.80

Max shear stress in a rectangular section

!d = 3/ 2

V 5.34 !10 3 = 3/2 = 0.485 N / mm 2 bd 75! 220

kcrit = 1.0 Check against design shear stress:

" d ! f v ,d

or 0.485 < 1.77

9. Check deflection of beam

kls = 1.1

From Table 9From Table 9

Moisture and Moisture Creep modification and Creep factor modification kdef factor kdef Service ClassService 3, solidClass timber; 3, solid timber;

Final Deflection must be less that Max allowable deflection: wfin <

kdef = 2.00

The joist instantaneous deflection, winst:

max deflection wins =

SECTION A

kcrit = 1.0

Load sharing Load factorsharing kls factor kls Max primary beam Max primary span = beam 2.3 < 6 span m; = 2.3 < 6 m;

the section is ok

kls = 1.1

3D RENDER

kh = 0.80

Instability factor Instability kcrit factor kcrit Beam under full Beam torsional under constraint; full torsional constraint;

kdef = 2.00 From Table 10 From Table 10

5 w ! L4 5 3.68! 2900 4 ! = ! = 4.63 mm 384 E ! I xx 384 11000 ! 66.55!10 6

1:100

for material properties Partial factor Partial !M for material factor !Mproperties Solid untreated Solid timber; untreated timber;

1:200

Final deflection: wfin = wins(1+ kdef) = 4.63 (1 + 2.0) = 13.89 mm

!M = 1.3

SECONDARY BEAM LAYOUT

FLOOR PLAN

!M = 1.3 From Table 5From Table 5

Check against allowable deflection: Permissible bending Permissible stress bending fm,d stress fm,d

Max allowable = L/150 = 2900/ 150 = 19.3 mm > 13.89 mm From Table 11

fm,d =

kmod ! kh ! kls ! kcrit 0.55! 0.80 ! 40 !1.1!1.0 ! 40 2 !!fk ! k 0.55! ! k !0.80 f !1.1!1.0 fm,d = mod mkh =ls crit mk = = 14.89 N / mm = 14.89 N / mm 2 1.3 1.3 !m !m

9 8

5. Total uniform 5. Total distributed uniformload distributed w on joist load w on joist

Calculation pages:

w = 0.92 kN/m w = 0.92 kN/m L=2.3 m

w = q ! s = 1.84 w =! 0.5 q ! s==0.92 1.84kN/m ! 0.5 = 0.92 kN/m 6. Max bending 6. Max moment bending moment The max bending The max moment bending occurs moment at the occurs centre of at the longest centre of the longest joist span: joist span: 0.61 kNm w ! L2 0.92w! 2.3 ! L22 0.92 ! 2.32 max bendingmax moment bending M maxmoment = M=max = == 0.61 kNm = 0.61 kNm 8 88 8

7. Check section 7. Check size section in bending size in bending

M 0.61x10 M 6 0.61x10 6 2 bending stress bending ! m,d stress = max !=m,d = max3 == 4.92N / mm = 4.92N / mm 2 Z xx 124.0x10 Z xx 124.0x10 3 Actual bending Actual stress bending must be stress less must that permissible be less thatstrength: permissible strength: 2 2 : 4.92 < 14.89 N/mm< .14.89 N/mm . " m,d ! f m,d " f m ,d : 4.92 m,d !

5. Total uniform distributed load w on joist

PRIMARY BEAM LAYOUT

From Table 5

!!!!!!!!!!!!!!!"!&$C@!'())*!

1:200

!M = 1.3

POST LAYOUT

w is a multiplication w is a multiplication of surface load, of surface q and load, q and maximum width maximum of the deck widththat of the is deck that is supported by supported a primary beam, by a primary s: beam, s : L=2.3 m

From Table 5

kmod ! kh ! kls ! kcrit ! fmk 0.55!1.0 !1.1!1.0 ! 40 = = 18.62 N / mm 2 1.3 !m

From Table 12

%%%%%%4,.5,-%S;**3% R&?.%4%,%=#%$D"2"%F#%+'%F+&2"=#"%F+%Q"=2F+>%("+>$D%

d = 220 mm

4. Modification factors

7. Check section size in bending

%%%

kdef = 2.00

fm,d =

Strength modification factor kmod External, exposed use; Service Class 3 Material: solid timber

A"2*F##FQ("%#$2"##%F+%&'()*+% C&'H%4%

Selected a rectangular section 75 x 220 mm Area A = 16.5 x 10 mm 6 4 Second moment of inertia Ixx = 66.55 10 mm 3 3 Section modulus Zxx = 605 10 mm

0.61 kNm

%%%%%%%%%%%%%%%4-:5?@%

PD"2"%$D"%2=HF)#%'I%>O2=$F'+%=Q')$%$D"%=/F#%'I%$D"%#"&$F'+%2//%4%9359**5%C2'*%$=Q("% #("+H"2+"##%*'HFIF&=$F'+%I=&$'2%'Q$=F+"H%R&MO%4%.5@B@9%

Moisture and Creep modification factor kdef Service Class 3, solid timber;

Permissible bending stress fm,d

b = 75 mm

3. Section

!2!"!#$%&!'())*!

!M = 1.3

(all values in N/mm ) From Table 3

6. Max bending moment

K.5.-%4%,,...%+;**3%

+,-.-/0.-!10!2,-23!45236789!:1.-891,!

40 24 8.8 3.8 11000

Bending, fm,k Compression parallel fc,0,k Compression perp fc,90,k Shear fv,k Mean Elasticity Modulus E

G'+#FH"2F+>%&'+#$2)&$F'+%"II"&$FJ"%("+>$D%'I%&'()*+%<"%4%35-*%

;2<!=!>20?!"!%$&@&A!=!#%$#B!

Partial factor !M for material properties Solid untreated timber;

Elm: hardwood, Strength Class D40.

L=2.3 m

w = q ! s = 1.84 ! 0.5 = 0.92 kN/m

C'2%#$2"+>$D%&(=##%E9.%&'*12"##F'+%#$2"##%1=2=(("(%$'%$D"%>2=F+%C&'64%39+;**3%

Group: Callum Aitken Connel Binnie Angus Bolland Adam Ramsay

From Table 10

!M = 1.3

Calculations were required at multiple stages to study the structure and ensure that it would be safe.

LEARNING OUTCOMES: DESIGN CONCEPT 1. Capacity to recognise, formulate and pier was designed to fit into the setting of Duddingston Loch and Bird applyThe key material, Sanctuary with minimal impact on the environment while providing a new view point to enjoy the loch and its natural environment. The Loch is situated structural and environmental principles in south-east of Arthurâ&#x20AC;&#x2122;s seat in a peaceful natural area near the centre of Edinburgh. To better integrate with the entrance from Old Church Lane architectural design north of the loch the pier was positioned to the east of the entrance to retain the views from the original view point. The Pier wraps around a historical wall contexts by an old boat house so that the materiality of the stone work can be enjoyed. It then splits into two parts, one extending out to the loch opening views that were previously obscured by the wall principles and a bird hide is hidden 2. Understanding of these with behind the wall to observe the bird wildlife amongst the reeds behind the wall. The bird hide has a cover of timber batons in the form of a birds nest respect to human inspired by The Stork Nest Farm / SGL Projekt. The pier has a subtle visual impact as its base is slightly submerged in the water, this means that users of comfort and well-being, strategies for a the pier are closer to the water giving a sense of calm and being closer to the enviroment. This idea was an interpretation of Moses Bridge / RO&AD sustainable the to everyone the pier continues onto Architecten. Tofuture, make the pier accessible a boardwalk which meets the original path. impact of the building processes on the natural world, materials and processes of assembly 3. Communicating an understanding of the relationship between material, structural and environmental performance in architectural design.

From Table 9

Moisture and Creep modification factor kdef Service Class 3, solid timber;

GC 0.61 kNm

1 2

3 4

5 6

7 8 9 10 11

w = q ! s = 1.84 ! 2.0 = 3.68 kN/m

7. Check section size in bending 6. Max bending moment 6

M moment 3.87x10 The max bending of the longest 2 max bending stressjoist !span: = occurs at the3 centre = 6.40N / mm m,d = CONNECTIONS Z xx 303x10 2

max bending moment M max =

w!L

3.68! 2.9 2

= 3.87 kNm

3.87 kNm

8 Actual bending stress must be less that 8permissible strength, " m , d

! f m,d

6.40 < 18.62 N/mm .

Y2s2 [TECHNOLOGY + ENVIRONMENT]

7. Check section size in bending 6

M 3.87x10 8. Check section size in shear bending stress ! m,d = max = = 6.40N / mm 2 3 CONNECTIONS Z xx

303x10

Permissible design shear stress must be greater than Max shear Actual bending stress must be less that permissible strength, " ! fforce: fv,d > N/mm . kmod ! kls !6.40 fv,k< 18.62 0.55!1.1! 3.8 = = 1.77 N / mm 2 ! m section size in1.3 8. Check shear

m,d

fv,d =

POST TO PRIMARY

Permissible design shear stress must be greater than Max shear force: fv,d >

Post dimensions = 150x150

Max shear forcefv,d = kmod ! kls ! fv,k = 0.55!1.1! 3.8 = 1.77 N / mm 2 Primary! m Beam dimensions =5.34 75x220 1.3 kN POST TO PRIMARY 5.34 kN

Post dimensions = 150x150

Duddingston Boardwalk

Maxgalvanized shear force A bracket is=5.34 used to connect the posts to the Primarysteel Beam dimensions 75x220 kN primary structure. The galvanized steel brackets 5.34are kN bolted to galvanized steel bracket is used to connect the posts to the the post Aprimary with galvanized steel bolts to protect against rusting structure. The galvanized steel brackets are bolted to since they are underwater. primary theTable post9permenantly with galvanized steel bolts to protectThe against rusting beam is From are permenantly underwater. The primary is post. bolted tosince thethey bracket and from the other side beam of the

bolted to the bracket and from the other side of the post.

Moisture and Creep modification factor kdef Service Class 3, solid timber; kdef = 2.00

From Table 10 Partial factor !M for material properties Solid untreated timber; !M = 1.3 From Table 5

Project Description The pier was designed to fit into the setting of Duddingston Loch and Bird Sanctuary with minimal impact on the environment while providing a new view point to enjoy the loch and its natural environment. The Loch is situated south-east of Arthurâ&#x20AC;&#x2122;s seat in a peaceful natural area near the centre of Edinburgh. To better integrate with the entrance from Old Church Lane north of the loch the pier was positioned to the east of the entrance to retain the views from the original view point.

Permissible bending stress fm,d

fm,d =

PRIMARY TO SECONDARY Secondary Beam dimensions = 50x122

5. Total uniform distributed load w on joist w is a multiplication of surface load, q and maximum width of the deck that is supported by a primary beam, s :

w =A 0.92 kN/m galvanized

steel bracket is used to hang the secondary beams from the primary structure. This keeps the secondary

L=2.3 m beams flush with the primary structure allowing decking to be PRIMARY TO SECONDARY

w = q ! s = 1.84 ! 0.5 = 0.92 kN/m

fastened more easily.

Secondary Beam dimensions = 50x122 6. Max bending moment

A galvanized steel bracket is used to hang the secondary beams from the primary structure. This keeps the secondary primary structure allowing decking to be fastened more easily.

The max bending moment occurs at the centre of the longest joist span:

max bending moment M max =

0.61 kNm w ! L2 0.92 ! 2.32 q ! s !beams L 1.84 ! 2.0 ! 2.9 with the flush = = 0.61 kNm = =5.34 kN 8 8 V= 2 2

EXPLODED AXONOMETRIC EXPLODED AXONOMETRIC 7. Check section size in bending

bending stress ! m,d =

Max shear stress in a rectangular section

V 5.34 !10 3 M max 0.61x10 6 ! d = 3//mm 2 2 = 3/2 = 0.485 N / mm 2 = = 4.92N bd 75! 220 Z xx 124.0x10 3

Actual bending stress must be less that permissible strength: " m ,d ! f m ,d : 4.92 < 14.89 N/mm2. Check against design shear stress:

or 0.485 < 1.77

the section is ok

9. Check deflection of beam BIRD HIDE Permissible design shear stress must be greater than Max shear force: f

fv,d =

v,d > ! d Final Deflection must be less that Max allowable deflection: wfin < kmod ! kls ! fv,k 0.55!1.1! 3.8 = = 1.77 N / mm 2 1.3 !m The joist instantaneous deflection, winst:

max deflection wins =

5 w ! L4 5 3.68! 2900 4 ! = ! = 4.63 mm 384 E ! I xx 384 11000 ! 66.55!10 6

Final deflection: wfin = wins(1+ kdef) = 4.63 (1 + 2.0) = 13.89 mm Check against allowable deflection: Max allowable = L/150 = 2900/ 150 = 19.3 mm > 13.89 mm From Table 11

TIMBER BALLUSTRADE

TIMBER DECK

SECONDARY

PRIMARY

POSTS

Elevation

Moisture and Creep modification factor kdef Moisture and Creep modification factor kdef Service Class 3, solid timber; Service Class 3, solid timber; kdef = 2.00

kdef = 2.00

Partial factor !M for material properties Solid untreated timber;

!M = 1.3

From Table 10

12 " d ! f v ,d

8. Check section size in shear

BIRD HIDE

The Pier wraps around a historical wall by an old boat house so that the materiality of the stone work can be enjoyed. It then splits into two parts, one extending out to the loch opening views that were previously obscured by the wall and a bird hide is hidden behind the wall to observe the bird wildlife amongst the reeds behind the wall. The bird hide has a cover of timber batons in the form of a birds nest inspired by The Stork Nest Farm / SGL Projekt. The pier has a subtle visual impact as its base is slightly submerged in the water, this means that users of the pier are closer to the water giving a sense of calm and being closer to the environment. This idea was an interpretation of Moses Bridge / RO&AD Architecten. To make the pier accessible to everyone the pier continues onto a boardwalk which meets the original path.

kmod ! kh ! kls ! kcrit ! fmk 0.55! 0.80 !1.1!1.0 ! 40 = = 14.89 N / mm 2 1.3 !m

From Table 15 10

Elevation

From Table 5 Permissible bending stress fm,d

fm,d =

Permissible bending stress fm,d

kmod ! kh ! kls ! kcrit ! fmk 0.55!1.0 !1.1!1.0 k ! 40! k ! kls ! kcrit ! fmk 2 0.55!1.0 !1.1!1.0 ! 40 = fm,d = mod =h 18.62 N / mm= = 18.62 N / mm 2 1.3 1.3 !m !m

5. Total uniform distributed load w on joist 5. Total uniform distributed load w on joist

From Table 5

1 2

3 4

5 6

7 8 9 10 11 13

1.3

Max allowable deflection > wfin : 15.3 mm > 13.89 mm

Y2s2 [TECHNOLOGY + ENVIRONMENT]

From Table 9 Moisture and Creep modification factor kdef Service Class 3, solid timber;

Duddingston Boardwalk

kdef = 2.00 From Table 10 Partial factor !M for material properties Solid untreated timber; !M = 1.3 From Table 5

Permissible bending stress fm,d

fm,d =

Section A

1:100

SECTION A

kmod ! kh ! kls ! kcrit ! fmk 0.55! 0.80 !1.1!1.0 ! 40 = = 14.89 N / mm 2 1.3 !m

5. Total uniform distributed load w on joist

Max shear force

w is a multiplication of surface load, q and maximum width of the deck that is supported by a primary beam, s :

w = 0.92 kN/m

1.06 kN

w!L 0.92 ! 2.3 = =1.06 kN 2 2

1.06 kN

L=2.3 m Max shear stress in a rectangular section

w = q ! s = 1.84 ! 0.5 = 0.92 kN/m

!d = 3/ 2 6. Max bending moment

V 1.06 !10 3 = 3/2 = 0.261 N / mm 2 bd 50 !122

Check against design shear stress: The max bending moment occurs at the centre of the longest joist span:

max bending moment M max =

w ! L2 0.92 ! 2.32 = = 0.61 kNm 8 8

" d ! f v ,d : 0.261 < 1.77

the section is ok

0.61 kNm 9. Check deflection of beam Final deflection wfin must be less that Max allowable deflection

7. Check section size in bending The joist instantaneous deflection winst:

bending stress ! m,d

M 0.61x10 6 = max = = 4.92N / mm 2 Z xx 124.0x10 3

max deflection wins =

5 w ! L4 5 0.92 ! 2300 4 ! = ! = 4.03 mm 384 E ! I xx 384 11000 ! 7.57 !10 6

Final deflection:

Actual bending stress must be less that permissible strength: " m ,d ! f m ,d : 4.92 < 14.89 N/mm2.

w fin = wins (1+ kdef ) = 4.03(1+ 2.0) = 12.09mm

Max allowable deflection: 8. Check section size in shear Permissible design shear stress must be greater than Max shear force: fv,d >

fv,d

Proposed additional floor

SECOND STOREY

The additional storey was added above the bird hide to provide a complete view of all sides of the loch and back to Arthurâ&#x20AC;&#x2122;s Seat. The facade of the bird hide on the ground floor extends up to be the balustrade of the first floor. On the opposite side of the raised area a glass banister projects above the wall. This allows the design to remain discrete in the landscape. The additional storey would aid the viewing of birds in the reeds by the edge of the loch. The raised platform would be supported by continuing the column layout to the second storey and adding extra bracing joints to counteract the increased lateral forces. The same 150*150 Columns would be used and (x) primary and (x) secondary beams would be used.

k !k ! f 0.55!1.1! 3.8 = mod ls v,k = = 1.77 N / mm 2 1.3 !m

Allowable defelection =

L 2300 = = 15.3mm 150 150 From Table 11

Check deflection: Max allowable deflection > wfin : 15.3 mm > 13.89 mm

Example of calculations

GC From Table 9 Moisture and Creep modification factor kdef Service Class 3, solid timber; kdef = 2.00

1 2

3 4

5 6

7 8 9 10 11

Y2s2 [TECHNOLOGY + ENVIRONMENT] MATERIAL SYSTEMS Brief Working as a group we were asked to select a contemporary piece of architecture which employs a specific material system. One of timber , steel, concrete, or masonry. Once a building was selected we were asked to analyse and explore a section of its external envelope. Then select appropriate examples to explore further and create exploded construction details to represent this material systems strategy.

PROJECT BRIEF

The aim of the project is to understand how the architect realises their own idea as a concept in built form. As a group we were assigned timber. We were to choose an example of contemporary built architecture as the project vehicle and then choose a part of the structure that we felt represented a précis of the building’s overall material systems strategy to explore. The building that we chose is the Pavilion des Grandes Landes de Gascogne of the Ecomusee de la Grande Lande located near the town of Sabres, France.

CONTENTS

PROJECT BRIEF BUILDING CONCEPT - LOCATION PLAN SITE PLAN FLOOR PLAN 1:100 SECTION EXPLODED AXONOMETRIC GLULAM STRATEGY GLULAM STRATEGY DIAGRAM

PART 1 LABELLED SECTION 1:20 HORIZONTAL SECTION 1:10 VERTICAL SECTION 1:10 3D ASSEMBLY/EXPLODED DIAGRAMS

PART 2 LABELLED SECTION 1:20 HORIZONTAL SECTION 1:10 VERTICAL SECTION 1:10 3D ASSEMBLY/EXPLODED DIAGRAMS

SOURCES CREDITS

Group: Callum Aitken Connel Binnie Angus Bolland Adam Ramsay

Th o p m cr fle

Building

-T

Pavilion des grandes landes de gascogne Ecomusee de la grande lande(2008) Sabres, France

PART 1 EXPLODED

PART 1 ASSEMBLY

-T

TEMPORARY EXHIBITION SPACE

Architect GLULAM STRATEGY DIAGRAM

Bruno Mader

PART 2

LEARNING OUTCOMES LO1 Capacity to recognise key material, structural and/or environmental principles in architectural design. LO2 Ability to apply these principles to architectural designs that address human comfort, sustainable concerns, material 1:100 SECTION A assembly, and/or structural systems. LO3 Ability to communicate the relationship between materials, structural and/or environmental performance in architectural design.

1:100 SECTION A

EXPLODED AXONEOMETRIC ILLUSTRATING GLUE-LAMINATED STRUCTURE AND MASONRY SERVICE ELEMENTS PART 1

1 2

3 4

5 6

7 8 9 10 11

Y2s2 [TECHNOLOGY + ENVIRONMENT] PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT MATERIAL SYSTEMS

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

The building is clad n locally sourced pine which ties in nicely with the concept of the project and makes the building one with the landscape.

PART 1 EXPLODED

40X60 MM HEAT-TREATED PINE. (100MM CENTRES)

18MM ORIENTATED STRAND BOARD

WEATHER PROOFING MEMBRANE

SHEATHING BOARD

120MM INSULATION

TIMBER BOARD, GLAZED BLACK

CUT TIMBER

PLASTERBOARDING

PLY DECK

ALUMINIUM VENTILATION PIPE

DOULBLE GLAZING, FIX

PART 1 ASSEMBLED

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

The building’s irregularly angled shape does not require any complex construction and is inspired by the linearity of trains and their tracks. Therefore the selection of timber as a structural and aesthetic elements was important as it conveys the project’s narrative and simplicity. The elegant glue-laminate roof beams are exposed within and filter light entering from the skylights above. The service parts of the building are constructed from masonry. The external skin of the building contains heat-treated wooden louvres that help to modulate the temperature inside the building at various times of the year.

9 10

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

The Ecomusee de la Grande Lande is a museum and exhibition space dedicated to depicting 19th century life in the country and the arrival of the railway within it. Visitors arrive on a vintage train at the old train station. Adjacent to the old station is the new Pavilion des Landes de Gascogne.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1:10 VERTICAL SECTION /// PART 1

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT 8

PART 2 EXPLODED

13 12 9

METAL SHEET EDGE PROFILE CLADDING

90X220 GLUE-LAMINATED PINE COMUMNS (1200MM CENTRES)

120MM INSULATION

WEATHER PROOFING MEMBRANE

18MM ORIENTATED STRAND BOARD

CUT TIMBER

40X60 MM HEAT-TREATED PINE. (100MM CENTRES)

STEEL SECTION, GALVANISED, COATED BLACK, SUPPORTED BY ADJUSTABLE PLASTIC BEARING

90X450 MM GLUE-LAMINATED PINE BEAMS (1200 MM CENTRES)

VENTILATION SHAFT

DOULBLE GLAZING, FIX

PLASTER BOARD

VAPOUR RETARDER, 21 MM ORIENTATED STRAND BOARD.

1 4 13 12 6

9 11

10 1

METAL SHEET EDGE PROFILE CLADDING

90X220 GLUE-LAMINATED PINE COMUMNS (1200MM CENTRES)

120MM INSULATION

WEATHER PROOFING MEMBRANE

18MM ORIENTATED STRAND BOARD

CUT TIMBER

40X60 MM HEAT-TREATED PINE. (100MM CENTRES)

STEEL SECTION, GALVANISED, COATED BLACK, SUPPORTED BY ADJUSTABLE PLASTIC BEARING

90X450 MM GLUE-LAMINATED PINE BEAMS (1200 MM CENTRES)

VENTILATION SHAFT

DOULBLE GLAZING, FIX

PLASTER BOARD

VAPOUR RETARDER, 21 MM ORIENTATED STRAND BOARD.

