the story
of the
100 metre ribbon Josh YARRIEN Lois KENTISH To m G R I L L O Camille FILBIEN Garrick CHAN
THE STORY. SOME IDEAS. THE BUILDING ITSELF. IN DETAIL. A RETROSPECT.
Once upon a time, along the southern coast of the United Kingdom lay a small island called the Isle of Portland. On the island lived honest people in command of a unique reserve - Portland stone. The stone was so fine that it was exported to be used in buildings all over the kingdom, most notably St. Paul’s Cathedral and Buckingham Palace. The trade supported a prospering community on the island, linked to the mainland only by the awe-inspiring Chesil Beach. 1826 was an optimistic year for Portland, when the remote island was brought closer to the mainland with the official opening of the first railway. And only 23 years later Portland’s other important resource - the enormous natural harbour – was developed to harness its full potential. Prince Albert placed the first stones to kick-start the construction of the breakwaters which were finished in 1906, their length unrivalled. At that time, the people of Portland were sure of their place in the world, their value to the kingdom, and the security of their livelihoods.
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When the country was plunged into the two terrible wars of the 20th century, the strategic position of the Isle of Portland came into play and it was transformed into an important Royal Navy base. The war triggered an influx of naval officers who would undertake the notorious ‘Thursday War’ training at the naval base before marching towards the island’s pubs at the weekends. The stories of seamen returning from distant corners of the globe buzzed throughout the island every evening. After the end of the Cold War, however, the budget for the Royal Navy was begun to be cut until eventually the Portland base could no longer be sustained, and it was closed in 1999. With the removal of the railway in 1965 and the later departure of the navy, the island slowly returned to its quiet remote state. With shops closing one after another, the people of Portland were desperate for something to bring them back to their former glory.
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And then came the 2012 Olympics. With the already existing infrastructure at Portland Harbour, Weymouth and Portland were assigned to co-host the Olympic and Paralympic sailing events. Once again, Portland was to be back under the limelight with millions invested into the Olympics. The people of the island were excited by promises for a new focus for their community bringing far-reaching benefits. But as the long anticipated Olympics finally arrived, the locals in Portland were left disappointed. The waters of Portland Harbour turned out to be reserved for the competitors with the athletes all staying in the adjacent sports village and not venturing to the towns of Portland. All the spectators were drawn to Weymouth: either to viewing spots on Nothe Hill or the big screen on the beach. The Olympics came and went and the only things that it brought were false hopes and bitterness with the people of Portland. In sight of all these disappointments, the Weymouth and Portland council has finally decided to act. Partnered with both the Olympics Legacy council and the National Lottery fund, they have decided to launch a competition for a building. A building that can encapsulate the history and identity of Portland, a building that can finally bring Portland back to its former glory and fulfill all the unmet promises made in 2012.
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Here comes the question, how can you achieve such great demands with a building? A building is, after all, a passive machine; it will not always do what it is told by its creators. It is the people that truly bring life to a place. That is it. While a building cannot bring life to a place, it can for sure bring people to a place, after all, buildings house people. The next question that had to be asked was who does Portland want to attract? Does the island want an art gallery? A museum or a theatre? These ideas do not seem plausible with Portland - it being a remote community that can only be reached by one bus (or by car, or by walking, of course). We do not believe that they will be sufďŹ cient to draw in enough people to renew Portland’s energy. We want more visitors for the island and we want more diverse visitors. We want it all. On top of this, Portland does not want a humble beach hut: the island, as a place that has supplied the material for the construction of some of the nation’s greatest buildings as well as being on the centre stage of the two World Wars, deserves more. It deserves something that screams and reminds the world who she is. It will be big, it will be great.
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What form would this ambition take? For this we look to the existing conditions, the future neighbours of the building. In this way the building will be given a meaning greater than itself, a meaning which will draw a clear connection between the new image for Portland and the rock bed of its history, a meaning which celebrates and publicizes the island’s best qualities both existing and new. The National Sailing Academy was refurbished for the Olympics; the surrounding business park was built afterwards as an attempt to capitalize on the needs of the influx of wealthy yacht owners. The Olympics and these new developments began to forge a new identity for the harbour, but their benefits seemed disconnected from the people of the island. What if we reconfigure this site? What if we bring together all of the developments built for the sailing industry around Portland harbour and top them off with an eye catching iconic public building, anchoring the new sailing activities with the culture of the island? It will be an icon, a symbol, the pinnacle of all the investment before and after the Olympics, the building that put Portland on the map as one of the most desirable sailing destinations worldwide. It will be a building that houses spectators, with the water as the stage. It will be a giant grandstand, a grandstand that can accommodate different performances or competitions, a grandstand like no other.
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By doing so, we can allow to the building to remain passive. It will be the organizer that decides who to bring in, and it will become the ďŹ gurehead attracting investment into the proud new sailing industry. And with the exibility of the building comes diversity, a diversity that cannot be achieved through a single purpose building, a diversity that brings different cultures and interests back to Portland, a diversity that will ďŹ nally revitalize Portland. So here is our mission statement: To create in the centre of Portland Harbour a stage, a venue that will provide the best experience for spectators, organizers and competitors.
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The site Weymouth and Portland Council have chosen is an area of water within Portland harbour, which, handily for us, is adjacent to the National Sailing Academy. But it seems a shame that the chosen site is enclosed by the breakwaters and the beach, and has no view of the horizon - that perfect horizontal found only at sea. Climbing to the top of Chesil beach we were met with an awe-inspiring view. Sea, sky and sand (actually pebbles) are the only three elements we now experience on the other side of the beach. Moved by this experience, we endeavour in our design approach to link these two spaces: the man-made brilliance of the great harbour, and the untamed majesty of the ocean; and by doing so, aim to create a dialogue between two conflicting visions of the sea – that of the subdued space for leisure activity and that of the inhospitable, unpredictable sublime environment. We aim to create a beacon which encapsulates the greatest qualities of both. The people of Portland express their pride in their location by the sea, but they also tell us how their gaze has shifted away from it in recent years. A new public building should establish itself in the sea, in order to firmly re-establish the presence of the Portland people in the water. This is their space, it does not only belong to visiting yachtsmen. Ascending to the top of the immense clifftops of Portland, the powerful change of perception experienced as we rose vertically was imposed onto us. Our building could capture this, but more purely: a static vertical against the sea’s dynamic horizontal plane.
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We head back to our studio, where we struggle to bring our ideas into a coherent scheme. Finally, we descend on a welcoming pub, where table napkins, beer, and the laugh and chatter of other people are often used to stimulate ideas. The struggle continues, and we arrive at a composition of tower and plaza. The tower, hosting a divine calm environment; and the plaza, a disordered ‘House of Steen’ below: two perceptions of the sea in a single composition. What was the tower to be? Endless options of flexible grandstand spaces were contested; what was it to be used as by the people of Portland when not in use as a national grandstand? An orthogonal plan is proposed; something ordered, at peace with itself and the sea around it, and able to be divided up easily. And then the spiraling ramp is proposed. It would give Portland a new, clearly identifiable spatial idea, it would provide great views, it would allow for a continuous vertical circulation. Lloyd-Wright, Niemeyer, and architects of ancient Islamic mosques assure us this audacious idea can possibly be feasible. Excited for Portland, we take it forward to see where it goes.
