Newcastle University Stage 3 Architecture Portfolio 2018 by Arran James Noble

P O R T F O L I O III

150073721

AN ARRAN JAMES NOBLE STAGE III PORTFOLIO

NEWCASTLE UNIVERSITY 150073721

CULTURE & LEGACY STOKE VS. SUNDERLAND

Studio Tutors : Cara Lund Matthew Margetts Studio Members : Arran Noble Azelia Yue Don Hong Ellie Waugh Emma Moxon Finlay Lohar-Self Freya Emerson Harry Tindale Jordan Ince Kiran Basi Morris Chan Polian Morova Robert Ashworth Sam Brooke Sam Hawkins

CONTENTS Studio Introduction Apologia

6 8

CHARRETTE

PRIMER City Cultural Programmes Mapping Dismantle Object Story Box Contraption Pavillion Design

15 16 24 30 40 56

FIELD TRIP

STAGING Developing a Centre for Making

79 80

THINKING THROUGH MAKING WEEK

105

REALISATION AND REFINEMENT Centre for Making

113 114

THINKING THROUGH MAKING WORKSHOPS

167

TECTONIC INTEGRATION Case Study Materiality and Atmosphere

177 178 212

NON-DESIGN MODULES ARC3013 Architectural Technology ARC3014 Professional Practice and Management ARC3015 Theory into Practice ARC3060 Dissertation in Architectural Studies

221 222 232 236 241

CULTURE & LEGACY STOKE VS. SUNDERLAND

Change

Time

Flexibility

Narrative

The U.K. City of Culture is designed in attempt to re-

Stoke-on-Trent and Sunderland were finalists in the re-

juvenate and deliver new leases of life to less wealthy

cent city of culture bid. Despite not being chosen, these

areas which are typically cities that were once capitals

are locations which once thrived with manufacturing

of manufacturing; professions that employed a large

heritage with Sunderland’s Ship Building and Stoke’s

percentage of the area’s population. The City of Culture

Ceramics. The intention is to explore the change and

programme provides a platform for the development of

adoption in these places from their industrial decline in

cultural activities and events that engage with the lo-

order to deliver a successful outcome for the cities. The

cal residents, as well as reaching further afield nation-

exploration includes observations as well as narratives

ally and internationally, portraying the declining city in

to tell a story of our proposals.

a positive light in an attempt to leave behind a legacy.

It will also include planning for the future, projecting the

This legacy will then encourage future developments

growth of the city’s culture infrastructure and design-

of that especially in the cultural sector, bringing with it

ing the building in a flexible way for an uncertain fu-

commerce and professionals, economically boosting

ture, where purpose may potentially change which may

the city.

include temporary and permanent space. It must con-

The Studio focuses on this by each of us tasked to de-

sider tangible and intangible interaction with the city s

sign a building evolving around culture and how it can

context and it inhabitants.

be integrated into City of Culture Events.

Interaction

Studio Group setting up for Primer Exhibition.

APOLOGIA

With manufacturing heritage in mind, I decided that

research on how several individual makers may work,

to celebrate making through cultural events would be

showing their routes and interaction within the building

relevant to try and override the current stigma around

through further diagrams, identifying their inputs, out-

Stoke-on-Trentâ&#x20AC;&#x2122;s industrial decline.

puts, spatial and equipment requirements.

Through the research taken for the Myths and Legend

The site has a close relationship with the railway station

Story Box Contraption, I believe that more of the re-

to the North-East. The plan of extending the platform

search could and should have been initially carried

provides an entrance directly into the centre for mak-

across to the development of the Centre for Making

ing, and a first insight into Stoke-on-Trent for some.

proposal, rather than re-joining and making the links af-

This outreach to the station could have more potential

terwards. Doing this would have made the staging de-

with more exploration. The actual building could in-

velopment section much stronger in terms of telling the

teract with the station opposed to just the landscape,

story within my reviews and presentations but telling

with the metal walkways extending over the railway line

the story of a divide in communities, and reuniting them

to the opposite platform to increase footfall. With the

through cultural events, similar to that of the compli-

envelope structure mimicking a refinement of a ware-

cated relationship between the residents of Stoke-on-

house, this could also reflect on the station canopy

Trent and Manufacture; The Six Towns; and the towns

which could extend across the tracks, expanding the

of Stoke and Hanley with capital investment.

station and making the building a possible appendix

Due to the fast pace and competitiveness of the manu-

to the transport infrastructure, with strong connections

facturing industry, the decision was taken to celebrate

with London, Birmingham and Manchester.

Traditional skills; reflecting on Stoke-on-Trentâ&#x20AC;&#x2122;s herit-

A key concept of the design was to create a flexible

age, as well as technological skills; looking towards the

space that reflected on the buildings current use and

future of manufacturing. With this in mind the building

event. This is achieved by Railway-Carriage-like pods

evolved around these core workshops. However, I do

that have the ability to be moved on tracks and conjoin

believe from the final design that more emphasis and

together to create collaboration spaces within and on

detailing of these workshops could have benefited the

top. This makes the building animate, changing itera-

project. This could be achieved by providing further

tions in the public space dependent on the event. How-

ever, despite the bi-folding faĂ§ade and other bi-folding

ment of industrial refinement, using industrial architec-

elements of the CafĂŠ/bar, these are the only elements

tural elements typically used for functional reasons, and

that are animated. Further playfulness could have been

redefining it as a form of architectural style and feature.

added to the design, reflecting on Cedric Priceâ&#x20AC;&#x2122;s Fun Palace. Solar blinds which could protect spaces from overheating could be easily added within the truss roof structure as well as gantry cranes, capable of moving around larger installations and even the order of the collaboration pods. This would further strengthen the arguAbove - Preview image of final design.

ARCHITECTURE DESIGN Charrette

Charrette Monuments to the Utopian Vision of Pets Led by Archie Bell

There are places in architecture of stimulation, simulation and the absurd, after coming across this individually developed set of buildings based on replicating the look of animals it does so to reflect a buildings relationship to as its site or its functionality. Like statues they stand as monuments to a narrative, a story creped out of history, like the Egyptian fascination with cats as domestic gods, we still consume pets in this way. Throughout the week we split into several groups focusing on different animals. We decided to especially look further into the Chinese culture by exploring the obsession of the lucky golden cat, that can be seen in all Chinese communities, restaurants and stores. This is a way of how we look to animals and see them as monuments as the Chinese in particular see the golden cat as good luck. The Cat was a success at the exhibition due to its interactive arms and the ability to sit inside the 10ft structure. The benefits of taking part in this week of making was the collaboration with an artist who helped develop our narrative skills, looking beyond the otherwise obvious and literal meanings. He also provided problem solving skills upon the assembly of the giant cat which are directly transferable to make installations in the future.

ARCHITECTURE DESIGN Primer

CITY CULTURAL PROGRAMMES Precedent Studies

National Garden Festival Stoke-on-Trent 1986 Stoke-on-Trent was the second city to host Britain’s

Today, much of the park remains public open space,

National Garden Festival. It was celebrated nationally

free of development. Whilst maintained by grounds-

from the opening by The Queen on the 1st May 1986.

men, much of the park was purposefully left to nature,

The decision to host the festival came after the dramat-

with actively maturing wooded areas. It is also includ-

ic decline in the production industry in the latter part

ed in the £1million newly developed Trent-Mersey canal

of the 20th Century after the passing of the new Clean

cycle path as part of the National Cycle Network.

Air Act, and importing goods from abroad. This was a

The festival greenhouses remained for many years af-

way to boost local spirit and mood, placing Stoke-on-

ter 1986, acting as a nursery for all the city’s display

Trent on the map, improving tourism and publicity in a

plants. However more recently it is in the feasibility test-

positive light. Reclaiming land from a local steel works

ing stage for a new geo-thermal power plant.

which was in decline to use for the festival, portrayed a positive image to residents that change was happening, providing hope. 300,000 trees were planted by ex-steel workers to mimic a natural woodland as part of a community employment scheme. To celebrate Stoke’s historic railways, a track was built within the festival park’s grounds with 5 stations to accommodate visiting guests.

Left - Promotional Poster of Stoke-on-Trent’s 1986 National Garden Festival. Top - Light Railway which looped the site of the festival. Bottom - Anthony Gormley’s “A View, A Place” at the festival’s highest point; a tactic of place-making. (Site now enclosed by woodland). 19

European Capital of Culture Liverpool 2008 The European Capital of Culture aims to allow failing

Ten years on in 2018, Liverpool is again celebrating its

cities to host 365 days of cultural events to help boost

former title with another year full of events bringing the

the social involvement and the economy. Winning the

city together, increasing tourism and including more of

title aims to improve the city’s image and make it in-

its residents.

ternationally well- known, as well as highlight the cities diversity, culture, and history. The first city to win was Athens in 1985, since then one city or more has gained the title every year, following Liverpool’s win in 2008, the UK began its own national competition with cities winning every four years. Not only did the year of celebration see 9.7million visitors, an increase of 34%, it also generated £753.8m for the economy. Notably, 85% of local residents agreed after the event, Liverpool was a better place to live in. Some notable events of 2008 include: opening of Kings Dock Arena, festivals for food, music, dance, comedy and poetry, a world premier, European sports events, exhibitions celebrating Liverpool’s culture and history, as well as many more.

Top - Logo of Liverpool â&#x20AC;&#x2DC;08 European Capital of Culture. Bottom - Crowded streets for a parade in Liverpool. Right - Firework Display above the highly recognisable Royal Liver Building.

UK City of Culture Hull 2017 In the UK winning the City Of Culture award can transform a city to both tourists and residents. For Hull winning the UK City of culture 2017 had a large effect on the city. The City hosted more than 450 cultural events, exhibitions and activities over the year and in the First 3 months over 90% of residents tried an activity. The estimated worth of winning the bid to Hull was ÂŁ60m with 1.4 million tourists coming to visit for culture events. 70% of residents believed that winning the bid had a positive impact on the city. Many cities like Hull make a cultural plan when applying for the bid which helps the city to plan development of their cultural sector even after the year which the events take place.

Left - Logo of Hull UK City of Culture 2017. Right - People pose nude as part of the “Sea of Hull” art installation by Spencer Tunick. Bottom - Opening night celebrations in Hull City Centre.

MAPPING Tangible and Intangible

Education

Stoke-on-Trent

Education Level

Stoke-on-Trent

Sport

Stoke-on-Trent

Retail

Sunderland

North Stoke: % with no qualification: 17.55 % with at least degree/NVQ4: 18.30 Average Salary: 18,879

2017 UK University Ranking: 93rd

North Stoke: % with no qualification: 17.55 % with at least degree/NVQ4: 18.30

Central Stoke: % with no qualification: 26.83 Central Stoke: % with at least degree/NVQ4: 12.38

% with no Qualification: 26.83 % with at least degree/NVQ4: 12.38

South Stoke: % with no qualification: 24.89 % with at least degree/NVQ4: 18.38

KEY: South Stoke % with no qualification: 24.89 % with at least degree/NVQ4: 18.38

Average Salary: 18,879 2017 UK University Ranking: 93rd

Political Buildings

Stoke-on-Trent

KEY:

Primary Schools Secondary Schools University and Colleges Areas of high density

Primary Schools Primary Schools Secondary Schools Secondary University and Schools Colleges University and Collages Areas of high Areas density of high density

Constituency Political Buildings Voting

Stoke-on-Trent Sunderland

Community Constituency Centres Voting

Parks Golf Bookies Stadiums Leisure Centres

Sunderland

Stoke-on-Trent

South Shields Labour: 61.5% Conservative: 25.9%

Jarrow Labour: 65.1% Conservative: 25%

Stoke-on-Trent North Labour: 50.9% Conservative: 45.3%

Parks Golf Bookies Stadiums Leisure Centres

2 3 6 8 7 4

Newcastle-Under-Lyme Labour: 48.22% Conservative: 48.13%

2 Stoke-on-Trent Central Labour: 51.5% Conservative: 39.8

Washington and Sunderland West Labour: 60.7% Conservative: 28.8% Sunderland Central Labour: 55.5% Conservative: 33.3%

3 4

1. Tunstall town hall 2. Burslem town hall 3. Wolstanton Conservative club 4. Newcastle-Under- Lyme Labour group 5. Newcastle-Under- Lyme Borough council 6. Stoke-On-Trent council 7. Hanley town hall 8. Smithfield council building 9. Stoke-On-Trent council building 10. Stoke-On-Trent town hall 11. Fenton town hall 12. Longton town hall

Galleries

Staffordshire Moorlands Conservative: 58.1% Labour: 33.9%

Stoke-on-Trent

Religion

Houghton and Sunderland South Labour: 59.5% Conservative: 29.7%

Stoke-on-Trent South Conservative: 49.1% Labour: 47.5% 1. Labour regional offices

Sports Community support Arts

Community halls *community support: disability care, education/ learning, healthcare, volunteering.

2. West End Conservative club 3. Civic Centre 4. Sunderland city council

Galleries

Sunderland

Cinema

Stoke-on-Trent

STOKE-ON-TRENT

Chain Independent

Food

Oatcakes

Supermarkets Chain Restaurants Independent Restaurants

Stoke-on-Trent

Restaurants where Oatcakes are sold

Monuments, Statues and Memorials

Stoke-on-Trent

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Tunstall Shard Sir Henry Doulton Burslem War Memorial Pace of Recovery Pithead Wheel War Memorial Thomas Wedgwood James Brindley Josiah Wedgwood A Man Canâ&#x20AC;&#x2122;t Fly Sculpture St Peterâ&#x20AC;&#x2122;s Community Mosaic Colliery Pithead Wheels Fenton War Memorial Sir Stanley Matthews Gordon Banks

oke-on-Trent

Education

Stoke-on-Trent Sunderland

Sunderland

Retail

Sunderland

Average Salary: 20,827 2017 UK University Ranking: 90th Sunderland North % with no qualifications:15.97 % with at least a degree/NVQ4:18.06

North Sunderland: % with no qualification: 15.97 % with at least degree/NVQ4: 18.06

South Sunderland: % with no qualification: 14.85 % with at least degree/NVQ4: 22.18

KEY: Primary Schools Secondary Schools University and Colleges Areas of high density

Sunderland South % with no qualifications:14.85 % with at least a degree/NVQ4:22.18

KEY:

Parks Primary Schools Primary Schools Golf Secondary Schools Secondary Bookies University and Schools Colleges University and Collages Stadiums Areas of high Areas Leisure Centres density of high density

Parks Golf Bookies Stadiums Leisure Centres

Average Salary: 20,827 2017 UK University Ranking: 90th

Constituency Political Buildings Voting

Stoke-on-Trent Sunderland

Constituency Voting

Staffordshire Moorlands Conservative: 58.1% Labour: 33.9%

1 Newcastle-Under-Lyme Labour: 48.22% Conservative: 48.13%

Sunderland

Community Centres

Sunderland

South Shields Labour: 61.5% Conservative: 25.9%

Jarrow Labour: 65.1% Conservative: 25%

Stoke-on-Trent North Labour: 50.9% Conservative: 45.3%

Washington and Sunderland West Labour: 60.7% Conservative: 28.8% Sunderland Central Labour: 55.5% Conservative: 33.3%

2 Stoke-on-Trent Central Labour: 51.5% Conservative: 39.8

3 4

1. Tunstall town hall 2. Burslem town hall nton Conservative club er- Lyme Labour group Lyme Borough council Stoke-On-Trent council 7. Hanley town hall hfield council building -Trent council building oke-On-Trent town hall 11. Fenton town hall 12. Longton town hall

oke-on-Trent

Sport Level Education

Sunderland

Religion

Houghton and Sunderland South Labour: 59.5% Conservative: 29.7%

Stoke-on-Trent South Conservative: 49.1% Labour: 47.5% 1. Labour regional offices

Sports Community support Arts

Community halls *community support: disability care, education/ learning, healthcare, volunteering.

2. West End Conservative club 3. Civic Centre 4. Sunderland city council

Galleries

Cinema

Sunderland

SUNDERLAND

Chain Independent

Food

Stottie Cake

Supermarkets Chain Restaurants Independent Restaurants

Sunderland

Restaurants where Stottie Cake is sold

Monuments, Statues and Memorials

Sunderland

1 2 3 4 5 6 7 8 9 10 11 12

Black Cats War Memorial Davy Lamp Monument Bob Stokee Statue Statue to the Fans Keel Line Walrus Statue Victoria Hall Memorial War Memorial John Candlish Statue Jack Crawford Monument Havelock Statue Penshaw Monument

Exhibiting Mapping Comparison Overlay The mapping was placed in the centre, allowing for user interaction to overlay the maps of Stoke and Sunderland; allowing for comparison.

Light-box and maps printed on trace allows for easier and visual comparison between any map and/or place.

DISMANTLING OF AN OBJECT Metronome The brief for the dismantling of an object included one that had moving parts. This was to assess the workings of it and how the user interacts with it. This was then carried forward within my development of contraption and design, thinking more carefully at how users will interact with the them. Is it a more obvious component which is distinctly coloured, or a subtle element which is more hidden and designed for limited interaction?

Points of Interaction

CATCH

Essentially turns the device on/off.

Metronome Brief: find an object, new or old, <ÂŁ10, moving parts, non-electrical, has a user interface. The Metronome is designed to maintain a constant tempo when producing music. This tempo beat can be adjusted by sliding the weight (shown in image), Numbers are printed onto the face so musicians can select the desired tempo. It is then wound up by the winder on

SLIDER

Adjusts the settings of the device.

WINDER

Powers the device (transfers kinetic energy)

the side (as highlighted), and released from the catch, which sets the Metronome ticking. This makes the use of this device relatively simple without the need for detailed instructions. The components that are interacted with contrast the wood-patterned casing. What is not needed to be explained to the user however is the inner working of the device and how it produces the output (ticking). In order to do this, disassembling the device will aid understanding the workings.

FACE

Shows the settings through text and numbers.

Fully assembled Metronome prior to dismantling. Points of purposeful interaction can be seen highlighted.

The Dismantle Refinement of Components The laying out of all the components once dismantled clearly shows the contrast between the parts that involve interaction, and those that do not. Pieces that are designed for interaction or are on show tend to be more polished and finished to higher standard than those that are hidden within the case of the metronome doing the work. I believe the true art however is in the moving elements, as the exposure of servicing and structure is a style that I developed through to my final design.

Points of interaction compared with the internal components and workings of the Metronome.

Dismantled Metronome - Showing all internal components, disassembled to the optimum by hand.

Left - Metronome exhibition show-piece. Right - Close up of metronome face, which the user uses to interact with the device.

Multiple angles of the dismantled metronome exhibited in suspended cuboid.

Exhibition The exhibition was displayed as part of the Primer exhibition and included the dismantles of the studio group. Seeing these it made you realise the contrast between the actual visible elements of objects compared to the servicing elements that actually make these contraptions functional. The casing is typically polished and refined, building on the form rather than solely the function as they were household objects which may be on display in individuals’ homes, and they make an attempt to blend into the decor. This can also be described similarly for architectural styles, with the norm being for plaster boarding to encase the structure, whereas being autonomous involves new architectural thinking, and going against the ‘production of effects’ and leaving structure exposed, somewhat like Bernard Tschumi’s Early works.

Left - Dismantled Metronome show-piece in the Prime exhibition along side other dismantled objects including a cassette player, alarm clock and Barometer. Lighting effects have been used to cast shadows on the walls to make the space more impressive. Top - Close up of dismantled Metronome in exhibition lighting. Bottom - Entrance to â&#x20AC;&#x2DC;Culture and Legacyâ&#x20AC;&#x2122; Primer exhibition, with TV screen displaying time-lapse footage of the dismantling of the various objects. 39

INTERACTIVE CONTRAPTION Myths and Legends As a studio, we researched stories focusing on the cities of Stoke and Sunderland. These stories were ones that had no clarity or evidence behind them. Typically found on internet forums or word of mouth from the people of Stoke and Sunderland. The Myths and Legends forced us to look at the cities in greater depth, from a community point of view rather than a government one, collecting official data and visiting as an outsider.

STOKE-ON-TRENT 1 - Centri-pede. 2 - Harmony in Five 3 - The Dead Devil 4 - The Tunnels of Stoke 5 - The Student Riot 6 - The ‘Stoke’ Effect 7 - The Monster Outside 8 - The Lunar Men

SUNDERLAND 9 - The Legendary Battle 10 - The Stormy Petrel 11 - The Lampton Worm 12 13 - The Black Cats 14 - Industrial Heritage 15 - Sunderland Pit Pools

STOKE-ON-TRENT

‘The Legendary Battle’ The Story The story of the legendary battle originated in the city of Sunderland in the North East of England. The story told around two communities which rivalled each other in the latter part of the 20th century, especially during the 70s, 80s and 90s. These two estates were the ones of ‘Red House Hylton’, also known as ‘The Red Housers’, and the ‘Castle View’ estate, who were better known as ‘The Castlers’. The two estates had a history of being at each other’s necks, however, on one evening in August

SUNDERLAND

it came to a head in ‘The Legendary Battle’. The youths of the two estates came head to head on ‘Bunny Hill’ where there were reports of one of the Red Houser’s being fully engulfed in flames, and in retaliation, they responded by breaking the jaw of one of the Castler’s. These constant disagreements of the two neighbourhoods benefited neither, becoming very pointless.

Story-box contraptions were individually produced from stories which were collectively provided by the entire group.

â&#x20AC;&#x2DC;The Legendary Battleâ&#x20AC;&#x2122; story-box contraption - Produced from mostly laser-cut MDF board, spray-painted grey to symbolise steel trusses which provides a industrial appearance. The outer frame measuring 600mm3 allows the contraption to be consistent with other story-boxes within the group. This concept also allows them to be stacked for display purposes.

Telling the Story The Concepts The story-box contraption has been dubbed as the ‘Hetrogeniser contraption’. The word is deciphered from the word Heterogeneous means: differing, unrelated and contrasting, which greatly represents the two communities. The contraption contains both red and white beads, one colour for each estate, and the concept is that the contraption mixes these gradually over time when in use to address the story that after the ‘battle’ (the mixing process) that the two communities began to come together to the present day, where they live in near unity. The contraption itself is very futility, which portrays the battle being useless, that one would retaliate to the other. The contraption is making a mess through the mixing process as well as sweeping up, making its function pointless.

Time Top - Diagram explaining the workings of the contraption and how it tells the story of â&#x20AC;&#x2DC;The Legendary Battleâ&#x20AC;&#x2122;. Bottom - The device is used to gradually mix the different coloured beads over time as can be seen through the diagram.

