Design & practice report

DESIGN AND PRACTICE REPORT CATALINA - IOANA TUDOR YEAR 2 STUDENT ID: 77176482

WORD COUNT: 4514 LEEDS BECKETT UNIVERSITY TUTOR: SARAH MILLS

Contents

Report 01 Design & Technology 09

Personal Position Design Studio Context Design Thesis Technical & Technological Further Development

11 13 16 23 29

Report 02 Management and Law

31

Planning issues

33 38 41 44 46

Development Appraisal Procurement & Risk Architectural Practice Professional Reflection Bibliography Illustrations Appendix1 Appendix2 CV

47 48 49 51 52

Website catalinatudor.com https://vimeo.com/ctudor

fig01. Screen print Accommodation concept

Report 01 Design & Technology

Personal Position

The March Cinematic Commons studio have influenced my way of perceiving and looking at architecture drastically since my Undergraduate studies, today I am more interested in social issues and speculating architecture propositions than just designing a pretty building for a client.

By researching the international social issues in Japan, last year in Tokyo and this year in Kyoto, I feel that this changes my design approach as well as my interest. Through my Final Year Thesis project, I am looking into the Japanese traditional joinery through the study of the Machiya townhouses and the craftsmen community that used to live in these houses.

I see architecture as more of a collective of thoughts and ideas, the freedom of the creating process, this belief has just been strengthened through my March studies. However, during my placement years I have noticed that this is not always the case in architecture practices.

During my year out, I had the opportunity to be part of the team with a wonderful practice London Practice, The Manser Practice for two year and half. In the time spent there, whilst working on numerous projects from the design stage to planning stage, I have learned first-hand about the gap between university and professional life. Accustomed to university life, where we had more time to explore and do research, I was surprised by the fast pace that defines architectural work in practice. Highly motivated and driven to succeed, I have put in a lot of effort to improve time management and deliver tasks accurately and according to deadlines. However, the reality is that due to design restrictions and budgets there is not much creative freedom, and, in most cases, it feels like you end up with a ‘copy’ of a copy and so on.

This has changed my view on architecture.

Before starting my MARch course, I used to value function over form more that the investigation of the space and special properties to question and find what is a ‘common’ that will eventually form a new architectural typology within the fabric of the built environment.

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fig02.

fig04.

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fig03.

fig02. Screen print Accommodation levels fig03. Screen print Accommodation layering fig04. Concept test model, traditional Machiya

Design Studio Context

My March studies have been part of the Cinematic Construct of new Commons ‘Cinematic Commons’ studio unit at Leeds Beckett School of Architecture, led by Sarah Mills.

This academic year, the Cinematic Commons studio group dealt with the collection and the harnessing of infrastructural propositions for ‘The future of the museum or archive’ and a ‘new commons’.

In the Cinematic Commons studio there are several ways to approaching a design: •

Design through axonometric

One of the most important tools of representation that we use is through axonometric drawings. At first, we use this technique to interrogate the area surrounding our chosen sites, using this technique in detail helps with the better understanding of the area we are dealing with and helps to put in light important details that otherwise we might ignore, as well as finding an issue that otherwise might be overlooked. We use axonometric drawings thought the design and thinking process in the forensic drawings, film analysis, special properties as well as the final proposal.

•

Design through sets

One of the major tools that I gained through the cinematic commons Unit is the Set model, this allowed me to improve both as an architect and an individual. This allows for a different approach when thinking and designing, while tackling with issues of designing. Being part of this Unit has added indispensable skills to my portfolio and the way in which I work, such as Film combined with cinematic construct or set models, to test spatiality, and even functionality through narration.

This allows a better understanding of the architectural environment through concept testing of activities and capturing moments in the specific environment, allowing for a better understanding of the concepts and ideas through a wider medium.