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The scheme is devised and developed; we move forwards, backwards, port and starboard in the process. Investigating the idea, we realise it coheres with our intentions as to the symbolic, monumental nature of the scheme. A world-class media centre sits above the spiraling grandstand. A viewing platform is the ďŹ nal destination at the top. Below, an auditorium leads directly into the sea, with bridges deďŹ ning a space through which the sailing boats can pass. Could it be that an icon was being born? Progressing the scheme as a combined team of architects and engineers we were able to reach a proposal which felt in line with all our priorities, and seemed like it would really be a great thing for the island and all the people of Portland. To communicate our ideas to the public and the Council, we presented an eye-catching poster containing the key points. The next step for us was to convince the board at Weymouth and Portland Council.
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british sea The history of the United Kingdom is synonymous with the history of seafaring; the history of seafaring is synonymous with the history of the United Kingdom. This aspect of the UK’s past occupies a prominent location within the islands’ identity. But the UK’s exploitation of the sea for political and commercial gain was also the exploitation of people of other nations. Suppressed, but resurfacing every now and then, this idea forms a subtle stain on the democratic history of the country. The proposal for a National Sailing Grandstand provides the opportunity to aspire towards an alternative and contemporary identity for the sea within the UK. The country aims to free itself from the worst aspects of its past, but steer the best boldly into the future.
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Scale Portland Harbour and its associated Verne Fortress (now a prison) were of unprecedented scale for their day. Construction of the enormous harbour was a spectacle, and drew visitors from far and wide. The breakwaters extend kilometres out into open sea, the fort sculpts away the top of the imposing clifftop. If it is to have any presence or conďŹ dence, a proposal in a place so dominated by grand constructions should also be of a decent scale, in order to form a clear dialogue with the past and create a coherent composition of past and contemporary structures.
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coast The local council’s brief suggests a proposal that should be from the sea, but visually lies somewhere between land and sea. Arriving from land, before you see the sea, you will notice the building. Arriving from sea, before you see the land, you will recognise the building. Seen from great distances away, the building becomes symbolic of the meeting of both. It is built in the sea, but its static nature implies a lifelong relationship with the land.
new babel Rule Britannia, Britannia rules the waves. In the isles of the United Kingdom, attitudes towards the sea seem to differ greatly from those towards land. Portland Harbour stands alongside the Great Eastern and the Dreadnought battleships as a testament to unchecked maritime ambitions, ambitions that could not be expressed on dry land. Pieter Breughel’s image of the Tower of Babel shows people reduced to ants, dwarfed by their grand ideas. In many ways, this is in line with the futility of the UK’s most ambitious maritime endeavours. The above three are all known for failures of sorts. The proposal should address this ambition which in the UK is unique to the sea. A new national institution on the water offers the opportunity to express this attitude in a contemporary and critical way. A spectacle capturing the state of mind, but frozen to the spot for all to enjoy.
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Harbour Portland harbour, as an enclosed space, began when the first stone of the breakwaters was deposited in 1849. Starting life as the world’s largest man-made harbour, and the first harbour designed specifically for steam ships, its identity was lost when the Navy finally left in 1999. Treating the harbour as a found object, it should be addressed as a whole. To this whole, a proposal for an intervention should seek to provide new meaning, identity and purpose. New Portland Harbour, begun 2016.
A Portland Outlook The Portland community claims abhorrence for the mainland - this is hardly surprising judging by their opposing physical qualities. Whilst in the adjacent mainland communities of Dorset are found small dwellings typical of English rural regions, in Portland are found large ex-Navy apartment blocks, a landscape carved away by military forts, prisons and quarries, and a harbour which engulfs a portion of the sea for itself. Even the topography of the island is dramatic in comparison to Weymouth’s rolling hills. Portland has a different culture to the mainland; it is more brutal, more straightforward, and more confident perhaps. An intervention in Portland harbour should be an intervention for Portland, rather than for Weymouth. This ‘sea space’ belongs to Portland, not Weymouth - which owns its own marina and beach ‘sea space’. If the proposal is to adhere to its context – that of the island – it is proposed that the culture of the island is observed whilst planning the scheme; this means a powerful, self-assured building. A building worthy of the past developments on the island.
Civilization Man has constantly striven to expand his territory into the sea; the development of maritime travel demonstrates this. It is now almost impossible to distinguish between the environment within some cruise ships and environments on land. The project proposal should be critical of this beguiling ambition, but at the same time promote civilisation on the sea and a continuing human interaction with the water. By providing a traditional composition of tower and plaza, the project will seek to set a new ‘year zero’ for sea civilisation, an accessible point of reference for all buildings in the sea.
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Future The presence of the past in Portland is imposing. The current community on the island has little identity in comparison to the past, which seems to overshadow present-day life both metaphorically - in terms of the past economy and social situation in comparison to the current - and literally, in the form of the Verne fortress overshadowing the harbour and Castletown. The idea, which borrows from early Soviet architecture, is to create a vision of a ‘constant future’ - a future which is unattainable, yet optimistic and liberating. Through a strong new expression, the culture of the harbour and Castletown are freed from the grasp of the old naval buildings.
sailing Yacht technology is constantly at the forefront of mankind’s capabilities regarding the sea, and its streamlined beauty is a celebration of those capabilities. A proposal which pertains to sailing should relate to the aesthetic spirit of yachting in order to celebrate the greatest aspects of the sport. In doing this, the proposal becomes a clear symbol for the sport. And no matter how the design of boats may change in the future, the culture of the proposal will always harmonise with that of the boats that sail around it, as they will share inherent ambitions of technology, purity, and capability.
With a bit of luck and this collage we have successfully been given the green light. While they are happy to listen to a more developed design, they are clearly not too comfortable for something so radical and of such scale. We were told that whatever we produce in the next stage has to be fully backed up regarding all relevant considerations and that the building and presentation has to be clear enough for the public to understand and appreciate. Now that we have the support from the council, we need to produce something, something tangilble that they can fully appreciate. We start by investigating what spaces need to be provided in the building in order for it to become a viable investment.
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walkway A walkway long enough for the land to be left behind, but short enough for the building to be accessible. A journey from land to sea. The building offers its long arm to land, and is restrained permanently to its spot. The walkway is a symbol of open accessibility to the building.
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grandstand Pimm’s, cucumber sandwiches and sunglasses. Lay out your favourite rug for a day out watching the sailing with your family, not on the blustery uneven hill, but in the middle of the water, in the centre of the action, high above sea level. This grandstand faces every direction, and provides a personal rather than communal viewing experience. The nature of sailing, boats being distant from the viewer and races continuing for long durations with varying excitement levels demands a change from the traditional grandstand precedent. Sailing is about man vs nature, as well as man vs man, and watching it is now a social activity.
auditorium Watched on a big screen from the auditorium, sailing can be viewed in a vivacious atmosphere. The steps into the sea buzz with every tack and turn. And after the race, it becomes packed as people ock to the water’s edge to witness the boats parade past. Aside from sailing events, the auditorium is used as a unique venue for concerts, cinema screenings, and theatre productions, with the sea as the constant behind the proscenium arch. And all throughout, the changing tides lap and splash at the foot of the steps.
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RS:X
Mast height: 5.2m
laser laser radial Mast height: 6.12m
Mast height: 6.12m
470 finn
Mast height: 6.66m
Mast height: 6.76m
nacra 17 49er
Mast height: 9m
Mast height: 7.5m
olympics sailing classes and mast height
bridge The bridge deďŹ nes the space of the post-race pageant as the sailors pass below, and allows visitors to be right above the boats themselves. The atmosphere becomes electric as the winning boat docks at its furthest tip and the victors ascend the bridge. It is the arm of the building which reaches out to the water. All Olympic sailing classes can pass freely and safely underneath it.