1:20 SECTION /// PART 2

PART 2 ASSEMBLED

1 2

3 4

5 6

7 8 9 10 11

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL HISTORY]

[HUMAN GEOGRAPHY]

[ARCHITECTURAL THEORY]

[TECHNICAL REVIEW]

Elements p.7

Introduction to world Architecture p.13

(In)Place p.36 p.41

[ART + DESIGN]

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

Explorations p.65 p.74

[TECHNOLOGY + ENVIRONMENT] 3

ZONE Architects p.88 p.90

[ARCHITECTURE PLACEMENT]

p.77

Reflection p.93

[ARCHITECTURAL DESIGN]

[ARCHITECTURAL HISTORY]

[ARCHITECTURE PLACEMENT]

[ARCHITECTURAL DISSERTATION]

[ARCHITECTURAL HISTORY]

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL DESIGN]

Through and Beyond the frame p.16

Assembly p.19

Revivalism to Modernism p.30

[TECHNOLOGY + ENVIRONMENT] 1 - Principles

p.32

p.42

Culture + the City p.47 (Any)Place p.49

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

p.59

Working Learning p.80 ZONE Architects p.85

The Necessity of Scars p.97 Tectonics p.101

[ACADEMIC PORTFOLIO]

Part 1 p.116

Oversize storage section

Y3s1 [ARCHITECTURAL DESIGN] EXPLORATIONS

(IN)PROXIMITY

Exercise 1: Cataloguing PROXIMITY

Project 1 involves the research, cataloguing and referencing of the unitâ&#x20AC;&#x2122;s primary themes. Gather, distil, collate and present your findings for each of the themes identified previously. This series of presentations y of Institution Schoolswill contribute to the collective knowledge of the unit and is a valuable opportunity in amplifying and informing your prowess in navigating following stages of the unitâ&#x20AC;&#x2122;s work.

Mapping a System

I conducted a study on how to represent a system. I created my own river system for this study which I mapped using a variety of techniques. These maps could then be overlaid to show more or less information. This layering of information is an idea that I looked to capture in my proposal.

oked at mapping institutions Research e locations couldThemes: then be conheir proximity to one another Proximity of the city and creating a new Acuity network.

Immersion Duration Precedent

LEARNING OUTCOMES LO1 Ability to adhere to a design methodology that builds on the conceptual framework and key theoretical, cultural, and representational concerns outlined in the project brief. LO2 Knowledge of the ways in which research and analysis of context, program and construction inform architectural design and the ability to synthesize these concerns to develop a coherent architectural proposal. LO3 Ability to communicate research findings and design proposals using appropriate and

This study project looked at mapping institutions across Edinburgh. These locations could then be connected depending on their proximity to one another disarming the geometry of the city and creating a new network.

1 2

3 4

5 6

7 8 9 10 11

River network mapping

66 From my previous study I was intrigued by the line carved into the environment through the erosion and path of the river. I could see similarities in the way that the environment eroded at tantallon. This study looked to analyse a full river network and look at how the river related to settlement of different scales. These settlements grow around the river and take on the qualities of its environment.

Reviewing a network

Y3s1 [ARCHITECTURAL DESIGN] EXPLORATIONS

(IN)PROXIMITY

Exercise 2: Clarifying PROXIMITY Task 2 involves the process of clarifying group research with an aim to you, individually formulating your design strategy in preparation for stage 2. Part of this clarifying process will culminate in you stating your ‘architectural attitude’ within the context of our work. This clarifying process will be explored through the production of a sequential set of two dimensional drawings and their translation into three dimensional models cumulatively clarifying ‘a dis_arming geometry’ and so concluding the first stage of (in) proximity.

Whilst at Tantallon I took the opportunity to explore the immediate and extensive environment. From the textures and pattern found on the eroded stone to the expansive views across the forth.

A clarifying drawing and model was created after a visit to the site, Tantaloon Castle. These looked to form a base for a potential design proposal and indicated our experience of applying our knowledge of proximity to the site prior to knowing the building programme. I was interested in the idea of distilling images and materials down to the individual lines which make them up. Effectively capturing the edge of faces where the material changes. I looked to capture the idea of materiality found on the site in my model. I cast rock elements using various techniques allowing the surface to be examined.

Clarification Drawing

Clarification Model

1 2

3 4

5 6

7 8 9 10 11

Y3s1 [ARCHITECTURAL DESIGN] EXPLORATIONS

(IN)PROXIMITY ARCHIVE Project Description The Archive looks to catalogue and store a variety of archive material to cater for the existing contents of the Royal Commission on the Ancient and Historical Monuments of Scotland and the required content from Historic Scotland.

The building is approached from the existing entrance with the addition of a new entrance for tourists visiting the castle this allows the separation of visitors.

The Archive looks to bed itself in the site using the height of the cliff create a suitable space for storing larger scale objects. This exploits the idea of using the layers of strata to determine the floors of the building. The building uses ideas developed in the cataloguing and clarifying stages. The form of the main wall is determined through the clarifying drawing with the model influencing the materiality. The location of the archive was derived by the need to cause minimal disruption to the heritage and history found on the site whilst providing suitable storage solutions for the archive. This approach led the building using the western side of the sight as this area allowed minimal physical interaction with the existing buildings, as when proposing a building which looks at preserving the ideas of heritage it seemed unsuitable to create confrontation with the existing buildings

Site Plan 0

Exterior Visualisation

100

Archive Storage

1 2

3 4

5 6

7 8 9 10 11

Oversize storage section

-1 -1

0 0

-2

-3

-4

Archive Plans

-3

-4

ARCHIVE The building building is is built built up up in in a a seseThe

-5

(IN)PROXIMITY

-6

ries of of layers layers embedded embedded in in the the rock rock ries face. The The storage storage space space is is located located face. Theagainst entrance plan shows the arrival against the eastern eastern wall with with the the wall the access corridor found on the thewall westat access the archive. The eastern is corridor found on western edge edge of of the the building against ern building against comprised of lines generated in the textured textured concrete concrete wall. wall. the

my clarifying drawing. This wall has a relationship with the castle as it Entry Plan protects the castle from the western approach. The wall disperses as it moves away from the building entrance plan shows the arrival at the arcreating openings and viewsThe through chive. The eastern wall is comprised of lines to the east.

building against the textured concrete wall.

Plans (drawn at 1:100) 10 20

Entrance Plan (drawn at 1:50)

-6

Entry Plan

The entrance plan shows the arrival at the archive. The eastern wall is comprised of lines generated in my clarifying drawing. This wall has a relationship with the castle as it protects the castle from the western approach. The wall disperses as it moves away from the building creating openings and views through to the east.

generated in my clarifying drawing. This wall The building is built up in a series hasofa relationship with the castle as it prolayers embedded in the rock tects face. The the castle from the western approach. storage space is located against the The wall disperses as it moves away from the eastern wall with the access building corridor creating openings and views through found on the western edge of the to the east.

-5

Entry Plan

Roof Roof

ntrance plan shows the arrival at the are. The eastern wall is comprised of lines rated in my clarifying drawing. This wall a relationship with the castle as it pros the castle from the western approach. wall disperses as it moves away from the ding creating openings and views through to the east.

Y3s1 [ARCHITECTURAL DESIGN] EXPLORATIONS

1 2

3 4

5 6

7 8 9 10 11

Y3s1 [ARCHITECTURAL DESIGN] EXPLORATIONS

(IN)PROXIMITY ARCHIVE The proposal looks to sit alongside the historic castle without overshadowing it. The low rise building is built in layers just as the layers of stratum in the rock itself. This layering can be seen as the building extends over the cliff face. This space allows for oversize objects to be stored alongside the more conventional archival items. Site Section Showing relationship between Archive and castle..

Site Section (drawn at 1:200)

Section 1

Archive Section (drawn at 1:200)

1 2

3 4

5 6

7 8 9 10 11

Y3s1 [ARCHITECTURAL DESIGN] EXPLORATIONS

(IN)PROXIMITY ARCHIVE The exploded diagram shows the different components of the archive and how they relate to each other. The Exploded Diagram visualisations show the cliffside exterior, research zone where archived items could The be viewed. can developdiagramOversized shows an items exploded be stored in the large area ensuring that ment design, this allows the potential all itemsstructural can be stored in the building elements to be examined. no matter their physical size. The atrium space created is vast and users of the space are able to experience the variety of items stored.

Relationship to cliff

Research Desk

Exploded diagram

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Y3s1 [ARCHITECTURAL DESIGN] EXPLORATIONS

(IN)PROXIMITY ARCHIVE

The 1:200 model captures the overall scale of the model in relation to the individual. This is an important factor and the model also shows the overall form of the archive. The 1:10 model look to study into the potential materiality and construction of eastern wall. This study looks at incorporating texture and steel onto the facade. The incorporation of metal would allow the building to change and develop with time as the metal oxidises.

1:20 Form Model

1:10 Materiality study model

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Time is a hidden architecture which is embedded in everyday life. It is an idea which has been studied and theorised over throughout the years. Time relates to architecture in many ways, through looking at how the building can develop and change over time as thebuildings function develops and changes. This idea of development as time progresses is linked with Isaac Newton’s (1729)theory of "absolute time". "Absolute, true and mathematical time, of itself, and from its own nature flows equably without regard to anything external, and by another name is called duration" Isaac Newton, 1729 This theory sees time as an external and very much independent variable, which is not changeable or dependant on any physical object. Using this idea time is seen as an all encompasing steady flow which can not be broken, these moments in time cannot be retrieved or relived. Architecture is designed with this idea in mind as the building has a limited life. The building is constructed for the instantaneous time, or what is required at that moment (Heidegger, 1982). The building must be designed to cater for the current needs of the client, yet the building must also consider the future and think of how its use may change over time. These changes over time are linked with how the building functions with social time as the needs of society changes. This idea of architecture developing over time to fit the needs of society is apparent in The Baltic Arts centre in Gateshead. This building was originally a flour and animal feed mill in the 1950’s however this use was only required for a limited time and as the needs of society changed the building became unnecessary. This is where the building now begins to change with the changes in society. The Original flour mill was converted into an arts centre retaining the original North and South facades which act as temporal elements linking the building back and bedding it in its original time and purpose. Architecture can capture a moment in tme and move with it.

Critique

DIARY

Origins

Brief The lecture series was to form the base of a “Course Diary” assessment made up of 8 300 word individual reflections of the themes addressed in the lectures. There were 10 lectures in total so there was some movement for individual interests to be focused on. The diary should be illustrated and formatted as a report.

Fig.5 Dali Clock

The Body is modular

Language

The Body is modular

Architectural design has always been influenced by the human body. People as the designers and users of the building have always been striving to create the ideal conditions for habitation. In order to create these conditions the body has to be studied . These studies began with the vitruvian man, where Leonardo Da Vinci was looking at using geometry to analyse the human form (Coyne,2012). The idea takes the naval as the centre of the body. Through this analysis it is apparent that the humman body and limbs are proportional. The idea that this could form the basis for building design was researched by Le Corbusier (Corbusier, 1968) (fig.6). Corbusier created his own proporional system which he could then use to inform his design as an evolution of the vitruvian man. It used the golden section as a measurment using the naval as a midpoint. This proportional system looked at the body as a series of modules. The Villa Stein (1926-28) on the outskirts of paris uses the proportions generated through his modular man to inform the buildings plan. Corbusier felt that by using this system in his design the resulting buildings would be more functional and enjoyable. These ideas on proportions can also be used to create spaces of punishment, where the proportions of the body are used to find the minimum space requirements. These torturous spaces are found most notably in prisons. Where the inmates are seen not as people who inhabit the full building but more like an object which is contained in a cell. Michel Foucault’s (1975) idea of using a prison to punish the body is outlined in his book "Dicipline and Punish".

Interpretation

"punishment that certainly concerns the body itself: rationing of food, sexual deprivation, corporal punishment, solitary confinement" Foucault, 1975

Time

Areas selected for study: Critique Origins Language Interpretation Time Bodies Object Technology

The idea of using a building to control the body can be seen in Jeremy Bentham’s Panoptican (1791). The building deals with the idea of survailance where the control of the inmate is largely down to the fear of the idea of being watched as it is not known from their cell if they are or not. This idea keeps the prisoner phsycologically restrained as well as physically, resulting in an architecture which deals with the body both mentally and physicallly.

Fig.6 Le Corbusier Modular Man

Bodies

The value of an Object

Object

The idea of object and the idea of looking at architecture as an object is an idea that developed in the industrial era. The industrial era brought the opportunity for mass production of objects, this development brought with it choice. It allowed the buyer to select what to purchase and make a decision on the object required, a stark contrast to the handcrafted expensive goods previously being produced where beauty was only available to the wealthy. "Nothing can have value, without being an object of utility" Karl Marx, 1887 Marx (1856) noted that for an obfect to have value it must have function and use, the design of the object was linked with adding value as it created adesire. Attempts were made to create mass produced objects which appear to ressemble a singular handcrafted object. This was attempted with the birth of kitsch, where the style created copies of popular artwork and objects allowing these highly prized objects available to the masses. The creation of objects is interesting. They are often produced without a defined client and are therefore speculative commodities (Kaminer, 2011) as there value is given by the market conditions. I feel that this idea of designing for the markeet conditions is evident in the architectural setting. Through the creation of these new objects (buildings) value must be assigned to them this of course relates to many aspects including size, quality of finish and design. The idea of putting a pice on design is often controversial as design is a personal view and opinion of the object. Valuing the design of an object is a technique used by other industries including the automotive and technology industry. The value of these objects is often linked closely with wider social ideas as well as design, including marketing where a objects value can be hyped up by use of skillful branding (fig.7). Objects become so desirable that consumers will wait for days to be one of the first to have a new object (often seen with the release of new technology). Similar ideas can be seen throughout the architectural world with competition architecture and large projects being carefully advertised seeking out the best firm design their project (object). In turn these entries can act as a showcase for that company. This type of advertising is used to raise the profile of many architectural practices giving their buildings (objects) more value.

Technology

LEARNING OUTCOMES 1. Knowledge of contemporary design theories and the ways in which they can inform specific approaches to, and practices of architectural design 2. Ability to demonstrate and analyse through careful argument how architectural production fits within wider philosophical, historical, social, political and economic discourses 3. Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing

Dealing with Time

Y3s1 [ARCHITECTURAL THEORY]

The diary offered time for reflection where I could begin to think about new ideas which affect architecture. The lecture series formed a base which I developed from with further readings where I then looked to summarise my thoughts and address a particular idea in the diary text. I looked to use a trigger image alongside the text to ground and control my thought process.

Fig.7 Apple Product Launch

Contents Technological Influences

Technological Influences

Technology has allowed for the rapid development of architecture. Martin Heidegger looks at the idea of using technology to help you work with the natural environment when he discusses the building of a bridge to allow the crossing of a river. "a bridge that somehow subsequently connects two existent banks of a stream, but is itself a stream that in its flow first creates the banks and turns them towards each other in a more primordial way than a bridge ever could." Heidegger, 1951 Heidegger (1951) sees the bridge as an example of technology being used to react to nature where the impact is sensitive. Technology could allow for a harsher intervention, but this view manipulating technology is often unnecessary (e.g. re-routing river). Technology must be seen not as the main factor when looking at design but used alongside the ideas of material, form and function. By using a combination of these ideas the architect can design in a way which they find appropriate. Two contemporary architects who deal with these ideas in different but equally successful ways are Zaha Hadid and Peter Zumthor. The work of Hadid looks at generating the form of the building using technology in the form of parametric design. The technology allows the manipulation of computer modelling allowing complex forms to generate. These forms created by Hadid make reference and take inspiration from natural forms. By using this technology advancements in the speed and efficiency of the design process have improved. Hadid employs the use of modern materials to skin these structures. This style of design can be seen in the Riverside Museum (2011, Glasgow) where the roof of the building is generated digitally before being manufacture and skinned using malleable sheet metal allowing the curved design to be replicated. The use of materiality in modern architecture has been used by Peter Zumthor. Zumthor uses materials in new ways allowing for the creation of intriguing spaces, he looks to use the technology to enhance the qualities of materials. This can be seen in the Therme Vals Spa (1996, Switzerland) the building is built with thin layers of locally quarried Valser Quartzite slabs. This building technique requires a great level of care, respect and accuracy in order to achieve the desired high quality luxurious finish. These two architects deal with technology to different extents. Zumthor using technology to work his materials and Hadid to inform design both these methods have a place in modern architecture as they both look at advancing what is possible in their respective use of the technology. Fig.8 Zaha Hadid Parametric Design

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Y3s1 [ARCHITECTURAL THEORY]

Critique through Research DIARY

Critique through Research I looked to use the ideas introduced in the lectures to apply to my current design project. This was particularly interesting in the critique section as the critique of work is an idea inherit with architectural education. The passage on critique is an example of the work produced for the diary document.

Selected Bibliography Architecture, Criticism, Ideology, New Jersey: Princeton Architectural Press, pp. 51-87. Laugier, (1977). An Essay on Architecture, trans. and introd. W. & A. Herrmann, Los Angeles, Hennessy & Ingalls, pp.7-10. Coyne, R.D. Snodgrass, A.B. and Martin, D. (1994). Metaphors in the design studio, JAE (Journal of Architectural Education), Vol.48, No.2, pp.113-125. Gadamer, Hans-Georg, and Edward Linge David. 1976. Philosophical Hermeneutics. Berkeley: University of California Press.

Critique is a modern idea. The idea of critique is constantly developing; it is not a static idea. The development of critique can be traced back to the 1800â&#x20AC;&#x2122;s with the industrial revolution creating a platform for civilisation to develop and in turn create work that looks at aspects of design rather than purely cost. The creative work was not the only idea to be critiqued, the social environment and inequalities of the society were also studied. These studies could then be addressed to evolve society as a whole. Ideas like this are closely linked to the theories of Karl Marx where he looked to create social system that would give equality across society. These ideas were outlined in his book the communist manifesto. "Revolution is the driving force of history" Karl Marx (1845) Marx could see that in order to advance society a change had to happen. This revolution was informed through the findings of his critique of current environment. This idea of using critique to revolutionise, advance and inform architectural design is commonly used. Critiquing the city to inform an architectural proposition was used by Archizoom in the late 1960â&#x20AC;&#x2122;s to determine the design of the city through theoretical research into the current infrastructure of the city. This research was titled "Non-stop City" and led to a condition which was replicated over the city creating a new "better" infrastructural system to allow transport through the urban environment. The idea of critiquing the existing environment to gain insight and inform architectural thinking has been of interest to me. I took the idea into my current design project when I looked at analysing the site of Tantalllon castle in North Berwick. I analysed (critiqued) the different "edge" conditions found on the site. These conditions varied with scale and erosion levels. I then looked to audit the conditions and generate a new condition which could apply to the site as a whole (Fig.1). This study and critique of the edge could then help to inform my design process. And be related to over the design process. Critique as a tool ultimately looks to improve situations; however it can lead to the destruction of historic ideas. The idea of heritage is a disputed topic with sides being taken as to the best way to deal with historic structures. When thought of in this way it becomes clear that a balance or equilibrium must be achieved between the ideal environments outlined in the critique and the reality of the actual environment.

Fig.1 Critique of Edge

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Y3s1 [ARCHITECTURAL THEORY]

ESSAY

Brief The essay is concerned with evidencing deep critical understanding and an ability to theorise. Submit a 2,000 word essay. The essay questions will be set by the specific lecturer. However, the list below provides examples of some essay questions. Essay Question What is the relationship of the landmark building to the identity of society and the city? How does this relate to the idea of objectification?

Selected Bibliography Design Dundee Ltd, 2013. V&A at Dundee. Available at: http://vandaatdundee. com/your-future/ Detail Magazine , 2002. Detail Online. Available at: http://detail-online. com/inspiration/stone-museum-innasu-106684.html Johnson, P.-A., 1994. The Theory of Architecture. New York: Van Nostrand Reinhold. Kaminer , T., Robles-Duran, M. & Sohn, H., 2011. Urban Asymetries. Rotterdam: 010 Publishers. Kuma, K., 2008. Anti - Object. London: AA Publications.

What is the relationship of the landmark building to the identity of society and the city? How does this relate to the idea of objectification? Introduction Objectification is an idea often associated with the idea of the body being objectified and being treated as a “thing” (or an object) rather than a person 1 (Houghton Mifflin Company, 2009). The idea is however directly transferable to the architectural environment. This is seen where the built landscape or an individual building begins to be viewed as an object. Through viewing the building as an object 2 (Hays, 2010) and not as a building is what makes them landmark, as the building becomes an objects of desire (just like what is often done to the body) such objects 3 (Johnson, 1994) can then be pursued by tourists and scholars who look to visit these locations. The reason for visitation seems to vary depending on the visitor, including: the visitor may be looking to experience the different culture of the city as a whole, specifically looking to visit this location to experience the buildings. This appears to be almost similar to the idea of pilgrimage within the city for tourists, as they must visit the special landmark locations whilst there. Visitors may not necessarily use the building for the intended purpose; it has become the act of viewing which is more important than using it. Failure to view these landmark locations, or if they were not visited the traveller would appear uninterested in the identity of the city. Extract When looking at a building as an object it is easy to miss many of the details which were considered in its design (interaction with physical and social context). It becomes primarily about the external expression, this expression is what is key to defining a building as “landmark” as it has an individual style allowing it to be instantly recognisable and in turn create an identity for the city.

“The city is a work of art” Oswald Mathias Ungers (1963)

Oswald Mathias Ungers theorised about how the city was viewed as a whole entity and the buildings themselves would make up part of it 4 (Kaminer, 2011). This then creates an image (“work of art”) that is projected to the rest of the world. The idea of a cities identity being carried through a building is apparent in cities such as Sydney. Where the image of Sydney has become the Opera house (fig.1),a building which opened in 1973 (designed by Jorn Otzon) has become the symbol of this city which has can trace its origins to the explorations of James Cook in the 1700’s. This gives a sense of the scale of rebranding of a city’s identity which can occur. By using this building as its major landmark Sydney has been able to portray itself as a city of culture and the arts where the focus of much of its branding is often on this one building.

Conclusion It is clear that the landmark building is seen as a symbol of importance to the modern city. These buildings may be a signifier of past wealth or historic importance associated with an older society, still important due to nostalgic ideas on how the world once was. The construction of new landmarks can alter perceptions of a city; their construction will bring much needed work and investment. However, the building alone may not necessarily have enough importance to sustain advances in social development. Inequalities and preconceptions about the city may already be too defined and therefore the identity of the city cannot always change through the creation of a single landmark. Objectifying the building and using it as a marketing tool can allow the city to take on the characteristics of that one building, an idea employed in many redevelopment schemes. Allowing the city to rebrand and change how it is perceived by its society and others. These landmarks act as a symbol of hope for the city’s residents that the city will continue to develop and adapt to the meet their needs and those of a modern society.

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Y3s1 [TECHNOLOGY + ENVIRONMENT] 3

Conservation Theories of Eugene Emmanuel Viollet Le Duc. In Le Duc’s writing “On Restoration”, he begins by high-

Technical Review

lighting that “Restoration and the term ‘restoration’ are modern”.

introduction>

(Viollet-le-duc, 1875) He points out hat the idea of reinstating a FIG 1. Viollet-le-duc

Violletle-duc.

An investigation of historic fabric interaction and structural intervention in masonry through critique of the conservation theories of John Ruskin and Viollet-le-duc.

