Benjamin Risby Architecture Portfolio 15-16 by Benjamin Risby

Benjamin Risby

Academic Portfolio BA (Hons) Architecture 2015/16

Reflective Learning Statement

ARC3001 Architectural Design

Prototypes and Chamber - 6 The Collection - 20 Incubator - 24 Masterplan - 32 Showstore - 42 In Retrospect - 70 -

Additional Coursework

ARC3013 Architectural Technology - 77 ARC3014 Professional Practice and Management - 89 ARC3015 Principles and Theories of Architecture - 95 ARC3060 Dissertation in Architectural Studies - 107

New work Improved work

Reflective Learning Statement

A retrospective look at the academic year -

I never planned to study Architecture, I thought it beyond me. Yet at the last minute I made the decision to change course from Graphic Design and see if it was possible. I had never even visited Newcastle. But four years later (minor blip in the middle) I have now submitted my final Academic Portfolio. It has been an extremely exhausting, but incredibly rewarding experience. The year began with us picking a studio, I picked ‘Variations’, led by David McKenna, Laura Harty and Kati Blom. This studio took a very process centric approach to design, focusing on concepts generated from quotes, drawings, photographs, and models. Previously I had taken a very functional approach to designing where I would start by highlighting key spaces from a schedule, picking one and designing outwards from there based on recommended circulation dimensions. This approach was not going to work in this studio and so it forced me out of my comfort zone and in to experimenting with different approaches to generate ideas. This transition from a very functional designer to a more conceptual designer can clearly be seen across my portfolio, culminating in an extremely conceptual and design process focused building – ‘Showstore’. Working across multiple scales simultaneously (1:750, 1:500, 1:200, 1:100, and 1:50) has pushed me to consider how conceptual ideas should be coherent from a masterplan to a technical detail. Being forced to focus more heavily on the technical aspects of designing a building has provided me with a much better understanding of structure, but most importantly highlighted the importance of detailing in creating a clear and well considered design. Finally, the years design work has helped me to develop conviction in my architectural ideas and see them through to completion in a well-represented and succinct manner. Another major component of the year was the dissertation submission. This was a huge struggle for me due to a lack of confidence in my own ability, but I managed to complete it. It explored how, throughout time, ideas concerning the body in architectural and spatial thinking have evolved; but with a heavy focus on technological influences. This module was a great opportunity to further my research and investigatory writing skills. Despite my lack of faith in myself I achieved a 1st for my dissertation, most importantly learning that I should not doubt myself. Visiting Lisbon and Porto with the studio was another major learning experience. To be able to actually experience an incredibly well designed space as opposed to seeing it in pictures left me feeling profoundly inspired, and furthered that appreciation for the details. Thinking Through Making Week offered a chance to experiment with processes and materials, strengthening my understanding of material and quality, and highlighting the importance of experimentation. Upon looking back, it seems these two events may have had a subconscious effect on my approach to designing ‘Showstore’. Stage Three has been tough, with me leaving for a year after first semester. Despite this I have developed my design ability, technical knowledge and appreciation for architecture, but most importantly I have learnt that I can overcome adversity, and I can leave Newcastle University confident in my own ability.

ARC3001 Architectural Design

BA (Hons) Architecture The studio ‘Variations’ takes a process centric approach to architectural design. Its purpose is to explore how different concepts and themes manifest across multiple scales into a cohesive city block wide strategy. This consequently leads to the development of two buildings, as well as an overall strategy for the site they inhabit ‘The poetic image is essentially variational, and not, as in the case of the concept, constitutive.’ - Gaston Bachelard

Prototypes and ‘Chamber’

Variations A and B The process begins with the selection and study of three quotes related to architecture and music. From these, spatial and detail prototypes are developed which will inform the design of ‘Chamber’. ‘Chamber’ is a music venue with attached accommodation for a quartet

Prototypes 7

Subterranean

“One of the most beautiful concerts I ever heard consisted of four composers playing their tapes in a dark hall.” - Steve Reich “... That Borgesian idea that you could invent a world in reverse, by inventing the artefacts that ought to be in it first: you think of what kind of music would be in that world, then you make the music and the world forms itself around the music.” - Brian Eno “Good architecture is like a piece of beautifully composed music crystallised in space that elevates our spirits beyond the limitation of time.” - Tao Ho

First sketch of crystallised performance space

Prototype 2 - Excavated Crystalline Section

Prototypes

Prototype 1 - Carved Crystalline Core

Prototype 3 - Subterranean Crystalline Space

Prototype 4 - Heavy vs Light

â&#x20AC;&#x2DC;invent a world in reverseâ&#x20AC;&#x2122; Pt.1 representing a carved crystalline core Angle on-site dictates external form Pt.3 informs subterranean performance space

Half of the Earth, half floating above, datum between Pt.2 influences excavated crystalline section

Chamber

Stair allowing for Chamber access on two levels

Old Edinburgh Site Features

Retaining Wall allowing for fusion with Earth

Transplant â&#x20AC;&#x2DC;Chamberâ&#x20AC;&#x2122; from the old site to the new site by making use of similar site features A location that makes use of level changes A location that allows Chamber to become one with the Earth

Chamber

1:100 Basement Floor Plan 13

1:100 Ground Floor Plan 14

Chamber

1:100 First Floor Plan 15

1:100 Second Floor Plan 16

Chamber

1:50 Technical Section

1:100 Diagrammatic Massing Model

The Collection

Classified government documents concerning mass surveillance â&#x20AC;&#x2DC;British spy agency collects and stores vast quantities of global email messages, Facebook posts, internet histories and calls, a nd shares them with NSA, latest documents from Edward Snowden revealâ&#x20AC;&#x2122; - Ewen MacAskill, Julian Borger, Nick Hopkins, Nick Davies and James Ball, The Guardian

Collection 21

Subterranean

Secret

Monumental

Classified government documents Secrecy/hiding/protecting Spatial links between the subterranean, protection, hiding and secrecy Vaults/archives/chambers/tombs Ancient Egyptian Architecture Monumentality

‘Incubator’

Variation C The purpose of ‘Incubator’ is to house and show a small number of items from the chosen collection, continuing with key themes from the previous phases. The chosen location relates to spatial ideas and creates a bridge towards future phases. Here, key spatial and thematic concepts are tested at a smaller scale

Incubator 25

Subterranean

Secret

Monumental

Temple Of Queen Hatshepsut

The Pyramids of Giza

B A

Assessing monumental qualities -

Linearity -

Uniformity -

Scale

Incubator

Tomb of Sety I, Tomb of Rameses III, Tomb of Merenptah

See KV 17 (2/3) for detail.

40 m

80 cubits TMP Gri

d North

rth

Pillar 2

Pillar 1 Jb

Pillar 1

N 99,561.706 E 94,133.203 Elev 178.021w

Pillar 3

Pillar 4

F Axis 217˚ 40' 50"

Pillar 2

Jc Pillar 2

Pillar 3

Pillar 1

Pillar 2

Pillar 3

Pillar 4

Pillar 4 Pillar 5 Pillar 6

E Fa

Je Pillar 1

Pillar 2

179.326 178.021

Tomb of Sety I Plan 171.523

NOTES 1

Modern steps.

Door jambs cut167.223 away at gates B to J.

Unfinished cutting of gate.

20 m

40 cubits

rid PG

159.602

True North

No rth

162.799

158.618 157.635

J2a J2b

J1a

J1b

Pillar 1 Pillar 2

Pillar 1

Pillar 2

Pillar 3

Pillar 4

K1a

Axis 263˚ 37' 46" N 99,387.387 E 93,982.717 Elev 186.830

Pillar 3 K1

158.692

Pillar 4 J2 K2

Pillar 5

Pillar 6

Pillar 7

Pillar 8

Pillar 5

Pillar 6

K1b

155.282 1

Pillar 7

154.390 152.997

Pillar 8 3

152.525 J1c

J1d

150.628 J2d J2c

143.372

Tomb of Tausert and Setnakht Plan

186.830

185.420 184.830

134.446

183.557 1

183.057

181.039

179.326

180.979 180.179 179.569

178.021

179.609

130.689 179.659

179.549

179.151

127.831

179.121

Col

wo ing

ee r t S

Lit and Phil Society

Incubator Location

Incubator

Linearity of Site

1:200 Subterranean Incubator section

1:200 Incubator Plan 30

Masterplan

Variation D The site sits in Newcastle City Centre at the end of the Tyne Bridge in an area ripe for regeneration. The Masterplanning scheme aims to restore life to this location. Key features of this site include the dominant 55 Degrees North and a steep slope. Working in this scale allows further testing of the established spatial and thematic concepts, tying together Chamber, Masterplan and Showstore

Masterplan 33

Subterranean

Secret

Monumental

Site Photos

Site Location 1:5000 34

ESE wind

s r o W

Former bus depot - demolish Nightclub

Slope

View of Tyne Bridge

Casting shadow over site

P Sun Path

Nightclub

Bar

ri g l i

Attractive Bars and restaurants

Raised public walkway access

Listed Buildings

ee r t S

Masterplan

View of Sage

Potential for monument

Slope

re qua l S lio Car

t e e tr

k wic

H i s t o r i c linear route through site

Former Bank of England site

Entrance to BoE vaults

55 Degrees North

1.5m lower

Noise from nearby busy road

S 35

Site analysis

Block sound from the busy road with Masterplan buildings and lines of trees Creates quieter area behind Showstore for Chamber

Landscaping site, adding monumental plinth and faceted edges Key aspects of Masterplan

Masterplan

B 3.