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media centre/ broadcasting Sailing truly is for all: settled on a sofa or in a bar somewhere in the world, everybody may experience the sea via the contemporary brilliance of (widescreen) television sets. By providing an unparalleled media and broadcasting centre, more sailing events will be drawn to Portland. It is unified yet provides every necessary function for full media coverage. The sport of sailing finally reaches the stratosphere of high profile television – broadcast events.
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SINGULAR POINT DEFINES CENTRE
PANORAMIC VIEW WORKS WITH EVERCHANGING SAILING VENUES
REDCLIFF
OSMINGTON RINGSTEAD WHITE NOTHE
WEYMOUTH BAY WEST WEYMOUTH WEYMOUTH BAY EAST NOTHE
WEYMOUTH BAY SOUTH
PORTLAND HA BOUR
ACCESS CHANNEL
NSA/ THE RIBBON
LEGEND MAIN SAILING FIELD OF PLAY RESTRICTED ACCESS ACCESS CHANNELS CHECK POINT MARKERS ACCESS CONTROL LINE SECURE PERIMETER
PORTLAND
HORIZON AT 12M ABOVE MEAN SEA LEVEL (12.4 KM RADIUS)
RACE MAP BASED ON 2012 OLYMPICS
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circular plan In the abstract horizontal environment of the sea, the circular plan defines a singular point in space. The circle extruded into a tower determines a vertical axis. Simultaneously, it identifies the expanse of space around it by creating a left & right, up & down, black & white. The circular plan expresses the unobstructed spiralling journey and creates an open panorama. Sailing races occur at different locations, and the circular plan is oriented to address all these possible directions. The cylindrical form of the building casts a consistent shadow over Portland harbour. The building embraces its role as sundial, governor, marker in space and time for the boats of the harbour.
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MAX FLOWLINE: 21.6m
REST FLOWLINES: <21.6m
CIRCULAR FLOOR PLAN
THERMALLY ASSISTED WIND DRIVEN FLOW
DOUBLE SKIN FACADE
FLOWLINES
PRESSURE DIFFERENCE
>33 20% 28-33 86781 OBS 0.0% CALM 0.0% VARIABLE
17-27 10% 11-16 5% 1-10 0%
KNOTS
circular plan - environmental The circular plan allows for an excellent level of daylighting in all areas of the building, meaning artiďŹ cial lighting can be minimised. In winter, solar gains are accumulated all day as the sun is constantly perpendicular to one angle of the façade; in summer, blinds will prevent over-heating. Natural wind ventilation has a varying distance to travel with a circular plan. This means, on stiller days, some wind driven natural ventilation is still possible.
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BENDING OF CORE
STABILITY BY CORE
TORSION OF CORE
STABILITY BY CORE
circular plan - structural At high elevations above sea level, wind loading becomes an important factor in the building design. The circular plan is the most efďŹ cient shape to reduce the effects of strong wind loading, and therefore reduces compensatory material use in the structure. Lateral wind loading is transferred to the core through each ďŹ&#x201A;oor. This is taken either in bending or in torsion, depending on the angle of the wind.
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whirlpool A tower of this scale in such a setting should have its own gravity. Derived from the circular nature of the tower, the bridge to the land and the bridge to the sea combine to create a whirlpool effect that will metaphorically as well as physically draw people to the building. The tower physically embodies its ideas, linking the sailing activities with the people on the land. This is a model we derived to explore this idea of the tower emerging from the water and creating this free ďŹ&#x201A;owing ribbon which is the basis of the scheme.
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operable wall After studying how the races are usually organised, we realised that there is a certain relation between the orientation of the route and the orientation of the wind. From that we derived an operable wall system for the lower exposed portion of the viewing ramps where the wall running on tracks can be adjusted manually and positioned as a windscreen to provide greater comfort to spectators. This is a model illustrating the relationship between the wind, the race and the wall.
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WCs AND FOOD LIFTS: SERVICE
LIFTS AND STAIRS: VERTICAL CIRCULATION
FOOD LIFTS First class waiter service available all day every day, at Pret a Manger prices. The food lifts allow people to stay in the grandstand to see both morning and afternoon races on competition days, and even to remain for the evening festivities without the little ones getting hungry. Every want and demand of the circular grandstand is met by its orthogonal servant core. The provision of food lifts and accessible toilets on every ďŹ&#x201A;oor of the tower is in line with our ambitions to provide the best experience for spectators, organisers and competitors through the application of 21st century capabilities. This is a grandstand that can feel like home for a day. Orders placed electronically at the core are then satisďŹ ed by the kitchen situated below the auditorium. The food lifts can carry up to four meals at a time and two are dedicated to restaurant use.
FOOD LIFTS TOILETS ELECTRICITY INLETS
LIFTS/ STAIRS
ELECTRICITY CABLE SEWAGE PIPES
KITCHEN
initial sketch model After mutliple design team meetings and refinement, this is the first sketch model that everyone in the team was satisfied with. It bears a lot of resemblance to the eventual scheme. However, the entry sequence was not yet clear, and we opted for two viewing bridges to physically define the water plaza. The ultimate decision was of an implied water plaza defined by one bridge only.
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columns and cross bracing
core
exoskeleton / diagrid
hanging
Structural development With a tower, the chosen structural system plays an important architectural as well as environmental role. Architecturally, it orders the space and narrates the story of the tower’s construction. Environmentally, it defines the amount of necessary material and so embodied energy required for the tower’s construction. Each of the below systems have been employed in towers, and at one stage featured in the scheme. Columns and Cross Bracing A commonly used system in towers, but the cross bracing would obscure views, and beams would sit awkwardly in a circular building. Cores Cores of concrete or braced steel can provide lateral stability, to stop the building moving sideways. Ours, however, will be on the edge of the building, so will have to take both moment (pushing) and torsion (twisting). Exoskeleton These are used in conjunction with facades of buildings, and can take load and provide lateral stability. When the façade was removed from the lower levels of the building, this option was dropped. Hanging Structure Reliant on a central core, with a heavy transfer beam at the top. As the core of our building is situated on the outside, this system became inefficient so was rejected. However, its principles are used in the double skin façade, the outer layer of which is top hung.
AXIAL
AXIAL
HUNG FACADE
AXIAL DOWN THE RAMP AXIAL MOMENT
LOAD ON TO THE COLUMNS
TORSION
LOAD DIAGRAM OF TOWER
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Structural concept The diagram to the left shows the final structural diagram. Almost every part of the building you will see from the outside plays a role intrinsic to the whole structure (apart from the wind beacon at the top, which does its own thing). Axial load is taken in three ways. The first is the eight 900mm concrete reinforced steel Circular Hollow Section columns. The second is the core, constructed of heavy 500mm thick in-situ cast concrete walls. The third is the ramps, which will be discussed on the next page. Lateral load is transferred from the façade to the floorplates, which then transfer it to the core which is optimally designed for this job with its closed thick walls. All floorplates and ramps (all prefabricated monocoque steel) are connected to the columns, meaning they can brace the columns and connect them to the core, holding the whole building together. The core takes this force as a moment when the wind blows directly towards it, or as torsion when the wind blows in any other direction when the tower wants to twist around the core. The outer skin of the façade is hung from the top floorplate, and connected to the building at each floor with a Carbon Fibre Reinforced Polymer (plastic) frame. The forces on the ramps are concentrated around the joints with the columns. This means the depth of the monocoque steel sections can be reduced either side, both cutting down on material usage and resulting in a slim line edge to the ribbon for better views.