Brief To undertake a technology review and prepare a report. The project should take the form of a review of contemporary state of the art for the selected topic. It should provide an informed assessment of the current technology and make reference to current products, improvements, innovations and applications. Highly innovative products and methods should be examined within the current context and opportunities and limitations must be thoroughly discussed. It is important that the report extends beyond the examples presented in the lecture programme.

Restoration and conservation are a concept of modern civilisation.

French Gothic Revival architect, Eugene Emmanuel Viollet Le Duc was

They are terms whos deﬁnitions have evolved with society and

born on January 27th 1814 in Paris and grew to become one of the

remain debatable today.

most inﬂuential restoration architect of the modern era. His proliﬁc writings of theories of rational architectural design linked him to the

The main aim of this technical review is to compare and contrast

revival of the romantic period and 20th century functionalism. He studied

restoration theories of two major writers and theorists of the time

in Italy for sixteen months in 1836 after refusing to join the École des

and explore, through case study, the different restoration methods

Beaux-Arts. (Britannica, 2013)

and techniques used in their masonry construction. This will devel-

Viollet Le Duc was ﬁrst trained as a medieval archaeologist where his

op an understanding of how varying restoration theories can be

knowledge of architectural complexities and detailing was cultivated. His

addressed in a certain material and how important the role of the

theories were noted by the newly formed ‘Commission on Historical

architect is when dealing with historic fabric.

Monuments’, where he became a central ﬁgure and was responsible for many high proﬁle and large scale restorations in France. His successful career lead to domination of 19th century theory of architectural restoration. (Britannica, 2013)

it once stood is a fairly new construct. There is no architectural deﬁnition of what restoration is, nor is there a Latin translation for the word (Viollet-le-duc, 1875). The modern sense of the word ‘restoration’ was not an activity pursued by earlier civilization. The Temple of the Sun at Baalbes wasn’t a restoration, but a rebuilding in the style that was in fashion at the time. Temples in Asia were left to decay and die as if they were living organisms. The Romans replaced using spolia (Arch of Constantine). It highlights that restoration is an attitude developed in the current age that is different to previous ages. Through this observation Le Duc gave license to himself to create and preach his own restoration theories through writing and practice. A statement that Le Duc is most famous for is “to restore a building is not to preserve it, to repair, or rebuild it; it is to reinstate it in a condition of completeness that could never have existed at any given time.” (Viollet-le-duc, 1875)

“archeological skill and be an expert builder with experience in all building practices of each period and school”. (Jackson, 2004). According to Le Duc, the most important piece of a restoration was that the architect had signiﬁcant knowledge and

Understanding the stone and its historic

Using this technology and scanning

a very clear plan of proceedings. If he did not then Le Duc

structure is of top priority because

electron microscopy (SEM) it enables the

considered guesswork as the most dangerous thing in resto-

effective restoration cannot take place

structure of the stone to be visible.

ration. Although he disapproved of guesswork, Le Duc was

unless all attributes of the stone are

cited in a letter that he wrote regarding Notre Dam that he

identiﬁed and acknowledged.

Cleaning of the stone can be done once FIG 2. The Church of Madeleine, Vezelay

would use detailing “in sympathy with” and “ in harmony with”

It is important to examine the

(Jackson, 2004). It points out that Le Duc was in favor of

existing stone to identify its type. Stone

adding detail and hypothesizing if the matter was validated with

in historic construction could be of

enough research.

igneous, sedimentary or metamorphic

Church of Madeleine, Vezelay. Viollet-leduc. [1850]

FIG 3. drawing by viollet-le-duc showing external repairs to the

its structure has been understood.

nave. Old state (below) and restored state (above).

Acidic cleaners tend to destroy stones based on carbonates whilst strong

critical work alkalis reactAwith ferrous ironoftoLe-Duc create was that of the restoration and alteration of The

One of the key stages of the restoration was the alteration of the nave (Fig

Church Madeleine, Vezelay that took place in the 19th century (Fig 2). The very unwanted ferricofhydroxide staining.

3). Along with making the nave structurally sound he brought his own

state sponsored commission ofﬁcially began in 1840 and was almost com(Weaver, 1993).

design tendencies to bring a stylistic completeness to the ﬁnished article.

Overall Le Duc’s theory on restoration appears relatively ﬂexible

calcareous sandstone, quartzite,

plete later. was (Murphy, 2000) Although this level10 ofyears technology

depending on the project and subject to its functionality and

limestone, dolomite, gneiss and slate

not in place for when Viollet-le-duc was

Critical to the reconstruction of the nave was the complete replacement of

whether it is being used or not. His theory allows a continuation

(Weaver, 1993) Once this is identiﬁed the

of attitudes displayed in older civilizastions and challenges the

geological and mineralogical nature of

reasoning for our sudden change in our attitudes towards

the stone can be understood. The

origin such as granite, syenite, gabbro,

Velezayhewas one of France’s largest Romanesque churches at the time and restoring Velezay, would have used

the ﬂying buttresses. Le Duc describes the process:

wasvery in asimilar state structural of imminent collapse at the time of the restoration commisstone that had sion. stones Viollet would Le Duchave was the architect in charge of the restoration project attributes. These

“I believe that the best means of preventing the imminent ruin of this part of the church consists of provisionally shoring the walls of the side

existing/historic fabric. This provides leeway for intelligent and

contaminants and constituents of the

andfrom sought to bring perfection”(Murphy, 2000) to the structure. been quarried the same area“greatest and

ﬁtting hypothesizing of details and building components to

stone need to be distinguished from one

of the same material as the original

aisles, in line with the arches which have subsided, to center the exterior

ultimately lead to a more functional and relevant restoration.

another.

shoring the walls of the nave. To demolish these ﬂying buttresses that are

In his restoration projects Le Duc saw, what he called, ‘mistakes’

was split stonework.The The project new masonry wasup of ainto 2 stages, ‘urgent repairs‘ and then ‘Resto-

ﬂying buttresses, & the interior arches, as well as the vaults; while also

Information can be attained from a

ration’. to The were made up of: different character theurgent old on repairs the

geological survey. This information is

exterior. This less porous material came

crumbling to dust, to carefully rebuild them with dressed stone, while being

repairing and chapels at the choir replaced original fabric of the buttresses exterior

arches and to rebuild them replacing a few voussoirs in order to make

backed up by x-ray ﬂuorescent (XRF)

(Jackson, 2004) in the design of the original building. He sought

and x-ray diffraction (XRD) techniques

to rectify these mistakes in his own manner in order to “balance

that measure the stone qualitatively and

the overall unity of the building” (Jackson, 2004) which sometimes

Opening blocked doors and windows at the narthex from twelve- kilometers away and

sure to tie them to the cantons in the nave wall. Then to dismantle the

reattaching sculptures to facade where iron supports had rusted buttresses -and walls. (Murphy, 2000).

construction tighter. This operation having to be carried out on three

quantitatively (Weaver, 1993). Sections

included changes made over the centuries in the ﬁnal restoration.

of stone are cut and then worn down to

patching main roof where it met the towers and the transept

arches, and on all of the ﬂying buttresses of the nave, there would be no

returning the roofs of the aisles and chapels at the choir to their

more worry about the longevity of this part of the church, and the spreading of the walls would be ﬁxed by the new ﬂying buttresses." (Murphy, 2000).

'original state'.

7 micrometers and placed under a microscope.

Bedding plane.

In some stone there is a pronounced bedding plane or ‘grain’ present (Fig 6a). It is important to understand how the stone itself was placed within the structure in relation to these

From the section (Fig 4) we can identify the load path of the structure and

bedding planes. There are normally standard orientations but

understand the process laid out by Le Duc when interacting with the existing fabric.

nave it is evident that the ﬂying buttresses were also of a similar condition to the

Masonry in Restoration.

ceiling of the nave. This meant that in this condition they were not providing any

Understanding the stone and its historic

Using this technology and scanning

support to the walls and were only acting as dead weight on the structure

structure is of top priority because

electron microscopy (SEM) it enables the

below. As we can see in Fig 4 there is also a buttress situated on ground level.

effective restoration cannot take place

structure of the stone to be visible.

This gives the impression of a 'quick ﬁx' or an incompleteness to the overall

unless all attributes of the stone are

Cleaning of the stone can be done once

design. In the lower section you can see the ﬂattened proﬁle of the existing

identiﬁed and acknowledged.

its structure has been understood.

The vaulted height of the nave itself appears to have been supported by a temporary wooden structure. This was on the verge of failing due to the substantial cracking and splitting of the upper masonry. On either side of the

arch. The original vaults differ aesthetically to the rest of the bays. These were

It is important to examine the existing stone to identify its type. Stone

based on carbonates whilst strong

originals were made to come to a point. Le Duc corrects this in his restoration

in historic construction could be of

alkalis react with ferrous iron to create

and builds a continually curving proﬁle. This creates Vezelay's distinctive

igneous, sedimentary or metamorphic

very unwanted ferric hydroxide staining.

Romanesque nave. In the ﬁrst three bays the colour of the masonry arches

origin such as granite, syenite, gabbro,

(Weaver, 1993).

comes from the use of a white stone in combination with locally quarried stone

calcareous sandstone, quartzite,

Although this level of technology was

where there is iron oxide present in the soil. This creates a darker colour of

limestone, dolomite, gneiss and slate

not in place for when Viollet-le-duc was

stone. Originally it was the case that each colour represented one stone. Now,

(Weaver, 1993) Once this is identiﬁed the

restoring Velezay, he would have used

after the restoration, smaller stones were used and then painted in order to

geological and mineralogical nature of

stone that had very similar structural

maintain the polychromatic effect. (Murphy, 2000).

the stone can be understood. The

attributes. These stones would have

contaminants and constituents of the

been quarried from the same area and

stone need to be distinguished from one

of the same material as the original

another.

stonework. The new masonry was of a

Information can be attained from a

different character to the old on the

geological survey. This information is

exterior. This less porous material came

backed up by x-ray ﬂuorescent (XRF)

from twelve kilometers away and

and x-ray diffraction (XRD) techniques

replaced original fabric of the exterior

that measure the stone qualitatively and

buttresses and walls. (Murphy, 2000).

When restoring in the style of Viollet-le-duc and particularly at vezelay where the replacement of stone is necessary, it highlights the importance of understanding structure.

FIG 4. drawing by viollet-le-duc showing the old state of the nave (below) and restored state (above).

usually blocks are laid out so that bedding planes are perpendicular to the direction of loading. (Weaver, 1993). With a normal ashlar stone bedding planes would be parallel to the

FIG 6a. Bedding planes found in stone.

ground whereas copings, cornices, belt courses, bedding planes usually lie vertically and at right angles to the face of

FIG 6b. Incorrect orientation can lead to cracking of ledges and

the wall.

delamination of external faces.

In arches the bedding planes should be arranged so that they are at right angles to the face of the wall and parallel to a line through the center of each voussoir and the center of the relevant arc of the arch (Fig 6c). This would have been of paramount importance to Viollet-le-duc at Vezelay. Due to the

Acidic cleaners tend to destroy stones

reconstructed by Le Duc. He made them into proper groin vaults although the

stone in order to comfortably increase the life and structural integrity of the

Title “An investigation of historic fabric interaction and structural intervention in masonry through critique of the conservation theories of John Ruskin and Viollet-le-duc.”

building with a sympathy and acute attention to detail to stand as

Le Duc also believed that whoever restores must possess

scale of the arches of the nave there would be a lot of risk involved if bedding planes were incorrectly orientated. In the case of stonework being laid with its bedding planes vertically along a major exposed face, delaminating of the stone layer by layer can occur. This is known as ‘face bedding’. This is how projected cornices lose their detailing (Fig 6b). Consideration must also be given to the joining of inner and outer leaves of stone. Where there is insufﬁcient mortar bonding the two together, the outer leaf begins to buckle outwards under load. This can be identiﬁed where there is a bulging external wall. (Weaver, 1993).

The new design by Spence looked to incorporate the remain-

However modern ideas on heritage mean that preservation

ing structure into the new design and make reference to the

and conservation techniques must be carried out regularly in

original fabric, design and form of the 14th century gothic

an attempt to preserve this historic structure sympathetically.

cathedral (Fig 9). The new Cathedral uses the original as a

As the historic structure was left open to the environment

reference to deﬁne the parameters of design in relation to the

effects such as the freeze/thaw cycle, drainage and wind

materiality and planning of the spaces. This reference back to

damage become major issues.

the original design creates a sense of coherence between the old and the new areas of the cathedral. In the new cathedral

Currently work is required to save the structure relating to

an attempt is made to build with the same quality and crafts-

re-routing drainage, repairing and stabilising cracked masonry

manship as found in the original. Spence looked to preserve

and adding coping to wall caps. Examples of techniques

the original cathedral in its current state and build the new

employed in masonry conservation can be seen in the follow-

cathedral adjacent to it attached by a simple high porch

ing section.

allowing for minimal contact with the existing fabric. The ruins of the original cathedral were preserved creating a space for remembrance and a serve as a reminder of the waste caused by war. As Spence’s design looked to keep these historic structures he was required to perform sympathetic conservation work to preserve the structure. The preservation of the building however does not stop with Spence as the building -

FIG 6c. Orientation of bedding planes in arches.

left open to the elements - continues to erode. Ruskin felt that allowing the building to erode naturally was a noble way for the building to end its life.

quantitatively (Weaver, 1993). Sections of stone are cut and then worn down to 7 micrometers and placed under a

FIG 5. Vezelay Nave

microscope.

John Ruskin.

John Ruskin was one of the leading English art

“we have no right whatever to touch them [ancient buildings]. They are not ours. They belong partly to those who built them, and partly to all the generation of mankind who are to follow us.” (Ruskin 1849)

critics of the Victorian Era. Born in 1819 Ruskin wrote

Group Angus Bolland Adam Ramsay

pieces of literature on many subjects most notably ﬁne art and architecture (Pevsner, 1969). He developed an interest in the creative arts from a young age when he wrote poetry, He began his further education studying Classical “greats” with ideas of possibly becoming an archbishop. His time at Oxford was cut short as he dropped out after 3 years due to illness. The disappointment of leaving Oxford seemed to encourage Ruskin to study ﬁne art after becoming reacquainted with his idol J.M.W.Turner leading to Ruskin publishing his writings on the subject. Ideas in conservation of historic buildings were outlined by Ruskin in his book the Seven Lamps of Architecture. The book looked at “seven lamps” which were topics relating to his research topics:

Learning Outcomes 1. Students will understand the key differences informing the design of steel and concrete structures 2. Students will be able to analyse and review contemporary construction methods and technology. 3. Students will be able to make informed decisions integrating issues of building technology into their design work. 4. Students will have gained an understanding of structural framing using reinforced concrete and steel, the building envelope and the use of manufacturing and prefabrication in construction.

Sacriﬁce

Truth

Power

Beauty

Life

Memory

Obedience Ruskin’s ideas on conservation were addressed

in the Sacriﬁce and Memory chapters which dealt with historic signiﬁcance and preservation respectively. Ruskin makes his ideas on what he feels is the correct manner in dealing with the historic buildings.

The quote shows the main ideas of Ruskin and how he felt the historic buildings should be viewed. Ruskin was strongly of the opinion that the historic

FIG 8. Coventry Cathedral 1940 after bombing.

building could not be restored, as any new additions

FIG 9. Coventry Cathedral, Basil Spence.

FIG 10. Coventry Cathedral,Basil Spence Drawing

to the building could never be carried out with the original intentions. He felt so adamant that restoration was not the correct way to deal with the buildings that he said that he would have preferred he idea of tearing the building down and using the materials to build something new rather than restore. This idea of thinking helped Ruskin to realise that there is the need to create a distinction between restoration and repair. These two ideas contrast each other in how the deal with the existing structure, repair looks at preserving what remains of the structure and restoration looks to build on and with the historic building. Ruskin was of the opinion that restoration was to destroy all of the beauty of the original building Although a highly regarded as one of the best critics of his time Ruskin never built using his ideas. However his ideas that he felt architecture should be true with no hidden structure and make use of hand crafted materials were shared by many. William Morris was lectured by Ruskin at oxford and alongside Ruskin

The new design by Spence looked to incorporate the remain-

However modern ideas on heritage mean that preservation

ing structure into the new design and make reference to the

and conservation techniques must be carried out regularly in

and used by many architects and designers. An example of his

original fabric, design and form of the 14th century gothic

an attempt to preserve this historic structure sympathetically.

theories being followed can be seen in Basil Spence’s extension

cathedral (Fig 9). The new Cathedral uses the original as a

As the historic structure was left open to the environment

to Coventry Cathedral. The original Cathedral was a 14th century

reference to deﬁne the parameters of design in relation to the

effects such as the freeze/thaw cycle, drainage and wind

gothic church which was elevated to cathedral status with the

materiality and planning of the spaces. This reference back to

damage become major issues.

damage that could be caused by the building itself as elements of

creation of Coventry Diocese (Williams, 1963).

the original design creates a sense of coherence between the

The original structure was bombed in November 1940 by a

old and the new areas of the cathedral. In the new cathedral

Currently work is required to save the structure relating to

Stone may have to be replaced if it is structurally important to the

Luftwaffe air strike during World War 2 (Fig 8). This strike

an attempt is made to build with the same quality and crafts-

re-routing drainage, repairing and stabilising cracked masonry

destroyed the majority of the cathedral leaving only the tower and

manship as found in the original. Spence looked to preserve

and adding coping to wall caps. Examples of techniques

outer wall standing. After the war the challenge of how to deal

the original cathedral in its current state and build the new

employed in masonry conservation can be seen in the follow-

with the remaining structure of the cathedral arose. Basil Spence

cathedral adjacent to it attached by a simple high porch

ing section.

produced a design proposal looking at creating a new cathedral

allowing for minimal contact with the existing fabric. The ruins

(Fig 10). This new building looked to follow the teachings of

of the original cathedral were preserved creating a space for

Ruskin’s conservation theory to produce a building design that

remembrance and a serve as a reminder of the waste caused

built with similar traditional materials but modern design, creating

by war. As Spence’s design looked to keep these historic

a building that could be easily read and would show the story of

structures he was required to perform sympathetic conservation work to preserve the structure. The preservation of the

the building.

set up the Society for The Protection of Ancient

building however does not stop with Spence as the building -

Buildings. The society looks predominantly at the practice of “forgery” on historic buildings in an attempt to preserve the integrity of these historic buildings.

Masonry in Conservation.

Although Ruskin never designed or built, his teachings and ideals laid out in his ideas on conservation theory have been passed on

“I saw the old Cathedral as standing for the Sacriﬁce, one side of

left open to the elements - continues to erode. Ruskin felt that

the Christian Faith, and I knew my task was to design a new one

allowing the building to erode naturally was a noble way for

which should stand for the triumph of the resurrection”

the building to end its life.

FIG 7. John Ruskin

Conservation as an idea is about preventing and slowing down the inevitable deterioration of the building. Some of the main issues that need addressing when thinking about conserving the structure relate to damage being caused by the environment and also the masonry become loose.

Coventry Cathedral. Basil Spence. [1962]

building, this act of conservation is not necessarily in the true style of Ruskin but it is essential in maintaining the remaining form of the building (Fig 11). This substitution allows changes to be made in the type of stone being used, changing the stone being used is a last choice when it is not possible to ﬁnd a suitable replacement from the original quarry or the type of stone itself is unsuitable (Theodossopoulos, 2013). The stone being unsuitable means that the properties of the original are not suited to the environment and there is a more readily available stone which is more suited. This case often occurs when salt damage occurs to sandstone. Limestone is a suitable replacement in this case as it deals with the salt damage much better than the sandstone. However problems arise with runoff of water from the stone causing more damage to adjacent sandstone.

(Spence, 1962)

Crack in stonework requiring urgent repair

Cracked wall can be repaired with

Lime putty used

embedded steel anchor pins with

to seal the crack

epoxy resin

and create

FIG 11. Coventry Cathedral, Rememberance Garden

waterproof layer

conclusion. FIG 13a.

FIG 13b.

Where cracks form in masonry and walls

When this solution is not sufﬁcient the

it is necessary to stabilise through

structure of the wall itself may be

intervention (Fig 12). When a wall system

strengthened with the addition of steel

using two layers is used the veneer or

anchor rods (Fig 13a). This repair tech-

outer wythe can become detached

nique works by drilling into the masonry

meaning that conservation is required to

with diamond coring drill bits before

make the wall safe. The same tech-

inserting the steel rods which are set in

niques can be used to deal with cracks

place with a moisture insensitive resin

found in masonry walls like in Coventry

grout to prevent moisture from entering

cathedral where they are attempting to

the hole (Weaver, 1993) (Fig 13b).

FIG 14. Sandstone deterioration.

However it is not popular on historic buildings as it begins to cover up the

corner of the original cathedral (Coventry

The repairing of the stone can be carried

Cathedral.org, 2013). During a 5 year

out using the technique of plastic repair

study it has been found that this crack

to patch small chips and spalls in the

requires urgent attention. One solution

stonework. (Fig 14). Plastic Repair uses

to repairing these cracks is to inject a

a mixture of mortar or synthetic resin is

liquid grout into the core of the wall to

mixed with stone dust to colour the

seal and strengthen the cracked area.

resin. This is a technique which seems to allow a more affordable and quicker

Although built over 100 years apart the two precedents

plexities involved in dealing with historic masonry struc-

have an interesting relationship. While Velezay was rebuilt

tures. The issues arise through the need to repair the

to prevent any chance of imminent collapse and give the

structure to a safe level and also when attempting to add

structure functional use, Coventry Cathedral dealt with

to the function of the building for modern day use. These

the heritage in a different manner. Spence choose to

issues deal strongly with the ideas raised by both Ruskin

leave the ruined cathedral as a memory and a place of

and Le-Duc in their theories.

reﬂection with the function being located in the new

The theories differ but both men were looking to

layers of history of the building, and

preserve the historic structure in the best possible way

could deceive historians in the future. This issue has led to it being rejected as a solution in cases such as Coventry Cathedral. In extreme cases it may not be possible to repair a heavily cracked piece of

repair a large crack on the south-west

Through our investigation we have discovered the com-

stone. This is where the decision must

modern adjoining building. The issues raised in our masonry conservation

they could perceive. It is not a surprise that their ideas on

and structure techniques sections; show how these

heritage and how to deal with it differed so much as they

different theories can be answered with restorative

looked at the historic structures in very different ways.

maonry techniques. As with every act of conservation

Ruskin who was highly religious engaged with the crafts-

choices on how to deal with them are always available

manship found in these old buildings and the romantic

allowing the architect control how the historic fabric is

engagement with them as a practicing writer. Le-Duc on

used and viewed.

the other hand was a man of functionality. He engaged

then be taken on whether to simply

with the building technologies and looked to improve the

leave, replace or substitute the damaged

function of the building to suit modern day requirements

stone. From our research it is clear

and to improve the overall design.

where Ruskin would have stood on this

Word Count: 3,888.

decision as he felt the building should be left to deteriorate (Ruskin, 1849) with no FIG 14a. Drilled holes for repair.

FIG 14b. Substitute stone.

modern intervention.

FIG 12. Structural fault in historic fabric. Red Castle, Black Isle,

Scotland

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7 8 9 10 11

Y3s1 [TECHNOLOGY + ENVIRONMENT] 3 Technical Review Project Description Restoration and conservation are a concept of modern civilisation. They are terms whos definitions have evolved with society and remain debatable today. The main aim of this technical review is to compare and contrast restoration theories of two major writers and theorists of the time and explore, through case study, the different restoration methods and techniques used in their masonry construction. This will develop an understanding of how varying restoration theories can be addressed in a certain material and how important the role of the architect is when dealing with historic fabric.