Left - The grey truss design reflects on the industrial heritage of Sunderland and the decline of it which initially caused anger in communities which may have fuelled disagreements such as â&#x20AC;&#x2DC;The Legendary Battleâ&#x20AC;&#x2122;. Top - The red handle signifies and indicates a point of interaction. Subconsciously, the contrasted red invites user to touch this area. Bottom - Gears and Cogs are used to transfer kinetic energy through the machine, enabling it to work. 48

1 - Close-up of brush arm sweeping the red beads, which represents one of the estates. 2 - After going through the mixer (representing the battle) the beads fall into a tray where they are subsequently swept. 3 - Close-up of tray that the beads fall in to with sweeper arm. 4 - Sunderland coastline engraved into the back panel of the contraption. 49

Primer Exhibition Testing Interaction The Primer exhibition was a way for all the studios

The show itself exhibited all this information, with the

groups to showcase the work that they had been work-

infrastructure maps placed on a light-box sitting on a

ing on over the beginning of semester one. It was a way

central raised plinth, as this information aided all of the

to ensure work was to a finalised standard which could

contraptions. The story-box contraptions were separat-

be exhibited to the rest of the year group and visitors.

ed with Stoke featured on one side of the room, and

The diversity of each studio was inevitably clear, from

Sunderland on the other, divided by a marking which

the Cogs and Gears of the â&#x20AC;&#x2DC;Culture and Legacyâ&#x20AC;&#x2122; studio,

ran across the floor and up the walls of the exhibition.

to the bird boxes and crafts from the Palace of Ecologies studio. The Primer exhibition also showed the development from the Infrastructure mapping, to the story-box contraptions, about being educated about both Stoke and Sunderland from different means of information. Mapping tangible infrastructure was quite clear; road; rail; canal; etc., then moving on to the intangible including cultural activities and the myths and legends of its residents.

Exhibition of Culture & Legacy Studio. The exhibition was split up with one half of the room Stoke, with the other Sunderland, attempting to portray the competitive bidding between the two for the 2021 City of Culture. The mapping was placed in the centre, allowing for user interaction to overlay the maps of Stoke and Sunderland; allowing for comparison.

Interactions with ‘The Legendary Battle’ Story-box contraption.

Process Work Developing Concepts For the success of the contraption to work it was essential firstly that it effectively told the story it was meant to without being too obvious and literal. This was achieved by developing a story board which highlighted key parts of the story that needed to be represented in the contraptions. Analysing these key parts of the story allowed then to develop a moving element that portrayed that specific part of the story. Once the sections were decided on, it was then essential to test if the moving elements were achievable with the minimum number of interactive parts, meaning that if the user turned one wheel, it would tell the narrative, rather than the user having to turn many wheels which could confuse the story.

Initial mapping of the story through the use of a story board, drawing attention to the crucial scenes that compose the story.

Initial cardboard sketch models testing the moving elements of the contraption and how they can be achieved through the incorporation of pivots. Also how multiple elements can move with just one single interaction.

PAVILION DESIGN Reuniting the Community In response to the divided communities of Sunderland, it is essential that the upcoming bid for the UK City of Culture attempts to unite communities. The design of a pavilion that celebrates the cityâ&#x20AC;&#x2122;s achievement, heritage and culture as well as hosting events can be a preliminary effort to bring the community together.

Keel square, Sunderland Pride in NEON Installation Background

Installation

Sunderland has a history of been portrayed in bad light due to a high crime rate and poverty through the recent decades. As part of its 2021 ‘UK City of Culture’ bid, it is important that the city is spoke about positively in the media, in order to increase visitor numbers. Sunderland has a rich heritage being an industrial city, having been a one point a large distributor of coal, glass and even the largest shipbuilding town in the world. This installation situated in Keel Square will celebrate the heritage and make residents feel proud about where they are from. The Miners lamp, invented by William Reid Clanny in 1812 in Sunderland, made coal mining much safer, and it is still recognised in the city today, been used as inspiration for ‘The Stadium of Light’. This installation called ‘Pride in Neon’ will also celebrate this important invention through the use of light, fused together with Sunderland’s glass making heritage, this will produce the wonder of Neon light. Creative elaborate designs can be produced from neon through the use of glass tubes, which can be heated and bent into a desired shape.

Inspired by Northern Neon artist ‘Richard Wheater’ this technique will be used to create 8 positive quotes from the community about Sunderland which will be positioned in a circular shape facing outwards. In the middle of this space will be a space for meeting where social events can be held, and a space where occasional Neon making demonstrations can be shown. This therefore will be also educational.

Programme The installation will be in place for 3 months in the September to November period to light up the area in the darkening nights towards the winter. Demonstrations of the production of Neon will take place in the evenings later on in the period, so the show will come alive in the dark.

Future? The intention is for this concept to expand in the future, potentially becoming an annual festival/event, similar to the nearby Durham Lumière. This will bring extra revenue to the area due to visitors spending and using local services

Neon production demonstration

Pride in Neon Glass tubing heated and bent by hand.

Keele Square, Sunderland

Tube bender blows into tube to prevent softened tube from collapsing.

Once desired shape is met, an electrode is fused to each end.

Glass is fired to ensure it is The tube and electrodes are sterile before the gas is insert- then added to a power supply ed. to illuminate the gas.

Daytim

Sunderland has a history of been portrayed in bad light

due to a high crime rate and poverty through the recent

es rat

cou

ist

Mag

decades. As part of its 2021 ‘UK City of Culture’ bid, it is important that the city is spoke about positively in the has a rich heritage being an industrial city, having been

Installation of Neon billboards

a one point a large distributor of coal, glass and even the largest shipbuilding town in the world. This installa-

Road

media, in order to increase visitor numbers. Sunderland

Meeting and demonstration area

aura

Rest

tion situated in Keel Square will celebrate the heritage

and make residents feel proud about where they are

Perspective viewpoint

from, reuniting communities that once were in conflict with one another. The Miners lamp, invented by William Reid Clanny in 1812 in Sunderland, made coal mining

The n installation will be in place for 3 months in the Sep-

period to light up the area in the much safer, and it is still recognised in the city today, 1:500tember site plan of to keel November square been used as inspiration for ‘The Stadium of Light’. is darkening nights towards the winter. Demonstrations of installation called ‘Pride in Neon’ will also celebrate this

the production of Neon will take place in the evenings

important invention through the use of light, fused to-

later on in the period, so the show will come alive in the

gether with Sunderland’s glass making heritage, this

dark.

will produce the wonder of Neon light. Creative elabo-

The intention is for this concept to expand in the future,

rate designs can be pro- produced from neon through

potentially becoming an annual festival/event, similar to

the use of glass tubes, which can be heated and bent

the nearby Durham Lumière. This will bring extra reve-

into a desired shape.

nue to the area due to visitors spending and using local services. Plan of Keel Square, Sunderland with pavilion proposal.

Night

underland

tist ‘Richard Wheater’ this technique will be used to create mmunity about Sunderland which will be positioned in a . In the middle of this space will be a space for meeting d, and a space where occasional Neon making demonstrafore will be also educational.

underland

tist ‘Richard Wheater’ this technique will be used to create mmunity about Sunderland which will be positioned in a e for 3 months in the September to November period s. In the middle of this space will be a space for meeting ening nights towards the winter. Demonstrations of the d, and a space where occasional Neon making demonstraplace in the evenings later on in the period, so the show will efore will be also educational.

ce for 3 months in the September to November period pt to expand the future, potentially becoming anofannual kening nightsintowards the winter. Demonstrations the earby Lumière. This bring extrasorevenue to the place Durham in the evenings later onwill in the period, the show will nd using local services

pt to expand in the future, potentially becoming an annual earby Durham Lumière. This will bring extra revenue to the and using local services

ss is fired to ensure it is The tube and electrodes are le before the gas is insert- then added to a power supply to illuminate the gas.

Daytime perspective

ss is fired to ensure it is The tube and electrodes are ile before the gas is insert- then added to a power supply to illuminate the gas.

ion area

on billboards

Road Road

on billboards

Daytime perspective

tion area

Night time perspective Top - Perspective View of the pavilion during the daytime. Night time perspective Bottom - Perspective View of the pavilion during the night-time, with the signs illuminated.

Pavilion Concept Neon Art Inspired by Northern Neon artist ‘Richard Wheater’ this

1 - Glass tubing heated and bent by hand.

technique will be used to create 8 positive quotes from the community about Sunderland which will be posi-

2 - Tube bender blows into tube to prevent softened

tioned in a circular shape facing outwards. In the middle

tube from collapsing. Installation of this space will be a space for meeting where social Keel square, Sunderland events can be held, and a space where occasional Neon 3 - Once desired shape is met, and electrode is fused

Pride in NEON

Background Installation making demonstrations can be shown. This therefore to each end. Sunderland has a history of been portrayed in bad light due to a high crime

Inspired by Northern Neon artist ‘Richard Wheater’ this technique will be used to create 8 positive quotes from the community about Sunderland which will be positioned in a Culture’ bid, it is important that the city is spoke about positively in the media, circular shape facing outwards. In the middle of this space will be a space for meeting The art toofincrease neon has beenSunderland explored researched to - Glass isbefired to aensure it occasional is sterile before the gas is in order visitor numbers. has a and rich heritage being an where4 social events can held, and space where Neon making demonstraindustrial city, having been a one point a large distributor of coal, glass and tions can be shown. This therefore will be also educational. demonstrate how it istown made and This how this skill could be inserted. even the largest shipbuilding in the world. installation situated in Keel Square will celebrate the heritage and make residents feel proud about utilised and taught in a lamp, workshop Neon is ina very where they are from. The Miners invented byclass. William Reid Clanny The installation will be in place for 3 months in the September to November period 1812 in Sunderland, made coal mining much safer, and it is still recognised in to light5up areatube in the darkening nights towardsare the winter. of the skillfull art, it is outlined here in five simplified steps. - the The and electrodes thenDemonstrations added to a power the city today, been used as inspiration for ‘The Stadium of Light’. This installa- production of Neon will take place in the evenings later on in the period, so the show will tion called ‘Pride in Neon’ will also celebrate this important invention through come alive in the dark. (Note: Mercury can be added to give blue colout op- supply to illuminate the gas. the use of light, fused together with Sunderland’s glass making heritage, this will produce the wonder of Neon light. Creative elaborate designs can be proposed to red). duced from neon through the use of glass tubes, which can be heated and bent The intention is for this concept to expand in the future, potentially becoming an annual into a desired shape. festival/event, similar to the nearby Durham Lumière. This will bring extra revenue to the area due to visitors spending and using local services

will ratebe andalso povertyeducational. through the recent decades. As part of its 2021 ‘UK City of

Programme

Future?

Neon production demonstration

Glass tubing heated and bent by hand.

Tube bender blows into tube to prevent softened tube from collapsing.

Once desired shape is met, an electrode is fused to each end.

Simple diagrams showing the basic steps of creating neon art.

ou es c

rat

ist Mag

Glass is fired to ensure it is The tube and electrodes are sterile before the gas is insert- then added to a power supply ed. to illuminate the gas.

Daytime perspective

Left - Artist Richard Wheater Installing a Neon Display on a warehouse rooftop. Right - Neon learning workshop taking place with Richard Wheater. Bottom - Illuminated Neon as part of the â&#x20AC;&#x2DC;12 months of loveâ&#x20AC;&#x2122; exhibition in Wakefield.

ARCHITECTURE DESIGN Field Trip

EN-TOUR Hull Rotterdam Delft

Hull 27/11/2017 In the UK winning the City Of Culture award can transform a city to both tourists and residents. For Hull winning the UK City of culture 2017 had a large effect on the city. The City hosted more than 450 cultural events, exhibitions and activities over the year and in the First 3 months over 90% of residents tried an activity. The estimated worth of winning the bid to Hull was ÂŁ60m with 1.4 million tourists coming to visit for culture events. 70% of residents believed that winning the bid had a positive impact on the city. Many cities like Hull make a cultural plan when applying for the bid which helps the city to plan development of their cultural sector even after the year which the events take place. The visit involved visiting the newly redeveloped Humber Street which was once home of many Water front warehouses (warfs) during Hulls maritime heritage. They have now begun to be converted into cultural facilities such as Art Galleries, Bars and Studios.

Top - Newcastle -> Hull Train Journey. Bottom - Group photo at Hull Railway Station in front of a promotional banner for the UK City of Culture 2017.

1 - Humber Street - Pivotal location in the City of Culture bid, many of the old industrial quayside units were left empty once industry declined, and are now gradually being converted into cultural venues, such as Bars, CafĂŠs, Restaurants, Galleries and Studios. 2 - Street art on Humber Street, giving the area character and interest. 3 - New planting on the street, up-cycling crates, tyres and fencing. 4 - Humber Street Gallery - Exhibition celebrating the people of Hull through food and photography. 67

Rotterdam 28/11/2017 - 30/11/2017 Rotterdam is a city best known for its riverside setting, lively cultural life and maritime history. It has broad architectural landscape due the city being mostly destroyed during the World War II Rotterdam Blitz. The architectural monuments of Rem Koolhaas mostly dominate the city, especially with the more recent De Rotterdam building on the riverside, designed in conjunction with OMA. Rotterdam was the European Capital of Culture 2001 and it was a way to advertise this fairly new city (after WWII destruction) to the rest of the world. It especially helped the creation of new businesses and cultural developments within the city which were lacking prior to this.

Hull -> Rotterdam Ferry Journey.

Group Photos in Rotterdam. 1 - Cube Houses, Piet Blom. 2 - Kunsthal Museum, Rem Koolhaas. 3 - Netherlands Architecture Institute, Jo Coenen. 4 - Lying on a pebble, overlooking Port of Rotterdam. 69

De Rotterdam, OMA, 2013. Worlds largest building relating to volume. Iconic.

Markthal Rotterdam, MVRDV, 2014. Vibrant Graphics indicating the use of the building. Are of commerse kept distinctly separate from the accommodation though still providing a view into the main selling floor.

The Het Steiger, Kraaijvanger Architecten Rotterdam & Chris Knol, 1960. Translucent faรงades create inverted effects between day and night, with light diffusing into the building during the day and emitting outwards at night.

Cube Houses, Piet Blom, 1977. Place making with interesting take on form, but not the most practical to live in.

Netherlandâ&#x20AC;&#x2122;s Architecture Institute, Jo Coenen, 1993-2013. Refined industrial style with exposed structure, allowing the events and exhibition take centre stage.

Kunsthal, Rem Koolhaas, 1992 The use of lighting creates an atmosphere of lightness, making the structure look effortless.

Delft 01/12/2017 Last stop on the field trip included a visit to Delft, situated in-between Rotterdam and Amsterdam. It is home to the TU Delft University with world leading architectural and engineering education. I was particularly inspired by the Delft Faculty of Architecture which with such a simple form of architecture is still powerful, focusing on the event that takes place underneath the space-frame roof of the courtyard intervention. Place making has been achieved with the use of a large orange staircase in the centre of the building, taking inspiration from Bernard Tschumi place making with the colour red of the Parc de Villette pavilions.

ARCHITECTURE DESIGN Staging

DEVELOPING A CENTRE FOR MAKING Stoke-on-Trent The outline for the brief is to develop and propose a cultural building that can be used in conjunction with the UK City of Culture. Based in the city of Stoke-onTrent, the site falls between the two major towns within the city of Stoke and Hanley which are harshly divided by the compression on three major infrastructures; the A500, Canal and Railway Line. The site is situated between these and was selected to attempt to stitch the divide between Stoke and Hanley back together, forming a united city once again. The Site is situated next to the railway station, which leaves visitors in a ‘no-mansland’ in-between the two towns, forcing them to either get a bus to Hanley, or a lonely walk through a subway to Stoke. The proposal will create a new entrance and welcome to the city. The proposal is to construct an infrastructure for startup creative business’, artists and makers, giving them the opportunity to make, exhibit and sell their creations as well as deliver workshops to the public throughout the year. The idea is for the different creative minds to collaborate together, form a community, and share skills.

Tunstall

Burslem

Hanley

CENTRE FOR MAKING Stoke Fenton Longton

Industry ‘The Potteries’ The six towns of Tunstall, Burslem, Hanley, Stoke, Fenton and Longton together made up the Staffodshire Potteries and is now more commonly known as the City of Stoke-on-Trent. Due to the local availability of Clay, Salt, Lead and Coal, it became a sought after location, becoming the worldwide centre of the ceramics industry, with hundreds of companies manufacturing ceramics from the 17th Century. By adding heat and imported ground flint powder to the red-coloured clay made the ceramics cream, becoming more desirable. Throughout the 1700’s, most of the produce was transported via the Trent-Mersey Canal to the port of Liverpool, with factories lining the ancient infrastructure. Upon the invention of the railway in the early-mid 1800’s, industry peaked, with the location becoming more accessible to the rest of the United Kingdom. At its peak, there is said to have been over 4000 bottle kilns used to fire the clay. Due to the industrial period carrying on for a lengthy piece of time, the world image of stoke raised primarily due the communities artistic skills in the ceramic industry, providing high quality products.

Left - Aerial view of the Spode Works Factory, a major manufacturer of ceramics close to the town centre of Stoke. Right - â&#x20AC;&#x2DC;Bottle Kilnsâ&#x20AC;&#x2122; in action; a view which could be replicated in every corner of the city. Bottom - Stoke skyline dominated by polluting bottle kilns in the early 20th Century.

National Garden Festival Stoke-on-Trent 1986 Stoke-on-Trent was the second city to host Britain’s

Today, much of the park remains public open space,

National Garden Festival. It was celebrated nationally

free of development. Whilst maintained by grounds-

from the opening by The Queen on the 1st May 1986.

men, much of the park was purposefully left to nature,

The decision to host the festival came after the dramat-

with actively maturing wooded areas. It is also includ-

ic decline in the production industry in the latter part

ed in the £1million newly developed Trent-Mersey canal

of the 20th Century after the passing of the new Clean

Bottle Kiln Icon Air Act, and importing goods from abroad. This was a

cycle path as part of the National Cycle Network.

way to boost local spirit and mood, placing Stoke-on-

ter 1986, acting as a nursery for all the city’s display

Trent on the map, improving tourism and publicity in a

plants. However more recently it is in the feasibility test-

positive light. Reclaiming land from a local steel works Decline of Industry

ing stage for a new geo-thermal power plant.

The festival greenhouses remained for many years af-

which was in decline to use for the festival, portrayed a In 1952, the Clean Air Act changed the face of the potpositive image to residents that change was happening, tery industry. Pollution had become a major problem providing hope. within the six towns because of the large number of 300,000 trees were planted by ex-steel workers to mimbottle kilns bellowing out smoke. It was not uncommon ic a natural woodland as part of a community employfor the sun to be virtually blacked out by the smoke and ment scheme. To celebrate Stoke’s historic railways, a not surprisingly the area had a very high death rate astrack was built within the festival park’s grounds with 5 sociated with diseases of the lungs. stations to accommodate visiting guests. In 1968, there were 62,000 people employed in the pottery industry in Stoke-on-Trent and by 1991 this had reduced to 22,500. The decline can also be read in terms of the number of bottle kilns. At its peak there were over 4000 bottle kilns, reducing to 2000 in 1950’s, leaving just 47 standing today. The decline of british manufacturing in the 1980’s and 1990’s saw a further blow to the industry, with much of the manufacturing being relocated abroad due to lower costings to import. This left tens of thousands of highly skilled potters unemployed, creating a negative economical impact in the area.

Spode Works with Bottle Kilns (1900-1930)

1870 - Spode Works Outline, Proposed Site Dashed.

1900 - Spode Works Outline, Proposed Site Dashed.

1930 - Spode Works Outline, Proposed Site Dashed.

1950 - Spode Works Outline, Proposed Site Dashed.

1960 - Spode Works Outline, Proposed Site Dashed.

2018 - Spode Works Outline, Proposed Site Dashed.

Bottle Kilns can be identified as a circles of the historic maps. Most drastic change is between the 1950â&#x20AC;&#x2122;s and 1960â&#x20AC;&#x2122;s due to the introduction of the Clean Air Act (CAA).

Spode Works Regeneration into Creative Village The Spode Works was one of the largest ceramics factory within the Staffordshire Potteries, mass producing bone china, containing 22 bottle kilns and employing around 1000 workers. It was one of the last ceramics manufacturing works to close in 2008. The site is located within the town of Stoke and it takes up a large area so when it closed in 2008, much of the towns commerse died along side, with much new investment being provided to the largest of the six towns; Hanley. Upon entering administration, Stoke-on-Trent City council acquired the site to preserve and regenerate. The intention is for the Spode Works to become a creative village. The regeneration is currently in early phases, with artist studio spaces already being rented in part of the completed phases, with the larger factory spaces

â&#x20AC;&#x153;Disused Spode pottery works to be revamped with ÂŁ1.7m regeneration proposalsâ&#x20AC;?

being used to exhibit work and host events. Once all complete, it is hoped that this will prove a major boost for the local economy and creative industry.

Studio group visiting the Spode Works.

1 - Chimney still advertising the once manufacturing powerhouse of the Spode Works. 2 - A textile artist using the regenerated studios within the old Spode Works. 3 - Studio group visiting the Spode Works where the larger machinery was once held. 4 - Exhibition taking place within the Spode Works. Reusing the space for the future. 87

A Centre for Making

Textile Workshop

Wood Workshop Laser Cutting Lab

Casting Room

3D Print Lab

Reviving Stoke’s Making Heritage Expanding upon the ideas of a creative village within the

Workshop

Spode works. I believe it is also important to celebrate and deliver these potential skills to the community. The centre for making will expand on the artist studios of the

Metal Workshop

Ceramics

Studio

Large Assemble

Spode Works, by specifically concentrating on the cul-

MAKING

ture of making, an activity that Stoke-on-Trent has great heritage of. It will not just look to the past of traditional relevant and future-proof for today’s society. in specially organised workshops in order to teach the

Bar

community making skills, as well as celebrating heritage so the legacy of making is not lost with the decline of bottle kilns.

Classroom

Exhibition

skills, it will explore technological skills which are more It is hoped that makers will work along side the public

Area

LEARNING LEISURE

Cafe

Auditorium

Makers, artists and cottage industry start-ups can rent space and/or work in residence with the ability to exhibit their creations as part of the exhibitions and event spaces, or sell them at regular market events.

“Celebrating Traditional and Technological Skills.”

Computer Suite Events/Flexible Space

Entrance Lobby & Reception

A52

RM IN GH AM

SITE (FLEXIBLE BOUNDARIES)

SIXTH FORM COLLEGE

HANLEY

PREVAILING WINDS

SUN PATH WEST

EAST

DISCONNECTED

SOUTH

Large Assemble Area

MAKING

Classroom

PRODUCT

Auditorium

mputer Suite

EPT

Stage 3: Once basic training has taken place, work can now be carried out independently to reinforce the skills with practice. Help is still available. Stage 4: The product is now complete and time must be taken now to possibly assemble it together with other components from others, or to think out exhibition details.