1. Chamber

Existing Buildings

2. Outdoor Performance Space

New Green Spaces

3. Showstore

Additional Buildings

1:500 Masterplan

View from Pilgrim Street depicting Showstore hinting at its location over the rooftops and through a narrow and discrete alleyway

View from Carliol Square depicting Showstore glowing as a beacon in the night, capitalising on the sites potential for a new monument. This entrance embodies openness, inviting people to discover the secrets within

Main entrances to site

Masterplan

1:750 City Section

â&#x20AC;&#x2DC;Showstoreâ&#x20AC;&#x2122;

Variation D Designed to store and show the chosen collection of Classified Government Documents. The design of Showstore is generated from themes established when investigating the collection, as well as spatial concepts that have arrisen during the process.

Showstore 43

Subterranean

Secret

Monumental

Invention of a narrative

The Showstore houses a collection of secrets in the form of classified documents. These documents are securely stored in underground chambers until periodic release to the public. Once released they are shown within the building, before returning to the archive where the public can request access to them

Showstore 45

Showstore positioned to allow the excavation of archive chambers from the slope

1980s

m P Gr

rth No

rth

cubi

40 10

0 10 0

Showstore sits along historiclinear route through site

Pillar

Pillar Ja

Pillar

Pillar 2

Pillar

lar 4 Pil

5 Pillar

6 Jd

H Je G

See

tail.

r de

) fo

(2/3

Pillar E

Pillar

Historic linear route through site coincides with linear approach to Showstore and incubator

Ë&#x161; 40'

6 .70 561 3 N 99, 133.20 1w E 94, 178.02 v Ele

50"

s 217

Axi

157.6 18

158.6

179.3

178.0

171.5

167.2

162.7

159.6

152.5

150.6

143.3

I Proj Sety 0 17 - s 1:25 KVn, section

152.9

130.6

Pla

134.4

154.3

127.8

155.2

158.6

179.3

112.5

107.1

178.0

95.13

171.5

1860s

84.58

167.2

162.7

159.6

158.6

157.6

158.6

155.2

154.3

152.9

152.5

150.6

Site position of Showstore

79.00

Showstore

1. Carving and excavating a route through the plinth

2. Arrangement of spaces around a grid Linear route through site and Showstore

3. Subterranean spaces unearthed and revealed, rising from the ground

4. Timber box arrangement dictated by towering unearthed masses

5. Translucent shell protects internal spaces and glows like a beacon

Showstore Diagrams

Showstore Organisation

Showstore

3 5

Thematic arrangement secrecy/Monumentality/Subterranean

Spatial Grouping 1. Admin 2. Reading Room 3. Exhibition 4. Cafe 5. Archives

Public and Private

Material Palette

Polished Concrete

Birch Ply

Secure, strong, solid, monumental, urban, subterranean

Honest, inviting, warm, open, truthful

Low Iron Sandblasted Channel Glass

Transparency, glowing, monumental, hints

Showstore

1:200 Site Section

Showstore

Internal A

Internal B

B A

1:100 Basement Floor Plan 54

Showstore

NOTES 1

Modern steps.

Door jambs cut away at gates B to J.

Unfinished cutting of gate.

20 m

40 cubits

TMP

True North

Grid

Nort h

J2a J2b

J1a

J1b

Pillar 1 Pillar 2

Pillar 2

Pillar 1

K1a

Ga Pillar 4

Pillar 3

Axis 263Ë&#x161; 37' 46" N 99,387.387 E 93,982.717 Elev 186.830

Pillar 3 K1

Pillar 4

J2 K2

Pillar 6

Pillar 5

Pillar 5 Pillar 7

Pillar 6

K1b

Pillar 8

Pillar 7

Pillar 8 3

J1c

J1d

J2d J2c

186.830 3

185.420 184.830

183.557 183.057

181.039

180.979 180.179 179.609

179.569

179.659

179.549

179.151

179.121

186.830 3

185.420 184.830

183.557 183.057

181.039

180.979 180.179 179.659 179.121

179.549

179.609

179.569

179.151

179.509

179.499 179.121

Sheet 30/72 - KV 14 (1/2)

179.679

179.659

Theban Mapping Project

179.549

KV 14 - Tausert Dyn. XIX and Setnakht Dyn. XX

180.182

180.082 179.609

Plan, sections 1:125

1:100 Ground Floor Plan 180.179

Internal C

Showstore 57

Internal D

Internal E

Showstore

Internal F

1:100 First Floor Plan 60

Showstore

1:100 Second Floor Plan 61

Internal G

Showstore

photovoltaics to make use of roof space and reduce energy consumption

Concrete structure adds thermal mass

Ventilation around skylights allows for the stack effect to occur

Environmental Approaches

1:50 Technical Section

Showstore

1:50 Structural/Spatial Model Light Studies

Soft diffused lighting through translucent facade

Shadows appear through translucent facade, hinting at something more

Areas of sharp light illuminate

External Views

Reading room opens only to the sky. The requested document leaves the dark underground chamber, rises, and is received by light. This process represents rebirth, influenced by the Egyptian idea of the tomb as a base for a souls journey to the afterlife

Showstore

Birch ply finish. Wood is inviting and reassuring, it represents honesty, openness and truth

Translucent glass facade. Shadows of people, structure and spaces are hinted at on the outside. In the evening the box is illuminated by the interior lights, acting as a beacon to guide the way in the darkness Glass connections between concrete and wooden elements. Reinforce the concept of carved out trenches through the building

Thick channels reinforce how Showstore is carved from the plinth. They also work as a means of escape and are lined by fire doors Linear excavations. Reinforcing further the subterranean connection to Showstore Unearthing the secrets below ground at the base of these towers

Underground archive spaces. Influenced by Egyptian tombs, these spaces are protected and secure by restricted access 67

Suspended rooms. Retain transparency and openness of the building, literally as well as metaphorically. Exploit peoples fear of them falling as a notion for things falling apart once the truth is uncovered

Visible structural elements. Exposed steel beams and concrete reinforce concepts of transparency and honesty

Concrete towers. Rising from the depths, these towers create a cavernous feel inside Their scale intimidates and boasts authority among the buildings inhabitants

Clear glass band. Allows connection to the outside public space, creating an open dialogue between the two spaces White sandstone plinth. Has a luminescent quality. Plinth manipulates levels of the site, creating a sense of importance around Showstore

Polished concrete. Boasts security, strength, solidity

Thematic Justifications

In Retrospect

Portugal/Barcelona Trip and Thinking Through Making Week During the compiling of this portfolio several photographs now hold more significance to this projects design process than had previously been realised. Perhaps noticing these spatial and detail qualities, and experimenting with materials had a subconscious influence on the themes explored here

In Retrospect 71

Subterranean

Secret

Monumental

Faceted edges

Carved concrete forms

Underground concrete tunnels

Excavated channels

Carving through

Chiseled

Burrowing

In Retrospect

Carving

Symmetry and order

A landmark

Narrow alley of Lisbon

Verticality

Narrow alley of Porto

Additional Coursework

BA (Hons) Architecture ARC3013 Architectural Technology ARC3014 Professional Practice and Management ARC3015 Principles and Theories of Architecture ARC3060 Dissertation in Architectural Studies

ARC3013 Technology Report Benjamin Risby 120548309 BA Architecture Newcastle University

ARC3013

2015-16 Coursework Brief

Design Summary Prior to suspending studies I was in Kati and David’s group, Chamber – Show/Store. The brief was to design a music performance space, rehearsal space, and visitor facilities, as well as sufficient living space, bedrooms, and a library for the composers. We had a choice of two sites, both in Edinburgh. I chose the site situated on Market Street, near the Edinburgh Waverly train station. We began by picking three quotes from architects and musicians, from here we used these quotes to develop our project through experimental processes. One quote in particular defined the key concept of my design, Chinese architect Tao Ho stated: ‘Good architecture is like a piece of beautifully composed music crystallized in space that elevates our spirits beyond the limitation of time.’1 This quote led the performance space and associated requirements to take an underground, crystallised, cave like form that opened into a bright and open space. This earth-like half of the building would be constructed from insitu concrete. The living space was situated above the performance space, mirroring its form, but in timber. Due to the nature of the building, acoustic quality was an important design factor. The concrete base allowed the sound of music to echo through its suburban underground, and on to the street, whilst the lightweight timber box above hovered in relative silence.

Niall Edworthy and Petra Cramsie, The Optimist’s/ Pessimist’s Handbook: A Companion to Hope and Despair (London: Black Swan, 2010), p. 18.

Fig. 1 Site location marked in red

Fig. 2 Diagrams expressing key concepts

ARC3013

Fig. 4 Scale model photographed to show elevation

Fig. 3 Experimental model exploring urban underground themes

Fig. 5 Cast in-situ concrete performance space

Fig. 6 Ground, first, second, third floor plans

Fig. 7 Sectional conceptual model exploring cave-like forms

Fig. 8 The two halves of the model demonstrate the private and public space

ARC3013

Precedents (far left, clockwise) Fig. 10 Saunahaus by Bernardo Bader Architects Fig. 11 Versailles Pavilion by Explorations Architecture Fig. 12 Concrete Box Residence by Robertson Design Fig. 13 XAN House by MAPA Fig. 14 Offices for Junta de Castilla y Leรณn by Alberto Campo Baeza

Fig. 9 Section showing some construction elements

Construction Reduction My initial aim was for the new building to be no larger than the old, yet it ended up taking slightly more area than the old building. Because of this I thought it important to leave an area of the site untouched for landscaping, creating a communal entrance area. There is also a courtyard on the top floor for the residents.

