BA Architecture Portfolio by Eric Lim

Academic Portfolio

BA Architecture (Part1) 2013-2015

Eric Lim Chee Wei s1361824

University of Edinburgh

Edinburgh School of Architecture and Landscape Architeqcture

Academic Portfolio Preface

2013-2015 Reflective Statement These two years have been so different and diverse for me, coming in directly from a foreign university to the second year architecture program in ESALA. I had previously completed my Diploma in Architecture before joining ESALA, the experience I have obtained here is totally worthwhile and beneficial to my future professional education learning. The exciting and challenging nature of the course has definitely improved my knowledge in architecture with design as the core module has greatly inspired my design ability. The skills gained throughout the course enables me to communicate and present proposals and ideas effectively and easily. Besides, theory based courses such as history, architectural theory has broadened my knowledge of culture, art about architecture. It has given me a whole new perspective of the role of architect in our society.

Apart from the core module, the complementary subjects have given me a chance to further explore and develop my own personal interest within the architecture field.

Whilst, I do understand this Part I architecture education is just the beginning of the architecture profession and I am glad that I have developed a greater passion in architecture through the Part I education. Now I am ready to take the next step further to pursue my architecture dream and develop my very own architecture identity.

ARB Part 1 General Attributes

1. Ability to generate design proposals using understanding of a body of knowledge, some at the current boundaries of professional practice and the academic discipline of architecture.

2. Ability to apply a range of communication methods and media to present design proposals clearly and effectively.

3. Understanding of the alternative materials, processes and techniques that apply to architectural design and building construction.

4. Ability to evaluate evidence, arguments and assumptions in order to make and present sound judgments within a structured discourse relating to architectural culture, theory and design.

5. Knowledge of the context of the architect and the construction industry, and the professional qualities needed for decision making in complex and unpredictable circumstances.

6. Ability to identify individual learning needs and understand the personal responsibility required for further professional education.

General Criteria for Part 1 Qualification Design

Culture and Context

Management and Practice Law

GC1 an ability to create architectural designs that satisfy both aesthetic and technical requirements.

GC2 an adequate knowledge of the history and theories of architecture and the related arts, technologies and human sciences.

GC4 an adequate knowledge of urban design, planning and the skills involved in the planning process.

GC5 an understanding of the relationship between people and buildings, and between buildings and their environment, and of the need to relate buildings and the spaces between them to human needs and scale.

GC3 a knowledge of the fine arts as an influence on the quality of architectural design.

GC11 an adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

GC7 an understanding of the methods of investigation and preparation of the brief for a design project.

GC10 the necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

GC6 an understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

Technology and Environment

GC8 an understanding of the structural design, constructional and engineering problems associated with building design.

GC9 an adequate knowledge of physical problems and technologies and of the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

Contents | BA Architecture Year 1 | Exempted

Direct entry to second year.

Summary of previous education work |Diploma in Architecture, Alfa College, Malaysia

Year 2

(2013-14)

Year 3

(2014-15)

S1

Architectural Design|[In]Place [ARCH08007] Technology and Environment 2A| Building Environment [ARCH08028] Elective| Japanese Language

S2

Architectural Design| [Any]Place [ARCH08006] Technology and Environment 2B| Building Fabric [ARCH08027] Architectural History 2B|Culture and the City [ARCH08009/ARCHI08007]

S1

Architectural Design| Explorations [ARCH10001] Architectural Theory [ARCH10002] Sensible Lab - Adruino Workshop

S2

Architectural Design| Tectonics [ARCH10003] Professional Studies [ARJA10004] Master Planning: Designing Places Student Competition 2015 Teambuild 2015

PW

Summary of previous education work | Diploma in Architecture, Alfa College Malaysia 01.Timber Bridge 02. Compact Living 03. Public Amenities in Public Square 04. Awareness Centre 05. Urban Research on Titiwangsa 06. Master Planning 07. Music Interactive Centre 08. Competition Entry 09. Working Learning - Internship

PW

Bamboo Bridge Design year 1 semester 1

The bamboo bridge is a long pedestrian bridge spreading over one of the main river, the Klang River at Kuala Lumpur city centre. The bamboo bridge is structurally designed with completely bamboo. As an assignment on this project, students were advised to research on bamboo based architecture and to explore and understand the bridge structural system. In order to perform the understanding on bamboo bridge, students were required to build a 1:100 scale physical model to take up a minimum 5 kg load. This is to examine on the designed structural system and the connection between the bamboo structure.

Other than functioning as a physical pedestrian bridge, the bamboo bridge is also connecting two contrast access point, the well known Jamek Mosque and a busy urban street across the Gombak river.

The Jamek Mosque is one of the oldest mosques in Kuala Lumpur where all the religion activities take place. One of the main design goal of the bamboo bridge is to create a transition between two contrast access point by layering vertical lattices to create a transition movement from place to place. By passing the bridge, the user will gradually adopt the emotion from another place meanwhile, helps to appreciate the beauty of Kuala Lumpur city. model 1:100

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

PW

The Compact Living year 1 semester 2

The residential design studio allowed us to study the translation of human basic needs into physical form and to understand the relationship between human and their surrounding.

The compact living project is about designing a basic house for myself within a given size of two steel container cabins combining into 1 in any form and layout. The design should houses all the basic living spaces such as living room, bedroom, bathroom, kitchen with dining and a study area.

The steel cabin was laid in an efficient direction and allowing the form to have a balcony and the spaces were planned carefully in order to maximize the efficiency of floor area. The compact living consists of two storeys, the bedroom and bathroom were placed on the ground floor. Whereas the activities such as kitchen, dining area, study area and living room were placed on the upper floor. The cabin was designed with big openings and sliding doors to increase the cross ventilation.

The site was chosen on a hill and the cabin was adopted a tropical design solution such as pitch roof, balcony, cross ventilation, overhang to practice sustainablity and maximize the advantages of the site.

Ground floor

First floor

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

PW

Proposed Public Amenities in Public Square year 2 semester 1

This proposed public amenities in a Public Square af Plaza Kelana Jaya Malaysia is to help in reviving the exsisting unsuccessful designed plaza. The exsisting square are left abandoned because of lacking maintainance and hence the public space becomes a doggy area especially during night time. There are working class user of the square because it is the only way lead to the shopping centre at the end of it.

The new design implements the idea of leveling the plaza which helps to bring in the playful element into the square. By creating the upper deck, the center of the plaza able to include water feature in the square. Green idea is then introduced to replace for concrete pavement which greatly soften the hardscape. Green pockets were also inserted to create shades and place to chill.

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

PW

Portable Awareness Centre year 2 semester 2

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

PW

Portable Awareness Centre year 2 semester 2

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

PW

Urban Research on Titiwangsa, Kuala Lumpur year 3 semester 1

Master Planning on Titiwangsa, Kuala Lumpur year 3 semester 1

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

PW

Music Interactive Center year 3 semester 2

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

PW

Music Interactive Center year 3 semester 2

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

PW

Music Interactive Center year 3 semester 2

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

PW

Competition Entry year 3 semester 2

PW

Competition Entry year 3 semester 2

PW

Competition Entry year 3 semester 2

PW

Competition Entry year 3 semester 2

PW

Working Learning

year 3 semester 3 student internship at KWAA

Mixed development project During my working period with KW Associate Achitects, I was lucky enough to involve in several big scale mixed development projects.

I have mostly involved in the schematic proposal such as unit types and layout, carpark design, ground floor and lobby design.

Carpark Level

Ground Level

Facilities Level

PW

Working Learning

year 3 semester 3 student internship at KWAA

Drop-off roof area proposal Besides on large scale projects, I have involved in several renovation projects such as new drop-off area design for Shangri-La Hotel Apartments, Kuala Lumpur, Malaysia.

PW

Working Learning

year 3 semester 3 student internship at KWAA

Units Level

Ground Level

Year 2 (2013- 2014) Semester 1

AD

Architectural Design: [In]Place [ARCH08007] 01. Analysis of Precedents 02. Site Analysis 03. Designing a Residential Building

JL

Elective: Japanese Language

TE

Technology and Environment 2A: Building Environment [ARCH08028] 01. Microclimate Pavilion: Internet Cafe 02. Environmental Analysis Case Study

Semester 2

AD

Architectural Design: [Any]Place [ARCH08006] 01a. Comparative Case Study 01b. Research on Spatial Organisations 02. From Abstract to Specific: Library in Madrid

TE

Technology and Environment 2B: Building Fabric [ARCH08027] 01. Grassmarket Timber Footbridge 02. Material System Project

AH

Architectural History 2B: Culture and the City [ARCH08009/ARCHI08007] 01. Essay 02. Presentation

AD Y2S1

Architectural Design [In]Place 01. Analysis of Precedents

Programmatic Distribution

Josep Llinas

Dwellings on Carrer del Carme Ciutat Vella, Barcelona, 1995.

26 units of social housing, perimeter block.

This project is one of the most interesting examples of new social housing to appear in the Raval neighbourhood, responding to questions of urban and social quality. The architect made the decision not to occupy the maximum building envelope allowed by the municapal code. Instead, he freed up part of the site to improve the character of Carrer d’en Roig, a narrow street flanked by four-, five- and six-storey buildings with dimly lighted. This street level void, carved out of the corner volume at the meeting point of Carrer del Carme and d’en Roig, is his main urban gesture, creating an inviting entrance to the narrow sidestreet.

Architect City Country Address Building Type No. of Dwellings Date Built Dwelling Types No. Floors Section Type Construction Type Exterior Finish Materials

:Josep Llinás :Barcelona :Spain :Carrer del Carme, 55-57 :Perimeter block, corner :26 :1995 :1 & 2 bedroom flats :4 (units, office and shops) :Flats :RC frame :Plaster, ceramic tile, metal, glass

Building composition is determined by two rectangles which skew to adapt to contextual and architectural conditions.

A new housing typology has been explored and introduced into the area. The apartments have been broken down into three blocks of varied height, set back at different levels on Carrer d’en Roig on a one-storey commercial base, creating terraces for the first-floor apartments.

LO1 Ability to develop architectural designs that appropriately respond to a specifi ed site and that contain an explicit investigation through research.

LO3 Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats.

Section

Ground Floor Plan

First Floor Plan

Second to Fifth Floor Plan

Arial View

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

AD Y2S1

Architectural Design [In]Place 02. Site Analysis

Group 6a-Site Analysis: Morphology and Typology of Logie Green Road, Edinburgh

By Chee Wei Lim, Sonam Chopra, Anna Bateson

Ground Floor Uses 1:10000

Building Typology 1:10000

General Landuse 1:10000

Key:

LO1 Ability to develop architectural designs that appropriately respond to a specifi ed site and that contain an explicit investigation through research.

Site location

Student Accommodation

Semi Detached House

Medium Density Block Medium Density Terraced

Medium Density Perimeter Block

Site Elevation

LO3 Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats.

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

AD Y2S1

Architectural Design [In]Place 02. Site Analysis

Year 1813

Year 1836

Year 1913

Year 1936

Year 2013

Group 6a-Site Analysis: Morphology and Typology of Logie Green Road, Edinburgh

By Chee Wei Lim, Sonam Chopra, Anna Bateson

Figure ground diagram 1:35000

D

C

D

C

D

C

D

A A

B

A B D

C

D

C

D

B

B

C

B

A

A

B

A B

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A

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A

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A

D

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C

Greenfield diagram 1:35000

LO1 Ability to develop architectural designs that appropriately respond to a specifi ed site and that contain an explicit investigation through research.

LO3 Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats.

Site Section A-A 1:1750

Site Section B-B

Site Section C-C

Site Section D-D

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

AD Y2S1

Architectural Design [In]Place

03. Designing a Residential Building

Designing a residential building.

The site of this project is located at Logie Green Road, Edinburgh as a continuous design development from the assignment 01, assignemnt 02 and then assignment 03.

The site of Logie Green Road as given, is an undeveloped lot in a residential housing area.

Pedestrian Circulation

We are given the basic requirements of the whole development of maximum 500 meter square building footprint. The building must houses 30 units of dwelling with at least 3 different typologies

Vehicle Circulation

Site study Logie Green Road The site has been studied based on the analysis of transportation, pedestrian flow, visible view into the site ( to allow more opportunities ), neighbourhood building form (linear shape) and also green pocket space.

LO1 Ability to develop architectural designs that appropriately respond to a specifi ed site and that contain an explicit investigation through research.

LO2 Capacity to synthesize a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

LO3 Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats.

Existing Building form - Linear

Based on our site analysis on Assignment 02, the greenfield diagrams show the tremendous decrease of green space in the area by comparing different period of time. Besides, through the site analysis of Logie Green Road, I have notified that almost every house has their own individual ‘pocket garden’ situated in front of their house or flat and it is an important characteristic of the housing in the site. Hence, I have further develop the design blending with this green concept.

Green Pocket - Courtyard Garden

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

AD Y2S1

Architectural Design [In]Place

03. Designing a Residential Building

Green Pocket

Design Development A number of studies were done in further developing the design intention. Various problems were encountered during the design process and study models has been useful in solving the building massing and spaces.

Various of ways by considering the neighbouring building’s shape (linear continuation), building footprint allowance, maintaining existing pedestrian circulation in the site and space planing based on the building’s core design and also hierachy of space privacy (private, public and semi-public).

The apartment units were generally all facing to the south allowing maximum of sunlight into the rooftop space and interior. Double volume strategy was used to raise higher the building in order to solve the overshadow problem and also enhance the space quality. Eventually, the building typology evolved into a point block which adopting the same typology of the neighbourhood building based on the site analysis.

Physical model on site model

Physical model

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

AD Y2S1

Architectural Design [In]Place

03. Designing a Residential Building

Diagrammatic Concept

Site Plan 1:1000

Individual pocket space.

Diagrammatic Concept

Green pocket idea was introduced to the apartment building design. The design goal of the project is to maintain one of the main element of the site surrounding (courtyard garden). Due to limitation of building footprint restriction and typically, the apartment tenant does not provided a courtyard garden with their units hence, by maintainng the design strategy, I have implemented the green design strategy into every single unit to provide them with vertical garden space known as green pocket situated in front of their house.

Individual Green Pocket Space

Vertical Garden Space

Double Volume Strategy

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

AD Y2S1

Architectural Design [In]Place

03. Designing a Residential Building

Type C UnitGround Floor Plan 1:150

Type C UnitFirst Floor Plan 1:150

Ground Floor Plan 1:500

Typical Level 3 Floor Plan 1:500

Section C-C 1:400

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

AD Y2S1

Architectural Design [In]Place

03. Designing a Residential Building

Type C UnitSection D-D 1:150

The final stage of the proposal comes to an extend that solved most of the major problems faced. The new developed layout houses 14 units of small family, 9 units of medium family and 7 units of large family. The circulation core mainly faced to the north and designed with glass atrium to ensure it is well lit during the day.

30 units apartment: Type A- 14 units of small family - 63 sqm Type B- 9 units of medium family - 147 sqm Type C- 7 units of large family - 220 sqm

Type A Unit

Type B Unit Type C Unit Section A-A 1:400

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

JL Y2S1

Elective Course | Japanese Language Japanese 1

Key Readings: Japanese for Busy People Vol.1 Kana Version (Revised Third Edition), AJALT, Kodansha, Jan 2007.

Japanese for Busy People: Kana Workbook for Revised Third Edition, AJALT, Kodansha, Jun 2007.

Japanese word basic syllabus LO1 to provide an introduction to the two basic Japanese scripts, hiragana and katakana, and basic grammatical structures and vocabulary.

LO2 to enable students to develop basic speaking, listening, reading and writing skills.

TE Y2S1

Technology and Environment 2A: Building Environment

01. Microclimate Pavilion: Internet Cafe with Peter White, Amira Sepriyani

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

General climate analysis of Edinburgh

Proposed Microclimate Pavilion, Internet Cafe

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Year

Record High (°C)

15

15

20

23

29

28

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31

27

24

17

15

31

Average High (°C)

7.0

7.5

9.5

11.8

14.7

17.2

19.1

18.9

16.5

13.1

9.6

7.0

12.6

Average Low(°C)

1.4

1.5

2.8

4.3

6.8

9.7

11.5

11.4

9.4

6.5

3.7

1.3

5.9

Record Low(°C)

-16

-12

-11

-6

-2

1

4

2

-1

-4

-8

-12

-16

Precipitation (mm)

67.5

47.0

51.7

40.5

48.9

61.3

65.0

60.2

63.7

75.6

62.1

60.8

704.3

Average rainy days

12.5

9.4

9.9

8.8

9.6

9.6

9.5

9.7

10.2

12.4

11.2

11.4

124.2

Mean monthly sunshine hours

53.5

78.5

114.8

144.6

188.4

165.9

172.2

161.5

128.8

101.2

71.0

46.2

1427

SECTION

0

1

2

5

PETER WHITE

Thermal comfort map

LO1 Recognise key exterior and interior environmental principles in architectural design LO2 Apply these principles to architectural designs that integrate with site; address human thermal, acoustic, and lighting comfort; and minimise energy consumption

In Edinburgh, the principle concern in designing a building are the heating requirements. The thermal comfort diagram suggests that a building in Edinburgh would need to be designed so as to implement passive and active solar heating strategies to achieve a comfortable internal environement. Such passive solar strategies include using large areas of Southfacing glazing for direct solar gain, thermal mass for heat storage and superinsulation to retain heat within the building envelope. Active solar strategies such as photovoltaics could be used as a renewable energy source or to heat water. During the warmest months of July and August, there is a possibility of overheating via internal gains from occupants and electrical equipments. Therefore, ventilation must be considered during these Summer months.