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Film Stills

TH E S P I R IT O F WA ( JA PA N ) The Objective of this Philosophy is to inherit and nurture the “Spirit of WA (Japan)”

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fig05. ‘Spirit of WA’ film stills

•

Design through film

There are two types of film essays that we use: before going to the site location we try to interrogate the site, area, country, city it is located in this already having found an common that we this needs to be dealt with, after doing this we create a film essay through the foreign gaze which consists of found footage, imagery and usually a speculative set model.

Sometimes when we get to the location we find that problem is non-existent, however this was not the case regarding my thesis project.

Presenting a proposal through film allowed me to have a better understanding of the narrative story of the finished building, highlighting the issues that I dealt with in the project. I consider this a great tool for the actual design process and usually do multiple essays for one project or multiple drafts. •

Film analysis

Through analysing film essays we get a better understanding of spaces, customs, filming techniques, camera angles and other filming styles and how to best use film set models or drawings for a better understanding of our projects. •

Screen printing

I personally prefer this method of representing and I have used it for my thesis project in order to illustrate the spatial qualities and some of the functions, this represents a great tool that is very versatile in its usage.

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Kyo t o C i t y The city of Kyoto in the Kyoto Prefecture at present has eleven wards, of which Higashiwama-ku is one of them. This ward was established in 1921 and was decided from Kamigyo.

My site is located within the Higashiwama Ward in the Gion area, next to Gion Corner, which represents a cultural hub, composed of two museums, a performing arts theatre, temple and a Japanese style garden.

1.

Shijo Dori

2.

Kam o

Hanamiko

river

ji Dori

7.

2.

KYOTO population in 2017 1 465 692

1.

3.

4.

H i g a s h i y a m a Wa r d Population in 2017 39,044

6.

Key:

3.

5.

museum green space

Yamato O ji Dori

Higashi Oji Dori

8.

Kamo river cafe traditional restaurant accommodation shop Buddhist Temple Yasaka Shrine

Yasaka Dori

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theatre

Site boundaries 1. Gion Train Station 2. Kenninju Temple 3. Gion Corner 4. Yasaka Hall - Performing Arts Theatre 5. Forever Museum of contemporary arts 6. Events Hall 7. Minami-za Theatre 8. Kenninji Temple

fig06. Site location map

Design Thesis

My design thesis is represented by The Gion Workshop which is a Creative Hub that re-appropriates two dilapidated sites in Kyotos historical Gion Area, responding to issues of the Craft community, aiming to support the Kyoto based artists, who are suffering from lack of studio space, suitable exhibition space, affordable housing, focusing on the wood craft community, as well as aiding in the training of the new generations in the art of traditional Japanese Joinery.

The programme outlines 3 key stages to the project’s overall development which are: The project begins with the construction of the Woodcraft School that specialises on traditional Japanese joinery. With the skills acquired in the workshops the artists together with the community can help build the second stage of the programme. Also some key elements of the Workshop will be built after the building is constructed, such as the ‘hidden rooms’ inspired by the traditional Machiya houses and bespoke furniture built in the traditional way, by doing so , there elements will have both functional and will be further used as teaching spaces or relaxation spaces as well as live examples of the technique taught in this particular school.

The second stage involves the theatre located at the rear of the School, where the aim is to allow the performances to be transparent to the public. Carving into the theatre as well as inserting additional facilities necessary to the school and theatre.

The theatre will facilitate an additional workshop that will serve as storing and maintenance for the Gion Matsuri Float, as well as an in-house workshop for maintenance and crafting of sets.

As a final stage the school will help build the accommodation for the students, by using traditional joinery elements as detailing features of the apartments.

I will also speculate a 5-10 year plan where I propose to revitalise the area and bring it back to its formal glory, restaurating some of the more modern influenced copies of the Machiya (townhouses) that have started to be embedded into this area’s fabric.

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My design thesis questions if the area should remain frozen in time and if so, what traditional aspect should be maintained and why. After investigating the area both before the trip to Kyoto and on site I have discovered that although most buildings preserve their outer appearance, the interior characteristics and principles of Machiyas have been altered and are un recognisable today.