EXHIBITION/ Stage 5: The work that you and EVENT

the workshops have collaborated together will be exhibited to the rest of the world in a unique way depending on the skill.

INTANGIBLE

FEB

Public Workshops Cultural Events

MAR APR MAY JUN

TEXTILES

Traditional Skill Set

‘The Extraordinary Orchard Park Parade’ - Hull 2017 Invites the public to workshops to learn textile skills to make costumes for City of Culture Parades.

JUL

Tourism

SEP

Increased Employment

NOV DEC

Technological Skill Set

‘Where do we go from here’ - Hull 2017

Creative Studios Exhibition Space Education Facilities

Permanent Cultural Facilities

Investment

AUG ROBOTICS

TANGIBLE

Positive Reputation

More Skilled & Educated Residents

OCT

CITY OF CULTURE

PRATICAL WORKSHOP

Stage 2: At this stage, tutorials will take place outside the classroom in the studios and workshops with hands-on approach under supervision.

LEGACY

JAN

TRADITIONAL

LEARNING WORKSHOP

Stage 1: Attend a Learning Workshop to outline the aims for the programme of the selected skill set and be shown the basics.

D Print Lab

Metal Workshop

TIME FRAME

TECHNOLOGICAL

CULTURAL EVENT

utting Lab

Improved Infrastructure New Industry New Cultural Facilities

Economy Growth

Invites the public to workshops to learn how to progamme and wire robotics, with the outcome of an interactive installation.

END OF YEAR CELEBRATION

WEEKS MONTHS YEARS FUTURE

NANTES SCHOOL OF ARCHITECTURE

HIGHER SCHOOL OF FINE ART

Nantes, France - Lacaton & Vassal

Nantes, France - Franklin Azzi Architecture

Exploring a programme in relation to time; a key studio specific criteria. Cultural Event - An event which will celebrate the culture of making over the space of a week, directly interacting with an individual. Time Frame - How an event will celebrate the culture of making over the space of many months, interacting with an entire community. Legacy - How a year of events celebrating the culture of making will interact with a generation, leaving behind a legacy. 89

Spacial Needs Outlining Facility Requirements ENTRANCE LOBBY

100m2

-Preconception

50m2

- Bar

100m2

-Office

30m2

- Multi-purpose Room (Flexible)

150m2

GALLERY/EXHIBITION SPACE

200m2 200m2

WORKSHOPS - 3D Printing Lab

50m2

AUDITORIUM

- Laser Room

70m2

CLASSROOM(S)

50m2

- Wood Work

150m2

MATERIAL STORE

50m2

- Metal Work

150m2

LARGE ASSEMBLE AREA

200m2

SERVICES

100m2

- Casting

50m2

- Textile

100m2

- Ceramic

100m2

COMPUTER SUITE(S)

100m2

CAFE - Eating Area - Kitchen

EVENT SPACE

100m2 50m2

APPROX TOTAL AREA

2150m2

CONNECTION OF SPACES Mechanical Ventilation Rqd. Office 30m2

Heightened Fire Risk Natural Daylight Rqd. Noise Sensitive Spaces

Flexible Space

Bar

150m

Reception

Private

Auditorium

Supervised Public

Kitchen

100m2

Services

50m2

100m2

50m2

Eating Area

200m2

Public Connections

100m2

Supervised Connections

Classroom 50m2

Private Connections

Main Public Entrance Entrance Lobby

Laser Room

100m

70m2

Gallery + Exhibition Space 200m2

Large Assemble Area

Wood Workshop

100m2

Textile Workshop 100m2

Computer Suite 100m2

150m2

200m2

Exporting Large Pieces/ installations

Ceramic Workshop

3D Printing Lab

Metal Workshop 150m2

Casting Room 50m2 Material Store 50m2

Exploration of spaces required in the proposed Centre for Making, analysing the spatial requirements and needs as well as connection with the public. Also used in ARC3013 Part I: Technical Feasibility.

Initial Precedents Spaces of Activity and Event The precedents show two similar way of how spaces

Exposed Servicing

within a building can be divided and zoned in a particular way to create hierarchy of spaces. They both contain envelope structures with sub-spaces and structures within. For example, the Nantes School of Archi-

Polycarbonate Cladding

tecture; developed by Lacaton and Vassal addresses voluminous large spaces encased by polycarbonate. This space is unconditioned and used to house larger events for the public, primarily used as an expan-

Conditioned Zone

sion zone. Within this space are sub-spaces, spaces that require thermal comfort and security. This maybe to secure specialist equipment or teach a smaller class. Lower ceilings and different structural strategy creates a different atmosphere. This is a feature which I utilised in the development of my design, by the event spaces being large unconditioned spaces, and the workshops containing highly sensitive and expensive equipment in secure and conditioned spaces.

Unconditioned Zone

Left - Nantes School of Architecture - Nantes, France - Lacaton & Vassal. Right - Higher School of Fine Art - Nantes, France -Franklin Azzi Architecture. Showing (from top to bottom) interior view, drawn elevation and Exterior view.

Site Proposal A New Welcome to Stoke-on-Trent The Centre for making will be situated in a central location in between the six towns. It will have strong links

Tunstall

with its surrounding context as seen in the map oppo-

Burslem

site. It is closest to the town of Stoke where the historic Spode Works Factory was once located. Noting the development of this into a creative village, it is essential

Hanley

that this does not become a â&#x20AC;&#x2DC;creative isolated islandâ&#x20AC;&#x2122; and that the surrounding area also follows suit as with the Centre for Making, continuing the trend in the rising creative sector. With the close proximity to the railway station, new access routes directly from the station into the centre have

Stoke

CENTRE FOR MAKING Fenton Longton

been explored to create a new entrance into the city, demonstrating the local talent and heritage of making. There is the potential for this to be utilised by students from the nearby Staffordshire university who may attend workshops as well as celebratory cultural events.

Site for the Centre for Making within the local context.

Hanley

Railway Station Sixth-Form & University CENTRE FOR MAKING Spode Works

Stoke

Initial Site Exploration Access Constraints and Context Sun Path There are no physical obstacles that shade the site from the south facade. Slight shading in the low winter sun from the east. Overheating could potentially become an issue in the summer if extensive glazing is used on the south facade with improper ventilation. Prevailing Winds Common wind pattern is a South Westerly. The site will be susceptible to winds as it sits above the surrounding area to the south west, this is due to the fact the canal is at a lower level along with the motorway. Winds from other directions are not unfamiliar but occur less often. Noise Noise from Rail and Road (A500) could pose an issue on the site depending on purposes. The A52 road is less busy and has slower moving vehicles. Could be a distraction to some activities. As a result rooms must be arranged appropriately.

Site photograph - Includes two existing operational warehouses and derelict masonry structure. Most of the new development will be constructed in place of the car park. Text also used as part of ARC3013 Part I: Technical Feasibility Study.

CONTEXT + SITE

wn of Stoke, in the city of Stoke-Onin the West Midlands.

ey Canal rom inland to the port of Liverpool and

ugh the middle of the city. st of the city. e side to the other which creates a barri-

h is also where the site is positioned.

CA TR

NS BI

A52

LW AY RM

STO

andâ&#x20AC;&#x2122; between the station (commonly a e as it is in between the railway tracks,

W AY

s of Manchester and Birmingham. s. mmended er a subway, followed by walking across 500 which is not the most obvious route.

ankment is represented by a vertical

HA NL

RUCTURE

RAILWAY STATION

WAREHOUSE (POTENTIAL RE-PURPOSING OPPORTUNITY)

two with the proposal of a cultural o the city.

shade the site from the south facade. om the east. tage of these solar properties for the electrical). e an issue in the summer if extensive with improper ventilation.

sterly. as it sits above the surrounding area to the canal is at a lower level along with

nfamiliar but occur less often.

d pose an issue on the site depending

ower moving vehicles. C ies. As a result rooms must be arranged

STOKE-ONTRENT CIVIC CENTRE

WEST

SITE (FLEXIBLE BOUNDARIES)

EAST

SIXTH FORM COLLEGE

Noise

SOUTH

Prevailing Winds 60

13o

Site Constraints

Exploring the physical constraints of the site which may affect the placement of particular programmes. Also used as part of ARC3013 Part I: Technical Feasibility Study.

Surrounding Context Compression of Physical Infrastructure Canal Site is adjacent to the Trent and Mersey Canal. Historically used to transport goods from inland to the port of

Hanley

Liverpool and to the rest of the world. Boundary to the site, where the embankment is represented by a vertical retaining brick wall. A500 Motorway-Style road which cuts through the middle of the city. Divides the town of stoke from the rest of the

Stoke

CENTRE FOR MAKING

city. Limited number of crossings from one side to the other which creates a barrier as it is a futile area for pedestrians. One of the crossings is the A52 which is also where the site is positioned. Railway West coast mainline to London. Short journey times to the major cities of Manchester and Birmingham.

= Railway Line = Major Roads = Canal = Site Location

City Map showing the compression of physical infrastructure within close proximity to the site. Text also used as part of ARC3013 Part I: Technical Feasibility Study.

Site Constraints - Compression of Physical Infrastructure. Left - A500 Queensway Motorway. Top - Trent-Mersey Canal, also showing warehouses situated on the site. Bottom - West Coast mainline with A50 road to Stoke town centre passing underneath (Current walking route to Stoke from train station. 99

Site Access

SITE ACCESS

Exploiting Location Particularly important links to the site include: Railway station - visitors can easily travel to the proposed development and to also create a new entrance and welcome to Stoke. University and Sixth Form - As it is going to contain creative facilities and cultural events, it will be beneficial to be in close proximity for easy access for students to engage with activities and events. CURRENT

Pedestrians Vehicle Heavy Goods Vehicle Water Taxi Train

Top - Current Access Routes to the proposed site. Pedestrians and Motor-vehicles share one entrance. Bottom - Photos of the nearby underpass. Current access from the railway station to Stoke town centre. Also used as part of ARC3013 Part I: Technical Feasibility Study.

100

POTENTIAL

Exploring potential access routes to the proposed developed site and how it could improve links especially with the railway station. Also used as part of ARC3013 Part I: Technical Feasibility Study.

101

Left - Trent-Mersey Canal and another crossing of the railway line, indicates it weaves in-between one-another. Right - Spode Works Factory. Bottom - Keep Clear, Studio Group in Stoke-on-Trent.

102

Top - Trent-Mersey Canal bordering the site which contains industrial warehouses. Bottom - Pair of bottle kilns along side the canal which are listed and protected as part of a heritage funding scheme. Right - Compression of infrastructure, railway line passing over canal tow-path.

103

ARCHITECTURE DESIGN

Thinking Through Making Week

105

Changing Atmosphere Layers As part of Thinking Through Making Week, the idea was to create a tell tail detail of the proposal early on in the development to enable further thinking of the detail and how this may inform the rest of the design. My initial intention was to create a â&#x20AC;&#x2DC;one-roofâ&#x20AC;&#x2122; structure, with several sub spaces and buildings within. This one roof would be a centre of commerse, event and activities that take place between the sub-building but still undercover. The design problem was how would this intermediate space between the external and the internal be protected from the elements without creating a harsh boundary. The idea of a fully open-able facade was explored through thinking through making week, which would include a curtain of bi-folding panels. These panels would be clad with different materials and able to close separately to change the atmosphere within depending on the event as well as fully opening to the outside to expand the event space in the summer. This idea was inspired by The Shed Building currently in development in New York City.

Top - Testing light through the different panels of materials. Bottom - The Shed, New York City.

106

Variations of material panels on the bi-folding facade study model.

107

Interaction

A key studio theme is interaction, of how the building will interact with it inhabitants and its surroundings. Through the creation of the Bi-folding facade study model, it became apparent due to the exposure of the workings of the moveable components consisting of bearings and copper pipes, that the model was fascinating to touch and move for yourself. This is partially the reason why I chose to expose services later on in my design, as is believe there is a genuine fascination with the workings of architecture. This can also be linked directly back to the dismantling of an object during the primer stage, where is explored that the casing around the metronome is unnecessary and simply hides the internal workings. The model became so untouchable that some individual decided to break it a day before the final review, hence the cable-tie repair.

A custom made fixture with bearings at right angles sat upon tracks of copper pipes. Panels of material are suspended below this, connecting each other with hinges.

108

Interaction with the moveable component of the bi-folding facade model.

109

Exhibition

The exhibition of Thinking Through Making Week put the model to the test, analysing the interaction with attendees of the event. The model was available for interaction, with many themselves assessing how the guide rails ran so smoothly. It was described as satisfying by many. Due to this, it was crucial that the final design must include the bi-folding facade with at least some interacting for the public to feel in control of the space. Lighting techniques were also tried out here, casting shadows of the mesh facade into the building, making the structure have a strong presence. This is something that was continues through to the final design, with light shining through the polycarbonate cladding, casting shadows of the steel trusses which supported the roof.

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3 4

1-5 - interaction with the bi-folding facade during the Thinking Through Making Week Exhibition.

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ARCHITECTURE DESIGN Graduation Project

Realisation & Refinement

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CENTRE FOR MAKING Stoke-on-Trent The proposal is to construct an infrastructure for startup creative businessâ&#x20AC;&#x2122;, artists and makers, giving them the opportunity to make, exhibit and sell their creations as well as deliver workshops to the public throughout the year. The idea is for the different creative minds to collaborate together, form a community, and share skills.

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Connection to Context Outlining Initial Intentions The positioning of the site is considered to be an in-between space in its own right. The centres of Hanley and Stoke are places of concentrated commerce, population and event. Despite them both being part of the same city, there is an obvious divide, partially due to the physically infrastructure which creates a harsh boundary between them both. This is hence why Is chose to develop my project on this site, to host events at this space between the two town centres, drawing people in from both in an attempt to overcome the divide and connect the two places similar to what Tschumi implements at Le Fresnoy where the main boundary is the walls of the existing 1920â&#x20AC;&#x2122;s structures.

Text also part of ARC3015: Theory into Practice.

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Site Plan showing Centre for Making in context to the Railway Station, Canal, Motorway and other amenities.

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Re-purposing Recycling Existing Structure De-Cladding Profile metal panels will be removed from the existing warehouses. Panels will be carefully removed to ensure the portal steel frames are left intact without damage and hence can be re-used. The removed panels will be either recycled or used in the re-cladding of selected sections of the existing portal frame. Concrete Frame The Concrete frame elements will contain the conditioned zones of the building. Steel Frame Upon completion of the main structural frame, smaller details can begin to be added to as the roof rafters and the steel grated walkway which runs round the perimeter of the steel frame. Polycarbonate Cladding Polycarbonate encases the public unconditioned spaces. This structure is a refinement of the existing warehouses on site.

Site Photographs showing existing warehouses that will be used as part of the design.

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Construction Sequence of how the existing warehouses will be utilised and how they have inspired the final design.

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120

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Refined Industrial Warehouse Event Space for Stoke-on-Trent Being situated on an industrial site with two currently occupied warehouses, positioned between a web of currently used infrastructure networks of Road, Rail and Canal; the idea is to draw from all these constraints and form a refinement of their architectural styles. The industrial appearance and atmosphere will be achieved by the structural elements of the building remaining exposed, as typically found within industrial warehouses. Only necessary components are implemented in these purposed structures as the focus is generally on what is being produced within the warehouse (or in relation to my project, the event).

Text also part of ARC3015: Theory into Practice.

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Showing the proposal from multiple angles. What is clear is the existing warehouse which is mostly clad with opaque material with the few exceptions, and the transparent polycarbonate warehouse refinement expanding the warehouse for the public needs.

Axonometric perspective view clearly showing the bi-folding facade in relation to context.

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Envelope Structure Enclosing the Activity Space The ‘production of effects’ can be described as the unnecessary components of the architecture, such as plaster boarding and eccentric masonry which are purely aesthetic or to obscure servicing, nothing structural, something that the building will remain standing without. I describe my design as a ‘Refinement’ of the industrial style, meaning that I am falling victim to the ‘production of effects’. Although, I believe that it is relevant to what I am designing as detailing must be considered as with the nature of the City of Culture, it is necessary for the city to look attractive for the visitors to engage with. The envelope structure will contain the majority of the event spaces, with further zoning of spaces within the separate concrete structures. In theory, all events will take place under one roof, protecting those circulating within.

Text also part of ARC3015: Theory into Practice.

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Elevation originally drawn at 1:20 displaying constructional materials and fixtures.

Poly Carbonate Roof. Primary Steel Truss (1000mm depth).

Bi-folding Polycarbonate Door Panel Steel Chain Curtain. Galvanised Universal Steel Column (600x300mm).

Grated Steel Service Walkway. Bi-folding door runner and bearings.

Flat Cast Insitu Concrete Floor Slab. Exposed Services.

Suspended Lighting Concrete Column (500x500mm).

Solid Concrete Floor Construction. Anchor Plate Raft Foundation.

Originally 1:20 Constructional bay of the envelope structure with preliminary concrete columns and glazing that has now been adapted. 125

Layers of Spaces Polycarbonate Panelled Roof (Tertiary Structure)

Zoning Activities and Events

Steel Purlins (Secondary Structure)

The solid and heavy properties of concrete were exploited to establish more â&#x20AC;&#x2DC;permanentâ&#x20AC;&#x2122; conditioned spaces which contain machinery, kitchens and sanitary facilities which must be fixed and kept securely. Whereas,

Steel Truss Beams (Secondary Structure) Tensile Steel Cross Bracing

the lighter, slender properties of steel are used to create a voluminous unconditioned space which sits over the top of the concrete frame and is used to hold temporary events such as markets and exhibitions. The exposure

Steel Truss Beams (Primary Structure)

of these materials and structure allow the definition between the two spaces to be seen. The intention is that when events are not taking place,

Moment Transfer Connection Joint

that the building can be contained solely within the concrete components, describing the rest as an expansion zone for celebration. Concrete Elevator and Stair Core(s) Steel Curtain Facade Runner Concrete Frame Structure Solid Concrete Floor & Raft Foundation Bi-Folding Polycarbonate Curtain Facade

Text also part of ARC3015: Theory into Practice.

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“Experiment and Spectacle” Collaboration Under One Roof Tschumi’s Le Fresnoy National Studio for Contemporary

congregate under the one roof, sharing skills and ideas

Arts sees him make the addition of one roof stretching

with one another and the public that are also invited

across the entire existing site, preserving the existing

in. The ‘in-between’ space is represented as the area

1920’s structures. The centre provides studios and fa-

in-between the workshops and studios which when in

cilities for cross over artists, for example: “a video artist

function, comprises of the selling, teaching and event

who is also a musician, or a musician who is a film mak-

space, formed by variations of the positioning of the

er or a painter”. The idea was to connect these facili-

railway carriage-representative pods. When not used

ties through a series of walkways suspended from the

to hold such events, it is used simply as circulation

singular roof to allow for the artists to circulate, but in

space, allowing occupants or the general public navi-

the process create moments throughout the walkways

gate through the building under shelter.

which create the opportunity for events. These spaces

In the diagram opposite, the in-between spaces are

are classified as in-between spaces and are fabricated

marked in orange which is where collaboration takes

from the addition of the one roof and the left-over spac-

place.

es between the existing buildings. The concept of the Le Fresnoy can be leant to my project from its ‘one roof’ ideology that contains a variety of makers and artists of start-up businesses and cottage industries as they

Text also part of ARC3015: Theory into Practice. Opposite - Diagram showing collaboration spaces under the ‘oneroof ideology’.

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Building Users Makers at Work The concept is that makers from different backgrounds and professions collaborate under ‘one-roof’, sharing the workshops with larger machinery as well as having their own space to work either within the workshops at desks and workbenches or in separate makers’ yards where larger materials can also be stored. An intention is for the makers to make use of the moveable Pods that are used for collaboration with the public. Learning Workshops and Classes can be held within these which can be temporarily retro-fitted with the relevant technology and equipment to hold such activities. Similar to Bernard Tschumi’s Le Fresnoy National Studio for Contemporary Arts as previously discussed, all these activities take place under the ‘one-roof ideology’ allowing the event space to be shared with the circulation, all under cover of the envelope structure.

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A B

CERAMIC ARTIST • Kiln Required • To produce ceramic Tiles, China and Ornaments which can be exhibited in the Centre for Making. • Stokes’s Historic Industry.

MAKING

WOOD CRAFTSMAN • Band Saw, and other traditional workshop equipment. • To create detailed joinery work. • Designs can be exhibited and sold in the Centre for Making

GENERAL PUBLIC • Able to explore and visit exhibits. • Buy locally made products at regular market events. • Attend learning workshops with professional makers and business start-up entrepreneurs in designated “PODs” • Regular evening events utilising the onsite bar and cafe.

+ PODS Over time. = Built-up Area = Canal/River = Railway Line = Railway Station A

= Major Road B

JEWELLERY DESIGNER LONGTON

• 3D Printer Required • To create bespoke jewellery and prototypes. • Able to design intricate design using computer software.

FURNITURE FABRICATOR • Laser Cutter Required • To create contemporary furniture designs. • Can be exhibited within the Centre for Making.

COSTUME DESIGNER • Sewing Machines required. • Be able to produce costumes for City of Culture Parades. • Allows for bespoke costume designs with input from the community.

Example of makers who will use the Centre for Making, giving a brief description of the skills they can offer and share, as well as the equipment they will require.

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Public Engagement Navigation Navigation through the building from the railway station

MAKERS SPACE

STATION

HANLEY (via Bus)

is a key concept in the design. The Pods can also be walked across like a bridge, which is beneficial as when entering from the station, you enter on the upper ground level. The positioning of the Pods on the day of visiting will determine your route through the building. This may

STOKE TOWN CENTRE

also depend on the event that is taking place. The colour orange was selected as a way to place make, mak-

= Pedestrian Route(s) and direction

ing them recognisable and identifiable. Railway Station

Railway Station

See Upcoming Events

Drop-off Repairs

Grab a Coffee

Observe Makers in

Attend Ceramics

Lunch at the

Action

Workshop

Cafe

Attend Evening

Explore the

Drinks at the

Market

Exhibitions

Bar

Top - Navigation Through the building from the station. 1 - Morning Commute Route. 2 - Weekday Makers Event Route. 3 - Evening Market Event Route. 132

CIRCULATION DIAGRAM - Moveable Pods

Stoke Town Centre

Spode Creative Village

Home

VIEW FROM FIRST FLOOR METAL WALKWAY LOOKING INTO THE POD FORUM

Top - First view of the building upon arriving at Stoke-on-Trent railway station. Bottom - Internal perspective of the main public space showing the orange aluminium clad Pods.