SPIRAL CIRCULATION ALLOWS VISITOR CONTINUOUS EXPERIENCE OF THE CHANGING PERSPECTIVE OF HORIZON.
SPIRAL STRUCTURE TRANSFERS LOAD TO CORE. ALLOW BRACING FREE STRUCTURE.
PROMOTE HORIZONTAL AND VERTICAL FLOW
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why spiral? Architecture The spiral provides a continuous vertical route, a constantly changing viewing orientation, and allows excellent views out whatever direction the action is focussed upon. It unifies these ideas into a single coherent expression. Inherently, every step provides a different prospect – a change of height, a change of angle. A tower as the monument you see from far away can be experienced in its totality upon arrival. The spiral is from the sea, and is a physical expression of the building’s gravitational pull. Structure The spiralling ramps brace the columns and transfer lateral load to the core. They also carry some of the axial load in an age-old technique. Instead of carrying the load straight down, the ramps spiral it down until eventually it reaches either the core or a heavy base at the bottom. This works a bit like the spiral staircase effect, where each step transfers load onto the one below it (just like the staircase built out of Portland stone in the South tower of St. Paul’s Cathedral). Environment Within the double skin façade in the upper floors, the spiral staircase is used to promote horizontal as well as vertical circulation of the air. Horizontal circulation of air is important as it helps drive the air from the positive to the negative pressure zone (upwind to downwind side). This principle has already been used in the Gherkin in London, in which spiralling voids in the floorplates promote a horizontal and vertical circulation of air.
THE BUILDING ITSELF.
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Man desires concord; but nature knows better what is good for her species; she desires discord." - Immanuel Kant
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I like being by the sea - you're on the edge here. It feels edgy." - Sally from Castletown on the Isle of Portland, 2015
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The sun is up, the sky is blue. It’s beautiful, and so are you." - John Lennon, Dear Prudence lyrics, 1968
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Iâ&#x20AC;&#x2122;m not so stupid as to think I did it alone" - Sir Ben Ainslie, On his 4th Olympics sailing Gold, 2012
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One glance at the sky, at the sun, at the sea is enough to show that the world outside is bigger than that inside him" - Otto Piene, ‘Paths to Paradise’ - text for the ZERO Art movement, 1961
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Everybody wants to be an actor; nobody is content to be a spectator." - Jean Cocteau, Le Coq et l’Arlequin, 1918
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CONTROL OFFICE PLAN @1:200 +74000 FROM HIGH TIDE
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BROADCASTING PLAN @1:200 +78000 FROM HIGH TIDE
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SKY HALL PLAN @1:200 +82000 FROM HIGH TIDE
1. CIRCULATION TOWER 2. LIGHT WELL 3. SKY HALL
â&#x20AC;&#x153;
Does it not seem to you that the mind takes wing more freely, over that boundless expanse, whose contemplation uplifts the soul, inspiring thoughts of the inďŹ nite, of the ideal?." - Gustave Flaubert, Madame Bovary, 1856
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ELEVATION 1:500
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entrance sequence As our tower is drawing people from land and from sea, as well as an implied water plaza that sail boats can go under, each entry route should provide distinct sensations. While each of them are different, neither should be superior, and the sketch is an attempt to show the diverse experience.
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entrance from ferry The end of the bridge is connected to a ďŹ&#x201A;oating docking point, which becomes the focal point of the building when the winning boat docks there after a race. It can also be used any time of year by private boats, and there will be a water taxi service from Weymouth and Castletown on Portland on busy regatta days. The stepped route up to the crest of the bridge is assisted accessible.
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post race festivities After the race is over, sailors parade through the water plaza, past the auditorium and under the bridge. The fanfare created in the space feels like an old English pageant: celebration and a bit of showing off. At last, somewhere where the spectators can get close enough to the boats to feel the competitive energy exhumed by the sailors and marvel at the precision beauty of the boats.
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glow in t he dark bridge The bridge uses crystals coated in a special paint which take in energy from the sun during the day and emit it as light after the sun sets. This means the walkway still acts as a symbol of accessibility for the building even at night, and removes the need for lamp lighting. During the day the walkway looks the same as the other parts of the white ribbon, only at night is it illuminated.
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sketch of vibrancy
vibrancy As we have pointed out previously, the site is rather cut off and we believe that providing a sole purpose for the tower will not be enough to sustain the scheme. In sight of this, we have decided to provide a stage and a theatre on water where different organisations can rent out and hold events, so at different points of the year the tower will attract different people. By doing so, we help create the variety that makes a community vibrant and lively.
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AUDITORIUM FLEXIBILITY Seeing Kendrick Lamar perform is cool, but seeing Kendrick Lamar perform on the sea is cooler. Equally, when the Berlin Philharmonic Orchestra visit, the sea has a certain calm quality not experienced during other events. The grandstand, bridge and auditorium have important roles to play providing this permanent stage on the water, in which varying human activities provide the focal point. With each new event, a different group of people visit the building, and afterwards the pubs and shops of Portland. Sailing is only part of the story.
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looking in/ looking out As we are combining circulation with the grandstand, there will be a lot of trafďŹ c in the ramp levels at certain times. While this is ďŹ ne when there is something going on in the harbour/ the water plaza for visitors to look out to, we have to also cater for people who come when there are not functions on. We have therefore decided to introduce void and negative spaces throughout the viewing ramps level to create visual interest. We have also conducted studies to make sure that wherever the visitor is standing, they will still get a decent view of the event.
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Negative space exhibition To fully habitate the tower, we decided to make use of the negative space as well. By varying the width of the seating throughout the viewing ramps, we create voids of different geometries that can be occupied by different hanging exhibitions and art works. These will bring interest into the constrast between looking in and looking out when visitors ascend the tower. The ramps overlook two spaces: a finite internal space characterized by alternating human art, and an infinite external space characterized by the constant flux of nature.
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Metal Plates wind sculpture For the top of the tower there was always a vision that it should be a true celebration of the tower, as the tower has a functional as well as symbolic value to the people of Portland. Modern buildings should not automatically be deprived of ornament and we decided to bring it back in this situation. The top will be a wind sculpture of tiny hinged metal plates that are fused with piezoelectric crystal. The force of the wind pushing onto each of the plate will create small bending which will create electricity in the crystal. That power will be used to light up the LED lightbulbs that are ďŹ xed to some of the metal plates at night to create an alternate sensation between day and night.
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Materialising the elements The metal plates at the top will reďŹ&#x201A;ect the sunlight differently as their angles change by the wind. At night, the LED lights will also move according to the strength and direction of the wind. We had this idea during our visit to the site when we were in awe by how the chesil beach is able to capture the waves and freeze them in time. We believe that our scheme should also be able to capture and celebrate intangible elements. When we saw the wind sculptures by Ned Kahn, we realised that we have found it. From the initial dicussion he was interested in the idea, however as we propose incoorporating piezoelectric into the sculpture he become skeptical and so at the end we ended up designing it within our team and we are very happy with the outcome.