LO3 Communicate the relationships between building and environment using appropriate visual, verbal, and written means

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

TE Y2S1

Technology and Environment 2A: Building Environment

01. Microclimate Pavilion: Internet Cafe

Shadow Diagram

Sunrise, June 21.

None, June 21.

Sunset, June 21.

Sunrise, Sept 21.

None, Sept 21.

Sunset, Sept 21.

Sunrise, Dec 21.

None, Dec 21.

Sunset, Dec 21.

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

TE Y2S1

Technology and Environment 2A: Building Environment

Concept: Kiosk

01. Microclimate Pavilion: Internet Cafe

Existing kioks and cafes location

Ward B

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Appleton Tower

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Appleton Tower

(Edinburgh University)

University Medical School

CH

59

Hugh Robson Buildin g

79.6m

TCBs

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4 to

HTO

AP

Hugh Robson Buildin g

CRIC

CH

Department of Psychology

E ET

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t tm en D ep ar of og y m ac ol Ph ar

The conditions of the George Square site are suboptimal to solar or wind renewable energy strategies. The buildings surrounding the George Square Gardens cause major overshadowing and act as obstructions to wind flow. The most favourable light conditions are found at the North Eastern quadrant of the site.

Middle Meado w Walk (Cyc

Microclimate analysis of site - Winter

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T Willia m Robertson Building

William Robertson Buildin g

RGE

(Edinburgh University)

SQU 23

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Due to the cold winter conditon of Edinbrugh with temperatures falling to 1.3 degree celcius, we have determined that the exterior space would be predominantly occupied during Library the warmer summer months. To shelter this space from summer wind which comes from George Square is a hub of student activity. It is 0 the20 location 40 60 of80 SQUARE GARDENS the North-East, we proposed locating it onGEORGE 28 SEPTEMBER 2011University of Edinbugh Main Library and as such, it already the N the South-Western face of the building. In adequately provides food, cafe and inernet services. To propose a this configuration, the building acts as a wind new internet cafe in this square would be superfluous. We therefore buffer. proposed designing a building that will act as docking station for several of the existing mobile food kiosks in the square. The building will provide shelter to the presently exposed kiosks and a connection Key: to water and power supply.

DMIL

G EO

W IN

Microclimate analysis of site - Summer

D M IL

Posts

77.4m

El Sub Sta

W IN

)

32

30 31

E

16

RG

19

E

17 to

EO

14 to

P LAC

13

(Edinburgh University )

U CH

12

(University )

CLE

9 10

BU C

George Square Theatre

8

LB

El Sub St a

G

72.8m

El Sub Sta

BU

7

El Sub St a

29

Posts

20

21

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24

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ARE

23

SQU

LA

Proposed site Proposed exterior space Shadow Wind direction

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

100

m

TE Y2S1

Technology and Environment 2A: Building Environment

01. Microclimate Pavilion: Internet Cafe Concept Diagram

NORTH ELEVATION

0

1

2

5

North Elevation

PETER WHITE

Building Plan

Site Siting

SOUTH ELEVATION

0

1

2

5

South Elevation

PETER WHITE

Context Relationship

Revolving door idea

Rainwater Havesting

Environmantal Section - Winter

Revolving doors save energy by reducing the inflow of unconditioned exterior air when people come in.

They provide an airlock which prevents the escape of heated or cooled air. It solves the issue of unwanted draught through the building brought on by having two doors on opposing sides of our internet cafe.

It can also be use to harvest the kinetic energy produced when the revolving door is pushed and a supercapacitor stores the energy.

Environmantal Section - Summer Excessive volume to heat

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

TE Y2S1 Technology and Environment 2A: Building Environment

01. Microclimate Pavilion: Internet Cafe

Construction Details 240mm Thick Insulation

Steel I Beams

0.7mm Thick Zinc Cladding

18mm Thick Plywood Sarking

U Value - Roof 0.7mm Thick Zinc Cladding 50x20mm Wood Battens

Felt Seperating Membrane

18mm Thick Plywood Sarking

19mm Thick Plasterboard

48mm Thick Low-Emissivity Triple Glazing with Argon fill

Polythene Vapour Barrier

36.7mm Thick Wood Shutters

Your Name Amira Sepriyani, Peter White, Eric Lim Building Element NameRoof - Section Through Insulation

Your Name Amira Sepriyani, Peter White, Eric Lim Building Element Name Roof - Section Through Steel I Beam Web

INSIDE surface resistance on internal face building material 1 building material 2 building material 3 building material 4 building material 5 building material 6 building material 7 building material 8 building material 9 building material 10 surface resistance on external face OUTSIDE

name of building material

Wood Blinds Plasterboard Polythene Vapour Barrier I Beam

CONDUCTIVIT YK value of material W/mK

RESISTIVITY R value of material mK/W

thickness of material /m

0.140 0.160

7.143 6.250

0.0370 0.0190

43.000

0.023

0.2600

RESISTANCE R value of element/m2K/W 0.10 0.26 0.12 0.00 0.01 0.00 0.00 0.00 0.00 0.00 0.00 0.04

if internal cavity enter surface resistance here U value through building element in W/m2K

1.89

CONDUCTIVIT YK value of material W/mK

name of building material

200mm Thick Concrete Wall

98mm Nudura Retrofit Insulation Technoloy Panel

75mm Thick Rigid Insulation Damp Proof Membrane

(in between the insulation and sand binding)

19mm Plasterboard

RESISTANCE R value of element/m2K/W

building material 1 building material 2

Wood Blinds 0.140 7.143 0.0370 Plasterboard 0.160 6.250 0.0190 Polythene Vapour building material 3 Barrier building material 4 Insulation 0.024 41.667 0.0980 building material 5 Plywood Sarking 0.140 7.143 0.0180 Felt Seperating combined U value = building material 6 Membrane building material 7 Wood Battens 0.140 7.143 0.0200 building material 8 Zinc Cladding 116.000 0.009 0.0007 building material 9 building material 10 surface resistance on where external face U total = combined value of whole construction OUTSIDE if internal U stud cavity = U value of construction section taken through timber enter surface W timber resistance here= width of timber stud or rafter U value through = width of insulation cavity W insulation building element in W/m2K

W total = spacing of timber frame U Value through Timber Stud

2 1.8901 W/m K

U Value through Insulation Width of I Beam Web Width of insulation cavity Frame spacing

0.2050 0.0100 4.0956 4.1020

0.26 0.12

0.00 4.08 0.13 0.00 0.14 0.00 0.00 0.00 0.04

stud or rafter 0.21

W/m2K m m m

2 0.21 W/m K

U Value - Concrete Wall Your Name Building Element Name

INSIDE surface resistance on internal face building material 1 building material 2 building material 3 building material 4 building material 5 building material 6 building material 7 building material 8 building material 9 building material 10 surface resistance on external face OUTSIDE if internal cavity enter surface resistance here

Propriety Vapour Barrier Integral with Insulation Slabs

thickness of material /m

INSIDE U value through Framed Construction surface resistance on this calculation method is for timber but can be used for other framed internal face 0.10 construct

Combined U value

150mm Thick Reinforced Concrete

RESISTIVITY R value of material mK/W

U value through building element

Amira Sepriyani, Peter White, Eric Lim Concrete Wall

name of building material Plasterboard Proprietary Vapour Barrier Insulation Panel Concrete

in W/m2K

CONDUCTIVIT YK value of material W/mK

RESISTIVITY R value of material mK/W

0.160

6.250

0.024 0.100

41.667 10.000

RESISTANCE R value of element/m2K/W 0.12 0.019 0.12

thickness of material /m

0.098 0.200

0.00 4.08 2.00 0.00 0.00 0.00 0.00 0.00 0.00 0.04

0.16

50mm Thick Sand Binding 150mm Thick Hardcore

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5 .35 TE Y2S1

Technology and Environment 2A: Building Environment

esun ey

t = 57.38 01. Microclimate Pavilion: Internet Cafe t = 40.00 IES

Shaded Diagram of Daylight Factor

Energy Calculation

Lighting Plan

Appliances

Energy (Watts)

Quantity

Sandwich Toaster Espresso Machine Kettle Fluorescent Tube Lighting Laptop Computer Tablets

950 1500 1900 35 50 240 2.5

1 1 1 30 20 25 5

Time in Winter (h)

Time in Summer (h)

2 3 3 4 3 5 9 12 9 12 9 12 9 12 Total Power with Computers (kWh) Total Power with Tablets(kWh)

Power per Day in Winter (kWh) 1.90 4.50 5.70 9.45 9.00 54.00 0.11 84.55 30.66

Power per Day in Summer (kWh) 2.85 6.00 9.50 12.60 12.00 72.00 0.15 114.95 43.10

THE AMOUNT OF POWER GENERATED BY SOLAR PANELS THROUGHOUT THE YEAR

FlucsDL Single Room Output

t = 10.56 t = Interior 40.00 shadow on June 21st.

53.5 78.5 114.8 144.6 188.4 165.9 172.2 161.5 128.8 101.2 71 46.2

Page 1 of 1

January February March April May June July August September October November December

Room 00000000 (cafe) Reflectance of the ceiling finish Reflectance of the internal wall finish Reflectance of the window Daylight Factor Calculation Reflectance of the floor

and

R = Area weighted reflectance value = Total Room surface area

Analysis calculation for room 00000000 (cafe)

0.8 0.8 0.1 Acoustic 0.3 Area 28.0 28.0 8.6 20.2 51.0 98.1 140.0 373.9

Surface

Quantity

Values Min.

Ave.

7.56

%

Back Wall (plasterboard + glass) Front Wall (plasterboard) Side Wall (plasterboard) Side Wall (plasterboard) Ceiling (plasterboard) Floor (concrete)

63.51 41.09 29.00 29.00 152.63 150.98

0.8 0.8 0.1 0.3

Reflectance of…

Area

RT ₆₀ = 1.6 x V / Se Reverberation Time (s)

R = Area weighted reflectance value = Total Room surface area

Reflectance x Area

98.1 140.0 373.9

193.4 = 373.9

Average Daylight Factor = 0.7 x 51 x 30 193.4 x (1-1.69²)

=

0.01

22.5

3.4

Desired reverberation time is 0.8 - 1.3 seconds

This calculation shows that the 28.0 average daylight Side Wall 22.4 factor suggests that22.4 the Side Wallof our building is 7.56% which 28.0 Back Wall 6.9 is room is strongly lit and that daytime8.6electric lighting Front Wall 20.2 factor can 16.2be rarely needed. The average daylight Window 51.0 5.1 altered by manipulating rolling shutters.

Ceiling Floor Total

0.01

Effective Absorbing Area (m²) 2.36 2.05 1.45 1.45 7.63 7.55

Total of Effective Absorption Area (m²)

Reflectance of the ceiling finish Reflectance of the internal wall finish Reflectance of the window Reflectance of the floor

78.5 42.0 193.4

Total Power Generated per Month (kWh) 377.2 553.4 809.3 1019.4 1328.2 1169.6 1214.0 1138.6 908.0 713.5 500.6 325.7

Power Consumption with Computers per Day (kWh) 84.55 84.55 84.55 114.95 114.95 114.95 114.95 114.95 114.95 114.95 84.55 84.55

Power Consumption with Computers per Month (kWh) 2621.05 2367.40 2621.05 3448.50 3563.45 3448.50 3563.45 3563.45 3448.50 3563.45 2536.50 2621.05

Power Consumption with Tablets per Day (kWh) 30.66 30.66 30.66 43.11 43.11 43.11 43.11 43.11 43.11 43.11 30.66 30.66

Power Consumption with Tablets per Month (kWh) 950.46 858.48 950.46 1293.30 1336.41 1293.30 1336.41 1336.41 1293.30 1336.41 919.80 950.46

Uniformity Diversity (Min./Ave.) (Min./Max.)

REVERBERATION TIME CALCULATION

0.52

=

Max.

Working plane 1 Daylight factor 0.4 % 6.2 % 27.9 % 0.06 Reflectance=0% Transmittance=100% Grid size=0.50 m Area=101.071m² Daylight illuminance 48.68 lux 762.02 lux 3414.16 lux 0.06 Margin=0.50 m

Area (m²)

193.4 = 373.9

Average Daylight Factor = 0.7 x 51 x 30 193.4 x (1-1.69²)

Summary results for working planes and floor

Reflectance x Area 22.4 22.4 6.9 16.2 5.1 78.5 42.0 193.4

Power Generated per Solar Panel (kWh) 16.05 23.55 34.44 43.38 56.52 49.77 51.66 48.45 38.64 30.36 21.3 13.86

THE AMOUNT OF POWER NEEDED THROUGHOUT THE YEAR Month

Reflectance of…

Side Wall Side Wall Back Wall Front Wall Window Ceiling Floor Total

Interior shadow on Dec 21st.

Mean Monthly Sunshine Hours

N

esun ey

2:00 5 .35

Month January February March April May June July August September October November December

We have found that the reverberation time of the internet cafe is 3.4 seconds. However, the desired reverberation time of a cafe should be 0.8 to 1.3 seconds. This means that a sound baffling system is needed.

Most students carry with them wi-fi enabled device whether it be a laptop, smartphone or tablet. In addition, the Main Library already provides sufficient computer stations. We believe that our proposed internet cafe does not need to provide more computers which consume enourmous amount of power (up to 114.95kWh per day in summer) and would contribute to unwanted internal gain. However, we have decided that it would be enough to provide tablets for users of internet cafe.

We have considered using photovoltaics as a microrenewable strategy for the pavilion. In this calculation, we have assumed that all solar energy is converted into useful electrical energy and that there is no obstructions such as trees or clouds. We have found that the total power generated by photovoltaics is not enough to supply the electrical energy demand of our building. Furthermore, in reality George Square Gardens is affected by massive overshdowing which makes solar power generation unfeasible.

0.52

7.56

%

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TE Y2S1

Technology and Environment 2A: Building Environment

Climate In general Thailand has a tropical warm climate but in the northern Thailand, where Chiang Mai located has seasonal weather.

Summer: March to June Winter: November to February Rainy season: July to October The prevailing wind comes from south-west direction.

02. Environmental Analysis Case Study

Chosen case study: Panyaden School Climatic environment: Warm humid climate Location: Chiang Mai, northern Thailand Architect: 24H Architecture

Green Awareness - Low Carbon Footprint Panyaden School was built based on green building principle with a low carbon footprint.

1. Natural building materials like bamboo, stone and earth.

2. Conserving energy and electricity use. The earth walls are excellent at absorbing heat during the day and keeping the rooms cool.

3. Transportation. Efficient planning is needed to minimize travel and where possible, materials like earth are ‘harvested’ from the school grounds or sourced locally. 4. Waste generation. Any waste on the construction site is recycled where possible. Any waste will be treated and recycled with low-energy waste management devices like the Food Waste Digester and Wastewater Treatment Plant.

5. Plants and landscaping.

6. Staff/school activities and transportation.

LO1 Capacity to recognise, formulate and apply key material, structural and environmental principles in architectural design contexts LO2 Understanding of these principles with respect to human comfort and well-being, strategies for a sustainable future, the impact of the building processes on the natural world, materials and processes of assembly LO3 Communicating an understanding of the relationship between material, structural and environmental performance in architectural design

Panyaden School The school is situated in the lush forests of Chiang Mai in northern thailand it is a kindergarden and primary school that educates its multicultural students through a fusion of buddhist principles and ecological awareness with a bilingual curriculum.

The main areas of the of the school consists of classrooms, community spaces, swimming pool and offices.

Panyaden School is a green design principle school that built of natural locally sourced materials and labor such as local earthand local bamboo that has been naturally treated to withstand the local climate to create an all around sustainable and comfortable low-impact facility. The school was designed as an informal arrangement of pavilions organized along pathways formed a group of large fallen leaves and the organic forms and raw material aesthetic bring the children and teachers closer to nature in a serene environment surrounded by rice fields.