Selected Bibliography Spence, B (1962). Phoenix at Coventry. London: Geoffrey Bles. Theodossopoulos, D (2013). Structural Design in Building Conservation. London: Routledge. Viollet-le-duc, E (1875). On Restoration. London: Sampson Low, Marston Low and Searle. Weaver, M (1993). Conserving Buildings: Guide to techniques and materials. USA: John Wiley & Sons, Inc.

FIG 8. Coventry Cathedral 1940 after bombing.

FIG 9. Coventry Cathedral, Basil Spence.

FIG 10. Coventry Cathedral,Basil Spence Drawing

Although Ruskin never designed or built, his teachings and ideals

The new design by Spence looked to incorporate the remain-

However modern ideas on heritage mean that preservation

laid out in his ideas on conservation theory have been passed on

ing structure into the new design and make reference to the

and conservation techniques must be carried out regularly in

and used by many architects and designers. An example of his

original fabric, design and form of the 14th century gothic

an attempt to preserve this historic structure sympathetically.

theories being followed can be seen in Basil Spence’s extension

cathedral (Fig 9). The new Cathedral uses the original as a

As the historic structure was left open to the environment

to Coventry Cathedral. The original Cathedral was a 14th century

reference to deﬁne the parameters of design in relation to the

effects such as the freeze/thaw cycle, drainage and wind

gothic church which was elevated to cathedral status with the

materiality and planning of the spaces. This reference back to

damage become major issues.

creation of Coventry Diocese (Williams, 1963).

the original design creates a sense of coherence between the

The original structure was bombed in November 1940 by a

old and the new areas of the cathedral. In the new cathedral

Currently work is required to save the structure relating to

Luftwaffe air strike during World War 2 (Fig 8). This strike

an attempt is made to build with the same quality and crafts-

re-routing drainage, repairing and stabilising cracked masonry

destroyed the majority of the cathedral leaving only the tower and

manship as found in the original. Spence looked to preserve

and adding coping to wall caps. Examples of techniques

outer wall standing. After the war the challenge of how to deal

the original cathedral in its current state and build the new

employed in masonry conservation can be seen in the follow-

with the remaining structure of the cathedral arose. Basil Spence

cathedral adjacent to it attached by a simple high porch

ing section.

produced a design proposal looking at creating a new cathedral

allowing for minimal contact with the existing fabric. The ruins

(Fig 10). This new building looked to follow the teachings of

of the original cathedral were preserved creating a space for

Ruskin’s conservation theory to produce a building design that

remembrance and a serve as a reminder of the waste caused

built with similar traditional materials but modern design, creating

by war. As Spence’s design looked to keep these historic

a building that could be easily read and would show the story of

structures he was required to perform sympathetic conserva-

the building.

tion work to preserve the structure. The preservation of the building however does not stop with Spence as the building -

“I saw the old Cathedral as standing for the Sacriﬁce, one side of

left open to the elements - continues to erode. Ruskin felt that

the Christian Faith, and I knew my task was to design a new one

allowing the building to erode naturally was a noble way for

which should stand for the triumph of the resurrection”

the building to end its life.

Coventry Cathedral. Basil Spence. [1962]

(Spence, 1962)

Williams, H (1963). Coventry Cathedral. Norwich: Jarrold.

1 2

3 4

5 6

7 8 9 10 11

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL HISTORY]

[HUMAN GEOGRAPHY]

[ARCHITECTURAL THEORY]

[TECHNICAL REVIEW]

Elements p.7

Introduction to world Architecture p.13

(In)Place p.36 p.41

[ART + DESIGN]

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

Explorations p.65 p.74

[TECHNOLOGY + ENVIRONMENT] 3

ZONE Architects p.88 p.90

[ARCHITECTURE PLACEMENT]

p.77

Reflection p.93

[ARCHITECTURAL DESIGN]

[ARCHITECTURAL HISTORY]

[ARCHITECTURE PLACEMENT]

[ARCHITECTURAL DISSERTATION]

[ARCHITECTURAL HISTORY]

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL DESIGN]

Through and Beyond the frame p.16

Assembly p.19

Revivalism to Modernism p.30

[TECHNOLOGY + ENVIRONMENT] 1 - Principles

p.32

p.42

Culture + the City p.47 (Any)Place p.49

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

p.59

Working Learning p.80 ZONE Architects p.85

The Necessity of Scars p.97 Tectonics p.101

[ACADEMIC PORTFOLIO]

Part 1 p.116

Oversize storage section

document therefore protects all parties, the public (from potential physical injury) and the architect (financial).

Y3s2 [ARCHITECTURE PLACEMENT] Essay Questions Brief Prepare six short answers, of 300500 words each , in response to the questions listed below. Students should refer to published material to support and substantiate their response. Topics Regulation Office Structures Procurement Construction Management Professionalism Pay

Q1 – Regulation

Q2 – Office Structures

Architectural design in the UK is subject to a wide range of regulatory requirements. Describe the government purpose and architectural implications of a selected article of UK building regulation.

An increasing number of architectural firms are choosing to organise themselves as Limited Liability companies. In what circumstance is this form of office structure advantageous, and why?

As the building industry is very diverse the regulations must be structured in a way to allow for the standard rules to be applied to each project and not constrict too heavily with the design. These regulations must deal with a wide range of articles relating to restrictions on primarily safety aspects involving the use and operation of the building. The regulations deal with the wide range of rules by initially printing a short “Requirements” statement, followed by guidance on how it is possible to best achieve the requirement for each article (BadenPowell, 2011, pp. 52-54). There are often a number of possible solutions to dealing with the requirement which is why a building may be refused planning or a building warrant if the solution proposed is deemed not suitable. The purpose of this documentation is to protect the public by ensuring that the buildings are safe and of suitable quality (London Borugh of Richmond, 2013). The documentation is readily available through printed and electronic resources via the Planning Department. By having the documentation in the public domain and being used as legislation throughout the building process it works to maintain the standards of any new work carried out and is therefore updated (Brittish Government, 2014) as required to deal with the use of new building techniques, materials or address issues with the previous version which may have become outdated.

The idea of a forming a Limited Liability Company has become popular with many architecture practices. The forming of one of these companies has advantages for the office structure, in particular the idea of lowering the risk for company owners and employees (Speaight, 2010, pp. 298-300). This idea of improving risk management is very important when working in the architectural and construction environment as issues can often arise.

Looking at Building Regulation “Protection from Falling - K2” (HM Government, 2013)

Learning Outcomes LO1 An understanding of business management and knowledge of the legal and statutory frameworks within which Architectural Design is practiced and delivered. LO2 An understanding of the role of the client, Architect and related professions in the costing, procurement and realisation of architectural design projects. LO3 An understanding of the role of the Architect in society, including knowledge of professionalism and emerging trends in the construction industry.

The Requirement is clearly shown at the beginning of each section being followed by in depth guidance on how to deal with the requirement. “Limits on application” are also attached to each requirement in the highlighted section, this gives a clear indication of where the requirement occurs. Using Building Regulation K2 (Department of Planning, 2013)as an example to show why the regulations are important is a good example for highlighting safety issues. This regulation outlines the best practice of dealing with the addition of guarding’s to ledges, the information is provided for domestic and non-domestic projects where the requirements are different for each situation. This “guidance” supplied after the “requirement” is not always as flexible, in this case where there are clear safety implications (such as falling from heights) which could lead to endangering the safety of the public the architect has limited options on how to meet the requirements. This strictness may mean that the design has to be comprimised in order to address the building requirements. One example of where the architectural ambition may have to be addressed and altered could involve spaces like the mezanine floor, where one space is effectively suspended within the other, and the addition of a balustrade or guard to the upper level may appear unnecessary to the architect but is required in order to fulfill the safety requirements and protect building users. It is clear that the regulations have been produced to ensure a level of safety and quality to an industry that has the potential to cause damage society. Without this level of governing and control over what is acceptable and isn’t it may be possible for project to be completed which are unsuitable or unsafe. This document therefore protects all parties, the public (from potential physical injury) and the architect (financial).

Forming a limited liability company puts the owners and employees into a partnership where they are both considered as “members” (Tutor2u, 2012). These members are then awarded a share in the company which gives them part ownership and then acts as a form of safety barrier for the employee if financial issues with the company arise. The shares and company loans are the only areas of financial loss which can affect the members (Brittish Government, 2013) giving safety to their own personal assets. Having this member ownership and reduced risk to personal assets is important for architecture firms, as decisions and work carried out by the member’s deals with projects of high value. Therefore mistakes at office level can prove very costly to the project and have repercussions for the firm so providing protection to the members and business is an important matter. By using a limited liability company rather than the standard corporation it gives flexibility to the company for how the company is taxed and therefore how the company is run. This type of company also requires less paperwork for the business than what is required of a corporation, the potential to reduce tax payments and paperwork is appealing especially in smaller office structures where this paperwork is carried out by the architect. It is clear that the architect could use their time more effectively without having to deal with unnecessary paperwork where it could be avoided. By setting up the firm as a Limited Liability Company it can also make it easier when gaining funding or investment than in a single ownership firm, however problems can arise with investors removing there investments as this is not easy to do without breaking the company up. An aspect of setting up the company that can aid the practice is that the company can be thought of as “eternal”, since the new company does not belong to a single person. This idea works because the departure of a director or founder does not mean that the company is split up. The company can therefor gain experience and build a strong portfolio and brand. Having this sense of brand and experience is important for architectural firms as it is uncommon for large projects to be taken on by young businesses as they can be seen as inexperienced.

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client is looking at the project with financial intentions.

Y3s2 [ARCHITECTURE PLACEMENT] Essay Questions

Selected Bibliography Adler, D., 1999. Metric Handbook Planning and Design. 2nd ed. Oxford: Architectural Press. ARB, 2013. Architects Code. Available at: http://arb.org.uk/ architects-code/Index Baden-Powell, C., 2011. Architects Pocket Book. 4th ed. Oxford: Architectural Press. BIM Task Group, 2013. Building Information Modeling. [Online] Available at: http://www.bimtaskgroup. org/ British Government, 2013. Choose a legal structure. [Online] Available at: https://www.gov.uk/ business-legal-structures/limitedcompany Department of Planning, 2013. Planning Portal - Building Regulations. [Online] http://www.planningportal. gov.uk/buildingregulations/ approveddocuments/partk/approved Engineering_Construction_Legal_Upate_ BIM_31_January_2012.pdf RIBA, 2013. Fee calculation, negotiation and managment. [Online] http://www.architecture.com Files /RIBAProfessionalServices/ Regions/NorthWest/Education/ Part%203/StudyPacks2013/ March2013LectureNotes/

Q4 – Construction Management Q4 – Construction Management

Building information modelling creates new opportunities for collaboration in Building information opportunities for collaboration architectural design modelling projects, creates but alsonew threatens the traditional roles of in architectural design projects, but also threatens the traditional roles construction industry professionals. Speculate on the effect BIM systemsof might have construction industry professionals. Speculate on the effect BIM systems might have on architectural practice. on architectural practice.

It has become apparent in recent years that BIM (Building Information It has become in recent years that BIM (Building Information Modelling) will soon apparent become commonplace in many Architectural practices across Modelling) will soon become commonplace in many Architectural practices Britain. This change in software is not necessarily down to the personalacross choice of Britain. This change into software is not necessarily down to the personal the architect, looking try a new system. The change seems to have beenchoice forcedof by the to tryto a make new system. The change seems to have been forced by the architect, government looking in an attempt improvements to the industry (DLA Piper, the government in anitself attempt to not makepose improvements to industry (DLAas Piper, 2012). The does a problem tothe many businesses new software issoftware regularly released The statement by as government 2012). The software itself does and not updated. pose a problem to many released businesses new software is regularly released and updated. The statement released by government reads: reads: The Government’s intention to require: “collaborative 3D BIM (with all intention to require: and “collaborative 3D BIM (withonall projectThe andGovernment’s asset information, documentation data being electronic) its project and asset information, documentation and data being electronic) on its projects by 2016” (Cabinet Office, 2011, p. 34) projects by 2016” (Cabinet Office, 2011, p. 34) This statement was released in 2011 giving practices 4 years to adopt and change to Thisnew statement wasface released inout 2011 practices 4 years to adopt and change to the system or losing ongiving potential work from government projects. the new system or face losing out on potential work from government projects. Through changing the industry to incorporate BIM it was been suggested that Throughcosts changing industry to incorporate BIM (BIM it was been suggested construction couldthe potentially drop by up to 20% Task Group, 2013) that as construction couldthrough potentially drop by up to Task Group, 2013) capital costscosts are saved the new system. BIM20% has(BIM gained recognition andas capital coststhrough are saved theanew system. BIM has gained recognition and all (file) could contain found appeal thethrough idea that single computer model found appeal through the idea that a single computer model (file) contain all necessary construction information for a project. Using this modelcould to analyse the necessary construction information for aconstruction project. Using this model to analyse the building and also assist in calculating schedules, building building and also in calculating schedules, building specifications forassist its structure is alsoconstruction an option for designers. This information specifications for its structure is also an option for designers. Thisof information becomes readily available through the model thanks to the application becomes readily available through the model thanks to the application of specifications and information databases which are stored allowing each building specifications information stored allowing eachthis building component to beand defined in the databases model as awhich real are world component. Having amount component to be defined in the model as a real world component. Having this of information applied to the computer generated model allows it to act as aamount of information applied the computer generated allows it to act as a simulation of the finalto building as well as beingmodel a tool for visualisation it can simulation of the final building as well as being a tool for visualisation it can also be analysed. also be analysed. BIM therefore is clearly an improvement and a development for the building is changes clearly are an improvement a development for the sector BIM as atherefore whole, but required to and allow its involvement. Thebuilding new sector as a whole, but changes are required to allow its involvement. The newalso software will obviously require to be learnt by those who wish to create but software will obviously require to be learnt by those(Smith, who wish to create also to view and access the information which it contains 2012). This but learning to view and access the information which it contains (Smith, 2012). This learning of how to operate and navigate the software would be required by not only the of how to operate and navigate would be required not only the architect or engineer but also the the software builder and eventually the by planning department architect or engineer butas also the builder and eventually planning Thethe wider use ofdepartment software of (if the software becomes beneficial as is thought). (if the softwarecould becomes as upgrading beneficialof ashardware is thought). The companies wider use simply of software of this complexity force for many to run thissoftware complexity could force a upgrading of hardware for many companies simply to run the which requires higher level of processing power to deal with the the software which requires a higher of processing power to deal with the level of information being stored andlevel attached to the model. level of information being stored and attached to the model. It has been suggested that a main advantage for the software is that the It has been suggested that a to main advantage for more the software is that theadded model can be passed from architect engineer, where information can be model can be passed from architect to engineer, where more information can be added to the single model. It is obvious however that this idea of a single model will to the single model. It is obvious however that this idea of a single model will By using one model for the whole project issues could arise when more cause issues. causeone issues. Byis using one model foron the project issues arisecould when more than person required to work itwhole at the same time; orcould the model have than passed one person is required to work on itcausing at the multiple same time; or the model could been on with information missing, resending. The use ofhave the been passed within information missing, causing multiple resending. The use of the database andon built knowledge to the system will also cause an issue for the database and built in knowledge to the system issue for the professionals that would previously have dealtwill withalso themcause (e.g.an tasks involving professionals that would previously have dealt with tasks involving costing the project), meaning that potential work isthem lost(e.g. (making up some of the costing the project), meaning thatmay potential work is up some of the 20%). The idea of sharing a model also become an lost issue(making as practices work in 20%). The ways. idea of a model may also become an issue as practices work Bysharing introducing a common system across the industry issues mayin arise different different ways. to By work introducing a common system the firms industry issues may arise when attempting with models produced byacross different as they will when attempting to work with models produced by different firms as they will operate differently. operate differently. This change will cause a number of issues for practices in the short term willtocause a number of issues foraspractices in from the short term but hasThis the change potential improve the industry just the change hand drawing butCAD hasdid. the It potential to that improve thefirms industry hand drawing to is likely large willjust takeas onthe thechange changefrom initially, to CAD did. retaining It is likely that large firms take on the change potentially a section of CAD in will the business whilst the initially, BIM environment potentially retaining a section of software CAD in the business whilst the BIM environment is continuing to develop. When the becomes commonplace and potential is continuing to develop. When the and potential problems as highlighted earlier aresoftware resolvedbecomes the usecommonplace of BIM could become problems as highlighted earlier are resolved the use of BIM could become commonplace. commonplace.

Q5 – Professionalism How is the title “Architect” protected in the UK? Formulate an argument for or against the protection of the title Architect. The title of “Architect” is not one that is given easily; it comes with a great sense of responsibility and therefore requires a level of academic and practical study and experience to gain the title. Every country in the world is responsible for dealing with title and this can be done in a number of different ways. In Britain the modern title of “Architect” has been involved in legislation dating back to the 1930’s. The title is protected but in order for use the individual must be registered with the ARB (Architects Registration Board) and adhere to the “Code of Conduct” (ARB, 2013). Registration requires qualification from a recognised architecture school and the completion of the RIBA (Royal Institution of British Architects) part 3 exam (or equivalent). The RIBA is a voluntary membership society, where members are required to maintain and develop their personal architecture skills through CPD (Continuing Personal Development) exercises (RIBA, 2013). This membership to RIBA allows the affixation of “Chartered” to their title and also the use of the RIBA name. This organisation provides support and training to its members but does not offer protection of the title. The protection is dealt with by the ARB who operates as an independent, public interest body with the role of regulating the architecture profession in the UK. The ARB look to protect the title by having a set of duties which are found in the Architects Act of 1997, including areas of keeping an up to date Register of UK Architects, Ensuring Architects meet appropriate standards and ensuring that only people in their register can offer their services as an “architect”. This protection of the title is important for maintaining the integrity of the industry. The strict registration process means that in order to gain the title a number of requirements must be completed. If this was not the case and it possible to use the title without completing the necessary training and the standard of the service being provided could not be regulated potentially proving dangerous (BD Online, 2009). The protection of the title helps to inform clients by allowing them to differentiate between an “architectural assistant”, “architect” and “chartered architect”. This differentiation allows the client to select the level of service desired without any possible deception. The requirement to protect the title is a similar situation to that found with medical practitioners. It is obvious that you would not want an unqualified surgeon performing an operation on you, so therefore you would want some form of protection to know that the person designing for you is competent (Stott, 2013) and has completed the appropriate courses. Protection of the title is therefore beneficial to all parties as the client receives a professional service and the architect can work knowing that their industry is being governed to protect their profession.

Q6 – Pay Why were the RIBA fee scales abolished? Formulate an argument for or against fee scales. The RIBA fee scales were a very useful tool for calculating appropriate fees for projects; however these fee scales created a number of issues for the industry. Having a definitive listing of the suggested fees was a system which helped clients to understand the costing system for the architecture industry. This costing system was not approved by the office for trading as it created a sense of business cartel (BD Online, 2012) in the industry where RIBA were in control of the market, and as a professional body this kind of system is not allowed. Due to this reasoning RIBA

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Y3s2 [ARCHITECTURE PLACEMENT] Design Report

Brief at 211In the UK, a ‘Design Report’ is a ce the document submitted to a local council ferenc-in support of a Planning Application. It explains the concepts behind a building proposal to the planning authorities, making reference to any pertinent factors that are considered to be material considerations by the Planning Authority. Prepare a Design Report of a project you have practical experience of 6. Through discussion with colleagues, or independent research, identify what material considerations** informed the design, and show how these are resolved by the design. Illustrate the report with relevant drawings, diagrams and visualisations (it may be necessary to produce new diagrams). The report should not be too long – a 2-4 page A3 document with a maximum1000 words of text is recommended. Project Introduction Zone Architects have created a studio and office space at 211 Granton Road, the aims of the design were to reference the former industrial buildings in the area while also referencing the surrounding residential buildings. Bibliography http://www.zonearchitects.co.uk/ projects/officestudioedinburgh/ http://www.grantonhistory.org/harbour/ harbour.htm N.B. Currently Employed at Zone Architects All information gained through company files and conversation with David Jamieson

Site History The projects site is located in Granton to the North of Edinburgh’s city centre. The proposed site is located on land originally wasteland found behind the garden of the cottage located at 145 Lower Granton Road, adjacent to Granton Road (Fig.2.). Granton Road was originally used for transportation of goods from Granton Zone Architects have created a studio and office space at 211 Harbour (Fig.3.) to the city centre, and Granton Road, thie aims of the design were to reference the industrial buildings in the area while also referencthe roadsformer gentle slope meant that it was ing the surrounding residential buildings. suitable for tram access making it one of the busiest routes to and from the harbour (these tramlines can be seen on the 1914 map). The site deals with the height difference between Granton Road and Lower Granton Road, this change in level requires careful consideration. The elevated position of the site gives views over the cottages and out across the forth towards Fife. Historically the area of Granton has been of mixed use, with dock workers living close to the harbour buildings where they worked. There are a number of semi-public buildings located at the lower west end of Granton Road where it meets Granton Square. Recently many of the original buildings located near the site have been modernised with new businesses moving into the premises. Examples of this development include the Granton Hotel being refurbished for TA Ancillary accommodation and a corrugated metal clad church being used as a yoga centre. The area is now predominaly residential and the industrial buildings are either being removed or converted for new uses. Design Principles - Materiality The form of the building has to be carefully considered to deal with the challenging slopped site (Fig.4.) and also the boundary conditions as the building meets with a public pavement. The new studio is in plan a thin building which follows the existing line of the historic Granton Road as it approaches Granton Square. The building was limited in width due to theView narrow, site. There was also an issue of overshadowFig.1. frpmsteep Granton View ing neigbpuring of garden space which would have to be considered. The Granton Road elevation resembles a garden wall which acts as a defining edge and boundary between the public pavement and the private garden (Fig.8.). The entrance is created by a shift in the wall(Fig.5,9.), allowing the building to appear as a solid wall whilst approaching Granton square. The new building deals with the sloping site through earth engineering and excavation of the slope. This excavation allows direct access to the building from both the public road (allowing business access to the studio) and also form the private garden of the Architect (Fig.4,6.). The north side of the studio faces the private residential properties of Lower Granton road, it appears more “pavilion like” located at the top of the garden. This elevation is punctured with openings giving views out towards the Forth with the façade employing steel cladding to break up the brick wall. The key issues that related to form when designing the building on the site include, understanding the sun paths which could create overshadowing. The potential impact on neighbours to the north must also be considered. In order to deal with these issues a computer model has been used to analyse and measure the potential sun paths giving an accurate study (Fig.7.). The issue was resolved by building being embedded in the site meaning that the two storey building is only a single storey at Granton road level. As the building is only one storey above street level(Granton Road) this means that no more than 50% of a shared garden to the north is overshadowed during the autumn and easter equinox.