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Experiencing the Centre for Making 135

Animating Architecture Changing Space The design of the railway carriage-like Pods that are designed to move are positioned in accordance to the event that takes place. With event taking priority and

“There is no space without event” Bernard Tschumi.

the architecture being shaped around it directly links to Bernard Tschumi’s theory that “there is no space without event”. The Pods offer the most efficient and flexible space for the site, allowing multiple events to take place in one space at different times of the day, week, month or year that have different spatial requirements. The Pods are utilised on two levels of the building;

MARKET SPACE

with the lower ground floor using the pods as teaching space which can be connected to make larger spaces STATION

HANLEY and to theMAKERS floor ofSPACE the warehouse to create an expanded (via Bus)

yard area. It can also be utilised on the upper ground level, producing bridges across the lower forum from the raised entrance of the station platform across to the cafe/bar area. If connected, the walkways on top of

MAKERS SPACE

the pods can produce an events deck for special occaSTOKE TOWN CENTRE

sions. The main concept of this idea is that these can change multiple times on a daily basis acting as a subtle adver-

= Pedestrian Route(s) and direction

tisement for the events that are about to take place as the Centre always remains a circulation space, allowing the public to navigate through.

RCULATION DIAGRAM - Moveable Pods

136

EVENT SPACE

Example of Pod iterations shaped by the event.

SUN 27 JUNE 2021

FRI 2 JULY 2021

Iteration of Pod movements within the Centre for Making over a period of time. Originally shown as an animation video at review.

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Flexible Space Creating Tailored Space The ability of the Pods being able to move creates a space with many possibilities of iterations. The Railway-Carriage-like Pods make the space adaptable for the event to take place which can drastically change over time as culture changes. The Centre evolves around makers, and being able to accommodate their needs is crucial for the success of the building. The pods are primarily collaborative teaching spaces where the makers are encouraged to invite the public to workshops where skills are exchanged. The Pods create a more intimate environment for teaching to take place in comparison to the high ceilings of the warehouse. The intention is that the positioning of the pods will create voids in-between one another under the roof of the warehouse which can be used as yards to create larger pieces of work and set up pop-up workbenches

Height of yard space level with Pod floor level.

for larger workshop groups. These would be accessible via a fold-away ramp component of the pods. (See Diagram Opposite)

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New Pod Delivered

Pod+Pod=Big Pod

Maker’s Yard

Perforated Metal

Maker’s Yard

Market Forum

Pod Movement: Weeks-Months-Years.

Pod Movement: Hours-Days-Weeks.

The Pods situated in the warehouse section of the tracks are

The Pods situated in the refined warehouse section of the

designed to move but at a less frequent rate. This allows mak-

tracks used for public engagement and events are designed

ers and artists to establish their space to provide workshops.

to move but at a more frequent rate. This allows for event or-

This may involve the rearrangement of desk, insertion of ma-

ganisers to shape the event space that is required. Pods can

chinery, or even the joining of multiple pods to create a larger

be moved entirely to create an open forum for a market; joined

space.

and moved forward to create an expanded events deck; of positioned to create additional makers’ yards.

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Floor Plans Development The development is crucial in the design process in order to configure the dimensions of spaces and if they are suited and meet the requirements of the spatial needs. It also allows relevant rooms to be adjacent to one another which will eventually present a thoroughly thought through and logical design. Developing floor plans also allows the prediction of circulation within the space, by being able to predict public restricted areas and makers only spaces and overcoming this in a successful way which is not abrupt and obvious.

Initial Axonometric views to help the understanding of how the facade and roof envelope structure will fit together and relate to the context.

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Three key stages in floor plan development.

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Lower Ground Floor The lower ground floor will include most of the making space within the centre. Service Yard: Used for the delivery of materials for the makers to use, as well as the delivery of new pods over time. Plant Room: Used to power the building with the inclusion of a CHP boiler partially powered by recycled wood from the workshop. Standard Makers Yard: With partitions to adjust the size and to make public/private. Deluxe Makers Yards: Have direct access to the Pods (pods are not individually rented) Casual Auditorium: Used to give speeches and lessons in a casual ‘drop-in’ manner’. Traditional Workshop: Contains machinery such as band saws, lathes, kilns, circular saw and sanders. Also complete with work benches. Administration Units: Used for the operation and organisation of events within the Centre. Technical Learning Cluster: Computer suite and workbenches to learn critical software, as well as additional 3D CNC printers. Technological Workshop Suite: Complete with Laser Cutters, 3D printers and CNC Routers. Space is openable to the Learning Cluster. 146

Service Yard Plant Room Standard Makers’ Yards Deluxe Makers’ Yards Casual Auditorium Traditional Workshop Administration Units Technical Learning Cluster Technological Workshop Suite

10 15 20 25m

N 147

Upper Ground Floor Hotel Room/Live-Work Space: Throughout the City of Culture year the rooms will be used for rent by the public, afterwards they will become live-work spaces for makers in residence. Reception/Welcome Space: This space will greet vis-

Railway Station Platform

itors from the station which is the preferred entrance. This space has the ability to contain additional pop-up market stalls. Casual Auditorium: Used to give speeches and lessons in a casual ‘drop-in’ manner’. Repairs Drop-off: This allows people to drop off objects

Hotel Room/Live-Work Space Reception/Welcome Space Casual Auditorium

and clothing that require repair where they will be repaired by the makers for a small fee depending on the item. Events Deck: Can be used as an expansion for the cafe/ bar, exhibition space or one-off celebrations. Kitchen: To prepare food for the cafe/bar. Metal Grating Walkways: Run the perimeter of the building allowing for the opening and closing of the bi-folding facade and exploration by the public.

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Repairs Drop-off Events Deck Kitchen Cafe/Bar Metal Grating Walkways

10 15 20 25m

N 149

First Floor Existing warehouses: Used to contain more restricted spaces within the building that are solely used by the makers. The public can be invited into this space to attend workshops. Exhibition Space: Used to exhibit creations manufactured by the makers of the building and local talent around the city. One-off exhibitions may be held here once the centre becomes established. Metal Grating Walkways: Run the perimeter of the build-

Existing Warehouse

ing allowing for the opening and closing of the bi-folding facade and exploration by the public.

Exhibition Space

Metal Grating Walkways

150

10 15 20 25m

N 151

Exhibition Space

152

Cafe/Bar

Tech Workshop

Events Deck

Traditional Workshop

COLLABORATION SPACE

Reception/Foyer

Pop-up Market

(Pod)

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Three-Dimensional Model 1:200 Scale Model The exploration of the development in 3D form enabled

me to understand and present the design much more clearly. The use of orange throughout can be cross referenced through all of my drawings so spaces are easily distinguishable. From the adjacent photographs, the form has been explored at different scales, beginning with massing at 1:1000, sketch modelling at 1:500, and then finally at 1:200. Doing this helped me develop the form of the

building with at first only focusing on the key spaces of spectacle within the building that would move and change depending on the event.

1 - 1:1000 initially exploration of form models. 2 - 1:500 sketch model in context exploring spatial requirements. 3 - 1:200 Final model showing materiality and structure.

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Final Model at 1:200 155

Top - View from the South with envelope structure. Bottom - View from South showing interior spaces and Pods.

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3 4

1 - Angle from station, showing perforated metal facade which allows restricted viewing into the makersâ&#x20AC;&#x2122; yards. 2 - Bi-folding polycarbonate facade. 3 - Envelope structure in low light,showing the interior concrete frame. 4 - Interior view in low light. 157

Pod Iterations 1:200 Scale Model

One walkway in place - morning commute set-up.

158

No pods in place - Market set-up.

Pods placed apart - Makers yards and workshops set-up.

3 Pods joined - Expanded events deck set-up.

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Envelope Structure 1:50 Scale Model Facade Study Building a model fragment at 1:50 allowed me to test and photograph multiple lighting techniques. This is crucial to show the design intention of the polycarbonate façades to glow outwards during the night, and diffuse light inwards during the daytime. The model also shows how the bi-folding facade can be peeled back exposing the structure and the walkways within. Overall the envelope structure encases a downscaled city and network of public space, a space of thriving activity and event. Reflecting on this, a moving model similar to that of ‘Thinking Through Making’ would have been more beneficial to show first hand interaction, and how that initial thinking has been applied to my final design.

160

Model casting shadows of the envelope structure through the translucent polycarbonate, as would do in real life.

161

How the facade may look like in the daytime, diffusing light on the inside to create a brighter-than-usual space.

162

How the building may look like after dark, with the polycarbonate emitting the light from within to attract attention to the building and possibly advertise an event.

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ARCHITECTURE DESIGN

Thinking Through Making Workshops

THINKING THROUGH MAKING WORKSHOPS

168

169

Thinking Through Making Workshops Experimenting The thought behind thinking through making is to have a hands on approach to the building materials and features that we may be able to incorporate into our designs. Having this hands on approach means that we are more likely to be familiar with the properties of the material and if it is appropriate. This will therefore allow us to have more confidence when explaining our designs.

170

Concrete Carving

Concrete carving involved some hands on carving with different types of concrete, some being tougher than others depending on the ratio of the mixes. This also involved the casting of concrete using quick setting cement to show the complex shapes that can be cast within a mould.

171

Brick Making 1

Production of Adobe Bricks involved experiment of different ratios of straw, soil, water and sand. The straw is used to add strength to the bricks as they dry out.

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Interactive Design 1

3 4

Interactive design involved coding separate switch boards that focused on different triggers such as a change in lighting, noise and movement. These then interacted with one another and created a moving contraption.

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The exhibition involved bringing everyoneâ&#x20AC;&#x2122;s models together showing a diverse range of architecture details, styles and materials.

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The exhibition involved bringing everyoneâ&#x20AC;&#x2122;s models together showing a diverse range of architecture details, styles and materials.

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ARCHITECTURE DESIGN Tectonic Integration

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PART I - CASE STUDY REPORT TU Delft Library Contributors: Arran Noble Ching Wah Hong Emma Moxon Robert Ashworth Sam Hawkins

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[ A ] - Overview

Institution: Delft University of Technology Architects: Mecanoo Situated: Prometheusplein 1, 2628 ZC Delft, Netherlands Area: 15000m2 Realisation: 1996 â&#x20AC;&#x201C; 1998 Design concepts: incorporate digitalisation of library use, new heart in the campus General form: Roof inclined by 13 degrees to SouthWest, cone form penetrating through centre of roof Structure: Steel frame and concrete Key features: green roof

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[ B ] - Design Intent

Delft Library was made during the beginning of digitisa-

Two reoccurring key phrases are found which can be

tion where computers and the internet were being used

used to summarise the buildingâ&#x20AC;&#x2122;s design concept:

as management and educational tools. It had to be flexible to new technologies12.

- An Airport of Technology

The University wanted heart to their campus2, a place

- A Lifted Landscape

where students could work and relax in one environment which formed a positive hub of inhabitation from the inner working spaces and the interactive landscape to engage with in good weather. The library also had to accommodate large fluctuations inhabitation throughout due to the nature of the academic year1 which may influence the ways they control the indoor climate. Mechanoo had to choose between two separate sites. The chosen site was situated opposite the Aula, a notable brutalist structure part of the university estate. There was potential to compliment it and to take advantage of the siteâ&#x20AC;&#x2122;s surroundings1 by incorporating the landscape into the design. The nature of the site and the intention of their decision shaped the design of the building.

1. Delft University of Technology, 2000. TU_Delft_Library.pdf. [Online] Available at: https://d1rkab7tlqy5f1.cloudfront.net/Library/Over%20de%20Library/TU_Delft_Library.pdf 2. Mechanoo, 2017. Library Delft University of Technology. [Online] Available at: http://www.mecanoo.nl/Projects/project/27/Library-Delft-University-of-Technology?t=0 182

Top - Perspective View of the pavilion during the daytime. Bottom - Perspective View of the pavilion during the nighttime, with the signs illuminated.

183

“The green roof creates a lifted landscape used for leisure and recreation” Opposite the TU delft library is a building called the

Due to this system and their sequence, three areas of

Aula. The lifted landscape inclines away purposefully to

inhabitation occur. This creates flexible and versatile

compliment the Aula by avoiding confrontation. A zon-

spaces to study and/or communicate.

ing of communal buildings in the university is created as

Space sequence diagram:

the Aula is also a auditorium and canteen. 1. Green roof and entrance- rest, communication, and The Netherlands being a flat country the lifted land-

external, informal

scape is intended to be a landmark. Lifted landscape

2. Large Volume - open and flexible, encouraged com-

in figure (?). People inhabit the top provided a positive

munication, collaborative study

green space and an informal area of the library where

3. Study zones - access to library resources (either

groups are encourage to talk and read in the sun. This

books or computer), quiet zoning, introverted, area of

combination of landmark and green spaces fulfil the

concentration

university’s need for a “heart of the campus”. Below this landscape is where the building is. It is separated into a four zones: Office spaces (red), study spaces (yellow), entrance (blue), central warehouse (clear) where books are housed. The warehouse is below ground as well as book storage.

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Left - Aula Building Right - TU Delft Library Isometric green roof Isometric interior zoning 185

“Likened to an airport due to function and symbolism” The library is described as an “airport” in the way it is run; a hub space connecting people to information and in a way to associate the building’s intimate association with technology. A generous area in central volume creates comfortable fluctuations for inhabitation as well as flexibility for future technological integration. Cone form is not only symbolic of technology in its intentional fate of construction but it also provides light,

Space sequence diagram

a focal point to the building and an internal volume for

1 - Landscaped roof, for recreation purposes.

study.

2 - Main Library space, contains books and study areas.

It displays the theme of technology through lightweight

3 - Quiet study area contained within the cone.

features: hanging book cases, light shiny roof, thin columns and cone.

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Top - Photo taken on university trip, overlooking a quiet space module from book shelves. Bottom - Photo taken on university trip, inside large library space looking upwards towards the central cone.

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[ C ] - Site Appraisal

The building sits on the site as a wedge protruding from

The cone protruding from the building has a dominance

the ground, from the west it appears as a sloping green

over the context, suggesting that the intentions were to

hill whereas from every other side glass curtain walls

create a landmark within the campus.

greet you with reflections of the opposing context. The prominence of the library, as it stands out from much of

The services access to the building face onto the car

itâ&#x20AC;&#x2122;s context, can presumably be put down to a flexibility

park whereas the pedestrian access acts as a cut into

in the design due to the, equally distinctive, pre-existing

the green hill.

neighbouring university conference centre. With itâ&#x20AC;&#x2122;s green roof that slopes up from ground level the building acts as a part of the landscape, providing both a pleasant place to read books and an elevated topography that the surrounding area significantly lacks. The slope also has been positioned in a way to contain people within the campus area of the university and so that views donâ&#x20AC;&#x2122;t overlook the neighbouring residential area, as well as allowing prevailing wind to flow over the building protecting it from both wind load and heat loss.

Axonometric Diagram showing how prevailing winds and sun path interact with the building.

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PEDESTRIAN ROUTES

ROADS

CAR PARK

Section of the site including some supporting images of TU Delft Library. Section Left - Aula Building. Section Right - Tu Delft Library.

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[ D ] - ATMOSPHERE & MATERIAL Exterior The Delft Central Library, in contrast to the Brutalist Auditorium adjacently, sits as a sloping-vast lawn. The insulated green roof is not only built for environmental concerns but acting as an natural landscape which is rare to find any mountains in Netherlands. The concrete cone emerges from the skin of grass slope. Embodying the symbol of technical engineering, the cone is an noticeable indication of the library from the surrounding. In contrast of the green roof, the glazed faรงades at other sides reflect surrounding landscape and buildings.

The library sits as a nature landscape Harmoniously in the site

190

Top - Glazed facade reflect surrounding landscape and buildings. Bottom - Contrast appearances of materiality and form in different orientations.

191

Interior An unexpected spaciousness of the library appeared underneath the sloping roof, centralized by the polished cone. The sloping metal celling, shaping the entire space, reflects indirect daylight harmoniously delivered from the cone. Materials are carefully selected to illustrate different architectural elements. Structural components of stairs, columns and floor structures are built in steel; Non structural components of floor finishes, furniture, and celling in the cone are built in timber. Locating all bookshelves at two sides of the building, stunning blue backgrounds behind the bookshelves are applied to bring out numerous amounts of book. They become more than bookshelves, but interior facade to the building.

192

Sloping metal celling reflects indirect daylight delivered from the cone

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[ E ] - STRUCTURAL STRATEGY OVERVIEW The TU Delft library is a structurally fascinating building within itself. It has a basic structure which is composed of both a steel frame which is planned in a grid, and a partial concrete frame and columns which is cast in situ which are found mostly in the lower ground level and the west wing of the building where the offices and administration facilities (mostly non-public) are contained. These structural elements are vital in order to support the load of the green roof which extends the university landscape. The cone which signifies the technological age is an independent structure from the rest, having its own steel supporting columns which run through the

2 1

ground floor plate and into the basement at foundation level. The visible cone which slices through the green roof is constructed from steel and concrete, before being rendered. The exposed steel pinnacle of the cone was constructed separately and then craned-in and installed pre-built.

1 - Contains majority of library facilities. 2 - Cone: Contains four floors within, housing quiet study areas.

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1 - Green Roof: Contains and protects the majority of the library building. Structurally supported by both steel and concrete frames. 2 - Cone: Contains study space over four levels. Structurally supported by diagonal steel columns. 3 - Glazing: Defining the joining of the Green Roof and Cone.

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JOINING POINT As the building is split into two separate elements, the

From the exterior, despite the safety railings, the glazing

point at which they join must be carefully considered

sits almost flush with the lawn roof landscape. Metal

for it to be successful. In this case, the architects have

flashing protects when the glazing meets the roof struc-

chosen a transparent material to clearly identify and de-

ture and the cone, which is visible from the following

fine this part of the building. The glazing that stretches

images.

across the joint allows a halo of light to flood the space below, illuminating the cone structure. It also gives the impression that the cone structure is almost floating and it lightweight. However, composed of a mixture of steel and concrete it is anything but. The glazing appears frame-less as it rests effortlessly between the two

despite the separate panes being bonded by a silicon filler, to ensure the horizontal glass is weather-tight. The following images show the joining point of the cone and green roof via the glazing from both interior and exterior. From the interior, it appears that the green roof has had a circle sliced from it, revealing some structural elements from the roof in section* including the steel beams, suspended ceiling and some of the fire sprinkler services.

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1 3 2

1 - Suspended Ceiling: Represented using metal panelling which reflects the light. 2 - Cone: Constructed from Steel and Concrete before being rendered white to defuse light.

1 - Suspended Ceiling: Represented using metal panelling which reflects the light. 2 - Cone: Constructed from Steel and Concrete before being rendered white to defuse light. 3 - Glazing: Separate panes of glass bonded using silicon filling. 197

TWO INDEPENDENT STRUCTURES

198

1 - The main space within the library is open plan which

2 - The steel columns supporting the cone run through

is made possible by using steel columns us support the

the floor plate (which is shown in the image) and through

roof, opposed to load bearing walls. The steel columns

to the lower ground level where it is supported by the

are slender in diameter with services such as ventilation

foundations of the building. The diagonal columns are

and lighting contained within a column unit. The actu-

set out in six pairs and are equally spread apart from

al slenderness of the column can be seen as it joins

one another. Four floors of quiet study space is sup-

the ceiling. The columns are worked around a grid of

ported by the cone where they are joined by suspended

7800mm.

curving concrete-cast-in-steel staircases.

199

FLOOR PLANS

The construction used is a Orthographical grid, however the shape of the building is non-orthographical meaning that the grid has to be modified at points in order for it to be structurally suitable. This can be seen through the grid of the steel columns in the floor plans. 1 - Concrete columns 2 - Ground floor steel columns follow footprints of con-

1 - LOWER GROUND

3 - FIRST FLOOR

2 - GROUND FLOOR

4 - SECOND FLOOR

crete columns on the lower ground level. Concrete frame elements at the East and West ends of the structure contribute to supporting the green roof. Supported by steel columns in-between the two internal masses. 3 - Cone cuts through the green roof, leaving a clearing around the circumference where it would otherwise meet the roof structure. 4 - Cone visible from the roof plan also, creating mutual language both internally and externally. Grass roof meets the ground on the West side where the main entrance is situated.

200

ALL STRUCTURAL ELEMENTS

CONCRETE CAST IN SITU

STEEL COLUMNS (CONE)

STEEL COLUMNS (ROOF LOAD)

201

GREEN ROOF

The green roof has a surface area of approximately

- 48,000kg of hot bitumen processed.

5500 metres squared and a slope of a maximum of 13 degrees to the South East. Due to the green roof being

- 42,000kg of Axis Mineral powder mixed with soil.

lawn, it is classified as an intensive green roof, which typically requires more support due to its increased

- 78 Water sprinklers installed.

load. Due to leakages, the roof underwent refurbishment and enhancement during 2009. During this refurbish-

- Grass package thickness: 10cm.

ment the Styrofoam insulation was replaced with foam glass which could be fixed with hot bitumen meaning

- Mass of roofing and grass package: 280kg/m2.

that it would create more of a water resistant layer compared to the Styrofoam which could not be due to its

- Total permissible roof load: 550kg/m2.

properties. The grass package on the roof was greatly reduced, from 400kg/m2 to 280kg/m2. Though this

- Rubber drainage mat produced by ZinCo allows re-

would not benefit the lawn, it would indeed benefit the

duced grass package depth.

construction, reducing the overall load on the structure below. The soil that was advised by the firm Agterberg to be used on the green roof was mixed with a mineral product which would help maintain moisture for the vegetation. This allowed the depth of the grass package to be reduced by 10cm to 10cm therefore, reducing the loading.

202

GRASS PACKAGE (100MM)

ROOFING

EPDM ROOFING MEMBRANE VULCANIZED RUBBER DRAINAGE MAT BITUMINIZED POLYESTER MAT

INSULATION VAPOUR CONTROL LAYER

CONSTRUCTION

CELLULAR GLASS INSULATION (100MM) BITUMINIZED POLYESTER MAT (0.2MM)

CONCRETE ROOF DECK

SECTION OF ROOF CONSTRUCTION 1 - Green Roof: Contains and protects the majority of the library building. Structurally supported by both steel and concrete frames. 2 - Cone: Contains study space over four levels. Structurally supported by diagonal steel columns. 3 - Glazing: Defining the joining of the Green Roof and Cone.

203

[ F ] - ENERGY AND ENVIRONMENTAL STRATEGIES GREEN ROOF The grass roof has multiple functions, not only acting as an outdoor seating and studying space, it also was designed with environmental qualities in mind. The roof is an insulator of both sound and heat, the thickness of the structure and nature of the vegetation absorbs this energy, this helps to maintain a constant indoor temperature and reduces noise disruptions, an important quality for a library. Lastly, the vegetation collects and stores rainwater, this helps to not overbear sewers during heavy precipitation, but also ensures during summer natural cooling due slow evaporation.