There are two main types of buildings: the classroom pavilion and sala pavilion. The classroom pavilion has thermal mass walls from rammed earth which taking the structure load and dividing the building into 3 classrooms. The exterior walls are made of adobe. The north facing design glass windows framed by recycled local hardwood, while glass bottles and washing machine windows bring natural light into the classrooms. The large canopies hovering over all the rooms for a shaded and large overhang area which allows natural ventilation and provides comfortable learning environment.

The sala pavilion houses common areas such as assembly hall and the canteen. The local bamboo rods are used for columns and make up the entire roof structure were anchored into large rock foundations in the ground.

Site Orientation Most of the buildings were oriented facing toward north-east to minimized the large building envelope expose to the direct sunlight from east and west. By doing that, this passive design strategy also allows the buildings to capture the direction of prevailing wind in Chiang Mai, Thailand hence greatly enhance the naturally ventilation through the buildings.

Building Plan Classroom Pavilion

Water and Landscape The buildings were surrounded by plenty of greens as bamboo and landscape features such as pond and swimming pool which help to cool down the surrounding temperature. Trees that planted in between facilities also help to buffer the noise.

Site Plan

Sustainable Strategies When the structures’ rammed earth and adobe walls are demolished at the end of their life cycle, the earth will be returned to the soil and can be recycled again. The Food Waste Digester installed outside the kitchen/dining hall will recycle the waste into biogas for cooking. The remaining solid waste from the Digester will be used as organic fertilizer.

The waste water can be easily treated by the Wastewater Treatment Plant and safely drained into the natural waterways.

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TE Y2S1

Technology and Environment 2A: Building Environment

02. Environmental Analysis Case Study

references: http://www.panyaden.ac.th/ http://www.designboom.com/architecture/24harchitecture-panyaden-school-thailand/ http://www.archdaily.com/145859/ http://architizer.com/projects/panyaden-school/ http://www.windfinder.com/windstats/ windstatistic_chiang_mai.htm http://www.coolthaihouse.com/forum/viewtopic. php?f=32&t=3267

Due to the diurnal swings in Chiang Mai, the temperature gets warmer during the day and colder during the night. The school designed with natural building materials also goes a long way in conserving electricity. The rammed earth walls and floors, freeform adobe walls and bamboo structures are great for ventilation. The high thermal mass earth walls are excellent at absorbing heat during the day while keeping the rooms cool and release the heat during the night when the building cool down in order to achieve thermal comfort in the building. Besides, the rammed earth help to regulates the humidity of air in the humid climate and because the width of the wall, it has a good acoustic properties.

Cooled air allows into the building

Hot air rises

Hot air pushed out

High thermal mass wall cools the air Indirect sunlight

Environmental Section - Classroom Pavilion (Daytime) 1:100

The building positioned to an angle that exposing the smallest building envelope facing to the sun, minimizing the solar heat gain and maximizing the natural ventilation.

The large camopy roof which has a long overhang shaded most of the building envelope to avoid direct sunlight. It allows good natural ventilation as the shaded cool air to flow through the building roof hence the hot air rised eventually being pushes out of the building to improve the air quality.

Natural building materials such as bamboo and bamboo thatch do not absorb heat.

Artificial lighting

High thermal mass releases heat

Environmental Section - Classroom Pavilion (Nighttime) 1:100 During the day, the thermal mass rammed earth walls and floor absorb the heat from solar radiation while keeping the rooms cool. The large canopy roof provides shades and encourages good natural ventilation which improves the air quality of the interior. The recycled glass used on the north facade allows indirect sunlight to illuminates the rooms during the day.

During the night, the thermal mass rammed earth walls and floor cool down while releasing heat gained during the day. The artificial lightings were used in the classroom to replace the absent of natural daylight.

Building Materials High canopy roof enhance natural ventilation

Direct sunlight from low angle sun

Hot air rises from the interior being pushed out from the building by cooled air

High thermal mass rammed earth wall helps to cool down the temperature during day time

Indirect sunlight provides natural lighting and reduces heat gain

Environmental Detail Thermal Comfort and Control 1:50

Bamboo as roof structures and bamboo thatch as roof cladding which has less heat absortion.

High thermal mass rammed earth wall effectively used in the climate.

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AD Y2S2

Concept

Architectural Design [Any]Place 01a. Comparative Case study

Relationship with Site

with Juliette Sung

Opened design approach through light and views.

“You will work in pairs to study sets of two precedents of selected library buildings as means of developing an understanding of functional requirements, programmatic arrangements and spatial organizations associated with the design of public, cultural facilities. By producing a comparative analysis between two buildings, you will become aware of how issues of scale, programme and desired spatial qualities do inform substantially different approaches to the design process.”

Existing waterfront and greenbelt as important design consideration.

Scale and Size

Volume and Spatial Organization

Functional Circulation and Access Point Access from Ground Floor (Public)

Municipal Library, Viana do Castelo - 7 Alvaro Siza

Access from First Floor (Public)

Access from Ground Floor (Private)

Exit from First Floor (Public)

Exit from Ground Floor (Private)

Concept

Relationship with Site

Enclosed design approach by repecting its surrounding.

Scale and Size

LO1 Ability to develop architectural designs that appropriately respond to a specifi ed site and that contain an explicit investigation through research.

LO3 Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats.

Eberswalde Technical School Library, Germany - 15 Herzog & De Meuron

Stand uniquely on its facade yet maintaining existing building’s form.

Volume and Spatial Organization

Functional Circulation and Access Point Access from Ground Floor (Public) Exit from Ground Floor (Public)

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AD Y2S2

Architectural Design [Any]Place

01b. Research on Spatial Organisations Library Prototype 1: recipe 2 (Openess)

Library Prototype 2: recipe 5 (Closeness)

Vertical Leveling “This assignment should be understood as an iterative process in which these abstract schemes are progressively refined, therefore clarifying their geometric development, emphasizing their spatial qualities and their ability to accommodate a library program.

The purpose of this assignment is to produce a sufficient amount of design material that is both functionally and geometrically consistent, as well as spatially rich. This material will be directly transferred into Assignment 2 and tested against the specific conditions of the site and its context.�

Hierachy of Space

Horizontal Leveling The project goal of this library designed to cater for family - adults and children. It aims to provide as a children library which includes several children activities spaces and a general public library for the adults. The library was designed as two separated zones which caters for two different age range, children could spend their time in the children zone with range of activities whilst parents could spend their time leisuely in the library or cafe. It is a place to enhance knowledges and interaction between parents and children, a place of bonding relationship of a family and a place to meet and social with another family.

Transition of Space

Design approach- Building as Playground. Building as an exploration space allows users to interact with the surrounding externally (greenspaces, building form) and internally (galleries, interaction zone, etc).

Sunlight through interior

Sunlight through Courtyard

LO1 Ability to develop architectural designs that appropriately respond to a specifi ed site and that contain an explicit investigation through research.

LO2 Capacity to synthesize a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

LO3 Ability to effectively explore and communicate design ideas and propositions, individually and in teams, in a range of digital and analogue formats.

Greenspaces

Exploration through curiousity

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AD Y2S2

Architectural Design [Any]Place

01b. Research on Spatial Organisations

Prototype 1

Prototype 2

Spaces Planing and Relationship Diagram Public

Semi Public

Children Reading

Private Children

Meeting Room

Lobby

Staff Room

Reception

Reception

Adult Reading Reception

Section A-A

Cafe

Gallery Space

1:250

Section A-A 1:250

Storage

Cafe

Cafe

Archieve

Gallery

Circulation

Ground Floor Relationship Reception

Multipurpose Room

Leisure Zone

Reception Gallery Space

A

Ground Floor Plan 1:250

Periodic Section

Reading Area

Lobby

Service Desk

Final spatial study

Multimedia Section Archieve

A

Computer Station

This iteration has been chosen to take one step further to develop into the library proposal on assignment 2. It is because of its potential spatial quality. The design seeks to explore the spatial environment in a library with various design attempt. The floor plate has been folded up and down to explore the movement in a library which potentially could be interesting spaces.

Cafe

Circulation

Ground Floor Plan

Storage

1:250

First Floor Relationship

Lobby

Voids and double height volume has been explored as well to examine the usefulness of open and enclosed spaces which further developed from the previous precedent study.

First Floor Plan 1:250

Space for Little Children

Story telling Room

Reading Area

Service Desk

Activity Room

Adult Reading

Children Reading

A

Children Collection

Second Floor Relationship

Adult Reading

A

Ramps and folding floor plate create different movement in the library which interestingly create curiousity environment.

Children Reading

First Floor Plan 1:250

Second Floor Plan 1:250

Second Floor Plan 1:250

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AD Y2S2

Architectural Design [Any]Place 02. From abstract to specific: Library in Madrid

Site Analysis Collaborative work with studio group

Site model for analysis and physical model exploration

LO1 Ability to develop architectural designs that appropriately respond to a specifi ed site and that contain an explicit investigation through research.

LO2 Capacity to synthesize a range of programmatic components, formal and spatial strategies, and contextual themes of modest complexity within an architectural design.

Building Typology scale 1:3000

Building Landuse - ground level scale 1:3000

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Architectural Design [Any]Place 02. From abstract to specific: Library in Madrid Library Proposal in Madrid An Upward Dynamic

The greens.

The main road, Calle de Mendez Alvaro which connects the north part of the site provides better opportunity and entrance into the site compare to the smaller and narrower entrance from the south site.

Part of the site were covered with existing greens and trees. The proposal consider the sustainable design of the library by preserving part of trees and include them in the environmental strategy.

Calle General La

cy

View to the proposed library from the main road, Calle de Mendez Alvaro.

The opportunity frontage.

The proposed site was strategically located in one of the busy site in Madrid - Atocha.

It is well connected with various existing public transport services and also located opposite the Atocha Train station. Hence, the public flows in the area is comparatively high.

Proposal goal: At the begining stage, I am awared there is an existing public library located at a very close distance within the neighbourhood. Therefore, this proposal seek to introduces as a new supportive mixed uses library, offering an enjoyable reading, dining and leisure space which helps to enhance the neighbourhood as a whole instead of proposing a same type of general library as the old one.

Calle Ancora

The visibility.

The connect.

Considering the visiblity of the proposal on site, the north part of the site has the better vision compare to the centre part where views blocked by the surrounding buildings and same goes to the south part of the site .

The site as a connection of both main road, Calle de Mendez Alvaro and Calle Ancora.

Public user allowed to access to the main train station by passing through the proposed site hence increase the accessiblity and movement throughout the site.

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Architectural Design [Any]Place 02. From abstract to specific: Library in Madrid

Circulation From the previous study of spatial arrangment, folding floor plate which creating movement in the internal spaces has been an interesting circulation. Hence, further development of the circulation in this library proposal is one of the main concern factor. The reception and cafe are designed fronting the main road to increase the visibility. The external circulation allows courtyard connects the main road, Calle de Mendez Alvaro and Calle Ancora which maintains the high pedestrian flow in and out of the proposed site.

The internal circulation adopting the concept of dynamic movement of user where the floor plates of the building are interlacing forming an upward movement which leads the user to the top floor. Secondary direct circulation is also accesible through lifts and staircases.

By contrasting different aspects of architecture element such as volume, hierachy, openess and enclosure of spaces to attract the curiousity of the user. The contrast of children library (stable floor plate) and adult library (tilted floor plate) in two different shapes help on achieving an unique architecture expression.

Facade view of proposed library from the main road, Calle de Mendez Alvaro.

The Library.

The proposed library encourages the public to use library not only as a form of knowledge source but also as a social gathering space for the neighbourhood, a place for the community besides on the main public library that nearby. It caters for the families and children which provides library and study space for the adults and also children, an open stage seating for performance, gallery space and a cafe as a leisure activity for the community.

Library as an urban pause.

Adopting the green idea in an urban constrainted site, the library allows a little pause for the urban busy life.

An Upward Dynamic Concept The library captures the movement of public with strong journey movement which interlacing every single level yet creating a sense of dynamic moment in spaces within the building, an upward dynamic movement. The concept helps to encourage exploration and curiousity of the user within the building.

Floor plates showing the differentiation of library.

Floor plates showing the movement of internal space.

Adult library Children library

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AD Y2S2

Architectural Design [Any]Place 02. From abstract to specific: Library in Madrid

Ground Floor Plan 1:800

View of the courtyard from the proposed library entrance.

View of south facade from south entrance.

First Floor Plan 1:500

Second Floor Plan 1:500

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Architectural Design [Any]Place 02. From abstract to specific: Library in Madrid

Section a-a 1:400

View of the open stage seating from south pedestrain entrance.

Section b-b 1:400

Detail Section n.t.s Folding space - the ability define and redefine both static and kinetic space.

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AD Y2S2

Architectural Design [Any]Place 02. From abstract to specific: Library in Madrid

Sustainable strategy The library adopted few of the sustainable design technique such as Greenroof helps to reduce the internal temperature of the building. Deep overhang strategy helps to avoid the direct sunlight into the interior space during summer on the western and southern part of building.

Greenroof Detail Section 1:20

Development

Interior view of the children library looking to the balcony.

Second Stage.

Overhang Section 1:150

Main entrance View (Model).

Third Stage.

Interior view of the main library.

Final Stage.

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TE Y2S2

Technology and Environment 2B: Building Fabric

01. Grassmarket Timber Footbridge

with Anni Muuripeal, Pallavi Gupta, Amira Sepriyani

Design Concept A New Wall For Edinburgh

The layout of the platform was influenced by two roads and the Grassmarket square.The layout of the platform is such that there are no columns on the road, preventing any hindrance to traffic. We chose to use a combination of post and beam and arch system to span the full width of the roads. The bridge is not entirely linear and takes some subtle turns to avoid the road. There are three platforms: two on the bridge and one performance platform on the Grassmarket square. One of the two viewing platforms is raised above the bridge to create a viewing zone, seperating it from the pedestrian traffic on the bridge. The performance platform is raised one meter above the ground on the Grassmarket square with stepped seating. The bridge can be accessed from the existing steps and the staircase on the central performance platform.

The West end of the Grassmarket used to be enclosed by the Flodden Wall (1514-1560), the second phase of the city fortifications of Edinburgh. City walls had to provide protection but equally important they had to have civic characteristics, often manifested in the creation of significant gates or the expression of the masonry. When however they did not serve a civic purpose any more, most of the walls were demolished. You are asked to design a lightweight timber walkway to recreate the missing parts of the wall and “stitch” again aspects of the important yet neglected medieval past of the Old Town. This “new wall” will link the steps at the Vennel with those at Granny’s Green opposite and should allow space for the traffic through the Grassmarket.

Material Selection

LO1 Capacity to recognise, formulate and apply key material, structural and environmental principles in architectural design contexts LO3 Communicating an understanding of the relationship between material, structural and environmental performance in architectural design

We initially used Douglas Fir for the timber structure and Scottish Larch for the cladding.

However, the calculations showed that the structural characteristics of Douglas Fir were unsuitable for the desired span. Therefore, Scottish Oak was used for its high structural strength. This is important as it allowed the bridge to span greater span (11m) and greater height due (4000m) to the roads being used for double decker bus. As the bridge structure is located in an urban environment, the columns need to be protected by concrete plinths from possible impact of vehicles. Furthermore, the plinths act as foundations for the timber structure.

Axonometric 1:500

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TE Y2S2

Technology and Environment 2B: Building Fabric

01. Grassmarket Timber Footbridge

Post Calculation for Arches Imposed load 5.0 kN/m2 Dead load 0.5 kN/m2 Material: Scottish oak. Class D40. 50x150mm section.