Design Principles - Form The form of the building has to be carefully considered to deal with the challenging slopped site (Fig.4.) and also the boundary conditions as the building meets with a public pavement. The new studio is in plan a thin building which follows the existing line of the historic Granton Road as it approaches Granton Square. The building was limited in width due to the narrow, steep site. There was also an issue of overshadowing neighbouring of garden space which would have to be considered. The Granton Road elevation resembles a garden wall which acts as a defining edge and boundary between the public pavement and the private garden (Fig.8.). The entrance is created by a shift in the wall(Fig.5,9.), allowing the building to appear as a solid wall whilst approaching Granton square. The new building deals with the sloping site through earth engineering and excavation of the slope. This excavation allows direct access to the building from both the public road (allowing business access Fig.3. Granton harbour form c.1957 the private garden of the Architect to the studio) and also Site Context & History The projects site is located in Granton Fig.3. Granton harbour c.1957 (Fig.4,6.). to the North of Edinburgh’s city centre. The northsite side of the The proposed is located on studio land orig- faces the private residential properties Site Context & History inally wasteland found behind the garof Lower Granton road, it appears more “pavilion like” located at the den of the cottage located at 145 Lower The projects site is located in Granton Granton Road, adjacent to Granton Road top of the garden. This elevation is punctured with openings giving (Fig.2.). Granton Road was originally used to the North of Edinburgh’s city centre. for trsnsportation of goods from Granton views out towards the Forth with the façade employing steel cladding to Harbour (Fig.3.) to the city centre, and The proposed site is located on land origthe roads gentle slope meant that it was break up the brick wall. suitable for tram access making it one of inally wasteland Design found behind the garPrinciples - Materiality the busiest routes to and from the harThe key issues that related to form when designing the building on the den of the cottage located at 145 Lower bour tramlines can be seen on the The form of the building has to be carefully considered to (these deal with the challenging slopped site (Fig.4.) and also the boundary conditions 1914 map). The siteunderstanding deals with the height the sun paths which could create overshadowing. site include, Granton Road, adjacent to Granton Road as the building meets with a public pavement. The new difference studio is in plan Granton Road and Lower between thin building which follows the existing line of the historic Granton Granton Road, this change in level re-neighbours to the north must also be (Fig.2.). GrantonaRoad Road was originally used The potential impact on as it approaches Granton Square. The building was limited in width quires careful consideration. The elevated due to the goods narrow, steep site. There was also an issue of overshadowposition of the site gives views over the for trsnsportation of from Granton considered. In order to deal with these issues a computer model has ing neigbpuring of garden space which would have to be considered. The across cottages and out the forth towards Road elevation resembles a garden wall which acts as a defining Harbour (Fig.3.) Granton to the city centre, and Fife. been to analyse and measure the potential sun paths giving an accurate edge and boundary between the public pavement and the private used garden entrance is created it by a was shift in the wall(Fig.5,9.), althe roads gentle (Fig.8.). slopeThemeant that Historically the areaThe of Granton been resolved by building being embedded (Fig.7.). issuehaswas lowing the building to appear as a solid wall whilst study approaching Granof mixed use, with dock workers living Granton Road square. The new building deals with theof sloping site through earth suitable for tramtonaccess making it one close to the harbour buildings where they in the site meaning that the two storey building is only a single engineering and excavation of the slope. This excavation allows direct worked. There are the busiest routes to and from haraccess to the building from the both the public road (allowing business ac- a number of semi-publicthe buildings located at theroad lower west at Granton level. As the building is only one storey above cess to the studio) and also form the private garden storey of Architect end of Granton Road where it meets Granbour (these tramlines (Fig.4,6.).can be seen on the ton Square. Recently many of theRoad) original this means that no more than 50% of a shared street level(Granton The north side of the studio faces the private residential properties 1914 map). The site deals with the more height buildings located near the site have been of Lower Granton road, it appears “pavilion like” located at the modernised with new businesses into top of the garden. This elevation is punctured with openings giving garden to the north moving is overshadowed during the autumn and Easter equinox. difference between Granton Road and Lower views out towards the Forth with the façade employing the steel cladding Examples to premises. of this develop-

de d Gar

Roa break up the brick wall. ment include the Granton Hotel being ren Granton Road, this change in level reranto The key issues that related to form when designing the building for on the wer G furbished TA Ancillary 45 Loaccommodation 1 site include, understanding the sun paths which could and create overshad- metal clad church being a corrugated quires careful consideration. The elevated owing. The potential impact on neighbours to the north mustasalso be centre. The area is now used a yoga considered. In orderviews to deal with these issues model has position of the site gives over the a computer predominaly residentialand the industrial been used to analyse and measure the potential sun paths giving are an acbuildings either being removed or constudy (Fig.7.). The issue was resolved by building being embedcottages and out curate across the forth towards verted for new uses. ded in the site meaning that the two storey building is only a single Fife. storey at Granton road level. As the building is only one storey above

Fig.4. Section through studio shows difference in ground levels between Granton road and the garden

Site Width

street level(Granton Road) this means that no more than 50% of a shared garden to the north is overshadowed during the autumn and easter equinox.

Historically the area of Granton has been of mixed use, with dock workers living close to the harbour buildings where they worked. There are a number of semi-public buildings located at the lower west Fig.2. 1914 Map with site location end of Granton Road where it meets Granton Square. Recently many of the original Fig.5. buildings located near the site have been Granton Road modernised with new businesses moving into the premises. Examples of this development include the Granton Hotel being refurbished for TA Ancillary accommodation den and a corrugated metal clad church being d Gar n Roa ranto Gas r e w used a yoga centre. The area is now o 145 L predominaly residentialand the industrialFig.4. Section through studio shows difference in Fig.7. ground Fig.6. buildings are either being removed or conSite Width levels between Granton road and the garden verted for new uses.

Fig.8. Image shows Granton Road facade with garden wall which forms a boundary with the public pavement

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Y3s2 [ARCHITECTURE PLACEMENT] Design Report 211 Granton Road ZONE Architects 2007 The building gained planning permission on the first attempt with no objections due to the carefully considered design and addressing the overshadowing issue. The studio and office space has been in constant use since its completion in 2007 with the building now being used by multiple businesses including a lighting designer and an accountant alongside ZONE Architects. This project has been a success as it has dealt with its challenging site and formed a relationship with the local area.

Fig.9. Zone Studio entrance

Design Principles - Materiality The materials used in the building (Fig.9.) have been carefully selected Design Principles Materiality to relate to the -industrial and residential buildings found in the area. used The studios relates to the The materials in the construction building (Fig.9.) have beenresidential carefully through selected relate totimber the industrial and residential found in work thetouse of the frame (commonly used inbuildings houses) and brick the area. The studios construction relates to the residential through walls (relating to the idea of the garden wall). This materiality the use of the timber frame (commonly used in houses) and brick work Design Principles similar to the unique of the historic terrace cottages wallsis (relating to the ideacharacter of Materiality the garden wall). This materiality Theto materials used in Road. the building (Fig.9.)also have been carefully sefound on Lower Granton relates to the historic is similar the unique character ofThe thebrickwork historic terrace cottages to relate tofound the and residential buildings found in foundindustrial on lected Lowerwarehouses Granton Road. The industrial brickwork also relates to the hisin the harbour area (Fig.13.). Modern the area.warehouses The studios construction relates to (Fig.13.). the residential toric industrial found in the harbour area Mod- through zinc cladding isthe used across the(commonly north façade and roof (Fig.10.). use ofis timber frame usedand in roof houses) and brick work ern zinc the cladding used across the north façade (Fig.10.). This metal cladding relates back to the corrugated cladding walls (relating to the idea of the garden wall). This materiality This metal cladding relates back to the corrugated metal metal cladding commonly used in industrial units, where the metal cladding is used is similar to the unique character of the historic terrace cottages commonly used in industrial units, where the metal cladding is used found on Lower Granton Road. The brickwork also relates to for roofing and for the buildings envelope (Fig.11.). This durable for roofing and for the buildings envelope (Fig.11.). This durablethe historic industrial foundarea in the harbour area (Fig.13.). Modmaterial foundfound in the harbour of Granton. These matematerial in industrial thewarehouses industrial harbour area of Granton. These materials ernoriginally zinc cladding used across the north façadedue andto roof (Fig.10.). rials were used is for many industrial buildings being were originally used for and many industrial buildings duenew tometal being This metalavailable cladding relates back the corrugated cladding low cost, readily simple to to construct. The buildcost, readily available and simple to construct. new commonly used in be industrial units, where the metal cladding is used ings low metal cladding will carefully detailed giving a The sharp andbuildings forcladding roofing and the buildings envelope (Fig.11.). This durable crispmetal edge to building’s roof and provide waterproofing. The and bricks willfor be carefully detailed giving a sharp in the on industrial harbour bricks area ofused Granton. These mateused crisp are material aedge refined development the in tofound building’s roof andtraditional provide waterproofing. Thethe bricks were originally for many industrial due to being historic rials industrial buildings. used The bricks used are more buildings employed as used are a refined development onsimple the traditional used in buildthe low cost, readily available and to construct. The new an external skin rather than as a structural element andbricks are slender industrial buildings. The are more employed as and metal cladding will be bricks carefully detailed a the sharp than historic the ings traditional brick (Fig.12.). Thisused refinement in giving form of crisp edge torather building’s roof and waterproofing. The bricks individual brick could be seen show how provide the element construction an external skin thantoas a structural and industry are slender used are a the refined development on thetraditional traditionalbrickwork bricks used has developed from early cottages can in the than the traditional brick (Fig.12.).where This refinement in form of the historic industrial buildings. The used are more employed as be seen (Fig.13). Through the employment of bricks traditional construction individual brick could be seen to show how the construction industry an external skin rather than as a structural element and in are slender and materials with the contemporary styling the building relates has developed from the early cottages where traditional brickwork can than the traditional brick (Fig.12.). This refinement in form of the its immediate surroundings referencing the industrial and also the individual brick could the be employment seen to show how the construction industry residential. be seen (Fig.13). Through of traditional construction developed early cottages where brickwork can andhas materials withfrom the the contemporary styling thetraditional building relates in be seen (Fig.13). Through the employment of traditional construction its immediate surroundings referencing the industrial and alsorelates the and materials with the contemporary styling the building in residential. its immediate surroundings referencing the industrial and also the

Fig.9. Zone Studio entrance

residential.

Fig.10.

Fig.11.

Fig.10.

Fig.12.

Fig.11.

Fig.13. Images showing examples of materiality found on studio and sirrounding area Fig.12.

Fig.13. Images showing examples of materiality found on studio and sirrounding area

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Y3s2 [ARCHITECTURE PLACEMENT] Reflective Essay Brief Write a short essay offering a personal reflection on a topic of relevance to contemporary professional practice. The essay should be no more than 2000 words in length. Select a topic that your experience on Placement offers insight into. Draw upon relevant publication in order to develop and demonstrate an understanding of the topic. Use the essay to formulate and express a reflective and critical opinion on the topic. Topic Modern Development and the Historic site. How modern urban development can impact society? A study of the Caltongate development Selected Bibliography Fraser, M., 2014. Placemaking in the City [Interview] (1 April 2014). Garnham, T., 2013. Architecture Reassembled. London: Routledge. Gonzalez-Longo, C., 2012. The Cultural Role of Architecture. London: Routledge. Jamieson, D., 2014. Thoughts on Caltongate [Interview] (24 March 2014).

Modern Development and the Historic site. How modern urban development can impact society? A study of the Caltongate development Introduction With land a precious asset in the centre of Edinburgh whenever a new development or scheme is proposed it must be carefully analysed and appraised by a number of parties before construction can commence as part of the planning process. The ongoing development known as the Caltongate scheme 1(AMA, 2013) (Cover/Fig.1) is of particular interest, it highlights how modern urban development influence and be influenced by wider society. The Caltongate project has been in development for almost a decade with planning for the original scheme being approved in 2006. Yet construction of this project is still to commence. This project was of particular interest to me due to my involvement with the project for the renovation of the East Market street arches which was linked with the original Caltongate proposal during my time on placement with ZONE Architects. I was involved in the creation of an installation exhibited at the Hidden Door arts festival (Fig.2) which took place recently in the arches. I attended a debate during the festival on the theme of “Place making in the city” where the Caltongate project was a highly controversial topic of debate between the panel and audience which included, Suzanne Ewing (ZONE Architects), Malcolm Fraser (Malcolm Fraser Architects), David Given (Senior Planner) and Marion Williams (Cockburn Association). Attending this event provoked my interest and gave me an insight into the complications associated with modern development. Caltongate is of particular significance due to its historic city centre location. Over the years the scheme has had to deal many issues which have affected the project in a number of different ways. These issues to relate to:  How to deal conserve existing historical buildings  Architectural design merit of the scheme  Planning department and council conduct  Impact of conservation bodies  Political changes in the city  Nationwide Economic problems  Public opinion of the project

The project attracted interest from many conservation societies when it first looked at how to best deal with the existing historical buildings located on the site. Care must be taken when a design incorporates listed buildings. These buildings help have a distinct character which helps to give cities their distinctive character4 (Historic Scotland, n.d.). Dealing with the existing and “historic” has always been part of the building trade.

“The way the existing architecture is reused reflects the culture of its time” (Gonzalez-Longo, 2012, p75)

This statement suggests that these ideas on how to deal with history are constantly evolving. When looking at previous examples on this subject, it can be noted that in Roman times it was common place to reuse and re-purpose existing buildings or parts of them to suit the needs of its society (An example of this fusing of history can be seen in the Arch of Constantine Fig.4). Thoughts on how to work with existing building also changed in medieval times where the raw materials would be extracted from the historic buildings to provide sufficient construction materials for the new (Roman marble being burnt to create lime). When looking at these two examples of how the historic has previously been dealt with it demonstrates the idea that current thoughts are not necessarily how historic buildings will be dealt with in the future. Conclusion

Old Town Community Council, 2013. OTCC minutes. [Online] http://www.edinburgholdtowncc.org. uk/files/minutes_2013/Old%20Town%20 Community%20council%20Min utes%20November%2020th%202013%20 copy.pdf

Fig.2

The city of Edinburgh council, 2014. Development approved. [Online] http://www.edinburgh.gov.uk/news/ article/1442/caltongate_development_ approved_by_councillors

Extract

Fig.1

Fig.3

Through this study of the Caltongate development scheme I have learnt how urban development must deal with wider society as it a complex issue which affects many parties. This development poses a particular problem as with the land now owned by private investors (Artisan) who are looking to build, the project could eventually go through with little to prevent construction. These schemes are essential in expanding the city as they provide more physical space for commerce and bring external investment into the local economy. I believe that Caltongate is a good example of current development strategy where a fear of not getting planning consent or becoming wired in the political process leads ton architects to design bland and acceptable buildings, rather than ones that are innovative and exceptional. This project could have brought more to the city that much is clear; however the project will improve the existing urban environment.

Fig.4

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Y3s2 [PLACEMENT]

ZONE Architects

Reflection The Architecture placement time was a very rewarding experience. Throughout my time at ZONE (Jan-Dec 2014) I developed my existing skill set which I brought from my previous studies and was able to learn from the work environment. This practice learning focussed on drawing conventions, communication and the technical side of construction detail drawing which had not been covered much during my studies. Tasks As the practice was a small practice I was able to experience a wide variety of tasks in the office. This ranged from carrying out site surveys, assembling sketch design packages for client meetings, AutoCAD drawings on all scales (planning drawings-details), 3D modelling, visualisations, Photoshop editing and planning documentation.

Extension and landscape concept design - fully glazed building with an insulated zinc-covered roof. Exposed internal timber structure. Area approx 13.5m2. Landscaping to consist of high quality granite with bespoke step units.

Bathroom design

7 Inverleith Avenue South

1 May 2014

Back Bedroom En-suite

Bathroom design

7 Inverleith Avenue South

1 May 2014

Front Bedroom En-suite

Bathroom design

7 Inverleith Avenue South

1 May 2014

Landing Bathroom

Inverlieth Avenue South I worked through a planning application for the project which was to be completed in stages. This required the drawing up of the chosen design with appropriate annotations etc suitable for planning. I then looked at bathroom design and layout for the project. Proposing a number of layouts and creating visualisations. Knocdolian Initial Sketch design for a detached bungalow, 3d model and booklet created for client. Hidden Door ZONE Architects participated in the 2014 Hidden Door arts festival. The project involved the creation of a book and display board. I was involved in the creation and curation of images for the book and the light box display. This public display looked to present the number of Subterranean projects completed by ZONE. Project in partnership with the University of Edinburgh

Knockdolian - Exterior Visualisations - 04 September 2014

Projects Hidden Door - The Subterranean city Knockdolian, Comrie Inverlieth Avenue South, Edinburgh

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Y3s2 [PLACEMENT]

ZONE Architects

Reflection The practice had worked on a variety of projects but has recently been specialising in residential projects where there is specific attention and care taken over design and finishes. This allows the practice to differentiate itself from some of the larger practices. Tasks As the practice was a small practice I was able to experience a wide variety of tasks in the office. This ranged from carrying out site surveys, assembling sketch design packages for client meetings, AutoCAD drawings on all scales (planning drawings-details), 3D modelling, visualisations, Photoshop editing and planning documentation.

Bathroom Design

27 Hugh Miller Place

Edinburgh

22.05.14

Bathroom Design

Hugh Miller Place I was involved in the 3d modelling and drawing up of the construction drawings for the bathrooms of the project. The client selected products and I used their choices as reference to ensure the bathrooms would be finished to their specification. In the later months of my placement I was invited to the finishing party for the project which allowed me to see the full process from sketch design to finished interior. Cumin Place I was responsible for creating a digital 3d model of the proposed design. This was then used by the head architect to sketch over to create the initial sketch design drawings for the initial client meeting.

7. conclusion

27 Hugh Miller Place

Edinburgh

22.05.14

house at 3 Cumin Place

I N

L A

blank gable wall to former extension to 3 Cumin Place

proposed extension of 10m2 to extend living space

high quality zinc roof and patent glazing

304 â&#x20AC;&#x201C; Observatory road sketch design options:

proposed extension of approx 28m2 to provide a bedroom and bathroom at the ground floor level (sunken about 500mm below garden level)

1 Cumin Place

PROPOSED SITUATION 1A Cumin Place, Edinburgh September 2014

1 Cumin Place and 40 Grange Road proposed extension of 10m2 to extend living space

8m to the boundary but windows will be screened by the high boundary wall

Less than 1/3 of garden space will be developed. (Existing garden area 150m2 total proposed extension38m2)

Entry

windows postioned to prevent overlooking to 1 Cumin Place.

Entry

CUMIN PLACE

Observatory Road My role on this project was to assist proposed building is a high quality, modern, energy efficient home, a client/part 2 architect The with the that is both sensitive to the local environment and meets the needs of the owners as they wish to make this house their forever home. design and panning for her project. This involved AutoCAD and sketch up modern techniques will be used to reduce the energy usage of the building to a practical minimum, allowing the new house to be far more tutorials and drawing along with design sustainable than the existing building. conversations etc. proposed bedroom and accessible shower

5. Design response c. concept

PROPOSED SITUATION 1A Cumin Place, Edinburgh September 2014

proposed extension of approx 28m2 to provide a bedroom and shower room at the ground floor level (sunken about 500mm below garden level)

Front elevation in winter evening light.

Entry

LOCATION PLAN 1A Cumin Place, Edinburgh September 2014

Front elevation in summer afternoon light.

Projects Observatory Road, Edinburgh Hugh Miller Place, Edinburgh Cumin Place, Edinburgh

realistic visualisation of the house in winter.

the house will maintain the open front garden that is traditional in this area. it will be of similar massing to surrounding buildings with wide spaces left on either side and the green setting will be maintained. (policy Des 8: public realm and landscape Design)

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[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL HISTORY]

[HUMAN GEOGRAPHY]

[ARCHITECTURAL THEORY]

[TECHNICAL REVIEW]

Elements p.7

Introduction to world Architecture p.13

(In)Place p.36 p.41

[ART + DESIGN]

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

Explorations p.65 p.74

[TECHNOLOGY + ENVIRONMENT] 3

ZONE Architects p.88 p.90

[ARCHITECTURE PLACEMENT]

p.77

Reflection p.93

[ARCHITECTURAL DESIGN]

[ARCHITECTURAL HISTORY]

[ARCHITECTURE PLACEMENT]

[ARCHITECTURAL DISSERTATION]

[ARCHITECTURAL HISTORY]

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL DESIGN]

Through and Beyond the frame p.16

Assembly p.19

Revivalism to Modernism p.30

[TECHNOLOGY + ENVIRONMENT] 1 - Principles

p.32

p.42

Culture + the City p.47 (Any)Place p.49

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

p.59

Working Learning p.80 ZONE Architects p.85

The Necessity of Scars p.97 Tectonics p.101

[ACADEMIC PORTFOLIO]

Part 1 p.116

Oversize storage section

Y4s1 [PLACEMENT]

ZONE Architects

Reflection During the latter months of the placement I was much more confident and had a better understanding of the work being produced. This allowed me to be much more efficient in my working. Tasks As the practice was a small practice I was able to experience a wide variety of tasks in the office. This ranged from carrying out site surveys, assembling sketch design packages for client meetings, AutoCAD drawings on all scales (planning drawings-details), 3D modelling, visualisations, Photoshop editing and planning documentation.

Trinity Road Garage I was involved in drawing up the initial survey plans and elevations for this project. Then I worked as part of the design team on the project. Creating visualisations and planning documentation on shadow analysis.

C This drawing is the property and copyright of zone architects. It must not be reproduced or disclosed to a third party without written consent.

Trinity Road Exterior Visualisation

1:50 scale at A1 size

Bathroom

Trinity Road Initial Design

remove stair walls/ fit new handrail

Bedroom

store

(rooflight over)

store

fridge

Utility Room

Study

Trinity Road Initial Design

shelving

shelving existing brick retaining wall

West Links Road I was involved in the client meetings, surveying and drawing up the existing house then developing a suitable extension and then creating a 3d model suitable for showing the client.

Shower room (rooflight over)

Living room Kitchen

(possible rooflight over)

Garage

Hall

Dining Room Bedroom Back door Front door

sliding doors

Trinity Road Initial Design

Conservatory

Area of new building + 93mÂ˛ approx

West Links Road Exterior

new retaining wall

Belford Gardens I was given full control of this project. After an initial meeting with the client I drew up and modelled a couple of potential design options. After a follow up meeting I was able to finalise the design and submit the planning application.

30.0

wardrobe

Revision

Date

211 Granton Road Edinburgh EH5 1HD Tel 0131 551 1973 Fax 0131 551 3469 project

West Links Road Gullane

client

Mr & Mrs Dudgeon

drawing

31.0

Ground & First Floor Plan OPTION 5 scale 1:50@A1 date September 2014 drawn by AB revision no

drawing no

316-005

Projects Trinity Garage, Edinburgh West Links Road, Gullane Belford Gardens, Edinburgh

Trinity Road Exterior Visualisation

West Links Road Exterior

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Y4s1 [PLACEMENT]

ZONE Architects Cherry Hollows] The project is for a complete interior refurbishment and extension. I was working on this project throughout my time in the office. I worked on the planning drawings initially and since completed a number of detail drawings and layouts ranging from wall construction to looking at shadow gaps. C This drawing is the property and copyright of zone architects. It must not be reproduced or disclosed to a third party without written consent.