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TAKE A BREATH
The white bit sits on the black bit, which is connected to the grey bit. As a building in water, the detail aims to exist in harmony with the abstract qualities of the sea. Both the building and its detail address the scale of the harbour as a whole, the building being recognised as the main monument of the harbour. The pure, atectonic elements can be understood similarly one kilometre away as from one metre away. The construction of the building embraces this atectonic language through prefabricated monocoque construction, a procedure which also lends itself to construction on the watery site. The buildingâ&#x20AC;&#x2122;s craft is better related to the art of contemporary boat-building techniques than traditional building fabrication. The tripartite structural hierarchy ďŹ rstly consists of a stereotomic concrete core and auditorium. Reliant on this for stability is a primary steel structure articulated in dark grey intumescent paint. The white ribbon walkway supports only its own weight and is completely dependent on the primary steel structure, allowing a consistent section and freedom in its form. Spectator, structure, and stability are separated, their roles clearly deďŹ ned. 170
MATERIAL concept Something shiny, something strong and something stout. The material expression is similarly in accordance with the building’s identity standing in the water; it rejects land-based materials like timber, stone, earth. Instead, the building is primarily constructed of materials already related to man’s union with the sea - highly technical products. shiny WHITE RIBBON Walking on the ribbon is a bit like being on a boat at sea. The monocoque steel structure of the ribbon is topped off with a finish similar to that found on the decks of many yachts. Laid to a slight fall, the external surface is based on an impermeable polyurethane resin, with a pure white colourant. Set into the resin is an aggregate of fine crushed glass crystals, which catch the light on sunny days. The walkway element contains an additional aggregate of larger (diameter <15mm) stones pre-coated in phosphorescent paint, which glow for up to 12 hours after exposure to sunlight, lighting the path to the building after the sun has disappeared. strong STEEL STRUCTURE The steel structure is painted to contrast with the white ribbon. It has a raw, austere quality. Where the columns enter the sea, everyone can gaze down at the forces of man and nature colliding. The glass façade reflects the qualities of the sky. In this way, the building reflects the seasons and the weather; sometimes it is difficult to distinguish between facade and sky. The outer skin is 12mm toughened glass, the inner skin is high performance double glazing. stout CONCRETE ELEMENT The concrete auditorium and core feel heavy and robust. But as experienced it also has comfort: every step of the auditorium is topped with a lighter concrete finish, with a Portland stone aggregate and light colourant, only 60mm deep. This non-structural concrete feels warmer and softer.
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CONCRETE MIX The concrete of the auditorium is the primary material sitting within the tidal/ splash zone, so its composition needs particular care. Exposure class XS3 concrete has been used, with an increased chloride protection. In addition to this, the concrete here is impermeable, and has a greater thickness covering the reinforcement rods to negate any issues with their corrosion. The concrete uses as much recycled material as possible, and uses local Portland stone aggregate to reduce its total embodied energy.
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GRANDSTAND FLEXIBLE Inside, the building likes to dress up from time to time. The stepped seating of the grandstand can be prepared in different materials in advance of special events or competitions; people can also bring their own rugs/ cushions to furnish the seating for a single visit to make it their own space. A new building is experienced with each visit. This varying and personalised quality reďŹ&#x201A;ects the more human characteristics of the internal void, which contrasts clearly with the permanent external ďŹ nishes relating to the natural environment outside. Artwork will sometimes be hung. The void is able to dramatically change its characteristics depending on the material of the seating which surrounds it.
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EMERGENCY STRATEGIES Fire strategy On every floor the tower provides two possible routes of exit: the spiralling route in the circular element – a staircase on upper floors and ramp below - and the main direct route in the core. Direct vertical circulation consists of a stair and lifts, which can also be used as fire fighting lifts. Disabled refuge areas are provided on every floor. The core itself is treated as a fire fighting core, with 2 hour protected fire doors and thick concrete walls. Within this, service shafts and lifts are protected with additional 60 minute fire walls/ curtains. The service shafts, of ample size designed for future service provision, contain a wet riser for use by fire fighting teams. Access for fire fighters is by boat as well as by fire engine – the walkway has been designed with this in mind.
Flood strategy The flood strategy is very simple, as most of the building is raised high up from the sea. A single flood door at basement (high tide +0.666m) seals off the core from flooding. The service areas under the auditorium are then also protected, as they have no openings below high tide +8.000m.
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MAXIMUM TRAVEL DISTANCE NO MORE THAN 45M IN MULTIPLE DIRECTIONS
EXIT 2: LOCATION VARIES WITH FLOOR
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FIRE CURTAIN WALL TO PROTECT LIFT SHAFT IN EVENT OF A FIRE
EXIT 1
GREATER THAN 45 DEGREES BETWEEN THE DIRECTIONS OF THE TWO EXITS
WET RISER WITH LANDING VALVES ON EVERY FLOOR
ALL VENTS IN INNER SKIN OF FACADE CLOSE IN EVENT OF A FIRE TO CONTAIN FIRE AND SMOKE
fire strategy
FLOODABLE AREA
FLOOD DOOR 2
FLOOD DOOR 2
flood strategy
bridge buildup The bridge and the walkway share the same structural section, but for the greater width of the walkway. Shown here is the bridge. In both, the white ribbon is articulated to contrast from the structure below. This protect the structure from surface wear and weather, and gives freedom to the style, surface and detail of the ribbon. The effect is of a slim ribbon extending to the tower, with a less evident subserviant structure below.
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PREFABRICATED PLATE GIRDER PREFABRICATED PLATEBEAMS GIRDER BEAMS 183
s p e c tat o r s structure seerv service ser rvi vic ce ce VOID IN PLATE STIFFENER TO ACCOMMODATE SERVICES
intergration
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Bridge Prefabricated trapezium-section beams (composed of factory-welded curved plates) sit on top of 900mm diameter steel CHS columns, which have a concrete inďŹ ll. Voids in the plate stiffeners allow electrical, gas and water services to reach the building. Resting on top of this dark structure is the white ribbon, a lightweight prefabricated steel monocoque with factory integrated handrails and drainage.
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Detail at 1:40
BOLTED CONNECTION
STEEL COVER
STIFFENERS WELDED ON SITE WHEN PLACED T - STIFFENERS
COLUMN connection
columns Where the columns meet the water, corrosion could cause structural issues. To combat this, the loadbearing CHS at these lower levels is encased in concrete, with a sacrificial CHS on the outside. This outer CHS has further protection of epoxy paint and cathodic protection of sacrificial Zinc. The column section as experienced by the viewer is consistent throughout the building. The connection design of the columns gives minimal impact to lines of sight within the tower’s accommodation. T-stiffeners within the column rise up to meet the section above. All connections are bolted for construction efficiency.
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LOAD BEARING CIRCULAR HOLLOW SECTION
SACRIFICIAL CIRCULAR HOLLOW SECTION
CONCRETE PROTECTION
SACRIFICIAL ZINC
COLUMN SECTION
DETAIL: viewing ramps Structural steel monocoque units of the ramp share a consistent geometry with one another and are mass produced before being craned into place on site. This model shows the relationship between ramp and steps. The ramp is a consistent width of three metres and the correct regulation fall is achieved by an in-situ laid screed. The steps vary in width up the building.
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MODULAR MONOCOQUE CONSTRUCTION
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DEFINED BY VOID
viewing ramps Ramp segments are bolted on site to heavy brackets around the columns. As construction proceeds, the ramps slowly spiral up around the established columns. The handrails and steps are factory-ďŹ tted, only the screed topping of the ramp is ďŹ nished on site. Optimized construction tolerances then allow the glass rain screen or operable windbreaks to simply be clipped into place. The manually operable windbreaks rotate around the perimeter and hang from the top.