Compressive strength parallel to the grain fc,0,k= 26 N/mm2 (from Table 3 “Strength classes and characteristic values for common timbers) Length of a column L=4 m The column lower end is pinned, hence the effective length Le=0.85xL=0.85x4=3.4m E0,005=9400 N/mm2 (from Table 3) E0,005/fc,0,k= 9400/26=361.5 Radius of gyration about the axis of section x-x for a 50x150mm section timber rxx= 43.3mm (from Table 2.2 “Geometrical properties of hardwoods) Slenderness ratio Îťy= Le/rxx=3400/43.3=78.5 Slenderness modification factor kc,y=0.5640(from Table 14 “Values for the slenderness modification factor")

Permissible stress in the column

Axonometric 1:500

kmod=0.6 (from table 3.1 “Values of Kmod�)

The timber structure is an external construction and is protected from direct wetting. The structure is protected with a coating called nanoShell. We choose this local product as it would prevent mold and moisture whist not altering the natural look of the Scottish oak wood. Because Scotland is humid, these aspects are very important. kc,90=1 This is a typical value for most beams under uniformly distributed load. There is no increase in the bearing strength because the applied length l of the uniformly distributed load q is bigger than 150mm. kls=1.1 The joist is shorter than 6m therefore the joist can be treated as a load-distributed system

Plan of Footbridge 1:500

fc,0,k=26 (from Table 3) ÎłM=1.3 (from Table 4 “Values of ÎłMâ€? for timber and wood based materials) đ?‘“đ?‘“đ?‘?đ?‘?,0,đ?‘‘đ?‘‘ =

đ?‘˜đ?‘˜đ?‘šđ?‘šđ?‘œđ?‘œđ?‘‘đ?‘‘ Ă— đ?‘˜đ?‘˜đ?‘?đ?‘?,90 Ă— đ?‘˜đ?‘˜đ?‘™đ?‘™đ?‘ đ?‘ Ă— đ?‘“đ?‘“đ?‘?đ?‘?,0,đ?‘˜đ?‘˜ 0.6 Ă— 1 Ă— 1.1 Ă— 26 = = 13.2 đ?‘ đ?‘ /đ?‘šđ?‘šđ?‘šđ?‘š2 đ?›žđ?›žđ?‘€đ?‘€ 1.3

The actual compressive stress Area carried by 1 column: N=qsL=(5.0+0.5)x1x8=44kN (L=(Larchedbeam+Lsimple beam)/2 = (11+4)/2 = 7.5 rounded up to 8) The actual compression stress: đ?œŽđ?œŽđ?‘?đ?‘? =

đ?‘ đ?‘ đ??´đ??´

=

44Ă—1000 50Ă—150

= 5.87 đ?‘ đ?‘ /đ?‘šđ?‘šđ?‘šđ?‘š2

The check for buckling strength đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;?đ?&#x2018;?,đ?&#x2018;Śđ?&#x2018;Ś Ă&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;?đ?&#x2018;?,0,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 0.4592 Ă&#x2014; 13.2 = 6.06 đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x153;&#x17D;đ?&#x153;&#x17D;đ?&#x2018;?đ?&#x2018;? < 6.06 đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2

Columns and Plinths 1:500

Hence these columns are safe against buckling. However, to prevent any possible accidents we are using 150x150 columns.

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Technology and Environment 2B: Building Fabric

Secondary Beam Calculation For Arches and Post and Beam Construction

01. Grassmarket Timber Footbridge

Material: Scottish oak. Class D40. 63x147mm section.

Primary Beam Calculation for Arches

Design bending stress

Material: Scottish oak. Class D40. 150x295mm section.

Permissible bending stress Bending stress kh=1.0 kcrit=1.0 (since the beams are laterally restrained) fmk= 40 (from Table 3)

W=qs=5.5x1=5.5kN/m

đ?&#x153;?đ?&#x153;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; =

Maximum bending moment on beam

4.5Ă&#x2014;11 8

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ =

= 6.19đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x2018;¤đ?&#x2018;¤Ă&#x2014;đ??żđ??ż2 250

=

5.5Ă&#x2014;112 250

= 2.66 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x161;đ?&#x2018;&#x161;

UDL+Point Load=2.66+6.19=8.85 kNm

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ =

đ?&#x2018;¤đ?&#x2018;¤ Ă&#x2014; 8

Point Load:

3 đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; 3 Ă&#x2014; 32.5 Ă&#x2014; 103 = = 1.10 đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 2 đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; 2 Ă&#x2014; 150 Ă&#x2014; 295

= 20.31đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; Ă&#x2014; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018; đ?&#x2018; Ă&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;Łđ?&#x2018;Ł,đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; 0.6 Ă&#x2014; 1.1 Ă&#x2014; 3.8 = = 1.93đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 1.3 đ?&#x203A;žđ?&#x203A;žđ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; đ?&#x153;?đ?&#x153;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2030;¤ đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;Łđ?&#x2018;Ł,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; 0.81 â&#x2030;¤ 1.93 Hence 63x147mm is sufficient đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;Łđ?&#x2018;Ł,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; =

Sectional modulasZxx đ?&#x153;&#x17D;đ?&#x153;&#x17D; =

đ?&#x2018;?đ?&#x2018;?đ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ =

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ â&#x2020;&#x2019; đ?&#x153;&#x17D;đ?&#x153;&#x17D; â&#x2030;¤ đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;&#x161;đ?&#x2018;&#x161; .đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; đ?&#x2018;?đ?&#x2018;?đ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ 8.85 Ă&#x2014; 106 = = = 435 Ă&#x2014; 103 đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;3 đ?&#x153;&#x17D;đ?&#x153;&#x17D; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;&#x161;đ?&#x2018;&#x161; ,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; 20.31

=

Ă&#x2014; 22

2.75 8

đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; =

đ?&#x2018;&#x192;đ?&#x2018;&#x192;Ă&#x2014;đ??żđ??ż 4

=

= 1.38đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x161;đ?&#x2018;&#x161;

4.5Ă&#x2014;2 4

Point load:

đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ =

1 đ?&#x2018;¤đ?&#x2018;¤ Ă&#x2014;đ??żđ??ż4 5200 đ??¸đ??¸Ă&#x2014;đ??źđ??źđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ

đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ =

320Ă&#x2014;đ??¸đ??¸Ă&#x2014;đ??źđ??źđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ

đ?&#x2018;&#x192;đ?&#x2018;&#x192;Ă&#x2014;đ??żđ??ż3

=

1Ă&#x2014;5.5đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; Ă&#x2014;11000 4 đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; 5200Ă&#x2014;11000 đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; 2 Ă&#x2014;320.90đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; 4 Ă&#x2014;10 6

=

320Ă&#x2014;11000 Ă&#x2014;320.90đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161; 4 Ă&#x2014;10 6

4500 Ă&#x2014;11000 3

= 4.39đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x2018;&#x160;đ?&#x2018;&#x160;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ =

=

5Ă&#x2014;2.75Ă&#x2014;2000 4 384Ă&#x2014;11000 Ă&#x2014;16.68Ă&#x2014;10 6

đ?&#x2018;&#x192;đ?&#x2018;&#x192;Ă&#x2014;đ??żđ??ż3

48Ă&#x2014;đ??¸đ??¸Ă&#x2014;đ??źđ??źđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ

=

4500 Ă&#x2014;2000 3

= 3.12 đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;

48Ă&#x2014;11000 Ă&#x2014;16.68Ă&#x2014;10 6

= 4.09 đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ â&#x2020;&#x2019; đ?&#x153;&#x17D;đ?&#x153;&#x17D; â&#x2030;¤ đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;&#x161;đ?&#x2018;&#x161; ,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; đ?&#x2018;?đ?&#x2018;?đ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ

Maximum shear force Vmax

= 5.30 đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;

UDL:

V=(qsL)/2=(5.5x0.5x2)/2=2.75 kN

Point Load:

Max allowable Deflection: L/150= 4000/150= 26.67mm The beam meets the worst-case scenario for final deflection.

V= P/2=4.5/2=2.25 kN

W=5.5x1=5.5kN/m

Permissible shear stress đ?&#x153;?đ?&#x153;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; =

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

3 đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; 3 Ă&#x2014; 5 Ă&#x2014; 103 = = 0.81đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 2 đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; 2 Ă&#x2014; 63 Ă&#x2014; 147

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Vmax=VUDL+Vpl= 2.75+2.25=5 kN

Primary Beams 1:500

đ?&#x2018;&#x160;đ?&#x2018;&#x160;Ă&#x2014;đ??żđ??ż4 đ??¸đ??¸Ă&#x2014;đ??źđ??źđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ

This gives us a secondary beam with a cross section of 63x147mm.

Final deflection = W(1+kdef). Kdef for service class2 is 0.8. This means:

đ?&#x2018;¤đ?&#x2018;¤ Ă&#x2014; đ??żđ??ż đ?&#x2018;&#x192;đ?&#x2018;&#x192; đ?&#x2018;¤đ?&#x2018;¤ Ă&#x2014; đ??żđ??ż + đ?&#x2018;&#x192;đ?&#x2018;&#x192; 5.5 Ă&#x2014; 11 + 4.5 + = = = 32.5 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018; đ?&#x2018; 2 2 2 2

Ă&#x2014;

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ 3.63 Ă&#x2014; 106 = = = 178.73 Ă&#x2014; 103 đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;3 đ?&#x153;&#x17D;đ?&#x153;&#x17D; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;&#x161;đ?&#x2018;&#x161; ,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; 20.31

Maximum shear force

đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; = đ?&#x2018;&#x2030;đ?&#x2018;&#x2030;đ?&#x2018;˘đ?&#x2018;˘đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122; + đ?&#x2018;&#x2030;đ?&#x2018;&#x2030;đ?&#x2018;?đ?&#x2018;? =

5 384

Final deflection = W(1+kdef). Kdef for service class 2 is 0.8. This means: (3.12+4.09)mm x (1+0.8)=12.98mm Max allowable deflection: L/150= 2000/150= 13.33mm The beam meets the worst-case scenario for final deflection. Hence 63x147mm is sufficient.

đ?&#x153;&#x17D;đ?&#x153;&#x17D; =

đ?&#x2018;?đ?&#x2018;?đ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ =

đ?&#x2018;&#x160;đ?&#x2018;&#x160;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ =

Point Load

Sectional modulas Zxx

đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; Ă&#x2014; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018; đ?&#x2018; Ă&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;Łđ?&#x2018;Ł,đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; 0.6 Ă&#x2014; 1.1 Ă&#x2014; 3.8 = = 1.93 đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 1.3 đ?&#x203A;žđ?&#x203A;žđ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; đ?&#x153;?đ?&#x153;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2030;¤ đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;Łđ?&#x2018;Ł,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; 1.10 â&#x2030;¤ 1.93 Hence the cross section is acceptable

UDL:

UDL:

= 2.25 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x161;đ?&#x2018;&#x161;

đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;Łđ?&#x2018;Ł, đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; =

PRODUCED BY AN AUTODESK (4.39+5.30)mm EDUCATIONAL PRODUCT x (1+0.8)=17.44mm

This gives us a primary beam with a cross section of 150x295mm.

đ??żđ??ż2

UDL+Point Load= 1.38+2.25=3.63kNm

Controlling value against permissible shear stress fv,k=3.8 (from Table 3)

Deflection

Secondary Beams 1:500 GC 1 2 3 4 5 6 7 8 9 10 11 PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1.3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Max bending moment=Mmax : UDL: =

0.6Ă&#x2014;1Ă&#x2014;1.1Ă&#x2014;1Ă&#x2014;40

Deflection

Checking permissible shear stress

đ?&#x2018;&#x192;đ?&#x2018;&#x192;Ă&#x2014;đ??żđ??ż 8

=

Max bending moment= Mmax : UDL:

đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; Ă&#x2014; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;â&#x201E;&#x17D; Ă&#x2014; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018; đ?&#x2018; Ă&#x2014; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x;đ?&#x2018;&#x;đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;đ?&#x2018;Ąđ?&#x2018;Ą Ă&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; 0.6 Ă&#x2014; 1 Ă&#x2014; 1.1 Ă&#x2014; 1 Ă&#x2014; 40 = = 20.31đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 1.3 đ?&#x203A;žđ?&#x203A;žđ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;

đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; =

đ?&#x203A;žđ?&#x203A;ž đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;

Maximum bending moment of the beam

Load on the beam

Point load:

đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; Ă&#x2014;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; â&#x201E;&#x17D; Ă&#x2014;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018; đ?&#x2018; Ă&#x2014;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x;đ?&#x2018;&#x;đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;đ?&#x2018;Ąđ?&#x2018;Ą Ă&#x2014;đ?&#x2018;&#x201C;đ?&#x2018;&#x201C; đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;

Load on the beam. W=qs=5.5x0.5=2.75kN/m

Permissible bending stress: đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;&#x161;đ?&#x2018;&#x161; ,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; =

đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;&#x161;đ?&#x2018;&#x161; ,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; =

TE Y2S2

Technology and Environment 2B: Building Fabric

01. Grassmarket Timber Footbridge

Primary Beam Calculations for Post and Beam Construction

Column Calculation for Post and Beam Construction

Material: Scottish oak. Class D40. 150x295mm section.

Material: Scottish oak, class D40, 38x147mm section.

Bending stress kmod=0.6 (from table 3.1 â&#x20AC;&#x153;Values of Kmodâ&#x20AC;?)

fc,0,k= 26 N/mm2 (from Table 3) Length of a column L=4 m The column lower end is pinned Le= 0.85xL = 0.85x4 = 3.4m

kc,90=1 There is no increase in the bearing strength because the applied length l of the uniformly distributed load q is bigger than 150mm. kls=1.1 The joist is shorter than 6m therefore the joist can be treated as a load-distributed system

E0,005=9400 N/mm2 (from Table 3)

fc,0,k=26 (from Table 3)

E0,005/fc,0,k= 9400/26 = 361.5

ÎłM=1.3 (from Table 4 â&#x20AC;&#x153;Values of ÎłMâ&#x20AC;? for timber and wood based materials)

Radius of gyration about the axis of section x-x for a 38x147mm section timber rxx= 42.4mm (from Table 2.2)

đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;&#x161;đ?&#x2018;&#x161; ,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; =

Îťy= Le/rxx= 3400/42.4 = 80.19 kc,y= 0.4592 (from Table 14)

đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; Ă&#x2014; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;â&#x201E;&#x17D; Ă&#x2014; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018; đ?&#x2018; Ă&#x2014; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x;đ?&#x2018;&#x;đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;đ?&#x2018;Ąđ?&#x2018;Ą Ă&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; 0.6 Ă&#x2014; 1 Ă&#x2014; 1.1 Ă&#x2014; 1 Ă&#x2014; 40 = = 20.31đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 1.3 đ?&#x203A;žđ?&#x203A;žđ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;

Load on the beam

Permissible stress in the column kmod=0.6 kc,90=1 kls=1.1 fc,0,k=26 (from Table 3) ÎłM=1.3 (from Table 4 ) đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;?đ?&#x2018;?,0,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;

Permissible bending stress:

W= qs = 5.5x1 = 5.5kN/m Maximum bending moment on beam Max bending moment=Mmax : UDL:

đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; Ă&#x2014; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;?đ?&#x2018;?,90 Ă&#x2014; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018; đ?&#x2018; Ă&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;?đ?&#x2018;?,0,đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; 0.6 Ă&#x2014; 1 Ă&#x2014; 1.1 Ă&#x2014; 26 = = = 13.2 đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 1.3 đ?&#x203A;žđ?&#x203A;žđ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;

The actual compressive stress

Point load:

đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; =

đ?&#x2018;&#x192;đ?&#x2018;&#x192;Ă&#x2014;đ??żđ??ż 4

=

4.5Ă&#x2014;4 4

The actual compression stress: đ?&#x153;&#x17D;đ?&#x153;&#x17D;đ?&#x2018;?đ?&#x2018;? =

đ?&#x2018; đ?&#x2018; đ??´đ??´

=

22Ă&#x2014;1000 38Ă&#x2014;147

= 3.94 đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2

The check for buckling strength đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;?đ?&#x2018;?,đ?&#x2018;Śđ?&#x2018;Ś Ă&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;?đ?&#x2018;?,0,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; = 0.4592 Ă&#x2014; 13.2 = 6.06 đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x153;&#x17D;đ?&#x153;&#x17D;đ?&#x2018;?đ?&#x2018;? < 6.06 đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2

Hence, these columns (38x147mm) are safe against buckling. However, to prevent any possible accidents, we are using columns with 150x150mm cross section.