Since leaving the office I have returned to site to document the process and see the building work in progress.

new slate roof finish tbc existing membrane to dressed down over zinc into gutter

new zinc fitted below existing roof tiles 18mm ply board standing seam zinc

Standing seam Zinc roof to fall to concealed gutter

01,02

remove existing fascia and gutter

303-050

16 panels of equal size

21 mm plywood 0.7 mm zinc sheet

03 303-050 declivity pieces

Gutter formed in single ply membrane to fall to downpipe

Spigot outlet welded into bed of gutter and sealed into downpipe

Interlocking zinc panels of equal size

zinc fascia

zinc gutter in one piece with no cross joints dressed under roof tiles by a minimum of 200mm polywood sub-structure to form gutter

New entrance gutter detail

0.7mm interlocking zinc panel fixed to metal rail timber joists to SE details PFC to SE details

scale 1:5

New entrance roof detail scale 1:5

Interlocking zinc panels

new slate roof finish tbc existing membrane to dressed down over zinc into gutter

new zinc fitted below existing roof tiles 18mm ply board

remove existing fascia and gutter

B - Issued for construction

01.12.14

A-Downpipe detail & lights added Remove existing portico

Revision

width of wall sized to match fascia width

Date

zinc gutter in one piece with no cross joints dressed under roof tiles by a minimum of 200mm

Zinc fascia on 21mm ply board

polywood sub-structure to form gutter spigot outlet welded into bed of gutter and sealed into downpipe 100mm PVC downpipe

Interlocking zinc cladding fixed to timber frame

new steel post to SE details

211 Granton Road Edinburgh EH5 1HD Tel 0131 551 1973 Fax 0131 551 3469

18mm plywood board interlocking zinc cladding fixed into stud wall

New stone cladding Bespoke timber window

Block up existing window openings with 100mm block inner and outer leaf. Cavity to be filled 50mm Xthrathern Thin-R insulation.

Bespoke timber pivot door

03 Stone step

New entrance downpipe detail

project

Cherry Hollows 1b Easter Belmont Road

scale 1:5

100mm PVC downpipe with hand hole

client

Mr and Mrs Miller

Tasks As the practice was a small practice I was able to experience a wide variety of tasks in the office. This ranged from carrying out site surveys, assembling sketch design packages for client meetings, AutoCAD drawings on all scales (planning drawings-details), 3D modelling, visualisations, Photoshop editing and planning documentation.

drawing Wooden shutters Wooden alcove around sink unit in dark oak

Entrance details - 2

BT Phone

scale 1:20 @ A1 date June 2014 drawn by AB revision no B

Cherry Hollows, Easter Belmont Road 24 November 2014

drawing no

303-050

Projects Cherry Hollows

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Abstract

Y4s1 [TECHNICAL REVIEW]

Assignment Brief The aim of this course aspires to enable a realisation of principles of integration within the building process. Often previously considered as standalone considerations this task should allow for a focused insight into the importance of integrating the primary disciplines involved in the execution of a realised example of architecture. The format of the final report is a single A4 portrait document. Building The Old Schoolyard, Edinburgh ZONE Architects 2008 Report Sections CONSTRUCTION STRUCTURE ENVIRONMENTAL SERVICES PLANNING APPROVALS AND BUILDING REGULATIONS HEALTH & SAFETY INCLUSIVE DESIGN BUDGET INTEGRATION Learning Outcomes 1. Critically appraise and demonstrate understanding of the integration of Structure, Construction, Services, Lighting, and Acoustics, Building Regulations, Health and Safety, Budget, and Inclusive Design within a realised work of contemporary architecture. 2. Demonstrate research skills in the context of architectural practice 3. The ability to use visual and written communication methods and appropriate media to clearly and effectively communicate a critical review of precedent design ideas and proposals

The building is a new build on an empty site which meant that the architect had the choice of using any structural system. A 150mm thick reinforced concrete Abstractslab was poured onto a DPM with shuttering to form the foundations(Fig.1) with the The balance between achieving contemporary void for the swimming pool cast. The structure The balance between achieving contemporary design and comfort is hard to achieve. The and comfort is hard to achieve. The found in should the design basement is in-situ reinforced home of course provide a comfortable home should of course provide a comfortable concrete 250mm (Fig.2). Using reinforced environment the owner and the idea of environment forthick theforowner and the idea of architecture and good designspaces is often be is concrete for these underground architecture and good design is often be considered to be secondary. The Old Schoolhouse beneficial as the structure as retaining wall was designed with theacts ambition ofacreating a considered to be secondary. The Old Schoolhouse contemporary home with high quality living spaces and acts itself as a foundation for the primaary was designed with the ambition of creating a and a strong design style which matched the scale structure above. The upper two employ and grandeur of thewith surrounding Victorian villas. contemporary home highfloors quality living spaces theand steel frame as the primary structure(Fig.3)with Introduction a strong design style which matched the scale a 195 x 45mm structural timber infill (secondary and grandeur of the surrounding Victorian villas. structure) hung from joist hangers fixed to the steel frame(Fig.4). This structural system is appropriate for this project as the steel frame is required to form a rigid support for the 100mm thick ashlar sandstone facade as a timber frame was felt to be not rigid enough to hold the weight of the stone. The qualities of the steel system are also seen in the design of the internal spaces with large open rooms making up much of the living spaces, this is possible due to the long spans of Introduction theThe steel. overhangisisacreated over the terrace OldAn Schoolyard new build private villa, area with the steel being used to support the located to the west of Edinburghâ&#x20AC;&#x2122;s city centre in the weight of the zinc the cantilever Murrayfield area.roof TheinHouse was built structure. on a previously The building transfers the loads through the undeveloped site this suburban area once used The Old Schoolyard is a in new build private villa, located tosteel the west of as Edinburghâ&#x20AC;&#x2122;s city centre in the Murrayfield area. The House was school. built on structure down onto concrete the playground forthe thereinforced neighbouring St Serfs a previously undeveloped site in this suburban area once used as the basement level which effectively works Thisplayground site was of the most desirable available forone the neighbouring St Serfs school. Thisas sitethe was one of the most desirable available plots in the city as it timber is located foundations for the 100mm plots in the city assteelwork. it is located between thebetween grand the grand Victorian and Edwardian Villas in an established residential stud walls with soundproof are used as Victorian and Edwardianinsulation Villas in an established area. The final building therefore required a strong design proposal theresidential internal partitions asfinal they are notwas required to maintain the styleThe of the area. The project initially designed area. building therefore required in 2008 and was not built by the original client. The stone cubic form to a be load bearing as all the load is carried by strong design proposal to maintain the style of the of the house is split to allow light to penetrate through the building thearea. primary structure. Figideas 5 designed below shows the The steel project was initially inwere 2008 and (see architects sketch above). Initial on the design based howbuilt rocks might splitoriginal and then rest against eachstone other once relationship of the primary structural elements. wason not by the client. The cubic hewn from a quarry, this idea off quarrying which was essential in the form of theofhouse is split an tointrinsic allowlinklight to the penetrate construction the city creating through materiality of the project to the surrounding area. Orientated North to South the through the building (see architects sketch above). house benefits from a generous south facing garden, living spaces Initial ideas wereglass based how rocks flow out intoon this the spacedesign through sliding doors. on The structural method was and chosenthen to embrace the use of traditional materials using might split rest against each other once modern construction systems. hewn from a quarry, this idea off quarrying which was essential in the construction of the city creating an intrinsic link through the materiality of the project to the surrounding area. Orientated North to South the house benefits from a generous south facing garden, living spaces flow out into this space through sliding glass doors. The structural method was chosen to embrace the use of traditional materials using modern construction systems.

Fig.1 Simber shuttering & DPM for Concrete foundation

Structure A 150mm thick reinforced concrete slab was poured onto a DPM with shuttering to form the foundations(Fig.1) with the void for the swimming pool cast. The structure found in the basement is in-situ reinforced concrete 250mm thick (Fig.2). Using reinforced concrete for these underground spaces is beneficial as the structure acts as a retaining wall and acts itself as a foundation for the primary structure above. The upper two floors employ the steel frame as the primary structure(Fig.3)with a 195 x 45mm structural timber infill (secondary structure) hung from joist hangers fixed to the steel frame(Fig.4). This structural system is appropriate for this project as the steel frame is required to form a rigid support for the 100mm thick ashlar sandstone facade as a timber frame was felt to be not rigid enough to hold the weight of the stone. The building transfers the loads through the steel structure down onto the reinforced concrete basement level which effectively worksassemby as the foundations for the steelwork. Primary structure diagram 100mm timber stud walls with soundproof insulation are used as the internal partitions as they are not required to be load bearing as all the load is carried by the primary steel structure. Fig 5 below shows the relationship of the primary structural elements.

Concrete foundation slab poured onto compacted hardcore and lined with a tanking system

Fig.2 RFConcrete basement walls with pool void

Reinfroced Concrete Walls formed on site with temporary timber shutter work - Basement level primary structure

Fig.3 Steel structure erected

Steel Frame UC (Universal Columns) section steel built off the concrete walls the steel - Ground and first floor primary structure

Structural timber

Fig.4 Structural timber infill

7 4

195 x45mm joists hung from the steel frame to interface with the primary construction elements. (timber stud infill then built between floors)

Fig.5 Structure assembly diagram

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01 - Roof & External Envelope Construction Construction Y4s1 [TECHNICAL REVIEW] The roof construction (Fig8/9)is single ply roof membrane insulated with 140mm Kingspan insulation fixed to a vapour barrier on 18mm ply decking laid Sequence of Assembly to fall to a gutter concealed behind the façade. The façade is constructed with100mm Ashlar sandstone fixed with Ancon brackets through a 12mm ply sheathing board attached to the steel frame with a 50mm cavity between the stone and the ply board. September 2010 – Work starts on site excavating for foundations Breathable membrane is fixed to the sheathing board, this creates a barrier to protect the internal October 2010 – Foundations, Drainage and structure and insulation from any moisture that mightwaterproof tanking 09/2010 get through the stone cladding system used on the November 2010 – Retaining walls for basefaçade. This is fixed to the primary structure and ment packed with timber where necessary. This is called a rainscreen cladding system. December 2010 – Reinforcements for pool

01 - Roof & Facade Detail Insulated single ply roof construction on structural timber and steel suspended stone outer leaf attached to structural timber as a rainscreen system

Kingspan insulation fill between timber and steel posts Structural timber floor joists hung from steel

External cladding 100mm Sandstone ashlar

02 - Floor Detail Heated screed floor on structural timber joists hung from steel frame

Primary structure 250mm in situ RFC

100mm thick sandstone DPC dressed behind acon stone fixings

base

January 2011 – Pool retaining walls construction begins

Swimming Pool void

150mm RFC foundation with 70mm insulation lined with DPM

Fig.6 - 1:50 section through full height of building 91

11/2010

03/2011

05/2011

06/2011

07/2011

08/2011

10/2011

12/2011

01/2012

Fig.8 - Exploded sketch roof detail February 2011 – Pool shell completed

External cladding 100mm Sandstone ashlar to finish in line with window opening

March 2011 – Basement structure is complete the steel frame installation begins April 2011 – Steel frame is fully erected May 2011 – Structural Timber infill to walls & foors

Timber window held back 10mm from stone, gap filled with mastic

June 2011 – Roof membrane fitted July 2011 – Stone cladding attaced August 2011 – Wiring, Plumbing, underfloor heating & solar panels September 2011 – Internal Plasterboard applied, landscaping

Toughened glass balustrade 1100mm above floor level

October 2011 – Internal works, Iroko cladding

Trench fill concrete Tanking membrane

10/2010

November 2011 – Zinc roofing to living room December 2011 – Services attached Living room and kitchen glazing installed

Bespoke zinc window cill dressed over sanstone

January 2012 - Landscaping finished and final finishes applied.

150mm kingspan insulation & tanking membrane

Fig9 - 1:20 Construction Detail

April 2012 - Practical Completion signed off by ZONE Architects

04/2012

Fig.1210 Site Construction image timeline

Fig.7 - Typical opening detail -1:20

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and bedroom facilities suitable for wheelchair access on the lower ground floor. The stairs as mentioned earlier have also been designed to allow stair lifts to be retrofitted if necessary in compliance with regulation 4.2.8. The terrace(Fig.22)and external paving accessed off of the ground floor through sliding doors to provide easy access to the landscaped garden.

Y4s1 [TECHNICAL REVIEW]

Budget

Assignment The budget for the project was £1.1million Foundations & Basement retaining walls - £41,0045.00 Steel frame - £72,650.00 Roof - £64,185.00 Windows & Doors - £130,675.00 Internal Walls - £20,565.00 External walls - £216,810.00 Stairs - £20,800.00 Internal surface finishes(wall, floor, ceiling) - £ 90,386.00 General fittings, furnishings & equipment - £114,900.00 Installation of services - £116,7400.00 External works - £89,376.00 Preliminaries - £90,000.00 Construction risks - £30,000.00 Total amount of Cost Plan - £1,115,207.00 Gross floor area 465m2 Cost per m2 £2,398.29 This breakdown provided by the Quantity Surveyor prior to construction; however costs saving exercises were Selected implementedBibliography throughout the build. This brought the final construction cost in at £1,050,000. Design fees and Local Authority fees are not included in this breakdown.

Building Regulations Section M - http:// www.planningportal.gov.uk/uploads/br/ BR_PDF_ADM_2004.pdf Edinburgh Planning Portal - https:// citydev-portal.edinburgh.gov.uk/

Enviromental

Fig.22 External deck/slidThe underfloor heating (Fig.16)system is embedded in the ing doors screed floor at all floor levels allowing spaces to be heated evenly. This is an efficient way of heating the space as the 55mm screed retains the heat to distribute more efficiently than a traditional radiator. The system is integrated with the floor construction.

A plant room(Fig.17) is required for the swimming pool, this is found in the basement level. This space contains equipment for heating, filtering and cleaning the pool water and also controlling the solar panels. Fig.23 Kitchen

As the project is a new build the appropriate SAP testing had to be carried out to prove that the constricted buildings CO2 emissions rate (DER) is no worse than the target emission rate (TER) as stated in document L1A of the Building Requirements. The house was completed before air tightness testing became a requirement.

Fig.16 Underfloor heating

Fig.25 Hall

Fig.22 External deck/sliding doors

Fig.13 Swimming pool void

The budget for the project was £1.1million Foundations & Basement retaining walls - £41,0045.00 Steel frame - £72,650.00 Roof - £64,185.00 Windows & Doors - £130,675.00 Internal Walls - £20,565.00 External walls - £216,810.00 Stairs - £20,800.00 Internal surface finishes(wall, floor, ceiling) - £ 90,386.00 General fittings, furnishings & equipment - £114,900.00 Installation of services - £116,7400.00 External works - £89,376.00 Preliminaries - £90,000.00 Construction risks - £30,000.00

Solar panels are employed to take advantage of the orientation of the building. The roof is covered with a combination of 7 Viridian Clearline V30 solar panels for water heating and 17 Sharp ND photovoltaic panels for generating electricity. The panels are mounted on stands fixed to the roof at 10o orientated south and are not visible from ground level due to the parapet formed by the façade(Fig.14). The PV panels generate electricity and the solar thermal panels provide hot water for the pool and domestic use.(Fig.15) This is a sustainable way to heat the pool. A standard gas boiler with a pressurised 300litre HWC is used to serve the house when the hot water supply from the solar panels is not sufficient and also for the underfloor heating. Pipework and wiring for these panels is run through the house in the stud walls & ceiling voids. Ventilation Trickle vents are fitted to windows to allow for airflow through the building with mechanical ventilation applied in accordance with the building recommendations (BS 5730:1979) for bathrooms.

Fig.23 Kitchen

Fig.24 Living Room

Fig.14 Solar Panels on roof

Fig.25 Hall Fig.15 Heated Swimming pool

Fig.17 Plant Room

Planning & Buillding Regulations

Under-floor heating

The existing site was an old schoolyard (Fig.19)which was once attached to the neighbouring St Serfs School which was converted into residential flats in 2009 (also by ZONE Architects). Planning for the project was granted without any objection from the public or changes to the design being required. This was down to the careful design and restricted pallet of materials used which relates to the existing materials found in the area with sandstone being used for the exterior. The planning application was registered in June 2008 with planning being granted in late August of that year. The building warrant was granted in April 2009 which was achieved with minor alterations to the interior layout to adhere to all appropriate building regulations in particular document M about accessibility an example of this is ensuring that access lifts could be retrofitted to the proposed new staircases in the future.

Cross ventilation Roof 0.16 W/m2K Stone wall 0.18 W/m2K

Integration Statement

Solar panels

Winter 12:00 sun

Construction drawing set from ZONE Architects

Environmental

This breakdown provided by the Quantity Surveyor prior to construction; however costs saving exercises were implemented throughout the build. This brought the final construction cost in at £1,050,000. Design fees and Local Authority fees are not included in this breakdown.

Sunlight 16

The project experienced a number of issues during the build. One problem that arose during the construction process was moisture levels in the concrete of the swimming pool(Fig13). This was a problem which was worked around whilst the concrete dried out fully. Another issue that arose was not relating to the building but the contractor. The builder selected gave the lowest price at the tender stage. Due to under-pricing the job to provide a competitive price during the recession the builder attempted to cut corners to reduce his costs. Therefore the build required careful observation from the architect. The builder went bankrupt during the defects liability period which meant that any issues that arose after completion have had to be corrected by a different builder.

Budget

Total amount of Cost Plan - £1,115,207.00 Gross floor area 465m2 Cost per m2 £2,398.29

Environmental section showing appropriate U values for the building envelope types, heating, lighting and ventilation strategies.

Site Issues

In relation to inclusive design part M of the building regulations was referred to. The building provides an “accessible floor” with bathroom and bedroom facilities suitable for wheelchair access on the lower ground floor. The stairs as mentioned earlier have also been designed to allow stair lifts to be retrofitted if necessary in compliance with regulation 4.2.8. The terrace(Fig.22)and external paving accessed off of the ground floor through sliding doors to provide easy access to the landscaped garden.

Fig.24 Living Room

Building Warrant Correspondance with Officer (ZONE)

Conversation with Architect - David Jamieson

Inclusive Design

Integration between structural and design aspects were critical in this project, and I am now more aware of how structural decisions must be considered throughout the design process. The context in which the building sits was important in considering the buildings final external expression. The use of a stone façade construction system on the exterior was important in achieving this relationship with the neighbouring properties and overall style of the city. The steel structure was required to allow the large spans to create the generous open plan living spaces found in this home, and provide suitable strength for the façade to be supported. Appropriate environmental systems are integrated into the building allowing the building to benefit from solar energy in a subtle way without the design being compromised with visible solar panels. The combination of traditional materials applied to the modern structural and construction system has been important throughout the design creating this contemporary family home. The Old Schoolyard has received recognition for its high quality of design with nominations for multiple awards and winning the RIAS award in 2012, now acting as a precedent for the level of quality of design and finish clients can expect from ZONE Architects.

Fig.19 Existing Site

Health & Safety

In regards to health and safety the project adheres to all appropriate building regulations. Particular attention had to be paid to the design of the staircase to ensure safety to the end user as the 3 staircases in the house are located around a central void(Fig.20). Section K1.9 of the building regulations relates to this ensuring no open riser gaps between treads of more than 100mm this is achieved by using a 15mm steel rod in between the treads(Fig.21) to reduce the gap to below 100mm. Fire protection is achieved with the installation of smoke alarms and 12.5mm fireline boarding to cielings/floors to give 30mins of fire protection. All internal corridors have a minimum width of 1050mm and door clearances of at least 775mm as described in the building regulations.

Livingroom roof 0.17 W/m2K

Harley Haddow Structural engineer drawings (ZONE) SAP CAlculation report

Fig.20 Cantilevered open riser staircase

Fig.21-1:20 Stair section

Quote for Solar Panel installation (ZONE) ZONE Architects - The Old Schoolyard description ZONE Architects - Design Statement

Floor 0.2W/m2K

Fig.18 Environmental section

Retaining wall 0.21W/m2K

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Y4s1 [ARCHITECTURE PLACEMENT]

REFLECTIVE ESSAY Brief The Placement: Reflection involves the writing of a Report which is a focused study of a particular aspect of architectural practice, or related activity carried out during the placement then submitted on return. This course is seen as complimentary to Architectural Design Placement (working learning). Essay Question Evolution of the office. Reacting to Change Essay Structure INTRODUCTION WHAT IS AN OFFICE? DEVELOPMENT OF THE MODERN OFFICE TECHNOLOGY AND NEW WAYS OF WORKING MY OFFICE EXPERIENCE/PRECEDENTS FUTURE WORKPLACES CONCLUSION

Abstract The report will analyse how the office environment has developed over the last century. How have office constructs altered in terms of layout through design of the space and working methods? What has affected this change in the way that office space is structured? How have advances in technology and new styles of working affected the work environment. I will analyse the office spaces which I have experienced and discuss how they are successful/unsuccessful and what spatial constructs they may relate to. What are potential new office design ideas if any that could change the workplace. Introduction For many the workplace is a second home, with much of the working life is spent away from home at the workplace. In a society where “white collar” workers now dominate the working population the office building and the workspace contained within have become more than just a desk1. The traditional office has had to develop and evolve alongside industry and commerce to meet the modern worker’s and employer’s needs. With new thoughts and systems on how to improve this environment added to existing systems. During my short working life I have already worked in a number of different offices configured in very different ways. It allowed me to question how the office space has changed in recent years, and caused me to question what has caused these changes. Through my research I will question and whether there is an optimum office structure. If there is, what it could it be and how will it evolve and adapt to the future needs of employers and workers?

What is an office [extract] Three fundamental concerns have been applied when designing these spaces however they can often be conflicting: Learning Outcomes 1. The ability to propose a subject of study with clear objectives demonstrated through the submission of a summary. 2. The ability to thoroughly analyse, reflect and demonstrate familiarity with the chosen topic ensuring references to key texts in the field. 3. The ability to present written work (including drawings and illustrations) that is objective, lucid, clearly expressed and shows a coherent structure and style.

“the needs of the individual employee, the functioning of the organisation, and the identity of the company with the building” These concerns can form the basis for analysing the quality of the environment provided. The spatial layouts applied to the working areas can greatly affect the efficiency and creativity of employees working in the space and therefore impact on how successful the business can become. This importance in office layout has been discussed and developed for decades with new ideas on working being trialled in office spaces across the world. The modern workspace now must evolve with these changes in modern working practices, adapting to new technologies and ways of working. This has led to a constant changing and evolution of the workplace.

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Y4s1 [ARCHITECTURE PLACEMENT]

REFLECTIVE ESSAY Essay Question Evolution of the office. Reacting to Change Essay Structure INTRODUCTION WHAT IS AN OFFICE? DEVELOPMENT OF THE MODERN OFFICE TECHNOLOGY AND NEW WAYS OF WORKING MY OFFICE EXPERIENCE/PRECEDENTS FUTURE WORKPLACES CONCLUSION

Development of the modern office [extract] The development of the planned (designed) workplace can be traced back centuries to early ideas on how best to arrange workers and maximise efficiency. However the modern office and its various configurations have become defined as late as the last century which follows the shift from manual production and manufacturing to tertiary businesses and services. The development of the modern office can therefore be analysed from this change in type of industry. Distinct layout styles for the office space can be tracked over the years each using different layout strategies. These strategies often reflect ideas relating to the social and technological developments of the time and are crucial in the achieving the “functioning of the organisation”. Taylorism [extract] Large open plan work environments can often create unsuitable spaces to work due to noise from other worker interfering with other workers as there are few surfaces to absorb creating an echoic environment. This style of office construct is applied in Frank Lloyd Wright’s Larking Building (Buffalo, New York), noted as being one of the first “modern office” buildings. Designed and built in 1905-6 specifically for the soap company, the office included innovative features alongside the large open factory like layouts associated with the Taylorism style to improve the working environment. These vast open atrium like work spaces give a real sense of power as the full height of the building can be felt from the workspace. Fig.2 The office is located in an industrial area of the city the buildings air quality required regulating through mechanical air conditioning to maintain a suitable working environment4. With a layout that also resembles an exam hall it is not surprising that this style was not considered suitable for group work and collaboration projects, however this was not a common working method in these early offices which usually involved individual administration. Changes like this would be addressed as the workplace developed in line with the changing ideas of business.