‘The Benefits of Timber Frame’, UK Timber Frame Association <http://www.uktfa.com/whytimber-frame/the-benefits-oftimber-frame/> [accessed 28 January 2016].

‘Whole Life Costing and Performance (WLC)’, BRE Group <http://www.bre.co.uk/page. jsp?id=48> [accessed 28 January 2016].

Due to some angles, the building is slightly more complicated in its construction. This is however offset by the vast majority taking place in timber, consequently being cheaper, lighter, more flexible, faster to build, and saving approximately 4 tonnes of CO2.2 Because the top section is a timber box, the inside is a relatively blank canvas allowing for reorganisation by moving stud walls. The concrete section is less flexible, but has ample storage space. The cast concrete seating of the music space also reduces the need to house seating and space to store it. The timber box allows for the use of standardised components due to its simplicity. The concrete structure is also relatively standard allowing for regular timber shuttering to achieve its finish.

Fig. 15 Timber frame structure

The existing retaining wall of the site will remain, reducing use of material in the construction of a new one. The plan indicates solid concrete walls on the ground floor. This is purely diagrammatic and these would actually be hollow, allowing for storage and services. The supporting columns for the timber box will be constructed from timber, avoiding concrete or steel use. The concrete section will be durable and help prevent sound transmission. Components used throughout the building will also be durable and of good quality to reduce the need for replacement later, this reduces long term cost for maintenance.3

Fig. 16 Formwork for cast in-situ concrete

Construction Reuse As mentioned previously, the site contains an existing derelict building. It is listed as ‘at risk’ and in ‘very poor’ condition, with a proposal for demolition being granted.4 It is therefore unlikely to be restorable, with restoration being expensive and timely. It may be possible to salvage some materials from the demolition of this structure. Also as mentioned previously, the existing retaining wall is to be utilised.

ARC3013

If necessary, the timber box could be deconstructed and reconstructed elsewhere with few modifications. New construction could be built on top of the concrete construction, potentially adapting the buildings use. Geothermal pile foundations are proposed for the new building. This allows for alterations and additions to the building at a later date due to their supporting ability, as well as having carbon reduction benefits. ‘Design for flexibility means deliberately providing as many future decision opportunities as possible.’5 This applies in that the performance space could be used to screen movies, as a meeting place, or for other performing arts. The open lobby space could be used for other functions, such as hosting events. Table and chairs could be placed, with one of the back rooms being used as a small café. Head height is sufficient within the lobby space, allowing covering of the performance space and increasing useable floor area on this level. The in-situ nature of the bottom half is problematic in regards to reuse as very few concrete components can be deconstructed and reused.6 This problem could be avoided by using a more regular block construction that then supports hooked on concrete panels as a finish. This would allow for easier adaptation and reuse of said panels. The first floor glazing sits between the floor and ceiling, and has no structural qualities because the timber box is supported by timber columns. As a result, this glazing can be removed and replaced with other construction elements for future building adaptation.

‘6, Market Street, Edinburgh’, Buildings at Risk Register for Scotland, 2015 <http:// www.buildingsatrisk.org.uk/ details/906077> [accessed 26 January 2016].

US EPA Region 9, Design for Deconstruction (United States Environmental Protection Agency), p. 30 <http://www3. epa.gov/region9/greenbuilding/ pdfs/DesignForDeconstrManual. pdf> [accessed 28 January 2016].

‘Design for Flexibility and Adaptation’, Cambridge Architectural Research Ltd <http://www.carltd.com/ services/Design-for-flexibilityand-adaptation> [accessed 28 January 2016].

Fig. 17 & 18 Reused craneway before and after construction of Kraanspoor office building

Fig. 19 The site and derelict building on Market St

Construction Recycling A wood grain finish is wanted on the concrete, the wood from concrete formwork will be reclaimed and restored, and these planks will then be used to construct the wooden fins that surround the timber box. The timber from the timber box can be reclaimed and used in other construction projects. It could also be used for heating buildings by wood burner, or recycled in to chipboard. The concrete element of the building is harder to recycle, but can be used as a recycled aggregate.7 Pulverised Fuel Ash could be used in the concrete section. It is a recycled by-product of burning pulverised coal that is then mixed with concrete. This can equate to a 20% reduction in overall CO2 emissions.8 The glass panels are supported by internal glass fins to brace for wind loading. This creates a minimal effect, but also means there is no uPVC, wood, or metal frame to dispose of. The glass can be reused, or can be recycled in the manufacture of new glass panels.

‘End of Life Recycling’, The Concrete Centre <http:// www.concretecentre.com/ sustainability/end_of_life_ recycling.aspx> [accessed 26 January 2016].

‘Recycling Insulation from Construction Projects’, NI Business Info <https://www. nibusinessinfo.co.uk/content/ recycling-insulation-constructionprojects> [accessed 26 January 2016].

10 ‘WARMCEL Insulation’, Warmcel, 2012 <http://www. warmcel.co.uk/warmcel/range/ warmcel/> [accessed 26 January 2016].

Aggregate Industries UK, Fly Ash -BSEN 450 -1 Class N Category, 2013 <https://www. aggregate.com/documents/tds/ fly-ash-cement-replacement-tds. pdf> [accessed 26 January 2016].

Fig. 20 Recycled formwork beams and offcuts used Fig. 21 Fly ash bricks

Insulation used in the wall cavities can also be removed and reused in other building projects.9 Warmcel insulation actually reduces carbon footprint with a global warming potential of -1.5 GWP, due to it being a recycled material.10

Building Structure The building sits upon pile foundations due to the urban nature of the site. Fig. 23 Fly ash production

The concrete section of the structure is cast in-situ, with recycled aggregate and a fly ash mix. Upon this layer sit timber columns, these support the weight of the above structure so the glass can stand freely. This creates a floating effect. Cross laminated timber panels are then used for the floor of the timber box, with the timber studwork frames fixed to these.

Fig. 22 Fly ash

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Building Construction and Materiality Construction begins after demolition of the existing building. The first stage is to drill the bore holes for the pile foundations. Concrete is then poured into these holes, along with steel reinforcement. From here ground beams can be cast, giving the foundation to build the next section. The next section is poured insitu into wooden formwork (to copy the texture of the planks), with insulation in the middle. This is left to dry and harden, and the formwork can be removed. Once this lower concrete section is solid, the service rooms are constructed from timber, with a layer of insulation in the middle. The timber columns are fixed to the concrete base, at both ends an acoustic bearing will help to isolate any vibrations from the performance space.11 Using these columns and the supporting walls on this level allows the support of the next two floors. These floors are constructed from timber, in a mixture of cross laminated panels and regular timber cuts. Again, the walls are filled with insulation. As is the floor that separates the performance space from the living space, this will help to reduce flanking sound. The use of columns allows the first floor glazing to sit without easily visible framing; the glass is supported from wind loading by glass fins on the internal face of the glass. Glazing in the timber box section will have a wooden frame to maintain rigidity and strength in the structure. The exterior wooden fins are then attached to the exterior of the timber walls via metal fixings. A combination of plywood layers, a cavity, and dense insulation should help to reduce noise transmission.

reclaimed from the formwork, restored and stained to match the teak slats in colour. The living space has hard wood floors, with the interior walls being a mixture of white painted and timber clad. 11 12 Total Vibration Solutions, â&#x20AC;&#x2DC;FSC Recycled Teakâ&#x20AC;&#x2122;, Brooks High-Resilient Bearings: Bros <http://www.brookstimber. Efficient Vibration Insulation in com/FscRecycledTeak.php> Minimal Space <http://www. [accessed 27 January 2016]. totalvibrationsolutions.com/pdf/ High-Resilient%20Bearings.pdf> [accessed 27 January 2016].

Fig. 24 & 25 Materiality of the two sections

The exterior concrete and visible concrete on the ground floor will mirror the timber half by retaining the impressions from the wooden formwork. The floor surface on the ground and first floor will be polished concrete.

Fig. 27 Removing timber formwork to reveal the grain in concrete

The exterior of the service rooms and ceiling of the first floor is clad in reclaimed teak slats that all run in the same direction. This can be sourced from various sources, including old colonial buildings.12 Teak is an extremely durable wood, having traditional been used in ship building. The gaps between the slats help to trap sound and reduce reverberation. These slats run around the entire exterior of the timber box. Fixed on the outer side of these are timber fins, Fig. 26 Diagram of bore hole drilling for pile foundations

Building Environmental Strategies and Services As mentioned previously, the building sits on geothermal piles. They work by placing closed ground source heat loops into the piles themselves. The heat from deeper soil is then used to heat water and the building. ‘Most small diameter geothermal pile installations will achieve at least 30 watts of heating and cooling energy per metre depth of soils.’13 The building has a continual layer of insulation around it to prevent cold bridging (see section, p. 4). This includes insulation of the retaining wall and around the pile foundations.

Fig. 29 Greywater collection diagram 13 14 Balfour Beatty, Geothermal ‘Biomass’, Energy Saving Trust Piles <http://www.balfourbeatty. <http://www.energysavingtrust. com/media/28624/geothermal- org.uk/domestic/biomass> piles-web.pdf> [accessed 27 [accessed 27 January 2016]. January 2016]. 16 Yoram Cohen, ‘Graywater - A 15 ‘Low Energy Lights Can Save Potential Source of Water’, UCLA Energy and Money’, Energy Institute of the Enviroment and Saving Homes <http://www. Sustainability, 2009 <http:// energysavinghomes.org.uk/ www.environment.ucla.edu/ improvements/low-energyreportcard/article4870.html> lights_6> [accessed 27 January [accessed 27 January 2016]. 2016].