Even though the area is highly touristic most buildings are either restaurants tourist accommodation or high-end shops. Rather than just designing as another copy to add to this urban grain of copies I investigated how I could reinterpret while retaining some of the original properties of the townhouses while integrating traditional wood working techniques, white the hopes of returning this neighbourhood to it’s formal glory, by teaching the community the art of Japanese traditional joinery in order to aid in the maintenance of these buildings while keeping this craft alive.

Traditional Machiya Typology

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?

Contemporary MachiyaTypology

fig07. Machiya typologies

fig08. Japanese Joinery details

GSPublisherEngine 0.0.100.100

fig09. Existing building typologies

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fig10. Proposed Axo Drawing

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fig11. Proposed Accommodation Phase 3

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6.

5.

3.

4.

2.

1.

double height space

wall

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1. Engawa 2. Shoji Screens 3. Tokonoma 4. Tatami 5. Tansu furniture 6. Tansu furniture 7. Tansu stair

fig12. 150 year old Machiya hidden room located in Yame, Japan

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Technical & Technological Questions

The skills gained through my education, especially during my time in the cinematic commons stu-dio have proven to be invaluable in the thinking process and the way I tackle the design and issues.

Enhancing the way in which I approach my work with the help of filming, set design construction that informs my project both cinematically and spatially.

Since the studio encourages the students to examine cultures from an obscure approach through the foreign gaze this allowed me to experience and speculate hypothesis and form calculated opinions about the numerous layers of the existing condition ahead of being immersed in the realities of the studied culture.

The studio promotes a filmic and stenographic approach to design through 1:20 set models that help speculate and test different ideas that will be filmed and integrated in the numerous film drafts. These ‘unfinished’ sets are used to create a narrative of the architecture.

One of the most important technique in my opinion is the storyboard, this allows me to think of the narrative which aids in the idea process. Storyboarding gives you the freedom and choice of filming for multiple purposes, either for special characteristics, functionality, architectural moments, through the foreign gaze to discover a process or a common, activity or testing the project to see how it might work.

I have used axonometric drawings to better explain the scheme and show the overall impact that it will have on its surroundings, as well as interrogating spaces and studying components from existing traditional house, to have a better understanding of how they work and hoy they were put together.

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I have studied the vernacular propertied and technical detailing as well as the layering techniques and the adaptation of Shoji screens and tansu furniture that are going to be utilised and reinterpreted through this project.

Since my thesis project is a response to the dying craft of the traditional wood joinery, they key technological implementations through the three stages of the project are the reintegration of this craft, embedded in the main structure of the phase 3 and as the secondary structure of phase 1. This technique will be highlighted through a series of moments through the three phases.

Initially the thesis project responds to this issue through the construction of the Workshop Joinery school, which is more detailed investigated in my DSIT B & C submission.

I have taken into consideration the materials and colours used in the neighbourhood since I wish to use a similar pallet of textures and colours in my project, by using as much wood as possible from the numerous demolished Machiyas in Kyoto.

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fig13. Set model spatial properties

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fig14. Workshop Phase 1

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fig15. Roof axo detail

fig16. Roof terrace axo detail

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fig17 . Machiya set model

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Further Development

The projects long term impact is intended to serve the community of Gion Town and help with the restoration and maintenance of the traditional Machiya townhouses by teaching people the tools and skills needed to do so.

If the project is successful this model will be implemented in different areas of Kyoto or around Japan, by doing so, more people can be trained and thought how to do maintenance on their house, thud reducing the chances of these works of art being demolished.

If the project were to continue the aim for the next 5-10 years is to restore the elevations of the buildings to the original design an well as taking over some of the abandoned buildings thus extending the school through additional workshop/living spaces.

If I was to continue with the proposal, I believe this research project acts as a prototype ‘Craft school’ and could be implemented in several cities across Japan, helping to train the new generations in the traditional art of Japanese wood joinery which today this represents a dying craft.