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Detail at 1:40
PANEL JOINTS
STEEL MONOCOQUE
FIN PLATES
CIRCULAR HOLLOW SECTION
RAMP CONNECTION - PLAN
ramps Connection Columns are temporarily braced before the ramps are craned into place; there are eight ramp sections per 360 degree revolution. The panels are designed to fit between the columns, rather than ‘threading the needle’ which would be an inefficient method. This design also allows ramp units to be replaced or altered for maintenance. The panels are bolted to fin plates which connect to a connection ring on the columns. There is no need for site welding. Where the ramp panels meet the core, additional moment connections are required on the outside edge of the ramp.
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Detail at 1:40
DETAIL: double skin facade The double skin façade was developed to provide favourable environmental conditions in the upper ďŹ&#x201A;oors of the tower. It negates the need of heating or cooling in all of the internal spaces in the area apart from in extreme days at the peak of summer or winter.
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THERMAL BUOYANCY UNDER FLOOR VENTS FOR ACOUSTIC ATTENUATION
MEDIA CENTRE
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DETAIL: double skin facade Natural ventilation to and from the internal spaces is via mechanically controlled opening panes of glass on the outer skin. For the inner double glazed skin, both mechanically controlled vents within the floor thickness and manually controlled windows are provided for optimal use comfort, so the external nature can still be accessed but without the strong winds this part of the tower will experience. The upper 1.2m of the 3.7m floor to ceiling height is additionally insulated with aerogel translucent insulation. Permanent brise soleil within the façade also allow access for maintenance. Finally, sliding vertical blinds within the façade can be mobilised to negate the effects of excessive summer heat gains.
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SEASON
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ventilation strategy: Natural vs mechanical Operation of the double skin façade during normal temperatures is wind –driven. Vents in the floor edge let in cool fresh air, vents in the ceiling edge release warm stale air. There is a seal between the lower section (restaurant and viewing galleries) and upper section (media centre) of the double skin façade, to prohibit the vertical build up of stale air in the void. In this way, it works with two ‘zones’. During extremes of temperature – this system will be very rarely used - the outer skin of the façade will be closed. Mechanical ventilation is used. Air Handling units located on the broadcasting equipment floor pump warm/ cool air down risers located in the cores, air which is then distributed in the ceiling void of each floor. In winter, solar gains are harnessed and warm the air in the cavity, which can then be circulated.
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PREVAILING WIND DIRECTION BROADCASTING EQUIPMENT
MEDIA OFFICE
OFFICE
CONFERENCE
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RESTAURANT
PRIVATE VIEWING GALLERY
3.8m PRIVATE VIEWING GALLERY
MAXIMUM 24m
BROADCASTING EQUIPMENT
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MEDIA OFFICE
OFFICE
CONFERENCE
OFFICE
RESTAURANT
PRIVATE VIEWING GALLERY
3.8m PRIVATE VIEWING GALLERY
MAXIMUM 24m
DETAIL: sKY HALL wind sculpture When the wind blows the plates of the wind sculpture begin to dance. As the plates ďŹ&#x201A;y on their hinges, the wires oscillate considerably, secondary steel members move very slightly, but the ring beams at the top and bottom remain static. The movement of the plates is visible externally from great distances away, and from the inside much closer up on the viewing platform.
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pIEZOELECTRIC WIND SCULPTURE
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light wind
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light morning - reflecting light
night - emitting light
DETAIL: sKY HALL wind sculpture Between two heavy steel ring beams suspended above the viewing platform are strung secondary triangular section steel members, which ascend in a helical manner. These provide ďŹ xing points for horizontal wires, spaced every 200mm vertically. Onto the wires are clipped the aluminium plates (180mm x 180mm) coated with the piezoelectric crystals. The plates have miniature hinge mountings to ďŹ x them to the wires at regular spacings.
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Detail at 1:40
erecting the tower
Methodology: Auditorium, Tower & Walkway & Viewing Bridge 01. Auditorium prepared offsite. 02. Auditorium pier ďŹ&#x201A;oated out and set in place via driven piles. Closer to the shore, piles are set ready for the Walkway Bridge columns. 03. Auditorium ďŹ&#x201A;oated into place. It was found that when moving this structure in, it will sit 4.5m deep in the water and, therefore, requires buoyancy and jacks to raise it into position. In addition, the sheet pile cofferdam will be placed for constructing the tower. 04. Cofferdam sealed off. Further Walkway and Viewing Bridge piles will be set. 05. Piles and pile cap are cast for the Tower. Crane and slip forming set up for the core and Tower construction. The main Walkway and Viewing Bridge columns and spans placed. 06. The tower construction begins, with columns and lower level ramp components. The core construction is kept just ahead of the Tower for ease of construction. 07. Primary structure of tower completed. 08. Hangers are placed for the external glass facade. The glass is placed, starting from the lower levels. 09. Sky Hall structure is installed on top of the Tower. Construction vehicles and plants are removed.
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Methodology: Bridge 01. Driven pile foundations, pile caps and columns set in place, columns to be temporarily braced from multiple directions. 02. The second and fourth spans are set in place, ready for the drop in spans. 03. The ďŹ rst and ďŹ fth drop in spans set in place, followed by the middle span. 04. Bracing and any temporary works removed.
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scheme as it is
MODEL PHOTOS.
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sketch over presence scheme
LOOKING BACK AT IT.
INITIAL DEVELOPMENT The initial idea was for four separate towers with detachable travelling exhibitions, but then we realised - why have four normal towers when you can have one great one? The team felt this had the ability to embody more powerfully and symbolically Portlandâ&#x20AC;&#x2122;s greatest attributes. We realised the tower could not exist alone. A plaza was added, which would complement it at ground level. To bring people as close as possible to the boats, this became a water plaza, for the boats to travel through. The third element was the walkway, a different experience connecting the building to the land. After many iterations studying the relationship between the grandstand, other programs and the vertical journey, the spiralling ramp was arrived at, which found a connection between all these elements.
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AN INTERIM REVIEW OF PROGRESS For a review with the public and council, drawings, models, and posters were produced to communicate the scheme. They told us what they thought and we tried to listen (but sometimes itâ&#x20AC;&#x2122;s best not to). Firstly, they all questioned the ďŹ&#x201A;oating walkway, a sensual, semi-underwater space which had been with us since the start. It seemed too detached from the rest of the scheme, and was impractical for access, so we changed it to a more visible, accessible bridge. They also noticed the building seemed to have separate parts, which sat awkwardly together. So we brought the auditorium in right under the tower, so the plaza and tower would be united forever.
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FURTHER DEVELOPMENT Before construction began we had the task of making the project reach its full potential. The tower was moved to the North side of the auditorium to open the plaza up to the sun. Next, we removed one bridge of the plaza, to allow the boats to pass through it more easily and open the space to the grand scale of the harbour. The plaza was now defined more subtly by a single bridge. An important move was to widen the tower slightly, so the whole route became completely accessible. Previously, although every floor was accessible by lifts, the ramped journey was too difficult for some people to make. By increasing the diameter of the tower, we allow more grandstand seating space, provide a more efficient floor plate in the media centre, and express the building’s accessibility to all of society.