Most glazing faces north because the site sits lower than the buildings behind it due to Edinburgh’s hilly terrain. I tried to compensate for this by adding a rooftop courtyard, surrounded by glazing. This allowed light in to the centre of the living space and provided some south facing glazing to gather heat.

Fig. 28 Steel reinforcement with piping running through for geothermal piles

The living space is fitted with a wood burner to help heat it during cold months. Up to 15.4 tonnes of carbon dioxide emissions could be saved a year.14 No tungsten filament bulbs are used in this. Lighting is a combination of fluorescent and LED. LED lighting can reduce electricity costs by 90%.15 Employing a greywater recycling system could reduce potable water use by 16 to 40 percent.16 It is safe to assume a large supply of grey water due to the public nature of the building.

Thinking through Making Proposal During ‘Thinking through Making’ week I would like to look further at ways to use concrete in a more environmentally friendly way, as the concrete section of this design is by far the least green aspect of this design. I would also like to look at ways of adding texture to concrete surfaces. As well as looking at new building technologies that help construction have less environmental impact, increase construction speed, and reduce costs.

Fig. 30 Example of LED lighting the building would use

Fig. 31 A wood burner

Bibliography

Illustrations

‘6, Market Street, Edinburgh’, Buildings at Risk Register for Scotland, 2015 <http://www.buildingsatrisk.org.uk/details/906077> [accessed 26 January 2016]

Fig. 1 Site location marked in red, Benjamin Risby.

Fig. 22 Fly ash, http://www.silotransport.cz/en/fly-ash

Fig. 2 Diagrams expressing key concepts, Benjamin Risby.

Aggregate Industries UK, Fly Ash -BSEN 450 -1 Class N Category, 2013 <https://www.aggregate.com/documents/tds/fly-ash-cementreplacement-tds.pdf> [accessed 26 January 2016]

Fig. 3 Experimental model exploring urban underground themes, Benjamin Risby.

Fig. 23 Fly ash production, http://www.flyashaustralia.com.au/ WhatIsFlyash.aspx

Balfour Beatty, Geothermal Piles <http://www.balfourbeatty.com/ media/28624/geothermal-piles-web.pdf> [accessed 27 January 2016]

Fig. 5 Cast in-situ concrete performance space, Benjamin Risby.

‘Biomass’, Energy Saving Trust <http://www.energysavingtrust.org. uk/domestic/biomass> [accessed 27 January 2016]

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Cohen, Yoram, ‘Graywater - A Potential Source of Water’, UCLA Institute of the Enviroment and Sustainability, 2009 <http://www. environment.ucla.edu/reportcard/article4870.html> [accessed 27 January 2016]

Fig. 4 Scale model photographed to show elevation, Benjamin Risby.

Fig. 6 Ground, first, second, third floor plans, Benjamin Risby.

Fig. 25 Materiality of timber section, https://uk.pinterest.com/ pin/327777679105897729/

Fig. 7 Sectional conceptual model exploring cave-like forms, Benjamin Risby.

Fig. 26 Diagram of bore hole drilling for pile foundations, http://www. kellerholding.com/bored-piles.html

Fig. 8 The two halves of the model demonstrate the private and public space, Benjamin Risby.

Fig. 27 Removing timber formwork to reveal the grain in concrete, https://miller63.wordpress.com/concrete-feature-wall/

Fig. 9 Section showing some construction elements, Benjamin Risby.

Fig. 28 Steel reinforcement with piping running through for geothermal piles, http://eddge.com.au/monbulk/

‘Design for Flexibility and Adaptation’, Cambridge Architectural Research Ltd <http://www.carltd.com/services/Design-for-flexibilityand-adaptation> [accessed 28 January 2016]

Fig. 10 Saunahaus by Bernardo Bader Architects, http://www. bernardobader.com/en/projekt/saunahaus-2

Edworthy, Niall, and Petra Cramsie, The Optimist’s/Pessimist’s Handbook: A Companion to Hope and Despair (London: Black Swan, 2010)

Fig. 11 Versailles Pavilion by Explorations Architecture, http:// www.dezeen.com/2008/12/18/versailles-pavilion-by-explorationsarchitecture/

‘End of Life Recycling’, The Concrete Centre <http://www. concretecentre.com/sustainability/end_of_life_recycling.aspx> [accessed 26 January 2016]

Fig. 12 Concrete Box Residence by Robertson Design, http://www. designboom.com/architecture/christopher-robertson-designconcrete-box-house-texas-12-11-2015/

‘FSC Recycled Teak’, Brooks Bros <http://www.brookstimber.com/ FscRecycledTeak.php> [accessed 27 January 2016]

Fig. 13 XAN House by MAPA, http://www.dezeen.com/2014/04/08/ xan-house-brazil-mapa-concrete-timber-slats/

‘Low Energy Lights Can Save Energy and Money’, Energy Saving Homes <http://www.energysavinghomes.org.uk/improvements/lowenergy-lights_6> [accessed 27 January 2016]

Fig. 14 Offices for Junta de Castilla y León by Alberto Campo Baeza, http://www.dezeen.com/2012/09/15/offices-for-junta-de-castilla-yleona-by-alberto-campo-baeza/

‘Recycling Insulation from Construction Projects’, NI Business Info <https://www.nibusinessinfo.co.uk/content/recycling-insulationconstruction-projects> [accessed 26 January 2016]

Fig. 15 Timber frame structure, http://www.timberframeworks.com/ kits.htm

‘The Benefits of Timber Frame’, UK Timber Frame Association <http:// www.uktfa.com/why-timber-frame/the-benefits-of-timber-frame/> [accessed 28 January 2016] Total Vibration Solutions, High-Resilient Bearings: Efficient Vibration Insulation in Minimal Space <http://www.totalvibrationsolutions.com/ pdf/High-Resilient%20Bearings.pdf> [accessed 27 January 2016] US EPA Region 9, Design for Deconstruction (United States Environmental Protection Agency) <http://www3.epa.gov/region9/ greenbuilding/pdfs/DesignForDeconstrManual.pdf> [accessed 28 January 2016] ‘WARMCEL Insulation’, Warmcel, 2012 <http://www.warmcel.co.uk/ warmcel/range/warmcel/> [accessed 26 January 2016] ‘Whole Life Costing and Performance (WLC)’, BRE Group <http://www. bre.co.uk/page.jsp?id=48> [accessed 28 January 2016]

Fig. 16 Formwork for cast in-situ concrete, https://en.wikipedia.org/ wiki/Formwork#/media/File:Concrete_Formwork.JPG Fig. 17 Craneway before construction of Kraanspoor office building, http://www.archdaily.com/2967/kraanspoor-oth-ontwerpgroeptrude-hooykaas-bv/500edc5e28ba0d0cc70009fd-kraanspoor-othontwerpgroep-trude-hooykaas-bv-photo Fig. 18 Reused craneway after construction of Kraanspoor office building, http://architektur.mapolismagazin.com/oth-buerogebaeudekraanspoor-amsterdam Fig. 19 The site and derelict building on Market St, https://www.google.co.uk/maps/@55.9510891,3.1896809,3a,75y,194.09h,96.89t/data=!3m6!1e1!3m4!1sb2qAn5pP 7kZTBlq0pi5gmw!2e0!7i13312!8i6656?hl=en-GB Fig. 20 Recycled formwork beams and offcuts used, http://www. dezeen.com/2015/12/29/video-interview-hotel-hotel-march-studiorecycling-thousands-pieces-reclaimed-timber-movie/ Fig. 21 Fly ash bricks, http://www.buildingindustry.org/fly-ash-bricks

Fig. 24 Materiality of the concrete section, http://www.archdaily. com/257220/bromont-house-paul-bernier-architecte/500f4b9328ba0 d49c6000034-bromont-house-paul-bernier-architecte-photo

Fig. 29 Greywater collection diagram, http:// challengeforsustainability.org/toolkit/water-efficiency/graywater/ Fig. 30 Example of LED lighting the building would use, http:// parkhousew1.co.uk/2014/11/productivity-boosting-led-lightsinstalled/ Fig. 31 A wood burner, http://www.stovesonline.co.uk/wood_ burning_stoves/Westfire-21-wood-stove.html

Thinking Through Making Outcomes Benjamin Risby 120548309

Helen Pailing The workshop focused on weaving and stitching. I used different types of wire and a picture frame to weave a rigid wire support system, and then used a far more flexible plastic-coated wire to weave between the supports. The workshop also included the opportunity to French knit with wool, creating cylindrical fabric forms. This workshop opened to me thinking differently about textile and flexible forms, and how they may be applied.

Amara Roca Iglesias The workshop tasked us with making a free-standing bamboo structure collaboratively. My group were to build a bench using only the materials supplied. The main idea was that the bamboo structures would be iterated upon by the next group, leaving us with a well considered final piece. Bamboo is an extremely strong material once it reaches maturity, it was our job to figure out ways of working with bamboo, specifically focusing on engineering a system of fixing pieces together. Due to time constraints we went with a basic system of nailing poles together and then fixing them in place with cable ties. We also engineered a joint with more longevity and strength for the next group to iterate upon.

Rachel Armstrong The workshop focused on experimental techniques in architecture, particularly in response to drawing techniques. We initially scribbled with coloured pens on filter paper, then dipped these in ethanol to see how the colours breakdown and blend. Thinking about these interactions as divisions of space. The highlight of the workshop was using olive oil and other chemicals in a petri dish to see how they interacted. I shot some interesting video showing how certain chemicals would dissolve, expand, and contract in interaction with other chemicals. This led us to thinking about architecture on a chemical level, influencing the interactions between different environments and spaces.