As well as linking the workshops to local universities, thus creating a cultural hub specialised in traditional crafts.

This project will challenge the modernisation of the traditional building giving a new alternative where restoration and maintenance will be more cost effective that now, because today cost plays a major role in the demolition of these ‘works of art’ since traditional carpenters and joiners are hard to come by and those who are still practicing this craft are either quite old or very expensive.

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Report 02 Management & Law

District A

District B

Gion Town planning area Designated roads part of district A

fig18 . Gion Town planning area

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Planning issues

Due to the nature of the proposal and the strategies that take place towards the development of these sites, the project has been assessed through the new building code in Kyoto, more specific in the conservation area of Gionshimbashi District. Due to the nature of the area the proposed theses will have to take into consideration how it’s presence will affect the surrounding area, it will have to respond through its footprint, materiality and aspect in order to not hinder the human town of Gion since the aim of the project is to help maintain and train the community together with other people in the traditional craft of Japanese wood joinery.

Now the proposed sites are used as closed parking spaces, not open to the public. We will need to apply for a change of use for the spaces.

According to the Kyoto City Landscape Policy from 2007 building heights represents an important element for the city landscape environment the height in historical area has been lowered by 30% to allow the human scale towns to be passed down to the generations to come.

The project will follow the Building Standard Law- Building Regulation in Japan (July 2013) and it will be applied from the beginning of construction to the end of life of the building.

Gion district has a new building code which is enacted by Kyoto with the help of the citizen, the relevant parts of this Law are the ones that refer to the building heights for new built. In my case more specific the law for central Kyoto where new buildings are allowed either 20 m height with a 20 m setback or a 30 m from a 20 m setback. My project will use the first option. Also, the front of the new building must blend in with the form of the traditional townhouses (kyo-machiya), to allow ventilation in public spaces.

I will implement this new code to maintain the shape of the townscape by maintaining a continuation of the façades and roofs.

Gion Town is a district that needs notification of building (article 58-2, paragraph 1 of Urban Planning Act). Gion town is split into 2 33

districts A, and B which have their own set or restrictions. This will prove challenging for my project since one site is in district A and the second one is in district B. District A has a more strict height restriction or 15m which I will have to challenge since that is the location of the accommodation building for the Workshop school and if will exceed the imposed height limit, however I will argue that the site is at the limit between the two districts. •

Machamian historic sightseeing

• Fireproof area/semi-fireproof area Building Standard Law – Article 22 The proposed thesis project will comply with the following Uk building regulations: Part A, Part B Vol 2, Part E, Part F, Part g, Part H, Part K, Part L1A, Part M, Part N, Part P. A thorough explanation of these documents can be found in Appendix 1.

Similar to the UK building regulatory system for system of permissions and inspections, or for the issuing of building codes, technical requirements the central government deals with these with supplementary provisions by local governments, for the issuing of building permissions the local jurisdictions and other designated and approved bodies deal with such issues.

However, for any alternative material solutions or construction methods and building design, in Japan the Minister needs to approve them only after they have previously been evaluated by other evaluation bodies, compared to UK where the evaluation and approval is carried out by the local jurisdictions and private bodies. For further details and a better break down of these, please refer to Appendix 2.

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Site location

fig19. Kyoto height restriction map

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Landscape district (Aesthetic landscape district, aesthetic landscape promotion district)

Site location

fig20. Kyoto landscape district map

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The Phase 1 and Phase 3 sites are currently uses as parking, however they are not designed as such, they are the resulting site of 2 demolished Machiya townhouses. The land will be leased

by Higashiyama Ward towards the development of this thesis project in support to the preservation of the Japanese heritage of traditional arts (wood joinery and performing arts) and passing these crafts to the generations to come.

For the second phase of the project the spaces will be leased from Gion Corner theatre who in collaboration with the Client HAPS wished to expose the performances to the public and create some additional workshop spaces for the theatre and the school and a storage warehouse for materials.