Exploded Axonometric 1:150

đ?&#x2018;¤đ?&#x2018;¤Ă&#x2014;đ??żđ??żÂ˛ 8

=

5.5Ă&#x2014;4Ă&#x2014;4 8

= 11đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x161;đ?&#x2018;&#x161;

= 4.5đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018; đ?&#x2018; đ?&#x2018;&#x161;đ?&#x2018;&#x161;

UDL+Point Load=11+4.5=15.5 kNm Sectional modulas Zxx

đ?&#x153;&#x17D;đ?&#x153;&#x17D; =

Area carried by 1 column: N = qsL = (5.0+0.5)x1x4 = 22kN

Platform Plan 1:200

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ =

đ?&#x2018;?đ?&#x2018;?đ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ =

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ â&#x2020;&#x2019; đ?&#x153;&#x17D;đ?&#x153;&#x17D; â&#x2030;¤ đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;&#x161;đ?&#x2018;&#x161; .đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; đ?&#x2018;?đ?&#x2018;?đ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ

đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ 15.5 Ă&#x2014; 106 = = = 763 Ă&#x2014; 103 đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;3 đ?&#x153;&#x17D;đ?&#x153;&#x17D; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;&#x161;đ?&#x2018;&#x161; ,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; 20.31

This gives us a primary beam with a section of 150x295mm Maximum shear force W=qs = 5.5x1=5.5 kN/m

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TE Y2S2

Technology and Environment 2B: Building Fabric

01. Grassmarket Timber Footbridge

đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; = đ?&#x2018;&#x2030;đ?&#x2018;&#x2030;đ?&#x2018;˘đ?&#x2018;˘đ?&#x2018;&#x2018;đ?&#x2018;&#x2018;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122; + đ?&#x2018;&#x2030;đ?&#x2018;&#x2030;đ?&#x2018;?đ?&#x2018;? =

đ?&#x2018;¤đ?&#x2018;¤ Ă&#x2014; đ??żđ??ż đ?&#x2018;&#x192;đ?&#x2018;&#x192; đ?&#x2018;¤đ?&#x2018;¤ Ă&#x2014; đ??żđ??ż + đ?&#x2018;&#x192;đ?&#x2018;&#x192; 5.5 Ă&#x2014; 4 + 4.5 + = = = 13.25 đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018; đ?&#x2018; 2 2 2 2

Checking permissible shear stress đ?&#x153;?đ?&#x153;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; =

3 đ?&#x2018;&#x2030;đ?&#x2018;&#x2030; 3 Ă&#x2014; 13.25 Ă&#x2014; 103 = = 0.449đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 2 đ?&#x2018;?đ?&#x2018;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; 2 Ă&#x2014; 150 Ă&#x2014; 295

Controlling value against permissible shear stress fv,k=3.8 (from Table 3)

đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; Ă&#x2014; đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018; đ?&#x2018; Ă&#x2014; đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;Łđ?&#x2018;Ł,đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC; 0.6 Ă&#x2014; 1.1 Ă&#x2014; 3.8 = = 1.93 đ?&#x2018; đ?&#x2018; /đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x161;2 đ?&#x203A;žđ?&#x203A;žđ?&#x2018;&#x20AC;đ?&#x2018;&#x20AC; 1.3 đ?&#x153;?đ?&#x153;?đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; â&#x2030;¤ đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;Łđ?&#x2018;Ł,đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; Connections 0.449 â&#x2030;¤ 1.93 Hence 150x295mm cross section is acceptable đ?&#x2018;&#x201C;đ?&#x2018;&#x201C;đ?&#x2018;Łđ?&#x2018;Ł, đ?&#x2018;&#x2018;đ?&#x2018;&#x2018; =

Deflection UDL:

đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ =

5 đ?&#x2018;¤đ?&#x2018;¤ Ă&#x2014;đ??żđ??ż4 384 đ??¸đ??¸Ă&#x2014;đ??źđ??źđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ

Point load:

đ?&#x2018;¤đ?&#x2018;¤đ?&#x2018;&#x161;đ?&#x2018;&#x161;đ?&#x2018;&#x17D;đ?&#x2018;&#x17D;đ?&#x2018;Ľđ?&#x2018;Ľ =

đ?&#x2018;&#x192;đ?&#x2018;&#x192;Ă&#x2014;đ??żđ??ż3 320Ă&#x2014;đ??¸đ??¸Ă&#x2014;đ??źđ??źđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľđ?&#x2018;Ľ

=

5 5.5Ă&#x2014;4000 4 384 11000 Ă&#x2014;320.9đ?&#x2018;Ľđ?&#x2018;Ľ 10 6

=

= 5.19mm

4500 Ă&#x2014;4000 3 320Ă&#x2014;11000 Ă&#x2014;320.9Ă&#x2014;10 6

= 0.25mm

Final deflection = W(1+kdef). Kdef for service class 2 is 0.8. This means (5.19+0.25)mm x (1+0.8)=9.79mm Max allowable Deflection: L/150= 4000/150= 26.67mm Hence 150x295mm cross section is acceptable

Rigid Connection Detail 1:10

Pinned joint system is used in two areas of the bridge. Firstly, it is used to connect two primary beams together. Secondly, it is used to connect the primary beam to the post.

This allows better connection and reduces any extra forces to the post. Plate and bolts are used as another connection system to connect the columns to the concrete plinth foundation. Steel knife is used to prevent direct contact between the timber post and concrete plinth. Stainless steel plates are used to prevent moisture from accumulating inside the concrete.

Pinned Connection Detail 1:10

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TE Y2S2

Technology and Environment 2B: Building Fabric

01. Grassmarket Timber Footbridge

Because the main structure and platform uses Scottish Oak due to its high structural strength, the balustrade uses the same material to maintain a sense of consistency throughout the bridge.

The balustrade is made of a series of timber beams with a cross section of 25x25mm. In every 500m, a beam with a cross section of 50x50mm is nailed to a horizontal beam with a similar section.This is used to provide safety for children.

REFERENCES: Strathnairn Forest Shelter http://www.urbanrealm.com/buildings/179/ Strathnairn_Forest_Shelter.html Oak Bridge Recreation â&#x20AC;&#x201C; Central Park, New York http://www.weldingworks.com/project_review/oak_ bridge.htm Flisa Bridge, Norway http://www.icevirtuallibrary.com/content/ article/10.1680/bren.2005.158.1.1 http://nvfnorden. org/lisalib/getfile.aspx?itemid=1467 Joints study http://web.mit.edu/4.441/1_lectures/1_lecture13/1_ lecture13.html http://www.daizen.com/files/daizen-connection_ series-post_to_concrete.pdf

Section b-b 1:100

Materials study http://cromartietimber.co.uk/#scottish-wood http://www.scottishwood.co.uk/hardwoods.htm

Section a-a 1:50

Decking Detail 1:10

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TE Y2S2

Technology and Environment 2B: Building Fabric 02. Material Systems Project

with Brandon Mak and Rimsha Rehman

Sainsbury Centre For Visual Arts Sainsbury Centre was designed with a vision to enable people to study and viewing of arts in an open, pleasurable environment.

Here there focus is shifted from conventional ‘art in isolation’ gallery to a space which integratesvarious related activities under one flexible enclosure.

Norman Foster’s design for Sainsbury Centre emphasized significantly on the idea of ‘visual connection’. The aim was to encourage the visitors to make visual or aesthetic associations actoss the gallery, its surroundings and therefore across time and place.

LO1 apply the mechanisms of design of structures that address increasingly complex interactions between forms, human use and the environment of a site, in terms of imposed LO2 understand the process of choice and assembly of material systems in the design of buildings to provide internal conditions of comfort and its aesthetic expression

This is achieved by constructing a double layer wall and roof structure containing the service elements. This shell also houses a sequence of spaces incorporating the reception area, faculty rooms, restaurant etc., resulting in an open and uninterrupted gallery space. The idea of visual connection is taken forward by the use of louvers which become transparent, rejoicing the openess and lightness of the trusses. This also enables the visitors to take advantage of the views up and through the entire length of the rood.

Sainsbury Centre with its different layers of trusses, shell structure and louvers generates weightless architectural abstractions that intend to blur the perceived boundaries of visual connection.

LO3 understand the range of applications of the principles of assembly and structural performance with regards to the main material systems (masonry, timber, steel and concrete) in the design of mediumsized buildings

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TE Y2S2

Technology and Environment 2B: Building Fabric 02. Material Systems Project

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AH Y2S2

Architecture History

Culture and the City 01. Essay

Essay Title Discuss the building history of the church of St Peter in Rome, tracing the demands that it stand at the centre of the Christian world and that it cater to the requirements of pilgrimage.

Introduction

According to the extant evidence stated that pilgrims had started travelling to Rome, attention particular by the popular martyrs buried there, Saint Peter and Paul, the greatest influential of which were two of Christ’s apostles, in the late second century. Pilgrimage to Rome allowed the pilgrim to see the site closely associated with his religious belief and those places are where the biblical events had actually happened. By the development of the cult of saints, the popularity of Rome as the last pilgrimage destination was increased significantly.

Key Points

Refurbishment of St. Peter’s was proposed during the papacy of Pope Nicholas V (1447-55) with the assistance of architect Bernardo Rossellino (1409-64) and Leon Battista Alberti (1404-72) when the old basilica built by the Emperor Constantine stood about 1200 years until the mid-fifteenth century.

Nothing much was executed until the next election of new Pope, Julius II in 1503 after the death of Nicholas V in 1455 when he proposed the refurbishment of old St. Peter’s. Despite the old basilica which in a bad condition of collapsing but then Julius’s first idea was further than just to reconstruct partially where needed much.

Bramante’s St. Peter’s church was designed directly based on the Tempietto which he was designing at the time of period but it was on bigger scale as a martyrium.

Reference

Birch, D. J., Pilgrimage To Rome In The Middle Ages (Woodbridge, 1998)

He pressed ahead with the construction with more vigour than had been shown for nearly forty years, so that when he died, in 1564, a considerable part of the basilica was standing in the form in which we know it, and the drum had been completed as far as the springing of the dome.

Heydenreich, L. H. And Lotz, W., Architecture In Italy 1400-1600 (Great Britain, 1967) Murray, P., The Architecture Renaissance (London, 1986)

Of

The

Italian

Partridge, L., The Renaissance In Rome 1400-1600 (Great Britain, 1996) Partner, P., Renaissance Rome 1500-1599, A Portrait Of A Society (Berkeley And L.A., California, 1976)

Michelangelo also designed a dome that the form was used by the builders which have a more pointed shape with less thrust. Apart from Bramante’s dynamic concept, Michelangelo had his own concept outcome that he sought which can be observed from the rear of the church.

Conclusion

The combination of the beautifully designed of its monumental exterior, the grand colonnaded piazza and the dome, St. Peter’s church is one of the most distinctive religious architecture on the Christian world. In the sixteenth and early seventeenth centuries, the venerable structure was replaced by its present resplendent successor, the superlative masterpiece created

by Bramante, Sangallo, Michelangelo, Maderno and Bernini, nevertheless, after three hundred years this substitute still lacks the eloquent associations that once radiated from Constantine’s original basilica.

LO1 Knowledge and understanding of connections between architecture and the social, economic and political circumstances within which it is located.

LO2 Ability to evaluate urban phenomena in social contexts LO3 Research, analyse and present in writ- ten and report form themes appropriate to the model content.

Pilgrims’ chamber

old St. Peter’s Basilica

Reconstruction drawings by Micheangelo

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AH Y2S2

Architecture History

Culture and the City 02. Presentation

Presentation Topic Spectacle - Louvre Museum, I.M. Pei

Bibliography Pei Cobb Freed & Partners Architects LLP http://www.pcf-p.com/a/p/8315/s.html From Ch창teau to Museum History of the Louvre http://www.louvre.fr/en/history-louvre

Louvre Pyramid

Presentation Notes

Interior of Louvre Museum

The Louvre Pyramid, designed by I M Pei is an iconic landmark and represents the insertion of modernity in a historic setting. Controversial, hated and loved, the Louvre Pyramid has become a place where contemporary architectural landscape of Paris in the collective memory of Paris.

Following the establishment of the Third Republic in 1870, until early 1980 the Louvre Museum hosted a number of functions in addition to the museum, such as the Ministry of Finance. The old Louvre Palace struggled to cope with the rising number of visitors. Moreover, the exhibition areas were separated, scattered and poorly organized, with multiple entrances that caused chaotic circulations, visitors struggled to find the entrance or the exit. Perhaps the worst of all was that many stored works became moldy because there was no room to display them properly.

Pei started from the premise that, rather than that the museum was located only the south wing, a large elongated building, it should cover the whole palace complex, organizing itself in a U shape around a courtyard. Then he had the idea of digging up the yard Napoleon nine meters underground and there provide enough space for the storage of the works of art and loading equipment, an auditorium for 400 people, information areas, conference centers, a friendly cafe, book stores and souvenir shops.

The entrance to the museum is the symbolic center around which the three pavilions of the museum are organized .

Pei organized the museum in a logical way, placing the works from northern Europe (France, Germany, Netherlands) to the north, and the ones from southern Europe (Italy, Spain, Egypt) in the south pavilions.

The entry should have an appropriate scale. However, he refused to build a solid element that would compete with the presence of the baroque buildings. By contrast, he chose a very discreteelement in comparison with the enormous remodeling that was carried out underground.

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Year 3 (2014- 2015) Semester 1

AD

AT

Architectural Design: Explorations [ARCH10001] 01. Fieldwork + Data Collection 02. Data Translation to Digital Ecology 03. Digital Ecology to Hybrid Analogue models 04. Altered Ecologies: Becoming Architectural Architectural Theory [ARCH10002] 01. Critical Journal Entry 02. Essay Sensible Lab - Adruino Workshop

Semester 2

AD

Architectural Design: Tectonics [ARCH10003] 01. Research and Observation 02. Mapping the Data 03. Mies en Scene 04. House of the Acrobats

PS

Professional Studies [ARJA10004] 01. Short Essays Master Planning: Designing Places Student Competition 2015 Teambuild 2015

AD Y3S1

Architectural Design Explorations 01. Fieldwork & Data collection with Juliette Sung

Digital Ecologies: Contamination Digital Ecologies explores and challenges methods of conventional sustainable design in a digital era where data is ubiquitous, remotely accessible, and abundant and where remediation is equally ubiquitous, but is also site-specific and operates according to environmental logics conventionally understood on the ground/in the field. This unit explores this dynamic, between digital registration of environmental data remotely (from the studio) and physical registration of environmental phenomena on site (in the field). It explores the interactions between these two kinds of environmental knowledge and uses a series of inventive methodologies that hybridise the digital with the analogue, remote sensing with fieldwork, and landscape and architecture with infrastructure.

The contamination of Dalgety Bay, Fife, which requires immediate attention following the discovery of radioactive material on its shores.

But Radiation levels are low and there are no health risks associated with a site visit if access use guidance is followed.

However, the richness of the natural ecology in Dalgety Bay should not be forgotten and more attention towards inhabitants should be given to this.

Towards the Capital Dalgety Bay is a quaint commuter town with a population of approximately 10,000. It faces Edinburgh on the North side of the Firth of Forth.

It is accessible by train in thirty minutes and car in twenty minutes. A wide range of sights can Wbe seen along the way to the Dalgety Bay, the Edinburgh International Airport, the Forth Bridge and miles of fields. The transactional journey towards Dalgety Bay will frame your mind into the little commuter area.

Soundscape We analysed the sonic environment in Dalgety Bay and distributed them into three sectors, Anthrophony, Geophony and Biophony. Dalgety Bay is generally quiet. The sound emitting from the train station, town centre and the sailing club are considered as more vibrant.

1. Dalgety Bay Station

2. Town Centre

3. Residential

4. Sailing Club

LO1 Ability to adhere to a design methodology that builds on the conceptual framework and key theoretical, cultural, and representational concerns outlined in the project brief.

LO2 Knowledge of the ways in which research and analysis of context, program and construction inform architectural design and the ability to synthesize these concerns to develop a coherent architectural proposal.

LO3 Ability to communicate research findings and design proposals using appropriate and varied modes of visual, verbal and written production.

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Architectural Design Explorations 01. Fieldwork & Data collection

Sound Dalgety Bay The idea of sounding Dalgety Bay was born mainly due to the realization that no specific sound events can be discovered along the journey towards the Dalgety Bay Sailing Club. We believe that the study of this sound footprint can reveal and interpret the influence of architecture towards the cityâ&#x20AC;&#x2122;s inhabitants and the existence of changeable temporary soundscapes of high value.

Side Elevation

Front Elevation

Isometric

Video 1. Sound of collision in Dalgety Bay

Sound Collection: Sound Machine

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Architectural Design Explorations 01. Fieldwork & Data collection

Sound Contamination We are bringing in the sound contamination into the town centre by applying inversion of sound and sight to the users. We hope that this is considered as good contamination which can provide social benefits to the community. We started off with collecting sound from certain spots and played them in a completely different environment. For instance, we played the sound of seagulls at the entrance of supermarket. To test the usersâ&#x20AC;&#x2122; behaviour under this circumstance, visualisation of expressions is joted down on the given paper. At the end, we then translated them into digital data for further on development.

Visualisation of emotions â&#x20AC;&#x2DC;

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Architectural Design Explorations

02. Data Translation to Digital Ecology

Sound Frequency Visualisation Data translation In the exploration of the interaction between natural and engineered environmental processes, we translated the on-site raw sound data into digital data fabrication. With the support of Rhino, Grasshopper, Processing and Audacity, we are presenting the data in interactive visualisation and sonic responses. Digital data will then be used to generate, develop and test hybrid models.

Interactive sound journeys Collaborating with the on- and off- site data, we highlighted the main spots that emitted the more vibrant sound. Sound spots are then distributed throughout the map. After that, we connected the sound spots with the train station and the sailing club, several sound journeys are then created.