Magnus Casselbrant and Jesper Henriksson The workshop involved using large polystyrene blocks and working in a team to reinvent and iterate on a space that had been design by a previous group. The large blocks made it possible for us to work at a 1:1 scale. The goal was to create an area for students to study in. Our approach was to offer study space as well as including some recreational elements. The result left us with a more communal study approach, as well as a slide. The large cantilevered block created a more relaxed and communal aspect to the design.

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Project overview:

through Newcastle or spending time in the city centre. This location creates a prime opportunity to add another iconic

The design of our building focuses around a chosen collection. This collection is to be held within the building and consequently informs the type of building and the design of the building. My collection is a series of classified and confidential documents, perhaps government documents or medical. Consequently, I am designing an archive building to hold these secrets. This calls for numerous types of spaces, including: office spaces, meeting spaces, staff rooms, security, archive storage, reading rooms, loading space, general storage and facilities, restoration and conservation spaces, a lobby, reception, café, as well as sufficient plant space. Documents of this nature tend to have a declassification period. When some of these documents become declassified they will be displayed in the building for the public to observe. This means

building to Newcastle’s skyline, as well as a monument and beacon to those living within and passing through. The rough area of this site is 9000sq.m. A key issue of this location will be the mitigation of sound due to its location. Because of the vastness of the site we are to act as masterplanner; designing the two main buildings, positioning them onsite, designing the surrounding space, and proposing other buildings for the site. This allows us to combat the sound issue by adding buildings along the periphery that open in to this new public space. It also creates more opportunities to full regenerate this area of Newcastle and create new and exciting external space to explore, relax, and discover, supported by the local bars and restaurants

that the building must also be able to host such an exhibit and will therefore also include exhibition space. The maximum

surrounding the site.

internal floor area of this building is 1500sq.m. As well as designing an archive, we are to design a small music venue that

Due to the large scale and interwoven nature of this project I will – for the purpose of this assignment – be considering it as

will also accommodate a number of musicians. This building will be roughly 600sq.m. and also be positioned on the same site.

a development.

Figure 2 Site photographs

Our site is based in Newcastle-upon-Tyne, more specifically the plot between Pilgrim Street, Carliol Square, and Worswick Street (fig. 1). Pilgrim Street hosts many restaurants and bars, as well as a bus route. Carliol Street is mostly office space, but also hosts the popular nightclub World Headquarters. Worswick Street is

Figure 1 Masterplan of site

dominated by an old bus depot that is currently being used as car parking, as well as a church and a number of disused listed buildings. The existing topography of the site consists of a large and steeply sloping area with multiple changes in level due to demolition, it is divided by three retaining walls of which one meets Worswick Street. Currently the site is car parking for the city centre and sits in the shadow of 55 Figure 1 Location plan

Degrees North, a large residential building at the centre of one of Newcastle’s busiest

intersections with one of Newcastle’s busiest roads passing underneath (fig. 2). This road links Gateshead via the Tyne Bridge to Newcastle city centre, Newcastle Airport and the coast, making our site a prime location for people travelling

Required consultants: As with most modern projects it is recommended that a Quantity Surveyor (QS)/Cost Consultant is hired. The QS is effectively the accountant of the building profession and is involved in all stages of the project. It is up to the QS to ‘enhance value for money, while still achieving the required standards and quality’.1 Their responsibilities can include: feasibility studies; tender and contract documents; cost analysis for repair and maintenance; risk, value management and

Feasibility Study is undertaken where ‘viability testing is undertaken that will inform the Project Budget.’ 7 The purpose of defining this stage clearly is to minimise the risk of later delay, additional cost and abortive work’.8 During Stage 2 preliminary Cost Information will be produced alongside the Concept Design, and during Stage 3 this Cost Information is updated alongside the Developed Design. As the design progresses through these stages, our ‘design team will produce a design that meets the Project Budget. To help them achieve this, the cost consultant will prepare regular

cost control; advising on procurement strategy; identifying, analysing and developing responses to commercial risks;

construction cost estimates.’9

preparing and analysing cost for tenders; allocating work to subcontractors; advising on contractual claims; analysing

Stage 4 (Technical Design) is when the project often starts to exceed the target budget because of added scrutiny in

outcomes and writing progress reports; valuing completed work and arranging payments.2 It is also recommended that a Structural Engineer (SE) is hired to assist in the design of the buildings structure. A public building with a long lifespan such as this will come under many stresses and pressures that must be withstood for inhabitant’s safety. Their responsibilities can include: analysing configurations of structural components of a structure; calculating the pressures, stresses and strains on components; considering the strength of various materials; meeting with designers to produce an outcome both aesthetically pleasing and safe; examining structures at risk and advising improvements; producing information for contractors; and ensuring new buildings are structurally sound. 3

detailing. Some means to tackle this are: 

Obtain an elemental project estimate from the cost consultant at the end of Stage 3. Interrogate it before technical detailing starts to make sure that the requirements of the design have been costed.



As Technical Design develops, request regular reviews with the cost consultant.



Insert material costs into the BIM model so that changes in quantities are accurately recorded.



Market-test material costs with appropriate suppliers. Ensure that you get workmanship and delivery costs from the suppliers consulted.



Undertake value-engineering workshops with the design team and contractor throughout the stage.10

Contractor involvement and professional relationships: The contractor carries out the work on site as to a contract set out by the client and is often managing a series of subcontractors. This contractor works with the design team and other consultants to deliver the project. In a traditional

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project team, a client hires a design team to design a building, contractors then tender for the project. In a contractor-led project team the contractor leads the project team which encompasses the design team and the contractors bid for a project.4 These two different forms of procurement influence at which stage of the RIBA Plan of Work 2013 a contractor may join the project team. Traditional project led teams tend to involve the contractor during Stage 4 (Technical Design),

Pilgrim Street Interim Planning Guidance considers the following development principles:

•

Archaeology

•

Approach to Design

•

Scale and Massing

•

Materials

process.

•

Topography

It allows the contractor to better understand (two-stage design and build) or be in better control of (contractor-led

•

Connectivity

procurement) the project risks.6

•

Accessibility

•

Public Space

•

Environmental Sustainability.12

The contractor’s supply chain can be involved at an earlier point, in order to harness the knowledge and experience of specialist contractors.

•

regeneration zone, capable of providing ‘the space for the retail, leisure and commercial core to expand.’ 11 The East

Historic Buildings and their Settings

We will involve the contractor at an earlier stage because it can have major advantages, including:

•

The site for this development sits within East Pilgrim Street area. Newcastle City Council have highlighted this area as a key

•

whilst contractor-led teams tend to involve the contractor before Stage 2 (Concept Design). 5

•

Local planning considerations and approach:

It allows strategies for logistics, health and safety and other considerations to be developed earlier in the design

Maintaining budget: We will hire a QS to oversee costings and guide the project to completion within budget. As well as that the RIBA Plan of Work 2013 will be used as a guide to make sure the issue of cost is considered throughout the project. At Stage 1 a

Paul Fletcher and Hilary Satchwell, Briefing: A Practical Guide to RIBA Plan of Work 2013 Stages 7, 0 and 1 (RIBA Stage Guide) (United Kingdom: RIBA Enterprises, 2015), p. 135. 8 Ibid, p. xviii. 9 Phil Holden, Construction: A Practical Guide to RIBA Plan of Work 2013 Stages 4, 5 and 6 (RIBA Stage Guide) (United Kingdom: RIBA Enterprises, 2015), p. 11. 10 Ibid, p. 84. 11 Newcastle City Council and Gateshead Council, Core Strategy and Urban Core Plan for Gateshead and Newcastle upon Tyne, 2010-2030, 2015, p. 170 <https://www.newcastle.gov.uk/sites/default/files/wwwfileroot/planning-and-buildings/planningpolicy/planning_for_the_future_core_strategy_and_urban_core_plan_2010-2030.pdf> [accessed 19 April 2016]. 12 Newcastle City Council, East Pilgrim Street Interim Planning Guidance, 2009, p. 13-19 <https://www.newcastle.gov.uk/wwwfileroot/legacy/regen/plantrans/FinalIPG14July09.pdf> [accessed 9 April 2016]. 7

1 ‘Job Profiles: Quantity Surveyor’, by Graduate Prospects Ltd, Prospects, 2014 <https://www.prospects.ac.uk/job-profiles/quantitysurveyor> [accessed 7 April 2016]. 2 Ibid. 3 ‘Job Profile: Structural Engineer’, by Graduate Prospects Ltd, Prospects, 2014 <https://www.prospects.ac.uk/job-profiles/structuralengineer> [accessed 7 April 2016]. 4 Dale Sinclair, Assembling a Collaborative Project Team: Practical Tools Including Multi-Disciplinary Schedules of Services (United Kingdom: RIBA Enterprises, 2013), p. 16. 5 Ibid, p. 16. 6 Ibid, p. 54.

Under ‘Approach to Design’, the document states that ‘New development should demonstrate the highest quality of contemporary architecture and urban

design.’13

Consequently, this development will be designed and considered

meticulously by qualified professionals to achieve this. It also states any ‘New development should have a positive impact on the identified key strategic views and vistas and key gateways.’ 14 As mentioned in the introduction, the building will act as a monument within a key gateway of Newcastle. It goes on to mention consideration of roof heights and massing, and this is taken in to account when masterplanning the site.15

secure.19 The practice is contactable via telephone and email, all emails are also archived and a policy is in place to ensure consistency and professionalism. The RIBA Plan of Work 2013 acts as the main guide in regards to procedures and processes for efficient project delivery. Its principle purpose is to explain ‘to clients the circular processes involved in a building project’, 20 but also acts as an efficient way to structure the approach from beginning to end (fig. 4).