The Client HAPS is a non-profit organisation, established in 2011. The organisation’s aim is to support Kyoto based artists who are suffering from a lack of studio space, suitable exhibition space and affordable housing as well as efficient industry networks.

The opportunities provided by HAPS are crucial for artists to generate new prospects and further their creative careers.

However, the primarily aim of the project is to teach the community, students from universities, tourists and anyone who would like to learn more about the traditional arts of Japanese joinery. The school will provide a series of programmes ranging from one week to 3 months where students will be thought from basics to more advanced techniques.

The HAPS office is in the Higashiyama area of Kyoto city. This area of Kyoto is renowned for its traditional architecture: the Machiya, which are represented under Kyoto City law and are valued as assets of: significant cultural, historic and national interest.

This project will be partially developed and applied by the community, especially the 5-10 years plan of maintaining and restoring some of the traditional buildings.

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Development Appraisal

The project will be funded by the Japanese Funds-in-Trust for the Preservation of the Worlds Cultural Heritage. Since Gion Quarter is part of the UNESCO World heritage sites this might help in acquiring additional funding.

Kyoto Seika University will provide funding for the Joinery Workshop School, this will allow the university to have access and usage of the spaces for it’s students when required, for their students to see and experience the traditional craft of wood joinery first hand in a traditional setting.

After the completion of each phase the project will start generating income, not from the visitors, but from the students, artists, selling of goods and restoration of houses and furniture.

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fig21. Gion existing site area axo

Procurement & Risk

The thesis project is split into 3 phases, each of the stages utilising different construction techniques.

The first phase, the Joinery Workshop School uses pre-cast concrete beams and columns as a primarily structure which will be prefabricated and transported to the site when needed. Other elements such as the timber flooring or more traditional elements such as Shoji screens.

The second phase of the project existing theatre involves carving into the building will expose the performances and the addition of 2 work spaces and a wood warehouse storage space which will require self-produced and self-build elements produced in the Joinery Workshop school.

The third phase the Temporary student accommodation will require be an ongoing process of building, with the help of the workshops to build a bespoke timber building that will also represent an example of the craft that can be learned in the workshop school.

The project will follow a traditional procurement route, using the Standard Building Contract on lump sum with quantities. The procurement route is through a traditional contract, since there are bespoke elements that require training in traditional joinery, this way additional requirements can be written into a tradition-al contract to be tailored to the specific building.

The building time could be extended without any penalties, during this time people can be trained in the traditional art of Japanese joinery for the specialised components of the workshop school as well as the second phase of the project represented by the accommodation building for the future students.

A full set of construction drawings will be issued to the contractor before works start, by doing so it allows for competitive tender pricing and accurate cost for quantities of materials.

Specialist contractors will be required, and price is based on a 41

lump sum with monthly payments based on Pricing document.

The project once released for tender, reaching stage 3-4 it will be undertaken by a local Japanese contractor, by doing so the contractor can utilise their specialist and local knowledge and under-taking the principal contractor role, thus making sure all regulation requirements are met. The contractor will be appointed after the tender package is sent out to the 3 top contractors picked for pricing and estimate completion date as per the proposed schedule.

One of the contractors invited to compete for this project is Shimizu Corporation, due to their slogan “To-day’s Work, Tomorrow’s Herritage”.

• Risk of falling objects from the construction works, this risk is higher since the building is surrounded by narrow streets that are constantly populated due to the historical and touristic aspect of this district • proximity of works to surrounding buildings in an historical conservation area, taking into consideration the dense area and narrow alleys Costing Regarding the scope of cost of the project, this will not include architect fees, this will be detailed by an appointed QS consultant with extensive knowledge in both traditional and modern works as well as environmental development. Together with the QS, myself and the client an initial cost will be approximated, within the client’s budget until the Final account.