Train

A moving point is then located on each of the sound journey, representing the movement of a person. And whenever the point is contacted to the sound spots along the journey, it will trigger the sound output of the specific spot. Collision of sounds will then happened when all moving points are on action.

Video 2. Rhino Model : Circulation Routes with soundscape

Supermarket

Grasshopper model

A man fixing the sailing boat

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Architectural Design Explorations

03: Digital ecology to hybrid analogue/ digital models

With the support of the digital applicances, user can generate their own new soundwalk with new experiences in our model.

Distance sensors are placed underneath the logs (soundspots) which can interact with the movement of the user and trigger the movement of the moving metal arms on top, as well as the speakers of the chosen sound spots.

Version 1. Hybrid analogue interactive model

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Architectural Design Explorations

03: Digital ecology to hybrid analogue/ digital models

With the support of the digital applicances, user can generate their own new soundwalk with new experiences in our model.

Distance sensors are placed underneath the logs (soundspots) which can interact with the movement of the user and trigger the movement of the moving metal arms on top, as well as the speakers of the chosen sound spots.

Version 2. Hybrid analogue interactive model

Similar to the previous version, blind folded experience with the interaction between the arm movement and sensors will be continue introduced. The only different is the removal of the log stands.

Site map with sound spots is replaced, and plotted on the platform.

Video 4. Version 3. Hybrid analogue interactive model

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Architectural Design Explorations 04: Altered Ecologies: Becoming architectural

Precedent Studies Parc de la La Villette, Paris The setting of the project is similar to our infrastructure as Bernard Tschumi intended to bring closer connection throughout the park by playing with visual connection between follies. They are visual connectors as well as enhancing users experience inside the park.

Highline Park, New York

Soundspread The collage of the sound visualisation is mapped on the site and main sound spread is showed, which is the shortest route that connects the train station, town centre, park and the sailing club at the end.

The elevated urban park in big city brought much social benefits to the community by introducing a wide range of leisure activities, like theatre seatings, observatory deck and designed green space. The strong connection of the infrastructure is clearly demonstrated. We have chosen this project for our reference because the playful setting of the hardscape and softscape, as well as the strong dynamic elements throughout the Highline.

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Architectural Design Explorations 04: Altered Ecologies: Becoming architectural

Becoming architectural The previous three chapters are complemented each other in order to reveal the ecologies defining the site and led to the development of a thick site plan where all data figured in. This plan started to expose the site conditions and temporalities.

Version 1. Soundscape development maquette

Soundscape urbanization Soundscape is connected with flows and public, open space environments. The design of roads and nodes has preceded the shaping of solids and the edge, a natural border between the town and the bay, played a major role in the formation of the city.

Thick Site Plan 1:12000 Combining the on- and off- site data, layered of plans are developed. This thick site plan will be then futher developed and explored architecturally.

Concerning the soundscape, sounds of the street urban life and mark indelibly everyday routine.

Moreover, flows and places where people concentrate constitute the foundation of public urban life, the places where cityâ&#x20AC;&#x2122;s inhabitants coexist and interact. Therefore, sounds related to networks constitute the soundscape of urbanization

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Architectural Design Explorations 04: Altered Ecologies: Becoming architectural

Train station: sonic posts green pavement

Replacing the existing road with concrete grass pavement allows the vibrant sound emitted by the moving cars

the first sound installation at the arrival point which leads user towards to the sailing club

sonic clouds

Enhancing users experience by adding in mirror surface, as well as recycling the rainwater

sonic follies

Enhancing users experience with lightings and sound features

Sonic Post

Sonic Cloud

Sonic Follies

Sonic Mill

sonicmills Plan 1:10000 Sonic prothesis on site

Wind energy at the bay is used for the operation of this instrument

Sonic architectural ecology After setting up the network between the train station with the Bay, we proposed a new sonic environment emerging with the infrastructure. Four types of sonic thesis are suggested. Apart from enhancing usersâ&#x20AC;&#x2122; experience on the infrastructure, the sonic thesis are useful on identifying the locations of places and notifying users some daily reminders, such as the weather notifications.

We are aiming to use sound for better community connection within the town of Dalgety Bay.

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Architectural Design Explorations 04: Altered Ecologies: Becoming architectural

Final Proposal - The Journey

Dalgety Bay Sailing Club

Sonic Post

With the favorable natural environemnt along the bay, the sailing club is a perfect destination of the journey, acting as an attractor that interest users coming from the train station. Apart from enjoying the richness of the landscape and soundscape features there, we are proposing a sailing club with more function space, as well as more communal space.

Sonic Cloud

Plan 1. Rooftop urban park 2. Gallery 3. Sailing club 4. Communal space 5. Port decking

Sonic Follies

Roof form

Rooftop softscape

Rooftop hardscape

It is developed from the geometry space of the infrastructure, which continues the visual connection throughout the journey.

The sailing club is an extension of the infrastructure as well as the landscape, strips of green space are distributed on the rooftop, more outdoor space is introduced.

Timber decking is placed on the rooftop, which introduces more outdoor leisure space for the users.

Diagrammatic plan Proposed sailing club

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Architectural Design Explorations 04: Altered Ecologies: Becoming architectural

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Architectural Design Explorations 04: Altered Ecologies: Becoming architectural

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Architectural Design Explorations 04: Altered Ecologies: Becoming architectural

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Architectural Design Explorations 04: Altered Ecologies: Becoming architectural

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Architectural Theory

Critical Reflections Journal Brief Submit a critical reflections journal that responds to materials from 8 lectures out of the 10 in the course.

Timings: The time of sense-making Reference Snodgrass, A. and R. Coyne (1996). “Is Designing Hermeneutical?” Architectural Theory Review 2(1): 65-97.

Heidegger, M. (1996). Being and Time: A Translation of Sein und Zeit. Translated by Joan Stambaugh.

Albany, SUNY Press. §32 139-144

Way before 21st century, people imagined our future looking like the modern sci-fi movie with flying cars that dwelled high atop in the sky. How will cities of the future look like? While we are not living in the space cities just yet, modern architecture gave us a taste of the future. Futuristic buildings and soaring towers dominant the city skylines all over the world and gradually futurism has become a new architecture trend in modern times like these. Thus, architecturally speaking, is the spatial quality being considered in futurism?

The futuristic architecture often featured with impressive designs and pushing the limit of materials use or astonish structures but they are usually overwhelmed and intended to achieve convincing visual yet lack of consideration from the internal perspective and neglecting the architecture spatial quality. The all-time arguable architecture principle ‘form ever follows function’ quoted by American architect, Louis Sullivan, an antagonistic view towards futurism. This is strongly depicted on the works by Lebbeus Woods such as ‘Inhabiting the Quake’, most of his works were not built but mainly focuses theories on paper in elaborate renderings without clients or any likelihood of construction. The architecture brought to paper by Woods also has a sci-fi edge. His “Aerial Paris” series from 1992, for instance, juxtaposes gauzy cinematic drawings of the City of Light with gleaming claw like vessels that supposedly would hover above the city, an alternate urbanity with jaw-dropping views but nevertheless the project just seems fabricate and uninhabitable.

I would sum up that in futurism as we discussed during the Time of Sense-making tutorial, the place of the building city is utopia itself. It makes no sense to think of the futurist architectural drawings could be built as its containing no other figurative semantic elements and are drawn without care for details. It is still artistry over architecture in a nutshell.

Timings: Origin Reference Rykwert, J. (1972). On Adam’s House in Paradise: The Idea of the Primitive Hut in Architectural History, New York, Museum of Modern Art pp.13-28.

LO1 Knowledge of contemporary design theories and the ways in which they can inform specific approaches to, and practices of architectural design.

LO2 Ability to demonstrate and analyse through careful argument how architectural production fits within wider philosophical, historical, social, political and economic discourses.

LO3 Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing.

Human and the society evolve and develop rapidly over the years. Our ancestors in the early beginning desire nothing and lack of nothing, the first habitation of man occurs when they start to seek for protection over the inclement weather and various enemies. As the time went on, society formed among early mankind when they started to share knowledge and live together. The so-called architecture primitive hut living starts to form and it gradually moves on to form a bigger circle, a village, a town and a city. Human try to adapt to the surrounding as time moves and gradually evolves, Andre Lefevre mentioned that, A common law may be induced from them and that is the law of adaption, Utility is the ground of any architectural aesthetic... The individual dwells as he clothed... to defend himself from the inclemency and hostility which surround him...” (Les Merveilles de I’architecture, 1880).

As most of us are dwelling in a permanent environment nowadays, by following the rapid development, modern architecture seems to lose the original concept of dwelling. We build without considering the nature, neglecting the environment. According to Le Corbusier, twentieth-century architects have willfully neglected or wholly misunderstood the great architecture is at the very origins of humanity. Corbusier mentioned that architects nowadays ignore the two essential conditions of great architecture, the first, that having measured by units man had derived from his own body; the second, having been guided by instinct to the use of right angles, to axes, circles, right angles are truths of geometry, they are the truths our eyes measure. Geometry is the language of the mind. (Vers une architecture, 1923).

Despite that, buildings in this modern era are designed to be over scale, regardless whether it is intentionally done by the architect. Most of the famous architects are neglecting the basic idea mentioned by Le Corbusier. The modern movement had changed the human perception on architecture. Many futurist architect such as Zaha hadid’s works have no geometry language applied but is that a way of our society progress or we are actually changing our mindset to adapt the big environment changes?

Lebbeus Woods, ‘Inhabiting the Quake’

Future City

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Architectural Theory

Critical Reflections Journal

Timings: Architecture and social transformation Reference Walter Benjamin, ‘The Author as Producer’, Victor Burgin [ed.], Thinking Photography (London: Macmillan Press, 1982), pp. 15-31

Timings: Making futures unpredictable Reference Deleuze, G. & F. Guattari (2004) 1000 Plateaus: Capitalism and Schizophrenia New Edition. London: Continuum; (14 Oct 2004). Chapter 12. 1227: Treatise on Nomadology - The War Machine pp 387-393.

Our society changes based on the idea of time progression. The progression changes not only the economics of the society but also the architecture style. The society change also perceived via the lens of revolution under time progression, the architect Humphrey Repton drawing, Changes in Architecture, 1808 clearly depicted architecture style changes by time. “the foreground on the left you’ll see a sand clock , on the right of the foreground you’ll see a sign of death, the wings of time is on the top, the little hills behind you’ll see the architecture styles are changing, every style dies, everyone has its superior time and dies out, and behind the shrubs on the right what is hidden there, it is the next style, that is one submerging that we do not know yet” (Tahl Kaminer, Architecture and social transformation theory Lecture)

Moreover, following the change of social, people like to share the thoughts of modern utopias. These utopias cities are designed as stories and usually geographically take place in an infinite distance notably the famous New Babylon, Constant 1962. The New Babylon is a large scale utopia society for a playful life of mankind. It is a web, a network covering the entire world located on an infinite landscape. Despite that, the New Babylon adopted the last Stone Age agriculture and the permanent way of life when mankind founded settled communities. It is also a labyrinth, inexhaustible in its variations. “In the New Babylon, there are no single houses, the whole city is one immense covered collective house, a house with countless rooms, halls and corridors in which one can roam for days or weeks but where one can also find small spaces for privacy” (New Babylon, Constant 1962).

After all, these ideas of ideal society or utopia city are just fiction thoughts. Some of the ideal cities do not even seems achievable from my point of view. But as what we have discussed during the tutorial, we should learn and emulate the idea of the ideal transformation. With the progression of time, the ideal utopia will eventually dies out as architecture style.

As an architecture student, designing has become part of the daily life. Before we start to design something, we have ideas in our mind which implies a preconception of what we are trying to achieve on the outcome then we apply more control on it thus making it as a proposal. Based on the Making future unpredictable theory lecture given by Pierre Forissier, he mentioned that making architecture is not similar as designing, when you make something, it means from the scratch without applying any further thoughts at the beginning but shaping it through the making process. I, personally think that making architecture is a good process in doing architecture in replying Pierre’s question during the lecture. My group mate and I were facing problem on how should we progress in our studio project when our ideas are depleted. Thus, we adopted the process of making architecture, it not only brings u excitement but also surprise in the outcome. You probably do not know where it would lead you but the process will strengthen the project as you are able to solidify your ideas while making. v

Apart from that, Pierre also brought up the Blur project by Diller Scofidio for discussion on experiencing architecture. I believe experiencing the building serves as the main purpose of the project is really strong. It gives a new technique for the users to ‘see’ the building by using other senses instead of only direct visual.

Sensing and experiencing the architecture enhance the impact on the users. From my point of view, it shares some of the similarities as the Jewish Museum, Berlin by Daniel Libeskind. Daniel tried to design the building in a way that allowed visitor to feel the emotions throughout the journey in the museum rather than those typical designed museum. Experiencing the past and history of the Jews through sensing spaces is one of the main approach of the design.

I believe a project that focuses on experience is more likely consider constantly being made. It has the power to bring emotions or experiences to the users. Every individuals will feel different with different mood, hence the building are constantly changing, in the making state.

New Babylon, Constant 1962

Jewish Museum, Berlin

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Architectural Theory

Critical Reflections Journal

Re-positions: Where is Power?

Reference Foucault, Michel. “Panopticism.” In Discipline and Punish, 1978-1979: Lectures at the College De France, 1978-1979. Translated by Mr Graham Burchell. Palgrave Macmillan, 2010. pp. 195- 230

Re-positions: Building Gender Reference Young, I. M. (2005). ‘House and Home: Feminist Variations on a Theme.’ In On Female Body Experience: “Throwing like a girl” and other essays.

I. M. Young. Oxford, Oxford University Press: 123-154.

According to Michel Foucault, power “ reaches into the very grain of individuals, touches their bodies and inserts into their actions and attitudes, their discourses, learning processes and everyday lives” (Foucault 1980, 30). Besides Foucault, together with other social theorists believed that knowledge is always a form of power. Knowledge is obtained further through observation. He believes that knowledge is permanently connected to power and his theory stated that: Knowledge linked to power, not only assumes the authority of ‘the truth’ but has the power to make itself true. All knowledge, once applied in the real world, has effects, and in that sense at least, ‘becomes true.’

Knowledge, once used to regulate the conduct of others, entails constraint, regulation and the disciplining of practice. Thus, ‘there is no power relation without the correlative constitution of a field of knowledge, nor any knowledge that does not presuppose and constitute at the same time, power relations (Foucault 1977,27).

Panopticon, an architecture design by Jeremy Bentham as a governmental building for prisons and hospitals in the mid-19th Century was one of the techniques modes of power or knowledge that Foucault referred to. Panopticon optimized and refined internalized coercion, which was achieved through the constant observation of prisoners. The prison was architecturally designed with no chance of communication nor interaction among the prisoners as all the cells were separated from the other. Meanwhile, at the centre of the building, stood with a high control tower where guards able to continually observe each cell which also symbolized the highest power state in the prison. The Constant observation acted as a control mechanism; a consciousness of constant surveillance is internalized (Foucault and His Panopticon, Moya K. Mason).

In this condition, power and knowledge come from observing others and every movement are being supervised and recorded.

The power of observation is so strong that, what will happen to all the knowledge that is collected through mechanisms of power? Nowadays, surveillance technology is increasingly used in the society for tracking people. For instance groceries shopping in Tesco, they know your diet habits through your purchasing record from the club card or even social media like Google, it stores all your search histories and know what is your preferences. The power systems are already implanted in our society, we can hardly separate ourselves from it. We are all constantly under surveillance. The more one observes, the more powerful one becomes.

When speaking about a family, people tend to relate the male as the main person to make a living to support the family and the female will be the one who stays at home, taking care of the children and house chores. After a long day at work in a stressful environment, the male worker would return to his private domestic environment which he could temporarily remove his tension. He would then return back to his comfortable home with tranquil environment and the wife’s duty is to take care of the family. However, most of the families live in a low income condition and struggle to achieve reasonable living conditions.

Due to that, more and more housewives are forced to join the paid labour force so that they could help to keep up with the family’s expenses.

This double labour forces in a family trend slowly becomes a norm where employed mothers are usually expected to delicate their time for the work as well as taking care the family and house works. Most of the children are sent for child care and maids are hired for their house chores. The typical design of a dwelling also has been architecturally affected. New modern houses are no longer designed with vast living space, instead, small but sufficient area of living spaces with bedrooms become one of the consideration as it saves time for one to clean the house. Likewise, kitchen is no longer an important place for a house. Employed woman seldom have time to spare to prepare meal for their family. Studio type units are equipped with sufficient requirement as a house such as a small cooking area, bedroom and a small living area for the working class people.

“If architects and urban designers were to recognize all employed women and their families as a constituency for new approaches to planning and design and were to reject all previous assumptions about “woman’s place” in the home, what could we do?” (What Would a Non-Sexist City Be Like? Speculations on Housing, Urban Design, and Human Work 1980 by Dolores Hayden, s176). The modern housing design movement clearly answered the question brought up in the article which was published back in 1980. From here we can see that our society from the architecture perspective, are actually changing and developing through problem solving.