Complying with CDM2015: As the designer, we are – under the Construction (Design and Management) Regulations 2015 – primarily responsible for considering ‘the health and safety of those who will use, maintain, repair, clean, and eventually demolish a structure.’16 If we are unable to completely eliminate these risks we are to take steps to reduce and control them, and provide this information to the PD. We must also make the client aware of the duties owed by the client and provide with the design, all necessary information to assist the client in the maintain and running of the building.17 As a firm we will take every possible opportunity to minimise health and safety risks within the design of this development. As an example, the sloped edges of the levels within the masterplan will be blocked from the top via strong and heavy barriers to prevent falling down them. The service access to the archive building will be clearly designated as a road and barriers will be put in place to stop people accessing this.

Necessary office resources: The foremost resource we need to execute this development is a team of dedicated and qualified architects, capable of developing high quality design but also understanding the technical and social aspects. To assist in the developing of the design the practice has access to CAD software, as well as BIM to meet the governments aim of a ‘collaborative Level 2 BIM by 2016’.18 To support this, robust technical infrastructure and networks are needed. Our practice hosts its own in-house server and Operations Manager to oversee this, amongst the daily operations of the practice. This allows for efficient archiving and easy retrieval, saving time, money and making a project more Fig. 4 Process map

Ibid, p. 14. Ibid, p. 14-15. 15 Ibid, p. 14-15. 16 Construction Health and Safety Manual B4: CDM Regulations (United Kingdom: Construction Industry Publications Ltd, 2014), p. 7. 17 Ibid, pp. 24-25. 18 ‘About Us’, by BIM Task Group <http://www.bimtaskgroup.org/about/> [accessed 10 April 2016]. 13 14

19 20

Nigel Ostime, Riba Architect’s Handbook of Practice Management, 9th edn (London: RIBA Enterprises, 2013), p. 241. Dale Sinclair, Guide to Using the RIBA Plan of Work 2013 (London: RIBA Enterprises, 2013), p. 3.

Advantages/disadvantages of proposed actions:

Enhancing the reputation of the construction industry:

Justification for this development and the above actions comes from the East Pilgrim Street Interim Planning Guidance

This development could enhance the reputation of architects and the wider construction industry by acting as an example

document which declares that our site sits within a ‘large and strategically important regeneration opportunity area at the

of a well considered, designed and managed development that can be used as a precedent to others when pursuing the

heart of Newcastle City Centre’.21 We therefore have a responsibility to produce the best possible outcome for ourselves,

regeneration of a key area within a thriving city such as Newcastle. It also shows that contrary to popular belief, the fees

the client, and the public. This best possible outcome can only be achieved by following the proposed actions above. The

that architects charge are necessary to produce a successful development, and that over time these fees are negligible

advantages of these actions far exceed the disadvantages. One consideration that may have a more significant

when a well designed development begins to save or even generate income. It reassures the public and potential clients

disadvantage is apparent when considering the stage at which the contractor becomes involved. Disadvantages to this

that investment is necessary to better our environments and that the benefits of this investment far outweigh the

include:

negatives. The project can act as an example of a carefully budgeted project and just what is capable with a restricted

•

Restricted access to design team for the client (contractor-led)

•

Larger teams are more difficult to manage

•

Design quality may suffer due to changes in necessary focus.22

The key actions of the Construction (Design and Management) Regulations 2015 are noted above. These actions are in place to ‘reduces risks during construction work, maintenance, cleaning and use of the structure (as a workplace) (including eventual demolition).’23 Other key actions such as the use of the RIBA Plan of Work 2013, consideration of necessary consultants, and close and constant attention to budget are in place to ensure the project runs smoothly, finishes on schedule with minimal delays, comes in on budget so it can begin to generate income quicker, and is safe and

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sustainable.

Client, user, and societal benefit: The client will benefit from this development by gaining a cost efficient, well designed, sustainable building that meets their need to store important and confidential documents securely, safely, and in ideal conditions. Other users benefit in numerous ways. The local plan prioritises ‘the creation of public spaces.’24 Hence, development involves the creation of new inner city green areas and parks, giving the public new places to explore, enjoy, and relax – promoting a healthier lifestyle and enhancing well-being.25 The proposed buildings on the site create new opportunities for people to socialise, gather and play, as well as creating new career opportunities. The archive building creates an opportunity for the public to investigate, learn and grow by providing a comfortable and well designed environment with the necessary facilities. As well as this the music venue opens them to the possibility of new types of music and experiences. Wider society benefits too. Regeneration of this area and renovation of existing buildings adds back to this lifeless part of the city, promotes growth and strengthens the local economy, as well as maintaining Newcastle’s significant listed buildings and supporting their continued maintenance. The archive and music venue add to the cultural significance of Newcastle, providing a further incentive for people to visit. Consequently, also supporting the development of Newcastle and helping to maintain its status as the regions main city. The development also provides a monumental and instantly recognisable space within Newcastle as a means of expressing Newcastle and its ever developing and growing richness, diversity and quality.

21 Newcastle City Council, East Pilgrim Street Interim Planning Guidance, 2009, p. 4 <https://www.newcastle.gov.uk/wwwfileroot/legacy/regen/plantrans/FinalIPG14July09.pdf> [accessed 9 April 2016]. 22 Assembling a Collaborative Project Team, p. 54. 23 Construction Health and Safety Manual B4, p. 3. 24 East Pilgrim Street Interim Planning Guidance, p. 18. 25 Andrea Abraham, Kathrin Sommerhalder and Thomas Abel, ‘Landscape and Well-Being: A Scoping Study on the Health-Promoting Impact of Outdoor Environments’, International Journal of Public Health, 55 (2010), 59–69 <http://dx.doi.org/10.1007/s00038-009-0069z>.

budget, hopefully changing people’s preconceptions of the construction industry as wasteful. Another key aspect is how this project approaches issues of sustainability, proving that tackling climate change is a key focus of the construction industry. Finally, it promotes architecture as more than just a building by providing an example of how architects and the construction industry give back to wider society by creating new environments for it to experience and thrive in; hopefully leading to a happier, healthier and more successful society.

Bibliography ‘About Us’, by BIM Task Group <http://www.bimtaskgroup.org/about/> [accessed 10 April 2016] Abraham, Andrea, Kathrin Sommerhalder, and Thomas Abel, ‘Landscape and Well-Being: A Scoping Study on the HealthPromoting Impact of Outdoor Environments’, International Journal of Public Health, 55 (2010), 59–69 <http://dx.doi.org/10.1007/s00038-009-0069-z> Construction Health and Safety Manual B4: CDM Regulations (United Kingdom: Construction Industry Publications Ltd, 2014) DCLG, National Planning Policy Framework, 2012 <https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/6077/2116950.pdf> [accessed 9 April 2016] Fletcher, Paul, and Hilary Satchwell, Briefing: A Practical Guide to RIBA Plan of Work 2013 Stages 7, 0 and 1 (RIBA Stage Guide) (United Kingdom: RIBA Enterprises, 2015) Holden, Phil, Construction: A Practical Guide to RIBA Plan of Work 2013 Stages 4, 5 and 6 (RIBA Stage Guide) (United Kingdom: RIBA Enterprises, 2015) ‘Job Profile: Structural Engineer’, by Graduate Prospects Ltd, Prospects, 2014 <https://www.prospects.ac.uk/jobprofiles/structural-engineer> [accessed 7 April 2016] ‘Job Profiles: Quantity Surveyor’, by Graduate Prospects Ltd, Prospects, 2014 <https://www.prospects.ac.uk/jobprofiles/quantity-surveyor> [accessed 7 April 2016] Newcastle City Council, East Pilgrim Street Interim Planning Guidance, 2009 <https://www.newcastle.gov.uk/wwwfileroot/legacy/regen/plantrans/FinalIPG14July09.pdf> [accessed 9 April 2016] Newcastle City Council and Gateshead Council, Core Strategy and Urban Core Plan for Gateshead and Newcastle upon Tyne, 2010-2030, 2015 <https://www.newcastle.gov.uk/sites/default/files/wwwfileroot/planning-and-buildings/planningpolicy/planning_for_the_future_core_strategy_and_urban_core_plan_2010-2030.pdf> [accessed 19 April 2016] Ostime, Nigel, Riba Architect’s Handbook of Practice Management, 9th edn (London: RIBA Enterprises, 2013) Sinclair, Dale, Assembling a Collaborative Project Team: Practical Tools Including Multi-Disciplinary Schedules of Services (United Kingdom: RIBA Enterprises, 2013) Sinclair, Dale, Guide to Using the RIBA Plan of Work 2013 (London: RIBA Enterprises, 2013)

List of illustrations: Fig. 1 Location plan, authors own Fig. 2 Site photos, authors own Fig. 3 Masterplan of site, authors own Fig. 4 Process map, Riba Architect’s Handbook of Practice Management, 9th edn (London: RIBA Enterprises, 2013), p. 228.