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•

Average cost in Kyoto is of 252752.85 yen

•

Average labour cost in Asia is of 1917.60 yen

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One of the primarily concerns consists in acquiring a local base in Kyoto from which we could oversee the progress of the project, if the team would work solely from UK this might prove to be difficult. Another concern is regarding communication since the project is located a foreign country, regarding this aspect ideally, I will require a mixed team of both architects and technicians from both UK and Japan, this will ensure a clear communication flow between the client, the design team and the contractor.

A Kenchikushi will be in working in the Kyoto office, because they have a dual role of both architect and building engineer, they follow the Kenchikushi Law and many people with this qualification/ certificate in Japan, they can also have different specialisations such as traditional carpentry. Due to the nature size and nature of the project only a 1st class Kenchikushi may engage in this project. (buildings >13m) For the construction works will be dome by both sides, owner and builder, this will require a builder’s superintendent, employed by the builder, responsible with the over seeing and ensuring the good quality of the building works. Since our architectural practice is part of the owner’s party, we will require a person to conduct construction administration, that periodically examines the construction to be sure that the drawings and specifications correlates. We will attribute this position to the Kenchikushi, who will report back to us.

The practice will utilise a traditional Japanese procurement route, however following the structure of the RIBA Plan of Work 2013.

Professional Indemnity Insurance will be acquired to cover the architectural practice against legal action in the possible eventuality that faults, or mishaps occur during the design and construction of the project.

The architecture fees will be between 3-4 % of the overall building cost, however instalments paid at the end of each stage of works, which is typically the case according to the scale and type of the project. These being said there are also the consultant’s fees, the project will require consultants such as Quantity surveyor, 44

Architectural Practice

Structural engineers, Mechanical and Engineering and other Specialists in traditional Japanese wood joinery, as well as planning application fees.

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Personal Position

After graduating I wish to continue my professional experience with the practice I did my Part 1 with. It has always been my intention to gain a full UK architectural accreditation. However in on the course of these two years in March II I have discovered a new face of architecture as a profession and have gained different interests. In the long future I am not sure if I want to pursue architecture as a profession since the skills I gained while studies are very versatile.

I imagine myself in a more creative and artistic profession where one does not have to colour in between the lines, a profession such as in designing.

Saying this I know there are practices out there that have a different approach and I might be better suited for such places.

However, I believe for the moment the smartest choice is to return to practice I did my Part I with to do my part II and Part III. I would also like to explore other artistic interests such as interior design, painting and screen printing.

During my time part of The Manser Practice team I have noticed that the design process can become stagnant depending on project, always following the same procedures. During my university years, especially in my MARch course I have gained alternative methods of working and designing, through models, filming, screen printing and unconventional ways of presenting projects that I hope to keep developing in time and hopefully implement some on these techniques in the working environment.

Since the beginning of my architectural journey here in UK both with university and the professional environment I had the opportunity to travel to a number of places such as Ho Chi Minh, Copenhagen, Stockholm, Tokyo, Kyoto for design projects, this allowed me to experience rich cultural environments and would like to continue exploring the unfamiliar through on my own from an architectural perspective, thus I am drawn to the idea of working overseas for a period of time.

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Bibliography

N.a., (2013) https://www.bcj.or.jp/c20_international/baseline/ src/BSLIntroduction201307_e.pdf/> [accessed 3rd March 2018] N.a., (2007) http://www.city.kyoto.lg.jp/tokei/cmsfiles/ contents/0000062/62129/HP-English.pdf> [accessed 3rd March 2018] N.a., http://www.city.kyoto.lg.jp/tokei/cmsfiles/ contents/0000057/57538/3shou.pdf> [accessed 3rd March 2018]

http://www.city.kyoto.lg.jp/tokei/cmsfiles/ contents/0000057/57538/2shou.pdf> [accessed 3rd N.a.,

March 2018]