Larkin Soap Interior

Technology and new ways of working [extract] With such a large proportion of your time spent in the workplace ownership of your personal workspace is an important idea. This idea of ownership of a designated work space has been brought into focus with the rise of new strategies for improving the functionality and saving resources in the modern office space. Retaining individuality in the work environment allows employees to feel comfortable in their surroundings and create their own environment. Businesses must:

“balance the tension between corporate and individual aspirations” Herman Hertzberger19 In the 1970’s the Dutch architect Hertzberger had begun to analyse this conflict between the large companies trying to maximise work efficiency and the workers looking to create a comfortable working environment (Fig.8). The shared workspace limits the amount of personalising that you can do to your desk as you may not be working at the same desk the next day. This creates a much more austere work space with minimal personality. The idea of taking ownership of your workspace can make the employee feel more comfortable and therefore more productive in their work.

Personalisation + ownership

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Y4s1 [ARCHITECTURE PLACEMENT]

REFLECTIVE ESSAY

Selected Bibliography Abalos, I. & Herreros, J., 2003. Tower and Office. Massachuesetts: Buell Center. Hascher, R., Jeska, S. & Klauck, B., 2002. A Design Manual: Office Buildings. Berlin: Birkhauser. Hickey, S., 2014. Forget the Desk. The Guardian, 15 September , p. 26. Kohn, E. & Katz, P., 2002. Building type basics for Office Buildings. New York: John Wiley & Sons. Kuang, C., 2009. Evolution of Office Spaces. [Online] Available at: http:// archive.wired.com/culture/design/ magazine/17-04/pl_design [Accessed 10 October 2014]. Marmot, A. & Eley, J., 2000. Office Space Planning. New York: McGraw-Hill. Playtime. 1967. [Film] Directed by Jacques Tati. France: Studiocanal. Pogade, D., 2009. Inspiration Office. Berlin: DOM. Stegmeier, D., 2008. Innovations in office design. Hoboken: John Wiley & Sons. Worthington, J., 2006. Reinventing the workplace. 2nd ed. London: Elsevier.

My Office Experience [extract] An example of a small scale bespoke office space is my current office at Zone Architects completed in 200723. The office was designed by the practice and looks to provide working space (Fig.13) that is designed to suit the practices needs. The main space of the office is one large open plan volume accessed directly off of the street (Fig.14). It comprises of 4 workstations and has potential to be reconfigured for more workspace. The open plan space is broken up by 2 timber containers, one serving as a store for office supplies and archive space for the practice and the other conceals the sink and/ tea and coffee area. The containers do not take up the full height of the space maintaining the open feel whilst also acting as a division between the main office space and the entrance. Meeting space is also incorporated into the open plan space creating a semi-private yet relaxed space to conduct meetings in the office. Technology is incorporated into the design of the building with cabling running under the floor to access points across the office allowing workstations to be set up in a number of locations without the need to re-route cabling across the space either above or under the floor. The idea of the mobile office is also used in the practice with the laptop effectively taking the resources of the practice to the client allowing presentations to be delivered as professionally as in the office itself. Accessible from ground level the office is located on a sloping site in Granton to the North of Edinburgh, giving a fantastic outlook over The Firth of Forth from the workspace. View to the outside is important in the workplace as it helps prevent aspects of the cell like work space as can be found in the layouts of the Action office or Taylorism. The office has additional business space for other individuals/businesses to operate out of which can be sublet to generate additional revenue. Multiple companies operating out of the same premises also creates more of a working atmosphere as it can often be the case that you work better when you feel that other people are working around you. I feel that this office space addresses many of the issues found in current office space and creates a functional environment to allow the business to operate out of with a comfortable open plan layout for workers.

Conclusion But is there a best office in the world? From my research I do not think that a single space could be distinguished as being “the best” as the space should be judged in relation to how it deals with its working environment. The decision if made by an individual would be a subjective one as you would favour working styles that you would prefer. One exceptional office space that provides ideal working locations for a design firm is not going to be suitable for use in an accountant’s office. Technology as it continues to develop could remove the need for this space altogether with workers across the globe never having to leave the comforts of their own home – allowing for as much personalisation of space as desired – resulting in the repurposing of the modern office space. From my own experience I have felt that the small office environment can be beneficial as it can allow the worker to take on more responsibilities and feel more involved and connected to the final working environment as you can see the full process, in a sense taking ownership of their work and the workplace. Obviously little human evolution has occurred over the last century however, the changes in the working methods found in workplaces suggest that the optimum working space may never be achieved as these new working methods must be continually integrated with the architecture of the space. Future offices look to predict these changes but it is inevitable that the space is required to evolve and adapt to deal with the changes in how employees must work. The modern office space must therefore be a flexible space able to provide a number of services and functions creating a comfortable and engaging environment to serve the needs of workers today and tomorrow.

ZONE office plan Services - Work Space - Meeting room

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[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL HISTORY]

[HUMAN GEOGRAPHY]

[ARCHITECTURAL THEORY]

[TECHNICAL REVIEW]

Elements p.7

Introduction to world Architecture p.13

(In)Place p.36 p.41

[ART + DESIGN]

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

Explorations p.65 p.74

[TECHNOLOGY + ENVIRONMENT] 3

ZONE Architects p.88 p.90

[ARCHITECTURE PLACEMENT]

p.77

Reflection p.93

[ARCHITECTURAL DESIGN]

[ARCHITECTURAL HISTORY]

[ARCHITECTURE PLACEMENT]

[ARCHITECTURAL DISSERTATION]

[ARCHITECTURAL HISTORY]

[ARCHITECTURAL DESIGN]

[PLACEMENT]

[ARCHITECTURAL DESIGN]

Through and Beyond the frame p.16

Assembly p.19

Revivalism to Modernism p.30

[TECHNOLOGY + ENVIRONMENT] 1 - Principles

p.32

p.42

Culture + the City p.47 (Any)Place p.49

[TECHNOLOGY + ENVIRONMENT] 2 - Applications

p.59

Working Learning p.80 ZONE Architects p.85

The Necessity of Scars p.97 Tectonics p.101

[ACADEMIC PORTFOLIO]

Part 1 p.116

Oversize storage section

Y4s2 [ARCHITECTURE DISSERTATION] THE NECESSITY OF SCARS

THE NECESSITY OF SCARS

ETCHED MEMORIES IN BERLIN A study of the Neues Museum and the Berlin Wall as curators of memory.

Brief The principal intention of the Dissertation is to provide you with an opportunity to investigate an architectural topic to a greater extent, in written form, than has been possible so far in your undergraduate training and experience. A dissertation is more than just a description of gathered research material. The best dissertations use this newly acquired knowledge of a topic as the basis for a critical understanding and the synthesis of a personal interpretation.

Angus Bolland

Abstract Dealing with memory through destruction and existing fabric is now commonplace in modern architecture. Instances arise where the existing is of significant importance, these buildings bare the marks and scars of previous alterations and physical damage. This dissertation focuses on Berlin as a modern city forced to deal with the memory of past events. Analysis of the importance of memory and memorial is carried out in reference to the ideas of collective (national) memory in an increasingly multi-cultural society introduced by Pierre Nora. Examination of Victor Burgin’s proposal that living memory is the only true memory and Tristan Landry’s thoughts on the authenticity of memorials. Through this analysis an informed critical analysis of two selected projects (The Neues Museum and The Berlin Wall) is made analysing why the marks left on these buildings are important and why they should be retained. These projects are analysed in reference to their historical significance, cause of the scars and how these events have been addressed informing a place of memory and remembrance whilst assessing issues specific to each project. Conclusions are made through this analysis looking at how the projects have become memorials themselves through the layering of the memories of events. This preservation of the past is an important idea not of nostalgia or the beauty of the ruin, but for preserving cultural awareness of these past events and maintaining collective memory.

Title THE NECESSITY OF SCARS: Etched Memories in Berlin A study of the Neues Museum and the Berlin Wall as curators of memory.

AB: Through visitation to Berlin I was an observer in the city, able to view as an outsider the extent of the scarring and the attempts at memorial creation through its curation. I gathered evidence through observation through photography and text documenting my stay. Through this dissertation I will look to contribute moments of my personal response to the environment and aspects that are poignant in my memory of the trip. Sections

Learning Outcomes 1.Detailed knowledge of the chosen subject demonstrating sufficient understanding of relevant cultural, historical and philosophical themes; 2.Ability to construct and synthesise an intellectual argument expressed against stated objectives and presenting original conclusions; 3.Ability to product a substantial piece of academic writing, coherent, attractive, illustrated, well-written, using correct referencing conventions and the acknowledgement of sources.

Field Notes Notes Gathered whilst in Berlin ON MEMORY Ideas on what constitutes “Memory” ON CAPTURING How can Memory be captured? ON REMEMBERING What are the ways in which we remember? ON DESTRUCTION Thoughts on destruction and ruin ON BERLIN Introduction to the city of study ON THE NEUES How does the Neues Museum act as a curator of memory? ON THE WALL How does the Berlin Wall act as a curator of memory? ON CONCLUDING Concluding thoughts and comparisons drawn.

These moments will be revisited throughout the text.

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Field Notes [extract]

ON MEMORY [extract]

ON CAPTURING [extract]

Arrival in the City

Collective memory is associated with national identity; it belongs to everyone, yet no one. This idea is related more to the historical account of past events affecting a wider city scale than the recollection of an individual person5. The collective memory begins to take into account economical physical and political issues that have affected the nation (or city) as a whole. Having a national memory and therefore shared feelings towards certain events is important for the idea of national identity. French Historian Pierre Nora introduces an interesting idea that due to the increasing multi-cultural and diverse societies which we inhabit:

Victor Burgin suggests in his passage Monument and Melancholia that the photograph is an important tool in memory, he states:

I have arrived, a new city, I did not know exactly what to expect. Images in print and screen are not the same. I call Callum who I am meeting in the centre with some friends. Trying to confirm a meeting point in a city you have never experienced is difficult. We decide Alexanderplatz is suitable. I tentatively and excitedly left the familiarity of the airport, a location of nonplace in modernity. Familiar as the space is independent of place into a much more engaging environment. I travelled by bus to the centre, surprised that there was no rail link from the airport. Tracking my progress on my phones GPS the Boy Scout inside me keen to get my bearings, observing the city as viewed by many a visitor on initial arrival. The bus was packed and stiflingly hot. I was not prepared for this and began to shed my layers of clothing jacket, scarf, jumper, this was an unnecessary distraction. Significantly lighter I could now enjoy the journey, gazing upon the city .The monumentality is apparent. Every street seems like it could be a freeway, vast, prepared for the future. The city appears forward thinking as new infrastructure rises from the ruins. Cranes litter the skyline puncturing every panorama. Berlin still appears to be a developing city. NeoClassical buildings and ruins sit adjacent to contemporary additions at every turn. Alexanderplatz, time to get off.

“There is neither a local or national community capable of supporting communal memory.” Nora posed this question as the choice for what would or would not be included in communal memory became increasingly difficult to maintain as the population diversified. This idea has led to a more historical and factual recollection of past events taking the role of communal memory. The balanced view on these events is important with communities and social groups being affected in differing ways by the same events. Through these historical accounts there is an opportunity for nations to selectively omit certain events and highlight others. This sense of national censoring through selective memory is important to consider when looking at communal memory, as what the collective may not acknowledge is often more important than the events that they do.

“Every photograph is a trace of a previous state of the world, a vestige of how things were. The sum of all photographs is the ruin of the world.” This analysis of the photograph as a moment in time of a “previous state” is particularly poignant. Burgin suggests that the essence of that single moment is captured and retained as a tool to access a previous time. These images of lost times are individual yet collective. The image is captured from an individual viewpoint framing specific elements focusing in on important details and omitting others. The photograph shows what the photographer wants to be shown; the images are collective in the sense that they can provoke a response from wider society and not just the original photographer. This relates to the images captured in the field note section previously. Where the individual moments capture the unintentional alongside what was intended. The idea of photography as a receptacle of information and a tool for remembering is applied by Burgin in his 1971 piece Performative/Narrative9. The piece presents a series of 16 (almost identical) office scenes each accompanied by a brief narrative (fig.14). The viewer is then tasked with decoding these apparently simple scenes. The scene is of a single office desk which is altered subtly image to image. The folder on the desk may move or a drawer open. This coupled with the accompanying text presents a compelling narrative to an event which has occurred.

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ON REMEMBERING[extract]

ON DESTRUCTION [extract]

ON BERLIN [extract]

Locations of past destruction or empty sites create the opportunity for manufactured memorials to be created which exist as a reminder to what has been lost. The destruction of memory and the act of leaving a site undeveloped can be a more effective memorial than the erection of a monument. Cenotaphs are an interesting form of manufactured memorial where the tomb is created for bodies which lie elsewhere or are lost.12 These structures can provide focus points for communities to gather when the true location is abroad or unknown. This desire to create a location of focus for events even out with local vicinity shows the importance and respect

This idea of a romantic association with the ruin is found in European art and literature popular in the 17/18th century. Ideas of the power of time and the ruin itself evoking the idea that everything will come to an end was a poignant line of thinking.

Berlin has a much closer history than most cities,21 where these significant events from the past are not out with the human lifetime. The city has had to overcome a number of historical events. These include the physical damage caused to the city during the First (1914-18) and Second (1939-45) World Wars. Followed by the Cold war period after the Second World War a resulting in the Berlin Crisis of 1961 causing the creation of the Berlin wall. Political changes have affected the city architecturally with the Nazi party making a number of changes to the cityscape between 1933-45. This closeness of major events to the human scale results in Burgin’s thoughts on living memory being relevant here as much of the population has witnessed a number of these events first hand. For this reason there is much more authentic memory associated with the history in question as suggested by Landry. The residents of the city can relate to these events on a personal level of remembering as many will have experienced them personally or through family members. With this level of knowledge about the events in question the collective memory of the city is much more cognisant than that of a city where the collective history is primarily much older. Resulting in a city where the articulations of these moments of remembering have the opportunity to take on greater significance. Ideas of memory, memorial and destruction saturate the city and are faced on a daily basis. Whether this be passing a section of the Berlin Wall on the commute to work or actively engaging with refurbished historic civic buildings which form much of the city’s centre. This in partner with the level of ruination visible across the city makes it an important location to study in relation to the curation of scars and memories.

which the past and historical events has in contemporary society. French historian Tristan Landry introduces the idea that true or authentic memorials cannot take the form of objects of remembrance or buildings.

“The only authentic memorial to disaster is the trace it leaves in the living memory of a survivor” This is an interesting direction of analysis for what can be judged to be an “authentic” memorial. Through witnessing the event there is a profound complexity of emotions that become associated with it often making the memory a difficult place for survivors to revisit. Moments of strong living memory are incidents where the individual has been scarred mentally or physically. Landry’s proposal does seem plausible as how can events you have not witnessed yourself impact you in the same way as the original witnesses. However there are often more complex ideas associated with the memorial than simply the observation, tools for remembrance such as the photograph and video allow understanding and can provoke a response through observation from the contemporary viewer.

“A cult of melancholy collapse and picturesque rot took hold” Through the idea of “Ruin Lust” the quote informs of a movement grasped by the beauty of the scarred architecture and “picturesque rot”. These ruins act as tools for memory just as the photograph discussed previously, allowing exploration of past events. This idea describes a respect shown towards historic buildings which have gradually eroded over time and can be seen as components in the “sublime vistas” of the time Claude Lorrain’s 1666 piece “Landscape with the rest on the flight to Egypt” being an example of this. The image captures as many like it do, a gentle country scene with the ruined element visible to give a sense of past grandeur in the area. This style of view was often a figment of the artist’s imagination, carefully arranged on the canvas, utilizing the ruin as a tool to provoke a response from viewers. Modern scarring and war damage to buildings is a different matter. These recently damaged structures have not yet acquired the “patina of age”20 appearing a stark gaunt tombstone of the previous structure. Due to the freshness of these scars on the architecture and the memory of society, this wound must be dressed.

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ON THE NEUES[extract]

ON THE WALL[extract]

ON CONCLUDING[extract]

Through the retention of the bullet marks (fig.27) and scarring on the original building Sharr’s second idea becomes relevant as the visitor can begin to lose themselves in their imagination as they stand in the scene of past destruction. Here it is possible to physically touch the marks, to fill the scars void with your own hand. This style of escaping the current location back to a previous time can be found in many scarred buildings, as the scars induce our imagination. The museum itself could be described as a container for artefacts, storing and presenting these historical objects. Through the history which the museum has experienced the building can now be considered an artefact in its own right. Visitors travel to view not only the Nefertiti bust (a headline exhibit) but the museum itself. The architectural intervention has acted to freeze this ruin and preserve it for future visitors. The visible history here is a traumatic one. This is due to the emphasis of historic physical marks being retained, the materiality is now damaged, an indication of the damaged history of war and conflict in the city of Berlin. The museum now acts as what may be described as a controlled memorial, as the building was carefully considered and designed it combines the duality of remembering and learning. Visitors remember the past through the building and learn through its contents. The museum somewhat captures the beauty of the ruin through the classical architectural language used by Stüler in his original design. Without the quality of the original building the end result could not have been as convincing as the contemporary additions would have had nothing to work against. The sense of collective memory introduced by Nora is maintained in the building. The museum is very much in the public realm, being open to the general public daily. In order to deal with the diversity of collective memory throughout the refurbished process the rigorous conversation and public debate in order to ensure the finished museum would reflect the broad opinion of the collective city.

These marks made to the wall capture memories, in the same way that Burgin suggested previously. The narration here is the living memory of residents with the marks on the wall the photograph. The key marks made to the memorial which the wall has become were not made by architects, but by everyday artists and the public looking to express their thoughts and present them to a wider audience. This introduced a sense of collective communal curating as the public took it upon themselves to retain some sections of artwork and repaint others in order to best represent their views. In a sense providing a definitive collective memory which has been made visible. The tracings and etchings of previous marks and thoughts remain visible through the newest layer. The fragmented remains of the wall are visible across the city provoke reflection and stimulate the memory of local resident. The Wall acts an effective memorial in its raw form due to the level of living memory associated with it in the city. The wall strangled the city and its residents during its lifetime. This sense of city wide damage means that the collective memory associated with the wall can be channelled. Although residents have individual memories of personal events surrounding the wall a collective memory can be extracted from these as there are obvious parallels that run through the thoughts of all residents. Allowing the wall to act as a memorial to the individual, remembering events such as a family separated by the wall, and also at the city scale the remembering the chaos caused across the city due to the creation of the Wall.

Both explore how best to deal with the fragments that remain of these scarred structures caused by contrasting events. They are connected through Berlin’s history and collective memory. The division that war has caused the city has impacted these architectures. What is made apparent through discussion is the importance that the curation and retention of this history now holds in contemporary society, just as it has done for centuries. This is where architectural decisions must be made relating to the selection and curating of marks, scars, traces and etchings in order to maintain memories through memorial. What is damaged or fragile must be treated with a suitable level of care in order to maintain the structure for future generations and allow it to continue to act as an act of memorial and remembrance for the events that created the scars.

Selected Bibliography Bevan, Robert. The Destruction of Memory Architecture at War. London: Reaktion Books, 2006. Burgin, Victor. “Monument and Melanolia.” In Memory culture and the contemporary city, edited by Uta Staiger, Henriette Steiner and Andrew Webber, 17-32. London: Palgrave Macmillan, 2009. Foster, Johnathan K. “What is memory?” In New Scientist, 3 December 2011: 2-3. Frampton, Kenneth. “Museum as Palimpsest.” In Neues Museum Berlin, by David Chipperfield Architects, 97-106. Koln: Verlag der Buchhandlung Walther Kong, 2009. Noir, Thierry. “Graffiti in the death strip: the Berlin wall’s first street artist tells his story.” The Guardian. 3 April 2014. Sharr, Adam. Reading Architecture and Culture. Abingdon: Routledge, 2012. von Buttlar, Adrian. Neues Museum Berlin Architectural Guide. Berlin: Deutscher Kunstverlag, 2010. Young, James. At Memory’s edge. London: Yale University press, 2000.

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Y4s2 [ARCHITECTURAL DESIGN] TECTONICS

LOST SPACES Brief The task in hand is to create an intervention in the lost space that will provide living accommodation and associated common facilities for a particular protagonist in need of care, implementing a strategy of socially integrated and architecturally sustainable neighbourhood. Responding at the scale of the project site, the proposals will prioritise specific residential functions with open spaces and common facilities adapted to modern living patterns. Through a given basic schedule of accommodation and based upon the chosen protagonist, students will refine their own briefs and narrative. This will constitute the starting point of their architectural tectonic proposals, in which students will alternate different scales of enquiry, from the level of the city to the detailing of the protagonist’s individual room.

Learning Outcomes 1.Understanding of tectonic, structural, constructional, environmental and contextual matters 2.Ability to research, analyse, synthesize and integrate with design an appropriate technological approach 3.Skills in deploying specified two- and three-dimensional representational techniques correspondent with accepted architectural conventions

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R+R Considering the idea of tectonics through a design based reflection the project looks at developing a “Lost Space” in the area of Leith, Edinburgh. Local Residents and history was an important consideration as the project looked closely at the protagonist who would be using the building alongside the physical context in which it sits. These ideas ran in parallel throughout the unit. Ensuring that the end user of the building is not forgotten. Their individual needs are therefore connected with the tectonic ambition of the building itself. The tectonic intervention looks to create a pool facility and accommodation in order to aid the recovery of the aging population. The project will focus on creating areas for physical recovery and strength conditioning through hydrotherapy pools and physiotherapy gyms. The health facilities are located within a concrete plinth with bedrooms created with a lighter weight metal frame above. These zones are connected through stair cores. The building proposed will provide facilities to aid the Rest + Recovery of residents as they look to return home. Communal areas in the building offer a flexible space multi use space, with on-site staff accommodation. Ease of accessibility in the building is an important consideration due to the needs of the protagonist. The health and spa centre created will also be accessible to elderly local residents allowing them to maintain a level of fitness in a relaxed environment with their own established network of friends. The building can therefore begin engage with the local community as it becomes a centre for the community and not just the immediate residents. Schedule of accommodation: Accommodation in single rooms (30) arranged in floor clusters (flats) of up to 5 rooms. Each room will have a private bathroom and access to communal shared space. Accommodation for a site resident team who work on site. Shared living, dining + cooking spaces. Staff office space. Physiotherapy gym. Flat bottom exercise pool. Hydrotherapy pools. Changing facilities. Spa facilities. (steam room/sauna) Medicinal Garden. Water Collection. (for irrigation) Quiet rooms for reading etc. Large hall for group activities (rotary club lectures, bingo) Rooms for doctors’ appointments on site. Break room for staff. Café. Secure entrance with reception.