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Thematically driven design

■ 120548309 ■ Variations ■Principles and Theories of Architect ■ ARC 3015

ure

The key themes that my design project is centred around are the subterranean, secrecy and revealing, and monumentality. These themes have arisen as a result of a process focused approach to design which is the key aspect of my studio – ‘Variations’ (fig. 1). The studio focuses on development of concepts through iteration and variation of theme, as Bachelard states: ‘the poetic image is essential variational, and not, as in the case of the concept, constitutive.’1 I will explain how these themes arose, then discuss them in more depth, before explaining how they manifest in to design ideas.

Establishing key themes During semester one of 2014-15 I was tasked with designing a music venue – known as ‘Chamber’ – with accommodation for four musicians (fig. 2). Starting with three quotes from architects or musicians, I picked key aspects of these to initiate conceptual thinking and begin generating design. Through model making these aspects were explored. The first of my primary themes arose – the subterranean.

Fig. 1 Example of variations on site location of ‘Chamber’ and ‘Show/Store’

After returning to studies in January 2016, the studio had to a degree changed. Rather than two separate building designs I was to design two buildings within the same site and master-plan the site. All three aspects had to have cohesive themes with a clear developmental narrative between them. To test my compendium I first designed an ‘Incubator’ – a small scale iteration of a concept within the city. This informed the concept further (fig. 3). The second building is known as ‘Show/Store’ and is generated from a choice of compendium. My compendium is a collection of classified government documents that have ‘intrinsic value’ and require ‘an appropriate degree of protection.’2 These documents will be secured within an archive but to reintroduce a public aspect I invented a narrative where some of these documents are periodically released to the public and displayed in exhibition. Consequently, another theme arises, the concept of

Gaston Bachelard and Maria Jolas, The Poetics of Space, trans. by Étienne Gilson (Boston: Beacon Press, 1976), p. xv.

HM Government, Government Security Classifications, April 2014, p. 4 <https://www. gov.uk/government/uploads/system/uploads/ attachment_data/file/251480/GovernmentSecurity-Classifications-April-2014.pdf> [accessed 14 April 2016].

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Fig. 2 Development process of â&#x20AC;&#x2DC;Chamberâ&#x20AC;&#x2122; and final model

secrecy. The final theme came from combining the previous two. I considered how a weaving of the subterranean and of secrecy might manifest, concluding that vaults and Ancient Egyptian tombs would act as ideal precedents. When combined with precedents of other archive buildings the final theme emerges – monumentality.

Key themes in depth I now discuss these themes in more depth, beginning with the subterranean. Our relationship with the cave can be traced through history (fig. 4). As a species we have learnt that the cave offers shelter, protection and ultimately security. As Auer notes in his essay Building as sinking, man may have left the cave in search of something better but ‘his art retains the memory of its cave origins, repeating and varying the metaphors of pre-natal and post-mortal security and well-being.’3 Bachelard also notes the comfort and security that the cave provides: ‘can we not find within ourselves […] the consolations of the cave?’4 This protection provided by the subterranean becomes ever more apparent when you consider spaces of refuge like bunkers (fig. 5), as Auer states: ‘the basement foundation provides more than just stabilization: as a place of refuge during catastrophes it survives storms and wars, rescuing the essentials and retaining the overground plan in its stone memory.’5

Fig. 3 Section and plan of ‘Incubator’, reflecting the subterranean aspect

In conclusion, the theme of the subterranean could be considered a metaphor for security and protection. The next theme to discuss is that of secrecy. Interestingly, secrecy ‘must itself be performed in a public fashion in order to be understood to exist.’6 Regardless of its

Gerhard Auer, ‘Building as Sinking’, Daidalos, 48 (1993), 23–34 (p. 24).

Bachelard, p. xxxvii.

Gerhard Auer, ‘Editorial’, Daidalos, 48 (1993), p. 21.

Michael Herzfeld, ‘The Performance of Secrecy: Domesticity and Privacy in Public Spaces’, Semiotica, 175 (2009), 135–162 (p. 135).

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dependency on remaining hidden, ‘the power and attraction of the secret lie in the possibility that it may be disclosed.’7 This leads me to consider what is, in the context of my project and chosen compendium, perhaps an intrinsic component in relation to classified government documents – the notion of state secrecy. Bratich considers secrecy as a means of the state exercising power through concealment and revealing.8 The issue with state secrecy is obvious, ‘if those in government make decisions in secret, the governed have only inadequate means of forming opinions on public matters.’9 This concern leads to the possible need for whistle-blowers to bring these deceptions into the light. Hero or anti-hero, Edward Snowden justifies his actions, stating that ‘All [he] wanted was for the public to be able to have a say in how they are governed.’10 Consequently, in regards to my project, the theme of secrecy can be also be considered in terms of transparency and revealing.

Fig. 4 Son Doong Cave, Vietnam

Fig. 5 WikiLeaks bunker, note the bunker does not protect only human assets

The final theme to discuss is that of monumentality. Monumental buildings evoke a particular response within those that experience them. As stated in Nine Points on Monumentality, for something to be considered a monument it must symbolically represent man’s ideals, aims and actions; with the intention to ‘outlive the period which originated them [forming] a link between the past and future.’11 The text goes on to emphasise that the ‘most vital monuments are those which express the feeling and thinking of this collective force–the people.’12 Another point within this text is that a monument must be planned for (fig. 6), as ‘like trees or plants, monumental buildings cannot be crowded in upon any odd lot in any district.’13 Hildebrand notes that ‘monumental constructions were not only large in scale, but also had obvious mortuary, symbolic or ritual significance.’14 An idea particularly pertinent when considering the narrative element to my project. Monumentality can therefore be thought of as a means of raising awareness and as a statement. There are interesting links between these themes. For example, the theme of secrecy is linked to monumentality in that there is an obvious dynamic between transparency and revealing, raising awareness, and making a statement. There is also a link between the

Thomas O. Beidelman, ‘Secrecy and Society: The Paradox of Knowing and the Knowing of Paradox’, in Secrecy: African Art That Conceals and Reveals, ed. by Mary H. Nooter (Germany: Prestel, 1993), pp. 41–47 (p. 41).

Jack Bratich, ‘Public Secrecy and Immanent Security: A Strategic Analysis’, Cultural Studies, 20 (2006), 493–511 <http://dx.doi. org/10.1080/09502380600708937>.

Bernard Manin, The Principles of Representative Government (Cambridge: Cambridge University Press, 1997), pp. 167–168.

10 Barton Gellman, ‘Edward Snowden, after Months of NSA Revelations, Says His Mission’s Accomplished’, Washington Post (Washington Post, 23 December 2013) <https://www.washingtonpost.com/world/ national-security/edward-snowden-aftermonths-of-nsa-revelations-says-his-missionsaccomplished/2013/12/23/49fc36de-6c1c11e3-a523-fe73f0ff6b8d_story.html> [accessed 15 April 2016]. 11 J. L. Sert, F. Léger and S. Giedion, ‘Nine Points on Monumentality’, in Architecture Culture 1943-1968: A Documentary Anthology, ed. by Joan Ockman (New York: Rizzoli, 1993), pp. 29–30. 12

Ibid.

Elisabeth A. Hildebrand, ‘Is Monumentality in the Eye of the Beholder? Lessons from Constructed Spaces in Africa’, Azania: Archaeological Research in Africa, 48 (2013), 155–72 (p. 156) <http://dx.doi.org/10.1080/ 0067270x.2013.789224>. Temples of Ancient 14

idea of the monumental Ancient Egyptian pyramid and secrecy (fig. 7). The pyramid acts as more than just tomb, it acts as ‘a transitory station for the descent, transformation, and rebirth of the ruler rather than the eternal resting place of the royal mummy.’15 Just as thematically my project deals with the ‘transformation’ and ‘rebirth’ of confidential documents. Another connection I would like to make is between secrecy and the subterranean. Bachelard makes the connection in reference to L’Antiquarie, stating this ‘metaphor is illustrated, in this instance, by countless cellars, with frequently padlocked doors. There, secrets are pondered, projects are prepared.’16 Having discussed core aspects of these themes and some connections between them, I will next explain how they manifest in aspects of my design.

Manifestations in design The subterranean theme manifests physically in a series of underground chambers within the buildings plinth and the sites slope. These chambers are the archive spaces of the building where classified documents are stored, hence their separation from the public areas of the building. This plays off the ideas of security and protection. As a reflection of these ideas, the chambers will be constructed and finished with concrete. Studying various tombs from the Valley of the Kings (fig. 8, 9, 10, and 11) highlighted a particular quality – narrowing and opening. The archive spaces are arranged linearly with varying ceiling heights to incorporate this quality. This linearity continues through to the site approach and exterior form of the Show/Store (fig. 12), as well as the internal arrangement of the spaces above. Fig. 6 My master-plan allows the monumentality of my ‘Show/Store’

The spaces above will also be treated like a series of chambers to reinforce the connection to the theme of secrecy and more specifically the idea of transparency, as they hint to a logic introduced by some unseen element. These ‘hints’ manifest in other ways: there

15 Egypt, ed. by Byron E. Shafer, 2nd edn (United States: Cornell University Press, 1997), p. 85. 16

Bachelard, p. 21-22.

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Fig. 7 The Pyramids of Giza, ultimate displays of power Fig. 8, 9, and 10 (top to bottom) Tomb of Sety I, Tomb of Rameses III, Tomb of Merenptah

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Fig. 12 Diagrams of ‘Show/Store’ design ideas

Fig. 11 Sketchbook analysis of tomb qualities

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will be visible links and invisible links between the archive chambers and the most public area of the Show/Store – the lobby and exhibition space; the timber finish of the internal spaces reflects a warmth and openness, whilst the timber structure will be clearly visible, creating a series of columns within the public space that can then be filled between with temporary walls for exhibition; and finally, shadows from within will reveal there is something more to this building when cast upon the translucent glass façade (fig. 13).