204

West facing view, sloped grass roof for students to reach.

Top - Summary diagram of strategies undertaken in the building. Bottom - Diagram showing roof thermal mass, reduction in rainwater run-off with permeable surface and noise insulation.

205

COLD STORAGE Cooling ventilation is necessary as indoor appliances emit heat that needs to be exhausted. There is a ground water storage system which works by using ground temperatures to heat/cool liquid and hence heat/cool the space. The air is then fed into the space via vents situated within the columns. Most computers are situated in the silent study area, therefore there is high heat production. The room is north facing to reduce gains via solar, cooling is provided by chilled beams in the ceiling. There is zoning of spaces to allow for specific temperature control between them.

Photo of the North-facing separated silent study area from the main study space. This image shows the zoning of spaces so that they are independent of each other, this allows for differentiation in environments. Ground floor plan showing study silent study space.

206

Summer Chilled Beams in Ceilings

Heat emitted from lighting and computers

Ground Source Temperature Pump

Impenetrable Clay Layer 45 - 70m Sand Layer

60m apart

Air vents within columns

Top - Summary diagram of strategies undertaken in the building. Bottom - Diagram showing roof thermal mass, reduction in rainwater run-off with permeable surface and noise insulation.

207

CLIMATE CONTROL FAร ADES The climate control faรงade system ensures the inner leaf maintains the temperature of the interior spaces. In winter this prevents cold radiation, and in summer it reduces solar gains. This allows work areas to be situated up against the glass without glare and temperature concerns.

Top - Reflective glass climate control faรงades. Bottom - Photo of curtain wall with study spaces facing directly out. The nature of the specified glass ensures minimal glare making the work spaces more comfortable, it also reduces solar gains, thus no unwanted heat enters the room via solar. 208

Passive Solar Design Using the large glazed faรงades

209

[ G ] - Key Details & Moments

Here I have highlighted 3 of the key moments/ details

The self-structuring bookshelf situated at the back of

that perform as significant design features of the Li-

the library, spread over 4 floors and backing onto a deep

brary. We have the ring of glazing that circles the cen-

blue painted wall, provides many key moments and be-

tral cone, neatly joining it with the roof and conveying

comes one of the major design features of the space.

the structural independence of the cone from the rest

The stairs that protrude from the front of the structure

of the design. The glazing acts as a halo around the

seemingly float, as they appear to not touch the floor.

central mass, bringing in light onto the white/grey rough

The small detail of the mesh book-stands allow for the

surface and reflecting and dispersing it into the space

reading of books whilst overlooking the large communal

below.

space below.

The stairs that take individuals spiralling up into the cone are suspended from itâ&#x20AC;&#x2122;s underside, not only does this provide nice structural details, off which the staircase hangs, but it seems to absorb the sound of foot steps well as people move up into the quiet space of the cone. To continue the theme of sound absorption the stairs are finished with a concrete surface, the density of the material choice attenuates the sound of footsteps well.

210

Concrete finish to steps

Stairs hung from metal elements

Wire book stand detail

Staircase Suspemded

211

PART II - TECTONIC INTEGRATION Materiality and Atmosphere

212

213

Materiality Industrial Refinement Steel Chain Curtain Use is to obscure the inside from the outside without significant reduction in daylight. Refinement of industrial architecture - Originally sourced in industrial food warehouses Example: Butchers. Polycarbonate Cladding Provides the main facade for the building and hence the appearance. It has been chosen to partially obscure the structure and services of the building due to it semi-transparent properties. When the bi-folding facade is opened it will reveal the structure and the services behind it. Polycarbonate panels are highly durable and offer thermal properties more efficient than glazing at a reduced cost. Galvanised Metal Grating Used for walkways around the building which can be used to open the curtain and bi-folding facade as well as maintaining it. This material continues the architectural language of a â&#x20AC;&#x2DC;lightweightâ&#x20AC;&#x2122; structure which contains all the unconditioned spaces.

214

1:20 Elevation Showing Constructional properties of the facade.

215

Bi-Folding Polycarbonate Steel Truss Roof Structure

Integrating Construction Envelope Structure Two Separate Structures The new building constructed will consist of two separate free-standing structures. The inner concrete framed structure will accommodate all of the conditioned spaces of the building and will therefore need to be insulated and weather-tight. The outer steel shell structure simply supports the polycarbonate roof and bi-folding facade which is a unconditioned space and is associated with acting as a shelter and wind block. The solid and heavy properties of concrete were exploited to establish more â&#x20AC;&#x2DC;permanentâ&#x20AC;&#x2122; conditioned spaces which contain machinery, kitchens and sanitary facilities which must be fixed and kept securely. These are highly serviced with exposed cable trays, ventilation and suspended lighting. Whereas, the lighter, slender properties of steel are used to create a voluminous unconditioned space which sits over the top of the concrete frame and is used to hold temporary events such as markets and exhibitions. The use of a translucent polycarbonate makes the space substantially lighter than those in the concrete frame, creating an outdoor-like atmosphere and encourages visitors to casually wonder in for exploration rather than be faced by harsh boundaries which is partially the aim of the secure concrete spaces as these are more restricted. The exposure of these materials and structure allow the definition between the two spaces to be seen. 216

Exposed Services & Suspended Lighting Metal Walkways

1 - 1:20 Constructional Section.

2 - 1:50 Atmospheric and Activity Section

3 - 1:50 Facade Study Model 217

Integrating Construction Atmosphere The atmosphere between the secure conditioned spaces and the open unconditioned space varies, mostly due to the envelope structure that encases the activity. The envelope structure consisting of a lightweight steel frame clad with translucent polycarbonate creates a light space within during day time. This casts shadows of the exposed truss structure onto the polished concrete floor, signifying the totally public spaces which guests are free to explore. This is in contrast to the relatively darker spaces which are commonly used by makers and artists. Doing this subtly through the use of lighting eliminates the need for obvious harsh boundaries. On a night, the reverse will happen, with the polycarbonate envelope illuminating light outwards to the context, attracting interest in the building, inviting people in.

1:50 Facade study model showing the night time properties of polycarbonate when light is shining within.

218

Galvanised Steel Truss Roof Neon Sign-age

Suspended Lighting

Suspended Walkway

Concrete Lift Core

VIEW FROM FIRST FLOOR METAL WALKWAY LOOKING INTO THE POD FORUM

Galvanised Steel Column

Secure Conditioned Spaces

Steel Grating Balustrades

Polished Concrete Floor

(Concrete Framed)

Internal perspective showing most public areas with exposed structure.

219

NON-DESIGN MODULES ARC3013 ARC3014 ARC3015 ARC3060

Supporting Technical Feasibility, Theories, and Management of the Design Project.

221

Arran Noble // 150073721 ARC3013 // Cara Lund + Mags Margetts Culture + Legacy Part I : Technical Feasibility Study Access to the site via underpass from the Stoke-on-Trent Train Station - Own photo 1

ARC3013 ARCHITECTURE TECHNOLOGY ‘Part I : Technical Feasibility Study’ - Report.

222

[A] - ANALYSING CONTEXT + SITE

WAREHOUSE (POTENTIAL RE-PURPOSING OPPORTUNITY)

CONNECTION TO INFRASTRUCTURE

ABSTRACT

[A] - ANALYSING CONTEXT + SITE

[B] - ANALYSING PROGRAMME

6 10 11

REFERENCES AND BIBLIOGRAPHY

The proposal is to construct an infrastructure for start-up creative business’ in the area, giving them the opportunity to recruit, sell and deliver workshops through fairs throughout the year, as well as giving them a place to work/create outside their homes. The idea is for the different creative minds to collaborate together, form a community and share skills.

NS BIR

. (M

STO

STOKE-ONTRENT CIVIC CENTRE

LW AY

A52

Sun Path • There are no physical obstacles that shade the site from the south facade. • Slight shading in the low winter sun from the east. • May allow the proposal to take advantage of these solar properties for the generation of energy (heat, light and electrical). • Overheating could potentially become an issue in the summer if extensive glazing is used on the south facade with improper ventilation. Prevailing Winds • Common wind pattern is a South Westerly. • The site will be susceptible to winds as it sits above the surrounding area to the south west, this is due to the fact the canal is at a lower level along with the motorway. • Winds from other directions are not unfamiliar but occur less often. Noise • Noise from Rail and Road (A500) could pose an issue on the site depending on purposes. • The A52 road is less busy and has slower moving vehicles. C • Could be a distraction to some activities. As a result rooms must be arranged appropriately.

HA NL E

W AY

CA TR

A GH

The outline for the brief is to develop and propose a cultural building that can be used in conjunction with the UK City of Culture. Based in the city of Stoke-on-Trent, the site falls between the two major towns within the city of Stoke and Hanley which are harshly divided by the compression on three major infrastructures; the A500, Canal and Railway Line. The site is situated between these and was selected to attempt to stitch the divide between Stoke and Hanley back together, forming a united city once again. The Site is situated next on the opposite side of the tracks to the railway station, which leaves visitors in a ‘no-mans-land’ in-between the two towns, forcing them to either get a bus to Hanley, or a lonely walk through a subway to Stoke. The proposal could create a new entrance and welcome to the city.

[E] - ENERGY & ENVIRONMENTAL OPTIONS [F] - MATERIAL, TECTONIC & STRUCTURAL OPTIONS

ABSTRACT

M BIR

[C] - FIRE REQUIREMENTS [C] - ACCESSIBILITY REQUIREMENTS

Canal • Site is adjacent to the Trent and Mersey Canal • Historically used to transport goods from inland to the port of Liverpool and to the rest of the world. • Boundary to the site, where the embankment is represented by a vertical retaining brick wall. A500 • Motorway-Style road which cuts through the middle of the city. • Divides the town of stoke from the rest of the city. • Limited number of crossings from one side to the other which creates a barrier as it is a futile area for pedestrians. • One of the crossings is the A52 which is also where the site is positioned. Railway • West coast mainline to London • Short journey times to the major cities of Manchester and Birmingham. • Area is isolated from the town centres. • Hanley - city centre a bus ride is recommended • Stoke - the individual must pass under a subway, followed by walking across the A52 bridge over the Canal and A500 which is not the most obvious route. Overview • Site is positioned on a theoretical ‘island’ between the station (commonly a persons arrival) and Stoke town centre as it is in between the railway tracks, and the Canal and Motorway. • Aim is to bridge the gap between the two with the proposal of a cultural building which will welcome people to the city.

A5 2

CONTENTS PG.

The site is located near to the historic town of Stoke, in the city of Stoke-OnTrent. The city is a collection of six towns in the West Midlands.

RAILWAY STATION

SITE (FLEXIBLE BOUNDARIES)

WEST

SIXTH FORM COLLEGE

EAST

Noise

SOUTH

Prevailing Winds 60o

Site Constraints

[A] - ANALYSING CONTEXT + SITE LAND USE

SITE ACCESS

The Urban area in immediate proximity to the site hosts a range of public and private buildings. The train station attracts public buildings around it such as educational institutions and offices which allows for easy travel for students and professionals. Due to excellent infrastructure nearby, the location is attractive to distributors such as Royal Mail, and the old Spode ceramics factory. Residential housing is commonly spread throughout and beyond the initial public realm around the station. Particularly important links to the site include: • •

Railway station - visitors can easily travel to the proposed development and to also create a new entrance and welcome to Stoke. University and Sixth Form - As it is going to partially be an education institute and contain creative facilities it will be beneficial to be in close proximity for easy access for students.

HISTORIC LAND USE

CURRENT

Prior to 1960s was used as Railway Sidings and Goods Shed for the National Rail. On development of the land in the 1960s onwards, little precaution may have been carried out to deal with possible containments of the land. Solid containments could include: • • • •

Railway ties Air Compressors Transformers and Capacitors Metals, Roofing Shingles (containing asbestos)

Pedestrians

LAND USE DIAGRAM

• • •

Fossil Fuel combustion products Coal ash and cinder containing lead and arsenic Spilled or leaked liquids such as Oil, gasoline and cleaning solvents.

POTENTIAL

Vehicle

Chemical containments could include:

Cafe/Bar/Restaurant

Residential

Education

Warehouse/Factory/Distribution Place of Worship

Heavy Goods Vehicle

Transportation

Civic Derelict Hotel

Water Taxi Train

Offices

CONNECTION OF SPACES Mechanical Ventilation Rqd.

Natural Daylight Rqd. Noise Sensitive Spaces

OUTLINING PROGRAMME

100m2 50m2 30m2

WORKSHOPS - 3D Printing Lab - Laser Room - Wood Work - Metal Work - Casting - Textile - Ceramic

50m2 70m2 150m2 150m2 50m2 100m2 100m2

COMPUTER SUITE(S)

100m2

CAFE - Eating Area - Kitchen

100m2 50m2

EVENT SPACE - Bar - Multi-purpose Room (Flexible)

100m2 150m2

GALLERY/EXHIBITION SPACE

200m2

AUDITORIUM

200m2

CLASSROOM(S)

50m2

MATERIAL STORE

50m2

LARGE ASSEMBLE AREA

200m2

SERVICES

100m2 2150m2

Auditorium

Supervised

AREA REQUIRED (Approximately)

30m2 50m2

70m2

Public

Office

Flexible Space

Bar

Kitchen

100m2

150m2

Reception

Private

ENTRANCE LOBBY -Preconception -Office

APPROX TOTAL AREA 6

Office 30m2

Heightened Fire Risk

[B] - ANALYSING PROGRAMME

100m2

Eating Area

200m2

Public Connections Reception

3D Printing Lab

Casting Room

Kitchen

Classroom

100m2

Supervised Connections

Material Store

Services

50m2

Classroom 50m2

Private Connections

Main Public Entrance

Laser Room

Entrance Lobby

Laser Room

100m2

Entrance Lobby

Textile Workshop

Ceramic Workshop

Computer Suite

Eating Area

Bar

Services

200m2

150m2

Wood Workshop

Metal Workshop

Flexible Space

200m2

Gallery + Exhibition Space

Auditorium

Large Assemble Area

Wood Workshop

Supervised Public

Exporting Large Pieces/ installations

Ceramic Workshop 100m2

Textile Workshop 100m2

3D Printing Lab

Computer Suite 100m2

150m2

200m2

Private

70m2

Gallery + Exhibition Space

Metal Workshop 150m2

Casting Room 50m2 Material Store 50m2

223

MASSING STUDIES

INITIAL MASS - ACROSS THE SITE

INITIAL MASS - TOWER

DEVELOPING MASS - REGARDING SITE ANALYSIS

DEVELOPING MASS - ROOM HEIGHTS

•

• •

•

This model shows how the layout may look in the form of a tower. The footprint is 200m2 with the addition of a 100m2 entrance lobby. It shows how the building may look with its smallest possible footprint in comparison with its largest (previous diagram). No sense of room organisation has been considered in this model except from the entrance lobby. It would make the building very hard to circulate around, especially when constructing large scale artworks. It would require much more space for elevator shafts in this case as a large goods lift would be needed as well as public elevators.

• •

Placing to scale masses of room sizes onto the site gives a scale of what the future building will look like on the site. This massing shows the footprint of the building if it was mostly restricted to the ground floor. It fills the entire empty space on the site, though there is opportunity to use/use the land of, the existing buildings nearby with good reason. This would not be practical as would not allow all rooms that require so to have windows, it also wouldn’t be efficient for internal or external circulation.

Rooms must be positioned appropriately to for-fill the connection of spaces section of the brief (pg 7) and must acknowledge site analysis such as Sun Path and Noise. Due to the site being relatively noisy due to its engagement with infrastructure, noise within spaces has been focused on in-particularly. Most notable noise comes from the A500 Motorway and the Railway line meaning the spaces adjacent to these must be considered appropriately. Noise sensitive spaces (refer pg 7) have been placed in the centre of the mass to reduce noise from the road and the railway.

• • •

Room heights will typically vary from there different uses. More intimate spaces will typically have lower ceiling heights such as the Classroom and Computer Suite to make acoustics suitable to hear comfortably to teach a class. Rooms such as The large assembly space and the Auditorium require higher ceilings for its own functions. Entrance Lobbies also tend to have high ceilings to welcome the visitor into the building. It may also include horizontal and vertical circulation. Additional massing will need to be carried out to consider circulation around the spaces such as stair cases/elevators. Fire escapes must also try to open directly to the external, if not through protected corridors.

• • • •

HORIZONTAL ESCAPE • •

[C] -FIRE REQUIREMENTS

•

CALCULATION OF OCCUPANT CAPACITY

•

Occupant Capacity is that what is calculated in relation to table C1 of Appendix C in Approved Document B (fire safety) which recommends the number of people which should be using a room based on its purpose and area. This data is then used in follow-up calculations for door widths, number of escapes etc. TYPE OF FLOOR SPACE OCCUPANT ACCOM. FACTOR M2/P CAPACITY

ENTRANCE LOBBY -Reception -Office

100m 50m2 30m2

8 3 9

5.0 0.7 6.0

20 71 5

WORKSHOPS - 3D Printing Lab - Laser Room - Wood Work - Metal Work - Casting - Textile - Ceramic

50m2 70m2 150m2 150m2 50m2 100m2 100m2

8 8 8 8 8 8 8

5.0 5.0 5.0 5.0 5.0 5.0 5.0

10 14 30 30 10 20 20

COMPUTER SUITE(S)

100m2

1.0

100

CAFE - Eating Area - Kitchen

100m2 50m2

4 11

1.0 7.0

100 7

EVENT SPACE - Bar - Room (Flexible)

100m2 150m2

2 2

0.5 0.5

200 300

GALLERY/EXHIBITION

200m2

5.0

AUDITORIUM

200m2

0.5

400

CLASSROOM(S)

50m2

1.0

•

MATERIAL STORE

50m2

30.0

•

LARGE ASSEMBLE AREA

200m2

5.0

}

• •

[C] -ACCESSIBILITY REQUIREMENTS

• • •

PROTECTED ESCAPE

Spaces such as the Auditorium, Multipurpose event space and Cafe Eating area all require a minimum of 2 escape routes as they have greater than 60 persons potentially using the space. Spaces such as all the workshops have less than a 60 person occupant capacity meaning only 1 escape is required. However the table also applies to storeys, meaning that if for example, the Wood, Metal and casting workshops were all on the same floor, the occupant capacity would be greater than 60, meaning 2 escapes would be required.

• • • •

ACCESS TO THE SITE

•

Due to the building being designed for public use, it is important for it to be inclusive to all, and that individuals with disabilities of all kinds can use the building, causing as little distress and disruption to the person as possible. Using building regulations M1/M2 can be used to design spaces which work for everyone.

Should be present when a corridor serves two or more different occupancy types. Contains no flammable furnishings or fittings. Fire Door separation to reduce spread of fire quickly. Disabled refuge points which don’t intrude into minimum exit route width,

• • •

Some Vehicular and Pedestrian entrances to the site may be shared. Vehicle access paths may cross over Pedestrian walkways. Tactile paving with blister surface will need to be installed for the aid of the visually impaired. Curb Would need to be dropped in order for persons in wheelchairs to cross easily and safely.

•

Referring purpose group 5b) areas with seating in rows. One Direction only - 15m to final exit (or protected area). More than one direction - 32m to final exit (or protected area). >60, <600 - Requires 2 escape routes. Width of escape route + exit for 400 persons = 1050+(5(180)) = 1950mm minimum wide doors and exit routes.

•

Most making workshop rooms have a occupant capacity less than 60 meaning that doorways have to have a minimum width of 750mm. Rooms with occupant capacities greater than 220 persons use the equation 220+(5P)=W. P=no. of persons, W=Width (mm).

• •

Maximum total distance = 15m Width of exit = 1950mm

STAIRCASES AND HANDRAILS • •

As informed from Section B, Analysing Programme, the building will be constructed and planned over multiple storeys, requiring vertical circulation. As well as necessary elevators, steps and handrails will need to be installed that are inclusive to everyone, of all ages and disabilities (excluding wheelchair users).

•

• •

Canal

•

Water level of the canal is over 10m lower than the site with a vertical wall. Disabled access would be required, which means an alternative to steps would be needed. A ramp would be infeasible due to the rise of 10m, many restriction apply to ramps, meaning that if a 1:20 ramp was applied to this rise, the ramp would have to extend 200m with 20 changes in direction or landings. When the total rise is beyond 2m, a lift must be provided.

• •

•

Sprinkler systems may be installed to reduce the risk of fire spreading. Additional Exits to the requirement. Self closing fire-doors. Doors on latches for easy and quick escape if necessary. Working and Maintained mechanical ventilation. Direct external exit.

•

Train Station

Final Exit

Maximum total distance = 32m Minimum width of exit + corridor = 1950mm

Diagram 13 + 14 - Section 4 M1/M2 Facilities in buildings other than dwellings. Showing requirements of inclusive auditoriums.

WORKSPACES Diagram 1 - Section 1 M1/M2 Access to buildings other than dwellings. Showing requirements of tactile paving.

Escape Route

Protected Corridor/Staircase

Wheelchair users and those with sensory impairments may need to sit and observe from a particular angle distance (example if someone is deaf they may require to sit close so they can lip read). Seating to contrast visually with the surroundings for the visually impaired. Flexible seating should be present which can be removed or provide extra leg room if desired. Wheelchair bays adjacent to seating to allow integration with others. Empty spaces next to some seating to allow guide dogs to rest without blocking isles.

Diagram 11 - Section 3 M1/M2 Horizontal and Vertical Circulation in building other than Dwellings, showing elevator dimensions.

AUDITORIUM EXAMPLE • • • • •

HEIGHTENED FIRE RISK AREAS • • • • • •

AUDITORIUM SPACE

Occupant Capacity is also used to calculate the minimum width of a single staircase, more persons it serves, the wider it must be for safety. Table 7 (below) shows this up to a staircase of 1800mm wide, beyond this width a handrail must be installed in the middle. For example if a staircase served 4 floors and 350 people, the staircase would require to be 1200mm.

Staircases must follow the guideline dimensions in the diagram above which have been calculated using ergonomics to ensure the step fits the majority of the population. It is important that the landings and the nosing of the steps are highlighted in a contrasting colour for those with visual impairments.

>300mm

Maximum total distance = 15m (to protected area) Minimum width of exit + corridor = 1950mm

Handrails must be between 900mm-1000mm from the pitchline of the stairs/ramp to the top of the handrail. And 900mm1100mm from the landing to the top of the handrail. Must extend at least 300mm beyond the end of the staircase. Must be visually contrasting against the wall for visually impaired.

• •

280

0-1

•

• • •

Much of the purpose of the building is to house making workshops for the public, which also must be inclusive to those with disabilities. Desks and workspaces must be accessible to those in wheelchairs which may in some cases be a proportion of the spaces which is reasonable. The diagram below shows what may be possible in the terms of a washing facility. The sink allows room underneath for a wheel chair to be pushed under. To do this, the worktop may need to be reduced in height and free of obstructing pipes underneath. Some storage and cupboard space will be lost as a result.