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Illustrations

fig01. ‘Screen print Accommodation concept’,(2018), Tudor C. fig02. ‘Screen print Accommodation levels’,(2018), Tudor C. fig03. ‘Screen print Accommodation layering’,(2018), Tudor C. fig04. ‘Concept test model, traditional Machiya’,(2017), Tudor C. fig05. ‘‘Spirit of WA’ film stills’,(2017), Tudor C. fig06. ‘Site location map’,(2018), Tudor C. fig07. ‘Machiya typologies’,(2018), Tudor C. fig08. ‘Japanese Joinery details’,(2018), Tudor C. fig09. ‘Existing building typologies’,(2018), Tudor C. fig10. ‘Proposed Axo Drawing’,(2018), Tudor C. fig11. ‘Proposed Accommodation Phase 3’,(2018), Tudor C. fig12. ‘150 year old Machiya hidden room located in Yame, Japan’,(2018), Tudor C. fig13. ‘Set model spatial properties’,(2017), Tudor C. fig14. ‘Workshop Phase 1’,(2018), Tudor C. fig15. ‘Roof axo detail’,(2018), Tudor C. fig16. ‘Roof terrace axo detail’,(2018), Tudor C. fig17. ‘Machiya set model’,(2017), Tudor C. fig18. ‘Gion Town planning area’ < http://www.city.kyoto.lg.jp> [accessed 15 March 2018] fig19. ‘Kyoto height restriction map’ < http://www.city.kyoto.lg.jp/tokei/cmsfiles/ contents/0000062/62129/HP-English.pdf> [accessed 20 April 2018] fig20. ‘Kyoto landscape district map’,< http://www.city.kyoto.lg.jp/tokei/cmsfiles/ contents/0000062/62129/HP-English.pdf> [accessed 20 April 2018] fig21. ‘Gion existing site area axo’,(2017), Tudor C.

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Appendix 1

Building regulations: Part A- Structure

Insulation in the floors and roof space, dampening the noise from floor to floor and the terraces, and green terraces.

Insulation in the floors which dampens the noise from the plant Part A Structure Building Regulations outlines regulations situated on top of the building. regarding ground movements, structural loads and structural Also acoustic louvres will be used to reduce the noise from the movements. plant and machinery.

Through the building the structural safety of the building is considered.

Part F â&#x20AC;&#x201C; Ventilation As it is well known that Japan suffers from earthquake tremors, this is also the case in Kyoto therefore for this design this is one of the Part F outlines regulations relating to ventilation of the building major issues I have considered. The piling system together with and spaces. the reinforced concrete structure will protect the building in times Where possible my design seeks to encourage natural cross flow of ground movement. I am using reinforced concrete because ventilation to minimise the need / running of mechanical systems. this combination is made to utilize the compressive strength of This system includes an efficient damper control system, it also concrete and the tensile strength of steel simultaneously. includes a patented energy control, and has pneumatically Also, my building is setback because, it produces little torsion operated dampers fitted to each wood working machines in the when seismic force is applied to every story in the same direction. carpentry workshop.

The structure is also required to transfer dead, live and dynamic There are specific areas where mechanical ventilation will be wind loads effectively down to the ground to maintain safety and required, areas such as: WC rooms (windows and 6 L/sec rate), stability. and bathrooms (windows and 15 L/sec rate).

Part B Vol.2 - Fire Safety for buildings other than dwelling houses

Part G - Sanitation, Hot Water Safety and Water Efficiency

Part B outlines regulations relating to fire safety. I have taken into consideration the regulations to make my building compliant.

The core stair provides ease of escape and is enclosed with a 60 min fire rated core which is compliant to the Part B building regulations.

Part G outlines regulations relating to the supply of water with a focus on water efficiency, sanitation and hot water supply.

All s inks and showers will be fitted with hot water. To minimize the water wastage, sanitary ware will be fitted with motion sensors to activate taps, thus reducing the risk of wasting water.

Part E - Acoustics

Part H - drainage and waste disposal

Part E outlines regulations relating to sound and sound proofing, with a focus on reducing the transmission of sound.

There are various scenarios consider within my proposal regarding acoustics.

The intelligent dust extractor, as mentioned in my DSIT B the noise output of the system is also reduced and the filter life increased in conjunction with the expected 40% energy saving over a standard on/off system that this system should provide.