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Monumentality is embodied during the night as this translucent box glows brightly and casts its light upon the surrounding area (fig. 14). This glowing beacon acts as a guide in the night raising awareness of its presence, and is representative of the secrets within sitting in darkness, only to be revealed by the light. As Bachelard states: ‘The lamp keeps vigil, therefore it is vigilant.’17 Finally, the monumental sandstone plinth that the building sits upon raises it above, creating a statement and making it the empowered overwatcher of the site (fig. 15).

Conclusion Through iteration, variation, and research the three key themes of the subterranean, secrecy, and monumentality arose. With further exploration, elements of these themes were drawn out in a way that they could influence design ideas. These influences were explained, providing evidence of a consistent approach throughout the project. Perhaps the ultimate aim of my Show/Store is to question the role of the people in the search for truth.

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Bachelard, p. 34.

Fig. 13 Jaeger and Partner Architects, Shenzhen Archive Towers Proposal

Fig. 14 Steven Holl, extension to the Nelson-Atkins Museum of Art

Fig. 15 Louis Kahn, Four Freedoms Park

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Bibliography

Constructed Spaces in Africa’, Azania: Archaeological Research in Africa, 48 (2013), 155– 72 <http://dx.doi.org/10.1080/0067270x.2013.789224>

Auer, Gerhard, ‘Building as Sinking’, Daidalos, 48 (1993), 23–34

Manin, Bernard, The Principles of Representative Government (Cambridge: Cambridge University Press, 1997)

Auer, Gerhard, ‘Editorial’, Daidalos, 48 (1993)

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Bachelard, Gaston, and Maria Jolas, The Poetics of Space, trans. by Étienne Gilson (Boston: Beacon Press, 1976) Beidelman, Thomas O., ‘Secrecy and Society: The Paradox of Knowing and the Knowing of Paradox’, in Secrecy: African Art That Conceals and Reveals, ed. by Mary H. Nooter (Germany: Prestel, 1993), pp. 41–47 Bratich, Jack, ‘Public Secrecy and Immanent Security: A Strategic Analysis’, Cultural Studies, 20 (2006), 493–511 <http://dx.doi.org/10.1080/09502380600708937> Gellman, Barton, ‘Edward Snowden, after Months of NSA Revelations, Says His Mission’s Accomplished’, Washington Post (Washington Post, 23 December 2013) <https://www. washingtonpost.com/world/national-security/edward-snowden-after-months-of-nsarevelations-says-his-missions-accomplished/2013/12/23/49fc36de-6c1c-11e3-a523fe73f0ff6b8d_story.html> [accessed 15 April 2016] HM Government, Government Security Classifications, April 2014 <https://www.gov. uk/government/uploads/system/uploads/attachment_data/file/251480/GovernmentSecurity-Classifications-April-2014.pdf> [accessed 14 April 2016] Herzfeld, Michael, ‘The Performance of Secrecy: Domesticity and Privacy in Public Spaces’, Semiotica, 175 (2009), 135–62 Hildebrand, Elisabeth A., ‘Is Monumentality in the Eye of the Beholder? Lessons from

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Sert, J. L., F. Léger, and S. Giedion, ‘Nine Points on Monumentality’, in Architecture Culture 1943-1968: A Documentary Anthology, ed. by Joan Ockman (New York: Rizzoli, 1993), pp. 29–30 Shafer, Byron E., ed., Temples of Ancient Egypt, 2nd edn (United States: Cornell University Press, 1997)

Illustrations

Fig. 13 Jaeger and Partner Architects, Shenzhen Archive Towers Proposal <http://www. archdaily.com/185463/shenzhen-archive-towers-jaeger-and-partners-architects> [accessed 14 April 2016]

Fig. 1 Example of variations on site location of ‘Chamber’ and ‘Show/Store’, author’s own

Fig. 14 Steven Holl, extension to the Nelson-Atkins Museum of Art <http://www. stevenholl.com/projects/nelson-atkins-museum-of-art> [accessed 14 April 2016]

Fig. 2 Development process of ‘Chamber’ and final model, author’s own Fig. 3 Section and plan of ‘Incubator’, reflecting the subterranean aspect, author’s own

Fig. 15 Louis Kahn, Four Freedoms Park <http://www.landezine.com/index.php/2013/08/ fdr-four-freedoms-park/> [accessed 14 April 2016]

Fig. 4 Son Doong Cave, Vietnam <http://news.nationalgeographic.com/2015/03/150318cave-vietnam-viral-video-photographer-ryan-deboodt/> [accessed 14 April 2016] Fig. 5 WikiLeaks bunker, note the bunker does not protect only human assets <http:// post-digital.projects.cavi.dk/?author=19> [accessed 14 April 2016] Fig. 6 My master-plan allows the monumentality of my ‘Show/Store’, author’s own Fig. 7 The Pyramids of Giza, ultimate displays of power <https://en.wikipedia.org/wiki/ Egyptian_pyramids#/media/File:All_Gizah_Pyramids.jpg> [accessed 14 April 2016] Fig. 8 Tomb of Sety I, Theban Mapping Project <http://www.thebanmappingproject. com/> [accessed 14 April 2016] Fig. 9 Tomb of Rameses III, Theban Mapping Project <http://www.thebanmappingproject. com/> [accessed 14 April 2016] Fig. 10 Tomb of Merenptah, Theban Mapping Project <http://www.thebanmappingproject. com/> [accessed 14 April 2016] Fig. 11 Sketchbook analysis of tomb qualities, author’s own Fig. 12 Diagrams of ‘Show/Store’ design ideas, author’s own

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Architectural and spatial concepts as defined by past, present, and future manifestations of the human body ■ Benjamin Risby, 120548309 ■ Newcastle University ■ BA Architecture, Stage Three

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Full copy submitted separately

Introduction

of building a running narrative, exploring our ever evolving bodies. Before beginning, lets briefly discuss the relevance of the body in regards to thinking about architecture and space. It is through the five senses of the human body that we are able to understand ourselves and our place in the environment. ‘Every touching experience of architecture is multi-sensory […] Architecture strengthens the existential experience, one’s sense of being in the world’ claims Pallasmaa.1 This claim is supported by Zumthor, who explains: ‘To experience architecture in a concrete way means to touch, see, hear, and smell it.’2 It is clear to see that the body is the single most relevant topic when discussing architectural and spatial concepts. Some believe that this focus is being lost in contemporary architecture because of the rise of technology; our continuing ocularcentrism is strengthened by the proliferation of digital visual media. In light of this, an exhibition at London’s Royal Academy explored the sensual element of architecture by constructing human scale spaces that provoke a psychological response: ‘It is about visitors experiencing real spaces rather than staring at iconic images of famous buildings’ explains Kate Goodwin.3

Our historical understanding of and relationship with architectural space is closely connected to the human body, but as time and technology progress our understandings of space have changed. Over the centuries, from the invention of stone tools to the internet, humanity has used technological advancement to further itself. Technology has become so intrinsically woven in to what makes us human that we rely upon it daily. Just as it has woven itself in to our daily lives, it has redefined the way we design and consider space. The aim of this dissertation is to explore how, throughout time, ideas concerning the body in architectural and spatial thinking have evolved. There will be a heavy focus on the technological influence as it is the ability to adapt through technology that has allowed us to become the dominant species we are today. The discussion is grounded in the core architectural principles of the Vitruvian Man and the Modulor Man, with an interpretation of what characterises these ways of thinking. It will then move in to more theoretical ground, proposing the Cyborg Man and the No Man as what the next two manifestations of the body may be, in relation to spatial understanding. The first two parts provide a historical context to this dissertation. The first is deals with the use of the body as a tool in the design of architecture, focusing on the divine aspect. Here a recurring theme is introduced, that there is a disassembly of the body throughout time, as well as a history of idealising the human body. Part two is based around the Modulor Man, discussing Le Corbusier’s interest in standardisation, the fundamental principles of the Modulor, and introducing the idea of the body as a system. At this point the technological influence begins to saturate. From here the manifestations of bodily idealism within architecture are explored in depth. The last two parts propose a present and future manifestation of the body, starting with the ‘Cyborg Man’. From here, the influence of technology is heavy, beginning by establishing the cultural context behind the cyborg. The argument is that we are already cyborg, setting about proving this by exploring the idea of technology as prosthetic extension. Next it looks at how, by being cyborg, we are able to explore a new form of space. This is supported by looking at technologies we use on a daily basis, and how they might connect us to the cyberspace. Here the idea of an ascension is introduced. The final chapter jumps forward and speculates upon the next evolution, the ‘No Man’. This chapter explores the idea of complete transcendence of body in to cyberspace via certain technologies, and support this with examples of modern research and technologies.

1 Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses, 3rd edn (United States: Wiley, John & Sons, Incorporated, 2012), p. 45. 2

The hope for this dissertation is that it raises questions and promotes thought regarding our current connection to architecture and space, specifically when considering the ever more relevant role of technology in modern society. It refers to sources across multiple disciplines in order to give a well rounded picture, as well as combining historical, theoretical, and personal writing. It also presents itself in chronological order as a means

Peter Zumthor, Thinking Architecture, 2nd edn (Switzerland: Birkhauser Verlag AG, 2006), p. 66. BBC, ‘Sensing Spaces: Emotional Buildings’, BBC, 2014 <http://www.bbc.com/culture/ story/20140130-can-buildings-be-emotional> [accessed 17 December 2015]. 3

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