9001000mm

ROOM AREA

•

9001100mm

ROOM

VERTICAL ESCAPE

The use of the premises can be identified under 5) Assembly and Recreation which will include 5b - areas with seating in rows for the auditorium and 5c - elsewhere for all other spaces in the building. Classifying the building into these categories allows for the calculation of maximum travel distances. For areas with seating in rows, the maximum distance in one direction is limited to 15m, and limited to 32m in more than one direction where there maybe more than one exit. For areas in the elsewhere category, one direction limit is 18m, and 45m in more than one direction.

-42

Own image Hepworth Wakefield Staircase.

Diagram 16 - Section 4 M1/M2 Facilities in buildings other than dwellings. Showing requirements of inclusive workspaces.

N Fresh air + Direction W

Stale air + Direction Solar Rays

[E] - ENERGY & ENVIRONMENTAL OPTIONS

Pedestrian Circulation

INDOOR/OUTDOOR FORUM As part of the brief, the proposal will be creating an infrastructure for making workshops which locals can use and learn from. The development will contain many different skill workshops, which will all be under one roof. The ‘one roof’ they will be contained under will be a partially indoor-outdoor space. Creating this category of space provides different issues which will relate to energy and environmental factors. The intention is for the roof to be glazed, which means it has the problem of being too cold during the winter and becoming overheated in the summer. The workshops and other spaces stated in part B will be in fully enclosed separate spaces under the roof structure.

Cold Water Warmed Water Electrical Cable Solar Rays Air Flow

Photovoltaic Panels • Utilise the sites positioning with no obstructing buildings to the South and South West. • Renewable energy source that is available within the footprint of the building (nZEB On-Site Supply Options) as the photovoltaic panels will be placed on the roof where energy gained can be optimal.

Hydroelectric Power • Canal bordering the site can be utilised for hydroelectric power. • Due the placid nature of a canal due to the need for it to be relative level, a nearby lock and weir could be used as a hydroelectric plant. • Although this will be small scale, underwater turbines can be installed next to existing weirs and does not affect the navigation of canals and rivers. • Such projects were first introduced by British Waterways in 2010 to maximise zero carbon energy.

Direction of Flow

Ground Source Heat Pump • Due to the tight constraints of the site, and having being previously developed, the most suitable option for a ground source 3. heat pump would be a vertical ground source heat pump. • A boar hole is created deep into the ground where a loop of pipe is inserted. • Cool water is pumped through the pipe where it gains geo thermal heat energy through the ground. • (Horizontal or coiled ground source heat pump would gain heat which the ground has absorbed from the sun throughout the day) • The warmed water then returns to the surface where the heat energy is transferred to the internal system where it is best used in radiators and underfloor heating.

• • •

Site exposed on the South West boundary due to it being higher altitude. It allows for prevailing winds to blow through the buildings outdoor space. Cause dramatic cooling, problem in the winter months.

• •

The glazed roof acts like a greenhouse and traps solar radiation within. Can cause over heating in the summer without the aid of ventilation from prevailing winds.

• •

Creating a wall on the South West facade acts a ‘wind block’. Increases ‘feel like’ temperature as eliminates the wind chill.

• •

Reducing solar rays can be achieved by partially glazing the roof. By introducing a Saw-Tooth roof, it eliminates direct sunlight, only letting in north light through the north facing skylights. Therefore reduces over heating, however can cause it become too cold in winter.

• • •

Winter - Roof Vents and Walls = Closed. Greenhouse effect - Passive solar gain. Greenhouse effect occurs when solar radiation is reflected within the glazing and cannot escape and therefore a dramatic rise in temperature occurs. This can be very desirable in the winter when air temperatures tend to be lower.

• • •

Summer - Roof Vents and Walls = Open. Cross and Stack Ventilation encourages cooler conditions. Cross Ventilation occurs when fresh air from one opening carries out stale warm air out of the opposite opening. Stack Ventilation occurs when fresh air is heated by solar radiation and rises. As cooler air blows at the top of the exposed stack, the hot air is extracted out due to the difference in pressure and is subsequently replaced with fresher air.

Solar Thermal Panel • Water is present in the looped pipes within the panel. • Pipes are matt-black to absorb maximum solar energy. • The water in the pipes are heated where through convection the water moves up through the pipes of the panel. • Pipes are coiled in a Solar Thermal Twin Coil Cylinder where the solar coil begins the heating of the water to a certain level. • A boiler continue to heats the water to the required higher temperature that the modern home needs. • However energy significantly reduced as boiler did not have to heat water from cold.

Small-Scale Hydro-Canal.

224

Air Source Heat Pump • Air Source Heat Pumps are particularly popular in urban areas due to their compactability. • Takes in air from outside to heat a liquid refrigerant. • The electric pump compresses the liquid to increase its temperature, and then condensed re-released and a warm liquid. • It is then used as underfloor heating or to heat hot water cylinders. • Can extract heat to temperatures as low as -15oc, however it is much less efficient and alternatives may use less energy. Optimal temperatures are above 5oc.

Air Source Heat Pump Diagram.

Solar Thermal Panel Diagram.

•

[F] - MATERIAL, TECTONIC & STRUCTURAL OPTIONS ATMOSPHERE

MATERIALS PRESENT

• • • •

To achieve this atmosphere, the aesthetic elements this involves are: • • • • • • •

MATERIALS FUTURE

STRUCTURAL STRATEGY - STEEL

Exposed Structural elements. Framed structural strategy to allow for flexible activities. Large spans for space demanding activities. High Ceilings and roof height. Partial indoor and outdoor spaces (No definite boundary). Cool and neutral colour tones throughout. Creative spaces may be represented in a different material and warmer feel, to decipher them from the rest of the structure, also giving a sense to public/ private realm.

•

Create a permeable facade encourages interaction. Maximises natural light, reduces the need for artificial light during the daytime. Allows views out from within and vice versa. Passive solar properties to reduce energy from fossil fuels for heating. Creates an airy, light and large feeling atmosphere as desired.

Exposed Steel • • •

•

Reflects on the historic use of the site of it being post industrial. Minimalistic finish as stripped back to the raw structural elements. Allows users to see how the building functions through structure and services, as services will also be exposed as they typically run through the cavity above the ceiling boards. Corrosive free coating required.

Polycarbonate sheeting •

• • • • •

Can be used as an alternative to glazing where insulation is not a requirement such as the ‘one roof’ element of proposal. Lightweight structure. Diffused light, evening balance light throughout. Can be coloured as desired. Weather-resistant. Low Maintenance

• • • •

• •

The materials and finishes found on the site tell a tale of the declining industry as many appear to be in disrepair. Metals particularly show signs of rust and wood has began to rot. This shows that weather needs to be factored in when discussing material choice, as if gone unmaintained, the appearance can change over time.

Concrete Frame Structure:

Allows uninterrupted large spans. Relatively lightweight. Neural Toned. Allows for flexible space as does not require load-baring walls, supported by columns with relatively low floor area. Allows for large openings (Due to spanning and concentrated load. Signifies industrial appearance.

• • •

Allows uninterrupted large spans. Neural Toned. Allows for flexible space as supported by columns with relatively low floor area. Can also be incorporated with longer wall spans. Allows for large openings (Due to spanning and concentrated load. Signifies industrial appearance. Can be pre-cast with standardised dimension or cast insitu on site. (Requires Large Site for mixing etc.).

Considerations:

Fire Resistance • Exposed steel frame must be fire protected due to the material not being heat resistant, meaning that under intense heat such as if a fire was to occur, it could cause the steel to soften and therefore fail structurally. • Coatings can be applied to the steel in order to extend the amount of time the fire takes to directly effect the steel. This will essentially buy time for the fire to be extinguished, however this solution would not totally protect the steel indefinitely and would need to be reapplied again if a fire occurred as this would weaken the protection. Options for fire protection include:

Thermal Mass • An exposed concrete frame would act as a thermal mass in the building which would delay the radiation of heat. It would absorb the heat through passive solar design through the daytime and re-radiate it slowly throughout the night or cooler periods to maintain a comfortable temperature. • This would only be relevant in the internal sections of the development and be accelerated where glazing is in the path of the solar rays and the concrete surface. Hence a glazing section south facing would be most suitable. • The surface must be exposed for this to work to full efficiency. • Most appropriately used in solid floor construction.

• • •

•

• •

ALTERNATIVE STRUCTURAL STRATEGY - CONCRETE

Steel Truss Frame Structure:

Glazing

The site is placed on a post-industrial landscape which was a former Railway sidings and Goods shed. At the current stage, an industrial atmosphere is desired for the site. The initial concept is to create an infrastructure for creative persons to set up their own small business’ and facilities and exchange them with the public and one another within the complex. The programmes by the individuals will be situated in separate spaces, all contained under the ‘one roof’ element which invites the public in to observe what the creative minds are working on, giving an insight into the field.

•

Intumescent Geopolymer Bound Coating is partially foamed and will expand during thermal exposure. Reduce time taken for steel to reach unsafe temperatures. Appearance is not particularly pleasing and would usually be used in factory environments where aesthetic is not essential. Thin Film Intumescent Coating comes in form which can be sprayed directly onto the steel similar to paint. Can be applied in decorative finish format with colouring which is more aesthetic for public facing spaces.

Boarded Fire Protection System is most efficient and best performing system. Essentially boxes steel beams/columns within fire protective boarding and can be then decoratively finished. Does not allow exposed steelwork.

INTERNAL + EXTERNAL APPEARANCES Higher School of fine arts - Nantes, France Franklin Azzi Architects.

STEEL FRAME Exterior

Interior

Nantes School of Architecture - Nantes, France Lacaton + Vassal.

CONCRETE FRAME Exterior

Re-radiated Heat Solar Rays

Solid Concrete Floor - Thermal Mass

Environmental Implications • Concrete is very unsustainable for the environment. • For every tonne of standard concrete produced approximately 1 tonne of CO2 is released into the atmosphere. (Approximately 10% of total emitted CO2) • Very hard to recycle - commonly compromised by re-bar to reinforce it which are difficult to separate. Also commonly fixed together, unlike steel frame which can be unbolted. • If free of containments, can be crushed and used as aggregate for new concrete, or used as a base layer for new roads and pavements where asphalt is applied as the finish layer.

Interior

REFERENCES Building Regulations 2010 - Approved Document B - Fire Safety - HM Government. Building Regulations 2010 - Approved Document M - Access to and use of Building HM Government GBS Fire stopping, Passive Fire Protection - Protecting Steel from Fire - http:// gbsfirepro.co.uk/ = Not own image/diagram - assume everything else unless otherwise stated, my own.

225

Arran Noble // 150073721 ARC3013 // Cara Lund + Mags Margetts Culture + Legacy Part II : Integrating Construction Constructional Sequencing Diagram - Tertiary Fixtures - Own image

ARC3013 ARCHITECTURE TECHNOLOGY ‘Part II : Integrating Construction’ - Report.

226

[A] - SUSTAINABILITY & CONSTRUCTION SEQUENCING

CONTENTS PG. ABSTRACT

[A] - SUSTAINABILITY & CONSTRUCTION SEQUENCING

[B] - MATERIAL, CONSTRUCTION & DETAIL

[C] - STRUCTURAL STRATEGY

[D] - ENVIRONMENTAL STRATEGY

[E.1] - FIRE COMPLIANCE STRATEGY

[E.2] - ACCESSIBILITY COMPLIANCE

[F] - CRITICAL REFLECTIVE ANALYSIS

[G] - BIBLIOGRAPHY

De-Cladding • Profile metal panels will be removed from the existing warehouses. • Panels will be carefully removed to ensure the portal steel frames are left intact without damage and hence can be re-used. • The removed panels will be either recycled or used in the re-cladding of selected sections of the existing portal frame. • Manually removal using cherry-picker cranes which are compact allowing for convenient movement within the portal frame.

The proposal is to construct a Centre for Making which celebrates both traditional and technological skills which can engage with both the older and youger generation. Live-Work accommodation will be established for professional makers and start up businesses whom can utilise the facilities such as the workshops within the building, at the same time encouraging them to give back to the community by offering making workshops and classes to add to the rise of cultural activities in Stoke-on-Trent. As well as the workshop spaces which will be secured in a conditioned concrete frame, the building will also be the home to various events within the unconditioned polycarbonate and steel envelope which contains moveable pods to shape the space depending on the event.

Levelling of Site • Existing car-park surface removed and site made level to prepare for foundation and construction. • Checks of the existing canal retaining wall must be made prior to this stage to ensure it is strong enough to withstand new loads - piling may be required if not. • Caution - Due to the site being post-industrial, debris may be uncovered. • JCB Diggers will be used for excavation and soil will be transported away using trucks.

Foundations • Aggregate used to make the ground stable. • Damp Proof Course layed on top of sand-binding which is added to produce a level surface. • Rebar is then added before the concrete is poured using large cement mixers - this must be done in one single batch to eliminate impurities and inconsistencies. • Raft-foundations have been selected due to solid concrete floor throughout the building due to heavy machinery and extensive framed building, making it inefficient for strip foundations.

This report explores the technical requirements and constructional integration in order to make the design a reality. Analysing these will help to understand the smaller details of the building design and why certain decisions have been taken making the project more convincing and realistic.

CONTENTS PG. ABSTRACT

[A] - SUSTAINABILITY & CONSTRUCTION SEQUENCING

[B] - MATERIAL, CONSTRUCTION & DETAIL

[C] - STRUCTURAL STRATEGY

[D] - ENVIRONMENTAL STRATEGY

[E.1] - FIRE COMPLIANCE STRATEGY

[E.2] - ACCESSIBILITY COMPLIANCE

[F] - CRITICAL REFLECTIVE ANALYSIS

[G] - BIBLIOGRAPHY

ABSTRACT The outline for the brief is to develop and propose a cultural building that can be used in conjunction with the UK City of Culture. Based in the city of Stoke-on-Trent, the site falls between the two major towns within the city of Stoke and Hanley which are harshly divided by the compression on three major infrastructures; the A500, Canal and Railway Line. The site is situated between these and was selected to attempt to stitch the divide between Stoke and Hanley back together, forming a united city once again. The Site is situated next on the opposite side of the tracks to the railway station, which leaves visitors in a ‘no-mans-land’ in-between the two towns, forcing them to either get a bus to Hanley, or a lonely walk through a subway to Stoke. The proposal could create a new entrance and welcome to the city. The proposal is to construct a Centre for Making which celebrates both traditional and technological skills which can engage with both the older and youger generation. Live-Work accommodation will be established for professional makers and start up businesses whom can utilise the facilities such as the workshops within the building, at the same time encouraging them to give back to the community by offering making workshops and classes to add to the rise of cultural activities in Stoke-on-Trent. As well as the workshop spaces which will be secured in a conditioned concrete frame, the building will also be the home to various events within the unconditioned polycarbonate and steel envelope which contains moveable pods to shape the space depending on the event.

Arran Noble // 150073721 ARC3013 // Cara Lund + Mags Margetts Culture + Legacy Part II : Integrating Construction

Constructional Sequencing Diagram - Tertiary Fixtures - Own image 2

[A] - SUSTAINABILITY & CONSTRUCTION SEQUENCING

Concrete Frame • Cast insitu concrete frame will sit directly on top of the solid concrete floor with rebar integrated into the foundations for support. • The Concrete frame elements will contain the conditioned zones of the building so insulation will therefore need to be integrated into the construction. • Cast insitu concrete allows the concrete to be cast into the desired shape and dimensions that are designed. In this case a ‘flat slab’ will be formed. • Shuttering, supported by scaffolding as seen in the image below will be used to cast the concrete and support it throughout the drying process. • Due to the concrete eventually being exposed as part of the ‘industrial refinement, it is important for the finish to be of high grade, meaning that the concrete mix and the shuttering used need to be carefully monitored by project managers.

Primary Steel Elements • Primary steel sections will need to be carefully craned into place due to their abnormally large size. • Due to the steel frame only being used to support the roof, the frame is not that extensive, meaning that the prefabricated pieces should take a short amount of time to assemble. Due to this a mobile crane can be delivered to site for a shorter period of time. This will be much quicker than constructing a stationary crane. • Consideration of delivery to site must be taken for the large crane and steel elements. The main access road contains a low bridge. • Deliveries must be informed of this so they can take an alternative route if necessary.

Secondary Steel Elements • Once the primary columns and beams have been erected, the secondary beams which are supported by the primary can be fixed into place. • Cross Bracing is added at this stage to withstand wind-load.

SITE

227

[B] - MATERIAL, CONSTRUCTION & DETAIL Poly Carbonate Roof. Primary Steel Truss (1000mm depth).

Bi-folding Polycarbonate Door Panel Steel Chain Curtain. Galvanised Universal Steel Column (600x300mm).

Grated Steel Service Walkway. Bi-folding door runner and bearings.

Tertiary Steel Elements • Upon completion of the main structural frame, smaller details can begin to be added to as the roof rafters and the steel grated walkway which runs round the perimeter of the steel frame to assist with servicing. • These elements will also be assembled with the use of a ‘cherry-picker’ crane, which allows construction works to manoeuvre freely and closely to the work area and attach pieces together.

Roof and Facade Cladding • The polycarbonate roof is fixed into place and the concrete framed structure is made weather tight with the insertion of windows. • Once weather-tight, the interior can begin to be fitted out with non-structural stud walls and services such as ventilation ducts and cabling. • Smaller ‘cherry-picker’ cranes and ladders will aid the construction workers reach high to reach spaces.

Final Finishes • Final finishes are made to the interior such as the fitting of the workshop machinery, lighting and sanitary facilities. • Construction equipment begins to be removed from the site. • The building is cleaned to a presentable standard. Free from dust or mud which has been caused my construction workers and machinery. • Landscaping takes place to the exterior land where portable cabins have been throughout the construction period.

Flat Cast Insitu Concrete Floor Slab.

Concrete Column (500x500mm).

Solid Concrete Floor Construction. Anchor Plate 1:20 Elevation & Section 5

Raft Foundation.

Rafter Supported Glazing Bar Polycarbonate Roof Panels (2100x6000x35mm)

Steel Chain Curtain • Hung from a steel-formed runner and fastened at the bottom to prevent from blowing in the wind which could cause damage to extensive glazing on the inside layer. • Use is to obscure the inside from the outside without significant reduction in daylight. • Refinement of industrial architecture - Originally sourced in industrial food warehouses Example: Butchers.

Steel Rafters Steel Truss (1000mm depth)

Flashing with drip edge

Bi-folding door runner Polycarbonate infill panel Galvanised Steel Fixture Curtain Runner Moment Transfer Connection Joint

Polycarbonate Cladding • Provides the main facade for the building and hence the appearance. It has been chosen to partially obscure the structure and services of the building due to it semi-transparent properties. • When the bi-folding facade is opened it will reveal the structure and the services behind it. • Polycarbonate panels are highly durable and offer thermal properties more efficient than glazing at a reduced cost.

Steel Chain Curtain

Universal Steel Column (600x300mm)

Galvanised Metal Grating • Used for service walkways around the building which can be used to open the curtain and bi-folding facade as well as maintaining it. • Servicing can also run through the void where the walkway is positioned, allowing for essential maintenance and repair work. • This material continues the architectural language of a ‘lightweight’ structure which contains all the unconditioned spaces.

1:20 Elevation

Screed Floor Finish (75mm) Underfloor Heating Pipes (40mm diameter)

Screed Floor Finish

Vapour Control Layer High Performing Insulation (100mm)

Vapour Control Layer

Reinforced Concrete Flat Slab (300mm depth)

High Performing Insulation (100mm)

Exposed Building Services

Reinforced Concrete Flat Slab (300mm depth)

Trench Heating Unit Inset Aluminium Window Frame

Exposed Building Services

Service Walkway Handrail Service Walkway Balustrade

Metal Grating Walkway

Curtain runner (bottom) Bi-folding door runner Curtain runner (bottom)

Curtain runner (top)

Bi-folding door runner Curtain runner (top)

Steel Cantilever Beam Steel Cantilever Beam

Thermal Block (cast with Concrete and Steel reinforcement support)

Steel Chain Curtain Steel Chain Curtain

Universal Steel Column (600x300mm)

Triple Glazing (Vacuum Cavities)

Concrete Column (500x500mm)

228

[C] - STRUCTURAL STRATEGY Two Separate Structures • The new building constructed will consist of two separate free-standing structures, not supported by one another. • The inner concrete framed structure will accommodate all of the conditioned spaces of the building and will therefore need to be insulated and weather-tight. • The outer steel shell structure simply supports the polycarbonate roof and bi-folding facade which is a unconditioned space and is associated with acting as a shelter and wind block.

Concrete Column (500x500mm) Reinforced Solid Concrete Floor (200mm) Underfloor Heating Pipes (40mm diameter) High Performing Insulation (100mm) Vapour Control Layer

Polycarbonate Panelled Roof (Tertiary Structure)

Trench Heating Unit Inset Aluminium Window Frame

Steel Purlins (Secondary Structure)

Triple Glazing (Vacuum Cavities)

Universal Steel Column (600x300mm)

Steel Truss Beams (Secondary Structure) Tensile Steel Cross Bracing

Steel Chain Curtain

Steel Truss Beams (Primary Structure)

Polycarbonate infill panel Galvanised Steel Fixture

Moment Transfer Connection Joint

Concrete Elevator and Stair Core(s)

Bi-folding door runner

Steel Column (Primary Structure) Steel Curtain Facade Runner

Curtain runner (bottom) Steel Grating

Cast Insitu Concrete Flat Slab

Drainage Channel

Cast Insitu Concrete Column

Anchor Plate

Solid Concrete Floor & Raft Foundation

Insulation Infill

Bi-Folding Polycarbonate Curtain Facade

Concrete Raft Foundation

Exploded Constructional Axonometric

Damp Proof Membrane Sand Binding 11

Cross Bracing • Cross bracing must be applied to both structures to supply lateral stability to the building against loads within and external loads such as wind load. • Tensile steel cross bracing will be provided across one bay of the steel roof structure, whereas the facade does not allow room for vertical cross bracing so a moment transfer connection joint is used between the steel trusses of the roof and the steel universal columns. • Lateral stability is provided in concrete frame by the use of a flat slab which directs force in multiple directions. Concrete stair cores provide the vertical lateral stability as it has a larger surface area than a singular column.

[D] - ENVIRONMENTAL STRATEGY

Pods • Railway carriage-like pods will be a major feature in the building, with the different iterations serving as an advertisment. • Will be fixed to bogies which is the wheel fixture similar to that used on trains. • Will be clad in lightweight aluminium as the pod is moveable (power assisted) • Lightweight steel frame to reduce load. • Will run on steel tracks cast into the concrete to eliminate trip hazards. • Will be connected to the electric via a buzz-bar. • Used to accommodate teaching and events spaces.