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POST CONSTRUCTION CRITIQUE After the champagne was cracked at the opening ceremony and all of Portland had enjoyed a party in the sky, the new building was analysed by critics from many different professions. The first thing they questioned was the scale and audacity of the project, why did somewhere so remote like Portland need a great tower? We explained our ideas, they agreed the courage of the scheme was powerful, but were not fully convinced all of their questions were answered. The excessive use of glass was questioned for its environmental qualities, although we were certain it was necessary to provide the right viewing experience in the upper floors of the tower. In a second review focussed on engineering the effort of the engineers was praised for their resolution of difficult problems. They liked the structural idea, how the ramps were used to spiral load down piece by piece to the core and the seabed. They thought the double skin façade was well resolved, but said that we should allow people out into the space in between the skins for a better view, as on some days reflection could be an issue. This was possible, as the inner façade already had manually opening 2.5 metre tall windows.
TORSION OF CORE
MAX FLOWLINE: 21.6m BENDING OF CORE
THERMALLY ASSISTED WIND DRIVEN FLOW
REST FLOWLINES: <21.6m DEFINED BY VOID
AXIAL
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HUNG FACADE
FLOWLINES
CIRCULAR FLOOR PLAN
PRESSURE DIFFERENCE
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STABILITY BY CORE
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RAMPS DIMENSIONS
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THERMAL BUOYANCY UNDER FLOOR VENTS FOR ACOUSTIC ATTENUATION
MEDIA CENTRE
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AXIAL DOWN THE RAMP
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CIRCLE TO RAMPS
LOAD ON TO THE COLUMNS
WIND ROSE FOR ISLE OF PORTLAND
MOMENT TORSION
LOAD DIAGRAM OF TOWER
PASSIVE DOUBLE SKIN FACADE
MODULAR MONOCOQUE CONSTRUCTION
PREFABRICATED PLATE GIRDER BEAMS
REDCLIFF
OSMINGTON RINGSTEAD WHITE NOTHE
WEYMOUTH BAY WEST WEYMOUTH WEYMOUTH BAY EAST NOTHE
WEYMOUTH BAY SOUTH
PORTLAND HA BOUR
ACCESS CHANNEL
NSA/ THE RIBBON
LEGEND MAIN SAILING FIELD OF PLAY RESTRICTED ACCESS ACCESS CHANNELS CHECK POINT MARKERS ACCESS CONTROL LINE SECURE PERIMETER
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HORIZON AT 12M ABOVE MEAN SEA LEVEL (12.4 KM RADIUS)
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RACE MAP BASED ON 2012 OLYMPICS
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laser laser radial Mast height: 6.12m
Mast height: 6.12m
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nacra 17 46er
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olympics sailing classes and mast height
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CONSTRUCTION SEQUENCE
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WHAT DO WE THINK...
tom gillo The project has been a formative and enjoyable one. We assembled a team in which we hoped every member would be able to lead, compromise and rebel from time to time; and that has certainly happened. As a group we seem to have ridden every wave and trough; ecstasy and apathy have alternated on a daily basis. PROJECT Would I side with the critics if I were on the other side during the final crit? Perhaps on underlying aesthetic grounds, but that can’t be a foundation for debate, so the answer would be no. This I like about the project: in my opinion, aesthetic intentions should be almost completely disregarded on such a project until later stages, if something pertaining to the real is to be unearthed. Though it has a clear and unified aesthetic and constructional expression, issues still exist with the articulation, eg. monocoque floor systems works excellently for the ramps but less well on upper floors where acoustic insulation is necessary. However, I think the whole team were certain about the core ideas of the project, and from here the aesthetic, scale and detail was resolved naturally from ideas about the function and culture the team all shared from early on, and it was our fundamental belief in these ideas which drove the bold statement. It was also a belief that the exceptional brief and site demanded an appropriate response. The project gave an opportunity for criticism and experimentation, and I am glad I find myself questioning principles I had previously taken for granted, a freedom I hope to take into the future. An issue outside of the brief which often surfaces is cost; of course, the project has been conducted as a study which does not take this into account. But can greatness really be achieved on budget, or if a building is to be truly meaningful, should its struggle to be erected be celebrated? However, this factor continues to impede on the feasibility and therefore credibility of the project, but personally it appeals to me. One thing which never seemed to appeal to the critics was the project’s attempted celebration of 21st century technology, as is in line with sailing culture. ’Futuristic is bad’. The project was not quite strong enough in this regard; food lifts, for example, eventually were hidden away in the core, and structural and service details which could have found expression were ‘purified’ – even though this was done with good reason. We still found a synthesis between the technological sea of sailing and the accessible sea of the English seaside tradition, but it needed to be more evident to be convincing. Which for me was a failure – we did not express clearly enough the fruits of the continuing symbiotic relationship of technology and the arts. However, the presentation aimed to back this up – by using technical line drawings and colourful perspectives/ orthographic drawings, both with autonomy. One technological, one accessible. In the end, the accessible was stressed, which, though initially disappointing, was a compromise I now see the value in having made. Finally, I feel that the project managed a synthesis of sorts between corporate capitalist culture (the private viewing galleries, media centre; the sport of sailing as found) and more socialist aims (the dominance of the open spiral, the accessibility of presentation technique). A project with the word ‘national’ written in the brief should offer a political stance, even if it is not of one’s own belief. In terms of its spatial resolution, we reached a decent stage with the project. All the primary spaces are reasonably devised and satisfy our ambitions, but there remain lesser underlying problems. These consist of the distance between kitchen/ plant (under the auditorium) and primary conditioned spaces (upper floors), and the entry, though articulated well with the ribbon, could potentially be confusing for a first time visitor without the necessary signage. Also, the auditorium became squeezed for space when the tower’s diameter was enlarged, and this should have been addressed. Finally, I felt our ideas for the central void could have done with more profound resolution – they read okay as they are, but are hardly justifiable considering the complexity. The idea needed solid development, but we were unable to reach any further agreements than what is shown in the report. PROCESS The nature of group work seems to indicate people trying to play to their strengths, and this generally has happened. People have not been afraid to put forward their thoughts and ideas, and methods of working; we have been a group with very different ones. Design leadership also shifted from time to time, the most important flux being between the architects and engineers. Over the process of the project, we learnt to respect each other, when to listen and when to be resolute. The engineers gave a lot of hard work and respect, but perhaps could have offered more leadership on conceiving structural/ environmental strategies closer to the beginning of the project, as ‘engineering is also an art’. Having said this, the double skin façade was proposed by Lois, and the spiral staircase effect was proposed by Josh, both original solutions to problems. So as the project went on, the team proved to be more cohesive and confident with one another. It is a shame the final crit was marred by technical difficulties, but it serves as a lesson to us to prepare contingency plans. The verbal presentation should have been considered days in advance, not planned for the final morning when it was interrupted. In general, though, delegation of tasks throughout the group was efficient, although communication could have been improved in the early stages, when the engineers felt slightly unused. This was in part due to communication, in part due to the brief, in part due to both sides of the team not effectively planning use of time during the early stages. Communication at the early stages needed to be improved both verbally and with the exchange of drawings and sketches; a common system should have been laid down at the beginning.