Part H outlines regulations relating to the disposal of drainage and waste in and around the building, including foul water, solid waste and rainwater drainage.

To comply with the part H building regulations that refers to the disposal of waste water, all the facilities such as toilets, sinks are connected vertically to run down through the building, through an accessible main service riser that is proposed in the scheme and connect to the existing drainage system that is part of the 49

areaâ&#x20AC;&#x2122;s infrastructure.

The building will also harvest grey water and a system to recycle this water will be incorporated to use for the toilets.

An SPV will be incorporated to allow ventilation to the drainage pipes.

Part K- Protection from falling, collision and impact Part K outlines the regulations that protect the user from falling, impact and collision.

Balustrades are present because of the different levels, present on the exterior terraces and above the double height spaces, will be minimum of 900 mm up to 1100mm where necessary to protect people from falling.

Part L1A- conservation of fuel & power Part L1A outlines the regulations relating to power and fuel conservation in new buildings.

The material choices within the design have been especially chosen to provide high thermal and low thermal mass required in the area.

Due to the narrow site, the building has narrow floor plans that provide good cross ventilation, which resulted in a reduces energy impact scheme, that doesnâ&#x20AC;&#x2122;t require much mechanical heating, cooling or ventilation.

Part M- Access and use Part M outlines the regulations that ensures the building is accessible for both able and non-able users.

The ground floor has level access as well as the first floor through the rear access. Non-body users can freely move through the building going from floor to floor with the help of the lift. In case of fire there are designated accessible spaces located on the landing.

Also, the staircases have been designed according to the regulations with incorporated handrails.

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Part N- Glazing Part N outlines the regulations that ensure that any glazed surface is visible to users and can be easily cleaned.

The glass balustrades specified on the terraces will be minimum of 900 mm up to 1100mm where necessary to protect people from falling.

Part P - Electrical Safety Part P outlines regulations relating to electrical safety.

The contractor will place the electrical work in the specified service riser and it will be done by accredited professional, that will issue a minor works certificate.

Appendix 2

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Education: 2016-2018 Leeds Beckett School of Architecture 2016-2018

PART II Masters of Architecture University of Huddersfield I United Kingdom Part 1 Bachelor of Arts

2012-2014

“Spiru Haret” University I Bucharest I Romania 2008-2012

Architecture

CATALINA - IOANA TUDOR PART II ARCHITECT I see architecture as more of a collective of thoughts and ideas, the freedom of the creating process, this belief has just been strengthened through my March studies during my time at the Leeds Beckett School of Architecture in the Cinematic Commons studio.

Over the past 2 years as part of my MArch studio, I have gained presentation skills, the ability to storytell through cinematic tools such as film, set models, screen printing, axonometric drawings and story boards.

I love being able to conjoin ideas while working with others, challenge myself and build new experiences. I am dedicated, focused and would be a wonderful asset to your team.

Having two years of practice experiende before returning to continue my studies, I have gained a wide range of skills, practical experience, software training and the ability to work as part of a team, that would make me a valuable asset to any practice.

Contact Information: Locatio: Mobile: Email: Website: 52

“Spiru Haret” College I Ploiesti I Romania Mathematics-informatics

2004-2008

Experience:

The Manser Practice - York

Jan 2017 -Sept 2017 Sept 2014- Sept 2016

The Manser Practice - London

Skills: EXCELLENT GOOD

Sketchup, ArchiCAD, Artlantis Studio, Adobe, Photoshop, Lightroom, Adobe INDESIGN Revit, AutoCAD, Adobe Illustrator, After Effects

VISUAL References:

Sarah Mills Leeds school of Architecture Course Director Leeds S.J.Mills@leedsbeckett.ac.uk 07426164567 Guy Barlow catalinatudor27@gmail.com The Manser Practice catalinatudor.com Director https://vimeo.com/ctudor gbarlow@mancer.co.uk

Sketching, Painting, Illustration