= Direction of Flow = Extracted Stale Air = Fresh Inlet Air

Section to show ventilation services

Chip Board Floor Deck

Buzz-bar Connection

Steel Purlins (600mm Centres)

Example of Tensile steel cross-brace

Steel Frame with Universal Columns and Truss Beams (Primary) Steel Truss Beams (Secondary) Steel Side wall Girts Aluminium Metal Cladding

Mechanical Ventilation • Due to the activities taking place in the conditioned zones of the building such as Machinery Workshops and Kitchen Facilities, mechanical ventilation is required to ensure the air in these spaces remain clean and safe for the occupants. • Mechanical ventilation also allows for temperatures and air quality to be controlled and monitored more precisely, which could be adjusted on separate occasions depending on the current use of the space. • Example: If the space is lightly used, less extraction may be required as there will be less pollutants, and therefore would reduce energy consumption of the fans. • Due to the building also being an close proximity to the A500 Motorway and West-Coast mainline, exhaust fumes from motor vehicles and trains could reduce air quality to use as natural ventilation in the conditioned spaces which may cause discomfort to occupants.

Railway-Like Bogie

Pod Exploded Constructional Axonometric

Services Location • A leading design principal is to leave services exposed to sight to respond to the architectural language of the building being an ‘industrial refinement’. • Despite being for aesthetic design purposes, this also allows the system to be easily accessible, maintained and repaired if necessary. • Due to the conditioned zones of the building being separated by the unconditioned events space and moveable pods, the services are taken up and suspended from the roof, in the void created by the depth of the steel trusses. • Despite this being a longer route from simply creating an undercroft space beneath the pods, it would have proved more challenging to maintain if required. • Exposing the services infrastructure in this way allows for modifications of system if the building was to receive additional spaces within the polycarbonate envelope. Example: Temporary pavilions which may require electrical connection and extraction. A ‘Plug-in’ technique could be adopted. • As services which will go through the heat recovery process run through unconditioned spaces, it is necessary for these ducts (and hot water pipes) to be sufficiently insulated to prevent from heat loss.

Centre Pompidou Exposed Ventilation

1:20 Section with Services Service Void • Duct work can run through the steel trusses so it makes the roof more dense and reduces the depth required - opposed to a traditional ‘I-Beam’.

Sectional Axonometric (Summer Natural Ventilation)

Sectional Axonometric (Winter Natural Ventilation)

Exposed Suspended Duct-work Cable Tray • Carries cabling for lighting, machinery and computers - easily accessible. Suspended Light Fixtures • Motion sensor lights - will turn off automatically after a specified length of inactivity within the space. This will reduce energy consumption.

= Heated Stale Air = Fresh Inlet Air

Underfloor Heating Intermediate Floor Insulation • Directs the heat emitted from the underfloor heating upwards into the space. Warm Air Vent • Due to extensive use of glazing, condensation may occur - this can be prevented by blowing warm air onto the windows.

= Solar Rays Summer • Main aim within the summer months is to ensure that the building remains at a comfortable temperature, tackling potential overheating. Overheating could occur due to the nature of the building being similar to a greenhouse as it is clad with polycarbonate panels. • The bi-folding facade can be opened allowing the natural inlet flow of air into the non-conditioned areas.

Triple-Glazed floor to ceiling windows • Due to extensive use of glazing, using triple glazing will improve the thermal properties and be more insulating, reducing energy consumption on heating in the colder periods.

Stack Ventilation • Fresh air flows through the open bi-folding facade. • The air is then heated in the space within the polycarbonate envelope and begins to rise as it is a lower pressure. • Vents in the roof are opened to allow this heated air to be extracted. The pressure difference between the outside air flowing above the roof and the heated internal air causes it to be sucked out, aiding the circulation of air through the building, sucking it through.

Trench Heating • Will further reduce condensation on glazing. • Will provide additional heating to the space as colder points of the room are typically near windows in winter.

= Service Void = Heating

Evening • Throughout the higher daytime temperatures, the solid concrete floor acts as an effective thermal mass, collecting and storing solar heat energy and releasing it once temperatures become lower on an evening and into the night. • Thermal mass will also assist ventilation through warmer summer nights, due to pressure differences sucking air through the building.

Drainage Channel • Metal Grating signifies threshold into the building as well as providing drainage for run-off water. 15

= Thermal Mass Release = Prevailing Wind = Solar Rays Winter • Main aim throughout the Winter months is to ensure that the building does not become too cold. The building is separated into two spaces, the conditioned spaces which are contained within the concrete framed structures, and the unconditioned which are spaces contained underneath the shared steel frame and polycarbonate clad envelope. • The polycarbonate envelope will use natural ventilation and heating techniques only. • In the winter, the bi-folding facade will remain mostly closed, with openings minimised for access. This will block potentially cold prevailing winds from entering the building which will feel much colder than the actual temperature due to the wind chill factor. This will also further protect conditioned spaces. Passive Solar Solution • Similar to a greenhouse, due to the translucency and insulation properties of the polycarbonate panels, warm solar radiation can easily pass through into the space. It then heats the air within which becomes trapped ‘greenhouse effect’ and further heats the spaces as it is circulated. • The exposed concrete floor will act as a thermal mass, storing heat energy throughout the higher temperatures of the day, and releasing it slowly through colder intervals and into the evening.

229

Site Axonometric (Energy Service)

Multi-fuel CHP Co-generation System

Workshop Axonometric (Extraction) Generator

CHP Unit

Hot Water Tank

Workshop Axonometric (Ventilation)

Pump

tW ate

ins

Coil Heat Exchanger

Wa te

Fixed Plate Heat Exchanger

r IN

CHP Plant Room Exploitation

Water Source Pump Ground Source Pump = Machine Extraction = Extracted Stale Air = Fresh Inlet Air

Operation • CHP (Combined Heat & Power) can provide sufficient amounts of both Electricity and Heat Energy to the building. • Fuel is burnt producing high temperature steam, used to turn a turbine which is converted to electrical energy in a connected generator. This steam also heats a fluid loop where the heat energy can be transferred to a water tank producing High Temperature Hot Water (HTHW). • 80% efficiency (30% Electricity, 50% Heat) compared to 45% efficiency of traditional separate systems. Cooling • CHP can also provide cooling. An absorption chiller is connected to the system and provides cooling with the use of refrigerants for heat extraction through absorption.

Heat Pumps • Due to site bordering the Canal, a Water Source Heat Pump will be used which extracts heat energy from the water of the canal. This is achieved through an extensive polyethylene coiled pipe with a circulating fluid. • A Vertical (Borehole) Ground Source Heat Pump will also be used (opposed to horizontal coils due to tight and post-industrial site constraints). This will also be closed circuit with a circulating anti-freeze/water fluid. • The heat extracted from the ground and the canal is transferred to a refrigerant causing it to evaporate which is then compressed where the temperature rises. This heat is then transferred to Low Temperature Hot Water (LTHW) system which will be used primarily as Underfloor Heating throughout. • LTHW will be also used to heat the hot water tank to a base heat, reducing the load of heating the water to HTHW by the CHP, reducing fuel consumption. Photovoltaic Panels (PVs) • PV Panels will be installed on The Saw-tooth roofed Warehouse as the pitch on the roof Faces Southward which allows the opportunity for Maximum Solar Gain compared to the rest of the site. • The PVs will assist in the generation of electricity for the development in an efficient and environmentally-friendly way due to the Reduction in Fossil-Fuel Generated Electricity and that Solar is a Renewable Source.

Rain Water Harvesting • The extensive roof structure over the site will be utilised to Collect and Reuse Rain Water. • Due to tight site constraints, the rainwater will only be purified enough to be used in Toilet Facilities. • Ultra Low Flush Toilets will be installed which use a maximum of 6 litres per flush. • In the Harvesting Process, rainwater will be diverted from the conventional drainpipe where it will be Filtered for Debris and treated from prevent it from bad odour. It will then be Stored in an Underground Tank within close proximity to the facilities where it can be pumped to the toilet units. • The construction of the tank will take place after the excavation of the site (Part A: Diagram 2).

Gutter Collection

Diverted Filter

Toilet (Grey Water Facilities)

Fuel Options • Natural Gas produces less pollutants than other fuels such as gasoline and diesel and is seen as a ‘Clean Fuel’ due to its lack of soot. It produces 45% less CO2 than coal, and 30% less than oil. The infrastructure of fracking to harvest natural gas is in place in the UK and is currently a growing market. • Waste Wood which may be left over from makers in the workshop can be used to directly fuel the space in which they work in. Wood is also a renewable material. This would reduce the fuel needed to be transported to the site, reducing CO2 emissions on the road.

Workshop Extraction • Specialist equipment within the workshop will need extraction to make the environment safe. • Without correct extraction of these machines, it becomes heightened risk of fire and could cause respiratory issues for those exposed. • To minimise the impact of a malfunctioning fan, the extraction system within the workshop has been compartmentalised so that the problem can be isolated and does not cause the whole workshop to become unusable. • Flex-ducts allow for flexibility as they can be moved to a desired position above a workbench/location at different angles if required. • Rigid galvanised steel duct-work can be assembled to directly feed into the machinery. • Extraction does not replace extraction in the Mechanical Ventilation system due to the extraction being relatively confined to the machinery. It will also prevent the potential contamination of toxic air from Example: Laser Cutters from leaking back into the space through air extraction ducts. Laser cutters will have the extraction ducts fixed directly into the machine.

Workshop Mechanical Ventilation • Mechanical Ventilation is used in the workshop space to Extract potentially toxic fumes, dust and wood shavings which could heighten the risk of fire and cause respiratory problems. • Temperature can be controlled within the workshop. • Can provide both heating and cooling. • Heat energy will be recovered using a Fixed Plate Heat Exchanger which does not allow cross-contamination to occur. • Where duct work crosses into unconditioned zones, it will need to be insulated to prevent heat loss.

Insulated Ducts - Visual Representations. Newcastle University Architecture Workshop Shell and Tube Heat Exchanger.

Newcastle University Architecture Workshop • Exposed ductwork and extraction types (fixed and flex). • Indication of proposal appearance and atmosphere. • Units suspended from the ceiling. • Separate extraction systems for different devices - more reliable as all machinery doesn’t rely on one single extraction fan.

Underground Storage Tank Pump

= Machine Extraction

= Extracted Stale Air

= Fresh Inlet Air

[E] - FIRE COMPLIANCE

Protected Stair-core 2

Sign-age • Sign-age must be added to make people who are not familiar with the building aware where the escapes are. • Sign-age must be consistent throughout the building and be nationally standardised so it is recognisable. • In case of power outage, sign-age must be independently illuminated - phosphorescent pigments are typically used.

Concrete Construction • Conditioned spaces of the building are constructed using concrete. • Concrete is non-combustible and does not release any toxic fumes when affected by fire. • Low thermal conductivity means that it is especially hard for fire to spread. Between walls and storeys, containing the fire. • Highest fire resistance classification (Class AI) under EN 13501-1:2007- A1:2009.

Fire Alarm Warning • Visual and audible fire alarms will be present in the building to also aid those with impaired hearing. • This is achieved by the use of a strobe on the fire alarm which will produce regular pulses of visible bright light to alert people. • Due to occupants of the building potentially not being familiar with the alert system, a voice over announcement may be added. • Must be clearly audible throughout the building.

1400mm 1100mm

Sprinkler System • Can extinguish the fire automatically, avoiding putting anyone in further danger attempting to extinguish the fire. • Automatically activated when temperature reaches a certain set-point. • Each sprinkler needs to be independently activated by heat. • Will be used in high risk spaces such as laser room, workshop and kitchen (Diagrammed).

1100mm

Fire Alarm Activation • Located throughout the building and adjacent to all fire escapes and exits so can be activated via escape routes. • The colour of the alarm activation unit must contrast with the rest of the wall so it is easily visible and can be found when needed. • Must be inclusive to activate, meaning that they will be required to be at a height reachable by a wheelchair user.

900mm

Self Closing Door Mechanisms • Are fitted to specially modified fire doors which slow down the spread of fire through different spaces. The time the door can withstand the fire depends on the design. Typically 3060mins. • Help contain the fire to one space so that it can be extinguished easily. • Will be used on high risk spaces such as the laser room, workshop and kitchen (Diagrammed)

First Floor

20m

1200mm

40m

Protected Stair-core 1

Protected Stair-core 1 Vertical Escape (Protected Staircase) • Refuges are provided for wheelchair uses to wait short periods of time for assistance escaping from the building (they should not be left alone indefinitely until the fire service arrives or the fire is extinguished). • The points of refuge or door swings should not interrupt the flow and width of the escape route, in this case 1100mm due to it

18m

Upper Ground Floor

13m 18m

In Compliance with Building Regulations Part B: Section 1: Fire Alarm and Fire Detection Systems.

= Fire Doors

10m Lower Ground Floor

= Conditioned Zone

10m

6m 6m

Smoke Release • Roof vents can operate on an emergency latch when the fire alarm is activated - allowing smoke to ventilate out of the roof to cause less damage to the building and injury due to smoke inhalation. • This will allow for potentially more time to evacuate.

1m 6m 10m

= Escape Route = Conditioned Zone 19

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Heat Recovery Systems • An efficient way of reducing energy consumption is to Recover heat through the extraction of internal air and transfer to fresh inlet air or other heating systems. • A Shell and Tube Heat Exchanger will be used to transfer Hot Extraction Air from the in-workshop Kilns to fluid which can be subsequently used throughout the underfloor heating system and the heating of hot water. This should not be a primary source as the kilns will not always be in operation. • A Fixed Plate Heat Exchanger will be used for the recovery of heat in conventional mechanically extracted air. It is transferred as inlet air and extraction air pass through alternative plates which are condensed close together so heat is transferred between them. Using this solution opposed to a fan exchanger eliminates cross-contamination of air as a Fixed Plate Exchanger keeps inlet and outlet separate which is required for the nature of the workshop space.

Room

Travel Distance from furthest point to exit/protected area

Number of exits

Workshop

17m

Tech Workshop

16m

Computer Suite

13m

Cafe

18m

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150073721 Studio: Culture + Legacy ARC3014 Professional Practice and Management Newcastle University 2018

ARC3014 PROFESSIONAL PRACTICE AND MANAGEMENT ‘Centre for Making’ - Report.

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Overview

Key Actions

The outline for the brief is to develop and propose a cultural building that can be used in conjunction with the UK City of Culture, which is designed to promote an economical and cultural boost whilst improving the reputation of the area. Upon the cities recent bid for the 2021 U.K. City of Culture, the city of Stoke-on-Trent was shortlisted.

2.1 - Procurement Strategy

Hanley

The events within will concentrate around the activity of making, celebrating both traditional and technological techniques which will engage both older and younger generation of residents and visitors on the basis that Stoke once was an industrial capital. Permanent workshop facilities with state-of-the-art equipment will be used by professional makers whom are encouraged to engage with the public in a series of events in a flexible space such as: teaching workshops for schools and the general public, exhibitions of innovative design and markets to sell their fabrications. Visitor facilities such as an on-site café, bar and restaurant will also add to the overall experience.

SITE Stoke

Stoke-on-Trent is historically a ‘city of six towns’ which has some negative implications of the city, with being divided by the network of infrastructure and industrial parks, restricting its unification as ‘one city’. The chosen site of the proposal looks to address the disconnection of the city as it is situated between the two major towns within the city of Stoke-on-Trent; that being the towns of Stoke and Hanley. These are harshly divided by the bottle-neck compression on three major infrastructures; the A500 motorway, Canal and Railway Line. The Site is situated adjacent to the railway station, which leaves visitors arriving at the station in a ‘no-mans-land’ in-between the two towns, forcing them to either get a bus to Hanley, or a lonely walk through an underpass to Stoke. The proposal will create a new entrance and welcome to the city, showcasing the cultural making industry which the city once thrived on throughout the industrial revolution. 1

2.2 - Other Consultants

SITE

The materiality of the proposal will reflect on Stoke’s industrial heritage, with a city once littered with warehouses, the aim of the proposal to deliver a ‘refinement of the industrial style’ using materials typically used in industrial venues. The design will consist of a vast unconditioned space used for events, with an exposed steel structure, clad with varieties of polycarbonate which will represent a large warehouse. Within this space, conditioned facilities such as the workshops will be contained in a concrete frame structure. This will be integrated with two pre-existing warehouses that will be utilised as part of a growing masterplan of the area.

Railway Station

Existing Warehouses

A Structural Engineer Consultant ensures structural stability throughout the design.4 The Structural engineer will be able to assess the condition of the two existing portal frame warehouses which will be reused as part of the design proposal and make necessary recommendations. The structural engineer will also provide advice relating to the two retaining walls on either side of the site which boarder the railway line and canal, and if any additional supports are required to make construction safe. In this case it is essential that the structural engineer is consulted early in the design process to eliminate delays. As the proposed design contains a large unconditioned spaces clad with polycarbonate, it is essential that these spaces can exploit natural heating, cooling and ventilation. Employing an Environmental and Energy Consultant5 can provide recommendations on openings and orientation of the polycarbonate envelope as well as suitable materials to prevent overheating in the summer and too cold during the winter. They can also provide knowledge on how to exploit the local context for energy, such as calculating potential outputs of water and ground source heat pumps, photo-voltaic panels and rain water collection. These will only be fully effective if considered early and integrated into the design.

Railway Line

New Proposal

Existing Warehouses

Axonometric View of Proposal - Aurthors Own Image

1 Lee, M. (2013). Is Stoke-on-Trent’s ‘six towns mentality’ holding it back?. Available: http://www.bbc.co.uk/ news/uk-england-stoke-staffordshire-23163683. Last accessed 2018.

Due to a required high quality design, it is necessary that the architect is present throughout the development and construction. It must also be completed within a timeframe to allow completion for the 2021 City of Culture. With this being the case, a two-stage tender procurement approach will be utilised.2 At stage 1, this traditional method allows the client to employ a contractor through a competitive method whilst the design is still in the development stages. This will therefore allow the selected contractor to consult specialised subcontractors to input expertise into design early in the development process, assessing the build ability of the proposal, reducing the construction duration.3 The selected subcontractors may be ones who are experts in reusing an existing frame as part of the design and they can carry out preliminary pre-construction services on the pre-existing structures at a higher quality than standard contractors. At the second stage once the design has been completed, the client has the choice of continuing with the current contractor to construct the building (with their existing knowledge of the entire design up to date) or award the contract to a new contractor through a bidding process where a fixed price is negotiated competitively (however this may take longer as the design needs to be familiarised by the new team).

Trent-Mersey Canal

3 RIBA. (2015). DELIVERING CONSTRUCTION 2025: RIBA ACTION PLAN.Available: https://www.architecture. com/knowledge-and-resources/resources-landing-page/delivering-construction-2025. Last accessed 2018.

A500 Motorway

4 Designing Buildings Wiki. (2018). Structural Engineers. Available: https://www.designingbuildings.co.uk/wiki/ Structural_engineer. Last accessed 2018. 5 Designing Buildings Wiki. (2018). Environmental Consultant for building design and construction. Available: https://www.designingbuildings.co.uk/wiki/Environmental_consultant_for_building_design_and_construction. Last accessed 2018.

Narrowing View of Site - Satallite Images by Google Earth

2 Designing Buildings Wiki. (2018). Two Stage Tenders. Available: https://www.designingbuildings.co.uk/wiki/ Two-stage_tender. Last accessed 2018.

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Professional Practice & Management

2.3 - Budget

2.5 - CDM Compliance

Discussion

It is essential for projects to not exceed the initial budget which is implemented by the client at stages 0 and 1 of the RIBA Plan of Work.6 Procedures such as the employment of a quantity surveyor by the client can be taken to produce cost plans to track the project is being kept to budget and offers good value for money. This can be achieved by assessing the costings throughout Plan of Work stages 1-4 before a final and more accurate plan of costings is produced. The final report is accountable for actual construction of the proposal, taking all costings such as contractors, materials and regulatory assessments into consideration. The quantity surveyor can use the Building Cost Information Service (BCIS)7 of the royal institution of chartered surveyors to assist in the preparation of cost plans, which gives access to comprehensive data of cost and prices of building elements within the construction industry that have been independently collected, analysed and modelled. Due to a two-stage tender approach being used, it important that the appointment of a contractor at stage two is kept competitive to reduce costs, as it is tempting for the client to reward the contractor from stage one due to their earlier commitment and input with the project.

Necessary actions must be taken to comply with CDM2015 regulations to minimise the risk imposed on everyone who will interact with the building over its lifetime, including those who construct, use, maintain, refurbish and demolish.10 Before designing takes place, the client must be informed about their role and responsibilities, which in the case of a two-stage tender approach is employing contractors. Upon the completion of the design, this information needs to be relayed to the contractor whom can prepare a construction phase plan to identify and avoid construction site risks and dangers. As the proposal will essentially begin with a designer, it is essential that the designer is able to consider and acknowledge the health and safety implication of their design through from construction to demolition. This also includes the maintenance of the building. With the proposal consisting of extensive use of polycarbonate panels which are fixed to 15 meters high façade and cover the entire 1600 square meter roof, they will eventually require cleaning and even replacing which could cause a safety risk to maintenance personnel. As a result, service walkways and platforms have been integrated into the design, disguised in the ‘exposed’ architectural language.

3.1 – Implications on the Client, User and Wider Society

2.4 - Local Authority The project will take place in the local planning authority of Stoke-on-Trent city council. The site is currently marked as a brownfield site with the development described as ‘deliverable’ on the map shown below, meaning that it could be developed to accomplish one of the local city plan development schemes ‘to improve the range and accessibility of cultural, leisure and entertainment facilities’8. This is directly relatable to the proposal for the Centre for Making as it is a facility which promotes culture activities for the community to enjoy by providing space for markets, exhibitions and skill workshops. It is also in a central location next to the railway station, and major road links, providing excellent accessibility to a greater range of residents within the local area and beyond. The proposal also creates improved and safer access routes for pedestrians by adding a new exit from the station, avoiding the underpass on the A50 road, which responds to the city plan of the Design of New Developments being considered in regard to ‘including the wellbeing of pedestrians’. The canal bordering the site is also deemed as a conservation area due the Stoke’s industrial heritage.9

Site = Brownfield Register ID 840. A development is deliverable on the site. - Stoke-on-Trent City Council. (2018). Brownfield Land Register. Available: https://webmaplayers. stoke.gov.uk/webmaplayers8/map.aspx?mapname=SHLAA. Last accessed 2018.

RIBA. (2013). RIBA Plan of Work Table. Available: https://www.ribaplanofwork.com/. Last accessed 2018.