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THANKS Many thanks to the team members, who we learnt the most from during the 8 weeks: Josh for his inherent calm nature, and instructing us when the engineer must take the lead Lois for a rigorous organisation, and for being a constant rational rock Camille for her artistic disposition and amazing work ethic Garrick for teaching me to stop being serious, and for providing a healthy debate now and then
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The challenging task of designing as a team brought up a new way of exploring ideas and concepts: collage. We started playing with inspiring images, precedents and photos of the site, mixed sometimes with line drawings, aiming to find the right balance of shape, weight and color to achieve a successful image. One of the challenging parts of making collages was that we had to take the images we chose for what they were. Without the ability to quickly modify it by computer, the focus of the image is therefore to compose with what is there, creating something new from something existing. The best collages were produced without a clear idea of what the end result would be, by allowing images to come together and apart numerous times, and through numerous combinations, until it looked right. Making collages is a messy process, especially when you are a messy person! For every image that is used in one collage, ten are dismissed. The amount of material surrounding the workspace is an amazing constant visual stimulation. One of the great moments when producing a collage is finding a connection between images which you wouldn’t have until they are both in your field of vision at the same time. Collage became my thing and I happily produced some for the report. These presentation collages have a different purpose from the design collages and therefore raise new challenges. How should an image interact with the adjacent text? Are they a translation of one another and an addition to one another? The role of the image is to catch the eye of the reader, create an interest. Ultimately it aims to put a smile on you face once you have understood the subtle link between text and image which brings both parts to life. An other challenging aspect is to focus on the purpose of the collage at all times and avoid taking the easy route of making it solely aesthetically pleasing. The balance of colors and elements is essential to a successful image, however ,without a strong function, the collage losses its reason to exist. Luckily discussions with the rest of the team ensured every collage translated convincingly enough the strong starting point. I was very enthusiast to explore design through collage as it is a great way for me to communicate ideas. I find it easier to think and design through making. Tom and Garrick effortlessly develop concept, visions and ambitions through inspiring conversations during which I would eagerly listen, sketch ideas being discussed and intervene showing a drawing. I find it difficult to express ideas that I have not drawn. Collage was therefore a great way to bridge the communication gaps. Strong visuals speak a thousand words and expose ideas in an efficient way. This resulted in the blending of enchanting words and seducing images. In my opinion the most successful aspect of this group project was the eagerness to go beyond our comfort zone in terms of design, work methods and styles, to push each other further and strive to be the best we could. This great energy and love for what we were trying to achieve made our team determined and strong. Despite an honestly catastrophic final crit, we didn’t give up. We never gave up. Some might say it is foolish, I think it’s beautiful!
garrick Chan It has been a long ten weeks and we have come a long way to get here. I have worked with Lois and Tom in third year and we decided to work together again with Camille joining us after spending a year in Delft and Josh as our structural engineer. Both engineers decided not to intervene too much at the start of the project which allowed great creative freedom for us as architects and we applaud their courage. We utilized the freedom to explore a lot of different options and we started off with a proposal which is more sensual than functional. It was more about visitors experiencing the roughness of the sea and nature without providing much protection to them. This idea is something that fascinates architects but upon further discussion we begin to ask ourselves more and more questions. One question that kept coming up was how would a building of such scale at such location draw visitors in. As mentioned in the report, we did not believe an art gallery or a museum would be something strong enough to bring people in. So we went back to the site and talked to the locals and ask them about their relationship with the harbour and what they wanted. From that we realised most of them want more shops or a supermarket, something that can be traced back to the economic state of Portland. Instead of building a shopping mall by the sailing academy, we took a step back and started looking at solidifying things that are given in the brief, the grandstand. The idea of focusing our energy mainly on creating a great grandstand sounds simple yet strong. All five of us are enthusiastic about this and we decided to go ahead. The next stage is crucial and I think we as a team did excel in. We began to have more design team meetings where everyone got to pitch their ideas and challenge others’. From that, us architects gathered more information about what structural and environmental strategies the engineers are comfortable with and for them they started to have a grasp of what we have in our mind. Having said that, it is also crucial that we architects meet separately where we can channel all our thoughts into the spirit of the tower, without being distracted by viability. For that we tried to meet weekly in a pub in town, in search of the perfect white napkin to sketch on. Being away from the studio loosened us up a lot and it was very helpful especially in the initial weeks for us to pitch our own ideas outside of the more institutional setting. In terms of characteristic of the team members, we also have a good mix. Camille and I are at times stubborn in terms of design decisions (and otherwise.), where as Tom is more willing to find the common ground and ease any potential tension. Lois likes to take charge in things where as Josh usually just kept quiet and is willing to take up a range of responsibilities. From tutorials, we also realise that we present ourselves as quite strong willed, rightly reflected by the character of each of us. This strong will can be a double edge sword especially for myself as I do not usually back down on arguments which I believe in. While that did get us into a number of heated discussions with different tutors (sorry guys!). We also believed that we were able to get more out from the tutors, and from which we picked out things that we agree with and try to incorporate it into our scheme. So in general, we believe that our group had a real chemistry, and I cannot express enough my gratefulness for my engineers especially in the incident where after the design freeze we realised that in order the make the ramps in our tower completely disable accessible, we had to increase the size of the tower quite significantly. Breaking the news to the engineers was tough as they were understandably frustrated. However, they did see where we were coming from and had worked diligently to make up with the lost time. The outcome was a fabulously detailed report which showed all round considerations, with some of them we did not even know they had thought about. In return of their hard work we had also tried our best to create diagrams and drawings for them to incorporate into their report. The project came to a rather disheartening end due to an unexpected incident, which meant that we were not well prepared for the final crit despite all the hard work. We felt like we have let our project down and us architects certainly felt we have let the engineers down. We were given the chance to do a second crit with two practising engineers, partly for us to make sure that the strategies work, but more importantly to give our engineers an opportunity to explain their work to professionals and get the well deserved acknowledgement from them. So all in all, I think that as a team we work really well and we set out knowing that a scheme that was bold will get polar opinions and we always know to it will take a good presentation to convince people in doubt. Unfortunately, we did not deliver on the day which is a huge shame. In terms of the design, I think we might have spent too much time ironing out the circulation and entry sequence. As a result, we have not spent nearly enough time to study the internal spaces and how that looks outwards. Personally I also think that building is not tactile enough, but it might be a personal preference. As the style we have opted for and the report itself have suggested, we are trying to aim the whole scheme towards the laymen, instead of building something that only architects can appreciate. Finally, while I have enjoyed the collaboration of architects and engineers throughout the designing stage, it felt like the architects and engineers are aiming for different goals towards the end of the process which was a shame. The fact the the engineering report is not included in the marking of our report further fragmented the structure of the team as we are pulling information out from a report produced by part of our team. While there is definitely room for improvements, overall it was a fun and fruitful project.
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EPILOGUE The people of Portland were happy with their new tower, which was opened by the Queen to much fanfare and national interest. Due to the influx of high-profile sailing events and sailing enthusiasts, as well as the curious public from all across the kingdom, more businesses, hotels and shops were set up in previously derelict buildings, and wasteland left behind by the Navy was finally given new identity. Although not everyone liked sailing (and not everyone liked the tower), all of the island appreciated the new injection of life as stories from yachtsmen from all over the world buzzed around the island’s pubs. Portland could afford to set up a new nature reserve to protect its unique wildlife, and shops reopened so people didn’t have to go to Weymouth. Sadly, amid controversy over the spiralling cost and audacious nature of the scheme, the design team lost work and had to close their office and leave the UK. But the people of Portland appreciated their efforts, and eventually unveiled a plaque for them, made of imported Bath stone, situated in Castletown.
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