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Y4s2 [ARCHITECTURAL DESIGN] TECTONICS Protagonist LOST SPACES

As people live to older ages there is more strain put on hospital facilities in the city. Due to this, Brief overcrowding is a common issue which is dealt with The project looked at selecting by discharging patients promptly after operations. a protagonist to design for. The These post-operation patients may no longer protagonist acted to ground [Protagonist] the project require hospital care but their own living in the area. This protagonist is the accommodation may not be suitable either. This is Elderly Local Resident resident of the accommodation facility particularly apparent in the area of Leith where the being proposed. majority of the housing in the area is made up of tenement flats. There is a need in the area for a The accommodation is to offer facility that can provide care and a degree of a rehabilitation facility alongside assisted living for residents in particular the elderly bedrooms. whose homes are not suitable due to these accessibility issues.

[Tectonic Intervention] Hydrotherapy Recovery Centre The tectonic intervention looks to create a pool facility and accommodation in order to aid the recovery of the aging population, The project will focus on creating areas for physical recovery and strength conditioning through hydrotherapy pools and physiotherapy gyms. The health facilities are located within a concrete plinth with bedrooms created with a lighter weight metal frame above. These zones are connected through stair cores.

The protagonist is an elderly man (Tom, 82years old) who has lived in Leith all of his life. He is a member As people live to older there is more strain who put onall hospital of ages a close community live in the area, being facilities in the city.aDue to this, overcrowding is a common member of the Leith bowling and rotary clubs. issue which is dealt with by discharging patients promptly His home is a 3rd floor flat at 34 Haddington Place after operations. These post-operation patients may no longer which has been his family home since the building Protagonist Mapping require hospital care but their own living accommodation was built and he regularly attends may not be suitable either. This is particularly apparent in the Pilrig Church area of Leith where the majority of the housing in the area is services. Recently he required surgery and hospital Through analysis of key locations specific made up of tenement flats. There is a need in the area for a care after a fall in the Winter. He currently requires to the protagonist the community facility that can provide care and a degree of assisted living walking aids, needs physiotherapy and strength network can be revealed. The fornetwork residents isin particular the elderly whose homes are not conditioning along with a degree of care after this suitable due to these accessibility issues. specific to each individual resident operation. He was discharged from hospital however a level of crossover between the operation and willold) staywho in the recovery protagonist an elderly man (Tom, 82years residents is inevitable. The R+RThe centre will is after centre for a couple of months before being has lived in Leith all of his life. He is a member of a close provide an additional service to local community who allassessed live in the and area,allowed being a member of the to return home. Once he has residents creating a new location for Leith bowling and rotary clubs.home His home is a 3rd floor flatto atuse the facilities returned he will continue community gathering alongside the 34 Haddington Place which has been his family home since in an to maintain hisChurch strength. This Recovery facilities which provide the building was built andattempt he regularly attends Pilrig facility willsurgery allowand himhospital to maintain a sense of services. Recently he required care after treatment for the elderly residents. a fall in the Winter. independence He currently requires walking needs increasingly which hasaids, become physiotherapy and important strength conditioning to him. along with a degree Key Locations mapped: Home Pilrig Church Rotary Club Bowling Club Easter Road Dentist Doctors Surgery Butcher Pharmacist Uptown Bus Stop Local Pub

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The building proposed will provide facilities to aid the Rest + Recovery of residents as they look to return home. Communal areas in the building offer a flexible space multi use space, with on-site staff accommodation. Ease of accessibility in the building is an important consideration due to the needs of the protagonist. The health and spa centre created will also be accessible to elderly local residents allowing them to maintain a level of fitness in a relaxed environment with their own established network of friends. The building can therefore begin engage with the local community as it becomes a centre for the community and not just the immediate residents. Schedule of accommodation: Accommodation in single rooms (30) arranged in floor clusters (flats) of up to 5 rooms. Each room will have a private bathroom and access to communal shared space. Accommodation for a site resident team who work on site. Shared living, dining + cooking spaces. Staff office space. Physiotherapy gym. Flat bottom exercise pool. Hydrotherapy pools. Changing facilities. Spa facilities. (steam room/sauna) Medicinal Garden. Water Collection. (for irrigation) Quiet rooms for reading etc. Large hall for group activities (rotary club lectures, bingo) Rooms for doctorsâ&#x20AC;&#x2122; appointments on site. Break room for staff. CafĂŠ. Secure entrance with reception.

of care after this operation. He was discharged from hospital after the operation and will stay in the recovery centre for a couple of months before being assessed and allowed to return home. Once he has returned home he will continue to use the facilities in an attempt to maintain his strength. This facility will allow him to maintain a sense of independence which has become increasingly important to him.

Protagonist Mapping

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Y4s2 [ARCHITECTURAL DESIGN] TECTONICS

[Contemporary] The site is currently unoccupied with the Gardener’s Cottage having been removed to be rebuilt in the Botanical Gardens now located at Inverlieth. This empty plot between the tenement block and McDonald Road Library is a Lost Space requiring attention. The street remains busy and the street front is dominated with small scale shops. The area has close links to the New Town with streets maintaining a sense of scale and grandeur in the style of the buildings. However the area feels less cared for and almost unloved in recent times. With the area becoming increasingly diverse.

LOST SPACES Historical Analysis Initially being the location of the Botanical gardens from 1763. The original Gardener’s Cottage being located directly on the proposed site. Originally developed as tenement housing in 1825. These four storey blocks front onto Leith Walk, with the ground floor being occupied for commercial use and private residential on the upper floors .

Historically the site has been occupied since the 1700’s. Initially being the location of the Botanical gardens from 1763. The original Gardener’s Cottage being located directly on the proposed site. The images show Leith Walk as a country road, this is a stark contrast the busy road that now takes its place.

Contemporary Analysis The site is currently unoccupied with the Gardener’s Cottage having been removed to be rebuilt in the Botanical Gardens now located at Inverlieth. This empty plot between the tenement block and McDonald Road Library is a Lost Space requiring attention.

Historical Site Analysis

Cast Site Model As a site group we looked to capture the fractured nature of the Leith Walk site through the site model. The model was intended to develop alongside our projects and allow us to revisit it throughout t he semester in order to test design ideas on the site. 1. Mould Construction 2. Waterproofing Group Site Model - [1:200] 3. Measuring + Pouring As a site group we looked to capture the 4. Mould Removal fractured nature of the Leith Walk site through the site model. The model was 5. Building Construction intended to develop alongside our projects

As a site group we looked to capture the fractured nature of the Leith Walk site through the site model. The model was intended to develop alongside our projects and allow us to revisit it throughout the semester in order to test design ideas on the site.

1. Mould Construction 2. Waterproofing 3. Measuring + Pouring 4. Mould Removal 5. Building Construction

Group Site Model - [1:200] As a site group we looked to capture the fractured nature of the Leith Walk site through the site model. The model was intended to develop alongside our projects and allow us to revisit it throughout the semester in order to test design ideas on the site.

and allow us to revisit it throughout the semester in order to test design ideas on the site.

Leith Walk Model The axial nature1. Mould of Leith walk was Construction Waterproofing analysed in this2.3.through this model. Measuring + Pouring 4. Mould Removal The main spine 5.of the road is primarily Building Construction commercial with residential streets located perpendicular to it. The sites position on arterial route to the city’s centre can be studied along with the neighbouring urban context. 1.

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Contemporary Site Analysis

The proposed site is located at Haddington Place / Leith Walk. Originally developed as tenement housing in 1825. These four storey blocks front onto Leith Walk, with the ground floor being occupied for commercial use and private residential on the upper floors . The street has acted as a primary access route to the Leith docks along with Easter road since its construction providing . Due to this the street has previously been connected to the wider city through tram infrastructure.

Group Site Model - [1:200]

[Historical]

1. Mould Construction 2. Waterproofing 4. 3. Measuring + Pouring 4. Mould Removal 5. Building Construction

Cast site model [1:200]

Leith Walk Model [1:1000]

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Gallery Am Kupfergraben Berlin Germany David Chipperfield Architects 2007 2000m2

Y4s2 [ARCHITECTURAL DESIGN] TECTONICS

Working in groups of 2 we looked to analyse the Gallery through the creation of a series of tectonic models, at a scale of 1:200. Theses models looked to address tectonic ideas which interested us. We categorised them as:

LOST SPACES

Precedent Working in groups of 2 we looked to analyse the Gallery through the creation of a series of tectonic models, at a scale of 1:200. These models looked to address tectonic ideas which interested us. We categorised them as:

Scale + Massing Facade + Light Materiality + Immateriality Completing the block + Cue Points

Gallery Am Kupfergraben Berlin Germany David Chipperfield Architects 2007 2000m2 Working in groups of 2 we looked to analyse the Gallery through the creation of a series of tectonic models, at a scale of 1:200. Theses models looked to address tectonic ideas which interested us. We categorised them as:

Scale + Massing Looking at the physical size of the art gallery as a building of comparable size to the accommodation being proposed in terms of floor area. This solid block can be used to simulate the massing of a proposal on the site model. The Galleryâ&#x20AC;&#x2122;s slurried stone facade appears as a single mass, this idea is reproduced through this model.

Precedent Gallery Am Kupfergraben Berlin Germany David Chipperfield Architects 2007 2000m2

Facade + Light A study of opening conditions and Light. The model represents the physical external walls of the gallery. The thickness of the facade provides opportunities for exploration. Positions of windows and size provide light conditions suitable to the internal requirements.

Scale + Massing Facade + Light Materiality + Immateriality Completing the block + Cue Points

Materiality + Immateriality This model reflects a physical quality of the Gallery building. It looks at the contrasting material conditions found internally and externally respectively. Externally the model expresses a texture just as the gallery with stark bright walls internally. Completing the block + Cue Points

A study of opening conditions and Light. The model represents the physical external walls of the gallery. The thickness of the facade provides opportunities for exploration. Positions of windows and size provide light conditions suitable to the internal requirements.

Scale + Massing

Facade + Light

Materiality + Immateriality

104 Scale + Massing

Facade + Light

Materiality + Immateriality

Looking at the physical size of the art gallery as a building of comparable size to the accommodation being proposed in terms

A study of opening conditions and Light. The model represents the physical external walls of the gallery. The thickness of the facade

This model reflects a physical quality of the Gallery building. It looks at the contrasting material conditions found internally and

Completing the block + Cue Points

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Completing the block + Cue Points

The Gallery Am Kupfergraben looks to complete the urban block taking cue points from the neighbouring buildings to

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Y4s2 [ARCHITECTURAL DESIGN] TECTONICS

LOST SPACES Location Strategy Immediately the site is bounded by Leith Walk and Annandale street lane. These streets create very differing urban conditions which must be addressed.

Location Plan 1:2500

N Location Plan [drawn at 1:2500]

Location Strategy Immediately the site is bounded by Leith Walk and Annandale street lane. These streets create very differing urban conditions which must be addressed.

Site Plan 1:1000 N

Proposal Model 1:200

eith ese ons

Site Plan 1:1000 N

Proposal model [1:200]

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Proposal Model 1:200

Site Plan [drawn at 1:1000]

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Y4s2 ARCHITECTURAL DESIGN TECTONICS 7

ustrade h metal

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oor unit ustrade with hed metal a water

ceiling oor unit ed with a water pre-cast finished ceiling

25mm pre-cast finished 25mm

ustrade h metal

eces to ustrade o gutter h metal

2nd Floor slab detail [drawn at 1:20]

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eces to 5 b o 25mm gutter

d door ed b with 5 a 25mm water

d door ed with a water

1st Floor slab detail [drawn at 1:20] 4

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Detail Section [1:50]

1st Floor slab detail 1. 1100mm high toughened glass balustrade rebated into decking and fixed with metal fixings. 2. Timber decking with declevity pieces to allow water runoff to rill. 3. Rill [oversize gutter] zinc dressed into gutter to create neat finish. 4.150 x 50mm glulam timber frame. 5. 400mm in-situ concrete bubble slab 6 40mm heated screed with 25mm hardwood floor finish. 7. Sliding full height double glazed door unit secured to concrete slab, dressed with waterproof membrane to create a water tight seal.

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Detail Perspective section [drawn at 1:20]

2nd Floor slab detail 1. 1100mm high toughened glass balustrade rebated into decking and fixed with metal fixings. 2. 150 x 200mm steel I beam. 3. Sliding full height double glazed door unit secured to timber packers and dressed with waterproof membrane to create a water tight seal. 4. 12.5mm suspended plasterboard ceiling fixed to 50 x 50mm timber batons. 5.100mm rigid insulation board. 6. 150mm thick Hollow-core pre-cast concrete slab fixed to steel frame, finished with in-situ concrete infill. 7. 40mm heated screed with 25mm hardwood floor finish.

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Y4s2 [ARCHITECTURAL DESIGN] TECTONICS

LOST SPACES 1:50 Structural Model The model looks at the structural build up of the project. The sectional model cuts through a staircore it exposes the lightweight residential units which are positioned on the plinth base. The model also shows the relationship between the Leith Walk facade and the garden which fronts onto Annandale Street lane.

Structural Model - 1:50

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Exploded Singe Unit 1.Stair Core, Concrete with sandstone veneer 2. Built Unit 3.Precast Hollow core Concrete Slab floor hung from steel frame. 1200 x 3000 x 150mm 4.Timber Floor + underfloor heating in 50mm concrete screed 5.Timber Infill studs 100 x 50mm 6.12.5mm Plasterboard panels 7.Internal Fixtures + fittings 8.150 x 200mm Steel I beams 9. Standing seam zinc 10.Pre-cast Hollow core Concrete Slab floor hung from steel frame. 1200x 3000 x 150mm

3. 5. Structural concrete stair core 6. 150 x 200mm Steel I beam frame. 7. Hollow-core pre-cast concrete slabs 8.In situ concrete filler slab

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sandstone 5.

e Slab floor 00 x 150mm ng in 50mm

Structural Diagram Structural Diagram

te Slab floor 00 x 150mm

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1.In situ cast concrete foundation and floor slab 1.In situ cast concrete foundation and floor slab 2. In board-marked walls 2. Insitu situ board-marked concreteconcrete walls 3. 150x50mm glulam timber beams 3. 150x50mm glulam timber beams 4. Bubble concrete floor slab 4. Bubble concrete floor slab

5. Structural concrete stair core 6. 150 x 200mm Steel I beam frame. 7. Hollow-core pre-cast concrete slabs 8.In situ concrete filler slab

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Y4s2 [ARCHITECTURAL DESIGN] TECTONICS LOST SPACES Flat layout The individual rooms are combined to form flats. The units are arranged at 30° 60° and 90° from the Leith Walk axis this maintains a sense of continuity with the structural system. The space between these individual rooms forms living space for flat residents.

Flat sliding partitions

Accessible Flats have make use ofbathroom an integrated Each resident has their own private sliding door/panelbathroom system for locatedallowing adjacent to their This accessible wet room is differing degrees bedroom. of privacy. designed with accessibility in consideration

Bathroom

throughout with integrated hand rails to assist movement and fold down bench to maximise floor area for wheelchair users.

Flats have make use of an integrated sliding door/panel system allowing for differing degrees of privacy.

Each resident has their own private bathroom located adjacent to their bedroom. This accessible wet room is designed with accessibility in consideration throughout with integrated hand rails to assist movement and fold down bench to maximise floor area for wheelchair users.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Flat interior

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

The individual rooms are combined to form flats. The units are arranged at 30° 60° and 90° from the Leith Walk axis this maintains a sense of continuity with the structural system. The space between these individual rooms forms living space for flat residents.

N Flat Plan [1:50] 2F2 [2nd floor 2nd stair core]

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Flat plan [drawn at 1:50] N

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

N Flat Plan [1:50] 2F2 [2nd floor 2nd stair core]

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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GC Accessible bathroom Each resident has their own private bathroom located adjacent to their

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Flat Plan [1:50] 2F2 [2nd floor 2nd stair core]

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Room angle diagram

Accessible bathroom

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Annandale

Street Lan

Y4s2 [ARCHITECTURAL DESIGN] TECTONICS LOST SPACES Plans [drawn at 1:200] 1. 1.

2. 3.

1. 2.

Second Floor [1:200] N 1. Bedroom 2. Bathroom 3. Flat lounge

Ground 1. Entrance 2. Cafe 3. Toilets 4. Staff room 5. Changing room 6. Swimming pool 7. Plant room 8. Showers 9. Hydrotherapy pool 10. Sauna 11. Office 12. Store 13. Gym 14. Physio Treatment room 15. Medicinal Garden 16. Water Reservoir

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3. 4.

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2. 3. 6.

4th Floor

Fourth Floor [1:200] N

1st Floor

1. Bedroom 2. Bathroom 3. Flat lounge

Annandale

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Street Lan

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Ground Floor [1:200] N 1. Entrance 2. Cafe 3. Toilets 4. Staff room 5. Changing room 6. Swimming pool 7. Plant room 8. Showers 9. Hydrotherapy pool 10. Sauna 11. Office 12. Store 13. Gym 14. Physio Treatment room 15. Medicinal Garden 16. Water Reservoir

2 ,3 ,4 Bedroom 2. Bathroom 3. Flat lounge th

1st 1. Bedroom 2. Bathroom 3. Store 4. Lounge 5. Kitchen/Dining room 6. Bingo Hall 7. Terrace 8. Sedum roof nd

Leith Walk

2nd Floor

First Floor [1:200] N

1. Bedroom 2. Bathroom 3. Store 4. Lounge 5. Kitchen/Dining room 6. Bingo Hall 7. Terrace 8. Sedum roof

Roof

Roof Plan [1:200] N

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Ground Floor

Leith Walk

Third Floor [1:200] N 1. Bedroom 2. Bathroom 3. Flat lounge

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3rd Floor

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Y4s2 [ARCHITECTURAL DESIGN] TECTONICS C

LOST SPACES Sections

Section A-A and B-B look at the relationship between the proposed building and the two streets which front onto the site. These two streets create differing conditions which must be addressed.

The Leith Walk street frontage is a much busier street than Annandale Street Lane. Leith walk is a busy commercial arterial route from Leith to the city centre. This was dealt with through the creation of the stair cores which maintain the scale of the street facade. Section C-C highlights the site strategy with the infill between the McDonald road library and the neighbouring tenement. The accommodation floors step down in size to relate to this context.

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Section B-B [1:200]

Section B-B [drawn at 1:200]

Section A-A [drawn at 1:200]

Section C-C [1:200]

Section C-C [drawn at 1:200]

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Y4s2 [ARCHITECTURAL DESIGN] TECTONICS LOST SPACES Entrance The main entrance is located in the centre of the Leith Walk facade. It creates a secure entrance for residents and pool users. Timber louvres can be slid in front of the glass in the evening to add a layer of protection and act as a buffer between the street and the building. North West Elevation Annandale Street Lane elevation , standing seam zinc and glazing. Individual bedrooms are expressed Entrance stacked on top ofThethe concrete plinth. main entrance is located in the centre

Leith Walk Bingo Hall model - [1:50]

of the Leith Walk facade. It creates a secure entrance for residents and pool users. Timber louvres can be slid in front of the glass in the evening to add a layer of protection and act as a buffer between the street and the building.

South East Elevation Leith Walk elevation employs a hung sandstone facade using a narrow cut sandstone to integrate with the materiality of Leith Walk.

South East Elevation [drawn at 1:200]

Bingo Hall This space incorporates a series of folding tables which allows residents to take part in table based activities (bingo, bridge etc.) When folded the activity space is maximised.

North West Elevation [1:200] Annandale Street Lane elevation , standing seam zinc and glazing. Individual bedrooms are expressed stacked on top of the concrete plinth.

1:50 Model Bingo Hall

South East Elevation [1:200] Leith Walk elevation employs a hung sandstone facade using a narrow cut sandstone to integrate with the materiality of Leith Walk.

Bingo Hall This space incorporates a series of folding tables which allows residents to take part in table based activities (bingo, bridge etc.) When folded the activity space is maximised.

Entrance Entrance

Bingo Hall model - [1:50]

The main entrance is located in the centre of the Leith Walk facade. It creates a secure entrance for residents and pool users. Timber louvres can be slid in front of the glass in the evening to add a layer of protection and act as a buffer between the street and the building.

Bingo Hall Interior

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North West Elevation [drawn at 1:200]

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North West Elevation [1:200]

Y4s2 [ARCHITECTURAL DESIGN] TECTONICS LOST SPACES Hydrotherapy Pools The hydrotherapy pools are located on the north west side of the ground floor with views onto the garden. The pools are of varying depths temperatures and jet pressures providing a variety of . This space runs alongside the water rill.

Hydrotherapy Pool Section

Hydrotherapy Pools The hydrotherapy pools are located on the north west side of the ground floor with views onto the garden. The pools are of varying depths temperatures and jet pressures providing a variety of . This space runs alongside the water rill.

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Y4s2 [ARCHITECTURAL DESIGN] TECTONICS LOST SPACES Staff + Gym Wing The staff wing has a differing build. Rather than being a frame built off of a plinth this structure is primarily Glu-laminated timber with a suspended floor. This allows the staff accommodation quarters be easily accessible to the rest of the building as it is physically attached.

Gym Wing Section

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R+R

Y4s2 [ACADEMIC PORTFOLIO] PART 1

[REST + RECOVERY] ANGUS BOLLAND

Brief In the first instance this component involves curating all the assessable work produced for all other courses within the BA/MA in Architecture degrees. To this end most of the learning in this course is self-directed. Secondly, students are asked to correlate the work they have conducted throughout their undergraduate architectural education to date in relation to the criteria for ARB/RIBA Part 1 and to assemble a portfolio accordingly. This takes time, so ensure you work steadily on the portfolio throughout both semesters of your final year. You should also reflect on your experiences and personal development during the degree and summarise this is a short introductory text.

[PORTFOLIO SUBJECTS]

Physical recovery and rehabilitation for the elderly. Leith Walk, Edinburgh

[ARCHITECTURAL DESIGN]

Elements Assembly (In)Place (Any)Place Explorations Tectonics

[ACADEMIC PORTFOLIO]

Part 1 [ARCHITECTURAL HISTORY] Introduction to world Architecture Revivalism to Modernism

Learning Outcomes 1.Compose a coherent, well designed and integrated architectural design portfolio that documents and communicates architectural knowledge, skills and abilities, and that synthesizes and presents work produced using diverse media (sketch books, written work, computer work, drawings and models, etc). 2. Integrate knowledge in architectural design, technology and environment, histories and theories of architecture and the related arts, professionalism and regulatory frameworks as evidenced through the content of the portfolio. 3.Reflect on personal development with reference to the attainment of the ARB/RIBA Part 1 Graduate Attributes through an introductory summative statement, and understand the relationship of the General Criteria to the studentâ&#x20AC;&#x2122;s work, as demonstrated through a referencing system in the portfolio.

Culture + the City [ARCHITECTURAL THEORY] [ARCHITECTURAL DISSERTATION]

The Necessity of Scars [TECHNOLOGY + ENVIRONMENT] 1 - Principles 2 - Applications 3 [TECHNICAL REVIEW] [ARCHITECTURE PLACEMENT]

Working Learning Reflection [PLACEMENT]

ZONE Architects Oversize storage section [ART + DESIGN]

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Through and Beyond the frame

10 20 [HUMAN GEOGRAPHY]

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ACADEMIC PORTFOLIO MA[HONS] ARCHITECTURE Part 1 Angus Bolland s1127410 2011-2015

ESALA

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