Panopticon concept cell house

Woman’s role in a dwelling

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Architectural Theory

Critical Reflections Journal

Re-positions: Locating Nature Reference Wolch, J. R., K. West, et al. (1995). “Transspecies urban theory.” Environment and Planning D: Society and Space 13(6): 735-760

Trajectories: Participation Reference Freire, P. (1972). Pedagogy of the Oppressed.

Harmondsworth, Penguin. Chapter Two (pp45-59 in Penguin edition)

Urbanization is the change of major population from the rural to the urban areas. Development is a subprocess of urbanization from converting unoccupied land to a ‘developed’ land which highly valuable. The improved land is worthy for developer and its property value. However, urbanization causes the change of environment and also damage of the natural habitat of flora and fauna, affecting the animal populations in its original habitat which is now the developed city and leads to animal extinction. The original ecology in the city would be affected, the animals will be either forced to run away from their original habitat or inhabit in the city.

Due to this situation, the new ecology is established. The concept of dualism could be apply in this context, the urban and nature. The symbiosis relationship between the nature wildlife and human could each gains benefits from the other. The Transspecies Urban Theory stated that, wildlife may receive support from urban residents when they are perceived as providing benefits. Such benefits may accrue in the form of increased property values, ecological and aesthetic values, or recreational opportunities. In the last instance, wildlife are often viewed as amenities, or as analogous to ‘pets’. (Transspecies urban theory

by Wolch, J. R., K. West, et al.,1995). Besides, wildlife is also being considered as an urban amenity by the prospective property buyers.

Despite all of that, the developer should pay more attention on how to preserve and conserve the green space while developing an area instead of greatly destroy the original green space in that particular area.

Green space in a city has the potential to bring more benefits to the society. This could greatly link back to one of our current design studio project where we are currently looking into the original ecology of a chosen site. We are treating nature soundscape as a good contamination to the society. An urban area has rich biodiversity other than human being.

Everyone stands a position in the society and every job has its own value to contribute to the community, the idea of participation varies depending on individuals. Architects are always being questioned on what we can do to help the community and what are our social responsibilities while we are in practice or beyond practice? The social responsibility of architects demonstrates in trusting that architecture are able to create a better place, it is able to affect the society and improve the quality of life in the community in term of the architectural design. Besides that, we are able to play a crucial role in participating or get involved in non-profit organizations. Architects are trained to be leader, our trained skills such as critical thinking skill are able to help in the organization. (The Social Responsibility of Architects by Helena L. Jubany, 2011)

Furthermore, it is crucial for the architects that are participating in a design project to work well as a team leader, possess the ability to lead a team of consultants, client, and are able to deal with the authorities and community. Design is a team activity and the design process operate most successfully when every party work harmoniously together. Other than that, the relationship between the architects and the users act like a giver and receiver. The users have to accept and use whatever that is designed by the architect.

It is a direct cycle, where if the architect take care of the public welfare in the building design, it would greatly benefit the end users which is the public. Whilst, the relationship of the architect and client is as stated in the article Pedagogy of the Oppressed by Paulo Freire, pg73, the teacher knows everything and the students know nothing. Clients sometimes seem to understand what they are investing in but in truth they know nothing more technical than the things architects told them.

In general, as an architect, we can participate and involve in many ways to contribute to the society.

Architect plays a significant role in the society to help maintain the balance of the community.

Dualism in nature

Participation of society

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Architectural Theory Essay

Essay Title Locating Nature- a. Should architects attempt to design with non-humans in mind? Why/Why not?

Introduction

By following the urbanization era and the trend of moving into the city, there are more than half of the total world population has moved and living in the cities all over the world and the number is still expanding. Meanwhile, some humans are seeking for a better living in the city and some of their homes forced to surrender to the new development in their area therefore they are forced to join the urban trend. Not only that, other than human, the non-humans such as animals are also changing their habitats, moving to the urban life. Urbanization has altered the living of non-human behaviours.

Animals opt to shift into city life mainly because they are seeking their habitats which overtaken by urban development.

Reference

Key Points

According to Jennifer Wolch, animals and humans are able to share space and coexist in the community, it was written in her published article, the concept of zoopolis, an understanding of cities and communities.

Kean, Hilda. “Traces and Representations: Animal Pasts in London’s Present.” The London Journal 36.1 (2011): 54-71.

Louv, Richard. 2005. Last Child in the Woods. Chapel Hill, NC: Algonquin Books.

Seymour, Mona and Jennifer Wolch. 2009. “Toward Zoöpolis? Innovation and Contradiction in a Conservation Community,” Journal of Urbanism 2 (no. 3, November):215–236.

Wolch, Jennifer. 1996. “Zoöpolis,” Capitalism Nature Socialism 7 (2, June):21–47.

Beatley, T. (2011). Biophilic Cities: Integrating Nature Into Urban Design and Planning. Washington, D.C., Island Press.

Kellert, Stephen. 2006. Building for Life: Designing and Understanding the Human– Nature Connection, Washington, DC: Island Press.

Ulrich, Roger “View through a Window May Influence Recovery from Surgery, Science 224 (April 27, 1984) “Dimming Lights Saves Birds, Study Says,” Chicago Tribune, May 9, 2002, section 1 City of Toronto, “Bird-Friendly Development Rating System and Acknowledgement Program Wolch, J. R., K. West, et al. (1995). “Transspecies urban theory.” Environment and Planning D: Society and Space 13(6): 735-760.

Moreover, green neighbourhoods design shows an extensive and better impacts on physical and mental health through a research study by Netherlands. The research concludes that people are generally healthier, less ill symptoms among the people and the mind appears to be positive.

From the economics perspective on biophilia cities, green urban elements have a direct economic benefits. A few studies have proved that houses with green features can be sell at a higher price compared with those without. A green community housing is a place where residents are able to stroll or walk around outside of the house and now these features enhance the property value.

Besides that, we are building the city higher and higher, on the rooftops and facades, also harbour nature. A new types of nature are being established in the cities in the form of ecological rooftop vegetation, inhabiting all kind of vegetation lives such as grass, fern and also animals, for instance, butterfly and bird.

Conclusion

Architects or designers should attempt to include non-humans in mind while designing. As I believe that we, as human, cannot live alone. We biologically need for contact with nature, to contact with other forms of life regardless nature vegetation or animal life. We need it to enhance our lives, for our emotional health and better living quality. Fortunately, the investments in nature are beneficial investments in all levels, urban living, economics, self-development. Hence, architects should design not only for human but all sorts of other forms of like to improve the quality of human life.

LO1 Knowledge of contemporary design theories and the ways in which they can inform specific approaches to, and practices of architectural design.

LO2 Ability to demonstrate and analyse through careful argument how architectural production fits within wider philosophical, historical, social, political and economic discourses.

LO3 Ability to research issues in architectural theory, to critically reflect upon them, and to organise and present those reflections in the format of scholarly writing.

Deforestation

Natural habitat loss

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Sensible Lab - Adruino Digital Workshop with Juliette Sung and Xian Chuo Jie

A two days digital skill workshop event conducted by ESALA (Edinburgh School of Architecture and Landscape Architecture) in conjunction with the visit of Carol Ratti from MIT Sensible Lab.

Project Brief The site is located in Grassmarket plaza, Edinburgh, a cultural and lively plaza in central of Edinburgh.

The Proposed Pavilion is a portable pavilion that senses the behaviour of visitor and based on the visitorsâ&#x20AC;&#x2122; mood, the interactive wall will interacts with the visitors with its movement sensor.

The Prototype machine

Site plan n.t.s

Reaction based on mood behaviour

Interactive Pavilion

Mapping Showing visitorsâ&#x20AC;&#x2122; interaction

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Architectural Design Tectonics Appearances And Essences House of the Acrobats

Project brief The studio is concerned with developing a new form of pedestrian landscape. As an introduction to this first research phase, it will be useful to contextualise the street landscapes we find as commonplace in Edinburgh within a historical perceptual realm.

Traditional urban pedestrian infrastructures are, in the main, residual spaces between city blocks â&#x20AC;&#x201C; what we have come to define as street. Usually shared with vehicles, these streets are contiguously lined at pedestrian level with mainly shops, which operate as an extension of the public realm. The interface between the public street and the quasi-public interior is the window (often in the form of a shopfront).

This tectonic assemblage underpins what has become the universal paradigmatic understanding of public realm - the means by which we perceive, comprehend and navigate the city. The shop window mediates the publicness of the city, acting as navigational reference, clothing, lens, gateway, temporal device and climate controller.

LO1 Understanding of tectonic, structural, constructional, environmental and contextual matters.

LO2 Ability to research, analyse, synthesize and integrate with design an appropriate technological approach;

The Theatrical Route + Site 1: 8500

LO3 Skills in deploying specified two- and three-dimensional representational techniques correspondent with accepted architectural conventions

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Architectural Design Tectonics Appearances And Essences House of the Acrobats Observation The Construction Symphony Observation through the theatrical route in Edinburgh has discovered a significant scene happening around the city.

The cityscape and its landscapes are dramatic enough as a beautiful backdrop of a stage. Many buildings situated in the old and new town areas are constantly under construction, mostly renovation, conservation, removing and rebuilding them.

The major construction sites were mapped throughout the theatrical route under observation. The site is most busy during summer period, most of the building constructions take place during festival season.

Passing by the construction sites, the building facades are usually being wrapped with construction safety nets and also scaffoldings, temporary replaced the building itself.

All these dominant elements in a construction site share a similarity as a typical performance stage with construction nets as the red curtains and the scaffoldings as decorations or props of a theatre stage.

A construction site is usually being concealed and fenced up in order to set a boudary in the public realm. The public and private zone are established and non of the publics are able to enter to the site unless authorised. The hoarding are used to cover up the unpleasant environment, sometimes it can be a normal one only revealing the neaty site and sometimes it can be an expressive decorative element just like a performance stage.

Apart from that, the construction workers are alike as performers, they are bounded in a place, like a limited given space to perform their duties as performers. When the workers are working up there in a building, they seems like performing to the public, the people on the street as their audiences. The building height and the street level established the performance hierarchy as they are on stage.

Buildings along southwest route are mostly new buildings and construction in the northeast are mostly historical buildings and usually under conservation work.

The dramaturgical observation of major construction sites along the route.

During a construction, the noise is one of the main issue.

People on the street, neighborhood may complain about it. What if, we hear it as an orchestra performance by the workers. Every drilling noise as the play of a violin, hammering noise as drumming. The gesture of the workers carrying the equipment moving around just like a gentleman swinging a lady in the dance. Each of the individual sound gradually build up as an orchestra play, a symphony music theatre on a stage in a public realm.

The Picture House, Lothian Road.

Royal Scottish Academy, The Mound.

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Architectural Design Tectonics Appearances And Essences House of the Acrobats

Observation Morphosis - decaying and replacing the city.

Figure ground diagram 1: 40000

Observation Morphosis - constantly changing architecture.

From building construction then the observation focuses at a bigger scale from the city itself.

The diagrams show the changing cityscape from Year 1850 to Year 2013.

An urban city is a city in a state of ‘constantly changing architecture’. No buildings are silent and they are constantly decaying, changing, being renovate and reform. There is a flux in the city forming the temporarily city leading to renewal and reborn of the architecture trend.

The voids in a city forming through the solid of the buildings density. The concept of infilling and extracting buildings in the city contribute to one of the ‘constantly changing architecture’ thinking.

There is a directy relationship between the density of in the city and architecture replacement in the city. The conventional building architecture is catastrophic by itself.

Urban grain 1: 40000

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Architectural Design Tectonics Appearances And Essences House of the Acrobats

Mies en Scene Siting Strategy + Programme + Scenario ‘creating the scene’ The site is located at the center of the theatrical public route. This strategic location acting as a connection threshold between upper and lower King’s Stable Rd. Siting on the back of Edinburgh castle and the castle rock as the building’s backdrop enhances the theatricality of the programme.

Siting Strategy 1:500

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Architectural Design Tectonics Appearances And Essences House of the Acrobats

Programme curation - from construction scenarios to flying trapeze artists

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Architectural Design Tectonics Appearances And Essences

House of the Acrobats The acrobats idea developed from the previous observation through ‘constantly changing architecture’ in the city. With the idea of temporality of a building condition, the circus design shares the similar building concept.

Circuses are usually temporal building structure which roams from one place to another and has its own unique theatricality elements.

In term of urban spectacle, the conventional construction are unresponsive or not reflective to theatricality and performance, It does not has any responsive ability to adapt. Hence particularly, the circus is a temporal structure which is responsive, it will be assembled whenever it needs to be and disassemble whenever it does not need to.

Flying acrobats are chosen as the building program specially of its spectacularity and temporality in the public realm. The House of Acrobats is a place for the flying trapeze artists to gather in Edinburgh. The artists live together as communal living and train together as work.

The great thrilling mid-air performances on the Aerial Horizontal bars.

The Flying Trapeze The trapeze artists allowed us to look at the idea of sociological performance in the public realm – what is everyday activity to one person might be spectacle for another. It invokes a commentary on how we are both performer and audience on the public realm – on voyeurism, spectacle and curiosity.

The program itself becomes a catalyst to fully immerse captives in a play with ‘limits’ to flux the state of mind between the real and unreal and the role of spectator or spectated in the public realm.

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Architectural Design Tectonics Appearances And Essences House of the Acrobats

Site Plan 1:1500

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Architectural Design Tectonics Appearances And Essences House of the Acrobats

By projecting outward from the upper level road to the public realm, the architecture itself also acted as a performance. The structure are light and relax which is delicate and not grounded enhanced the theatricality.

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Kingâ&#x20AC;&#x2122;s Stable

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Level -1 1:400

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Architectural Design Tectonics Appearances And Essences House of the Acrobats The idea of the House of the Acrobats is about dealing with the edge in the public realm by connecting the upper level road, Johnson Terrace and the propose theatrical route, Kingâ&#x20AC;&#x2122;s Stable. The buildings are designed to be sit on the connection green slope and projecting out to the public realm.

The buildings sited with the momumental castle rock as the backgroup creating an extreme theatrical scene.

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Level 0 1:400

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Architectural Design Tectonics Appearances And Essences House of the Acrobats

Level -1 1:100

5. Kitchen 6. Bedroom 7. common space - training area

Level 0 1:100 1. common space - working area 2. living room 3. individual space 4. common space - training area

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Architectural Design Tectonics Appearances And Essences House of the Acrobats

South Elevation View looking up to the House of Acrobats with the castle backdrop.

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Architectural Design Tectonics Appearances And Essences House of the Acrobats

3.

The building program consists of two main ideas: 1. The flying trapeze artists Idea of spectacle of the public realm but the spectacle is continually changing, while the trapeze artists are working, swinging and training, it may seems to be an ordinary llife for them but it may be a spectacle of somebody else in the public realm.

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2. The building itself as a performance The buildings are designed to be situated lightly on the ground and the structures allow minor movements to the buildings. The architecture character is designed to be spectacle and enable to perform to the public realm. The flying trapeze are constantly living in the air also enhances the theatricality.

The tectonic ideas of the building consist of three main components: 1. the angled columns, allow some degree of bouncy movement to occur in the building.

2. the retractable pulley system, to tie the building down to the solid fundation and to eliminate tension force.

3. pin joint anchor, to hold the building structure back in place and avoiding the building to pivot.

Tectonic Section 1:100

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Architectural Design Tectonics Appearances And Essences House of the Acrobats

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Exploded Isonometric tectonic component

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1. Main building structural frame with pivoting foundation 2. Pulley structure to allow building movement and reduce tension force 3. Metal decking suspended by cable attached to main frame.

4. Steel strusses with concrete beam anchor to avoid pivoting.

5. Steel strusses supported by structural frame projecting to the public realm to allow acrobatic performances.

6. Steel batons for decking support

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Architectural Design Tectonics Appearances And Essences House of the Acrobats

Pedestrian view from public realm

Appearance + Essence The design addresses architecture different apart from conventional building design. The design emphasised on â&#x20AC;&#x2DC;communicating architectureâ&#x20AC;&#x2122; as a functional performance to the public realm.

The flying trapeze communal living.

Entrance from Johnson Terrace

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PS Y3S2

Professional Studies Short Essay

Regulation

Office Structures

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

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

The building regulations are lawful instruments intended to ensure and secure the public interest, health and safety, welfare and convenience of persons in or about buildings and of others who may be affected by buildings or matters connected with buildings . It helps to promote the conservation of fuel and power as well as achieving sustainable development in projects. The building proposal in the UK requires to satisfied the relevant regulations and request for approval by the Local Authorities in order for the commencement of the project.