Designing Buildings Wiki. (2018). Building Cost Information Service. Available: https://www. 7 designingbuildings.co.uk/wiki/Building_Cost_Information_Service. Last accessed 2018. 8 Stoke-on-Trent City Council. (2007). Revised City Plan 2001. Available: file:///Users/arrannoble/Downloads/ Revised_City_Plan_2001.pdf. Last accessed 2018. 9 Stoke-on-Trent City Council. (2011). Trent and Mersey Canal Conservation Area Review. Available: file:/// Users/arrannoble/Downloads/Trent_and_Mersey_Canal_CAA_2011.pdf. Last accessed 2018. 5

Servicable Walkway

With the choice of a two-stage tender contract, the higher quality design required for the flagship City of Culture venue will be achieved as specialised contractors will be appointed earlier on in the development process. This will also mean that the build-ability is discussed, establishing better relationships between the architect and the contractor, delivering better service and design to the client and the community. Despite the increased cost of the appointment of an environmental engineer earlier in the design process, once complete and operational, the advised strategies will reduce the cost of energy as it can be partially self-sufficient such as with the use of water sourced heat pump from the adjacent canal. It will also be recognised for the use of sustainable means of energy, setting an example for future developments responding to climate change. Responding to the bordering Canal deemed a conservation site. Planning permission for such an ambitious project may become challenging. However, as well as extra precaution taken on the sensitive site, the proposal concentrates on a ‘cultural facility’ which is a major aspect of the city’s local development plan meaning negotiation could be made. The programme of making will celebrate Stoke’s industrial heritage; also the reason of the conservation area.

Servicable Walkway Constructional Section showing the placement of servicable walkways which enable the safe cleaning of the polycarbonate facade. - Authors Own Image

2.6 - Office Procedures As the project is a complex development which will consist of both refurbished and newly-developed buildings, a team of 6 will be allocated to work on the project with individual assigned roles before the design process begins. This will allow each team member to become fluent in their area of allocation, efficiently communicating their findings and outputs within collaborative meetings which will effectively brief all of the team and any consultants. High points of contact with the client and the preliminary contractor that is appointed in stage one of the two-tender will allow for all groups involved to be aware of their responsibilities and progress taken to ensure that the project meets the completion date for the 2021 City of Culture. To achieve the completion date, time plans such as Gantt charts can also be produced, creating the most efficient schedule of events.11 A manual book will be accessible to all members of the team which will outline the strategic approaches to design and management of the practice, as well as outlining standards. This may include standardised drawing and render style which will be consistently used by all group members, which will allow the delivery of drawings to the client and contractor to be clear with the ability to cross reference. This will also include standards for the labelling of drawings, with a clear and contrasting text face.12

SITE Conservation Areas marked in Blue

Map Showing the site is part of the Trent-Mersey Canal Conservation Area - Stoke-on-Trent City Council. (2011). Trent and Mersey Canal Conservation Area Review. Available: file:///Users/arrannoble/Downloads/Trent_ and_Mersey_Canal_CAA_2011.pdf. Last accessed 2018.

10 Health and Safety Executive. (2015). Designers: Roles and Responcibilites. Available: http://www.hse.gov.uk/ construction/cdm/2015/designers.htm. Last accessed 2018. 11

Foxell, S (2006). Starting a Practice. London: RIBA Publishing.

Morris, N. (2017). Profitable practice is all about productivity.Available: https://www.architecture.com/knowl12 edge-and-resources/knowledge-landing-page/profitable-practice-is-all-about-productivity. Last accessed 2018. 6

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3.2 - Reputation of Architects and the wider construction industry In 2016, 57% of clients were dissatisfied with their experience of efficiency at administration of architectural practices.13 This was mainly due to the fact that relevant strategies had not been carried out correctly, or if at all. This ideology creates negative press for architects which can easily be resolved by developing a time plan with the aid of a practice manual book to improve the reputation of architectural administration giving an improved client-architect experience and a more accurate completion time of the project. Construction of the building could cause disruption to the local community through limited access, noise; from machinery and increased road traffic, and visual pollution. It is therefore important that construction time is reduced to the minimum possible which is more achievable through a two-stage tender contract as preliminary works in development stages. This allows for better understanding of site conditions such as the existing portal steel frame which may cause changes in the design if alteration is required. This will therefore reduce any disclosures at a later stage which could slow or temporarily halt construction and add time pressure for the 2021 completion which will threaten the quality and be negatively viewed by the client and local community.

Professional Practice & Management

Bibliography Designing Buildings Wiki. (2018). Building Cost Information Service. Available: https://www.designingbuildings.co.uk/ wiki/Building_Cost_Information_Service. Last accessed 2018. Designing Buildings Wiki. (2018). Environmental Consultant for building design and construction. Available: https:// www.designingbuildings.co.uk/wiki/Environmental_consultant_for_building_design_and_construction. Last accessed 2018. Designing Buildings Wiki. (2018). Structural Engineers. Available: https://www.designingbuildings.co.uk/wiki/ Structural_engineer. Last accessed 2018. Designing Buildings Wiki. (2018). Two Stage Tenders. Available: https://www.designingbuildings.co.uk/wiki/Twostage_tender. Last accessed 2018. Foxell, S (2006). Starting a Practice. London: RIBA Publishing. Health and Safety Executive. (2015). Designers: Roles and Responcibilites. Available: http://www.hse.gov.uk/ construction/cdm/2015/designers.htm. Last accessed 2018. Lee, M. (2013). Is Stoke-on-Trent’s ‘six towns mentality’ holding it back?. Available: http://www.bbc.co.uk/news/ukengland-stoke-staffordshire-23163683. Last accessed 2018. Morris, N. (2017). Profitable practice is all about productivity.Available: https://www.architecture.com/knowledge-and-resources/knowledge-landing-page/profitable-practice-is-all-about-productivity. Last accessed 2018. RIBA. (2015). DELIVERING CONSTRUCTION 2025: RIBA ACTION PLAN.Available: https://www.architecture.com/ knowledge-and-resources/resources-landing-page/delivering-construction-2025. Last accessed 2018. RIBA. (2013). RIBA Plan of Work Table. Available: https://www.ribaplanofwork.com/. Last accessed 2018. Stoke-on-Trent City Council. (2007). Revised City Plan 2001. Available: file:///Users/arrannoble/Downloads/Revised_ City_Plan_2001.pdf. Last accessed 2018. Stoke-on-Trent City Council. (2011). Trent and Mersey Canal Conservation Area Review. Available: file:///Users/ arrannoble/Downloads/Trent_and_Mersey_Canal_CAA_2011.pdf. Last accessed 2018.

13 Morris, N. (2017). Profitable practice is all about productivity.Available: https://www.architecture.com/knowledge-and-resources/knowledge-landing-page/profitable-practice-is-all-about-productivity. Last accessed 2018. 8

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ARRAN JAMES NOBLE

ARC3015 THEORY INTO PRACTICE ‘Industrial Refinement’ - Essay.

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Industrial Refinement

Hanley SITE Stoke

INDUSTRIAL REFINEMENT THEORY INTO PRACTICE

ARRAN JAMES NOBLE 150073721 ARC3015: Theory into Practice Newcastle University 1. - Axonometric view of proposal in construction phase.

1.1-1.4 - Satellite Images - Narrowing Down on the location of the site Location: Stoke-on-Trent. 4

Arran James Noble

Industrial Refinement

I INTRODUCTION

a set of events which could take place during the City of Culture year and that could leave a legacy within the city. This is something that is familiar to Tschumi upon winning the commission of the Parc de la Villette, to redevelop a large area of land in Paris into an “Urban Park for the 21st Century”[3] which was to encourage economic growth and promote cultural development. These spaces are not only just designed for one particularly event, the numerous starkred pavilions that make up the scheme are assigned to “open air theatres, restaurants and cafés, art galleries, music and video workshops, playgrounds and computer displays”[2] as well as many more, with the idea being that these pavilions simply provide the infrastructure for these culture-promoting events to take place which is somewhat the City of Culture scheme in the UK hopes to achieve. Bernard Tschumi is a Swiss architect, born in 1944. He became exposed to architecture from a young age due to influences from his father, an also well-known Swiss architect; Jean Tschumi. These early influences lead to Tschumi becoming educated in highly regarded institutes in terms of architectural education such as the Swiss Federal Institute of technology in Zurich before graduating in 1969. Upon graduating, his reputation began to establish through writing and drawing as a theorist, developing and expressing his knowledge and beliefs mostly on autonomous architecture which was to be more forward thinking, innovative and against status quo.[2]

he theories, works and representation of Bernard Tschumi has directly influenced the development of my current design project. Being exposed to these various aspects of his work allow me to think with a larger spectrum of knowledge, by thinking beyond the obvious of both form and function by looking at how Tschumi responds to in-between spaces and making them practical, usable and key drivers in the initial concepts which tends to oppose common practice of focusing on a singular key space. His focus on diagramming and sequences aid me to represent my ideas and concepts in a relevant and clear way which can also be made unique to make myself distinguishable. The project focus’ around providing a space for public use which has the ability of holding cultural events. The events will prominently focus on the culture of making, celebrating both traditional and technological skills, inviting the public to attend workshops with professionals in order to gain skills. The makers in residence who will provide the workshops, will also be encouraged to sell their fabrications in a market-style space, as well as celebrate innovative ideas and creations in a multi-purpose exhibition space. All these spaces will be situated within the same area to one another under a ‘one roof’ ideology, forming different iterations of the singular space, making it flexible to accommodate all of the events. With being located in the city of Stoke-on-Trent, the project builds upon the recent UK City of Culture 2021 bid by the city[1], and to carefully design and orchestrate a culture building and

Existing Warehouses

[1] - Stoke-on-Trent for City of Culture 2021. Available: http:// www.sot2021.com/ [2] - Damiani, G. Hays, K (2003). Tschumi. London: Thames and Hudson. [3] - Bernard Tschumi Architects. Available: http://www. tschumi.com/office/.

1.5 - Manhattan Transcripts - Tschumi Style Diagramming and Sequencing. 5

New Proposal: Refinement of a Warehouse

1.6 - Axonometric view of proposal.

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II NECESSITIES & NON-NECESSITIES

ply being autonomous and going against what is expected by society whose thoughts can be summarised by “the necessity of architecture is its non-necessity” as public demand of architecture are the components of architecture which are not particularly necessary.[3] This became clear in his works such as the Interface Flon Railway and Bus Station in Lausanne, Switzerland; an ongoing project from 1988 until 2001. The effects this infrastructure creates is purely due to the lack of effects (or the lack of purposefully detailing). The architectural language is defined dominantly by the structural aspects of the design, with them being exposed, showing their functional purpose. However, with the style not generally popular to begin with, it is one that has now been adopted widely and as a result has become a ‘production of effects’ that Tschumi once opposed. As the style becomes more popular, it loses autonomy, and the practice of unnecessary detailing becomes a necessity as the architect’s design in regard to a brief and/ or an expectation of the final outcome, even if that may not be the most effective way for the event(s) to take place within. [2] This analogy can be applied to my own project with it being placed on an industrial site with two currently occupied warehouses, positioned between a web of currently used infrastructure networks of Road, Rail and Canal. The idea is to draw from all these constraints and form a refinement of their architectural styles. The industrial appearance and atmosphere will be achieved by the structural elements of the building remaining exposed, as typically found within indus-

eneral consensus in society is that the architecture is what is most commonly expected at the time, that it follows procedure and is designed and built in line with institutional framework. Tschumi sees the institutional framework as a ‘production of effects’ and that the buildings that are designed with this thinking in mind, tend to be ‘arts for art’s sake’ instead of the architecture actually being designed and shaped by its actual purpose. As Tschumi’s theories are also known to evolve around the quote “there is no space without event”[4], it is crucial that the architecture is directly influenced by the event, however not in a predictable way that is tailored to one event, but a space that can act as a ‘blank-canvas’ to allow the event itself to take centre stage without distraction from the ‘production of effects’ which is found in popular architecture.[2][4] The ‘production of effects’ can be described as the unnecessary components of the architecture, such as plaster boarding and eccentric masonry which are purely aesthetic or to obscure servicing, nothing structural, something that the building will remain standing without. Post the completion of Parc de la Villette in Paris, which became Tschumi’s first notable works[3], his work began to develop to a style that was against status quo at the time, by stripping the architecture of its ‘effects’ which were only in place mostly for public demand and the fear of creating something different, and for ‘art’s sake’, it became an architectural style that consisted of only necessary components. The outcome created a totally new aesthetic image, by sim-

[2] - Damiani, G. Hays, K (2003). Tschumi. London: Thames and Hudson. [3] - Bernard Tschumi Architects. Available: http://www. tschumi.com/office/. [4] - Tschumi, B (1990). Questions of Space. London: E. G. Bond. [5] - Tschumi, B (2010). Events-Cities 4. London: MIT Press. p68-73

2.1 - Structural Section - No unnecessary elements in the design - Exposed Steel, Concrete, Servicing Ductwork, Lighting and Cabling deliver the architectural language of the design.

trial warehouses. Only necessary components are implemented in these purposed structures as the focus is generally on what is being produced within the warehouse (or in relation to my project, the event). However, the approach that I am taking could be seen in contrast Tschumi’s theory of eliminating the effects and allowing the event to take centre-stage as I describe my design as a ‘Refinement’ of the industrial style, meaning that I am falling victim to the ‘production of effects’. Although, I believe that it is relevant to what I am designing as detailing must be considered as with the nature of the City of Culture, it is necessary for the city to look attractive for the visitors to engage with. One way to achieve this is through the architecture, even if that may be for the detailed effects to appear as undetailed vital structural components. The materials chosen also reflect the industrial refinement, as the grade and finish of the materials have been specified to comply with my own brief of what the building is desired to look like, rather than using structural elements of any appearance which will obviously still achieve their primary purpose of supporting themselves and the building.[5]

[5] - Tschumi, B (2010). Events-Cities 4. London: MIT Press.

2.2 - Interface Flon Railway and Bus Station - Exposed Structure.

Arran James Noble

Industrial Refinement

Arran James Noble

III IN-BETWEEN SPACES Polycarbonate Panels

Chain Curtain

Steel Grating

2.3 - Structural Elevation - Material Palette showing raw selected components - Have been chosen for architectural appearance and language, therefore not completely necessary. However they are materials that are traditional selected as basic materials for industrial buildings. 11

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also invited in. The ‘in-between’ space is represented as the area in-between the workshops and studios which when in function, comprises of the selling, teaching and event space, formed by variations of the positioning of the railway carriage-representative pods. When not used to hold such events, it is used simply as circulation space, allowing occupants or the general public navigate through the building under shelter. Analysing the design at a smaller scale, the positioning of the site is considered to be an in-between space in its own right. The centres of Hanley and Stoke are places of concentrated commerce, population and event. Despite them both being part of the same city, there is an obvious divide, partially due to the physically infrastructure which creates a harsh boundary between them both. This is hence why I chose to develop my project on this site, to host events at this space between the two town centres, drawing people in from both in an attempt to overcome the divide and connect the two places similar to what Tschumi implements at Le Fresnoy where the main boundary is the walls of the existing 1920’s structures. [2][6]

he concept of having an exposed structure is also clearly visible within Tschumi’s Le Fresnoy National Studio for Contemporary Arts. His intervention sees him make the addition of one roof stretching across the entire existing site, preserving the existing 1920’s structures. The centre provides studios and facilities for cross over artists, for example: “a video artist who is also a musician, or a musician who is a film maker or a painter”[2]. The idea was to connect these facilities through a series of walkways suspended from the singular roof to allow for the artists to circulate, but in the process create moments throughout the walkways which create the opportunity for events. These spaces are classified as in-between spaces and are fabricated from the addition of the one roof and the left-over spaces between the existing buildings. [2][6] The concept of the Le Fresnoy can be leant to my project from its ‘one roof’ ideology that contains a variety of makers and artists of start-up businesses and cottage industries as they congregate under the one roof, sharing skills and ideas with one another and the public that are

[2] - Damiani, G. Hays, K (2003). Tschumi. London: Thames and Hudson. p84-93 [6] - Tschumi, B (1999). Tschumi Le Fresnoy: Architecture in/ between. New York: Monacelli Press.

3.1 - Suspended Walkways - The walkways suspended from the ‘one roof’ of The Le Fresnoy Art Centre create ‘in-between’ spaces between the existing 1920’s structures. 12

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Industrial Refinement

IV REPRESENTATION

ject with the colour orange taking a dominant stance throughout my work. The colour orange is used to represent the moving elements within my design that allows for the flexibility of the space under the ‘one roof’ ideology, which is a core concept and drive of the project. However, there is a danger in this that doing this could cause these focused components of the design to become quite obvious and literal, with the architecture not being considered in full detail as the concept will overtake as more energy and thought will be concentrated on that as I agree is the case with the Parc de la Villette pavilions which despite being autonomous, have the appearance of an enlarged model with little attention to smaller subtle details when translated into the physical built form.[7]

schumi represents these spaces prominently in his work with the use of colour. In his drawings for Le Fresnoy in particular, he uses the colour blue to distinguish the walkways from the existing 1920 buildings and the roof, making the concept clear and striking to those who are viewing the drawings. A similar method is also used within his representation of Parc de la Villette where the colour Red is used. In both occasions, the colour has continued to be the actual colour of the physical elements in the building.[6] This allows for immediate cross-reference from Tschumi’s diagrams and shows that the core concept has been driven the entire way through the development and production of the design. The same can be seen throughout my representation of my pro-

[2] - Damiani, G. Hays, K (2003). Tschumi. London: Thames and Hudson. p84-93 [6] - Tschumi, B (1999). Tschumi Le Fresnoy: Architecture in/ between. New York: Monacelli Press. [7] - Tschumi, B (2014). Notations Diagrams & Sequences. London: Artifice.

4.1 - Pod Iterations Isometric - The moveable Pods are a core design concept - Coloured in orange to identify them against the rest of the building, similar to Tschumi’s Representation of Le Fresnoy and Parc de la Villette.

4.2-4.4 - Own Models - Initial exploration of different possibilities than can be formed within the site constraints - Orange representing the moving components.

Arran James Noble

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4.5 - Own Model - The core design idea of moving pods and partitions are represented in the colour orange. This can be seen through both drawings and models of various scales. 17

4.6-4.8 - Tschumi Blue - The colour blue is used to represent the walkways (a principal design concept) throughout the development of Le Fresnoy Art Centre - Allows for easy cross-reference

4.9-4.11 - Tschumi Red - The colour red is used to represent the playful pavilions’ cladding throughout the development of Parc de Villette - Allows for easy cross-reference and viability. 18

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V CONCLUDING COMMENTS

aking the areas discussed into account, it becomes clear that the ‘production of effects’ that Tschumi writes about in the many of his essays, is in fact the design process. The aim towards an aesthetically pleasing design is in response to the architectural style whether that be a design where the structure is hidden or exposed, both have the potential to be attractive in their own right. Both have unique effects which are produced and designed by architects to create a desired atmosphere. However, this may be due to the fact that industrial and exposed architecture has gained popularity in recent times and has become its own style which is was not previously. Without the ‘production of effects’ the architecture can become too literal and basic, lacking any interesting details that are renowned for making the architecture, architecture. Effects and details create attraction, talking points and recognition; qualities that are highly desired for the City of Culture which is devised to attract guests to the post-industrial city of Stoke-onTrent to deliver a boost in the local economy and reputation.

[2] - Damiani, G. Hays, K (2003). Tschumi. London: Thames and Hudson. p84-93

5.1 - Own Model - The core design idea of moving pods and partitions is represented in the colour orange. 20

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VI BIBLIOGRAPHY & FIGURES Bernard Tschumi Architects. Available: http:// www.tschumi.com/office/.

0.1 - Author’s Image 1.1-1.4 - Google Earth

Damiani, G. Hays, K (2003). Tschumi. London: Thames and Hudson.

2.1 - Author’s Image

Stoke-on-Trent for City of Culture 2021. Available: http://www.sot2021.com/

2.2 - https://proyectos4etsa.wordpress. com/2015/02/17/interface-flon-railway-andmetro-station-1988-2001-lausana-suiza-bernard-tschumi/

Tschumi, B (1990). Questions of Space. London: E. G. Bond.

2.3 - Author’s Image

Tschumi, B (2004). Events-Cities 3. London: MIT Press.

3.1 - https://www.flickr.com/photos/abthomas/4919533685

Tschumi, B (2010). Events-Cities 4. London: MIT Press.

4.1-4.5 - Author’s Image

Tschumi, B (2014). Notations Diagrams & Sequences. London: Artifice.

4.6 - http://www.tschumi.com/projects/14/ 4.7 - https://www.pinterest.co.uk/ pin/434597432766704956/?lp=true

Tschumi, B (1999). Tschumi Le Fresnoy: Architecture in/between. New York: Monacelli Press.

4.8 - https://www.pinterest.co.uk/ pin/301037556318848311/ 4.9 - https://www.pinterest.com/ pin/426434658446668550/ 4.10 - https://www.pinterest.co.uk/ pin/434597432766704956/?lp=true 4.11 - https://sobrefrancia.com/2009/08/02/lasfolies-de-la-villette/ 5.1 - Author’s Image 6.1 - https://www.pinterest.co.uk/ pin/434597432766704956/?lp=true 6.2 - https://www.pinterest.co.uk/ pin/434597432766704956/?lp=true 6.3 - Author’s Image

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From exploring Tschumi’s work such as Le Fresnoy art centre, it becomes apparent that he does focus on moments within buildings that traditional architects may not. In-between spaces can be seen to many as a simple corridor, stairs or foyer, but these are spaces where Tschumi thrives to produce spaces for event. Exposure to such precedents directly informed my design approach, by thinking of the core event spaces as in-between circulation spaces, where one would not have to travel to a given location to take part in an event, but simply walk through the event almost by accident; on your way to work; way home; or on your way to Stoke town centre from Train Station in the situation of my site. This concentration of the building is focused on the moveable pods (represented in orange) both in the drawings and reality, similar to the approach Tschumi takes, by making the core design concept literally stand out. As a conscious decision has been made for the building to draw context from the industrial site and is therefore produced as a minimalistic refinement of an industrial warehouse; it would be one that Tschumi would refer to as “A Production of Effects”.

6.1-6.3 - Showing my diagram in comparison to Tschumi’s Parc de la Villette and Le Fresnoy Art Centre 21

F U E L L I N G F A N T A S Y -

P O W E R I N G PRINCESSES Arran James Noble

ARC3060 DISSERTATION STUDIES ‘Fuelling Fantasy and Powering Princesses’ - Dissertation. Dissertation ‘Fuelling Fantasy & Powering Princesses’ is bound separately. 241

Signed

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