Scotland uses a separated system from England and Wales. The system is set out in the Building (Scotland) Act 2003 and the Scottish Government is responsible for the issue in Scotland. The act is governed by the ‘Scottish Building Standards’, which are set out in two technical handbooks, one covering domestic buildings and the other non-domestic buildings. These technical handbooks set building standards and also offering guidance and regulations in building. The handbooks are mainly divided into seven sections which cover; Structure, Fire, Environment, Safety, Noise, Energy and Sustainability. Although these regulatory requirements help to safeguard the public interest but they can often result in causing bad impact on the architectural design of buildings. Due to that, creative idea in building design becomes confined because of the strict regulations.

In the Section 4 of the Domestic Technical Handbook clearly demonstrated how building regulations can be causing architectural implications on buildings. Section 4 focuses on the safety issue and to safeguard welfare of the building occupants. In Section 4.1.3 stated that the building entrance should be accessible from the road or car parking within the curtilage commodiously without any obstacle. The proposal then has to incorporate the consideration especially on the disabled occupants. A ramp has to be proposed as accessible route to the building entrance with certain degree of slope and with complementary steps depending on the level difference. The width, gradient and also landing dimension of the ramp has to follow accordingly set out in the regulations .These will greatly cause many implications on the architectural design as these ramp designs can occupy significant space.

Furthermore, another example of regulations causing architectural implications clearly shown in Section 4.8. This section ensure the occupants and people around the building are protected from injury that could result from fixed glazing, projections or moving elements on the building and reduce the threat to the window or rooflight cleaner from a fall resulting in severe injury. Window glazing should be designed with proper consideration so that it may be cleaned safely either from the inside or outside of the building. In Section 4.8.4 stated that guarding of windows should be installed from a certain height if the building is higher than 2 storeys or more for cleaning purposes. Due to that, the architecture appearance will greatly affected.

In the architecture field, there are so many regulations governing and overseeing the architect’s decision. Despite all of these are confining the creativity idea of architects, the building industry can be more innovative and maintain a higher building standards if the designs are able to resolve around the regulations yet competent in showing the creativity.

By comparing a Limited Liability Company practice with a sole proprietorship practice and partnership practice architecture firm, Limited Liability Company seems to be a more complex and mature system in architecture practice. It involves more parties and requires more administration than establishing a sole proprietorship or partnership practice. However, Limited Liability Company system may be beneficial to establish based on the type of project handles by the architecture firm. One of the reasons that making Limited Liability Company an attractive system because it offers a separate legal personality from its shareholders. It means that the shareholders are liable only to the amount unpaid on their shares which is different compare to the partnerships system where partners have unlimited liability.

Generally, it is harder for a young architect to join a partnership due to limited capital and to join as a partner it requires a huge sum of money to ‘buy in’ whereas it is easier to join a company and the directors running the firm at the top can easily promote potential staff to a director level as it does not requires any financial commitment. The directors can bring in the right people and thus the company is more easily to expand and competent to handle bigger projects compare to the other traditional system and the career prospects may be limited. There are no limits on the number of shareholders and directors may or may not hold shares in the Limited Liability Company practice. The profits of the company are distributed according to the rights attached to the shares. Employees and staffs are remunerate in salary and shareholders by dividends.

In a Limited Liability Company practice, the company is allowed to form a legal entity separate from the individual unlike the other systems which assets are tied with the firm. This could protects the shareholders or directors from any lose or lawsuits against the company because the individual’s assets does not tied with the company. It means the other systems, sole proprietorships or partnerships, their assets could be scarify for the firm whenever there is any losses in the firm.

Furthermore, both partnerships and Limited Liability Company system entitled with the pass-through entity taxation. This means the firms do not required to pay income taxes at the corporate level but instead the incomes and losses are divided among the shareholders which are levied in their personal tax. Despite of that, there is a benefit of Limited Liability Company over partnership system, the owner are able to claim partly of the loss and tax deduction if the company itself reported with a lower profits than losses. Whereas, the owners in a partnership practice would not receive any benefits from the company losses.

In conclusion, Limited Liability Company system is able to help to expand the growth of an architecture firm. With only the practice of sole proprietorship and partnership , the architectural firms are confined to the scale of the project they can handle. It is understandable with the increasing number of architectural firms are choosing to organise themselves as Limited Liability Companies.

Reference Scottish Government, Technical Handbooks 2013- Domestic Scottish Government, Technical Handbooks 2013- Non Domestic Access for people with disabilities: a building design guide, City of Edinburgh Council (1995)

Reference Architect’s Legal Handbook: the law for architects, Anthony Speight & Gregory Stone, 8th edition, Architectural Press (2004) Chappell, David (2000), The Architect in Practice 10th Edition, Oxford

LO1 An understanding of business management and knowledge of the legal and statutory frameworks within which Architectural Design is practiced and delivered.

LO1 An understanding of business management and knowledge of the legal and statutory frameworks within which Architectural Design is practiced and delivered.

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PS Y3S2

Professional Studies Short Essay

Procurement

Construction Management

How does the architects design responsibility differ in ‘Traditional’ and ‘Design and Build’ contracting?

Formulate an argument in support of one of these modes of building procurement.

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

The traditional or conventional procurement is typically used in building contract. It has been used as a method of project delivery between the client and the architect for a long time in the building industry.

In this type of contract, the architect is hired as the leader of the consultant team who works directly with the client. The role of the architect is to oversee the overall of the project, manage the other consultants or position in the design team, contract administration and also the most important part is to deal and manage the contractors who are responsible for the building construction works. In a traditional procurement contract, the main contractor is responsible for delivering the workmanship and materials as stated in the tender contract and also to oversee the sub-contractors and other building specialist who works under the main contractor.

Besides, the traditional contract method separates the design and construction phase into two different phase. The design stage is only involves the client and the consultant team leads by the architect and other mainly from the engineers, surveyors. The building project will then be finalized and this will bring it to the tender phase where the initial stage of contractors involvement. During the construction phase, the contractors take main part of this stage but the architect is still the leader and representing the client himself. The main contractor is required to report the project progress and conditions with the architect and other consultants during site meeting.

Whereas for design and build procurement which has just emerged in the building industry, it is still being considered as a new contract procurement compare to the conventional contract. This method of project delivery usually by the main contractor as a single main organization body. The project is contracted to the contractor directly by the client and the main contractor is responsible in carrying out both design solution and the construction work and he is solely in charged for the whole project. Many supporters of this new contract method believe that this way of contract method increases the project efficiency yet money and time saving because the client only needs to deal with a single party unlike the traditional method which involves several entity.

However, the traditional contract method is still a favourably used in the industry because the project is able to achieve a better quality design if it is handled by an architect. Architects are professionals trained to be in his position, in the design and building contract, the architect still works as a team but under the main contractor. This means that the architect’s responsibilities are limited and he has no control over the quality of the project design. In order to stay within the client’s budget and timescale, the final design may be changed because of the contractor cutting corners in the construction works to save time and money.

Furthermore, under the traditional contract during the tender stage, the contractor has to fight through the competition to give their best scheme for the most sensible price which allowed the contractor to provide a better quality of works in an agreement. The architect is in charge of overseeing the construction, the possibility of corruption and design errors are minimized.

There are many more benefits of a traditional contract than a design and build contract. ‘Builders and architects are experts in separate but complementary fields; successful environments cannot be created without both of them. But there needs to be a balance, and that balance is best achieved through the “traditional” approach.’

Reference Constructing the Team, Sir Michael Latham, Final Report, HMSO (1994) Guide to Procuring Construction Projects, Scottish Funding Council, APUC, (2007) Which Contract?, Hugh Clamp, RIBA (2007) Rethinking Construction, Sir John Egan, DETR (1998)

LO2 An understanding of the role of the client, Architect and related professions in the costing, procurement and realisation of architectural design projects.

Architect often describe as the master builder who is capable in valuing aesthetic in building, designing structures and the managing the building project. However, due to the rapid development of modern era, technologies are progressing innovatively and this impacts the architecture industry since 1990s. When the first 2D computer aided drafting (CAD) systems was introduced to the architecture firms, it brings a big impacts to the later architecture generation. Significant amount of training and time in the firms was required to adapt the radical change. But, fortunate enough, this does not alter the ways of architect practices, CAD system is just a purely computerised version of drafting method with improved precision on drawings. Nowadays, there is a new software system bringing a new architecture working trend that slowly affecting this industry. Building Information Modelling (BIM) is a multi-functional 3D drafting software that made of intelligent building components and each building elements which created in the software contains vast levels of information that is readily available in the market. For instance, you can construct a window model in the software, it able to obtain the basic information such as size, colour and material selection simultaneously.

BIM encourages the collaborative in design between consultants. Excellent building design requires iterations throughout stages, with the assist of BIM allowed the integration of multidisciplinary design and technical consultancy to happen across different company working in different locations to provide service.

There may be more than a single designer of multiple disciplines working on a project. This encourage a better understanding of the building design in the initial stage and also the project could be progress with better understanding and more precisely.

Moreover, BIM provides a better opportunity for the new fresh graduates to learn quicker and pick up the technical aspect in the architecture industry. Graduates coming out of university now with 3D modelling skill.

It may be easier for them to start drafting building in a 3D software platform or understanding the concept of BIM system and technology. Because of the freshers may not be that competent and well-versed in building’s system and how’s elements join together the more experienced architect may need to assigned to work with them as guidance. The fresh designers are able to gain knowledge better on how buildings assemble in the software rather than through theoretical concept.

However, there are disadvantage side of BIM such as the firm needs to spend more on their company expenses to send architects for courses just to keep their company up with the trend. The relationship between young and experienced architects may be in an awkward situation as the young designer know better in better software and are able to pick up quicker whereas the it could be a bigger challenge for the experienced architects to adapt themselves in the new skill. In a construction stage, contractors are able to access the information provided by BIM, if they are unable to work with the consultants in the project, they may be starting to revolt and threatening the architects.

There are several pros and cons on the new program, time is needed to overcome the challenges and effects of applying new technologies on an old profession like architect. With many experts working together in such environment, architect role seems to be going downward.

Reference BIM – The Threat To Current Architectural Practice!, Benedict Wallbank RIBA, BIMiT Consultancy Impact Form The Use of BIM In Architectural Design Offices: Real Estate Market Opportunities, Livia L., Sergio R. and Arnaldo M. BIM Handbook, Wiley, Eastman, Chuck (2011)

LO2 An understanding of the role of the client, Architect and related professions in the costing, procurement and realisation of architectural design projects.

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PS Y3S2

Professional Studies Short Essay

Professionalism

Pay

How is the title ‘Architect’ protected in the UK? Formulate an argument for or against the protection of the title Architect.

Why were the RIBA fee scales abolished? Formulate an argument for or against fee scales.

In order to practice as an architect, one must first goes through several years of architecture education and also practical training and followed by a qualification examination. As the completion of examination stage, the Architect title is then granted to those who passed. It is a long process to become a qualified architect no matter where you are. In the UK and also many of the countries, the title of ‘Architect’ is lawfully protected.

The Architects Acts of 1997 stated that any person who practices architecture and uses the title of ‘architect’ must be registered with the Architects Registration Board (ARB). ‘Only those persons who have prescribed qualifications from a recognised school of architecture can be registered by the ARB.’ Hence, the architect title is protected to avoid misuse of it by those who did not undertaken such qualification. This is to safeguard the profession state in the society and also to protect publics from unqualified practitioners due to misunderstood of the profession.

Besides on protecting the title, it is even more important to protect the role of the architect. Unlike some other countries, they do not protect the function of the architect. As long as the person does not claim himself as an registered architect even without going through proper architecture education and training, he is able to provide architectural services and design proposal. Most importantly, some of the buildings can be built without hiring an architect. The title and role of the architect should be protected, if this is not protected legally, unqualified practitioners may be claiming they are the architect and offering unprofessional service. The building may not achieve the safety standard as stated by the law and this may then leads to safety issue of the occupancy of the building.

Most of the people do not know how to differentiate the difference between ‘architects’ and ‘architectural services’ and are usually mislead when using ‘designer’ for their building project. Due to cost saving and maximising the project profits, the designers are usually source ways to cheat the building regulations by using either engineers to sign off the design drawings and without going through checking by the expertise or a trained architect. Not only that, the people planning on developing properties are usually not occupying the buildings that they are proposing, therefore they may just take opportunity to cut costs and cheat on materials use just to make sure the projects are built within the cost estimated and time.

The government should take this matter into serious account. The unqualified practice may have cause disaster to the society and public. The ARB has instructed the business directories to note above their ‘ Architects’ listing to encourage the public to check with them that whether their architect is registered. This is one of the good and direct way for the public to access the important information for their own benefits. More actions should be execute on this matter.

Fees charged by architects change significantly. Architects are govern by a mandatory minimum fee scale which demonstrated in the form of sliding scale graphs for different building types and maintained by RIBA back in 1872 to 1982. But it was then abolished in 1982, under the Office of Fair Trading (OFT) European legislation due to they was anti-competitive. They were changed to ‘recommended’ fee scales, then ‘indicative’ fee scales in 1992. Then, because the policy against any kind of fee scale from the Office of Fair Trading, it was then being withdrawn again.

Besides on the architects, even the clients were also agitated and seeking for help so that they would know how much should be paying for their services after the abolishment of all fee guidance. In the effort of reassuring the situation, RIBA then collects independent survey data and through that they offers a fee guidance based on the actual fees after they managed to make an agreement with the Office of Fair Trading. However, because of the scales were based on actual fees instead of the desired fees of the architect., the statistic surveyed indicated really low fees than the ‘indicative’ fees previously. This is due to the architecture firms require to reduce their ‘price’ just to compete with their rivals. Most of the situations, the firms are earning no profits but they have to accept the job just to keep their business going.

In the 2003 fee guidance survey only particularly based on small field of works such as small size domestic job and it is only covered the lately built project and renovations obtained through the conventional procurement route. The graphs can only shows a simple area of fees and put them as averages to a large choice of different kind of structures and job with very different demands. For instance, there can be a significant difference in the architect’s service requirements for a small extension to a modern house, compared to the renovation of a listed mansion but then both of the jobs are arranged into the same fee range. The precise price is really hard to be obtained with these limitations in the fee scales. Eventually RIBA decided to abolish the fee guidance due to the pressure from the architects. Some of the clients even tried to negotiate the price down from the published document which makes the architects felt that fee guidance actually lowered fees.

The architect’s fees should be calculated according to the requirements of each jobs, the architecture firms should list out how much work and time is involved, the rival and the dangers. From my point of view, the fees have affected the architecture business. Calculating the fees from a graph does not make any sense especially depending on the data which does not representing the real expenses and services offered to each clients. The abolishment of the fees was good not only for the architecture profession but also the clients.

Reference Guidance and Information, What we do to regulate use of the title ‘architect’, ARB Protection of Title, RIBA Architect Act, 1997.

Architectural Knowledge: The Idea of a Profession, Francis Duffy and Les Hutton (1998) Code of Professional Conduct, RIBA (1999)

Reference Architects’ Services: A Report on the Supply of Architects’ Services with Reference to Scale Fees, The Monopolies and Mergers Commission, HMSO (1973) Architect’s Fees: 2011 edition, Fees Bureau, Mirza + Nacey research, (2011) Architects’ guide to fee bidding, M. Paul Nicholson, Spon (2003)

LO3 An understanding of the role of the Architect in society, including knowledge of professionalism and emerging trends in the construction industry.

LO3 An understanding of the role of the Architect in society, including knowledge of professionalism and emerging trends in the construction industry.

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DESIGNING PLACES STUDENT COMPETITION 2015

By Scottish Government Planning And Architecture Location: The Light House, Glasgow.

Built environment students from courses in architecture, landscape architecture, urban design and planning from across Scotland attended the one-day live masterplanning class which this year focused on town centres and with a particular focus on the Raploch Scottish Sustainable Communities Initiative (SSCI) site.

The fast pace Master plan proposal completed within 2 hours limited time. Every member from different disciplinary get to contribute and share their knowledge within given time.

TeamBuild 2015 Teambuild is a unique training event. It is a cross-disciplinary construction competition, held over a weekend in November every year. The competition is organised by a Charitable Trust, the Teambuild Association.

About Multidisciplinary teams are challenged to compete in a simulation of the design and construction process for the development of a real site. TeamBuild attracts competitors from major companies and students representing all disciplines within our industry. It is not only a fantastic training event, but also an unparalleled opportunity to build networks between young staff and between different companies.

Teams that get through the initial prequalification process (a paper-based submission) are selected to attend the Finals Weekend in late November each year. The finals weekend starts with a masterplan proposal and runs right through the construction process, finishing with the construction stage of a major development.

You will need to think, discuss, sketch, design, compromise, calculate, and then present your work at all stages.

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